Issue link: https://read.uberflip.com/i/1333960
fid_1-77_final.indd 12 2/3/09 8:49:41 PM fid_1-77_final.indd 13 2/3/09 8:49:41 PM fid_1-77_final.indd 22 2/3/09 8:49:45 PM fid_1-77_final.indd 23 2/3/09 10:24:17 PM fid_1-77_final.indd 44 2/3/09 8:50:02 PM fid_1-77_final.indd 45 2/3/09 8:50:06 PM 7 Chapter opener Each chapter opens with a brief introduction. inking points inking points present in-depth views and practical tips relating to the key concepts of the chapters of consideration. ey are set in black boxes. Case studies Case studies give detailed, step-by-step explanations of real-life design processes. ey are set in yellow boxes. e design process 1 fid_1-77_final.indd 12 2/3/09 8:48:44 PM 13 ' e design process' is a term that covers a set of operations which, when carefully undertaken by the designer, result in a thoroughly considered and well-cra ed design solution that meets the needs of the client. e process is not exclusive to interior design and, in one form or another, applies to all fi elds of design. Design might be seen as a largely linear activity, with a start point (at which the client makes fi rst contact with the designer), and an end point, when the project has been implemented (that is, constructed or built). However, the reality is that within the process many of the individual tasks are interrelated and highly dependent upon one another, so changes to one element of a design solution will o en require that earlier parts of the process are revisited and revised as appropriate. You should try to see the design process as a malleable one where the diff erent tasks are adaptable to the unique nature of each project. e design process is not a standard 'one size fi ts all' solution, and you will need to develop your understanding of it so that you can see how it might be used to meet the needs of individual projects that you work on. fid_1-77_final.indd 13 2/3/09 8:48:45 PM 22 Understanding the project Understanding the space Understanding building structures Organising the space e human interface Sustainable design Communicating design e design process Evaluation It is healthy for a designer to constantly question the chain of decisions that have been taken to that point, and to maintain a self critical a itude towards everything throughout the life of a project. Before reaching the implementation stage, revising work that has already been done can be a healthy way to work. From the client 's point of view, the design process is usually considered complete a er the implementation stage, but the designer should also evaluate the project in an eff ort to learn from it. A time of refl ection will be valuable immediately a er the design has been delivered, as lessons learned during the process will still be fresh in the mind, and it is good practice to re-visit the project a er an appropriate period has elapsed (say six months or a year), as lessons which become apparent only a er a space has been occupied and is functional can be learned. While it may or may not be possible to rectify any shortcomings that are identifi ed on an individual project at this stage, the knowledge acquired can be fed into subsequent projects. Whatever the extent of the work undertaken to try to visualise the fi nished outcome of the project during the design development, there will be some instances where you can only properly judge some of your aesthetic decisions as the project is implemented. Although it may be possible to make changes at this stage, there will almost certainly be cost implications. It may be more appropriate to simply learn the lesson for next time, but take no action on site. fid_1-77_final.indd 22 2/3/09 8:48:45 PM 23 Professional practice A rendered plan showing a bedroom and bathroom confi guration at an hotel in St. Petersburg, Russia. Drawings such as this will help the designer to develop the concept into a workable design solution and will form the basis of the presentation to the client, but further drawings will have to be made to aid the implementation. e design process in action Drawing is an activity that you may well not have taken part in for some time before coming to design training. It can, therefore, by very intimidating, but you need to understand that you don't need to be an accomplished artist in order to be a good designer. What you do need is a willingness to commit ideas to paper and to not be afraid of what others might think of your drawing abilities. Experienced designers do not judge the quality of the sketch, they judge the idea that the sketch is expressing. Formal, accurate, technical drawings (plans, elevations, sections, for example) are created on the drawing board or on the computer, and the techniques for producing them are skills that most people can learn. Sketches, on the other hand, are freehand drawings that can be rough, immediate and expressive, or more carefully executed. However they are arrived at, sketches exist to quickly capture and communicate ideas; they are not necessarily meant to be beautiful representational drawings. inking point e importance of drawing is sketchbook shows rough ideas that have been captured very quickly. e sketchbook has been used as a notebook, and the ideas shown will be looked at and further developed later on. Most designers will keep at least one sketchbook close at hand almost all the time so that they can easily record ideas that occur to them. is spontaneous but considered freehand perspective drawing was created in the presence of the client in order to expand upon ideas shown in formal presentation drawings. ese types of sketches are invaluable for answering questions that clients pose during presentation. fid_1-77_final.indd 23 2/3/09 10:24:34 PM 44 e design process Understanding the space Understanding building structures Organising the space e human interface Sustainable design Communicating design Understanding the project Design student Daniela La Cava has put forward proposals for the redesign of a gallery at the V & A Museum in London. She has used a concept based on the idea of 'movement, tunnels and routes' to help develop her design. It has been crystallised around the occurrence in some parts of the London Underground of walkways that partially intersect, giving people on station pla orms incomplete glimpses of other walkways, and the people using them. is idea was one that intrigued and fascinated Daniela, and it proved strong enough to give rise to the concept. In turn, the concept has informed, for example, the structure, traffi c fl ows, decorative scheme and material choices. of the fi nished museum scheme. Daniela has generated sketches, collages, scale models and formal drawings to develop, refi ne and resolve her ideas. ese have all been used to produce material that has helped to present the conceptual design of the space to the audience. Note that when presenting a project, it is not always necessary to produce highly sophisticated visual material. Simple techniques such as sketching, collage and photocopier work leave their own traces of rawness on the images which are not 'perfect', yet this hand-cra ed look is o en very helpful in presentations, simply because it looks natural and real. It is very engaging and appealing, and there is something about these qualities that encourages discussion with the client. In contrast, overly fi nished visuals can appear somewhat dictatorial, as if you are not allowing the client any room for manoeuvre within your proposals, which the client could negatively interpret. You don't need to be a great artist to be a designer, but you do need to be confi dent about communicating your ideas visually, whatever technique you use. is will come as you practice the diff erent techniques, and this confi dence in your presentation work will, in turn, give clients confi dence in your abilities as a designer. Case study Presenting ideas A quick sketch overlaid with trace is a simple way to explain the concept. For the title sequence of her presentation document, Daniela used two pages of tracing paper over a graphic copy of a photograph. e three pages layered interconnections, movement and excitement, engaging the reader from the start. fid_1-77_final.indd 44 2/3/09 8:48:46 PM 45 Design analysis e briefi ng e client Photo research was used in combination with numerous rough sketches to defi ne and develop design details. Sketches allow ideas to be generated quickly and visualised so that they can be easily evaluated. Sketch-style scale models were built out of card, which were then photographed. Lighting eff ects were replicated during the photography. Subsequently, the images were manipulated to include cut-out human fi gures. ese add life to the images and give an instant indication of scale. Some aspects of the decorative scheme were also added to the images. Accurate scale drawings were produced. In the initial stages of the project, they would have helped to identify and resolve issues connected with the design. en the drawings were fi nished to presentation standard. Colour and the human fi gure are added to make them easier to read. Representation of the human fi gure is an excellent aid to understanding drawings; try covering up the fi gures to see what eff ect it has on your interpretation of them. As part of the analysis of the space, photo collages were created to help understanding of the gallery and its approaches. Building and site research fid_1-77_final.indd 45 2/3/09 8:48:46 PM