Lofts

Lofts, by definition, are former commercial spaces that have been converted for residential use and living/work environments. But lofts, by design, are vast silent expanses, soaring arches, stalwart steel girders, massive beams, and all the powerful drama of a curtain-time stage set. Lofts are a designer's dream. The importance of urban loft design for the architectural and design world is highlighted in this collection of the finest, most dramatic of these transformed spaces. Lofts: New Designs for Urban Living takes you on an intimate tour of residential lofts in the major cities of the world including New York, Los Angeles, Sydney, London, Toronto, Paris, and Tokyo. Projects include work from cutting-edge designers: Roto, Fred Fisher, Peter Anders, Neil Frankel, Briggs/Iacucci, Peter Tow, Kar Ho, Moneo/Brock, Belmont Freeman, Lotek, Brayton & Hughes and more. Complete with informative text, Lofts features full-color photographs, plans, and a valuable resource guide for anyone who has every dreamed of converting a commercial building into a residential loft.

'The Big Book of Lofts' features more than 600 different design ideas covering every part of the loft, and then some. The styles focus on the most popular used by today's best interior designers.

With text covering the history of the phenomenon and giving a description of the architecture and decoration, as well as the lifestyle they offer, this is a collection of panoramic photographs of selected lofts from New York to Milan, London, Peking and Paris.

A groundbreaking look at the transformation of SoHo. American cities entered a new phase when, beginning in the 1950s, artists and developers looked upon a decaying industrial zone in Lower Manhattan and saw, not blight, but opportunity: cheap rents, lax regulation, and wide open spaces. Thus, SoHo was born. From 1960 to 1980, residents transformed the industrial neighborhood into an artist district, creating the conditions under which it evolved into an upper-income, gentrified area. Introducing the idea—still potent in city planning today—that art could be harnessed to drive municipal prosperity, SoHo was the forerunner of gentrified districts in cities nationwide, spawning the notion of the creative class. In The Lofts of SoHo, Aaron Shkuda studies the transition of the district from industrial space to artists’ enclave to affluent residential area, focusing on the legacy of urban renewal in and around SoHo and the growth of artist-led redevelopment. Shkuda explores conflicts between residents and property owners and analyzes the city’s embrace of the once-illegal loft conversion as an urban development strategy. As Shkuda explains, artists eventually lost control of SoHo’s development, but over several decades they nonetheless forced scholars, policymakers, and the general public to take them seriously as critical actors in the twentieth-century American city.

Behind the dirty, cast-iron facades of nineteenth-century loft buildings, an elegant style of life developed during the 1960s and 1970s. This style of life -- of using the city as a consumption mode -- was tied to the presence of artists, whose "happenings," performances, and studio spaces shaped a public perception of the good life at the center of the city.

This text presents examples of residential lofts in London, New York, Paris, Chicago, Berlin, Los Angeles and Milan. Whether in former warehouses, converted schoolhouses, suites of offices, or one-time woodworking shops, the lofts all represent contemporary design and living. Confronted by the challenge of dealing with hundreds or often thousands of feet of raw space, loft dwellers have responded by devising some interesting design solutions. Here are lofts with open, free-flowing spaces, loft divided into rooms or arranged on different levels, artist's lofts, and lofts that function as home offices.

Reissue of an acclaimed collection of images from photographer W. Eugene Smith’s time in a New York City loft among jazz musicians. In 1957, Eugene Smith walked away from his longtime job at Life and the home he shared with his wife and four children to move into a dilapidated, five-story loft building at 821 Sixth Avenue in New York City’s wholesale flower district. The loft was the late-night haunt of musicians, including some of the biggest names in jazz—Charles Mingus, Zoot Sims, Bill Evans, and Thelonious Monk among them. Here, from 1957 to 1965, he made nearly 40,000 photographs and approximately 4,000 hours of recordings of musicians. Smith found solace in the chaotic, somnambulistic world of the loft and its artists, and he turned his documentary impulses away from work on his major Pittsburg photo essay and toward his new surroundings. Smith’s Jazz Loft Project has been legendary in the worlds of art, photography, and music for more than forty years, but until the publication of this book, no one had seen his extraordinary photographs or read any of the firsthand accounts of those who were there and lived to tell the tales.