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
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DRAFTING AND DESIGN BASICS FOR INTERIOR DESIGN
TRAVIS KELLY WILSON, ���� Western Kentucky University Bowling Green, Kentucky
FAIRCHILD FAIRC HILD BOOKS
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New York
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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
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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
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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.
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—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
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The process of programmin g is a step that helps beginners clarify what
P R E F A C E
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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.
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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.
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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.
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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-
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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.
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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
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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.
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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.
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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.
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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-
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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-
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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.
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{4.1} opposite
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{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)
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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.
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{5.2} opposite bottom
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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,
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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
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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,
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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
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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.)
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{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
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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
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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
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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
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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
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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
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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.
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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
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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
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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.
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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
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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.
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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
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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
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} 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
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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
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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
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(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.
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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
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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
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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
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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
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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
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