Chapter 14 Commercial Interior Design Applications 519 Copyright Goodheart-Willcox Co., Inc. The Program Report serves two purposes. First, the designer and team need fi nite details of the client’s needs and functions for space. Second, others need macro-information from which to pull economic infor- mation or specifi cs about the space (such as the total square footage of project). The Program Report is often divided into six sections that include ■ Preliminary information. Cover sheet, title page, and table of contents. ■ Executive summary. Generally two to six pages in length, the executive summary compiles information and quantities from other sections of the report into a summary of data outlined in the Program. It includes an opening statement, objectives of the report, methods for gathering data, and a summary of data fi ndings. ■ Organizational charts. These charts diagram corporate departments and their relationships to each other. Usually there is a hierarchy within a company even if it is relatively innovative in design. ■ Adjacency or relationship bubble diagrams. These diagrams indicate both internal and departmental interactions and associations. The internal diagrams focus on individuals, units or groups, and the support functions within each group. The external diagrams focus on interactions across departments or divisions. Designers can create diagrams using the matrix style or bubble diagrams. ■ Typical layouts. Copies of a typical offi ce furniture arrangement and size, workstation, and support room layout are also part of the Program Report. The designer creates a list of furniture needs and calculates the average square-foot- totals per person. Commonly called prototypical layouts, or typical, the designer develops them based on the minimum square-footage requirement for the tasks people perform in a space. The quality of the furniture, fi xtures, and equipment (FF&E) relates to the organizational philosophy and budget. Typicals are easy to develop in CAD software. ■ Additional materials. These can include interview summaries, existing or future fl oor plans, and budgets. Once the client reviews the Program Report and the designer or design team makes all changes, the client will sign and date the report as a legal document. For a commercial project, it is possible that two weeks to six months may pass before space planning begins. At that time, the Program Report becomes the source for every aspect of the planning process, Figure 14-33. Once the designer identifi es the programmatic require- ments, the client may ask the designer to perform a test fi t. A test fi t is the process of using the client’s square footage needs and testing it—or diagramming it—into different available building spaces the client may lease in the desired location. The goal is to see if there is enough space available both for the current client needs and any future needs. If the client has already leased space, as with IEC, the commercial interior designer reads the lease agreement to review details that might impact a design solution. If your client signs a multi-year lease, it is a common practice for building landlords to pay for all or part of the structural remodeling costs. This specialty of interior design practice is called tenant improvement (TI). Phase 3: Schematic Design (SD) The Schematic design phase involves identifying a concept, analyzing the client’s needs using a matrix and bubble diagrams, and preliminary suggestions for furniture, fi xtures, and equipment (FF&E). As the designer performs the analy- sis of client needs, it is important to consider the zones of the spaces and the building envelope. The building envelope consists of the walls, fl oors, and ceilings of the building footprint. Drawings during this phase can be manually or computer generated. Concept Development After brainstorming ideas and selecting three to present to the client, Innovativ Entrepreneur Corp chose an urban rustic concept. The existing building has rough- hewn woods, exposed brick walls, and wide-plank fl oors. This space looks raw and unpolished to attract start-up entrepreneurs. These materials are a throwback to a time when Americans built physical products and things without the use of modern tools. Likewise, employees and clients want to feel they are part of building something from the ground up—wanting to feel part of something greater than themselves. People want a raw space in which hierarchy is nonexistent—making all feel they are part of something distinctive. Such environments change the thinking of employees and clients from hierarchy to collaborative team, Figure 14-34.