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Rather than attempting an encyclopaedic overview, the author proposed six potent interpretive themes-the Palace, the Garden, the Ruin, the Shed, the Network and the Machine-through which many exemplary interiors could be considered, so that the public interior might become more available to the imaginations of those who design them. All together here, the chosen exemplars form a kind of canon of the public interior. Submitted to interpretation in the context of these themes, they offer another lens through which they might be seen: as manifestations of ideas inscribed within material culture.
Vast interior spaces have become ubiquitous in the contemporary city. The soaring atriums and concourses of mega-hotels, shopping malls and transport interchanges define an increasingly normal experience of being 'inside' in a city. Yet such spaces are also subject to intense criticism and claims that they can destroy the quality of a city's authentic life 'on the outside'. Interior Urbanism explores the roots of this contemporary tension between inside and outside, identifying and analysing the concept of interior urbanism and tracing its history back to the works of John Portman and Associates in 1960s and 70s America. Portman – increasingly recognised as an influential yet understudied figure – was responsible for projects such as Peachtree Center in Atlanta and the Los Angeles Bonaventure Hotel, developments that employed vast internal atriums to define a world of possibilities not just for hotels and commercial spaces, but for the future of the American downtown amid the upheavals of the 1960s and 70s. The book analyses Portman's architecture in order to reconsider major contexts of debate in architecture and urbanism in this period, including the massive expansion of a commercial imperative in architecture, shifts in the governance and development of cities amid social and economic instability, the rise of postmodernism and critical urban studies, and the defence of the street and public space amid the continual upheavals of urban development. In this way the book reconsiders the American city at a crucial time in its development, identifying lessons for how we consider the forces at work, and the spaces produced, in cities in the present.
This book explores the beginnings of the interior design profession in nineteenth-century France. Drawing on a wealth of visual sources, from collecting and advice manuals to pattern books and department store catalogues, it demonstrates how new forms of print media were used to ‘sell’ the idea of the unified interior as a total work of art, enabling the profession of interior designer to take shape. In observing the dependence of the trades on the artistic and public visual appeal of their work, the book establishes crucial links between the fields of art history, material and visual culture, and design history.
This book argues that interior architects have a responsibility to practice their profession in collaborative ways that address the needs of communities and of to be the agents of social justice and cultural heritage. The book is divided into three sections, based on three pivotal themes — community engagement, social justice and cultural heritage. Each section has chapters that put forward the principles of these themes, leading into a variety of fascinating case studies that illustrate how socially sustainable design is implemented in diverse communities across the world. The second section includes four concise case studies of community housing issues, including remote-area indigenous housing and housing for the homeless. The third section offers two extensively researched essays on design and cultural heritage — a case study of the development of a redundant industrial site and a historical study of gendered domestic interiors. The book appeals to a wider audience than the design community alone and challenges mainstream interior design/interior architecture practitioners nationally and internationally to take a leading role in the field of socially responsible design. The issues raised by the authors are relevant for individuals, communities, government and non-government organisations, professionals and students. “In the twenty-first century we seem to have entered into a new world of knowledge discovery, where many of the most exciting insights come not from the authority of a traditional discipline, but from the dialogue that happens at the hubs and intersections of thought — the arenas where different disciplines and approaches, different schools and habits of thinking, come together to collaborate and contend. This collection is a good example of this, and I hope the book will be widely read and its lessons learned and applied.” Tim Costello, Officer of the Order of Australia, Chief Executive, World Vision Australia.
* Forty designs show how the public loo can become public artRestrooms are inescapably important amenities, but something of a grey zone when it comes to design. In a massive effort to make them inconspicuous, public restrooms have been standardized, buried in underground bunkers, hidden behind walls and unmarked doors. At times, it seems our embarrassment with their very existence has led to an inability to provide sound sanitation. This book presents a selection of over forty very diverse public restroom designs, in which toilets enjoy special status as a vehicle for various artistic and cultural expressions, corporate values and the needs of different social groups. Four experts from different backgrounds and countries have been invited to write on sensitive issues in public restroom design. More than 500 full-color photographs, plans and detailed descriptions illustrate the designs in detail and provide fascinating information to architects, interior designers, students, and so on.
You can use this book to design a house for yourself with your family; you can use it to work with your neighbors to improve your town and neighborhood; you can use it to design an office, or a workshop, or a public building. And you can use it to guide you in the actual process of construction. After a ten-year silence, Christopher Alexander and his colleagues at the Center for Environmental Structure are now publishing a major statement in the form of three books which will, in their words, "lay the basis for an entirely new approach to architecture, building and planning, which will we hope replace existing ideas and practices entirely." The three books are The Timeless Way of Building, The Oregon Experiment, and this book, A Pattern Language. At the core of these books is the idea that people should design for themselves their own houses, streets, and communities. This idea may be radical (it implies a radical transformation of the architectural profession) but it comes simply from the observation that most of the wonderful places of the world were not made by architects but by the people. At the core of the books, too, is the point that in designing their environments people always rely on certain "languages," which, like the languages we speak, allow them to articulate and communicate an infinite variety of designs within a forma system which gives them coherence. This book provides a language of this kind. It will enable a person to make a design for almost any kind of building, or any part of the built environment. "Patterns," the units of this language, are answers to design problems (How high should a window sill be? How many stories should a building have? How much space in a neighborhood should be devoted to grass and trees?). More than 250 of the patterns in this pattern language are given: each consists of a problem statement, a discussion of the problem with an illustration, and a solution. As the authors say in their introduction, many of the patterns are archetypal, so deeply rooted in the nature of things that it seemly likely that they will be a part of human nature, and human action, as much in five hundred years as they are today.
"This is a book about the things that inspire all of us, from the sacred to the profane, from everyday objects like a marble or a rubber stamp, to the more surprising such as a dirt pile or a turtle tail. Artists, writers, designers, among many others, contribute their objects and ruminations that encourage, motivate, and energize their own creativity."--Provided by publisher.
For hundreds of thousands of years, humanity focused on space as a location. Today, space is not just a destination-it is a domain, an ecosystem, an enabler of progress, and quite possibly the most valuable industry of the twenty-first century.Three things you need to know: Space as an industry is notoriously complex-which means it's misunderstood. Space influences and benefits nearly every other industry on the planet. Accessing space has never been easier.Space investor and entrepreneur Robert C. Jacobson provides a comprehensive overview of this spectacular industry, allowing everyone on Earth to understand the integral role space plays in our lives and how it will continue to transform the world. Over one hundred industry experts share exclusive insights, presenting a 360-degree view of the wide-ranging space industry, its emerging opportunities, investment potential, benefits on Earth, and more.Space Is Open for Business provides a framework for those outside of the industry to understand the critical context that led to the commercial movement known as NewSpace, illustrating how private sector trailblazers have evolved this $350 billion global industry and how NewSpace's exponential growth will lead our world into a new era of progress.Foreword by David S. Rose Founder, New York Angels | Associate Founder, Singularity University"A sweeping guide that will inspire you to think big about space, the space economy, and your role within it."Matthew C. Weinzierl, Ph.D., Harvard Business School
With one hundred essays from one hundred interior designers, spanning stylistic genres from classic to modern, on subjects as varied as "Collecting," "White," "Portals," and "Layering", this book highlights the knowledge, experience, expertise, insight, and work of established design legends, as well as members of the new guard, spanning over four decades of work. Unique in the quality of its contributors, this book will be a landmark publication in the field, helpful and inspirational for the home decorator, as well as students of design and design professionals. Poised to become the essential book on design, Interior Design Master Class collects the expertise and knowledge of the best interior designers working today. Opening Interior Design Master Class is like sitting down to the best dinner party you’ve ever attended. A classic in the making, the book features one hundred essays by America’s top designers—from established design legends to members of the new guard—that explore in detail the process of designing a home, from the fundamentals to the finishing touches. Grouped by theme, the subjects range from practical considerations (Bunny Williams on "Comfort," Etienne Coffinier and Ed Ku on "Floor Plans") and details (Victoria Hagan on "Light," Rose Tarlow on "Books") to inspiration (Jeffrey Bilhuber on "America" and Charlotte Moss on "Couture") and style (Kelly Wearstler on "Glamour," Thomas O’Brien on "Vintage Modern"). Each piece is paired with images of the designer’s work to illustrate the principles being discussed, annotated with informative captions.Unique in the quality of its contributors, this is a book that readers will refer to again and again for advice and inspiration, an invaluable resource for practical tips and thought-provoking design. Select Contributors and their Topics: Vicente Wolf on Teachers; Barry Dixon on Relationships; Barbara Barry on Awareness; Amanda Nisbet on Intuition; Madeline Stuart on Trends; Suzanne Tucker on Archaeology; Bobby McAlpine on Intimacy; Stephen Sills on Aspirations; Mark Cunningham on Symmetry; Richard Mishaan on Portals; Campion Platt on Proportion; Cindy Smith and Jane Schwab on Editing; Juan Montoya on Scale; Amy Lau on Commissions; Suzanne Kasler on Style; Thomas O’Brien on Vintage Modern; Alan Wanzenberg on Modernity; Alexa Hampton on Tradition; Kelly Wearstler on Glamour; Anthony Baratta on Exuberance; Tom Scheerer on Luxury; Suzanne Rheinstein on Nuance; Timothy Corrigan on Welcoming Spaces; Bunny Williams on Comfort; Miles Redd on Reinvention; Martyn Lawrence Bullard on Sex; Mario Buatta on Color; Darryl Carter on White; Alessandra Branca on Red; Alex Papachristidis on Layering; Victoria Hagan on Light; Thad Hayes on Quality; Kathryn Ireland on Textiles; Windsor Smith on Communication; Nancy Braithwaite on Collecting; Kathryn Scott on Patina; Timothy Whealon on Antiques; Rose Tarlow on Books; Thomas Jayne on Provenance; Emily Summers on Sourcing Furniture; Thomas Pheasant on Inspiration; Sandra Nunnerley on Jazz; Penny Drue Baird on Paris; Jeffrey Bilhuber on America; Robert Couturier on Fashion; Ann Pyne on Poetry; Alan Tanksley on Destinations; Charlotte Moss on Couture