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Architectural Drafting for Interior Designers Second Edition
New York
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Architectural Drafting for Interior Designers Second Edition
Lydia Sloan Cline
New York
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Fairchild Books An imprint of Bloomsbury Publishing Inc.
1385 Broadway 50 Bedford Square New York London NY 10018 WC1B 3DP USA UK www.fairchildbooks.com First edition published 2008
This electronic edition published in 2014 by Bloomsbury Publishing Plc Š Bloomsbury Publishing Inc., 2014 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. No responsibility for loss caused to any individual or organization acting on or refraining from action as a result of the material in this publication can be accepted by Bloomsbury Publishing Inc. or the author. Library of Congress Cataloging-in-Publication Data A catalog record for this book is available from the Library of Congress 2013954130 ISBN: ePDF: 978-1-60901-923-5 Typeset by Precision Graphics Services, Inc. Cover Design by David Hawkins / Untitled Text Design by Evelin Kasikov Printed and bound in the United States of America To find out more about our authors and their books please visit www.bloomsbury.com where you will find extracts, author interviews and details of forthcoming events, and to be the first to hear about latest releases and special offers, sign up for our newsletters here. BLOOMSBURY is a registered trademark of Bloomsbury Publishing Plc
PREFACE
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Table of Contents
CHAPTER 1 Drafting and the Design Process
1
What Is Drafting? History of Drafting Professional Groups and Certifications The Design Process Summary Classroom Activities Questions Further Resources
2 3 4 5 14 15 15 15
CHAPTER 2 Tools, Scales, and Media Drafting Board and Accessories Architect’s Scale Writing Proper Architectural Notation Scale Conversions Metric Scale Proportional Scale Pencils, Leads, and Erasers Other Tools Drafting Media Care and Storage of Tools The Copying Process Summary Classroom Activities Questions Further Resources
17 18 21 25 25 26 27 28 30 34 35 36 37 37 37 38
CHAPTER 3 2D Versus 3D What Is 2D Drawing, and Why Do It? Orthographic Theory Sketching Orthographically What Is 3D Drawing? Sketching Tips Summary Classroom Activities Questions Further Resources
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39 40 40 42 49 56 59 59 59 59
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CHAPTER 6
CHAPTER 4 Drafting Conventions The Line: Weight and Type Line Type Identifier Labels and Symbols Hatch Lines and Poché Symbols Sheet and Drawing Organization Lettering Lettering Technique Notes Summary Classroom Activities Questions Further Resources
61 62 63 65 66 69 75 75 77 78 78 78 78
CHAPTER 5 The Floor Plan What Is a Floor Plan? What the Floor Plan Shows Sketch an Existing Plan Taking a Visual Inventory Tools Needed for a Visual Inventory How to Measure a Room Measuring Tips Sketching Tips Wall Pochés and Thicknesses Line Hierarchy Line Quality How to Use Ink Pens Draft a Floor Plan Space Planning Themes and Clearances Kitchen Types Kitchen Appliance Sizes, Clearances, and Dining Room Furniture Sizes Accessible Kitchen Design Bathroom Types and Clearances Accessible Bathroom Design Laundry Rooms and Closets Bedroom and Living Room Furniture Egress, Exits, and Hallways Template Use and Figures for Tracing Summary Classroom Activities Questions Further Resources
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79 80 80 80 83 84 85 86 87 88 90 92 94 94 102 105 109 112 113 116 118 118 121 122 129 129 129 129
Interior Elevation and Section Views What Is an Elevation View? The Elevation Callout Symbol Draw an Elevation Placement on the Sheet Longitudinal and Transverse Section Views Draw a Longitudinal Section Poché Symbols in Section and Elevation Obtaining Height Measurements Adding Entourage to Elevation and Section Drawings Summary Classroom Activities Questions Further Resources
131 132 133 134 139 139 141 145 146 147 153 153 153 153
CHAPTER 7 Dimensioning a Floor Plan and Elevation 155 What Is Dimensioning? ANSI Standards for Dimensioning Architectural Design Drawings Additional Dimensioning Rules Dimensioning Differences in Wood Frame and Masonry Construction Dimensioning an Interior Elevation NKBA Standards for Dimensioning Cabinet and Appliance Drawings Additional Cabinet Codes Calculating Area Dimensioning Fixtures Summary Classroom Activities Questions Further Resources
156 156 159 159 164 164 167 169 169 170 170 170 170
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CHAPTER 8 Door and Window Symbols Doors Door Sizes Door Hardware Windows Window Placement in Elevation Window Sizes Summary Classroom Activities Questions Further Resources
CHAPTER 10 171
Utility Systems and Other Plans
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172 181 182 184 196 196 205 205 205 205
Electricity and Electrical Plans Power Plans Reflected Ceiling Plans Heating, Ventilation, and Air-足Conditioning (HVAC) Plans Plumbing Plans Site Plans Summary Classroom Activities Questions Further Resources
264 275 278
CHAPTER 9 Building Construction and Details
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CHAPTER 11 Stairs
The Foundation Superstructure Components of a Wood Framed House Other Drawings Additional Components of Wood Frame Construction Wood Frame Types Components of Masonry Construction Types of Masonry Construction Components of Steel Construction Types of Steel Construction Other Construction Types Detail Drawings Door and Window Details Fireplaces Millwork Cabinets The MasterFormat Summary Classroom Activities Questions Further Resources
209 215 215 220 221 224 226 230 232 234 237 237 241 245 252 254 258 261 261 261 261
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Stair Features Drafting a Staircase Stair Types Exit Stairs Exterior Stairs Risers and Tread Sizes Creating a Grid to Draw the Stairs Ramps Summary Classroom Activities Questions Further Resources
300 302 305 311 312 313 314 315 316 316 316 316
CHAPTER 12 Legends, Keys, and Schedules Legends Keys Schedules Callouts Summary Classroom Activities Questions
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282 288 295 298 298 298 298
317 318 318 322 326 327 328 328
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CHAPTER 13
GLOSSARY
Isometric and Perspective Drafting
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Drafting an Isometric Pictorial Drafting an Isometric Circle Drafting a Cutaway Isometric Room Drafting a Cutaway Isometric of a Floor Plan Perspective Pictorials Drafting a Two-足Point Interior Perspective Using the Rotated Plan Method Drafting a Two-足Point Perspective of a Circle Drafting a One-足Point Perspective Adding a Sloped Ceiling Troubleshooting Summary Questions Classroom Activities Further Resources
330 332 335 336 340 343 356 357 362 362 363 363 363 364
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APPENDIX I Floor Plans for General Classroom Use
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APPENDIX II Worksheets
405
INDEX
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CHAPTER 14 Incorporating the Computer CAD and Modeling Software Building Information Modeling (BIM) Related Software Examples of Techniques Summary Classroom Activities Questions Further Resources
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To all who study, mentor, and commission the creation of beauty in our built environment.
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PR E FAC E
Figure P.1 Floor plan, marker on bond paper. Courtesy Matthew Kerr, IIDA, ASAI, Zimmerman Architectural Studios, Milwaukee, WI.
Interior design is a field that has experienced great popularity in the past few decades. The number of accredited programs continues to grow, as do TV shows and websites about interior design. Even in our recessionary atmosphere, interior designers continue to be hired to make our homes and offices attractive, functional, and satisfying to the eye and soul. It is a profession that requires a broad range of knowledge, critical to which is the ability to communicate ideas. There are two ways to do this: verbally and visually. Visual communication is done via drafting, which is the art and science of creating graphics specific to the architecture field (Figure P.1). Architectural Drafting for Interior Designers was written specifically for the student learning how to create those graphics. It includes the following:
• Examples relative to interior design. • Content applicable to beginning drafting students. • Over 80 worksheets and scale floor plans that reinforce chapter concepts. It was written to comply with National Council for Interior Design Qualification (NCIDQ), Council for Interior Design Accreditation (CIDA), and National Kitchen and Bath Association (NKBA) standards, the governing authorities in interior design education and practice.
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Although computer software is used for technical drawings, the critical thought process and information needed to create those drawings is a skill set independent of, and preceding, computer drafting. That thinking process is what this text emphasizes, rather than any particular software. Also, many designers continue to manually sketch and draft as a means of thinking through ideas. Since those skills are still required for the NCIDQ test, manual drafting continues to be taught in interior design programs, hence is addressed in this book. No prior background or experience in drafting is assumed. The reader starts with an introduction to manual drafting tools and progresses through hand sketching, floor plans, dimensioning, elevations, sections, utility plans, and construction details. The relationship between 2D and 3D views is frequently discussed and reinforced. The text ends with a discussion of software used to create construction drawings, and how it can be combined with manually created work. This transitions the student to the computer drafting and presentation visuals classes that typically follow an introductory drafting class. Each chapter begins with objectives and keywords and ends with questions, classroom activities, and further resources. Step-by-step instructions are given for difficult concepts, heavily illustrated with professional work and clear illustrations. The text is arranged so that material builds from one chapter to the next, but an extensive glossary is provided to assist those who wish to skip chapters. New content in this edition includes a discussion of sketching and the design process, many handdrawn visuals, a chapter about transitioning to the computer, and new and enhanced worksheets. Instructors can request an answer book that contains worksheet solutions and answers to the endof-chapter questions. It is hoped that the student will discover that drafting is not only a necessary skill to the design field but an enjoyable part of the practice of design as well. The author welcomes your comments at lcline@jccc.edu.
Acknowledgments I would like to give a big thanks to Wolfgang Trost, Matthew Kerr, and Jay Colestock for their beautiful drawings that so enhance this text. I would also like to thank contributors Kacy Childs-Winston, Penny Dubisar-Cross, Ernst Cambron, PGAV Architects, Diane Elliott, Patrice Mendelson, Edwin Korff, and Rhiannon Craven. Thanks to Sonia Levin for contributing her drafting skills, and to the companies and organizations that provided their great product photos: Bosch Home Appliances, Hy-Lite Products, American Standard, Kohler Plumbing, Pella Windows and Doors, Loewen, VELUX America, CertainTeed, Empire Comfort Systems, Hearth and Home, Timbersmith, Weyerhauser, APA–The Engineered Wood Association, Strawbale, the New York Convention Center, Steibel-Eltron, the Carrier Corporation, Willis Construction, and Arcways, Inc.
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C H A P TE R 1
Drafting and the Design Process
Design development drawings of a Nurse Historical Museum. The drawing on the left is pencil on tracing paper; on the right is ink and marker on bond paper, scanned and enhanced in Photoshop. Courtesy of Matthew Kerr, IIDA, ASAI, Zimmerman Architectural Studios, Milwaukee, WI.
OBJECTIVE:
• This chapter discusses what drafting is, the design process, documents produced during that process, and relevant industry groups/certifications.
KEYWORDS:
• adjacency matrix • AIA • ASID • BIM • bubble diagram • building code • CADD • CIDA • concept sketch • construction documentation
• contract administration • design development • drafting • graphic communication • ICC • LEED • mood board • NCARB • NCIDQ • NFPA • NKBA
• occupancy • occupant load • parti sketch • program • programming • schedule • schematic design • specifications • USGBC • visual communication
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What Is Drafting? Drafting, also known as graphic or visual communication, is the art of putting ideas to paper in picture form to explain ideas and create instructions. Drafters use universally recognized symbols and protocols to enable everyone involved in a project to interpret the drawings in a consistent manner, no matter in what country the drawings are made or read. Pictures convey ideas in a way that written descriptions cannot. All manufactured items—whether they are clothing (Figure 1.1), cars, toys, furniture, or buildings (Figure 1.2)—started with drafted pictures. We see these pictures everywhere. For instance, the pictures in product assembly instructions are drafted drawings. When we sketch a map giving directions to our home, we are drafting a simple picture. We imagine our surroundings before we create them. Drafting enables us to communicate those ideas to others.
Figure 1.1 A clothing pattern is a drafted set of instructions.
Figure 1.2 AutoCAD floor planhand-rendered with marker. Courtesy of Matthew Kerr, IIDA, ASAI, Zimmerman Architectural Studios, Milwaukee, WI. 2
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History of Drafting Architectural drafting originated when the first building designer needed to give instructions. Ancient civilizations sketched elaborate structures onto papyrus (paper made from reed pulp) using reeds dipped in ink. Drawings were also carved into flat stone panels that were later installed into the base of a building. Since ancient structures could take centuries to build, this served the purpose of showing future workers the designer’s intent. Examples of these “blueprints” are found in Egyptian, Greek, and Roman buildings, as well as medieval castles (construction plans are etched into the walls and floors of the cathedrals at York, Chartres, and Rheims). Most of the drawings are full-size. The temple of Apollo at Didyma has straight lines, circles, quarter circles, and more complicated shapes so precisely drawn that they were clearly made by experienced draftsmen. It is even evident where some of the designs had been changed and where small deliberate mistakes had been made, possibly as a show of humility by the designer. For thousands of years there was little change in the instruments that craft guild members used to draw their pictures; in fact, the T square and compass were carefully guarded secrets. The tools of modern board drafting have been largely unchanged for the past 100 years (Figure 1.3). Although
Figure 1.3 Drafting classroom circa 1906. Courtesy of Colorado College, Colorado Springs, CO. H istory of D r a ftin g
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some tools have been modernized (e.g., technical pens have replaced inkwell-dipped quill pens), others, such as triangles, scales, and dividers, have remained the same. In the early 1980s, computer-aided design and drafting (CADD) began replacing board drafting, and Building Information Modeling (BIM) software, such as Revit, is now replacing CADD. However, although BIM software generates 2D views from a 3D model, it does not automatically lay those drawings out in a logical and easily readable arrangement. Studying layouts done in an “old-school” manner helps the drafter better utilize BIM software.
Professional Groups and Certifications Architectural drafting is primarily done by those who work in the interior design and architecture fields. Professional groups and certifications include:
• American Society for Interior Designers (ASID). This national organization represents
interior designers and interior design students. It advocates for the profession, provides continuing education and advice on running a practice, and hosts awards and competitions.
• National Council for Interior Design Qualification (NCIDQ). This nonprofit organization oversees the eligibility, examination, and certification of interior designers.
• American Institute of Architects (AIA). This national organization represents licensed
architects and architectural interns. Its activities include influencing legislation for professional liability, licensing requirements, building codes, preservation, and environmental concerns. The AIA also provides professional development opportunities and hosts a yearly convention. There is an AIA for each state.
• National Council of Architectural Registration Boards (NCARB). This organization
recommends model laws, regulations, and other guidelines. NCARB also develops, administers, and maintains the Intern Development Program (IDP) and the Architect Registration Examination (ARE). Each state also has its own registration requirements for licensing architects.
• Council for Interior Design Accreditation (CIDA). This organization accredits interior
design programs to assure the public that an education in any program prepares students to be responsible, well-informed, skilled professionals.
• National Kitchen and Bath Association (NKBA). This national organ-
ization provides education and support to the kitchen and bath industry. Professional certifications that can be obtained through it include Associate Kitchen & Bath Designer (AKBD), Certified Kitchen Designer (CKD), Certified Bath Designer (CBD), and Certified Master Kitchen & Bath Designer (CMKBD). It has many local chapters.
• U.S. Green Building Council (USGBC). This organization provides
There are currently over 90 building certifications in the United States. The three largest are LEED, NAHB (National Association of Home Builders), and EnergyStar.
a framework for identifying and implementing sustainable building design, construction, operations, and maintenance. Its internationally recognized green building certifications include LEED (Leadership in Energy and Environmental Design) and Regreen.
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The Design Process The AIA, ASID, and NKBA list five stages in the design process: programming, schematic design, design development, construction documentation, and contract administration. Drafted drawings and other visuals are used at all of them. Following are descriptions of those stages, the activities done in them, and the documents produced.
Programming This is the research stage. Information that will affect the design must be gathered, analyzed, and synthesized. Such information includes spaces required; their functions and square footage; how many people will use them and how; which spaces should be adjacent, separated, public, private, or secured; the traffic flow of goods, services, and people; and the furnishings and equipment needed. Regional limitations, context, cost, energy usage, accessibility, and aesthetic and functional requirements (mechanical, electrical, and plumbing systems) are evaluated. Life cycle cost, organizational and image goals, and environmental concerns may also be considered. Some projects go through the site selection process at this stage. Other issues include physical conditions that affect occupant health and safety (air quality and circulation, temperature control, ergonomic layout, and the physical circulation plan); maintenance concerns (ability of the products and materials to be kept in good condition, as well as the work required to keep that condition over the material’s life span); and sustainability (using resources in a manner that does not deplete them and will have the least long-term effect on the environment). An architectural program, which is a description of client needs, is written. It describes the problem, scope, goals, requirements, and constraints (Figure 1.4). Depending on complexity, a program can be one or one hundred pages long. Adjacency matrixes (Figure 1.5) and criteria matrixes may also be drawn, which show space relationships and requirements in a visual manner. The occupancy and occupant load are also determined. “Occupancy” is a category that describes the building’s use, and occupant load is the number of people the building is expected to hold. There are ten occupancy categories: assembly, business, educational, factory, high-hazard, institutional, mercantile, residential, storage, and utility/misc. There is also “mixed occupancy,” meaning more than one type of occupant. Spaces within a building are also categorized with terms such as “occupiable,” “dwelling,” “sleeping,” ”living,” and “habitable.” (Much of this categorization is a function of windows being present.)
Schematic Design In this phase ideas are developed. Concept and parti sketches are drawn. Concept sketches sum up the “big idea,” that is, the design’s main function or appearance. Parti sketches show a relationship of parts to the whole. For instance, in Figure 1.6 we see the beginnings of a hospital design. The sketch shows the main areas, their spatial relationships, and where/ how the user starts experiencing it all. Bubble diagrams are drawn. A bubble diagram is a concept sketch that organizes and articulates ideas and helps the designer visualize how everything will work together. It contains labeled circles (“bubbles”) that represent spaces and functions occurring inside. Different size circles reflect different space needs. Rooms, orientations, traffic patterns, views, and physical and visual access are shown, along with arrows that describe traffic patterns. Other design considerations, such as landscaping, direction of breezes, sun, and buffer zones or sound, may also be shown. As the bubble diagram evolves from rough to refined, it becomes a “block” diagram, a graphic that resembles a floor plan. Once scale is introduced, the bubble diagram transitions to floor plan.
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Program for an Attorney’s Office Goal: Design an office space in a Los Angeles office complex for an attorney and his staff. Client Description: Rick Martinez, a 30-something immigration attorney, is expanding and upgrading his office space toaccommodate his thriving practice. He has just rented the entire first floor of a Compton office building.
Required Rooms: Lawyer’s Office that accommodates a desk, swivel chair, seating for five visitors, credenza, (6 linear feet), file drawers (fifteen linear feet), wet bar, small conference table, bookshelf. Associate’s Office that accommodates a desk, swivel chair, seating for five visitors, credenza (6 linear feet), wall of file drawers (five linear feet), small conference table, bookshelf. Reception Area that accommodates a large desk and two chairs, two computers, a large laser printer, lounge seating for fifteen, kid’s play area with table and chairs and game storage, TV, magazine rack, two side tables, snack-size refrigerator and eating area, two computer play stations, closet that houses twenty coats. Conference Room that accommodates a table and ten seats, credenza, wet bar, computer, projector, and large wall screen.4 Paralegal Workstations, each accommodating a computer desk and printer, chair and side chair. Shared shelving for law books and journals (40 linear feet) and file cabinets (15 linear feet). 4 Clerical Workstations, each accommodating a computer desk and chair. Shared shelving and drawers (ten linear feet) and shared printer on a stand. Break Room that accommodates a full-size refrigerator, microwave, cabinets with sink, and table with six chairs. 1 Private Restroom for the lawyer and associate. 2 Public Restrooms for everyone else. Required Adjacencies: Public restrooms must be directly adjacent to the reception area and conveniently adjacent to the paralegal and clerical staff. The conference room must be conveniently adjacent to the lawyers and paralegals, and visually inaccessible from the reception area. Rick’s and the associate’s offices should be directly adjacent to the private bathroom and conveniently adjacent to each other and to the paralegal staff. They should not be visible to the reception area. Paralegal stations should be conveniently adjacent to the lawyers’ offices and directly adjacent to the clerical staff. They should be visually inaccessible from the reception area. Other: An open design that reinforces the collegiality of the whole staff and de-emphasizes hierarchy is required; however, the lawyers’ offices require sound buffering. The design should exude confidence and competence to the office visitors. The client is partial to loads of natural light, stone, wood, and a mixture of modern and classical styles. He wishes to create a safe and attractive sanctuary for his staff and clients in the gritty urban surroundings.
Figure 1.4 Architectural program for an attorney’s office.
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Figure 1.5 An adjacency matrix for the program in Figure 1.4.
Figure 1.6 Concept sketch for a hospital floor plan layout. Courtesy of Matthew Kerr, IIDA, ASAI, Zimmerman Architectural Studios, Milwaukee, WI.
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Figures 1.7 through 1.12, done by Jay Colestock, AIA, of Colestock and Muir (www.cmarchitects. com), show the development of a floor plan through bubble diagramming.
Figure 1.7 Property characteristics are necessary to start the architectural design process. Courtesy of Jay Colestock AIA, www .cmarchitects.com.
Figure 1.8 Diagramming the bedroom and family areas. 8
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Figure 1.9 Diagramming the formal spaces and master suite.
Figure 1.10 Pulling all the bubble diagrams together.
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Figure 1.11 Refining the bubble diagram; it is now a “block” diagram.
Figure 1.12 The design layout, or rough floor plan, takes shape.
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Mood boards, which are visuals that describe the design essence without being specific, may also be presented (Figure 1.13). A mood board’s goal is to evoke emotion and convey the design direction in an unspecific way. Any photos, symbols, materials, and textiles that capture the designer’s thoughts for how the space will affect the user or hint at its appearance can be used. A mood board is not the same as a color board, which shows the actual materials that have been selected.
Figure 1.13 Mood board for a law office.
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Design Development The project is now taken from concept to workable design. Visuals may include colored sketches (Figure 1.14), scale models (Figure 1.15), color boards (Figure 1.16), or anything else that communicates the idea. The visuals selected should be based on the specific
Figure 1.14 Rendered perspective sketch. Courtesy of Matthew Kerr, IIDA, ASAI, Zimmerman Architectural Studios, Milwaukee, WI.
Figure 1.15 Scale model of a custom-designed residence. Printed elevations are glued to foamcore board. Courtesy of Wolfgang Trost AIA, wolfgangtrost.com.
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Figure 1.16 Color board of a commercial lounge. Courtesy of Matthew Kerr, IIDA, ASAI, Zimmerman Architectural Studios, Milwaukee, WI.
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Figure 1.17 Hard-lined presentation sketch. Courtesy of Matthew Kerr, IIDA, ASAI, Zimmerman Architectural Studios, Milwaukee, WI.
audience. For instance, a hard-lined sketch may be appropriate for a client presentation (Figure 1.17), but it wouldn’t be the same kind of hard-lined drawing that would be given to a builder. Local codes, ordinances, and zoning laws, which cover topics such as aesthetics, traffic, and activities inside a building, are researched, as are building codes, and a detailed code review is done. Building codes are rules that govern design and construction and address risk factors that characterize the people and activities in the space. For instance, a nightclub has dim light and loud music; offices have upholstered furniture, paper, and other flammables; nursing homes have occupants with limited mobility; prisons have occupants with restricted mobility; and theaters have many occupants in one space. Codes help ensure that all types of buildings provide their users with an appropriate level of safety to live and work. Room size, number of exits, lighting, hallway length, and interior finish selection are just a few examples of code-dictated features. The International Code Council (ICC) is a standards organization that writes 15 individual codes. These are model codes, meaning they are independent of enforcement authorities. They do not become law until a governing authority (e.g., state government, fire district, or municipality) adopts them. The two ICC codes most applicable to interior designers are the International Residential Code (IRC), which applies to one-and two-family homes of three stories or less, and the International Building Code (IBC), which applies to commercial construction. Other relevant codes are the Life Safety Code and National Electric Code, written by the National Fire Protection Association (NFPA), which is another standards organization.
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Figure 1.18 Set of construction drawings for a classroom building. Courtesy of Edwin Korff AIA, Prairie Village, KS.
Construction Documentation The design is finalized in this stage, and documents that serve as legal and binding instructions for building are drafted. These instructions include all architectural, structural, electrical, mechanical, and plumbing drawings (Figure 1.18). Specifications are written, which describe quality of materials and workmanship standards. For instance, the drawings might show where carpet is to be laid; the specifications discuss the carpet’s material, pile height, backing, and glue. Schedules (charts) of all fixtures, furniture, and equipment to be purchased are also created. Producing a complete set of construction documents is a team effort to which many professionals contribute.
Contract Administration In this phase the job is awarded to a contractor (assuming the contractor wasn’t selected at the outset; in such cases the contractor may even provide the drawings). Time schedules, which describe workflow, are created by construction managers. Shop drawings are also created at this phase. These are highly detailed production drawings of items shown in the design drawings and are created by contractors, subcontractors, manufacturers, or fabricators. For example, where the design drawing might show a simple drawing of a steel beam, the shop drawing will show how many bolt holes it has, the exact size of its flanges, pictures of the bolts themselves, and so on. They are a communication from the fabricator to the designer that says, “As I understand it, this is what you want and this is how I plan to produce it.”
Summary Drafting is graphic communication and is used to explain ideas and create instructions. It has a recorded history that spans thousands of years. Standardized ways of presenting those ideas and instructions have evolved to make drawings readable wherever they are created or read. Professionals who draft include interior designers and architects and various industry groups. Certifications are available to advocate quality and standards. Organizations also exist to regulate design and construction quality in the form of building codes. The design process goes through five distinct stages, for which different graphics and visuals are used. But all have the same purpose, which is to communicate intent. 14
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Classroom Activities 1. Draw a bubble diagram for a residence. 2. Create a mood board for a residential kitchen or small retailer. 3. Create an adjacency matrix for the part of the building your classroom is in. 4. Visit the ICC website and list the model codes it writes. 5. Visit your local city website and research what codes it has adopted. 6. Obtain a copy of the International Residential Code for One-and Two-Family Dwellings and research some specific topics, such as exit requirements or hallway lengths.
Questions 1. What is drafting? 2. Why is drafting used? 3. What does “LEED” mean? 4. What are the five stages of design, as recognized by the ASID, AIA, and NKBA? 5. What is an architectural program? 6. What is a model code? 7. Why are building codes used? 8. What is an adjacency matrix? 9. What is a bubble diagram? 10. What is a mood board?
Further Resources Council for Interior Design Accreditation (CIDA). www.accredit-id.org American Institute of Architects (AIA). www.aia.org American Society for Interior Designers (ASID). www.asid.org International Code Council (ICC). www.iccsafe.org National Council for Interior Design Qualification (NCIDQ). www.ncidq.org National Kitchen and Bath Association (NKBA). www.nkba.org U.S. Green Building Council (USGBC). www.usgbc.org/LEED
Furt h er R esou rc es
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