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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

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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.


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.


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.

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s

FIG

UR

E 1

-5Design draw

ings such

as this pictorial rendering show

ideas in more detail.


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.


8P

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munication, Equipm


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.


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.


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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.


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.


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.

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munication, Equipm


s

FIG

UR

E 1

-13

Autodesk’s Revit

software program

presents CAD as

a building information m

odeling

(BIM) system

.


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