Interior Design 2017 & Architecture

2017Interior Design & Architecture

Contents

Interior Design & Architecture 2017

Online Resources 2

Introduction to Interior Design 5

Materials, Textiles and Furniture 6

Color 10

Critical Thinking and Design Process 11

Lighting 12

Digital Design, Drawing, and Presentation 13

Space Planning and Form 14

Professional Practice 15

Careers and Portfolios 16

Introduction to Interior Architecture 18

Landscape Architecture 19

Reference 20

History of Architecture 22

How to Read Series 24

Urban Design and Urban Studies 25

Architectural Theory, Culture, and Criticism 27

Also from Fairchild Books 29

Index 30

Representatives and Agents 31

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www.bloomsburyarchitecturelibrary.com

An Essential Digital Resource for Design and Craft Studies

Education and Research by Design

An unparalleled resource for anyone working across the broad field of design and craft studies,

the Bloomsbury Design Library offers searchable access to a carefully curated and dynamic

collection of text and image content. Comprehensive, peer-reviewed reference works combine

with cutting-edge academic research and a wealth of images to offer academics and students

high-quality, intuitive tools for research.

LAUNCHING MAY 2017 Available via Subscription

www.bloomsburydesignlibrary.com

UNIQUE FEATURES INCLUDE:

ABOUT THE CONTENT:

• The Bloomsbury Encyclopedia of Design online – over 1700 entries on key topics with new articles uploaded biannually

• Victor Margolin’s World History of Design online – a magisterial history of global design from prehistoric times to the end of World War II

• An extensive eBook collection with over 70 original titles in design and craft studies

• All content is fully searchable by keyword, using our intuitive custom taxonomy

• Over 100 Designer pages providing essential information on key figures in the history of design

• A fully searchable visual timeline of the history of design, from 1500 BCE to the present day

• A searchable colour image library containing thousands of images from major museums and archives, including the Museum of Arts and Design in New York*

• Free lesson plans addressing key topics in design history and practice*

• Bibliographic guides with links through to online content*

* Content forthcoming after launch

Lecturers: Recommend to your institution’s libraryLibrarians: Register for a free trial upon launch by contacting:

Americas: [email protected], Middle East, Africa, Asia: [email protected] and New Zealand: [email protected]

www.bloomsburyarchitecturelibrary.com

Sir Banister Fletcher’s Global History of Architecture (21st Edition) and other major

reference works online, plus academic texts, images, lesson plans and more.

The One-Stop Resource for Architectural Studies

ABOUT THE RESOURCE FEATURES AND BENEFITS

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

KEY CONTENT

• A growing list of major new reference works including: Sir Banister Fletcher’s Global History of Architecture (21st Edition) and Encyclopedia of Vernacular Architecture of the World (2nd Edition)

• A wide collection of eBooks from Bloomsbury’s academic lists

• An image library featuring thousands of images including major archives and collections

• Interactive maps showing key buildings around the world

• Lesson plans and bibliographic guides with links through to online content

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

• An intuitive custom taxonomy that will enable ‘search and discovery’ of buildings and architects by place, date, building type, culture and technology

• Regular updates to keep students, scholars, and professionals at the cutting edge of their subject

• Browse content using illustrated timelines and interactive maps

LAUNCHING 2018 Available via Subscription

*Learn more on page 21 of this catalog.

4

Our online STUDIOs are specially developed to complement our best-selling interior design

textbooks with rich media ancillaries that students can adapt to their visual learning styles.

STUDIOs can include:*

• Self-quizzes with scored results

• Personalized study tips

• Flashcards with definitions and image identification

• Downloadable files and exercises

• Videos exploring chapters' topics

• Maps and timelines

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

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

For Instructors:• Request and access print and digital exam copies

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

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

For students:• Textbooks available digitally for rental or

purchase, at a variety of affordable price points

• Free STUDIO access with purchase of book + STUDIO bundle

FOR MORE INFORMATION:US: Contact [email protected], or find your sales representative in the Agents and Representatives section on page 32.

UK: Contact [email protected].

w w w. fa i r c h i l d b o o ks . co m

NEW! Interior Design Online Learning Resources

5

C h a p t e r 3 D e s i g n T h e o r y : A e s t h e t i c s , E l e m e n t s , a n d P r i n c i p l e s o f D e s i g n56

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

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

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

PrinciPles of Design

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

The discussion that follows focuses on six design principles:

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

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

a

b

c

9781501315909_txt_app_03.indd 56 11/3/16 10:27 AM

P r i n c i p l e s o f D e s i g n 57

elusive quality in what he terms invisible design, “what touches you rather than what you see.”9

Achieving unity relies on establishing unify-ing threads or common characteristics. This may be achieved in a variety of ways. There may be a similar-ity of shape throughout the space, such as the repeti-tion of circular forms. There may be harmony in the application of a unified color scheme (Figure 3.17 a) or a neutral color scheme (Figure 3.17 b) discussed fur-ther in Chapter 4. discussed further in Chapter 4. Or, a particular motif or pattern, such as a floral theme, may be interspersed throughout the space to create a har-monious feeling. Harmony may be quiet and soothing, or it may excite, challenge, and foster change.

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

Three types of balance may be used in design: sym-metrical, asymmetrical, and radial (Figure 3.16 a–c). Symmetrical balance is a formal, static, and traditional type of balance achieved through the arrangement of identical elements around a common axis. This is also known as a mirror image. With symmetrical balance, both the designer and the client need to recognize that a change in one item will necessitate a change in its identical counterpart on the other side of the axis.

Asymmetrical balance is defined as the achieve-ment of equilibrium through equal visual weight of nonidentical elements around an axis. The result is a composition that is flexible, dynamic, and informal. Although asymmetrical balance may be more difficult to achieve than symmetrical balance, its advantage is that it is a more fluid approach to design. Conditions that create greater visual weight include large size, highly textured or detailed objects, complex or unusual shapes, and dark elements.

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

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

harmony and Unity“Harmony results in a composition in which all the pieces seem to belong together and work to reinforce the overall design theme.”8

Harmony is the combination of various parts into a pleasing and satisfying whole.

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

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

a

b

9781501315909_txt_app_03.indd 57 11/3/16 10:27 AM

Contents

New to this edition

Included in the Foundations of Interior Design STUDIO

www / Textbook

• Study smarter with self-quizzes featuring scored results and personalized study tips

• Review concepts with flashcards of terms and definitions

• A greater emphasis on human factors to foster wellness and safety within interior environments

• Service model approach to design embedded throughout the text as an ethos or belief system incorporates social responsibility

• New "In the Spotlight" case studies covers designing economical tiny houses, sustainability and globalization

• More coverage of sustainability and a thoroughly updated lighting chapter

Introduction to Interior Design

Preface1. The Interior Design

Profession 2. Socially Responsible Design3. Design Theory: Aesthetics,

Elements and Principles of Design

4. Color Theory and Application

5. The Design Process6. Communicating the Vision7. Light and Lighting Systems8. Architectural Design

Elements9. Finishing the Interior10. Furnishing the Interior11. Period Design Styles:

Antiquity — Empire Style

12. Period Design Styles: Revival Styles — Contemporary Style

13. Forecasting and Trends14. Professional PracticeAppendix A: Professional Organizations, Research Resources, Interior Design Blogs, and Gov’t AgenciesAppendix B: Names to Know: Interior Designers, Architects, and Furniture DesignersAppendix C: Interior Design’s Hall of FameBasic Metric Conversion TableGlossaryIndex

UK March 2017US February 2017

512 pages865 colour and bw illus305 x 229mm / 9 x 12 inchesBook + STUDIO Bundle 9781501316043£80.00 / $125.00STUDIO Access Card9781501316029Fairchild Books

Foundations of Interior DesignSusan J. Slotkis

A thorough update to this introduction to the creative, technical and business aspects of the interior design profession. By surveying design history, the elements and principles of design, professional practice, and more, Slotkis provides a practical and comprehensive overview.

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

Susan J. Slotkis, ASID, IFDA, teaches in the Interior Design Department of the Fashion Institute of Technology, and at New York University, USA.

3rd Edition / www.fairchildbooks.com

6

Contents

New to this edition

Included in the Interior Design Materials and Specifications STUDIO

www / Textbook


416 pages420 colour illus279 x 216mm / 8.5 x 11 inchesBook + STUDIO Bundle9781501321764 £66.00 / $100.00STUDIO Access Card9781501321740Fairchild Books

Preface1. Making Material Selections2. Accoustics3. Paints, Coatings, and

Wallcovering4. Textiles, Window

Treatments, and Soft Goods5. Carpeting and Area Rugs6. Wood7. Resilient Flooring8. Plastic

9. Glass10. Metals11. Tile and Brick12. Stone13. Terrazzo, Similar

Composites, and Concrete14. Laminated Materials and

SubstratesGlossaryBasic Metric Conversion TableIndex

• Study smarter with self-quizzes featuring scored results and personalized study tips

• Review concepts with flashcards of essential vocabulary

• Fully updated to reflect recent industry changes

• “New Technologies” boxes highlight important new industry products and developments

• Integrated approach emphasizes concepts related to globalization, sustainability, and toxicity

• Key information converted to tables and charts for fast assimilation and an improved design

• Expanded coverage on acoustics and detailed information about how materials and assemblies are configured to manage sound

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

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

Lisa Godsey, MID, has been a practicing interior designer for over 30 years.

Interior Design Materials and SpecificationsLisa Godsey

Materials, Textiles and Furniture


C h a p t e r 6 W o o d

184

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

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

Figure 6.23A–D

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

Hinge by Stanley.

(a) Regular butt hinge.Hinge by Von Morris.

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

Hinge by Von Morris.

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

Hinge by Stanley.

Figure 6.22A–c

(a) This cylinder latch has a privacy button that would be exposed through the escutcheon plate when assembled.

Latch by Von Morris.

(b) Mortise latch.Latch by Von Morris.

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

Large hollowrouted formortisehardware toslip into

Backset

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

In special circumstances you might need to specify special hinges. The “swing clear” hinge in Figure 6.23d pushes the door entirely out of the opening even when the door can open only to 90 degrees.

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

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

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

MaTerial MaKeuP Or CONTeNT

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

16105bbf_ch06_157-000.indd 184 8/15/16 10:17 AM

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

185

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

solid wood changes dimension in response to changes in humidity, it does so as a percentage of its size. This means that a bigger, thicker piece of wood will move more during these changes than a smaller, thinner piece of wood. This raises limitations for laminating because if you glue two dissimilar pieces of wood together, they will move at dif-ferent rates and possibly break their glue bonds. If a piece of wood is adhered to a dimensionally stable, engineered substrate like plywood or particleboard, the same thing could happen—a veneer that is too thick could break away when it changes dimension with humidity changes. Even though the smallest, standard lumber size for solid wood is a nominal 1" × 2" (planed and sanded to an actual ¾" × 1½"), wood veneer thicknesses start at about 3/8 inch thick for hard-wearing surfaces like laminated floors and decrease in thickness to as thin as 0.007 inch. As a point of reference, poster board is about 0.048 inch thick.

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

CHaraCTeriSTiCSColorants and process can change some characteristics of wood veneer, but some characteristics of grain, figur-ing, and natural color will persist.

grainGrain refers to two characteristics of wood. One compo-nent of grain is the color variation between the fast summer growth and the slow winter growth of the tree. In some species, like zebrawood, these differences are pretty remark-able; in other species the difference is less pronounced, as for maple. The other component of grain refers to the tactile texture. Some woods have an open grain, like oak, so you can feel the texture, whereas some woods, like beech, are smooth. This is a separate issue from the color difference. Ebony wood has a pronounced color difference in the grain pattern, but because it has a closed grain, it feels smooth.

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

FiDDLebAcK ANigre TAMO AsH

birD’s-eYe MAPLecrOTcH MAHOgANY

Figure 6.24 Figuring raises the value of wood, making some figuring available only in veneer.SanFoot Species images courtesy of Jacarando, Inc.

MADrONe burLMAPLe burL

sPALTeD eLMcurLY MAPLe

16105bbf_ch06_157-000.indd 185 8/15/16 10:18 AM

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New to this edition

Contents

www / Textbook

UK January 2017US September 2016

456 pages300 bw illus279 x 216mm / 8.5 x 11 inchesPB 9781628927566£72.00 / $90.00Fairchild Books

Preface Acknowledgments

I. Introduction to the Home Furnishing Industry

1. Home Furnishings and the Marketplace

II. Materials in Home Furnishings

2. Textiles3. Wood4. Glass5. Pottery6. Plastics7. Metals8. Other Materials

III. The Categories of Home Furnishings

9. Furniture10. Bedding11. Linens and Window

Treatments12. Carpets, Rugs, and Flooring13. Tableware and Kitchenware14. Lighting15. Paints and Wallcoverings

GlossaryIndex

• Newly expanded chapters on Lighting, Tableware and Kitchenware, Linens and Window Treatments, Paints and Wall Coverings

• Emphasis on the importance of the global marketplace, recycling and environmental issues

• Updated and expanded illustrations

• Comments from consumer and industry professionals present a real-life view of the industry

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


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

Julia Sharp is an Assistant Professor at Centenary College, USA.

Know Your Home FurnishingsVirginia Hencken Elsasser and Julia Sharp


2nd Edition

372 • PART 3 THE CATEGORIES OF HOME FURNISHINGS

seleCtion of lAMPs AnD luMinAiresSelection of lamps and luminaires requires careful attention to both aesthetics and function. Following are some general recommendations for selection of lighting:

● If a room is used for an activity, select the correct lighting for the activity first and then select the light for the rest of the room.

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

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

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

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

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

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

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

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

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

Figure 14.20a

a.

Figure 14.20b

b.

Figure 14.20c

c.

Figure 14.20d

d.

Figure 14.20e

e.

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

a. b. c. d. e.

9781628927566_14_C14_351-376.indd 372 8/11/16 3:32 PM

CHAPTER 14 lIGHTING • 373

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

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

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

selection of ChandeliersChandeliers are often expensive focal points of a dining room or entrance way. The size of the chandelier should be in proportion to the room and the table in dining rooms. Other guidelines for selecting a chandelier are as follows:

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

● For a rectangular table, the diameter of the chandelier should not be more than two-thirds the length of the table.

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

lighting reCoMMenDAtions for sPeCifiC rooMs

room or Area lighting recommendation

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

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

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

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

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

Bedrooms Ambient lighting with dimmers; nightstands with reading lights

Hallways Ambient lighting from glare-free ceiling or wall fixtures

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

tAble 14.3

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8

Features

Contents


242 pages50 bw illus279 x 216mm / 8.5 x 11 inchesLoose leaf + binder 9781501306006£98.00 / $125.00Fairchild Books

PrefaceOverview of the TextConstructing the Book1. The Textile Cycle2. Natural Fibers:

Cellulose Fibers3. Natural Fibers: Protein

Fibers4. Manufactured Fibers5. Synthetic Fibers

6. Yarns7. Plain Weave Fabrics8. Plain Weave

Variations9. Twill Weave Fabrics10. Satin Weave Fabrics11. Complex Weaves12. Pile Weaves13. Weft Knits14. Pile Knits

15. Warp Knits16. Miscellaneous Fabric

Structures17. Prints18. FinishesQuick Reference Guide TablesSwatch Boards

• 145 swatches covering the range of materials used in interior design

• Pre-printed swatch boards with detailed information about each fabric, including name, yarn construction, count, coloration, finish, weight, and characteristics

• 4 icons identifying biodegradable, sustainable, closed loop, and recycled/recyclable swatch samples

• End-of-chapter exercises and suggested assignments train the reader for real-world application

A complete learning tool for interior fabrics. This all-in-one text and swatch book offers all the pertinent information needed for fabric identification, analysis, acquisition, and usage. Through the text and assembly of the kit, readers will learn all the essential performance properties of fibers, knits, finishes, and more.

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

Deborah E. Young is Assistant Chair of Textile Science at the Fashion Institute of Design & Merchandising, USA.

Swatch Reference Guide for Interior Design FabricsDeborah E. Young

2016

224 pages64 bw and 16 colour illus244 x 169mm / 6.7 x 9.6 inchesPB 9781472523754£19.99 / $34.95HB 9781472528803£85.00 / $114.00Bloomsbury Academic

“This adventurous and revelatory book ranges far beyond color, pattern, weave, and fashion to examine the changing definition of textiles.” Interior Design

“By concentrating both on innovations in new textile weaving and material techniques, and on extreme situations in which such advances can come to the fore, the editors promote a way of making space and form that elides the distinctions between those two as well as, at times, between inside and outside.” Architect Magazine

Deborah Schneiderman is Associate Professor of interior design in the School of Art & Design at the Pratt Institute, USA.

Alexa Griffith Winton is an independent design historian and part time assistant professor at Parsons School of Constructed Environments, USA.

Textile Technology and DesignFrom Interior Space to Outer SpaceEdited by Deborah Schneiderman and Alexa Griffith Winton


www / Textbook

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Contents

New to this edition

Included in the Fabric for the Designed Interior STUDIO


UK March 2017US January 2017

336 pages200 colour and 80 bw illus 254 x 203mm / 8 x 10 inchesBook + STUDIO Bundle 9781501321849 £74.00 / $110.00STUDIO Access Card9781501321825Fairchild Books

• Student self-quizzes featuring scored results and personalized study tips

• Flashcards of essential vocabulary

• Online instructional videos that show the world of interior textiles in action, including tours of the historic Scalamandre 110,000-square-foot mill and several to-the-trade showrooms in New York City

• Updated with the latest information on sustainability, codes, and costing, an appendix of historic and decorative architectural styles, and new art reflecting contemporary styles

• Key terms highlighted throughout each chapter, plus chapter summaries, activities, and “Expand Your Knowledge” questions at the end of each chapter

• Interviews with prominent interior designers and fabric manufacturers yield real-world advice for aspiring professionals

• Can be used in conjunction with Deborah Young’s Swatch Reference Guide for Interior Design Fabrics (p. 8)

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

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

Frank Theodore Koe is an Associate Professor at The Pennsylvania State University, USA.

Fabric for the Designed InteriorFrank Theodore Koe

AcknowledgmentsPreface1. Origins of Fabric: A Primer2. Structure and Content of

Fiber and Yarn3. Fabric Construction:

Wovens and Nonwovens4. Dyeing, Printing, and

Finishing5. Floor Covering: Rugs and

Carpeting6. The Environment, Safety,

and Codes7. Specifying Residential

Fabric and Trimming

8. Specifying Contract Fabric and Carpeting

9. Sources: Acquiring Fabric for Clients

10. Inside the Workroom11. Maintaining Fabric,

Carpeting, and Rugs12. Learning from the

ProfessionalsAppendicesNotesGlossaryCreditsIndex

2nd Edition / www.fairchildbooks.com

Chapter 7 Specifying Residential Fabric and Trimming

In the case of restoring and preserving a historic landmark structure, emphasis is placed on accurately reproducing or replicating the style that existed when the structure was originally designed. For example, during Queen Victoria’s reign (1837–1901), fabrics on upholstered pieces included velvet, needlepoint, damask, brocade, and crewel embroidery. Ornate drapery treatments in the Victorian tradition would be embellished with valances, swags, and trimmings of tassels, cords, braids, and fringe in colors such as purple, mauve, red, and shades of green, as seen in Figure 7.3. The direction of designing interiors indicative of historic periods is taken from existing structures, well-preserved homes, or historic reference materi-als. This trend of preserving history by restoring the built environment and interiors continues to grow in popularity and, as a consequence, requires knowledge of historic movements, periods, and styles.

FIGURE 7.1 A positive relationship between designer and client helps facilitate the design process.(IMAGE100/ALAMY)

FIGURE 7.2 Blinds made of natural fibers such as seagrass or tabac provide an environmentally friendly look.(Handwoven window shades by CONRAD)

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133

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

How fabric is applied was first understood by the wealthy, who used it to create a hierarchy of opulence—sometimes with contraband product. For example, in the 1650s England banned silk fabric imports because of prevailing political circumstances, so silk brocades were secretly smuggled into England from Lyon, France. Handmade lace was more prized than gold in the eighteenth century, and allegedly it was trans-ported to wealthy Europeans in the stomachs of dogs or in their folds of skin!

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

WINDOW TREATMENTSDrapes and curtains are sometimes considered two separate categories, with curtains lighter in weight and feel than drapes. The expression window

treatment is the generally preferred terminology used to describe any fabric used in association with windows, whether for curtains, drapes, or shades.

Windows of all sizes complement walls, providing views to the outside and inside. Window treatments can express formal or informal state-ments, and they can be integrated and scaled into the allover room design, harmonizing with carpet-ing, rugs, furniture, wall treatments, and paint. Formal window treatments often rely on historical

FIGURE 7.3 Victorian living room.(Shutterstock/Yampi)

FIGURE 7.4 A portiere of heavy fabric between rooms helped contain heat.(Photo: Julian Wass. Interior Design: Jeffrey Bilhuber)

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10

Contents

www / Textbook


216 pages250 color illus216 x 279mm / 11 x 8.5 inchesBook + STUDIO Bundle9781501321641 £60.00 / $90.00STUDIO Access Card9781501321580Fairchild Books

PrefaceAcknowledgments1. Color + Culture 2. Color + Theory 3. Color + Perception &

Behavioral Response 4. Color + Balance 5. Color + Rhythm 6. Color + Emphasis 7. Color + Proportion + Scale

8. Color + Unity + Harmony 9. Color + Variety + Design

Elements Afterword Appendix: Color Theory History, adapted from Connie B. D’Imperio Glossary Bibliography CreditsIndex

• An updated art program featuring increased coverage of current commercial and residential environments

• Updated insights into how people perceive color, including new content about different cultures and ageing populations

• Expanded pedagogical features and exercises



• Projects and exercises

• 25+ color manipulations of residential and commercial interior spaces

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

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

Features

New to this edition

Included in the Color + Design STUDIO

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

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

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

Color + DesignTransforming Interior SpaceRon Reed

Color

2nd Edition / www.fairchildbooks.com

color + design

134 Chapter 7 color + proportion + scale

The basic components of all design are simple shapes—rectangles, circles,

squares, and triangles. Frank Lloyd Wright drew inspiration from the hollyhock

flower for his design of the 1921 Hollyhock House in Los Angeles, California

(Figure 7.21). His refinement of the natural form into basic geometric shapes

illustrates the flexibility of nature in creating new forms. Similarly, if we break

color down into the basics for analysis, then applications have the potential to be

much easier and more understandable (Figure 7.22).

The iconic Egg chair designed in 1958 by Arne Jacobsen is an example of the

modernistic approach to using simple forms. Jacobsen carved out the desired

shape for his chair, creating interplay of positive and negative space while main-

taining the simplicity of the original form (Figure 7.23). This same concept is

evident in the Ear chair, 1968, by Georges Laporte (Figure 7.24a) and the Tongue

chair designed by Pierre Paulin in 1967 (Figure 7.24b). These examples suggest

FIGURE 7.21 The Hollyhock House, Los Angeles, CA, 1919–1921. Detail of block design capturing

the appearance of the hollyhock flower. (trekandshoot | Dreamstime.com)

Sub-dominant hues

Accent hues

Dominant hue

FIGURE 7.22 Variation of a grid for portioning color values.

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

(View Pictures/UIG via Getty Images)

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Additional Methods for Establishing Proportional Relationships 135

color + design

the use of human forms in addition to natural forms for shaping objects into

proper proportions.

Examine the color proportions in this closeup view of a butterfly wing in

Figure 7.25a. Immediately you can see the accent (blue), a high-intensity hue

in the mix that receives the smallest proportion. This is followed by three other

colors with identifiable proportions that we can apply to a grid for comparison,

as shown in Figure 7.25b.

FIGURE 7.24 (a) Top. Ear chair by Georges Laporte, 1968. High-color contrast between inside

and outside forms highlights this chair’s design features. (b) Bottom. Tongue chair by Pierre

Paulin, 1967. The whimsical design of this chair is accentuated using bright, saturated hues for

the upholstery. (a: CHRISTIE’S IMAGES LTD., 2009; b: Artifort)

FIGURE 7.25 (a) Top. Thousands

of tiny colored scales create

a mosaic pattern on the wing

of a Spicebush Swallowtail

butterfly. (Darrell Gulin/Getty Images)

(b) Left. Butterfly wing color

proportioned into a palette

using the grid format.

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11

New to this edition

Contents

Featured Designers

UK December 2016US January 2017

224 pages340 colour illus270 x 210mm / 10.6 x 8.3 inchesPB 9781472567130£37.99 / $51.95Series: Required Reading RangeBloomsbury Visual Arts

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

This investigation of design strategies, ideas and critical thinking in interior architecture offers an overview of design strategies, ideas and critical thinking in interior architecture and interior design.

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

Graeme Brooker is Professor and Head of Interior Design at the Royal College of Art, UK.

UK April 2017US March 2017


Adaptation Strategies for Interior Architecture and DesignGraeme Brooker

• Updated with the latest industry trends, including integrated project delivery (IPD), evidence-based design, LEED, high-performance workspace (HPW), and building information modeling (BIM)

• Appendices include actual programming documents used by successful interior design firms, a residential questionnaire, and a list of helpful resources

• New examples and case studies throughout cover new technological tools being employed in the industry to collect data

• Key terms are highlighted in the text and defined in a comprehensive glossary

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

• Teaching Resources: Instructor's Guide and PowerPoints available

Rosemary Botti-Salitsky is a Professor at Mount Ida College in Boston, USA.

Programming and ResearchSkills and Techniques for Interior DesignersRosemary Botti-Salitsky

Critical Thinking and Design Process

PrefaceAcknowledgments1. What is Programming?2. The Process of Design3. Defining Your Topic and Structuring

Your Program Document4. Research Methods5. Historical, Observational, and

Interactive Research

6. Building and Site Analysis7. Precedent Studies8. Generating the Program9. Written and Visual Analysis10. Challenging Your ThinkingAppendix A: Tsoi Kobus & Associates Programming FormsAppendix B: MPA (Margulies Perrozi Architects) Design Programming Forms

Appendix C: A List of Helpful ResourcesGlossaryResourcesCreditsIndex

Adjaye AssociatesDavid Kohn ArchitectsDiller Scofidio + RenfroDoepel Strijkers ArchitectsFabio Novembre

Helix Architecture + Design Iwamoto Scott ArchitectureKarim RashidMark Horton Architects

Morpurgo De Curtis Spark ArchitectsSteven Holl ArchitectsStudio Weave

www / Textbook2nd Edition

12

Contents

New to this edition

www / Textbook


344 pages340 color illusBook + STUDIO Bundle9781501320927 £56.00 / $85.00STUDIO Access Card9781501320903Fairchild Books

Preface I. Principles of Lighting1. Introduction to Quality

Lighting2. Color and Directional

Effects of Lighting3. Natural and Electrical Light

Sources4. Energy, the Environment,

and Sustainable Design5. Illumination, Well-Being, and

Behavior6. Lighting Systems:

Luminaires7. Lighting Systems: Controls8. Quantity of Light

II. Lighting Design Applications and the Design Process9. Lighting Design Process:

Project Planning through Design Development

10. Lighting Design Process: Contract Documents through Post-Occupancy Evaluation

11. Residential Applications12. Commercial Applications

Appendix A: Lighting Manufacturers, Distributors, and SuppliersAppendix B: Professional Organizations, Government Agencies, and Trade AssociationsAppendix C: ReferencesAppendix D: LEED Certification Credit Attributes Related to Quality LightingGlossary Index



• Projects and exercises for expanding knowledge

Included in the Fundamentals of Lighting STUDIO

• Updated coverage of standards, lamp technologies, controls, human factor research, lighting software programs, and energy codes and standards

• Integrated emphasis on sustainable lighting design, such as daylighting, energy efficiency, and controls

• Design projects to guide students through research and application

• New “One-Minute Study Guide” self-quizzes embedded in every chapter to test student comprehension of key concepts

• An art program with over 300 photographs of global interiors and new lighting systems

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

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

Susan M. Winchip, PhD, LEED AP, MIES, is Professor Emerita at Illinois State University, USA.

Fundamentals of LightingSusan M. Winchip

Lighting


78

Part One Principles of Lighting

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

Global Energy ConsumptionThe Energy Information Administration (EIA) is an independent statistical and analytical agency that issues the annual International Energy Outlook (IEO) publication. According to the EIA (2014), by the year 2040 world energy consumption will be 820 quad-rillion British thermal units (Btu)—projections that indicate a 56 percent growth between 2010 and 2040 (U.S. Energy Information Administration, 2014, 1).

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

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

power (EIA, 2014). Therefore, the EIA anticipates that increases in electrical usage will primarily be derived from improvements in the standard of living in non-OECD countries.

The EIA further examines world energy consump-tion specifically for the purpose of generating electricity and projects increases in consumption of all primary energy sources, including coal and natural gas (Figure 4.3). Increases in the consumption of fossil fuels deplete nonrenewable resources, while the associated combustion process increases world carbon dioxide emissions.

From a positive perspective, the report indicates that nonrenewable energy sources are some of the fastest growing sources of electricity generation worldwide (EIA, 2014). Specifying energy-efficient lighting systems can assist in reducing future interna-tional energy consumption and subsequent emissions.

Energy Consumption for Lighting The U.S. EIA estimates that in 2014 about 15 percent of the total electricity consumed by the residential and commercial sectors were used for lighting.

Most of the need for lighting occurs during week-days, which is the time of peak demand for electricity.

FIgurE 4.1 Google Tel Aviv received LEED platinum certifica-tion. Sustainable features include a comfortable and healthy work environment, automated window blinds, and lighting systems with occupancy and daylight sensors. (© Evolution Design Photo: Itay Sikolsk.)

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

Key

Africa

North AmericaOECD EuropeOECD AsiaMiddle East

Central andSouth America

9781501317668_txt_app_04.indd 78 9/12/16 1:23 PM

79

Chapter 4 Energy, the Environment, and Sustainable Design

Factors Affecting Lighting Consumption

The purpose of a building affects the percentage of the electricity it uses for lighting. For example, a large percentage of the electricity consumed by a retail store is dedicated to lighting. In contrast, the percentage of electricity used for lighting by a factory is very small because the highest demands are for operating machinery.

The design of a building also affects the percent-age of electricity used for lighting. Generally, buildings whose interiors have relatively little expo-sure to daylight require more electricity for lighting. Effective daylight integration can conserve energy. For example, the amount of illumination from a window with an opening of 3 feet × 5 feet (.9 meters × 1.5 meters) is equivalent to approximately 100 incandescent 60-watt lamps.

Thus, a critical component to reducing energy consumed for lighting is quality daylighting. Software, such as Radiance, is available to generate a simulation of daylighting and the electrical needs for lighting in buildings (Figures 4.4a and 4.4b). Radiance is a ray-tracing software that was developed from support primarily from the U.S. Department of Energy. The program is excellent for analyzing and visualizing

FIgurE 4.3 World electricity generation by fuel, 2010–2040.

Liquids

NuclearRenewablesNatural GasCoal

2010

0

40

30

20

10

2015 2020 2025 2030 2035

Trill

ion

kilo

wat

thou

rs

2040

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

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

9781501317668_txt_app_04.indd 79 9/12/16 1:23 PM

13

2016

256 pages300 bw and 40 color illus (insert)216 x 279mm / 11 x 8.5 inchesPB 9781628923353£80.00 / $100.00Fairchild Books

Features

• Over 300 hand and computer-rendered drawings, including sample designs from professional designers

• Basic use of Photoshop® in conjunction with SketchUp and freehand sketching, and how they are all integrated

• Appendices provide a historical chronology of computer-aided design and designing emergency shelters for sustainable use

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


Robert Philip Gordon is an adjunct professor of interior design at Columbia College Chicago, USA.

Integrated Drawing TechniquesDesigning Interiors with Hand Sketching, SketchUp, and PhotoshopRobert Philip Gordon

2016


• Instructional graphics are updated to reflect AutoCAD 2017’s features and user interface

• New chapter devoted to furniture plans and reflected ceiling plans

• New chapter devoted to construction detailing

• Practice exercises reinforcing each chapter’s topics

• Clear explanation of drawing and printing with line weight

• Quick reference aids: command reference guide, index, and large-type page headers

• Backwards-compatible with AutoCAD versions 2014 through 2017

• Companion Website with additional exercises and student resources

New to this edition

Features

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

• Teaching Resources: Instructor’s Guide available

Douglas R. Seidler, LEED AP, ASID, Associate AIA, IDEC, is Department Chair and Associate Professor of Interior Design at Marymount University, USA.

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

Digital Design, Drawing, and Presentation

www / Textbook

www / Textbook

14

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

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

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

Space Planning for Commercial Office InteriorsMary Lou Bakker

2016

432 pages320 bw illus279 x 216mm / 11 x 8.5 inchesPB 9781501310508£66.00 / $100.00Fairchild Books

Space Planning and Form

ContentsContents

2016

336 pages310 bw illus279 x 216mm / 11 x 8.5 inchesPB 9781501310478£50.00 / $75.00Fairchild Books

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

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

Roberto J. Rengel is a professor of interior design at the University of Wisconsin-Madison, USA.

The Interior PlanConcepts and ExercisesRoberto J. Rengel

New to this edition

• Glossary allows readers to quickly look up terms used in the book

• Re-organized content with coverage on accessibility and universal design

• New original artwork by the author

• Exercises to engage students and test their ability to apply what they have learned

Preface Acknowledgments 1. Introduction to Interior Planning 2. Projects for People: Health, Safety,

and Welfare

3. Design Process 4. The Room 5. Beyond the Room 6. The Project 7. Residential Design

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

www / Textbook

www / Textbook

2nd Edition

Features

• Diagrams, plan views, standard layouts, and CAD drawings illustrate every stage of the space planning process

• Illustrated tables depicting office furniture and equipment designed to fit a variety of office needs

• Appendices with sample client profiles, building locations, programming questionnaires, and circulation plans

• Includes coverage of open office design, hotelling, and updated coverage of videoconferencing

New to this edition

• A more thorough look at programming and the steps involved

• Expanded end-of-chapter exercises that focus on initial research

2nd Edition

Contents

Preface Acknowledgments Abbreviations Epigraph 1. Introduction to Space Planning 2. Clients and their Organizations 3. Discovery Process 4. Contract Furniture

5. Circulation and Clearances 6. Room Envelopes and Typical

Private Office Layouts 7. Typical Workstation Layouts 8. Conference Rooms 9. Reception Areas or Rooms 10. Coffee and Other Food Rooms 11. Support Rooms and Functions

12. Program Report 13. Building Footprint and Project

Information 14. Space Planning 15. Presentation of Plans Appendix A: Client Profiles Appendix B: Building Location Appendix C: Program Questionnaire

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

15

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

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

Gordon T. Kendall is a lawyer and business manager based in New York, NY, USA.

Heidi Painchaud is Managing Principal of Interior Design with B+H Architects, Canada.

Designing Your BusinessProfessional Practices for Interior DesignersGordon T. Kendall and Heidi Painchaud

UK April 2016US March 2016


www / Textbook

New to this edition• New co-author, Heidi Painchaud, is a practicing interior designer,

bringing insights, tips, and case studies from the field

• Updated book design makes it easy to follow along and differentiate sections

• "Mentor Memo" and "Notes from the Field" boxed highlights are interspersed throughout every chapter with tips and practices on a variety of topics from both the design and management side

• New Learning Objectives and Review Questions have been added to all chapters

Professional Practice

Contents

2nd Edition

Preface Acknowledgments Part One: You and Your Work 1. Introduction to Professional

Practices 2. Becoming a Professional 3. Working Ethically

Part Two: You and Your Business 4. Understanding Law and

Your Business 5. Planning Your Business

Finances 6. Managing Your Business 7. Marketing and Promoting

Your Business

Part Three: You and Your Clients 8. Defining Your Services 9. Charging Clients for Your

Services 10. Managing Your Client's

Project 11. Defining the Client

Relationship

Part Four: You and Your Resources 12. Working with Vendors 13. Working with Service

Providers

Part Five: You and Your Career 14. Beginning Your Work Life 15. Planning Your Career Glossary Index

9781501313950_txt_app_01.indd 2 12/15/15 11:09 AM

After reading this chapter, you will be able to● Identify various disciplines from which interior designer professional practices

derive;● Define the term professional practices as it applies to interior design;● Articulate reasons study of professional practices is important for interior

designers;● Distinguish characteristics of professionals and entrepreneurs, and note how

they may be alike;● Describe components of a SWOT analysis, even explain circumstances when

designers might use them;● Explain the process used by interior designers to organize and manage projects;● Name ways by which professional practice decisions may be monitored and

controlled;● Explain how you may further develop and enhance professional practice skills.

INTRODUCTION TO INTERIOR DESIGN PROFESSIONAL PRACTICES

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

3

CHAPTER 1

INTRODUCTION TO PROFESSIONAL PRACTICES

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

MENTOR MEMOSoon you will know, that you don’t know . . . what you don’t know.

9781501313950_txt_app_01.indd 3 12/15/15 11:09 AM

16

www / Textbook

Contents


280 pages400 colour illus279 x 216mm / 8.5 x 11 inchesPB 9781501317248£50.00 / $75.00Fairchild Books

PrefaceAcknowledgments1. The Design Portfolio2. Employment and

Promotional Strategies3. Gathering Materials4. Digital Imagery5. Organizing Your Portfolio6. Portfolio Layout7. Printed Portfolio Formats8. Digital Portfolio Formats9. Evaluating and Presenting

Your Portfolio10. A Continual Portfolio

ProcessReferencesIndex

• Streamlined and updated to reflect contemporary professional practices and current awareness of media and technology

• Increased focus on marketing featuring advice from leading practitioners

• Extensive information on gathering, organizing and presenting a portfolio

• Examples from both undergraduate and graduate design student portfolios

• Tips and strategies for job hunting, preparing an effective resume and interviewing

Features

New to this edition

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

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

Diane M. Bender, PhD, ASID, IDEC, is an Associate Professor and Program Coordinator in the Interior Design Department at Arizona State University, USA.

Design PortfoliosPresentation and Marketing for Interior DesignersDiane M. Bender

Careers and Portfolios

3rd Edition

4 | Chapter 1 the Design portfolio

Developing a portfolio is a design project in and of itself. therefore, it needs to

have a clear set of intentions, it must speak for itself, and holistically present the

designer’s attitude towards the built environment.

JANE BRITT GREENWOOD, AIA, ASSOCIATE PROFESSOR AND FULBRIGHT SCHOLAR,

SCHOOL OF ARCHITECTURE, MISSISSIPPI STATE UNIVERSITY

portfolios rely on a variety of pieces, or artifacts, that provide evidence of your competence. these artifacts can range from written materials, models, and images, to large drawings and presentation boards (figure 1.3). You have complete control and ownership of your portfolio because items included in a portfolio are self-selected. You decide what is to be included, excluded, emphasized,

and ignored. Unfortunately, there is no magic formula or checklist for what goes into a portfolio (although some suggestions are given in Chapter 3). You will likely create a showcase portfolio, which demonstrates your level of accomplishment and skill by highlighting your best work.

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

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

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

9781501317248_txt_app_01_001-027.indd 4 8/29/16 1:42 PM

the Digital portfolio | 5

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

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

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

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

1.5 A digital portfolio presents your work in a medium familiar to professionals.Design work courtesy of Amol Surve.

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17

88 | Chapter 4 Digital imagery

Subtractive Color System

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

Additive Color System

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

4.4 Is it that important if the green shown on your laptop is the EXACT green shown on someone’s tablet? Focus more on your portfolio content and format.Design work courtesy of Alyssa S. Hitt.

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

9781501317248_txt_app_04_082-113.indd 88 8/29/16 2:11 PM

image Distortion | 89

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

IMAGE DISTORTION

image distortion, or interpolation, occurs in all digital photos. it happens whenever you resize, stretch, or skew an image. When you take a digital image such as the one in Figure 4.7 and enlarge a portion of it, it will pixelate. the computer software determines mathematically where new pixels will go and what color these pixels will be. When the software does this, the individual pixels become quite visible, often causing a stepped or jagged effect.

interpolation is a method used to compute new values between known pieces of information. it is a way to create missing data. For example, if you weighed 150 pounds on may 15 and 156 pounds on June 15, you could estimate your weight on June 1 to be 153 pounds. the more data you have, the more exact the interpolation would be. if you weighed yourself every day, you would have far more data points. image interpolation works the same way. if you wish to increase the size of a digital image from 100 pixels to 200 pixels, image-editing software (such as adobe photoshop) would insert new pixels between the known pixels, based on the average color and intensity of the pixels nearby.

4.6 The additive color system is used for digital media and has primary colors of red, green, and blue.Illustration courtesy of Aaron J. Kulik.

4.7 The close-up view of the cup and newspaper breaks down, or pixelates, into individual pixels when scaled much larger.Design work courtesy of Taresha S. Agins, Jeanne Coelho, Anne Looker, and Meghann Moodie.

9781501317248_txt_app_04_082-113.indd 89 8/29/16 2:12 PM

158 | Chapter 6 portfolio layout

PHYSICAL SIZE AND LAYOUTthe first decision you must make is the physical size of your printed portfolio. the size of your layout is determined in part by the size of your original work, printing constraints, and submission requirements. if your original work has several long, horizontal images, your layout will be long and horizontal (figure 6.37). you can design on only a certain amount of the page before you exceed a printer’s maximum printable area. lastly, does the firm or school have a required format?

to stand out from the crowd, many students prefer to have an unusual size portfolio. most book portfolios are rectangular or square. you could be different and have a circular portfolio. But this would be time-consuming and use a lot of resources. Just like other decisions, this could be a trade-off. instead, let’s say you want an 8" square portfolio (figure 6.38). Simply create your layout in the

the contents should be clear to anyone looking at the portfolio. each project

should be clearly explained, in a type size that people can actually read. and

make sure everything is spelled correctly.

FREDERICK STEINER, DEAN, SCHOOL OF ARCHITECTURE, HENRY M. ROCKWELL CHAIR IN

ARCHITECTURE, UNIVERSITY OF TEXAS AT AUSTIN

6.35 Ensure there is enough contrast between your text and background to be clear and legible.Design work courtesy of Kirsten Keane.

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

9781501317248_txt_app_06_132-173.indd 158 8/29/16 2:21 PM

phySiCal Size anD layout | 159

software application of your choice on 8.5" x 11" letter-size paper. add guidelines at 8" x 8". after printing to regular letter-size paper, get out the sharpest knife you own and slice the pages down. Some print shops will do this for you, but from experience, they usually do a poor job. Do it yourself.

if you want the color to go all the way to your paper’s edge, use a bleed. a bleed means the color goes past the edge of the printable area. it expands the visual boundary beyond the paper’s edge, which enlarges the viewer’s horizon. overprint your pages to larger paper and then cut it to the smaller size with a very sharp knife. it will then look like the images go right off the page (figure 6.39). if printing back to back, ensure you have even more overlap (i.e., overbleed). When trimming one side, ensure you do not see a trimming mistake on the other side.

6.38 Square layouts allow all types of image sizes to be shown.Design work courtesy of Kirsten Keane.

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

9781501317248_txt_app_06_132-173.indd 159 8/29/16 2:21 PM

18

Textbook

New to this edition• 25% new material

• International case studies from the US, Asia, the UK and Europe

• New chapter on sustainable interior architecture

2016

184 pages200 colour illus230 x 160mm / 6.2 x 9 inchesPB 9781472572653£23.99 / $32.95Series: Basics Interior ArchitectureFairchild Books

An examination of the basic ideas that underpin the design and remodelling of interior space, covering the processes from establishing a relationship between an existing building and its new components, through to the design and positioning of elements within that space. Studies of contemporary work are displayed in an engaging and stimulating way and new international case studies are included to ensure current thinking.

Graeme Brooker is Head of Interior Design at the Royal College of Art, UK.

Sally Stone is Director of the College of Continuity in Architecture at the Manchester School of Architecture, UK.

Form and Structure in Interior ArchitectureGraeme Brooker and Sally Stone

Introduction to Interior Architecture

1. The Design Process Introduction Definitions and Descriptions Reuse and Redesign: Case Study

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

3. Sustainable Interior Architecture

Introduction Sustainable Design: Case Study Sustainable Use: Case Study

4. Methods of Organizing Space

Introduction Closed Room: Case Study Free Plan: Case Study

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

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

7. Elements for Organizing Space

Introduction Object: Case Study Plane: Case Study Sequence: Case Study Light: Case Study Threshold: Case Study Texture: Case Study

Glossary Index

ContentsContents

2nd Edition

1 The Design Process 22

Renovation

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

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

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

compromised by the progressive alterations, as had the natural light through the glass roof and the vertical circulation. The 1905 renovation by Frank Lloyd Wright continued the spatial journey through the building and clad the cast-iron columns with white marble. Gunny Harboe was anxious to embrace this work, while erasing the subsequent alterations, so a datum of 1910 was set. The original circulation route was re-established, the entrance vestibule was restored to Wright’s design, and Burnham & Root’s original marble mosaic floor was rebuilt. Most importantly, a new glazed roof was built above the original, which eliminated any problems of water ingress and reinstated the former brilliantly lit courtyard. This whole process adapted the building for twenty-first-century expectations and use.

1.9a

1.9a

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

1.9b

The renovation makes the priory once again fit for purpose.

23

1.9b

19

February 2017

304 pages85 bw illus234 x 156mm / 6.1 x 9.2 inchesHB 9781474229180£85.00 / $114.00Bloomsbury Academic

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

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

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

Green Wedge UrbanismHistory, Theory and Contemporary PracticeFabiano Lemes de Oliveira

Landscape Architecture

IntroductionI. Green Wedges In History1. A Brief History of Urban Planning

With Nature2. The Emergence of the Green Wedge

Idea - Americas, Europe, Oceania and Asia

3. Green Wedge Visions for the Future

II. Green Wedges Today4. Green Wedges In Networks of Green

Space5. Polycentrism and Regional Planning6. Green Wedges at the City Scale7. Towards Sustainable CitiesConclusionsBibliographyIndex

ContentsContents

www / Textbook

UK January 2017US February 2017

320 pages500+ colour illus270 x 210mm / 8.3 x 10.6 inchesPB 9781472590626£37.99 / $51.95Series: Required Reading RangeBloomsbury Visual Arts

“The book is the first of its kind, a text which pulls together the key drivers and contextual issues that underpin our thinking and approaches to sustainable landscape design. This is a must read for all students embarking on any form of environmental design.” David Booth, University of Gloucestershire, UK

This book focuses on how landscape architecture can propagate environmental improvements at a range of scales, from private gardens to public spaces. Zeunert uses professional projects to illustrate key themes and examines the movements that have influenced landscape theory.

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

Landscape Architecture and Environmental SustainabilityCreating Positive Change Through DesignJoshua Zeunert

Features

• Showcases previously unpublished landscape projects from across the world

• Projects and case studies are highly-illustrated with plans and images

• Inspiring interviews with environmentally-prominent landscape architects to stimulate further reading

• Companion website provides additional resources and projects for educators

20

2013

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

“A wonderful resource.” Library Journal

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

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

Michael Leslie is Professor of English at Rhodes College, USA.

John Dixon Hunt is Professor Emeritus at the University of Pennsylvania, USA.

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

January 2017

696 pages244 x 169mm / 6.7 x 9.6 inchesPB 9781350000025£36.99 / $49.95HB 9781847887450£115.00 / $148.00Bloomsbury Academic

“From uniquely varied viewpoints and scales of exploration, The Handbook of Interior Architecture and Design provides clear-eyed insight into a profession that has evolved dramatically in the last decades to come into its own.” Lilianne Wong, Head of the Interior Architecture Department at Rhode Island School of Design, USA

The Handbook of Interior Architecture and Design brings together the latest research by leading international scholars and practitioners in the dynamic fields of interior architecture and interior design, while also offering an evolution of the disciplines.

Graeme Brooker is Head of Interior Design at the Royal College of Art, UK.

Lois Weinthal is Chair of the School of Interior Design at Ryerson University in Toronto, Canada.

The Handbook of Interior Architecture and DesignEdited by Graeme Brooker and Lois Weinthal

Reference

New in Paperback

Contents

New! Paperback Volumes Available for Individual Purchase

Volume 1: Antiquity (600 BCE - 600 CE) Edited by Kathryn Gleason, Cornell University, USA2015 / 304 pagesPB 9781350009868£24.99 / $34.95 HB 9780857850294£70.00 / $95.00

Volume 2: Medieval (600 - 1400) Edited by Michael Leslie, Rhodes College, USA2015 / 288 pagesPB 9781350009905£24.99 / $34.95 HB 9780857850300£70.00 / $95.00

Volume 3: Renaissance (1400 - 1700) Edited by Elizabeth Hyde, Kean University, USA2015 / 320 pagesPB 9781350009912£24.99 / $34.95 HB 9780857850317£70.00 / $95.00

Volume 4: The Age of Enlightenment (1700 - 1800) Edited by Stephen Bending, University of Southampton, UK2015 / 304 pagesPB 9781350009929£24.99 / $34.95 HB 9780857850324£70.00 / $95.00

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

Volume 6: The Modern Age (1900 - 21st Century) Edited by John Dixon Hunt, UK2015 / 272 pagesPB 9781350009943£24.99 / $34.95 HB 9780857850348£70.00 / $95.00

21

Reference

Contents

2018

2146 pages2,200 bw and colour illus246 x 189mm / 9.11 x 7.7 inchesHB 9781472589989Introductory price £350 / $472 valid until 3 months after publication(RRP £395.00 / $534.00)Bloomsbury Academic

Praise for the 20th edition:

“Book of the Century.” The American Institute of Architects

“The bible of architectural history ... Banister Fletcher remains a potted history with remarkably pithy writing.” Building Magazine

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

Sir Banister Fletcher’s A History of Architecture is the world’s acknowledged classic work of architectural history reference. It has become essential reading for generations of architects and students. This landmark new edition brings an authoritative, detailed, and thoroughly contemporary understanding to the world’s buildings and the contexts in which they were built.

Sir Banister Fletcher’s Global History of ArchitectureEdited by Murray Fraser

21st Edition

Volume OnePart I. c. 3500 BCE to c. 500 BCEPart II. c. 500 BCE to c. 500 CEPart III. c. 500 CE to c. 1000 CEPart IV. c. 1000 CE to c. 1500 CE

Volume TwoPart V. c. 1500 CE to c. 1800 CEPart VI. c. 1800 CE to c. 1900 CEPart VII. c. 1900 to Present Day

BibliographyGlossaryIndex

• Over 1,600 full colour and 600 black and white images

• Explains thousands of major buildings, accompanied by plans, drawings, and photographs

• Easy-to-use framework allows comparative analysis of global architecture from prehistoric times to the present day

Features

• Rewritten throughout to provide a culturally and geographically-balanced analysis of architecture throughout history

• Addresses key topics of current critical concern such as sustainability and cross-cultural exchange

• Emphasizes the cultural contexts, people, resources and technologies behind architecture

New to this edition

22

January 2017

248 pages52 bw illus244 x 169mm / 6.7 x 9.6 inchesPB 9781350013896£24.99 / $33.95HB 9780857856593£85.00 / $114.00Bloomsbury Academic

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

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

Anca I. Lasc is Assistant Professor of history and theory of design at Pratt Institute, USA.

Georgina Downey is an independent scholar and Visiting Fellow in the graduate art history programme at the University of Adelaide, Australia.

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

Designing the French InteriorThe Modern Home and Mass MediaEdited by Anca I. Lasc, Georgina Downey, and Mark Taylor

UK October 2015US January 2017

352 pages198 x 129mm / 5 x 7.8 inchesPB 9781408843673£10.99 / $20.00HB 9781620406298£25.00 / $30.00World English and GermanBloomsbury Paperbacks

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

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

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

Bricks & MortalsTen Great Buildings and the People They MadeTom Wilkinson

2016

352 pagesBw illus + colour insert154 x 235mm / 6.1 x 9.25 inchesHB 9781620403754£20.00 / $28.00World EnglishBloomsbury Press

“An appealing primer in 20th-century American architecture, with myriad insights into the vanity and interpersonal politics of the two men who dominated American architecture for a century.” Washington Post

“The prolific Howard offers up another sterling book of popular history . . . New light is shed on both architects in this absorbing, well-organized, delightfully told story.” Kirkus Reviews

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

Architecture’s Odd CoupleFrank Lloyd Wright and Philip JohnsonHugh Howard

History of Architecture

New in Paperback

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

New in Paperback

23

2016

176 pages60 bw illus234 x 156mm / 6.1 x 9.2 inchesPB 9781472581198 £19.99 / $31.95HB 9781472581204£70.00 / $94.00Bloomsbury Academic

January 2017


History of Architecture

2016


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

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

Architecture and RitualHow Buildings Shape SocietyPeter Blundell Jones

The first book to explore the introduction and dissemination of the shopping centre in Europe. Eighteen case studies span the continent on both sides of the Iron Curtain, revealing the first European shopping malls to be much more than mere carbon copies of their American precursors. Drawing connections between architectural history, political economy and commerce, together these studies tell us much about the status and role of modernist design, the history of consumption, and the rapidly-changing social, urban, and national contexts of post-war Europe.

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

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

Shopping Towns EuropeCommercial Collectivity and the Architecture of the Shopping Centre, 1945-1975Edited by Janina Gosseye and Tom Avermaete

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

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

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

Interior UrbanismArchitecture, John Portman and Downtown AmericaCharles Rice

24

How to Read Series

UK March 2016

256 pages400 colour illus165 x 135 mm / 6.5 x 5.3 inchesPB 9781474219266£9.99Not available for sale in USA, Philippines, China/Hong Kong and Indonesia.Bloomsbury Visual Arts

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

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

How to Read Towns and CitiesA Crash Course in Urban ArchitectureJonathan Glancey

UK March 2016

256 pages400 colour illus165 x 135 mm / 6.5 x 5.3 inches PB 9781474219037£9.99Not available for sale in USA, Philippines, China/Hong Kong and Indonesia.Bloomsbury Visual Arts

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

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

How to Read Modern BuildingsA Crash Course in the Architecture of the Modern Era

Will Jones

25

Urban Design and Urban Studies

February 2017


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

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

Cities in TimeTemporary Urbanism and the Future of the CityAli Madanipour

2016

304 pages140 bw and 4 colour illus234 x 156mm / 6.1 x 9.2 inchesPB 9781472566942£27.99 / $37.95HB 9781472566959£85.00 / $114.00Bloomsbury Academic

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

Bridging the gap between theory and practice, Urban Design Thinking shows how the design of our cities and urban spaces can be informed by the theories of urbanism, architecture and spatial analysis. Taking assemblage thinking as its critical framework, the book introduces a wide variety of key theoretical urban concepts (ranging in scale from graffiti to globalization), each demonstrating how theory is central to urban design practice. The thirty short chapters can be read alone or in sequence, each opening a valuable conceptual window onto how cities work and how they are transformed through design practice.

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

Urban Design ThinkingA Conceptual ToolkitKim Dovey

Introduction1. Urbanity2. Access3. Mix4. Density5. Action6. Drama7. Interface8. Type

9. Image10. Discourse11. Memory12. Place13. Character14. Authority15. Resistance16. Globalization17. Privatization

18. Shopping Malls19. Enclaves20. Towers21. Tourism22. Codes23. Graffiti24. Advertising25. Informal Trading26. Informal Settlements

27. Temporary Urbanism28. Creative Clusters29. Transit30. Complex adaptive

assemblage

ReferencesAbstractsIndex

1. Multiple Times of the City

I. Instrumental Temporality2. Regulating Change, Reifying Time3. Accelerated Beats of Global Time

II. Existential Temporality4. Temporality, Memory and Identity5. Nature, Time and Anxiety

III. Experimental Temporality6. Events and Prospects7. Cities in Time

ReferencesIndex

Contents

Contents

26

2016


“This comprehensive study of gentrification in California deftly exposes the persistent linkage between historic conservation and genealogical passion on the one hand and covert forms of social and ethnic exclusion on the other. It is a major contribution to our understanding of an increasingly common form of structural violence as well as of the surprisingly varied motives that drive the passion for the past.” Michael Herzfeld, Ernest E. Monrad Professor of the Social Sciences, Harvard University

Exploring issues of historic preservation, heritage, and gentrification, this ethnographically-grounded work reveals the dynamics and conflicts inherent in preserving twentieth-century suburban landscapes in America.

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

“Cities Interrupted brings together some of the best thinking about contemporary urbansim available. Each essay is a gem, but as an ensemble they make a cutting-edge critical intervention into urban theory. This is a book that will repay multiple readings over time.” Joseph Heathcott, Associate Professor of Urban Studies at The New School, USA

“Cities Interrupted brings together researchers in architecture, geography, urban planning, photography and art to explore ... the subtle ways in which interruption repeatedly calls attention to the public/private dichotomy of city life.” Environment and Urbanization

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

Shirley Jordan is Professor of French Literature and Visual Culture at Queen Mary University of London, UK.

Christoph Lindner is Professor of Media and Culture at the University of Amsterdam, the Netherlands.

2016


Urban Design and Urban Studies

Cities InterruptedVisual Culture and Urban SpaceEdited by Shirley Jordan and Christoph Lindner

Protecting Suburban AmericaGentrification, Advocacy and the Historic ImaginaryDenise Lawrence-Zuniga

27

2016


“Food and Architecture offers a fascinating vantage into the shared lexicon used by both camps, suggesting how we might shape our footprint within cultural anthropology. Ultimately, this book interrogates how we will be remembered as a people, for centuries to come.” Susan Jane White, Sunday Independent columnist

Food and Architecture offers the first, ground-breaking analysis of two disciplines which both rely on a combination of creativity, intuition, taste, and science. Structured around a series of “conversations” between chefs, culinary historians, and architects, the book includes case studies ranging from pig slaughtering and farmhouses in Greece to authenticity and heritage in American cuisine.

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

Food and ArchitectureAt The TableEdited by Samantha L. Martin-McAuliffe

2016

232 pages234 x 156mm / 6.1 x 9.2 inchesPB 9781350009875£28.99 / $39.95HB 9781472567031£85.00 / $114.00Bloomsbury Academic

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

Based on analysis of historical, philosophical, and semiotic texts, Architecture in Black presents a systematic examination of the theoretical relationship between architecture and blackness. Now updated, this original study draws on a wider range of case studies, highlighting the racial techniques that can legitimize modern historicity, philosophy and architectural theory.

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

Architecture in BlackTheory, Space and AppearanceDarell Wayne Fields

Architectural Theory, Culture, and Criticism

28

Architectural Theory, Culture, and Criticism

2016


2016


“A devastating portrait of contemporary architecture as the phantasmagoria of neoliberal capitalism ... a powerful plea for critique in the face of the architectural prophets who proclaim ‘there is no alternative’.” Benjamin Noys, Professor of Critical Theory, University of Chichester, UK

“An absolutely timely, lucid, important critique.” Joan Ockman, Distinguished Senior Fellow, University of Pennsylvania School of Design, USA

With their elegant looped and landscaped structures, the buildings of contemporary architectural practices like Zaha Hadid, OMA and SOM announce themselves as highly progressive – promoting free circulation between private and public, work and pleasure, education and business. This book argues that the architecture of the "new spatiality" has in fact allied itself alarmingly with a neoliberal agenda, with important implications for our understanding of architectural design and its relationship with politics and control. The Architecture of Neoliberalism presents a provocative and timely critical intervention, exploring what this alliance means for architecture and the inhabitants and users of today’s buildings.

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

The Architecture of NeoliberalismHow Contemporary Architecture Became an Instrument of Control and ComplianceDouglas Spencer

“If Spuybroek, like Ruskin, does not shake your design and aesthetic concepts, you haven’t understood him.” Charles Jencks

“The Sympathy of Things is an astonishing and visionary work. I have never before come across a book so brimming with insight, written with such feeling, and so keenly in touch with life. Ostensibly a meditation on the oeuvre of John Ruskin, what Spuybroek offers us is an intoxicating meditation on art, architecture and design that soars above the ponderous deadweight of thing-theory to luxuriate in the unruly and exuberant proliferation of the things themselves.” Tim Ingold, Chair of Social Anthropology, University of Aberdeen, Scotland

“Exhilarating to watch elements of Ruskin's thought being taken on ... The Sympathy of Things is energetic, well written and full of examples.” Times Literary Supplement

A new edition of Lars Spuybroek’s ground-breaking exploration of Ruskin, aesthetics, ornament, and digital design.

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

The Sympathy of ThingsRuskin and the Ecology of DesignLars Spuybroek

2nd Edition

29

Also from Fairchild Books

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Title Edition Author ISBN Price Number

Architectural Drafting for Interior Designers 2 Lydia Sloan Cline 9781628920963 $160.00 / £126.00Architectural Model Building Roark T. Congdon 9781563677731 $90.00 / £72.00Cradle-to-Cradle Home Design Anna Marshall-Baker & Lisa M. Tucker 9781609010751 $75.00 / £60.00Designing Sustainable Residential and Commercial Interiors Lisa M. Tucker 9781609014797 $110.00 / £88.00Designing the Brand Identity in Retail Spaces Martin M. Pegler 9781628923919 $75.00 / £60.00Digital Drawing for Designers 2 Douglas R. Seidler 9781609010669 $110.00 / £88.00Drafting & Design Travis Kelly Wilson 9781563678370 $100.00 / £74.00Electronic Workflow for Interior Designers & Architects Andrew Brody 9781563677083 $80.00 / £64.00Environmental Psychology for Design 2 DAK Kopec 9781609011413 $115.00 / £92.00Estimating and Costing for Interior Designers Diana Allison 9781609015190 $85.00 / £68.00Evidence-Based Design for Interior Designers Linda L. Nussbaumer 9781563677595 $95.00 / £76.00Fairchild Books Dictionary of Interior Design, The 3 Mark Hinchman 9781609015343 $85.00 / £68.00Fundamentals of Interior Architecture, The 2 John Coles 9781472524652 $36.95 / £26.99Fundamentals of Interior Design, The 2 Simon Dodsworth with Stephen Anderson 9781472528537 $36.95 / £26.99Fundamentals of Landscape Architecture, The 2 Tim Waterman 9781472531445 $36.95 / £26.99Furniture Design and Construction for the Interior Designer Christopher Natale 9781563675652 $90.00 / £72.00Guide to Period Styles for Interiors, The 2 Judith Gura 9781628924718 $90.00 / £72.00Hand Drafting for Interior Design 2 Diana Bennett Wirtz Kingsley 9781609019976 $85.00 / £68.00Hand Drawing for Designers Douglas R. Seidler & Amy Korté 9781563677809 $95.00 / £76.00Historic Preservation for Designers Peter B. Dedek 9781609015091 $85.00 / £68.00History of Furniture Mark Hinchman 9781563675447 $125.00 / £98.00Human Factors in the Built Environment Linda L. Nussbaumer 9781609015039 $115.00 / £92.00Illustrated Codes for Designers: Non-Residential Katherine S. Ankerson 9781609011215 $95.00 / £55.00Illustrated Codes for Designers: Residential Katherine S. Ankerson 9781609011185 $95.00 / £55.00Informing Design Joan I. Dickinson & John P. Marsden 9781563675638 $95.00 / £76.00Interior Design Illustrated 2 Christina M. Scalise 9781609019174 $115.00 / £92.00Interior Design Intern, The Linda L. Nussbaumer 9781563679070 $75.00 / £60.00Interior Design Student's Comprehensive Exam Lisa Godsey 9781563676826 $60.00 / £48.00Looking Beyond the Structure Dan Bucsescu & Michael Eng 9781563677199 $80.00 / £64.00Meanings of Designed Spaces Tiiu Poldma 9781609011451 $75.00 / £60.00Perspective Drawing for Interior Space Christopher Natale 9781609010713 $80.00 / £64.00Photoshop® for Interior Designers Suining Ding 9781609015442 $95.00 / £76.00Professional Practice for Interior Design in the

Global Marketplace Susan M. Winchip 9781609011383 $95.00 / £76.00Re-de-sign Cathy Whitlock 9781563676390 $100.00 / £74.00Representational Techniques for Architecture 2 Lorraine Farrelly Nicola Crowson 9781472527851 $32.95 / £23.99Research-Inspired Design Lily B. Robinson & Alexandra T. Parman 9781563677212 $105.00 / £84.00Residential Design Studio Robert Philip Gordon 9781563678417 $90.00 / £72.00Residential Kitchen and Bath Design Anastasia Wilkening 9781609011253 $100.00 / £80.00Revit Architecture 2014 for Designers Douglas R. Seidler 9781609014827 $85.00 / £68.00Revit Architecture 2016 for Designers 2 Douglas R. Seidler 9781628929584 $85.00 / £68.00Shaping Interior Space 3 Roberto J. Rengel 9781609018962 $110.00 / £88.00Sketching Interiors Suining Ding 9781563679186 $80.00 / £64.00State of the Interior Design Profession, The Caren S. Martin & Denise A. Guerin 9781563679209 $70.00 / £56.00Sustainable Building Systems and Construction

for Designers 2 Lisa M. Tucker 9781628920932 $110.00 / £88.00Taking up Space Tiiu Poldma 9781563676284 $90.00 / £72.00Textiles for Residential and Commercial Interiors 4 Amy Willbanks, Nancy Oxford and Dana Miller 9781609019372 $110.00 / £88.00Visual Communication for Landscape Architecture Trudi Entwistle & Edwin Knighton 9782940496013 $32.95 / £23.99

30

Index

A

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

Architecture and Ritual . . . . . . . . . . . . . . . . . . . . 23

Architecture in Black . . . . . . . . . . . . . . . . . . . . . . 27

Architecture of Neoliberalism, The . . . . . . . . . . 28

Architecture’s Odd Couple . . . . . . . . . . . . . . . . 22

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

B

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

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

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

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

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

C

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

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

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

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

D

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

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

Designing the French Interior . . . . . . . . . . . . . . 22

Designing Your Business . . . . . . . . . . . . . . . . . . 15

Digital Drawing for Designers: A Visual Guide to AutoCAD® 2017 . . . . . . . . . 13

Dovey, Kim . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

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

E

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

F

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

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

Food and Architecture . . . . . . . . . . . . . . . . . . . . 27

Form and Structure in Interior Architecture . . . 18

Foundations of Interior Design . . . . . . . . . . . . . . 5

Fraser, Murray . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Fundamentals of Lighting . . . . . . . . . . . . . . . . . . 12

G

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

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

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

Gosseye, Janina . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Green Wedge Urbanism. . . . . . . . . . . . . . . . . . . 19

H

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

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

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

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

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

I

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

Interior Design Materials and Specifications . . . 6

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

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

J

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

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

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

K

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

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

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

L

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

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

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

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

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

M

Madanipour, Ali . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Martin-McAuliffe, Samantha L. . . . . . . . . . . . . . . 27

P

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

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

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

R

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

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

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

S

Schneiderman, Deborah . . . . . . . . . . . . . . . . . . . . 8

Seidler, Douglas R. . . . . . . . . . . . . . . . . . . . . . . . 13

Sharp, Julia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Shopping Towns Europe . . . . . . . . . . . . . . . . . . 23

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

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

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

Spencer, Douglas . . . . . . . . . . . . . . . . . . . . . . . . 28

Spuybroek, Lars . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Stone, Sally . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Swatch Reference Guide for Interior Design Fabrics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Sympathy of Things, The . . . . . . . . . . . . . . . . . . 28

T

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

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

U

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

W

Weinthal, Lois . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Wilkinson, Tom . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Winchip, Susan M. . . . . . . . . . . . . . . . . . . . . . . . 12

Winton, Alexa Griffith . . . . . . . . . . . . . . . . . . . . . . 8

Y

Young, Deborah E. . . . . . . . . . . . . . . . . . . . . . . . . . 8

Z

Zeunert, Joshua . . . . . . . . . . . . . . . . . . . . . . . . . . 19

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Interior Design 2017 & Architecture

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