Drafting And Design - Basics For Interior Design

Transcript

DRAFTING DESIGN        D        N        A B A S I C S F O R I N T E R I O R T R A V I S K E L LY LY W I L S O N D E S I G N 00_WILSON_FM.indd 2 1/10/11 2:20 PM 00_WILSON_FM.indd 2 1/10/11 2:20 PM DRAFTING AND DESIGN BASICS FOR INTERIOR DESIGN TRAVIS KELLY WILSON, ���� Western Kentucky University Bowling Green, Kentucky FAIRCHILD FAIRC HILD BOOKS 00_WILSON_FM.indd 3 New York 1/10/11 2:20 PM CONTENTS   Preface   Acknowledgments Chapter 1 000 ELEVATIONS 000 Chapter 10 SCHEDULES 000 Chapter 11 ELECTRICAL AND LIGHTING Chapter 12 KITCHEN AND BATH DESIGN Chapter 13 PRODUCT DESIGNING: 000 000 WHY DO WE NEED TO LEARN TO MANUALLY DRAFT? Chapter 2  v  Chapter 9 000 UNDERSTANDING THE USE OF DESIGN EQUIPMENT 000 CASE GOODS, LIGHTING, 000 FURNITURE, AND Chapter 3 MEASURING AND THE USE OF THE SCALE 000 QUALITY DRAWING 000 SMALL FIXTURES Chapter 14 Chapter 4 Chapter 5 Chapter 15 TYPOGRAPHY IN DRAFTING Chapter 6 PLANNING A BUILDING Chapter 7 FLOOR PLANS Chapter 8 00_WILSON_FM.indd 5 SECTIONS 000 PROJECTION DRAWINGS ON A 2-D SURFACE SYMBOLS, LETTERING, AND 000 000 PRESENTATION DRAWINGS 000 000 Abbreviations 000 000 Basic Metric Conversion Table 000 000   Glossary   Index 000 000 1/10/11 2:20 PM PREFACE The intent of this book is to provide a ments of design from an architectural The room within is the great beginning for a designer who is learn- view point. All designers are creating fact about the building. ing the basics of drafting and design. architecture in one form or another. It This is achieved through learning to could be how the physical structure is read drawings and use basic steps designed or how the light reflects off to create a design. It is simply learn- of a dining room table. As designers, ing what is needed to conceptualize we work within the constraints of a plot and develop a process that leads to a of land, then a building, finally ending final product. This is the method that with a space inside a room; therefore, has worked successfully in my office this text refers to architectural elements by helping the beginning designer that are applied to the interior and ex- understand that one drawing leads to terior of a design. When the principles another, creating a continuing educa- and elements of design can be applied, tional process for every project. The I suggest sketching existing elements. approach of copying a design to learn This could be anything as long as there drafting does require practice, but this is a process to creating the design, method allows designers to critically breaking down the structure of an ob- think through a project in a single step.  ject and defining all of its elements. Being able to creatively design a project understand measurements and learn warding and meaningful than copying to visualize sizes of objects on the cor- someone else’s work. Today’s designers rect scale. After a designer learn the have more information available at a basic sizes of standard objects, such faster pace than ever before; therefore, as doors and furniture, drafting will be drafting education can be integrated simplified. No need to constantly refer into design as a single step with begin- to a resource for standard information. ning designers having the ability to take However, a designer needs to apply in more information and multitask. their own creativity and not rely on basic designs when creating a structure or are learning what the profession is space. Standards help frame the basic about and conceptual development. I structure, but creativity should guide approach the basic principle and ele- the design. 00_WILSON_FM.indd 11 —FRANK LLOYD WRIGHT The next step to drawing is to while learning to draft is far more re- The first objectives of the book xi 1/10/11 2:20 PM The process of programmin g is a step that helps beginners clarify what P  R  E  F   A  C  E  00_WILSON_FM.indd 12 experimentation. is required in a project. Limitations at The final steps of the process are a beginner level allow the designer to drawing the different components to focus on what a client needs and not create a set of presentation drawings. becoming hindered by total conceptual By drawing to a correct scale, the work development. The intent is to learn the can be quickly converted or redrawn design process in small steps and not for a final presentation. Throughout the having to focus on completing every- process, levels of refinement increase thing at once. This can become over- and the designer begins to see what whelming to the beginning designer. will work in a design. Every designer’s When the programming basics are xii lows for new thoughts through design first projects are always an education understood the actual designing of in applying the principles of design the structure can take place. Sketch- to their work. However, the designer ing a design is important because the sees the process and understands designer is visualizing what is being the commitment to creating a quality thought. Sketching the plan, eleva- project. This is the purpose of drafting tions, and sections teaches the new and designing—learning to think like a designer that lines have meaning and designer and develop the skills required are used to develop their ideas. It al- to become a quality draftsperson. 1/10/11 2:20 PM CHAPTER 1 WHY DO WE NEED TO LEARN TO MANUALLY DRAFT? After reading this chapter, you will understand why [A designer is] an emerging 1 synthesis of artist, inventor, drafting and manual drawing is important to the design mechanic, objective economist and evolutionary strategist. process. You will also understand the differences among —BUCKMINSTER FULLER, ARCHITECT, DESIGNER, INVENTOR architecture, interior design, and drafting, as well as understand the principles of design. You will also learn the best methods for designers to communicate design ideas. DRAFTING Why do we need to learn hand draft- these basic concepts are understood, ing when everything can be completed the designer can then work toward on a computer? This is the question more complex design problems. A that everyone thinks about as they beginning designer must learn the begin their design education. The basics of drafting to understand how idea that designing is inherent to an to properly establish the process of a individual is true to an extent. People design. have the ability to rationalize concepts There is more to design than learn- such as symmetry, spacing, and color ing item placement or wall dimensions. without significant help from others. The design process is far more complex However, having a particular point of because the designer must work with view and style aesthetic differs among the most intricate creation on earth— individuals. It can be difficult for the the human being. Clients have incred- beginning designer to realize that cli- ibly different tastes and emotional ents may not have the same desire for states that must be exploited during the their style and point of view as others. design process. Designers must learn to This understanding is part of the edu- work with the client, but also coordinate cation process, and learning the basic the designer’s own developed skills and design concepts is the beginning. After personal design characteristic. 01_WILSON_TXT.indd 1 1/10/11 2:20 PM 2 W H Y  D  O W E  N E  E  D T   O L  E  A R  N T   O M A N  U A L  L  Y  D R  A F  T  ?   {1.1}  Designers are trained to understand WHAT ARE THE PRINCIPLES First floor plan showing the creation of space according to the BEHIND ARCHITECTURAL AND dimensions, living area, needs of a program. The program is the INTERIOR DESIGN DRAWING? first tool that a designer creates with a First, the designer must understand the client to layout the requirements of the occupations of architects and interior project. A design is then created, and a designers. Architecture is a broad term drafter draws the design according to that applies to all design and con- the specifications presented. (See Figure struction. The architect is the overall 1.1.) A designer organizes an existing encompassing designer of the struc- drawing for production of a project. A de- ture. Traditionally, the architect was the signer is an individual with two respon- designer and administrator of construc- sibilities—the creator and the drafter. tion, which meant that he created the Therefore, designers must learn to entire structure from the ground up and think through a problem and create the then followed through the process of final product. They must understand all construction. In today’s work environ- aspects of the process to become profes- ment the architect has specific roles sionals. A designer must understand the depending on the size of the firm. Many process of developing an idea and the architects specialize in one area of the technical requirements for implementa- building process: construction manage- tion of a design. But what are the differ- ment, specifications, interiors, lighting, ences in designers? Not all drafters are environmental controls, or building designers, but all designers are drafters. design. The roles are dependent on the kitchen, master suite, and garage. 01_WILSON_TXT.indd 2 1/10/11 2:20 PM CHAPTER 2 UNDERSTANDING THE USE OF DESIGN EQUIPMENT After reading this chapter, you will be able to use To create architecture is 25 to put in order. Put what in traditional drafting equipment in an effective manner. order? Function and objects. —LE CORBUSIER, ARCHITECT DRAFTING TOOLS Pencils Pencils are the key to producing qual- Having a comfortable feel is im- ity drawings. Low-quality pencils pro- portant because it helps with grip and duce low-quality line work, and high- overall performance. The comfort of quality pencils produce h igh-quality the pencil is important for the stamina lines. The quality of lead, wood, and of the designer. If using a poor-quality coatings take the project in one tool, the process can be tiresome and direction or another. When drawing require multiple corrections. Comfort is conceptual and schematic design, any an important part of producing quality pencil type can be u sed. You should projects. always sketch with any available in- Pencil leads can have a variety of strument because your first priority is different feels, in part because of the getting the idea onto paper. Quality is different grades of graphite used. Try secondary to creating an initial design several brands to find one that fits your concept sketch. Finding a pencil that drawing style. Placement in the hand sharpens well will improve the ease along with a preferred lead type can of use and the qu ality of the line. If a make designing more pleasurable. When pencil lead sharpens and then breaks purchasing pencils generally choose a constantly, the grade is normally low British- or American-made pencil. The and will have hard spots that can cre- lead is smoother, the wood is more eas- ate extra marks and cut the drawing ily sharpened, and the nonsharpened surface. These surface cuts are minor end is capped. Woodless pencils are one but may create issues if the drawing is solid piece of graphite. These pencils rendered. The small surface scratches sharpen well and can be used to shade cause the rendering medium to gather with the side of the point. The drawbacks and create a darker spot, causing an of a woodless pencil are they are fragile uneven rendering. when dropped and susceptible to smear- 01_WILSON_TXT.indd 25 1/10/11 2:20 PM 37  {2.17}  The direction that a person moves the pencil or pen should be opposite of the drawing hand to help keep t he object perpendicular to the drawing surface. TECHNIQUES OF EQUIPMENT USE Benefits of Tracing and Not Redrawing Using the Tools One of the greatest benefits of manual When using any of the tools, you drafting is the ability to trace. Tracing an should always use them as they original work can help with refining and were intended. The straight edge is seeing other design solutions. When used to draw lines and glide over the drawing, you can become focused on triangles. Many people use the scale one avenue of design while forget- as a straight edge, but this can ting that other solutions could present damage the scale and create marks themselves. As a design evolves, new that can cause mistakes in measuring. concepts and solutions may arise. With (See Figure 2.17.) One of the main layering trace paper designers become pieces of advice is to always be more prone to draw several potential comfortable. Tension will lead to solutions. Throw that extra sheet down mistakes. and see where the design goes. 01_WILSON_TXT.indd 37  U N D E  R   S  T  A N D I   N  G T  H E   U  S  E   O F  D E   S  I    G N E   Q  U I   P  M E  N T  1/10/11 2:21 PM Design Scenario Learning to use the equipment properly is the focus of this chapter. Learning to tear the tracing paper with a straight edge to taping down the sheet is the goal. EXERCISE ONE Tape down an A-size sheet of paper and divide it into 6 spaces. With the straight edge, proceed to draw in each box with pencil the following lines. 1. Horizontal lines 4. Diagonal lines starting from bottom left 2. Vertical lines 5. Diagonal lines starting from bottom right 3. Crosshatched lines 6. Diagonal crosshatched lines Draw the next three sets of lines with pen. Be sure to use the 45-degree triangle for precision. (See Figure 2.18.)  {2.18}  Line exercise. EXERCISE TWO Draw two lines 1 inch apart across a sheet of paper. Starting with the highest H pencil, divide the lines into seven boxes. In each of the boxes select a different pen and shade, starting with the highest H and working to the highest B. Reference Figure 2.19 when selecting pencil hardness. You will have your own scale based on the pressure applied when shading. (See Figure 2.20.)  {2.19} right Lead hardness scale.  {2.20} below Sample lead hardness exercise. 01_WILSON_TXT.indd 38 1/10/11 2:21 PM CHAPTER 3 MEASURING AND THE USE OF THE SCALE After reading this chapter, you will be able to The details are not the details. 41 They make the design. measure, use a scale, and dimension a drawing. —CHARLES EAMES, ARCHITECT, GRAPHIC AND INDUSTRIAL WHAT IS SCALE? DESIGN, FILMMAKER Everything has a scale. It is what the for humans. Therefore, what is scale? object is scaled against that can change It is a representation of an object’s full a person’s perception. (See Figure 3.1.) size. Buildings are designed for humans and human interaction. Designers work in DIFFERENCES IN SC ALES a human scale; therefore, objects are There are many different types of designed for human use, focusing on measuring devices, from the standard reach, height, and comfort. Within this school ruler to complex electronic rul- realm of the design world, human bod- ers. Most designers use a basic scale. ies are the reference for sizing objects. There are several types of scales pro- Most designers reduce a scale down duced for designers: architect, engineer, to the basic elements and principles, and metric. (See Figure 3.2.) Designers but it must always be converted into a use several models such as flat, double scale for human habitation. This is why beveled, and triangular. The triangular we have forms of measurement. It is to is the most common because it con- create and understand how to design tains 11 different measuring scales.  {3.1} opposite Humans scale objects based on their use. The house could be at any scale without a person to give it reference; however, most buildings do have scale such as doors and windows.  {3.2} left Shapes of scales. 01_WILSON_TXT.indd 41 1/10/11 2:21 PM Engineer Scale Precision is achieved by reading the  {3.5}  Engineer scale is slightly different. It is architect’s scale properly. When placing The scale is located in the designed around the civil engineering the scale, count to the largest whole left corner and is broken into industry and represents feet divisible foot unit. Then count back with the by 10 instead of 12. (See Figure 3.5.) graduation starting at zero to mark the Drafters use this scale for land survey inches. So from your original perpen- drawings. dicular line, you will be able to locate The scale is broken down into 10, the precise point to mark using feet and 20, 30, 40, 50, 60 divisions of an inch. inches. SI Metric Scale USING STANDARD AND METRIC The SI metric scale is based on units IN THE UNITED STATES divisible by 10. The unit of measure- Because the construction industry ment is the millimeter. The metric scale uses the standard method of feet and is based on ratios of millimeters. 1:10 inches, the interior design profession scale could represent 1 mm = 10 mm, must follow. This system of measure- or 1:100 ratio is 1 mm = 100 mm. ment is based on construction using units of five to measure the distance. 43 M E  A  S   U R  I   N  G A N D T  H E   U  S  E   O F  T  H E   S   C  A L  E  2-, 4-, 8-, and 10-foot increments. Chart of Metric Scale  This has been a standard because the industry has been slow to ac-  • 10 mm = 1 cm cept the metric system. The National  • 1000 mm = 1 meter Institute of Standards and Technology (NIST) determines the usage of the  ACCURACY  metric system in the United States. An important part of any job is accura- As the metric system is implemented cy. When preparing drawings a mistake in the United States, the construc- as minimal as sixteenth of an inch can tion industry will eventually have to be dramatic to a built project. Imagine change. This will require training and a drawing is off 1 / 8 of an inch. That 1 / 8 a complete overhaul of construction inch in real life represents a foot. The products within the building materials construction crew builds the foundation industry. Currently, most large-scale by measuring your drawing. You entire projects use the metric system in the project is off 1 foot. Precision is at the United States, and all federal govern- utmost importance. Always measure ment projects are required to include once and double check again. metric measurements. 01_WILSON_TXT.indd 43 1/10/11 2:21 PM 44  M E  A  S   U R  I   N  G A N D T  H E   U  S  E   O F  T  H E   S   C  A L  E   {3.6}  A calculator conversion can be diffi- working drawings is the slight variation A plan with the cult to do when using the standard sys- within the design industry. Interior de- dimensions noted. tem of feet and inches. Calculators are sign is focused on drawing interior ele- designed to work off a decimal system ments such as plans, interior elevations, of 10. However, the standard system and interiors sections within a space. is divisible by units of 12. Conversion This gives interior designers a standard can be achieved in a multiple of ways: that is simple to follow and practical using conversion formulas, memorizing to understand. Because interior design multipliers, or construction calcula- is part of the architectural and con- tors simplify the process. Construction struction industry, most designers use calculators are helpful when calculating the same dimension standards, thus materials and finishes in the industry. allowing seamless transition between Directly imputing feet and inches into reading architecture and interior design the calculator negates having to use a plans. The main objective is to convey decimal conversion. accurate information in a logical manner. The main component of a dimen- 01_WILSON_TXT.indd 44 DIMENSIONS sion is the dimension line , which is the Dimensions are the actual measure- actual distance between two point. The ments for a given distance. (See Figure dimension line is continuous and con- 3.6)Dimensions are required on draw- nects the extension line. This creates an ings for construction documents. These exact point to measure between lines. construction documents are called The exact point is where the dimension working drawings.  The main issue with and extension line cross. The exten- 1/10/11 2:21 PM CHAPTER 4 QUALITY DRAWING After reading this chapter, you will be able to plan and Whether it’s fine arts or 55 music or architecture, the execute drawings that are developed and refined and that most compelling works are  finessed and manipulated have a professional line quality. so subtly that you’re barely aware of the artist’s hand. ESSENTIAL ELEMENTS OF DRAWING —SCOTT JOHNSON, ARCHITECT, Developing a quality drawing has as need to keep your patience. Constantly much to do with skill as it does design. changing plans and making mistakes can The essential elements of drawing are build high levels of anxiety. Just stay pa- forethought, planning, patience, and tient and keep going. Mistakes happen, practice. Forethought is the first step in but with practice you can start recogniz- creating quality work. You must always ing those problems before they occur. be thinking of the next line to help Practice is the key to quality. Continued prevent needless erasing and smudges. drawing and using your equipment will When using ink always be one step teach you to avoid problems before they ahead of your line. This will help reduce arise. Practice, practice, practice. It is the smears and smudges. Therefore, plan- key to a quality product. (See Figure 4.1.)  ARCHITECT URAL DIG EST  ning your drawing is critical to developing a clean, final product. The simple LINE WEIGHTS step of drafting from one corner of the To create a quality drawing, you need sheet and working your way up the page to learn the difference in line weights. A reduces many potential errors. After de- line weight is the width of a line. In pen- veloping a layout and the initial outline cil, drawing a line’s width is measured of the structure, you can plan on which by the sharpness of the lead. With sections will require the least amount pencils, a variation can occur unless of backtracking. This will reduce the being diligent about keeping a sharp amount of wear on the paper’s surface lead. To resolve this many people use from the straight edge and triangles. mechanical pencils for the consistent Every time you push a T-square over the lead width. Keeping a consistent line paper, you drag debris over the surface weight will improve the overall quality A partial floor plan with a and create extra lines. With this you still of the work. Being able to distinguish variety of line width and types. 01_WILSON_TXT.indd 55  {4.1} opposite 1/10/11 2:21 PM  {4.2a}  An elevation that was drawn in pencil smudges on the job site.  {4.2b}  The second drawing was scanned and edited on the computer and printed with ink. 01_WILSON_TXT.indd 56 the various lines is how the drawing tion is to do preliminary design work achieves visual depth. Pencil work must with the hard pencil and then do pre- be dark enough to be visible, but light sentation with pens. Pens provide dark, enough to be erased. Everyone makes clean lines that scan and copy well. For mistakes. The point is not to fret over designing while drafting, a 4H lead pro- small issues. When using pencils the vides a great foundation drawing. The intended purpose needs to be identi- lead is hard enough to avoid smear- fied. Pencils are great for initial design ing and light enough to draw over. An work. The problem comes when trying HB lead can be drawn over with pen, to copy or scan drawings. Much of the but will erase the ink. A 4H or higher detail is lost. Using a higher B lead will lead can be inked and erased without create a darker drawing, but may smear destroying the line quality. Always test and smudge. (See Figure 4.2a.) A 2–4H the lead and ink before drawing the pencil will provide a light clear crisp final product. Leads and inks vary by line, but does not copy well. The solu- manufacture. (See Figure 4.2b) 1/10/11 2:21 PM CHAPTER 5 SYMBOLS, LET TERING, AND TYPOGRAPHY IN DRAFTING After reading this chapter you will understand the The essential function of the 65 (design) profession in our importance of hand lettering and symbol use in drafting. society is to enhance and cultivate communication toward: THE IMPORTANCE Easier understanding of ideas OF HAND LETTERING and complex problems, in the Hand lettering is an art form, and those text style provides professionalism and shortest possible time and who master it have the ability to merge quality to the work. Adding notes that higher visual and auditory hand lettering into computer lettering blend will look like additions rather retention of data. seamlessly. The predominate style of than errors or omissions. Standard architectural computer fonts mimic lettering is always more refined than traditional hand drafting styles Many something scribbled in the drawings. people have a difficult time interpreting In addition, notations that are added drawings, but quality lettering can make by the contractor or subcontractor may a drawing more easily understood. cause the next reader to doubt that the Being able to draw and legibly note the designer understands the construction important features is key for clarity. Re- process; therefore, it’s important that member—drawings provide necessary the designer always provide sufficient information to convey an idea to others; notation to any type of drawing. the lettering fills in the gaps to provide more explanation. (See Figure 5.1.) Hand lettering also provides a solu- —WILL BURTON, GRAPHIC DESIGNER Freehand lettering is something that develops over time with practice. Being able to write consistently in a specific tion for missing text in computerized style adds a level of professionalism to drawings. Mimicking a lettering font will a drawing. (See Figure 5.2.) Making a help when items are left out. When a fi- sketch that has clean text identifies you nal set of working drawings is complete as a quality designer, so always strive As clear as a drawing may and printed, items may need further to produce quality documents even if it be to the drafter, the image explanation. Many times, it is before is a simple sketch. may not be clear to the  {5.1} opposite top builder until text is added. the presentation or during the actual construction process. This is a common METHODS, TYPES, AND GUIDE LINES occurrence after the final documents When the lettering style has been Freehand lettering requires are drawn or printed. Adding a similar chosen, the next task is to determine practice and patience. 01_WILSON_TXT.indd 65  {5.2} opposite bottom 1/10/11 2:21 PM 67 return to their use. Guide lines also add skill. The best way to increase speed  {5.4}  an additional design element to a set is by using the tools properly. Using a Lettering advice. of drawings. The extra lines provide a straight edge for horizontal or vertical light framework behind the titles, draw- guide lines is a key to being consistent. ings, and notations that ties everything Moving the triangle across the parallel together to create a system called rule for verticals will provide precision regulating lines.  These lines provide a and help you judge the visual spac- reference between edges of the various ing. Visual spacing is perceived equal drawings on the sheet. spacing. M echanical spacing is based on equal distances between letters. Me- INCREASE SPEED chanical spacing can appear static and WITHOUT LOSS OF QUALITY require a larger area. If equal distances The elements that help with speed are required they should be used only and quality are guide lines, the use of in titles not notations. straight edges, and practice. Tape down As for application, letters should be your drawing and then measure the drawn by pulling, never pushing, the 1 area for the ¼- or  /  8-inch guide lines. pencil across the paper. Use smooth (Hint : Make sure there is adequate vertical strokes, followed by horizontal space for the text. A common problem and diagonal lines. A quality consis- is judging how much room is required tent line weight will also develop with for lettering.) If the drawing is the final practice. The main quality issue is being product, make sure to use a light pencil clean and crisp. A sharp 2H pencil is for the initial layout. Everything is an optimal for lettering. The pencil is hard exercise in design, from the drawings enough to not require constant sharp- to the guide lines. Always approach ening, but also dark enough for a copier all parts of the process as if it’s a final or scanner. The other main technical presentation. Lettering can make a proj- factor is the type of pencil. Although ect better or worst, depending on the pencils are appropriate for many drafts, 01_WILSON_TXT.indd 67  S  Y  M B   O L   S   , L  E  T  T  E  R  I   N  G  , A N D T  Y  P   O  G R  A P  H Y  I   N D R  A F  T  I   N  G 1/10/11 2:21 PM NOTATION AND SYMBOL USE IN PLANS Notation and symbols are a mixture of drawing and lettering. The intent of both is to provide information that is FPO not conveyable on the drawing. Notations are simply textual support of the drawings whereas symbols provide standard information. Symbols are mainly used to reference other information on the drawing or to other drawings. Most symbols corresponding to text are used to reference where drawings are located on the sheet. For example, 68  S  Y  M B   O L   S   , L  E  T  T  E  R  I   N  G  , A N D T  Y  P   O  G R  A P  H Y  I   N D R  A F  T  I   N  G elevation symbols are a combination of circles, arrows, and text. Section symbols are can vary de {5.5}  pending on the firm and the creativity Legend section symbol. of the design. An arrow must point in the direction that the section is viewed. (See Figures 5.5 and 5.6.) This orients the viewer to read the drawing from the correct direction. North arrows are graphic symbols that are placed on the floor plan. This is important because the understanding of orientation can provide solar advantages to the interior design. Using the solar orientation for light- FPO ing is critical to a quality design. Day lighting is an important part of an energy-efficient design. However, this design feature may not be applicable  {5.6}  sometimes the best solution is to use with the given site nor existing build- Section symbol format. a pen. The best solution is to use pen. ing. If possible provide notations with This will always provide a consistent solar design features explained. It dark line. If using a pen, first letter gives the readers evidence that you with a 6H to 9H pencil. Then rewrite to are designing for a specific outcome. resolve any potential errors. Pens are (See Figures 5.7 and 5.8.) great because drafters are slightly more 01_WILSON_TXT.indd 68 The use of a graphic scale is cautious by not making careless mis- important because a drawing may be takes. If using a lead holder the point copied, reduced, and enlarged many can become dull unless the user can times, causing the scale to change. The slightly roll the holder to keep the point traditional scale with numerical conver- consistent. Follow and practice these sion is adequate for working drawings basic rules to increase quality. that are copied the same size; however, 1/10/11 2:21 PM CHAPTER 6 PLANNING A BUILDING After reading this chapter and completing the design  Architecture is really about 75 well-being. I think the scenario, you will be able to analyze a client’s needs,  people want to feel good in a space. . . . On the one hand conceptualize a space, and create basic diagrams. it’s about shelter, but it’s also about pleasure. QUALITY PLANNING —ZAHA HADID, ARCHITECT Being an interior designer requires construction techniques is an asset for more than an understanding of build- any designer, but knowing all aspects of ing design. It requires an understand- all these areas is impossible. Many de- ing of people, types of spaces, and signers, therefore, focus on one distinct all the facets of human interaction. area, such as residential, commercial, Designers know how people interact in merchandising, hospitality, and so on. different settings. They study prox- The fundamentals of how spaces work imities, anthropometrics, barrier-free together are similar, but have different design, residential and commercial in- requirements. Every project has dif- teraction, and how all affect buildings. ferent clients, needs, preferences, and Using these and other simple tools will requirements. (See Figure 6.1.) help develop a quality plan and quality product. Designers must develop a thorough This chapter focuses on residential design. Every person is familiar with homes and housing based on their own understanding of building planning. experiences. This is the best starting This is the critical factor in making a point. Everyone has likes and dislikes space usable and livable. All buildings based on growing up in a household. and projects are different, so the de- Using those experiences and relating signer’s skills must accommodate this the positive elements and principles to variety of needs. The building program a design project is the basis of residen- is the essence of any project. What, tial design.  {6.1} opposite A designer should always work when, where, and how the ideas work with the requirements of the together is the basis of creating quality THE BUILDING PROGRAM design. Developing a base knowledge A basic overview of a building program of creativity that is satisfying. of building systems, materials, and is required. This overview consists of: (Illustration credit: Sheila Flener) 01_WILSON_TXT.indd 75 client, but design with a level 1/10/11 2:21 PM SINGLE-FAMILY DWELLING DESIGN FOR A FICTIONAL FAMILY 1. For the design scenario, develop a series of sketches based on a fictional family who wants to design a new single-family dwelling. 2. Draw a series of bubble dia- grams to show the family’s relationships based on required rooms. (See Figure 6.3.) 3. Create a parti and spatial analysis chart that analyzes each room for the family. 83 4. Using the bubble diagrams and P  L  A N N I   N spatial analysis chart create blocking diagrams. (See Figure 6.4.) 5. Draw a simplistic diagram based Comfort  {6.10}  on the typical sizes of spaces The living and livability issues are A bubble diagram that chart. concerns that are addressed in a compares private and public 6. Study the typical sizes of spaces variety of ways. Each individual has and fixture. The fixtures are items his or her own ideas about comfort. It that are attached or fixed to a wall could be natural lighting, a soft chair, or floor and are not moved on a or privacy from others. The ideas of regular basis: kitchen appliances, comfort and livability create the basic sinks, washer/dryer, and so on. functions of a project. These must be 7. Be sure to address furniture and circulation within a home.  G A B   U I   L  D I   N  G defined in the program. A designer fixtures in your spatial analysis can then respond by creating a com- chart. fortable space. 8. Create an overlay of furniture and fixtures using the blocking Areas diagram. The classifications of rooms are based on activities and the lifestyle of the Living and livability are the basic family. Many families develop the need principles that create a quality space for large open spaces in their environ- for clients. Understanding humans and ments. The living area may include a their interaction is the key to creating combined dining and kitchen to make quality spaces. Living is how people the space appear larger. Children need live within an environment. Livability spaces in bedrooms for play and study. is the quality of life of the inhabitants. Private activities that occur in bed- Expanding on the concepts of comfort rooms and bath require isolation from and circulation, designers can enhance the families’ public areas. Vehicular client living conditions. The following access areas need to be related to section discusses simple principles of kitchen and entrances. All of these design and construction that can be ap- simple concepts must be addressed. plied to any type of project. (See Figure 6.10.) 01_WILSON_TXT.indd 83 1/10/11 2:21 PM  {6.11}  Climatic Conditions Materials Diagram studying the sun The effect of the sun is a major design The selection of materials will vary some exposure on a pod house. consideration in the layout of a house. from region to region. The uses of People’s preferences to live in sunny interior and exterior spaces also help spaces require areas to be brightly lit. determine the wear that will occur to This normally provides for a friendly the building. The reduction of noise atmosphere. from living spaces and bedrooms can Lighting and weather can affect be help with the selection of materials. people’s attitudes. Providing a balance The color of materials can affect the of natural and artificial light will help activities. Children’s rooms use bright enhance the space. Rain and snow and cheerful colors whereas adults is critical for material selection. Cold may want wood tones for a sense of winds will dictate the areas that have maturity. fewer windows. Study the layout of the structure to maximize the potential of the space. (See Figure 6.11.) 01_WILSON_TXT.indd 84 1/10/11 2:21 PM CHAPTER 7 FLOOR PLANS After reading this chapter, you will be able to use  Always design a thing by 91 considering it in its next traditional drafting equipment to design and draw larger context—a chair in a room, a room in a house, a floor plans. house in an environment, an environment in a city plan. The process of developing relation- BASIC OVERVIEW OF PLANS ships with public and private spaces What is a floor plan ? Simply, it is a is constantly evolving, and an archi- drawing of the floor; however, the tectural and interior designer should floor plan is much more complex. This always be thinking of the plan. The task drawing type is the main design ele- of the designer is to refine the plan ment in any structure. It encompasses so that it can be turned into a three- all the human relationships with the dimensional design. The floor plan is structure and its fixtures and furnish- the main source of developing space ings. The floor plan is the feature that planning. Space planning  is a process makes the building function. Without of organizing functions related to use, the plans, the layout of the structure furnishing, and circulation for a design is just a building without a purpose. project. (See Figure 7.1.) Designers With a plan the building has a purpose have different involvements with a floor and, therefore, has an identity that plan. An architect draws the outside satisfies the needs of a client. (See  {7.1} opposite top and walls. The interior designer focuses Figure 7.2.) An analysis of a space on non-load-bearing walls and space The floor plan is a key to building —ELIEL SAARINEN, ARCHITECT focusing on interaction within the facility. planning. The drafters draw the plan and designing. It is used for construct- with the specifications and design de- ing a building, planning a layout, tails supplied by the architect or interior organizing traffic patterns, measuring designer. The floor plan is of critical distances of travel, and so on. It is a  {7.2} opposite bottom importance to the success of a project. document that has endless possibili- A narrow-lot floor plan with With a well-developed plan, the design ties. It is the tool for organizing spac- of the exterior and interior will success- es. (See Figure 7.3.) Architects create fully accommodate the client’s needs the plan for construction whereas the the property and the use of and preferences. interior designer uses it for construc- an outdoor living area. 01_WILSON_TXT.indd 91 (Illustration credit: Sheila Flener) an outside living space. This project needed to meet the setback requirements of 1/10/11 2:22 PM tion, space planning, and analysis of human traffic patterns. The interior designer brings in the human element to the spaces within the structure. (See Figure 7.4) Information on a Floor Plan The floor plan is the major construction and design document. The plan is what gives the viewer the size of the building and the room placement. Included in the plan are various technical details. Floor plans are separated in different layers of information. The different contractors will have separate plans for 92 F  L   O  O R  P  L  A N  S  their specific purpose. The following list provides a basic overview of what is included on the various sheets of floor plans.  {7.3}  Organizing space may take place in an existing plan. A bubble diagram may Foundation plan or basement clarify to a client how th e rooms are organized within a space. plan: This plan is a layout of where columns and walls are needed to support the structure being built. Construction or structural plan:  The construction plan is the layout and  {7.4}  direction of structural components Large-scale bubble diagram. that make up the floor and roof of (Illustration credit: Sheila Flener) the building. Electrical plan:  The electrical plan is the layout of the items that create the electrical, communication, security, emergency, and lighting networks. Plumbing plan:  The plumbing plan shows the bath, kitchen, utility, and other items that require water and drains. 01_WILSON_TXT.indd 92 1/10/11 2:22 PM Reflected ceiling plan:  Lighting plans are viewed as if there is no roof. The information included is the lights, electrical, receptacles, switches, and circuit wiring. (See Figure 7.5.) Roofing plan:  This shows the slope of the roof and the direction of drainage. Kitchen plan:  An enlarged plan provides the details of the layout that focuses on the work triangle. The enlarged plan may include  {7.5}  detailed information such as cabinet Reflected ceiling plan. nomenclature (the size and type of cabinet). (See Figure 7.6.) Bath plan:  This enlarged plan pro- vides the details of the bath. HVAC plan:  This plan is graphic in nature, but does provide the central heating system, return air, and registers for each space.  {7.6}  Furniture layout:  This graphic plan Kitchen plan with cabinet sizes noted. is designed to show the space planning capabilities of the space. (See Figure 7.7.) Many of these plans are combined depending on the scope and scale of the project. Residential plans generally combine many of the services into one drawing. (See Figure 7.5.) As shown in the figure, an electrical plan is layered onto the construction plan. These service plans provide the general locations for many items. Plumbing and HVAC plans provide exact locations for equipment, return vents, and registers, but may not be able to locate precise placement of plumbing and ventilation lines. The engineering firm that handles the systems supplies  {7.7}  this type of information. The basic layout Furniture layout. is the main focus of the designer. 01_WILSON_TXT.indd 93 1/10/11 2:22 PM CHAPTER 8 SECTIONS After reading this chapter, you will understand the use of Now architecture consists section drawings, create sections from floor plans using 103 of order, which in Greek is called taxis. . . . Order is the typical sections and materials, interior specific sections balanced adjustment of the details of the work separately, and conventions, typical kitchen and bath sections, and and, as to the whole, the arrangement of the proportion stair construction. with a view to a symmetrical result. SECTION DRAWING —VITRUVIUS, ENGINEER, The section of a building is a main tool structure. The height and relationship of for the designer to understand the scale each floor is directly viewed through the of a space. A  section drawing is a verti- cut. A wall section is normally provided cal cut through an object, revealing its with the vertical section, and provides interior. An interior designer uses this the information on building materials drawing to see heights and widths of and construction methods. The wall sec- areas. It is also the key to seeing the tion shows the foundation up through types of floor and ceiling structures. the roof, providing the basis for con- It reveals the thicknesses of walls and structing the building. The wall section provides a frame for the space be- provides the details for the foundation ing designed. The vertical plane cuts such as wall size, anchors, drainage, and through the building, showing the waterproofing systems. (See Figure 8.2.) ARCHITECT building in relationship to human scale. The next area is the type of wall ma- Doors, windows, and furniture can pro- terial, wall insulation, exterior sheeting, vide references if no humans are in the interior surface, and exterior material. People and objects within a drawing. (See Figure 8.1.) The roof generally shows the structural section provide scale for the system, overhang construction, insula- building and its spaces.  {8.1} opposite top CONSTRUCTION KNOWLEDGE tion, and roofing type. An important The section drawing is a tool that shows part of the wall section is the notations vertical height of a building. The vertical for the building. These notes describe section provides the necessary informa- the materials and methods used to have memorized and could tion as it relates to the exterior of the construct the building. sketch when confusion arises. 01_WILSON_TXT.indd 103  {8.2} opposite bottom A typical section should be a drawing that all designers 1/10/11 2:22 PM DESIGN SCENARIO— SECTIONS FROM THE PLAN Developing a building in section is one method that many designers find beneficial toward understanding the space. They can scale room heights and widths to visually accommodate their concepts. Seeing a design in a vertical form helps many people see if the scale of the space fits the needs. Having a living room with a greater height than the bath is easy to design on a floor plan, but need to be sensible in the overall design. Drawing rooms at various heights throughout the building 107 can create complex construction issues.  S  E   C  T  I      O However, if well planned it will create a wide variety emotional responses N  S  between spaces. A simple way for most designers to reflect an exterior is through elevation and section with the use of a human scale factor. The human scale factor  is a human placed in a drawing giving a sense height and width. Designing using the scale method allows for the creation of multiple heights, such as the American split-level house. The housing type is based on three levels within a two-story  {8.6}  house. Split-level homes give freedom A section detail showing to create various ceiling heights within a roof overhang. BOX 8.2  • Is the room a complete section  • across a space? Punch List for Interior Section Are the wall and ceiling con- Using the floor plan, check if  • drawing is correct in length and height. Windows and door placed.  • All cabinets and built-in struction methods represented? BOX 8.3  •  •  • Punch List for All Sections Check if windows and doors align correctly. furnishings indicate door Check if section symbols match swings. drawings. 01_WILSON_TXT.indd 107 1/10/11 2:22 PM 108  S  E   C  T  I      O N  S   {8.7}  a traditional framework. Using the vari- leaving an adequate opening for a later A transverse section showing ous ceiling heights changes the propor- addition. The stairs can be a central stairs and window heights. tions of a space. Some spaces will have focal point of the home while acting a horizontal feel whereas others a sense as the main transportation to the other of verticality. A design concept will help floors. Understanding the components determine the feel that needs to be of a staircase will help in the design achieved. (See Figure 8.7.) process. STAIRS  • Stairs are the main source of travel to the upper and lower levels of a resi- staircase.  • dential building. This, in turn, requires more emphasis as a design feature.  • treat stairs as a secondary idea, simply 01_WILSON_TXT.indd 108 Rise: The vertical distance between two floors.  • the vertical movements are central components to design. Many designers Risers: The vertical portion under each step that provides the height. Because interior designers are concerned with the circulation of spaces, Treads: The horizontal step of the Run:  The horizontal length of the staircase.  • Stringer: The structural component that supports the treads and risers. 1/10/11 2:22 PM CHAPTER 9 ELEVATIONS After reading this chapter, you will be able to Put very succinctly, 115 architectural effect depends understand both exterior and interior elevations upon a nice balance of horizontal, vertical, and and, dimensions of elevations and conventions; and oblique. No rules can say how much of each, so nothing create elevations from the plan. can really take the place of  feeling and good judgment. UNDERSTANDING THE —WILLIAM MORRIS, IMPORTANCE OF ELEVATIONS DESIGNER, ARTIST An elevation is a view that looks ing type that illustrates the materials straight at a structure or group of of the design. Material selection is objects. Many elevations are drawings important to the visual character of a created from the plan. The drawing drawing. Using the proper symbols is derived from the plan by using the gives the drawing a sense of character. features that provide width or height. Without proper symbols, the elevation Many drawing types are labeled as loses it potential to be understood and elevations an exterior view or an possibly the original intent of the de- interior detail. Identifying the scope sign. This drawing type must be easily and intent of the drawing will help understood by anyone reading the determine if a drawing is an elevation. drawings. An elevation can also be the A complete drawing could be an el- main conveyance of the design intent evation of a built-in wall unit, or even to a client. It shows the balance of a a view of the kitchen. The main differ- space, proportion, and other design el- ence between an elevation and section ements as well as principles of design. is that the elevation has no cuts into (See Figure 9.1.) the structure. Instead, it is a drawing that looks straight at the structure or The First Elevation Drawing object. To start a complete elevation, you must Elevations are a key to under- have a floor plan that shows the layout  {9.1} opposite A micro office elevation that standing the visual design intent of of the space. The first elevation draw- uses the plan for width and a project. The elevation is the draw- ing is a preliminary layout, consisting locating of the door. 01_WILSON_TXT.indd 115 1/10/11 2:22 PM 119 E  L   E  V  A T  I      O N  S   {9.6}  Materials symbols used in elevation.  {9.7}  An entry elevation using a variety of materials.  {9.8}  An interior wall design for a media center. 01_WILSON_TXT.indd 119 1/10/11 2:22 PM DIMENSIONING ELEVATIONS on every outside elevation. Other items Exterior elevations require major to note are the grade line of the ground, features and an overall dimension. If a floor line (FL), and roof pitch symbol building is symmetrical, only one side indicating the rise of the roof. needs dimensions. If a building has var- Interior elevation dimensioning can ious heights and different features, it is be more complex. Because most interior beneficial to dimension both sides. Al- elevations are drawn for a distinct pur- ways dimension from the ground up to pose, many details must be dimensioned. the floor line; next, dimension from the A good rule of thumb is this: If it is un- floor line to the ceiling. Then, dimen- usual, provide dimensions. Kitchen and sion from the ceiling to the top of the bath elevations are normally drawn in an roof. These are the dimensions impor- enlarged form and require a higher level tant to the bid process. When contrac- of detail. (See Figure 9.9.). This level of tors bid documents, they need to have dimensioning is addressed in Chapter 12. all heights noted for material selection. For architectural drawings, however, a ba- Most projects are complex and require sic kitchen elevation requires a minimum multiple lines of dimension. A second amount of dimensions. Because cabinet stage would be to include dimensions and appliance dimensions are standard, from floor line to bottom of the window a simple sequence of dimensions is seal; then continue up the building, required. From finished floor ( AFF ) to the noting all important features. The roof counter top is 3' - 0". From the counter overhang should also be included as a top to the bottom of the lower cabinets is separate drawing. Many designers pre- 1' - 6". The next dimension is the height fer to include the overhang dimension of the upper cabinets, which is normally scoping kitchen cabinets for in a typical wall section; however, if the 2' - 6". Provide an overall ceiling height to wheelchair accessibility. room is available attempt to include it the outside. (See Figure 9.10.) 120 E  L   E  V  A T  I      O N  S   {9.9}  Kitchen elevation with tele- 01_WILSON_TXT.indd 120 1/10/11 2:22 PM CHAPTER 10 SCHEDULES After reading this chapter, you will be able to understand Design is not making beauty, 125 beauty emerges from selection, and create schedules for the design industry. affinities, integration, love. —LOUIS KAHN, ARCHITECT UNDERSTANDING THE IMPORTANCE OF SCHEDULES A schedule is a list of information that such as typical sizes. This will allow allows the document user to refer- changes of manufactures and not the ence specific details about a product. structure. If a building has custom Schedules traditionally have been designs, the schedule would need to be drawn onto the set of working draw- more developed. ings; however, most designers use spreadsheets on a computer to create DOOR SCHEDULE booklets or appendices for construc- Always approach schedules as if you tion documents. The scale of the are walking into a structure. Doors project can determine if the schedule are the first product a designer needs should be drawn onto the project. to specify because people encounter In residential design, most people the doors first. Doors are available in include the schedule on the relevant standard sizes, but the materials can working drawings. Residential sched- vary: metal, wood, and fiberglass. ules normally focus on windows, Glass in the door can be of various doors, and finishes. Interior design- shapes and sizes. Glass in the door is ers develop schedules of furnishings, specified in terms of lites, which are fixtures, finishes. Fixtures can include specified according to the number of everything from toilets and lighting to divided sections in the door. The list- kitchen appliances. ing should include the opening size, Residential schedules should be type of door frame, and the type of simplistic in regards to the information door. The first notation is to identify that is provided. Much of the informa- if it an exterior or int erior door. Many tion is provided by the manufacture new designers do not understand of the product selected. The schedule the concept that doors have different should include only basic information levels of insulation. Metal-skinned 01_WILSON_TXT.indd 125 1/10/11 2:22 PM WINDOW SCHEDULES Windows are referenced with a pentagon and a number on the floor plan. (See Figure 10.2 and Figure 10.3.) This distinguishes the windows from the doors and lessens confusion for contractors. A window schedule should list basic information.  {10.2}  Sample window and door schedule. (Illustration credit: Sheila Flener) 127  S   C  H E  D  U L   E   S   {10.3}  Symbols on a floor plan t hat relates to various schedules. BOX 10.2 Window Punch List  1. Number identification: Pentagon surrounding a number. 8. Window frame: Wood, aluminum, vinyl. 2. Rough opening (RO) : Height in elevation. 9. Remarks: Designers should always leave a 3. Rough opening (RO) : Width in elevation. blank area for comments and additional 4. Actual window height: 5. Actual window width: 6. Window type: Casement, double hung, awning, etc. 01_WILSON_TXT.indd 127 7. Glazing: Low E, tinted, reflective. information. 10. Blanks: At the bottom of the schedule, provide a series of blanks to add additional doors or list changes that occur through the project. 1/10/11 2:22 PM FINISH SCHEDULES the schedule to lessen the amount of The finish schedule provides the written descriptions. (See Figure 10.4) information for materials and finishes Because space is limited, attempt to needed for each room, such as surface simplify the description unless the coating and flooring for each space information is not clear. The use of a within a house. The complexity of the legend to describe special materials finish selection will determine if more may be used. If using a legend, create detail is needed. If rooms have differ- a set of alphanumeric designations ent materials for each wall, a separate that can be referenced on the sched- notation will need to be used to distin- ule. Then place it on the plan by label- guish the different selections. The use ing rooms and walls to match. (See of abbreviations or acronyms helps in Figure 10.5.) BOX 10.3 1. Room number: 2. Room name or type: 3. Flooring materials and type of finish: 4. Baseboard or base cove:  Is the base a painted wood, stained, or synthetic? 5. Wall finishes:  Include the wall material along with the finish product. 01_WILSON_TXT.indd 128 Finish Punch List  6. Ceiling finishes:  Acoustical ceiling, painted, popcorn. 7. Remarks: Designers should always leave a blank area for comments and additional information. 8. Blanks: At the bottom of the schedule provide a series of blanks to add additional doors or changes that occur through the project. 1/10/11 2:22 PM CHAPTER 11 ELECTRICAL AND LIGHTING After reading this chapter, you will understand electrical We’re not trained to think 137 about time in a systematic symbols and reflected ceiling plans. way, as a design dimension. But it’s everything to the LIGHTING DESIGN circadian system because it Lighting system design involves many the sensation of uneasiness whereas matters when you give users facets of the overall design process. bright light gives the feeling of security. the light, not just whether Lighting design has a distinct purpose Not all lighting design is intended for a it’s blue or white. Design and many implications. Lighting should response. Much is planned for a distinct  professionals are not real have the capabilities to alter the percep- purpose. Reading areas require a differ- comfortable with thinking in tion of any space. Many designs are for ent lighting than bathrooms; therefore, the temporal dimension yet. simple utility. The lighting is applied as a the purpose should drive the type and —MARIANA FIGUERIO, ARCHITECT, layer of light for general use. Light for this amount of lighting required. LIGHT RESEARCH CENTER purpose generally is not a design feature. A light placed in the center of a room is UNDERSTANDING THE SYMBOLS there to provide a general lighting for the Lighting symbols and their application purpose of traveling and safety within can become confusing if a designer the space. The intent is to maximize light is not familiar with the varieties of from a central location. There is an intent, symbols. Many symbols have similar but not in the realm of design. it is for the appearances but may have a slight vari- purpose of simple utility. ation. Understanding the purpose of the An interior designer, on the other basic set will help in development of hand, will create an emotional response the reflected ceiling plan.  The reflected to the space and provide the utility ceiling plan is an aerial view down into function. What is an emotional re- a space showing all the electrical com- sponse? It is the sensation or feeling ponents. Lighting, circuits, receptacles , one has when entering and using a switches, fire, security, and communica- space. A designer has the intent of tions are normally shown on a reflected creating a space to invoke a feeling ceiling plan. (See Figure 11.1.) or mode, and lighting is the simplest A basic understanding of electric-  {11.1} opposite method because people react to chang- ity and wiring will help in the design Residential reflected es in light. Darkness generally causes process; however, the responsibilities ceiling plan. 01_WILSON_TXT.indd 137 1/10/11 2:22 PM Determine how the light fixture will be mounted and then select the corresponding symbol. Note that each sym- mation is not too confusing to the contractors. The first step in preparing the bol has a specific mounting method: reflected ceiling plan is to determine recessed, surface, and wall. Design the ceiling type. A traditional ceiling in the lighting around any key design residential application is gypsum board; features. Create a series of layers with a traditional ceiling in a commercial the lighting, and end with the utility application is a suspended acoustic lighting. This means that light is orga- ceiling. A suspended ceiling is designed nized so different levels of intensity can to be flexible and easy to maintain. create different effects. This layering is Suspended ceilings can be used in resi- achieved by ceiling heights, switching, dential applications if a designed look and fixtures. Specifying different types is desired. Many basements in houses of lighting at different heights, each for use a suspended ceiling for easy access its own purpose, will create lighting in to plumbing and electrical for the upper layers. floors. Draw the reflected ceiling plan as 139 The second step is to determine if you were looking down through the what is included in the ceiling: lights, ceiling and the roof was missing. This HVAC (heating, ventilation, and air plan will include lights, switching, and conditioning) , security, and electrical. electrical receptacles on a residen- Residential plans are simple because tial plan. A commercial or complex of the requirements of the home. The residential plan will be broken up into receptacles are placed every 6 feet. Any several drawings. One may be the wall over 2 feet must have receptacle. suspended ceiling with lighting and Light switches are placed at the entry circuits shown. The second drawing of the door, the appliances must have may show electrical, mechanical, and proper power, and GFCI are located in security. If the structure does not use wet locations. Outside electrical must a suspended ceiling, all the additional be weatherproof. An interior designer information may be shown on one needs to learn and draft these basics of drawing. This is as long as the infor- electrical design. BOX 11.1 b. Water heater c. Air conditioners H T  I   N  G Punch List for the Electrical/Reflected Ceiling Plan 1. Receptacle symbols and identification of 220 volts. a. Electric range E  L  E   C  T  R  I    C  A L  A N D L  I    G 6. All lighting with proper symbols. 7. Switches with circuits. 8. Special symbols, such as telephone, broadband, satellite, security, and fire systems. d. Heat pumps e. Clothes dryer 01_WILSON_TXT.indd 139 9. Electrical schedule, if necessary. 1/10/11 2:22 PM Design Scenario—Lighting and Electrical Plans The main objective to this chapter is to provide electrical symbols and examples of their use. There is no clear step-by-step method to specifying electrical; therefore,  {11.3} be low referencing drawings and legends is the best way for the Commercial reflected designer to learn symbols and their usage. Make sure all credit: Sheila Flener) areas of the electrical and ceiling plan are included. (See Figures 11.3–11.7.) ceiling plan. (Illustration  {11.4} opposi te Lighting schedule. (Illustration credit: Sheila Flener) 01_WILSON_TXT.indd 140 1/10/11 2:22 PM CHAPTER 12 KITCHEN AND BATH DESIGN After reading this chapter, you will be able to understand 145 In most people’s vocabularies, design and create elevation and sections of kitchens and baths, means veneer. It’s interior decorating. It’s the fabric of complete with fixtures and furniture. This includes the the curtains of the sofa. But to me, nothing could be fur- application of increasing scale plans and elevations, ther from the meaning anthropometrics, proxemics, and human scale (adults,  fundamental soul of a of design. Design is the human-made creation that children, and infants). ends up expressing itself in successive outer layers of the INTRODUCTION TO KITCHEN DESIGN  product or service. The kitchen is the most complex room for maximum efficiency when working in a house, in part because it contains in the kitchen. The preparation zone large amounts of equipment along with focuses on the refrigerator and food dining facilities. This is the one area prep area. The washing zone is de- where people constantly encounter signed around the sink and dishwash- and work with each other for extended ing area. The third zone is the cooking periods of time. The kitchen should be area that requires maximum clearances designed for a level of efficiency while and a central location to distribute food. focused on safety. The design of this These three zones should create an un- space should be developed according broken triangle with all sides adding to to the needs of the users. Because it less than 26 feet. (See Figure 12.2.) The is the most expensive per-square-foot next area of importance in the kitchen portion of the home, the design must is storage. Designers should always be  {12.1} opposite top maximize many features. concerned with storage in a kitchen, not The three kitchen work The kitchen is designed around only for food storage, but for kitchen zones—the pre, washing, three main work areas: preparation, tools and small appliance storage as washing, and cooking zones. (See Fig- well. Being able to carefully organize ure 12.1.) These three zones create the these spaces to allow for easy accessi- The work triangle with work triangle , which is a zone designed bility is critical to a functional design. maximum distances noted. 01_WILSON_TXT.indd 145 —STEVE JOBS, FOUNDER AND CEO, APPLE and cooking zones.  {12.2} opposite bottom 1/10/11 2:23 PM        }      e        1        1   .        2        1        { 01_WILSON_TXT.indd 161  .   n   a    l   p   r   o   o    fl   n   e    h   c    t    i    K 1/10/11 2:23 PM 162 K  I   T   C  H E  N A N D B  A T  H D E   S  I    G N  {12.12}  Levels of comfort according to the space bubble by Edward T. Hall. (Illustration credit: Sheila Flener) 01_WILSON_TXT.indd 162  ANTHROPOMETRICS, PROXEMICS, AND ERGONOMICS interaction in the book The study of humans and comfort zones as intimate, personal, social, levels has provided designers many and public. (See Figure 12.12.) Design- avenues to create a higher standard of ing and planning workspaces revolves living. Humans have a wide variety of around distances and the activities that cultural living conditions, which gives take place. Dimension . This The Hidden breaks down the four the designer opportunity to refine their Anthropometrics is the study of designs. The study of proxemics is the physical and psychological comfort lev- understanding of space as it is used in els. The use of anthropometrics is what specific cultures. Designing for people determines what space is needed for and their specific needs is the goal of certain activities. The research defines a designer. The understanding of per- typical human heights, widths, and sonal space and distances of comfort is postures for the design of ergonomics. critical in most designs. In residential (See Figure 12.13.) design, most people understand the   need for personal space and how a and their working conditions. The house functions. Generally, houses are information is collected to provide data designed for a distinct family interact- for the design of seating and other ing with each other. In nonresidential furniture. (See Figure 12.14.) Ergonomic spaces, the criteria changes because design has benefitted people through the comfort level involves no family the development of office furniture and friends. Edward Hall bases his to improve productivity and comfort designs around four zones of human levels. Ergonomics is the study of people 1/10/11 2:23 PM CHAPTER 13 PRODUCT DESIGNING: CASE GOODS, LIGHTING, FURNITURE, AND SMALL FIXTURES After reading this chapter, you will be able to design What works good is better 167 than what looks good. small products that complement the design of a project. Because what works good lasts. Case goods, fireplaces, equipment, and details are the —RAY EAMES, ARCHITECT, GRAPHIC AND INDUSTRIAL focus of the chapter. DESIGNER, FILMMAKER BASIC PRODUCT DESIGN PROCESS of the reduction of sharp corners. They When developing a building design, give the space a sense of flowing. De- many items are custom built to fit the signs with a radius give the sensation situation. Many designers find solu- that they are leading you to a destina- tions by designing custom pieces for a tion. (See Figure 13.1.) When a simple project. These custom pieces show the form has been identified, clarify that it creative nature of designers. Product fits the composition of the building. Will design was traditionally industrial this form be out of place with the theme design , but is quickly being overtaken of the space? Will this element contra- by interior designers. Because most dict other elements and principles of interior designers are specialist in space the space? planning, it is only natural to find solu- The other side of the industrial de- tions in furniture and product design sign portion of a project is the detailing. that accent and improve an interior. Many details in the construction of a Interior designers are designing the building may be new concepts in build- furniture and fixtures to complement ing design. It may simply be a creative their own designs as well as meet a cli- use of a material that is not traditionally ent’s needs. used in construction such as a steel ex- The design process is dependent on terior panel in the kitchen for notes and the individual; however, one method magnets. This is because some stain- is to approach the idea with simple less steel refrigerators are nonmag- shapes. How do those simple shapes in- netic. With detail design, many items teract with the space? Round forms are need to be custom-made and require Radius designed bar area. comfortable for most people because an engineer’s or architects approval. (Illustration credit: Sheila Flener) 01_WILSON_TXT.indd 167  {13.1} opposite 1/10/11 2:23 PM (See Figure 13.4.) The cabinet has the overall dimensions and detail notations. These notations determine what materials will be used and color specifications. The details on the front view describe all the components. Cabinets are considered a furniture piece, and the designer must remember that individuals of different heights will be using them. Always research the furniture type and sizes that are required for the end user. The product will need to be creative yet functional. Lighting is an area where designers find themselves creating new products 171 because there is no product available to fit the space. In specialty design, a fixture may need to be created to fit a space. Designers need to ask questions before going too far with a lighting design: will the object be functional? Is it too complex for a local fabricator to  {13.4} opposite build? Many designers design electri- The materials provide not only the structure, cal fixtures to make sure they create a but also the decorative elements of a design. specific look for the space. The other issue is the size of the object. Will it (Illustration credit: Sheila Flener)  {13.5} right overwhelm a space, or is it too small A simple light fixture based on wrapping to be effective. Designers have a good metal and tucking into a slot for support. sense of scale and find that lighting product design can be based on simple geometric shapes and matching an existing light base. (See Figure 13.5.) 01_WILSON_TXT.indd 171 P  R   O D  U  C  T  D E   S  I    G N I   N  G :   C  A  S  E   G  O  O D  S   , L  I    G H T  I   N  G  , F   U R  N I   T   U R  E   , A N D  S  M A L  L  F  I   X T   U R  E   S  1/10/11 2:23 PM  {13.6}  An enlarged detail describing a radiant floor heating system. Labeling helps identify materials at small scales. Detail design for construction is important when trying to achieve a specified custom look. Basic measurements 172 P  R   O D  U  C  T  D E   S  I    G N I   N  G :   C  A  S  E   G  O  O D  S   , L  I    G H T  I   N  G  , F   U R  N I   T   U R  E   , A N D  S  M A L  L  F  I   X T   U R  E   S  01_WILSON_TXT.indd 172 are important to the details and the actual construction. (See Figure 13.6.) When a draftsperson is drawing the design, all facets that make it unique need to be labeled. (See Figures 13.7–13.9.)  {13.7} left A detail that describes the shape and bracket type for a column and rafter connection.  {13.8} bottom left A mobile kitchen island designed to move from kitchen to dining area.  {13.9} bottom right A leg detail of the mobile kitchen island in 13.8. 1/10/11 2:23 PM CHAPTER 14 PROJECTION DRAWINGS ON A 2-D SURFACE After reading this chapter, the student will be able to  All of the environment should 175 express a higher, more- create a basic perspective and axonometric drawing. ordered, broadly-complete dedication to the well- PROJECTION DRAWINGS designed. Projection drawings are three-dimen- ings. (See Figure 14.2.) This chapter is —JOHN MASSEY, GRAPHIC-DESIGN sional (3-D) representations of two-di- focused on the practical application of PIONEER AND EDUCATOR mensional (2-D) drawings. This drawing drawing perspectives, not the theory. type is the main method of conveying The focus is the step-by-step application the intended design. Three-dimensional that allows the user to create sketches images are the most true to life and and proportional 3-D drawings. easiest for clients to understand. The To understanding perspective two main types that designers use are drawings, start by learning basic terms. perspective and axonometric drawings. Perspective drawings can frustrate the Perspective drawing distorts the image beginner, so start with a simple one- towards a vanishing point, and axono- point perspective of a room. This will metric provide a measurable image. (See help you grasp the terminology and the Figure 14.1.) Simple projection drawings step-by-step technique used to cre- are the clearest images to create and ate the framework of the drawing. The refine. Complex drawing can be confus- following definitions are helpful when ing to clients and expensive to create. learning the perspective framework. This chapter addresses the simple and informative type of drawings. Station point: The point which a person  {14.1} opposite top views the space A perspective drawing focuses PERSPECTIVE DRAWINGS Vanishing point: A point on the horizon Perspective drawings are used as a line where parallel lines converge planning and presentation tool. The Horizon line: The line that is at eye level drawings show a realistic view of the design to a client. Perspectives are tools used to increase the understanding of on the vanishing point and is drawn out toward the viewer.  {14.2} opposite bottom Perspective drawings provide Ground line: Where the ground plane a sense of space because the meets the picture plane image is created as if someone is viewing the space from a three-dimensional space by studying Picture plane: The surface where the stationary point. (Illustration how a building relates to its surround- drawing is projected credit: Jordan Bartek) 01_WILSON_TXT.indd 175 1/10/11 2:23 PM An isometric drawing initially ap- space with the ceiling removed. This pears complex because of the three- is the principle behind an isometric dimensional form, but the drawing drawing. Clients can visualize them- type is the simplest to construct after selves within the space because they the framework is started. The major see the plan simply extruded up to obstruction most beginners deal with the ceiling height. Door and windows is learning that all lines need precise headers begin at 6' - 8". Exact wi n- measurement to accurately complete dow sizes can then be measured up the frame. Incorrect measurements to the 6' - 8" mark. (See Figure 14.12.) lead to frustration and poor design. The final component is wall material. Understanding the basics eases the Drawing the walls to correct width will process, such as learning the height simplify the process. If the wall thick- of the ceiling. Normal ceilings start at ness is correct, the wall heights will 8 feet. Imagine looking down into a intersect correctly. 179 P  R   O  J  E   C  T  I    O N D R  A W I   N  G  S   O N A 2  -D  S   U R  F  A  C  E   {14.12}  Windows and door are measured from a standard height. Residential door height is 6’ - 8”. 01_WILSON_TXT.indd 179 1/10/11 2:23 PM Steps to drawing an isometric area as follows. 1. Complete the floor plan and window schedule. 2. Place the floor plan at a 45-de- gree angle. Using the 45-degree triangle, align the edge with a corner of the drawing. Make sure the corner is aligned perfectly. (See Figure 14.13.) 3. Draw a line from the outside corners up 8 feet; then connect all the corners with a line using the 45-degree triangle. (See 180 P  R   O  J  E   C  T  I    O N D R  A W I   N  G  S   O N A 2  -D  S   U R  F  A  C  E  Figure 14.14.) 4. With the outside walls in place, continue with the interior walls.  {14.13}  Using the plan, tape down the drawing at a 45-degree angle. Make sure all wall thicknesses are correct for the wall type. (See Figure 14.15.) 5. Erase all lines hidden behind walls. (See Figure 14.16.) 6. Add doors and windows. (See Figure 14.17.) 7. Add kitchen and bath cabinetry. (See Figure 14.18.) 8. Poché all objects cut through.  {14.14}  Draw the lines up from the corners to the ceiling height. 01_WILSON_TXT.indd 180 1/10/11 2:23 PM CHAPTER 15 PRESENTATION DRAWINGS After reading this chapter and completing the scenario,  Architecture should speak of its time and place, but yearn a beginning designer will possess an understanding of  for timelessness. —FRANK GEHRY, ARCHITECT basic design presentation. Layout skills will be based on presentation and working drawings. The goal is to 185 P  R  E   S  E  N T  A T  I    O N D R  A W I   N  G  S  organize and present information in a logical format for presentation and delivery to a client. COMMUNICATION OF DRAWING TYPES The presentation of drawings is the symbols are used that apply to all fields main conveyance of information to of construction, architecture, and interior a client. Creating a presentation that design. Using standard symbols while is informative and interesting is the developing a creative design is one of the designer’s objective. Convincing a client goals of the scenario method. By using a that the design will meet their needs is methodical process when designing, and achieved through quality drawings and by drawing designs in standard sizes, a knowledgeable presentation. After the much of the work is completed and only presentation drawings are approved, a needs refinement. Drawing residential set of working drawings or construction floor plans and elevations in ¼ inch documents are created. is easy for contractors to understand because the measurement is a residential What Is a Set of Working Drawings? standard. Drawing kitchen and bath plans Working drawings are the documents and elevations at ½ inch is also standard. that are created for the actual construc- For the various contractors involved in tion of a structure. They are designed the construction process, standard mea- to be read by the various subcontrac- surements make the process of drawing programming tors and laborers; therefore, standard working documents uniform. development. 01_WILSON_TXT.indd 185  {15.1} opposite This board is a presentation with 1/10/11 2:23 PM 187 P  R  E   S  E  N T  A T  I    O N D R  A W I   N  G  S  When creating construction docu- client; it will allow and encourage the  {15.3}  ments, the standard order is based on creation of presentations specifically This composite drawing has the Uniform Drawing System (UDS). for clients. Most people discover that a a mixture of perspective and The UDS reduces confusion and allows simple, comprehensible presentation multiple disciplines to work on a stan- works best for the majority of clients. dard set of drawings. The initial letter Complex composite drawings with increase the quality of the pre- represents the different disciplines: overlapping images are perfect for sentation. Hand drawing with A-Architecture, C-Civil, S-Structural, P- presenting to designers. A composite ink on mylar. Plumbing, and E-Electrical. This system drawing is a presentation drawing that of clear identification crosses disci- combines multiple drawing types with plines and countries. images merging onto each other. It is plan drawings at various scales. Computer-generated titles have been added to a graphic system used to create one What Is a Presentation Drawing? massive image, and it is the predomi- A presentation drawing is designed to nant form of presentation with digital sell a project to potential clients. Design methods. The merging of drawings can students are taught various methods be accomplished with manual methods; to creating presentation drawings, lay- however, the level of refinement may outs, and boards. Most involve creative be lacking when compared to a digital methods that are graphically attractive presentation. (See Figure 15.3.) A single and convey the intent of the design to drawing that is graphic, but can be the audience. Always understand the added to, is the design scenario method 01_WILSON_TXT.indd 187 1/10/11 2:23 PM