copyrighted material...chapter 4. 6 part one: drawing communication, equipment, fundamentals, and...
TRANSCRIPT
Ideas and plans are formed in the interior designer’s m
ind, but tobe transform
ed into reality, they have to be comm
unicated to oth-ers. A
lthough a designer may have a great idea, it m
ust be effec-tively com
municated or it w
ill remain just an idea and never m
ovebeyond conception. Interior designers and other professionals inthe building industry use draw
ings as the primary m
eans of devel-oping and sharing their ideas. Interior designers and architects doa lot of sketching and draw
ing. They develop their skills in free-hand draw
ing by sketching existing objects and spaces in the envi-ronm
ent (Figure 1-1). These sam
e skills of observation and sketching are then usedin visualizing designs for new
spaces and objects (Figure 1-2).This process of brain, eye, and hand coordination is an intrin-
sic part of design. Architectural draw
ings can be grouped intothree basic types: draw
ing as idea generation, drawing as a design
and presentation medium
, and drawing as a guide for the con-
struction process. There are distinct differences between each of
these types, yet they all contain some com
mon draw
ing tools,techniques, standards, and graphic language.
Design com
munication is also influenced by issues that reg-
ulate the building industry, such as building codes that protect thehealth, safety, and w
elfare of the public. Currently, other issues,
Drawing as Comm
unication1
such as universal design, sustainability, and LEED (Leadership in
Energy and Environmental D
esign), and Building Information
Modeling (BIM
) affect the way designers com
municate their ideas.
FIG
UR
E 1
-1Sketching existing objects
and spaces help designers develop their
freehand drawing skills.
06_190418_ch01.qxp:Layout 5 3/4/09 12:29 PM Page 3
COPYRIG
HTED M
ATERIAL
Drawing for Idea Generation
Idea generation assists the designer in working through and visu-
alizing the solution to a problem. D
esigners use many different
types of drawings to generate and bring to reality their creative
ideas. These drawings can be in the form
of quick freehandsketches illustrating different kinds of view
s (Figure 1-3). M
any times these types of draw
ings are not shown to clients
but are used solely to help designers shape their ideas into a visualform
. The drawings are not intended to be the final solution to an
idea, but rather to allow the designer to explore alternatives or
refine an idea. They also help to record designers’ two- and three-
dimensional thinking. These concept sketches and draw
ings arepart of a sequence of design steps referred to as the design process(Figure 1-4).
4P
ART O
NE:Drawing Com
munication, Equipm
ent, Fundamentals, and Classifications System
s
FIG
UR
E 1
-2Designers can
use their freehand drawing
skills to visualize and sketch
new spaces and objects.
06_190418_ch01.qxp:Layout 5 3/4/09 12:29 PM Page 4
CH
APTER
1:Drawing as Comm
unication5
AD
JAC
EN
CY M
ATRIX
FIG
UR
E 1
-3Quick freehand sketches such
as this floor plan and elevation can be used
to bring designers’ creative ideas to reality.
FIG
UR
E 1
-4Analysis charts,
concept sketches, and drawings
are part of a sequence of design
steps known as the design
process.
06_190418_ch01.qxp:Layout 5 3/4/09 12:29 PM Page 5
Drawing as Design and Presentation Media
Once a designer has developed an idea to a point that visual com
-m
unication is needed to show it to the client or others, new
draw-
ings must be created for use as presentation m
edia. These drawings
depict the parameters of an idea in m
ore detail, yet are not totallyw
orked out to a point that they serve as an accurate constructionguide. D
esign drawings can range from
pictorial renderings of anidea (Figure 1-5) to rendered plan view
s of a building’s interiors(Figure 1-6). In the first exam
ple, a rendering is often done as
a perspective view (Chapter 4), w
hich resembles a photograph.
The receding lines of an object are purposely drawn to a distant
vanishing point—sim
ilar to the effect of railroad tracks that appearto touch at the horizon. D
esign drawings are also done using
techniques other than perspectives, such as the isometric show
n inFigure 1-7. D
ifferent types of drawings are discussed further in
Chapter 4.
6P
ART O
NE:Drawing Com
munication, Equipm
ent, Fundamentals, and Classifications System
s
FIG
UR
E 1
-5Design draw
ings such
as this pictorial rendering show
ideas in more detail.
06_190418_ch01.qxp:Layout 5 3/18/09 3:03 PM Page 6
CH
APTER
1:Drawing as Comm
unication7
FIG
UR
E 1
-6Design draw
ings can also
show m
ore detail in the form of rendered
plan views of a building.
FIG
UR
E 1
-7Design draw
ings
can also take on a variety of
techniques. Pictured here is
an isometric draw
ing.
06_190418_ch01.qxp:Layout 5 3/4/09 12:29 PM Page 7
8P
ART O
NE:Drawing Com
munication, Equipm
ent, Fundamentals, and Classifications System
s
FIG
UR
E 1
-8Draw
ings used
to comm
unicate how som
e-
thing should be constructed
are scaled, detailed, and
more accurate; they also
show m
aterials to be used.
FIG
UR
E 1
-10
Clear,
concise drawings of an
object, such as this
section, help a builder
to construct the object
as the designer envi-
sioned.
FIG
UR
E 1
-9Designers use
graphic conventions to indi-
cate sizes, material, and
related information needed
to turn ideas for objects or
spaces into reality.
06_190418_ch01.qxp:Layout 5 3/4/09 12:29 PM Page 8
Drawing as a Guide for Construction
Draw
ings serve as the prime m
eans of comm
unication for con-structing buildings, interior spaces, cabinets, furniture, and otherobjects. C
onstruction drawings are scaled, detailed, and accurate
representations of how an object looks and how
it is constructed,as w
ell as the materials used (Figure 1-8). The draw
ings followestablished architectural graphic conventions to indicate sizes,m
aterial, and related information that is needed to bring the
objects or spaces into reality (Figure 1-9). The builder needs clear,concise draw
ings that are directly related to the different views of
an object, such as plans, elevations, sections (Figure 1-10), andother draw
ing types that are discussed in later chapters.
Issues Affecting How Interior Designers Comm
unicate
Interior design is a constantly changing discipline that is affectedby societal, environm
ental, and technological changes. Issuesaffecting how
interior designers comm
unicate today are influencedby universal design concepts, sustainability, and digital technol-ogy as they apply to design practice w
ithin the building industry.
Universal Design
Universal design is a w
orldwide belief that encom
passes the designof environm
ents, objects, and comm
unication with the intent of
serving the widest range of users. U
niversal design should not beused interchangeably w
ith accessible design, which specifically
focuses on people with disabilities and their right of access to enti-
ties. Universal design is m
ore than providing minim
al compliance
with set accessibility guidelines and requirem
ents. Universal
design integrates accessible features into the design of the building,
interiors, and objects. It attempts to address usability issues of
spaces and equipment versus setting standards and m
inimum
requirements. Figure 1-11 illustrates an exam
ple of the interna-tional sym
bol for accessibility regardless of the user’s abilities.The C
enter for Universal D
esign at North C
arolina State Uni-
versity, in collaboration with a consortium
of universal designresearchers and practitioners, developed seven principles of uni-versal design that w
ere copyrighted in 1997. Funding for the proj-ect w
as provided by the U.S. D
epartment of Education’s N
ationalInstitute on D
isability and Rehabilitation Research. These princi-ples are useful in guiding designers in the creation of environm
entsthat are accessible to all people, w
hether they have a disability ornot. G
ood examples of universal design are alm
ost invisible as theyare so w
ell blended into the design that they seem com
monplace.
Sustainability and LEED
The built environment has a profound im
pact on our natural envi-ronm
ent, economy, health, and productivity. Based on this im
pact,the design, creation, and m
aintenance of the built environment
presents both challenges and opportunities for design profession-als. Sustainable design and green design have becom
e comm
onterm
inology in the design field and involve using methods and
products that cause the lowest possible im
pact upon the ability ofthe natural environm
ent to maintain its natural balance. Interior
designers must practice in an environm
entally responsible manner,
and must advance their know
ledge and application of sustainabledesign in order to advance sustainable practice. O
ne way this can
be accomplished is through an understanding of LEED
(Leader-ship in Energy and Environm
ental Design) and the G
reen Build-ing R
ating System™, w
hich was developed by the U
.S. Green
Building Council (Figure 1-12). This system
encourages and accel-
CH
APTER
1:Drawing as Comm
unication9
FIG
UR
E 1
-11
This is the inter-
nationally recognized symbol
for compliance for w
heel chair
access.
06_190418_ch01.qxp:Layout 5 3/4/09 12:29 PM Page 9
10P
ART O
NE:Drawing Com
munication, Equipm
ent, Fundamentals, and Classifications System
s
1: Principle One: Equitable UseaThe design is useful and m
arketable to people with diverse abilities
GU
ID
EL
IN
ES
�Provide the sam
e means of use for all users: identical w
henever possible;equivalent w
hen not.
�Avoid segregating or stigm
atizing any users.
�Provisions for privacy, security, and safety should be equally available to allusers.
�M
ake the design appealing to all users.
2: Principle Two: Flexibility in UseaThe design accom
modates a w
ide range of individual preferences and abilities.
GU
ID
EL
IN
ES
�Provide choice in m
ethods of use.
�Accom
modate right- or left-handed access and use.
�Facilitate the user’s accuracy and precision.
�Provide adaptability to the user’s pace.
3: Principle Three: simple and intuitivea
Use of the design is easy to understand, regardless of the user’s experience, know
l-edge, language skills, or current concentration level.
GU
ID
EL
IN
ES
�Elim
inate unnecessary complexity.
�Be consistent w
ith user expectations and intuition.
�Accom
modate a w
ide range of literacy and language skills.
�Arrange inform
ation consistent with its im
portance.
�Provide effective prom
pting and feedback during and after task completion.
4: Principle Four: Perceptible Informationa
The design comm
unicates necessary information effectively to the user, regardless of
ambient conditions or the user’s sensory abilities.
GU
ID
EL
IN
ES
�U
se different modes (pictorial, verbal, tactile) for redundant presentation of
essential information.
�Provide adequate contrast betw
een essential information and its surroundings.
�M
aximize “legibility” of essential inform
ation.
�Differentiate elem
ents in ways that can be described (i.e., m
ake it easy to giveinstructions or directions).
�Provide com
patibility with a variety of techniques or devices used by people
with sensory lim
itations.
5: Principle Five: Tolerance for ErroraThe design m
inimizes hazards and the adverse consequences of accidental or unin-
tended actions.
GU
ID
EL
IN
ES
�Arrange elem
ents to minim
ize hazards and errors: most used elem
ents, most
accessible; hazardous elements elim
inated, isolated, or shielded.
�Provide w
arnings of hazards and errors.
�Provide fail safe features.
�Discourage unconscious action in tasks that require vigilance.
6: Principle Six: Low Physical EffortaThe design can be used efficiently and com
fortably and with a m
inimum
of fatigue.
GU
ID
EL
IN
ES
�Allow
user to maintain a neutral body position.
�U
se reasonable operating forces.
�M
inimize repetitive actions.
�M
inimize sustained physical effort.
7: Principle Seven: Size and Space for Approach and UseaAppropriate size and space is provided for approach, reach, m
anipulation, and useregardless of user’s body size, posture, or m
obility.
GU
ID
EL
IN
ES
�Provide a clear line of sight to im
portant elements for any seated or standing
user.
�M
ake reach to all components com
fortable for any seated or standing user.
�Accom
modate variations in hand and grip size.
�Provide adequate space for the use of assistive devices or personal assis-tance.
06_190418_ch01.qxp:Layout 5 3/4/09 12:29 PM Page 10
erates global adoption of sustainablegreen building and developm
entpractices through the creation and
implem
entation of universally under-stood and accepted tools and perform
ancecriteria. LEED
promotes a w
hole-building approach to sustain-ability by recognizing perform
ance in five key areas of human and
environmental health: sustainable site developm
ent, water savings,
energy efficiency, materials selection, and indoor environm
entalquality.
Additionally, LEED
has six different rating systems based on
the nature of the project. These are LEED-EB (Existing Building),
LEED-N
C (N
ew C
onstruction), LEED-C
I (Com
mercial Interiors),
LEED-C
S (Core and Shell), LEED
-H (H
omes), and LEED
-ND
(Neighborhood D
evelopment). A
t the time of this w
riting, ratingsystem
s for Schools, Retail, and Healthcare are being developed.
Interior designers, along with architects, real estate profes-
sionals, facility managers, engineers, landscape architects, con-
struction m
anagers, lenders,
and governm
ent officials
areencouraged to use LEED
to help transform the built environm
entto sustainability. Federal agencies, as w
ell as state and local gov-ernm
ents across the country are adopting LEED for public-ow
nedand public-funded buildings. Sustainable considerations w
ithinthe built environm
ent begin at the design phase of a project and arecarried through in the specifications and construction draw
ings. Itis therefore im
portant that students in interior design learn how to
design and apply LEED standards in an environm
entally respon-sible m
anner. Sustainable issues and LEED standards are incorpo-
rated into relevant chapters where appropriate.
Digital Technology and Building Information M
odeling
Digital technology continues to evolve at a rapid pace in the pro-
duction of new softw
are for two- and three-dim
ensional modeling
programs for use by interior designers and others involved in the
building industry. While this book is not about any specific soft-
ware, there m
ust be some discussions of the m
ost widely used pro-
grams and their specific details as the m
ajority of designers areusing com
puters in the production of design and constructiondraw
ings.A
utodesk’s AutoC
AD
® has been the most w
idely used CA
Dprogram
in interior design and architectural firms in the U
nitedStates for the production of construction draw
ings. Other popular
programs used by the building and design industry include A
rchi-C
AD
® (by Graphisoft) and M
icroStation (by Bentley). At this point
in time, it appears these softw
are programs w
ill not be discardedanytim
e soon; however, it appears that the architecture and design
industry is headed toward a new
technology known as Building
Information M
odeling, or BIM.
Autodesk Revit® Building, a BIM
technology, is leading a newC
AD
industry standard for interior design and architectural prac-tice. BIM
is not a specific program, but an integrated approach to
design and construction drawings. It is an approach that produces
database-driven, 3-D param
etric models of proposed projects that
address geometry, spatial relationships, sectional perspectives,
unit-cost impacts, and detailed docum
entation with unprece-
dented speed. Once m
astered, the technology facilitates the entirem
ultidisciplinary interactions of a project team. A
n advantage ofBIM
is that revisions made in one view
or drawings are autom
at-ically integrated into related draw
ings and/or schedules, as illus-
CH
APTER
1:Drawing as Comm
unication11
FIG
UR
E 1
-12
This is the logo for the United
States Green Building Council, who developed
the LEED rating systems.
06_190418_ch01.qxp:Layout 5 3/4/09 12:29 PM Page 11
trated in Figure 1-13. In the AutoC
AD
platform this w
ould requirethe changes m
ade to one drawing be “X
-referenced” to the otherbase draw
ing.A
s many large design firm
s across the country begin to imple-
ment BIM
technology into their practice, it will be essential to edu-
cate design students in this technology.
12P
ART O
NE:Drawing Com
munication, Equipm
ent, Fundamentals, and Classifications System
s
FIG
UR
E 1
-13
Autodesk’s Revit
software program
presents CAD as
a building information m
odeling
(BIM) system
.
06_190418_ch01.qxp:Layout 5 3/4/09 12:29 PM Page 12