Interior Design and Architecture 2017 Catalogue

Interior Design & Architecture

2017

Interior Design & Architecture 2017 Contents

Online Resources

2

Introduction to Interior Design

5

Materials, Textiles and Furniture

6

Color 10 Critical Thinking and Design Process

11

Lighting 12 Digital Design, Drawing, and Presentation

13

Space Planning and Form

14

Professional Practice

15

Careers and Portfolios

16

Introduction to Interior Architecture

18

Landscape Architecture

19

Reference 20 History of Architecture

22

How to Read Series

24

Urban Design and Urban Studies

25

Architectural Theory, Culture, and Criticism

27

Also from Fairchild Books

29

Index 30 Representatives and Agents

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31

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Education and Research by Design LAUNCHING MAY 2017

Available via Subscription

An Essential Digital Resource for Design and Craft Studies An unparalleled resource for anyone working across the broad field of design and craft studies, the Bloomsbury Design Library offers searchable access to a carefully curated and dynamic collection of text and image content. Comprehensive, peer-reviewed reference works combine with cutting-edge academic research and a wealth of images to offer academics and students high-quality, intuitive tools for research.

ABOUT THE CONTENT: • The Bloomsbury Encyclopedia of Design online – over 1700 entries on key topics with new articles uploaded biannually • Victor Margolin’s World History of Design online – a magisterial history of global design from prehistoric times to the end of World War II • An extensive eBook collection with over 70 original titles in design and craft studies • All content is fully searchable by keyword, using our intuitive custom taxonomy

UNIQUE FEATURES INCLUDE: • Over 100 Designer pages providing essential information on key figures in the history of design • A fully searchable visual timeline of the history of design, from 1500 BCE to the present day • A searchable colour image library containing thousands of images from major museums and archives, including the Museum of Arts and Design in New York* • Free lesson plans addressing key topics in design history and practice* • Bibliographic guides with links through to online content* * Content forthcoming after launch

www.bloomsburydesignlibrary.com Lecturers: Recommend to your institution’s library Librarians: Register for a free trial upon launch by contacting: Americas: OnlineSalesUS@bloomsbury.com Europe, Middle East, Africa, Asia: OnlineSalesUK@bloomsbury.com Australia and New Zealand: OnlineSalesANZ@bloomsbury.com

Available via Subscription

LAUNCHING 2018

The One-Stop Resource for Architectural Studies Sir Banister Fletcher’s Global History of Architecture (21st Edition) and other major reference works online, plus academic texts, images, lesson plans and more.

ABOUT THE RESOURCE The leading source of information for the study of architecture, urbanism, and interior design, the Bloomsbury Architecture Library incorporates Sir Banister Fletcher’s Global History of Architecture alongside a wealth of related reference and educational resources. Sir Banister Fletcher’s Global History of Architecture (21st Edition) is entirely rewritten and includes new analysis of the architecture of the 20th and 21st centuries to reflect the latest scholarship in global architectural history.* Offering users cross-searchable access to an expanding range of text, image, and interactive content, it provides a dynamic research tool for academics and an innovative educational resource for students.

FEATURES AND BENEFITS Bloomsbury Architecture Library offers a user experience that extends beyond that of a collection of eBooks and images.

• An intuitive custom taxonomy that will enable ‘search and discovery’ of buildings and architects by place, date, building type, culture and technology • Regular updates to keep students, scholars, and professionals at the cutting edge of their subject • Browse content using illustrated timelines and interactive maps

KEY CONTENT • A growing list of major new reference works including: Sir Banister Fletcher’s Global History of Architecture (21st Edition) and Encyclopedia of Vernacular Architecture of the World (2nd Edition) • A wide collection of eBooks from Bloomsbury’s academic lists • An image library featuring thousands of images including major archives and collections • Interactive maps showing key buildings around the world • Lesson plans and bibliographic guides with links through to online content

*Learn more on page 21 of this catalog.

www.bloomsburyarchitecturelibrary.com

NEW! Interior Design Online Learning Resources Fairchild Books is proud to announce the introduction of interior design textbooks, eBooks, and STUDIOs to the award-winning Bloomsbury Fashion Central platform. In the Fairchild Books store, students can find everything they need for their studies, to suit all lifestyles and budgets: rent or buy; digital or print. Educators will find a wealth of materials to help plan their courses and lessons.

For students: • Textbooks available digitally for rental or purchase, at a variety of affordable price points • Free STUDIO access with purchase of book + STUDIO bundle For Instructors: • Request and access print and digital exam copies

Our online STUDIOs are specially developed to complement our best-selling interior design textbooks with rich media ancillaries that students can adapt to their visual learning styles.

STUDIOs can include:* • Self-quizzes with scored results

• Instant access to instructor materials like Test Banks, PowerPoint presentations, and Instructor's Guides

• Personalized study tips

• Digital STUDIO media and assessment ancillaries are available free of charge with or sold separately from our best-selling classic textbooks

• Videos exploring chapters' topics

• Flashcards with definitions and image identification • Downloadable files and exercises • Maps and timelines

FOR MORE INFORMATION: US: Contact askacademic@ bloomsbury.com, or find your sales representative in the Agents and Representatives section on page 32.

UK: Contact academic@ bloomsbury.com.

*For more information about what is included in a book's STUDIO, see the book listing in this catalog or on www.fairchildbooks.com.

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w w w. f a i r c h i l d b o o k s . c o m

Introduction to Interior Design

3rd Edition / www.fairchildbooks.com

Foundations of Interior Design Susan J. Slotkis

A thorough update to this introduction to the creative, technical and business aspects of the interior design profession.

By surveying design history, the elements and principles of design, professional practice, and more, Slotkis provides a practical and comprehensive overview.

• Teaching Resources: Instructor’s Guide, Powerpoint presentations, and Test Bank available

www / Textbook UK March 2017 US February 2017 512 pages 865 colour and bw illus 305 x 229mm / 9 x 12 inches Book + STUDIO Bundle 9781501316043 £80.00 / $125.00 STUDIO Access Card 9781501316029 Fairchild Books

Susan J. Slotkis, ASID, IFDA, teaches in the Interior Design Department of the Fashion Institute of Technology, and at New York University, USA. New to this edition • A greater emphasis on human factors to foster wellness and safety within interior environments • Service model approach to design embedded throughout the text as an ethos or belief system incorporates social responsibility • New "In the Spotlight" case studies covers designing economical tiny houses, sustainability and globalization • More coverage of sustainability and a thoroughly updated lighting chapter Included in the Foundations of Interior Design STUDIO • Study smarter with self-quizzes featuring scored results and personalized study tips • Review concepts with flashcards of terms and definitions Contents Preface 1. The Interior Design Profession 2. Socially Responsible Design 3. Design Theory: Aesthetics, Elements and Principles of Design 4. Color Theory and Application 5. The Design Process 6. Communicating the Vision 7. Light and Lighting Systems 8. Architectural Design Elements 9. Finishing the Interior 10. Furnishing the Interior 11. Period Design Styles: Antiquity — Empire Style

12. Period Design Styles: Revival Styles — Contemporary Style 13. Forecasting and Trends 14. Professional Practice Appendix A: Professional Organizations, Research Resources, Interior Design Blogs, and Gov’t Agencies Appendix B: Names to Know: Interior Designers, Architects, and Furniture Designers Appendix C: Interior Design’s Hall of Fame Basic Metric Conversion Table Glossary Index

PrinciPles of Design The second most fundamental way to analyze a design composition is to consider how the principles of design are applied. Design principles are thought of as more complex than elements. Whereas elements are singular components of a design composition, principles of design are the rules or guidelines that govern the use of these elements within the composition. Thus, the aspects previously identified as elements may be thought of as components of the principles.

The discussion that follows focuses on six design principles: • • • • • •

Balance Harmony and unity Rhythm Emphasis and focus Contrast and variety Proportion

considers both axes gives a more complex balance to a space.

Three types of balance may be used in design: symmetrical, asymmetrical, and radial (Figure 3.16 a–c).

Symmetrical balance is a formal, static, and traditional type of balance achieved through the arrangement of identical elements around a common axis. This is also known as a mirror image. With symmetrical balance, both the designer and the client need to recognize that a change in one item will necessitate a change in its identical counterpart on the other side of the axis.

Asymmetrical balance is defined as the achievement of equilibrium through equal visual weight of nonidentical elements around an axis. The result is a composition that is flexible, dynamic, and informal.

Although asymmetrical balance may be more difficult to achieve than symmetrical balance, its advantage is that it is a more fluid approach to design. Conditions that create greater visual weight include large size, highly textured or detailed objects, complex or unusual shapes, and dark elements.

Asymmetrical balance should not be confused with a lack of balance, in which elements of the composition do not demonstrate equal visual weight. Lack of balance may be perceived as disconcerting and unstable.

Radial balance is an equilibrium that relies on a center point, which serves as the axis around which elements of equal visual weight are arranged. Although less commonly employed than either symmetrical or asymmetrical balance, radial balance is often used for ceremonial spaces.

Balance Balance is the state of equilibrium. In design, balance is the arrangement of parts in a composition to achieve visual equilibrium or equality. Equality in design is achieved when features have the same visual weight. It is not necessary for the components on either side of a room actually to weigh the same.

The visual weight of objects may be influenced by their size, shape, texture, color, complexity, placement, or position. The arrangement around a real or imagined centerline, the axis, will define the degree of balance. To have balance, the elements must have equality in effect, force, or importance. And that can be accomplished in a variety of ways.

A typical axis is the vertical line from ceiling to floor through the midsection of a room. A less often utilized, but still significant, axis is the horizontal line at the midpoint of a room that separates the top half of the room from the bottom half. A design that

“Harmony results in a composition in which all the pieces seem to belong together and work to reinforce the overall design theme.”8 Harmony is the combination of various parts into a pleasing and satisfying whole.

The components of a harmonious composition are considered congruous; they belong together. Any feature removed or changed will affect the totality or the integrity of the composition. Harmony exists in the difficult to attain, delicate balance between unity and oneness on the one hand and contrast and variety on the other. One might say the whole is greater than the sum of its parts, similar to Gestalt theory, mentioned earlier. Perhaps the designer Tony Chi references this

c

56

figure 3.16 a, b, and c a: This museum displays the formal mirror-image approach of symmetrical balance, in which elements are identical on either side of the vertical axis; b: A living room interior by Drew McGukin demonstrated skilled use of visual weight to achieve asymmetrical balance; c: Radial balance is applied in the dining room by designer Paula Grace. (a: Courtesy of the author; b: Courtesy of Drew McGukin; photograph by Brett Beyer; c: Photoshot/Red Cover/Ken Hayden) Chapter 3

9781501315909_txt_app_03.indd 56

a

harmony and Unity

a

b

elusive quality in what he terms invisible design, “what touches you rather than what you see.”9 Achieving unity relies on establishing unifying threads or common characteristics. This may be achieved in a variety of ways. There may be a similarity of shape throughout the space, such as the repetition of circular forms. There may be harmony in the application of a unified color scheme (Figure 3.17 a) or a neutral color scheme (Figure 3.17 b) discussed further in Chapter 4. discussed further in Chapter 4. Or, a particular motif or pattern, such as a floral theme, may be interspersed throughout the space to create a harmonious feeling. Harmony may be quiet and soothing, or it may excite, challenge, and foster change.

D e s i g n Th e o ry : A e s t h e t i c s , E l e m e n t s , a n d P r i n c i p l e s o f D e s i g n

b figure 3.17 a and b a: A refined harmony in this interior demonstrates a subtle variety of traditional and modern elements with unified colors and balanced visual weight; b: Refined harmony in neutrals. (a: Martin Harvey/Corbis/Getty Images; b: Courtesy of Drew McGukin; photograph by Brett Beyer) Principles of Design

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Materials, Textiles and Furniture 3rd Edition / www.fairchildbooks.com

Interior Design Materials and Specifications Lisa Godsey

Describes each material’s characteristics and teaches students how to evaluate, select, and specify materials, accounting for code compliance, building standards, sustainability guidelines, human needs, and bidding processes. Students will learn how to communicate with suppliers and vendors to achieve results and how to avoid common pitfalls.

www / Textbook UK March 2017 US February 2017 416 pages 420 colour illus 279 x 216mm / 8.5 x 11 inches Book + STUDIO Bundle 9781501321764 £66.00 / $100.00 STUDIO Access Card 9781501321740 Fairchild Books

• Teaching Resources: Instructor’s Guide and PowerPoint presentations available Lisa Godsey, MID, has been a practicing interior designer for over 30 years.

New to this edition • Fully updated to reflect recent industry changes • “New Technologies” boxes highlight important new industry products and developments • Integrated approach emphasizes concepts related to globalization, sustainability, and toxicity • Key information converted to tables and charts for fast assimilation and an improved design • Expanded coverage on acoustics and detailed information about how materials and assemblies are configured to manage sound Included in the Interior Design Materials and Specifications STUDIO • Study smarter with self-quizzes featuring scored results and personalized study tips • Review concepts with flashcards of essential vocabulary Contents Preface 1. Making Material Selections 2. Accoustics 3. Paints, Coatings, and Wallcovering 4. Textiles, Window Treatments, and Soft Goods 5. Carpeting and Area Rugs 6. Wood 7. Resilient Flooring 8. Plastic

9. Glass 10. Metals 11. Tile and Brick 12. Stone 13. Terrazzo, Similar Composites, and Concrete 14. Laminated Materials and Substrates Glossary Basic Metric Conversion Table Index

• Half surface—Mortised into jamb, surface on door • Full surface—Surface mounted on both door and jamb

Figure 6.22A–c

solid wood changes dimension in response to changes in humidity, it does so as a percentage of its size. This means that a bigger, thicker piece of wood will move more during these changes than a smaller, thinner piece of wood. This raises limitations for laminating because if you glue two dissimilar pieces of wood together, they will move at different rates and possibly break their glue bonds. If a piece of wood is adhered to a dimensionally stable, engineered substrate like plywood or particleboard, the same thing could happen—a veneer that is too thick could break away when it changes dimension with humidity changes.

Even though the smallest, standard lumber size for solid wood is a nominal 1" × 2" (planed and sanded to an actual ¾" × 1½"), wood veneer thicknesses start at about 3/8 inch thick for hard-wearing surfaces like laminated floors and decrease in thickness to as thin as 0.007 inch. As a point of reference, poster board is about 0.048 inch thick.

Wood veneer is available to your fabricator as wood only or as wood backed with paper, pressure-sensitive tape, cloth, woven cellulose, melamine, or phenolic (plastic resin-infused paper). A dark line under the veneer will show at all exposed edges. This will be objectionable if a pale wood veneer is used.

In special circumstances you might need to specify special hinges. The “swing clear” hinge in Figure 6.23d pushes the door entirely out of the opening even when the door can open only to 90 degrees. (a) This cylinder latch has a privacy button that would be exposed through the escutcheon plate when assembled.

Stair accessories It is not uncommon for stair designs to incorporate different kinds of materials. Your stairs may have metal or glass parts as well as wood. You will need to provide drawings showing where accessory parts, such as step lights and contrasting materials, are to be positioned and what details will integrate them neatly into the design.

Latch by Von Morris.

Backset

Large hollow routed for mortise hardware to slip into

(b) Mortise latch.

Latch by Von Morris.

WOOd VeNeerS Wood veneer is so different from solid wood that you might think of it as a different material. The reason is that most of its performance characteristics come from the substrate to which it is adhered. Veneer is typically adhered to plywood or particleboard, and those dimensionally stable substrates make veneered surfaces largely decorative.

Wood veneers on engineered substrates are more stable than solid wood, so you will likely specify wood in this form often.

(c) diagram of door routed for a mortise set showing how to measure for the backset.

or deliver electricity to something mounted on the door like a sign or motorized window coverings that might be mounted over a glass panel in the door. The mounting of the hinge is described by its relationship to the door:

CHaraCTeriSTiCS

(a) Regular butt hinge.

(b) Ball bearing hinge (has a different barrel than a regular hinge).

Hinge by Von Morris.

C h a p t e r

(c) Electronic hinges transmit electricity to the hinge or to the door leaf.

(d) Special hinges like these swing clear and can solve special problems.

Hinge by Stanley.

Hinge by Stanley.

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Grain refers to two characteristics of wood. One component of grain is the color variation between the fast summer growth and the slow winter growth of the tree. In some species, like zebrawood, these differences are pretty remarkable; in other species the difference is less pronounced, as for maple. The other component of grain refers to the tactile texture. Some woods have an open grain, like oak, so you can feel the texture, whereas some woods, like beech, are smooth. This is a separate issue from the color difference.

Ebony wood has a pronounced color difference in the grain pattern, but because it has a closed grain, it feels smooth.

figuring

6

crOTcH MAHOgANY

birD’s-eYe MAPLe

curLY MAPLe

sPALTeD eLM

MAPLe burL

MADrONe burL

Figure 6.24 Figuring raises the value of wood, making some figuring available only in veneer.

Figuring of wood describes the alterations of typical grain patterns caused by disturbances in the growth of

W o o d

SanFoot Species images courtesy of Jacarando, Inc.

C H A R A C T E R I S T I C S

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16105bbf_ch06_157-000.indd 184

TAMO AsH

grain

Wood veneer is simply slices of wood, thinner than lumber, laminated to a substrate. Remember that as

Figure 6.23A–D

Hinge by Von Morris.

FiDDLebAcK ANigre

Colorants and process can change some characteristics of wood veneer, but some characteristics of grain, figuring, and natural color will persist.

MaTerial MaKeuP Or CONTeNT

• Full mortise—Mortised into door and jamb • Half mortise—Mortised into door, surface on jamb

the tree or other changes that result from other influences. Figure 6.24 shows some kinds of figuring that you can find among many species of wood. For example, crotch veneer refers to wood taken from the trunk at the point where a branch has grown out, leaving a V-shaped

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Materials, Textiles and Furniture 2nd Edition

Know Your Home Furnishings Virginia Hencken Elsasser and Julia Sharp

www / Textbook The only furnishings textbook with an emphasis on the market, Know Your Home Furnishings, is a comprehensive resource for understanding the categories of consumer goods for the home and the raw products utilized to make them.

• Teaching Resources: Instructor’s Guide and PowerPoint presentations available

UK January 2017 US September 2016 456 pages 300 bw illus 279 x 216mm / 8.5 x 11 inches PB 9781628927566 £72.00 / $90.00 Fairchild Books

Virginia Hencken Elsasser is an Associate Professor at Centenary College, USA. Julia Sharp is an Assistant Professor at Centenary College, USA.

New to this edition • Newly expanded chapters on Lighting, Tableware and Kitchenware, Linens and Window Treatments, Paints and Wall Coverings • Emphasis on the importance of the global marketplace, recycling and environmental issues • Updated and expanded illustrations • Comments from consumer and industry professionals present a real-life view of the industry Contents Preface Acknowledgments I. Introduction to the Home Furnishing Industry 1. Home Furnishings and the Marketplace II. Materials in Home Furnishings 2. Textiles 3. Wood 4. Glass 5. Pottery 6. Plastics 7. Metals 8. Other Materials

III. The Categories of Home Furnishings 9. Furniture 10. Bedding 11. Linens and Window Treatments 12. Carpets, Rugs, and Flooring 13. Tableware and Kitchenware 14. Lighting 15. Paints and Wallcoverings

b.

a.

c.

d.

●

e.

●

Silhouette lighting creates a shadow of the object by shining a light directly on the object.

Lights that shine upward behind objects, such as plants, create interesting patterns on walls and/or ceilings.

lighting recommendations for specific rooms Lighting recommendations for specific rooms are presented in Table 14.3.

selection of Chandeliers a.

Chandeliers are often expensive focal points of a dining room or entrance way. The size of the chandelier should be in proportion to the room and the table in dining rooms.

Other guidelines for selecting a chandelier are as follows:

e. c.

d.

b. ●

figure 14.23 Table lamps: (a) canister lamp, (b) column-base lamp, (c) candlestick lamp, (d) apothecary jar lamps, (e) ginger jar lamp.

●

●

seleCtion of lAMPs AnD luMinAires

The diameter of the chandelier should be about 8 to 10 percent of the diagonal of the room. A chandelier should be small enough so people do not hit their head when getting up—about 30 centimeters (12 inches) smaller than the table.

For a rectangular table, the diameter of the chandelier should not be more than twothirds the length of the table.

Most dining room chandeliers are hung about 76 centimeters (30 inches) above the table.

Selection of lamps and luminaires requires careful attention to both aesthetics and function. Following are some general recommendations for selection of lighting: Figure 14.20a

tA b l e 1 4 . 3

If a room is used for an activity, select the correct lighting for the activity first and Figure 14.20e Figure 14.20c Figure 14.20d then select the light for the rest of the room.

Figure 14.20b ● Areas for relaxation should be softly lit. ● Areas used for vigorous activity should be brightly lit. ● Outlets must be placed every 6 to 12 feet along a wall for portable luminaires. ●

l i g h t i n g r e C o M M e n D At i o n s f o r s P e C i f i C r o o M s

Here are some suggestions for using lighting to create specific effects: ●

Glossary Index

●

●

●

●

●

●

An ambient bank, or plane of light, is a large well-lit area. It can be used to designate a smaller space within a large space.

A soft plane of light from spotlights or track lights is called an even wash. It can be used to highlight a painting or other artwork.

Texture is best emphasized with a light that is very close to the object or by a light that shines at a steep angle.

Use spotlighting from more than one direction to balance the light and eliminate shadows. It emphasizes details. The circle of light from a spotlight is called a pool of light.

Use perimeter lighting to visually expand a space. Perimeter lighting goes around the outside of a room or space.

Use point or pinpoint lighting to spotlight a small area. It can create shiny accents if light hits a reflective surface.

Lights that shine directly down cause shadows beneath and around objects below the lights. Downward light is particularly unflattering to people because it creates shadows.

room or Area

lighting recommendation

Entrance areas

Diffused lighting from the ceiling or wall sconces to create a warm, inviting atmosphere

Living rooms and family rooms

A combination of both direct and indirect light; a dimmer can be used to control the brightness as activities change

Dining rooms

Should be lit so the table and surrounding area are emphasized and to enhance the sparkle of the silver, china, and crystal. Diffused light is more flattering and lessens glare

Kitchens

Work areas should be very well lit; the rest of the room should be fairly bright

Bathrooms

Good ambient lighting from a ceiling fixture and strip lighting on the sides of mirrors. In very small bathrooms, luminaires by the mirrors may be enough light for the room. Bare bulbs around the mirror give clear, shadowless light. In general, there should be no portable fixtures in a bathroom

Bedrooms

Ambient lighting with dimmers; nightstands with reading lights

Hallways

Ambient lighting from glare-free ceiling or wall fixtures

Stairways

Should be well lit for safety with ceiling or wall fixtures that direct the light downward

372 • PART 3 THE CATEGORIES OF HOME FURNISHINGS

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Materials, Textiles and Furniture www / Textbook

Swatch Reference Guide for Interior Design Fabrics

A complete learning tool for interior fabrics.

This all-in-one text and swatch book offers all the pertinent information needed for fabric identification, analysis, acquisition, and usage.

Through the text and assembly of the kit, readers will learn all the essential performance properties of fibers, knits, finishes, and more.

Deborah E. Young

• Teaching Resources: Instructor’s Guide with quizzes, handouts, and suggested syllabi, a PowerPoint presentation with front and back views of all swatches; and a completed set of instructor’s swatch boards available

UK March 2017 US February 2017 242 pages 50 bw illus 279 x 216mm / 8.5 x 11 inches Loose leaf + binder 9781501306006 £98.00 / $125.00 Fairchild Books

Deborah E. Young is Assistant Chair of Textile Science at the Fashion Institute of Design & Merchandising, USA. Features • 145 swatches covering the range of materials used in interior design • Pre-printed swatch boards with detailed information about each fabric, including name, yarn construction, count, coloration, finish, weight, and characteristics • 4 icons identifying biodegradable, sustainable, closed loop, and recycled/recyclable swatch samples • End-of-chapter exercises and suggested assignments train the reader for real-world application Contents Preface Overview of the Text Constructing the Book 1. The Textile Cycle 2. Natural Fibers: Cellulose Fibers 3. Natural Fibers: Protein Fibers 4. Manufactured Fibers 5. Synthetic Fibers

6. Yarns 7. Plain Weave Fabrics 8. Plain Weave Variations 9. Twill Weave Fabrics 10. Satin Weave Fabrics 11. Complex Weaves 12. Pile Weaves 13. Weft Knits 14. Pile Knits

Textile Technology and Design From Interior Space to Outer Space Edited by Deborah Schneiderman and Alexa Griffith Winton

15. Warp Knits 16. Miscellaneous Fabric Structures 17. Prints 18. Finishes Quick Reference Guide Tables Swatch Boards

“This adventurous and revelatory book ranges far beyond color, pattern, weave, and fashion to examine the changing definition of textiles.” Interior Design “By concentrating both on innovations in new textile weaving and material techniques, and on extreme situations in which such advances can come to the fore, the editors promote a way of making space and form that elides the distinctions between those two as well as, at times, between inside and outside.” Architect Magazine Deborah Schneiderman is Associate Professor of interior design in the School of Art & Design at the Pratt Institute, USA. Alexa Griffith Winton is an independent design historian and part time assistant professor at Parsons School of Constructed Environments, USA.

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2016 224 pages 64 bw and 16 colour illus 244 x 169mm / 6.7 x 9.6 inches PB 9781472523754 £19.99 / $34.95 HB 9781472528803 £85.00 / $114.00 Bloomsbury Academic

Materials, Textiles and Furniture 2nd Edition / www.fairchildbooks.com

Fabric for the Designed Interior Frank Theodore Koe

A practical approach to fabrics and textiles for interior design students, addressing both residential and commercial interiors.

• Teaching Resources: Instructor’s Guide, Test Bank, and PowerPoint presentations available Frank Theodore Koe is an Associate Professor at The Pennsylvania State University, USA.

www / Textbook UK March 2017 US January 2017 336 pages 200 colour and 80 bw illus 254 x 203mm / 8 x 10 inches Book + STUDIO Bundle 9781501321849 £74.00 / $110.00 STUDIO Access Card 9781501321825 Fairchild Books

New to this edition • Updated with the latest information on sustainability, codes, and costing, an appendix of historic and decorative architectural styles, and new art reflecting contemporary styles • Key terms highlighted throughout each chapter, plus chapter summaries, activities, and “Expand Your Knowledge” questions at the end of each chapter • Interviews with prominent interior designers and fabric manufacturers yield real-world advice for aspiring professionals • Can be used in conjunction with Deborah Young’s Swatch Reference Guide for Interior Design Fabrics (p. 8) Included in the Fabric for the Designed Interior STUDIO • Student self-quizzes featuring scored results and personalized study tips • Flashcards of essential vocabulary • Online instructional videos that show the world of interior textiles in action, including tours of the historic Scalamandre 110,000-squarefoot mill and several to-the-trade showrooms in New York City

Contents Acknowledgments Preface 1. Origins of Fabric: A Primer 2. Structure and Content of Fiber and Yarn 3. Fabric Construction: Wovens and Nonwovens 4. Dyeing, Printing, and Finishing 5. Floor Covering: Rugs and Carpeting 6. The Environment, Safety, and Codes 7. Specifying Residential Fabric and Trimming

8. Specifying Contract Fabric and Carpeting 9. Sources: Acquiring Fabric for Clients 10. Inside the Workroom 11. Maintaining Fabric, Carpeting, and Rugs 12. Learning from the Professionals Appendices Notes Glossary Credits Index

Chapter 7 Specifying Residential Fabric and Trimming

FIGURE 7.1 A positive relationship between designer and client helps facilitate the design process.

(IMAGE100/ALAMY)

In the case of restoring and preserving a historic landmark structure, emphasis is placed on accurately reproducing or replicating the style that existed when the structure was originally designed. For example, during Queen Victoria’s reign (1837–1901), fabrics on upholstered pieces included velvet, needlepoint, damask, brocade, and crewel embroidery. Ornate drapery treatments in the Victorian tradition would be embellished with valances, swags, and trimmings of tassels, cords, braids, and fringe in colors such as purple, mauve, red, and shades of green, as seen in Figure 7.3.

The direction of designing interiors indicative of historic periods is taken from existing structures, well-preserved homes, or historic reference materials. This trend of preserving history by restoring the built environment and interiors continues to grow in popularity and, as a consequence, requires knowledge of historic movements, periods, and styles.

FIGURE 7.3 Victorian living room.

(Shutterstock/Yampi)

Application of Residential Fabrics

In addition to the obvious places fabric appears in interiors, such as upholstery, fabric can also have specialized applications, such as providing a decorative separation between rooms using a portiere (Figure 7.4) and restricting the movement of cold air from one room to another. Creating a tent effect across the ceiling of a small room or draping fabric above a headboard to soften a wall area are other creative applications.

How fabric is applied was first understood by the wealthy, who used it to create a hierarchy of opulence—sometimes with contraband product.

For example, in the 1650s England banned silk fabric imports because of prevailing political circumstances, so silk brocades were secretly smuggled into England from Lyon, France.

Handmade lace was more prized than gold in the eighteenth century, and allegedly it was transported to wealthy Europeans in the stomachs of dogs or in their folds of skin!

FIGURE 7.2 Blinds made of natural fibers such as seagrass or tabac provide an environmentally friendly look.

(Handwoven window shades by CONRAD)

FIGURE 7.4 A portiere of heavy fabric between rooms helped contain heat.

(Photo: Julian Wass. Interior Design: Jeffrey Bilhuber)

Today, concerns regarding restrictions on fabric supplies are not inhibitors to obtaining quality products of all types. Competition is strong for designers’ business, and if one source does not have access to a desired fabric, another source may.

WINDOW TREATMENTS Drapes and curtains are sometimes considered two separate categories, with curtains lighter in weight and feel than drapes. The expression window treatment is the generally preferred terminology used to describe any fabric used in association with windows, whether for curtains, drapes, or shades.

Windows of all sizes complement walls, providing views to the outside and inside. Window treatments can express formal or informal statements, and they can be integrated and scaled into the allover room design, harmonizing with carpeting, rugs, furniture, wall treatments, and paint.

Formal window treatments often rely on historical

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9

Color

2nd Edition / www.fairchildbooks.com

Color + Design Transforming Interior Space Ron Reed

Color + Design teaches how to effectively use color in conjunction with design principles. Using photographs of residential and commercial interiors, the book illustrates the effects of color on a design and provides students with the guidelines they need to create a successful environment.

• Teaching Resources: Instructor’s Guide, Test Bank, and PowerPoint presentations available

www / Textbook UK March 2017 US January 2017 216 pages 250 color illus 216 x 279mm / 11 x 8.5 inches Book + STUDIO Bundle 9781501321641 £60.00 / $90.00 STUDIO Access Card 9781501321580 Fairchild Books

Ron Reed, MS, RID, IIDA is an interior designer, author, and educator with over 22 years of combined professional design practice and teaching experience.

color

+ design The basic components of all design are simple shapes—rectangles, circles, squares, and triangles. Frank Lloyd Wright drew inspiration from the hollyhock flower for his design of the 1921 Hollyhock House in Los Angeles, California

Features • 25+ color manipulations of residential and commercial interior spaces

(Figure 7.21). His refinement of the natural form into basic geometric shapes illustrates the flexibility of nature in creating new forms. Similarly, if we break color down into the basics for analysis, then applications have the potential to be much easier and more understandable (Figure 7.22).

The iconic Egg chair designed in 1958 by Arne Jacobsen is an example of the modernistic approach to using simple forms. Jacobsen carved out the desired shape for his chair, creating interplay of positive and negative space while main-

• Illustrations and photos showing all elements of design—color, space, line, form, texture, and pattern

taining the simplicity of the original form (Figure 7.23). This same concept is evident in the Ear chair, 1968, by Georges Laporte (Figure 7.24a) and the Tongue chair designed by Pierre Paulin in 1967 (Figure 7.24b). These examples suggest

• Key Words, Learning Objectives, and Exercises in each chapter

FIGURE 7.23 Classical Arne Jacobsen Egg chairs in the Belgrave House, London, modern lobby.

(View Pictures/UIG via Getty Images)

FIGURE 7.21 The Hollyhock House, Los Angeles, CA, 1919–1921. Detail of block design capturing the appearance of the hollyhock flower. (trekandshoot | Dreamstime.com)

New to this edition • An updated art program featuring increased coverage of current commercial and residential environments

Dominant hue

Sub-dominant hues

• Updated insights into how people perceive color, including new content about different cultures and ageing populations • Expanded pedagogical features and exercises Included in the Color + Design STUDIO • Student self-quizzes featuring scored results and personalized study tips

Accent hues

FIGURE 7.22 Variation of a grid for portioning color values.

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Chapter 7

color + proportion + scale

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• Flashcards of essential vocabulary

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color

• Projects and exercises

+ design the use of human forms in addition to natural forms for shaping objects into proper proportions.

Examine the color proportions in this closeup view of a butterfly wing in Figure 7.25a. Immediately you can see the accent (blue), a high-intensity hue

Contents Preface Acknowledgments 1. Color + Culture 2. Color + Theory 3. Color + Perception & Behavioral Response 4. Color + Balance 5. Color + Rhythm 6. Color + Emphasis 7. Color + Proportion + Scale

in the mix that receives the smallest proportion. This is followed by three other colors with identifiable proportions that we can apply to a grid for comparison, as shown in Figure 7.25b.

8. Color + Unity + Harmony 9. Color + Variety + Design Elements Afterword Appendix: Color Theory History, adapted from Connie B. D’Imperio Glossary Bibliography Credits Index

FIGURE 7.25 (a) Top. Thousands

FIGURE 7.24 (a) Top. Ear chair by Georges Laporte, 1968. High-color contrast between inside and outside forms highlights this chair’s design features. (b) Bottom. Tongue chair by Pierre Paulin, 1967. The whimsical design of this chair is accentuated using bright, saturated hues for the upholstery. (a: CHRISTIE’S IMAGES LTD., 2009; b: Artifort)

of tiny colored scales create a mosaic pattern on the wing of a Spicebush Swallowtail butterfly. (Darrell Gulin/Getty Images) (b) Left. Butterfly wing color proportioned into a palette using the grid format.

Additional Methods for Establishing Proportional Relationships

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Critical Thinking and Design Process www / Textbook

2nd Edition

Programming and Research Skills and Techniques for Interior Designers Rosemary Botti-Salitsky

The only programming book written specifically for interior designers, Programming and Research is now fully updated to cover the latest trends in the industry. It provides a step-by-step approach to mastering the process of documenting client and user requirements for any design project.

• Teaching Resources: Instructor's Guide and PowerPoints available Rosemary Botti-Salitsky is a Professor at Mount Ida College in Boston, USA.

UK April 2017 US March 2017 224 pages 175 bw illus 279 x 216mm / 8.5 x 11 inches PB 9781628929546 £74.00 / $110.00 Fairchild Books

New to this edition • Updated with the latest industry trends, including integrated project delivery (IPD), evidence-based design, LEED, high-performance workspace (HPW), and building information modeling (BIM) • Appendices include actual programming documents used by successful interior design firms, a residential questionnaire, and a list of helpful resources • New examples and case studies throughout cover new technological tools being employed in the industry to collect data • Key terms are highlighted in the text and defined in a comprehensive glossary Contents Preface Acknowledgments 1. What is Programming?

2. The Process of Design 3. Defining Your Topic and Structuring Your Program Document 4. Research Methods 5. Historical, Observational, and Interactive Research

Adaptation Strategies for Interior Architecture and Design Graeme Brooker

6. Building and Site Analysis 7. Precedent Studies 8. Generating the Program 9. Written and Visual Analysis 10. Challenging Your Thinking Appendix A: Tsoi Kobus & Associates Programming Forms Appendix B: MPA (Margulies Perrozi Architects) Design Programming Forms

“This book, with its emphasis on strategy, rather than purely case study, is useful and relevant – especially to students for whom skills such as design process and critical attitude are so important.” David Littlefield, University of the West of England, Bristol, UK This investigation of design strategies, ideas and critical thinking in interior architecture offers an overview of design strategies, ideas and critical thinking in interior architecture and interior design.

Graeme Brooker uses 40 international case studies—including a disused aircraft hangar and an old water defense —to show how the adaptation of existing buildings can provide unique and unusual transformative solutions for the historic and contemporary built environment.

Appendix C: A List of Helpful Resources Glossary Resources Credits Index

UK December 2016 US January 2017 224 pages 340 colour illus 270 x 210mm / 10.6 x 8.3 inches PB 9781472567130 £37.99 / $51.95 Series: Required Reading Range Bloomsbury Visual Arts

Graeme Brooker is Professor and Head of Interior Design at the Royal College of Art, UK. Featured Designers Adjaye Associates David Kohn Architects Diller Scofidio + Renfro Doepel Strijkers Architects Fabio Novembre

Helix Architecture + Design Iwamoto Scott Architecture Karim Rashid Mark Horton Architects

Morpurgo De Curtis Spark Architects Steven Holl Architects Studio Weave

11

Lighting

3rd Edition / www.fairchildbooks.com

Fundamentals of Lighting Susan M. Winchip

Fundamentals of Lighting takes an integrated approach to the study of lighting and design.

• Teaching Resources: Instructor’s Guide, Test Banks, and PowerPoint presentations available Susan M. Winchip, PhD, LEED AP, MIES, is Professor Emerita at Illinois State University, USA.

www / Textbook UK March 2017 US January 2017 344 pages 340 color illus Book + STUDIO Bundle 9781501320927 £56.00 / $85.00 STUDIO Access Card 9781501320903 Fairchild Books

New to this edition • Updated coverage of standards, lamp technologies, controls, human factor research, lighting software programs, and energy codes and standards • Integrated emphasis on sustainable lighting design, such as daylighting, energy efficiency, and controls • Design projects to guide students through research and application • New “One-Minute Study Guide” self-quizzes embedded in every chapter to test student comprehension of key concepts • An art program with over 300 photographs of global interiors and new lighting systems Included in the Fundamentals of Lighting STUDIO • Student self-quizzes featuring scored results and personalized study tips • Flashcards of essential vocabulary • Projects and exercises for expanding knowledge Contents

12

II. Lighting Design Applications and the Design Process 9. Lighting Design Process: Project Planning through Design Development 10. Lighting Design Process: Contract Documents through Post-Occupancy Evaluation 11. Residential Applications 12. Commercial Applications

Chapter 4 Energy, the Environment, and Sustainable Design

Part One Principles of Lighting

power (EIA, 2014). Therefore, the EIA anticipates

40

that increases in electrical usage will primarily be derived from improvements in the standard of living in

Trillion kilowatthours

Preface I. Principles of Lighting 1. Introduction to Quality Lighting 2. Color and Directional Effects of Lighting 3. Natural and Electrical Light Sources 4. Energy, the Environment, and Sustainable Design 5. Illumination, Well-Being, and Behavior 6. Lighting Systems: Luminaires 7. Lighting Systems: Controls 8. Quantity of Light

non-OECD countries.

The EIA further examines world energy consumption specifically for the purpose of generating electricity and projects increases in consumption of

Nuclear Renewables Natural Gas Coal Liquids

20 10 0

all primary energy sources, including coal and natural

2010 2015 2020 2025 2030 2035 2040

gas (Figure 4.3). Increases in the consumption of FIgurE 4.3 World electricity generation by fuel, 2010–2040.

fossil fuels deplete nonrenewable resources, while the associated combustion process increases world carbon FIgurE 4.1 Google Tel Aviv received LEED platinum certification. Sustainable features include a comfortable and healthy work environment, automated window blinds, and lighting systems with occupancy and daylight sensors. (© Evolution Design Photo: Itay Sikolsk.)

how to design this built environment requires an awareness of global energy consumption and nonrenewable resources.

Global Energy Consumption The Energy Information Administration (EIA) is an independent statistical and analytical agency that issues the annual International Energy Outlook (IEO)

dioxide emissions.

From a positive perspective, the report indicates that nonrenewable energy sources are some of the

Factors Affecting Lighting Consumption

fastest growing sources of electricity generation

The purpose of a building affects the percentage of

worldwide (EIA, 2014). Specifying energy-efficient

the electricity it uses for lighting. For example, a large

lighting systems can assist in reducing future interna-

percentage of the electricity consumed by a retail store

tional energy consumption and subsequent emissions.

is dedicated to lighting. In contrast, the percentage small because the highest demands are for operating machinery.

The U.S. EIA estimates that in 2014 about 15 percent

The design of a building also affects the percent-

of the total electricity consumed by the residential and

age of electricity used for lighting. Generally,

commercial sectors were used for lighting.

buildings whose interiors have relatively little expo-

Most of the need for lighting occurs during week-

sure to daylight require more electricity for lighting.

days, which is the time of peak demand for electricity.

Effective daylight integration can conserve energy.

publication. According to the EIA (2014), by the year

For example, the amount of illumination from a

2040 world energy consumption will be 820 quad-

window with an opening of 3 feet × 5 feet (.9 meters × 1.5 meters) is equivalent to approximately 100

indicate a 56 percent growth between 2010 and 2040 (U.S. Energy Information Administration, 2014, 1).

Most of the growth in energy consumption occurs in non-OECD (Organisation for Economic Co-operation Development) countries, such as Asia (including China and India) and Central and South America (Figure 4.2).

As of 2010, approximately 1.3 billion people live in countries that do not have electricity. Fifty-seven percent of the people in Africa do not have access to

incandescent 60-watt lamps.

Key North America OECD Europe OECD Asia Middle East Africa Central and South America

Thus, a critical component to reducing energy consumed for lighting is quality daylighting. Software, such as Radiance, is available to generate a simulation of daylighting and the electrical needs for lighting

FIgurE 4.4b Radiance software was used to simulate daylighting and to generate illuminance contours. The Radiance system computed the rendered images and its values. (Lawrence Berkeley National Laboratory.)

in buildings (Figures 4.4a and 4.4b). Radiance is a ray-tracing software that was developed from support

FIgurE 4.2 Map of members and non-members of the Organisation for Economic Co-Operation and Development (Based on OECD).

primarily from the U.S. Department of Energy. The program is excellent for analyzing and visualizing

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FIgurE 4.4a Radiance software was used to simulate daylighting. The Radiance system computed the rendered images and its values. (Lawrence Berkeley National Laboratory.)

of electricity used for lighting by a factory is very

Energy Consumption for Lighting

rillion British thermal units (Btu)—projections that

Appendix A: Lighting Manufacturers, Distributors, and Suppliers Appendix B: Professional Organizations, Government Agencies, and Trade Associations Appendix C: References Appendix D: LEED Certification Credit Attributes Related to Quality Lighting Glossary Index

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Digital Design, Drawing, and Presentation www / Textbook

Digital Drawing for Designers A Visual Guide to AutoCAD® 2017 Douglas R. Seidler

Updated for 2017 AutoCAD software, Digital Drawing for Designers is the architect’s and interior designer’s best resource for learning digital drawing.

• Teaching Resources: Instructor’s Guide available Douglas R. Seidler, LEED AP, ASID, Associate AIA, IDEC, is Department Chair and Associate Professor of Interior Design at Marymount University, USA.

2016 272 pages 450 bw illus 279 x 216mm / 8.5 x 11 inches PB 9781501318122 £88.00 / $110.00 Fairchild Books

Features • Practice exercises reinforcing each chapter’s topics • Clear explanation of drawing and printing with line weight • Quick reference aids: command reference guide, index, and large-type page headers • Backwards-compatible with AutoCAD versions 2014 through 2017 • Companion Website with additional exercises and student resources New to this edition • Instructional graphics are updated to reflect AutoCAD 2017’s features and user interface • New chapter devoted to furniture plans and reflected ceiling plans • New chapter devoted to construction detailing

www / Textbook

Integrated Drawing Techniques Designing Interiors with Hand Sketching, SketchUp, and Photoshop

The first drafting book to teach interior design and architecture students how to design their residential interiors using freehand sketching and computer-aided drawing simultaneously. From concept planning to 3D rendering, this book is a comprehensive guide to designing residences.

• Teaching Resources: Instructor’s Guide and PowerPoint presentations available Robert Philip Gordon is an adjunct professor of interior design at Columbia College Chicago, USA.

2016 256 pages 300 bw and 40 color illus (insert) 216 x 279mm / 11 x 8.5 inches PB 9781628923353 £80.00 / $100.00 Fairchild Books

Robert Philip Gordon Features • Over 300 hand and computer-rendered drawings, including sample designs from professional designers • Basic use of Photoshop® in conjunction with SketchUp and freehand sketching, and how they are all integrated • Appendices provide a historical chronology of computer-aided design and designing emergency shelters for sustainable use

13

Space Planning and Form

2nd Edition

The Interior Plan Concepts and Exercises Roberto J. Rengel

www / Textbook This introductory-level text introduces students to the planning of interior environments, addressing both the contents of the environments and the process of interior space planning. Topics include the making of rooms, the design of effective spatial sequences, functional relationships among project parts, arrangements of furniture, planning effective circulation systems, and designing environments with efficient emergency egress systems.

2016 336 pages 310 bw illus 279 x 216mm / 11 x 8.5 inches PB 9781501310478 £50.00 / $75.00 Fairchild Books

• Teaching Resources: Instructor's Guide and PowerPoint presentation available Roberto J. Rengel is a professor of interior design at the University of Wisconsin-Madison, USA. New to this edition • Glossary allows readers to quickly look up terms used in the book • Re-organized content with coverage on accessibility and universal design • New original artwork by the author • Exercises to engage students and test their ability to apply what they have learned Contents Preface Acknowledgments 1. Introduction to Interior Planning 2. Projects for People: Health, Safety, and Welfare

3.

4.

5.

6.

7.

8. Nonresidential Design Basic Metric Conversion Table Glossary Art/Design Credits Index

Design Process The Room Beyond the Room The Project Residential Design

2nd Edition

www / Textbook

Space Planning for Commercial Office Interiors

A step-by-step guide through the entire space planning process for offices: from meeting a client to presenting a plan, and everything in between.

Mary Lou Bakker

Mary Lou Bakker is a professional interior designer based in Washington, D.C., USA.

• Teaching Resources: Instructor's Guide and PowerPoint presentation available

2016 432 pages 320 bw illus 279 x 216mm / 11 x 8.5 inches PB 9781501310508 £66.00 / $100.00 Fairchild Books

Features • Diagrams, plan views, standard layouts, and CAD drawings illustrate every stage of the space planning process • Illustrated tables depicting office furniture and equipment designed to fit a variety of office needs • Appendices with sample client profiles, building locations, programming questionnaires, and circulation plans • Includes coverage of open office design, hotelling, and updated coverage of videoconferencing New to this edition • A more thorough look at programming and the steps involved • Expanded end-of-chapter exercises that focus on initial research Contents Preface Acknowledgments Abbreviations Epigraph 1. Introduction to Space Planning 2. Clients and their Organizations 3. Discovery Process 4. Contract Furniture 14

5. Circulation and Clearances 6. Room Envelopes and Typical Private Office Layouts 7. Typical Workstation Layouts 8. Conference Rooms 9. Reception Areas or Rooms 10. Coffee and Other Food Rooms 11. Support Rooms and Functions

12. Program Report 13. Building Footprint and Project Information 14. Space Planning 15. Presentation of Plans Appendix A: Client Profiles Appendix B: Building Location Appendix C: Program Questionnaire

Appendix D: Raw Space Appendix E: Circulation Plan Views Appendix F: Inventory Forms Metric Conversion Table Glossary References Photo Credits Index

Professional Practice

2nd Edition

Designing Your Business Professional Practices for Interior Designers Gordon T. Kendall and Heidi Painchaud

www / Textbook Designing Your Business transforms aspiring interior designers into savvy business people as well as creative interior designers by offering strategies for working with colleagues, clients, and resources.

• Teaching Resources: Instructor's Guide and PowerPoint presentations available

UK April 2016 US March 2016 448 pages 40 bw illus 216 x 279mm / 8.5 x 11 inches PB 9781501313950 £88.00 / $110.00 Fairchild Books

Gordon T. Kendall is a lawyer and business manager based in New York, NY, USA. Heidi Painchaud is Managing Principal of Interior Design with B+H Architects, Canada.

New to this edition • New co-author, Heidi Painchaud, is a practicing interior designer, bringing insights, tips, and case studies from the field • Updated book design makes it easy to follow along and differentiate sections • "Mentor Memo" and "Notes from the Field" boxed highlights are interspersed throughout every chapter with tips and practices on a variety of topics from both the design and management side • New Learning Objectives and Review Questions have been added to all chapters Contents Preface Acknowledgments Part One: You and Your Work 1. Introduction to Professional Practices 2. Becoming a Professional 3. Working Ethically Part Two: You and Your Business 4. Understanding Law and Your Business 5. Planning Your Business Finances 6. Managing Your Business 7. Marketing and Promoting Your Business

Part Three: You and Your Clients 8. Defining Your Services 9. Charging Clients for Your Services 10. Managing Your Client's Project 11. Defining the Client Relationship

CHAPTER 1

INTRODUCTION TO PROFESSIONAL PRACTICES MENTOR MEMO Soon you will know, that you don’t know . . . what you don’t know.

After reading this chapter, you will be able to ●

● ●

●

Part Four: You and Your Resources 12. Working with Vendors 13. Working with Service Providers Part Five: You and Your Career 14. Beginning Your Work Life 15. Planning Your Career Glossary Index

●

● ●

●

Identify various disciplines from which interior designer professional practices derive; Define the term professional practices as it applies to interior design; Articulate reasons study of professional practices is important for interior designers; Distinguish characteristics of professionals and entrepreneurs, and note how they may be alike; Describe components of a SWOT analysis, even explain circumstances when designers might use them; Explain the process used by interior designers to organize and manage projects; Name ways by which professional practice decisions may be monitored and controlled; Explain how you may further develop and enhance professional practice skills.

INTRODUCTION TO INTERIOR DESIGN PROFESSIONAL PRACTICES What does the day-to-day practice of interior design involve? How will clients and trade professionals describe their experiences working with you? Can you explain the work you do and the value you add to those who may have only an idealized, “as seen on TV” impression of designers and their work? The answer to these and many other

Interior designers impact users’ interactions with physical spaces they conceive and realize.

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Careers and Portfolios

3rd Edition

Design Portfolios Presentation and Marketing for Interior Designers Diane M. Bender

www / Textbook Provides interior design students with essential information on gathering, organizing, and presenting in multiple print and digital portfolio formats. Readers will learn how to create a unique marketing tool for a successful design career.

• Teaching resources: Instructor's Guide and PowerPoint presentations available

UK March 2017 US February 2017 280 pages 400 colour illus 279 x 216mm / 8.5 x 11 inches PB 9781501317248 £50.00 / $75.00 Fairchild Books

Diane M. Bender, PhD, ASID, IDEC, is an Associate Professor and Program Coordinator in the Interior Design Department at Arizona State University, USA. Features • Extensive information on gathering, organizing and presenting a portfolio • Examples from both undergraduate and graduate design student portfolios • Tips and strategies for job hunting, preparing an effective resume and interviewing New to this edition • Streamlined and updated to reflect contemporary professional practices and current awareness of media and technology • Increased focus on marketing featuring advice from leading practitioners Contents Preface Acknowledgments 1. The Design Portfolio 2. Employment and Promotional Strategies 3. Gathering Materials 4. Digital Imagery 5. Organizing Your Portfolio 6. Portfolio Layout 7. Printed Portfolio Formats 8. Digital Portfolio Formats 9. Evaluating and Presenting Your Portfolio 10. A Continual Portfolio Process References Index

Developing a portfolio is a design project in and of itself. therefore, it needs to have a clear set of intentions, it must speak for itself, and holistically present the designer’s attitude towards the built environment.

JANE BRITT GREENWOOD, AIA, ASSOCIATE PROFESSOR AND FULBRIGHT SCHOLAR, SCHOOL OF ARCHITECTURE, MISSISSIPPI STATE UNIVERSITY

portfolios rely on a variety of pieces, or artifacts, that provide evidence of your competence. these artifacts can range from written materials, models, and images, to large drawings and presentation boards (figure 1.3). You have complete control and ownership of your portfolio because items included in a portfolio are self-selected. You decide what is to be included, excluded, emphasized, and ignored. Unfortunately, there is no magic formula or checklist for what goes into a portfolio (although some suggestions are given in Chapter 3). You will likely create a showcase portfolio, which demonstrates your level of accomplishment and skill by highlighting your best work.

THE DIGITAL PORTFOLIO for many years, the presentation of a portfolio has been an intimate experience occurring face-to-face between designer and client, or between designer and employer. things have changed with the advent of the internet and Web 2.0 technologies. We no longer work only with print media, but in a world of multiple media. Designers are now complementing their printed portfolios with an electronic version known as a digital portfolio. this is a collection of work stored and presented in an electronic format. With a digital portfolio, you show your work via a CD, a UsB flash drive, or the internet (figure 1.5).

When you present your work digitally, you also demonstrate to employers and clients that you can manipulate the latest technologies.

Digital portfolios are popular but have not displaced printed portfolios. the industry standard is now to send a digital sample of your work with your résumé via e-mail or uploaded to a website. a digital portfolio is generally considered an introduction to you and your work, as

THE TRADITIONAL PORTFOLIO

1.3 Not all of your design material is flat and in a small format. You will also have oversized presentation boards and 3D models in your portfolio layouts.

Design work courtesy of Jeanne Coelho.

4 |

a traditional portfolio is a collection of your work in printed format, such as drawings, sketchbooks, presentation boards, matted projects, sample and material boards, and bound illustrations. portfolios can have a wide variety of formats, appearances, and even carrying cases. all this is discussed in later chapters.

Most practitioners still like to hold your work in their hands when reviewing it. With a traditional printed portfolio, there is no need for technology to review the work. You don’t have to worry that the technology will fail during an interview or that your work will appear differently on someone else’s laptop or tablet. and the practitioner needs no special technical knowledge and computer applications to access your portfolio. all he or she needs is a finger to turn your printed pages.

Chapter 1 the Design portfolio

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1.4 The numerous items you can present in a printed portfolio range from line drawings to images of models.

Design work courtesy of Jeremy Gates.

ever-decreasing production costs make the book format the most widely used in industry (figure 1.4).

1.5 A digital portfolio presents your work in a medium familiar to professionals.

Design work courtesy of Amol Surve.

the Digital portfolio

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a secondary color of light mixed together in the correct proportions with its opposite primary color will produce white light. if you combine the three secondary colors, the result is not black but an unappealing dark brown. printers in the printing industry therefore must add black ink to do CmyK printing (CmyK stands for cyan, magenta, yellow, and black). i would suggest using rgB if the final product will remain in a digital environment (like a web-based portfolio). if you will mainly be printing your portfolio, use CmyK for your images.

IMAGE DISTORTION 4.6 The additive color system is used for digital media

image distortion, or interpolation, occurs in all digital photos. and has primary colors of red, green, and blue. it happens whenever you resize, stretch, or skew an image. Illustration courtesy of Aaron J. Kulik.

When you take a digital image such as the one in Figure 4.7 and enlarge a portion of it, it will pixelate. the computer software determines mathematically where new pixels will go and what color these pixels will be. When the software does this, the individual pixels become quite visible, often causing a stepped or jagged effect. interpolation is a method used to compute new values between known pieces of information. it is a way to create missing data. For example, if you weighed 150 pounds on may 15 and 156 pounds on June 15, you could estimate your weight on June 1 to be 153 pounds. the more data you have, the more exact the interpolation would be. if you weighed yourself every day, you would have far more data points. image interpolation works the same way. if you wish to increase the size of a digital image from 100 pixels to 200 pixels, image-editing software (such as adobe photoshop) would insert new pixels between the known pixels, based on the average color and intensity of the pixels nearby.

4.4 Is it that important if the green shown on your laptop is the EXACT green shown on someone’s tablet? Focus more on your portfolio content and format.

Design work courtesy of Alyssa S. Hitt.

Subtractive Color System the subtractive color system is based on the color wheel developed by sir isaac newton. in this system, colors are seen by reflected light, as white light reflects off a colored surface to your eye. an object absorbs (or subtracts) all other colors except the color of the object, which is the one your eye sees. For example, a red apple absorbs all colors except red. red is then bounced back to the eye and a red apple is what you see. the primary colors of the subtractive color system are red, yellow, and blue. secondary colors are orange, green, and violet (Figure 4.5).

Additive Color System television screens, computer monitors, and theater lighting all use the additive color system. this is the color of light. its primary colors are red, green, and blue (rgB). these can be added together to produce the secondary colors of cyan, magenta, and yellow (Figure 4.6).

4.7 The close-up view of the cup and newspaper breaks down, or pixelates, into individual pixels when scaled much larger.

Design work courtesy of Taresha S. Agins, Jeanne Coelho, Anne Looker, and Meghann Moodie.

4.5 The subtractive color system is used for print media and has primary colors of red, yellow, and blue.

Illustration courtesy of Aaron J. Kulik.

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Chapter 4 Digital imagery

image Distortion

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the contents should be clear to anyone looking at the portfolio. each project should be clearly explained, in a type size that people can actually read. and make sure everything is spelled correctly.

FREDERICK STEINER, DEAN, SCHOOL OF ARCHITECTURE, HENRY M. ROCKWELL CHAIR IN ARCHITECTURE, UNIVERSITY OF TEXAS AT AUSTIN

6.35 Ensure there is enough contrast between your text and background to be clear and legible.

Design work courtesy of Kirsten Keane.

6.37 Scrutinize your work. If your images are vertical, consider a portrait layout. If they are really long, like this section view, consider a landscape layout.

Design work courtesy of Jay Sciarani.

software application of your choice on 8.5" x 11" letter-size paper. add guidelines at 8" x 8". after printing to regular letter-size paper, get out the sharpest knife you own and slice the pages down. Some print shops will do this for you, but from experience, they usually do a poor job. Do it yourself. if you want the color to go all the way to your paper’s edge, use a bleed. a bleed means the color goes past the edge of the printable area. it expands the visual boundary beyond the paper’s edge, which enlarges the viewer’s horizon. overprint your pages to larger paper and then cut it to the smaller size with a very sharp knife. it will then look like the images go right off the page (figure 6.39). if printing back to back, ensure you have even more overlap (i.e., overbleed). When trimming one side, ensure you do not see a trimming mistake on the other side.

6.38 Square layouts allow all types of image sizes to be shown.

Design work courtesy of Kirsten Keane.

PHYSICAL SIZE AND LAYOUT

6.36 The text within the two purple boxes is the most visible. All other text is too close in value to its background color to be clearly read.

Illustration courtesy of Amol Surve.

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the first decision you must make is the physical size of your printed portfolio. the size of your layout is determined in part by the size of your original work, printing constraints, and submission requirements. if your original work has several long, horizontal images, your layout will be long and horizontal (figure 6.37). you can design on only a certain amount of the page before you exceed a printer’s maximum printable area. lastly, does the firm or school have a required format? to stand out from the crowd, many students prefer to have an unusual size portfolio. most book portfolios are rectangular or square. you could be different and have a circular portfolio. But this would be time-consuming and use a lot of resources. Just like other decisions, this could be a trade-off. instead, let’s say you want an 8" square portfolio (figure 6.38). Simply create your layout in the

Chapter 6 portfolio layout

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17

Introduction to Interior Architecture 2nd Edition

Form and Structure in Interior Architecture Graeme Brooker and Sally Stone

Textbook An examination of the basic ideas that underpin the design and remodelling of interior space, covering the processes from establishing a relationship between an existing building and its new components, through to the design and positioning of elements within that space.

Studies of contemporary work are displayed in an engaging and stimulating way and new international case studies are included to ensure current thinking.

2016 184 pages 200 colour illus 230 x 160mm / 6.2 x 9 inches PB 9781472572653 £23.99 / $32.95 Series: Basics Interior Architecture Fairchild Books

Graeme Brooker is Head of Interior Design at the Royal College of Art, UK. Sally Stone is Director of the College of Continuity in Architecture at the Manchester School of Architecture, UK. New to this edition • 25% new material • International case studies from the US, Asia, the UK and Europe • New chapter on sustainable interior architecture Contents 1. The Design Process Introduction Definitions and Descriptions Reuse and Redesign: Case Study

5. Responsive Interiors Introduction Intervened: Case Study Inserted: Case Study Installed: Case Study

2. The Existing Building Introduction Reading the Interior Basic Structural Systems Context and Environment: Case Study History: Case Study Form and Structure: Case Study

6. Autonomous Interiors Introduction Disguised: Case Study Assembled: Case Study Combined: Case Study

3. Sustainable Interior Architecture Introduction Sustainable Design: Case Study Sustainable Use: Case Study 4. Methods of Organizing Space Introduction Closed Room: Case Study Free Plan: Case Study

18

7. E lements for Organizing Space Introduction Object: Case Study Plane: Case Study Sequence: Case Study Light: Case Study Threshold: Case Study Texture: Case Study Glossary Index

1 The Design Process

22

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Renovation Name: The Rookery Location: Chicago, USA Designer: T. Gunny Harboe

Renovation is the process of renewing and updating a building. The function will remain the same and the structure is generally untouched, but the manner in which the building is used will be brought up to date. It is usually the services that require attention, especially the heating and sanitary systems. A good example of refurbishment is a large mansion that will be adapted for twenty-first-century living but not substantially changed.

The renovation of the court lobby of the Rookery was a complex process of balancing the conservation of the original 1888 building with several previous renovations of the building and the needs of the present users. The narrative of the journey through the eleven-story, cast-iron frame masonry and terracotta office block by original architects, Burnham & Root, had been

compromised by the progressive alterations, as had the natural light through the glass roof and the vertical circulation. The 1905 renovation by Frank Lloyd Wright continued the spatial journey through the building and clad the cast-iron columns with white marble. Gunny Harboe was anxious to embrace this work, while erasing the subsequent alterations, so a datum of 1910 was set. The original circulation route was re-established, the entrance vestibule was restored to Wright’s design, and Burnham & Root’s original marble mosaic floor was rebuilt.

Most importantly, a new glazed roof was built above the original, which eliminated any problems of water ingress and reinstated the former brilliantly lit courtyard. This whole process adapted the building for twenty-first-century expectations and use.

1.9a The vertical circulation of the Rookery was clearly defined in the renovation.

1.9b The renovation makes the priory once again fit for purpose.

1.9a

1.9b

Landscape Architecture

www / Textbook

Landscape Architecture and Environmental Sustainability Creating Positive Change Through Design Joshua Zeunert

“The book is the first of its kind, a text which pulls together the key drivers and contextual issues that underpin our thinking and approaches to sustainable landscape design. This is a must read for all students embarking on any form of environmental design.” David Booth, University of Gloucestershire, UK This book focuses on how landscape architecture can propagate environmental improvements at a range of scales, from private gardens to public spaces. Zeunert uses professional projects to illustrate key themes and examines the movements that have influenced landscape theory.

UK January 2017 US February 2017 320 pages 500+ colour illus 270 x 210mm / 8.3 x 10.6 inches PB 9781472590626 £37.99 / $51.95 Series: Required Reading Range Bloomsbury Visual Arts

Joshua Zeunert is a lecturer in planning and landscape architecture at Deakin University, Australia.

Features • Showcases previously unpublished landscape projects from across the world • Projects and case studies are highly-illustrated with plans and images • Inspiring interviews with environmentally-prominent landscape architects to stimulate further reading • Companion website provides additional resources and projects for educators

Green Wedge Urbanism History, Theory and Contemporary Practice Fabiano Lemes de Oliveira

“This fascinating and historically informed account sheds new light on the urban landscape, reminding us of the benefits of linear open space, whether as an alternative to encompassing green belts or (even better) in combination with them.” Michael Hebbert, Professor of Town Planning at University College London, UK

February 2017 304 pages 85 bw illus 234 x 156mm / 6.1 x 9.2 inches HB 9781474229180 £85.00 / $114.00 Bloomsbury Academic

This book explores the green wedge model of green space planning, showing how it may offer a successful prototype for integrating urban development and nature in existing and new towns and cities around the world. Part history, and part contemporary argument, this book first examines the emergence and global diffusion of the green wedge in town planning in the late 19th and early 20th centuries, placing it in the broader historic context of debates and ideas for urban planning with nature, before going on to explore its use in contemporary urban practice.

Fabiano Lemes de Oliveira is a reader in architecture and urbanism at the University of Portsmouth, UK.

Contents Introduction I. Green Wedges In History 1. A Brief History of Urban Planning With Nature 2. The Emergence of the Green Wedge Idea - Americas, Europe, Oceania and Asia 3. Green Wedge Visions for the Future

II. Green Wedges Today 4. Green Wedges In Networks of Green Space 5. Polycentrism and Regional Planning 6. Green Wedges at the City Scale 7. Towards Sustainable Cities Conclusions Bibliography Index

19

Reference

New in Paperback

The Handbook of Interior Architecture and Design Edited by Graeme Brooker and Lois Weinthal

“From uniquely varied viewpoints and scales of exploration, The Handbook of Interior Architecture and Design provides clear-eyed insight into a profession that has evolved dramatically in the last decades to come into its own.” Lilianne Wong, Head of the Interior Architecture Department at Rhode Island School of Design, USA The Handbook of Interior Architecture and Design brings together the latest research by leading international scholars and practitioners in the dynamic fields of interior architecture and interior design, while also offering an evolution of the disciplines.

January 2017 696 pages 244 x 169mm / 6.7 x 9.6 inches PB 9781350000025 £36.99 / $49.95 HB 9781847887450 £115.00 / $148.00 Bloomsbury Academic

Graeme Brooker is Head of Interior Design at the Royal College of Art, UK. Lois Weinthal is Chair of the School of Interior Design at Ryerson University in Toronto, Canada.

New! Paperback Volumes Available for Individual Purchase

A Cultural History of Gardens Edited by Michael Leslie and John Dixon Hunt

“A wonderful resource.” Library Journal

2013

“A much-needed cultural history of Eurocentric garden traditions from ancient times to today, offering readers glimpses into various past worlds and new views of their own.” Landscape Architecture Magazine

6-volume HB set / 1,600 pages 300 bw illus 244 x 169mm / 9.6 x 6.7 inches PB 9781350009950 £125.00 / $172.00 HB 9781847882653 / £350.00 / $550.00 Series: The Cultural Histories Bloomsbury Academic See below for individual volume pricing.

A Cultural History of Gardens presents an authoritative survey from ancient times to the present. This set of six volumes, available for individual purchase for the first time, covers over 2500 years of gardens as physical, social, and artistic spaces.

Michael Leslie is Professor of English at Rhodes College, USA. John Dixon Hunt is Professor Emeritus at the University of Pennsylvania, USA. Contents Volume 1: Antiquity (600 BCE - 600 CE) Edited by Kathryn Gleason, Cornell University, USA 2015 / 304 pages PB 9781350009868 £24.99 / $34.95 HB 9780857850294 £70.00 / $95.00

Volume 3: Renaissance (1400 - 1700) Edited by Elizabeth Hyde, Kean University, USA 2015 / 320 pages PB 9781350009912 £24.99 / $34.95 HB 9780857850317 £70.00 / $95.00

Volume 5: The Age of Empire (1800 - 1900) Edited by Sonja Dümpelmann, Harvard University, USA 2015 / 304 pages PB 9781350009936 £24.99 / $34.95 HB 9780857850331 £70.00 / $95.00

Volume 2: Medieval (600 - 1400) Edited by Michael Leslie, Rhodes College, USA 2015 / 288 pages PB 9781350009905 £24.99 / $34.95 HB 9780857850300 £70.00 / $95.00

Volume 4: The Age of Enlightenment (1700 - 1800) Edited by Stephen Bending, University of Southampton, UK 2015 / 304 pages PB 9781350009929 £24.99 / $34.95 HB 9780857850324 £70.00 / $95.00

Volume 6: The Modern Age (1900 - 21st Century) Edited by John Dixon Hunt, UK 2015 / 272 pages PB 9781350009943 £24.99 / $34.95 HB 9780857850348 £70.00 / $95.00

20

Reference

21st Edition

Sir Banister Fletcher’s Global History of Architecture Edited by Murray Fraser

Praise for the 20th edition: “Book of the Century.”

The American Institute of Architects “The bible of architectural history ... Banister Fletcher remains a potted history with remarkably pithy writing.”

Building Magazine “A thundering classic ... No serious fan of architecture should be without it.” The American Institute of Architects

2018 2146 pages 2,200 bw and colour illus 246 x 189mm / 9.11 x 7.7 inches HB 9781472589989 Introductory price £350 / $472 valid until 3 months after publication (RRP £395.00 / $534.00) Bloomsbury Academic

Sir Banister Fletcher’s A History of Architecture is the world’s acknowledged classic work of architectural history reference.

It has become essential reading for generations of architects and students. This landmark new edition brings an authoritative, detailed, and thoroughly contemporary understanding to the world’s buildings and the contexts in which they were built.

Features • Over 1,600 full colour and 600 black and white images • Explains thousands of major buildings, accompanied by plans, drawings, and photographs • Easy-to-use framework allows comparative analysis of global architecture from prehistoric times to the present day New to this edition • Rewritten throughout to provide a culturally and geographicallybalanced analysis of architecture throughout history • Addresses key topics of current critical concern such as sustainability and cross-cultural exchange • Emphasizes the cultural contexts, people, resources and technologies behind architecture Contents Volume One Part I. c. 3500 BCE to c. 500 BCE Part II. c. 500 BCE to c. 500 CE Part III. c. 500 CE to c. 1000 CE Part IV. c. 1000 CE to c. 1500 CE Volume Two Part V. c. 1500 CE to c. 1800 CE Part VI. c. 1800 CE to c. 1900 CE Part VII. c. 1900 to Present Day Bibliography Glossary Index

21

History of Architecture

New in Paperback

Architecture’s Odd Couple Frank Lloyd Wright and Philip Johnson Hugh Howard

“An appealing primer in 20th-century American architecture, with myriad insights into the vanity and interpersonal politics of the two men who dominated American architecture for a century.” Washington Post “The prolific Howard offers up another sterling book of popular history . . . New light is shed on both architects in this absorbing, well-organized, delightfully told story.” Kirkus Reviews

2016 352 pages Bw illus + colour insert 154 x 235mm / 6.1 x 9.25 inches HB 9781620403754 £20.00 / $28.00 World English Bloomsbury Press

“[An] engaging dual portrait . . . written with wit and flair and supported by solid research . . . [A] thoughtful and well-built book.”

Booklist

New in Paperback / Longlisted for the Guardian First Book Award 2014

Bricks & Mortals Ten Great Buildings and the People They Made Tom Wilkinson

“Lively and quirky … It’s hard to imagine a history of buildings design being such good fun. You don’t have to be a lover of architecture to enjoy this stimulating book with its mix of social and cultural history …

Fascinating.” The Times “A lively combination of scholarship, cultural history and sharp-tongued social commentary ... A scholarly but swiftly flowing text that glistens with attitude.” Kirkus

UK October 2015 US January 2017 352 pages 198 x 129mm / 5 x 7.8 inches PB 9781408843673 £10.99 / $20.00 HB 9781620406298 £25.00 / $30.00 World English and German Bloomsbury Paperbacks

A brilliant exploration of architecture through ten of the world’s great buildings.

New in Paperback

Designing the French Interior The Modern Home and Mass Media

“This volume of essays, which presents the modern French interior as a space of intimacy, sexuality and identity, has an array of international scholars who are pushing boundaries in many new and innovative ways. Exploring France as a ‘fashion leader’, they show importantly how the interior was displayed, mediated and staged.” Jeremy Aynsley, University of Brighton, UK

Edited by Anca I. Lasc, Georgina Downey, and Mark Taylor

17 essays from 19 contributors address the development of the French domestic interior from the pre-revolutionary period to the 1970s, with a particular focus on the importance of mass media.

Anca I. Lasc is Assistant Professor of history and theory of design at Pratt Institute, USA. Georgina Downey is an independent scholar and Visiting Fellow in the graduate art history programme at the University of Adelaide, Australia.

Mark Taylor is Professor of architecture at the University of Newcastle, Australia.

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January 2017 248 pages 52 bw illus 244 x 169mm / 6.7 x 9.6 inches PB 9781350013896 £24.99 / $33.95 HB 9780857856593 £85.00 / $114.00 Bloomsbury Academic

History of Architecture

Architecture and Ritual How Buildings Shape Society Peter Blundell Jones

Architecture and Ritual explores how the rituals of everyday life are defined in space by the buildings which we inhabit. It goes beyond traditional assumptions about style, aesthetics and utility to deal with something more implicit: how buildings shape and reflect our experience in ways of which we remain unconscious. Through deep readings of a wide range of works of architecture (from the Nuremberg Rally to modern hospitals), this fascinating study shows how architecture coordinates and consolidates social relations, and structures human rituals – from the grand and formal to the everyday.

2016 392 pages 280 bw illus 244 x 169mm / 6.7 x 9.6 inches PB 9781472577481 £24.99 / $42.95 HB 9781472577474 £95.00 / $128.00 Bloomsbury Academic

Peter Blundell Jones is late of the University of Sheffield, UK.

Shopping Towns Europe Commercial Collectivity and the Architecture of the Shopping Centre, 1945-1975

The first book to explore the introduction and dissemination of the shopping centre in Europe.

Eighteen case studies span the continent on both sides of the Iron Curtain, revealing the first European shopping malls to be much more than mere carbon copies of their American precursors.

Drawing connections between architectural history, political economy and commerce, together these studies tell us much about the status and role of modernist design, the history of consumption, and the rapidly-changing social, urban, and national contexts of post-war Europe.

Edited by Janina Gosseye and Tom Avermaete

Tom Avermaete is professor of architecture at Delft University of Technology, Netherlands.

Interior Urbanism Architecture, John Portman and Downtown America

“Charles Rice's study of the architecture of John Portman raises key questions about the quality of public space in modern cities where multi-use complexes with gleaming towers and soaring atriums remake the relationship between street, square and interior. Rice thus offers a timely analysis for developers and planners in today's international marketplace.” Alice Friedman, Professor of Art, Wellesley College, USA

Charles Rice

January 2017 272 pages 85 bw illus 246 x 189mm / 7.4 x 9.7 inches HB 9781474267373 £95.00 / $128.00 Bloomsbury Academic

Janina Gosseye is a postdoctoral research fellow at Delft University of Technology, Netherlands.

2016 176 pages 60 bw illus 234 x 156mm / 6.1 x 9.2 inches PB 9781472581198 £19.99 / $31.95 HB 9781472581204 £70.00 / $94.00 Bloomsbury Academic

Interior Urbanism explores the roots of the contemporary tension between inside and outside, identifying the concept of interior urbanism by analysing the works of John Portman in 1960s and 70s America. This captivating study reconsiders the American downtown during a crucial time in its development, helping us to think in new ways about space in cities today.

Charles Rice is Professor of Architecture at the University of Technology Sydney, Australia.

23

How to Read Series

How to Read Modern Buildings A Crash Course in the Architecture of the Modern Era

This indispensable pocket-sized guide takes the reader on a guided tour of modern architecture through its most iconic and significant buildings, showing how to read the hallmarks of each architectural style and how to recognize them in the buildings all around. Packed with detailed drawings, plans, and photographs, this is both a fascinating architectural history and an effective I-spy guide – a must-read for anyone with an interest in modern design and architecture.

Will Jones

Will Jones has been writing for architecture and design magazines around the world for over fifteen years.

How to Read Towns and Cities A Crash Course in Urban Architecture

A pocket-sized guide to understanding the forces that have shaped the world’s cities from the dawn of civilisation to the present day. A must-read for anyone interested in history, cities, and travel, it will turn the reader into an urban detective, and take them on a journey from Babylon to Beijing, London to New York, and to the streets of their own home town.

Jonathan Glancey

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Jonathan Glancey is an architectural critic, presenter and the author of several architecture and design titles.

UK March 2016 256 pages 400 colour illus 165 x 135 mm / 6.5 x 5.3 inches PB 9781474219037 £9.99 Not available for sale in USA, Philippines, China/Hong Kong and Indonesia.

Bloomsbury Visual Arts

UK March 2016 256 pages 400 colour illus 165 x 135 mm / 6.5 x 5.3 inches PB 9781474219266 £9.99 Not available for sale in USA, Philippines, China/Hong Kong and Indonesia.

Bloomsbury Visual Arts

Urban Design and Urban Studies

Urban Design Thinking A Conceptual Toolkit Kim Dovey

2016

"Rather than telling us what to think about cities, Kim Dovey shows us how. What a valuable and unusual gift that is. With revealing illustrations and a rich array of brief texts we can read and combine as we choose, Urban Design Thinking both informs and inspires, inviting us to see and to reflect." Karen A. Franck, Professor and Director, Urban Systems, New Jersey Institute of Technology, USA

304 pages 140 bw and 4 colour illus 234 x 156mm / 6.1 x 9.2 inches PB 9781472566942 £27.99 / $37.95 HB 9781472566959 £85.00 / $114.00 Bloomsbury Academic

Bridging the gap between theory and practice, Urban Design Thinking shows how the design of our cities and urban spaces can be informed by the theories of urbanism, architecture and spatial analysis. Taking assemblage thinking as its critical framework, the book introduces a wide variety of key theoretical urban concepts (ranging in scale from graffiti to globalization), each demonstrating how theory is central to urban design practice.

The thirty short chapters can be read alone or in sequence, each opening a valuable conceptual window onto how cities work and how they are transformed through design practice.

Kim Dovey is an architectural critic and Professor of Architecture and Urban Design at the University of Melbourne, Australia.

Contents Introduction 1. Urbanity 2. Access 3. Mix 4. Density 5. Action 6. Drama 7. Interface 8. Type

Cities in Time Temporary Urbanism and the Future of the City Ali Madanipour

9. Image 10. Discourse 11. Memory 12. Place 13. Character 14. Authority 15. Resistance 16. Globalization 17. Privatization

27. Temporary Urbanism 28. Creative Clusters 29. Transit 30. Complex adaptive assemblage

18. Shopping Malls 19. Enclaves 20. Towers 21. Tourism 22. Codes 23. Graffiti 24. Advertising 25. Informal Trading 26. Informal Settlements

From street-markets and pop-up shops to art installations and Olympic parks, the temporary use of urban space is a growing international trend in urban design. Partly a response to economic and ecological crisis, it also claims to offer a critique of the status quo and an innovative way forward for the urban future. Cities in Time examines this phenomenon, offering a critical and theoretical evaluation of temporary urbanism and its implications for the present and future of our cities.

References Abstracts Index

February 2017 216 pages 50 bw illus 234 x 156mm / 6.1 x 9.2 inches PB 9781474220712 £21.99 / $29.95 HB 9781474220729 £85.00 / $114.00 Bloomsbury Academic

Ali Madanipour is professor of urban design and director of the Global Urban Research Unit (GURU) at Newcastle University, UK.

Contents 1. Multiple Times of the City I. Instrumental Temporality 2. Regulating Change, Reifying Time 3. Accelerated Beats of Global Time

II. Existential Temporality 4. Temporality, Memory and Identity 5. Nature, Time and Anxiety

III. Experimental Temporality 6. Events and Prospects 7. Cities in Time References Index

25

Urban Design and Urban Studies

Cities Interrupted Visual Culture and Urban Space Edited by Shirley Jordan and Christoph Lindner

“Cities Interrupted brings together some of the best thinking about contemporary urbansim available. Each essay is a gem, but as an ensemble they make a cutting-edge critical intervention into urban theory. This is a book that will repay multiple readings over time.” Joseph Heathcott, Associate Professor of Urban Studies at The New School, USA “Cities Interrupted brings together researchers in architecture, geography, urban planning, photography and art to explore ... the subtle ways in which interruption repeatedly calls attention to the public/ private dichotomy of city life.” Environment and Urbanization

2016 256 pages 50 bw illus 234 x 156mm / 6.1 x 9.2 inches PB 9781474224413 £19.99 / $29.95 HB 9781474224420 £85.00 / $114.00 Bloomsbury Academic

Cities Interrupted explores how visual culture can intervene, interrupt, and disrupt the processes of globalization in contemporary urban spaces.

Shirley Jordan is Professor of French Literature and Visual Culture at Queen Mary University of London, UK. Christoph Lindner is Professor of Media and Culture at the University of Amsterdam, the Netherlands.

Protecting Suburban America Gentrification, Advocacy and the Historic Imaginary Denise Lawrence-Zuniga

“This comprehensive study of gentrification in California deftly exposes the persistent linkage between historic conservation and genealogical passion on the one hand and covert forms of social and ethnic exclusion on the other. It is a major contribution to our understanding of an increasingly common form of structural violence as well as of the surprisingly varied motives that drive the passion for the past.” Michael Herzfeld, Ernest E. Monrad Professor of the Social Sciences, Harvard University Exploring issues of historic preservation, heritage, and gentrification, this ethnographically-grounded work reveals the dynamics and conflicts inherent in preserving twentieth-century suburban landscapes in America.

Denise Lawrence-Zuniga is Professor of Architecture and a sociocultural anthropologist at the College of Environmental Design, California State Polytechnic University, Pomona, USA.

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2016 208 pages 20 bw illus 234 x 156mm / 6.1 x 9.2 inches HB 9781474240819 £85.00 / $114.00 Bloomsbury Academic

Architectural Theory, Culture, and Criticism

Architecture in Black Theory, Space and Appearance Darell Wayne Fields

“Darell [Wayne] Field’s pioneering book is the first theoretical treatment of race in architectural discourse. The first mature attempt to engage in a sophisticated theoretical discourse about architecture and race using the tools of cultural studies and Afro-American literary theory. In this way, Fields has opened new critical and constructive possibilities for our intellectual discussions of modernity, architecture, and race.” Cornel West

2016 232 pages 234 x 156mm / 6.1 x 9.2 inches PB 9781350009875 £28.99 / $39.95 HB 9781472567031 £85.00 / $114.00 Bloomsbury Academic

Based on analysis of historical, philosophical, and semiotic texts, Architecture in Black presents a systematic examination of the theoretical relationship between architecture and blackness.

Now updated, this original study draws on a wider range of case studies, highlighting the racial techniques that can legitimize modern historicity, philosophy and architectural theory.

Darell Wayne Fields is a Lecturer in the College of Environmental Design at the University of California, Berkeley, USA.

Food and Architecture At The Table Edited by Samantha L. Martin-McAuliffe

“Food and Architecture offers a fascinating vantage into the shared lexicon used by both camps, suggesting how we might shape our footprint within cultural anthropology.

Ultimately, this book interrogates how we will be remembered as a people, for centuries to come.” Susan Jane White, Sunday Independent columnist Food and Architecture offers the first, groundbreaking analysis of two disciplines which both rely on a combination of creativity, intuition, taste, and science. Structured around a series of “conversations” between chefs, culinary historians, and architects, the book includes case studies ranging from pig slaughtering and farmhouses in Greece to authenticity and heritage in American cuisine.

2016 304 pages 50 bw illus 234 x 156mm / 6.1 x 9.2 inches PB 9780857857347 £24.99 / $39.95 HB 9780857856852 £95.00 / $128.00 Bloomsbury Academic

Samantha L. Martin-McAuliffe is a lecturer at the School of Architecture at University College Dublin, Ireland.

27

Architectural Theory, Culture, and Criticism 2nd Edition

The Sympathy of Things Ruskin and the Ecology of Design Lars Spuybroek

“If Spuybroek, like Ruskin, does not shake your design and aesthetic concepts, you haven’t understood him.” Charles Jencks “The Sympathy of Things is an astonishing and visionary work. I have never before come across a book so brimming with insight, written with such feeling, and so keenly in touch with life. Ostensibly a meditation on the oeuvre of John Ruskin, what Spuybroek offers us is an intoxicating meditation on art, architecture and design that soars above the ponderous deadweight of thing-theory to luxuriate in the unruly and exuberant proliferation of the things themselves.”

Tim Ingold, Chair of Social Anthropology, University of Aberdeen, Scotland

2016 352 pages 35 bw illus 234 x 156mm / 6.1 x 9.2 inches PB 9781474243858 £24.99 / $39.95 HB 9781474243865 £95.00 / $128.00 Bloomsbury Academic

“Exhilarating to watch elements of Ruskin's thought being taken on ... The Sympathy of Things is energetic, well written and full of examples.” Times Literary Supplement A new edition of Lars Spuybroek’s groundbreaking exploration of Ruskin, aesthetics, ornament, and digital design.

Lars Spuybroek is Professor of Architectural Design at the Georgia Institute of Technology in Atlanta, USA.

The Architecture of Neoliberalism How Contemporary Architecture Became an Instrument of Control and Compliance Douglas Spencer

“A devastating portrait of contemporary architecture as the phantasmagoria of neoliberal capitalism ... a powerful plea for critique in the face of the architectural prophets who proclaim ‘there is no alternative’.” Benjamin Noys, Professor of Critical Theory, University of Chichester, UK “An absolutely timely, lucid, important critique.” Joan Ockman, Distinguished Senior Fellow, University of Pennsylvania School of Design, USA With their elegant looped and landscaped structures, the buildings of contemporary architectural practices like Zaha Hadid, OMA and SOM announce themselves as highly progressive – promoting free circulation between private and public, work and pleasure, education and business.

This book argues that the architecture of the "new spatiality" has in fact allied itself alarmingly with a neoliberal agenda, with important implications for our understanding of architectural design and its relationship with politics and control.

The Architecture of Neoliberalism presents a provocative and timely critical intervention, exploring what this alliance means for architecture and the inhabitants and users of today’s buildings.

Douglas Spencer lectures in architecture, urbanism and landscape at the Architectural Association, London, UK.

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2016 232 pages 30 bw illus 234 x 156mm / 6.1 x 9.2 inches PB 9781472581518 £19.99 / $34.95 HB 9781472581525 £85.00 / $114.00 Bloomsbury Academic

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29

Index

A

G

P

Adaptation Strategies for Interior Architecture and Design. . . . . . . . . . . . . . . . . . . 11

Glancey, Jonathan. . . . . . . . . . . . . . . . . . . . . . . . 24

Painchaud, Heidi. . . . . . . . . . . . . . . . . . . . . . . . . 15

Godsey, Lisa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Programming and Research. . . . . . . . . . . . . . . . 11

Gordon, Robert Philip. . . . . . . . . . . . . . . . . . . . . 13

Protecting Suburban America. . . . . . . . . . . . . . 26

Architecture and Ritual. . . . . . . . . . . . . . . . . . . . 23 Architecture in Black. . . . . . . . . . . . . . . . . . . . . . 27 Architecture of Neoliberalism, The . . . . . . . . . . 28 Architecture’s Odd Couple . . . . . . . . . . . . . . . . 22

Gosseye, Janina. . . . . . . . . . . . . . . . . . . . . . . . . . 23 Green Wedge Urbanism. . . . . . . . . . . . . . . . . . . 19

R Reed, Ronald. . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

H

Rengel, Roberto J.. . . . . . . . . . . . . . . . . . . . . . . . 14

B

Handbook of Interior Architecture and Design, The. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Rice, Charles. . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Bakker, Mary Lou. . . . . . . . . . . . . . . . . . . . . . . . . 14

How to Read Modern Buildings. . . . . . . . . . . . 24

Bender, Diane M.. . . . . . . . . . . . . . . . . . . . . . . . . 16

How to Read Towns and Cities. . . . . . . . . . . . . 24

Botti-Salitsky, Rosemary. . . . . . . . . . . . . . . . . . . 11

Howard, Hugh. . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Bricks & Mortals . . . . . . . . . . . . . . . . . . . . . . . . . 22

Hunt, John Dixon. . . . . . . . . . . . . . . . . . . . . . . . . 20

Avermaete, Tom. . . . . . . . . . . . . . . . . . . . . . . . . . 23

Brooker, Graeme. . . . . . . . . . . . . . . . . . . 11, 18, 20

I

S Schneiderman, Deborah. . . . . . . . . . . . . . . . . . . . 8 Seidler, Douglas R.. . . . . . . . . . . . . . . . . . . . . . . 13 Sharp, Julia. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Shopping Towns Europe . . . . . . . . . . . . . . . . . . 23

Integrated Drawing Techniques. . . . . . . . . . . . . 13

Sir Banister Fletcher’s Global History of Architecture. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Cities in Time. . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Interior Design Materials and Specifications. . . 6

Slotkis, Susan J.. . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Cities Interrupted. . . . . . . . . . . . . . . . . . . . . . . . . 26

Interior Plan, The. . . . . . . . . . . . . . . . . . . . . . . . . 14

Color + Design. . . . . . . . . . . . . . . . . . . . . . . . . . 10

Interior Urbanism. . . . . . . . . . . . . . . . . . . . . . . . . 23

Space Planning for Commercial Office Interiors. . . . . . . . . . . . . . . . . . . . . . . . . . . 14

C

Cultural History of Gardens, A . . . . . . . . . . . . . 20

J

D

Jones, Peter Blundell. . . . . . . . . . . . . . . . . . . . . . 23

de Oliveira, Fabiano Lemes . . . . . . . . . . . . . . . . 19

Jones, Will . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Design Portfolios. . . . . . . . . . . . . . . . . . . . . . . . . 16

Jordan, Shirley. . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Designing the French Interior . . . . . . . . . . . . . . 22 Designing Your Business. . . . . . . . . . . . . . . . . . 15

K

Spencer, Douglas . . . . . . . . . . . . . . . . . . . . . . . . 28 Spuybroek, Lars. . . . . . . . . . . . . . . . . . . . . . . . . . 28 Stone, Sally . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Swatch Reference Guide for Interior Design Fabrics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Sympathy of Things, The . . . . . . . . . . . . . . . . . . 28

Kendall, Gordon T.. . . . . . . . . . . . . . . . . . . . . . . . 15

T

Know Your Home Furnishings. . . . . . . . . . . . . . . 7

Taylor, Mark. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Koe, Frank Theodore. . . . . . . . . . . . . . . . . . . . . . . 9

Textile Technology and Design . . . . . . . . . . . . . . 8

Downey, Georgina. . . . . . . . . . . . . . . . . . . . . . . . 22

L

U

E

Landscape Architecture and Environmental Sustainability. . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Urban Design Thinking. . . . . . . . . . . . . . . . . . . . 25

Digital Drawing for Designers: A Visual Guide to AutoCAD® 2017. . . . . . . . . 13 Dovey, Kim. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Elsasser, Virginia Hencken. . . . . . . . . . . . . . . . . . 7

Lasc, Anca I.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

F

Lawrence-Zuniga, Denise. . . . . . . . . . . . . . . . . . 26

Fabric for the Designed Interior. . . . . . . . . . . . . . 9

Leslie, Michael. . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Fields, Darell Wayne. . . . . . . . . . . . . . . . . . . . . . 27

Lindner, Christoph. . . . . . . . . . . . . . . . . . . . . . . . 26

Food and Architecture . . . . . . . . . . . . . . . . . . . . 27 Form and Structure in Interior Architecture. . . 18 Foundations of Interior Design . . . . . . . . . . . . . . 5 Fraser, Murray . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Fundamentals of Lighting. . . . . . . . . . . . . . . . . . 12

30

M Madanipour, Ali . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Martin-McAuliffe, Samantha L.. . . . . . . . . . . . . . 27

W Weinthal, Lois. . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Wilkinson, Tom. . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Winchip, Susan M. . . . . . . . . . . . . . . . . . . . . . . . 12 Winton, Alexa Griffith . . . . . . . . . . . . . . . . . . . . . . 8 Y Young, Deborah E.. . . . . . . . . . . . . . . . . . . . . . . . . 8 Z Zeunert, Joshua. . . . . . . . . . . . . . . . . . . . . . . . . . 19

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