Interior Design and Architecture Catalogue 2014

Interior Design & Architecture

2014

Interior Design & Architecture 2014 Contents

Introductory Textbooks 2 Theory and Practice 5 Research Methods 7 Codes 8 Computer-Aided Design 9 Drawing and Presentation 12 Space Planning and Form 17 Residential and Commercial Design 20 Materials, Textiles, and Furniture 21 Lighting 24 Sustainable Design 26 Professional Practice 29 History of Interior Design 30 Introduction to Architecture and Techniques 31 Structure and Design 32 Landscape Architecture 34 History of Architecture 37 Culture and Society 39 Reference 45 Journals 48 Index 50 Representatives and Agents 52

Inspection/Exam Copies & E-books

Textbook Books with this symbol are available on inspection / as exam copies and are particularly suitable for course use. You can request them directly from www.bloomsbury.com.

If you would like to request any other paperback books on inspection please contact us at askacademic@bloomsbury.com (North and South America) or inspectioncopies@bloomsbury.com (UK and rest of world). www/Textbook In addition to the above, books with this symbol also have a companion website or online resources.

E-books Available for your e-reader or library for many titles. Please consult our website for pricing availability.

Bloomsbury Head Offices And Distributors

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Introductory Textbooks

www/Textbook

Designing An Introduction Karl Aspelund

A current and comprehensive introduction to design fundamentals including 2D and 3D design concepts: • Illustrated with numerous images from a variety of fields: industrial, apparel, interior, automotive, landscape, Web, graphic, fine arts, artisanal, and more • Sidebars and end-boxes place focus on topics, such as networking, ergonomics, timelines, and sustainability • Includes chapter summaries, lists of objectives and key terms, exercises, assignments, and questions for classroom discussion • Teaching resources: Instructor’s Guide and PowerPoint presentation available Karl Aspelund is an Assistant Professor at the University of Rhode Island, USA.

Contents Part I: The Nature, Elements and Principles of Design Chapter 1: What is Designing?

Chapter 2: A Brief History of Designing Chapter 3: The Elements of Design Chapter 4: The Principles of Design Part II: Informing Design Chapter 5: Researching and Planning for Designs Chapter 6: Creating and Presenting Designs Part III: Thinking Design Chapter 7: Thinking “Print”: Graphic Design and Elements in Two Dimensions Chapter 8: Three-Dimensional Thinking Chapter 9: Time and Experience: Design and Culture/Design in Culture Chapter 10: Thinking “OnScreen” Appendix 1: Notable Designers Appendix 2: Resources for Design Glossary Index

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UK November 2014 US September 2014 356 pages 250 colour illus 216 x 279mm / 8.5 x 11 inches PB 9781609014964 £74.99 / $121.00 Fairchild Books

Introductory Textbooks

2nd Edition

www/Textbook

Foundations of Interior Design

Foundations of Interior Design is a comprehensive introduction to the creative, technical and business knowledge required by the interior design profession.

Susan J. Slotkis

• Teaching Resources: Instructor’s Guide, PowerPoint and an integrated CD-Rom for students available Susan J. Slotkis is an Adjunct Assistant Professor in the Interior Design Department of Fashion Institute of Technology and an adjunct instructor at New York University, USA.

UK February 2013 US December 2012 576 pages 229 x 305mm / 9 x 12 inches 863 colour illus PB 9781609011154 £75.00 / $111.00 Fairchild Books

New to this edition • A fully updated program of color photos demonstrating a global perspective • New organization specifics to facilitate understanding of the scope and details of the design process • Additional end-of-chapter exercises to actively engage the student in the content of the CD-ROM • New Appendices include Architectural Digests’ Top 100 Designers and chapter-bychapter bibliography Contents The Interior Design Profession • Socially Responsible Design • Design Theory: Aesthetics, Elements & Principles of Design • Color Theory & Application • The Design Process: Overview of Project Phases • Communicating the Vision • Light and Lighting Systems • Architectural Elements: The Shell • Finishing the Interior: The Lining • Furnishing the Interior: Feathering the Nest• Period Design Styles: Antiquity (c. 4500BC-AD500) - Empire Style (c. 1789-1848) • Period Design Styles: Revival Styles (c. 1830-1880) - Contemporary Style (c. 1960-present) • Forecasting and Trends • Professional Practice • A. Professional Organizations, Research Resources, Interior Design Blogs, and Government Agencies • B. Names to Know: Interior Designers, Architects, and Furniture Designers • C. Interior Design’s Hall of Fame • D. Architectural Digest’s Top 100 Interior Designers and Architects • Basic Metric Conversion Table • Glossary • End Notes • Index

c a

Figure 2.18 Interior designer Cynthia Urbanik designed this retail environment for Dress for Success, a charitable organization, Charlotte, North Carolina. In addition to providing her services pro bono, the project demonstrates adaptive reuse of a former warehouse. (http://www.

LassiterPhotography.com)

to cradle expresses the notion that products be developed with the potential for continuous renewability, that is, so as to live on forever in some form, without doing harm. This is in direct opposition to a cradle-tograve approach, in which goods are made with obsolescence in mind, thereby creating the need for more consumption.

Another view of sustainability encompasses the ethics of environmental justice, a principle or system of beliefs aimed at ensuring that all people in our global community have healthy and aesthetically pleasing environments. Design that is in the public interest and that is cost-effective is part of this equation. Many designers and design firms are donating their time and services on a pro bono basis on projects for charitable organizations (Figure 2.18).

b Figure 2.17 Cultural diversity in products is featured in the array of global furnishings available for interiors. While many furnishings are fabricated using Old World techniques, others are inspired by traditional designs adapted to modern tastes. a. Antique and contemporary textiles from Central Asia; b. African products featured at ICFF 2010 by Amaridian; c. The Design Collaborative, a nonprofit arm of the 3form company, works with African women using traditional techniques and natural products in the production of innovative partitions. (a: Photo by Megan Thompson for Tessera b: Photo provided by the Author. c: Courtesy 3form)

nature as a model to inspire designs and processes that solve human problems. At biomimicry’s base is the belief that studying nature will uncover effective and sustainable solutions to issues such as thermal 40

comfort, indoor air quality, and acoustical privacy.31 Another idea being put forth is that of cradle to cradle, described by William McDonough and Michael Braungart in their 2002 book of the same name. Cradle

Foundations of Interior Design

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Simon Dodsworth

Environmental law and Issues Environmental law strives to provide a bridge between the human factors discussed in the first part of this chapter and environmental factors. As in the passage of the ADA, legislation that aims to prevent negative situations is often a reactive response to actions. The area of environmental law has rapidly expanded, in part because of a series of lawsuits resulting from unsafe conditions, defective or unsafe products, and Socially Responsible Design

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Textbook

2nd Edition

The Fundamentals of Interior Design

Design with a conscience looks to measure progress by social, ecological, and economic benchmarks.32 A study of design firms found that more than onethird of the design firms that had diversified their practice added Sustainability Analysis as a department within their organization.33

An updated comprehensive introduction to the key elements and concepts of interior design with case studies taken from contemporary designers.

UK January 2015 US March 2015

Simon Dodsworth is now Director of Interior Design at KLC School of Design, UK.

192 pages 230 x 200 mm / 9.1 x 7.9 inches 200 colour illus PB 9781472528537 £26.99 / $46.95 Series: Fundamentals Fairchild Books

New to this edition • Features new interviews • Includes new international case studies of contemporary interior designers • Adds projects to help students to explore all aspects of interior design Contents Introduction · The Design Process · Understanding the Project · Understanding the Space · Understanding Building Structures · Organising the Space · The Human Interface · Sustainable Design· Communicating Design · Sources of Inspiration

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Introductory Textbooks

Studio Companion Series Donna Lynne Fullmer

The Studio Companion Series provides a launch pad into the study of design and architecture. Clear instructions and a wealth of examples give students a comprehensive look at the entire design process. Developed for today’s student, the books present material in a contemporary and graphic manner and are compact and highly portable.

Donna Fullmer is an Assistant Professor in the Interior Architecture and Product Design program at Kansas State University, USA. www/Textbook

3D Design Basics Donna Lynne Fullmer

3D Design Basics explores basic threedimensional options for presenting design ideas, including models, paraline drawings, and perspective drawings. Students will be exposed to a variety of model-building tools and methods and learn how to start designing with quick rip-and-tear models.

• Includes more than 100 visuals that provide examples of concepts, learning objectives and key terms with definitions

UK April 2013 US February 2013 128 pages 203 x 254mm / 8 x 10 inches 125 bw illus PB 9781609010980 £29.00 / $48.00 Fairchild Books

• Simple hands-on exercises and review assignments can be completed by individuals or teams • Teaching Resources: Instructor’s Guide available

www/Textbook

Presentation Basics Donna Lynne Fullmer

Presentation Basics helps students hone both of the critical aspects of successful presentation— visual and verbal skills.

• Applies all the practical principles learned in the series for laying out a winning project • Shows how to present and sell designs to clients with easy to follow instructions and visuals • Includes individual and group exercises for learning proper business etiquette

UK April 2014 US February 2014 160 pages 203 x 254mm / 8 x 10 inches 75 bw illus PB 9781609011017 £30.00 / $45.00 Fairchild Books

• Teaching Resources: Instructor’s Guide available

www/Textbook

www/Textbook

Design Basics

Drafting Basics

Donna Lynne Fullmer

Donna Lynne Fullmer

2012

2012

128 pages 203 x 254mm / 8 x 10 inches 100 full colour illus PB 9781609010928 £30.00 / $48.00 Fairchild Books

112 pages 203 x 254m / 8 x 10 inches 100 bw illus PB 9781609010959 £30.00 / $48.00 Fairchild Books

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Theory and Practice

www/Textbook

Meanings of Designed Spaces Edited by Tiiu Poldma

Poldma and the contributors explore how people make meaning using design today.

Topics include diverse types of spaces, what constitutes ‘designed space’ and what this means for technology, business, design thinking and doing, ethics, culture, sustainability and society. This book will encourage debate, conversation and discussion.

UK April 2013 US February 2013 432 pages 187 x 235mm / 7.375 x 9.25 inches 140 bw illus PB 9781609011451 £40.00 / $72.00 Fairchild Books

Tiiu Poldma is associate professor at the School of Industrial Design and Vice Dean of Graduate Studies and Research at the University of Montreal, Canada.

Features • Articles and interviews with more than 40 design thinkers, professionals, and luminaries, including Harold Nelson, John Weigand, Justin Wilwerding, Lisa Tucker, Susan Close, Janice Stevenor Dale, C.T. Mitchell, and Florian Weiss • Teaching Resources: Instructor’s Guide and PowerPoint available

Contents 1. Design Thinking, Knowledge and Critical Approaches

frame that is placed around it. rather than the open visual frame that makes reference to an unknown beyond, these interiorscapes

offer a sense of security by removing the possibility of something lurking or waiting beyond the viewer’s realm of vision.

2. The Spaces of Interiors 3. Understanding Space Through Historic and Philosophical Perspectives 4. Philosophies and Spaces Alternative Viewpoints

Figure 6.2 highly reflective surfaces, large expanses of glass, and light colors create high-maintenance spaces that exist as clean rooms in contrast to the dirt and disorder of the world outside.

Photo credit: Courtesy of Matthew R. Dudzik.

(a)

5. Design Philosophies, Aesthetic Theories and Lived Experiences 6. Considerations of Time and Space: Shaping Changing Spaces of Exploration 7. Design Thinking and Meaning in the Context of Business

(b) Figure 6.1 the dichotomy of home in sao paolo, brazil.

Figure 6.3 interiorized exterior surrounded by a high protective wall in center city sao paolo.

Photo credit: Courtesy of Matthew R. Dudzik.

Photo credit: Courtesy of Matthew R. Dudzik.

274 | MEaningS of DESignED SpaCES

ChaptEr 6: SpaCES of EvEryDay LifE, SELf, anD SoCiaL ConStruCtionS | 275

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8. The Business of Design 9. Social Norms, New Patterns and Meanings of Social Relevance 10. Cultural Contexts and Lived

Figure 7.2 doris humphrey dancing. she understood the movement of her leg, from the floor to her side, as a time and space relationship. it takes seconds for the leg to rise and as it does, a plane is traced in space.

Phot credit: © Bettmann/CORBIS

or more dancers serves to add structure to the composition, as in the parallel or intersecting planes of a building. the motion of

Index

Figure 7.4 Von laban has sketched the pathway that a dancer will trace on the floor throughout the execution of a dance. in his hand he holds a three dimensional model of the planes a dancer penetrates through the movement arms and legs as they dance.

bodies in relation one to another serves to articulate the space that is the essence of the dance (brown, 1979).

Photo credit: © Universitaetsbibliothek Leipzig

rudolf von laban devised a method of identifying the pathways and forms of human movement described by nikolais through modeling the kinesphere in accordance with the forms of crystalline structure. with this technique the spatial organization of body movement can be described or articulated in planes. laban contends that space is a hidden feature of movement and movement is a visible aspect of space. he described dance as an architecture that is created by human movements and is made up of pathways tracing shapes of space. the living building of trace-forms that a moving body creates is bound to certain spatial relationships.

Figure 7.3 A dance choreographed by Alwin nikolais demonstrated nicolais’ understanding of space as a canvas that creates relationships in dance. each dancer is framed within a plane; each plane is positioned in relation to another.

Photo credit: Julie Lemberger/CORBIS

294 | MeAningS of DeSigneD SpAceS

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such relationships exist between the single parts of the sequence, and can be understood through the passage of time, the seconds it takes the dancer to execute the parts of the sequence. the dancer is moving in time creating a transitory illusion, an image of a specified space, shaping our awareness (laban and ullmann, 1966).

Arnheim brings to closure the formulation of the concept of time experiential arts with the term visual dynamics. the term describes the visual perceptual translation of static art forms such as painting, sculpture, and architecture into time. in the case of architecture, Arnheim points out that one’s image of a building is a result of one’s spontaneous integration of multiple visual projections into a total perceptual image (Arnheim, 1971, 1977).

weaving a time experiential Art: the work of peter collingwood the act of weaving is in itself an expression of movement and time. the shuttle carries fiber back and forth in succession along the paths of warp stretched tightly on the loom. if there is space in the composition, it is illusionary space. if there are planes that intersect or overlap, it is in the relationship that cubism explored in the two-dimensional plane. there is no pathway to be traced using laban’s choreutics, no penetration of space as with wright’s planes, no perception of movement, no measure of time. that is, unless the weaving is the work of peter collingwood. here is a weaver who has advanced his craft to naturally translate a static two-dimensional discipline into a time experiential art. collingwood’s work

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Theory and Practice

Textbook

Design and Designing A Critical Introduction Edited by Steve Garner and Chris Evans

Design and Designing is a one-volume introduction to and overview of all aspects of design today.

• Covers all aspects of design: from production to consumption, from creativity to working with clients • Covers all types of design: from product to graphic, from fashion to games • Packed with pedagogic material: images, case studies, highlight boxes and activity projects

UK March 2012 US May 2012 512 pages 244 x 189mm / 9.6 x 7.4 inches 218 bw and 32 colour illus PB 9781847885760 £24.99 / $49.95 HB 9781847885777 £75.00 / $150.00 Berg Publishers

Steve Garner is Professor of Design at The Open University, UK. Chris Evans is Programme Director of Product Design at Aston University, Birmingham, UK.

Textbook

Symbol, Pattern and Symmetry The Cultural Significance of Structure Michael Hann

Symbol, Pattern and Symmetry explores the significance of geometric form in craft and design and how different cultures have adopted and evolved these patterns over history.

• A unique combination of historical material (mainly non-European and pre-colonial) covered for the first time in a single textbook • Over 400 original illustrations and photographs of pattern and symbology from a range of historical periods

UK November 2013 US January 2014 376 pages 246 x 189mm / 9.7 x 7.4 inches 500 bw and 30 colour illus PB 9781472503121 £29.99 / $49.95 HB 9780857854889 £95.00 / $160.00 Bloomsbury Academic

• Strong analytical approach, based largely on geometrical analysis and the demystification of mathematical concepts, presented in a way understandable to a broad audience Michael Hann is Chair of Design Theory at the University of Leeds, UK and Director of the University of Leeds International Textiles Archive, UK.

Textbook

Structure and Form in Design Critical Ideas for Creative Practice Michael Hann

“A unique contribution to the theory of structural design in two and three dimensional form.” Charlotte Jirousek, Cornell University, USA This book provides a critical examination of structure and form in design, covering a range of topics of great value to students and practitioners engaged in any of the specialist decorative arts and design disciplines.

• An accessible guide to a complex technical subject • Packed with real world examples of successful design • Includes a wealth of illustrations of both professional and student work and student exercises Michael Hann is Chair of Design Theory at the University of Leeds, UK and Director of the University of Leeds International Textiles Archive, UK.

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UK September 2012 US November 2012 200 pages 244 x 189mm / 9.6 x 7.4 inches 228 bw and 19 colour illus PB 9781847887429 £24.99 / $39.95 HB 9781847887436 £70.00 / $124.95 Berg Publishers

Theory and Practice / Research Methods Textbook

Interior Design Theory and Process Anthony Sully

“Although the book is accessible to the established practitioner, it is especially relevant to students and startup businesses in the interior design sector. It combines the many and intricate facets of the interior design profession and offers great content for further exploration.” ID-Sphere Interior Design explains a conceptual approach to analysing space, light, enclosure, storage and display and decoration. Each area is divided into graspable topics, making it accessible for students and a useful quick-reference for experienced practitioners.

UK May 2012 US August 2012 216 pages 276 x 219mm / 10.9 x 8.6 inches 240 colour and 140 bw illus PB 9781408152027 £25.00 / $44.95 Bloomsbury Visual Arts Not available for inspection in the UK

Anthony Sully runs his own interior design consultancy, Sullydesigns, UK.

Key Titles www/Textbook

Color + Design Transforming Interior Space

Color + Design covers the design process for using color confidently. Using photographs of residential and commercial interiors, the book illustrates how effective or poor color usage can often make or break a design.

Ronald L. Reed

• Study problems allow students to apply concepts to their own design projects

2010 208 pages 279 x 216mm / 11 x 8.5 inches 300 colour and 10 bw illus PB 9781563676024 £45.00 / $82.00 Fairchild Books

• Full-color photos of interiors show how different color applications can affect the same interior space • Teaching Resources: Instructor’s Guide and PowerPoint available Ronald L. Reed, is an assistant professor in the Department of Design in the College of Visual Arts and Design at the University of North Texas, USA.

www/Textbook

Research-Inspired Design A Step-by-Step Guide for Interior Designers Lily B. Robinson and Alexandra T. Parman

This textbook prepares interior design students to understand how to change their professional practice from a project-based activity to a knowledge-based activity.

• Provides students with the tools and skills needed for the research and critical thinking of design projects • Includes CD-Rom with sample projects, diagrams, and sketches

UK January 2010 US November 2009 496 pages 216 x 279mm / 8.5 x 11 inches 180 colour and 40 bw illus PB 9781563677212 £55.00 / $99.00 Fairchild Books

• Teaching Resources: Instructor’s Guide and Powerpoint available Lily B. Robinson is based at the Design Institute of California-San Diego, USA. Alexandra T. Parman is based at the Art Institute of California-San Diego, USA.

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Codes

Illustrated Codes for Designers Katherine S. Ankerson These interactive DVDs equip students with the knowledge needed to work within laws, codes, regulations, and standards.

They explain how codes related to safety, accessibility, and more must be integrated into the design process at various stages, and explore different project types. Based on the 2009 International Building Code the DVDs create an active learning environment in which students learn to use codes as an integral part of the design process.

This DVD series is endorsed by the International Code Council®, a membership association dedicated to building safety, fire prevention and energy efficiency, which develops codes and standards used to construct residential and commercial buildings.

Katherine S. Ankerson, MS, NCARB certified, IDEC, is Department Head of Interior Architecture and Product Design in the College of Architecture, Planning and Design at Kansas State University, USA. www/Textbook

Illustrated Codes for Designers: Non-Residential Katherine S. Ankerson

llustrated Codes for Designers: Non-Residential is an interactive DVD that equips interior design students with the knowledge needed to work within the laws, codes, regulations, and standards that apply to non-residential environments.

• Introduction of key concepts and principles

UK May 2013 US June 2013 DVD Video 9781609011215 £55.00 / $90.00 Fairchild Books

• Includes interviews with designers and code officials • Case studies provide examples in applications of varying scope • Interactive graphics and timelines illustrate key phases of projects, including codes, regulations, laws, and standards • Teaching Resources: Instructor’s Guide available

Contents History and Context • Permitting Process • Occupancy • Heights and Areas • Types of Construction • Egress • Fire-Resistive Construction • Interior Finishes • Interior Environment • Smoke and Fire Safety • Existing Structures

www/Textbook

Illustrated Codes for Designers: Residential Katherine S. Ankerson

“I am overall impressed about the inclusiveness and the organization of this text. It is a well thought out approach to comprehensive ‘active learning’ and to convey the position and context of code, law regulation and standards in the design process of interior design and architecture.”

Hepi Wachter, University of Oklahoma, USA Illustrated Codes for Designers: Residential is an interactive DVD that equips designers, code officials, and contractors with the laws, codes, regulations and standards that apply to residential design and construction.

• Teaching Resources: Instructor’s Guide available

Contents Codes and Standards • How to Use the IRC • Interior Planning Issues • Electrical and Plumbing Requirements • Dwelling Fire Protection • Standard Construction Requirements • Energy Efficiency and Indoor Health • Permitting Process

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UK December 2012 US October 2012 DVD Video 9781609011185 £55.00 / $90.00 Fairchild Books

Computer-Aided Design

www/Textbook

Revit Architecture 2014 for Designers Douglas R. Seidler

UK December 2013 US October 2013

“There is a real need for this book and I commend the author’s attempt.” Joseph Lucido, Palomar College, USA

280 pages 216 x 279mm / 8.5 x 11 inches 430 2 colour illus PB 9781609014827 £42.99 / $79.00 Fairchild Books

Revit Architecture is the leading software package in the Building Information Modelling (BIM) marketplace and this book is written specifically for architects and interior designers as they transition from CAD to BIM. Clear, concise, and above all visual, this is the essential Revit guide for interior designers and architects.

Douglas R. Seidler is Assistant Professor of Interior Design at Marymount University, USA.

Features • Companion website features downloads for exercises, plot styles, title blocks, drawing templates, and AutoCAD drawings • Chapter learning objectives, case studies, exercises, and companion download extension assignments • Fully illustrated, step-by-step lessons • Teaching Resources: Instructor’s Guide available Contents Introduction 1. What is BIM? 2. Introduction to Revit Architecture 3. Floor Plans 4. Perspectives and Isometric Drawings 5. Elevations and Sections 6. Reflected Ceiling Plans 7. Roofs and Site Plans 8. Sheets 9. Printing and Exporting Drawings 10. Dimensions and Annotations 11. Schedules 12. Enlarged Plans and Details 13. Curtain Walls 14. Masses and Custom Components 15. Rendering Glossary Index

f l AT R O O f S

Adding Flat Roofs Flat roofs can be created with a combination of floor slabs and heightened exterior walls.

Before you create a roof, verify that you’ve defined a level above the highest occupiable level in the project. For example, if you have Levels 1 and 2 as occupiable space, an additional Level 3 is required to build the roof.

1

2

Viewing the Flat Roof The roof level will display the flat roof as seen in this example. It is possible that the only visible difference is a slightly darker line around the perimeter of the slab.

1

D 2

E

• Steps 1–2: In the project browser, rename the highest level in the project to rooF. In this example, level 3 was renamed to rooF. Verify that the exterior walls have the Top conSTrainT set to up To level: rooF. • Step 3: open the rooF plan view and click the Floor button in the archiTecTure tab.

• Step 4: SelecT the pick wallS button in the draw panel of the modiFy | creaTe Floor Boundary tab.

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4

3

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1

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• Step 1: click the 3d view button in the view tab to see the flat roof created in the previous steps.

• Step 5: hover the curSor over the interior edge of an exterior wall.

• Step 6 (not shown): preSS the TaB key on the keyboard to select all of the exterior walls.

• Step 7 (not shown): click once when you see a blue line around the perimeter of the building.

• Step 8: click the FiniSh ediT mode button in the modiFy | creaTe Floor Boundary tab.

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Revit Architecture 2014 for designers

Adding Parapet Walls

• Step 9: If you are prompted to attach walls to the bottom of the slab, click the no button. Answering no will allow you to extend the exterior walls above the roof, creating a parapet.

• Step 10: If you are prompted to join geometry between the floor and walls, click the no button. Answering no will keep the exterior wall geometry separate from the slab geometry.

Perimeter walls generally extend 16 inches above a flat roof. This extension is called a parapet.

• Step 2: click once on an exTerior wall in the 3D view.

• Step 3: SeT the Top oFFSeT value to 1ʹ-4ʺ and click the apply button.

3

Repeat these steps for the remaining perimeter walls.

Chapter 7: Roofs and Site Plans

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Computer-Aided Design

Textbook

Digital Drawing for Designers A Visual Guide to AutoCAD 2015 Douglas R. Seidler

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

• Updated for AutoCAD 2015 • Practice exercises reinforcing each chapter’s topics • Clear explanation of drawing and printing with line weight

UK November 2014 US September 2014 256 pages 216 x 279mm / 8.5 x 11 inches 450 colour illus PB 9781609019891 £65.00 / $96.00 Fairchild Books

• Quick reference aids: command reference guide, index, and large-type page headers Douglas R. Seidler is Assistant Professor of Interior Design at Marymount University, USA. Contents Part 1: Hand Drawing and Digital Drawing Digital Drawing Tools • Drawing Lines and Shapes • Modifying Lines and Shapes • Drawing with Accuracy and Speed Part 2: Design Drawings Organizing Plans, Sections and Elevations • Drawing and Printing to Scale • Text Styles and Sizes • Hatches and Dashed Lines Part 3: Advanced Drawing Tools Stencils and Blocks • Advanced Editing Tools • Dimensioning Your Drawing • Text Leaders • Drawing Symbols and Attributed Text • Lining Drawings/External References • AutoCAD WS on your iPhone, iPad and Android Device Index Quick Reference Guide www/Textbook

Photoshop® for Interior Designers A Nonverbal Communication

Photoshop® for Interior Designers provides step-by-step demonstrations that integrate Adobe Photoshop, AutoCAD, Google Sketchup, freehand drawings and Adobe InDesign to create visual presentations.

Suining Ding

• Images include screen shots, basic tools, function keys and examples of presentation drawings

• Case studies ranging from masterpieces to contemporary interior architecture

• Chapter objectives, summaries, key terms, and projects • Teaching Resources: Instructor’s Guide available Suining Ding is Associate Professor of Interior Design and Interior Design Program Coordinator at Indiana University Purdue University Fort Wayne, USA. Contents Visual Communications and Photoshop Fundamentals • Working with Floor Plans and Elevations • Working with Perspectives and Isometric Drawings • Working with Materials • Working with Lighting • Special Effects in Photoshop • Adding Entourage • Working with Freehand Drawings • Composing Drawings with InDesign • Creating Presentation Drawings by Multi-Media • Index

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UK January 2014 US October 2013 200 pages 229 x 305mm / 9 x 12 inches 460 color illus PB 9781609015442 £59.99 / $90.00 Fairchild Books

Front Elevation

Back Elevation

Less is More Inspired Design Embracing Simplicity for a Sustainable Environment

Back Elevation

Less is More Inspired Design

Sustainable Architecture

Embracing Simplicity for a Sustainable Environment Save Earth + Protect Environment

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Drawing and Presentation

www/Textbook

2nd Edition

Interior Design Illustrated Marker and Watercolor Techniques Christina M. Scalise

The Second Edition emphasizes the design communication objective of using media as a design tool, encouraging individual style and interpretation of interior spaces. The step-bystep approach teaches students how to visualize interior space, perspective and details and to render their vision with markers and watercolors.

Christina M. Scalise is a professional interior designer and principal of her own firm, Stuido 2000, USA.

• Comprehensive coverage includes architectural features, wall and floor finishes, furniture, and design enhancements such as artwork, plants, tabletops, and accessories • Solutions for combining and manipulating hand-rendered drawings with digital software • Critiques and commentaries of residential and commercial vignettes, showing sequence from concept to finished rendering • Appendix includes sample drawings of textures, materials and patterns • Teaching Resources: Sample assignments available New to this edition • New Design Process Application exercises incorporate rendering methods and the design process • Over 100 new illustrations cover new topics including elevations, furniture, and various materials

Contents Preface 1. Creative Tools 2. Markers and Watercolors 3. Artistic Interpretation 4. Room Vignettes 5. Interior Architectural Elements 6. Walls 7. Floors 8. Furniture 9. Enhancements 10. Materials and Textures 11. Patterns Resources Illustration Credits Index

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UK November 2014 US September 2014 480 pages 229 x 305mm / 9 x 12 inches 620 colour illus PB 9781609019174 £64.99 / $105.00 Fairchild Books

Drawing and Presentation

2nd Edition

Design Portfolios Moving from Traditional to Digital Diane M. Bender

www/Textbook Design Portfolios enables students to create both traditional and digital portfolios. The book addresses how to best create, maintain, and present both types of portfolios, and guides students through the interview and presentation process.

• Extensive information on gathering, organizing and presenting a portfolio

UK June 2012 US April 2012 448 pages 216 x 279mm / 8.5 x 11 inches 440 colour illus PB 9781609012410 £40.00 / $69.00 Fairchild Books

• Examples from both undergraduate and graduate design student portfolios • Advice on tailoring a portfolio for specific customers and various types of firms • Tips and strategies for job hunting, preparing an effective resume and interviewing • Teaching Resources: Instructor’s Guide and PowerPoint available Diane M. Bender is an Associate Professor and Program Coordinator in the Interior Design Department at Arizona State University, USA. Contents The Portfolio The Design Portfolio • Diversity of Portfolios • Knowing Your Audience

growth, freshness, youth, and refreshment (Figure 6.52). however, green is dull and depressive if used in institutional shades. these are shades commonly used in health care uniforms to contrast with the afterimage effects of red (i.e., blood).

Strangely, green tends to recede and is often combined with red to create a sense of energy and excitement. as long as each is not too saturated, they will not visually vibrate.

blue

Blue is the coolest of the cool colors. in many cultures, it implies protection and is often the color of military uniforms. Stability, faithfulness, trustworthiness, and responsibility are symbolic meanings. it is the color of truth, tranquility, conservatism, and security.

When used with its complementary color orange, blue is vibrant and effervescent. if overused in your designs, it can create a sense of sadness and despair. Yet small amounts of blue in an image can work well when tied to other graphic elements on your page, like the blue line at the top of Figure 6.53.

Getting it Together Gathering Material • Organizing Your Design Work • Portfolio Layout • Constructing a Printed Portfolio The Digital Portfolio Digital Imagery • Creating Your Digital Portfolio • Putting Your Digital Portfolio Together 6.51 A colored background, such as a subtle shade of yellow, can bring more attention to black line drawings than a white background. Design work courtesy of Sailaja Vedula.

Presenting Your Portfolio Digital Portfolio Presentation Formats • Evaluating and Presenting Your Portfolio • The Interview Process • Continuing Your Portfolio Appendix: websites

6.52 Using green for part of this project’s background adds interest to the page and also relates to the project objectives.

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

References

Chapter 6 : portFoLio LaYoUt

Index

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6.53 The blue seen in the bed pillows is echoed in the horizontal line at the top. Design work courtesy of Abby Walsh.

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Presentation Strategies and Dialogue Christina M. Scalise

Presentation Strategies and Dialogue provides analytical and physical techniques that enable students to deliver powerful design presentations, bring to life the design story and demonstrate how the solution meets the client’s needs.

• Includes tips to students for cultivating powerful interactions with viewers

UK April 2012 US February 2012 192 pages 279 x 216mm / 11 x 8.5 inches 16 pp full colour insert PB 9781609011444 £40.00 / $69.00 Fairchild Books

• Draws on practical experience from a professional’s perspective • Teaching Resources: Instructor’s Guide and PowerPoint available Christina M. Scalise, is a professional interior designer and principal of her own firm.

Contents The Language of Design • Entice, Engage, Energize, and Equate • Viewer Experience • Intention and Context of Presentation • Presentation Development • Performing Arts • Collaboration • Analysis • Media • Professionalism • Endnotes • Index

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Drawing and Presentation

www/Textbook

2nd Edition

Hand Drafting for Interior Design Diana Bennett Wirtz Kingsley

Through step-by-step illustrations, Kingsley shows readers how to create beautiful detailed interior design drawings, with detailed examples showing how to render furniture, floors, walls, windows, plants in floor plans and elevations, using only drafting pencils, a T-square and a triangle.

UK May 2014 US March 2014 160 pages 216 x 279mm / 8.5 x 11 inches 150 bw illus PB 9781609019976 £50.00 / $75.00 Fairchild Books

• Teaching Resources: PowerPoints available Diana Bennett Wirtz Kingsley owns Amethyst Designs, an interior design business.

New to this edition • New coverage illustrating the use of line weights • Expanded coverage of elevations through additional use of graytones for additional depth • New material on exteriors and landscaping, including 20 new illustrations • Coverage on the exterior has also been expanded with a new chapter on landscaping

Contents 1. Preface 2. Drafting Tools 3. Lettering 4. Windows, Walls, and Doors in a Floor Plan 5. Furniture in a Floor Plan 6. Flooring in a Floor Plan 7. Kitchens and Baths 8. Architectural Details in a Floor Plan 9. Plants and Landscapes 10. Interior Elevations 11. Exterior Elevations 12. Sections Appendix I, Journal Sketching Appendix II, Student Examples Glossary

© Diana Bennett Wirtz Kingsley

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Drawing and Presentation

www/ Textbook

2nd Edition

Architectural Drafting for Interior Designers Lydia Sloan Cline

Beginning interior designers can now learn how to graphically communicate their ideas with a resource that is designed specifically for them.

• Addresses drawing a floor plan, creating an interior elevation, and the relationship between 2D and 3D drawings

UK September 2014 US July 2014 560 pages 216 x 279mm / 8.5 x 11 inches 450 line and 300 colour illus PB 9781628920963 £100.00 / $145.00 Fairchild Books

• Written to the standards of the National Council for Interior Design Qualifications (NCIDQ) and the National Kitchen and Bath Association (NKBA) Lydia Sloan Cline is a professor at Johnson Community College in Overland Park, Kansas, USA. New to this edition • New chapter addresses the transition and integration of software with hand drawing • Content reorganization makes this edition even more intuitive • More coverage on interior elevations, including new hand drawn examples • Discussion of up-to-date building codes • Teaching Resources: Answer Key to study questions and exercises Contents line type

Once a sketch represents a design, it is turned into a construction-ready document. This is where the drafting starts.

A drafter breaks complex features down into simple, representational lines. A drawing must be interpreted the same way in any language or country it’s read in, and by everyone who reads it. Those readers will have different backgrounds, such as designer, contractor, fabricator, owner, vendor, and banker. Hence, universal standards are followed. While each company has variants of those standards, they are similar enough so that if you can read them in the general sense, you can read the variants.

The Line: Weight and Type The line is the fundamental tool of graphic communication. It can be long, short, straight, curved, light, dark, solid, patterned, freehand, horizontal, vertical, diagonal, thick or thin. Different types communicate different ideas. Every line on a drawing means something, so lines should never be randomly drawn. Because construction drawings are abstract, as few lines as possible should be used to describe an object. Lines have varying weight, which is thickness, and types, which are patterns.

line weight This is thickness. Thicker lines engage the reader’s eye first; therefore features that should be read first are drawn with wider lines. This practice evolved because it’s easier to read a drawing with multiple line thicknesses than a drawing with just one. Look at Figure 4-1. The left drawing is easier to read because the thick outline leads the eye to the form first, and then to interior details. With the right drawing, the eye doesn’t know where to focus first. Complicated drawings utilize multiple line weights.

This is pattern (Figure 4-2). Different patterns represent different concepts. For example, a line may be drawn as a long dash -short dash -long dash or as a long dash -two short dashes- long dash. The first pattern described means center; the second means cut-through.

Following is a description of different architectural line types.

A standard is a recognized conformity, necessary for a common understanding of what to expect. If mass-produced goods like queen-size sheets, three-hole paper, and light bulbs weren’t standardized, we couldn’t buy them with any certainty that they’d fit the intended bed, binder or socket. Standards on architectural drawings include methods of dimensioning, labeling, symbols and line types.

Architectural Line Types Visible object

Visible object lines define a physical item’s outline. Walls, doors, cabinet edges, and floor tiles are examples of things represented with visible object lines. These lines are drawn with a continuous (non-patterned) line.

hidden object Hidden object lines define an item that is not visible in the reader’s current view but need to be acknowledged. For instance, the wall cabinets in Figure 4-3 are shown with a hidden line because they are above the cutting plane with which floor plans are made (this is discussed more thoroughly in Chapter 5). Hidden lines may also show items destined for removal.

They are drawn with short, evenly sized, evenly spaced dashes.

figure 4-2 Line types on architectural drawings.

figure 4-3 Hidden lines are short, evenly spaced lines that indicate features not seen in the view.

figure 4-1 Differing line weights direct the eye to an object’s form first, making it easier to rea

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A rc h it e c t u r A l l i n e t y p e s

11

Hatch Lines and Poché Symbols hatch lines Hatch lines are 45° angled line patterns that indicate an object has been sliced at that location (Figure 4-9).

You created this PDF from an application that is not licensed to print to novaPDF printer (http://www.novapdf.com)

Preface 1. Drafting and the Design Process 2. Tools and Supplies 3. 2D and 3D 4. Drafting Conventions 5. The Floor Plan 6. Interior Elevation and Section Views 7. Dimensioning 8. Door and Window Symbols Drafting 9. Building Construction and Details 10. Utility Systems and Other Plans 11. Stairs 12. Legends, Keys and Schedules 13. Isometric and Perspective Drafting 14. Incorporating the Computer Glossary Appendix I: Floor Plans for General Classroom Use Appendix II: Worksheets Appendix III: Pencil and Pen Line Weights Chart Index Index

 

Poché symbol

Pronounced “po´-shay,” this is a textural pattern that represents a specific material (Figure 4-10), as opposed to simply telling the reader that the item was sliced, like hatch lines do. To maintain visual clarity, the poché of the same material looks different in section than it does in elevation and plan. Figure 4-10 shows just a few of the dozens of material pochés. More are shown in Chapters 6 and 9.

SECTION BRICK

FIRE BRICK

ELEVATION/PLAN 









figure 4-11 Extension and dimension lines show lengths.

BRICK (SMALL SCALE) BRICK (LARGE SCALE)

extension and dimension

2 5

KITCHEN CABINETS

SECTION 1/4"=1'-0"

ASHLAR STONE RUBBLE STONE

ELEVATION/PLAN

These lines describe lengths (Figure 4-11). Extension lines can emanate from the endpoints or center of an object. Dimension lines run perpendicular to them and contain the dimension note.

ASHLAR STONE RUBBLE leader STONE A leader line has an arrow at one end and a local note at the other end, which describes

the feature the leader line points to (Figure 4-11). A local note differs from a general note, which is placed elsewhere on the sheet and applies to everything on the sheet.

Match Match lines show where to align a large drawing that spans two or more sheets of paper. Like hidden lines, they are dashed, but match lines are thicker and longer.

Border

figure 4-9 BRICK Hatch lines through the base and wall cabinets indicate they have been cut through in this view.

FIRE BRICK

ASHLAR STONE RUBBLE STONE

BRICK (SMALL SCALE) BRICK (LARGE SCALE)

ASHLAR STONE RUBBLE STONE

figure 4-10 Poché is a line symbol that indicates material.

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Drafting Conventions

Border lines are thick lines that go around the perimeter of a sheet.

construction Also called projection or layout lines, construction lines are thin lines that help create object lines but are not part of the object itself. They may help position a drawing, regulate letter height, check an item’s geometry or project features from one picture plane to another. They are drawn with a hard pencil and never inked. They should be drafted light enough to not reproduce on a photocopy. enlargement Box (Figure 4-12) This is a rectangular shape with round corners and made of thick dashed lines. It encircles an area that is drawn to a larger scale elsewhere in the set. An attached ID label tells the reader where to find that enlarged drawing. structural Grid lines

(Figure 4-12) Drawings are laid out on a grid that shows the location of structural elements such as columns and beams. These lines are used mostly for reference to schedules and for dimensioning. Vertical lines are numbered from left to right. Horizontal lines, whose markers are placed on the drawing’s right, are numbered from bottom to top.

h At c h l i n e s A n d p o c h é sy m b o ls

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Drawing and Presentation

Key Titles

www/Textbook

Drafting & Design Basics for Interior Design Travis Kelly Wilson

Using a residential design scenario that increases in scope from chapter to chapter and results in a complete set of working drawings, Drafting and Design: Basics for Interior Design teaches the art of drafting through hands-on application.

Introducing essential drafting tools, equipment, and methods, the book is designed to help interior designers develop an understanding of space planning and leverage manual drafting skills to design usable and livable space.

2011 224 pages 216 x 279mm / 8.5 x 11 inches 228 colour illus PB 9781563678370 £55.00 / $93.00 Fairchild Books

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

www/Textbook

Sketching Interiors From Traditional to Digital Suining Ding

Sketching Interiors: From Traditional to Digital covers basic freehand sketching skills with different media including pencils, inks and markers.

It then teaches students how to transform freehand sketching to digital drawing with Photoshop.

• Includes black and white and colour sketches, problem-solving exercises and examples, and drawing examples of interiors, exteriors, furniture and accessories

2011 320 pages 229 x 305mm / 9 x 12 inches 215 colour illus PB 9781563679186 £45.00 / $74.00 Fairchild Books

• Easy to follow instructions and a variety of illustrative examples • Teaching Resources: Instructor’s Guide and PowerPoint presentation available

Textbook

Basics Interior Architecture 03: Drawing Out the Interior Ro Spankie

“Great book!” Luben Dimcheff , Parsons, The New School for Design, USA “Accessible for first year students while still interesting for second and third year.

Some great examples of how designers use drawing not only as a visualisation tool but also as a design tool.” Valerie Mace, London College of Communicatrion, UK “…Lively, stimulating and informative on the role of drawing within the design process.”

Werner Richter, University Campus Suffolk, UK

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2009 176 pages 230 x 160mm / 9.1 x 6.3 inches 200 colour illus PB 9782940373888 £17.95 / $29.95 Series: Basics Interior Architecture AVA Publishing

Space Planning and Form

www/Textbook

Human Factors in the Built Environment Linda L. Nussbaumer

With a global approach throughout, this book integrates the relationship of the human body and space planning to the design process for designers involved with the physical planning and detailing of interiors. Key topics include proxemics, anthropometrics, ergonomics, sensory components, diversity, global concerns, health and safety, environmental considerations, special populations and universal (inclusive) design.

UK March 2014 US December 2013 400 pages 216 x 279mm / 8.5 x 11 inches 370 bw illus PB 9781609015039 £42.99 / $105.00 Fairchild Books

Linda L. Nussbaumer is a Professor Emerita of the Interior Design Program in the Department of Consumer Sciences at South Dakota State University (SDSU), USA. Features • Line drawings illustrating the relationship of proxemics and anthropometrics to space planning • Chapter objectives, key terms, summaries, discussion questions, review questions, case studies, and chapter projects • Appendices of Population Anthropometric Data for Infants, Children and Youth, Adults and Elderly • Teaching Resources: Instructor’s Guide and Powerpoint presentation available

Contents Preface Acknowledgements Foreword Part I: What is Human Factors?

1. Proxemics 2. Anthropometrics 3. Ergonomics 4. Universal Design Part II: Human Factors and Special Needs 5. Human Diversity 6. The Elderly 7. Children 8. Environmental Considerations

Part III: Human Factors and Applied Case Studies 9. Residential Design Environments 10. Commercial Design Environments 11. Office Design 12. Hospitality Design 13. Healthcare Design 14. Educational Design 15. Retail Design Appendix Glossary Bibliography Index

ERGONOMICS AND DESIGN As new products are designed, it is important to consider ergonomics and to continually make improvements to these products. If improvements are not made, people may suffer from physical and psychological effects (Bridger, 2009). In particular, though technology continues to improve, if ergonomics is not considered in their design, these machines (i.e., computer keyboards, laptops, tablets, cell phones) can cause injury due to repetitive motion and be potentially disabling.

Therefore, spaces and products must meet individual needs and improve human-machine interaction and performance.

To begin exploring the topic of ergonomics, consider one simple example: the chair. Through the centuries, the height of the chair seat or chair itself could indicate the status of the user. For example, a chair’s seat height in places such as Mesopotamia (c. 2600–2400 B.C.), Egypt (c. 2500–1300 B.C.), and China (c. 600–1600 AD) indicated status—higher height equaled higher status (see Figure 3.2a). Chairs used in this period in these cultures were sometimes high enough to require a footstool. Seat height varied; some seat heights were as low as 8 to 10 inches [203-254 mm) (examples of these can be found from Egypt from c. 2600 B.C.). During the Renaissance, the

chauffeuse was a wooden chair with a lower seat height because it was designed especially for women taking care of children. By the 1600s in Europe, chair seats were generally 16 to 18 inches high (406-457 mm) (Ireland, 2009). Over the centuries, chairs were designed for different purposes such as the recliner, rocking chair, high chair, and so on. During the mid-1900s, chairs were designed with the structure visible—no hidden parts and yet comfortable for the sitter. For example, Breuer’s Wassily chair allows the sitter to recline and the leather to form to the human body (Mang, 1978). See Figure 3.2b.

Today, chairs are designed and manufactured with a fixed seat height that averages between 19.5 and 21 inches (495-533 mm); these heights fit the average person (see discussion of anthropometrics in Chapter 2). However, to accommodate a wider variety of sizes, office chairs have been designed to provide adjustability, and along with other components, the seat height generally adjusts from 15½ to 20½ inches [394-521 mm] (see Figure 3.3). Also, some manufacturers provide options for lower (15 to 19 inches [381-483 mm]) or higher (17 to 24 inches [432-610 mm]) adjustability. These options are important because of the size variance between, for example, someone who has dwarfism and someone who is over 6 feet, 5 inches (1956 mm) tall. These options accommodate ergonomically designed chairs for many possible users. Clearly, manufacturers of office seating understand ergonomics. This is one example of how

well-being of the person. If the work area is designed to fit an individual’s body dimensions, it provides a safe, healthy, comfortable space in which to work. This applies to people of all ages: children, teens, and adults (see Figures 3.4a–c).

(a)

Figure 3.3 Think Chair (Adjustable Chair) Ergonomic chairs are designed to adjust to various body sizes and to relate to the task such as computer work.

human-machine interaction affects physical and psychological well-being and relates to the design of spaces and products for human use. Today it is more important than ever to design spaces and furniture with flexibility and to consider varied sizes.

(b)

Back support Arm support

RELATIONSHIP BETWEEN ANTHROPOMETRICS AND ERGONOMICS

Side support

Cross support Seat

(b)

(a)

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Figure 3.2 Chairs (a) Historic Chinese chair from the Ming Dynasty Chairs have evolved over time. Each has been designed for a specific culture and its needs. This Chinese chair has a rung to bring the sitter’s feet off the ground. (b) Breuer’s Wassily chair This chair was designed for the sitter to recline and for the material to mold to the body—all for the comfort of the sitter.

PA RT ON E : W H AT I S H UMA N FAC TOR S?

The connection between anthropometrics and ergonomics is significant. First, as discussed in the previous chapter, body dimensions vary among individuals— even those of the same height. Second, the ability to comfortably work—sitting or standing—relates to an appropriate match between these body dimensions and access to the task. Third, the amount of time in which the task is to be performed can affect the comfort and

(c) Figure 3.4 Sitting at a Desk (a) Children grow at various stages, and classrooms are designed with the desks at the average height for that age group. However, desks are designed for adjustability, because not all children grow at the same pace nor are at the same height at any given age. (b) Teenagers also vary in height and need desks of varied height. (c) Adjustable tables and/or chairs can accommodate each individual using a desk.

C H A PTER 3: ERG O NO MICS

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Textbook

3rd Edition

Shaping Interior Space Roberto J. Rengel

Shaping Interior Space, 3rd Edition emphasizes the impact that designers make through their spatial compositions and design manipulations. Intended for intermediate and advanced students, the author covers strategies for creating interior environments that work as a total system to enhance the experience of the user.

UK November 2014 US September 2014 389 pages 216 x 279mm / 8.5 x 11 inches 770 bw illus PB 9781609018962 £64.99 / $100.00 Fairchild Books

Roberto J. Rengel is a Professor of Interior Design at the University of WisconsinMadison, USA. New to this edition • Chapter on development and resolution revised to stress 3-dimensional development beyond the floor plan • New chapter on Function covers what it means when designers say a facility works well • Ten principles discussed in Chapter 1 highlighted throughout reinforces ideology and connection to space planning Contents Preface to All Editions Acknowledgments Part One: General Principles 1. Mastering Interior Design 2. People in Buildings 3. Interior Place and Its Components 4. The Basics of Space Part Two: Aims of Design 5. Function 6. Order 7. Enrichment 8. Expression Part Three: Design Process 9. Understanding 10. Ideation 11. Development and Resolution Index

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© Roberto J. Rengel

Space Planning and Form

www/Textbook

Space Planning for Commercial Office Interiors Mary Lou Bakker

A thorough and engaging look at the process of space planning for offices this textbooks covers issues such as building codes and integrating LEED requirements into the plan.

• Coverage of all aspects of space planning for offices: building footprints, circulation, typical layouts, conference rooms, support rooms, reception areas, programming, and implementing and presenting a plan

2012 416 pages 216 x 279mm / 8.5 x 11 inches 320 bw illus PB 9781563679056 £55.00 / $93.00 Fairchild Books

• Diagrams, exercises, plan views, typical layouts, and CAD drawings to illustrate every stage of the process • Appendices with sample client profiles, building locations, programming and building floorplate questionnaires, and circulation plan view • Teaching Resources: Instructor’s Guide and PowerPoint available Mary Lou Bakker is principal of ML Design, LLC, USA. www/Textbook

Inclusive Design A Universal Need Linda L. Nussbaumer

Fully covering CIDA accreditation standards, this text shows how an inclusive approach to residential, commercial, product design and technology creates accessible and aesthetically pleasing environments for everyone to use together.

• Full colour highlights designs that typify topics central to each chapter

2012 352 pages 216 x 279 mm / 8.5 x 11 inches 16 pp full colour PB 9781563679216 £55.00 / $84.00 Fairchild Books

• Floor plans for various design typologies demonstrate the application of inclusive design • Features focus on specific challenges such as introducing universal design into historic preservation, aging in place, and more • Teaching Resources: Instructor’s Guide and PowerPoint available Linda L. Nussbaumer is a professor of interior design at South Dakota State University, SD, USA.

Key Titles www/Textbook

The Interior Plan Concepts and Exercises

An introductory-level book addressing the ‘nitty-gritty’ of designing and planning interior environments, filled with examples of what to do and what to avoid to help students become better designers.

Roberto J. Rengel

• Numerous exercises facilitate the learning by encouraging students to apply ideas and concepts immediately after reading about them

2011 330 pages 279 x 203mm / 11 x 8 inches 310 bw illus PB 9781563679339 £40.00 / $72.00 Fairchild Books

• Teaching Resources: Instructor’s Guide and PowerPoint available

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Residential and Commercial Design www/Textbook

Residential Kitchen and Bath Design

Residential Kitchen and Bath Design provides students with a core knowledge of the kitchen and bath design sub-specialty.

Anastasia Wilkening

• Exercises and assignments that involve drafting plans for a variety of design projects and solving problems related to each chapter’s subject area

• Extensive coverage of measurement, with charts and templates for windows, walls, and appliances

UK April 2013 US February 2013 272 pages 203 x 254mm / 8 x 10 inches 189 colour illus PB 9781609011253 £60.00 / $95.00 Fairchild Books

• Case studies and boxed features provide insight into real-world experiences • Instruction in both the U.S. imperial and metric system • Teaching Resources: Instructor’s Guide and PowerPoint available Anastasia Wilkening is an adjunct instructor at International Academy of Design and Technology, Chicago, USA. Contents 1. Overview of Kitchen and Bath Design 2. Space Planning for a Kitchen or Bath 3. Universal and Sustainable Designs for Kitchen and Bath 4. Kitchen and Bath Design: Materials 5. Kitchen and Bath Design: Cabinetry 6. Kitchen and Bath Design: Appliances 7. Kitchen and Bath Design: Plumbing 8. Kitchen and Bath Design Working Documents 9. Kitchen and Bath Design: Lighting and Electrical Plans 10. Project Management for Kitchen and Bath Appendix: Basic Metric Conversion Chart Index

and other metallic tiles are made of resin. There are also ceramic tiles that have a metallic glaze applied. Metal tiles can be cut. True metal tiles will acquire a patina as they are exposed to water, but can be cleaned. This change in the tile’s color over time is considered part of its beauty. What type of patina it acquires depends on the type of metal, and a further description will be provided by the manufacturer (Figure 4.19).

Flooring Flooring typically consists of materials such as tile, wood, cork, bamboo, concrete, or linoleum. The common tile flooring materials are stone, porcelain, and ceramic.

Wood flooring is popular and available in many different species, although oak and maple are among the most popular. In addition to the previously described materials linoleum, vinyl, and cork also are possible flooring materials.

linoleuM

vinyl

corK

Vinyl is available in sheets or tiles and is a very inexpensive flooring material. It can be made of pure vinyl or vinyl composition, both having different degrees of fillers. There are many different patterns and styles to choose from. It can have slip-retardant or static control properties. It can be smooth or embossed. The durability is based on the thickness of the upper, wear layer.

Whereas linoleum has been gaining popularity again, due to its being a sustainable material, vinyl has continued to lose popularity for the client hiring a kitchen and bath designer.

Cork is a popular flooring material. Its traits are similar to wood and it is available in various sizes. Cork flooring can be purchased unfinished or prefinished with wax or polyurethane. It must be sealed, as is susceptible to staining. Cork also may be stained, giving it different appearances. Some benefits of cork are that is helps absorb sound, is insulating, and comfortable to stand on (Figure 4.21).

Linoleum is a natural and biodegradable material.

It is created by oxidizing linseed oil to form linoleum cement, which is cooled and mixed with pine resin and wood flour to form sheets on jute backing. It is recyclable, durable, and hygienic. A weakness of linoleum is that it can be damaged by standing water. Linoleum is available in tiles or sheets (Figure 4.20).

Figure 4.19 Most metal tiles have a contemporary look to them. Courtesy of Crossville, Inc.

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Figure 4.20 Linoleum flooring is available in a wide range of colors. Courtesy of Pamela Polvere Designs and Brad Wilkening.

Figure 4.21 Cork flooring is also available in many different colors. Courtesy of Pamela Polvere Designs and Brad Wilkening.

re s i de nt i a l Ki tc h e n a n d B at h de s ig n

ch a pte r 4 • Ki tc h e n a n d B at h de s ig n : Mate r i a l s

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Key Titles Textbook

Textbook

Basics Interior Design 01: Retail Design

Basics Interior Design 02: Exhibition Design

Lynne Mesher

Pam Locker

2010

2010

184 pages 230 x 160mm / 9.1 x 6.3 inches 200 colour illus PB 9782940411221 £19.95 / $32.95 Series: Basics Interior Design AVA Publishing

184 pages 230 x 160mm / 9.1 x 6.3 inches 200 colour illus PB 9782940411382 £21.95 / $32.95 Series: Basics Interior Design AVA Publishing

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Materials, Textiles, and Furniture www/Textbook

4th Edition

Textiles for Residential and Commercial Interiors Amy Willbanks, Nancy Oxford and Dana Miller

Devoted entirely to textiles for interiors, Textiles for Residential and Commercial Interiors focuses on the most current fiber and fabric information including new fiber technology and nanofibers, the role of the interior designer in selecting textiles, and the environmental impact of textiles.

UK November 2014 US September 2014 544 pages PB 9781609019372 £66.00 / $100.00 Fairchild Books

Amy Willbanks is the Vice President of Sales and Marketing at Textile Fabric Consultants, Inc, USA. Dana Miller is Associate Professor of Interior Design in the Human Sciences Department at Middle Tennessee State University, USA. Nancy Oxford is an Assistant Professor in the Textiles, Merchandising and Design Department at Middle Tennessee State University, USA.

Features • Includes coverage of household and institutional textiles • Provides students with all of the technical information, aesthetic fundamentals, and practical knowledge they need • Teaching Resources: Instructor’s Guide and PowerPoint available New to this edition • More than 500 full color photographs, illustrations and diagrams • Updated test methods • Coverage of new LEED standards and newly developed fibers Contents Unit 1: The Fundamentals of Textiles for Interiors Unit 2: Upholstered Furniture Coverings and Fillings Unit 3 Window and Wall Coverings Unit 4: Soft Floor Coverings and Cushions Unit 5: Household and Institutional Textiles Glossary Bibliogaphy Appendix A Appendix B Index

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Materials, Textiles, and Furniture www/Textbook

2nd Edition

Interior Design Materials and Specifications Lisa Godsey

“This is a very well thought out book; the content is quite comprehensive and jam-packed with information.” Maruja TorresAntonini, University of Florida, Department of Interior Design, USA The book describes each material’s characteristics and teaches students how to evaluate, select and specify materials.

UK February 2013 US December 2012 432 pages 216 x 279mm / 8.5 x 11 inches 420 colour illus PB 9781609012298 £60.00 / $95.00 Fairchild Books

Lisa Godsey is an Instructor of Interior Design at the International Academy of Design and Technology, Chicago and at The Illinois Institute of Art, Chicago, USA. Features • Includes discussion of budgets, codes, sustainability, and functional and aesthetic aspects of materials both in residential and nonresidential spaces • Addresses and meets the CIDA standards for Furniture, Fixtures, Equipment and Finish Materials and Regulations • Teaching Resources: Instructor’s guide and PowerPoint available New to this edition • Over 350 color photos and drawings • “Web Search” and “Personal Activities” challenge students to solve problems • “Points of Emphasis” create easily absorbed nuggets of information, “Cautionary Tales” relate real-life problems, and “For the Connoisseur” offers professional tips • New “Specifying” section guides learner through decision-making process • New specification and installation processes • Addresses sustainable characteristics and acoustic qualities of materials Contents Summary 1. Making Material Selections 2. Paints, Coatings, and Wallcovering 3. Textiles 4. Carpeting and Area Rugs 5. Wood 6. Resilient Flooring 7. Plastic 8. Glass 9. Metal 10. Tile and Brick 11. Stone 12. Terrazzo, Similar Composites, and Concrete 13. Laminated Materials and Substrates 14. Acoustical Products Index

Your design accommodates stock size

Stock Precast

Figure 12.13 Concrete is such a plastic medium that it will retain the texture of the form that holds it as it hardens.

Complete adjoining surfaces before measuring if possible

Custom

Figure 12.15

Figure 12.12 This custom fireplace surround was cast and finished off-site, then delivered and adhered. Fireplace surround by Flying Turtle Cast Concrete in Modesto, CA. Photo

by Alana Clark.

Figure 12.14 The heat emitted by concrete as it cures is so low that it will not damage special aggregates, like this composition that contains shark teeth. Created by Tom Ralston Studios, Santa Cruz, CA.

demonstrate the versatility of this product. These tiles call to mind soft clay terra-cotta tiles but they are a little more durable. These tiles are a stock item but custom items can be precast for installation at your client’s job site. The fireplace shown in Figure 12.12 was custom made and cast off-site, then delivered and fastened in place.

Concrete does not “dry” to harden, it cures, meaning a chemical reaction takes place. Because the chemistry of the concrete is changing as it cures, many applications that you might specify for coloring and sealing must be precisely timed. For some applications concrete must cure completely, which may take about 28 days. Other applications must be employed before the concrete cures completely.

This curing time is also crucial when you specify a concrete leveling product to repair a floor for resilient or other flooring surface. Since the concrete is undergoing a chemical reaction for the 28 days needed for it to cure, adhesives cannot be trusted to adhere properly, finishes might not come out right, and sealants might not be stable. Different formulations may have different properties in this regard but the basic recipe for concrete will need to cure before most subsequent processes can be used.

Concrete cures with an exothermic chemical reaction (emits heat during curing) but it is not so hot that you cannot touch it while it cures. This means that there are many materials that could be embedded in the plastic surface. Figure 12.14 shows a composition that includes

Surfaces Concrete is used to produce structural members. As an interior designer you will not have responsibility for engineering any structural members, but you may be called upon to suggest finishes for them. You may also specify non-load-bearing components.

In order to create a vertical surface, concrete is poured (cast) down into a form. These forms can be lined with material that imparts a texture to the surface of the concrete because concrete, in its plastic state before it cures, will pick up even the most subtle textures.

Figure 12.13 shows concrete that picked up the fine texture from the plywood form it was cast onto.

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S P E C I F I C A T I O N S

The work will proceed somewhat differently depending on which option you select.

sharks’ teeth and colored stones. It would not be possible to bake sharks’ teeth in the body of a tile, but the low heat produced by curing will not damage heat-sensitive materials. The ability to construct custom forms and surfaces without high heat has allowed designers to embed recycled items in blocks of concrete that are then cut into tiles and slabs revealing everything from recycled golf tees to semiprecious stones.

If you are reusing your fabricator’s known formula, you can probably safely work off of the existing shop samples to understand what the results of various processes will be. Each shop’s proprietary admixtures (compounds that are added to concrete to alter its properties, such as weight or curing time) must be apportioned exactly or it might cause unexpected results, so a finish sample from one fabricator may not be a good guide for a different fabricator whose concrete is possibly a different formula.

Stock or Custom It is important to understand the implications of the characteristics and form of concrete that you are specifying (Figure 12.15) so you can not only oversee the project properly, but design it in the best way. Just using one form option—a precast item—you can see that it will make a difference during your design planning and specification management whether you are specifying an item in stock sizes or a custom-size precast unit.

Custom work is easily available; Figure 12.16 shows a custom sink designed especially for this space.

T E R R A z z O ,

Figure 12.16 When custom concrete must interface with building systems or contain manufactured parts, as is the case with this sink, you will request that the fabricator produce shop drawings that show the interfaces.

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Materials, Textiles, and Furniture

Key Titles

www/Textbook

Furniture Design and Construction for the Interior Designer Christopher Natale

Furniture Design and Construction for the Interior Designer satisfies the need in the interior design field for a source that teaches the aesthetic as well as the construction of residential furniture.

• Introduces major furniture styles and how they have changed • Emphasizes custom furniture design and fabrications geared toward residential design

2009 304 pages 279 x 216mm / 11 x 8.5 inches 408 bw illus PB 9781563675652 £50.00 / $87.00 Fairchild Books

• Uses isometric and exploded drawings to explain how wood furniture is joined together and explains the strengths and uses of each joint

Dining Room Furniture Design

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wood used and can be made up of stacked pieces to create a larger base. These pieces are screwed to each other and screwed to the base. (See Figure 6.10.)

• Step-by-step instructions and illustrations throughout cover how to construct different types of furniture

trestle table A trestle table has two structural posts that support the top. These supports will be connected with a stringer, also known as a stretcher. (See Figure 6.11a.) The stretcher is typically connected with a loose-wedge mortise and tenon.

This allows the table to be broken down for shipping purposes as well as delivery into the home. (See Figure 6.11b.)

With the stretcher attached, the table may not fit through doorways, so it needs to be able to be removed easily.

The posts have an upper base and a lower base made of solid wood. These pieces can be made from different widths and thicknesses to add detail and characteristics to the post structure. These pieces also spread out the weight, which makes the piece more stable. (See Figure 6.11c.)

• Projects and quizzes at the end of each chapter • Teaching Resources: Instructor’s guide and PowerPoint available

Fig. 6.11a A typical trestle table design.

Contents

Styles of Furniture • The Design Process • Materials: Woods and Metals • Joinery • Finishes • Dining Room • Furniture Design • Bedroom Furniture Design • Living Room Furniture Design • Home Office Furniture Design • Designing Other Pieces of Furniture • Glossary • Index • About the Author

Fig. 6.11b Detail of how a stringer is attached to a post with a loose wedge mortise and tenon.

Fig. 6.11c Left, side view; right, an exploded view showing the solid wood parts.

Textbook

Basics Interior Architecture 05: Texture + Materials Russell Gagg

“The book was well laid out and well considered in presentation and design. The text was well written and pitched well for the student market. It had excellent examples drawn from different types of projects.” Nuala Rooney, University of Ulster, UK “Strong on the collation of case studies (both historical and contemporary) into a bite-size format. Clear chapters relating to the history and use of key materials.” Jean Whitehead, University College Falmouth, UK

2011 184 pages 230 x 160mm / 9.1 x 6.3 inches 200 colour illus PB 9782940411535 £23.50 / $34.50 Series: Basics Interior Architecture AVA Publishing

An informative introduction to many of the materials used in the design of contemporary interior spaces, it also explores the use of sustainable materials.

Contents 070+071

Glass Glass occupies a very special place in the design of buildings and spaces. It could be said that we use it to fill the gaps in our buildings. In doing so, we illuminate the world in which we live, work and play. Throughout history, glass has been used to allow light into the spaces that we create but the illumination of our lives has come to mean something far more profound than just the ability to see. Glass can be a simple window but this combination of sand, soda and lime has long been used, especially in a religious context, to transmit the knowledge and imagery of faith. Glass can be decorative and can be a surface on which to apply decoration. Glass can emphasize space, material and structure and allow us to see aspects of construction that have never been seen before. Glass, and the ability to create more void than solid, has been the primary driver behind architectural design for the past 150 years. And now, finally, glass has become a material in its own right, creating, supporting and, of course, illuminating, our lives.

Name: Chandelier at the Victoria & Albert Museum Wood > Glass > Plastics

Location: London, UK Date: 2001

Texture + Materials

Introduction Stone, Brick And Concrete: History and Context • International Icons • Sustainability • Innovations and the Future Metals: History and Context • International Icons • Sustainability • Innovations and the Future Wood: History and Context • International Icons • Sustainability • Innovations and the Future Glass: History and Context • International Icons • Sustainability • Innovations and the Future Plastics: History and Context • International Icons • Sustainability • Innovations and the Future Composites: History and Context • International Icons • Sustainability • Innovations and the Future Tiles: History And Context • International Icons • Sustainability Coatings And Coverings: History and Context • Contemporary Uses • Innovative Appropriation • Sustainability Conclusion • Glossary • Resources • Index • Acknowledgements • Working with Ethics

Designer: Dale Chihuly Each element of the chandelier was individually crafted and then assembled on site.

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Lighting

21st Century Lighting Design Alyn Griffiths

21st Century Lighting Design is the first book to look at the past decade of lighting design, featuring over 100 designs from domestic, commercial and architectural settings. Full color images illustrate how new technologies have shaped and progressed the discipline to a dynamic and popular strand of design.

Including a vast array of designers and agencies from influential figures including Ross Lovegrove, Ingo Maurer, Philippe Starck, Ron Arad and Tom Dixon to lesser known but emerging dynamic designers, this book is the authoritative guide to contemporary lighting design.

UK April 2014 US June 2014 240 pages 216 x 260mm / 8.5 x 10.23 inches 300 colour illus PB 9781472503138 £24.99 / $42.95 Bloomsbury Visual Arts

Alyn Griffiths is a design writer and editor based in London, UK. Summary Foreword by Ingo Maurer • Introduction • Part 1: Form • Part 2: Material • Part 3: Technology • Index • Acknowledgements • Index

Key Titles 2nd Edition

Fundamentals of Lighting Susan M. Winchip

www/Textbook Fundamentals of Lighting emphasizes the sustainability characteristics of daylighting and electrical lighting.

Susan M. Winchip is based at Illinois State University, USA.

New to this edition

2011 384 pages 187 x 235mm / 7.375 x 9.25 inches 350 colour illus PB 9781609010867 £45.00 / $79.00 Fairchild Books

• Updated discussion of lamp technologies, luminaires, controls, human factor research, and energy codes and standards • New content on sustainability concepts, including an explanation of lighting, daylighting design, controls and efficient lamps and luminaires

chapter 4 energy, the environment, and sustainable design

• New information regarding solid-state lighting technologies, including LEDs and OLEDs, as well as daylighting strategies and new energy codes and standards features, electrical usage, air-conditioning • Teaching Resources: Instructor’s Guide and Powerpoint presentation available loads, maintenance, and disposal policies.

Contents

DAy lI Gh tInG Sustainable design emphasizes the importance

of incorporating daylight in spaces. Daylighting Principles of Lighting reduces energy consumption but helps Introduction to Quality Lighting • Color and Directional Effects of Lightingnot• only Natural and to improve the overall health of the atmosphere Artificial Light Sources • Energy, the Environment, and Sustainable Design • Illumination in buildings and the productivity of people. and Human Health and Behavior • Lighting Systems: Luminaires • Lighting Systems: The National Institute of Building Sciences Controls • Quantity of Light

White arches

has estimated that effective daylighting can

Lighting Design Applications and the Design Process reduce approximately one-third of the total Lighting Design Process: Project Planning through Design Developmentbuilding • Lighting energy costs. Moreover, a reduction Design Process: Contract Documents through Post-Occupancy Evaluation • in electricity results in fewer emissions of greenhouse gases. Chapter 2 provides an Residential Applications • Commercial Applications Appendix A: Lighting Manufacturers, Distributors, and Suppliers

Placement of windows

introduction to daylighting by reviewing solar geometry, the variability of sunlight, and

and disadvantages of natural light.

Appendix B: Professional Organizations, Government Agencies, and Tradeadvantages Associations

Index

This section expands upon the information presented in Chapter 2 by analyzing sustainable strategies for daylighting.

Strategies for Daylighting Daylighting strategies focus on creating the

24

most effective means to provide the optimum quantity of natural light while controlling for glare, veiling reflections, and excessive heat

© Bildarchiv GmbH/Alamy.

Fi gure 4. 8 TheMonheim Baroque Würzburg Residence (1720– 1744) in Würzburg, Germany is an excellent example of an interior that maximizes daylight by limiting the width of spaces, having numerous recessed windows adjacent to white surfaces, and high-arched ceilings. (© Bildarchiv Monheim GmbH/Alamy.)

Product Digital Dawn

Designer Rachel Wingfield

Date 2000

Technology

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Technology

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Digital Dawn stores solar energy and emits a light that increases steadily as darkness falls.

A light sensor triggers a current that causes the printed electroluminescent surface of the blind to glow.

Digital Dawn is an intelligent window blind that responds to ambient light conditions by illuminating a foliage-inspired pattern as darkness falls. Designed

by Rachel Wingfield during her studies at the Royal College of Art, the product mimics the natural process of photosynthesis; harvesting solar energy throughout the day and storing it, ready for the night. As the ambient light level drops, sensors built into the blind trigger a current that causes electrically conductive phosphorous inks to glow. The darker it becomes, the further the pattern spreads as the blind attempts to counteract the onset of darkness and maintain a balance in luminosity.

Wingfield’s interest in the affect of light on our physiological condition led her to explore other applications for electroluminescent materials, including a pillow and duvet set with glowing fibres woven into the fabric that simulates a natural dawn and helps the user’s body clock to recognise that it is time to wake up (Light Sleeper, 2001). Such applications for lighting technologies could help those who suffer from seasonal affective disorder and similar medical conditions.

Product Daylight Entrance

Designer Daniel Rybakken

Date 2008–10

Daylight Entrance gives the impression of daylight streaming through a window onto the wall.

Light is projected onto the inside of the surface by a panel of recessed LEDs.

This installation, in the entrance hallway of a property company in Stockholm, Sweden, gives the impression that daylight is falling onto the wall, despite the fact that there is no source of natural light in the space.

To create the illusion, a trapezoidal section is accurately milled out of a solid Corian® panel and a metal sheet covered in LEDs is placed in the cavity so light penetrates the remaining surface. Several panels containing more than 6,000 LEDs are incorporated into walls throughout the building’s circulation areas, bringing the sensation of daylight into these otherwise gloomy spaces.

Norwegian designer Daniel Rybakken is interested in the psychological benefits of sunlight and in ways of artificially replicating the sensation of daylight indoors. Daylight Entrance is the result of Rybakken’s iterative exploration of this principle, which began with a project called Daylight Comes Sideways (2007) that used LEDs to project a blurry image of trees moving in the wind onto a semi-transparent surface.

25

Sustainable Design

www/Textbook

Historic Preservation for Designers Peter B. Dedek

Historic Preservation for Designers is a comprehensive overview of historic preservation with a focus on historic interiors, historic building materials, and the adaptive reuse of interiors.

Peter B. Dedek is Associate Professor of Interior Design at Texas State University-San Marcos, USA.

UK May 2014 US March 2014 432 pages 187 x 235mm / 7.375 x 9.25 inches 175 bw illus PB 9781609015091 £42.99 / $79.00 Fairchild Books

Features • Includes criteria to determine whether a building is historic, a discussion of preservation law, and how to document historic buildings • Includes pictorial quizzes of specific building exteriors and interiors • Features case studies that involve exterior and interior design issues in historic buildings • Includes chapter objectives, summaries, key terms, study questions and projects, end notes and bibliographies • Contains timely information on inspecting historic buildings to determine their age and condition as well as the growing relationship between historic preservation, green design, and the environment • Teaching Resources: Instructor’s Guide and PowerPoint presentations available Contents Section One: The Preservation Field

8. C ommon Threats to Historic Buildings

1. Origins: A Brief History of Historic Preservation in the United States

9. Dating a Historic Building

2. Government Involvement in Preservation: The Federal and State Roles 3. Local Governments and the Private Sector in Preservation Planning and Design Section 2: Preservation Practice 4. What Makes a Property Historic? Identifying, Researching, and Documenting Historic Properties 5. Historic Preservation Law 6. From Demolition to Preservation: Divergent Approaches to Managing and Rehabilitating Historic Buildings 7. A Survey of Historic Building Materials: Their Properties and Treatments

HOW HISTORIC PROPERTIES ARE IDENTIFIED: EVALUATING, RESEARCHING AND DOCUMENTING HISTORIC PROPERTIES

Section 3: Preservation Design 10. Sensitive Rehabilitation and Applying the Secretary of the Interior’s Standards

• Explain the standards that must be met for a property to be considered historic • Explain the concepts and process involved in determining eligibility for the National Register and listing a historic property on the register • List and explain the National Register Criteria

• Describe the National Historic Landmark program • Describe the steps of researching and documenting a historic building • Describe the best practices and the process of surveying and examining a historic building that is about to be restored or renovated • Outline the main methods of documenting and recording historic buildings and their significant features • Outline and discuss the variety of historical records and other resources, both primary and secondary, available to researchers when studying the history, style, and significance of an old building

13. Historic Preservation, the Environment, and Green Building

Index

Figure 4.1b Hall’s Cabins, an early tourist court in Monongahela, Pennsylvania, circa 1930. Source: From Peter B. Dedek collection.

• List and explain the National Register Criteria Considerations

12. Universal Design, the Americans with Disabilities Act, and Historic Buildings

Glossary

Figure 4.1a Derby House, Salem, Massachusetts, built in 1764. Source: Library of Congress, Prints and Photographs Division, Washington, DC, 20540 USA. http://hdl.loc.gov/ loc.pnp/hhh.ma0158.

Historic American Buildings Survey. HABS MASS,5-SAL,30-4.

OBJECTIVES

11. Programming and Managing Historic Design Projects

Conclusion: In with the Old, Out with the New: Emerging Trends in Historic Preservation in the Twenty-First Century

Before beginning to practice historic preservation, designers must understand the many factors that are used to determine whether a property should be considered historic. While some properties are obviously historic, such as a well-preserved Georgian farmhouse from the 1700s (Figure 4.1a), the status of others, such as a rundown motel from the 1930s, may not be so clear (Figure 4.1b). Fortunately, a national set of standards exists to determine if a property is, indeed, historic. In the United States, that guide is the National Register of Historic Places.

SECTION 2: PRESERVATION PRACTICE

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STUDY QUESTIONS 1. Water is the most common threat to historic buildings. Name five ways in which water can enter historic building fabric, and name a few ways this intrusion can be detected.

2. In what ways can pigeons endanger historic buildings and their occupants?

3. What are the three basic types of termites are found in the United States, and what are the primary ways of protecting historic wood from infestation from each?

4. What are some of the implications for a historic building that has a horizontal crack in a masonry wall that is growing wider by the day?

6. Why shouldn’t masonry walls be completely sealed and made fully waterproof on all surfaces?

7. What are some types of damage caused by sandblasting to historic stone, brick, and wood?

8. Name some reasons why preservationists frown on the use of vinyl siding.

Figure 8.24. A series of six photographs of endangered buildings showing damage from sources discussed in the chapter. Source: Photograph by Peter B. Dedek, 2012.

9. Discuss the reasons why leaving a building vacant endangers it.

Figure 8.25.

10. Why are historic buildings statistically more likely to be damaged in hurricanes and floods than newer buildings?

5. What is “differential settling,” and what are some potential causes for it?

VISUAL QUIZ CASE STUDIES

Figure 8.26.

Figure 8.27.

Figure 8.28.

Figure 8.29.

A series of six photographs of endangered buildings is presented that show damage from sources discussed in the chapter.

1) For each photograph, list the types of damage present and probable causes for the damage.

2) What possible measures might be taken to minimize further damage and correct the situation for each condition identified in question 1?

Answers and explanations found in Instructor’s Guide.

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Sustainable Design

2nd Edition

Sustainable Building Systems and Construction for Designers Lisa M. Tucker

www/Textbook “The author’s approach is clear and direct...

The writing style is easy to follow along and not overwhelming for students to read. The visuals help in viewing the systems with clarity.” Tommy Crane, Valdosta State University This text on sustainable building construction is updated with the newest information, codes, and regulations related to green and sustainable design.

UK June 2015 US December 2014 464 pages 216 x 279mm / 8.5 x 11 inches 400 illus PB 9781628920932 £66.00 / $100.00 Fairchild Books

• Life cycle costing and sustainable design issues are addressed throughout the book • Case studies featuring actual buildings and interiors show the principles in the book put into practice • Assignments and exercises are included at the end of each chapter • Key terms are bolded and defined throughout the chapters • Teaching Resources: Instructor’s Guide and PowerPoint presentations available Lisa M. Tucker is Associate Professor of Interior Design in the School of Architecture and Design at Virginia Polytechnic Institute and State University, USA. New to this edition

Together color temperature and CRI impact how an interior space will feel and look. Figure 5.18 captures the range which most people find comfortable.

Figures 5.19 to 5.21 indicate how to read lamp designations for various types of lamps including incandescent, fluorescent, and high intensity discharge.

Fixtures

There are several types of light fixtures for a variety of different uses. Some of the most common light fixtures include: wall sconces, pendants, wallwashers, uplight fixtures,

• Updated information on LEED, ADA, and Net Zero construction

downlight fixtures, uplight/downlight fixtures, suspended fixtures, recessed fixtures, and surface mounted fixtures. Each fixture type provides a slightly different light distribution.

• New easy-to-use format

When selecting an actual fixture for a project, it is critical to obtain the specification sheet to determine the actual light pattern provided by the specific fixture.

Contents

figure 5.22 fixture types and their symbols.

Preface • Acknowledgments• A Holistic Approach to Building Design and Construction • Site Considerations and Foundations • Structural Systems • Mechanical Systems • Electrical Systems and Lighting • Plumbing Systems • Walls • Floors • Roofs/Ceilings • Indoor Environmental Quality: Acoustics and Indoor Air • Interior Building Systems • Regulations • Case Studies • Resources • Index

Chapter 5: Electrical Systems and Lighting / 125

The above pages are from the previous edition of Sustainable Building Systems and Construction for Designers.

www/Textbook

Designing Sustainable Residential and Commercial Interiors Applying Concepts and Practices Lisa M. Tucker

This core text for students and designers applies sustainability to all stages of the design process for commercial interiors, emphasising a threepronged approach to sustainability: equity, economy, and ecology.

• Case studies for a range of contract projects demonstrate successful and unsuccessful projects with examples from students and leading design firms

UK November 2014 US September 2014 384 pages 279 x 216mm / 11 x 8.5 inches 540 colour illus PB 9781609014797 £64.99 / $100.00 Fairchild Books

• Each chapter illustrates project types through a series of beginning, intermediate and advanced vignettes • Includes chapter objectives, summaries, key terms, discussion questions, exercises, studio projects and assignments • Teaching Resources: Instructor’s Guide and PowerPoint presentations available

Contents Overview of Project Types • Retail Projects • Healthcare Projects • Corporate Projects • Hospitality Projects • Cultural, Civic, and Institutional Projects • Adaptive Reuse Projects • Single Family Residential Projects • Project Checklists • Index 27

Sustainable Design

www/Textbook

2nd Edition / Recipient of the 2006 ASID Joel Poelsky Prize

Environmental Psychology for Design DAK Kopec

Environmental Psychology for Design, 2nd Edition explores how a room can effect mood and health, with an in-depth look at psychosocial response to the built environment.

• Cross references and boxed features designed to facilitate discussion of concepts and applications • Provides contributions from experts sharing their insight into each chapter’s topic

UK April 2012 US February 2012 384 pages 203 x 254mm / 8 x 10 inches 200 full color images PB 9781609011413 £60.00 / $105.00 Fairchild Books

• Includes discussion questions that equip designers to critically analyze and think comprehensively • Teaching Resources: Instructor’s Guide available David Alan “DAK” Kopec is an Associate Professor of Design at the New School of Architecture and Design, NY, USA. New to this edition • Expanded examples that bridge the gap between academic research of design practices • Cultural and sustainability connections features • A fully updated program of colour photos and drawings • Studio activities to generate individual and group projects • Web links to launch further study into key topics

Key Titles Textbook

Cradle-to-Cradle Home Design Process and Experience Anna Marshall-Baker and Lisa M. Tucker

A guide to practicing effective, evidence-based sustainable design that will benefit those on interior design and architecture studio courses as well as practicing design firms looking to incorporate sustainable design principles and materials into their work. The book offers a case study in this revolutionary design concept via the Cradle to Cradle (C2C) Home Competition.

2011 176 pages 305 x 229mm / 12 x 9 inches 90 bw illus PB 9781609010751 £40.00 / $69.00 Fairchild Books

• Features four professional and student awarded prize winners and the rationale behind the selections • Over 75 entries are shown throughout to articulate the cradle to cradle paradigm Textbook

2nd Edition

Sustainable Design for Interior Environments

Fully-updated to reflect changes in legislation, technologies, international initiatives and products and including global case studies, this 2nd edition integrates the complex topics of sustainability with the design process.

Susan M. Winchip New to this edition • Updated art program that includes international examples of award winning and LEED-certified buildings • Summary tables illustrating the relationship between topics in a chapter and the new LEED 2009 requirements

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2011 400 pages 216 x 279mm / 8.5 x 11 inches 25 colour and 180 bw illus PB 9781609010812 £50.00 / $90.00 Fairchild Books

Professional Practice

www/ Textbook

Estimating and Costing for Interior Designers A Step-by-Step Workbook Diana Allison

This hands-on workbook demystifies the math involved in the interior design field and provides practical estimating techniques for aspiring and professional interior designers.

• Covers wall and ceiling treatments, window treatments, soft fabrications, upholstery, flooring, and cabinetry and countertops • Templates of worksheets available as ancillary materials

UK April 2014 US February 2014 432 pages 216 x 279mm / 8.5 x 11 inches 290 bw illus PB 9781609015190 £42.99 / $79.00 Fairchild Books

• Insight from the Field features offer advice from workrooms and installers • Contains step-by-step worksheets and 96 practice lessons with increasing levels of difficulty • Teaching Resources: Instructor’s Guide and PowerPoint presentations available Diana Allison is an interior designer and principal of her own firm, Allison and Associates Interiors, USA.

Contents Preface · The Business of Interior Design · Section 1: Wall and Ceiling Treatments · Paint · Wallcoverings · Other Wall Materials · Suspended Ceilings · Section 2: Flooring · Plank and Tile Flooring · Resilient and Soft Flooring · Area Rugs · Section 3: Built-In · Countertops & Cabinetry · Section 4: Window Treatments · Curtains and Draperies · Top Treatments and Window Shades · Hard Window Treatments · Section 5: Soft Fabrications · Pillows and Accent Table Coverings · Bedding: Spreads, Coverlets, Duvets, Bedskirts, Shams · Section 6: Upholstery · New Upholstery · Reupholstered and Slipcovered Furniture · Epilogue: The Sales Process · Appendix: Answer Key and Blank Worksheets · Bibliography · Index www/ Textbook

Professional Practice for Interior Designers in the Global Marketplace Susan M. Winchip

This textbook emphasizes the essential skills and knowledge required to work in a firm as an entrylevel designer, while also providing an overview of what is involved in starting, owning and operating an interior design business.

• Dynamic layout, including photos, illustrations and information graphics, designed to appeal to visual learners

UK August 2012 US June 2012 560 pages 216 x 279mm / 8.5 x 11 inches 87 bw and 2 colour illus PB 9781609011383 £55.00 / $90.00 Fairchild Books

• Examples of interdisciplinary projects, practices, and organizations • Directories of professional organizations, research resources, blogs, relevant government agencies and boards, design centres and international exhibitions, as well as CIDA professional standards and examples of professional contracts • Teaching Resources: Instructor’s Guides and PowerPoints available

Contents

Susan M. Winchip is Professor Emerita, Illinois State University, USA.

Launching a Career in the Interior Design Profession • Fundamentals of the Interior Design Profession • Career Opportunities in Interior Design • Attaining an Entry-Level Position • Working in a Design Firm • Professional Business Responsibilities • International Business Practices • Professional Compensation, Administrative Practices, and Legal Responsibilities • Long-Term Client Relationships and Project Responsibilities • Long-Term Client Relationships • Project Management Strategies • Client and Project Management Strategies for the Phases of the Integrated Design Process • Owning and Operating an Interior Design Business • Business Requirements • Operating and Managing a Green Interior Design Business • Business Policies and Operations • Promoting an Interior Design Business • Managing, Growing, and Leading a Profitable Interior Design Business • Appendix A: Resources: Figure 2.2 Antenna Design, Partners, Sigi Moeslinger and Masamichi © Adam Krause Organizations, Research, Design Blogs, and Government • Appendix B: CIDA Udagawa in their New York studio. The projects of these two successful Professional Standards • Appendix C: State/Province Boards and Agencies • Appendix product designers reflect the art of research, observation, and listening to the needs of their clients. (© Adam Krause) D: Design Centers and International Exhibitions • Appendix E: Commercial Interior Design Service Contract • Glossary • Bibliography · Credits • Index 29 Box 2.5, other skills essential for designers are the art of observation and listening to the needs

well as qualifications, please refer to a unive sity’s position announcement in Box 2.1.

History of Interior Design

Key Titles

www/Textbook

History of Furniture A Global View Mark Hinchman

History of Furniture covers the major historical movements in furniture design though a global perspective that focuses on the evolution of furniture from ancient history through postmodernism.

• Highlights the contributions of women • Considers furniture in conjunction with other arts, including architecture and decorative arts

UK June 2009 US April 2009 640 pages 216 x 279mm / 8.5 x 11 inches 550 colour illus HB 9781563675447 £70.00 / $114.00 Fairchild Books

• Contains discussion and review questions and a timeline in each chapter • Includes a comprehensive glossary of terms • Teaching Resources: Instructor’s Guide and PowerPoint available Contents Early Histories • Prehistory • Ancient Civilizations • Classical Civilizations • From Ancient to Renaissance • Early Christian • The Year 1100 Around the World • Gothic • A World of Renaissance • Pre-Columbian Urban Civilizations • China • Renaissance • Styles Reacting to Styles: 17th and 18th Centuries • Baroque • Rococo • English Occurrences: Up to the 18th Century • The English System in England • The English System in the Colonies through the 18th century, early 19th Century • The Seeds of Modernism: The 19th Century • Neoclassical • Revivals • Reactions • Art Nouveau: Early International Styles • Africa and Asia • The Aesthetic Movements • Modernism • Bauhaus and Modernism • Alternative to Modernism • Modernism Continue • Modernism to Postmodernism to Deconstruction • Glossary • Index • Illustration Credits

C h a p t e r

4

E a r ly C h r i s t i a n a n d By z a n t i n E

330–800

330–1453

Early Christian

Byzantine

E

tian and Byzantine periods that followed it. This is true in dress, painting, sculpture, and furniture. Regarding architecture, the new religion, Christianity, inherited most importantly two architectural forms from the Romans: the straightforward basilica and the luxuriant, centrally planned domed space. Various camps developed, each promoting theirs as the most appropriate to house the services that honor Christ. Architects and clergy have been fighting over the issue of the appropriate architectural form for Christianity ever since.

In seeking to establish an architectural identity for the new religion, some saw the best prototype to be the practical meeting hall of the basilica form.

Others, dazzled by the brilliance of Roman baths and mausoleums, created complicated forms that rotated around a single point, a profusion of domes and half-domes, all brilliantly lit with a clerestory.

Complications and idiosyncrasies abound. Those who worked with the more straightforward basilica often proceeded to make them as grand as possible.

By adding a transept, the basilica became the Latin cross, the plan itself a representation of the cross on which Jesus was crucified.

dward Gibbon famously employed the phrase “fall of the Roman Empire” in the title of his book Rise and Fall of the Roman Empire. Its grandiloquence is appropriate for the end of one of the world’s great empires. Yet it promotes a picture of complete collapse, when life on the ground was, no doubt, less dramatic and more complicated. There were no immediate population shifts or definitive cataclysmic battles. People and stones did not go away.

Compared to the legacy of Greece and Rome, the works of the early Christians and the Byzantines are less easily grasped, because they lack the stylistic cohesiveness of the preceding periods. In fact, the word “Byzantine” is often used as a synonym for opaque. This is actually due to most people’s lack of familiarity with the materials. The Early Christian and Byzantine periods, well studied in academic spheres, are less prevalent in popular media. The two most important historical factors to remember when looking at Early Christian and Byzantine art are the decline of Rome and the rise of Christ.

Regarding form and style, a great deal of continuity links the Roman period and the Early Chris-

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History of Interior Design Jeannie Ireland

History of Interior Design is a comprehensive survey covering the design history of architecture, interiors, furniture, and accessories in civilizations all over the world, from ancient times to the present.

• Dynamic chapter layout emphasizes the context in which the period styles evolve, and features design motifs of the period

UK December 2008 US October 2008 624 pages 229 x 305mm / 9 x 12 inches 750 colour illus HB 9781563674624 £63.00 / $115.00 Fairchild Books

• Timelines and hand-drawn maps illustrate the transition between periods, continents, and cultures • Teaching Resources: Instructor’s Guide and PowerPoint available Jeannie Ireland is a Professor Emerita from Missouri State University, MO, USA. Contents

15 Chapter

In the Beginning • Ancient Mesopotamian, Persian, and Egyptian Design • African Design • Minoan, Mycenaean, and Greek Design • Etruscan and Roman Design • Chinese Design • After the Fall of Rome • Early Christian and Byzantine Design • Romanesque Design in Western Europe • Gothic Design • Enlightenment • Renaissance Design in Italy • Renaissance Design in the Iberian Peninsula and Central Europe • Renaissance Design in the Low Countries and England • New Horizons • Latin American Design • Continental European Design in Colonial America • English Design in Colonial America Power and Prestige Baroque and Rococo Design • Neoclassical, Empire, and Greek Revival Design • The Modern World • Design of the Industrial Revolution • Twentieth-Century Eclectic Design • Japanese Design • TwentiethCentury Design to Mid-Century • Twentieth-Century Design from Mid-Century • Glossary • Endnotes • Resources • Credits • Index

English Design in Colonial America

I

n 1497, the British government charged John Cabot with finding a route to Japan by sailing west from England. He instead found Cape Breton Island in Nova Scotia—a disappointment to the British. For more than a hundred years, while other nations were establishing footholds in North America, the British did not follow up on Cabot’s discovery. Several factors resulted in England’s lack of interest during that time. No valuable commodities were immediately obvious. Threatened by Spain, sixteenthcentury English monarchs were primarily concerned with strengthening their power at home and establishing a navy. Henry VIII married the Spanish princess Catherine of Aragon, whom he later wanted to divorce. This desire resulted in the English break with the Catholic Church and the establishment of the Anglican Church, a tempestuous and preoccupying transition. Moreover, sixteenth-century attempts to plant colonies in Ireland met with ferocious resistance on the part of the Irish, making prospects for further colonization less than compelling.

History of English Colonial Design in the Americas Henry VIII (1491–1547) set himself up as the head of the Anglican Church, confiscated the assets of the monasteries, and persecuted Catho-

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lics. Some of Henry’s successors were Catholic, others Protestant. Each was intolerant of the other religion, and until 1687, when James II (1633–1701) suspended laws against Catholics and nonconformist religious groups, members of one religious sect or another were in danger of persecution. The English Crown was especially intolerant of Puritans because they wanted to run their own affairs and avoid paying taxes to support the Anglican Church. Fleeing England and settling in the New World would give the Puritans freedom of worship, and to this end, in 1620 they established Plymouth plantation, or settlement, in Massachusetts.

Throughout the sixteenth century, England saw Spain extract untold wealth from the New World and preyed on Spanish ships. The establishment of an American base would facilitate these attacks. In addition, the English were concerned that the missionaries sent by the Spanish to convert the natives to Catholicism could eventually result in another strong Catholic country.

Changes in the sixteenth-century English economy also provided an impetus for colonization. Because the Spanish and Portuguese controlled trade routes with the East, it became difficult and expensive to import oil, dyes, and other luxury goods. Hemp for rope and pitch for ship construction were also in short supply. In

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Introduction to Architecture and Techniques Textbook

2nd Edition

Anne Sofie Madsen

throughout their studies.

Steed, Course Leader for Fashion and Textile Design, Nicola Crowson is anJosie architect Robert Gordon University, UK and Senior Lecturer at the University of Portsmouth, UK. FASHION DESIGN

Lorraine Farrelly Nicola Crowson

Representational Techniques for Architecture

Second Edition

TEXTILES AND FASHION

Lutz Georgina Hooper, Fashion ProgrammeTina Leader,

Chichester College, UK Lorraine Farrelly is Professor Masha Reva This is an excellent book for introducing students to the James Stone of Architecture and Design fundamental principles of working within and Jan textiles Taminiau fashion. Inspiring and visually exciting, the book explains Manel Torres at the Portsmouth School ofrelationship between constructed the important and Philippa Wagner printed textiles in relation to contemporary fashion.

Architecture, UK. This extremely valuable resource will support students

Jenny Udale

Lorraine Farrelly and Nicola Crowson

BASICS ARCHITECTURE Basics Fashion Design

Representational Techniques for Architecture

UK December 2014 Representational Techniques US February 2015 for Architecture contains BASICS comprehensive discussion FASHION DESIGN 184 pages of the key practical and Textiles and Fashion explores the integration of textile with fashion.

It begins with a brief history of x 160mm / 9.1 x 6.3 inches 230 theoretical influencesdesign that inform Key topics textiles, showing the links with technical innovation and Aesthetics social developments. It then focuses on150 the processes of colour illus representational architectural Colour and design textile design, including the ethical and sustainable issues Designing with around textiles today and innovative new fabrics.

The textiles PB 9781472527851 practice and exploresbookthe also provides practical information on fibre Embellishment production, dyeing and finishing techniques.

Various Man-made fibres £23.99 / $41.95 concepts and techniques surface treatments are explored, as well as the fibres ways in Natural colour and trend influence fashion and textiles.

Series: Basics Architecture New fibre developments used to represent andwhichdevelop Pattern and print The second edition includes interviews with fashion and Fairchild Books architectural ideas. The book The trend industry textile designers, discussing their production processes and how they use textiles in their work, offers a range of practical Featured contributors and projects to help you explore and further your Beck drawing methods, as knowledge well of textiles and fashion. Aina Camilla Bruerberg An exceptionally informative, and highly engaging Duncan Cheetham as lessons in contemporary teaching aid, this book demonstrates the breadth, depth Erdem and richness of textiles and fashion in contemporary Johan Ku computer modelling and drawing society. I would highly recommend Jessica this as an essential read for both students and Leclere Patrick Li techniques. tutors studying and teaching textiles and fashion.

Jenny Udale has lectured in fashion textiles at the University of Middlesex, UK, Kingston University, UK and Ravensbourne College, UK. Jenny is also a freelance textile and womanswear designer. She is the author of the first edition of Textiles and Fashion (2008) and the co-author of The Fundamentals of Fashion Design, 2nd edition (2012).

www.bloomsbury.com

Cover image © Jens Langkjaer

New to this edition • Updated text includes vital information about new software packages for architecture students and practitioners

Also available from Bloomsbury

• Updated images • New international case studies and projects • Enhanced project sections Contents Introduction Chapter 1: Sketch Tools and Materials Conceptual Sketches Analytical Sketches Observational Sketches Sketchbooks Experimental Techniques Case Study Project: City Sketch Chapter 2: Scale Measuring Full Size Detail Scale Interior Scale Building Scale Urban Scale Not to Scale Case Study Project: Survey Chapter 3: Orthographic Projection Plans Sections Elevations Drawing Convection Drawing Categories Case Study Project: Small Container

Chapter 4: ThreeDimensional Images Perspective Axonometric Drawings Isometric Drawings Other Applications Photomontage and Collage Case Study Project: Serial Views

9

Sketch A sketch needs to be a quick, loose and open drawing. It is the speed inherent in this sort drawing that makes it a powerful way to describe an idea. Forms of sketching can range from providing a kind of visual note-taking, observing real conditions and situations, to the production of analytical drawings that deconstruct an idea or concept. Sketches can be categorised according to concept, analysis and observation.

Conceptual sketches can reveal the essence of a complex idea. The challenge in the concept sketch is to clearly and concisely communicate the design intention. A concept sketch may be drawn at the beginning of the project, but it should still be relevant on the project’s completion.

Analytical sketches can be used to analyse a building, space or component. These can be created at any stage of the design process.

In a project’s initial stages they may convey a design intention; later on in the design process they can explain ideas associated with journeys through the building or aspects of construction.

Chapter 5: Modeling Physical Models Physical Modelling Equipment Model scales CAD Models CAD Software Fly Through Case Study Project: CAD to Digital Modeling Chapter 6: Layout and Presentation Layout Graphic Presentations Oral Presentations Storyboards Portfolios Case Study Project: Planning Presentation Layouts

Observational sketches can be used to describe aspects of buildings, exploring materials or space in detail. This type of drawing is about careful consideration of a view, really carefully exploring an aspect of a space or place and taking time to record it.

1.1 Project Architect Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua.

Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat.

There are many sketching techniques that can be explored and further developed until individual preferences and a personal style are established. Stylistic variations will be in accordance with the medium used (pen, pencil, charcoal etc.); the different use and application of colour, tone or texture; the use of collage and material; the thickness or the sparseness of the line or the size and scale of image. Above all else, a personal sketching technique needs to be developed through practice and experimentation. It is important to carry a sketchbook with you, so that you can record ideas and work though concepts; it is an extension of memory. Practice improves observational and drawing skills.

1.1

Conclusion Glossary Further Resources Index Acknowledgements and Credits 31

Structure and Design

Textbook

2nd Edition

The Fundamentals of Architecture Lorraine Farrelly

Praise for first edition: “This book is awesome. Wonderfully designed, easy to understand, great images, great writing.” Eric Stark, University of Maine at Augusta, USA “This book is exactly what is needed as a first year Architectural and Interior Design students’ course book.” Mary Weguelin, University of Portsmouth, UK

UK July 2012 US August 2012 200 pages 230 x 200mm / 9.1 x 7.9 inches 200 colour illus PB 9782940411757 £26.50 / $38.50 Series: Fundamentals AVA Publishing

The Fundamentals of Architecture, 2nd Edition is a practical, accessible introduction to the concepts and processes of modern architecture, containing informative examples and case studies from history and recent years.

• Explores the key practical and theoretical influences that inform architectural practice • Examines graphic techniques for representing ideas, construction and materials and final realization New to this edition

Lorraine Farrelly is Professor of Architecture and Design at the Portsmouth School of Architecture, UK.

• Redesigned and updated with new material, including exercise sections and contemporary visuals from students and leading architects, and six new case studies.

Contents Introduction • Placing Architecture: Site • Place And Space • City Context • Landscape Context • Case Study: Redesigning A University Campus • Exercise: Site Analysis.

History And Precedent • A Timeline Of Architectural Influences • The Ancient World • The Classical World • The Medieval World • The Renaissance • Baroque • Modernism • Case Study: Reconstructing A Museum • Exercise: Skylines Construction • Materials • Elements • Prefabrication • Structure • Innovation • Innovative Materials • Case Study: Designing A Pavilion • Exercise: Axonometric Drawing.

Representation • Cad Drawing • Sketching • Scale • Orthographic Projection • Perspective • Three-Dimensional Images • Physical Modelling • Cad Modelling • Layout And Presentation • Storyboarding • Portfolios • Case Study: Renovation • Exercise: Photomontage.

Contemporary Ideas • Universal Ideas And Principles • Functionalism • Form-Driven Architecture • Monumentalism • Zeitgeist • Case Study: Integrating With An Urban Landscape • Exercise: Analytical Diagrams Realization • Project Timeline • The Project • Contributors And Their Roles • The Brief • The Concept • Site Analysis • The Design Process • Detail Development • The Finished Building. • Conclusion • Bibliography And Webography • Glossary • Picture Credits • Index • Acknowledgements • Working With Ethics

Key Titles Textbook

The Fundamentals of Interior Architecture John Coles and Naomi House

“This book strikes a balance between the profession of Interior Architecture and the theories behind it. The series of case studies are presented clearly in a manner easy for the student to grasp and for the instructor to build upon.” Thom Houser, University of Georgia, USA An introduction to the key ideas that inform interior architecture design, it draws upon contemporary and historical references to show the richness and diversity of interior architecture.

2007 176 pages 230 x 200mm / 9.1 x 7.9 inches 200 colour illus PB 9782940373383 £19.95 / $34.95 Series: Fundamentals AVA Publishing

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Structure and Design

Key Titles

Textbook

Basics Architecture 03: Architectural Design Jane Anderson

“Extremely relevant — an excellent overview to assist students’ understanding of the design process. A fascinating insight into how other schools and architectural practices learn/teach/develop/assist, etc. Excellent layout and design — all very clear with useful case studies and relevant projects.” Ric Frankland, University of Salford, UK Architectural Design explains the process of designing architectural projects and sets architectural design education within its context by describing the activities that occur in the design studio.

2010 184 pages 230 x 160mm / 9.1 x 6.3 inches 200 colour illus PB 9782940411269 £21.95 / $32.95 Series: Basics Architecture AVA Publishing

Textbook

Basics Interior Architecture 01: Form and Structure Graeme Brooker and Sally Stone

“A very well-illustrated book which covers the content in a very methodical breakdown of relevant elements and their contribution to designing interiors. A very useful publication.” Werner Richter, University Campus Suffolk, UK “The book is subdivided into thought provoking chapters that provide scenarios that are easy for the student to grasp and for the instructor to build upon. It facilitates the transfer of information from art studio foundation courses to the design studio.

It should help students interpret the built environment better.” Thom Houser, University of Georgia, USA

2007 176 pages 230 x 160mm / 9.1 x 6.3 inches 200 colour illus PB 9782940373406 £17.95 / $29.95 Series: Basics Interior Architecture AVA Publishing

Form and Structure is an introduction to the ideas behind the form and structure of interior spaces, supported by interviews and resources that help readers to explore the subject.

Textbook

Textbook

Basics Interior Architecture 02: Context & Environment

Basics Interior Architecture 04: Elements / Objects

Graeme Brooker and Sally Stone

Graeme Brooker and Sally Stone

2008

2009

176 pages 230 x 160mm / 9.1 x 6.3 inches 200 colour illus PB 9782940373710 £17.95 / $29.95 Series: Basics Interior Architecture AVA Publishing

184 pages 230 x 160mm / 9.1 x 6.3 inches 200 colour illus PB 9782940411108 £17.95 / $29.95 Series: Basics Interior Architecture AVA Publishing

33

Landscape Architecture

Textbook

Visual Communication for Landscape Architecture Trudi Entwistle and Edwin Knighton

“This handsome book does a superb job of explaining why we use visual communication – a task which no other book on representation for landscape architecture has yet accomplished. Many gorgeous illustrations from a wide range of sources add richness and depth to this indispensable text.” Tim Waterman, Senior Lecturer, Landscape Architecture, Writtle School of Design, UK Visual Communication for Landscape Architecture demonstrates not only how and where a range of visual communication skills are needed to inform a design process, but also why they are essential in order to make presentations both informative and memorable.

UK March 2013 US April 2013 208 pages 230 x 160mm / 9.1 x 6.3 inches 200 colour illus PB 9782940496013 £23.99 / $37.95 Series: Basics Landscape Architecture Fairchild Books

• Contains a range of exercises to encourage readers to experiment with their own application of the techniques explored • Covers developing a professional design portfolio, including e-portfolios and websites

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109

Trudi Entwistle is a a site-specific artist as well as a Senior Lecturer in Landscape Architecture at Leeds Metropolitan University, UK. Edwin Knighton is a landscape architect and is Head of Landscape Architecture at Leeds Metropolitan University, UK.

4 Visualizing in 3D

Contents Chapter 1: Understanding Landscapes • Observational Drawing • Travel Sketchbooks • Photography • Case Study 1: Berczy Park; Mapping • Case Study 2: The Fairytale of Burscough Bridge Chapter 2: Design Exploration • Design Sketchbooks • The Process of Conceptualizing • Case Study 03: National Memorial Park Design Competition; Sketch Design; Developmental Models • Case Study 04: Olympic and Paralympic Games, 2012 Chapter 3: Visualizing in 2D • Evolution of a Landscape Graphic • Plan Graphics • Case Study 05: Media City; Section/Elevation • Case Study 06: Aberdeen City Gardens Competition Proposal. • Chapter 4: Visualizing in 3D • Perspective • Aerial Perspective • Axonometric and Isometric Projection • Case Study 07: St. Peter’s Square; Presentation Model • Case Study 08: Gardens by the Bay Chapter 5: Implementation • Working Up Detail Dimensions • Drawings for Contractors • Case Study 09: Private Garden Design • Case Study 10: Angel Field.

• Presentation: Audience; Conveying Complexity • Case Study 11: Olympic and Paralympic Games, 2016; Layout; Format • Case Study 12: The Chicago Green Alley Handbook; Portfolio

4.1 Project: Meadow proposal Location: Danevirke, Germany Designer: Bureau B+B As elements in this landscape recede into the distance, outlines become less precise, and colour and opacity fades away to highlight foreground detail and create a particular mood to this perspective.

Linking closely with chapter 3, this chapter will focus on the visualization of design ideas in three-dimensions, and will examine perspective, axonometric projection, aerial perspective and presentational models.

Three-dimensional representations present a more realistic view of actual space and so are an accessible way to understand a design.

A huge range of graphic techniques can be applied to 3D visualizations, from simple line sketches to photorealistic representations. Tenacity is required, as some of the more sophisticated techniques can be quite time consuming or may need several attempts before you are finally satisfied with the results. However, a seductive presentation drawing will not compensate for a poor design and poor drawings may obscure a good design: it’s worth remembering that simple drawings can be just as effective as complex ones. Equally, great presentation drawings can be the product of recycled designs or developed sketch design work; sometimes, however, reworking drawings can result in them losing their vitality and character.

Visualizing in 3D Perspective Æ

Key Titles Textbook

The Fundamentals of Landscape Architecture Tim Waterman

34

“Quality content and focus on what the profession is about — augmented with concise text, explanation of terms, and great graphic content. It’s a superb book.”

Landscape + Urbanism The Fundamentals of Landscape Architecture provides an introduction to the key elements of this broad field, including designing for sites, examining historical and contemporary examples, and how a project moves from concept to design and realisation.

2009 200 pages 230 x 200mm / 9.1 x 7.9 inches 200 colour illus PB 9782940373918 £19.95 / $34.95 Series: Fundamentals AVA Publishing

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Evolution of a landscape graphic

83

3.7

In current practice today, landscape architects are expected to have a good grasp of graphic software balanced with traditional hand-drawing skills. This has resulted in a wonderful range of hybrid techniques emerging that mix traditional and digital technologies, which have brought life and personality back to landscape visualizations.

Nowadays, we constantly swap over from digital to hand-drawings to get the results we want. These new methods have provided landscape architects with a wealth of inspiration from which to explore and develop their own unique style.

3.7

3.8

3.8

Project: National Mall competition

Project: Botanical Research Institute

Location: Washington, USA

Location: Fort Worth, USA

Practice: Michael Maltzan Architecture and Tom Leader Studio for Sylvan Theater

Designer: Diane Balmori Date: 2010 By creatively working with digital media, landscape architects can create a trademark graphic style to give their practice or project a distinct brand or identity.

Date: 2012 Today, 3D software programs have made the photo-real representation of designs a very real possibility.

Visualizing in 2D Evolution of a landscape graphic Plan graphics Æ

Pictures courtesy of Olin.

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Landscape Architecture

Key Titles

BLA_Urban Design_66-176.qxd:basics blad template

Basics Landscape Architecture 01: Urban Design

“A good introduction to applied urban design, introducing both key issues in urban design and a good range of case studies. The structure of pages and chapters makes the reading easy. A good case studies tool for architecture and planning students.” Paola Michialino, Newcastle University, UK

Tim Waterman

Urban Design seeks to define and describe the role played by landscape architecture in urban design, an interdisciplinary practice that is concerned with defining the form of human settlements. It provides a history and definition of urban design and discusses the roles of the various professions involved, highlighting the unique perspective that landscape architects bring.

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2009 184 pages 230 x 160mm / 9.1 x 6.3 inches 200 colour illus PB 9782940411122 £17.95 / $29.95 Series: Basics Landscape Architecture AVA Publishing

162 — 163

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Name: Governors Island Location: New York, USA Date: 2007 Designer: West 8

Contents Introduction • ·How to Get the Most Out of This Book • What Is Urban Design?: Definition and Debate • Evolution Of Urban Form • Early Urban Design • Industrial Age Urban Design • Urban Design Since the Nineteenth Century • Context: City and Territory • City • Neighbourhoods and Blocks • Street • Detailing • Measure: Street • Block • Buildings and Open Spaces • Person • Infrastructure and Utilities • Movement: Innovation and Trends • Speed • Modes • Mass vs Individual • Stasis • Community and Culture: Societies and Culture • Politics and Economy • Community and Individuals • Necessities • Diversions • Projects and Processes: Structure • Lines • Points • Beyond • Green • Conclusion • Glossary • Bibliography • Contacts and Useful Resources • Acknowledgements • Picture Credits • Working With Ethics

Textbook

Basics Landscape Architecture 02: Ecological Design Nancy Rottle

“A beautifully crafted and designed book that gives an excellent general survey of the breadth of ecological design initiatives worldwide.” Bill Wenk, Founder and President of Wenk Associates, USA Ecological Design provides an overview of ecological design and planning for landscape architects.

Focusing primarily on urban environments, this book examines the relationships between ecological design theory and design methods.

2011 184 pages 230 x 160mm / 9.1 x 6.3 inches 200 colour 1st Proof illus PB 9782940411443 £23.50 / $34.50 Series: Basics Landscape Architecture AVA Publishing Title:

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Contents Introduction • What Is Ecological Design?: Defining Ecological Design • Why Urban?

• An Emerging Practice • Integrating Science and Design • Olympic Sculpture Park • Systems: the Structure and Function of Systems • Systems Hierarchy • Types Of Systems • Green Infrastructure Systems • Ecosystem Health and Diversity • Waitakere and Twin Streams • Landscape Dynamics: the Form and Function Of Landscapes • Dynamic Equilibrium and Resilience • Resilient + Sustainable + Regenerative Design • Port Lands Estuary • Project Processes: Design Processes For Ecosystem Health • Implementing A Framework • Civic Participation • Stewardship • Freshkills Park • Operations: Protect/ Conserve/Reuse • Scaffold/Structure/Initiate • Catalyse/Seed/Regenerate • Stratify/ Layer/Strengthen • Regulate/Contain/Collect • Sieve/Filter/Cleanse • Metabolize/Digest/ Remediate • Mimic/Copy/Imitate • Synthesize/Connect/Integrate • Reveal/Immerse/Teach • Places: Region and Watershed • Netherlands Green Heart • Community • Portland, Oregon • Neighbourhoods • High Point • Streets • SW Montgomery Street • Parks and Trails • Barry Curtis Park • Site/Parcel • ‘Green Factor’ Programmes • Conclusion • Taking It Further • Bibliography • Contacts and Useful Resources • Index • Acknowledgements and Picture Credits • Working With Ethics

36

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Ç

Name: Moss Garden and Bird Marsh, Bloedel Reserve

Name: McHargian Overla Method applied to IslandWood

Location: Bainbridge Island, Washington, USA

Location: Bainbridge Isla

History of Architecture

How to Read Houses A Crash Course in Domestic Architecture Will Jones

A comprehensive, pocket-sized guide to domestic architectural styles and movements, How to Read Houses is the essential handbook for anyone with an interest in architecture and the buildings we live in.

• Provides an understanding of vocabulary and visual clues to identify house styles • Enhances the appreciation of landmark houses and lays the foundations for an exploration of your own home

UK August 2013 256 pages Over 500 colour photos and line drawings 165 x 135mm / 6.5 x 5.3 inches PB 9781408181621 £9.99 Europe/India/Middle East/North Africa/Pakistan/South Africa Bloomsbury Visual Arts

• Explores the main architectural styles, materials and components of a house through beautifully rendered illustrations and photographs • Features iconic houses from all over the world in detail Will Jones has been writing for architecture and design magazines around the world for over 15 years.

How to Read Castles Malcolm Hislop

How to Read Castles is a travel-sized primer that takes a strictly visual approach to castle architecture, building up the reader’s vocabulary of castle types, styles, and materials, and showing how these aspects can be recognized across architectural features from the floor-plan and moat, to the towers and crenulations. Covering castles in Europe, the UK, and Asia, this architectural reference and visitor guide is the essential companion to discovering the styles, architecture, form, significance and historical impact of castles from all over the world.

UK October 2013 256 pages 400 colour drawings 165 x 135mm / 6.5 x 5.3 inches PB 9781472521613 £9.99 Europe/India/Middle East/North Africa/Pakistan/South Africa Bloomsbury Visual Arts

Malcolm Hislop is an independent archaeological consultant.

Key Titles How to Read Buildings A Crash Course in Architecture Carl Cragoe 2008 256 pages 600 colour illus 165 x 135mm / 6.5 x 5.3 inches PB 9780713686722 £9.99 Europe/South Africa Bloomsbury

How to Build a Cathedral Constructing the Story of a Medieval Masterpiece Malcolm Hislop UK November 2012 224 pages 250 colour illus 165 x 135mm / 6.5 x 5.3 inches HB 9781408171776 £24.99 Europe/India/Middle East/North Africa/Pakistan/South Africa A&C Black Visual Arts

37

History of Architecture

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

Architecture has always had a powerful and intimate relationship with society and the lives of those who build and live with it. It has often been used to try and improve society. But can architecture change our lives for the better?

In this book 10 buildings from across the globe tell stories of architecture from the beginning of civilization to the present day. From the remains of the Tower of Babel to the Summer Palace in Beijing, built and destroyed by Europeans, to the Ford car plant where the production line was born, Tom Wilkinson unpicks these structures to reveal the lives of the people who built and used them.

UK June 2014 US July 2014 353 pages 234 x 153 mm / 9.2 x 6 inches UK HB 9781408843666 US HB 9781620406298 £20.00 / $30.00 Bloomsbury Publishing World English and German

Tom Wilkinson teaches at University College London, UK.

Contents The Tower of Babel, Babylon • Nero’s Golden House, Rome • Djingbuereber Mosque, Timbuktu • Palazzo Rucellaui, Florence • The Garden of Perfect Brightness, Beijing • The Festival Theatre, Beyreuth • E.1027, Cap Martin • Highland Park Car Factory, Detroit • Finsbury Health Centre, London

Key Titles 4th Edition

The Story of Western Architecture

Praise for the previous edition:

2012

“I find it one of the most remarkable books on the subject that I have ever come across. . . a tremendous achievement of Pevsnerian dimensions.” Architectural Review

Bill Risebero

Now in its fourth edition, this classic bestselling book has been updated with brand new chapters and hand-drawn illustrations. Using a highly accessible approach, the author takes history rather than aesthetics as his starting point. The Story of Western Architecture explores not only the buildings constructed, but also how they were built, by whom and for what purpose. This informative book, brought to life through the author’s expressive line drawings, is an essential guide to how buildings have evolved through time for keen amateurs and experts alike.

352 pages 246 x 189mm / 9.7 x 7.4 inches 200 bw illus PB 9781408128138 £24.99 / $44.95 A&C Black Visual Arts

New to this edition • Includes much-expanded coverage of architecture in the 20th century, including three new dedicated chapters: “The Heroic Age of Modernism,” “Welfare Capitalism,” and “After Modernism” • New and edited line drawings throughout illustrate historical buildings and details

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Culture and Society

Textbook

Archi.Pop Architecture and Design in Popular Culture Edited by D. Medina Lasansky

Archi.Pop explores the relationship of architecture and design to popular culture through a variety of case studies including television, music, film, magazines and domestic interiors. The book offers a unique critical investigation into how this dynamic relationship has shaped the way we live and the way we interact with the constructed world around us.

UK September 2014 US November 2014 256 pages 244 x 169mm / 9.6 x 6.7 inches 30 bw illus PB 9781472531469 £19.99 / $34.95 HB 9781472522542 £65.00 / $112.00 Bloomsbury Academic

D. Medina Lasansky teaches architectural history at Cornell University, USA. Features • The most up-to-date study of Architecture and Design’s relationship with popular culture • Draws on a broad range of popular media, from television and film to interior design and modern architecture • Features well-known examples including The Sopranos, Playmobil, and Hip Hop

Contents Introduction Domesticating Behavior 1. The Cultural Meanings of the Leave It to Beaver House 2. ‘Uglying Out’: Shag Carpet and the Twists of Popular Taste 3. Vision and Crime: The Cineramic Architecture of John Lautner Playing 4. Dimensions of the MassProduced Doll House.

Fisher-Price versus Playmobil 5. Honey, I Shrunk the NationState: The Scales Of Global History in the Thai National Theme Park Profligate Profiles 6. The Palazzo Soprano 7. An Invitation to a CandyFloss World

Cinematic Travels 8. A Place of No Return: Frank Lloyd Wright’s Undomestic Ennis House in Film 9. Gidget and the Creature from Venus: Madness, Monsters, and Dangerous Roman Ruins in Film Road Space 10. The World’s Most Popular Architecture: the Technology and Interior of the Automobile 11. Ugly America & Architecture on the Highway: A Time-Life View of the 50s & 60s Urban Critiques 12. ‘Life in Marvelous Times’: Hip-Hop, Housing, and Utopia Bibliography Index

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Culture and Society

Retro A Guide to the Mid-20th Century Design Revival Adrian Franklin

Retro may be cool, but why are we now in the middle of a love affair with objects and designs from the mid-20th century? Using one of the most spectacular displays of retro objects ever assembled, and covering all the bases – furniture, fashion, ceramics, technology, metal, graphics, plastic, and glass – 20th-century expert Franklin provides the answers.

UK March 2013 US May 2013 256 pages 269 x 241mm / 10.6 x 9.5 inches 735 colour illus PB 9780857858504 £24.95 / $49.95 World English (excluding Australia/New Zealand) Bloomsbury Academic

Adrian Franklin is Professor of Sociology at the University of Tasmania, Australia.

Contents Introduction • Furniture • Ceramics • Glass • Modern metal • Plastic • Fashion • Graphics • Technology • Retro reissued• Notes/object credits • Index retro

The Brionvega rr126 radiogram, 1965 CampBell BiCkersTaff = Curator, SCienCe and induStry, powerhouSe muSeum

The Brionvega RR126 was nicknamed the ‘Musical Pet’; a moniker drawn from its zoomorphic features – the symmetrical arrangement of the dials and controls, pedestal legs on casters demonstrating certain ‘mobility’ and speakers that hang like ears on the sides of the body.

Designed by the Castiglioni brothers, Achille and Pier Giacomo, the radiogram reflects their maxim that design must restructure an object’s function, form and production process.

This belief led them to reinvent many of the products they were commissioned

to design. Over the latter half of the twentieth century, they produced a body of work that influenced product designers internationally, and their work is represented in public and private collections in Europe, North America, Asia and Australia.

Brionvega was one of many Italian manufacturers of domestic consumer goods that encouraged flamboyance in product design, without deviating too far from function.

The company engaged outstanding Italian industrial designers of the time, including Marco Zanuso, Rich-

ard Sapper, Mario Bellini and Ettore Sottsass. Many examples of Brionvega products designed in the 1960s rejected existing forms in favour of startlingly new interpretations, using new production methods and materials, and positioning the company as avant-garde. As a result, many Brionvega designs continue in production today, including a contemporary variant of the RR126 – the RR226 – which includes a CD player. This kind of longitudinal product lifespan validates the Italian manufacturer’s commitment to modernism.

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‘rr126’ stereo radiogram, designed

by Achille and Pier Giacomo Castiglioni, manufactured by Brionvega, Milan, italy, 1966. While other manufacturers of high fidelity equipment were at this time exploring the separation of components, the Castiglioni brothers went against this trend, seeking to mould this domestic technological product into a piece of furniture that would sit comfortably alongside forms coherent with (1960s) modern interiors and furnishing Powerhouse Museum collection

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22 topper doll mirror, usA, 1969

23 Melamine souvenir ash tray of the P&o ship SS Himalaya, ornamin swift, uK, 1960s

24 Melaware melamine cup and saucer, Australia, 1965

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25 ‘Bashful’ plastic figure on powder compact, manufacturer unknown, usA 1950s-1960s

26 homepride flour men, homepride, england, 1966

27 Barometer, designer unknown, West Germany, c. 1967

28 toy tardis and dalek from Doctor Who for BBC, england, 1966

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29 espresso cups and saucers in melamine, italy, 1966

30 toy American indian totem pole, usA, 1966

31 Beatles figures, england, c. 1965 Powerhouse Museum collection

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Retro Style Class, Gender and Design in the Home Sarah Elsie Baker

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This is the first book to examine the role of retro in contemporary interior design, linking its influence over modern interiors to questions of consumerism, gender, and class. Examining themes ranging from design, taste, and the aestheticisation of everyday life to the bohemianisation of popular culture, the book provides a fascinating insight into how retro has shaped modern interior design.

Sarah Elsie Baker is Lecturer in Culture and Context at the School of Design, Victoria University of Wellington, New Zealand.

32 hippie on a Barrel water toy, hong Kong, 1968

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UK July 2013 US August 2013 248 pages 234 x 156mm / 9.2 x 6.1 inches 22 bw illus PB 9780857851086 £19.99 / $29.95 HB 9780857851079 £55.00 / $99.95 Bloomsbury Academic

Contents Illustrations • Acknowledgements • Introduction • The Definitions and Distinctions of Retro Style • Retro Style and the Cultural Politics of Everyday Life • A History of the Retro Aesthetic • Retailing Retro • Retro Interiors and Lifestyle Media • Retro Homes, Taste and Cultural Distinction • Retro Femininities and Domestic Labour • Conclusion • Appendix • References • Index A HISTORY OF THE RETRO AESTHETIC

THE DEFINITIONS AND DISTINCTIONS OF RETRO STYLE

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Figure 2.3 Reproduction Roberts radio (2010). © Roberts Radio Ltd.

40

ambiguous. For example, an original 1950s Roberts radio and a reproduction are both described as retro (Figure 2.3).

The ambiguity of retro as a style category is intensified by the absence of specific material characteristics by which the style can be identified. Objects as disparate as a 1930s enamel colander and a 1980s stereo system are described as retro. This led Nicky Gregson, Louise Crewe and Kate Brooks to

Figure 4.3

Mod fanzine Go, Go (1985).

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RETRO STYLE

Figure 6.2

Kannan Chandran, 1980s style (2007). © Richard Waite.

yuppie culture and conspicuous consumption. Thus, to create distinction with 1980s style, the owner would have to have extremely high cultural capital and possess an identity that was undoubtedly avant-garde.

Kannan is not represented in these terms. He is quoted as unknowingly creating a 1980s-style interior. When describing his flat he says,

retro

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‘Up 1’ chair, C and B Italia, Italy, 1969 Powerhouse Museum collection 42 ‘up 1’ chair, C and B italia, italy, 1969 Powerhouse retro Museum collection

and De Pas, D’urbino and Lomazzi’s as with the ‘Contour Chair’, Grant ‘Joe Chair’ are good examples but many Featherston took what was clearly a more followed. great design and made it better – and Furniture along the same sculptural lines, more popular – in this case by inserting the world very much enjoyed the a sound system into the wing backs.

The modern chair ‘Marilyn’ sofa design by Studio65 in Inflatable plastic divans and thesofas modern chair is something of an leaner, cleaner more architectural own lines in which the structure or frame Magistretti’s ‘veranda 3’ sofa made an appearance at this timearchitectural and movement in its1970, right and after the Second world war of chairs and sofas became a more competition was stiff to consolidate part of the aesthetic appeal. inestablish 1973prominent and Frank Gehry’s playful and enabled a crossover/hybrid between home markets or, even better, Instead of an all-engulfing comfort zone, export industries. Leading the pack in the designers of the 1950s created 1950s were the uSa, Denmark and more architectural, technical and surprising ‘wiggle Chair’ that was made furniture and sculpture. De Pas,the Italy, with Britain and France producing dynamic lines that still delivered the their own versions of the broader comfort and support that a human form from cardboard.

Lomazzi and Scolari’s ‘Divano Gonfiabile’ modern look. required, but using minimal materials.

5 ernest race ‘Antelope Chair’, england, 1951 Powerhouse Museum collection

1

In the 1950s a significant break was made with the domestic look of the first half of the century. the thickly upholstered look, with richly patterned and darkish tones was replaced by

6 Metal chair, Charles eames for herman Miller, usA, c. 1951 Powerhouse Museum collection

In order to make that possible more thought was put into the structure, mix of materials and the relationship that the design had with the interior design. the postwar period, even as early

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1, 2, 3 design integrity at rose seidler house, sydney, Australia, c. 1948–51

4 Butterfly chair on the deck at rose seidler house, sydney, Australia

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Culture and Society

The Architecture of David Lynch Richard Martin

Drawing on primary research in Lódz, London, Los Angeles, Paris and Philadelphia, the book is structured around the prime symbolic spaces found in Lynch’s work: the small town, the city, the home, the road, and the stage. Alongside a broad set of literary, cinematic and artistic comparisons, a diverse range of urban and architectural theorists, including Mike Davis, Jane Jacobs and Richard Sennett, are discussed in a new context.

Richard Martin currently works at the research department at Tate, Modern, UK.

UK September 2014 US November 2014 256 pages 216 x 138mm / 8.5 x 5.4 inches 30 bw and 50 colour illus PB 9781472508812 £22.99 / $39.95 HB 9781472505484 £70.00 / $120.00 Bloomsbury Academic

Contents Prologue: Three Journeys Introduction: Mapping the Lost Highway 1. Town and City 2. Home 3. Road 4. Stage 5. Room Acknowledgments Notes Image Credits Bibliography Index

The Missed Encounter of Radical Philosophy with Architecture Edited by Nadir Lahiji

The Missed Encounter of Radical Philosophy with Architecture brings together a respected team of philosophers and architecture scholars to ask what impact architecture has over today’s culture and society. Providing the first platform for a debate between critics, architects and radical philosophers, this unique collection unites two schools of thought as contributors reason for or against the claim of the “missed encounter” between architecture and radical philosophy.

Nadir Lahiji is an Associate Professor of Architecture at the University of Canberra, Australia.

Contents Introduction • Architecture, Design and the Social Sculpting of the Body Politic • Architecture and the Politics of Aesthetics • Hegel and the Transcendence of Place • Kant, Modernity and the Absent PublicTranscoding the Violence of Financial Capitalism • Imitating Critique, or the Problematic Legacy of the Venice School • Gentri-Fiction and our (E)States of Reality • A New Realism and Materialism in Philosophy and Architecture • Rocks, Ruins and Shells in Kracauer and Chatwin • Reconsidering Walter Benjamin and the Relation of Architecture to Film • Hetero-Architecture: The Style of ‘Whatever’ in Art, Architecture and Fashion • Architecture and Antiphilosophy • Architecture’s Theoretical Death: A Conversation with Slovenian Philosopher Mladen Dolar • Index

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UK April 2014 US June 2014 240 pages 234 x 156mm / 9.2 x 6.1 inches HB 9781472512185 £65.00 / $112.00 Series: Bloomsbury Studies in Philosophy Bloomsbury Academic

Culture and Society

An Anthropology of Architecture Victor Buchli

This book provides the first overview of how anthropologists have studied architecture and the extraordinarily rich thought and data this has produced. Covering both history and theory, it examines architecture as material culture, exploring its role in forming and defining social relations, identity, and personhood. Each chapter uses a broad range of case studies from around the world to examine what architecture ‘does’ from within anthropology.

Victor Buchli is Reader in Material Culture at the Department of Anthropology, University College London, UK.

UK September 2013 US November 2013 224 pages 234 x 156mm / 9.2 x 6.1 inches 30 bw illus PB 9781845207830 £19.99 / $34.95 HB 9781845207823 £55.00 / $109.95 Bloomsbury Academic

Contents Preface • The Long Nineteenth Century: Collecting Primitive Huts and Thinking Through Origins • Architecture and Archaeology • Social Anthropology and the House Societies of Levi-Strauss • Institutions and Community • Consumption Studies and the Home • Embodiment and Architectural Form • Anthropology, Representation and Architecture • Iconoclasm, Decay and the Destruction of Architectural Forms • Postscript • Bibliography • Index

Domestic Interiors Representing Homes from the Victorians to the Moderns Edited by Georgina Downey

Taking a room by room approach, this fascinating volume explores how representations of domestic space have embodied changing values, and considers how we see modern individuals in the process of making themselves ‘at home’. Domestic Interiors builds a distinct body of knowledge around the interior, interiority, representation and modernity.

Georgina Downey is Visiting Research Fellow in Art History at the University of Adelaide, Australia.

UK January 2013 US February 2013 192 pages 244 x 189mm / 9.6 x 7.4 inches 37 bw illus PB 9781847889317 £24.99 / $44.95 HB 9781847889324 £60.00 / $110.00 Bloomsbury Academic

Contents Introduction • Verandas: Spaces Without Walls - the Veranda in Colonial Singapore • Halls and Corridors: Spaces Between and Beyond • Drawing Rooms: A Backward Glance - Fashioning an Individual Drawing Room • Dining Rooms: Measuring the Gap between the Edwardians and the Moderns • Studios: Live (Red) • Matter • Matisse’s l’Atelier Rouge • Kitchens: From Warm Workshop to Kitchenscape • Bathrooms: Plumbing the Canon - the Bathtub Nudes of Alfred Stevens, Edgar Degas, and Pierre Bonnard Reconsidered • Bedrooms: Corporeality and Subjectivity • Hidden Spaces: Cavities, Attics and Cellars - Morbid Secrets and Threatening Discoveries • Conclusion • Select Bibliography • Notes • Index

Key Titles The Japanese House Material Culture in the Modern Home Inge Daniels

“This impressive study of the modern Japanese home takes the reader into the domestic worlds of middle-class men and women, showing how aesthetic practices are shaped by national ideologies regarding gender and the family, as well as by a sense of the past encountering the transformative energies of modernization.” David Morgan, Duke University, USA “Should be widely read and loudly applauded.” Design and Culture

2010 320 pages 244 x 189mm / 9.6 x 7.4 inches 120 colour illus PB 9781845205171 £19.99 / $34.95 HB 9781845205164 $99.95 Series: Materializing Culture Berg Publishers

“This is an absolutely fascinating book - well written, superbly researched inside Japanese homes and written with passion. Without a doubt the best book I have read on modern Japan.” The Brighton & Hove Anglo-Japanese Network

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Culture and Society

Food and Urbanism The Convivial City and a Sustainable Future

Food and Urbanism provides an original and new contribution to food scholarship, using a wealth of examples from cities worldwide to examine the ways that food connects to sustainable urbanism at a time of rapid urban growth and change.

Underpinning the book’s analysis of food and cities is the view that decisions about a hyper-urban future should recognise the fundamental role of food.

Susan Parham

Susan Parham is Head of Urbanism in the Centre for Sustainable Communities at the University of Hertfordshire, UK.

UK October 2014 US December 2014 256 pages 234 x 156mm / 9.2 x 6.1 inches PB 9780857854537 £24.99 / $42.95 HB 9780857854520 £65.00 / $120.00 Bloomsbury Academic

Contents Preface Introduction: Food and Urbanism: the Convivial City and Sustainable Future Part One: Food, Domesticity and Design The Paradoxical Kitchen and the Death of Dining • The Garden and Gastronomy Part Two: Gastronomy and Public Space Food’s Outdoor Room • The Gastronomic Townscape • Ambivalent Suburbia • Convivial Green Space Part Three: Food Space on the Edge The Productive Periphery • The Megalopolitan Food Realm • Designing the Critical Food Region • Food and Urbanism in a Global Context • Conclusion: Food and Urbanism – Making a Resilient City Bibliography Index

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

Structured around a series of ‘conversations’ between chefs, culinary historians and architects, this is the first book to explore, interrogate, and illuminate the links between contemporary culinary art and architecture. With contributions from key international figures including scholars, chefs and architects, it covers a wide range of topics, from pig slaughtering and farmhouses in Greece, to the possibility of an authentic American Cuisine.

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

Contents Forward • Cuisine and Architecture: the Reciprocity of Two Sister Arts Part 1: Regionalism Terroir, Technique and Tradition in Gastronomy and in Regional Architecture • Sweetness and Taste: Mapping Maple Syrup in Vermont • Situating Pig Slaughtering and Farmhouses on Kea, Greece • The Gastro-Topography and Built Heritage of Dublin, Ireland Part 2: Sustainability The All-Consuming House: Food and Architecture in Molly Keane’s Time After Time • A Return to the Hearth: The Emergence of the Edible Schoolyard • Eating Local and Together in the Sanctuary of Higher Education • Urban Food Production Part 3: Craftsmanship Craftsmanship and Quality in Artisanal Cheesemaking • Love and Labour: The Raw Materials of Craftsmanship • Craftmanship and the Terminology of Baking Part 4: Authenticity and Heritage Authenticity and Heritage, The Possibility of an Authentic American Cuisine • Celebrating the Festa dell’uva: Invented Traditions, Popular Culture, and Urban Spectacle in Fascist Rome • Eating Tables, Dining Chairs: Sitting Arrangements and the Consumption of Food Henriette Steiner, ETH Zurich, Switzerland Afterword: Saving Fitzbillies • Bibliography • Index

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UK January 2015 US March 2015 256 pages 234 x 156mm / 9.2 x 6.1 inches 50 bw illus PB 9780857857347 £24.99 / $42.95 HB 9780857856852 £75.00 / $128.00 Bloomsbury Academic

SUSAN PARHAM

Food and Urbanism

The Convivial City and a Sustainable Future

Reference

3rd Edition

The Fairchild Books Dictionary of Interior Design

With over 700 illustrations visually aligned with concise definitions of alphabetised entries, this Dictionary consolidates historic and modern terminology that all interior designers should know for both the residential and commercial sides of industry.

Mark Hinchman

Mark Hinchman is an Associate Professor of Interior Design in the College of Architecture at the University of Nebraska, Lincoln, USA.

UK February 2014 US January 2014 344 pages 203 x 254mm / 8 x 10 inches 767 bw illus PB 9781609015343 £42.99 / $79.00 Fairchild Books

New to this edition • 150 new terms provide expanded coverage of non-Western cultures, green design, and universal design, and 60 new images added to entries for enhanced clarity • An expanded appendix of designers and architects listing more women and international figures from the 20th and 21st centuries, and a new Graphic Standards appendix • 80% of existing definitions have been updated to reflect recent changes in the profession • Icons identify historic terms and textile terminology defined in depth in The Fairchild Books Dictionary of Textiles, 8th edition

The Handbook of Design for Sustainability Edited by Stuart Walker and Jacques Giard Associate Editor Helen L. Walker

The Handbook presents the first systematic overview of the subject that, in addition to methods and examples, includes historical perspectives, philosophical approaches, business analyses, educational insights and emerging thinking. It is an invaluable resource for design researchers, students, design practitioners, and private and public sector organisations wishing to develop more sustainable directions.

UK July 2013 US September 2013 576 pages 244 x 169mm / 9.6 x 6.7 inches 40 bw illus HB 9780857858528 £95.00 / $160.00 Bloomsbury Academic

Stuart Walker is Head of Design and Professor of Sustainable Design at Lancaster University, UK. Jacques Girard is Professor of Industrial Design in The Design School at Arizona State University, USA. Helen L. Walker is an independent language consultant with an MA in Education for Sustainability.

Contents Part I: Historical and Theoretical Perspectives • Part II: Methods and Approaches • Part III: Sustainability in Practice • Part IV: Emerging Directions and Sustainable Futures • Bibliography • Index

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

This compelling collection of original essays examines the shifting role of interior architecture and interior design, and their importance and meaning within the contemporary world. The handbook provides a pioneering overview of the ideas and arrangements within the two disciplines that make them such important platforms from which to study the way humans interact with the space around them.

UK October 2013 US December 2013 696 pages 244 x 169mm / 9.6 x 6.7 inches HB 9781847887450 £95.00 / $145.00 Bloomsbury Academic

Graeme Brooker is Principal Lecturer at the University of Brighton, UK. Lois Weinthal is Chair of the School of Interior Design at Ryerson University, USA.

Contents Part 1: Contexts • Reflecting upon the Discipline • Interior Terrains • Part 2: Occupancy • The Body, Behaviour and Space Ethics and the Indoor Environment • Part 3: Representation and Fabrication • Speculative forms of production • Atmospheric Conditions of the Interior • Bibliography • Index

45

Reference

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

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

Each volume discusses the same themes in its chapters.

This structure means readers can either have a broad overview of a period by reading a volume or follow a theme through history by reading the relevant chapter in each volume.

Superbly illustrated, the full six volume set combines to present the most authoritative and comprehensive survey available on gardens through history.

Michael Leslie is Professor of English at Rhodes College, USA. John Dixon Hunt is Professor Emeritus at the University of Pennsylvania, USA.

Contents 1. A Cultural History of Gardens in Antiquity (600 BCE - 600 CE) 2. A Cultural History of Gardens in the Middle Ages (600 - 1400) 3. A Cultural History of Gardens in the Renaissance (1400 - 1700) 4. A Cultural History of Gardens in the Age of Enlightenment (1700 - 1800) 5. A Cultural History of Gardens in the Age of Empire (1800 - 1900) 6. A Cultural History of Gardens in the Modern Age (1900 - 21st Century)

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UK May 2013 US July 2013 244 x 169mm / 9.6 x 6.7 inches 6-volume HB set / 1,600 pages HB 9781847882653 / ÂŁ350.00 / $550.00 Series: The Cultural Histories Bloomsbury Academic

Reference

Interior Design and Architecture Critical and Primary Sources Edited by Mark Taylor

Interior Design and Architecture: Critical and Primary Sources is an indispensible, multivolume reference work that gathers historical and contemporary texts critical to understanding both the past and future directions of interior design.

The four volumes bring together over 100 essays and papers from Asia, Europe and North America, covering disciplinary origins in decoration and furnishing, through to recent enquiry into digital interactive spaces and virtual environments. A range of historical, theoretical and methodological approaches maps the social formation and spatial arrangements of interiors.

UK February 2013 US April 2013 4 Volume Set 1424 pages 244 x 172mm / 9.6 x 6.8 inches HB 9781847889294 £550.00 / $990.00 Bloomsbury Academic

Mark Taylor is Professor of Architecture at University of Newcastle, Australia.

Contents Volume One: Design Awareness • Introduction, Mark Taylor • Part One: Aesthetic and Scientific Advice • Part Two: Modernity and Designed Interiors • Part Three: Political Intentions • Part Four: Theoretical Formulations Volume Two: Sensory Expectation • Introduction, Mark Taylor • Part One: Home • Part Two: Interiority • Part Three: Seduction and Sensation • Part Four: Culture and Identity Volume Three: Cinematic Engagement • Introduction, Mark Taylor • Part One: Filmic Space • Part Two: Literary Inscriptions • Part Three: Artistic Practice • Part Four: Photographic Representation Volume Four: Public Interaction • Introduction, Mark Taylor • Part One: Spectatorship and the Public Realm • Part Two: Exhibition and the Temporary Space • Part Three: Scenographic Space • Part Four: Game Worlds and Ludic Space • Part Five: Digital and Interactive Interiors Appendix: Sources

The Visual Dictionary Architectural Design Box Set David Präkel, Gavin Ambrose, Paul Harris, Graeme Brooker, Michael Coates and Sally Stone

“An excellent pocket reference for a new student starting their studies in architecture.”

Kim Atkins, Chichester College, UK This box set contains the Visual Dictionaries of photography, interior architecture and design, and architecture. These pocket-sized references provide the reader with an enhanced understanding of over 750 key terms, ideas, and processes commonly used in these fields.

Each title contains historical and contemporary illustrations throughout.

UK June 2012 US July 2012 864 pages 171 x 133mm / 6.7 x 5.2 inches 750 colour illus PB 9782940411986 £24.95 / $34.95 Series: Visual Dictionaries AVA Publishing

David Präkel runs photographic training workshops in Northumberland, UK. Gavin Ambrose is a practising graphic designer teaching at the University of Brighton, UK. Paul Harris is a freelance writer and editor.

Graeme Brooker heads the department of Fashion and Interiors at Middlesex University, UK. Michael Coates lectures in contextual and critical studies at the School of Design, Manchester Metropolitan University, UK. Sally Stone is Leader of the College of Continuity in Architecture, Manchester School of Architecture, UK. Contents The Visual Dictionary of Photography / David Präkel The Visual Dictionary of Interior Design and Architecture / Michael Coates, Graeme Brooker, and Sally Stone The Visual Dictionary of Architecture / Gavin Ambrose and Paul Harris 47

Journals

Architecture and Culture Edited by Igea Troiani, Suzanne Ewing and Diana Periton

“The ambitions of this journal are a perfect fit with my view of what architecture needs most — vigorous engagement and interaction with other disciplines.”

Richard Coyne, The University of Edinburgh

Only available on subscription Frequency: 3 issues per year (March, July, November) ISSN: 2050-7828 Online ISSN: 2050-7836 www.bloomsbury.com/ architectureandculture

Architecture and Culture, the international, peer-reviewed journal of the Architectural Humanities Research Association, investigates the relationship between architecture and the culture that shapes and is shaped by it.

Whether culture is understood extensively, as shared experience of everyday life, or in terms of the rules and habits of different disciplinary practices, Architecture and Culture asks how architecture participates in and engages with it – and how both culture and architecture might be reciprocally transformed.

Igea Troiani is Senior Lecturer in Architecture, Oxford Brookes University, UK, and a founding member of Original Field of Architecture (OFA).

Suzanne Ewing is a Senior Lecturer at The University of Edinburgh, UK. Diana Periton is a Senior Lecturer at De Montfort University, UK.

This image has been adjusted with photo-processing software and is intended to address the question of necessarily ruining architecture as a precondition of its ‘real’ life.

Agrigento, Sicily.

Photograph by José Vela Castillo, 2009.

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Journals

Interiors Design, Architecture, Culture Edited by Anne Massey and John Turpin

“The writing is focused and accessible to the lay person as well as architects.... the printed publication offers attractive visuals illustrating salient issues and speaks to the historical reflection of structure as a symbol of culture, community, mores, and personality.” 2011 CELJ Awards, Panel of Judges

Only available on subscription Frequency: 3 issues per year (March, July, November) ISSN: 2041-9112 Online ISSN: 2041-9120 www.bloomsbury.com/interiors

The journal brings together the best critical work on the analysis of all types of spaces.

Anne Massey is Professor of Design at Middlesex University, UK. John Turpin is Dean of the School of Art and Design at High Point University, USA.

Home Cultures The Journal of Architecture, Design and Domestic Space Edited by Victor Buchli, Alison Clarke, Pauline Garvey, and Setha Low

“What makes Home Cultures such an exciting journal is the ways in which it has created an arena where very different research traditions meet. The result is a very stimulating mix of ideas, perspectives and styles of writing.” Orvar Löfgren,University of Lund, Sweden Home Cultures is an interdisciplinary, peerreviewed journal dedicated to the critical understanding of the domestic sphere, its artefacts, spaces and relations, across time frames and cultures.

Only available on subscription Frequency: 3 issues per year (March, July, November) ISSN: 1740-6315 Online ISSN: 1751-7427 www.bloomsbury.com/ homecultures

Interiors play a crucial role in the construction of identity and they represent power and control through the contestation or transgression of boundaries. Homes, offices, shopping malls, schools and hospitals, churches and restaurants are all embedded with meaning and evince particular, multi-sensory and psychological responses. This journal will investigate the complexities of the interior environment’s orchestration and composition and its impact on the inhabitant from a trans-disciplinary perspective.

Victor Buchli is Reader in Material Culture at University College London, UK. Alison Clarke is Chair of the Department of Design History and Theory at the University of Applied Arts, Vienna, AT. Pauline Garvey is a Lecturer at The National University of Ireland, Maynooth, IL. Setha Low is Professor of Environmental Psychology, Geography, Anthropology, and Women’s Studies at the City University of New York, US.

49

Index 3D Design Basics 4 21st Century Lighting Design 24 A Allison, Diana 29 Ambrose, Gavin 47 Anderson, Jane 33 Ankerson, Katherine S. 8 Anthropology of Architecture, An 43 Archi.Pop 39 Architectural Drafting for Interior Designers 15 Architecture and Culture 48 Architecture of David Lynch, The 42 Aspelund, Karl 2 B Baker, Sarah Elsie 40 Bakker, Mary Lou 19 Basics Architecture 03: Architectural Design 33 Basics Interior Architecture 01: Form and Structure 33 Basics Interior Architecture 02: Context & Environment 33 Basics Interior Architecture 03: Drawing Out the Interior 16 Basics Interior Architecture 04: Elements / Objects 33 Basics Interior Architecture 05: Texture + Materials 23 Basics Interior Design 01: Retail Design 20 Basics Interior Design 02: Exhibition Design 20 Basics Landscape Architecture 01: Urban Design 36 Basics Landscape Architecture 02: Ecological Design 36 Bender, Diane M. 13 Bricks and Mortals 38 Brooker, Graeme 33, 45, 47 Buchli, Victor 43, 49 C

Domestic Interiors 43 Downey, Georgina 43 Drafting Basics 4 Drafting & Design 16

Entwistle, Trudi 34 Environmental Psychology for Design 28 Estimating and Costing for Interior Designers 29 Evans, Chris 6 Ewing, Suzanne 48

Illustrated Codes for Designers: Non-Residential 8 Illustrated Codes for Designers: Residential 8 Inclusive Design 19 Interior Design 7 Interior Design and Architecture 47 Interior Design Illustrated 12 Interior Design Materials and Specifications 22 Interior Plan, The 19 Interiors 49 Ireland, Jeannie 30

F

J

Fairchild Books Dictionary of Interior Design, The 45 Farrelly, Lorraine 31, 32 Food and Architecture 44 Food and Urbanism 44 Foundations of Interior Design 3 Franklin, Adrian 40 Fullmer, Donna Lynne 4 Fundamentals of Architecture, The 32 Fundamentals of Interior Architecture, The 32 Fundamentals of Interior Design, The 3 Fundamentals of Landscape Architecture, The 34 Fundamentals of Lighting 24 Furniture Design and Construction for the Interior Designer 23

Japanese House, The 43 Jones, Will 37

E

G Gagg, Russell Garner, Steve Garvey, Pauline Giard, Jacques Godsey, Lisa Griffiths, Alyn

23 6 49 45 22 24

H

Clarke, Alison Cline, Lydia Sloan Coates, Michael Coles, John Color + Design Cradle-to-Cradle Home Design Cragoe, Carl Crowson, Nicola Cultural History of Gardens, A

49 15 47 32 7 28 37 31 46

D Daniels, Inge 43 Dedek, Peter B. 26 Design and Designing 6 Design Basics 4 Designing 2 Designing Sustainable Residential and Commercial Interiors 27 Design Portfolios 13 Digital Drawing for Designers 10 Ding, Suining 10, 16 Dodsworth, Simon 3

50

I

Handbook of Design for Sustainability, The 45 Handbook of Interior Architecture and Design, The 45 Hand Drafting for Interior Design 14 Hann, Michael 6 Harris, Paul 47 Hinchman, Mark 30, 45 Hislop, Malcolm 37 Historic Preservation for Designers 26 History of Furniture 30 History of Interior Design 30 Home Cultures 49 House, Naomi 32 How to Build a Cathedral 37 How to Read Buildings 37 How to Read Castles 37 How to Read Houses 37 Human Factors in the Built Environment 17 Hunt, John Dixon 46

K Kingsley, Diana Bennett Wirtz Knighton, Edwin Kopec, DAK

14 34 28

L Lahiji, Nadir Lasansky, D. Medina Leslie, Michael Locker, Pam Low, Setha

42 39 46 20 49

M Marshall-Baker, Anna Martin-McAuliffe, Samantha L. Martin, Richard Massey, Anne Meanings of Designed Spaces Mesher, Lynne Miller, Dana Missed Encounter of Radical Philosophy with Architecture, The

28 44 42 49 5 20 21 42

N Natale, Christopher Nussbaumer, Linda L.

23 17, 19

R Reed, Ronald L. 7 Rengel, Roberto J. 18, 19 Representational Techniques for Architecture 31 Research-Inspired Design 7 Residential Kitchen and Bath Design 20 Retro 40 Retro Style 40 Revit Architecture 2014 for Designers 9 Risebero, Bill 38 Robinson, Lily B. 7 Rottle, Nancy 36 S Scalise, Christina M. 12 Seidler, Douglas R. 9, 10 Shaping Interior Space 18 Sketching Interiors From Traditional to Digital 16 Slotkis, Susan J. 3 Space Planning for Commercial Office Interiors 19 Spankie, Ro 16 Stone, Sally 33, 47 Story of Western Architecture, The 38 Structure and Form in Design 6 Sully, Anthony 7 Sustainable Building Systems and Construction for Designers 27 Sustainable Design for Interior Environments 28 Symbol, Pattern and Symmetry 6 T Taylor, Mark Textiles for Residential and Commercial Interiors Troiani, Igea Tucker, Lisa M. Turpin, John

47 21 48 27, 28 49

V

O Oxford, Nancy

Professional Practice for Interior Designers in the Global Marketplace 29

21

P Parham, Susan 44 Parman, Alexandra T. 7 Periton, Diana 48 PhotoshopŽ for Interior Designers 10 Poldma, Tiiu 5 Präkel, David 47 Presentation Basics 4 Presentation Strategies and Dialogue 13

Visual Communication for Landscape Architecture Visual Dictionary Architectural Design Box Set, The

34 47

W Walker, Helen L. Walker, Stuart Waterman, Tim Weinthal, Lois Wilkening, Anastasia Wilkinson, Tom Willbanks, Amy Wilson, Travis Kelly Winchip, Susan M.

45 45 34, 36 45 20 38 21 16 24, 28, 29

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