With rare access, interior designer and artist Ashley Hicks has photographed the State Rooms of Buckingham Palace, home of Britain's monarch since 1837. An important representation of Regency, Victorian, and Edwardian styles, the palace is the work of such noted architects as John Nash. Hicks's eye brings a vibrant take on the formal spaces, capturing the magnificent rooms furnished with treasures from the Royal Collection. Starting at the Grand Staircase, Hicks leads us through the opulently decorated State Rooms, which include the White Drawing Room and the Blue Drawing Room that both overlook the palace gardens; the Ballroom, which is the setting for twenty investiture ceremonies each year; and the Throne Room, used by Queen Victoria for spectacular costume balls in the 1840s. The long, skylit Picture Gallery is hung with important works of art in the Royal Collection by Rembrandt, Rubens, Poussin, van Dyck, Vermeer, and Canaletto, among others. Decorative furnishings from George IV's exotic Brighton Pavilion lend a fanciful turn to many of the rooms. This intimate tour through the Buckingham Palace State Rooms is a necessary addition to the libraries of devotees of the royal family, English architecture, decoration, and the fine arts in general.

This collection provides a genuinely fresh outlook on the Italian interior and will form a rich resource for scholars and students of the Renaissance.
Brings together an interdisciplinary group of scholars, combining innovative approaches, case studies, and methodological critiques
Expands the discourse on the Renaissance home, ultimately challenging traditional notions of public and private, interior and exterior, ideals and reality
Examines under-studied spaces of the interior, such as baths and chapels, and offers new insights into more familiar topics such as identity, status, and family memory
Includes a wide range of primary sources from visual and material evidence to archival documents

Programming and Research: Skills and Techniques for Interior Designers, Second Edition, provides a step-by-step approach to mastering the process of documenting client and user requirements for any design project. Replete with examples and analyses of student and professional work, this book guides its readers through the creation of their own program documents. Both the National Council for Interior Design Qualification (NCIDQ) and the Council for Interior Design Accreditation (CIDA) consider programming a required core of knowledge. Programming and Research focuses on how the study of programming for interior designers prepares students for and advances them into the professional realm. Features -More than 100 images, including student work, help illustrate and explain the programming process -Appendices include actual programming documents used by successful interior design firms, a residential questionnaire, and a list of helpful resources -Key terms are highlighted in the text and defined in a comprehensive glossary New to this Edition -Updated with new coverage on evidence-based design, integrated project delivery (IPD), building information modeling (BIM), design across disciplines, LEED programming, designing on a budget, and time management -New examples and case studies throughout cover new technological tools being employed in the industry to collect data -More intuitive integration of art and graphics to explanations in the text Teaching Resources -Instructor's Guide provides suggestions for planning the course and using the text in the classroom, supplemental assignments, lecture notes, and sample test questions -PowerPoint (R) presentations include images from the book and provide a framework for lecture and discussion

Jonis Hartmann unternimmt in vorliegender Untersuchung den Versuch, Entwurfswerkzeuge jenseits von Stift und Papier begrifflich einzufuhren. Sie setzen a priori an und begleiten den Entwurf geistig. Im Gegensatz zum "genialischen Moment" des Entwerfens sind sie ubertragbar, regelhaft und verbalisierbar. Der Autor erlautert ihre Existenz und Konstituierung phanomenologisch anhand gebauter Beispiele und weist auf ihren aktiven Einsatz in Bereichen wie bspw. dem klimabewussten Bauen hin. Wiederkehr und Mehrdeutigkeit als Entwurfswerkzeuge wirken steuerbar auf das Entwerfen ein und steigern die insgesamte Entwurfskompetenz. Sie sind erlernbar, anwendbar und essentiell bei der UEbersetzung einer zunachst dunklen, kreativen, noch unarchitektonischen Idee in komplexe, lesbare, oeffentliche Architektur. Sie basieren auf systematisierten Erfahrungswerten beim Entwerfen und ermoeglichen den Aufbau architektonischer Grammatik.

The first monograph of renowned architect and interior designer Thomas Griem, featuring projects in London (5 projects), Hong Kong (2), Paris, Mallorca (3) and Ibiza. Thomas opened TG Studio in 2011 and this new book is a testament to the success of the studio's creativity and approach to architecture and interior design. Thomas Griem trained in London at the University of Westminster and at the Architectural Association. He has also made furniture and lights, and has always been fascinated by the making, designing and creating of not only buildings or interior spaces, but products. His work as an architect has been diverse, however he found that his passion lay in designing timeless beautiful homes. It has always been exceptionally important for Thomas to genuinely respond to the particular requirements of the client, the site and significantly the budget.

Louis XIV, regency, rococo, neoclassical, empire, art nouveau and historicist pastiche: furniture styles march across French history as regimes rise and fall. In this social history, the author explores the changing meaning of furniture from the mid-17th century to the early-20th century, revealing how the aesthetics of everyday life were as integral to political events as to economic and social transformations. The book aims to demonstrate how furniture served to represent and even generate its makers' and customers' identities.

It was in his house in Oak Park that Frank Lloyd Wright made his first contributions to the modern movement. In 1889 he designed the first part of the house, in 1895 he added to it for his wife, Catherine, and their family, and in 1898 for his architectural practice. The entire building was a learning laboratory of modern architecture. While not a Prairie School house, it led to the development of the Prairie School. Wright's constant changes to this complex paralleled the evolution of his early architectural work and career. There, with his young assistants, he rethought the plan, spaces, materials, proportions, and lines of American residential architecture, creating a revolution on the Prairie. His home and studio provided the architectural environment in which to experiment with his ideas in three dimensions. The house featured contemporary art work, oriental tribal rugs, and Japanese decorative arts chosen by Wright and his wife. The studio was decorated with classical plaster sculpture, Teco ceramics and selections from Wright's large collection of Japanese prints. Wright completed the interiors, toned in nature's hues, with furniture and built-in furnishings of his own design, harmonious to the whole. The masterful colour photographs of Jon Miller of Hedrich-Blessing show a glimpse into Wright's first haven, where he challenged prevailing notions about the country's architecture, and which he then left, to continue as one of America's most significant architects. Included in the book is a portfolio of historic black and white photographs of the building, a number of them taken by Frank Lloyd Wright himself.

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.

Portfolio Design for Interiors teaches the aspiring interior designer how to create a professional quality portfolio. Using real examples of outstanding student portfolios, authors Harold Linton and William Engel demonstrate how to analyze, organize, problem-solve, and convey diverse types of visual and text information in various forms of historic, contemporary, and innovative styles. The text features a robust art program and examples of various presentation applications, including graduate study, employment, scholarships, grants, competitions, and fellowships. This is an accessible and comprehensive resource for students learning professional portfolio design.