Thesis (M.Des.)--York University, 2008. Graduate Programme in Design. / Typescript. Includes bibliographical references (leaves 58-61). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR38805

Blurred LInes seeks to reopen discussion of the scale and interrelation of architecture and furniture, traditionally conceived. It traces the recent history of furniture and architectural making from the high-point of the “built-in” through the manufacturing age, questioning the corresponding stratification of our immediate built environment into building, infill and objects. Engaging modernist and contemporary criticism, it explores a return to unified building in which the architecture might well become the furniture and vice-versa, erasing built hierarchy and asynchronicity. The paper describes lessons learned from modern masters of the discipline from Adolf Loos to Nader Tehrani and attempts to identify key formal, spatial and constructional considerations in the successful integration and “blurring” of this line. All of this comes to bear in the establishment of design experiments to be carried out in studio, testing the possibilities and viability of the paper's theoretical models.

This thesis gives a voice to the call for a holistic approach to the preservation of commercial and particularly domestic architecture. Interior architecture is an important piece of the whole in need of consideration. Arts and Crafts interiors in the state of Indiana are considered in reference to this fact and the case studies chosen exemplify the connection between cultural history and the interior architecture and design.The Arts and Crafts Movement's philosophy worked to integrate the entire design with the surrounding site. The interior was the focus of the synthesized design and it is this emphasis that must be captured. The Midwest played an important role in the development of the Arts and Crafts Movement and central Indiana's interior residential architecture gives evidence to the movement's influential philosophy as well as social changes in the early twentieth century.An introduction to the Arts and Crafts Movement briefly discussing its history in England and the United States is provided as well as a discussion of the Movement's philosophy. Following the history is a chapter concerned with the Arts and Crafts influence in Indiana. Manufacturers and retailers are identified as well as products marketed. Architects and artisans are discussed. Next, a chapter identifies significant interior elements, furnishings, finishes and floor plans. Finally, four case studies are examined ranging from a self-built bungalow to an architect-designed estate. Floor plans, architectural features, and finishes are covered. / Department of Architecture

Thesis (DDes) - Faculty of Design, Swinburne University of Technology, 2008. / Submitted in partial fulfillment of the requirements of the degree of Professional Doctorate in Design, National Institute for Design Research, Faculty of Design, Swinburne University of Technology - 2008. Typescript. Submitted in partial fulfilment of the degree of Doctor of Design, Faculty of Design, Swinburne University of Technology, 2008. "June 2008". Bibliography: p. 137-147.

Thesis (M.S.)--Oregon State University, 2009. / Printout. Includes bibliographical references (leaves 83-89). Also available on the World Wide Web.

Thesis (M.S.)--University of Massachusetts Amherst, 2009. / Accompanied by 11 .pdf files and four .jpg files. Includes bibliographical references (p. 30-31).

Thesis (M.A.)--University of Delaware, 2009. / Principal faculty advisor: Brock W. Jobe, Winterthur Program in Early American Culture. Includes bibliographical references.

Thesis (MTech (Design))--Cape Peninsula University of Technology, 2016. / Historical interiors hold within them significance which provides us with cultural identity, as well as historical and aesthetic value, and their physical materials offer us a connection to the past. These interiors and their functions often become obsolete and need to acquire a new function that is more suited to our modern-day society. One such change in function which was identified to be steadily on the rise in Cape Town is the reappropriation of historical interiors into contemporary exhibition venues. It was noted that during this process many of these historical interiors end up as neutral contemporary white boxes, where the whole historical interior is replaced or concealed by a pristine white interior and this leads to a loss of its internal historical aesthetic value. To counter this and to retain the significant aesthetics of these interiors for ourselves and our future generations, heritage legislation offers a certain amount of protection through their respective guidelines and principles during adaptation. However, these guidelines do not offer concrete methods on the responsive adaptation of historical interiors into contemporary exhibition spaces. To address this problem and provide a substitute for the white box, alternative methods for the responsive adaptation of the historical interior into a contemporary exhibition space are highlighted and investigated. Through this investigation, this study aims to provide responsive approaches which interior designers may adopt during adaptation that respect, acknowledge and highlight the significance of the reappropriated space in the design of contemporary exhibition venues.

INPRINT is a local fashion house , involved with the adaptive re-use of the Saxon Building in the Pretoria CBD. The design attempts to: -Celebrate the relationship between past and present, new and old within architecture and the fashion industry. -Showcase the relationship between fashion retail and the craft of garment production. -Redefine the relationship between interior architecture and fashion. -Provide a platform to encourage and exhibit local fashion design and production. The reinfusion of energy into the interior space of the Saxon Building along Church Street gives the interior and the building as a whole its significance as currently it is insufficiently used and has no reference to the sites historical significance. Reprogramming and designing of this space also contributes to the current Tshwane urban renewal project of the surrounding area. This project was initiated due to a fascination between the role that interior environments and clothing have on an individual, as well as the dramatic change in fashion retail since the 1800’s. Through the introduction of a multi use program, the original function of the building, a retail store, becomes more accessible to a variety of users and the general public within and around the CBD. The interior as a whole becomes a network of interactive spaces encouraging personal relationships and social interaction, thus engaging the public with the craft of fashion. The existing character has been reinterpreted allowing the Saxon Building to regain its former identity and significance. This investigation supports the idea that spaces, as with clothing, contributes to the identity of the users, the South African garment industry and the greater context. / Dissertation MInt(Prof)--University of Pretoria, 2014 / Architecture / MInt(Prof) / Unrestricted

The workplace environment is intrinsically dynamic, yet architecturally it is treated as something that is fixed. Functional layouts specific to the thinking of the time (zeitgeist) are built into the structure leaving little opportunity for adaptation. Frank Lloyd Wright’s Johnson Wax building is one such example; built to function in the Taylorist paradigm with little scope for alteration. The contemporary workplace often lends itself to the adaptive reuse of a range of building typologies or the construction of new structures with Green Star ratings. At the same time, a significant amount of office buildings, constructed prior to the green building movement of the 1990’s, are still in use, despite the typically hermetic and unhealthy spaces they contain. The possibility of adapting an office building from pre-1990 building stock is investigated. Previous workplace layouts inhibited conversation (since interaction in the workplace was frowned upon), but today workplaces are designed with social interaction as its core. The largely unused potential of this aspect within corporate culture and the influence it might have on spatial organisations is investigated. Interior architecture, as mediator between office buildings’ accommodation and their dynamic programs, forms the premise of the study. The hypothesis that an interior architectural intervention can make a positive translation from an unhealthy to a healthy building is tested by designing for the interplay between the character of a space and its design elements. The design process is guided by the Open Building methodology of fixed, semi-fixed and loose-fit. The intervention translates this methodology into a responsive and context conscious proposal with an emphasis on the users and their sense of place. Finally, traditional architectural elements are reinterpreted in terms of their ability to enable or disable interaction between users according to the theory of social friction. Three types of interaction are considered: official meetings, casual meetings and chance encounters. Human interaction, central to the creation of a workplace as opposed to a work space, is a constant theme throughout the study. / Dissertation MInt(Prof)--University of Pretoria, 2013 / Architecture / MInt(Prof) / Unrestricted