Flow: Interior, Landscape and Architecture in the Era of Liquid Modernity

Flow combines cutting-edge scholarship with practitioner perspectives to address the concept of `flow’ and how it connects interiors, landscapes and buildings, expanding on traditional notions of architectural prominence. Contributors explore the transitional and intermediary relationships between inside/outside. Through a range of case studies, authors extend the notion of flow beyond the western industrialised world and embrace a wider geography while engaging with the specificity of climate and place. Accompanied by stunning colour illustration and photography, Flow brings together historical, theoretical and practice-based approaches to consider themes of nature, mobility, continuity and frames.

Reviews of Flow: Interior, Landscape and Architecture in the Era of Liquid Modernity

This volume of extensive essays provides a fascinating insight into the spatial continuums between interior and landscape. I read it in a variety of spaces: airports, train-stations and at home. It offered beguiling new insights into those fluid environments. * Graeme Brooker, Head of the Interior Design programme at the Royal College of Art, UK * Not to be confused with the simply amorphous or just `going with the flow', the wide-ranging and interdisciplinary case studies and essays collected here examine how artists and designers strive to interweave interior and exterior spaces. By articulating the interstitial zone between self and world, subject and object, building and landscape, this book focuses our attention on important questions of how design can open our world to greater synthesis and less subdivision. And that – from the way we see, to how we build our cities – is more important than ever. * Richard J. Weller, Chair of Landscape Architecture at PennDesign, USA * Rather effectively, the editors of and authors in this volume compel us to think differently about the interface between interiors, architecture and landscape. As a four-letter word, FLOW proves a powerful way to renew and redress disciplinary, conceptual and physical boundaries that have for too long limited knowledge of the material world. * John Potvin, Associate Professor of Art History at Concordia University, Canada *