May 26-27, 2012
Everywhere

World Interiors Day held during the last weekend in May, is an annual worldwide event initiated by IFI to bring Interior Architecture/Design to the attention of the public, to enhance knowledge and understanding about the profession, and to encourage cooperation between professionals with a focus on the range of work of Interior Designers and their contributions to society. World Interiors Day is not a centrally organized event. Multiple events are organized and executed by individual Interior Architects/Designers all over the world, linked by an annual theme designated by IFI membership, which reflects social and sustainable values.

There are only FIVE WEEKS until World Interiors Day which is being held around the globe on May 26th 2012! How are you “Finding the NEW in the OLD?” Is your organization opening your doors to the general public to showcase your interiors and design perspective?

As the International Federation of Interior Architects/Designers embarks to celebrate 50 years of World Interiors, this year’s theme, as voted on by your national associations at the General Assembly in October 2011, reflects on this extraordinary history as we look to celebrate our collective past and embrace the future.

Join the global celebrations by promoting interiors, the spaces which drive our passion! Host social events, put together competitions, open an exhibit, promote interiors policy, or lead tours through your favorite interiors!
Let IFI know how you’re celebrating this 2012 World Interiors Day and how you plan on finding the NEW in the OLD by emailing us at info@ifiworld.org or calling us at +1 514 286 0122.

MEMBER SPOTLIGHT: THE INTERIOR DESIGNERS ASSOCIATION OF NIGERIA (IDAN)

The preeminent Omenka Gallery in Nigeria will serve as host to IDAN’s World Interiors Day exhibition, taking place on May 26-27.

Opening the dialogue for design, the exhibition is coupled with lectures, talks and discussions. IDAN is also advocating design for the public by encouraging practices across the country to open its doors. These practices are also encouraged to host student practice days, allowing students to participate in a professional design environment.

ABOUT IFI

The International Federation of Interior Architects/Designers (IFI), established 1963 as an international not-for-profit, is the global voice and authority for professional Interior Architects/Designers.

IFI is the sole international federating body for Interior Architecture/Design organizations, and acts as a global forum for the exchange and development of knowledge and experience, in worldwide education, research and practice to 270,000 Interior Architects/Designers in countries on every continent. IFI connects the international community in order to further the impact, influence, and application of the design of interiors, promote global social responsibility, and raise the status of the profession worldwide. At the forefront of advocating the role of Design in society, is Founding Principal of The Collective, Ms. Shashi Caan who is the current IFI President (2009-2013), an Executive Committee member and the current Lead Chair of the International Design Alliance, IDA.

For more information please contact:

press@ifiworld.org / +1 514 286 0122

IFI Secretariat Montreal
465 Rue St. Jean,
Bureau 101
Montreal, Quebec
Canada H2Y 2R6

IFI is an INGO with observer status with WIPO and operational relations with UNESCO.

May 11-12, 2012
Hochhauser Auditorium, Sackler Centre – London

This conference explores the domestic spaces in which we live, the places in which we are educated, where we shop and how we travel from the perspective of world class British design in the post-war period.

Speakers include: David Kynaston, Owen Hatherley, Thomas Heatherwick, Alison Clarke, Cheryl Buckley, Paul Gorman and Jules Lubbock.

Download the Programme

In collaboration with the Modern Interiors Research Centre, Kingston University.

This event is part of the British Design Season at the V&A.

de Daniel Cid y Teresa-M. Sala

Una obra exquisita para amantes de la literatura y el arte.

Esta selección de escritos realizados por el habitante y/o el visitante nos guía por las casas de diversos creadores: Soane, Goethe, Dickinson, Victor Català, Curie, Rilke, Dalí, Neruda, Pessoa, Le Corbusier… Una detallada visita que nos permite adentrarnos en el universo imaginario del creador, en donde la vivencia de la casa, la experiencia íntima y los rituales domésticos son revividos por nosotros en la soledad de la lectura y en el seno del espacio infinito de la literatura.

Un libro extraño a la vez que fascinante, entre catálogo descriptivo y pasaje de memorias proustiano, donde se mezclan el desorden de las cosas, la vida y la vivienda.
Una obra abierta al memorial y a la hospitalidad de nuevas existencias –las nuestrasque algún día también serán memoria y olvido.

978-84-344-1359-7
19,90 €
16,0 x 24,0 cm
224 pág.
RÚSTICA CON SOLAPAS

Los autores:

Daniel Cid es doctor en Historia del arte y profesor y responsable de la dirección científica de ELISAVA, Escuela Superior de Diseño e Ingeniería e Barcelona.

Teresa-M. Sala es doctora y profesora de Historia del Arte en las facultades de Bellas Artes y Geografía e Historia de la Universidad de Barcelona. Asimismo, forma parte del Consejo de Estudios del Master de Gestión del Patrimonio Cultural de la UB.

Para más información:

Mercè Portabella
Directora de Comunicación
mportabella@planeta.es
93 492 89 61

Carmina Villalvilla
Comunicación
cvillalvilla@planeta.es
93 492 89 67

May 25, 2012
The Courtauld Institute of Art and King’s College – London

Download the Conference Programme

Bodily, psychic and spatial interiors can be mapped, traversed and violated in multiple ways. This one-day conference will interrogate and re-evaluate the contested terrain of the interior in its varied forms. It will examine the interlacing and overlapping of different types of interiors, and seek to re-position the ‘interior’ in critical terms. Moreover, it will attempt to develop new ways of thinking about the relationship between the decorative arts, furniture, bio-technologies, anatomy and space. The conference will take place in The Courtauld Institute of Art Research Forum and conclude with a keynote address in the Anatomy Theatre at King’s College London.

The conference will be built around three themes: Threshold, Incision and Autopsy. We encourage prospective speakers to outline how their papers engage with one or more of these themes.

Download the call

This conference welcomes papers from across a wide range of periods and regions. Issues addressed might include, but are not limited to:

• Modes of mapping space

• Figurative and literal gateways/boundaries

• Temporality and space

• Space and subjectivity

• Domestic interiors

• Decorative arts and the body

• The fabrication of furniture

• Anatomical drawing

• Different types of medical imaging

• Medical portraiture

Organised by Dr Lucetta Johnson (The Courtauld Institute of Art) and Dr Keren Hammerschlag (King’s College London)

This event is supported by The Courtauld Institute of Art Research Forum and the Centre for the Humanities and Health, King’s College London

A conference to be held at The Courtauld Institute of Art and King’s College, London

28–30 November 2012
The University of Technology Sydney, Schools of Architecture and Design

Submission of a 500-words abstract June 25, 2012

keynote speakers:

• Professor Jonathan Hill, The Bartlett – University College London
• Professor Philip Ursprung, Eidgenössische Technische Hochschule Zürich

Materiality has recently claimed centre stage in architectural discourse and practice, yet its critical meaning is ever receding. Tropes like material honesty, digital materiality, material responsiveness and dematerialisation mark out an interdisciplinary field where scientific fact and artistic experimentation interact, and where what in fact constitutes materiality and immateriality is constantly re-imagined.

As a reaction to developments in science, materiality came under scrutiny with the emergence of nineteenth century German aesthetics (Vischer, Schmarsow) and the early avant-garde projects (Lissitzky, van Doesburg). Initiating an epistemic shift in art and architecture, these works pointed to the connection between the material properties of objects and spaces and their interaction with the inhabitant through psycho-perceptual effects. These ideas re-emerged transformed in the work of the Neo-avant-garde of the 1960s and 70s.

More recent approaches deploy materials as mediators or activating agents that probe the relationship between audience/user and physical environment: Spatial investigations with phenomena-producing materials such as water, light, colour and temperature experiment with the viewer’s experience (Eliasson); responsive high-tech materials interact with audiences (Spuybroek); weather architectures (Hill), or atmo architectures (Sloterdijk) technologically re-create nature as spatial experience (Diller and Scofidio).

Materials can give rise to seemingly incompatible connotations: photographic representations of Zumthor’s atmospheric concrete spaces reveal unexpected links with the post-industrial spaces of power plants and cooling towers (Ursprung). In the Pacific region, space has eminently temporal aspects and, particularly in indigenous buildings, rare walls are permeable and breathing. At the same time, the popular use of low-cost materials such as corrugated metal connects the wool-shed, the beach house and industrial estates educing trans-historical, cross-cultural, and climatic associations. In architectural practice and education, experiments in material-oriented computational design explore the design potential of conventional construction materials.

All these approaches probe boundaries – between material and immaterial, art and science, practice and theory, representation and experience, tradition and innovation, and producer/object/user, giving rise to the following concerns:

• What is the validity of different approaches to materiality in relation to the vital problems of our time?
• Can materials be deployed to create environments which predict user behaviour and control social relations and experiences?
• What trans-historical correspondences can be detected in contemporary approaches to materiality, and how do these challenge, imitate and expand on previous thinking?

Please send a 500-word abstract and a short cv to Sandra Karina Löschke (sandra.loschke@uts.edu.au) by 25 June 2012.
Notifications will be sent out by 23 July, 2012.
Double-blind refereed abstracts, if accepted, will be published on the Interstices website (www.interstices.ac.nz). The symposium will be followed by a call for papers for Issue 14 of Interstices: A Journal of Architecture and Related Arts on the same topic.

Expressions of interest are to be received by 31 March 2012.

Launched in 1999, the IDEA JOURNAL is an international refereed journal dedicated to the publication of interior design/interior architecture research and as such provides a valuable resource to the discipline and associated design and theoretical fields.

The IDEA JOURNAL is central to IDEA*s objective to foster, publish and disseminate peer reviewed interior design/interior architecture research. The journal recognises and promotes interior design/interior architecture as a research activity relevant to its field where the definition of research includes research about design, research for design as well as research through design. To this end, the IDEA JOURNAL invites a range of contributions related to interior design/interior architecture research.

The role of Guest Editor is supported by:

• the Executive Editor
• the IDEA Editorial Advisory Committee who provides critical advice regarding research agendas for the journal and oversees the double blind refereeing process and the final selection of papers and contributions;
• the External Advisory Committee who provide advice and feedback;
• the Electronic Publications Editor.

Expressions of interest are to be received by 31 March 2012.

The expression of interest should articulate a proposed call for papers for the IDEA JOURNAL 2013 and include a CV detailing editorial and publication experience.

Please visit http://www.idea-edu.com/Journal/IDEA-Journal for reference to previous issues of the IDEA JOURNAL.

Please send via email to IDEA Executive Editor (2012-14), Dr Rachel Carley rcarley@unitec.ac.nz

For further information including outline of the 2012-2014 IDEA Editorial Board – overall structure, roles and responsibilities, and timeline for 2013 IDEA Journal e mail rcarley@unitec.ac.nz

The next IDA Congress will take place from 17-19 November 2013 in Istanbul (Turkey).

The biennial IDA Congress is the primary event for dialogue between designers and stakeholders of design in a summit format. The aim of the IDA Congress is to- bring together the unified voice of designers around the world in a themed framework to advance the vision and mission of the IDA, by exploring and realising the benefits of design in a variety of fields with a stake in design, such as government (commerce, trade, culture etc.), INGOs, business, science and technology, education or social sciences (ethnography, sociology etc.)

The IDA’s primary objectives for the Congress are:

• To promote the value of design-based collaboration between the IDA disciplines, to highlight their similarities as well as their unique attributes;
• To emphasise the value of design-based collaborations with other fields that have a stake in design;
• To provide an engaging and educational experience for the memberships of the IDA and the global congress audience;
• To promote interaction among the memberships of the IDA and stakeholders of the congress;
• To position the IDA as the global voice of design and an enabler of innovation;
• To platform the host city, country and region for their commitment and contribution to design globally;
• To attract and influence government action to the importance of design.

The theme for the congress is Design Dialects, a metaphor for confrontation, communication and collaboration. It aims to enable creation and exchange of discourse about, for and by design during among those who attend.

Istanbul is the only city in the world located on two continents, making it a cultural intersection where North meets South and East meets West. The unique culture and the congress theme will be weaved together to offer participants a stimulating programme and exciting social events.

More information on the programme and registration will be available in 2013.

For full event details please visit: www.idacongress.com/2013istanbul

Host member organisation: Istanbul Technical University

Established in 1773, Istanbul Technical University (ITU), as a leading state university, defines and continues updating methods of engineering and design education in Turkey. It provides its students with modern educational facilities while retaining traditional academic values, as well as using its strong international contacts to mould young, talented individuals who can compete in the global arena. ITU, with its 18 150 undergraduate and 6500 graduate enrolled students, has 37 departments in 13 faculties, six different graduate schools and 11 research centers. Almost all undergraduate programs have been accredited by international bodies like ABET, EUA, NAAB, IMO. The vision of ITU is to rank among leading research universities globally.

FOR MORE INFORMATION, PLEASE CONTACT:

Susie Hall
Icsid Project Manager
IDA Congress
455 Saint Antoine Ouest
Montreal, Quebec
H2Z 1J1
Canada

t: +1 514 448 4949 ext: 225
e: info@idacongress.com

INTERNATIONAL DESIGN ALLIANCE UNVEILS NEW VISUAL IDENTITY FOR THE IDA CONGRESS

MONTREAL (CANADA), 21 FEBRUARY 2012 – Underthe banner of the International Design Alliance (IDA), partner organizations the International Council of Societies of Industrial Design (Icsid), the world body for professional communication design (Icograda) and the International Federation of Interior Architects/Designers (IFI) unveiled today the new visual identity for its biennial IDA Congress.

Designed and developed by Pentagram, the new look focuses on an artistic restructuring of /Pangaea/, a theory of Greek origin meaning ”all lands” in support of the idea that at one time, all of the earth’s continents were once a single landmass. Pentagram’s solution for a permanent identity for the IDA Congress is a seemingly abstract shape that is ultimately composed of the silhouettes of all continents. At small scale, its shape is ambiguous. Enlarged, the geographic details come into view.

/The six inhabited continents were merged and rearranged, resulting in the new IDA Congress logo./

EachCongress host, selected on a biennial basis, will be able to customise the identity within a system developed by Pentagram, showcasing the unique attributes and culture of the host city. The strong shape of the new IDA Congress logo provides a visual anchor for key text elements- the host city name, the year and theme-which can incorporate both roman and non-roman alphabets to reflect both the visual and verbal language of the Congress location.

The new visual harmoniously bringstogether the earth’s continents, as the IDA Congress brings together design disciplines, uniting designers and their stakeholders-world bodies, governments, business and society - to shape regional and global agendas that further the impact of design.

Concluding a successful first congress in Taiwan (Chinese Taipei) in October 2011, the three partners of the IDA are looking forward to promoting future congresses with this unique visual identity.

Istanbul Technical University (ITU), official host of the 2013 IDA Congress, will be the first to use this logo under the theme, “Design Dialects”, which is presented as a metaphor for confrontation, communication and collaboration, fostering a creative discourse on design from all disciplines. ITU will continue on the path forged by the previous congress and provide a platform on which professionals from design and non-design backgrounds can discuss pertinent issues and work together to find solutions, through the congress programme and multidisciplinary sessions.

Please visit http://www.idacongress.com/ for more information.

ABOUT THE INTERNATIONAL DESIGN ALLIANCE

Established in 2003, by the International Council of Societies of Industrial Design (Icsid) and the International Council of Communication Design (Icograda), the International Design Alliance (IDA) is a strategic venture between the international organizations representing design. The IDA serves as the collective voice for all disciplines, advocating the mutual interest of all design professions. In September 2008, the IDA welcomed the International Federation of Interior Architects/Designers (IFI) to the alliance as the third partner.

The IDA partners have previously held individual biennial congresses and together they organised a ‘Joint Congress’ every six years, including the following locations: 1981 – Helsinki (Finland), 1987 - Amsterdam (the Netherlands), 1993 – Glasgow (Scotland), 1999 – Sydney (Australia), 2005 – Copenhagen (Denmark). In 2011, the ‘IDA Congress’ replaced the individual biennial and joint congresses.

INTERNATIONAL COUNCIL OF SOCIETIES OF INDUSTRIAL DESIGN

The International Council of Societies of Industrial Design (Icsid) is a non-profit organisation that protects and promotes the interests of the profession of industrial design. Founded in 1957, Icsid serves as a unified voice of over 50 nations through which members can express their views and be heard on an international platform. Since its inception, Icsid has continued to develop its widereaching network of students and professionals devoted to the recognition, success and growth of the industrial design community.

INTERNATIONAL COUNCIL OF COMMUNICATION DESIGN

Icograda is the world body for professional communication design. It is a non-profit, non-partisan, member-based network of independent organisations and stakeholders working within the multidisciplinary scope of communication design and expanded media. Founded in 1963, Icograda actively promotes the value of design practice, thinking, education, research and policy, representing more than 200 organisations in 67 countries and regions globally. As a partner of the International Design Alliance (IDA), Icograda’s members believe in interdisciplinary collaboration and the effectiveness of a collective voice to represent the design industry.

INTERNATIONAL FEDERATION OF INTERIOR ARCHITECTS/DESIGNERS

TheInternational Federation of Interior Architects/Designers (IFI) is the global voice and authority for professional Interior Architects/Designers. The sole international federating body for Interior Architecture/Design organisations, IFI acts as a global forum for the exchange and development of knowledge and experience, in worldwide education, research and practice. IFI connects the international community in order to further the impact, influence and application of the design of interiors, promote global social responsibility, and raise the status of the profession worldwide. Founded in 1963 as a not-for-profit, limited liability Company to expand the international network of professional Interior Architects/Designers, IFI represents over 270,000 designers, educators and industry stakeholders in the international design community in 110 countries on every continent collectively representing practicing Interior Architects/Designers worldwide.

11-14 April 2012
Glasgow, United Kingdom

Deadline February 28, 2012

This session examines European and North American market practice in order to address class difference and identification in the lust for the ‘new’ of the eighteenth century elites and the desire for the ‘old’ amongst the aspirant middle classes thereafter.

As Thomas Chippendale asserted in 1762, ‘The Title-Page has already called the following Work, The Gentleman and Cabinet-Maker’s Director, as being calculated to assist the one in the Choice, and the other in the Execution of the Designs; which are so contrived, that if no one Drawing should singly answer the Gentleman’s Taste, there will yet be found a Variety of Hints, sufficient to construct a new one’. This suggests that furnishing the elite interior could be a collaborative process between patron and cabinetmaker/upholder, as witnessed in the demand for increasingly novel styles of furniture capable of integration into the new architect-designed interiors of the later eighteenth century.

For the nouveaux riches, or those like the Wynns of Nostell Priory and the Lascelles family of Harewood House whose wealth increased dramatically as the century progressed, taste (and thus class identity) was best expressed through the acquisition of fine art, furniture and other items to fill their new town and country houses. Once such families became part of the Establishment, with associated titles and influence, their original consumption practices became the model for the next generation of arrivisti and their ‘new’ objects became the desirable ‘antiques’ of the nineteenth century.

The attraction of ‘old stuff’ was a persistent theme in the many published guides to the decoration of the home in the late nineteenth and early twentieth centuries. An influential example, particularly as it was addressed to the mistress of the house and therefore recognised the growing power of women as consumers, was Rhoda and Agnes Garrett’s Suggestions for House Decoration in Painting, Woodwork and Furniture (1877). In it they addressed the ‘charge of “Backward Ho!”’ brought against their recommendations for furniture purchases. ‘How often is the question asked, “Why do you admire this old stuff?” and how often do we feel we are being accused (silently perhaps) of liking a thing just because it is old’. The Garretts consciously aimed their advice at the rising middle class audience, ‘who require the aid of a cultivated and yet not extravagant decorator’ rather than those ‘who have lived in houses built by Inigo Jones, and whose walls are rich in paintings by the old masters’ for whom their book might ‘appear rudimentary and perhaps uncalled for’.

This session will explore the movement of meaning of domestic objects – the play between ‘old’ and ‘new’ across time and place – for the elite and those who aspired to join their ranks. We welcome specific case studiesthat might suggest a wider commercial practice and papers concerned with historic themes of class identity through consumption.

Dr Kerry Bristol
School of Fine Art, History of Art and Cultural Studies
University of Leeds
Leeds, West Yorkshire
LS2 9JT

Phone: 0113 343 5280
Email: k.a.c.bristol@leeds.ac.uk

Università degli Studi di Roma “La Sapienza”, Roma

Il Dottorato in architettura degli interni, che si inserisce all’interno di un circoscritto numero di dottorati dello stesso settore disciplinare presenti presso la Sapienza – Università di Roma, ha l’obiettivo di formare studiosi in grado di sviluppare capacità d’indagine scientifica e creativa sull’intera estensione disciplinare che permette di giungere alla progettazione esecutiva relativa a situazioni spaziali interne ed esterne (provvisti di determinati elementi d’arredo), allestimenti di ambienti definiti da specifici programmi; e questo, legando gli aspetti progettuali/realizzativi all’evoluzione tecnologica e alle trasformazioni culturali/sociali.

I Dottori di Ricerca dovranno essere in grado di riconoscere gli elementi caratterizzanti dell’ambiente in cui intervengono e di connettere e realizzare con il progetto le condizioni che rendono confortevolmente abitabile e gradevole dal punto di vista estetico lo spazio interno ed esterno. Nel corso della fase ideativa, dovranno saper definire concettualmente l’impianto dell’evoluzione sulla base di una conoscenza storico e sociale di situazioni analoghe o anche diverse al fine di intervenire consapevolmente nel contesto: da un lato, valorizzandone i caratteri esistenti e, dall’altro, introducendone di nuovi attraverso l’azione riorganizzatrice, distributiva e funzionale. Non deve, inoltre, mancare l’attenzione al fatto che ogni scelta deve essere relazionata al momento storico che si vive. E’ necessario, altresì, avere conoscenze generali della storia dell’arredo e del design, dei materiali e delle loro proprietà fisiche e strutturali. Attraverso l’acquisizione e la definizione teorico/pratica dell’essenza del confort ambientale, i Dottorandi dovranno essere in grado d’intervenire con idonee soluzioni formali, tecniche, tecnologiche ed impiantistiche, orientate ad ottenere un sensibile risparmio energetico. Costituiscono, quindi, caratteri essenziali: la creatività, la progettualità, una conoscenza generale degli aspetti che definiscono la materia, uno spirito d’innovazione, una sensibilità alle problematiche funzionali, tecnologiche, ergonomiche, estetiche, comunicazionali.

Non vi è dubbio che, in relazione alle nuove forme di complessità del settore dell’Architettura degli Interni e del Design, la ricerca d’interrelazioni tra la disciplina architettonica e le altre competenze è da considerarsi indispensabile al fine di concorrere ad una maggiore concretezza tra il progetto e la costruzione. Il Dottorato, quindi, affronterà problematiche specificamente compositive senza tralasciare le modalità della costruzione fisica dell’architettura. Il progetto, mantenendo un carattere sperimentale, dovrà risentire delle istanze innovative emerse in tanti settori della componentistica, degli arredi e del design dei prodotti industriali. La ricerca progettuale contemporanea è volta ad introdurre nel fare progettuale relativo alla piccola scala, nuovi mezzi d’espressione e nuove soluzioni orientate attraverso strumenti anche non tradizionali. Il lavoro metodologico teorico-pratico dei Dottorandi dovrà basarsi su tale consapevolezza critica da esercitare individualmente nel confronto con le indicazioni fornite dai docenti, anche attraverso il contributo delle conoscenze emerse da: pubblicazioni, interventi specialistici e ricerche. Il curriculum del Dottorato, pertanto, assolverà alla duplice funzione di introdurre nella ricerca di base quella applicata, al fine di mettere in evidenza come dalla formulazione teorica si possa giungere a risolvere aspetti a scala minuta, utili per rendere agibile, confortevole (ed, anche, dotata di valenze estetiche) la realtà che ci circonda. Tali contenuti del Dottorato hanno trovato forte interesse negli enti pubblici e privati che ne hanno attestato la validità.

Quello che propone al nostro Ateneo è di ampliare l’offerta didattica. Il Corso prevede un’articolazione della ricerca suddivisa in tre anni, secondo una progressione orientata a valutare la maturazione scientifica dei dottorandi e regolata sul livello d’indagine acquisita, anche partecipando a convegni, a stages o a corsi di qualificazione a tema (da documentare mediante report periodici e/o lavori pubblicati). Fondamentale sarà la verifica delle ipotesi e dei temi di progettazione emersi nel corso degli studi e l’individuazione di soluzioni progettuali bi/tridimensionali.

• Il primo anno privilegerà le comunicazioni strutturate da parte del Collegio e di autorevoli esperti in tematiche affini a quelle in esame. Alcune linee di ricerca preferenziali, come ad esempio le condizioni abitative e sociali, la multietnicità, la sicurezza urbana, saranno impostate sotto forma organica di lezioni con lo scopo di promuovere una riflessione dei dottorandi sugli ambiti specifici di ricerca portati avanti all’interno del Dipartimento. La presentazione di queste tematiche ha l’intento di stimolare la capacità dei singoli dottorandi al fine di individuare un proprio percorso di ricerca teorica e temi progettuali specifici, se pur a livello ancora embrionale. Il percorso individuato, suscettibile di ripensamenti, costituirà l’immediato oggetto di confronto in ambito seminariale e con i docenti, ma sarà in grado di orientare immediatamente il lavoro di informazione e di documentazione bibliografica, visto che alcune di queste problematiche sono di interesse europeo. Queste ricerche dovranno essere raccolte e rese disponibili con risultanze elaborate con modalità informatiche. Nel corso del primo anno si prevedono non meno di due momenti di verifica dell’avanzamento dei lavori.
• Il secondo anno vedrà un numero ridotto di corsi organici di lezioni ed il parallelo sviluppo di attività seminariali e progettuali volte a caratterizzare in forma più definitiva l’orientamento dei dottorandi. A questo scopo concorreranno dei ridotti periodi di stage anche presso le strutture esterne che supportano le borse finanziate dai privati e la partecipazione a convegni nazionali ed internazionali con contributi originali. L’autonomia e la capacità di autogestione individuale dei dottorandi sarà promossa in modo da terminare l’anno con profili di indagine già strutturati e metodologicamente delineati, accompagnati da elaborazioni progettuali in scala adeguata. Il lavoro di ricerca sarà svolto sotto la guida di alcuni docenti, responsabili individualmente nei confronti dei singoli corsisti. La conclusione di questo secondo anno vedrà quindi configurarsi in maniera precisa i temi dei progetti di ricerca destinati ad essere svolti durante il terzo anno. Nel corso del secondo anno si prevedono quattro verifiche in coincidenza delle diverse fasi di lavoro.
• Il terzo anno sarà dedicato alla stesura individuale delle tesi di dottorato sotto la guida di docenti responsabili. Le tesi saranno integrate da elaborazioni progettuali idonee a descrivere i risultati della ricerca. Gli incontri periodici di verifica e confronto permetteranno al gruppo di avere una esatta nozione degli avanzamenti conseguiti. Alcuni di questi incontri assumeranno, inoltre, la valenza di verifiche ufficiali, propedeutiche alla conclusione dei lavori ed alla presentazione delle dissertazioni. E’ intenzione del Collegio predisporre un esito a stampa dei lavori finali come occasione di doveroso confronto nell’ambito del coordinamento nazionale dei Dottorati di Ricerca.

The review of applications will begin March 15, 2012 and continue until the position is filled.

The School of Interior Design in the Faculty of Communication & Design at Ryerson University (RSID) invites applications for a full-time, tenure-track position, at the Assistant Professor level, beginning August 2012, subject to final budgetary approval. Accredited since 1982, RSID has graduated many of the leading designers practicing today. One of the largest Interior Design programs in North America, the School is located in the vibrant centre of the city, near many of the preeminent design firms, retail outlets, commercial enterprises, and hospitality projects. Part of the annual Interior Design Show and IIDEX/NeoCon Canada, the School contributes significantly to Toronto’s reputation as a major design centre in North America. The school has been ranked as one of the top three Interior Design Schools in the world by Azure Magazine.

The successful candidate has a strong body of work in one or more of the following areas of expertise: advanced computer-aided design, rapid-prototyping, health-care design, and design theory with a significant history of research and publishing. The School of Interior Design aims to offer a Masters of Interior Design, and the successful candidate will be teaching undergraduate as well as future graduate courses, taking an active role in curriculum development, and expanding research and industry collaborations within the school.

As the School continues to expand its externally funded research activities and develop a highly collaborative research agenda, a PhD is preferred. A Master’s degree in Interior Design or a related field with one credential in Interior Design is required; NCIDQ and LEED certification is considered an asset. The ideal candidate should have a minimum of 5 years interior design practice experience and a working knowledge of design related technologies and industry practices, as well as a minimum of 3 years teaching experience at the college/university level. However , consideration will also be given to candidates possessing a combination of a terminal degree in a related field with extensive research, publications and professional experience. Salary will be competitive and commensurate with experience. For further information, visit Interior Design’s website at www.ryerson.ca/interior.

How to apply:
Applicants are requested to submit a curriculum vitae, letter of application, and a detailed statement and examples of teaching and research interests, as well as the names and contact information of three references to Professor Annick Mitchell, Chair, School of Interior Design, Ryerson University, 350 Victoria Street, Toronto, Ontario, M5B 2K3, Canada; or via e-mail to mitchell@ryerson.ca. E-mail submissions are preferred. The review of applications will begin March 15, 2012 and continue until the position is filled.

This position falls under the jurisdiction of the Ryerson Faculty Association (www.ryerson.ca/~rfa). For details on the Ryerson Faculty Association Collective Agreement and the University’s RFA Benefits Summary, please visit http://www.ryerson.ca/teaching/employment_resources/rfa.html and http://www.ryerson.ca/hr/benefits/benefits_by_group/rfa/index.html respectively.

Ryerson University is strongly committed to fostering diversity within our community. We welcome those who would contribute to the further diversification of our staff, our faculty, and its scholarship, including, but not limited to, women, visible minorities, Aboriginal people, persons with disabilities, and persons of any sexual orientation or gender identity. All qualified candidates are encouraged to apply, but applications from Canadians and permanent residents will be given priority.

www.ryerson.ca