Creating Interior Atmosphere

Jean Whitehead is Senior Lecturer in Interior Design BA (Hons) at Falmouth University, UK. Jean has an Interior Design degree from Glasgow School of Art, and a Masters in Interior Design from Manchester Metropolitan University, UK and has extensive experience as an educator.

• 1. Creating Interior Atmosphere: An IntroductionIntroductionWhat is Interior Design?Scope of this book - Interior Design and Mise-en-scèneWhat is Atmosphere?ConclusionFurther Reading – Exploring atmosphere2. What’s in a Room? The Principles of ‘Mise-en-scène’The Power of the InteriorWhat is ‘Mise-en-scène?’What is an ‘Interior’ Mise-en-scène?ConclusionFurther Reading – Exploring Mise-en-scène3. The Interior Setting: The Backdrop or ‘Skin’ of the SpaceWhat is an Interior Setting?What is the physical environment – the skin?Examples of Interior Mise-en-scène, creating an interior settingCase Study One: Surface Skin – ‘The Cabinet of Dr. Caligari’, Robert WieneCase Study Two: Surface Skin - Rough Luxe Hotel, Rabih HageCase Study Three: Manipulated Skin -Strawberry Hill, Horace WalpoleCase Study Four: Layered Skin – ‘Re-Set’, Petra BlaisseCase Study Five: Three Dimensional Skin - KU64 Kids Club, GRAFTConclusionFurther Reading – Exploring the ‘Interior Setting’4. What is an Interior ‘Prop’? Accessories, furniture, fixtures and equipmentIntroducing Interior PropsUsing Interior PropsExamples of Interior Mise-en-scène, props and atmosphereCase Study One: Accessories, furniture and fixtures - The Ace Hotel, Roman and WilliamsCase Study Two: Furniture – ‘A Clockwork Orange’, Stanley KubrickCase Study Three: Equipment – ‘Break Down’, Michael LandyCase Study Four: Fixtures- Maggie’s Cancer Caring Centre, Frank GehryCase Study Five: Props as fixtures - Kesselskramer, FATConclusionFurther Reading – Exploring Interior Props5. ‘Special Effects’: Interior Space and ExperiencesIntroducing Interior Special EffectsSpecial Effects - Perception and AtmosphereExamples of Interior Mise-en-scèneand their special effectsCase Study One: Implied Space – ‘Dogville’, director Lars von TrierCase Study Two: Illusory Space - La Maison Champs Elysées, Maison Martin MargielaCase Study Three: Sensory Space - Fragrance Lab for Selfridges, Campaign, The Future Laboratory and GivaudenCase Study Four: Use of Scale – ‘Citizen Kane’, director Orson WellesCase Study Five: Sensory Space - Alcoholic Architecture, Bompas & ParrConclusionFurther Reading – Considering Special Effects6. Light and Shadow: Uncovering its Dramatic RoleIntroducing Light and ShadowLighting and AtmosphereExamples of Interior Mise-en-scène – using light and shadowCase Study One: Shadow - ‘Nosferatu’Case Study Two: Artificial Light – ‘The Weather Project’, Olafur EliassonCase Study Three: Natural Light - D.E. Shaw Offices and Co., Steven HollCase Study Four: Candle light - Sam Wannamaker Playhouse – Allies & Morrison and Jon GreenfieldCase Study Five: Digital Light - The West Lobby in The Cosmopolitan, Rockwell Group’s LABConclusionFurther Reading – Exploring Light and Shadow7. Colour: A Technicolor© Inner WorldIntroducing ColourColour and AtmosphereExamples of Interior Mise-en-scène, using colourCase study One: Colour – ‘The Cook, the Thief, his Wife and her Lover’, director Peter GreenawayCase study Two: Colour – Spiegel Publishing Headquarters by Verner PantonCase study Three: Colour via pattern – ‘Dots Obsession’ by Yayoi KusamaCase study Four: Colour via graphics – The Hotel by Jean NouvelCase study Five: Colour –Wards 23 & 29, Bradford Royal InfirmaryConclusionFurther Reading – Exploring Colour