Abstract Physical things influence emotions and feelings and can contribute to our sense that buildings and rooms are appropriately designed for their purposes. The sense of appropriateness extends, and is often noticed, through the pre-emotive effect of a structure’s shapes and dimensions. In interior discourse the relationship between the physical and pre-emotive is indicated with various terms (such as “affect”) and the design process of achieving appropriateness in objects and affect can be termed “stickiness”. In this paper we extend Sara Ahmed’s characterization of affect as a sticky connective element, which allows objects and ideas to generate attachments with us. And we ask, how can we understand interior practices and design processes through the concept of affect – as sticky? We explore this question first by discussing affect’s stickiness, and second, by an empirical study of the design process of Kerstin Thompson’s Monash University Museum of Art. The specific project involves alternating design methods that Thompson uses: an intuitive hunch-driven process, and a more defined literary-driven process. Our interest is to consider how she shifts from one to the other so we can better understand interior practice and its design process through the concept of affect. Finally, we conclude by addressing how the study of affect contributes to our understanding of interior practice and its design process, and more significantly, how, in exchange, might interior practice offer to recent theories of affect. Interior practice as changeable, spatio-temporal and material processes offer potentially fertile ground to explore affect as mediating layer, bridging human and non-human forces.

中文翻译：

---

Kerstin Thompson Architects：探索室内粘性设计过程中的影响

摘要 物理事物会影响情绪和感觉，并且可以让我们感觉到建筑物和房间的设计是为了它们的目的。适当的感觉通过结构的形状和尺寸的预感效应延伸，并且经常被注意到。在内部话语中，身体和前情绪之间的关系用各种术语（例如“影响”）表示，在对象和影响中实现适当的设计过程可以称为“粘性”。在本文中，我们扩展了 Sara Ahmed 将情感描述为粘性连接元素的特征，它允许对象和想法与我们产生依恋。我们问，我们如何通过影响的概念来理解室内实践和设计过程 - 作为粘性？我们首先通过讨论情感的粘性来探索这个问题，其次，通过对 Kerstin Thompson 的莫纳什大学艺术博物馆设计过程的实证研究。具体项目涉及汤普森使用的交替设计方法：直观的预感驱动过程和更明确的文学驱动过程。我们的兴趣是考虑她如何从一种转变为另一种，以便我们可以通过影响的概念更好地理解室内实践及其设计过程。最后，我们将讨论情感研究如何有助于我们理解室内实践及其设计过程，更重要的是，作为交换，室内实践如何为最近的情感理论提供帮助。