Towards Critical Regionalism in Interior Design

TOWARDS CRITICAL REGIONALISM IN INTERIOR DESIGN

By Olivia Jane Green

Bachelor of Interior Architecture Final Year Disser tation

UNSW Built Environment UNSW Australia 2014

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ABSTRACT A regional expression of Sydney’s unique beach culture within the interior design of its beach bar scene reveals an approach to design synonymous with the theory of Critical Regionalism.

The principal theories of this philosophy demonstrate an approach to design that is sensitive towards an authentic regional vernacular, giving significance to cultural expression within architecture and interiors. The review of Critical Regionalism within the interior discipline is an unprecedented study that aims to validate the significance of a regionalist approach to interior design. This thesis synthesises a theoretical study of the origins and fundamental principals of the design philosophy and establishes a theoretical framework for rethinking Critical Regionalism within interiors. These discussions are supported by a case study of Sydney’s bar scene that analyses the translation of Critical Regionalism from a theory to a practical approach in interior design. A fusion of regional and universal vernaculars and a phenomenological sense of place are evident within these interiors, validating the significance of a regionalist approach within interior design, and establishing a profound sense of meaning and purpose.

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L I S T O F I L L U S T R AT I O N S Fig 1. Floor plan. Plan by Mies van der Rohe (Davies 2006) Fig 2. Ground floor plan. Plan by Mies van der Rohe (http://www.e-architect.co.uk) Fig 3. South Elevation. Elevation by Mies van der Rohe (Davies 2006) Fig 4. Long Section. Section by Mies van der Rohe (http://www.e-architect.co.uk) Fig 5. Conceptual Sketch. Sketch by Tadao Ando (Gregotti 1987) Fig 6. Interior view. Photo by Ando (Gregotti 1987) Fig 7. Interior view. Photo by Ando (Gregotti (1987) Fig 8. Ground Floor Plan by Luis Barragan (Martinez 1997) Fig 9. View from interior. Photo by A Martinez (Martinez 1997) Fig 10. Cross Section by Glenn Murcutt (http://www.docstoc.com) Fig 11. External View. Photo by William Curtis (Curtis 1996) Fig 12. View of Dionysiac Frieze. Photo by unknown. (http://www.museumsyndicate.com) Fig 13 Toyhoiro Yamada (Kleiner 2009) Fig 14. Interior view of ruins. Photo by El Marto (http://elmarto.wordpress.com) Fig 15. Plan of Aten Temple. Image by Unknown (civilisation.org.uk) Fig 16. Interior view of offices. Photo by Unknown (Antonelli 2001) Fig 17. Interior view of lobby. Photo by Ezra Stroller (cargocollective.com) Fig 18. Interior view. Photo by Unknown (http://www.msa.mmu.ac.uk) Fig 19. Cross sections. Drawings by Sverre Fehn (1979) Fig 20. Interior viewof Bar. Photo by Shannon McGrath (sjb.com.au) Fig 21. View of bistro seating. Photo by Photo by Shannon McGrath (sjb.com.au) Fig 22. Close up of materiality. Photo by Shannon McGrath (sjb.com.au) Fig 23. View of Interior. Photo by Shannon McGrath (sjb.com.au) Fig 24. View of Interior. Photo by Shannon McGrath (heckerguthrie.com) Fig 25. External view of facade. Photo by Shannon McGrath (heckerguthrie.com) Fig 26. Close up view materiality. Photo by Shannon McGrath (heckerguthrie.com) Fig 27. Exterior view from within. Photo by Unknown (tkda.com.au) Fig 28. Interior view of reception. Photo by Unknown (tkda.com.au) Fig 29. Interior view of Bar. Photo by Unknown (tkda.com.au)

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TA B L E O F C O N T E N T S List of Illustrations Introduction Chapter 1: The Origins of Critical Regionalism

The demise of Modernism and the foundation of regionalist architecture

The historiography of Critical Regionalism Critical Regionalism and the phenomenon of place The architects of Critical Regionalism

Critical Regionalism in the history of the Interior The Modernist Interior

Sydney’s beach culture Case Study: The beach bars of Sydney

Chapter 2: Critical Regionalism in the Interior

The architecture-interior debate

Chapter 3: Critical Regionalism in Contemporary Sydney

The Australian design culture Conclusion List of References

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INTRODUCTION At the essence of Critical Regionalism is a well-informed approach to architecture that establishes an explicit dialogue with its context, a dialogue that transcends the physical aesthetic of space to its phenomenological nature. Consequently, it can be argued that designs that assume this philosophy achieve a higher level of resolution and meaning.

This thesis explores the translation of Critical Regionalism from an architectural mentality to the interior discourse, investigating how its theory has influenced the approach and practice of interior design in the contemporary interiors of Sydney.

Critical Regionalism developed out of the broader notion of Regionalism that had issue with the image of a homogeneous utopia in a global cosmopolitan, influenced by the rapid growth of Modernism. Where Regionalism completely dismissed the Modernist mentality, Critical Regionalism was much more conscious and objective towards its innovations and technology. Its design philosophy synthesises new and old, aiming to bridge the cultural vernacular of the local and the utilitarian language of the universal in an attempt to avoid creating an adverse architecture. The theory should not be reduced to sentimental kitsch, nor should it be confused with the ironic symbolism of post-modernism. Critical Regionalism promotes a sensitive approach to cultural, economical, phenomenological and political issues and, endorses inspiration derived from a geographical context, establishing a national independence whilst also transforming the discipline of architecture and design into a beacon of national identity.

The first chapter offers an overview of Critical Regionalism; its origins and fundamental ideas. It explores the development of the theory as a reaction to Modernism, depicting the downfall of the universal architecture and consequently, the universal culture. The foundations of this dialogue are sourced from the work of controversial architectural critic, Charles Jencks and his divisive article The Death of Modern Architecture (1977). Supporting the philosophy of Critical Regionalism is a discussion regarding its historiography, referencing the writings of architect Alexander Tzonis and historian Liane Lefaivre, and architectural critics Kenneth Frampton and William J.R Curtis, who are considered the forefathers and key figures in the establishment and acclamation of Critical Regionalism within the architectural discipline. This discussion lends itself to an analysis of the key designs of Tadao Ando (1941-), Luis Barragรกn (1902-1988) and Glenn Murcutt (1936-), who are claimed by the above critics as principal designers of Critical Regionalism, embracing a sympathetic approach to the fusion of internationalism and regionalism within architecture.

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The second chapter explores the influence of Critical Regionalism on the development of interior design. It focuses on the translation of the critical regionalist mentality from an architectural discourse into an interior language. This warrants an investigation into the architecture-interior debate, identifying an innate dialogue between interiors and the people that inhabit them – a bond that is arguably absent in architecture. Due to its unprecedented nature, this chapter features an exploration of the historiography of interior design, focusing particularly on the undocumented development of regionalist interiors. This analysis exposes a bias attitude in favour of architecture and the Western culture that has dominated the interior historiography. This chapter concludes with a comparison of the interiors of Skidmore, Owings and Merrill’s Union Carbid Headquaters (1960) and Sverre Fehn’s Hamar Museum (1967-79), both indicative of the modernist and critical regionalist approaches to interior design.

This thesis concludes with a case study focused on the expression of Sydney’s beach culture within hospitality design. While this diverse culture can be articulated through different typologies, this chapter isolates the conversation to the bars of Sydney, influenced by their ability to effectively distil an image of cultural identity in conjunction with an increased interest in bar design during the last decade. The Dee Why Hotel (SJB 2010), The Old Library (Hecker Guthrie, 2012) and the dining room and bar of Bondi Icebergs (TKD, Lazarini Pickering Architetti, 2000-01) can be considered as archetypal models of this conversation, effectively translating their respected beach cultures into a dynamic bar design. These designs reflect the micro-cultures of Sydney’s Northern Beaches, Southern Beaches and Eastern Suburbs, with each presenting a different portrayal of beach culture. This discussion is supported by an analysis of both Australia’s design culture, and Sydney’s beach culture, demonstrating an intrinsic socio-cultural dialogue in the interior discipline and more specifically in the design of bars.

The focus of this thesis identifies a relationship between interiors and their relevant geographic contexts, yet in addition, reflects an insufficiency of attention and significance given to this topic. It aims to demonstrate a comprehensive exploration of Critical Regionalism in the hope of initiating further research and response to the synthesis of the “local” and “universal” vernaculars within interiors.

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CHAPTER 1

T h e o ri g i ns o f Cri ti cal Regionalism

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Critical Regionalism emerged in a bold attempt to rise above the chaos created by the supremacy of Modernism, and revive an explicit dialogue between the built environment and its geographic context. In order to comprehend the origins and theory behind Critical Regionalism, an understanding of the failings and faults of Modernism is imperative, as is an understanding of the development of Critical Regionalism from the concept of Regionalism.

This analysis validates the design philosophy and argues the importance of a sympathetic fusion of local and universal vernaculars within architecture. At the core of its philosophy, Critical Regionalism endorses the phenomenological concept of place as an approach to design that warrants a sophisticated and overt connection between the specificity of site, its cultural, historical and ethnical heritage and topographic characteristics, and the built form.

This chapter provides insight into the demise of Modernism and foundation of a regionalist architecture, the historiography of Critical Regionalism, the concept of place and concludes with an examination of the principal architects of Critical Regionalism; Tadao Ando (1941-), Luis Barragán (1902-1988) and Glenn Murcutt (1936-). These discussions help to frame the significance of the design philosophy within architecture, establishing a sound foundation for the analysis of Critical Regionalism within the interior design discipline.

The demise of Modernism and the foundation of regionalist architecture Critical Regionalism ultimately sought to correct the failings of the Modernist movement, rejecting its sterile and uniformed facades and hostile interiors (Jencks 1977). The demise of modern architecture can largely be attributed to what American architect and theorist Charles Jencks describes as a “univalent form” (1977:15). In his book The language of Post-modern architecture, Jencks argues that “the modern movement has impoverished architectural language on the level of form” (1977: 15). The advancement of industrialisation during the early stages of the twentieth century had an arguably profound influence on the development of the International Style – a modernist language that favoured a universal vernacular over instances of context and culture. Slowly, but surely regionalist characteristics were replaced by contemporary methods, materials and universal motifs.

By the 1970s, Modernism had transformed into a global architectural language that had not only dominated the commercial typology, but had filtered into civic, hospitality and residential design. Jencks recognised that “the glass-and-steel box had become the single most used form in modern architecture” 1977:15). It is a point strongly reflected in architectural critic William Curtis in his book Modern Architecture since 1900, whereby he describes modern architecture as the “recurrent tendency to use simple rectangular volumes articulated by

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crisply cut openings” and “recurrent motifs like strip windows, flat roofs, grids of support, cantilevered horizontal planes, metal railings and curved partitions” (1996: 256). Arguably, the reduction of architecture to its simplest form can be suggested as the underlying fault of Modernism. American architect and theorist Peter Eisenman in a journal article titled Postfunctionalism, identifies how “architecture became increasingly a social programmatic art” and further argues “as the function became more complex, the ability to manifest the pure typeform eroded” (1996: 56).

It can be suggested that Jencks’ concept of a univalent form lends itself to an absence of specificity of type in the Modernist Style. Curtis argues that modernist “buildings of different functions, size, material, meaning and expressive power could be found which nonetheless had obvious features in common” (1996: 257). Arguably, there is little, if any distinction between the appearance of a house and a commercial structure during the modernist movement, as is the case with Mies van der Rohe’s Farnsworth House (1945-51) in Chicago, USA and the Nun’s Island Gas Station (1969) in Montreal, Canada. A comparison between the two structures in their sectional drawings reveals an analogous series of parallel vertical and horizontal I-beams holding up a thin-cantilevered roof hovering over full height glass panes (figure 1, figure 2). An additional analysis of the buildings plans reveals the modernist tendency towards an open plan spatial organisation, omitting a definition of boundaries between public and private realms (figure 3, figure 4).

With the universal vernacular and concept of a uniformed utopia beginning to falter, the critics of Modernism recognised the absence of region. Modernism had introduced a permissive attitude towards uncovering past traditions, and as Curtis described “by the last quarter of the twentieth century, most truly regional traditions – most authentic vernaculars – were dead, and the rest were under threat of extinction” (1996: 639). This consequently prompted the emergence of Regionalism, and later Critical Regionalism, both of which were considered solutions to the neglect of region and culture in architecture.

The historiography of Critical Regionalism At the essence of modern thinking was a desire to broaden the boundaries of architecture, bridging societies through a standardised and global language, paralleling the cultural paradigms of post WW2. The advancement of a universal culture was tantamount to the development of a universal architecture, indicative of a political and economic awareness and liberty forming the aspiration for an egalitarian society. However, in an ironic turn of events

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Fig 1. Floor Plan. Open plan layout influenced little definition of private domestic spaces, a characteristic that was furthermore enhanced by the innovation of steel and glass as the core materials in Modernism.

Plan by Mies van der Rohe (Davies 2006)

Fig 2. Ground Floor Plan. Use of glass as the principal material inherently saw no distinction between public and private spaces, and a lack of regional identity.

Plan by Mies van der Rohe (http://www.e-architect.co.uk)

Fig 3. South Elevation. Manipulation of horizontal and vertical members reflect the underlying principal of Modernism, establishing an open and public interior.

Elevation by Mies van der Rohe (Davies 2006)

Fig 4. Long Section. The design exploited the innovation of the glass and steel framed box, and reflected a dismissive attitude to the geographic context in raising it above the topography of the site.

Section by Mies van der Rohe (http://www.e-architect.co.uk)

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by neglecting regional culture, cast and creed, modern architecture resulted in a built world that was unfamiliar to those who lived in it. Furthermore, as Curtis points out, the modernist school of architecture “reflected a Western bias: with a disregard for developing cultures in the Third World (1996: 635). The critical reflection and re-examination of Modernism found a need to restore the memories and aspirations of the local cultures and an acknowledgement of geographic contexts, leading to a regionalist thinking.

Architectural and urban historian, Lewis Mumford (1895-1990), first voiced his concerns amidst the progression of modern architecture as the universal language, rejecting the reliance on technology and the limitations of Modernism and the International Style. He was, as historian Liane Lefaivre described, the forefather of the “regionalist rebellion” (2003: 31).

In his article titled The theory and practice of Regionalism, Mumford describes how the processes of Modernism “impoverish the earth by hastily removing, for the benefit of a few generations, the common resources which, once expended and dissipated, can never be restored” (1928: 18). Mumford here identifies how modernist thinking was more concerned with creating a uniformed architecture that speaks nothing of its site, history or culture. He acknowledges the need to incorporate in architecture and urban planning, the unique and defined characteristics of region, rather than ignore it and destroy it. Mumford’s writing is concerned with the idea of ‘the Machine’ being a symbol of urbanisation and the destruction of regional identities. He argues against modern technology and methods.

Architect Alexander Tzonis and historian Liane Lefaivre identify with Mumford’s critique and concur that there is a need for architecture to return to region, not only for the salvation of contemporary architecture, but also to protect and restore the authentic vernaculars of local states. Tzonis and Lefaivre’s definition of Critical Regionalism confronts the universal civilisation and demands a dialogue between architecture and society. However, in their analysis of Regionalism, they uncover the paradox of a regional culture being part of a world culture, and tension in trying to create an architectural language sympathetic to old and new (1990: 484). Tzonis and Lefaivre turn to John Ruskin to aid their discussion of the impossibility for contemporary buildings to posses “that strong quality of sympathy, affinity, memory and familiarity, a deep sense of voicefulnes that convincingly speaks of past as if it were one with the present” (1990: 484). In their article Why Critical Regionalism today, Tzonis and Lefaivre come to terms with the realisation that “civilisation has lost identifiable regions and collective social structure”, and in a sombre tone reflect that “community and place cannot be recaptured” (1990: 485).

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Perhaps the most influential writing on Critical Regionalism is that of historian and critic Kenneth Frampton. Frampton, like many critics before him, is aware of the cultural significance needed in modern architecture, he is also aware of the need for an explicit dialogue between past traditions and new methods. He proposes “an alternative theoretical position” in which architecture is “able to build on the liberative and poetic legacy of the prewar Modern movement” (1983: 469). Furthermore, he argues that Regionalism bares the “capacity to condense the artistic potential of the region while reinterpreting cultural influences coming from the outside” (1983: 469). Frampton’s Regionalism successfully amalgamates local traditions and universal methods and illustrates an architecture that is relatable to both local and global societies.

In an age where the consideration of environment and global ecology is so vital, the theories of Regionalism and Critical Regionalism have a particular relevance (Nesbitt, 1990: 483).

The progression of Critical Regionalism throughout the last 50 years would see that an embodiment of tradition and innovation is not only possible but also entirely necessary.

Equally important is the essentiality of a considered dialogue between architecture and context to avoid what Frampton refers to as placelessness.

Critical Regionalism and the phenomenon of “place” Critical Regionalism is concerned with the idea of place, essentially promoting a sensitive dialogue between the built environment and its geographical context. Frampton explains, “if any principle of Critical Regionalism can be isolated, then it is surely a commitment to place rather than space” (1983: 481). Critical Regionalism progressed from the concept of Regionalism and developed a new definition of place that extends past the limits of ethnicity and culture (Tzonis & Lefaivre 1990: 486). Norwegian architect, historian and theorist, Christian Norberg-Schulz identifies in his article The Phenomenon of space, how “nature forms an extended comprehensive totality, a place, which according to local circumstances has a particular identity” (1976: 415).

Architecture that responds to place, drawing inspiration from climate, topography and phenomenological interests, becomes specific to its site. These elements become a medium for design, influencing decisions in orientation, spatial organisation, materiality and significant cultural motifs. An underlying fault of Modernism was its supposed placelessness; a building could be transposed from one continent to another, from one culture to another and its purpose and meaning would not be altered. The embodiment of place and a regional

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identity within architecture sets the foundation for a comprehensive critic of the modernist mentality. This point is reflected in the writing of Kenneth Frampton, who states that only through a specificity of place will the “ceaseless inundation of a placeless, alienating consumerism find itself momentarily checked” (1983: 482).

The specificity of place that Critical Regionalism prides itself on furthermore distances the mentality from previous failed attempts of Regionalism associated with Post Modernism (Curtis 1996: 636). Frampton warns that it “must avoid resulting in consumerist iconography masquerading as culture’” and act as “a symbol that would speak of the past, present and future” (1983: 472). By giving focus to place and identifying qualities of a geographical context, the design philosophy of Critical Regionalism builds its own unique and diverse identity, and avoids the danger of resulting in yet another ironic attempt at Regionalism. A point supported by Tzonis and Lefaivre who identify without region and place, “how is it possible for regionalist architecture to be anything more than, at best, a sentimental cosy indulgence in nostalgia for a bygone era” (1990: 485).

This preoccupation with place and the specific character of regions is a response to what Curtis describes as a “sense that the whole world was becoming more and more the same” (1996: 655). The idea of a building that had a direct response to its site and context gave hope of future buildings that could be timeless, able to distil old and new, local and universal.

The architects of Critical Regionalism In the 1980s, several architects began synthesising elements of region with the social and technological changes of the universal civilisation. Furthermore, architects started translating the vernacular and regional character into the pure forms associated with Modernity (Curtis 1996). The notions of vernacular and region are hereby indicative of a perspective of the world that has been cultivated and nurtured by cultural influences. Despite the strategies and methods used in the development of Critical Regionalism, the mentality was primarily concerned with cultural identity. Curtis explains that architects belonging to this design philosophy “considered it a moral duty to respond to the extremes of heat and cold in the form and organisation of their buildings” (1996: 638). The theorists of Critical Regionalism claim the work of Tadao Ando, Luis Barragán and Glenn Murcutt as archetypal models of its theory, displaying an intelligent response and dynamic fusion of local and universal ideas.

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Japanese architect Tadao Ando (1941-) established an approach to design that is tantamount to the underlying theories of Critical Regionalism. His architecture builds a dialogue between the universal tension of simple geometry and abstract materiality, with a response to the surrounding physical environment through orientation, form and scale (Gregotti 1986: 7). Ando’s sympathy towards region lies in the integration of topography and a phenomenology of place, a focus evoked in his design of the Rokko Housing project in Japan (Frampton, 1983).

Ando’s Rokko Housing project, located in the suburb of Kobe in Japan, challenges the relationship buildings have with their immediate natural environment. He explains that “the project started by understanding the site, with the 60˚slope determining the overall form and orientation of the building” (1989: 144). Borrowing a modern geometric order, Ando arranges the groups of residential apartments according to the slope of the terrain, yet juxtaposes the erratic behaviour of the mountainside with a strict grid layout (Zardini 1986: 15). This synthesis is best illustrated by Ando’s conceptual sketch that highlights the relationship between building and terrain and grid façade against the mountain backdrop (figure 5).

For Ando, a response to culture and memory is best expressed through detail. He explains that “detail exists as the most important element in expressing identity” as it is “a generator of an image of architecture” (Frampton 1983: 480). While arguably, his explicit use of concrete gives more of an impression of abstract modernism than regionalism, he expresses the materiality in a way that creates a light and spacious environment – a key ideal Ando has appropriated from his Japanese heritage (Ando 1989: 62). The solidity of the concrete purely defines space, while the natural elements infiltrate the interior, and as Ando explains, “it becomes rich, noble, it becomes alive with human presence” (1989: 62). This phenomenological approach is evident through the photographs evident in figure 6 and figure 7 which depict how the natural sunlight animates the building through shadow and changing light conditions.

Contrastingly, the approach to architecture of Mexican architect Luis Barragán (1902-1988), focuses on the appropriation of a Mexican vernacular to a universal architecture. His work speaks of a fusion between the dynamic Mesoamerican heritage and borrowed motifs of popular architecture (Rispa 2003: 139). His architecture is personal and particular to his culture, and imbued with “the spirit of place”, fitting seamlessly into its geographical context illustrating his awareness of space in the environment (Martinez 1997: 21).

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Fig 5. Conceptual Sketch. The stepped form of the demonstrates a well considered approach to geographic context, that is not only sympathetic by also dynamic in its contrast of geometry. Sketch by Tadao Ando (Gregotti 1987)

Fig 6. Interior view. Interior spaces see a juxtaposition of the mass and solidity of the concrete and lightness of the natural sunlight. Photo by Tadao Ando (Gregotti1989)

Fig 7. Interior view. Juxtaposition between light and mass animates the building.

Photo by Tadao Ando (Gregotti1989)

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The Antoni Gálvez House in Mexico City (1954-55), according to Raul Rispa, is a perfect “synthesis between the indigenous and Hispanic styles, between modernity and tradition, between regional and international influences, between geometrical exactitude and poetic sensitivity, between reason and emotion” (2003: 139). The approach to the house leads to a striking and bold courtyard, acting as a vestibule and transitional zone before entering into the privacy of the residence. It is of Mexican tradition to distinguish between private, service and public areas (Rispa 2003: 139). However, through an analysis of the lower floor plan it is evident that the planning of the house maintains a hierarchy of public and private realms, yet morphs into a continuum from once space to the next, appropriating the modernist trend of an open plan layout (figure 8).

Barragán relies on geometry and colour as a vehicle for blending the Mesoamerican culture with modern aesthetics. Curtis explains that “the inward-turning spaces, textured walls, earthy colours, bold planks, alabaster screens, volcanic rock ledges and exotic planting’ suggests a “local interpretation of the international” (1996: 494). The photograph depicted in figure 9 clearly illustrates how the internal courtyards, external pink-textured walls and local vegetation develop a dialogue with the private residential interior spaces. Similarly, they demonstrates an introduction of natural sunlight via the courtyards and a dynamic experience of the changing quality of light throughout the day. His inward focus of spaces distils the confusion and chaos of contemporary existence, and allows the building itself to speak of the rich culture and heritage.

Australian architect, Glenn Murcutt (1936-) has a distinctly different approach to design from Ando and Barragán, in the sense that he is not concerned with ideas of memory or tradition, but rather develops a specific focus to site and climate (Curtis, 1996: 640). Curtis claims that his buildings sit effortlessly within the Australian environment and argues, “without straining for a particular image of an Australian way of life, Murcutt succeeded in creating buildings which could have stood hardly anywhere else” (1996, 640).

Murcutt’s Ball-Eastaway house in Glenorie, New South Wales (1982-83), nestled within the Australian bushland, stands as an icon of a national architectural vocabulary. The house is one of the more appropriate examples of the synthesis of regional character and modern methods. Theorist Phillip Drew, in an article titled Inspiration from below: Australian vernacular in contemporary architecture, explains how Murcutt adapted “Mies’ famous steel and glass minimalist aesthetic to recognisably Australian materials” (2009: 32). The section of the building emphasises the thin steel-frame structure supporting an arched corrugated iron

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Fig 8. Ground Floor Plan. Open plan layout allows for a continuous flow of spaces that progress from a public to a private domain, and a integration of internal courtyards that are arranged around the perimiter of the site. Plan by Luis Barragan (Martinez 1997).

Fig 9. View from Interior.

The design is concious of its surroundings, aiming to introduce wide vista’s of the surrounding landscape to the interior environment. The natural tones of the vegetation are contrasted with the bright, vibrant tones of the walls which speak a Mesoamerican culture.

Photo by A Martinez (Martinez 1997)

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Fig 10. Cross Section. The form of the House with its arched corregated roof portrays an authentic Australian vernacular, while the steel construction method reflects a Modern influence.

Section by Glenn Murcutt (http://www.docstoc.com)

Fig 11. External View. Texture and materiality of the design responds to a sense of geographic context with inspiration taken from the natural tones of the Australian landscape and bush. Photo by Willaim Curtis (Curtis 1996)

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roof (figure 10). The corrugated sheets also clad the external walls, with timber slats screening the veranda areas. Not only are these materials specific to Australian culture, they reflect the earthy tones of the foliage of the surrounding natural environment (Drew, 2009: 32) (figure 11).

Furthermore, the materiality demonstrates an awareness of the threat of bushfires with corrugated iron cladding integrated with a sprinkler system (Drew, 2009: 32). The success of Murcutt’s architecture can be claimed to be the way he responds directly to the Australian climate. Murcutt describes his intent in adjusting the “orientation to maximise the potential cross-ventilation from prevailing breezes” and shifting ‘rooflines and pitches to gain maximum winter sun and minimal summer sun” (Curtis, 1996: 640).

As demonstrated through the work of Tadao Ando, Luis Barragán and Glenn Murcutt, Critical Regionalism gives recognition to culture, memory and geographic characteristics above the abstract ideals of Modernism. Yet, through the practical exploration of its design philosophy it is able to effectively resolve tensions between the local and global realms demonstrating a profound awareness of the concept of place.

As a reaction to the underlying faults of Modernism and a universal culture, it can be claimed that the theory and practice of Critical Regionalism successfully shapes a conscious and sympathetic dialogue between architecture and its geographic context. At the heart of its design philosophy is a critique of the homogenous identity influenced by the desires of the post-WW2 society. Through catering to the shift in society, Modernism had suppressed the memories and aspirations of the local cultures in favour of a more commercialised architecture, consequently developing the theory of Regionalism. Where Regionalism had fault with Modernism in its entirety, Critical Regionalism acknowledged the necessity of modern thought and innovation in avoiding an adverse architecture. Furthermore, it identified the concept of place as an approach to architecture that transcends the visual narrative of culture to a phenomenological representation of memory. In essence, Critical Regionalism promotes a sense of identity and purpose within architecture, arguably resulting in a design philosophy that ensues more than a pure aesthetic approach to design.

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CHAPTER 2

Cr i ti cal Reg i o nal i s m and the Interior

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‘We shape our buildings: thereafter they shape us’ Winston Churchill 28 October, 1943 (Caan 2011: ).

Winston Churchill’s quote speaks of the intrinsic dialogue between people and place, a connection that is paramount in the interior design discipline. It is within the experience of space that design becomes relatable to society, reflective of our evolving social and cultural trends. Shashi Caan, Indian architect and designer, supports this view, identifying that “interiors most closely define human beings, our behaviours and emotions within our built world in a way no other discipline does” (2011: 8). It is for this reason, that a response to region, tradition and culture in the interior discipline is imperative. The previous chapter saw a discussion on the concept of Critical Regionalism in regards to the architectural discourse, and focused on the phenomenon of place. This second chapter explores the philosophy of Critical Regionalism within interiors, focusing on the architecture-interior debate, an evidential study of a critical regionalist thought in the history of interior design and a comparative analysis of the modern and regionalist interior. Although this research is unprecedented in its study, it seeks to raise awareness of the significance of an articulated regional and cultural identity in design. In doing so, it will attest to the possibility and significance of future interiors developing an explicit response to place and a dynamic expression of local and universal ideals.

The Architecture-Interior debate The collective history of the design discipline has more than often recorded and documented only the progression of architecture and structures, and has either neglected to mention the internal environments, or classified them as secondary to the external structure (Caan 2011: 15). Shashi Caan argues how the archaeological documentation of prehistoric interiors “has long since been absorbed into a well-rehearsed mythology about the origins of building and architecture, a story that extends from Vitruvius to the present” (2011: 22). It can be proposed that where the interior offers a phenomenological experience of space, architecture presents an aesthetic representation.

Interiors are integral to the structures that encompass them and without them, the narrative of the building and design is incomplete. This point is reflected in the writing of Chinese philosopher Lao-Tse whereby he describes “the reality of a room was to be found in the vacant space enclosed by the roof and walls, not in the roof and walls themselves” (20 09: 33). It is within the structure that we as humans develop an emotional response to space that

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is reminiscent of culture, tradition, history and memory. Philosopher, Stanley Abercrombie, in his book, A Philosophy of Interior Design suggests that “when we enter a building we cease being merely its observer; we become its content” and “we never fully know a building until we enter it” (1990: 3). He further states: “We know from experience that interiors have a power over us that facades can never have. This is not due to the commonly observed fact that we spend most of our time indoors; it is due instead to the fact that interiors surround us and facades are essentially two-dimensional and can only be experienced visually. It is the very reason why interiors treated as formal space are nothing more than a compilation of facades” (1990: 3).

In addition, the literature of architecture demonstrates a bias towards the Western World, where in the instance of Non-Western culture has been forgotten or in the rare occasion it has been recorded, it is critiqued against popular qualities and methods of the West. The West hereby denotes a geographical and social division within the universal culture that shares its origins with the Greco-Roman civilisation in Europe, and is seen as the counter to the Orient and Eastern civilisations. Richard Coyne, Professor of Architectural Computing at the University of Edinburgh, identifies the paramount bias of Western culture within design, arguing: “They tell us nothing of the colonised who are simply not there, but have disappeared, as if they had no culture or architecture before or during the European imposition of power.

They are as if passive, non-reactive recipients of a wholly unidirectional power deployed by a hegemonic invader” (2013: 171).

Coyne’s point echoes the importance of regional expression in not only architecture, but also interior design. Caan explains that “good design is the result of a process that emerges from inside us and gives shape to what is around us” (2011: 33). An investigation into the history of interior design reveals an inherent expression of region within the interior, a manifestation of regional identity that has remained unknown to the historiography of interiors.

Critical Regionalism in the history of the Interior Whilst the mentality of Critical Regionalism was established within the architectural discourse, its design philosophy and principal theories can be applied to the interior design discipline.

An examination of interiors against the theory of Critical Regionalism reflects an inherent response to region, which since the ascendency of Modernism and a universal culture has become relatively dormant. The synthesis of culture and innovation and a conscious approach towards geographic context, though unidentified, can be claimed to be evident in

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the history of interiors, and as a result will give significance to the study of Critical Regionalism within the interior discipline.

The concept of culture resides at the epicentre of society and as Frampton describes acts as an “ethical and mythical nucleus of mankind” (1983: 148). Culture can be considered as society’s imagined and constructed perspective of the world, informed by past and present traditions and an inimitable vernacular, and assuming significance as a beacon of regional identity. The theory of Critical Regionalism proposed by Frampton argues that “the strength of provincial culture surely resides in its capacity to condense the artistic potential of the region while reinterpreting cultural influences coming from the outside” (1983: 156).

The ancient interiors of the Roman Empire in essence, demonstrate this synthesis of culture and innovation, distilling tradition within an appropriation of the Greek Style. The Roman culture depended significantly on an adoration of religious cults, and consequently the design of interiors focused on an expression of religion and ethnicity in ornamental wall murals and frescos. This is apparent in the atrium of The Villa of Mysteries in Pompeii with a depiction of the Dionysus cult and its specific rites and rituals (figure 12). The Dionysiac frieze is also reminiscent of its geographic context with a strong use of the vermillion red pigment, a colour indicative of the Pompeian landscape (McKay 1998: 148). This graphic representation of culture was complimented by an adaptation of the Greek style, as John Pile, Professor of Design at the Pratt Institute in Brooklyn, New York explains “in design, the Romans were content to borrow the aesthetic concepts of the Greeks, expanding, elaborating, and ornamenting them as they chose” (Pile & Gura 2014: 38). In addition to the frescos depicting a Greek influence in the illustration of structural features, the approach to planning in the Villa of Mysteries reflects the Greek tendency towards principals of symmetry and order, with a hierarchy of public and private domestic spaces arranged according to a core axis and central peristyle court, as evident in the plan.

Comparatively, this approach to interiors is paralleled in the Islamic design style, which is reminiscent of a strong sense of religious expression. The ancient ruins of the Alhambra Palace in Granada, Spain is indicative of a fusion of tradition and influence with a considered manipulation of the classical dome and arch motif eliciting strong religious imagery. This is apparent in the Palace of Lions court, and as Fred Kleiner, Professor of Art History at the University of Boston, identifies, “the lofty vault in this hall and others in the palace symbolised the dome of Heaven, the flickering light and shadows create the effect of a starry sky as the sun’s rays glide from window to window during the day” (Kleiner 2009: 272). This is achieved

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Fig 12. View of Dionysiac Frieze. Use of red and black tones denotes the region of Pompeii. Fresco illustrates strong Greek influence in structural details. Photo by unknown. (http://www.museumsyndicate.com)

Fig 13. Interior view of dome ceiling. Classical dome ceiling adapted to an islamic style through a composite of clay and stucco materiality portraying imagery of religious connotation. Photo by Toyhoiro Yamada (Kleiner 2009)

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through the materiality featuring a composite of red clay, reflective of geographic context and stucco allowing for the highly elaborate adaptation of arches and vaulted ceilings as illustrated in figure 13 (Kleiner, 2009: 272). The expression of culture and religion, paramount in these interiors fused with a juxtaposition of universal influences identifies with the principal theory of Critical Regionalism, which Frampton explains as the “cross-fertilisation between rooted culture on the one hand and universal civilisation on the other” (1983: 471). This paradoxical proposition is necessary to create a built environment that is conscious of civilisation’s evolution and advancement.

Furthering this exploration of Critical Regionalism in the interior is the responsiveness to geographic context and the phenomenon of place. Frampton develop the notion of “place creation” as the “salient cultural precept” of Critical Regionalism (1983: 482). He further identifies that only through “an understanding of place, and tectonics” can an authentic design be established (1983: 468). The concept of place not only holds a physical bond to regional identity; it develops a phenomenological experience of space, indicative of memory and history.

The principal response to region in interiors can be identified in the primal cave dwellings of our prehistoric civilisations. Shashi Caan identifies that “early designers were cognizant of the role that human interventions had on natural surroundings, a sensitivity that has perhaps been lost as the world we inhabit has been transformed into one entirely of human design” (2011: 18). The ruins at Mesa Verde, Colarado, USA demonstrate an approach to interior design that is expressive of this sensitivity. The interior domain, bound by natural caves and man-made jacal walls, embraced the canyon wall, using its inherent geometry to formulate a sense of shelter and protection (figure 14). The focus on structural elements created simple spaces, featuring colourful woven rugs and blankets, necessitated by local materials and techniques available (Pile & Gura 2014: 20).

Contrastingly, a phenomenological approach to “place creation” is evident in the colossal temples of Ancient Egypt, demonstrating an interior designed to support the cosmological balance between the visible world and the world of the gods (Gray 2008: 13). The Great Temple of Aten portrays an intrinsic dialogue between the interior, religious values and its site.

The temple, dedicated to the worship of the Sun, was orientated towards the Tel-El-Amarna Mountains where a natural incline saw the sun rise through the mountains and converge on the temple’s entrance pillars, piercing through the interior volumes (Brewer 2012: 168). This provided an axis – a central causeway – to which a series of six courts were arranged and

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Fig 14. Interior view of ruins. Form of interior spaces responds to the outward direction of the fire, that resided at the centre of the domestic interior. Architecture uses existing cliff face, and composite material in response to geographic context Photo by El Marto (http://elmarto.wordpress.com)

Fig 15. Plan of Aten Temple. Internal spaces are arranged according to a central walkway that is influenced by the movement of the sun across the landscape.

Image by Unknown (http://www.civilization.org.uk)

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flanked either side by pillars and alters made from local granite and limestone (figure 15).

The design of these interiors defied traditional Egyptian design, featuring open volumes that established an explicit connection between space and sun (Brewer 2012: 168). This overt and exaggerated expression of religion helped to solidify the interior with its geographic context, forming a phenomenological bond to place. Frampton’s theory of place creation proposes an approach to architecture, and interiors that transcends an aesthetic quality, evoking an innate sense of spirituality and memory, that reflects the inherent characteristics of the landscape, developing meaning and purpose within the design.

The comparison between the principal theories of Critical Regionalism in the interior discipline identifies a regionalist mentality that is evident in the practice of design extending back to the primal cave. However, the image of a universalised society that developed within the supremacy of religion, particularly the rise of Christianity, signified a push away from region to an expression of a world-wide socio-cultural focus that eventually flourished in the development of Modernism. Therefore, a re-evaluation of the historiography of interiors that addresses a regionalist mentality will help to establish a platform for the study of Critical Regionalism and interiors in contemporary practice.

The Modern Interior The practice of Modernism emerged out of a desire to distance design from unnecessary ornament and decoration, and the past revivalist styles. Influenced significantly by post-war society and the technological revolution, Modernism sought to create a democratic type of design that appealed to and responded to the needs of a changing civilisation, whilst also evoking a sense of hope and faith following the devastation of the first World War, and considerably so during the second (Massey 2008: 63). There was an emphasis on horizontal and vertical planes and axis, as well as a restricted colour palette that attempted to homogenise the interior spaces, creating a universal vernacular of interior design. These interiors also reflected the expansion of mass production and exploited new technological advances in the construction processes and the manufacturing of furniture and materials (Massey 2008). Accordingly, interior design focused more so around commercial typologies as opposed to the domestic interior that had dominated design since prehistoric civilisations.

The engagement with this newfound innovation and public domain is best expressed through the American architectural firm, Skidmore, Owings and Merrill’s design of the Union Carbide headquarters in New York (1959). As Paola Antonelli, the senior curator in the Department of

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Fig 16.Interior view of offices. Partition walls were introduced to distinguish a sense of heirachy in the interior, reflecting a desire for efficiency that was at the heart of Modernism.

Photo by Unknown, (Antonell 2001)

Fig 17.Interior view of Lobby. Layering of vertical and horizontal elements reflects the principal theory of Modernism, and forms a well-organised interior domain.

Photo by Ezra Stroller (cargocollective.com)

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Architecture and Design at the Museum of Modern Art, describes “the suspended, luminous ceiling, movable partitions, and partial height privacy partitions achieved a level of integration that set a standard and were highly influential in the development of interior systems and conventions” (2001: 27) (figure 16). Antonelli further identifies: “The configuration of Union Carbide’s office space was a physical expression of hierarchy that is recognisable and pervasive today. Status or rank was indicated by the size and location of one’s office, the number of windows in that office and the refinement of its furnishings” (2001: 27).

In essence, the interior of the Union Carbide’s office clearly demonstrates the partiality towards the layering of strict grids and planar geometry, a feature evident in the lobby where the vast rectilinear space is controlled by vertical columns, juxtaposed by a suspended, illuminated grid ceiling (figure 17). This proves that not only did Modernism break away from the distinction between public and private realms, in favour of open-plan arrangements; it also placed an emphasis on function and efficiency.

While Modernism’s response to the rapidly evolving global civilisation is absolute, and its consideration of the changing social landscape is explicitly evident, the same cannot be said for its responsiveness or sympathy towards region or context. Despite its widespread domination of the Western World, Modernism had a lesser influence on the Non-Western cultures, and their own attitude towards architecture and design. This is not to say, however that Non-Western architecture did not comply with the growing social trends of the twentieth century. Instead they assumed an approach that mirrors the underlying concepts of Critical Regionalism. One of these concepts is an understanding of site, and as renowned American architect, Steven Holl argues: “Architecture is bound to situation; the site of a building is more than an ingredient in its occupation. It is its physical and metaphysical foundation. Today the link between site and architecture must be found in new ways, which are part of the constructive transformation of modern life” (Sharr 2012: 63).

This notion is reflected in the work of Norwegian architect, Sverre Fehn, particularly through his design of the Hamar Museum in Norway (1967-79). Fehn’s use of materiality enables a direct dialogue between the new insertion and the existing site. dam Sharr, Principal Professor of Architecture at the University of Newcastle describes how “materials are used to orient human experience in relation to both ground and sky. Throughout the building the fundamental relationship of being above accentuates the experience of being below” (2012: 69) (figure 18). The design demonstrates not only a sympathetic consideration of site, but

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also of the existing structure, successfully and effortlessly fusing together the old and new structures (figure 19). Sarah Menin, in the book Constructing place: mind and the matter of place-making, ascertains that the “site is interpreted as a confrontation between old and new, stillness and movement, ground and sky’ (2004: 303). A response to site has long been systematically ignored by architects, yet the integration of a building or an interior within its immediate typology is imperative in first establishing a space indicative of region and then in creating an experience reflective of culture.

Through analysing the historiography of interiors and a comparison against key concepts of regionalism, a case can thus be made for the importance and significance of a regional response in interior design. Despite a noticeable bias towards architecture and Western culture, the argument proposed acknowledges the lack of response to region in the history of interiors, and furthermore rationalises the inherent nature between the interior and its context. The discussion above brings to the fore an unidentified expression of region and culture in prehistoric and ancient civilisations including the acknowledgement of tradition, ethnicity and culture. It also identifies a constant awareness and response to changing social conditions and trends, further cementing the imperative dialogue between the interior spaces and evolving civilisations. However, the change in emphasis placed on social structure and the fluctuation between private and public domains is identified as the contributing factors in the shift away from regionalist expression, as is apparent in the evolution and influence of Modernity. In conclusion, it can be argued that through the inherent development of civilisation there has been a conscious shift away from culture in the attempt of advancing the familiar, and establishing a universal identity. Nonetheless, interior design should look towards a fusion of new and old, cultural and global in the hope that interior design can regenerate and preserve a regional vernacular through a timeless and dynamic design.

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Fig 18. Interior view. Materiality accentuates the difference between new and old, where the new structure additionally mirrors the from and inherent nature of the existing structure.

Photo by Unknown (http://www.msa.mmu.ac.uk)

Fig 19. Cross sections. The experience of the existing structure is accentuated by the change in height throughout the building.

Drawings by Sverre Fehn, 1979 (http://www.msa.mmu.ac.uk))

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CHAPTER 3

Cr i ti cal Reg i o nal i s m i n c ontemporar y Sy dney

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The exploration of Critical Regionalism and the interior discipline recognises design as a medium for the expression and preservation of national and cultural identities. Through a sympathetic approach mediating the dialogue between universal and local vernaculars contemporary processes of interior design have begun to respond to their regional characteristics and the specificity of place. Critical Regionalism within the interior gives thought to the unassuming voices of the Non-Western world, offering a global platform to authenticate and exhibit their local narrative. This final chapter shifts focus from a global to a national emphasis, analysing the distinct characteristics and narrative of Australian design.

In turn, this results in a sound foundation for a thorough exploration of Sydney’s unique and dynamic beach culture, and its adaptation into contemporary hospitality design. As a result of a change in licensing laws over the past two years, Sydney’s bar scene is rapidly rivalling that of Melbourne, consequently establishing an energetic regional identity (Morley 2012: 112). An analysis of three bars representing the principal micro-cultures of Manly, Cronulla and Bondi is indicative of a paradigmatic shift in the way in which designers approach region in contemporary design, and in doing so illuminates the possibility and necessity of a critical regionalist approach in interiors.

The Australian Design Culture At the centre of Australian design is a portrayal of a cultural agenda, striving to distil nationalist icons such as the ‘pioneer and bushman’ in an imperial expansion, and arguably an enthusiastic attempt to fuse old ideas within new contexts (Huppatz 2014: 202). Michael Bogle, in his introduction to Designing Australia: Readings in the history of design, suggests that the theme of dualities is common to Australian design, attempting to unite the longing for internationalism and the inherent presence of regionalism (2002: xvii). This discussion claims Australia’s design culture as belonging not entirely to the Western World, nor to the East, instead suggesting that it blurs the boundaries of the two enabling the synthesis of internationalism and regionalism within design. Our European colonisation and cultural heritage would see Australia classified in the Western World, however our geographic context speaks more of an unidentified and underdeveloped civilisation that parallels the subservient Eastern and Oriental societies. This polarity enhances the design culture, as we are able to learn from the universal language whilst preserving the regional vernacular (Fry 2002: 7).

Arguably, this appropriation of local and universal idioms inherent in the Australian design culture can be claimed as synonymous with the underlying theory of Critical Regionalism. The development of Australian design identity can be largely linked to the advancement of our manufacturing and trade industries, particularly during the twentieth century. Bogle comments

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on this heritage, identifying “Australia’s failure to industrialise until the early decades of the 20th century” as the precursor for why craftsmanship in ceramics, woodwork and textiles is at the heart of Australia’s interior design approach (2002: xv). He furthermore infers that design is subjective to economy and trade, suggesting “Australia’s manufacturing traditionally assumes a secondary role, while agriculture and mining continue to play a major part in the national economy” (2002: xiv). While the instinctive use of timber as a primary building material was influenced by its efficiency and the cost of labour in Australia during the 1970s, it managed to demonstrate a visual dialogue with the idyllic image of the Australian bush (Evans, Borland, Hamann 2006: 83). Australian architect, Norman Day, in his book Modern Houses, Melbourne, suggests that the use of timber and raw detailing prevalent in the Australian design culture can be seen as an expression of the indigenous landscape forming “a truly Australian cultural identity” (1976: 83). This expression has subsequently shaped a regional identity in Australian interiors, and more specifically has influenced the design of beach bars in Sydney.

Sydney’s Beach Culture The image of the beach pervades contemporary Australian culture. The commercialisation of Australia’s iconic beach image reduced the Australian experience to an identifiable place and a “homogenised image of youth, idealism and vitality” (Edwards, Skinner, Gilbert, 2003: 40).

This idyllic image is synonymous with the Australian way of life, with its sentimental memory and experience transformed into a beacon of national identity, and even more so, national pride. Although the bush and our dynamic landscape had been the innate identity of Australia originating with European settlement, it became a remote myth of the Australian narrative with an increased partiality towards coastal living (Huntsman 2001: 1). This influenced the shift from bush to beach as the ideal image of Australian-ness, a point clarified by Australian socialist, Ann Game’s proposition that “the beach is Australia” further identifying it as the “point of differentiation internationally” (1989: 1). In this sense, the concept of nation becomes an identifiable entity, evocative of freedom and leisure.

Sydney is an icon of the Australian ethos, and with the development of an international image of Sydney’s beaches – more specifically the image of Bondi – due to a commercialised portrayal in tourism and media, it epitomises the national beach culture. The establishment of Sydney’s beach culture emerged with the introduction of the surf lifesaving profession in 1906 at Bondi (Game 1989: 8). Game recalls Sydney as the birthplace of organised lifesaving suggesting it influenced the emergence of the beach as our national identity (1989:

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Sydney’s beaches blur the boundaries between nature and the urban fabric; they are no longer removed from the city as hidden gems in the landscape, but rather become tantamount to the narrative of the city. Above this, however is a physical relationship between body and nature that has become inherent to the white Anglo-Saxon national identity. As Game describes: “At the beach we can find ourselves, are enjoined to, if we are Australian. And we find ourselves naturally, nearly naked connected with sand, sea. This is not split or separated but merged with elements of nature” (1989: 4).

Sydney’s beach culture represents a phenomenological bond to place, evoking nostalgic sentiments and the yearning for hot summers. This concept of nostalgia is paramount to the experience of the beach, as Svetlana Boym, a Professor at Havard University explains in an essay titled Nostalgia and its discontents, “in a broader sense, nostalgia is a rebellion against the modern idea of time, the time of history and progress” (2007: 8). For Sydneysiders, the beach offers a sense of freedom and escapism, devoid of time and constraint. It is within the juxtaposition between the laid-back, carefree attitude and the energetic cosmopolitan flare that makes Sydney’s beach culture favourable over those of Melbourne and the Gold Coast (Llewellyn 2008: 62). Bill MacMahon in his book The Architecture of East Australia, makes comment on Sydney’s unique culture, identifying how “the climate and geography have combined to create a hedonistic, sun-worshipping culture” (2001: 14). The once idyllic sanctuaries and points of refuge from the chaos influenced by the city have been developed into a playground for the burgeoning Sydney youth and the rapid development of a diverse culture. Sydney’s beach culture can be systematically categorised into three distinct costal micro-cultures – the Northern Beaches, Eastern Suburbs and Southern Sydney – who share in this phenomenological and nostalgic experience.

Case Study: Beach Bars of Sydney There is a subdued and undeniably inherent, rivalry between Sydney’s principal beaches, Manly, Bondi and Cronulla, that evolved in the aftermath of the Olympic Games in 2000, eliciting the development of the micro-culture. Each region has vigorously reworked their image, vying for the title of Sydney’s best suburb. As a result, an elusive and unique design of bars and restaurants materialised, reminiscent of the local beach cultures. With this also came the evolution of the humble Australian pub and hotel scene, which soon became tantamount to Sydney’s urban nightlife and essential to the quintessential Australian identity.

An expression of nostalgia and culture within the interiors of Sydney’s beach bars

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demonstrates a response to place in the organisation of program and function, and a portrayal of a regional identity in materiality. The Dee Why Hotel (SJB), Northern Beaches, Bondi Icebergs dining room and bar (TKD), Eastern Suburbs and the Old Library (Hecker Guthrie), Cronulla are reminiscent of their local beach cultures, forming a regional identity and supporting the national image and design culture.

The present culture of Sydney’s Northern Beaches is evocative of the rich history of surfing in Australia, identified by Douglas Booth from the Univeristy of Otago in New Zealand as the “engine room of Australian surfing” (2012: 170). This intrinsic heritage has been expressed in the highly sophisticated and vibrant re-design of the Dee Why Hotel (SJB, 2010) that has undeniably been designed in a regionalist language. While the exterior bares no resemblance to the original architecture, the interior ensures a much more sympathetic approach. The design is reminiscent of the local vernacular, narrating a fusion between the local beach culture of the surfing suburb and the Rock N’ Roll heritage of the hotel scene. As director of interiors at SJB, Jonathan Richards reflects, “the interior is a direct result of a dynamic brief, an enthusiastic client and the context of the surfing club” (Castle 2011: 78). He describes the culture as a “neighbourhood of contradictions” and this is explicitly apparent in the design, within the layering of materiality and texture, balanced with an open plan layout (Castle 2011: 78).

The concept of openness was crucial in designing a space suggestive of the laid-back, carefree beach culture indicative of an idyllic image of escapism. Richard’s explains, “given the venue’s proximity to the beach, we wanted to create a space that would reflect a sense of openness” (Castle 2011: 80). While the bar assumes its position at the centre of the design, it’s relationship to the external wall and a confliction of geometry creates, in areas, awkward space. Nonetheless, a methodical approach to planning sees this resolved in the zoning of public settings catering to individuals, couples and groups of patrons. These seating areas are arranged along the perimeter of the interior, enabling the floor space around the entrance and bar to remain open, effectively creating a constant flow of circulation (figure 20). Another contributing factor to the openness of the interior is the exaggeration of height.

The use of polished concrete columns and pendant lighting accentuates the broad vistas across the interior (figure 21). The cacophony of materiality and texture is another testament to the distinct beach culture, adopting a pallet of raw and tactile materials indicative of a dialogue with nature. As Richards clarifies, “fundamentally, we wanted the space to have a natural look that would evoke both the urban and beachy context of the location” (Castle 2011: 78). Consequently, every surface of the interior and every contrast in

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Fig 20. View of bar. The interior acts as a playground for vibrant materials and textures.

The terrazzo marble flooring contrasts with the geometric interfaceflor carpet tile, which in turn reflects the chevron pattern of the suspended ceiling. Organisation of seating zones along the perimeter of the building, opens up the floor space around the bar for easy circulation. Materiality change is indicative of this zoning.

Photo by Shannon McGrath (sjb.com.au)

Fig 21. View bistro seating. The vibrant yellow pendant lights combined with polished concrete columns help to exaggerate the height of the interior, whilst also visually dividing the broad space into intimate seating zones.

Photo by Shannon McGrath (sjb.com.au)

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materiality or texture are considered. The interior sees a synthesis of natural timbers with bold geometric patterns producing an atmosphere and experience that is anything but static, reflecting the playful and youthful aspect of the beach culture (figure 20). The pale travertine flooring compliments the rawness and neutrality of the timber, which is in turn energetically contrasted by the handmade L-shaped green tiles and vibrant graphic posters (Castle 2011) (figure 22, figure 23). The latter ensues a nostalgic testament to the history of the original Dee Why Hotel and heritage of the pub and hotel scene that once dominated the working suburbia of Sydney. Combined, the open planning and materiality of the interior successfully captures the essence of the Northern Beaches culture, demonstrating a balance between the casual beach and urban edginess.

If the Northern Beaches can be defined by their surfing culture, then surely Southern Sydney can be characterised by its seaside nostalgia, a beach culture searching for simplicity in the Australian way of life. In contrast to the primarily regional approach of the Dee Why Hotel, The Old Library (Hecker Guthrie, 2012) sees the duality of internationalism and regionalism take form. While aspects of its interior are more akin to the interior styles of America’s East Coast, there is unquestionably a sense of ease and domestic simplicity in the articulation of space, indicative of Cronulla’s beach culture (Serisier 2012: 104). The prevailing quality of the design can be found in its homage to the history and heritage of the existing structure – originally a Methodist church and later becoming a library. The former is expressed in the steep exposed ceiling paralleled by the bold form of the bar, while the latter – not as successful in its representation as its counterpart – assumes a more subtle approach in its quirky graphic representation (figure 24).

The approach to and circulation within the structure furthermore demonstrates the design’s simplistic intent, as well as attempting to draw a correspondence between the beach and interior. The transparency of the front façade informs a light and spacious atmosphere, seeing the interior become an extension of the beach experience (figure 25). Like the Dee Why Hotel, the Old Library sees an expression of height, manipulating the scale and proportion of the space. The height of the ceiling, accentuated by the vertical black elements zoning the interior program and skylights, elongates the interior forming an unobtrusive and systematic flow of space that is visually available to the public (Serisier 2012: 106) (figure 24). The seating areas are organised against the central axis influenced by the position of the entrance, and prgress in a linear fashion through the building with a succession from public to semi-private settings.

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Fig 22. View of materiality. Contrast of natural timbers and graphic poster of the Rock N’ Roll history demonstrate a dynamic synthesis of the urban-beach context. Photo by Shannon McGrath (sjb.com.au)

Fig 23. View of interior. Pale travertine marble flooring and raw timbers juxtapose the geometry of the bespoke L-shape tiles that clad the wall, and patterned upholstery inspired by pacific island tribal graphics. The handmade L-shape green tiles draw references from the heritage of the hotel. Photo by Shannon McGrath (sjb.com.au)

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Fig 24. View of interior. Exposed ceiling structure accentuates the steep character of the roof, reflective of the church history, and complimented by the addition of the bar and its form. The vertical black elements help to exaggerate the height of the space, and the direction of the floorboards mirror the existing ceiling structure, and elongate the space. The new additions of the thin black frames, indicated changes in program. Photo by Shannon McGrath (heckerguthrie.com)

Fig 25. View of exterior and entrance. The transparency of the facade introduces ample light into the interior, helping to exaggerate the scale and proportion of the space. The entrance acts as a systematic and linear organisation of program, and the concept of transparency helps to organise public and semi-private settings. Photo by Shannon McGrath (heckerguthrie.com)

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The materiality of the Old Library demonstrates a synthesis of internationalism and regionalism with the local Cronulla beach context complimented by an influence of the American East Coast style. A point reflected by Gillian Serisier in an article titled Swell Life whereby she describes how the “natural linen upholstery and drapery, teamed with creams and washed shades, furthers this aesthetic connection” (2012: 104) (figure 26). The black and white bespoke furniture compliments this neutrality and simplicity, and enhances the turned wooden floors that emphasise the grain and raw qualities of the timber (Serisier 2012: 106). The international influence is again present in the thin black frames that divide the program, reminiscent of the classic characteristics of modernism (figure 24). Despite this obvious intervention of a universal design vernacular, the Old Library effectively represents the yearning for domestic simplicity and seaside nostalgia. While one could argue that its interior is not as expressive of region and a national identity as the Dee Why Hotel depicts, it manages to distil the heart and soul of Sydney’s southern beach culture.

In contrast to Sydney’s Northern and Southern beaches that reside in an idyllic narrative of nostalgia, is the Eastern Suburbs glamorised and commercialised beach culture. At the heart of this cosmopolitan microcosm is Bondi Beach, whose micro-culture has transcended that of Sydney as the ultimate image of national identity. Robert Drew, supports this point, arguing: “Bondi has always reflected what is happening in Australia at large. Somehow it combines everything that is Australian in one small area. It has all the elements of the outdoors life combined with what is at the heart, a very suburban environment” (1984: 27)

The design of the Bondi Icebergs dinning room and bar (TKD, Lazarini Pickering Architetti, 2000-01) reflects the shift in beach culture in a vibrant and stylised interior. This design develops a dialogue to place that is both explicit and dynamic, capturing the visual experience of the beach and developing an atmosphere synonymous with the image of a private beach house (Tanner Kibble Denton Architects 2014).

Like the Dee Why Hotel and The Old Library, the concept of openness is a crucial element of the Bondi Icebergs design. However, it’s close proximity to the beach and ocean offers an experience that is lacking in the other interiors, with the absence of a defined boundary between the beach and interior creating a “unified elegance between the restaurant and nature” (Fischer & Nicholas-Kunz 2005: 290) (figure 27). The design focuses primarily on recreating the experience of the beach, with the phenomenon of the sea breeze materialised

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Fig 26. Close up view of furniture and materiality. Complimentary tones in the timber furniture and neutral linen fabrics reflect the synthesis of regional and international styles.

Photo by Shannon McGrath (heckerguthrie.com)

Fig 27. Exterior view from within. The glass facade helps to solidify the beach experience within the restaurant environment. There is ann undefined boundary between interior and exterior that additionally influences the organisation of program within the restaurant.

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Fig 28. Interior view of reception. Aluminium screens filter the views of the ocean until they are revealed in the dinning room and bar. Lighting helps to establish an atmosphere and experience reflective of Bondi’s glamorised and commercialised culture.

Photo by Unknown (tdka.com.au).

Fig 29. Interior view of Bar. Blue and green tones mirror the natural setting, reminiscent of the changing colours of the ocean. Vibrancy in the materiality is indicative of a playful culture, while the chandelier lighting reflects the glamourised and commercialised Bondi Beach culture.

Photo by Unknown (tdka.com.au)

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in the aluminium partitions forming intimate settings. As writer and photographer Eleanor Curtis describes, “a curved screen of aluminium rods in the foyer, which sway in the breeze like wind chimes, lend a sensual feel� (2004: 127) (figure 28). These screens filter the view across the beach as one moves through the space, opening up in the intimate dining setting.

The materiality, offset by a restrained canvas, furthermore, enhances the experience with the dinning room and bespoke lounge chairs of the bar employing a sophisticated and playful colour pallet with tones borrowed from the ocean (Fischer & Nicholas-Kunz 2005: 290) (figure 29). In one sense, the design successfully reflects the glorified beach culture that is Bondi. However, the question should be asked, whether this culture is indicative of history and tradition, or is it purely a commercial image. If the latter is true, then the design of Bondi Icebergs falls short of representing the true characteristics of region.

An exploration of the way in which national and cultural identity in design is informed by region, demonstrates a new conscious and sympathetic attitude toward the inherent cultural narrative of local societies. A synthesis of internationalism and regionalism within the interior discipline instigates a development and transformation of Critical Regionalism, its theoretical and practical concepts, into a multi-disciplinary approach to design. This paradigmatic shift stabilises the dialogue between universal and local vernaculars within current design thought and promotes a specificity of place within the interior. The exploration of interior design as a medium for the expression of national identity is effectively illustrated through the unique and dynamic Australian design culture, which explores design in both a local and global vernacular. Furthermore, the analysis of Sydney’s beach culture and its translation into the exemplary interiors of The Dee Why Hotel (SJB), Bondi Icebergs dining room and bar (TKD), The Old Library (Hecker Guthrie) expresses a phenomenological dialogue between the interior and place, and the interior and history synonymous with the underlying concepts of Critical Regionalism.

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CONCLUSION At the core of this thesis is the translation of Critical Regionalism from an architectural mentality to the interior discourse, investigating how its theory has influenced the approach and practice of interior design in the contemporary interiors of Sydney. The emergence of Critical Regionalism and its design philosophy instigated a paradigmatic shift in the mentality and approach to not only architecture, but also interior design as this thesis proposes. The dialogue between regional and universal idioms, which resides at the core of the philosophy, affirms a sense of meaning and purpose within the design discipline. While the theory of Critical Regionalism emerged as a response to the modernist image of a standardized utopia, it has developed into a well-informed approach to design in general that exceeds aesthetics, promoting a perceptive design philosophy aware of the cultural, economical, phenomenological, geographical and political issues of society. Responding to the homogenised identity and universal culture produced by Modernism during the post-WW2 society; Critical Regionalism shaped an architectural mentality that was saturated with images of national identity, establishing a dynamic bond between the built environment and its geographic context. In doing so, it was able to preserve the authentic vernaculars of cultures, which had been dismissed and deleted from the architectural discipline during the ascendency of Modernism. At the foundation of this design philosophy are the theories of Lewis Mumford, Alexander Tzonis, Liane Lefaivre, Kenneth Frampton and William J.R Curtis, all of which argue the significance of a cultural expression and response to geographic context in design. It is within the latter that the concept of place emerges, endorsing inspiration derived not only from the physical nature of the site, but also a phenomenological state, conscious of memory and history. The theories of Critical Regionalism initiated the idea of an authentic and distinct architectural response that was able to distil old and new, local and universal; an approach that demonstrates a profound sense of meaning and purpose.

The exploration of Critical Regionalism within the interior discipline is unprecedented.

As a result, this thesis proposes that the design of interiors should not only be indicative of the evolving popular social trends of society, but also assume a regionalist approach synthesising tradition and innovation. The historiography of interiors has always endeavoured to portray the intrinsic dialogue between people and place – a distinction that defines interior design from architecture – yet it neglects to mention the inherent influence of culture. Sensitivity towards region in the interior domain is not only imperative in preserving authentic local vernaculars, but demonstrates a phenomenological

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experience of culture that doesn’t exist in architecture. While an evaluation of the principal theories of Critical Regionalism in the interior discourse reveals a design approach that is reminiscent of region – particularly those of our prehistoric and ancient civilisations – an emphasis placed on innovation and the search for a universal identity surpassed the need for provincial expression. Furthermore, in the rejection of the clinical interiors nurtured by Modernism, the adaptation of Critical Regionalism within the interior seeks an embodiment of culture and generates an icon of regional identity. It is within these ideas that the study of Critical Regionalism within the interior finds validity and substance.

The practice of a regionalist approach in interiors signifies an authentic expression and preservation of cultural and regional identities. The contemporary interior design discipline, influenced by the philosophy of Critical Regionalism mediates the dialogue between tradition and innovation and a synthesis of internationalism and regionalism, as is evident in the Australian design culture. Australia’s approach to interior design holds the ability to draw inspiration from the universal modernist language whilst distilling the rural geographic context and rustic image of our national identity. An analysis of the bar scene in Sydney’s beaches and the way designers respond to the unique geographic context is suggestive of this expression of identity in interiors. At the essence of Sydney’s beach culture resides a phenomenological experience of place, rooted in an inherent sense of nostalgia for the Australian way of life. The case study of Sydney’s Dee Why Hotel (SJB), Bondi Iceberg’s dining room and bar (TKD) and The Old Library (Hecker Guthrie) successfully demonstrates how the theory of Critical Regionalism has been translated into the interior discipline, and as a result offers an authentic experience of region that is otherwise lost in architecture. This case study builds the foundations for further exploration of Critical Regionalism within the interior, and identifies the possibility and necessity of a regionalist approach to interior design.

In conclusion, it can be argued that the underlying theories of Critical Regionalism have undeniably influenced the evolution of the interior design discipline and furthermore the contemporary approach to interior design within Sydney’s bar scene, and in doing so has developed profound sense of meaning and purpose.

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