Copyright Goodheart-Willcox Co., Inc. xiv Interior Design Features Expand Knowledge Student Spotlight—Student “designers in progress” discuss their experiences Designer Math Skills—Discuss math skills relating to chapter topics and interior design Link to History—Features connect chapter concepts to relevant historical background include Analyze It! questions 118 Interior Design Copyright Goodheart-Willcox Co., Inc. Interior Design is Exciting and Diverse Interior design is exciting because it responds to trends, fashion, and style. People throughout the world feel its global and international infl uence. Nationally, the design of personal and professional places often refl ects a client’s culture. In the career of interior design, there are no two design clients the same and no two projects exactly alike. As an interior designer, different projects hit your desk every day—commercial and residential, large and small, custom and meaningful. You meet future clients every- where. They walk through your door, you meet them at social or community functions, and you are intro- duced to them through friends or satisfi ed clients. Their different design problems demand energy, passion, and innovation. At any given day, you may fi nd yourself meeting with a team to brainstorm ideas, working on the computer developing interior models, making a client presenta- tion, meeting with a contractor at a job site, or going to the building department for a building plan check. You are never locked into one particular job. You can be working on two to fi ve client projects at any one time— each of which is in a different stage of design. Perhaps that is why interior design students enjoy studying the profession so much and why they thrive in the profes- sion after graduation. Interior Design is Challenging The basis for success of an interior design fi rm is satisfi ed clients. To achieve satisfi ed clients, you need good inter- personal skills to function well with people—both clients and team players. Learning to be comfortable with meet- ing people and interacting with them is an essential skill. STUDENT SPOTLIGHT Danette Billington: “What I fi nd fun about interior design is all of the variety in things that you can do. Each project is different and exciting. There are so many areas you can choose to focus on such as lighting, space planning, sustainability, residential, commercial, or whatever you love!” Erika Sanchez: “Branching out in creative and communicational skills to connect to the world is what I fi nd fun. After observing the design elements in my favorite store, I fi nally understand why the space is so appealing to me.” Aubrey Beck: “I love seeing how art is applied to people in the way they interact with their spaces and the art around them. Learning why people create space and the intentions they have behind creating different spaces is intriguing. I am passionate about the discovery of new aspects of interior design. There is so much more than just the surface of interior design. A lamp is simply not a lamp, but a pathway for a client to have a great mood or emphasis in his or her personal space.” Paul Vanderheiden: “Interior design is most fun because it is essentially creating art for humans to live in. A designer can control the eventual end of the viewer’s emotional and physical experiences simply by the design choices that are made.” Gretchen Einfeldt: “A designer’s job is to be creative! Where other jobs are very straightforward with little change, interior design is always changing, challenging, and fun.” Cheryl Snyder: “What is fun about interior design is not only being able to show tangible creativity in a 3-D environment, but to see how much the users enjoy the designs and how much an improved design shapes the quality of their lives.” Carrie Zwisler: “Interior design is fun because it is applied creativity! I have always considered myself a very creative person, but have always needed guidelines. So, interior design is perfect for me because I can express myself creatively, but also have the guidelines I need to help me achieve something very beautiful.” What Is FUN About Interior Design? Li co in Chapter 3 InteriorDesign Special ty Areas of Practice 65 Copy right Goodheart-WillcoxCo.,Inc. A great deal of offi ce design comes r the category of tenant improvement work (T I),undeofithe which nvolves the design and construction upgrades to a leased space. Ofte n the lessor will pay for a small part upgrades to attract tenants however, the majority of changes to the interior space are paid for by the tenant. TI in volves changes to the interior of a commercial property, such as a large offi ce building, by its owner to accommo- date the needs of a tenant, such as a law fi rm . The law fi rm hires an interior design fi rm for assistance in remodeling the tenant space. Changes generally involve fl oor and wall coverings, ceilings, partitions, air conditioning, fi re protec- tion, and security. The lessor ( landlord) and the law fi rm (lessee) negotiate a portion of the TI costs which is usually documented in the lease agreement. Businesses often lease building space than ownto their buildings outright. As different terather nants, or busi- nesses, move into the spac e, th ey sign a ne w lease and a relocationowner’s of interior walls or partitions occurs refl ect the new business. In addition to a new space plan, TI addressespossibly all ex isting and new furniture, fi xtures, and equipment to meet the business needs. As businesses grow or shrink, designers who specialize in TI can play a signifi cant role in shaping future business success. Figure 3-13. Link to Historyork Evoluonmentt tion of h e W Envir Historically,same work in the offi ce is t he as it is today: moving the pr oduct out the door, task s to complete, so cialization,froaccess rmal meetings, and storage o to fi les. The goal was to help the company or employearrger, prosper.As cities grew l during such yeaentraltbuswere rs as he Victorian era, c iness distric ts developed th at so lely devoted to businessnes activities.Becaclosenessbu use telepho did not ex ist, was importantfor making siness communicrs ation fast and easy. S kyscrape and passenger elevators wer e developed to squeeze morepeopl e and work intolimited space. Officesinside tall buildings were strictly utilitarian withrows of small offi ces arrangeod along corridors so that every ffi ce would have access to windows for lightexisted and ventilation.Private offi ces and waitwoodenpartitions. ing rooms boasted glaze d The offi ce as a social setting was loffice ost as t he manufact uring mentality of repetitive tasks entered t he . Workplamatically ce philosophies changed dra in the 1950s.The Quick borner Team, fromGermofny,introducedscreens a the concept of fi ce landscape. Offi ce walls were replaced with or partitions,plause nts, or bookcases. In t he 1 960s, the of offi ce- system furnituTouse re seriouslychanged office design. panels and work surfae ces, rather than desks, demandmmunicationdtd he esigner und erstand co patterns within the organization. N ew specialists in spaworkstations ce planning emerged and fl e x ibl e began to appear . Companiesnoll, such as Steelcase, Haworth, K and HermanMiopen-office ller led t he way in develo ping designnce strategies. These strategies enhace co llaboration, drecolopgure eve wo rkpl a fl exibility, and nfi physical space. Today, the offi ce has return ed to a place where socia lizing is impand o rtant to generate new knowled ge collaboration, rather t h a n encouraging specifi c repetitive tasks. Analyze It! K nowing a little history behind offi ce des ign and current offi ce trends,prgeneration.oWhatflikeooktxnet edict what you think he workspace will type of offi ce environmefuture?nttrfol would youlike he Haworth, Inc. Figure 3-12 Furni sh i ngs that fi t the human body well help i ncrease worker producti v i ty i n the offi ce environment. Design er relating t o Chapter13 Visual Communic ation: Drawings, Rend erings, andModels 429 Copyright Goodheart-Willcox Co., Inc. D E SIG N ER M A T H S KIL L S ReadingturalUScalgan and sin Architec e The tool of t h e t r adeused by designers to accurateclaleais y nd quicklydetermine s t h e architect scale. Similar to a rulerin length, t hi s scalehas a t ri angular shape with elevendifferelabeslcedes nt al on t hr ee sides.Igineer t will be architect.imilar An en ordesigner uses a s t ri angular scalefor engineeringprps.Ittsissidenticalrin ojec uch as site plans andma appearance and size howeve , itsincremepritsaterfodifefnengnneer.Aately n a e ere t and are appro r gineering projects.Itisnluseleboth abe d i designercandcreatelineants,statnctee to accur measure a r di in proportionarent. l increme bu h ratios arediffe As youlooksidetheasarchilkecin at h te t scale, each scaes varyingincrecomefamilian ments.Ta a minute to be ar with it.A twelve-inchruleracdditibeber found on one sidein on to ten other scales.Thelnum on each end of t h e too indicates variousproportionalincrem).nts e e in 3/3 2, 3/16, 1/8, 1/4, 3/8, 3/4, 1/2, 1, 1/2, and 3 ( Fi gur A Touse t h e toolcorrg,clocate e tlyfor a 1/4” scaleat drawin t h e 1/4 label t h e end of t h e scale. The 1/4 markingindicates=t1’e- h scaleformeasurinte g 1/4” 0”. On t h e opposi end of t h e same scale, t h e 1/8” scalcreating e can be foundfgs ormeasuring or drawin with a 1/8” scaleles (1/8” = 1’nd -0”).Th e two sca overlap a arereadin opposite directions ( r ead t h e 1/4” scale fromright to left and t h e 1/8” scalefromltefet to right). ■ Toread h 1/4” s c ale, start with zero.Read t h e feetinincremight ents of 2, 4, 6, andnumbersincrat 8 fromleft to r ignoring t h e easing fromright to left. Note t h each of t h e marks to t h e right of zero on t h e 1/4” s c alerepresents 1” (Figure B). ■ Toread t h e 1/8” scale,itstart on t h e oppositet end w h zero andread h e feetin incrementstofleft8,gnofraomtl16et o 4, 12, nd fromright i ring h numbersincreasatgeachoofont in ef to right. Note t h h e marks to t h e left of zer the 1/8” scalerepresentst2”. Below t h e zeromark,notice h at thereis a scaleusede,toifmeasure e inches.For exampl you ar checkingclearances on a commercilae)ctoatrrucdinnt’-8”,scalseinatg l nst to plan (1/8” sca h ea s 7 u g th e 1/8”align t h e 0 o h e point A andmeasurpoint7.’,Theo e to placin a t ick mark at t h at n use t h e scale to t h e left of zer to accuratelyemeasurdeesoirgnheiue e t h e remaining 8” ( Fi er s creating theincremeenftsinfeetandlettftenfuzerosescelasonroo.esinchginintahmgerhrieee,cootagettaepstoturaelarkeasursessaIf.C)casgmae,lacsetckechys’tctequicklronoitsolandagsine,imytnae, h to m h h the h to h Using an archi designercanconstrucfoawdr h accuracy presentation create scaleddrawlittlepractic ings anywhereisWioheaconveanientTondakemar.epp . t the scale m r accurate t h an graph sure t h ose viewing t h e design documentskng, ow t h e generauldalbeecslohsifnevein of t h e drawin t h e scale written below eachdrawgsgon there are severaldrawg in one page.Whenas indicatin t h e scaleit can appear 1/4” = 1’-0” or as a ratio of 1/4”:1’-0”. Read the 1⁄8" scale from left to right. Read the 1⁄4" scale from right to left. Each mark to the left of 0 represents 2". Each markof to the right 0 represents 1". Figure A Each mark represents 1" Each mark represents 1" Figure B