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Deadline: 15 March 2020

Editorial Information

 

Journal Editor:
Lois Weinthal, Ryerson University, Canada

Associate Editors:
Ro Spankie, University of Westminster, UK
Igor Siddiqui, The University of Texas at Austin, USA

 

 

 

Special Issue: ____room

“There is no such thing as a simple room”.[1]

This theme issue of Interiors titled, ‘____room’, elicits proposals that explore the complexity of rooms that stem from traditional typologies.  A room becomes distinctive with the addition of descriptors such as bedroom, washroom, dining-room, drawing-room, ante-room, laundry-room, powder-room, or in non-domestic spaces – the boardroom, machine-room and waiting-room.  Rooms change when people become roommates, or in a nod to phonetic wordplay, to ruminate.  These compound words have the power to forge obsessions such as Rachel Lichtenstein’s journey to understand traces left in an abandoned room, “It was the room, the set, that obsessed me”[2], or the bedroom wallpaper that drove the main character to bridge sanity and insanity in The Yellow Wallpaper by Charlotte Perkins Gilman. 

Room types are passive until activated by objects and interlopers.  In Species of Spaces and Other Stories, Georges Perec describes rooms as “A bedroom is a room in which there is a bed; a dining-room is a room in which there are a table and chairs, and often a sideboard; a sitting-room is a room in which there are armchairs and a couch…” but when occupied, he offers new descriptors to these typologies that reveal their active state.[3]

Susan Sontag turns the reader inward and blurs the physical and psychological boundary of a room in her fictional novel, In America, writing “But even a long journey must begin somewhere, say, in a room.  Each of us carries a room within ourselves, waiting to be furnished and peopled, and if you listen closely, you may need to silence everything in your own room, you can hear the sounds of that other room inside your head.”[4]

Room typologies have evolved out of necessity, but have also disappeared with cultural and societal changes such as the boudoir and cabinet.[5]  The ‘fill-in-the-blank’ in front of ‘room’ is an invitation to explore interiors through character defining fore-words.  This issue of Interiors invites contributions that explore this theme through practice, writing, research, installations, and other forms of work that offer insight into ____room.

[1] Mark Wigley, “Inside the Inside,” in The Architectural Unconscious: James Casebere + Glen Seator, ed. Joseph N. Newland (Andover: Addison Gallery of American Art, Phillips Academy, 2000), 23.
[2] Rachel Lichtenstein and Iain Sinclair, Rodinsky’s Room (London: Granta Books, 1999) 256.
[3] Georges Perec and John Sturrock, Species of Spaces and Other Pieces, (London: Penguin Books, 1999), 27.
[4] Susan Sontag, In America (London: Vintage, 2001), 27.
[5] Ed Lilley, “The Name of the Boudoir” in Journal of the Society of Architectural Historians 53, no. 2 (June 1994): 193.

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Submission Instructions

Note of Interest due 15 March 2020

For consideration, please provide a note of interest on the topic of ‘____room’.  This can take the form of approximately 3-5 images and accompanying text (300-500 words), or a proposal of 500 words.  Please include your affiliation and contact information.  The editorial team will select proposals from this phase to develop into a manuscript.  Selected notice of intents does not guarantee publication, this will be determined through the blind peer-review process of developed manuscripts. Please see the journal website for additional information on submissions.  https://www.tandfonline.com/toc/rfin20/current

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