Copyright Goodheart-Willcox Co., Inc. xii Interior Design Captivating Illustrations Engage Learners Copyright Goodheart-Willcox Co., Inc. Copyright Goodheart-Willcox Co., Inc. 424 Design Insight “Drawings express the interaction of our minds, eyes, and hands.” Michael Graves Learning Targets After studying this chapter, you will be able to ■ summarize the need for good visual communication and communication techniques. ■ identify manual and digital visual communication tools. ■ apply techniques for various presentation drawings. ■ demonstrate sketching techniques and types. ■ utilize various drawing systems, including orthographic, paraline, and perspective. ■ summarize communication, techniques, and drawing conventions used in construction drawings. ■ utilize architectural lettering techniques. ■ demonstrate basic rendering techniques. ■ create a basic model. ■ summarize the BIM modeling system. ■ produce interior drawings using both one-point and two- point perspective. Chapter 13 ALL IMAGES COPYRIGHT STANTEC—VISIONING, BRANDS, & EXPERIENCES, 2014 Visual Communication: Drawings, Renderings, and Models Ch apter 1 The Value of Interior Design Copy right Goodhear t-Willc ox Co., Inc. The design of interior spaces should ad apt to pe individuals, rather than people adapting to the d of spaces. Bad design exists. Good design matt e It is the designer’ s job only to listen to what client want s, but to also vonot lunteer creati appropri solutions based on the designer’s expe e. ser as motivato rs for be tter design and betterrtisve,They living spaces The designer of ten leaves signature mark of quali ty and creativity th is pleasing and meets the needs initially expressed by the clienta. Business and Economic Value The value lue of interior design extends into all business sectors and is an adva ntag e to clients. For example, intean rior spaces corporate offi ce serv e as an extethe of a compan values and identity. These interiors translate into customer loyalt y and brand recognition that enhance business success, Figure 1-6. Photograph: Davidd arl by Associates II I Interior Design Figure 1-5 Helping connecO.tMwithow/Innteriorshelpwithin t with nature their interior environments just one way designers meet clie needs. How does th vironment help lp its occupants co nnect wi th nature?isisenpeople ©Judy Davis/Hoachlandeder s Photography/Designed by ForrestPePe Figure 1-6 Building brand recognition is one way interior designers serve their commercial business clieents.DaviWhat at details about thisrkinss space capt ure your intere st in design? y that at is ally ex pressed by t Business and E The va of interior desig sectors and is economic ex ampl e, the int spaces as an ex tensionerioreconomic nsion of a compaofy’sa These interiors translat e into brand recognit ion that enhan Figure 1-6. P hotograph : Da vi O. M arl ow /I nteriors by Associates II I Interior Design Figure 1- 5 Helping people connec ature within the ir interior en vironmen ts is just one way designers help meet client nt needs. Ho w does th is en viro nm en t he its occupa nt s ect wi th natu ? r Da vi s Photograph y/ Designed by Fo rrest rkin nts. Wh details about th is ect wi th natu ? de e Chapter 13 Visual Comm unication: Drawin gs, Renderin gs, and Models 449 vanishing points. This is the most common type of erspectiv e an interi or designer uses. ree-point per s In addition t shing points—one f or each perspective hapective. s how th D One-point Pers pective Two-point Pers pective Three-point Pers pective Courtesy of R obert Work MFA, Colorado S igure Pe rspective drawings show vo lumes and relationships of space in a tw o-dimensional realm. Why signer13-20 s use pe rspective drawings mothree-dimensional re often th an para line drawin gs? Images and illustrations convey important design information and details about creating func- tional, yet aesthetically pleasing, interiors Chapter 6 Introducing the Interior D esig Pr ocess 169 Copyright Goodheart-W illc ox Co ., Inc. Inve stigate and Refl ect . . . . . . . . . . . . . . . . . . . . . . . . Discuss the designer’s sketches for Raquel and Mike’s home. Are there other changes the designer might suggest to help meet their current needs? For instance, could th e second bedro om serve as an offi ce or craft room until they decide to have children? Then use the Internet to r esearch interior design case studies of similar client needs. How can studying these case studies impr o ve your ideas and approach to client design solutions? Write a summary of your fi ndings to shar e with the class. Kitchen and dining in direct relationship for ease of passage with food Kitchen and living room in direct relationship fo r ease snacking or enteofrtaining Separate , somewhat priv ate area of living room with study/reading area FIRST FLOOR more closed off and prMuch iv ate than the first floo r One full bath for both master and second bedroom Wa sher/dryer need to be easily accessib le from both bedroom s SECOND FLOOR Drawing 1—Relational Bubble Drawingsn Second (bac k) entrance from garage Study part under stairsway Need entr piece to draccentpeopleyway aw in FIRST FLOOR SECOND FLOOR W asher/dryer located in hall closet fo r access to bedrooms Smaller walk-in closet in second bedroo m Extend the master bath to be larger Larger master walk-in closet Drawing 3—General Bubble Drawings in Building Footprintivacy Entrance Dining room is more formal Living room and kitchen are the main socializing areas Entrance FIRST FLOOR SECOND FLOOR Questionab le placement fo r washer/dry er Larger master bedroom No really public areas or spaces on second floo r bathroom second bedroom fotoAdded r more pr for the master Drawing 2—Further-Analyzed Relational Bubble Drawings Storage for TV, living area, and desk Ma ke living room more open and less rectangular Runner Mud-room storage coat rackcksandmra Double doors (change e xterior? ) More privivate dining FIRST FLOOR SECOND FLOO R Ente rtainment area opposite the bedopppposite Storage in relationship to the laundry room Built-in storage under the stairs above the desk area Built-in storage around the window SECOND FLOORRetch. FLOOR Fo cus is on traffic flow from entrance to other areas of the first floor Window still walk-in laundr y room Drawing 4—Blocking in Building Footprin t Drawing 5—Preliminary Furniture Planhre Em ily Eyrich , Interior Design Student, Colorado State University ff and oo r full bath fu fo r master and m d bedroom SECOND g 5—Pr r e Plan 444 Interior Design ■ Sk etch for diff lengths of time. Y ou will have diff results from a 10-minute timed sketch than one that 45 minutes in length. MoveerentwaNarrow,is,buterent to a diff erent position in the room if you do ot like scene’s viewpoint from where y are etching. Find one that off ers interest andou our ska racing paper to dev and then l person insert ed into the scene. dimension is always interesting in an inter ior.Human ■ Sketch the exterior of buildings as well as interior spaces. Both offe r different opportunities captur ing design details fo r use later.times.for ■ Keep y our sketchbook with you at all ■ Sk etch often! Sk etch e verywhere! Sketch everything! Sk etching Te chniques Every design student develops his or her ow sketching style. It is a type of Some are more precise while others are carefree in nature. are and others are delic ate. worry y yo ur sketc do not look exactly like ttDosignature. anothe ev yohes u looking at the same scene Ev y designer’s sketching style refl or her personality lines, marks, and strokes. There are two fferent types of sk etching used in the design fi eld. On e is more artistic in its use of lines, shapes, and fo The other is technical and ar chitectural in nature, Figure 13-166.more Digital Sketching There are a number of digital tools to for sket A favorite that designers frequently ususe SketchUp is a three- dimensional can produce digital sketc can crea te con shadin Sherilyn (L ixue) Yin, design CSU, EC NU/ Shidongtransfer , Sstudent,, enio Photographer Figure 13-15 Mo ving freehand sketetchesInternational to digitalYifonnrmat al,Slowsrr to fi ll in the contour lines with color to enhance understanding of the drawing.theFIRST Runner Mud-room and storage an coat s s ) ning rtai ainment d d lt-in age nd the w More pr at e e dining D FLOO Narr w ow b ut still n laundr lk-in y room elimina ry es student de ve lops his or her own n sk etching It is a ty pe of signatur e. Some are more precise while others are ca refree in nature. Some are bold and othe rs are delic ate. Do not worr if yo ur hes do not look exactly like hose of r, ev en if yo u are looking at the same scene . Ev er y designe r’ etching st yle re fl ects or her personal ity through freehand lines, marks, anhis d There are tw o di ff erent ty pes of sk etching te chniques used in the design fi eld. One is more artistictechniques in its use of lines, shapes, and fo rm s. The other is more technical and ar chit ectural in naturrms. e, Figure 13 -1 . Digital Sk etchin The nu igital S herilyn (L ixue ) Yin, Internation al transfer design student CS U, EC NU / S hidon g Yi enio Photographer Figure 13 -1 5 Mo ving freehand sk k k ches to digita l fo rmat al lows yo u to fi ll in contou r lines with color to enhance understand ing of theyou dr aw ing. hing g The a nu digital Chap ter 1 4 Commectscdihisstrokes.hose.notoferanotheifr,Somesskskifetcboldare er ial Interior Design Applicthroughenfreehand ations 529 ontract documents, or CDs, are the working drawings d specifi cations required to obtain a building permit construct the fi nished space. CDs, by strict defi ni- do not include the furniture plan, although it is included to reference other details in the plan, 14-37 . CDs do include ensioned plans ted ceiling plans (RCP) and communicati pecific ■ mechanical, electrical, and plumbing (MEPColorado ■ structural plans as needed Another c lient presentati designer develop Floor plan Furniture plan Elevations Details Meghan Sophomore Desi gn Student, State Un iversity Figure 14-37 Contract documents contai n the working drawi ngs and specifi cat i ons needed for constructiBenthei.mer, on Inspiring quotes capture learner attention Learning Targets focus students on key concepts and skills Student “designers in progress” demonstrate their skill development Professional designers showcase their visual examples Motivating chapter opening visuals focus on various aspects of interior design