Interior design, interior decoration, fittings, furniture, and custom designed light fittings and furniture for private clients for Stables and Grooms’ Cottage, Seaborough Court, Seaborough, Dorset, in collaboration with Witherford Watson Mann architects.

Completed 3 September 2024.

Tables ‘Davide’ in English oak, and ‘Ryuichi’ in stone and English oak; console tables in Purbeck marble and walnut or cherry; sideboards in Purbeck marble and Douglas fir; vanity tables in London plane; low table in olive oak; low table in olivewood; bedside tables in chestnut or olive ash. (Contract value £2M in total, furniture £350K).@en

The interior in modernity has been regarded as a space at a remove from the public world, a space for the private self and ones intimates, a space in which one can be oneself. The notion of the public interior immediately presents a contradiction, in that interior and public would appear to be irreconcilable. The public would seem to infer an unbearable exposure of the self. How can one occupy a space of ones own, in which one can be oneself, in the midst of those conditions imposed by public life? Furthermore, are these conditions not likely to be reinforced by their confinement in an interior? Is it possible, given that the public interior creates conditions alien to private life, to imagine and realise a public interior that allows the self and the selfs interiority to flourish, and permits the self to be the self, among others, in public?@en

A deep reflection in the intimate space of one’s own way to think and design. An itinerant journey that reveals a way of seeing, feeling and communicating the world, the lived space, the stories and architectures experienced and designed. A walk between art, photography, philosophy and architecture: words seem to flow between different thoughts that delve into phases of life to reveal new places, new architecture and, therefore, new consciousness. Mark Pimlott’s narrative is an open letter to all those who are approaching the world of architecture or who are already unconsciously immersed in it, to those who are inclined to take a wide and plural view and who are willing to weave relationships and knowledge. A way of engaging and working with architecture that is changeable, never still, a continuous walk as a form of incessant knowledge.@en

Why site? Why not place? There is so much attention to place, to its significance, to its character, atmospheres, and authenticity. Place, as a coalescence of diverse factors and presences considered to be meaningful, is the holy grail of phenomenology, the object of fascination of cultural anthropologists. Why site, with its evocations of chaos, and half-made-up-ness? It is always worthwhile to turn to definitions for some measure of each of these words, at least in the English language.@en

Book: Denise Scott Brown. In Other Eyes: Portraits of an Architect (2022) / Frida Grahn (editor), Birkhäuser, 2022 - Bauwelt Fundamente 176@en

One’s own practice is a constant articulation of one’s position in relation to actual conditions, in which one’s work appears. One relies upon one’s own readings of the conditions the world offers, in which one is immersed and formed, and an innate sense of resistance to its coercions and restraints. One seeks further means of understanding those conditions, which inform, sometimes direct, and at other times deepen one’s own convictions as to what must be done. One might call those means, embodied in texts and in other practices, past and contemporary, theory. The observations and the work one makes in light of this are not enactments or realisations of theory. Rather, aspects of that theory consciously and unconsciously become part of one’s world-view, and find themselves embedded in what one says, writes, teaches, proposes, and makes. They accumulate. And as one finds one’s practice, through necessity, needing to use various means and media, needing to appear and engage in different actual and discursive contexts, one’s points of reference or guidance in other practices, discourses, and texts are correspondingly, inevitably, varying, diversified, eclectic. This paper proposes a chronology of exchanges between theory and acts within my own multi-disciplinary practice, beginning in 1964, before I was aware of the very idea of either theory or practice, but conscious of a world of relations.@en

Das Motto von Josef Frank ist eine gute Hinführung zu Fragen, die uns bei der Arbeit am Gebäude der Polyterrasse beschäftigt haben und die auch darüber hinaus eine gewisse Gültigkeit beanspruchen können. Das ist Motivation genug, das weit gediehene Projekt der Transformation und Erneuerung des Gebäudes der Polyterrasse in Auszügen zu dokumentieren. Dabei bezeichnet der Name Polyterrasse zwar den prominentesten und sichtbarsten Teil der Anlage, umfasst inhaltlich jedoch nur gerade die Spitze eines darunter sich erstreckenden, immensen „Eisberges" voller Hohlräume, die miteinander kommunizieren und effektiv einen unterirdischen Stadtorganismus und eine Infrastruktur bilden, die in sich und nach allen Seiten, nach aussen und nach oben, mit den umliegenden Gebäuden und dem städtischen Wegnetz rhizomartig verbunden sind.@en

Op zondag 10 september zwaaien verschillende Vlaamse architectuurparels de deuren open tijdens de Dag van de Architectuur. Architect en assistent-professor Mark Pimlott (TU Delft) vertelt waarom een bezoek aan Het Steen beslist een goed idee is. “De ontwerpers creëren ruimtes voor een eindeloze opeenvolging van gebruiksvormen, gebruikers en interpretaties.”@en

After COVID-19, might one think of the public interior differently? Might the public interior treat the people who use it differently? There is a long history of the public interior shaping or conditioning its subjects and forming subjectivities. Rarely do those subjects challenge the projections of public interiors or alter their conditions. One might imagine (or hope) that the orderly submission to consumption or other subtler exhibitions of power might be diverted by other possibilities, by, say people-watching with civility, or by associations that are independent of prescribed modes of behaviour. One is largely aware that the public interior becomes public by some common consent – it is taken to be public –when it is in fact most often a privately owned, operated and secured space, which implicitly filters its public, and very often does so explicitly, affording limited enfranchisement or denying it entirely as it does so.@en

Andrew Clancy, Colm Moore, editors, with essays by Andrew Clancy and Colm Moore, Martin Søberg, Poul Sverrild, Tony Fretton, and Job Floris; drawings by students of the MArch Economy Housing studio unit at Queen’s University, Belfast (2016): Kay Fisker: Danish Functionalism and Block-Based Housing (2022) is published by Lund Humphries. @en