The private interior can be understood as a natural outcome derived from the sum of one’s personal belongings; in contrast, public interiors are carefully engineered environments, or elaborate productions. The word Production is twofold in meaning; it can refer to the action of making or manufacturing from components and raw materials, or it can reference the process of staging, recording, and shooting a film. The combination of these two meanings invites us to think of the public interior as both artifact and artifice. “Productions”, the exhibition held at the Mebane Gallery in The University of Texas at Austin’s School of Architecture in winter 2016, looked at interiors as manufactured atmospheres. The selection of projects mostly comprised temporary installations. Relieved from program and function, mostly unfurnished, objectless, but object-like, the interiors in the show primarily focus on the construction of ephemeral experiences and effects. Clay Odom, designer and curator of the exhibition, inquires how the pursuit of ephemeral effects such as atmosphere can serve as a tool to explore form, surface, and materiality. Inviting us to see the range of works through the lens of atmospheric productions, Clay Odom raises this

中文翻译：

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制作：大气、物体和表面

私人内部可以理解为个人财产总和的自然结果；相比之下，公共室内设计是精心设计的环境，或精心制作的作品。生产这个词有双重含义；它可以指从组件和原材料制作或制造的动作，也可以指电影的舞台、录制和拍摄过程。这两种含义的结合促使我们将公共内部视为人工制品和人工制品。2016 年冬季在德克萨斯大学奥斯汀建筑学院的 Mebane 画廊举办的“Productions”展览将室内设计视为人造氛围。项目的选择主要包括临时装置。从程序和功能中解放出来，大多没有家具，没有对象，但与实物一样，展览中的室内设计主要侧重于构建短暂的体验和效果。展览的设计师兼策展人克莱·奥多姆 (Clay Odom) 探究了对氛围等短暂效果的追求如何作为探索形式、表面和物质的工具。邀请我们通过大气作品的镜头来看看作品的范围，克莱奥多姆提出了这个