The Effects of an Ever-Changing Technology on the Domesticity of Living Spaces by Maria Sammut

THE EFFECTS OF AN EVER-CHANGING TECHNOLOGY ON THE DOMESTICITY OF LIVING SPACES

MARIA SAMMUT

A dissertation submitted to the Faculty for the Built Environment in partial fulfillment of the requirements for the degree of Bachelor of Engineering and Architecture (Honours) at the University of Malta

JUNE 2013

ABSTRACT This dissertation is a study of the effects of technology upon domestic interiors linking the past to present and future spaces. These effects are not limited to the tangible product but also take into account the development of domesticity and how this in turn affected the home. The relationships between technology and domesticity are highlighted as to provide a build up on how both play an important role in the home as we know it today. While important technological advancements are outlined, domesticity is a subjective topic which requires its study to be carried out on an anthropological level. Collection of such data was obtained through both primary and secondary sources. With regards to secondary sources, these focused on both the sporadic nature of technological advancements as well as human behaviours within past interiors; and how they were in turn affected by social and cultural changes. Primary sources were based on two main qualitative research techniques targeted at in-depth interviews and focus groups. Compared to other types of spaces, domestic interiors are those in which the user is most intimate with. This individual experience aids as well as emphasises on the fact that the perception of the homeowner plays an important role in understanding what domesticity really means, and how in turn it is affected by technology. In order to obtain a holistic study, the topic is discussed both with professionals in the field including interior designers, engineers and a psychologist as well as with people of different age groups. Their involvement within the domestic space is analysed; their choices and beliefs with regard to technology and domesticity is studied in outlining their perception on both vast topics and the relationship between them. Future technologies advocate yet another revolution in domestic interiors. Still at concept stage, they provide for the first time in history, a glimpse of what our homes might look like in the near future. They offer a platform for a thorough study of the professionalsâ&#x20AC;&#x2122; as well as the participantsâ&#x20AC;&#x2122; perception of how technology might affect their home aesthetic and more importantly their daily lifestyle. Although the advancement of technology instills amusements in most participants, the general response was that of apprehension. The conclusions drawn from the analysis of the study are mainly that the drastic change brought about by technology sacrifices an important part of what we understand by domesticity. Predictions on the way forward are outlined, aiming mainly at a balance so to make the most out of the advantages of technology without compromising the long-standing feeling of domesticity which is relatable and cherished by home dwellers on a global level. KEY WORDS: INTERIOR | TECHNOLOGY | DOMESTICITY

UNIVERSITY OF MALTA FACULTY/INSTITUTE/CENTRE: ___________________________ DECLARATION Student’s I.D. /Code _____________________________ Student’s Name & Surname _________________________________________________ Course _________________________________________________________________ Title of Long Essay/Dissertation/Thesis ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________

I hereby declare that I am the legitimate author of this Long Essay/Dissertation/Thesis and that it is my original work. No portion of this work has been submitted in support of an application for another degree or qualification of this or any other university or institution of learning.

______________________ Signature of Student

______________________ Name of Student (in Caps)

_____________________ Date 4.05.2011

ACKNOWLEDGEMENTS The completion of this dissertation would not have been possible without the help of a number of people, to whom I wish to show my gratitude and appreciation. I would like to thank Dr. Paul Gauci, my tutor, for his guidance and time he dedicated in reviewing my dissertation, especially in the its last stages of completion. My thanks also go out to the rest of the academic staff at the faculty, as well as Prof. Mary Darmanin from the Faculty of Education who has offered great help in the research process. My gratitude goes to the professionals who have found time during their busy schedule to contribute to this study, namely Perit Chris Briffa, Patrick Galea, Inġ Keith Baldacchino, Inġ. Charlon Buttigieg, Angele Licari and Professor Carmel Pulè. I am also grateful for finding enough participants to carry out this study, without whom, my research would have been incomplete. Heartfelt thanks goes out to my parents and family who have given me continuous emotional support and courage. I would like to express my gratitude to Jade, Elyse and Shirley, with whom I have discussed this study and turned to for support during stressful times during these five years. Similar appreciation goes out to Jeremy for always being a source of encouragement throughout my studies.

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To my family, in particular Nannu Leli, who would have been delighted that I chose to study this subject. Â

Table of Contents ABSTRACT

ACKNOWLEDGEMENTS

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LIST OF FIGURES

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CHAPTER ONE - INTRODUCTION

1.1 FOREWORD

1.2 AIMS AND OBJECTIVES

1.3 STRUCTURE OF DISSERTATION

CHAPTER TWO - A CHRONICLE: TECHNOLOGY AND DOMESTICITY

2.1 INTRODUCTION

2.2 PREHISTORIC INTERIORS

2.3 EARLY CIVILISATIONS

2.4 ADVANCEMENTS OF CLASSICAL ANTIQUITY

2.5 THE ‘MIDDLE’ AGES

2.6 FROM THE ‘REBIRTH’ TO THE BIRTH OF COMFORT

2.7 THE INDUSTRIAL REVOLUTION: A DOMESTIC REVOLUTION?

2.8 MASS PRODUCTION: COMFORT FOR ALL

2.9 A TRANSISTOR’S TRANSITION

CHAPTER THREE - METHODOLOGY

3.1 QUALITATIVE RESEARCH TECHNIQUES

3.2 CHOOSING A TECHNIQUE FOR THE STUDY

3.3 LIMITATIONS

3.4 THE STUDY

3.4.1 Aim

3.4.2 Determining whom to study

3.4.3 Questioning approach and visual aids

3.4.4 Methodology

3.5 ANALYSIS

3.6 PREDICTIONS

CHAPTER FOUR - INTERVIEWS

4.1 INTERVIEW WITH PERIT CHRIS BRIFFA

4.2 INTERVIEW WITH PATRICK GALEA

4.3 INTERVIEW WITH ING. KEITH BALDACCHINO

4.4 INTERVIEW WITH INĠ. CHARLON BUTTIĠIEĠ

4.5 INTERVIEW WITH ANGELE LICARI M.A. Psych. (London)

CHAPTER FIVE - FOCUS GROUPS

5.1 AGE BRACKET 14-19

5.2 AGE BRACKET 20-30

5.3 AGE BRACKET 31-45

5.4 AGE BRACKET 46-60

5.5 AGE BRACKET 61+

5.6 PROF. CARMEL PULÈ

CHAPTER SIX - ANALYSIS AND CONCLUSION

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6.1 INTRODUCTION

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6.2 ANALYSIS

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6.2.1 COMFORT

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6.2.2 PRESENT TECHNOLOGIES

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6.2.3 FUTURE TECHNOLOGIES

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6.3 CONCLUSION

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6.4 FURTHER STUDIES

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BIBLIOGRAPHY

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APPENDIX 1: FOCUS GROUPS RECRUITMENT FORM

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APPENDIX 2: INTERVIEW CONSENT FORM

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APPENDIX 3: FOCUS GROUPS CONSENT FORM

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APPENDIX 4: ARCHITECT/INTERIOR DESIGNER INTERVIEW QUESTIONS

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APPENDIX 5: ENGINEER INTERVIEW QUESTIONS

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APPENDIX 6: PSYCHOLOGIST INTERVIEW QUESTIONS

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APPENDIX 7: FOCUS GROUPS QUESTIONS

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APPENDIX 8: PROF. CARMEL PULÈ - VIEWS ON THE STUDY

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List of Figures fig. 1 primitive structure made out of found materials

fig. 2 making pottery through coiling

fig. 3 manual potter wheel in the production of vessels

fig. 4 engraved red ochre with primitive hand tools in the background

fig. 5 Ancient Egyptian wooden models depicting the type of furniture used in workshops and possibly in dwellings

fig. 6 Ancient Egyptian hieroglyphs depicting different types of seating

fig. 7 folding stool from the New Kingdom

fig. 8 manual potter wheel in the production of vessels

fig. 9 Tutankh-Amun’s wooden throne

fig. 10 curved lid chest found in Tutankh-Amun’s tomb, depictive intrinsic scenes of the life of the king.

fig. 11 section of Ancient Greek klismos chair

fig. 12 near section of Ancient Roman barrel-shaped chair

fig. 13 Ancient Greek tapesrty

fig. 14 Ancient Roman stool and pottery baby seat

fig. 15 Ancient Greek pebble mosaic

fig. 16 Ancient Roman geometric patterned mosaic

fig. 17 Ancient Roman opus sectile

fig. 18 peasant house with an open hearth in the middle

fig. 19 transportable flat bottom and domed chest

fig. 20 flat lid chest with legs

fig. 21 a wood turner and some of his wares

fig. 22 foot powered turning lathe

fig. 23 Medieval X-framed chair with seat cushion

fig. 24 Elaborately upholstered Medieval chair

fig. 25 Medieval chair with wood turned supports

fig. 26 plan of Palace of Versailles showing interlinked rooms; enfilade

fig. 27 strapwork; one of many types of furniture decoration techniques adopted during the Renaissance

fig. 28 marquetry writing table with replaced turned supports

fig. 29 glazed book shelf

fig. 30 Emanuel de Witte’s Kitchen Interior, oil painting on cavas

fig. 31 Johannes Vermeer’s The Milkmaid, oil on canvas

fig. 32 Carl Herpfer’s An Evening’s Entertainment

fig. 33 Michael Thonet’s rocking chair made out of bent wood

fig. 34 Le Corbusier’s Ville Savoye interior

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fig. 35 Jean Prouve’s ‘Cité’ armchair; sheet steel, leather and stretched canvas

fig. 36 Marco Zanuso’s easy chair ‘senior’; tubular steel legs and upholstered wooden structure

fig. 37 first home radio

fig. 38 Achille Castiglione’s ‘Primate’ chair

fig. 39 Peter Opsvik’s ‘Balans Variable Stool

fig. 40 Two contrasting interior spaces; participants were asked which one they prefer and why

fig. 41 still image from Corning ‘A Day Made of Glass’ video

fig. 42 still image from Corning ‘A Day Made of Glass’ video

fig. 43 still image from Corning ‘A Day Made of Glass’ video

fig. 44 still image from Corning ‘A Day Made of Glass’ video

fig. 45 still image from Corning ‘A Day Made of Glass’ video

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CHAPTER 1

introduction 1.1 FOREWORD The origins of contemporary civilisations are highlighted by the gradual shifts from hunting and gathering to agriculture, the discovery of fire, and the ability to make tools. In contrast to other creatures, human beings can make tools, resulting in the on-going process of creating tools and artefacts and exploiting resources in order to improve their living standards and security. From primitive shelters to 21st century dwellings, living in comfort has always been a goal that most human beings have aspired for. Technology therefore has played and still plays an important role in the formation of home interiors. Throughout history its result has taken multitude of forms; from manual tools producing interior furnishings and coverings to the mechanised appliances which came into effect with the revolution of the Industrial Age. The digital realm, implemented automation and connectivity within the home, which has in turn added a new dimension to how we live and adapt to our domestic interiors. This said, domesticity is not only dependent on the physical comfort obtained through technological advancements. Comfort is subjective and encompasses wellbeing in a wholesome sense, combining the tangible and intangible aspects of what makes us feel good within a space. This too, has had an evolution of its own, affected by differences in cultural attitudes, beliefs and economic stability. Even though we are able to achieve an advanced level of comfort through technology, interior styles which served the way of life three hundred years ago are still being applied to present interior spaces. What is attractive enough for them to be implemented into our home, sacrificing the option for a space which houses the fast and functional notions of our society. Technology has attained an outstanding rate of progress in the last 50 years; what is it that pulls us to prefer traditional interior which reject this development? What is the way forward? While technology is always providing us with a new and more efficient implements, its penetration into the home seems to be taking place at a much slower rate. While we always want the latest gadget, we do not appear as willing to permit our homes to be taken over, as it were, by the symbols of technological advance.

1.2 AIMS AND OBJECTIVES A historical analysis of the development of technology with regards to domestic spaces aims at providing a background to the study. Focus is aimed at bringing forward the way technology affected domesticity throughout the ages.

Present and future interiors were studied through discussions with design professionals and people of different age groups. This was intended to provide a holistic approach towards the understanding of people’s perceptions and aspirations related to comfort within the home, and how technology influences the design of and feeling within a domestic interior. The information obtained from the focus groups was analysed and the results are presented in this dissertation with reference to comparisons between the ideas of people of different age groups. Conclusions and solutions on the way technology may be integrated within present and future interior spaces are subsequently submitted.

1.3 STRUCTURE OF DISSERTATION This dissertation consists of six chapters. The first chapter gives an introduction and backdrop to the study indicating the direction of the research which is to follow. The aims and objectives are also included in this section. The second chapter consists of a historical analysis which is divided into eight parts, each representing an era in which major changes occurred in the development of both main themes under study. This was considered important by the author in providing the research a holistic background through history. The transformational nature of both technology and domesticity is brought out, as are the effects and relationships between them. The third chapter discusses the methodology used in the following two chapters. Interviews and focus groups are explained and their application to the study is outlined. The fourth chapter consists of the input of five professionals from three specialisations, interior design, engineering and psychology. Their different backgrounds add fruitful information which acts as a basis to the following chapter. The fifth chapter aims at collecting the perception of a number of people divided into groups according to age. This was considered to be a determining factor by the author with regards to the people’s perception on technology within domestic interiors. The additional input by Professor Carmel Pulè is also included in this chapter.

The final chapter is divided into three parts. The first part is an analysis of the thoughts and opinions brought forward during the focus groups. The second part offers conclusions to the whole study. Recommendations for future research studies on topics related to this dissertation are found in the final part.

CHAPTER 2

a chronicle: technology and domesticity 2.1 INTRODUCTION The purpose of this chapter is to compile a historical development of the topic; it aims at studying the roots of technology and domesticity and their journey towards present and future dwellings. It is further divided into sections which outline the major changes in both realms. The relationship between the two major topics is outlined in every section.

2.2 PREHISTORIC INTERIORS For human beings, interior space often means shelter. In pre-history shelters for human beings consisted on the givens, as it were, of nature such as caves and tree canopies. Up till the development of hand tools, materials such as mud, twigs and branches were used, along with animal skins and hides, in order to create ‘interior spaces’. Due to their ephemeral nature of primitive structures, not much is known about fig. 1 – primitive structure made out of found materials Source: (Oliver, 1987, p. 23)

what was found inside with regards to furniture, apart from small objects, such as arrowheads

and spear points made out of flint. The fact that the tools were still very primitive leads to uncertainty on whether they were truly human artefacts or naturally found objects. Bones and antler points were being used and simple forms of harpoons, needles and saws were created. Still, such pieces were not being used as a means to create objects for comfort concerning everyday life, but for hunting of larger animals (Pile, 2005). The earlier periods of Neolithic civilizations were characterised by the creation of objects to satisfy the dayto-day needs of the new ways of life. Pottery is regarded a material that was produced after human beings settled down. A recent study (Maza & Maza, 2012) shows that in actual fact, pottery figurines dating back to pre 26000BC have been discovered. These were used for both public and household rituals, as well as for mortuary practices, and were obtained by forming found clay into figures and then left to dry or heated to speed up the process. The knowledge on the material properties then led to the utilitarian use when permanent settlements were being established. Pots were needed for the storage of agricultural products,

food for both humans and domesticated animals and so on. Therefore the malleable properties of clay were further exploited, almost certainly by women who could work from their dwellings (Jordan & Zvelebil, 2010). The first pots were created by ‘coiling’, which involves the working of pieces of clay into a relatively thin and long roll, which are added to a round-bottomed base. These are formed into the required shape when wet and provide hard walls for the next layer of wet coils. With the demand of pottery growing in proportion to the growth of societies, and after the concept of the wheel had been developed enough, a primitive turntable or potter’s wheel came into use as to quicken the process of vessel making (Maza & Maza, 2012).

fig. 2 – making pottery through coiling Source:http://www.ceramicstoday.com/article s/images/history_of_wheel/wcopot1a2s.jpg

fig. 3 – manual potter wheel in the production of vessels Source:http://www.ceramicstoday.com/articles/images/history_of_ wheel/wocoil02bs.jpg

Although these pots were created as to satisfy specific needs, they were decorated. These consist of etchings that were probably made by fish bones. In parts of Europe pottery was decorated by lines, dots or cross-hatching incised with simple tools, and many a time also with paint. Their depiction is noted in picture writing on cave walls, known as the first mode of communication between the early humans (Jordan & Zvelebil, 2010). Paintings were produced with red ochre, a clay containing ferrous oxides which in turn produce a yellow or red, and in less abundance a purple and brown, pigment. The ochre was ground with a hammer stone, adding crushed pieces of bone and a liquid such as water or animal blood into a found shell, to produce paint. This was then applied using small spatulas. Therefore pattern and paint design was already a practiced skill before the ‘mass-production’ of pottery in expanding settlements (Amos, 2011). Paint and dye were also applied to textiles, which were used for clothing and covers on temporary structures. Animal skins, by-products of hunted game, were the first form of material that was used for

such covering. Natural fibres such as linen, a produce of flax, were spun and woven before the Neolithic Period, while cotton and wool were popularized during this period. Spinning was done by hand using a wooden spindle and distaff. This art advanced slowly throughout the times, between different cultures and civilisations. Once spun, threads were woven into a textile sheet by intertwining two yarn systems at right angles to each other, producing a material which had high tensile strength. Ochre was used for pigmentation of textiles, this also achieved through the use of natural plant, bark and insect colouring (Wild & Walton Rogers, 2003).

fig. 4 - engraved red ochre with primitive hand tools in the background Source: http://activeartist.net/wp-content/uploads/Fig-3.-Engraved-red-ochre-from-Bolomobos-Cave-dated-at40000-yrs-old.2.jpg

In primitive structures, benches and recessed shelves were cut out into walls. Decoration of such spaces was achieved through the addition of pottery and textiles, onto which the importance of aesthetic, colour and pattern was already recognised prior to the discovery of tools. These early settlements also experience manâ&#x20AC;&#x2122;s need to beautify even the most utilitarian of artefacts. The value of such decorations is strong, even to the contemporary viewer, to whom the corresponding meanings are unknown (Pile, 2005).

2.3 EARLY CIVILISATIONS By 3000BC, civilisations had grown substantially, with populations in cities reaching thousands. The first large-scale civilisations, in Mesopotamia and Egypt, advanced substantially in both politics and systematical social management. The dwellings of the masses were now being made out of mud brick, and therefore physical evidence of interior spaces is insufficient. Furniture in its more elaborate forms was located in temples, in which further indicative evidence was found through hieroglyphs, wooden models as well as from restoration drawings. The equivalents of hieroglyphs in Egypt are found in Uruk, Mesopotamia as cuneiform script (Davies, 1958).

fig. 5 - Ancient Egyptian wooden models depicting the type of furniture used in workshops and possibly in dwellings Source: http://modernscribe.blogspot.com/2012/07/wordless-wednesday-12th-dynasty-wooden.html

In the models and hieroglyphs, men are seen at work in granaries, breweries and bakeries. Even though they are not pictured in living spaces, one can assume that the furniture and the techniques for its construction were similar to what was happening within dwellings. Tables, benches and chairs, are among the more common of artefacts in these depictions. In fact, seating served ceremonial importance, where rank was communicated through the hierarchy of seating construction elaboration. This practice is more

directly noted in ancient Asia, where worshippers did not sit at all, while the Kings sit on a high-back chair (Lucie-Smith, 2004).

fig. 6 - Ancient Egyptian hieroglyphs depicting different types of seating Source: (Davies, 1958)

Tomb paintings also exhibit representations of advanced tools which were then being developed for woodwork and ironwork, Wood was not used for tools required to produce furniture, but rather for gardening implements and the looms for weaving textiles. Stone tool practices such as knapping of flint and obsidian, to serve as sharp, cutting edges were slightly refined from those of prehistoric times, while other stones, including sandstone and limestone were ground, producing grinding tools (Davies, 1958). Stone tools saw a decline in their frequency of use due to the discovery of metals and their exploitation as tools. Copper was tempered, into an equivalent of the known stone tools, but the malleability of the material soon led to more versatile and refined versions. The better workability needed in copper was achieved later with bronze. The discovery of iron led to the replacement of both copper and bronze in the making of tools, their use becoming limited to statues and furniture decoration, along with gold and silver, these considered more valuable and rare (2002). Therefore a number of metallic tools were produced which played an important role in the development of carpentry, which opened a number of possibilities in construction, joinery methods and decorative styles of wooden furniture. These tools were namely the axe, saw, vice, cane bender, adze, bow drill, file, and chisel. Sanding and hammering stone tools were not replaced due to the hardness offered by the material. The only tool from todayâ&#x20AC;&#x2122;s carpenter, which was not

yet discovered by the Egyptians would be the wood-turning lathe 1 ; implying that decorative furniture members such as stool legs were most likely to be worked by hand (Lucie-Smith, 2004). A range of wooden pieces were constructed, varying from chairs to beds to folding stools, as well as storage pieces for jewellery, make-up and clothing, such as wooden boxes and chests. Cluttering of unnecessary furniture was not favoured due to the instant settling of dust in the desert region. The act of sitting was considered a sign of important status therefore the most elaborate and finely decorated chairs, were used by the powerful kings and pharaohs. The poor and the commoners sat on the ground or on low stools. Prior to wood, bundles of reeds were bound together to form the frame, and the seat face was obtained with wickerwork. Few trees that were native to Egypt produced usable wood, and was limited to the simple construction of doors and columns, therefore importation of timbers from Syria and other regions such as cedar was needed, the latter being the most common choice for fine carpentry, followed by box and ebony. Wood was still not abundant, and light furniture always kept its steady popularity (LucieSmith, 2004). With the introduction and improvement of metal tools came the development of a number of joinery methods which are still the main ones in use today. Timber frames were produced by a perpendicular piece of timber being slotted into grooves of its adjoining part. Similarly larger, thinner pieces of wood were slotted into the frame to fill in the faces. Wooden pegs and dowels, which were later replaced by iron nails, were used to provide strength at the corners. Other joining methods in use were the simple butt joint, mortise and tenon, dovetail and miter joints. Planks of wood were joined together laterally using a tongue and groove joint. A form of plywood was also developed; thin layers of wood just above 3mm, were combined to form a thicker layer. This patchwork was arranged such that the grain ran in alternate directions with every layer to provide strength in both directions. Although not used extensively, a resinous glue made out of animal by-product and plant sap strengthened the above-mentioned joints when the need arose (Pile, 2005). Seating in the form of chairs and stools was used by all classes, with the level of ornament and fineness increasing with social status. The poor did not afford wooden seating and had to opt for mud brick and earthenware or rugs placed directly onto the floor. Stools had different leg and seat configurations; the structure was balanced either by three or four wooden legs or lattices, which were achieved either in the form of wooden bracing or reed weaving with ties at intervals, both offering good reinforcement; the seat 1

Now motorised, the wood lathe is a mechanism that chamfers and carves wood while it is being turned. In Ancient Egypt, this was done manually; one person would turn the wood with the aid of a rope, while another cut through it as to acquire the desired shape (History of Wood Turning, 2010).

was also in some cases made out of wood, but generally, woven reeds, rush or leather were preferred as they easily formed the required curved surface. Cushions were in some cases placed over this surface for added comfort. Chairs were created due to the need of a support experienced by officials and kings. This was simply an addition of a back to the stool, and never part of the legs (Pile, 2005).

fig. 7 – folding stool from the New Kingdom Source:http://3.bp.blogspot.com/_Tc0t8CgyXi I/SpLOdT1B-MI/AAAAAAAADRI/zXlxQFFm6w/s1600-h/Page2.jpg

fig. 8 – manual potter wheel in the production of vessels Source: (Lucie-Smith, 2004, p. 16)

The bed was considered a symbol of the progress of civilization for the Egyptians. A rectangular piece of woven leather was attached to a low wooden framework by laces and covered by folded sheets made out of fine linen for the wealthy, while the commoners comforted themselves on a pile of reeds covered by a cheaper, coarser linen. A vertical element was added to one end of the bed acting as a footrest, preventing the user from slipping from the inclined bed surface. At the other end a headrest of shoulder height was placed supporting the head, substituting today’s pillow. This was made of a horizontal base, on which a vertical element, or several thinner wooden rods, and a curved support were attached by dowels. The latter was also covered in material for added comfort. Such a headrest was also discovered independently in tribal Africa, ancient China and Japan; an interesting common factor between all cultures is the importance they gave to vanity, the rest therefore also preventing any hairdo hindrance (Lucie-Smith, 2004). Portability in furniture, mostly stools, developed at an early age as to serve military purposes. Their lightness and mobility implied easy storage, therefore a practical addition into household interiors. The seat now had to be made of a flexible material as not to hinder folding, while the legs were crossed, held at the intersection by rivets and washers. A folding bed was also found, belonging to Tutankh-Amun. It was divided into three sections that folded on each other by two pairs of hinges at every fold. The exact origin of the hinge is unknown but during this period, metalworking was still a lengthy and expensive process so hinges were used only by the wealthy and where necessary. They were also used in some of the lids of

wooden boxes and storage chests, which played an important part in ancient interiors. Large chests were used to store clothing and linen sheets, while jewellery and cosmetics were placed in smaller caskets. Some of the latter were compartmentalised into smaller sections for division between objects within; while a few were secured with pegs. The drawer was not new to the Egyptians, who did not use it extensively except with small toilet boxes (Lucie-Smith, 2004). The table was not of utilitarian importance. Writing and food preparation were not executed on tables but people squatted and wrote on a wooden board and managed their kitchen utensils on the floor. A few simple wooden tables were found in tombs. In households, small and lightweight wicker tables, some of which included pottery stands, were used for the display pottery vases (Gloag, 1966).

fig. 9 – Tutankh-Amun’s wooden throne covered in gold and silver sheets, inlaid with precious stones and legs finished with lion paws Source:http://3.bp.blogspot.com/_Tc0t 8CgyXiI/SpLKzMnG2OI/AAAAAAAADQ Q/Uc7FRUM-8Qo/s1600-h/tut.chair.jpg

fig. 10 – curved lid chest found in Tutankh-Amun’s tomb, depictive intrinsic scenes of the life of the king. Source:http://previews.agefotostock.com/previewimage/bajaage/3f15d79 4d6b1a66e631a076bd8a21ea0/C55-528053.jpg

Wooden furniture was decorated in a number of ways, depending on the use of the piece and its owner. The designs were the same for both the royal and middle classes, but while the rich embellished their furniture with gold sheet, coloured stones and faience for inlaying and ebony and ivory as veneer, the lower classes used paint as a cheap substitute. In some cases the user’s important life events were depicted. Carving of wood was also applied to furniture especially at the end chair, stools and bed legs. These formed into the shape of animal limbs, paws, hooves and beaks (Gloag, 1966). Early designs favoured the

use of the bull while later ones portrayed lions, as a stronger symbol of power. The pieces were finished off with varnish made from beeswax or a mixture of oil and resin, with pitch added to achieve a darker, or even black varnish (Lucie-Smith, 2004). Although the use of toilet facilities was not common to the Ancient Egyptians, as most people relieved themselves outdoors, limestone toilets and stools have also been found. These were used by the rich and the less wealthy respectively. Copper pipe drains were used only in palaces, while the majority made use of dug out trenches leading to open gullies in the middle of streets. Pottery had developed and was produced in workshops and even imported from other regions, mainly Mesopotamia, with vessels used mostly for carrying and storing liquids and grains. They also played an important part in the decoration of household interiors, which led to a good advancement in the ornamentation of pottery vessels. Their managing handling was facilitated with the addition of handles, and the addition of spouts can also be seen more particularly in smaller vessels which contained ointment. Finishing involved painting, glazing using faience or inlaying with precious stones such as lapis lazuli or glass. Since glass was not abundant, man-made glass was being produced from raw materials, and cold worked resulting in a material much less translucent than the naturally occurring glass (Davies, 1958). Pottery and faience were also used in the production of tiles, of different form and size, varying from small tiles used in mosaics producing patterns or images through inlaying on vessels and furniture, to larger tiles for wall and floor covering. Another form of wall treatment used was lime-based plaster, producing a smooth, dustless surface. In palaces and temples this was then painted, mainly for the making of hieroglyphs. Apart from red ochre which was already in use since prehistoric times, the Egyptians used malachite, azurite and orpiment; these were found in powder form in nature deposits or in copper ores; to produce green, blue and yellow dyes respectively. Black and white dyes were used to outline the coloured segments, adding better definition to the subjects in the wall painting depictions. Whereas mixing dyes was not favoured with paint, the benefits it offered were being experimented in the dyeing of textiles. Like pottery, textiles were being produced in workshops, more frequently by women, due to the high demand in the growing cities (Davies, 1958). Although no direct reference of expression in writing by people of the Ancient world is found about how one felt in an interior space, it is clear that the want for progress that civilization brought with it, was aiming for added comfort within oneâ&#x20AC;&#x2122;s personal dwelling. Although their interiors do not classify under the contemporary meaning of wellbeing, a more straightforward direction to ease of living was seen both in terms of a basic knowledge of ergonomics, as well as a drive towards a composed aesthetic.

2.4 ADVANCEMENTS OF CLASSICAL ANTIQUITY The house, both externally and internally continued to be improved upon throughout classical antiquity. Traces of Egyptian architectural and furniture techniques are noted in ancient Greek methods, while these in turn were used as a basis in the foundation of the Roman techniques, clearly stated in Vitruvius’s books De Architectura 2 (Pile, 2005). Since the purpose of this literature review is to provide a build-up of the discovery of materials, technologies and their implementation within interior spaces, Ancient Greek and Roman cultures will be tackled simultaneously. Although the people’s outlook and way of life differed within both cultures, in turn reflecting the notable difference in the interior spaces, this discrepancy is not so clear in the methods of assembly, use and decoration of furniture and interiors. Very few wooden furniture pieces survive, but references are taken from Greek wall paintings and depictions. In general, most chairs are similar in technique and appearance to those produced by the Egyptians. An exception to this rule is the klismos, a unique chair purely invented by the Greeks, which as depicted on several bas reliefs was most frequently sat on by women. It can be concluded from the relatively advanced wood bending, and the type of clothing worn by the user that the privileged enjoyed this particular seat. This said, it conveys a modern feel to it, making it more easily associated with domesticity rather than with the use of formal occasions and ceremonies (Lucie-Smith, 2004). Prior to the klismos, chairs followed rigid designs modelled on Egyptian and Persian counterparts. Comparing sections of both chairs, one can immediately note that the developed version offered a better understanding of sitting posture. The word ‘klino’, from which the seat name derives, meaning ‘cause to lean’, easily implies that the added tilt delivered an improved comfort to the sitter. Another advancement to the Egyptian chair was that the curving rear seats extended upward to form a concave back, supporting a back-rest panel, leaving the remainder of the chair’s back open. This curve was achieved by steaming wood under a pressure so as to acquire a desired form. This technique originated in ancient Egypt but its use was limited to shipbuilding and weaponry due to the lack of abundance in wood in the desert region. The development of the chair into a continuous and elegant piece of furniture is paralleled with Greek art, which similarity strived for the perfection of proportions. This said, it was not as appreciated in Hellenistic times, as it disappeared almost completely, with limited numbers taking up a heavier and more robust version. A particular substitute to the Greek chair which casualness implies a domestic feel, is a barrel

Marcus Vitruvius Pollio, (born c. 80–70 BC, died after c. 15 BC) Roman architect and engineer, who studied Greek philosophy and science and combined his knowledge with his own experience to compile ten books, in guideline format aiding the architectural practice on materials, Greek styles and orders, planning of houses and public buildings, construction, decorations; while covering other areas from hydraulic engineering to astronomy (Pollio, Vitruvius on Architecture: Books 15, 1934).

shaped chair, in which the arm rests give a sense of enclosure while sitting. As previously discussed, it is often depicted in relaxed settings, sharing the modernity offered by the klismos. (Green, 2006).

fig. 11 – section of Ancient Greek klismos chair Source: (Lucie-Smith, Furniture: A Concise History, 2004, p.24)

fig. 12 – near section of Ancient Roman barrel-shaped chair Source: (Lucie-Smith, 2004, p.29)

The ergonomic incline was also applied to bedsteads or kline, which were used for lying, sleeping and sitting. The ancient Greeks, as well as the Romans preferred eating in a lying position. This tendency was noted independently and most probably practiced earlier in Western Asia (Pile, 2005). Similar in construction to Egyptian beds, these couches were higher with more importance given to the headboard, rather than the footboard, which was eliminated completely. The difference in height was compensated with the addition of a footstool, while a higher headrest supported the back during meals and prevented pillows and cushions from falling off the couch (Lucie-Smith, 2004). Stools, including those which could be folded, were also used extensively by the Greeks and Romans. Adding onto what was already discovered, they unfolded the visual lightness offered by the cabriole leg3, which defied the perceived weight of piece, this best observed when it was formed out of marble (Gloag, 1966). Such rigour can also be noted in stone chairs and thrones mostly used for exterior environments. Legs ending with animal body parts were elaborated upon, favouring lion’s paws above all. The stella curulis, although based on the Egyptian folding X stool became a symbol of Roman power used by the magistrates in court. Still, folding stools were used widely in interiors due to their ease of handling and portability. The 3 The cabriole leg is usually one of four supports of chairs, tables and stools; curving convexly then concavely from top to bottom, with both curves' axes lying in the same plane. This technique was completely lost in Europe until its revival in the 18th century (Cabriole Furniture Legs, 2013).

Greeks also provided comfort for their young ones, designing a high chair for babies made out of pottery. Visually similar to a large vase, two holes are punctured at the top making room for the baby’s legs. Correlation with today’s similar chairs is instantly noted (Lucie-Smith, 2004).

fig. 13 – Ancient Greek tapesrty Source: http://www.biblehistory.com/ibh/Greek+Arts/Tapestries/Sampul+Ta pesty

fig. 14 – Ancient Roman stool and pottery baby seat Source: (Lucie-Smith, 2004, p.26)

Tables gained popularity, which positioned at the side of the kline, held food and drink while eating, and were normally of a shorter height than the couch, for the facility of simply sliding it underneath when not in use. Their construction was similar to that of stools and chests, using joinery methods well established since Egyptian times (Green, 2006). Cupboards developed in the Hellenistic age, which could have been used for storing books and scrolls, are depicted in a number of wall-paintings in Pompeii (Lucie-Smith, 2004). Softening of hard wood surfaces was catered for by the addition of mattresses, cushions and covers. Their inclusion is more frequent in Greek and Roman wall depictions than in the Egyptian hieroglyphs. The most popular material used was wool, due to its availability, while flax, silk and cotton occur less frequently and were generally imported in raw or material form. The Greeks also mastered tapestry, used mainly in rituals by the wealthy for decoration; defining status (Wild & Walton Rogers, 2003).

fig. 15 – Ancient Greek pebble mosaic Source:http://blog.houseplans.com/ wpcontent/uploads/2009/08/33995 25700_f2cc7bd662-ancientmosaic-shot-by-miriam-mollerus-atflickr.jpg

fig. 16 – Ancient Roman geometric patterned mosaic Source: https://upload.wikimedia.org/wikipe dia/commons/9/92/Ancient_Roman _Mosaics_Villa_Romana_La_Olmed a_001_Pedrosa_De_La_Vega__Saldaña_%28Palencia%29.JPG

fig. 17 – Ancient Roman opus sectile Source: http://www.dartmouth.edu/~classic s/rome2003/updates/week5_6/103 1ostia29Web.JPG

The Romans are known to have grasped the practice of arches, vaults and domes. Walls and floorings were finished with plaster or stucco and tiling respectively. For stucco, instruction on the importance of careful mixing and application, using a trowel4 as the main tool is given. As with timber, Vitruvius wrote in depth about the procedure required for both finishes, making reference to Greek methods, and stating it clearly throughout his texts that one must aim for perfection throughout design and execution processes. The awe and excellence we associate with ancient Roman architecture are the repercussions of such intricate attention to detail, defining the culture altogether. Vitruvius also wrote about the excavation of marble, used as a finish on both walls and floors alike, as well as the extraction and preparation of vermillion and quicksilver from ores which when added to dyes produced red and silver pigment respectively. Other colours including blue, yellow, black, red and purple were also obtained5 (Lucie-Smith, 2004). Apart from picture writing on walls, the Romans gained skill in the perspective techniques, originating the trompe l’oeil, in which architectural features were mimicked through their painted version (Pile, 2005). 4

A small handheld tool with a flat, pointed blade, used to apply and spread mortar or plaster (Trowel). Most colours were obtained by burning materials or their mixture in a furnace; the process changing their properties and producing powdered pigment. Firing copper and sand to different extents produced blue and yellow while black was achieved by burning resin or wood, using the resulting soot. Purple, was extracted from cracking seashells, collecting the coloured ooze and mixing with honey preventing it from drying (Pollio, 1934). 5

Mosaic, as we know it today did not change much from the way Vitruvius outlined it in De Architectura. The first form of Greek mosaics utilised readily found pebbles, selecting them according to size and colour. This segregation was not difficult to acquire since the majority of the pebbles being black and white in colour, while a few others came in yellow and brown. With the extensive growth of the Roman Empire, different materials could be imported, and in the most exuberant and mixed mosaics, extensive search for particular materials were made, as to achieve the desired end result. Although common practice was carried out insitu, the possibility of parts of the mosaic, large or small, could have been prefabricated and transported on site (Bunbabin, 1999). When applied insitu, composite layers6 were laid as to prepare a flat surface on which the tesserae were placed. Opus sectile, was an alternative technique, in which pieces of stone or marble were cut into larger pieces and assembled into pictures. Apart from establishing precise mixture ratios for every layer, special care was given to tempering, laying and joining, to achieve a perfectly laid floor (Pollio, 1934). The dwelling in classical antiquity had started to take shape, relatable to todayâ&#x20AC;&#x2122;s needs. Rooms were being divided according to their function and the family requirements. An astonishing understanding of advanced wellbeing can be noted both in house planning, as well as in the development of amenities, such as bath and showers, shaped out of terracotta. Introvert in nature, both Greek and Roman houses typically show the amalgamation of rooms with large openings7 on to a central courtyard, providing adequate lighting and ventilation in the warm Mediterranean climate. With the spread of the Roman Empire to the Northern, colder parts of Europe, central heating8 was implemented to provide warm interior spaces (Pile, 2005). Mechanical systems had been well established by the late Roman Empire. In his 10th book, Vitruvius gives an account of these accomplishments; from the everyday tools, which were not considered as ground breaking due to their continuous daily use, such as the ladder, plough and lathe; to machinery depending on equilibrium, mill wheels and systems for the levitation, storage and transportation of water. This goes to show that such a forward moving society, based on inherited ancient Greek knowledge, was striving to achieve its best for all citizens, and for their well-being and comfort, in no way better described by the architectural virtues set by Vitruvius himself as utilitas, firmitas and venustas; translating into â&#x20AC;&#x2DC;commodity, fitness and delightâ&#x20AC;&#x2122; (Pile, 2005, p. 35). 6 For a base, Vitruvius instructs the application of three layers, the statumen, the rudus, and the nucleus, covered by a setting bed into which the tesserae are laid (Bunbabin, 1999). 7 Glass blowing has been practiced in Mesopotamia, and the Romans had established a steady trade in glass vessels. Although they had started using glass for architectural purposes (full translucency was not yet acquired), it was not used extensively in homes. Vast glass windows appear only in important public buildings and luxurious villas (A brief history of glass). 8 A raised stone floor allowed the flow hot air directed from a furnace at one end of the building to a chimney at the other end, to pass beneath it; this produced a warm comfortable temperature at internal floor level (Pile, 2005).

2.5 THE ‘MIDDLE’ AGES The Middle Ages carry the negative perception that all of a sudden, humans lost all their knowledge or drive for the attainment of good aesthetic qualities, all progress was halted and dullness, austerity and religious intolerance took over. This is only partially true, but easily understood due to the name it carries, automatically leading to comparison with its preceding and following eras. Outbreaks of epidemics, narrow streets with open sewers, and crowded buildings, nullify the possibility of the thought that medieval people lived comfortably. It is true to say that a contrast in comfort as we understand it today is notable, and a good part of admirable knowledge found in Vitruvius’s books was not passed down, and if it were it was discarded (Rybczynski, 1986). Our view is probably the result of the way the 19th century Romantics popularised the Middle Ages, and how the neo-Gothic movement re-created its building typology, as a counteracting force against the impact on the urban landscape of the technological developments brought about by the Industrial Revolution. But in actual fact, ground-breaking technologies such as the windmill, the mechanical clock and the suction pump, amongst others are all offspring of the medieval age (Rybczynski, 1986). Therefore it is hard to believe, although partially true, that technological development was not leading to any significant improvement in quality of life. Although change occurred fast and the barbaric attacks showed no mercy, political corruption, unemployment and excessive waste of money from the elites, drove the Roman army to surrender to the tribes. Technology too played its role in the decline; not due to the lack of it, but rather because the maximum rate at which goods could be delivered and buildings and infrastructural systems could be built was not fast enough to accommodate the growing societies. Therefore the Romans could not expand and adapt, but rather lose due to incapability to sustain (2003). Concrete evidence about this period, in both physical and written form, is scarce when compared with preceding periods. Inevitably, development within the dwelling took course over the ten century long period. The first few centuries were characterised by political instability with most people living in single-roomed houses, never exceeding the ground floor, having all uses and daily activity taking place within that space or ‘hall’. Bathing lost its popularity as it was commonly prohibited by the Church due its association with sexual affinities. The well understood plumbing system developed by the Romans was also lost, leading to the degradation of living standards and the spread of disease (Pile, 2005).

Within the hall an open hearth provided a well-heated space which could be enjoyed from all directions, with the same source being used for cooking meals on cauldrons.9 This resulted in the upper part of the room rendering itself useless due to the dense smoke and soot executed by the fire, which had no outlet apart from windows and openings in roofs; hardly acting as good ventilators. An obvious solution to this rule today, as well as for the Ancient Romans, would be the installation of a chimney, but it took well into the 1300s until satisfactory functioning flues were being fitted and fireplaces10 substituted open hearths within the dwelling. The majority of dwellers were not content since the heat generated by the flues was substantially less. Still they were widely implemented; additional floor space took priority over thermal comfort (Bryson, 2011).

fig. 18 â&#x20AC;&#x201C; peasant house with an open hearth in the middle Source: (Mercer, 1969)

9 Although ancient eastern civilisations had long discovered cooking within a covered clay stove as to make better use of the generated heat, the principle was not yet implemented in the West until 16th century, with a metal plate covering a threesided chamber (Snodgrass, 2004). 10 Fireplaces were already being used in Norman castles, but were not impressive ventilators, and even more impractical due to their possibility of application narrowed to stone buildings, while most commoners lived in wooden houses. The later popularised chimneys discussed, were brought about due to the development of good quality brick, the latter being more resistant to heat than rock over a long period of time (Bryson, 2011).

During the Medieval era sustenance relied completely on a fragmented agricultural system. For this reason, the higher ranked in the feudal hierarchy were constantly on the move11, directly carrying their possessions and sometimes also their furniture with them (Bryson, 2011). Therefore furniture had to be either fully portable, or almost impossible to move at all, so that it would be difficult to steal during long periods during which the household was vacated (Lucie-Smith, 2004). Most furniture was thus viewed as a utilitarian tool, and “…one has the impression that little importance was attached to the individual pieces of furniture; they were treated more as equipment than as prized personal possessions” (Rybczynski, 1986, p. 27).

fig. 19 – transportable flat bottom and domed chest Source: (Mercer, 1969)

fig. 20 – flat lid chest with legs Source: (Mercer, 1969)

The chest gained its popularity and was the most frequent furniture piece, mainly since it served both the transportation and storage of belongings. These two functions led to the design of different specialised forms. The chest designed for transport had a flat bottom with a domed lid to prevent the settlement of rainwater, and in most cases was provided with a bahut12. The chest which was not carried had a flat cover with the addition of legs to its bottom (Lucie-Smith, 2004). Chests could also be used for seating through the addition of a straight back, or simply by just being sat on like a bench. The ergonomic tendencies of the Greek klismos were completely lost, so much so that a back was seen as a hindrance from the possibility of sitting facing or backing a heat source, without the seat being rotated (Lucie-Smith, 2004). Once again, the seat symbolised power. Accompanied by footstools, chairs took the form of an X-framed structure through wood bending, differing from the Roman sella curulis in that the ‘X’ was seen from a frontal rather than a side view (Snell, 2003). Other techniques such as wood turning were also used in the carving of chair backs, feet and legs, with the Medieval turners improving 11

Since the households of kings and landowners were large in number, it was easier to transport the whole entourage to the source of food, rather than vice versa (Lucie-Smith, 2004). 12 An additional cover to protect the chair from the elements mostly made out of tapestry, leather-covered wicker or of wood. Locks were also provided working independently of the chest's secure system (Lucie-Smith, 2004).

upon the lathe by developing a spring mechanism powered by the foot which provided recoil on its release. It was relatively simple to construct, and lighter versions were created for ease of handling and the possibility of portability 13 (Rettie, 2000). Therefore almost everything had a transportable version, from clothing and valuables, to purely functional objects such as stools, beds and tools (Lucie-Smith, 2004).

fig. 21 – a wood turner and some of his wares Source:http://www.bloodandsawdust.com/Blood_and_S awdust/Lathes_Part_1__About_Medieval_and_Renaissan ce_Lathes_files/turner2.jpg

fig. 22 – foot powered turning lathe Source:http://www.dugnorth.com/blog/uploaded_image s/pole_lathe-768211.jpg

The situation was completely different for whoever was at the lower end of the feudal system. In such houses, storage space, seating, beds and tables were all built in the exterior wall wood panelling or stone fabric. These simply constructed faces were interchangeable in use, and many depictions show bed surfaces and cupboards being used as seating and beds (Lucie-Smith, 2004). The latter in the poorest of homes was made every night by laying a piece of cloth or leather over a heap of hay. Hence this is why we now use the phrase ‘make the bed’ (Bryson, 2011). For those who could afford it, simple assembly of wooden planks formed the bedstead onto which the ‘bed’, referring to the mattress stuffed with straw or wool, was placed. The bedstead was cornered with short posts and surrounded by a rail which could be

The 'spring pole' lathe had limitations on the size of turned objects as well as slow speeds. Although bell makers were using the flywheel mechanism, which provided a better substitute through its continuous rotational movement, it rendered itself expensive for the carpenters at the time, and the spring pole was still in popular use until the mid-19th century (Rettie, 2000).

opened at some point as to facilitate climbing. By the later Middle Ages, the posts were lengthened to form a tall frame supporting a canopy with curtains hanging from it. This served first as a means of privacy in the overcrowded houses, but later took ceremonial meaning. Unlike furniture, the canopy drapes were considered as heirlooms and are frequently mentioned in wills (Lucie-Smith, 2004). In fact textiles in general were valued higher than pieces of furniture, and were recognised as the factor that differentiated interiors from each other, between spaces of the same rank and between different hierarchies. In fact the manufacture of textiles was, in parallel to agriculture, the main force that powered the Middle Age trade. Throughout its thousand-year course, a great leap in cloth making technologies multiplied productivity, improved the economy and was part and parcel of the medieval man life. The breakthrough was brought about by the foot-powered horizontal loom, similar in mechanical principle to the spring pole lathe. Apart from shooting textile output by a three-fold increase, it also provided better quality due to the weaver’s improved hand control and longer, although narrower textiles could be achieved. A better width was achieved in the later stages of the era through the broad loom. Spinning and fulling14 also experienced the mechanical shift advancing to the spinning wheel and water-powered fulling mill respectively (Wild & Walton Rogers, 2003). Advancement in the mentioned technologies opened a seemingly endless number of weave patterns, produced using different types of threads. Their application in interiors also expanded in multiple directions. Tapestries which were usually rare in numbers, now had an industry of their own, while furniture covers were no longer limited to loose cushions, due to the introduction of upholstery. Accounts of

fig. 23 – Medieval X-framed chair with seat cushion Source: (Mercer, 1969)

fig. 24 – Elaborately upholstered Medieval chair Source: (Mercer, 1969)

fig. 25 – Medieval chair with wood turned supports Source: (Mercer, 1969)

Fulling is the process through which textiles are greased, soured and cleansed. Originally the process was done a number of fullers stepping on the cloths, similar to the traditional wine-making process, rendering it lengthy and relatively tedious (Wild & Walton Rogers, 2003).

the latter are numerous in inventories, for example in those of Philip the Bold, Duke of Burgundy which speak of ‘a chair, for the Count of Never’s inner chamber, of wood garnished with cloth and padded with down and for a leather case in which the chair may be placed’ (As cited in Lucie-Smith, 2004, p. 41). Seats, in particular benches were also covered with bankers; easily fitted, made to measure pieces onto which fringes were attached for decorative purposes. Bright coloured textiles provided a contrast to the natural coloured interiors; the brown shades of wood, and the grey shades of stone and concrete (Wild & Walton Rogers, 2003). During the High Middle Ages, a more stabilised life was being implemented due to the settlement of kingdoms and less frequent military attacks. An added comfort also found its way to home interiors, and was most commonly met through greater exploration and addition of textiles. Carpets; used more frequently to cover walls than floor; in their prime form constituted of a stridy hemp base upon which a knotted wood pile is attached. Busily patterned, this new addition was inevitably only affordable by the royalty, and an all-wool version soon found its way to the peasants’ houses. But before the introduction of carpets, during more miserable days in the Early Medieval period, not even tiled floors were in practice, although these had long been invented since c.4000BC by the Ancient Egyptians. Quite the contrary, floors were simply piles of straw laid over bare dug out earth, consolidated with ‘spittle and vomit and urine of dogs and men, beer that hath been cast forth and remnants of fishes and other filth unmentionable’ (Desiderius Erasmus; as cited in Bryson, 2011, p. 86). Maintenance of such floors signified the addition of a layer of straw on top of the existing strata. Patterns and ornamentation were applied to woodwork through a number of techniques. It must be kept in mind that although people at the time led a repetitive routine, one’s guests’ good impression of the interior was vital, mostly for those situated in the middle and higher ranks of the hierarchy who could afford the ornamentation. Fixed decoration was achieved through wood carving, into wainscot15 and other furniture simply constructed out of wood planks such as beds, benches and tables. A common technique was linenfold 16 , due to the basic skill required to achieve it, resulting in it being mass-produced. Painting,

Interior wood paneling, originally made of oak, applied to the open-timbered frame buildings. Eventually, the word came to be used as an alternative to 'paneling' (Gloag, 1966). 16 The effect is produced by the pattern being drawn in two dimensions and then carved as needed. Its repetitiveness is what makes it able to be mass-produced, but at the same time producing a statement and adding three dimensionality to a flat plane (Mercer, 1969).

inlaying and gilding17 reduced the weighty furniture by adding three-dimensionality, ‘light and shade’ which ‘emphasised form and colour’ (Gloag, 1966, p. 36). As the wood was carved and gilded, so were other materials such as metalwork and glass, which were used in the production of daily objects for cooking, eating and lighting vessels. Although not essentially used for furniture pieces, they played a role in the make up of a medieval interior and are more often than not added in the period’s depictions (Mercer, 1969). Glass vessels were not as frequent as their metal counterparts, the reason being simply their pricetag and were therefore mentioned with great care in inventories. The material was not even used in abundancy for windows, which were preferred to be closed through the use of wooden shutters. Such techniques required, or rather resulted from the continual improvement upon existing tools. The presence of technological advancements is clear, and it is therefore unprincipled to think that everyone decided to be nonchalant about striving to achieve a better state of living. Development was slow, mostly due to the fact that there were meagre times with limited food reserves and unlimited illness outbreaks, resulting in ‘a good deal of everyday life (was) devoted simply to surviving’ (Bryson, 2011, p. 91). This resulted in a totally different way of perceiving and understanding the concept of comfort back then, and its importance within the home. The ceremonial, communal and the rigorously routined way of life, brought about mostly by the religious and hierarchal conducts, was what cancelled out the want for ergonomic comfort. Importance was given to where one was sitting rather than how (Lucie-Smith, 2004). Nevertheless, even though we would not imagine ourselves residing in such spaces now that we know better, it is undeniable that a part of what makes up present interiors, is known to us because of our medieval ancestors, which answers our misconception of this period serving the role of an insubstantial era between the two main classical ages.

17 Gilding was a lengthy and costly, while silvering served as a cheaper substitute. For both processes, as well as for inlaying and painting, a layer of varnish was applied to protect the ornamentation. (Mercer, 1969)

2.6 FROM THE ‘REBIRTH’ TO THE BIRTH OF COMFORT The Renaissance was a cultural movement in which ancient classical ideas were discovered, looked upon with a certain nostalgia for the past and were taken up and considered as the fundamental basis of architectural design. It is easy to distinguish a medieval façade or building from one with much bolder, classical motifs, even when the latter are blended, mixed, or added to the former; the change in style is instantly readable. This is equally applicable to the interiors of such buildings, but what brought about this drastic change? It is believed that one of the main contributors was yet another technological advance, not directly linked to interiors or even architecture as such, but which was so revolutionary that they were inevitably affected. The printing press18 which enabled '… the replication of printing across Europe at such a speed; an unimaginable speed for that time; from zero books to twenty million, in just fifty years' (McGrady, 2008, 1.15); kick-started the fast paced change in styles across Europe. When compared to the previous ten centuries, it is natural, through comparison to this new drive for excellence and proportion, to conclude that the following generation were by far more advanced, and led a better life. In actual fact, this change was a rather gradual one. This is noted in the palace designed by Michelozzo de Bartolomeo for the Florentine Medici family, who are considered to be the main contributors at the start of this new humanist thinking. Designed planwise on the Ancient Roman central courtyard and symmetry, its heavy stone massing show medieval traits and practices (Pile, 2005). Ironically enough, while decoration, style and craft were being improved upon, the basic comfort; or needs were not dealt with. While mastering the pompous and the true exuberance of life, this age of spread intelligence did not tackle the basic needs of bathing, private convenience and thermal comfort. Public baths which had been reintroduced from Islamic cultures, were once again banned due to their relapse into brothels. The bathroom within the home as we know it today was non-existent while medieval water wells were getting polluted due to the increase in population numbers (Rybczynski, 1986). So did the Renaissance style, and all other styles which followed, in actual fact improve the way of life? Certainly not for the majority, who did not live in palaces or abbeys and still resided in more or less slightly altered medieval spaces. Baroque and Mannerism were styles which emerged from the Renaissance in Italy, and later on in France, England and the rest of Europe and America. In turn regional styles were being developed, resulting from 18 Printing had long been discovered in the Eastern Asia; primarily in the form of carved wooden blocks which were they dipped in ink and pressed on to paper, manually or with the aid of machinery. Since each letter, phrase or picture had to be separately carved, the process was time consuming and expensive. The wooden blocks were also susceptible to breakages under the press. Although evidence shows that moveable as well as metal characters had been used before Gutenberg applied them to his printing press, it was he who popularised the technology and gave rise to the mass production of books that was still in use till the 20 century. (Kreis, 2004) th

the amalgamation of the main design thinking with cultural varieties (Lucie-Smith, 2004). The differences between these substyles will not be dealt with thoroughly, since the purpose of this study is rather on the role of new technologies in their development and how people were feeling in such spaces with regards to domesticity. Apart from the spread of knowledge through the printed word, the development and stabilisation of trade gave rise to the merchant class, which was the main deterrent of the feudal system. What we now understand by human rights, which were non-existent in the medieval age, were being instigated into society, which in turn solidified the masses’ belief in individuality and any creation done by man was distinguished. In fact, life in itself was celebrated which explains why extrovert interior choices were favoured (Boyes, 2008). The fact that corridors were not yet introduced into domestic spaces goes to show that individual privacy was not valued; the lives of the rich depended on the exhibition of their valuables, and every guest had to go through all rooms when visiting. The importance of ceremony and ‘formality outweighed convenience’ (Pile, 2005, p. 145), a comparable trait passed down from the medieval ancestors, but presented in a different manner with more luxurious decorative motifs.

fig. 26 – plan of Palace of Versailles showing interlinked rooms; enfilade Source: http://www.unav.es/ha/005-PALA/percier-napoleon/percier-napoleon-012.jpg

Vitruvius’s books were highly influential and compositional elements such as columns, friezes and mouldings were applied to exterior and interior walls to frame paintings, sculptures or windows. The latter had become increasingly popular due to the decrease in the price of glass (Rybczynski, 1986). In elaborate interiors, whole walls were covered with painting, tapestries or wood carvings. Structural beams were also painted in rich colours, while wood or plaster coffering was favoured due to the dramatic and rhythmic effect which they created. Geometric or checkerboard patterned floors were created through the composition of different colours and textures of tiles laid carefully according to the room’s shape (Pile, 2005). This technique, known as intarsia19, was also applied to furniture pieces where different types and shades of wood, ivory and bone created an illusion of depth through the conveyed image or pattern. Pastiglia, amongst other methods and styles entailed carving to low relief, then finished by gilding and painting (Lucie-Smith, 2004).

fig. 27 – strapwork; one of many types of furniture decoration techniques adopted during the Renaissance Source:http://chestofbooks.com/home-improvement/furniture/Furniture/images/Italian-Renaissance-ChestMetropolitan-Museum.jpg

Woodwork construction underwent a radical change. Although dovetail joints, had long been in use by the Ancient Egyptians, medieval craftsmen, who widely used the panel-set-in-frame method for most furniture, were finding problems solving the issue of wood movement due to moisture, which the dovetail avoided completely. Reintroduced by the Flemings to the rest of Europe, it not only created the possibility for more durable pieces, but eliminated the function of the frame completely, making way for the achievement of longer faces, which could be made out of lighter, rich veneers20. It also implied that more skilled workers were needed for such a craft, resulting in the division and frequent conflict between the old carpenters and 19

This technique had already been developed during the Islamic Middle Ages, but was of limited use and considered to be very luxurious. In concept very similar to mosaic; the pieces are inlayed into a main block of wood. It popularised during the European Baroque due to the introduction of marquetry, using wood veneers, making the process much cheaper (Jackson, 1903). 20 This change in joinery methods was happening in the Northern parts of Europe rather than in Italy or Spain, since the milder climate meant that its necessity was less felt (Lucie-Smith, 2004).

the new joiners and their specialisation and division into stages of furniture making process. This gave rise to the guild system, which was basically a set of regulations dividing skills which were usually considered to be in the hands of jacks of all trades. Compartmentalisation of skills was always increasing, from Dutch witewerkers, who were only allowed to work with white soft wood, increasing to French ebenistes, who were specialists In ebony furniture (Lucie-Smith, 2004). As more and more people were getting access to books, the need of storage space within the house was increasing. Other possessions included timepieces, scales globes, and the more priced paintings and sculptures. At the height of this collecting mania one can note how: The passion for collecting relics of the saints, which had obsessed some of the most powerful potentates of the late middle ages, was now replaced by more secular preoccupations, some of which had their roots in renaissance and medals, women professed a passion for Oriental china, and both sexes took an interest in shells, mineral specimens and other natural curiosities. (Lucie-Smith, 2004, p. 77) Therefore storage furniture came in different shapes and sizes, satisfying different needs. The medieval portable chests decreased substantially in number since economic stability nullified their necessity, while the ones which were not transported, the flat-lid type, were regarded as an important symbol of wealth. It was still common practice that this cassone was given to the bride as a part of dowry, with its faces adorned with pastiglia or painted; often depicting were allegorical scenes of love to suit the occasion. The cradenza, a taller and higher storage piece divided into drawers, cupboards and shelves, served both as a sideboard or serving table. Even taller cabinets were also in use and heavily ornamented. A particular example is a 1587 piece by Clement Petel, which is practically a miniature model of the Renaissance palaces being built at the time, with great attention given to proportion. Glass, which was decreasing in price and increasing in availability21, was introduced to the cabinets, which now served both as storage and a perfect way of displaying the ownerâ&#x20AC;&#x2122;s wealth, distanced from the viewer (Pile, 2005). The medieval method of using the chests with extended backs and arms to provide seating was still in use; its decorated version named the cassapanca. The French plouyant stool and the Italian Savonarola and the Dante chair, were also modelled on the medieval X-frame. While the chair still signified the sitterâ&#x20AC;&#x2122;s power, a number of different chair designs were emerging in each substyle, this defined with every change in ownership of the crown, mostly in France and in England. An innovative example was the revolving chair,

The greater availability of soda, which was being used instead of its former glass constituent potassium, resulted in easier workmanship and a better quality end product. Plate glass improved steadily, making possible the later development of mirrors; accomplished by the addition of poured lead sheets backing the glass (Daumas, 1980).

originated in late sixteenth century France which was enabled to rotate by a configuration of hinges and pivots, and facilitated the job for scholars and other new arising desk professions (Lucie-Smith, 2004).

fig. 28 – marquetry writing table with replaced turned supports Source: (Lucie-Smith, 2004, p. 87)

fig. 29 – glazed book shelf Source: (Lucie-Smith, 2004, p. 86)

Chairs, armchairs and elongated settees were covered in textiles, which were also used for coverings of tables, walls and other surfaces. Curtains were still being used for beds rather than in windows. Their addition, along with the finest of porcelain and silverware, can be considered to be the final and impactful touch of refinement in such interiors. Being one of the oldest skills which established its own guild, upholstery22 had been improved upon and refined, and was highly sought after by the rich. This said courser materials provided a sufficient substitute to the less wealthy. The main textile sources were wool, silk, linen and cotton; each having a well-established trade of its own across Europe, links with Asia and Africa and was being transported to the new colonies in America. The mixture of the four main fabrics led to a large variety of different textiles, textures and patterns. The latter, had to be produced on a specialised loom having more shafts, which gave room for different possibilities or weaves within the same piece of fabric. The process was lengthy and required assistants who helped and checked the weaver’s work, rendering its expense relative to the complexity of the pattern. Gold and silver were also fabricated in the form of threads and woven into the patterned piece. Initially the designs were produced by artists or the 22 Upholstery was preferred over loose cushions due to the inconvenience of these having to be constantly arranged due to their sliding around with every shift in the sitter’s position (Rybczynski, 1986).

cultured owners, but once a trend setting pattern was created, these were distributed for the masses to follow. A similar attitude adopted for furniture; with piece size, inlay method and design guidelines being printed and distributed. While strengthening and spreading the way forward fashion wise, skills were taken up by people who were not fully knowledgeable of the process from beginning till end, but who specialised on one part of the procedure. This change in style according to a ruling, or a number of ruling entities can be compared to the way today’s fashion industry, with the difference of taking relatively longer to communicate and execute ideas, and to the greater restriction of rules which were followed. In fact, the same textiles and patterns were used for clothing, and this drive for cohesion can also be noted in the way upholstered elements were ordered as to assimilate the interior into one unified space. ‘In 1581, Queen Elizabeth herself ordered a set of 19 chairs, 6 high stools, 24 square stools and 11 footstools, all upholstered in the same stuff’ (Lucie-Smith, 2004, p. 67). With the extensive additions of padding and cushioning, one would get the impression that their seating had reached a level of comfort, or the need for it was felt. On a closer look, chair backs were completely straight to encourage an upright posture, both in palaces and in houses of the less wealthy; ‘…chairs were designed to be admired, but not, strange as it seems, to be sat in’ (Rybczynski, 1986, p. 82). Comfort and necessity were neglected throughout with the aim to achieve maximum ostentation. A clear example of this is how even at Versailles, under Louis XIV’s rule, one did not go the toilet, but rather a close-stool23 was carried by servants and brought into the aristocrat’s room. As soon as it was done with, this was carried out and its contents were disposed of. Even what today we consider as one of the most private of acts, felt the need to be exhibited. This theatrical lifestyle was what the French bourgeoisie strived for, as to be associated with the nobility rather than the lower classes of society from which they had emerged. This development of a merchant and land-owner class brought about an appreciation for furniture, as they considered it an integral part of what defined luxury. These were not arranged within the interior space in an ordered fashion, but rather in a thoughtless additive manner, as more objects connoted more wealth and exuberance. This all changed with advances brought about by a new occurring style, rococo24, the first of many to follow, that was applied only to interior spaces. The fast-pace change in styles was directly proportionate to the progress in 23

A close-stool was basically a simply constructed box with a lid, which was in some cases padded. This was later introduced within the home, and sometimes took the form of chairs rather than stools (Gloag, 1966). 24 Emerging from a the barocco, as the name suggests, in which the ‘bar-‘ is substituted by a ‘roc-’, standing for rocaille, referring to shellwork or pebblework; which was the favoured decorate-motif of the style. It was coined by critics who rejected its growth and acceptance into society (Rybczynski, 1986).

domestic comfort as we can relate to it today. Rococo furniture looks feminine not only due to its flowing and circular motifs which are easily associated with the delicate nature of the sex, but because it was actually taken up and impactfully established by the aristocratic French women. Furniture, mostly seating types were greatly improved, with reclining backs and most importantly ergonomically25 correct. Apart from providing excellent support, these elongated seats provided different possibilities of positions; from seating to lovemaking, satisfying for the relaxed attitude in posture the bourgeoisie were getting accustomed and addicted to. On viewing the period’s paintings, one can immediately connect with the way of life of the new ‘middle class’. But what do we note in such paintings that make us embrace them more than others which depict scenes of grand parties in Baroque halls? Although the origin of such a social change cannot be easily traced, it is important to note the advances in collective behaviour that was being practiced by the Dutch, which in turn reflected greatly in their domestic interior spaces. Yet again, our knowledge on such interiors comes from the popularised depictions of domestic interiors26. The Dutch did not rent their houses like the French, but preferred ownership and houses were, for this reason smaller in size than their European counterparts. Their middle class basically included the majority of the population, from the financer to the farmer, and this ‘…social dictatorship of the merchant class created the first bourgeois state” (Rybczynski, 1986, p. 54). They were therefore collectively the contributors to better literacy; to the promotion of a steady schooling system which led to the initiation of what we now understand by childhood. The young ones were taught by affection rather than by correction, which was a completely new value for Europeans, the rest of which looked down at such a contemporary humane way of communication. Not leaving the house until they got married, the children now played an important part within the family. The need for a private space within the dwelling, where the family could spend their time together on an intimate level, was detrimental to these new virtues which the Dutch strictly adopted. The transformation of the medieval house took a completely different path from that which the French followed. Room types were now divided according to levels of privacy, with the one at the deepest end of the house dedicated only to family members, and the space once entering serving commercial purposes. ‘The rooms are enfilade, but the effect is not intimidating’ (Rybczynski, 1986, p. 69). Interaction with guests occurred on a platform just outside the house. Further development of this model divided the house into more rooms which had specific purposes, such as sleeping, eating and cooking, with the kitchen considered as the most

25 Ergonomics, now a well established field and aspect in design, takes into consideration human proportions and biology as guidelines for product dimension, comfort and ease of use (Rybczynski, 1986). 26 The leading Dutch artists of such paintings were Emanuel de Witte (1617-1692) and Johannes Vermeer (1632-1675)

important room of the house. Furniture was highly valued, but its utility was considered its priority, and no extra pieces were bought. The result was an interior space which was humane yet reserved. Another difference to the other European interiors was the bright penetration of light, brought about by the need of making lighter facades due to the pile structured buildings. When all these aspects are put together, what resulted was more than just a space, but a feeling; one of closure, intimacy and belonging; what Mario Praz (1964) coined as stimmung when studying the above mentioned paintings, describing intrinsically how ‘…if one could stretch out a hand into the strip of light that falls on the floor, one could feel its warmth’ (p. 288).

fig. 30 – Emanuel de Witte’s Kitchen Interior, oil painting on cavas Source: http://www.oceansbridge.com/oilpaintings/product.php?xProd=62134&xSec=4053&xCmd =gallery

fig. 31 – Johannes Vermeer’s The Milkmaid, oil on canvas Source:http://upload.wikimedia.org/wikipedia/commons/ 2/20/Johannes_Vermeer_-_Het_melkmeisje__Google_Art_Project.jpg

It therefore comes with no surprise that the word home is of Dutch origin. This safe haven not only defined the owner’s possession and status, but reaches a higher realm of the intangible: of relationships, emotions and memories. And at the centre of all this was the woman; the wife and mother, who raised her children, took control of household tasks from cooking to cleaning, preventing the intrusion of servants and nannies

into the secular unit which was the family. What was achieved is something highly valued in our present society; domesticity. To speak of domesticity is to describe a set of emotions, not a single attribute. Domesticity has to do with family, intimacy, and a devotion to the home, as well as with a sense of the house as embodying – not only harbouring – this sentiment. It was the atmosphere of domesticity that permeated de Witte’s and Vermeer’s painting. Not only was the interior a setting for domestic activity – as it had always been – but the rooms, and the objects that they contained, now acquired a life of their own. This life was not, of course, autonomous, but existed in the imagination of their owners, and so, paradoxically, homely domesticity depended on the development of a rich interior awareness; an awareness that was the result of a woman’s role in the home. If domesticity was, as John Lukacs suggested, one of the principle achievements of the Bourgeois Age, it was, above all, a feminine achievement. (Rybczynski, 1986, p. 75) It is interesting to note that heating, washing and private convenience, three very important elements in one’s wellbeing, comfort and privacy, were still not a part of the Dutch dwelling. These finally entered the dwelling around a century later, at around the same time that domesticity was being woven into the French lifestyle. Versailles under Louis XIV had a great number of fireplaces which did not function well and like furniture and textiles, their main purpose was that of ornamentation. Similarly to the Dutch, body warmth was acquired through multiple layers of warm clothes and fur. This all changed during the early 18th century, with the revolution in heating (Braudel, 1992). Builders managed, by trial and error, to solve the problem by altering the sizes of chimneys and fireplaces to create an effective draft, with considerably less smoke and more heat. Their function was now primarily for heating, rather than for cooking, which by that time was making use of stoves instead of hearths. This, accompanied with the smaller, more intimate rooms, truly improved heating within the dwelling. Bathtubs were also being introduced, but only in the elite’s houses. This luxury is greatly noted at Versailles during the rule of King Louis XIV’s great grandson Louis XV’s rule. The emphasis on luxury is necessary, since most emerging bathrooms had two bathtubs and a bidet, and Versailles had a 100 of such rooms. This said, washing was perceived as an act of pleasure rather than as a need for body hygiene. Toilets were still not in use, but the close stool was situated in a separate small chamber or anti-room, becoming now a relatable reserved act. The aspiration for privacy is recognised by the fact that servants were considered as invaders. They no longer slept in bedrooms adjacent to those of their masters’, but in spaces located as far as possible from the private quarters, sometimes even in completely separate detached blocks from the main building. The small hand bell previously rung and

heard within hearing distance was substituted by the bell cord27. Louis XV even had a dumbwaiter so that any interaction with the servants was omitted (Rybczynski, 1986). Within the rooms at Versailles, ‘[a] new sense of leisure was reflected in their sitting positions: gentlemen leaned back and sat with their legged crossed – a new posture – and ladies reclined. A casual stance became fashionable’ (Rybczynski, 1986, p. 111). This goes to show the magnitude of impact the bourgeoise tendencies had on society. The chair was now replaced by the armchair which was wider, lower and by far more comfortable due to the improvement of padding techniques. The reclining position was supported by stools as footrests or by seating which in themselves reclined. Sofas and chaise-longeus were getting increasingly popular. Decorative furniture was not discarded, but was referred to as sieges meublants, meaning fixed furniture which were normally situated against a wall and added by the architect during design stage. The lighter sieges courants were designed as such to be easily carried around the house and within the room itself. Rooms were also divided, on the Dutch model into the public salles and private chambres and were no longer planned in a train-like fashion, so that every room could be accessed without having to interfere with the action happening in the rest. This division, imporantly comfort in itself was highly emphasised by Jacques-Francois Blondel 28 and Andrea Palladio who repeatedly quoted Vitruvius’s ideals of ‘commodity, firmness and delight’. Domestic comfort, as we know it today, emerged, was celebrated and is until present day under intricate examination as to achieve its utmost perfection (Rybczynski, 1986).

Basically a system of cords and pulleys, the cord was able to make a bell ring over a considerable distance (Rybczynski, 1986). 28 The favourite architect of Louis XV, and author of the remarkable four-volume guidelines Architecture Francais, written on Vitruvius’ book On Architecture

2.7 THE INDUSTRIAL REVOLUTION: A DOMESTIC REVOLUTION? Throughout the renaissance up until Louis XIV’s reign, our notion of interior comfort, or rather our domestic basic needs, were far from being met. This said, technological progress, tended to instigate a preference for innovation. Technology has served since prehistoric times as an extension to the body and to achieve with it what one’s strength could not. This strength was no longer transferred to a hand tool but rather to the machine. The industrial age, revolutionised cities, society and the way of life of every individual of the western world. Rightly this was revolutionary, given the fact that apart from man and animal power, wood was the main combustible since prehistoric age. But it is deceptive to believe that this transformation was sudden in terms of mechanisation and power. The mechanisms of the medieval flywheel and wooden lathes were perfected during the Renaissance, while the hydraulic drop hammer, mechanical saw and boring machines had been in use since the Middle Ages, but had by the industrial age been continuously modified and improved upon to reliable use giving way to their popularisation. This “…law of progress can be seen constantly around us, and it does not apply only to our own age; it has governed progress at least since the beginning of modern times, that is, since the end of the Middle Ages.” (Daumas, 1980, p. 248). Machines ranged from those of heavy duty to others serving lighter jobs, but were dedicated for the transportation of military and production purposes (Daumas, 1980). But still, systems which provided domestic comfort as we know it, such as thermal comfort or private convenience, compared to innovations in other fields, took very long to appear in homes. Why did this law of progress suffer in domestic buildings and interiors? Architect’s practice was very different from that exercised today; it was considered as being an art, applied to the exterior fabric rather than the interior, and practiced by dabblers or dilettantes29. This said, as discussed in the previous chapter, furniture items were increasing within the home, serving both function and decoration. Since the architect did not offer advice on how one could manage such furniture within the interior space, such tasks were taken up by the upholsterer, who’s demand had grown big enough to result in the shift from a tradesman to ‘…a connoisseur in every article that belongs to the home’ (as cited in Rybczynski, 1986, p. 128). Neither architects nor upholsterers took the initiative to apply the emergent technologies to the home. This said, societies got used to the bourgeoisie’s way of life, and perceived it as one of maximum comfort. This is noted in the fact that the large number of servants within the household did not decrease. People,

The reason for unskilled people practicing architecture was the lack of a consistent education system. The first school was established by Jacques-François Blondel in 1730, as part of Louis XIV’s Académie Royale d’Architecture. Knowledge was achieved through historical models which and did not focus on the interior elements within the home, as can be noted in Palladio’s On Architecture. (Rybczynski, 1986)

especially the wealthy who lived in country houses, even refused the introduction of the plumbing30 when the technology was present and where it could be applied; since they preferred the luxurious ritual performed by their servants who brought their portable tubs and covered boxes to them (Rybczynski, 1986).

fig. 32 – Carl Herpfer’s An Evening’s Entertainment; oil on canvas; Rococo interiors were designed as to facilitate conversation and communications between the users. A relaxed setting is portrayed, aided by the large amount of moveable furniture. Source: http://www.wikigallery.org/paintings/318501-319000/318834/painting1.jpg

The drastic changes that technology brought about occurred simultaneously with the want for a change in style. It can be said that this battle, between technology and aesthetic and which of the two defined comfort and well-being; has been around ever since. While both architects and the uprising upholsterers did not instigate the additions mechanised systems within the dwelling, they focused their attention in deep discussions on defining a right style for their day and age. The tradition of styles emerging on whoever was 30

Although plumbing was being introduced very slowly within houses, the introduction of bathrooms came at a later stage. The first type of the modern toilet, which provided a water seal to direct smells away from the opening was invented by Sir John Harington in 1596, but patented to commercial use by Joseph Bramah in 1778; which was still not a good enough success for it to be popularised (Rybczynski, 1986).

in power and invested in the change was still persistent throughout the 18th 19th century. From the French Empire style prompted by Napolean I, the Regency, Elizabethan, Victorian and Georgian in England, to mention a few; the conflict of choice was ever increasing when it came to style. The interiors of dwellings therefore resulted in a mix of furniture types which were chosen according to personal preferences, although some also outlined gender specific spaces; Greek for the men’s club, Rococo for the feminine drawing room. The common factor defining such styles and their derivatives, apart from being based on historical motifs, is their strive to comfort through utility achieved by form rather than by ornament; partly due to the want for a more relaxed way of life and partly due to the long war period leaving no choice rather than being functional (Lucie-Smith, 2004). Sprung upholstery was the main reason such furniture was becoming popular, due to the great leap in comfort this offered. Iron being one of the main driving factors of the industrial revolution, was not favoured as a building material due to its failure in strength causing building and bridge failures which in turn resulted in a sufficient number of deaths. However, its use made it to the smallest component within the interior, the spring. Shortly replaced by steel due to its better strength performance, springs were, by the end of the 19th century, being produced in large numbers, as to suffice the ever increasing demand. A more detrimental discomfort was eliminated by the introduction of metal into furniture. Brass tubing, which was perfected in the production of firearms, replaced the timber frame in bed structures. The latter came part and parcel with a long continent-wide nuisance of bedbugs, resulting in its constant maintenance. Brass apart from sparing this strenuous routine of dismantling, cleaning and reassembling; eliminated the source problem completely (Bryson, 2011). Tubular metal was also applied to furniture pieces, mostly chairs, but did not gain enough popularity as yet. The effect of elegance and simplicity which the material provided predicted the future of the Modernist movement, but ‘the Victorians preferred to obscure technical innovation with a plethora of ornament, so such functional designs are few’ (Lucie-Smith, Furniture: A Concise History, 2004, p. 134). Therefore decorative mediums, such as papier-mâché 31 gained an instant admiration and approval. The cheap components needed to produce such an effect contributed to decorative furniture being available to a wider spectrum of clientele. Fuelling advancements in this direction was the increase in use of mechanised tools for woodwork and metalwork But such progressions found opposition by individuals who assumed that ‘machine-made things would inevitably be tasteless and garish’ (Pile, 2005, p. 210). Giving birth to the Arts and Crafts movement, John Ruskin advocated that the knowledge of the craftsman was not to be

31 A cheaper alternative to forming layers of wetted materials into the desired shape was achieved by paper pulp forming a mold under pressure (Lucie-Smith, 2004).

divided into smaller segments, as this would in turn result in its loss. Invention and creation were to be a means to an end; opposing the amount of useless furniture items being produced at the time. Ruskin revisited the medieval approach to joinery, this satisfying his belief in functional, true to material, furniture pieces. He was not, by all means, against the introduction of ornament, as long as this was done meticulously and obviously by skilled men of trade. This conflict between what was of prior importance, whether it was function or ornamentation led to the birth of even more theories on what should be and in what type of space must one live. Architecture and interior decoration was, from the perception of another main new drive, the Aesthetic movement, being portrayed as an applied form of art. This was taken to an extent that such art-furniture makers distinguished themselves from the ordinary cabinet-makers. In complete contrast to Ruskin and his followers, the uprising young middle class were looking for something new, which had nothing to do with the historical, the ordinary or the present. Art Nouveau and Vienna Secession movements, amongst others took up this same decorative vocabulary as their philosophical basis (Lucie-Smith, Furniture: A Concise History, 2004).

fig. 33 â&#x20AC;&#x201C; Michael Thonetâ&#x20AC;&#x2122;s rocking chair made out of bent wood Source: http://cdx.dexigner.com/article/18714/Thonet_Rocking_Chair_02_thumb.jpg

Although completely different in their end result, the modernists also took on the idea of searching for something new. Contradicting in direction of the existing movements and ideologies, they opted to

disregard all ornament that made up the then present interiors. They wanted their buildings, both from the inside and the outside, to reflect the technological advancements of the time. Inspired by the streamlined models favoured by the automotive and airline industries, they wanted their design to be representative of the age they were living in. And such a sudden drastic change in the way of life was truly being experienced. Machines were shaping the way people lived, where they worked and how they spent their day. Most hand-powered mechanical tools such as looms, were being replaced by their steam-powered version. Materials were also being experimented with, a good break-through example was Michael Thonetâ&#x20AC;&#x2122;s achievement in woodwork, where he used hot steam to bend wood with strong and light properties, producing sinuous forms (Pile, 2005). The introduction of fibreboard was highly favoured due to the its ease of assembly which could be achieved by unskilled labour; this was found to be most useful in temporary structures which were needed to be built up quickly during the war. Plywood also gained ample popularity with the development of the mechanised rotary cutter32 , a similar principle facilitated the cutting of textiles. Linoleum33 spearheaded the continual progression of resilient flooring. Its exceptional durability made it perfect for battleship surfaces, but thinner grades soon made it into the dwelling interiors, applied to floors, walls and later on kitchen tops (Wilson & Snodgrass, 2007). Wall finishes also developed radically, partly due to progress in machinery and partly due to how machines in turn allowed for more intense experimentation with materials. Wall paper was, with primitive tools, only possible to reach a width of just above half a meter. Its popularity can be acclaimed to two reasons; the removal of the wallpaper tax making it cheaper, and the improvement on machinery which managed to produce infinite rolls, lessening the skilled labour needed for its attachment to walls, this further decreasing its overall cost. Similarly, ready mixed paints offered the ability of home owners applying finishes themselves. Such trends were paving the way for the birth of the do-it-yourself culture of the following twentieth century (Bryson, 2011). The only room in the house which has not been tackled yet, and which everyone at present day takes for granted is the bathroom. Like all other technologies, the toilet, the sink and the shower have become necessities in our homes. But how did they evolve into the personal hygiene space we are used to? Although population densities in cities such as London were continuously increasing due to job opportunities, good city infrastructure was still very poor. It took a long time to figure out that the outburst of epidemics was caused through the combination of drinking water with human waste content. In London, 32

Invented in the 1890s, the cutter provided thin sheets of wood, more or less consistent in thickness, by rotating the tree log while cutting (Wilson & Snodgrass , 2007). 33 Similar oil cloths had long been established, but in 1863, Frederick Walton patented an improved upon version and put it into production in sheet and tile form (Wilson & Snodgrass , 2007).

people found it easier to solve the problem by getting their water from a cleaner source rather than fixing the well and cesspit system. This new clean source was directed from the river to the city resulting in most citizens having a constant flow of water. Although the flush toilet34 had been invented in the 16th century, it was not practical without a proper sewage system (Lloyd, 2011). But the bathroom as we know it today did not originate from domestic interiors. The Mount Vernon Hotel in New Jersey was the first hotel to offer a bath in every guest room; this quickly setting a standard in all hotels in America and shortly after in England (Bryson, 2011). Before the introduction of running water, washing of the body as well as of clothes and objects and private convenience matters did not have a fixed place within the dwelling. Washing rarely happened in baths, but rather at a washstand in the bedroom while people were still relieving themselves in portable boxes or in privies. Therefore the first toilets and sinks were introduced under the same concept, hidden under the stairs and encased in boxes of wood (Lloyd, 2011). Although baths had been long established since the ancient world, they had by now been completely lost. Their re-introduction was far from the pleasant association we have with the long, warm bath today. Cold showers were introduced as a cure to mental maladies related with cynical and obscure thoughts. Perceptions on self-cleaning were changed, reversed and modified according to different customs and fashions. Surprisingly, the English aristocrats rejected the idea the most, since they associated washing as being â&#x20AC;&#x2DC;for servantsâ&#x20AC;&#x2122; (Bryson, 2011, p. 524). Another factor which lagged the popularisation of baths was the difficulty encountered in the manufacture of a one piece bath. This was solved with the invention of porcelain coatings, applied to the iron cast. Although the technology was expensive at first, it completed the bathroom. Once this new commodity was woven into the English culture, the rich then accepted them within their homes, and made literally ample room for them, with enough space for exercising. In America, the bathroom developed on the hotel model, which was naturally much smaller in size, leading to the standard size we have today (Lloyd, 2011). The large number of deaths which resulted from the epidemics led to improved and more determined studies on ventilation. It was long known, since the open fire entered the domestic space; that interiors needed to be aired. Well into the 19th century, issues concerning management of air movement, and foul air were still a struggle to figure out. Stoves and the simultaneous development of chimney flues had improved heating and controlled drafts, but the pursuit to achieving clean air was still underway. Apart from architects and engineers, whose aim was the elimination of stagnant air for physical comfort within buildings, 34

The first flush toilet was built by John Harrington in 1597. A improved model was patented in 1778 by Joseph Bramah. Still this did not solve the problems of occasional backfiring and bad odours and did not gain popularity. Thomas Crapper, perfected the flush toilet and launched it at the Great Exhibition, which created long queues of amazed people wanting to try out the new invention (Bryson, 2011).

physicians were also interested in the topic, but to eradicate the possibility of further spreading of contagious diseases (K端hnl-Kinel, 2000). They recommended figures in volume per hour per occupant, for a sane environment. The challenge was to achieve this requirement within interior spaces, most of which were already built. Mechanised systems were developed35, and air exchange was achieved through a forced system. This new advance in technology was applied in public buildings as well as in residential spaces. The wealthy introduced it to their country homes, where fresh air was not imperilled by the industrial pollution. This choice of opting for technology not strictly for utilitarian purposes gives a taste of attitudes we experience today. It portrayed its users as being current, and although probably not aware of it, they were shaping attitudes toward technology within domestic spaces (Rybczynski, 1986). Another important by-product of the Industrial Revolution was artificial lighting. The quality of light until the 18th century was the same as that produced by prehistoric man. The principle did not differ either. The burning of different types of combustibles was experimented with, but most results were either too expensive or unsatisfactory and most preferred the conventional use of candles. Solving the problem of weak illumination and eliminating the need of daily cleaning of oil lamps which hindered their wide spread, was the Argand lamp. The problem was solved by directing of oxygen into the flame, which was also included a dimmer knob for the user the regulate the amount of light. Whale oil36 produced the best light and although its trade gained rapid popularity especially in America, it was still an expensive commodity to the majority. A faster solution which developed at an even faster rate was the extraction of oil from the ground. Once established at an industrial level, rock oil, or rather kerosene which was its by-product through distillation, offered the same luminance produced by whale oil, but at a much cheaper price (Bryson, 2011). The other main alternative, which was also gaining popularity, was gasoline. While producing an even better light which could, for the first time, illuminate a whole room, it layered interior surfaces with soot, produced fumes and odours which caused headaches and nausea, and was even more dangerous in its uncontrolled way of initiating a fire. In spite of this, its bright luminance secured its consistency in lighting use, especially throughout the middle class society. The yearly ritual of spring cleaning, which in fact derived from the need to air furniture and fabrics from soot, still did not suffice as a hindrance when compared to the great leap in illumination achieved (Bryson, 2011). The gas lamp was constantly improved upon to eliminate its nuisances, but by the time these solutions were understood and applied, another 35

Leonardo da Vinci built the first water-driven fan in c.1500. It took around three hundred years for this technology to be developed and widely used. 36 Spermaceti; which acquired its name from the milky white form it attains when exposed to air and does not serve any sort of reproductive function; is produced by sperm whales and stored in a chamber in their skulls.

breakthrough invention in this fast paced development took place, which rapidly took over all artificial lighting sources (Moore, 1998). Electricity had long been a natural phenomenon before it started to be experimented with scientifically during the 17th and 18th century. It was not until the next century that investigations were more focused on its practical use, which was not directed to serve domestic needs. Arc lighting, was the first application of electricity for illumination purposes. It produced a very bright light but needed constant monitoring of a weighty assembly of an electromagnetic motor and a steam engine, and its installation was inevitably, a great expense. Therefore although serving an excellent function in lighthouses and railroad stations, it did not make it into domestic spaces. The incandescent lamp was what provided the new electrical phenomena into the dwelling. Its principle was discovered 40 years before it was first installed at a relatively large scale. Its commercialisation had to be postponed until a way was found for the achievement of a vacuum within the bulb, in order to sustain the growing filament for long periods, and the discovery of a new filament. These issues were solved by Hermann Sprengel and Thomas Edison respectively. But to make it available to the people, and to kick-start its effective use within interior spaces, these inventors; mainly Edison in America and Joseph Swan in England; had to install the whole system, from small power supply station, to sockets and switches. Electricity found its way into the dwelling rapidly and steadily as it replaced the role of mechanised aids, one by one, and introduced others which were only possible to achieve through an electric current (Rybczynski, 1986). By 1900, in cities anyway, electric lighting was increasingly the norm â&#x20AC;&#x201C; and electrical appliances ineluctably followed: the electric fan in 1891, the vacuum cleaner in 1901, the washing machine and iron in 1909, the toaster in 1910, the refrigerator and dishwasher in 1918. By that time, some fifty types of household appliance were reasonably common, and electrical gadgets were so fashionable that manufacturers were producing every possible kind they could think of, from curling tongs to an electric potato peeler. The use of electricity in the United States went from 79 kilowatt house per capita in 1902 to 960 in 1929 to well over 13,000 today. (Bryson, 2011, pp. 199-200) Therefore the interior environment changed drastically, both in terms of function and in terms of aesthetic. Mechanised ventilation systems, toilets and an infinite number of appliances resulted in a major alteration; but how were all these integrated beneath a buildingâ&#x20AC;&#x2122;s shell? Architects proved to be resistant to the introduction of such change, let alone its integration. Being in charge of the exterior fabric, and still preoccupied on which style should be applied, they were certainly not the force driving the revolutionary change. The upholsterers and cabinet-makers, which were in charge of completing a homeownerâ&#x20AC;&#x2122;s interior space, were so involved that they were being called interior designers. In spite of their professional upgrade, there were less ready for this drastic change. Coupled with the fact that they could not come up with a way

that these additions could serve any improvement to their understanding of fashion, they also repelled it. On the other hand, the engineers were striving for constant change and improvement upon existing technologies. Their understanding of the systems helped them see the network of pipes, wires and new materials as one complete whole. Some, such as Dr. Hayward and Dr. Drysdale, implemented such an integrated system of services within their dwelling to prove their efficiency (Banham, 1984). Whether the architects and interior designers thought of interior appliances as aesthetically pleasing or not, their opinion was not valued much by manufacturers and their customers. Undoubtedly, these technologies offered comfort, and as soon as they were experienced, the users just could not get enough of them. The multiple-phase electric motor was added to already existing hand-driven assistances such as the washing machine, the dishwasher and vacuum cleaners. It was also the component which created the electric fan, a much cheaper commodity to the existing mechanical ventilation systems, as well as electrical appliances in the kitchen. The reason why these appliances were becoming a necessity within the home, was not solely because they saved time. What really made them special to their users was the less effort they required to carry out their day to day chores (Rybczynski, 1986). These tools did not only serve as an extension to the body to do what it could not, but to do it with less energy, and therefore more comfort. Inevitably and directly, comfort in the home had now an added meaning. It did not refer to how comfortable a Windsor chair was, but how less exhausted one was felt at the end of the day. Household appliances came just in time when a number of social changes were resulting due to the increasing affluence of America and its citizens. Since more jobs were available, more women entered the work force. This opened another option apart from that of house service, which was a common preference, as conditions in a factory was much better than one under constant orders and directions of their matrons. In turn, the housewife’s role within the home was being redefined by journals and magazines, which provided guidelines on how she should manage chores and even space. Smaller spaces with better planning were being advocated with Catherine Beecher, one of the most popular writers of such journals suggesting ‘that a small house, because it was easier to take care of and use, could be more comfortable than a larger one’, strengthening her argument by comparing to a larger house, where the ‘table furniture, the cooking materials and utensils, the sink, and the eating-room, are at such distances apart, that half the time and strength is employed in walking back and forth to collect and return the articles used’ (Rybczynski, 1986, p. 162). The breakthrough toward better domestic comfort can be compared to that of the 17th century Dutch home. Comfortable confinement once again was discovered as a step closer towards a more contented domesticity.

Whilst these fast changing technologies were emerging, establishing themselves and developing, architects and artists were busy trying to define a perfect style. The Arts and Crafts Movement, Art Nouveau and Eclecticism, as previously discussed, took a decorative approach and understanding. Completely opposing such a philosophy, were the growing new force towards defining an architecture and design approach that reflected the day and age it existed in. The Modern movement, which is said to have been inspired by Shaker furniture37, embraced the functional purpose of their products; from the smallest furniture piece to the whole building fabric. From Le Corbusier’s ‘machine for living’ to Mies van de Rohe’s ‘form follows function’, the message was clear (Lucie-Smith, 2004). Decoration was replaced by streamlined simplicity, and their aim was not to have a style at all. Geometrical shapes were favoured as were bold, bright colours accompanied by the stark white and contrasting black. Ergonomics was at the basis of their design philosophy, another main contribution to the intricate examination of comfort within interiors. They took a completely new approach towards their choice of materials; commonly opting for steel tubing and metal cladding which offered a lighter alternative to the bulky furniture which was not as easy to move around; while still retaining its comfort. Wooden joinery and the advantages of bent wood were experimented with and executed beautiful, straight-forward designs (Phaidon Editors, 2009). Although always sleek and still admired for their minimilist approach, function was never to be sacrificed for aesthetic purposes. But “[d]espite their claims to a purely scientific and reasoned approach, the relationship of Modernist architects to their work remained at base a romantic one: their domestic buildings were conceived as stage sets for actors in an idealised drama about contemporary existance” (de Botton, 2007, p. 63). What the modernists failed to miss in their implementation of their philosophy was that if this revolutionary architecture had to be reflective of the fast paced changes happening at the time, it was detrimental to include those machines designed for a more comfortable life in the ‘machine for living’. Le Corbusier failed to integrate mechanical heat and ventilation. Instead he opted for the medieval practice of opening or closing windows to alter the interior environment. The appliances he suggested in The Manual for Dwelling, were limited to the vacuum cleaner and the gramophone. The stripping down of ornament was taken to extreme; bare floors, undecorated walls and crude lighting. Adolf Loos, a true moralist of this new ideology, was ready to sacrifice the essence of domesticity for the safeguarding of the philosophy. The aim was to “prevent us from falling prey to dullness, to habit, and to comfort” (as cited in Rybczynski, 1986, p. 200).

37 The shakers were a religious sect who produced a large set of furniture pieces. They dedicated their creations to God and strived to achieve best quality woodwork, which was purely functional and elegant (Walter, 2007).

fig. 34 – Le Corbusier’s Ville Savoye interior Source: http://2.bp.blogspot.com/-z3OCVZG0zUs/T47FT4lgkzI/AAAAAAAABDQ/KEuINJAxB-4/s1600/le-corbusiervilla.jpg

Nonetheless, modernism was a much needed change. It changed attitudes towards interior space, and although their stark white interior was too clinical for the majority, the functionality and ease of maintenance their furniture pieces advocated were favoured as the new direction for modern living. Apart from that, as architects, they took control of the building from the exterior to the interior to the smallest of detail. But the main contribution the modernists provided to the 20th century world was the importance of massproduction, and how good design should be available for all. This too, they did not follow through completely, with some of the iconic furniture, such as Mies van de Rohe’s LC4 Chaise Longue; still popular in minimalistic contemporary interiors; being relatively labour-intensive (Phaidon Editors, 2009). But indeed the mass produced product paved the way to the next recapitulation that design and consequently interiors had iterate into, that of industrial design.

2.8 MASS PRODUCTION: COMFORT FOR ALL The concept of mass production was first applied in ancient China; the need for uniformity in cross-bows promised a unified knowledge and use of weaponry. Standardisation eliminated the hindrance of individual understanding of custom-made artillery (Williams, 2008). Although on a much smaller scale than what we understand by the globalised phenomenon today, it is in principle very similar; bringing a cohesive product to the largest number of people, as quickly as possible. At the very early years of the 20th century, the importance of efficiency along the production line was recognized by engineer Frederick Winslow Taylor who studied how every stage could be improved upon, to achieve better quality in less time. This started off a new attitude towards life in general, and this scientific management of how people used their spaces, tools and time was examined in both the workspaces and the home (Rybczynski, 1986). The repercussions of World War II required whole cities to be rebuilt as fast as possible. Prior to the war, Art Deco had gained popularity, finding a balance between modernist ideals and the value of crafts within the design sphere. This too, like it is even more decorative inclined counterpart, Art Nouveau; rendered itself too lengthy and expensive a process to serve the aftermath of the war. On the other hand, electrical motors were phasing out the steam engine in factories, proving to be more efficient, reducing energy losses and increasing produce statistics. A huge leap was made in the manufacture and experimentation with existing and new materials. Thinner sections of laminated wood and sheet steel gave the emergent designer culture more flexibility. The need for a new style was slowly evolving into the need for better quality, aesthetically pleasing products that were available to the masses; designers were constantly wanting to achieve something better, cheaper and reaching a much wider clientele. Therefore the purpose of design saw a complete shift and the middle class no longer enjoyed residues of a design approach directed solely to those of higher social class (Phaidon Editors, 2009). The automobile industry38 played an important part in this fast paced change. The mobility it provided changed attitudes in travel. People were addicted on the new ability of movement, discovery and experimentation. They were slowly becoming dependent to change because they were a now experiencing its excitement first handedly, and loved every part of it. Leading designers namely Jean Prouve, and Marco Zanuso were inspired by the leaps being made in the automotive sector, and starting applying their design ideas within the home. They saw how relevant and similar the needs between these spaces were; maximum comfort, in a relatively compact space. Tubular steel was gaining popularity, but what defined

Credit of the invention of the car, although being made possible by different individuals who developed the engine, is given to Karl Benz, as the inventor of the modern automobile in 1879. Its mass production was lead by Randsom Olds in 1902, who built the first automobile factory (Ryaby Backer, 2013).

the ostensibly endless range of products was the new mania with synthetic materials (Phaidon Editors, 2009).

fig. 35 – Jean Prouve’s ‘Cité’ armchair; sheet steel, leather and stretched canvas Source:http://www.yatzer.com/assets/Article/3118/imag es/A-Passion-for-Jean-Prouve-Seguin-collectionPinacoteca-Giovanni-e-Marella-Agnelli-yatzer-8.jpg

fig. 36 – Marco Zanuso’s easy chair ‘senior’; tubular steel legs and upholstered wooden structure Source: http://p2.laimg.com/454/11177/2849480_1_l.jpg

The first type of plastic was exhibited at the Great International Exhibition in London in 1862. It was designed as to substitute ivory in billiard balls; a purpose not linked with domestic interiors. But soon enough, its properties were being exploited, its wide use was being recognised, and its application was tried onto practically every existing product. This was in fact a common process, which every new invented material and product undergone:

fig. 37 – first home radio Source:http://www.xtimeline.com/ __UserPic_Large/138838/evt1110 19051900670.JPG

‘A gas fitting of 1859, intended for use in dining-rooms, derives its basic shape from the lanterns containing oil-lamps which had been in use 50 years earlier under the Regency, and from candlelanterns of an earlier period still. It was only raw laboratory experiments, like Alexander Graham Bell’s first telephone of 1876,

which were left crudely unadorned, and this crudity was soon modified as soon as there was any question of their straying into the house’ (Lucie-Smith, 1983, p. 60) What aided the further development of the plastics was the advancement in chemical studies carried out during the Second World War. A variety of chemical compositions were tested and properties were being experimented with. The inventor of such materials was truly free in his execution of results. It was no longer a process of cutting, carving or changing the shape an existing material. The recipe, the properties and any shape imagined, could be formulated and achieved by the inventor. Its malleable, lightweight nature resulted in plastic substituting wood in furniture structure, and later toward the end of the 20th century it was a common finish in domestic interiors (Pile, 2005). Glues and resins were also being constantly improved upon. Apart from their use in plywood and other wood composites, adhesives were being advanced to such a level to provide structural support. Apart from reducing manufacture time, is also eliminated the problems which arose with intricate seamless joinery problems the new industrial designers were trying to achieve. Architect-designer Alvar Aalto portrayed this new approach in his Stool X601. Thirty years later, Frank O’Gehry exploited further the use of adhesives. In his Cross Check Chair, the bent wood laminate strips are bonded together by thermoset assembly glue; which apart from contributing to a seemingly effortless assembly process with no visible metal connectors, also increases comfort in the sitting experience through the flexible back (Phaidon Editors, 2009). In the same way as science was applied to the manufacture process, designers looked deeply into the human anatomy and how seating was to be designed to achieve maximum comfort. Physical practitioner Bernardino Ramazzini had, two hundred years prior to the Bauhaus and industrial designers, outlined workrelated injuries and classified them as those resulting from long periods of standing, sitting and carrying out repetitive jobs. Sitting is not a position which is natural for the human body, but by now society had adapted to it that one could not imagine life without chairs. By studying the repetitive pressure exerted on the body while sitting, the 20th century designers were set to achieve the best and most comfortable chair. Marcel Breuer’s Lattenstuhl, apart from being fit in design for mass production, supported the heaviest and weight-carrying bones as relieve them from addition stress’. Bruno Mathsson, who was also interested in ergonomics, referred to it as ‘the business of sitting’ (Phaidon Editors, 2009, p. 250), produced the Longue Chair Model 36 as monolithic sculptural element with plaited strips of saddle girth to provide tensional support. The bulky padding associated with Victorian and Rococo armchairs was being replaced by lightweight, flexible materials and supported on streamlined frames, as seen in Charles and Ray Eames’ Aluminium chair. The couples’ ‘declared intention was to develop contoured, body-shaped forms of support rather than approximate platforms for sitting’ (Phaidon Editors, 2009, p. 526).

Conventional sitting attitudes in general were questioned. Achille Castiglione, inspired by Zen meditation positions, preferred to disregard the accustomed postures of seating and opt for a support system which followed the architecture of the body. This radical approach was also taken up by Peter Opsvik’s design of the Balans Variable Stool. Although directed for office use, its principle is universal. He resolved the issue of repetitive strain brought forward by Ramazzini in the 1700s, which was still trying to be solved by most designers, by creating a seat which allowed the sitter to move or rock between one position and another, to release the strain from one posture to the next (Phaidon Editors, 2009). These intricate attitudes towards furniture design, truly shows the leap technology made available, both psychologically and technically, in searching for the best possible solution. Comfort was no longer defined by fashion, but was truly a personal experience and relationship with the interior spaces and furnishings. Regal manners and etiquette gave in to commodity; with proof found in such attitudes toward design.

fig. 38 – Achille Castiglione’s ‘Primate’ chair Source:http://theredlist.fr/media/database/designcategorie/here-and-now/1945-1960/italianmodernists/achille_castiglioni/020-achillecastiglioni-theredlist.jpg

fig. 39 – Peter Opsvik’s ‘Balans Variable Stool Source: http://www.ergodepot.com/v/vspfiles/assets/images/11351_bal ans_thatsit.jpg

With the requirements of the production line constantly kept in mind during design stage, the improvements achieved in the moulding truly offered a wide range of possibilities. Verner Panton and Joe Colombo exploited such possibilities. Their monolithic chair designs could be produced in a number of colours, these truly characterised the Pop-Art culture emerging in the 1960s, and its anything is possible

attitude. The only downfall was that the investment made in the manufacturing of the tools was rather high, therefore to counteract this cost, it was detrimental for such products to sell in large quantities. Similarly glass, was seen as a futuristic but timeless material, and its manufacture was also investigated as to achieve pieces made entirely out of glass; from Pietro Chiesaâ&#x20AC;&#x2122;s highly engineered Fontana table to Shiro Kuramataâ&#x20AC;&#x2122;s glass chair. The designers also took into account the packaging and transportation of the furniture pieces. The stack ability of chairs and tables made it easier for them to be stored and reused and saved transportation costs. Modularity was another concept gaining popularity due to the freedom of choice it offered to the user on how to arrange and assemble furniture pieces within the interior space. In fact the consumer was shifting from having a comfortable relationship with the designed product, to actually being part of the assembly process. Apart from making installation a more integrated approach, this further saved time and space during manufacture and transportation, making the end product even cheaper (Phaidon Editors, 2009). It was in fact Scandinavian designer Yngve Ekstrom, who designed the Lamino Chair to be packed and manufactured in parts. He also designed a small tool, which was included in the shipped package, that ensured that the pieces were screwed firmly together by the consumer. What he did miss was to patent this genial component, resulting in it being popularised by Ingvar Kamprad, founder of screw together IKEA furniture. The do-it-yourself culture which emerged was constantly fed with new ideas on how the product was delivered to the consumer; collapsible shelves, a lamp which folded into a box and a polyurethane sofa which inflated as soon as it was removed from its packaging. Over 3000 entries were received for the Low Cost Furniture competition39 held by the Museum of Modern Art in New York in 1949 . This number truly goes to show the prevailing design direction for honest design and collaboration between engineers, manufactures and designers. The sponsor of the competition, Mr. Rockefeller, expressed this during the winning night speech: The competition has fulfilled our highest expectations. It has demonstrated the effectiveness of close co-operation between scientist and designer, museum and industry. It has been truly international in that it brought together designers from all over the world to help solve an important social problem and has resulted in designs and technical reports that should make a real contribution to the improvement of standards of living. (Art, 1949)

The competition was won by Donald R. Knorr and George Leowald with the KD04 chair, made out of thermo-bended

plastic sheet supported by four thin steel tube legs.

2.9 A TRANSISTORâ&#x20AC;&#x2122;S TRANSITION By the time that mass production had become the dominant force in western economies, a groundbreaking invention evolved. Possibly the smallest of objects which has had such a grand effect on human lives, the transistor gave birth to the computerised age we live in today. Its predecessor, the vacuum tube, was discovered in the early 1900s, its phenomenal breakthrough being its ability of amplify an applied electronic signal from one source to another. This component made the radio, TV and radar systems possible, spearheading the evolution to the present world of instant communication. Such interaction was highly used in the Second World War, and by the mid-20th century, the radio and television were being mass-produced and made available to consumers, who quickly accepted them into domestic interiors. They changed the way time was spent and initiated new attitudes within the household. The awe and fascination they brought with them created a new core where family members gathered, to listen to the radio; to watch a television program (Smith, 2012). During the same decade, the transistor replaced the vacuum tube in most devices, presenting a number of advantages such as less heat losses and easier mass production. Another revolution the even smaller transistor started was its assimilation into the integrated circuit chip, enabling its use into a switch, in addition to its amplifying properties. The combination of a number of integrated circuits chips are the foundation on which a computer is built upon, the first one of which was released by Intel in 1971 (Timeline, 2007). Transistors have constantly reduced in size and increased in performance at exponential growth. Their production has been developed to great precision and increased dramatically in number; from 2300 transistors in Intelâ&#x20AC;&#x2122;s first microprocessor, to 60 billion transistors produced for every person on earth in 2002. The on and off configurations, which are integrated in to all gadgetry have been so interwoven into our everyday life, that we do not even think about their impact (Turley, 2002). But how did we get dependent on these devices so much that we cannot imagine our lives without them? Most people credit this occurrence to Steve Jobs who figured out that if the computer was to be accessed by the people, it had to be user-friendly. This relationship, he first exploited with the mouse. The X-Y coordinate trackball system had been already designed and patented, but Jobsâ&#x20AC;&#x2122; brief took a different approach: The mouse had to have 4 things. The first was we had to build it for less that $15; a low cost consumer product. Secondly, it had to last for 2 years. Third, it needed to work on a regular laptop,

Formica or metal and finally he said ‘it has to work on my Levi’s. Dean Hovey. (Craig Gray & Quinn, 2011) Jobs and his team went on to revolutionise the way we listen to music through the iPod. ‘[w]hen it started the wheel was actually mechanical, so it moved with your finger … there was a kind of a really nice analog feel to a digital device’ Simon Armitage (Monblat, 2009). This human-machine interface is one which is constantly being worked upon by designers and engineers of digital devices. The touch pads and screens have effectively contributed to making the user feel in complete control of the device, and literally moving items around and managing actions. The drastic transition from mechanisation to digitalisation happened over the course of less than half a century. But this revolution is one of constant need of change. It is true that it can be outlined by the transistor, the computer or the internet, but we feel that we are being revolutionised continuously; we constantly need to upgrade. In so many ways, the digital shift is a particular one when compared to other milestones in technology, such as the wheel, the printing press and the steam engine. All such technologies were analogue in nature, and one could somehow understand how they worked. Presently, upgrading is software related, and the design is shifting from the tangible to the intangible. A lot of thought goes into the design of a computer’s hardware, but what one is really excited about now it what would have been upgraded within its interior system. Bill Moggrigde, (Hustwit, 2009) designer of the first IDEO laptop, recalls how he ‘…took the machine home and was really thrilled about wanting to use it. And it was with great pride that [he] sort of opened up the display and thought how clever [he] was to have designed the latch and the hinge. And then [he] actually tried to use it and within a few months [he] found [him]selfforgetting all about [his] physical design. The interaction between [him] and the device was all to do with the digital software; very little to do with the physical design’. This led him to realise that to truly design the whole experience, he had to design the software side to the device. It was in the mid-1980s, and he commenced a new direction in software approach: ‘interactive design’. Now, digital technology was no longer restricted to engineers and communication specialists, but it is being used by a wide spectrum of people. Like the 18th century bourgeoisie who could not help buying more classy furniture because it had become affordable, the 20th century middle class man could not resist in indulging in the widely available digital technology. But how did all these products fit within the home? When the radio was first being sold commercially in the 1930s, architects were being employed by the manufacturers as to design and build cabinets which would act as a case to cover up the sound machine. These wooden cabinets were of great success; the consumers needed the new technologies to be disguised for them to accept them within their home

interiors. This all changed when in 1955, Sony produced the first all-transistor radio, which was massproduced, smaller in size and portable. The latter property won over the chunky cabinets that had established a stationary point for the radio within the interior, creating a kind of new personality within the household. The same transformation happened with the television set ten years later (Lucie-Smith, A History of Industrial Design, 1983). In the case of today’s interior spaces we do not experience the fast change that typifies of the digital age. It is true that the expense of changing an entire interior space or home to be completely digital is demanding, in money and energy alike. One can also say that, as can be noted throughout the historical account of technological development, the home would be the last place for another cycle of integration of technology to occur. Still, these explanations do not indicate why even celebrities, considered as the present day’s trend-setters, still choose typical 17th and 18th century styles to decorate their homes. They would have the latest gadgetry, but this would often be amalgamated with ‘traditional’ furnishings. We have advanced technologically so far, any yet somehow its almost some sort of paranoia where we are afraid to really say, ‘we live in the 3rd technological revolution. I have an iPod in my pocket, I have a mobile phone and I have a laptop. But then somehow I end up going home, and sitting on wood spindle, Whittingale like chairs. So in a way you can argue that we are building all these kind of really kitsch stage sets that have absolutely nothing to do with the age in which we live in. Strange! I find it very extremely perverse in a way. Imagine right now, I’m sitting on my laptop, and I need to go out … what am I going to do? … get my horse and carriage? No! Of course not! Karim Rashid (Hustwit, 2009) It seems as if people seek to enjoy two opposing elements at the same time, which seems as if it boils down to a conflict between domesticity and technology. Why do we still go for a 200-year-old interior environment, when much cheaper, contemporary interiors can integrate technology within them in better ways? What is the feeling that is provided by these spaces which we want to hold on to? Will interactive design be a part of our future interiors, or will it just be a matter of inserting such digital products within our spaces? If we do take on a complete integration of technology within the home what would this entail? Home systems such as lighting, sound, cooling and heating have been transformed into automated configurations, where all could be controlled through a centralised point; from a tablet or an iPad. The latter have provided other opportunities through their portability, such as watching the news from virtually anywhere. Communication has become such an integral part of our everyday life that we would not imagine our life without social networking and internet browsing. It is true that when something is well designed and betters our way of life we tend to rely to a certain extent upon it, but the fact that we are now

communicating through such devices, we are not only being dependent on the object, but the world and people that lie behind that screen. Large companies such as Samsung are developing interiors which cater for this connectivity, between the residents as well as with other who wish to communicate with them, directly in their living room. Members of the family can be tracked within the dwelling, while the bathroom has an integrated system in which one can monitor health conditions. Corning has developed an architectural surface glass, which is durable and can be integrated within any surface within the home, office, retail as well as serve as bus stop shelters. The software is installed as one complete system, and is streamlined for the ability of notifications to appear on the kitchen top, the fridge and the bathroom mirror. Connectivity is also acquired through a connecting device which is basically very similar to a translucent iPhone. The integrated technologies portrayed are truly wonderful, but would the majority of people opt for something like that, when they are still opting for styles which have been around for centuries. Is it a function of mere style that one does not opt for contemporary interiors, which are more functional and inviting to these new technological systems? When viewing these concept videos and case studies, are we really ready for such a drastic change? How will they affect the way we react within our homes? Will it affect domesticity, or what we understand by it?

chapter 3

methodology This chapter describes the research methods used in this dissertation. The chosen methods; interviews and focus groups; are put into context with all considered techniques, giving reasons given for their implementation to this particular study. Methods of how these are implemented in this research with regards to its objectives are also included in this chapter.

3.1 QUALITATIVE RESEARCH TECHNIQUES Qualitative research is one of the four main types of social research methods40. Finding its origin in social science, its main aim is to help the researcher understand why people react and behave the way they do. Knowledge, attitudes and beliefs are the type of study genres that are researched qualitatively. Being subjective topics which lead to discussions rather than direct answers, this type of research helps to identify and analyse the subjectsâ&#x20AC;&#x2122; individual opinions. In this setting, the topic can be expanded and directed in such a way to help both the participants in expressing themselves and the researcher in gathering fruitful information which might have been missed with other, more direct methods of research. Focus groups, in-depth interviews and direct observation are the three main methods utilised for collecting qualitative data, which is usually transcribed and analysed by the researcher (Brikci, 2007). In the focus group approach, the researcher organises discussions between a manageable number of persons in order to discuss specific issues. A relatively small number minimises the chance of intimidation and allows all members of the group to participate. The same principle is used for in-depth interviews, but in this case individuals are questioned independently rather than in groups. A rather different approach is taken with direct observation, where the researcher no longer takes the role of the interviewer but rather immerses himself or herself in an environment under study and bases the research on observation of peopleâ&#x20AC;&#x2122;s attitudes (Brikci, 2007).

3.2 CHOOSING A TECHNIQUE FOR THE STUDY The three above-mentioned methodologies were all carefully studied before a specific approach was adopted. In depth interviews were used to discuss the theme of the study with professionals from different fields who could contribute their knowledge and views on the topic. Focus groups involving people from different backgrounds were also organized in order to enable this author to observe and analyse perceptions and attitudes towards the theme of this study.

The other three main types are qualitative research, emancipatory research and pragmatic approach.

Interviews Research interviews can be of two main types: structured and unstructured The former is usually standardised, consisting mostly of close-ended questions, which are conducted in a rigid manner and aim at reaching a comparison between a number of replicated interviews with people of similar background or profession. Such a method is preferred in qualitative research where the results are to be represented in statistical manner are needed. An unstructured interview is preferred for qualitative analysis, in which the person interviewed is given written or verbal insight on the topic of study, and is free to discuss according to his or her preference. The researcher takes the role of a listener, frequently in a formal setting, and in a way partakes as to be educated on the topic. The semi-structured interview, is a compromise between the two discussed interview types, in which the questions prepared are not necessarily asked in the prepared order, and further questions on the topic, or additional topics raised by the interviewee are asked if need arises (Bryman, 2008).

Focus Groups A relatively small number of people are invited or recruited to form a part of a group which is defined by a set criteria. The session is repeated for an amount of groups which are divided according to a demographic characteristic, such as age, occupation and education. Questions are typically open ended, in which the informal setting encourages the participants to share their thoughts, feelings and attitudes regarding a subject under study. Members of the group may also bring up ideas on a subjective topic, which were not thought of or taken for granted by the researcher. The researcherâ&#x20AC;&#x2122;s role is not simply to ask questions, but rather to direct and help the participants understand better the queries presented as to arrive to in-depth and opinionated answers. This is considered as an advantage over self-completed questionnaires, where limitations arise when respondents do not fully understand what is being asked (Bryman, 2008).

3.3 LIMITATIONS Qualitative research imposes a number of limitations. When compared to other methods, the number of subjects is small and may therefore lead to data obtained not being representative of the real world. Other limitations include the laborious analysis required which presents difficulty in amateur settings as well as its inability to reproduce findings. During an interview, questions may be badly worded, or asked in a complicated manner or even misunderstood by the interviewee. The main downfall, which can arise during a focus group, is the influence of a leading participant that can have a negative impact on the outcome, of other participants feel discouraged from making their contributions. It may be the case that this particular

member is the only one having a different view belief which may either bias the session or on the contrary feel outnumbered and refrain from expressing opinions.

3.4 THE STUDY

3.4.1 Aim The aim of the research is study the perception on domestic interior spaces, both we live in at present day and also those of the future, as to compliment the built up journey departing from the beginning of mankind in the literature review. The main themes, domesticity and technology are put into question with both professionals and focus group participants as to attain an understanding of their importance within domestic interiors.

3.4.2 Determining whom to study The following professional practitioners in architecture, engineering and psychology were interviewed:

−

Perit Chris Briffa

−

Patrick Galea

−

Inġ. Keith Baldacchino

−

Inġ. Charlon Buttiġieġ

−

Angele Licari

Five focus groups were set upon the basis of age. They were divided as follows:

Focus Group

Age bracket

No of participants

14-19

20-30

31-45

61+

Table 1 - number of participants in each focus group based on age bracket

The sample for the youngest focus group was taken from the Sixth From of St Aloysius’ College, while the rest of the participants were contacted by email sent by the registrar at the University of Malta (refer to appendix 1). They were mainly comprised of University staff and students, with the exception of two participants who are taken from acquaintances of this author, one forming part of the 20-30 age bracket, and another of the 61+ age group. One participant of the focus group number 5, a University of Malta lecturer, had to cancel his attendance at last minute. He was truly interested in the topic and expressed his

views and thoughts on the subject when he had received the request letter from the registrar (refer to appendix 6). He was kind enough to answer the questions asked during the focus groups via email.

3.4.3 Questioning approach and visual aids A set of questions was prepared beforehand for the interviews and focus groups. The interview agenda for the interior designers and engineers was very similar, although the approach taken was that of a semistructured interview. Emphasis was given on their role during the design of domestic interiors and the participation and concern of clients. Their judgment on how people perceive technology within the home and their views on how this affects domesticity were noted. The complete set of questions are included in the appendices 4 and 5. The preparation of the focus group questions was carried out intricately. Care was given in the way one question led to the next and the ways participants could react and answer to the questions. The participants were encouraged through the questions to describe their own homeâ&#x20AC;&#x2122;s interior space, while it was kept in mind what was to be the outcome from every question. Every theme, which underlines every section of the questionnaire, was arrived to by a number of questions which helped the participants expand on the topic. The questions started off as being descriptive and close ended, as to serve as icebreakers, making each participant feel as ease in sharing and describing his or her domestic interior. As the session progressed, the questions gradually transformed into contrast questions in which participants chose their ideal interior space and gave reasons. The discussion ended with a series of open ended ones that instigated discussion. The whole set of questions with their relating theme can be found in appendix 6.

fig. 40 â&#x20AC;&#x201C; Two contrasting interior spaces; participants were asked which one they prefer and why Sources: http://www.homehousedesign.com/wp-content/uploads/2010/01/living-room-interior-design-miami.jpg http://media-cache-ec4.pinimg.com/192x/1b/4d/f5/1b4df556a6c1f7ca49d9e9e3056df322.jpg

A concept video A Day Made of Glass, produced by Corning, was shown in all interviews and focus groups. An architectural glass with built in software is portrayed in different settings mainly the home, the office and commercial spaces. This helped in getting the participants to understand future technologies within interior spaces, and the a multimedia approach which is set in a humane setting helped them relate to it and discuss their opinions about it at great lengths.

fig. 41 – still image from Corning ‘A Day Made of Glass’ video; photovoltaic glass Source: (Mackie, 2012)

fig. 42 – still image from Corning ‘A Day Made of Glass’ video; LCD television glass Source: (Mackie, 2012)

fig. 43 – still image from Corning ‘A Day Made of Glass’ video Source: (Mackie, 2012)

fig. 44 – still image from Corning ‘A Day Made of Glass’ video Source: (Mackie, 2012)

fig. 45 – still image from Corning ‘A Day Made of Glass’ video Source: (Mackie, 2012)

3.4.4 Methodology Interviews and focus groups set-ups were made via email. Interviews were held at the interviewees’ offices, while the focus groups were held at the University campus at Tal-Qroqq and at St. Aloysius’ College in Birkirkara. A comfortable environment was set where participants sat in a circle and asked to write their name on a card as to facilitate communication within the group while refreshments were served. An overview of the study was given at the beginning of the session explaining the purpose of the study and of the focus group. Consent forms were signed as to confirm participation and as to allow its use for purpose of the study (refer to appendix 2). They were informed that the sessions were to be recorded as to facilitate transcription. Attention was given on not to direct the questions with through prompting questions, but rather by probing the discussion as to help the participants communicate their views better. Notes were taken down on during the sessions giving particular attention to individual characteristics, changes in order or the elimination of questions and the consistency of participant’s views within the discussion.

3.5 ANALYSIS All interviews and focus groups were transcribed using the broad transcription method. This was favoured over narrow transcription, which includes conversation interaction such as stress applied on particular words and change in tone (Williamson, 2009). These were rendered futile for the purpose of this study. All interviews are presented without the interview questions, since their semi-structured nature it better outlined in this way. Questions are included in the focus groups transcription, and vary between different groups due to slight changes in conduction of the interview. A comparative analysis was carried out for information gathered from the focus groups.

3.6 PREDICTIONS Age difference is highly probable to be a differentiating factor with many of the themes brought up within the focus groups. It was initially presumed that older probably prefer traditional interiors and be more resistant to the introduction of technology within the home whereas the younger ones would opt for contemporary interiors with integrated technologies. The latter would probably be more open to change since they have grown up in a society in which transformation is constant. Those who are in charge of their interior home design, which would tend to be those in the elder age groups, would speak more highly of their home. Outlooks on what is technology within the home would also change with age group. Apart from age, opinions would probably differ according to gender.

chapter 4

interviews This chapter presents the results of five interviews with professionals who could contribute to study with regards to their area of expertise. Its aim is to collect first hand information about the topics under study.

4.1 INTERVIEW WITH PERIT CHRIS BRIFFA One of the nation’s leading architectural firm, Chris Briffa Architects are responsible for a number of contemporary interior domestic projects.

In residential spaces, technology takes a rather run-off-the-mill approach; they are usually the same. What you put in one residence, you apply to another residence since people usually have common needs when it comes to building services. This is applied for comfort; including thermal comfort, heating, cooling, fresh air and lighting; and then if you go a step higher you’ll find intelligent interiors. So in a way, if you had to make a residential checklist, it would be much easier and faster than a commercial one. Commercial interiors may be very complex, while domestic ones are more straightforward. Integrated technologies are more in demand in domestic interiors rather than commercial spaces. Somehow, people are willing to spend more money on their own houses than on their offices or on their restaurants. Don’t ask me why, in my opinion it should be the other way round since more time is spent at work rather than at home. Some clients come with a very detailed brief. For example at the moment we are working on a house, and our client came in saying, ‘I want to build a zero-energy house. I want my house to be its own power station; water, electricity…’ and we have to integrate them into the building envelope; while others have no idea what I’m talking about if I mention a solar-water heater or something very basic. It is changing; if I had to compare my clients of ten years ago to my present clients; now they are more aware and people know that for example heating with an air-conditioner is not as nice as under floor heating. But in terms of the actual engineering that goes behind it, unless the client is an engineer, they are very little informed. The clients are interested in how the switch or the air conditioner looks, but it is more my issue than theirs. I think it is our duty to involve the clients, whether they involve themselves or not. It is my duty to give them an idea, not a detailed work out of how it’s going to work, since I am not an engineer at the end of the day; I am someone who employs an engineer eventually who consults them, and me, on their requirements. It is primarily the architects job, and I can say that from the clients I get who are dropping other architects and

choosing us, not a lot of architects are informing them. It is very important that in the early design stages, before any concept sketches, to have these things on board. It is never ‘easy’, for these systems to be integrated as at the end of the day our job is to compromise between the type of flooring you would like for example, taking into consideration the contractor and Malta Environment and Planning Authority (MEPA). The main job is to juggle; basically trying to make everyone happy and at the same time obtaining the best result you can. It is easier if these systems are established, costed even, very early in the design project. I usually involve other professionals not during the first presentation with the clients, but given that I have a bit of experience of what they are going to come up with I can already think about certain parameters which I am going to need, for example extra height for a soffit. As soon as the layout is fixed and before we start processing the detailed drawings like lighting and plumbing, we get an engineer on board and they will be consulted on all building services. This is before we submit to MEPA and before we close the layout with the client for any changes at 1:100 scale need to be done. And more often than not, no matter how much experience you have, an engineer will always find something which needs to be improved with your design. I surely think that our society is ready for integrated technologies. Actually I think it is the other way round. I think the technology is not ready for the society. The society has very high expectations of the industry that it is still trying to catch up with that expectation. People don’t see the complexity and the homework which one has to do before. When a client goes to an architect who will make a design quickly and gets the permission form MEPA and start building, and after express their wish of wanting concealed systems, it takes them by surprise that the design has changed drastically. The industry in that sense, whether the architect doesn’t know that much about internal services; because let’s face it, architects only recently have become interior designers. Now a building has become much more than just a shell, which then you finish with tiles. In Malta, the industry is still struggling to meet the expectations of the client. Domesticity is a very personal question. For me integrated technologies do not such an effect. The feeling of home has so many parameters and so many variables. For me, being brought up in an old home and in an old town, pretty much in an architecture which was designed and built 200 years ago, it does not make a feeling of home. Having said that, it doesn’t mean that I don’t enjoy entering a room and pressing a button on my mobile and opening the windows. But, it is fantasy world for me, it is not something that makes me feel at home. Other people, especially young clients expect it. The same client which wanted the zero energy house came with a detailed list of things which are going to be controlled by intelligent systems

and things which are not to be controlled. I think ten years ago you would not even dream that you would have a client which requests these things. For me, is that a feeling that makes me feel at home? No. For me certain tactile experiences, whether it is holding a book or turning on a cooker knob and seeing a fire, are being numbed. I mean it is comfortable if instead of an alarm clock, the glass turns from translucent to transparent. Something like this strikes me, as it is something which is very technological but which is helping something which is very natural, which is waking up with a natural light rather than with a strange noise coming out of a box. In that sense maybe technology can help reinforce a natural way of living. But anything in life it has to be a little bit balanced. If you have everything controlled by technology, imagine something goes wrong in that house; you can’t cook, you can’t wake up in the morning, you can’t access anything. And iti s nice to have a printed photo which you can stick on the fridge. I think that in the future, balance will predominate. I would not want it in my home. There are certain things…the flick of a switch … you can’t describe it, its tactile, it is totally sensory. And in my opinion, these systems deprive the sensory experiences of our building and our architecture. Again, I am not saying they should not be there; but not all the way.

4.2 INTERVIEW WITH PATRICK GALEA Freelance interior designer and artist Patrick Galea has designed interior spaces since 1980.

Domestic interiors are surely influenced by technology. This is because there is more experimental use of materials and with technology. Materials have been developed and improved; the manufacture of certain materials used in interiors is also greater than that used in exteriors. Commercial interiors, hands down implement technology more than domestic interiors. The main problem with the latter is that it all revolves around finance, and there is a greater budget package allocated in commercial interiors. You may have a client who would require the use of technology in everything. This has been developed over the years it is not that contemporary as we think it is. I remember just over 30 years ago, I had a Danish client who owned a company which produced such technological gadgets for use in domestic interiors; today it is known that you can switch on your oven from your mobile phone, you can switch on the air-condition at home by just sending an email; and he was producing these around 30 years ago! Of course, then it was used through the phone not through mobile phone. Locally there a very few people who would request such a technology. However if you look into specific sections, for example, lighting. Technology in lighting changes every day. It important to note that apart from the system, the installation is also quite expensive. And the price increases according to the number of systems which you have integrated. This is seen by consumers as being an extra cost. My policy is that definitely the client has to involve his or herself. However, the designer sometimes ends up satisfying only one client of a married couple. The problem lies not when the client is not knowledgeable of the technology; it is rather when the client has little knowledge of the technology. Another factor is the fact that in domestic interiors comes down to what one wants and what one does not want. Therefore the designer has little say. Still, some systems are so advanced and the client is going to put so much money into it, that it is important that the client follows the designer as he goes along. For example another issue is the back up and aftersales of such systems; these are to be known during design stage and before the client makes a commitment into installing intelligent system. The electrical engineer and the lighting engineer play a very important role in both design stage and installation, for the system to reach the end user in the best way possible. A reason why people shy away from installing systems, is because there are so many things that you can do, that then one starts feeling lost and questioning the reason behind wanting to integrate such systems, which seem to complicate rather than ease their life. The clients have to know all the possibilities offered by a system, as then it is not worth installing. Installation costs start at â&#x201A;Ź10,000, which is a lot.

The designer is not knowledgeable enough to design such spaces without consulting professionals in the technological field. Personally, I would involve electrical engineers, electronics engineers. Unless you are producing it or selling it constantly, I doubt how one can be completely knowledgeable without consulting engineers. One works with a client in the preliminary stages, identifying layouts in terms of the furniture. Then the electrical and point layouts are determined and then proceed in consulting the engineers and experts, who know exactly what they are doing. Marketability plays an important role on the popularity of such systems. We are talking of people of a high bracket income. If we compare it to for example CCTV. People would not have dreamt of CCTV 20 years ago. It was only implemented in embassies, big houses, collectorsâ&#x20AC;&#x2122; houses; people of a particular income bracket had CCTV. Today, I can say everyone can afford CCTV. When it was limited, it was very costly; now it is cheaper. Computers used to cost double or even triple what they cost now. This is the same for all of technology. The demand determines the supply in these things. The more people buy it, the cheaper its going to get, hopefully. There are only a few people now that are using intelligent interiors. Age also affects how people react to technologies. This said, although younger clients are more willing for the installation of these systems, the price tag that comes with it also keeps such young couples or individuals from opting for such systems. Installation is costly because of the large number of cables and trunking needed within one room. This is also being surpassed with Wi-Fi. I know very little about these systems which are internet controlled but it is always developing. And there are so many add-ons and plug-ins available that you end up using only 10% of what it offers. And that is what scared off some clients. Having a single flat or a bachelorâ&#x20AC;&#x2122;s flat is different from having a space where a family lives. For the former, a single person who goes home to shut off from society, technology builds a cocoon around you that will destroy this feeling of being at home. Homeliness is the spontaneity. If the light goes, the whole light goes. If the system is complicated and one that you know nothing about, an engineer has to be a consulted. When the home was more electro-mechanical rather than all electronics, the home could handle it. A problem with totally integrated systems is the fact that we are growing even lazier. I think such a system is ideal for commercial and other spaces, but in domestic spaces, soon enough the wow factor will wear out, with all the updating it brings with it. The issue of adaptability to such fast changes must really be taken into account, and more importantly even more intricate care must be given to where it is going to be used. A client of mine was considering to integrate such a system, where people can play games and watch music videos in a wine bar. But one goes to such a space to relax and socialise rather than being still

immersed in the connected world. But most importantly, the main downfall of technology is its ephemeral nature, and the novelty runs out. To a certain extent it tires out its users while trying to keep up with it.

4.3 INTERVIEW WITH ING. KEITH BALDACCHINO Projects Engineer at Doneo Co. Ltd., suppliers and designers of home gadgets and home automation systems

People tend to prefer to integrate technology in domestic spaces rather than in commercial spaces. What differs the two is that in the former, there is the element of wanting rather than needing to implement systems according to requirements and standards. Domestic interiors allow for more options that directly affect the individual, therefore people prefer to spend their money for something more personal. The demand of automation systems, which create the integration, is generally constant. What automates and what is integrated on the other hand is the changing factor, varying according to time and availability. Once common source is the apple TV; once a new product is launched, people tend to want that product and demand increases. It is then our challenge to integrate the new product into the system. The same goes for the iPad; where in the past the system was controlled through touch pads, nowadays the iPad is the integration option of choice of the clients, although we still offer a good range of products in this aspect. The most popular of products are at the moment Apple products, which are requested to be integrated within larger systems. We offer a mock up residential space, a show flat, where we can demonstrate some of the products we offer, giving a good indication of what they would be experiencing in their home at the final stage of the project. Usually people want products or systems, but they don’t have a clear indication of what they want exactly. Eventually once the project is finished we get comments such as ‘oh so I can do this…’; bonuses which they weren’t expecting. They would know the basic needs from beforehand, for example a source placed centrally, where they could distribute to all TVs in their house; therefore that they would be expecting. When other options such as this system being controlled by their iPad, that takes them by surprise. We take the role of consultants as well as designers during design stage. Once a client expresses his wishes, we come up with three design projects which all meet the need but vary; we create the best system we can offer, another which is cheap and one which is somewhere in between. The client’s budget would normally not be known during the first meeting, therefore this gives us guidance on how to proceed. Systems, once installed, rarely need to be changed completely. The upgrade is rather in the features or software the technology offers but this does not mean that the old systems will stop working. Sometimes it is a matter of upgrading those old systems to cater for the new technologies and sometimes it is a matter

of change in equipment, which also depends on how big the change is and how great is the imposition of the new technology on the older system. For example with regards to lighting systems; in the past obviously the iPad was not present, therefore the systems did not cater for lighting control. We have workarounds â&#x20AC;&#x201C; we can include new products with the new systems that produce that functionality. Therefore sometimes you can tweak the system to cater for the new changes, sometime you cannot. A good example of this is if a client has bought a TV two years ago which was not LED; if he wants the new technology he has to buy another TV completely. With television and retail in general, technology is changing at a rapid pace; with lighting and more complex systems it takes a longer period of time. Clients are hesitant to implement a system due to such changes, mostly when a drastic change in technology would be predicted in the near future. In such a case, the company advises the client who might opt to either wait or install the system with additional cables and wiring for the newer system to be then implemented with ease. Still, this might still incur a change in products. Different people react to technology in different ways. The issue of implementing such system in oneâ&#x20AC;&#x2122;s home is subjective. Some clients opt for a fully-fletched system while other tend to keep a step back as they are scared to introduce a complicated system which they will not be able to control. It relies strongly on how the technology is made easily available to the end user and its popularity. Prototypes rarely make it to interiors. Most of the elements in the video are not that farfetched. We provide bathroom TVs, kitchen TVs and mirror TVs; news and media images can be provided with sufficient programming on screen glass panels. Shading is already available but not in glass. Most are available but not to that extent, so I would say they are not that far from our present day. As for flexible glass, at the moment we have flexible TVs, which can be wrapped around and fixed onto surfaces of different shapes and sizes. Therefore this system is very exciting and once it is available to the consumer we will be expecting a lot of clients to be interested; this always depending on their budget and the price of such a system. Locally I would expect the demand to be more for domestic spaces rather than commercial and office spaces. Abroad, they tend to invest more in technology within other spaces apart from domestic ones. Unfortunately locally, the budget is limited and one would prefer to put their money into the furniture rather than the technological elements. The residential market would be the first to require such systems to be integrated within their interior.

4.4 INTERVIEW WITH INÄ . CHARLON BUTTIÄ IEÄ Projects Engineer at J.Martans, suppliers and designers of home gadgets and home automation systems

Domestic interiors are definitely not the most popular of spaces which are demanding integrated technologies. The most popular is building management and the trend started in commercial interiors. In the domestic scene it is viewed as a luxury rather than the implementation of a system for energy saving. On the other hand the elements of home automation, naturally, can be implemented fully within the home. In the last two years, there was a sudden boom in demand. In fact the number of suppliers increased, as did level of understanding the principles of such systems by the majority of people within our society. Compared with other countries, we are less advanced, especially in building management, where a whole building is automated from a centralised system. This said, although systems are taking longer to gain popularity in Malta, the ones which are installed are the latest when compared to abroad. It is simply a matter of not going through all the stages of the development, but rather catching up with the technologies and trying our best to install the latest. On their first meeting, clients usually ask for automated systems in general without really knowing what that entails, or maybe specify that they are thinking of installing automated lighting. There are very few clients who know exactly what they are expecting. Home automation covers a wide spectrum from lighting, to television, to audio, to management of opening and closing blinds and doors, and once the system is installed and clients get to know about the possibilities that it offers, they get more involved and want to try out such options. You can describe it as being sort of contagious. Without a doubt, we prefer to start on a project from its early stages. There are possibilities of systems to be installed in existing spaces, but inevitably, limitation are met. We work with the interior designer who decides on the position of light fixtures, this then discussed with the electrician, guiding him on the wiring layout we require. At this stage we implement the control system, switches and other necessary components. Systems which did not even enter the local market, are already out-dated. This said if a system is centralised, it opens doors to any other type of system. There exist very few systems which do not conform with a centralised configuration. If a system is decentralised, you are then probably restrained to that tailormade system. This is why we opt for a centralised system since add-one and a change in configuration can be easily reached. This is why we insist on implementing a concentrated system so that in the future, newer

models can be easily added onto the existing system structure. This fact, that our system is an established one in Europe, having a protocol which will not change between different brands of automation system. I donâ&#x20AC;&#x2122;t think that society is fully ready for the full integration of technologies within the home. It is looked upon as a luxury and an extra need. On the other hand, the younger generation think that it is wonderful to enter the home and control everything form an iPad or mobile phone. They accept home automation and consider it to be a standard within their home. With conventional systems, a particular switch is able to cater for a specific task, and if something extra is required another circuit is required. With home automation, every switch can be configured with different circuits and the different possibilities one can achieve with it can improve the feeling of home since the interior environment can be completely altered according to the userâ&#x20AC;&#x2122;s mood. The added control over the space can better the feeling of being at home. We are slowly moving towards an interactive world. I predict that in the next four years, the concept of flexiglass will be more a common feature within our gadgets and also within out homes. The technology is there and available, it just boils down to how well it will be invested in.

4.5 INTERVIEW WITH ANGELE LICARI M.A. PSYCH. (LONDON) Angele Licari is a Gestalt Psychotherapist, having special interest in the interface between psychotherapy and spirituality and self-awareness.

Referring to the Maslow hierarchy of basic needs; which includes breathing, food, water, sex, sleep, homeostasis and excretion; which are really, really basic, if for example, my situation is not comfortable on the basic things say, ‘I’m very, very cold!’; I have a home which cannot be warm. This is going to affect me, even on a physical-logical level, when I can’t even function very often; I might get irritable, I might start shouting at the people living around me. So this is very important to look at. Working in very different environments, for example in prison cells and cells in institutions which are really not comfortable, it can be noted that safety is another important basic need. If clients feel that when I am saying something very confidential and the wall between us and the next room is not safe enough because people are going to hear all their secrets, that means that safety is another important need. Privacy and intimate space are also fundamental, which is also a common complaint from clients. I have had a case in which a client had been raised by her mother in a chicken pen. The environment affected her drastically; not only because she was forced into a cell, but mostly what affected her are the feelings, not just the outside environment. Because she would say ‘why does my mother do this?’ and that could be more harmful that the place she lived in. It is when you attach the surroundings with the feeling. Recently, a very good man, friend of mine, was called into the depot to be questioned. He wasn’t allowed to call home that they were keeping him over, he wasn’t allowed to take his medication and he was kept overnight. Now when you consider that he was kept in a lockup, which is basically a small room with a toilet; if this religious man had chosen to stay a retreat in a monks’ house, it would have been the same space, but it would not be such a big deal. But because of the implication that that was a prison cell and he was being kept there under threat; the uncertainty of what one is going to be up against, changes the whole thing. It is the feeling that goes with the environment. That changes everything. It also depends on the perspective on how one is looking at it. For example when one moves from one house to another; if someone moves to a one-room house after having nothing, she would be happy; but that space would not generate that feeling to someone moving from a much more comfortable environment. Technology does affect the human psyche and we have become extremely dependent. We are not functioning because we do not have our cell phone for example. Every time technology is introduced it makes life easier until one is deprived on it. And then you realise how dependent you are on it.

It affects because it is introduced as another addiction. I won’t only say that it is brilliant, because it is making us as mankind very dependent on these things. We’re always going forward and improving, but the moment we go back, there is not turning back. There is no way we can say OK, we can now live without it! Can you imagine anyone saying that? So it is almost like when saying when you taste chocolate you can’t stay without it. You can’t do without; you can’t regress into something less. Even how technology changing is affecting the way we react. For example, because my grandson has been playing with a tablet, he taps. Recently I found an old laptop which I gave him to play on it. He was so frustrated that he had to use the mouse instead of tapping on the screen. So already, that is extinct for some people, although it is recent. Another example is when I meet my friends and we are talking about who is on Facebook and what we’re sharing, and some have not even subscribed; they just look at us feeling left out. I am not saying which is right and which is wrong. I am saying that it creates a different barrier. It is saying you are not belonging to the latest society. So in that way, it creates once again a hierarchy. There are some who do it with pride; whether it is because they might not feel competent enough to cope with it, or whether they really don’t want to be part of technology, which I admire it they can stick to it. But at the same time they’re missing out. I get clients from my Facebook, I relax when I look at the posts. At the beginning I was resistant, I’ll do the least possible; but you just get dragged into it. Technology is the latest language. It broadens and connects in a very wide way. The world has because smaller by technology, we have become more intimate. Before, if you had to phone distance, it would have been so artificial and you would lose sight of the person. There is no proper contact, so you forget each other. Now it is completely different. When I Skype with my daughter; she is right in my bedroom. I can see her cry; I can console her. The only thing is that I can’t hug her, which I would love to do at that moment. But at least the emotions are there; you are not being left out with that. I want to make an emphasis on technology within the environment but include the feelings that come along. For me, without one or the other there is something missing. On the downside, I think it lessened conversation within the home. For example with a TV in the bedroom, after a long day at work, couples just zone out and no effort is made to converse, which lessens conversation time. Even the fact that everyone is tapping on their phone during a family gathering. That is conversation lost; because otherwise we would bring up topics and games. It has become more individual time rather than community time. In that way it has limited or rather taken over our lives. We are connecting with someone over the phone who is somewhere else, which is not in the now; and at the same time we disregard the people who are with us in the now, we don’t hear them or even see them. We kind of deflect

the moment. So in that it has downsides, it is not helpful. I think we are becoming less of communicative beings. I don’t know what would become of this really. There is another danger. When clients are using mobile texting; the texts are usually done with short messages, incomplete sentences and there is no tone of voice. And the amount of hassles and arguments people get into over misreading the message one would have sent; which could have been a harmless thing; but on the receiving even the slightest mistake can be taken in a negative manner. It comes into our way of life in this way. Now they are hacking their lovers’ computers from their own office. It has become more elaborate the way conflicts are arising. The energy interferences provided may make the space we live in less restful. At the same time it gives a status. When you go into these latest apartments with dimmers and hidden lighting and speakers, a nice aesthetic ambient is created. But once this is created, when something goes wrong, since it is man-made, it tends to fail. And the attitude towards it is one of ‘how could it let me down?’, when it is very normal for things to go wrong. In a sense, we are making ourselves create a heaven; which I think mankind needs since out there it is a rat race and a jungle, we are trying to create heavenly spaces within the home. We need to find a space which is heaven and which is our space to relax. But when we start making it so sophisticated and button controlled, we’re lost, because that’s how dependent we have become. I would like us to have a balance, where it is not so dependent on technology but still a beautiful environment. Such environments were created without technology, so I think we went a bit too far. When you create a lifestyle status like ‘look at how upgraded I am and how I have the latest technology’, what I see is that you lose friends. If this means a lot and I am showing it off and this is what I am identifying myself with, the friends who come and hear me boast and enjoy it to a certain extent, they might never invite me back, as they feel that they are less than and that they are not worthy of being my friend. This might not be forcibly technologically related, but the more comfort, technology and sophistication, can create a distance status level with people. This things happen and it happens all the time, and I would not blame it on jealousy. It is more about shame and not being comfortable to mix with others of a higher status. I think it (refers to video) has already overcome our lives. I can’t imagine coming home and not going on to my computer, and going through my emails and Facebook. And I would panic if I do not do it because then it is going to increase. But in a sense, [exhales deeply], I took a big breath there, as much as I like and I want to be a part of it, I wonder if that type can be used elsewhere doing something better. In fact I have

heard this saying on the radio saying Don’t live out of your inbox!; it is like the inbox becomes the most important thing. To the extent to not even being restricted to the home. If I am at University, between my appointments, I check my emails. It is just the most time spent and occupies by my brain. I can’t imagine myself being otherwise, but at the same time, in such a short time; a while ago I wouldn’t even have known how to use them, and I take longer because I have to be shown by my son, for example. Yesterday, because I have my groups here and I wanted to show them a few clips like you have done, I bought a few leads and I was so happy that instead of showing them off a tablet which is so small, I could just connect it to the TV. My son did it and then I learnt how to do it; but every time I’m learning something new on how to use technology. I love it but at the same time I have become dependent on it. Not to that extent as people who are brilliant at it and can corporate it easily into their lives. In my limited way I still feel the impact on my life has been great. I think there is no going back, we’re just going forward with this. I think we would not even question it. It is like the latest; ‘Do you have this? You have to buy it!’ I think it is something that we just drift ourselves into. I don’t think there is a choice. Say for my friends who at the moment choose not to be on Facebook; a while ago they didn’t want to be on email either, and now they are. Because, you’re dragged into it. You can’t really have a choice. There is too much to lose; connections, its part of a network, part of society. So really, we’ve lost our choice of staying where we are. We have to move forward, which is not a choice. I always believe that when you introduce some new technological stuff, for example a new kettle, you either buy it or you don’t, you can live without it. But to that rate [refers directly to video], if nanna has that and you want to connect so that the kids can talk to her, you get it. You have no choice. And that is what scary to me, that we haven’t been given much of a choice, we just have to catch up. Really and truly, it is not just a service. For that I can say I rather not buy it. But it is about connecting. It is about getting work, getting friends. Before if you didn’t want to read something, you leave it there and it is comfortable. But now it is almost like you can’t. And then you get things like ‘I sent you a message! Why didn’t you reply?’ It is just bombarding; it is like a lot of pollution in a way. This is why the mind is not stilling, the mind is not relaxing, the mind in on all the time. We forgot how to be reflective. We are not being reflective at all. I think part of a human being is to be able to go inside and check ‘Who am I right now? How did that episode yesterday change me?’ And we’re not having the time. Because anywhere we are we connect. Even on the loo we connect, where that used to be a meditative state, or rather a forced meditative state. I am very worried about human not being able to do this. It is always on the outside and never on the inside. So who am I? Am I reflecting on what being I am and how I am reacting to the world? I never get the time for a few minutes to be alone and not panicking.

The book Gene Keys, which is a book about the keys within our genes which need to be unlocked, brings forward a new concept. The first one was, which I think is very important, the difference between lethargy and frenetic. When a person becomes bored, lethargic and maybe a bit depressive; if we allow ourselves to sink in that, usually it creates what we call a creative void. You stay in it feeling ‘I am not really happy here, something new needs to happen, what is it?’; and that is when we become creative and reinvent ourselves and we become fresh. And that is very important. Now we are not allowing ourselves as human beings to get to that point. As the moment we feel sad, the moment we feel slightly depressed we go into a panicked state: ‘Oh my god! I need to take pills! I need to join another class!’ And we just go into frenetic; frenzy. Which means we’re running, running, running; like on an express train and there is no reflection. We’re not in touch with ourselves. And this I think, to be able to connect, not just with each human being but with our spiritual souls; to connect with our creator, whoever you believe it to be; it is not happening. Because I don’t think he’s going to pop up on our laptop. We have to be still enough, not to be distracted enough to go inside. And this we are losing. Even though on a human level we are advancing, we are spiritual beings and we are not advancing at all in that way. For the ones who recognise that they need to go to yoga classes and similar things, they are fine. They are still there. But others just connect to that [refers to video]. So I think that is the main danger for the future. It leads to us becoming animals. We become very intelligent, intellectual beings; Hitler was a very intelligent being, he was an animal. And when we lose the internal source which is our spiritual soul; we lose our feelings because we are not using them and we are operating from our heads; we lose our compassion, we just think logically and rationally. And that is dangerous because we lose our empathy. I worked for three years in a prison. It is a village of over six hundred people which are there for different reasons obviously. Criminology has a dual diagnosis; there is a pathology, a disorder. Now most disorders are diagnosed by their lack of empathy meaning that if I think I want to harm you; because it suits me and because I’m going to gain something from you; I wouldn’t even think of how the impact is going to be on you. It doesn’t even cross my mind that I’m going to hurt you. That is lack of empathy and that is usually some kind of disorder. So the more we are disordered; and we are seeing more disorders everywhere now, in mental homes for example; meaning that we are so locked up in our own world that we can connect through the screen. But do we connect on a human interaction level of compassion? No, not really, we are losing that. The DSM manual of disorders is specifying a new disorder where students go to university; they are alone all the time there and they might not connect with anyone; and then they go on the screen and they are having cyber-sex, and talking and saying ‘I love you!’…as long as the screen is a barrier. Because it is safe! But out there, if I am really interacting with you and you might hurt me because you might reject me, you may say something…we are not risking that. We don’t want to! So we are closing off the intimacy

of feelings and I think this [refers to video] is contributing towards it. So as much as I elated it before, because I know we addicting to something good it has its backsides too. Last time I saw this quote: â&#x20AC;&#x2DC;We are not human beings having a spiritual experience; we are spiritual beings having a human experience.â&#x20AC;&#x2122; Can you see the difference? Because we set in to think that we are human beings having a spiritual experience and I think it is the opposite. If we really connect from where we really came from; we are spiritual beings that are actually having a human experience. It is a completely different concept and we tend to forget that. Because that means that we are not connected from where we came and where we are going. It is like we are so over taken by surviving here, that there is no before or after, and then somebody dies and we are so taken aback it is like we have forgotten that people die; that there might be some kind of continuous life after death which we do not know about. So we need to consider that even if this [refers to video] helps us to connect to a human level, where is the soul being incorporated in all this? Maybe soul is not so fashionable to talk about. But then what are we, just bodies? I donâ&#x20AC;&#x2122;t believe so. And then if we are saying that even the emotional part is being left out of this. Then we are just robots, performing. All the people who are having relationships on Skype, they immediately jump into marriage through cyberspace. But they are forgetting all the senses. You might be hearing and you might be seeing, but then there are other senses. What about smell? This person may smell so bad when you are next to them; bad breath or smelly toes or whatever. You may never get used to the person. What about touch? Being touched in a way that you feel appropriate with. This person may have no idea on how to touch you and that does not come out on a screen. And taste as well. Its intimate and you have to be there not behind a screen. We are forgetting the senses. We are doing a lot of work on the sixth sense and psychic, the intuitive part. We are bringing that to a demonic phase; where we like to see blood and horrific things; where intuitive and psychic can be used for beautiful things and act as a helping hand. It can be used subtly but yet they are blowing it out of proportions in an almost scary way. But we are forgetting the other senses that were god given in a way. I am not a religious person but I think I know how to appreciate what was given to us. Another thing that this is causing is a lot of fantasy. The harsh reality of life does not always strike us as nice. So sometimes we prefer to live in a fantasy world. I have clients who if there were horrible things going on around them as a child, they used to pick their own dolls and create their own fantasies. But what happened was that the fantasy became more real than the real world because they try to block off the horror of the family. And then they started to live out of fantasy world, which is very dangerous because it is

not real; it is not grounded. In a sense when you are looking at someone over Skype or a virtual world, you are seeing the good part; you might not be seeing the other senses which are not so good. And you are creating a fantasy. We are living in these projected fantasies and we are losing sight of the harsh realities. Harsh realities include things that before we could live with. If you hurt me and you reject me; I cry, I grieve, I work it through and I survive it. But it seems that human beings want to avoid it at all costs thinking that if it happens, it is not survivable. We are creating this very nice, cushiony world. If you bother me on Skype I would just press a button and you are deleted, I don’t have to deal with you anymore. In real life it is not like that. This is the danger as well. We are creating these fantasy human beings and relationships which don’t work like that. Because if you marry from Skype, and the next morning you realize that you have not looked into some things, it is even harder to cope with. Because normally, any relationship is difficult to cope with in real life, but we have what we call a courting period that is quite grounded too. We are creating these fantasies, hoping to keep on living in a fantasy which does not exist. So this is another danger or pitfall. Otherwise, from the perspective of technology, it is beautiful. From that angle there is nothing to complain about. But in long term, it is going to remove the kind bit from humankind. I don’t want to make it sound drastic but these are issues, which we should look into. The fact that it is so available and is upgrading all the time, we cannot say ‘I’ll have a year of if, then take stock and reflect on what it is doing to myself’; I will abandon all technology and then say, ‘Who am I and what is this doing to me? Shall I continue?’ But do we do it? Do we take stock? Something else has come! Something else has seduced us! The word is seduced us into ‘Oh my! Look at this, let me get it!’ Another thing that is also lacking is that if we are all the time on the computer, where are the creative arts? Who is doing pottery and crochet? For someone to do handcrafts there has to be time. And if we are all the time connected to technology we have no time for this. Another problematic issue is the way we not allowing our children to connect to nature. The moment that they bother us we give them technology to shut them up so that they would not bother us anymore. I would wish for this study where such issues are raised would get to the media in some way. To draw up the attention to: look what we are becoming. This is such a gradual addition that we are not even aware of it. Until I sat down today I would not have thought so much in depth about it. But because I am so in touch, I suddenly feel lost; I lose myself; and I notice that I am unhappy and there is this void in me. And that I listen to. But how many people would do that?

chapter 5

focus groups This chapter presents the input obtained through the discussion of five focus groups and with a University of Malta lecturer. They are presented on a group by group basis

5.1 AGE BRACKET 14- 19 The group consisted of six participants, all males. The session was held in the St Aloysius’ Sixth Form College assembly hall in Birkirkara on 30th April 2013. Where you involved in the interior design of your home? Do you consider your home you live in as being a comfortable space? What would you add to your home that would make it more comfortable?

None of the participants were involved in the design of their home, apart from choosing the colour for the walls of their room and giving their opinion of the choice of finishes when a room was being refurbished within their home. All participants feel comfortable within their home, with one participant also commenting that this is probably because he had grown up in it, because when comparing it to other homes it can be quite small. When asked what would make their homes more comfortable, all participants brought up a lot of ideas. These included an additional floor as a relaxing space, a billiards table, a sound proof room with a drop-down television and a bar in the room, a games room, a home gym, a chute that would eliminate the need to walk to the kitchen when the food is ready, a fridge in the bedroom, a Jacuzzi, automated systems which could read one’s mood and change the interior environment accordingly through a chip which is attached to the body. One participant added that we would prefer having a garden, which was not received well by the rest of the group, apart from a few who specified that it would have to be a turfed are not crammed with vegetation, were one could organize a BBQ and play sports. Others mentioned interiors which are shown on an MTV program ‘Teen Cribs’, as well as a large drive way and automated garage door, or maybe a helipad. What is the space or maybe an object with which you are most attached to? Why?

Three participants identified the living room and kitchen as the most favourite of spaces within the home, reasons being as they spend most of the time there. One participant added that he prefers the kitchen from his room as this is shared with his brother, another because he just puts his laptop there and can find everything at hands reach. One participant argued that he does not like it in the kitchen because his mum is always there, with the participant who commented last agreed that he prefers it when his mother is not around. On the other hand, another participant chose that space because it is where he talks with his mum and watches DVDs with her on his laptop. The other half of the group preferred a space were they spend their individual time, the study and the balcony. Another participant also chose his bedroom,

but during winter as he spends most time there. In summer he prefers spending time downstairs as people come over more frequently. If you had to identify yourself with an interior space (refer to Appendix 6), which one would it be? What is the reason for your choice?

All participants replied with a unanimous B, reasons being that it was more open, spacious and looks more well lit; the colour scheme in B was preferred as well as the floor being made of parquet making it ‘feel more at home’. A few participants stated that ‘unfortunately’, at present they live in an interior space similar to A, as that is what their parents prefer. What do you understand by technology within the home? How do you consider the occurrence of technology within your home? Do you think that these technological additions are a necessity or a luxury within the household? What would you add?

The first answer was ‘anything that makes your life easier’ while another participant added ‘maybe even comfortable apart from easier’. Examples given were a microwave, hi-fi, mixers, message chair. One participant gave his opinion regarding the dependence on technology experienced by society before the question of whether they consider the additions to be a luxury or a necessity. He said ‘things like cooking you have to do something but if you are completely dependent on technology, I don’t think its right.’ One participant stated that he considers his house to be moderately equipped, as a fully equipped one would mean the introduction of automation system. Another participant noted that this depends on the type of house you were brought up in, because you would think it is equipped until you see another house which is much more equipped than yours. Another participant described his house as being not that equipped as he does not have an air-conditioning system installed. He also brought up this fact that if he had to have such a system now, in three years’ time it will become a necessity. Another participant added that their generation was brought up in a spoilt manner, as his parents get by without the things which he considers to be a necessity, such as laptops, air-conditioning systems and HD televisions. Other participants found the technology within their home to be a necessity. ‘Teen cribs’ was once again brought up, one participant stating that he had seen projections of different views on the wall which he would definitely opt for. Another was a complete room that rotated to get different views. Shower fixtures which changed colour according to the temperature of the water and showers with water outlets positioned at the sides rather than at the top. One participant stated that he would not add anything of the mentioned technologies; ‘the only things I would add would be just a necessity.’ Another participant argues that it also depends on where you live, stating that the participant who comment last lives in Sliema and can do anything if he walks a few minutes away from his house, whereas he lives in Rabat and he needs more things to entertain himself at home.

Are you familiar with home automation systems? Have you ever used such systems? Do you think they are detrimental for the home or are they a luxury? Do they make life easier?

All participants knew what home automation systems are, two of which saw them working. They all agreed that they are a luxury and that they make life easier, and most people lazier. What are your views on the Corning Glass technology shown in the video? Where within the home, or other spaces, would you prefer for this system to be integrated?

The first comment was that the only thing the participant did not like was the bus stop, as it could be easily vandalised, even though the technology to catch a vandal would improve, the amount of money needed to repair such structures would be ridiculous. Another participant saw no point in the reading glass when we are already reading off iPads. One participant agreed to this saying that he prefers using a book and that ‘they are always trying to create something which is better for the sake of technology’. Most participants agreed with preferring a book as they could flip the pages and feels that ‘you are not even reading’, when it is done from an iPad or a Kindle. One participant added that the following generations would rather read off an iPad. When asked if there was anything that they liked, four participants unanimously said the television, and the fact that once you wake up u can check the news, weather and emails because ‘it gets you in the mood.’ Another participant added that the screen integrated within the mirror is already available to remind people of their everyday medication. Most participants also liked the integrated glass in the car’s dashboard, although one added that ‘it could become just a phase.’ Another participant also described the appliance veneer glass portrayed on the fridge door, was also ‘very cool’. The photovoltaic glass was also favoured by the majority of the group. When asked whether they would prefer the technology to be integrated in the home versus other spaces such as at the office or in shops, there were mixed answers. Some said that it should be integrated where most time is spent at, while others chose the work space as when one would come back home to relax from all the technologies. The rest argues that you would come home and enjoy yourself by technology itself. The discussion concluded by observations on how our society in Malta is not open to such changes. All participants agreed that in ten to twenty years this would be part of our homes, since most technologies already exist such as magnetic heating in cookers. One participant said, ‘I don’t see myself living in such a space. It is always something I want, but I don’t think I will be able to live in it. It seems so distant to me compared to how I am living now’. Another comment was that it was not realistic. Another participant asked, ‘but wouldn’t you go for it?’, while another said ‘it is just until you get used to it’. The rest were certain that they would live in such a house, while one said that he would try it for 2 weeks prior to purchasing it. Another participant said that he would live in it but would not imagine physical games such as table tennis and billiards to be taken up by technology as well.

5.2 AGE BRACKET 20- 30 The group consisted of six participants, all of which were male. One participant was of Latvian nationality. The session was held at the Student House Common Room at the University of Malta campus, Tal-Qroqq on 1st May 2013. Where you in charge of the interior design of your home? Do you consider your home you live in as a comfortable space? What would you add in your home that would make it more comfortable?

One participant was recently involved in the complete design of his home while another of his personal bedroom, the rest of the group was not. Two participants, one of which being the one who just designed his home were happy with the comfort within their home. From the remaining four participants, one would prefer the interiors of his home to be more warm and spiritual, through colours applied to different spaces to create an aura; if it is the kitchen it should be warm, while the living room should offer relaxation and a bathroom security and privacy. Another stated that the style he would opt for differs a lot from what his parents had chosen for the interiors of his home forty years back therefore he would change the layout, like the kitchen, dining and living room into one space. He would also change some finishes such as exposed stonework that were in fashion when the house was built but are not now. Another participant who lives in a rented apartment would like to add colour to his present white walls, but his landlord would not allow it. The other participant would opt for home automation, as this will enable him to find the environment as he would want it as soon as he arrives home. What is the space or maybe an object with which you are most attached to? Why?

Three participants answered with a personal area as their preferred space within the home. Two identified this as being their own room describing it as a ‘safe haven’ and the place which offers rest, while the other chose his study where his parents did not interfere with his work. Two other participants chose the kitchen; one described the room as being the one he spent most time thinking about during design stage, while the reason of the other participant being that this was the place where he met and had conversations with his family after a day’s work. The other participant had two objects which he was most attached to; one being a hand-made chair which offered great comfort while the other was a plate with a mirror, which was replaced by a lot of photographs of his family and friends, stating that he considered it as being ‘heart-warming’. If you had to identify yourself with an interior space (refer to Appendix 6), which one would it be? What is the reason for your choice?

One participant opted for interior A since it is nicely decorated and the elements and ornaments are of his liking. The rest chose B, two of which gave reasons such as ample space and the furniture not being crammed as in A. The other three stated that although they would chose B, they would add a few decorative elements such as paintings and colour to the walls. One participant added that there is ‘no

sign of people’ living within this interior and tended to be more ‘showroom-like’. Another participant, who chose B added that he would retire in A. What do you understand by technology within the home? How do you consider the occurrence of technology within your home? Do you think that these technological additions are a necessity or a luxury within the household? What would you add?

Computers, refrigerators, sound, lighting and kitchen appliances were the first examples to be brought forward. One participant described technology as being ‘anything that ticks or has an electric current’, while another said that it is ‘anything which makes life better’. Another two participants added that technology is found in the scientific concept behind cooking as well as how things are placed and planned for more efficient movement within the house. One participant perceives his home as being fully equipped with technology, having a tablet, laptop and air conditioning system, while another participant described his home as being ‘basic’, mentioning a laptop, microwave and TV. Another stated that some are a necessity while others are a luxury, what is needed with a few perks, but personally he would do with the basic as he works in technology and would like to keep it out of the home as much as possible. As he is still living with his parents, another participant describes how they are not into technology as it is too complicated for them. The participant who designed his home considers it to be quite equipped but he does not enjoy it completely. For example only touch switches were offered for lighting beneath the kitchen cabinets when he preferred using a switch as he likes the ‘tactile sensation of being fully in control rather than passing form beneath it and it lighting by mistake’ He also adds that he would be content with simply a TV and laptop. How do you feel that these additions fit within the interior environment?

Once participant indicated that the portable devices normally fit well. He is also happy with the way the TV fits the environment as it is not large enough to take the complete focus of the room. Three other participants were happy with how the additions fit into their homes. The participant who designed his own home explained how some of his rooms are decorated to fit the technology, for example the TV was installed in the living room and then the space was decorated after, basing all design ideas revolving around the TV. In other spaces, such as in the kitchen, technology only features in additions such as lighting, microwave and fridge, which fit it as an afterthought almost. He would add some colour to certain kitchen appliances as only white or silver are available at a reasonable price; with a large budget one can buy a retro fitting SMEG fridge for example. Another participant also mentioned that the appearance of some appliances are not aesthetically pleasing but ‘as long as they serve their function they are good enough’.

What would you improve upon the present state of such additions in your home and why?

One participant would not change the physical environment but would rather invest in intelligent systems which would make it easier to control. The participant living with his parents, brought up the issue of such systems resulting in losing the tactile sensation and therefore would not change much. The participant who is renting, described how he would add some more luxury to the space; he would like his Xbox and an iPad stating that he does not know the reason why he wants the latter, maybe ‘just to feel important’. He would also like to add HD projections on the wall creating backdrops; an image which you can look at for around 30 minutes before you sleep and then dream about it. Another participant would add light dimmers and a dishwasher but as long as he has the basics he does not need anything else. The participant who just finished his home would have preferred more flexibility in wiring and pipework, and having option of moving furniture and appliances around in the future. Are you familiar with home automation systems? Have you ever used such systems? Do you think they are detrimental for the home or are they a luxury?

All participants were familiar with such systems. One participant recalls using such systems in a project he was doing with his company, where there was an iPad installed in the bathroom wall for example. It is not something that he would prefer; he would rather have a controlled system limited to lighting and heating of the home. Another participant enjoys entering spaces where lighting switches on by sensor, as well as water taps working with the same concept. Another participants have used such a system in his friend’s house but would not integrate a full version of the system within his home, stating that he is ‘not the kind of person who would wait, let’s say, one minute to wait for a curtain to be drawn.’ He would opt for the sensored water taps but not for the controlled curtain system. Another participant would like to have automated systems in heating the water prior to coming home, as it presently annoys him that he has to wait for the water to heat up after a training session. Another would surely install them for not worrying if he left the light switched on once he left the house, or for when he is coming back from work, training or abroad and he could alter the environment to achieve the feeling of ‘not coming home to an empty space’. The participant who designed his own home said that he was given the choice many a times but did not opt for such systems apart from what he really considered necessary, which is sensored lighting outside the main door, to enable him to find his keys and open the door in the dark. What are your views on the Corning Glass technology shown in the video? Where within the home, or other spaces, would you prefer for this system to be integrated?

The first participant to discuss his views on the video stated that such systems would be adopted as long as we are living in a culture which is using renewable and alternative energy sources to power it, as at the end of the day they are things which we can live without. Another concern was the cleaning involved in such a space full of glass. He commented on how the system integrated within the car and at work was

‘very cool’ and would facilitate communication at the workspace, which is already present but they are not integrated well as shown in the video. He would not mind integrating it within the home, as long as it did not result in a toll on power supply. Another participant said that ‘life isn’t like that. That is just a big dream’. He prefers natural interiors, therefore he would not like to have such a completely white, clean environment. He agreed with the other participant that we really enjoyed the car and how it would welcome him and ask him what he would like to listen to and ‘push all these buttons like an aeroplane’. He would definitely not opt for an integrated screen in his bathroom since it is a sensitive space. But the most thing that bothered him was the fact that it was so empty, with no objects and interesting elements. Another participant stated that he thought of the idea as being ‘lovely’ but had a few technical issues, for example if the whole infrastructure would just shut down in the case of a power cut, and others back up measures, hardware control and hacking issues with such sensitive information being logged into every software which one did not design for oneself. He would opt for it as long as it is working properly and that he has complete control over it. Another participant added that ‘this is the way forward’ although not applicable to all work environments. One participant also stated that ‘in a perfect world that would work’, but was concerned on how it would affect our wellbeing. For example he would not want to read work related emails while he is still at home brushing his teeth, as well as preferring to read off a book rather than a soft version of it. Although accepting this as the way forward, he hopes that the choice of having a book rather than an e-book would not be eliminated completely. ‘With such technology we’re confusing our time with rather being led by a system’. Most participants were nodding while this comment was brought forward. Another participant commented that he thinks ‘it is scary’. Being a person who does not spend a lot of time on a smart phone and wants every gadget to do its job and not get too over complicated. Another thing that he already hates is the fact that at restaurants he continuously spots people staring at screens rather than at each other, and he cannot imagine raising kids in such an environment and still having good communication with them due to the distractions it brings with it. Personal relationships with real, tangible people will change. He prefers the permanent nature of furniture and the tactile experience it brings with it: ‘if its soft, its soft. It isn’t a kitchen top which could turn red from blue; it its blue, its blue!’ Another concern was expense and brightness issues with all glass displays when we can’t read of a text message off our phone in the street on a sunny day. The participant who was concerned about the safeness of such systems, also added that at the moment we are to a certain extent in control on how often we use our devices, and likewise parents can control their children by taking their gadgets away from them; with this system it is really up to the individual to relate to other people, and this would result in some people being unhappy and it would lead to isolation in some. Privacy issues were brought up by the participant described such spaces as being scary, for example reading your emails on a wall which all your family could see. The participant who was concerned with

the system’s safety, compared it to Google glass. The exact opposite is noted; no one can know what you are seeing cause it is directly in your eyes. The first participant who commented and was in favour for opting for such systems, described that he was now seeing things a bit differently. He added that the amount of radiation that is needed for such a wireless system can cause harm to the human body. Another issue he brought up was that as a society we are always searching to live in the ‘external world and we’re forgetting our interior world’. The participant who designed his home and finding the system to be quite scary, brought up the issue of the setting up process needed behind such a system, relating to how the electrician had to guide him on how to use the microwave and set up the clock for example, and after a power cut, he had to reset it all over again. Comparing this situation that such a system would result in a tedious task to set up all software on every screen. The majority of participants concluded that they would opt for such a system but only partially, for example the photovoltaic glass as it would save energy, a kitchen top that could have the recipe transferred to it but would prefer not having social networking embedded within each surface.

5.3 AGE BRACKET 31- 45 The group consisted of five members, four female and one male. The session was held at Gateway Building at the University of Malta, tal-Qroqq on 23rd April 2013. Where you involved in the interior design of your home? Do you consider your home you live in as being a comfortable space? What would you add to your home that would make it more comfortable?

Only one participant said that he had moved into an already fully furnished house. Two participants were not quite involved in the design process, one of which specified that aesthetic decisions were left up to his wife. Another participant was involved in converting her home which was a house of character, in which she opted to recreate a traditional interior. The last participant is still in the process of developing her domestic interior into the required kind of space. The latter was therefore not completely satisfied with the level of comfort in her home, since she was aiming for a better result. The rest all stated that they considered themselves comfortable within their home. What is the space or maybe an object with which you are most attached to? Why?

The participant who is still designing her house, chose the basement converted into a living room (the section designed according to the habitants’ requirements) which opens on to the garden; the reason being that every family member, young and old, ‘finds his place there’ and interacts. The male participant mentioned the study since it is his own personal space which he feels truly comfortable in; ‘my zone’. The participant owning the house of character stated she feels attached to most spaces but if she had to choose she would opt for the landing, which leads on to a well which she is truly fond of. Another’s was the sitting room since it offered a relaxed space where she would sit silently and read. The last was the kitchen since she spent most of her time there. If you had to identify yourself with an interior space (refer to Appendix 6), which one would it be? What is the reason for your choice?

The male and two females chose interior B. The person living in a house of character chose A, since she tends to opt for classical spaces. This said she had been to hotels with spaces designed in the same manner as B and she enjoyed the atmosphere, but would only live in such a space temporarily. While another female stated that personally she would feel comfortable in both, but identifies herself more with A due to the sense of elegance it offers, although her husband has brought her to accept and appreciate cotemporary interiors such as B. She also added that when having young children like herself, B is a more practical space to live in. The rest of the participants who chose A strongly agreed that functionality was a main reason behind their choice. Another common point was that B offered less clutter, resulting in the space being more airy and well lit up.

What do you understand by technology within the home? How do you consider the occurrence of technology within your home? Do you think that these technological additions are a necessity or a luxury within the household? What would you add?

Smart lighting, smart audio, microwave, laptops, TV and a surround system were the spontaneous answers. The participant who moved into a fully furnished house stated that although she works and is currently reading for a PhD in software design, she opts to be very minimal in the amount of technology within the home, where she has no microwave and no TV. This said, she would like to integrate a surround system; and a robotic sweeper. The male participant and the participant living in a house of character stated that they are happy with the occurrence of technology within the home. Another participant stated that the one thing she would add was smart lighting, ‘which would turn on and off with human presence’. The participant still planning her house, insisted that when choosing a kitchen her main concern is to integrate a laptop which is a part of the kitchen, and not add on to the more clutter which this space brings with it. How do you feel that these additions fit within the interior environment?

The participant living in a house of character stated that it was a challenge for her husband and herself to integrate technological features without jarring the classical feel of her house. The male participant noted that when an LED TV substituted an older version, the previous wall unit was removed, since the new model created a better visual effect when wall mounted. The participant who is still designing her home is hoping that everything would fall into how they envisage their end product, while the participant who renovated the house of character stated that she had gone through a thorough process during the design stage with the architect and technicians, making sure that the end product was the one they were expecting; from plugs to switches. A similar response was given from another participant, who although was not directly involved with the planning, she is aware that it is a tedious task to make all systems work as one, saying that they also sometimes determined on the positioning of walls and windows. Are you familiar with home automation systems? Have you ever used such systems? Do you think they are detrimental for the home or are they a luxury?

All participants were familiar to automated systems but no one ever used them. The male participant stated that they are considered a luxury at the moment since they are not that popular yet, comparing it the introduction of the mobile phones; where at the time of their launch, no one envisioned that they would be such a detrimental part of our lives. Another common opinion was the price tag of such systems; one would still ‘have to go that extra mile to invest in them’, therefore they were collectively viewed as a luxury.

What are your views on the Corning Glass technology shown in the video? Where within the home, or other spaces, would you prefer for this system to be integrated?

Only the male participant was familiar with the video while the rest of the participants were not. He had researched panel displays in 2002, and while knowing that the technology is available, but the implementation of them would take at least ten to twenty years. Although not impressed because he was familiar with the technologies, he without a doubt thinks that such systems offer that ‘wow factor’ to the viewers. His concern is that technology in general is ‘driving us mad’. When one thinks about the dangers of being connected all the time, the fact that there is a camera within the rooms of a house, and no one knows who can tap in and be watching. There is an issue of privacy which is being depleted bit by bit. Another concern is ‘that one day machines will rule the world; that threat which has been for years haunting us’. Another participant stated that the video ‘saddens’ her; how, as soon as they woke up, they barely looked at each other or appreciate the lovely garden they had outside, but preferred to check the gadgets they had on the wall; how the father, switched on the TV as soon as he got the room. Overall it did not impress her; human interaction was nearly absent; they went from one gadget to another. Human recognition was another concern, brought up by another participant, which although this aspect is present today, with loyalty cards, commercial establishments identifying what one is buying, and basically humans being turned into statistics; this idea puts her off from the direction we are moving towards to in general. She also states that human-computer interaction is still far off; technologically it is possible to achieve such a system within ten to twenty years but for the system to be implemented and achieving trust and seamless communication that is truly understandable is challenging. She would not opt for it, considering that at the present she does not own a microwave, this is way beyond her league. Another participant was concerned about the element of control which is being lost in such a situation displayed in the video; bringing up the situation that if your mobile phone is not with you, its in your bag, and you are asked to attend a meeting an hour earlier; you simply would not go, and the first hour of the day is yours. Although it looks wonderful ‘it is like your vice is your virtue’. She also agreed upon the invasion of communication and privacy within the home is reduced. The situation with communication has already changed. She continues by bringing up an example with her two young children who prefer to chat with her from the next room rather than speaking to her directly. ‘The invasion into your tiny piece of space that’s left’; is what worries her the most; and receiving emails while brushing your teeth has certainly gone beyond the limit. The participant who was identified herself with being more classical, described herself as being quite a ‘techno-phobe’, and how she was the last of her friends to buy a mobile phone and to create a Facebook account. This said, she quickly got used to both and adapted. Still she would ‘dread’ such a fully-fletched system within her home. But this dread is in turn the same dread she felt with other above-mentioned systems; so an element of adaptability plays an important part with every technological

advancement. She also brought forward the fact that this perception would be completely different from the younger generationâ&#x20AC;&#x2122;s perception. The discussion between participants proceeded and issues such as notifications of traffic jams prior to leaving the house can be of help, but considering that these can be accessed from a laptop nowadays is sufficient enough. When asked about the aesthetics, those who chose interior B in question 3, appreciated the interior design of the one in the Corning glass video. The participant who preferred A, said that she would still stick to her choice and add only the basic technological systems which would fit in the way the space looks on the whole.

5.4 AGE BRACKET 46- 60 The group consisted of four female participants. The session was held at the Architecture Faculty at the University of Malta, tal-Qroqq on 24th April 2013. Where you involved in the interior design of your home? Do you consider your home you live in as being a comfortable space? What would you add to your home that would make it more comfortable?

All participants but one were involved in the design of their own home. Of those who were, one is a wheelchair user who had to alter her present house to make it more accessible for her use. Luckily access to her flat was sufficient, but interior spaces, mostly the bathroom and the kitchen, she had to alter. The only issue she finds within her home is that it is not spacious enough to suffice her needs; in fact she is at the moment moving into a larger home. Another participant, an occupational therapist, lives in a house of character and tried to divide the space as to achieve maximum functionality within the existing fabric. The only thing that bothers her is the high steps which were kept, stating that they can be quite tiring at times. Apart from that, she would not change anything with regards to interior spaces. The other participant owns a terraced house and would change some spatial configurations in the upper floor. The participant who lives in a rented farmhouse, and was naturally not involved in the design, is happy with the level of comfort within her home. What is the space or maybe an object with which you are most attached to? Why?

All participants chose a space where all family members meet up, share their everyday stories and get together. Participants defined this space as the living room while the other chose the kitchen. Two participants also mentioned the terrace as being their second most favourite space, as they can spend some alone time, relax and enjoy the fresh air. Another mentioned the spiral staircase, as it was always her dream to have one in her home. If you had to identify yourself with an interior space (refer to Appendix 6),, which one would it be? What is the reason for your choice?

Two participants chose A while the other two chose B. The reasons for choosing a is that it feels more â&#x20AC;&#x2DC;homeyâ&#x20AC;&#x2122; and warm, and also for the fact that it is more classical. Although both participants who chose A noted that B is a more functional interior, they still persist that they would prefer to live in a space similar to A. The participants who preferred B, felt that A was too cluttered and they preferred the open space offered in the contemporary interior space. This said B tends to be bit too stark and would prefer if some edges and elements were softer and warmer.

The first answers to what is technology within the home were any type of ‘computer-ware’ that controls the lights, temperature and locks and environmental control systems such as under floor heating and air conditioning systems. One participant also was doubtful if air conditioning systems fell under the category of ‘modern technologies’. The occupational therapist argued that technology can also be ‘very basic’ to very specific such as variable height kitchens and ceiling hoists used for persons with disability. The wheel chair user, also an occupational therapist, strengthened this point, stating that apart from such additions in her home, the very low tech elements are the ones which she finds most useful. An ‘easy reacher’ with which she can get things which are in higher or lower positions while a ‘bath board which is nothing but a little cushioned board’ which she can put upon the bath where she can transfer herself and shower safely on it. ‘The little gadgets make all the difference!’ The occupational therapist also added that even simply a perching stool which can assist you while sitting at a kitchen counter or ironing, to preserve human energy and strain on muscles and joints. Upon this comment the rest of the participants started giving more examples on how technology is found within furniture to facilitate their use, such as a the lowering of rails in newer models of wardrobes, kitchen drawers with rails and the ‘lazy susan’. The remote control was also added to the list. The participant who answered first to the question stated that she was now viewing technology within the home through a different perspective, as before she was linking it to anything which had to do with electronics. The wheel chair user described her current home as being ‘basic technologically’, but in their new home, they are adding systems which will enable her to answer the door from her bed as well as a lift to enable her to get into the pool. The rest thought that their home interiors are moderately equipped with technology. How do you feel that these additions fit within the interior environment? Were the technological additions taken into consideration at design stage? Do you find yourself altering the appearance or position of such additions?

The operational therapist explained how in her opinion, people nowadays take a more relaxed approach to the home. We are no longer rigid in our ways of adapting to new needs. ‘Before we used to have a dining room which we never used except for Christmas. It was all very formal’. She adds that there is an approach of mixing both ‘modern’ and classical within interiors and one can be creative in how a place is designed and how to integrate technology. She is happy how technology integrates within her home, even though it is a house of character. What bothers her are the wires, and if it had been thought of before, the end result would be more efficient, in terms of cleaning and aesthetic-wise. Another

participant continued on the point of aesthetics noting that the ‘add-ons’ are quite challenging and finding the right place for them within a particular room might be a ‘hurdle’ at times. The wheelchair user noted that, from experience, it is more expensive to integrate a certain technology in an existing interior space rather than if it was thought of at design stage. Another participant noted that add-ons are inevitable as no one ‘foresees’ what we have to adapt to later in life. Only one participant finds herself changing the position of her computer within the same room, although she does not know the reason why she does it. The others commented that they simply do not have the time to consider such a change. What would you improve upon the present state of such additions in your home and why?

One participant wishes to invest in systems which are more energy efficient, mentioning solar panels and roof insulation, which are more related to the exterior fabric that the interior environment. The wheelchair user would prefer technologies that would save her from doing multiple trips from one room to another. The other participants are happy with their present state of technology within their homes. Are you familiar with home automation systems? Have you ever used such systems? Do you think they are detrimental for the home or are they a luxury?

Although all participants are aware of the availability of home automation systems and how they work, none of them have them integrated in their home. The two operational therapists used such systems in exhibits of new technologies for people with disabilities. The wheel chair user appreciates how much time, energy and effort they would save her. ‘What is luxury for other people is a necessity for us’. The other operational therapist stated that when ‘you are still coping, you’re still young and energetic its fine. However, I think people are living into older age, so sometimes unfortunately, we see it at work as well, people give up living in their own homes because they don’t have the comfort of these little assistive technology that would make their life so much easier, which would eventually become a necessity’. The wheel chair added that architects and designers should start to take into consideration universal design. Another participant said she used such systems within a relative’s home and is sometimes scared to use them. She finds the too ‘flimsy and at the same time too manufactured’ in a sense that they are not very user-friendly. The issues of expense, installation and repair costs were brought up. The occupational therapist explained how she is in the process of setting up a rehabilitation flatlet for persons with disability so that they can spend some time there before going back home. They are considering of applying environmental control systems but are faced by the dilemma on how financially easy it for these people who already have enough hospital fees. All participants agreed that they are luxury only because they are expensive, not because their use is not important within the home.

What are your views on the Corning Glass technology shown in the video? Where within the home, or other spaces, would you prefer for this system to be integrated?

The first two comments were ‘wow’, ‘how sad’ and ‘a bit artificial’. One participant noted the potential in the product, stating that situations portrayed in the video are only a few examples of what one might do with such a technology. Another participant while agreeing that ‘its amazing that such things can be done’, cannot imagine herself constantly living in this world of communication. Another participant argued that we are already living in such a situation since we are highly dependent on mobile phones. The issue of living in a world of glass also effects privacy to a certain degree. Another participant was concerned if such glass with automated shading could be opened or not, and compared living in such a space with the feeling of ‘living in an aquarium’. The wheel chair user stated that ‘for people who have a mobility problem, these technologies bring the world to you. You don’t have to travel, that is a plus side. They have opened a whole new world for people with sensory impairments; people who are visually impaired and people who are deaf; these things have made it possible for them to communicate in another way. But on the other hand it look abit too artificial’. Another participant argued that we are the moment moving in that direction; when one goes to a museum it is now full of touch screens. The occupational therapist noted that the system is perfect for dementia patients as it structures their day. If they cannot brush their teeth on their own, there is a step by step structure on the mirror. All participants agreed that if they had to integrate such systems, they would not opt for the fully fletched version. A participant was concerned that some of it might ‘jar’ with other features within your home. For example the photovoltaic glass is undoubtedly something she would want to add, but the appliance veneer glass can be a bit distracting. The new use of the breakfast table would change completely and ‘would need some getting used to’. Another participant stated that ‘it gives you the impression every minute of your day is being planned and executed’. This was the reason why she was reluctant to own a mobile phone when it was gaining popularity. Things are becoming more instant as we progress into such technologies. Another participant added that she feels that ‘it is taking away the communication between family member somehow because everybody is so engaged in technology that it has become the focus of everyone’s life. Its not about sitting around a table and talking and discussing. There’s so much invasion of technology that it distracts…’ All participants preferred the fully fletched system to be integrated within other spaces such as retail and office spaces, rather than in the domestic interior. The total system, as described by one participant, is an ‘invasion of your sanity!’ All participants agreed on this, with another participant adding that ‘technology is also making us very lazy as everything is achieved with the touch of a button’. Children are becoming less creative and sometimes more aggressive, especially young boys who spend most of their time playing video games. This also implies that a younger person, ‘who is a native not an immigrant’ to such a life, would not notice that this change is

actually happening. The constant need to be stimulated by something new is a common trait in younger adults, therefore the new homes would see such a system to be a necessity. â&#x20AC;&#x2DC;Weâ&#x20AC;&#x2122;re getting there, but we might moving faster than due to the younger generationsâ&#x20AC;&#x2122;.

5.5 AGE BRACKET 61+ The group consisted of three members, all female. The session was held at Gateway Building at the University of Malta, Tal-Qroqq on 25th April 2013. Where you involved in the interior design of your home? Do you consider your home you live in as being a comfortable space? What would you add to your home that would make it more comfortable?

All participants were involved in designing their home and consider the overall environment to be comfortable. One participant mentioned that she would add more wardrobes and storage space, and a larger refrigerator. Another participant, who has some experience in interior design, said that she made sure the dimensions within the home such as width and curvature of the stairs and work-efficient kitchen tops. What is the space or maybe an object with which you are most attached to? Why?

Two participants identified this space as the kitchen-living room, where they spend most of the time with their family. The participant who has some experience in interior design lives alone, and prefers the lounge area and bedroom. She adds that it is important for her that the interior environment is a homogenous space visually. If you had to identify yourself with an interior space (refer to Appendix 6), which one would it be? What is the reason for your choice?

All participants preferred interior A, reasons being that a traditional interior has more character, and they would prefer its style over that shown in B. What do you understand by technology within the home? How do you consider the occurrence of technology within your home? Do you think that these technological additions are a necessity or a luxury within the household? What would you add?

The first exampled brought up were lighting, gadgets and robots which clean the house. One participant explained how electrical fittings have advanced a lot although we do not use them; one can change the atmosphere of the room and give a command rather than using a switch. These things exist but they havenâ&#x20AC;&#x2122;t come to us yet. Another participant described technology as the thing that makes life easier, adding that as you grow older such things are more appreciated. Two participants consider the homes to be moderately equipped with the use of dimmer switches for example. The other participant stated that after her house was robbed, most technological products were taken and she is recompiling these stolen possessions. They consider some technological elements to be a luxury while others a necessity. A participant gives an example of how a coffee machine is comfortable, while other kitchen appliances are not being used as much as before since most food is bought ready-made now. Everybody desires them but not all of them are that handy. Another participant states that she loves buying things for the house and uses all of them, these including a liquidizer, a blender and a toaster.

How do you feel that these additions fit within the interior environment?

One participant said that it is very important for her kitchen to be free of clutter. Every appliance has its position, if it is used daily if it has a position on the top, if not it has its place in the cupboards. A participant added that such a â&#x20AC;&#x2DC;traditionâ&#x20AC;&#x2122; is cultural, recalling living at a friendâ&#x20AC;&#x2122;s house in the UK, and placed everything in the kitchen cupboards after cleaning. Her friend was astonished and confused on where all the plates and cutlery were placed as she was used to leave everything outside of the cupboard. The other participant also said that also prefers having her appliances cleared up as her family living in the kitchen-dining area. When asked if they would prefer if the appliances were integrated within the kitchen furniture they all agreed with the idea. What would you improve upon the present state of such additions in your home and why?

One participant explained that with age, things need to be changed around. When you are younger, you spend more time out of the house working, while when you are older you spend more time at home, reading or using the computer. Another participant also brought up the issue of placing objects were they could be reached easier and seating is not very low. Are you familiar with home automation systems? Have you ever used such systems? Do you think they are detrimental for the home or are they a luxury?

All participants are familiar with home automation systems but none used them. All agreed that they are a luxury, and one participant added that the more they are used the cheaper they will become and they would probably end up becoming necessities, like what happened with the computer. What are your views on the Corning Glass technology shown in the video? Where within the home, or other spaces, would you prefer for this system to be integrated?

The first comment was that although it is wonderful, one has to be trained in it. Another participant added that this said, for example a GPS was easy to get used to when she had to use it abroad. All participants would consider integrating it within their home but not altogether. The fact that your mind set is always attached to a technological device, humanly speaking, would lose some contact. She is of a mixed mind. Another participant said that an innovative idea like the one portrayed in the video is always astonishing, and when people get used to them, everyone would be more comfortable. The other participant questioned if it was all a bit extreme, for example choosing the outfit off a screen in a shop. All participants preferred it being integrated within the home rather than in other spaces. One participant stated that we have become so mechanised that communication with real people is always decreasing. Another participant queried that we have made such leaps with the mobile phone and the internet, and we adapted to it, so why not? She remembers that around 18 years ago, when she first used the mobile phone, she felt that she was part of the science-fiction world; whereas now we take it for granted. She

describes how her grandchild, which is two and a half years old can use a touch pad even better than she does. Another participant explained that although children tend to absorb the concepts of technology, bringing up an example of her grandniece who gave her a detailed explanation on how her father repaired a vacuum cleaner, but then stressed on the fact that the noise is annoying. Therefore even for a child, technology is still alien to a certain point.

5.6 PROF. CARMEL PULĂ&#x2C6; Professor Carmel PulĂ¨ lectures at the University of Malta at the Faculty of Engineering, which he had initiated. Apart from his vast experience in various fields including electronic systems; which he is also a lecture of at the University; boat and aircraft dynamics, his shows personal interest and knowledge in the field of architecture and anthropological behaviours. Where you involved in the interior design of your home? Do you consider your home you live in as being a comfortable space? What would you add to your home that would make it more comfortable?

The ground floor was already built and I had a hand at designing the second and top floors. Yes, I do consider that our home is a comfortable space but as my wife and I have grown older, modifications would make it an even better home for old people to live in. But as a young couple with one child, our home was rather comfortable with plenty of space for our Sarah to play and even playing limited tennis and riding bicycle and jumping on lolo balls and even swinging along corridors where the swing is still erected and now used by my grandchild. Forty years ago it was a cull de sac and no traffic passed by our home, but over the years the politicians in Malta who still do not understand what is meant by residential area spoilt it all by building a highway and spoilt it all. it is the stupid planners who do not know how to differentiate between residential areas and traffic areas. There are only two houses in our road. Our home has a lot of natural light and the fact that it is has a building on the left hand side and at the back and a Bastion on the right and also part of Kalkara valley in front of it, the cold weather does not affect us much. The building on the side and the Bastion protects us in three directions and the Valley seems to channel the wind in such an upward direction that it passes over us. It is only a few days in January and February that the house is cold. With the sun at the front all morning and the large roof conducting heat it seem that when we walk inside the temperature is always warmer that the outside. In summer through convection currents along the central stairs to the open washroom it seems to keep the summer temperatures are within reason without air conditions. It is only remotely that the temperature rise is uncomfortable, as we do not have an electric powered air condition system. If I had thought of it before I would have made a smaller house and a larger garage to work in. My wife like any normal woman, seemed to have wanted the house to look as a showcase all of the time, but I felt that being comfortable did not mean living in a showcase, but being comfortable in that it is more livable as a cottage on a farm where the home is a utility home rather than a showcase for other people to see as most Maltese people like to think of their house. I made all my furniture including kitchen, bedrooms, doors, dining room, salott and also the chandeliers in the dining room and in the sitting room. I do not have polished mahogany but pitch pine and the setting is not the expensive looking woods but more like a cottage look where people live and sit down on chairs and settees with no plastic covers on them but a

warm cosy atmosphere that no showcase depicts. Walking in my home one finds peace due to the lack of contrasts of dark woods, dark tiling and shiny stainless steels or radiant colours. It is a home where every corner is used all the time. Incidentally my brother did away with the sitting room and changed it to a precision workshop and the sitting room was moved to the dining room. When the rector of our university entered the front door and turned into the first door on the left he was surprised that the first lateral room was a precision workshop and he was heard to say, â&#x20AC;&#x153;no one would dream that in Vittoriosa behind these walls, there is such brilliant electronic work being conducted in such a historic house. That is the PulĂ¨ way of using our home and definitely not a showcase as a home. We see comfort as comfort and not being comforted that our house looks like a showcase. What is a particular space or maybe an object with which you are most attached to? Why?

In our home at Kalkara what I like about it is the ample space found as one enters the front door. There is a space about 8 feet wide and 30 feet deep and there are two lateral rooms with an arched entry. The total lateral open distance considering the depth of the lateral rooms is 40 feet so though there are the usual furniture, when my daughter was young she had this open space feeling, touring the rooms on bicycles and skates and me running after her. I like the space in my home. Now with my grandson, I play football and seeing him run a 30 feet distance in our home is something I enjoy. It is spacious, does not look like a palace, it is not spectacular in any way, no fancy curtains and the dining room table which I made is larger than 8 feet by four feet with eight high backed chairs around it and anyone sitting around it feels like a knight of the round table, there is arm and elbow room for everyone. Above the table I made a wooden iron chandelier which is probable 6 feet by three feet depicting an old design. There are no shiny useless vases decorating the spaces on the sideboards. Everything is used. When I work late at night, I even sleep on the eight foot couch which I made myself. If you had to identify yourself with an interior space, which would it be?

If I had to identify myself with an interior space in a home I would chose my experimental workshop, my repair workshop, my wifeâ&#x20AC;&#x2122;s workroom, the library, and the space for my computer to contact the world, to publish, and interface my computer with scientific and educational gadgets. Incidentally since my daughter married, rather than me being in one room and my wife in another, I have my computer in the TV room which is in fact the dining room and thus this is the common room and though it is a large home, I make it a point that the evenings are spent in the same room with my wife, with her looking at TV and I writing something or other practicing my speed typing at my old age. I do believe in a space which brings the members in a home together rather that each using different rooms.

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Technology includes materials and methods of building the home, water pipes and drain pipes technology and pumps to assist, insulation to stop heat and cold situations, assisted furniture as electric couches and automated kitchens and washrooms, and fireplaces and communications facilities as telephones, internet, video rooms and on glass entertainment, computers, lifts and vertical translators including stair lifts, protection and alarm systems and security systems, wind turbines and solar panels for electricity and hot water. Maybe the pumping systems for drains and swimming pools. Last and not least the technology of aerodynamic design to stop noisy sharp corners, stop dark patches on the stonework and rounded opramorta to stop wind noise and erosion of stonework, tools in garages and workshops . This is technology and not only IT gadgets. Especially on glass communications as iPads, blackberries so on. Our home is moderately equipped, we do not want a large freezer nor a swimming pool as a home is not meant to close you in. A freezer and a swimming pool do just that. My wife likes to leave the home occasionally to go shopping to meet people, so do we like to swim in the sea with our daughter so that we meet people. Our home does not enclose us and render us self-sufficient, we do not want to be independent of people we love people and to hell with large freezers which keeps people in a home. Home utilities should be basic and one should go out and mix with others in supermarkets and sea sides. It is imperative for children to mix and a luxurious home filled with everything destroys all that. One very rich friend of mine who was a Jew lived in London and he had the most modern facilities for his staff, the most modern, with glass and stainless steels and computers and microwaves and you name it they had it, but he did not want it. At the back of his business area he had a small room into which he would retire. There in this little room he had all the traditions of his younger days in Israel when he was a poor child. There he did not have an electric kitchen but he had oil powered stove which he lit with a flame, to boil water, the lights where not so bright but rather dim and restful. He had all the history of his youth, his motherâ&#x20AC;&#x2122;s laces and his fatherâ&#x20AC;&#x2122;s tools. He had a comfortable couch which doubled up as a bed. He had a praying area where he prayed, all this within a room 20 feet by 20 feet. He had books, to Troia and the Bible and the Koran which he liked to read. He made his toast on an open flame. He refused to accept modern utilities because they rob a home of the warmth, the bright colours disturb and prayers are not conducive to modern music and bright lights. There he found peace. He rested on his own in such a cosy world in the middle of London. He gave his staff what they wanted but they did not have peace of mind with modern decorations and cold looking clinical furniture, yes clinical like in a hospital.

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Very often modern homes with luxuries are not fit to house a person who has a headache. There is too much light, too much noisy colours and sounds which are not compatible with a good rest. I personally like to sleep in a dark room and since our home is well lit I have to cover my head to fool my translucent eyelids that I am in a dark room. It is highly unusual for people to rest in a noisy, colourful, modern room. This aspect of a peaceful rest is not considered with noisy young people who forget this aspect of human requirements and I personally feel that a modern home with an all glass, stainless steel clinical atmosphere is not what gives a tired person a good physical and mental rest. How do you feel that these additions fit within the interior environment?

All my life I sought peace in a home. I never looked upon palaces and auberges as comfortable homes. I went to Naxxar where the Cisk used to live with such decorated palaces and superb furniture. He was a rich man and he had the best craftsmen, the best wood the best architects to design palaces, but there it was all isolated and Cisk had moved out to live in a small flat. The San Anton Palace where I met the presidents and her majesty the Queen Elizabeth. They did meet me in the official grand and cold hall, but they preferred to talk to me in a smaller cosy and comfortable room. Her majesty sat on a simple couch and she was like any other mother, like my mother in fact. She had Buckingham Palace and yet that was too artificial, she was happy to be sitting in a couch as I have at my own home, the Queen was happy and more comfortable on a couch like mine, she enjoyed my type of life. I once complimented Mr Delicata the wine maker on his brand new Mercedes and his answer was so simple: â&#x20AC;&#x153;The Mercedes I use to treat customers from oversees, but personally I like my simple smaller more comfortable and more convenient Renault 4 I believe.â&#x20AC;? So if I had to choose I would live in a cottage used by the working class population I lived with while I studied in England. They were poor, but they had all the comfort and I do not mean mechanical and electronic gadgets. They had simple curtains; simple tablecloths and the furniture had such simple designs. The stove was warm and the fireplace rather cosy, the size of the rooms permitted people to be close together and speak to each other almost cuddling in each other. I find that Nobel Prize winners usually come from places lying between the latitude passing though Rome and reaching up to Scandinavia. All homes are not palaces as we have in Malta. There is something about simple homes that Maltese architects do not depict, the cosiness and how a home brings people together, prays together and lives together. Our Maltese homes isolated people in their own room and

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the colour schemes copy those of palaces and auberges, we have it all wrong. We have showcases and not homes. What would you improve upon the present state of such additions in your home and why?

If I lived alone I would go back to the past in the manner I would decorate my home. Modern ways has robbed a home of the basic human essentials which enable one to have time to think to have his own brains without it being influenced by the strength of the modern media. We are surrounded by silly things as gadgets and we have no time to think for ourselves to find ourselves. Our life is governed by interior decorators who forget about the peace of mind or a human being, Modern luxurious places does not enable a person to write a romantic poem, modern surroundings seem to encourage sex rather than romance. It comes down to basically that. Modern gadgets and modern colours and modern glass had killed romance and introduced an artificial excitement which when one recognises it seems that modern people are fidgety and pushing buttons with out having a brain and a mind of their own. Everything at the push of a button and no imagination is left as every detail is shown. Even with the clothes we wear especially ladies who offer no secrets any more as in the old days where romance was uncovering what was not available to everyone so cheaply, so easy. The imagination is gone in modern surroundings. Newer models and newer appearances had provided new bodies, but lost the souls found in simpler surroundings, modern building, and clinical surroundings have lost their souls and their spirits as the lines do not contain contours which depict gentleness, the modern lines depict excitement and aggression, perhaps not monotonous but certainly not gentle in form and colour. Even modern churches these days do not depict and crate mediation for those who enter them. The architect has failed miserably and does not cater for thinking people but for the masses that need to have fun rather than depth of feeling. Are you familiar with home automation systems? Have you ever used such systems? Do you think they are detrimental for the home or are they a luxury?

As an engineer I am familiar with home automation systems and remote control systems where through an iPad one can control the oven or the boiler and open the car door or start the car and whatever. With an electronic microcontroller one can achieve anything at the push of a button. I personally think that these are unnecessary because they could result the mind coming to a stop and start hallucinating on silly matters. In my days and I still do, I always try to understand the technology rather than use it. Many people learn how to push buttons and claim that they understand technology, but they are operators of technology with a lazy mind which could go wrong. I now know families who are claiming that the electromagnetic fields of antennas are causing them headaches. In recent research I found that the hum of some home gadgets emitting low frequency noise

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are becoming a disturbance factor and people are becoming obsessed with “electromagnetic field radiation in their own homes”. It would appear that people are no longer ready to make an effort to do the simple chores of life and while they fill their homes with electronic gadgets, they seem to lose the ability to apply their minds with some activity to keep healthy. I find that many young people who live in modern homes equivalent to a modern Paceville are well disturbed without them recognising their disturbance. I do feel that new homes lose romance and make way for the sexy revolution. Modern homes create a provocative atmosphere in a home and it is this subconscious reactions that thrill people in a modern home. Comparing what mothers wore 60 years ago with what they wear today. One finds that no mother 60 years ago wore a provocative dress in front of her children but now, the colour schemes. the cut and others attachments, even the shapes of the cars some drive is all a provocative sensual attraction. Modern homes contain all this subconscious thrills and destroy the true comradeships of the old days. Modern luxury may make life easier, but the mind is not used well in the time available when one owns these gadgets. The mind becomes lazy and starts seeking effortless pleasures. Single mothers are on the increase and other social behaviour is raising their head. This is all due to the homes creating a provocative atmospheres and this is the subconscious attraction in modern homes. These are parameters which no modern architect thinks about and he wants to sell the “best product to ignorant people who are not sensitive to recognise this provocatively and what it does to them!” What are your views on the Corning Glass technology shown in the video? Where within the home, or other spaces, would you prefer for this system to be integrated?

I saw all this. I want it is schools but I don’t want it at home. It makes people too clinical and the coldness crops in as the human touch and imperfections will be regarded as faults compared to the efficiency of technology. I am sure that people not capable of handling such an atmosphere will seek refuge in doing silly things. The brain is not really active to handle those moments where we need to rest. What I saw in that video is related to a hobby which I had for the last 50 years. “The intension behind shape and form” I do believe that behind any shape and form there is an intension to create any of the following, monotony, gentleness, excitation, and aggressiveness. These are four adjectives which summarise the effect of contours and colours schemes and noise including musical. In that video the motions are too aggressive for me, I would rather do without that style of living and I would rather go back to the peaceful life of a country cottage. Those children will look cleaner, the grownups look more clinical in their ways, but hidden behind all that I see a provocative atmosphere which has no room for the old fashioned

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romanticism. I believe the price we pay for living in that surrounding is the same as animals living in the zoo. They are comfortable but so enclosed. I see in them the efficiency of battery hens enclosed in technical rooms to lay more eggs without ever having time to have chickens of their own as free range chickens of the old years. There is a limit to what man can take without losing humanity. I am sure that modern youths will accommodate such a living but they will be like tigers in a circus playing the tune of the master, busy operating modern technology in the home and the family reducing its members to minimum even couples agreeing to push technical buttons but not raising children whose nappies, as yet cannot be as clean as the information on the glass substrates. Enough said. I shall finish by saying that in my research I have found a mathematical operator which when applied to parts of a curve shaping anything I can classify the curve as being monotonous, gentle, exciting or aggressive. The intensions of a woman and her reproductive capabilities are projected by her curves and her form. There is a period when a woman’s shape is monotonous, exciting, gentle and unfortunately aggressive. Nature meant it to be like this for obvious reasons. Women enhance these intentions with lipstick outlines, re-forming eyebrows, and the cut of the dress they wear and the shape of the car they care to drive. Using this philosophy I can even say which home produce children who will make it to University as the decorations in a home could enhance and disturb the mind of the occupiers. I am afraid that many architects did not do all the studies I did in what is created and the consequences of a curve in a home or a colour scheme. I wish to publish all my work. I have tested it and here is my last contribution. I knew of a woman who could not bear children as she was going around her home worrying about the decorations and the showcase she wanted to build and be proud of. I could see her from a distance that she had lost the romance in life and cared more about the shapes of vases she placed on her furniture. One day she told me about her childless marriage and I complemented on her home and at the same time I told her to learn how to ‘tinnamra ma żewġha għax ma kienitx taf kif tinnamra!’ She had specialised in decorating her house but not to court her husband. I told her what to do and to ask her husband to go to romantic places and spend a month away from her stupid home, and be with her husband, and I meant to be with her husband and not her house which that it was as it was not a home!

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Well apparently a month of old fashioned romance, after 14 years of childless marriage and building and decorating stupid architecture , she found some peace of mind, her body and mind settled on being a woman rather than a decorator of houses and two months later she told me that she was with child. I have a similar story about couples seeking PhDs rather than seeking old fashioned romance and they too were childless, but I did not have the courage to suggest anything to these people and they remained childless publishing papers in international journals and building houses rather than homes. 45 years ago one of the men working on my home, misinterpreted my Dr PulĂ¨ and he thought I was a medical doctor and he told me that after 10 years of marriage they were without children. When I asked him what his wife thought about the situation, she used to tell him, â&#x20AC;&#x153;Let us go to take lessons from the CANA authorities at Florianaâ&#x20AC;? and he never wanted to go. From this I deduced that his wife was the clever one and he was the stupid one thinking that masculinity was measured in the number of pints of beer he drinks and the cigars he smoked. This man knew no romance and cared about how he sculpted the stonework of this house. I was so careful not to hurt his feelings and to try and educate him in the importance of caring and knowing the reproductive system which he failed to learn as he specialised in house building. Anyway I got him to try romance and he too became a father. I am afraid I stick to my architecture and I would go back to the older days when a home lacked these modern gadgets which hide the consequences that humanity is suffering. It is a delicate subject and man and woman are going into it blind folded. In France they just passed a law permitting same sex marriages, convents and monasteries in our church experienced some immorality through the past. Why all this behaviour? I do believe that it is all hewed out in the architecture of the building people live in. The formula is wrong, we have house full of technology but they do not form homes for humans like me!

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CHAPTER 6

analysis and conclusion 6.1 INTRODUCTION This chapter aims to compare and analyse the focus groups discussions, in order to present an understanding of peopleâ&#x20AC;&#x2122;s perceptions. These are divided into themes which help in understanding the multifaceted nature of the topic. A conclusion to the whole study is provided towards the end of the chapter, together with recommendations for further studies.

6.2 ANALYSIS

6.2.1 COMFORT As predicted by the author, older participants in the groups are inclined to be more or completely involved in the interior design of their home than the younger participants. This naturally leads to the tendency for the younger participants to be less attached to their interiors. The meaning of comfort varied with age group and also with individuals within the same groups. The group with ages ranging between 14 and 19, was the only one in which technology was outlined as a means to achieve more comfort within the home. Enthusiasm within the group arose with the mention of new technological developments, ending up with a list of highly technological devices. For the rest of participants, space and style were the most common subjects designated to comfort. Some would opt for more space, living as well as storage, while others for less as to relieve themselves from a lot of maintenance and up-keep of the space. The younger participants tended to prefer spaces within their homes in which they could be alone, most of them identifying such a space as being their study or workspace, with them being attached to a laptop or computer as to communicate with their friends. This notion contrasted with that of by the older participants, most of which preferred spaces in which all the family spent quality time. This said some also opted for spaces where they could relax, but these were intentionally devoid of any digital or communicative devices. None of the participants, with the exception of one in the 20-30 age bracket, mentioned their attachment to an object rather than to a space.

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Table 2 – graph representing participants’ choice of interior (see fig. 40, page 72)

As shown in Table 2, the older the participants the greater was the tendency for them to choose interior A (see page 72). Although this can be related to current trends, it is important to note that most participants, especially those in the ranging 20 to 30 age group gave reasons for their choice. Interior space A was described as being more ‘homey’ and warm, whereas interior B as being more functional and spacious. Ease of function provided by a space was the most common issue discussed within the group, with some participants who chose interior A also stating that interior B would be more practical, but would still opt for A.

6.2.2 PRESENT TECHNOLOGIES During all of the sessions, the participants were somewhat confused on what would classify as technology within the home and what does not. The first examples that were brought forward were either devices or appliances powered electrically or which make part of an integrated automated system. While being described as ‘anything that makes life easier’ by a participant in almost every group, technology was difficult to classify into being either a luxury or a necessity. The issue of its constant state of upgrade, making new technologies cycle from a luxury to a necessity in a few years, was also discussed in all groups. While older participants stated that they managed to get accustomed to the fast changes in technologies, the youngest age group viewed themselves as being spoilt when thinking that all technologies are a luxury.

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Older participants, in particularly those who were completely involved with the design of their domestic interior, mentioned that expense is the main factor why such high-tech systems are considered as a luxuries. All participants perceived a home as being fully equipped if it included automated systems, with which all participants were familiar with, but only a few actually used them, and none had them integrated within their home. Younger participants, in particular those within the 14-19 age group were the only ones who would surely enhance and add more gadgets and ‘future technologies’ within their home. When asked on how these technological additions fit within the home, a few participants brought up the issue, from experience, of its difficulty of integration within a traditional space. Another issue brought up was the fact that digital add-ons are constantly being upgraded and therefore need to be changed frequently. Therefore it is inevitable that such attachments to the main interior space are present, even though their impact can be visually unfavorable.

6.2.3 FUTURE TECHNOLOGIES While watching the Corning ‘A Day Made of Glass’ video, all participants seemed very interested. Only one participant, making part of the 30-45 age bracket, and Professor Carmel Pulè had previously watched the video. This said, immediately after the viewing, the majority of participants, of all age groups alike, discussed their concern with such a system integrated within the home. Although all participants agreed that the innovative technology is astonishing, the overall response was negative and apprehensive. The most common concern was the effect such a way of life would have on humans as communicative beings. Within such a house, one is constantly able to communicate with the outside world, to the extent that the family members within the home are forgotten. It is interesting to note that such a belief was brought up even though the video portrayed a content family using the technology in unison rather than individually. There the highest concern was on how this would change the way humans react to each other and how their main focus would not be the relationship they have between them, but rather the relationship they have with the technology. It was also linked to the infamous worldwide fear that machines will take over human life. In someway, the family members in the video had their whole day planned out and were losing control over their own life. This concern led to discussions on how in the future it would be even more difficult to control our children from constantly spending time playing on gadgets, as this is a common problem faced by parents today. Privacy was also discussed, the main concern being that such systems could recognise its user and can easily be hacked, as well as the lack of privacy within the home with information such as emails constantly popping up on all interior surfaces.

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A few participants said that they would not accept the system at all, while a few others, mainly those making part of the youngest age group, imagined themselves living in such a house. The majority would not opt for a complete shift but would rather choose the features which did not integrate the communicative aspect to such an extent in the house. Both older and younger generations independently brought up the effect oneâ&#x20AC;&#x2122;s age has on the perception of such systems. The older age groups, mentioned that the teenagers and young adults are easily accepting such a change, while the youngest focus group said that such systems were not as popular due to a reluctance on the part of the older generations which are investing in new interior spaces at present.

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6.3 CONCLUSION As can be deducted from the course of this research, there is a range of impacts that technology can have on the contemporary home. This holds for the present day as much as it did throughout history. Technology has, since the prehistoric age, been exploited as to better comfort levels in human life. Appearing in different forms into the domestic interior since prehistoric ages, in the form of newly discovered materials and the development of tools, it was not until the mid 19th century that it was specifically designed to fulfill domestic needs41. The rotary knife cleaner, was not invented as to directly improve comfort for the homeowners, but rather as a labour saving device for the large number of servants in Victorian England. Technological progress was before this time never a means of satisfying a domestic need, but developed in other fields such as agriculture, war craft and mobility, and exploited as such as to serve some form of comfort within the home. The process for every technological advance is unique, having its own origin, evolution and extinction as a new and better technology takes up its purpose. But studying the effects of technology with regards to interior spaces without taking into account the people living within such spaces would have proved to be a unilateral approach, missing out on the integrity which makes up the concept of domesticity and â&#x20AC;&#x2DC;feeling of homeâ&#x20AC;&#x2122;. One cannot study a space fully, if not considering the experience and feelings they create and instill and how these are in turn perceived by their users. Domesticity is completely different in nature than technology. While the latter can be scientifically studied and in some way quantified, domesticity is completely subjective. People sharing the same beliefs, within the same culture and even living in the same house can outline different aspects on how the interior space makes them feel at home. Its developmentâ&#x20AC;&#x2122;s origin too cannot be outlined as clearly as that of technology. Although the 17th century Dutch are considered to have formed domestic interiors in a way which reflects the conventional family model as we know it today, this is noted through house planning and paintings, from which it can be concluded that domesticity was an important value to nourish. Domesticity is often interlinked with comfort. As a term, it is easier to relate to but still difficult to explain. It is easier to describe why something is not comfortable rather than why it is. In fact, the universal guidelines which architects and designers use as a basis to their interior planning, take the form of a set of rules with regards to ergonomics, design and mechanical systems, as to make our recreational, work and living spaces more comfortable and easy to function in. These have been the result of scientific studies on how our human body fits best in relation to furniture, rooms and buildings. The majority of houses in the developed world have to be designed on such dimensions. Would this mean that the occupants are The rotary knife cleaner, was not invented as to directly improve comfort for the homeowners, but rather as a labour saving device for the large number of servants in Victorian England (Bryson, 2011). 41

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completely comfortable if they choose the right furniture for their rooms, the right colour for their walls and furniture and the right dimensions and relationships for their spaces? Perceptions of comfort are subjective, and apart from being achieved through physical well-being, comfort is also affected by intangible personal experiences, relationships and sensory stimuli which instil a sense of happiness when we reside in an interior space. Therefore interiors should be designed not only to make their users comfortable but, more importantly, happy within the space. Frequently, this is thought to be achieved, both by designers as well as clients, through the adoption of specific interior styles and decorations. Period furniture pieces which have little to no ergonomic thought in their design; as their purpose was that of exuberating of their user rather than physical comfort; are still opted for in 21st century interior spaces. What is it in such styles which entices to an extent that they are still around? It is important to study historical models as to formulate good design, but there seems to be a conflict between the fast paced changes offered to us by technology and its reluctance of it to be integrated within our home. One cannot recapture the comfort of the past by copying its dĂŠcor. The way that rooms looked made sense because they were a setting for a particular type of behavior, which in turn was conditioned by the way that people thought about comfort. Reproducing the former without the latter would be like putting on a play and only building the stage set, but forgetting the actors and the script. It would be a hollow and unsatisfying experience. We can appreciate the interiors of the past, but if we try to copy them we will find that too much has changed. (Rybczynski, 1986) In fact, the relationship between technology and the home has undergone major leaps over the course of the past 150 years. The industrial age revolutionised every aspect of the house, from spaces as the kitchen and bedroom, to the internal comfort with regards to heating and cooling, ventilation and artificial lighting. People were becoming more in contact with technological systems; heating a space and providing light to a room become mechanical rather than manual. This human-machine interface has been even more developed with the digital age. Not only are we now able to be in control of our systems more efficiently through automated systems, but we are also able to connect with others through the comfort of our own home. This change is bound to affect the domestic patterns formulated by the Dutch as well as the aesthetics of our future interiors. Is the society we live in today, which is still opting for well-outdated interiors technologically, ready for such a drastic change? What this new advancement of digital connectivity offers is a completely new relationship between technology and user. Its ever-changing nature, as explained by Angele Licari, results in its users being â&#x20AC;&#x2DC;dragged into itâ&#x20AC;&#x2122;. Its an addiction to being upgraded and not all users

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are able to adapt to such a quick evolution at the same rate. She states that ‘we have lost our choice of staying where we are. We have to move forward, which is not a choice’. Another conflict is the fact that while we are connected to a wider network through a virtual world, we are being disconnected and losing out on the real relationships present in the physical space we are living in. These conflicts with digital technology are being experienced through devices which were aimed at mobility rather than for the home, such as the mobile phone and the laptop. However they have found their place within our home interiors and the provision of how they could affect our lives and relationships is relatable. This was noted both in the participants’ response as well as during discussions with professionals in the field. Conclusions for the integration of technologies, in particular automated connecting systems such those proposed by Corning, within future interior spaces cannot be directly drawn. This said, societies’ perception play an important roles in the prediction of patterns. Technology will probably never lose its amusing aspect, although this will by time diminish due to the fast paced change and disposable nature of the digital devices. In turn this may negatively impact consumers’ perception as they are constantly feeling outdated by the same technology that they are investing in to stay updated. I think the technology is not ready for the society. The society has very high expectations of the industry that it is still trying to catch up with that expectation. (Perit Chris Briffa, personal interview) Although transistors and microchips are becoming smaller and achieving greater results, their exponential growth may reach a peak. ‘As Gordon Moore pointed out in 2005, chip development has to stop somewhere, and ultimately, technology companies will be limited on the atomic level, unable to go any smaller’ (as cited in: In Computers, What is Moore’s Law?). This might result in the present era having an end and being a transition period to a more stable and reduced pace in changes. This in turn may result in different perceptions when technologies reach a more stabilised point and give room for a comfortable adaptability. On the other hand, the present state and rate of upgrade may remain as is, or even increase as another possible invention, which will outdate the microchip, surfaces. These factors may therefore inhibit a coherent acceptance of their introduction within home interiors. Mentioned by both participants and professionals alike, at present moment they would choose a few systems as to implement within their home. Domesticity, contrary to digitalisation, is a feeling which has been nurtured for centuries and plays an important role in the nurturing of a successful society. For the first time in history, technology might not be providing the physical comfort as a basis to a healthy domestic space, but rather robbing it from its roots, with relationships between inhabitants sacrificed without their knowing. In such situations, a balance will have to be reached through concious decisions both by the

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designers as well as the users. The aim should be to achieve an interior which makes use of the commodity offered by technology but giving priority to the human as a spiritual being, with enough room to connect with his inner-self as well as with the the immediate connections which create a basis to a nourishing society. We are not human beings having a spiritual experience; we are spiritual beings having a human experience. Can you see the difference? Because we set in to think that we are human beings having a spiritual experience and I think it is the opposite. If we really connect from where we really came from; we are spiritual beings that are actually having a human experience. It is a completely different concept and we tend to forget that. Because that means that we are not connected from where we came and where we are going. It is like we are so over taken by surviving here, that there is no before or after, and then somebody dies and we are so taken aback it is like we have forgotten that people die; that there might be some kind of continuous life after death which we do not know about. So we need to consider that even if this [refers to video] helps us to connect to a human level, where is the soul being incorporated in all this? Maybe soul is not so fashionable to talk about. But then what are we, just bodies? I donâ&#x20AC;&#x2122;t believe so. And then if we are saying that even the emotional part is being left out of this; then we are just robots, performing. (Angele Licari, personal interview) The general conclusion which can be drawn is that a balance will have to be reached. Technology has too much to offer for us to neglect it completely due to the effects it is having on our relationships and lives. The advantages offered by a virtually connected world can never be outdone and it is undeniably the way forward. But technology is man-made and the extent of its use can be controlled. Therefore through better holistic understanding of the systems as well as self-control of their extensive use, the feeling we have homed and cherished for centuries can be retained.

6.4 FURTHER STUDIES As one may gather, technology and domesticity are two distinct yet vast topics that provide room for immense further study. The aim of this study was to outline the relationship between the two and therefore a detailed study of the individual areas can be further delved into. At such a smaller scale, individualsâ&#x20AC;&#x2122; perceptions may be studied in relation with their personal interior space. Feeling of space and technology can be interlinked in other interiors, or even on building exteriors. The house can be further divided into separate rooms which can in turn be studied in the light of technology and domesticity. The continuous advancement and spread out nature of technology also offer the chance for its study in relation to other areas, such as how it affects interior spaces with regards to sustainability. Furthermore, the future virtual reality can be studied as an architectural body of its own. Adaptability is also a common theme which was constantly brought up by professionals and participants alike, that can be expanded into a study outlining the reaction of users to different relatively drastic changes within the interior spaces.

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Throughout one particular focus groups, two participants were a wheelchair user and an occupational therapist. Their input indicates the positive impact technology has on persons with reduced mobility. This can certainly be another study one could follow. Domesticity can also be further studied as a topic in its own right, with perhaps particular emphasis on gender and the role of women which is evident in historical references. Domesticity can also be focused and studied in the same way but rather than contrasting between age group, an individual generation can be studied and other parameters may be contrasted.

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DISSERTATIONS Bonavia, V. (2008). Rationalising Street Diversity. Unpublished degree dissertation: University of Malta. Grech, S. (2005). Illusions: Illusive Forms and Functions in Architecture. Unpublished degree dissertation: University of Malta. Valentino, D. (2006). Configurational Change in the Domestic Architecture of the Maltese Islands. Unpublished degree dissertation: University of Malta.

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APPENDIX 1: FOCUS GROUPS RECRUITMENT FORM I am a student at the University of Malta currently reading for my Bachelor in Engineering and Architecture. As part of my final year of studies I am carrying out a dissertation regarding the peopleâ&#x20AC;&#x2122;s perception of the integration of technology in domestic interior spaces. During the end of March and beginning of April, I will be organising 5 focus groups, of different age groups, each having a maximum duration of an hour and a half. A maximum of 10 questions will be asked, and photos and videos will be projected; these being discussed within the group, in which you will have the opportunity of sharing your opinions. The discussion will be recorded to facilitate transcription, but you will remain anonymous, meaning that your words will not be linked to your identity. I require 5 participants for each age group; each divided as follows: 1. 14-19 2. 20-30 3. 31-45 4. 46-65 5. 66+ The focus groups will be held at the Gateway Building at the University. The room will be announced later, together with the agreed date within the group. The resulting conclusion of my research will be sent by email to all participants when completed. Participation is voluntary and you can stop without a reason being demanded. Anyone who is interested or may want further information is free to email me on mariasammut4@gmail.com Thank you in advance. I look forward to hear from you. Maria Sammut

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APPENDIX 2: INTERVIEW CONSENT FORM

I, _____________________________, hereby declare that I am voluntarily accepting to participate in this study with the knowledge that information I provide is confidential and for the sole use of this research. It has been explained to me how the information I give will be used. I consent for my contribution to be used in the research. I consent for an audio recording device to be used and I am aware that the data will not be distributed.

___________________________ Signature

___________________________ Date

___________________________ Maria Sammut

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APPENDIX 3: FOCUS GROUPS CONSENT FORM I, _____________________________, hereby declare that I am voluntarily accepting to participate in this study with the knowledge that information I provide is confidential and for the sole use of this research. It has been explained to me how the information I give will be used. I consent for my contribution to be used in the research, but understand that my name or any identification of my identity will not be mentioned. I consent for an audio recording device to be used and I am aware that the data will not be distributed. I understand that I can withdraw from participating at any time and do not have to answer all the questions.

___________________________ Signature

___________________________ Date

___________________________ Maria Sammut

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APPENDIX 4: ARCHITECT/INTERIOR DESIGNER INTERVIEW QUESTIONS 1. When compared to other building types, do you consider domestic spaces to be the leader or the follower in the integration of technology within the interior? 2. How do clients express the requirements for technology within their home? Do they bring up issues on the visual impact such appliances or products create within the home? Do they involve themselves during design stage or is it a matter of plugging in the necessary once other requirements are designed? 3. During the design process are such systems easy to integrate along with other conventional design measures? Are professionals in other fields involved during this stage or are they predetermined by product brochures? 4. In general, do you think that the society we live in today is ready for the complete introduction of technology within the home? What are your predictions on the popularity of intelligent interiors? Do you think that this form of virtual reality affects the domesticity and â&#x20AC;&#x2DC;hominessâ&#x20AC;&#x2122; within domestic interiors? 5. What are your views on the Corning Glass technology shown in the video? do you think such systems will be a part of the near future in the design of interiors?

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APPENDIX 5: ENGINEER INTERVIEW QUESTIONS 1. When compared to other building types, do you consider domestic spaces to be the leader or the follower in the integration of technology within the interior? 2. You offer a range of automated systems. Are such technologies increasing in demand? At what rate? Which type are the most popular? 3. What are the perceptions of clients before and after they use integrated technologies within the household? 4. How involved is the company in the design stage of a domestic interior? 5. What is the effect of the ever-changing nature of technology upon the lifespan of such systems? Are the clients concerned that such systems may become outdated and their upgrade may be costly? 6. In general, do you think that the society we live in today is ready for the complete introduction of technology within the home? What are your predictions on the popularity of intelligent interiors? Do you think that this form of virtual reality affects the domesticity and â&#x20AC;&#x2DC;hominessâ&#x20AC;&#x2122; within domestic interiors? 7. What are your views on the Corning Glass technology shown in the video? Do you think such systems will be a part of the near future in the design of interiors?

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APPENDIX 6: PSYCHOLOGIST INTERVIEW QUESTIONS 1. To what extent does technology affect the human psyche in general? 2. Can an extensive amount of exposure to computerised systems affect the way we think, react and interact with each other? 3. Would having a completely integrated system within our household

(from light and audio

management, to social networking sites, news updates and video-calling) affect our psyche? 4. Does the above mentioned scenario hinder or aid our traditional intimate feeling of homeness? 5. What are your views on the Corning Glass technology shown in the video?

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APPENDIX 7: FOCUS GROUPS QUESTIONS 1. Where you involved in the interior design of your home? Do you consider your home you live in as being a comfortable space? What would you add to your home that would make it more comfortable? 2. What is the space or maybe an object with which you are most attached to? Why?

3. If you had to identify yourself with an interior space, which one would it be? What is the reason for your choice?

4. What do you understand by technology within the home? How do you consider the occurrence of technology within your home? Do you think that these technological additions are a necessity or a luxury within the household? What would you add? 5. How do you feel that these additions fit within the interior environment? 6. Are you familiar with home automation systems? Have you ever used such systems? Do you think

they are detrimental for the home or are they a luxury? 7. What are your views on the Corning Glass technology shown in the video? Where within the home, or other spaces, would you prefer for this system to be integrated?

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APPENDIX 8: PROF. CARMEL PULĂ&#x2C6; - VIEWS ON THE STUDY As I have many commitments and the fact that I am now a grand dad and do a lot of baby sitting with my Grandson, I cannot attend your sessions , but as I have an hour to spare I might as well tell you my opinion. I am 73 years old getting on to 74. Well first I have to define what I understand by technology. It could apply to the manner in which we design and build our homes. It could apply in what wiring and pipes for services we install in our homes. It could apply to the innovation of insulation and energy saving measures. It could apply to the technology we use in furniture such as beds, chairs, baths considering that we all get older. It could apply to the communications we have as TV, internet, satellite receivers which need hidden cabling and maintenance. It could apply to automatic systems in kitchens and washrooms and floor cleaning. It could apply to transfer of personnel, as lifts and automatic garages where with technology they could be vertical lifts so that cars use smallest underground garages There is the technology of shapes and colours where with shapes one can create a cold or a warm atmosphere. Most modern houses are cold due to the colour selection and the noise and music selected. I have studied and researched about the INTENTION BEHIND A SHAPE and many chose a HOME to be a HOTEL with cold decorations to impress luxury rather than warm family comfort. Some homes in Malta are too cold and too loud in many ways considering design, colour and shapes and sounds incorporated by technology. Innovative furniture using modern technology as shaping desks from cars and settees form shaping cars and tables from Glass supported by the engine block of an engine. Then we have the protection and burglar alarms sophistications. Wind turbines, solar panels, satellite antennas and hot water solar systems are technologies which must be catered for.

Building our homes. Building homes in Malta is ridiculous as far as design is concerned. To still include about 5 tons of concrete roof and porous stone and brick wall for each room is still so stupid. Humidity makes our homes so cold and one has to incur the expense of running a dehumidifier. Modern homes can be designed much better using modern materials and the community must no longer design as individuals which make the whole area so ugly. In Malta we must learn to design as a group for the beauty of a

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building is not on individuality but to see the whole living scenario as a group of homes; a group of gardens where people relax at the whole scenario. Maltese building set up a depressive scenario which causes us to shout at restaurants, in churches and even the morality of the district is decided by the architecture. In Valletta and Gżira and Buġibba the prostitutes thrive is such architecture set up in those places. Good families need a special type of design which does not radiate immorality. City building and houses are culprits of immorality while the village home is more decent in bringing up a good moral community. In Malta even the churches have a sexy look about them with shiny marble and grand chandeliers more suited for palaces. Church design in Malta forgets about holiness and meditation and introduces exhibitionism as hotels and palaces are renowned

Wiring and pipes for services. In Malta we have to learn to design the piping in the concrete before this is solidified and not to cut out large portion after the bricks and walls and concrete solidify. This alone weakens the structure and if we had to live in an earthquake sensitive area most of the homes in Malta will collapse. In England and other places the architect works in conjunction with the engineer who needs to introduce technology that the architect never understands. This working together I have done in designing submarines where all the team must work together. In Malta the architects have no idea of all the modern technology that need special runs and perhaps maintenance after installation. I personally do not think that it is necessary to put water pipes behind tiles as in the future these will cause trouble. WHY SHOULD PIPES BE HIDDEN WHEN THEY COULD BE INSTALLED IN A MANNER THAT WOULD MAKE TECHNOLOGY ENHANCE THE BEAUTY OF THE WHOLE BUILDING? Architects must be aware of the beauty of technology and show it. After all most expensive watches show the escapements and the technology and its movements enhance the beauty. In Malta we are centuries behind in this aspect.

Insulation and warmth and thermodynamics and aerodynamics. The architects in Malta have no idea of thermodynamics and can never appreciate the losses of Maltese buildings. With the right design even the noise around the edges of an opramorta may be reduced. In Malta on windy days, most homes are noisy because of the edges on the corners of the stonework. Even the flatness of the opramorta decided the black streaks that cause uglification to the building. An example of this is the University Gateway where the stupid famous architect angles the flat top of the opramorta to the outside and hence all the dirt on the flat opramorta finishes on the face of the façade as an ugly blackness. The architect of the Gateway at university should be shot. Also waterproofness is obtained through the design of edges on windows and elsewhere. At University some stonework was introduced very wrongly and the blata was loaded with the stone above it when this should have had the

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load releaved by proper design. The sunshading around the engineering/library car park is wrongly made and our students do learn the wrong things when they see such stupid logic in the stonework. I show this stupidity to all who care to came and see. At The Maritime Museum at Vittoriosa there are some technology which are structurally beautiful and many in Malta were not aware of the method one builds an arch when it is going to be heavily loaded. In England I saw arkipjan and arches with dowels in between to stop slipping. Also many people opening a wall do not know how to put the cavi to support the stonework. They put the cave in a straight line when these cave should be curved to form an arc.

Furniture, beds, ovens and so on. All these can be interfaced to an Ipad and from a remote area one can control all these facilities with modern technology. In my opinion they add coldness to the human touch but many modern people prefer this technology to rule them and they will have to be catered for. The architect must know about the interference of radio magnetic field before he decides to shape the room in any architectural fashion of his own whim. This subject can incorporate many aids for handicapped personnel, old aged people like me and so many aids including lifting aids in a bath and showers . I once designed a walk-in bath so that one does not need to jump over the edge.

Telecommunication in the home. Most modern telecommunications will become wireless, but still the architect must be aware of all the cabling before the designs and slots and proper channels must be introduced during the building of a home to accommodate and maintain these devices in good order. I do believe that pipes and cables can be introduced in a building with the possibility of replacement without destroying half the building.

The kitchen. In my opinion this has become redundant as no one cooks in a kitchen any more, too busy working and eating out or take away. Still the kitchen is built for show rather than utility. However the fact that kitchens are smaller as in modern stupid flats, it must contain work saving devices which must be accounted for during the design of the home. In Malta most things are an afterthought and sometimes difficult to install and maintain.

Lifts and other vertical transfer machines These are useful these days. Underground garages using the smallest areas can be built using hydraulic lifts. Many other facilities can be introduced in bathrooms and other places to help people in need and old age people to get in and out of baths for example.

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Intension behind a shape. This is a hot issue as the psychology of a shape determines its function. In Malta we cannot design holiness in a church, but a show off we do. In a home we design luxury instead of comfort and warmth with the result that half of the children in Maltese homes are disturbed by the cold architecture; the loud noise made by colours and shiny sheens of marbles and glasses and stupid things that render a lot of depressions with the result that children are being brought up in such stupid architecture would find difficulty when they need to concentrate to achieve success in higher education. In Malta this is never thought of but the architecture in Malta DISTURBS the mental state of the Maltese with the stupid shapes as the big pile at Paceville. The place is architecturally NOISY and people would need to go to doctors and psychiatrists and it is a hub for the creation of immorality and prostitution as it hides people, isolating them in a building. They solve the problems by introducing warmth with human company rather than the warm curves of a Baroque or the old architecture when master masons were skilled and introduced curves which enhanced peace of mind rather than the noisy situations at Valletta new Parliament, our own University with sharp edges all over, all the Sliema waterfront and Buġibba and Marsascala and the stupid points and edges introduced by Richard England. I have researched on this shape/intention relationship and I found that architectural curves in building can introduce, MONOTONY, GENTLENESS, EXCITEMENT, AND AGGRESSION. There are many feeling the technology of building may instigate in the residents and no architect cares about how depressed he causes the residents.

Technology in furniture. Many woods in the home are being replaced by more technology in that the embellishments are no longer the traditional curtains and the vases and so on. Many people are dismissing the contents of conventional arts and are seeing the beauty in the design of technical parts. An engine block is as beautiful as any painting of it. The flat art on a portrait is now dynamic and I see that in the future all the walls will be filled with flat screens which will take you anywhere in the world and outer space at the push of a button. I am sure that with such walls littered with flat screens, software will become so powerful that the the whole room will be transformed to a plane cockpit flying over the Niagara falls or flying over the Grand Canyon of Wied iż-Żurrieq, just through software. All this is possible now, and with my flight simulator I do it on a smaller scale, but the technology exists where the whole room will be changed to a Airbus A380 flying anywhere. Incidentally this may also be used to contact doctors and medical specialist where the consultant would view the patient without them meeting. The colour digital systems are of high quality that diagnoses would be done over such communications system.

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Roof top design These are to incorporate further technologies let alone a landing pad in a communal building where a helicopter may land in and emergency to ferry residents to hospitals . The latter could be used in Sliema high rise buildings where getting a patient down is almost impossible amongst the high density traffic that results when architects keep going their way without considering the engineers like me. That is all the time I have as I am a judge at a public speaking competition. You are welcome to have a discussion at the staff room when I can afford the time. I hope this helps. Regards, Puleâ&#x20AC;&#x2122;

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