I
I
I
I
~
~
C~I
K
E3
E3
8
II
C
I fk>:
0 li]C
;1<
~
>~
Ie
]DI
__ DI
'---
1101010100
0
U
II
!(]
~
[]
~
I
I ex
IDI
I D
---.....
~
~ i::::'
..
Z o
~
> lLJ
- l lLJ
I--
~
~
Z lLJ
I : o
\-

!
I
I~
~
I~
I~
1«
I~ I~ ~I
II
II
I
111111
III
~~;{~ Ie
II~J
I]
.)<
10101010101
0
I~ J~ ~~~i~~
0
0 II
I
I
I
I 0
I 01
z o
~
>
~ s-. r-
~ u..J
- l
1Ll
Z u..J
:r:
U
~
~

tr.===~;;tr1
--l
~~rT~=====~ ~
I--
~~~~~~m1tS

I~
I~
II
-
--'
--'
~
~
1LJ
~
.. z
0
~
>
1LJ
--' u.J
Z
1LI
1:
U
~
~

o
/'"DECORATIVE SCONCE

o o
/..DECORATIVE SCONCE
.CUSTOM TV CAeINEi
B

/
"
4' MANTEL o
/DECORATIVE SCONCE
Q

o o
/DfCORATIVf SCONCE

Q/Oe:CORATIVE SCONCe: o
~
~~I
-
I~!·
ITrtFli],[ -
t
I ' I -
1
~~
J
~
l -1[1]
= 11-0"
(B)
B

.

CUSTOM TV CABINET
11
= I 1_011
NGEHOOD
0

.cUSTOM TV CABINET
11 =
11
--
NGfHOOD
(C)

The Fmal Stage of the DesIgn Process
34

Design development IS the last stage of the design process and Involves the finalization of all aspects of the proJect. After the design IS completed, the project IS then prepared for construction; thiS IS referred to as the construction documentation phase. Since the design will be Implemented m the actual space,
It IS very Important that the design development phase IS completed meticulously and accurately. ThiS level of detail orientation on the part of the designer Will help with the transition of the design mto a real space (Mitton, 42).
ThiS level of detail IS also Important when the designer makes the final presentation to the chent. The design must be communicated clearly and effectively so the dent understands and can grant approval for the project to move Into ItS final stages. Floor plans, elevations, additional drawings, and samples of ftntshes and furntshmgs are all part of the final presentation and Yield a complete VISion of the proJect's design (Mitton, 42).
35

Entry
After much time and many changes, the final drawings are complete. I am writing this With a certain degree of relief. After all, design IS an arduous process that takes time and effort to complete. However, I have done work that
I can be proud of and I look forward to showing the fmal product to my clients.
Surely they will be pleased With the outcome and are eagerly awaiting the final presentation.
I would like to diSCUSS the draWings themselves since they have undergone more additions since the last sets. The new layout for the residence features the arrangement that has been discussed before, Layout 2C, variation four. As one can see, the flooring materials have been added Into the draWing as well as additional labeling and the new bar stools for seating area. The range hood and
ItS hOUSing also appear
In the draWing With hidden Imes to show where they will fit
Into the space. The four Circular symbols on the draWing indicate the location of the elevation and to which wall each pertains. For example, the symbol marked
A/3 that pOints to the main kitchen wall refers to Elevation A which can be found on sheet three of the final draWing set.
The elevations have become more detailed, as well. The tile work deSign for the backsplash and the door sWings have been added Into Elevation A. In
Elevation B, one notices a new symbol. ThiS symbol indicates where an object IS to be cut for a section draWing. The numbers refer to a particular draWing on a
36

specIfic sheet. In this case, drawings one and two are to gOing to found on sheet three.
All of the drawings feature new labels throughout. The numbers within the circles reference the elevation labels legend. This legend gives In-depth and detailed information about the cabinetry, finishes, lighting, and so on. I felt that this form of labeling was less cluttered and easier to follow than the regular text version. labeling
In this fashion seemed to preserve the detail of the elevation
Instead of distracting the viewer from It.
37

CARPETlflG
~ oLTI
)
CURIO CABINET
~
I-Oil
>
$

8

@ p
.. z o
~q
>=-
~II lLl =
ZQ lLJC0
:r: ..
U::J
\-(5
~(f)

/ /
\...
~
~
/
/
®
/
/
.!..
"-
/
~
/
i
®
\
©
~
~
"-
-.I
-.I
~
:c
1
)
@
Ie / ", I~ 11/
[
~
]1
~"
/ II
8~ :-
IIHtrf)
,IJI); "
'-_'ilL,
0
"'"
'<t
"'I
/1,
&2 o
Z
.. o
~
> lU
-.1= lU
O
_I
~8
~-
0= r<)
~
..
Z~
>u
-.lUJ

D z
~
5
{1j
G
7
8
<C
9
2
3
4
Z
-
~
1 I
12
13
10
14
15
CABINETRY: KRAfTMAIDK FAWN OAK FINISH
E1
ANGLE MOLDING
DOOR STYLE: RICHMAR CATHEDRAL (UPP R CABINETS)
DOOR STYLE: SINCLAIR (BASE CABINETS)
HARDWARE: KRAfTMAID
MODEL NUMBER: 1333
CUSTOM DECORATIVE ARCH
FINISH NAME: FAWN OAK
COUNTERTOF: WILSONART HD F"REMIUM LAMINATE
STYLE NAME 4: NUMBER: DcEPSTAR rLiNT 181 1-35
WALL TILE: LOWES 4 1/4" TILE
STYLE NAME 4: NUMBER: BISCUIT 081 5 I G245 147
DECORATIVE TILE: LOWES 4 1/4" TILE
STYLE NAME 4: NUMBER: VERSAILLES 52904DM
DECORATIVE TILE BORDER: LOWES 2" X G" BORDER
STYLE NAME 4: NUMBER: VERSAILLES 52903DM
SINK: KOHLER, TOCCATA K'-334G-4
FAUCET: PRICE PFISTER, HARBOR 03GCL4S
FINISH NAME: STAINLESS STEEL
UNDER CABINET SHELF: KRAfTMAID
STYLE NAME 4: NUMBER: VICTORIAN UCS_v
FINISH NAME: FAWN OAK
MORNAY SWIVEL BARSTOOLS.
FINISH NAME: BRONZE PEWTER
JC PENNEY
MINI PENDANT: PROGRESS LIGHTING
MODEL NAME 4: NUMBER: VICTORIAN P5034-0G
FINISH NAME: PEARL NICKEL
SURFACE MOUNTED FIXTURE: PROGRESS LIGHTING
MODEL NAME 4: NUMBER: VICTORIAN P332G-OG
FINISH NAME: PEARL NICKEL
BOSCH 30" RANGE HOOD
MODEL NUMBER: DAH9402UC
CUSTOM RANGE HOOD HOUSING
FINISH NAME: FAWN OAK
WROUGHT IRON SCROLL: OUTWATER
MODEL NUMBER.: WI-G35/3 FiNISH: SILVER.
IG
DECORATIVE WOOD APPLIQUE: OUTWATER
MODEL NUMBER: CC789
17
LAMINATE SHELF: WILSONART
FINISH NAME 4: NUMBER: SOLAR OAK 781 G-GO
18 GROUND FAULT INTERRUPTER OUTLETS
19
CUSTOM MANTEL
FINISH NAME 4: NUMBeR: AMERICAN ACCENTS, STONE
CREATIONS. GRAY STONE 7992
20
CUSTOM ENTERTAINMENT CENTER
FINISH NAME: FAWN OAK
21
SCONCE: PROGRESS LIGHTING
MODEL NAME 4: NUMBER: VICTORIAN P3027-0G
FINISH NAME: PEARL NICKEL
22 WAINSCOTING
23
COUNTERTOP SUPPORTS: KRAfTMAID - CLASSIC (CL)
FINISH NAME: FAWN OAK
24
ORGANIZER WALL CABINET (OW): KRAfTMAID
FINISH NAME: FAWN OAK
25
MIRCOWAVE COOKlNG CENTER (MCC): KRAfTMAID
FINISH NAME: FAWN OAK
2G
FRONT WINDOW
27
EXISTING DRAPERIES 4: SHEERS
28
CUSTOM CURIO CABINET
FINISH NAME: FAWN OAK
.

The construction documents are a very Important part of the design process since they dictate how the design should be carried out. Typically documentation of thiS sort IS saved for commercial design projects. However, I wanted to provide a few drawings to better Illustrate the phases Involved with deSign. I have prepared a reflected ceiling plan, a flntshes plan, and two section draWings for thiS proJect.
The reflected ceiling plan shows the type and location of the lighting fixtures wlthm the space. The particular goal of thiS plan was to give the clients the lighting they required while making It appealing, as well. In the kitchen, the lighting consists of under cabinet fluorescent fixtures that will provide adequate task lighting. The recessed can fixtures and the lighting from the range hood will give the clients abundant task lighting around the Island workspace. Fluorescent fixtures are used above the upper cabinets to add to the ambient lighting created by the recess¢:d cans throughout the space. Two pendant lights above the seating area and two sconces above the fireplace prOVide additional lighting while serving a decorative function In the space. HaVing these several types of lighting can contribute slgntflcantly to the functionality and the aesthetic nature of the space by being used In combinations or separately.
Other Items relating to the reflected ceiling plan Include the legend and the lighting schedule. The legend refers to all of the symbols used
In the reflected ceiling plan and prOVides a deSCription of the lighting fixture. The
38

lighting schedule expands upon that and speCifies the manufacturer, the quantity needed, and an additional description, including the finish type. These legends and schedules commUnicate dearly to the bUilder or Installer the nature of the design and exactly what IS required of them as they perform their Job.
The finishes plan IS another drawing that can prOVide essential Information to the IndlvldufllS Implementing the design. ThiS plan describes the type and location of the finishes In the space. finishes such as flOOring, paint, and ceiling type are shown
In thiS type of plan. The symbols one sees on the plan correspond to four finish types: flooring, wails, base, and ceiling. These finish types are then explained
In the finishes schedule. for thiS proJect, the clients and I selected finishes that create a warm and open atmosphere for the kitchen and lIVIng room. The paint for the space IS a soft cream, which Will brighten the space conSiderably when compared to the dark paneling that covers the walls now. In the kitchen space, the tile back splash Will tie In With the colors found
In the countertop laminate, which looks like stone. Wainscoting Will also be used
In the kitchen to tie In the dining room space and create continuity between the two rooms. In the kitchen, laminate flooring that will looks like tile when assembled will be used and ,n the liVing room, a patterned carpet will be Installed. The applicatton of these finishes will create a space that prOVides the clients With the look and feel they deSire.
The remaining construction documents consist of the section draWings.
These drawlng~ show the Inner workings of cabinetry and custom pieces of
39

furmture so they may be bUilt to specIfication. They also provide a more detailed view of the speCific Item. The first drawmg features the half wall and the Island It supports. The second features the range hood and Its housmg. The drawmgs have been dimensioned so the proper measurements and heights are recorded. labeling
15 also Important when drawmg sections smce It provides that additional amount of Information and detail. These drawmgs should provide the bUilder or mstaller with the mformatlon they require to complete the pieces correctly.
40

MICRO.
COOKING
CENTER
-¢-¢-
I
:c r u,,,.
I :
L"l
~ r-'
I
I :
.J
-¢-
-¢-
~ ~
PENDANTS
G'AYf
-¢n
..JL rr- -
4l""-
AANGE
HOOD BOX II
10
RANGE
HOOD u
-¢-
-¢-
-¢-
-¢-
"
."
~
M1
1_0"
ED

D llJ
\-
U llJ
--.J lL llJ
~
D z llJ
0 llJ
--.J o
SURFACE MOUNTED
FIXTURE
~
RECE55ED FIXTURE
Z
~
PENDANT I
5CONCE
--.J
I 3" FLUORE5ENT FIX.
0
Z
~
AMBIENT LIGHTING
MOUNTED ON TOP OF
CABINET CORNICE
-
--.J llJ
U
18 11 FLUORE5ENT FIX.
AMBIENT LIGHTING
MOUNTED ON TOP OF
CABINET CORNICE
I
I
13 11 FLUORE5ENT FIX.
TASK LIGHTING
MOUNTED BENEATH
UPPER CABINETS
I 8" FLUORE5ENT FIX.
TASK LIGHTING
MOUNTED BENEATH
UPPER CABINETS

o z
-
\-
1: o
---1 lLJ
---1
::J
D lLJ r
U
(f)
5URFACE MOUNTED
FIXTURE
RECE55ED FIXTURE
SCONCE
PENDANT I
18" FLUORESENT FIX.
AMBIENT LIGHTING
13" FLUORE5ENT FIX.
AMBIENT LIGHTING
18" FLUORESENT FIX.
TA5K LIGHTING
I 3" FLUORESENT FIX.
TASK LIGHTING
PROGRE551VE LIGHTING
HALO
PROGRE551VE LIGHTING
PROGRESSIVE LlGHTI NG
GE
GE
GE
GE
I
I I
2
2
9
2
5
I
MODEL: VICTORIAN P332G-OG
FINI5H NAME: PEARL NICKEL
MODEL: 31 OW
FINI5H: WHITE
MODEL: VICTORIAN P332G-OG
FINISH NAME: PEARL NICKEL
MODEL: VICTORIAN P332G-OG
FINISH NAME: PEARL NICKEL
18" DIRECT WIRE
FLOURE5CENT FIXTURE
13" DIRECT WIRE
FLOURE5CENT FIXTURE
/8 11 DIReCT WIRE
FLOURE5CENT FIXTURE
13" DIRECT WIRE
FLOURESCENT FIXTURE

fLOORING CHANGE
NOTE, SEE ELEVATION A
5HEET .3
$

JSVg
V
-
-
--n z
(j)
:r
0 rn
(j)
GllVM
--0 r
D z r rn
GJ rn
0
Z
0

(j) llJ r
(j) z
LL lU
---l
D lU r
U
(j)
WALLS
WI
W2
W3
FLOORS fl f2
MATERIAL MANUFACTURER FINISHES NAME/#
FAINT OLYMFIC PAINTS
WAINSCOTING
(ff - 2'-8")
HOME DEPOT
TILE
{BACKS PLASH)
LOWES
LAMINATE
CARPETING
TRAfflCMASTER
STAINMASTER
COLOR: CHINA WHITE D20-2 fiNISH: EGGSHELL fiNISH: fAWN OAK
PIELD TILE: 6lSCUIT 081 5 I G245 147
DECORATIVE nLE: VEi<.5AILLES 52904DM
BORDER: VEi<.5AILLES 52903DM
STYLE: CAFTIVATING
COLOR: CAFPUCCINO
STYLE: CLASSIC MOMENT
COLOR: BEIGE 302
BI
BASE
EXISTING BASE WILL BE USED
NOTE: WAINSCOTING WILL R.ff'LACE BASe:
IN KITCHEN AR.fA
CI
CEILING
TYPE: DR'rWALL WITH
TROWELLED TEXTURE
HEIGHT: 8'
ADDITIONAL flNI5HES
KITCHEN COUNTERTOPS: WILSONART
HD PREMIUM LAMINATE
COLOR: DEEFSTAR fLINT 181 1-35
CABINETRY: KRAFTMAID fiNISH NAME: fAWN OAK
SHELf: WILSONART LAMINAIE
FINISH NAME: SOLAR OAK 181 G-GO
' - . -
.......•.
- -
....
-.-~
.......
-.

6"
~b.----:--1!·
2'
_ _ LAMINATE SHELF
TILE BACKSPLASH
.--- LAMINATE COUNTERTOP
WITH BULLNOSE EDGE
(b
I
«l
(b
I
1\1
SOUD WOOD DRAWER r 3/4" fULL DEPTH
SHELf r CLEAR SHELF
J
R.E5TS
~
./
HARDWARE
FINISHED FACE OF CABINET
' - - - - - - - - - - - - - - - - - - - - - HALF WALL
- - - - WAINSCOTING
~;~~~,,31~~IL ED

en
~I ~
-'
¥ l
RANGE HOOD
1'- I 0"
~
L
- ANGLE CROWN
MOLDING fRONT Of HOUSING
~ARCH
~A~~~,,~~~D
HOUSING DETAIL
EB

For the final presentatton of the project, I have put together four sheets that tie all of the drawings, schedules. and other Information together. These completed sheets give the clients a sense of the enttre project and how all of Its elements would come together Into a fmlshed deSign.
The first sheet shows the eXlstmg floorplan and the redesigned floorplan.
One notices th~ differences Immediately. The redesigned space IS less cluttered due to the additional storage pieces that were Installed. The kitchen IS more open, which allows the clients to move easily from one space to the next. The new kitchen arrangement creates a more functional work triangle and the refrigerator no longer dommates the space. The first sheet also provides speCIfic information about the project Itself. The project statement defines the scope of the endeavor and the concept statement outlines the overall themes and feel of the space. The specIfic Issues to address, which were discussed
In the program, a1so appear on the sheet so the viewer can see how the Issues were addressed through the redesign.
The second sheet features the reflected ceding plan, ItS legend, and ItS schedule. This allows the clients to see all of these different elements
In relation to each other, providing a comprehensive view of the new deSign for the lighting system. The same can be said for the finishes plan and ItS counterparts, which also appear on the sheet.
41

The third sheet showcases the four elevations, their legend, and the section drawings. Once again, these separate drawings can now be seen
In relation to each other. This IS particularly Important for the section drawings since the clients can see them
In context now.
The final sheet serves as the proJect's sample board and depicts all of the finishes, lighting, and other materials to be used
In the space. This sheet also has two perspective drawings on It that show the kitchen from two different views. The one pOint perspective Illustrates the kitchen as If one was looking from one end to the other. The two pOint perspective shows the entire expanse of the kitchen and gives a better overall Impression of the space. The finishes are loosely grouped according to category and one sees the bar stool for the seating area, the different lighting fixtures, cabinet details and finishes, flooring and countertops materials, the tiles for the backsplash, and the pamt color.
All four sheets are labeled with the same title block at the right Side. The title block can prOVide valuable mformatlon to the Viewer, such as the scale of the drawmgs presented, the sheet number, and the deSigner. The deSigner's or firm's logo often appears on drawmg sheets, as well. Mine can be found In the title block's upper corner.
42

rllH'1't.I.Jr;
LIVING ROOM
8
[0
<)
~
~
- tNAOfQUATf lIGtiT!NG
If)
If)
~
0
0
- NeW CA3!ur.rRY
_ RfLOCATI0N or
TNt: Rt.I"RJGfAATOR
(~DfSIGN mCt1~N;
«
- MAlm'AIN OR ADD TO THe CURRfN'T
AMOUNT 0' !;TORAG~
0
I-
RfACHING rT~M5 IN LOWeii'.
5TOAAGf A~
If)
IiJ
:::::l
If)
If)
_ A :1MALL CL.Q5fT WOU!.D a~ A welCOM~ ADDIT10tl TO TH~
K/TCl<EN
Rl!'AOV~ WALL PAN~UHG
U
IL
U
IiJ tL
If) k".,A!5r. CflUNG HeiGHT TO a-
- I5TA6LI,5t-t TWO sePARAT~
W'lTlilN THt: OPr.N PLAN
TMf FIRZPt.Ace MAtlT~ 5HOJW
!)e ~ORr. ,5U05TANT1Al
CURRENT fLOORPlAN
5CALE,
3ia'Q'!' .0'
Lh.
'q.J fTHE CONCEPT fOR THIS DESIGN fOCUSES ON THE MODERNIZATION Of if}
THE SPACE, WHICH WAS ADDED ONTO THE HOUSE IN THE MID 19705,
~
THIS MODERNIZATION WILL INCLUDE THE REMOVAL Of DATED
!;i:
MATERIALS AS WELL AS THE INCORFORATION Of THE AIRY AND LIGHT
In fEELING Of THE ADJACENT DINING ROOM. MATERIAL AND fiNISH t
SELECTION Will CENTER ON WARM TONES THAT WIll CREATE A t5
PLEASANT SPACE fOR THE CLIENTS TO ENJOY, TAKING INTO ACCOUNT
5
THE CLIENTS' TASTES. THE OVERAll THEME Of THE REDESIGN WILL
REflECT A STREAMLINED APFROACH TO COUNTRY STYLe:. I..)
ILl
~
~
In t
ILl
EXISTING KITCHEN AND LIVING ROOM fOR A MIDDLE·AGED COUPlE,
A MORE EffiCIENT KITCHEN l.AYOUT INIlL ElE THE CENTRAL fOCUS
OF THIS DESIGN INIHll!: AN ATTRACTIVE fURNITURE ARRANGEMENT IN
THE LIVING ROOM INILl ALSO BE IMFLEMENTED. OTHER FROJECT
OElJECTIVES INCLUDE MATERIAL SELECTION, MINIMAL FURNITURE
~ SPECifiCATION AT THE CLIENTS' REQUEST. AND A REDESIGN Of THE
EXISTING LIGHTING SYSTEM,
~
C<\l.'t1'Ii""C
II
~ DC,
8~
LIVING ROOM
~
~
(j)
(j)
0 IJl f-
"t If'l a
0
(j)
~
Z a
C\l
0 0
::1o
1C lL (j)
-
0
-'
II
Co
(D
I..)
(j)
IlJIJ.J
~
IJ.JZIL~
I
000
U) IL
$
Btl
~ ~~ ~
_ O:::l
---1 0 f« ~~ ~
IJ.J z~ ~
A l-
5ln lz
ILl
ILl IU ILl
CL :cz z
IJ.J
....,11,.') o~
~
(j) x
« lL
Z z
ILl
....,
~
~ z«
0
015 u z o
:2ii3
~~
IL:C f-
REDESIGNED FLOORPLAN
5CALE. 3!{J' ~ 1',0'

¢-
¢-
¢-
¢v t\lTCHEN
V
\~3
¢-
¢-
DINING ROOM
~g~~,_~~ILING
PLAN
~
LIGHTING fIXTURE MANUFACTURER I QUANTI
:::l
0
5URl"~~N'tm lW ~eOYlXTUn
J:
:;ceNCI: f~LlGHTIIlG
HALO fRDG!!l55 LIGHTING U
1.1) rtNDANT J f'ROGRL55 tlGHTlNG c..9
Z i=
Ie' rwonsem
AMel~NT r~,
LIGHTING
'~~1~
J: c..9
13" MlJOF1:5ENT f'1X,
:::i a" fWOIU!SI:N1 rlX.
T A5K LIGHTING
TASK liGHin-lC;
G!!
Gf
Gf
Gf
~
.,.
¢-
¢-
¢-
¢-
LIVING ROOM
~
~ llJ
0
;)(AI;~k-~ "'i)lI~rc:;.; r;cu!U'
Z
~
D...
~
:J iiJ
U
~
~
-¢;U:C'I~o,~tO r,ift ... t
-¢rfloiP"",f
0 s·.:,o ....
~e
$
0 z lU
§
OWAtlB o
'dCDFJ~
Z
::i
0..
[l
:c
U)
OI'A':'"
~
IU
.....I
:J
C
IU
:r:
U
IS)
WAU5
.,
I
MAT~R.lAL j'oIflil'
Wi\''Ii£ccn",,'' in',?·,,"i fiLe
({'AC~_'fW4\1 IS)
IU
:r:
IS)
1'1.00"" v ... U.Arr
Z u::
1'7 c.*P.J"fn~
I
MANUF'ACTURf.R
OL'fVf'(:I'JI"",,!"
M~Dt"\.'·
1..(1Wt3
"W~j(:I'''''''Tt>!
1 riNI5He NAME/I
,..-,):; • ..t,_'",,,,,,,,,, ... f':.--::~,~;:::-
,I.,
-:..""'" elYl.f,CA('1!1fATlNG n).QI(,c.v1''\!CCi~'
,;rrtt, c
~
,~0t.0R.' fltl:;/' .'qi'
!lA5C
ADOITIOHAi.. !"IN!5I1e5
CAe'''-Erlb', Kll:A'"N.AiO
(J.:5'1~r,"AWt.i~
$ll::~J; W!\.SONAAf I..AMI~~
~if,t16N
"/\Mr, f.<'.AA:c.u, 7J!.it;.W
MAIN ENTRY WAY
'k: ee
£1::] t\lTCHEN ee
GAEl
Nt)lf, ~:~r fu:"ifi,f"'N J.
'It~n " ee
AEl flNI5HES PLAN
SCALE,3/8"·,'-0'
8L::
<;;;/;1
~ ~~ ~
_ O:::l
- l O!J « ~:::l
:'5
It:
0.....10 Z
I-
O~
«
IS) z
..,
IaJ B
CL. :c z
\Lj ~
U ;Z~
Z
0
U
« u....
0 z
~
0 if)
«
~
~ u.J
LL¢:
LIVING ROOM
DINING ROOM e~
;0/;1
$
(j)
(j)
~ u>
-
0
I
Ii
8 ~
"¢
L!) o
C\l ('I)
&2 o'-!> ..
0 (\j
Z
~ es
:c
« az
D...
IS)
«
U
IS) tu~ ~
\Lj~LL
I:I-0O
<f) LL

(B)
KITCHEN ELEVATION,
SCAlf; 3J1Y'-" '"
EA5T WAll
ISLAND DETAIL
SCALE; '''-'
'.6'
~'Jtrt'';Ii:/:lI;l~
;,
.M""'M~ tr!V r",~ lW"/$I"""""
.... 1! CQL~T~l(;<JI·
W!Ht!!vtL¥J\>trl:'« f:"'tl"~O .,.,,,~ ,y tA-...:~r
ED
[I~I
:i};$,il#1<
I
' I '
CD
LIVING ROOM ELEVATION: SOOTH WALL
5CALE; 311>",'.0'
®
~
_ i. ,
\l:!
~ ~t ~
0:::1 ...J lLI z~ ~
5 tn
Il.J
::J 0
_
!!::
Z
O
\ -
«
(j)
Il.J
- ,
\- aJ
CL
5 lLI
I-
B ci2
Z
~
« S2
U ~~
[l z«
0
U Z o
LiB fi2~ tLr::
0)
0 ) 1 - 8
'<t I.fl
(j)
~
OU) o ' ...
Z
::liiZ o
Z
~
~
It:l
0 C\J (j)
,1l.J
Z o «
Il.. u
J: u..
(j) (j) tu lLl
:c:cOO to\tL

~
~
21
".
;:t ill
§
;ii
\J'
S
~
".
~ rt
(Ji
9
[i;
J
..
<:
~
§
~
':'I g
~
0
~
12
0
'<
0
'<
"
SHEET
HONORS 499
~
FALL 2005 TO THE REDESIGN OF A KITCHEN AND LIVING ROOM
SPRING 200G IN AN EXISTING STRUCTURE
~---IV
SAMPLE BOARD DESIGNER; JENNIFER LAWtER

The model that was created for thIs project serves as an example of the new kItchen and living room In three quarter Inch scale. It IS made prtmartly out of foam core and mat board. The furntture pIeces were constructed uSing styrofoam, whIch I carved Into the baSIC shape, batting matertal, and upholstery.
Everything
In the model was made by hand except for the accessory Items and the bar stool~. The stools proved to be beyond my abilIties to replicate effecttvely so I purchased some of sImIlar SIze and style. I then painted and reupholstered them to match those that have been selected for the project.
I would like to Impart some of the Informatton I have learned about model budding since It can be a very Involved process and knOWing about certain detads ahead of ttme could be useful. One Issue I encountered With my first model was the fact that foam core warps If It IS painted. This makes It very hard to keep the walls straight and square to each other, which can throw off the other Items
In the model, as well. 50, With this model, I made sure to coat both SIdes of foam core With paint to prevent thIs.
Another Issue concerntng model budding IS that of cost. PaYing for all of the materials to make the model can be very expensIve so It IS best to use materials that one currently has or can find for free. For my model, I used foam core, mat board, and paint that had been left over from other projects, which helped conSIderably With costs. Also, rendertng the textures of tile, flooring,
43

carpeting, and other Items on colored paper can also be a cost effective way of creating the realistiC feel of the model.
UtiliZing .;:wallable technology can also be an effective way of saving oneself
time when working on a model. For the countertops, the laminate matenal was scanned Into my computer and then rescaled and duplicated the Image to create the pattern needed. Then I could pnnt the Image out and apply It to the countertop surfaces. If I had rendered the countertops Instead. It would have taken a considerable amount of time and energy to achieve the same result.
One useful tnck that I have developed for creating celllng texture Involves the use of sand and paint. I simply mixed the sand. which was white to match the ceiling, With the paint and applied It to the foam core board. The sand creates the texture of a trowelled ceiling. which again adds to the realism of the model.
However. uSing this technique takes some time since the paint dries slowly due to the sand being mixed With It.
That ends the useful tips I have for model building. It IS Important to be patient while working on the model since It does take so much attention to detail.
It cannot be rushed through haphazardly If the model IS to be structurally solid and well executed. The process of bUilding a model can be taxing and time consuming. However. It serves the Important purpose of giving the dents the best possible Idea of their new space and
In the end. the work IS worth It.
44

Residence: View One
Residence: View Two

Residence: View Three
Residence : View Four

Residence: View Five

Model: View One
Model: View Two

Model: View Three
Model: View Four

Model : View Five
Model : View
SIX

This br1n~5 a close to my design portfolio. Though the intention of this project was to provide an educational reference for others, I have learned many things myself through thiS endeavor. Having worked with real clients, I now know how difficult that It can be sometimes to satisfy their wants and needs. In truth, design IS really a careful balanCing act between form and function, between the needs of the clients and their wants, and between the clients themselves. It IS a difficult task but the challenge IS what makes It rewarding
In the end.
My clients are pleased With the finished design and they have been appreCiative of my work. They have spoken With a friend who does construction work and perhaps my design will be actually bUIlt over the summer. It would be a wonderful thing to see and I look forward to It With antiCipation.
I hope that thiS portfolio has fulfilled ItS purpose
In illustrating the design process. Hopefully, It has led to a greater understandmg and appreciation for design and those who choose to make It their life's work. Design IS all around us everyday of our lives, whether It IS a product of nature's engineering or man's.
Once one recognizes thiS, one can understand how barren our lives would be
Without It.
45

Designer: Jennifer Lawyer
ProJect: Kitchen and LIving Room Redesign
Date: Code:
8/14/2005
8/14/2005
8/15/2005
8/24/2005
8/28/2005
9/412005
9/4/2005
B
C
C
A
B
B
C
9/14/2005
9/17/2005
9/20/2005
9/20/2005
9/21/2005
9/27/2005
10/1/2005
B
B
B
A
C
A
10/2/2005
10/2/2005
C
B
A
10/5/2005
10/5/2005
10/9/2005
10/12/2005
C
B
C
C
10/12/2005 A
10/13/2005 A
10/15/2005 B
10/19/2005 C
10/2(;/2005 C
10/29/2005 B
I 1/2/2005 C
I 1/2/2005
I 1/4/2005
I 1/5/2205
I 1/(;/2005
C
C
B
B
11/9/2005 C
11/1 1/2005 C
I 1/12/2005
I 1/27/2005
12/8/2005
12/12/2005
A
B
A
C
12/28/2005
12/28/2005
B
A
12/28/2005
1/5/200(;
1/8/200(;
B
C
C
Activity Description
Meeting With Client
Measuring structure
Drafting current f100rplan
Brainstorming
Meeting With Client
Programming
Drafting preliminary Ideas
Programming
Meeting With Client
Programming
Brainstorming new layouts
Drafting new layouts
Sketching Ideas
Measuring heights
Meeting With Chent
Preitmlnary finishes selection
Drafting Axonometnc
Preliminary finishes research
Drafting Axonometnc
Sketching Perspective
Design of Micro. CC and TV cab.
Brainstorming additional layouts
Meeting With Chent
Drafting Elevations
Drafting Elevations finishes Selection With Client
Drafting Elevations
Drafting Perspective
Drafting Elevations finishes Selection With Chent
Meeting With Chent
Modification of Elevations
Modification of Elevations
Reflected Ceiling Plan
Meeting With Chent
RedeSign of Range Hood
Modification of Elevations
Final Finishes Selection
RedeSign of Range Hood
Meeting With Chent
Modification of Elevations
Modification of Elevations
ReVISions (Hours)
I
I
4
3.25
2
1.5
2
2
I
0.5
1.5
1.5
1.5
I
2.5
0.5
2
0.5
4
1.5
1.5
1.5
2.5
I
2.25
0.75
I
I
2
3
I
1.5
1.5
I
I
1.5
I
0.5
0.5
1.75
1.5
46

Designer: Jennifer Lawyer
ProJect: Kitchen and LIVIng Room Redesign
Code:
C
C
C
C
C
C
C
B
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
B
C
C
C
C
Date:
1/9/200G
1/I0/200G
1/1 1/200G
1/1 11200G
1/1 G/200G
1/18/200G
II I 8/200G
1/21/200G
1/25/200G
I/2G/200G
1/27/200G
1/28/200G
1/31/200G
2/I/200G
2/2/200G
2/4/200G
2/G/200G
2/G/200G
2/7/200G
2/9/200G
2/10/200G
2/ I 1/200G
2/13/200G
2/18/200G
2/19/200G
2/20/200G
2/23/200G
2/24/200G
2/25/200G
2/25/200G
2/2G/200G
2/2G/200G
2/28/200G
3/1/200G
3/2/200G
3/3/200G
3/4/200G
3/4/200G
3/G/200G
3/7/200G
3/8/200G
3/9/200G
Activity Description
2 POint Perspective
2 POint Perspective
2 POint Perspective
I POint Perspective
Model - Walls
Elevations
Model - Cabinetry
Meeting With Chent
Model - Cabinetry
Model Flooring
Model Flooring
Model Walls, Cabinetry
Model - Cabinetry
Model - Cabinetry
Elevations and Sheets
Meetmg With Chent
Model Island Cabinetry
Ref. Ceding Pian/F,nishes Plan labeling and Assembly of Sheets
Model - Cabinetry
Model - Cabinetry
Model - Painting Cabinetry
Model - Rendering Cabinetry
Model - Rendering Cabinetry
Model - Rendering Cabinetry
Labeling and Assembly of Sheets
Model
Model
Model - Kitchen section
Finishes Schedule
Model Kitchen section
Flmshes Plan and RCP schedule
Section Drawing
Section Drawing, Misc.
Section Drawings, MIsc.
Sample Board, M,sc.
Model
Miscellaneous touchups
Model LIVIng Room furniture
Model LIVIng Room furniture
Model - LIVIng Room furmture
Model - LIVIng Room furniture
1.75
G
1.5
I
4
1.5
3.75
3
2.75
G.5
3.5
2.75
1.25
1.75
3.5
2.25
5.75
ReVISions (Hours)
3
1.5
2.5
3
3
0.5
3
0.75
2
2
2
4
2.75
3
2
0.5
2.5
1.75
I
I
9
3.75
G.5
9.75
47

PrOject Time Sheet
Designer: Jennifer Lawyer
ProJect: Kitchen and LIving Room Redesign
Date:
3/10/200G
3/12/200G
3/13/200G
3/14/200G
3/15/200G
3/1 G/200G
3/17/200G
3/18/200G
3/19/200G
3/24/200G
Code:
D
C
C
C
C
C
C
C
C
D
Activity Description
Meetmg with Client
Model - Bar5tools
Lighting fixtures, faucet, and sink
Model
Model
Model Assembly
Model
Perspectives
Perspectives
Meeting with Client
RevISions (Hour5)
0.5
1.25
2
1
2.25
3
2.5
3
3.5
0.5
Total Hours: 208.75
Hours
Total A Hours: 13.75
Total B HOUr5: 9.5
Total C Hours: I 77
Total D Hours: 8.5
Cost per Hour
$50.00
$40.00
$20.00
$10.00
Total:
$G87.50
$380.00
$3,540.00
$85.00
Designer's Fee $4,G92.50
Time Codes:
A refers to time spent designing
B refers to time spent researching
C refers to time spent producing Items
D refers to miscellaneous time
(Time sheet information courtesy of Carol Brown, Studio 2, January - May, 2004)
48

Bibliography
Allen, Phyllis Sloan and MIriam F. Stimpson. Begmnmgs of Interior Environment.
New York: Macmillan College Publishing Company, Inc., 1992 ed.
Kilmer, Rosemary and W. Otle Kilmer. Designing Interiors. Orlando: Holt,
Rinehart, and Winston, Inc., 1992.
Miller, Sam F. Design Process: A Primer for Architectural and Interior Design.
New York: Van Nostrand Remhold, 1995
Mitton, Maureen. Interior Design Visual Presentation. Hoboken: John Wiley ¢
Sons, 2004.
Additional Resources Used Durmg the Design
Architectural Products by OutWater Catalog. Wood-Ridge: Architectural
Products by OutWater, L.l.C., 2000.
Art of Kitchen Planmng, The. Middlefield: KraftMald Cabmetry, Inc., 2003.
Feng, Jm. BasIc AutoCAD for Interior Designers: USIn'1 AutoCAD 2002. Upper
Saddle RIver: Prentice Hall, 2002.
49

50