| Formatted contents note |
PART 1: The Room's Cohesive Integrity p.1, 1. Visions for the Future, Lessons from the Past p.3, 2. Spatial Relationships p.13, The room shares ground, boundaries, and space with its related building, landscape, and city: The Room Reconsidered p.13, Context p.15, Spatial Design p.16, Common Ground p.17, Spatial Relationships p.18, Integrated Design p.18, Scale-linking p.19, Using Relationships p.20, 3. Social Use p.25, The design of the human environment is guided by patterns of social use and social relationships: Historical Precedents p.27, Classical Design p.29, Putting Historic Precedents and Classical Design in Perspective p.31, Roman Precedent p.31, Renaissance Precedent p.37, Using Precedents p.48, 4. Humanistic Goals p.51, The design of the human environment is governed by the laws that govern nature and human nature: Vitruvius p.53,Alberti p.57, Palladio p.60, Serving Human Needs and Desires p.67, Using the Past p.75, PART 2: Synthesis of Separate Scales p.77, 1. The Room and the City p.79, The city is viewed as a 'great house" designed for the convenience and enrichment of a community of people: City as "Great House" p.82, House-Organizing Elements p.83, City-Organizing Elements p.85, Connotations of City p.89, Urban Fabric p.97, Street and Room p.98, Walking Tour p.99, City Square as Great Room p.103, City Center as Dining Room p.108, Urban Renewal p.109, Urban Decline p.113, People as City p.114, The Future City p.118, Case Study: Cambridge, Massachusetts p.119, 2. The Room and the Landscape p.123, The landscape outside bears on the design of the room inside: Connotations of Landscape p.123, The Presence and Influence of the Land p.124, "Landscaping" Nature p.126, Landscape as Room p.126, The Villa as Building and Landscape p.132, Villa Types p.134, Roman: Pliny the Younger's Villas p.138, Renaissance Garden p.140, Villa Lante p.146, Natural Park in the City p.156, Moving through the Landscape p.160, Viewing the Landscape p.161, "Outdoor Room" in the City p.163, "Outdoor Room" in the Building: MoMA's Sculpture Garden p.164, "Outdoor Room" in the House: The Japanese Garden p.168, Landscape and the Teahouse p.171, Landscape and Design p.176, 3. The Room and the Building p.179, The building gives rise to a society of rooms. The Building's Imprint p.179, The Building's Impact p.185, Landscape as Building p.185, The Site p.187, Procession from Site into Building p.188, Spatial Sequences p.191, Natural Light and Window Openings p.194, Facade p.196, Doors p.197, Roofs p.201, Corridors p.203, Society of Rooms p.203, Case Study: Sir John Soane House and Museum p.205, Experiencing Building Plans p.211, PART 3: Synthesis of Separate Phenomena p.215, 1. The Room and Its Reality p.217, The room's reality derives from its space-defining elements:Connotations of the Room p.217, Walls (Vertical Planes) p.218, Discontinuities in the Wall: Columns p.223, Recesses in the Wall p.228, Openings in the Wall: Doors and Windows p.229, Natural Light and the Proper Exposure of Rooms p.237, Floor (Horizontal Base Plane) p. 239, Changes in Floor: Stairs p.241, Ceiling (Overhead Plane) p.242, Space p.245, 2. The Room and Its Illusion: Part I. The Decorative Program p. 247, The room's reality is liberated by allusion and illusion: Decoration p.247, The Decorative Program p.250, Ornamentation p.250, Manipulating the Senses p.254, <br/>Scent p.254, Sound p.255, Material (Texture) p.258, Artificial Light p.260, Views p.263, 3. The Room and Its Illusion: Part II. Color p.269, The room's color cannot be considered separately from light, form, and space. Changing lighting conditions and adjacent hues continually change a color's visual appearance and psychological effect: Color Theory p.271, Color Energy p.272, Color Activates More Than the Sense of Sight p.274, Color in the City: Florence p.276, Changing the Colors of Cities p.276, Changing Colors of Atmosphere p.277, Changing Colors of Landscape: Monet's Garden p.278 After Cave Painting, Room Painting: Pompeii p.281, After Pompeii p.286, After Nature, Room Painting: Japan p.288, 4. The Room and its Inhabitants p.289, Through human scale, perception, and use, the room is made accessible and brought into relationship with our daily lives: Human Body (Outer Self) p.290, Module p.292, Proportion p.294, Scale p. 295, Human Consciousness (Inner Self) p.298, Qualities that Connect Us to Our Environment p.301, Human Perception p.301, Aesthetic Perception p.302, Synesthesia p.303, Anesthesia p.304, The Room and the Objects Within p.307, The relationship between the room and its objects has varied with time, place, and society: The Inhabited Room p.307, Design Theory and the Object p.310, Objet d'art, or Decorative Object p.311, Louis Comfort Tiffany p.311, The Integrated Object p.313, Frank Lloyd Wright p.313, Charles Rennie Mackintosh p.316, Wiener Werkstatte p.318, Object: Form versus Space p.321, Gerrit Rietveld p.321, Object as Type p.326, Le Corbusier p.326, Bauhaus p.329, Eileen Gray p.334, Plastics p.336, Object as Expression p.338, Gaetano Pesce p.338, Postmodernism, or Ornamentalism p.338, The Timeless Object p.341, 6. Evaluating the Room: Appearance and Experience p.343, Case Study:"Room for Learning with Latest Technology" p.353, Room as Community p.356, PART 4: Integration p.359, 1. Case Study: The Museum of Sydney on the site of the First Government House p.361 |
