By Graeme Brooker

This ebook defines the background of recent inside layout during the reuse of current structures. This strategy permits the background of the internal to be seen as become independent from the heritage of structure and as a substitute permits the inner to boost its personal old narrative.

Following a short creation, the booklet is geared up in six chapters at the following subject matters: domestic, paintings, retail, demonstrate, relaxation, and tradition. every one bankruptcy contains a variety of case stories in chronological order. fifty two key examples courting from 1900 to the current are explored by way of context, notion, association, and aspect and are illustrated with photos, plans, sections, notion drawings, and sketches.

This detailed historical past should be priceless for college students of inside structure and layout looking a survey adapted in particular for them, in addition to beautiful to common readers

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A central glass and steel sculptural conference room dominates the 400 square metres (4,300 square feet) of office. The adaptation of unusual existing spaces and buildings provides an occupant with the potential for new and innovative spatial configurations with which to communicate their company’s identity. These strategies have led to the development of entirely new interior terrains with a mixed landscape of spaces, enclosures, pods and rooms in which work can take place. In a project by Fashion Architecture Taste (FAT), a disused church in Amsterdam has become a space for the Dutch advertising agency KesselsKramer.

Context This four-storey rooftop addition was designed for the architect himself, Paul Rudolph. The host building was a five-storey Neo-Georgian upper Manhattan townhouse, which had been remodelled in the 1930s. Rudolph rented an apartment on the fourth floor in 1965 and in 1976 purchased the whole building for $300,000. In 1977 he started work on the conversion of the first four floors into apartments and the construction of his own penthouse – work that was ongoing due to his constant reappraisal of his personal living space, and not ‘officially’ finished until 1988.

Its placement away from the main stair denoted its invitation-only status. Whilst high above the ground, the apartment had a unique relationship with landscape. Each level was connected to the exterior by a terrace. There were five distinct outdoor spaces on four staggered levels. The largest terrace faced east and was connected to the master bedroom. Detail In the Rudolph apartment entire rooms are hidden within the structure whilst others are boldly exposed. 1 The main materials used in the construction of the exterior of the apartment were concrete, glass and steel.

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