IDVP 1 12/15/03 3:40 PM Page i INTERIOR DESIGN VISUAL PRESENTATION • A Guide to Graphics, Models, and Presentation Techniques SECOND EDITION Maureen Mitton JOHN WILEY & SONS, INC. IDVP 1 12/15/03 3:40 PM Page ii This book is printed on acid-free paper.O∞ Copyright © 2004 by John Wiley & Sons, Inc. All rights reserved Published by John Wiley & Sons, Inc., Hoboken, New Jersey Published simultaneously in Canada No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, Inc., 222 Rosewood Drive, Danvers, MA 01923, (978) 750-8400, fax (978) 750-4470, or on the web at www.copyright.com. 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NK2113.5.M58 2003 729'.028--dc21 2002156140 Printed in the United States of America 10 9 8 7 6 5 4 3 2 1 IDVP 1 12/15/03 3:40 PM Page iii For Roger, Anna, and Luc IDVP 1 12/15/03 3:40 PM Page iv IDVP 1 12/15/03 3:40 PM Page v CONTENTS ACKNOWLEDGMENTS vii INTRODUCTION ix ORTHOGRAPHIC DRAWINGS 1 Introduction to Drawing 1 Materials, Tools, and Equipment 2 Understanding Orthographic Projection Drawings 5 Orthographic Projection Drawings for Interior Environments 6 THE DESIGN PROCESS AND RELATED GRAPHICS 21 Introduction to the Design Process 21 Programming 23 Schematic Design 26 Design Development 42 PARALINE AND PERSPECTIVE DRAWINGS 44 Introduction to Three-Dimensional Views 44 Paraline Drawings 45 Perspective Drawings 50 Developing Visual Skills 55 DRAWING AND SKETCHING INTERIOR ENVIRONMENTS 64 Estimated One-Point Interior Perspective Drawings 64 Estimated Two-Point Interior Perspective Drawings 70 Refined Linear Perspective Methods 75 Two-Point Plan Projection Method 75 Prepared Perspective Grid Charts 83 Perspectives Traced from Photographs 85 Computer-Generated Imagery 88 RENDERING 92 Introduction to Rendering 92 Materials, Media, and Tools 93 Rendering Orthographic Projection Drawings 99 Rendering Perspective Drawings 106 IDVP 1 12/15/03 3:40 PM Page vi COLOR PLATES 119 SCALE MODELS 159 Introduction to Scale Models 159 Materials and Tools 160 Construction and Use of Models 171 PRESENTING MATERIALS AND FINISHES 181 Introduction to Materials Presentations 181 Materials and Media 183 Organization and Composition 186 Techniques and Methods of Presentation 191 PORTFOLIOS AND RESUMES 199 Graphic Design Components 199 The Resume 202 The Portfolio 220 The Digital Portfolio 222 APPENDIX ONE DIRECTORY OF PROFESSIONALS FEATURED 227 APPENDIX TWO DRAWING ELEVATIONS: A RESIDENTIAL CASE STUDY 228 APPENDIX THREE COLOR THEORY FOR RENDERING 230 APPENDIX FOUR SCALE FIGURES AND ENTOURAGE 231 APPENDIX FIVE TWO-POINT PERSPECTIVE GRID 234 APPENDIX SIX FLOOR PLANS OF PROFESSIONAL CASE STUDY: SCIENCE MUSEUM OF MINNESOTA 235 INDEX 236 IDVP 1 12/15/03 3:40 PM Page vii ACKNOWLEDGMENTS This book, just like the first edition, compiles great deal of work and gave hours of her time; the work of many hands (and keyboards) and Jane Rademacher, Lisa Miller, and Bob Al- conversations. It has been made possible by the bachten; and Thom Lasley, of RSP Architects. generous contributions of numerous people, to Others who took time out of very busy sched- whom I would like to express my gratitude. ules to contribute include Thomas Oliphant; First, I must acknowledge my current and Jim Smart, of Smart Associates; Jim Moeller, at former students, who have taught me volumes Arthur Shuster Inc.; Craig Beddow, of Beddow and who continue give me the energy to keep Design; Deborah Kucera, of TKDA; Janet Law- going. I must thank all of the former students son, of Janet Lawson Architectural Illustration; who contributed work to the first edition espe- and Robert Lownes, of Design Visualizations; cially, including Theresa Isaacson, Leanne Lar- Harris Birkeland; and Aj Dumas. son, Ardella Pieper, Cory Sherman, and Justin I must acknowledge and thank my col- Thomson. Denise Haertl, Dan Effenheim, Anne leagues at the University of Wisconsin–Stout. (Cleary) Olsen, and Angela Ska, now profes- Courtney Nystuen, a wonderful teacher and ar- sional designers, all willingly handed over chitect, contributed in many ways. Bill Wikrent, portfolios for inclusion in this edition. Current who is talented, knowledgeable, and very gener- students who contributed work and help in- ous, deserves special thanks. And this edition clude Kristy Bokelman, Anne Harmer, and would not have been finished in this decade Randi Steinbrecher. And I thank former ex- without the gift of a sabbatical: thank you to the change students Elke Kalvelage, Jessica Sabbatical Committee. Jack Zellner and Kristine Tebbe, and Dirk Olbrich for allowing me to in- Recker Simpson deserve thanks for willingly clude some of their fine work. contributing their fine work. I have been amazed and touched by the This project would not have been possible generosity of members of the design commu- without the help of my husband, Roger Par- nity who shared time and contributed projects: enteau, support from our daughter, Anna, and my friend Lynn Barnhouse at Meyer, Scherer a fair amount of terror generated by young & Rockcastle Architects, who contributed a Luc to keep things interesting. vii IDVP 1 12/15/03 3:40 PM Page viii IDVP 1 12/15/03 3:40 PM Page ix INTRODUCTION The practice of interior design is complex and sual communication, this book presents a continues to evolve. Technological and societal range of styles and techniques. The goal is to changes fueled by the industrial revolution and provide students and practitioners with infor- continued by more recent advancements in mation on visual presentation techniques and technology have shaped the profession in deci- a variety of methods and materials. It is im- sive ways. In a world that requires increasing portant to note that this book is not intended to professional specialization, interior design has impart ways of camouflaging poorly con- gained recognition as an independent disci- ceived design work with tricky techniques. pline. Work done by groundbreaking interior This is not a rendering book; it is instead a designers in the twentieth century has en- portfolio of methods of communication. Good hanced the built environment and increased design requires, and deserves, adequate and the visibility of the profession. The develop- appropriate presentation. ment of educational standards, professional My desire to write the first edition of this organizations, a qualifying exam, and legisla- book grew from an ongoing pedagogical need: tive certification has increased the quality and to show students a range of examples of pres- credibility of practitioners and fostered design entation techniques and styles. Often design excellence. students look for the “right” way to create a The design of interior environments re- presentation, and this is a mistake because quires specialized methods of presentation, there are many ways of creating successful which are often omitted in standard architec- presentations. Interior design education has ture texts. This book identifies methods used suffered from a lack of documentation of the in the visual presentation of interior spaces many possible modes of presentation and a and articulates them in written and visual lan- lack of specialized information for students. I guage. Various phases of the design process have found that students exposed to a variety are discussed in order to reveal the connection of methods and specific examples create ap- between process and presentation. Some often propriate and useful presentations, whereas overlooked basic principles of graphic design students left uninformed about the possibilities and portfolio design are also discussed. often repeat the same lackluster or inappropri- Intended as a primer on interior design vi- ate type of presentation project after project. ix IDVP 1 12/15/03 3:40 PM Page x Unlike those found in many books on ren- cialists. The work is beautiful and highly pro- dering and presentation, many of the exam- fessional, and it depicts what top professionals ples included here were executed by under- can produce. We can learn from this work and graduate design students. I’ve included these allow it to influence our design drawings and because I want students to see real examples in-process presentations. of developing skills. It is important for all de- Most chapters begin with information signers to develop drawing and sketching about specific materials and tools. Each pro- skills. Drawing and model building should not vides written instruction in the text as well as be reserved for the final presentation of fully step-by-step illustrated instructions. In teach- developed designs. Instead, sketching, draw- ing I’ve found that some students learn best by ing, and model building must be seen as ways reading and others by following brief graphic of seeing and exploring throughout the design guides. My goal is to provide instruction for a process—from beginning to final presenta- variety of learning styles. tion. I admit my desire to get interior designers For the most part this book covers conven- to draw (and draw and draw). It is the best way tional methods of drawing and presentation. to learn to visualize and develop good work. The one exception is the material on perspec- Research for this edition made clear the sig- tive, where I have focused on estimated per- nificant role computer-generated imagery spective sketching. Estimated sketching re- plays in current practice and in the academic quires “eyeballing” perspectives, a method world. Most designers use computers in creat- that I have found works well for students, al- ing visual presentations. Despite this, hand though many educators find it horrifying. In drawing continues to be a useful tool, particu- addition to estimated sketching, information larly in producing perspective drawings. on more traditional methods of perspective Quickly created perspective drawings offer the drawing is included. benefit of providing designers a visualization The examples and projects presented here tool early in the design process, prior to the range in scope from small residential student time finalized design drawings are complete. projects to huge public interior spaces de- In addition, skills learned in drawing by hand signed by professionals. The projects range transfer directly to computer modeling. The from purely decorative treatment of interior el- ability to create quick perspective sketches in ements to space planning and interior architec- client conferences and in team meetings is a ture. It is important to note that some of the highly useful tool; this is something that I have professional projects presented here are the heard many times from those hiring designers. work of architects involved in the design of in- For these reasons, numerous examples of terior space and exhibitions. This points to the quick sketching techniques are included. Ex- overlap of the two professions, the breadth of amples of computer-generated three-dimen- current design practice, and some confusion sional views are also provided because some over what the design of interior space should designers create these after refining the design be called. When is it appropriate to use the by hand sketching. I believe hand drawing and term interior architecture? When interior de- computer-generated imagery can sit side by sign? Certainly that debate cannot be ad- side in the designer’s tool kit. dressed in a book on presentation methods. For I have included some examples of work the book’s title, I chose to use the term interior done by professional illustrators, digital illus- design because it describes the design of inte- trators, and model makers to demonstrate rior space, which is clearly a distinct area of what is being done in current practice by spe- specialization. x INTERIOR DESIGN VISUAL PRESENTATION