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Line-Up | Showroom

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In showroom design Line-Up is the display practice of arranging a series of four or more items of the same type, such as chairs, but of different designs, that are arranged evenly spaced against a continuous background surface, allowing the differences between the displayed objects to be more easily discerned by the customer. 

research

Line-Up is used as a display strategy to organize merchandise in an aesthetically pleasing way. Although it may be used in conjunction with other display Intypes such as Plinth1 or Hotspot,2 all items remain on the same base plane. 

A Line-Up display puts all attention on the product. The proximity of the different items allows the differences between them on display to be more easily recognized by showroom patrons, as they can compare items without having to recall what something looked like or how big it was. The organization of the objects, coupled with their condition of being on display effectively ‘museum-izes' the Line-Up, lending it an air of formality. 

In furniture showrooms, Line-Up is most commonly used to display chairs, where their size and variation makes them ideal objects to display. Its versatility also makes it popular in showrooms, which like to keep their displays as flexible as possible due to the inevitable rearranging of vignettes when new products are to be featured.3 A Line-Up can be used to merely as an aesthetically pleasing display, or as a subtle way of informing circulation as customers subconsciously circulate down the line alongside the display.

Although similar to the Inypes Marching Order4 and Specimen5, Line-Up differs significantly from both. Marching Order is a principle for the organization of space, while Line-Up is used solely for the display and organization of objects. Additionally, Marching Order requires a series of repeating forms, while Line-Up most often features objects that are all be different, despite being of the same type. Specimen, on the other hand requires a larger array of objects, and displays them on an entire plane, rather than just in a line. Often times, items are displayed in their own cell-like enclosures, effectively isolating them from one another. 

History

Line-Up as a display strategy may have evolved as a opposing reaction to Wunderkammer, a display aesthetic that was used by art and natural history museums of the 16th-18th centuries. In Wunderkammer (German for "wonder-room") entire walls and sometimes ceilings were covered with artifacts. In early iterations, these objects were not necessarily grouped according to any particular ordering principle. This "cabinet of curiosities" approach meant that early exhibition spaces had an "apparent lack of rational classification," giving them a "bizarre sense of accumulation and juxtaposition."6 This concept was aesthetically appealing, if not particularly educational.

By the mid-18th century, the Wunderkammer underwent scrutiny by curators and historians. Although most museums still used the "dense multi-tiered hanging display scheme," it was no longer universally thought to be the best strategy for displaying artifacts. It had been assumed that visitors perceived one picture at a time as they processed through rooms. By the 1830s the lack of hierarchical arrangement in Wunderkammer caused problems for visitors who had trouble focusing or distinguishing individual works of art. Moreover, patrons overlooked paintings displayed outside of the normal visual field, too high or too low on the wall.7 

In 1847, art critic John Ruskin demanded that London's National Gallery adopt a new arrangement for its works of art. Specifically, he called for "the abandonment of the crowded hang in favor of displaying all pictures at eye-level."8 In effect, he wanted the pictures to be hung side-by-side in one line. Architect Charles Eastlake shared Ruskin's opinion, adding that the paintings be given "sufficient surrounding space." He believed that this less dense hanging scheme would allow the color of the walls to play a more noticeable role in how the paintings (and especially the colors of those paintings) were perceived. By the early 20th century, the Wunderkammer display aesthetic had fallen away, replaced by the single row of evenly spaced paintings hung at eye-level. 

Effect

The Oxford English Dictionary dates the first usage of the term "line-up" to 1889. Originally it referred to a list of players in a game or sports club. By 1915 the term described a police line-up, or the assembling of a number of persons in a line for inspection or identification. In this usage, people fitting a similar physical description are made to stand in a line before a witness, in the hopes that the witness will be able to identify the perpetrator of a crime. The side-by-side arrangement facilitated comparisons of the various attributes of the people in the line-up.

Line-Up as a showroom display aesthetic operates on a similar principle. Objects fitting a certain categorical description, such as chairs, textiles, lamps, are arranged in a line, allowing customers to more easily see the differences between one piece of merchandise and another. In this sense, a Line-Up is as a visual display of information, in which each object becomes a "small multiple." In this type of visual display, the same design structure is kept for repeating visual elements, allowing for an "economy of perception" as the relevant information (and nothing else) changes. Statistician and information designer Edward R. Tufte explains that "as our eyes move from one image to the next, this constancy of design allows viewers to focus on changes in information, rather than changes in graphical composition." The repetition of elements next to each other "enforces local comparison within our eye-span" by allowing "an active eye"9 to select the differences and understand the contrasts. Having all variations of something right next to each other means that viewers no longer have to rely on memory to compare objects. All comparisons can be made with a single glance for "uninterrupted visual reasoning."10 Small multiples allow customers to "see, distinguish, choose."11

In showrooms, the display is constant for all items in the Line-Up; customers focus on the differences between one product or another, or among all elements on display. The display element, such as a common background, becomes effectively invisible, ensuring that the focus is on the merchandise. In some installations, the differences between products may be small - the same object in multiple color variations, for example. In others, the differences between objects in a Line-Up may be greater; there may be differences of form, color, material or size. However, showrooms use a common grouping for the objects on display, whether it is something as general as "chairs," or something more specific, such as "the Series 7 chair in shades of blue."

Line-Up is a display aesthetic used without a particular display mechanism. It does not require the use of a Plinth, Hotspot or shelf, although it may be used in conjunction with one in order to further add to the "museum effect" of the display. This is, however, unnecessary, as condition of being on display is fundamental to the understanding of an object as art in the western world.12 The act of removing an object from its intended context, such as an office vignette, isolates it "for the purposes of aesthetic contemplation."13 Additionally, the grouping of objects that fit one particular description mimics the taxonomic groupings popular in natural history museums. Thus, the very nature of Line-Up suggests a museum display, adding to the formal atmosphere of the showroom.

Spatially, Line-Up is a manifestation of a linear organization. Because linear organizations define a length, they also express a direction and thus signify "movement, extension, and growth." Thus, Line Up can be used to subtly influence circulation within a showroom. Placing a Line-Up parallel to the intended path of travel may encourage showroom clientele to the showroom to subconsciously follow the directionality of the display. Likewise, placing a Line-Up perpendicular to a circulation path may cause visitors to stop and consider the display (if it is a termination point) or switch their path of travel as they begin to circulate in the direction suggested by the display. Line Up, as an organizational device, is flexible; it is easily adaptable to the various needs of the showroom. If the Line-Up display is too short, another item can be added. Similarly, if it is too long, an item can be removed with no detrimental effect on the display.14

Chronological Sequence

Decade of 1950

Based on trade publications, such as Interior Design, the history of Line-Up as a display strategy in showroom design can be traced back six decades; creating a Line-Up of merchandise was as simple as arranging it on a table. The 1959 Lange & Williams showroom did just that. This simple showroom featured a long line of shallow tables arranged next to walls. The table bases were concealed with pleated skirts so that one's attention focused on the three-dimensional objects (lamps) lined up side-by-side on the tables.  Behind the lamps various wall decorations were arranged in a cluttered fashion.15 The Line Up display allowed comparisons on the part of the clientele. The advantage to the brand, Lange and Williams, was one of storage, displaying the full range of its products out in the open.

Decade of 1960

The Associated Showrooms (1964) featured the combined products of three different companies, including the furniture importer Stendig, Design Technics which specialized in ceramic furnishings, including lamps, and Rowan Inc., which specialized in upholstery and drapery frabrics. Designer David Haid separated the wares of the various companies by assigning the merchandise to various display units within the lager space; although Haid designed various types of units, Line Up was included in all. One type of display unit floated freely in space; each unit included a plinth and a wall plane as backdrop to the items displayed. In one such setting for Stendig, a line of five chairs was aligned on a dark plinth, set against a light backdrop. The back of Stendig's partition served as the wall for Design Technic's display. Sofas were also arranged as a line up along the perimeter of the space.16 

The design intent of the 1965 Ward Bennett furniture showroom took a more museum-like direction. The firm of Brickel-Eppinger intended the space to be "a perfect backdrop" for the furniture on display. To add to the formal air of the showroom, a "changing exhibit of art" was planned to be an integral part of the showroom. As such, the walls of the showroom were painted a neutral sand color, while the floor and ceiling were kept dark to blot out any distinguishing features that could distract from the displays. Hotspots trained on certain pieces added to the dramatic air of the showroom, while two Line-Ups of chairs along the window and along an interior wall of the showroom were reminiscent of museum displays. The Line-Up in front of the window rested on a Plinth and was intended to "create a striking" effect against panes of glass.17 The chairs comprising that display were of the same design, differing only in color. By contrast, the Line-Up along the adjacent wall varied. Each of the five chairs was of a noticeably different color and design; a high-backed armchair centered the display, with the lower profile chairs flanking it. The rigid organization of these displays evokes paintings hung at even intervals on the walls of art museums, or the taxonomic classification of samples found in natural history museums-fitting for the museum-like atmosphere the designer aimed to create.

Decade of 1970

The Brickel Associates showroom (1972) was part of a joint installation within the Chicago Merchandise Mart. The entire tenth floor of the building was reserved for contract showrooms, and the seven leading contract manufacturer of the time occupied them. The area designed for Brickel Associates by Ward Bennett was simple. The walls of the long space were painted a light neutral color, with the carpeting and ceiling kept a darker color. Furniture vignettes were arranged along the length of the space, enticing the visitor to enter and try out the furniture as they processed through the showroom. Along one wall of the showroom, a Line-Up of chairs faced into the showroom. The chairs were of a similar form, though not of a similar color. Resting on a Plinth, their backs were raised just a bit closer to eye level.18 Though this display was primarily intended to showcase the different chairs the company had on offer, it serves a secondary function. The line created by the chairs, especially the contrast where their backs meet the wall, draws the eye into the back of the showroom in a way the staggered vignettes cannot. In this way, visitors are enticed to circulate through the entire space of the showroom, ensuring they see everything on display.

The Line-Up display in the 1974 Thonet showroom garnered more attention. Designers Joan Burgasser and Frank Mingis intentionally refrained from using "extraneous embellishments" that would detract from the chairs and other pieces of furniture on display. Instead, the walls of the showroom were painted white, the carpet a dark charcoal. The vignettes grouped "chronologically related furniture." There were also displays "illustrating Thonet's innovative handling of wood" that gave the showroom an instructive tone. But the entrance of the showroom was the most eye-catching. The front wall was covered in the same charcoal gray carpeting as the floor, making the two surfaces seem like one continuous plane. Affixed to the wall was the Thonet logo rendered in polished steel letters. Below it, five of the of the manufacturer's iconic chairs in tones of beige and brown were aligned side-by-side.19 In this case, a Line-Up at the entrance of the showroom offered a preview of what the showroom represented, and also spoke to the quality of furniture produced. In a space that did not have a street-level window, the display acted as a mechanism to attract potential buyers who might otherwise pass the space by.

Decade of 1980

Some of the early iterations of Line Up suggested an ad hoc assembly, as it they were not permanent installations. By the 1980s, however, Line-Up had become entrenched as a display strategy for showrooms, and designers put more thought into integrating the practice with the architectural space. In the Helikon showroom (1988), all of the displays and vignettes were rigid. The showroom was designed to allow visitors to "stand back and see, in their minds' eye, any product group in its proper perspective" - that of an executive office. To achieve this, Chicago designer Eva Maddox partitioned the showroom into thirteen 20-by-20-foot bays, each containing "freestanding furniture prominently displayed within simple settings." One specific area in the center of the showroom was devoted to Helikon's new furniture pieces. To demarcate this area while keeping it visually accessible, sycamore panels were hung vertically. On two opposing sides of this central space, chairs were placed in between the panels in a Line-Up configuration. White fabric panels hung behind the chairs as a backdrop.20 In this installation, the wooden panels maintained the even spacing between the chairs while isolating them from each other. Because each chair was contained within its own area, it forced the viewer to considered it in isolation, as well as in comparison to the three other chairs nearby. The wooden panels also added presence and weight to the Line-Up display, anchoring in in the space with a Plinth. However, unlike a Line-Up on a Plinth, the display extended from the ceiling to the floor making it seem more architecturally permanent.

The B&B Italia showroom (1989) also demonstrated the architecturally integrated Line Up. The products on display were intended to "prevail," while making the "basic character of the space evident." The design firm Gregotti Associati kept the envelope of the space "clean and bright," as "pure form," allowing the upholstery of the furniture to add bright pops of color throughout the space. Instead of displaying furniture in a series of settings or vignettes, the design team created a grid based on the spaces' structural columns; the grid dictated the placement of furniture and other elements, including a Line-Up of chairs along the wall facing the entry. The six chairs were placed on rectangular, white pedestals that elevated them to eye-level-above the height of all other furniture pieces in the showroom.21 This made the Line-Up the most visible display in the space, as if the chairs were art. The pedestals integrated the chairs as architectural features in the space, mimicking the forms of the columns. At the same time, the neat line of chairs acted as a feature wall behind the other furniture pieces, creating an aesthetically pleasing backdrop in an otherwise plain space. 

Decade of 1990

The formal Line-Up displays of the 1980 era discouraged visitors from trying out the merchandise, or in the case of the B&B Italia showroom, actually made it impossible for people to do so. In the 1990s showrooms returned to a less formal iteration of Line-Up, most likely because the more informal nature of the Intype was more inviting to visitors, contrasting the more formal museum-like displays of the 1980 decade. The 1993 Geiger International showroom was more complex than the B&B Italia showroom of the previous decade, but the Line-Up display was much simpler in execution. The showroom, designed by VOA, was based on the concept of a "theatre-in-the-round." Thus, the main feature of the showroom was a curved wall that acted as a backdrop for the company's educational center, as well as several office furniture vignettes. At first glance, the Line-Up of wooden chairs in the reception area appear as chairs intended for waiting clientele. A more careful examination, however, indicates that they were designed as display. Each chair is placed under a window, but not centered there. Each chair sits on a colored tile floor and is lit by a Hotspot22 (Intype). The ambiguity to visitors about whether the Line Up was meant as a formal hands-off display or informal seating may have worked to the showrooms' advantage; it probably evoked questions and conversation, ultimately ending in sitting, trying out one chair after another. 

Although many showroom examples of Line-Up featured chairs, the flexibility of the interior archetype made it ideal for products of all types and sizes. The Vitra and Unifor showroom (1997) featured two Line-Ups of miniature chairs. Design studio Citterio/Dawn created a simple, unified space that did not distinguish between the two manufacturers. The showroom's finished concrete floor, white ceiling and exposed ductwork (Pompidou Intype) were tempered by gray area rugs in a similar concrete color; the rugs subtly established vignettes. The Line-Up display appeared in the wall plane. On the Vitra side, two horizontal niches with small down-lights contained a line up of Vitra's 1:6 scale replicas of iconic designer chairs.23 A light-box effect worthy of a museum drew visitors' attention into the display. 

Decade of 2000

The Mosaik showroom (2000) in Istanbul designed by Susan McMurran Erturan was envisioned as a "neutral backdrop that would enhance but not compete with the strong silhouettes of the furniture for sale." The design solution was a "calculated blend" of "industrial elements and refined architectural details"-polished concrete blended with Pompidou, slate and carpet tiles. The high ceilings allowed for the vertical display of furniture, and McMurran Erturan inserted "drywall niches" throughout the showroom for this purpose. In one of these alcoves, a Line-Up of differently colored Series 7 chairs was displayed.24 In other niches, only one chair was featured, evoking a similar aesthetic to a Specimen display. The lighting illuminating these pieces made a shadow box that glowed and accentuated the silhouette of the chairs. The Line-Up consisted of all white iconic chairs arranged against a backlit acrylic panel. The backlighting made the forms of the chairs significant, while the chairs were positioned to the side to reveal their most recognizable profile. The effect was a display with a museum-like reverence.

The 2006 Maharam showroom demonstrated the flexibility of Line-Up as a display strategy for textiles. Unlike the other showroom examples examined here, the Maharam showroom was located in its own detached building instead of within a larger complex, such as the Chicago Merchandise Mart or the Pacific Design Center. Thus, it boasted large front display windows suitable for window-shopping. However, because Maharam sells only to the trade, it was deemed inappropriate for the large windows to employ traditional retail merchandising. Instead the windows displayed the showroom interior, complete with offices and buyers tables. The windows were not completely devoid of textiles, but they were displayed on a double bar of stainless steel perpendicular to the window wall. The location of the display, out of the window, and on an adjacent wall, signaled the textiles unavailability as a retail items.25 The Line Up of textiles were arranged as large samples of complimentary patterns and solid fabrics. 

The same restraint was evident in the displays of the Davis & Warchow showroom (2007) designed by architect Ronette Riley. The tendency of kitchen-and-bath showrooms to display the largest number of was avoided by making a showroom that "welcomed customers instead of overwhelming them." One technique was to direct customers through the showroom with a "crimson rubber resin." Clients stoped at the reception desk so that they could to be paired with a salesperson who could "select goods tailored to customer needs." The other technique was to avoid visual clutter. To this end, merchandise was displayed in "thirty-six modular walnut cabinets fitted with drawers and pull-out shelves." Elements that did not fit within these modules was displayed along the walls in a Line-Up arrangement.26 Faucets mounted on countertops also appeared as a Line Up allowing customers to easily distinguish the differences in size and form between the fittings. 

Overall, the flexibility of Line-Up as a showroom display strategy, as well as its versatility and adaptability point to its continued use within the showroom practice type.27 

end notes

  1. 1) The Intype Plinth describes a platform (usually one step) that elevates an object slightly off the floor. Courtney Cheng, "Theory Studies: Archetypical Showroom Practices in Contemporary Interior Design," (M.A. Thesis, Cornell University, 2012), 113-36; The Interior Archetypes Research and Teaching Project.
  2. 2) The Intype Hotspot is an isolated pool of bright downlight that operates in contrast to its surroundings. Hotspot encourages a pause in movement and collection around or within it. It is achieved with a single spot light or a single fixture on a light track. Courtney Ching, "Theory Studies: Archetypical Showroom Practices in Contemporary Interior Design," (M.A. Thesis, Cornell University, 2012), 137-59; Joanne Pui-Yuk Kwan, "Theory Studies: Archetypical Artificial Lighting Practices in Contemporary Interior Design" (M.A. Thesis, Cornell University, 2009), 40-51; The Interior Archetypes Research and Teaching Project, http://www.intypes.cornell.edu/intypesub.cfm?inTypeID=106 (accessed Oct. 13, 2011).
  3. 3) A vignette is a museum practice in which a themed interior scene developed from objects in a collection.
  4. 4) The Intype Marching Order is a sequence of repeating forms organized consecutively, one after another. It establishes a measured spatial order. Marching Order has also been identified as a design strategy in Retail and Workplace. The Interior Archetypes Research and Teaching Project, http://www.intypes.cornell.edu/intypesub.cfm?inTypeID=95 (accessed Oct. 13, 2011).
  5. 5) The Intype Specimen describes a display strategy in which items are arranged in a taxonomic array. Courtney Cheng, "Theory Studies: Archetypical Showroom Practices in Contemporary Interior Design," (M.A. Thesis, Cornell University, 2012), 160-85; The Interior Archetypes Research and Teaching Project, http://www.intypes.cornell.edu/intypesub.cfm?inTypeID=120 (accessed Oct. 13, 2011).
  6. 6) James Putnam, Art and Artifact: The Museum as Medium (New York: Thames & Hudson, 2001), 8.
  7. 7) Charlotte Klonk, Spaces of Experience: Art Gallery Interiors from 1800 to 2000 (New Haven: Yale University Press, 2009), 28-29.
  8. 8) Klonk, Spaces of Experience, 28-29.
  9. 9) Edward R. Tufte, Envisioning Information (Cheshire: Graphics Press, 1990), 28-33.
  10. 10) Tufte, Envisioning Information, 67-68.
  11. 11) Tufte, Envisioning Information, 33.
  12. 12) Emma Barker, ed., Contemporary Cultures of Display (New Haven: Yale University Press, 1999), 13.
  13. 13) Barker, Contemporary Cultures,15.
  14. 14) Francis D.K. Ching, Architecture: Form, Space and Order (New York: John Wiley & Sons, Inc., 1996), 198-99.
  15. 15) Lange & Williams Showroom [1959] Anonymous, architect; New York City in Anonymous, "Market Spotlight," Interior Design 30, no. 9 (Sep. 1959): 86; PhotoCrd: Anonymous.
  16. 16) Associated Showrooms [1964] David Haid, architect; Chicago. IL in Anonymous, "New Showrooms," Interior Design 35, no. 7 (Jul. 1964): 102-103; PhotoCrd: Anonymous.
  17. 17) Ward Bennett Showroom [1965] Brickel-Eppinger, architect; New York City, in Anonymous, "New Showrooms: Brickel-Eppinger," Interior Design 36, no. 1 (Jan. 1965): 128-129; PhotoCrd: Jon Naar.
  18. 18) Brickel Associates Showroom [1972] Ward Bennett, architect; Chicago, IL, in Anonymous, "Chicago Merchandise Mart's New Contract Showrooms," Interior Design 43, no. 5 (May. 1972): 119; PhotoCrd: Anonymous.
  19. 19) Thonet Showroom [1974] Joan Burgasser & Frank Mingis, architects; New York City, in Anonymous, "Thonet Moves to East 63rd Street," Interior Design 45, no. 1 (Jan. 1974): 82; PhotoCrd: Anonymous.
  20. 20) Helikon Showroom [1988] Eva Maddox Associates, architect; Chicago, IL, in Monica Geran, "Helikon," Interior Design 59, no. 16 (Dec. 1988): 196-201; PhotoCrd: Nick Merrick (Hedrich-Blessing).
  21. 21) B&B Italia Showroom [1989] Gregotti Associati, architect; New York City, in Edie Lee Cohen, "B&B Italia," Interior Design 60, no. 1 (Jan. 1989): 208-11; PhotoCrd: Peter Paige.
  22. 22) Geiger International Showroom [1993] VOA Associates, architect; Chicago, IL, in Monica Geran, "VOA," Interior Design 64, no. 1 (Jan. 1993): 136-141; PhotoCrd: Steve Hall (Hedrich-Blessing).
  23. 23) Vitra & Unifor Showroom [1997] Studio Citerrio/Dwan, architects; New York City, in Abby Bussel, "Manhattan Calling," Interior Design 68, no. 7 (May. 1997): 38-40, 42; PhotoCrd: Mario Carrieri.
  24. 24) Mosaik Showroom [2000] Susan McMurran Erturan, architect; Istanbul, Turkey, in Julia Lewis, "International Style," Interior Design 71, no. 5 (Apr. 2000): 54-56; PhotoCrd: Paul Warchol.
  25. 25) Maharam Showroom [2006] Fernlund +Logan, architects; Los Angeles, CA, in Edie Cohen, "Cut From the Same Cloth," Interior Design 77, no. 3 (Mar. 2006): 130-131; PhotoCrd: Art Gray.
  26. 26) Davis & Warshow Showroom [2007] Ronnette Riley Architect, architect; New York City, in Mario López-Cordero, "The Art of Bathing," Interior Design 78, no. 10 (Oct. 2007): 162-166; PhotoCrd: Eric Laignel.
  27. 27) Evidence for the archetypical use and the chronological sequence of Line-Up in the showroom practice type was developed from the following sources: 1950 Lange & Williams Showroom [1959] Anonymous, architect; New York City, in Anonymous, "Market Spotlight," Interior Design 30, no. 9 (Sep. 1959): 86; PhotoCrd: Anonymous / 1960 Associated Showrooms [1964] David Haid, architect; Chicago, IL, in Anonymous, "New Showrooms," Interior Design 35, no. 7 (Jul. 1964): 102; PhotoCrd: Anonymous; Ward Bennett Showroom [1965] Brickel-Eppinger, architect; New York City, in Anonymous, "New Showrooms: Brickel-Eppinger," Interior Design 36, no. 1 (Jan. 1965): 129; PhotoCrd: Jon Naar / 1970 Brickel Associates Showroom [1972] Ward Bennett, architect; Chicago, IL, in Anonymous, "Chicago Merchandise Mart's New Contract Showrooms," Interior Design 43, no. 5 (May. 1972): 119; PhotoCrd: Anonymous; Thonet Showroom [1974] Joan Burgasser & Frank Mingis, architects; New York City, in Anonymous, "Thonet Moves to East 63rd Street," Interior Design 45, no. 1 (Jan. 1974): 82; PhotoCrd: Anonymous / 1980 Helikon Showroom [1988] Eva Maddox Associates, architect; Chicago, IL, in Monica Geran, "Helikon," Interior Design 59, no. 16 (Dec. 1988): 199; PhotoCrd: Nick Merrick (Hedrich-Blessing); B&B Italia Showroom [1989] Gregotti Associati, architect; New York City, in Edie Lee Cohen, "B&B Italia," Interior Design 60, no. 1 (Jan. 1989): 208; PhotoCrd: Peter Paige; / 1990 Geiger International Showroom [1993] VOA Associates, architect; Chicago, IL, in Monica Geran, "VOA," Interior Design 64, no. 1 (Jan. 1993): 136; PhotoCrd: Steve Hall (Hedrich-Blessing); Vitra & Unifor Showroom [1997] Studio Citerrio/Dwan, architects; New York City, in Abby Bussel, "Manhattan Calling," Interior Design 68, no. 7 (May. 1997): 38; PhotoCrd: Mario Carrieri / 2000 Mosaik Showroom [2000] Susan McMurran Erturan, architect; Istanbul, Turkey, in Julia Lewis, "International Style," Interior Design 71, no. 5 (Apr. 2000): 54-56; PhotoCrd: Paul Warchol; Maharam Showroom [2006] Fernlund + Logan, architect; Los Angeles, CA, in Edie Cohen, "Cut From the Same Cloth," Interior Design 77, no. 3 (Mar. 2006): 131; PhotoCrd: Art Gray; Davis & Warshow Showroom [2007] Ronnette Riley Architect, architect; New York City, in Mario López-Cordero, "The Art of Bathing," Interior Design 78, no. 10 (Oct. 2007): 166; PhotoCrd: Eric Laignel.

bibliographic citations

1) The Interior Archetypes Research and Teaching Project, Cornell University, www.intypes.cornell.edu (accessed month & date, year).

2) Cheng, Courtney. "Theory Studies: Archetypical Showroom Practices in Contemporary Interior Design." M.A. Thesis, Cornell University, 2012, 137-59.