Space planning in interior designing
Spaces enclosed by building elements
( fl oors, walls, ceilings, roofs ) are the
essential raw materials of interior design.
Once a proper comprehension
of the job has been reached through
the process of brief taking and design
analysis, it is necessary to understand
the space. Th ere are two diff erent
aspects of the space that are worthy
of our att ention; fi rstly, the spatial
relationships that exist between
the enclosed volume and the building
elements that form the enclosure,
and secondly, the construction of
those building elements.
As with other parts of the design
process, you should not view the job
of gett ing to grips with the space as
separate and distinct from other tasks.
As your design evolves over time,
so will the spatial relationships that exist within the project. Th ey will change
and develop, and it may be necessary
to revisit and revise your understanding
of how they work. Th is chapter looks at how you can begin to read spaces through the use of drawings and models, and also at the wider use of drawing
in the design process.
Understanding spatial
relationships
a methodology that allows you to connect in an intellectual sense with the space. Universally, designers
draw and create models to give them this experience of a building.
Understanding through
technical drawings
The drawings that designers most oft en use to help them understand a space are technical drawings, rather than illustrative ones. Th at is, they are drawingst form a meticulous and accurate record of the relationships
between widths, depths and heights. As a result, they clearly indicate the proportions of the elements of an interior space, but they are not drawings that show spaces as we are used to seeing them. Because of this they can appear cold, unnatural and somewhat daunting to the uninitiated, but through practice most people will become comfortable with reading them and will appreciate them for the information that they contain and communicate. Variations in the presentation of technical drawings do occur,
but they also share certain standard conventions that allow anyone familiar with them to read drawings created
by others.Drawings will be amended and added to over time to refl ect
the development of a design, but initially they will be used to give a feeling for the space. It is important to realise
that although reading a drawing which already exists will go a long way to informing you about the space, the most
immersive experience comes when the drawing is actually created by you, the designer. And the experience will be
stronger still if you have undertaken the measured survey that precedes the act of drawing. It is only this hands-on
approach that gives us the most complete knowledge of the space. Th e process of drawing, where each measurement and the placement of each line is carefully considered, intensifi es the relationship that the designer has with the space, and gives an even more intimate understanding of a building. Th e act of drawing also gives time for refl ection, which leads to an understanding of the possibilities that the building possesses, too.Accurate technical drawings are based on careful measured surveys. All relevant dimensions are taken in situ and noted in sketch form. Th ese survey notes are then used in studio to create the scale drawings. Ultimately, the detail shown
in the drawings will be partly dictated by the scale at which they are drawn, but the survey should account for every
possible dimension that might be needed to produce the drawings. Photographic references of details are very
helpful. Undertaking a survey also gives a great insight into the intricacies of a space. Although it is oft en a task that
designers contract out, performing the survey and drawing up the fi rst set of survey drawings is a worthwhile
task to underta
Understanding through models
Models are a three-dimensional method of visualising a three-dimensional space. Th e word ‘model’ implies a carefully constructed scale representation of a space. Some
models do fi t this description but others can be very simple ‘sketch’ models constructed from thick paper or other craft materials and adhesive tape in a matt er of minutes. It doesn’t
matt er how well fi nished the model is, it ’s more important that it captures the essence and spirit of a space and helps
you to visualise the three-dimensional reality that you are trying to understand. Models can be made to a very high
standard, but this is generally only for presentation purposes. Like drawings, models can be amended over time to
represent changes to the design, and the process of constructing a model, however rough it may be, will help you
to understand how the space works, and how the diff erent planes and surfaces meet and interact. Sketch models
are almost infi nitely adaptable. Openings can very quickly be cut that represent new windows, doors or staircases. Pieces of paper can be taped in place to suggest new ways
of dividing paces. Th e sketch model should be treated like a sketchbook; it is a physical way to get ideas out of
your head and into some sort of reality where they can be more readily assessed, compared and shared. Th is is a very important technique, and one that designers should make use of as much as possible. As with sketching, you do not need to be embarrassed about your abilities with paper,scissors, craft knife and tape; it is much more important that
you simply use the technique. Th e use of basic materials and fi xing methods such as draft ing tape or pins adds
to the spontaneity of the process, and helps in the ready appreciation of structural changes and interventions.
The process of manufacture tells you as much about the space as subsequent study of the model.
between widths, depths and heights. As a result, they clearly indicate the proportions of the elements of an interior space, but they are not drawings that show spaces as we are used to seeing them. Because of this they can appear cold, unnatural and somewhat daunting to the uninitiated, but through practice most people will become comfortable with reading them and will appreciate them for the information that they contain and communicate. Variations in the presentation of technical drawings do occur,
but they also share certain standard conventions that allow anyone familiar with them to read drawings created
by others.Drawings will be amended and added to over time to refl ect
the development of a design, but initially they will be used to give a feeling for the space. It is important to realise
that although reading a drawing which already exists will go a long way to informing you about the space, the most
immersive experience comes when the drawing is actually created by you, the designer. And the experience will be
stronger still if you have undertaken the measured survey that precedes the act of drawing. It is only this hands-on
approach that gives us the most complete knowledge of the space. Th e process of drawing, where each measurement and the placement of each line is carefully considered, intensifi es the relationship that the designer has with the space, and gives an even more intimate understanding of a building. Th e act of drawing also gives time for refl ection, which leads to an understanding of the possibilities that the building possesses, too.Accurate technical drawings are based on careful measured surveys. All relevant dimensions are taken in situ and noted in sketch form. Th ese survey notes are then used in studio to create the scale drawings. Ultimately, the detail shown
in the drawings will be partly dictated by the scale at which they are drawn, but the survey should account for every
possible dimension that might be needed to produce the drawings. Photographic references of details are very
helpful. Undertaking a survey also gives a great insight into the intricacies of a space. Although it is oft en a task that
designers contract out, performing the survey and drawing up the fi rst set of survey drawings is a worthwhile
task to underta
Understanding through models
Models are a three-dimensional method of visualising a three-dimensional space. Th e word ‘model’ implies a carefully constructed scale representation of a space. Some
models do fi t this description but others can be very simple ‘sketch’ models constructed from thick paper or other craft materials and adhesive tape in a matt er of minutes. It doesn’t
matt er how well fi nished the model is, it ’s more important that it captures the essence and spirit of a space and helps
you to visualise the three-dimensional reality that you are trying to understand. Models can be made to a very high
standard, but this is generally only for presentation purposes. Like drawings, models can be amended over time to
represent changes to the design, and the process of constructing a model, however rough it may be, will help you
to understand how the space works, and how the diff erent planes and surfaces meet and interact. Sketch models
are almost infi nitely adaptable. Openings can very quickly be cut that represent new windows, doors or staircases. Pieces of paper can be taped in place to suggest new ways
of dividing paces. Th e sketch model should be treated like a sketchbook; it is a physical way to get ideas out of
your head and into some sort of reality where they can be more readily assessed, compared and shared. Th is is a very important technique, and one that designers should make use of as much as possible. As with sketching, you do not need to be embarrassed about your abilities with paper,scissors, craft knife and tape; it is much more important that
you simply use the technique. Th e use of basic materials and fi xing methods such as draft ing tape or pins adds
to the spontaneity of the process, and helps in the ready appreciation of structural changes and interventions.
The process of manufacture tells you as much about the space as subsequent study of the model.
Reference book
Fundamentals of interior design
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