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MODULE3

Overview of Projects

3.1 Design steps

3.2 Working with the team

3.3 Payment strategies

3.4 Project

management tips

3.5 Design evaluation

3.6 Common design

challenges

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3.1 Project steps

In Module 1 we discussed your initial meeting with a client. Now

we‟ll take an overview of a typical interior design project.

When you first start working as an interior designer, it can be

difficult to know where to start with the design process. You‟ve to

complete a detailed interview with your client asking every

question you can think of about intentions, needs, usage,

household members, style preferences, taste, personality,

lifestyle and patterns etc. You‟ve to take detailed measurements

of all the rooms, hallways and spaces you‟ve been asked to

work on.

When planning your project, this is a useful sequence of work to follow:

Examine the structure/layout

Plan the arrangement of furniture

Plan the lighting

Plan the design scheme

Get client feedback

3.1.1 EXAMINE THE STRUCTURE/LAYOUT

The first task in the design sequence is to draw out a floor plan

of the space as it is before you begin your work. At this point, try

to put aside your ideas for the styling theme you have in mind.

Even though you may be bursting with wonderful visions for how

fresh, modern, bright, luxurious or appealing you can make the

spaces look, hold those thoughts for now.

In your head, strip the room of all the furniture, fixtures and

fittings and concentrate on the structure. If you‟ve taken pictures

on site, these will help. Taking the room measurements, either

use AutoCAD software to compose a scaled drawing or on

graph paper, use your scale ruler to draw one by hand. This is more time consuming but it‟s a task that really helps you become

familiar with thinking as a space planner and designer.

Draw in the walls, recesses and projections, doors, indicating swing, windows and indicate what

they are. To double check your measurements, add together the individual lengths of features

and check that they add up to the total wall length. When you‟re just looking at the outline of a

room, it‟s much easier to judge the proportions and features and see where you can make

improvements.

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You will also need to do elevation drawings showing:

Ceiling height

Height, width and position of windows

Height, width and swing of doors

Services – light switches, radiators, electrical points, etc.

Room aspect/orientation – does it face north/south/

east/west?

Architectural features – fireplace, arch, floor level change,

sloping ceiling etc.

This is the time to explore the potential of the space and to recognize its possibilities and

limitations.

Think about the qualities of the room or rooms and what it felt like to be in it/ them.

Draw in any existing features that are attractive, will enhance the new design plan and

you want to keep.

List any features you think will take from the aesthetics of the finished design and want to

suggest removing.

What do you want to highlight? What do you want to disguise?

Get these fundamental decisions right before plans are made based on this foundation. Once

you‟ve done this process a few times, you‟ll get much quicker at it and better at realizing what works and what doesn‟t.

Next, you need to think about any structural changes that may

be needed. There are many reasons why the structure needs to

be adapted to suit the current needs of the residents, for

example:

The number of people in the household may have

changed or will shortly.

A bedroom is being changed into a dressing room.

A living room and a study are being merged to make a

large living room or dining room.

A wall is being knocked to create a larger kitchen.

A window is being enlarged to give additional light.

A door is being re-hung on the opposite axis to improve the circulation flow.

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A window could be too near the corner of a room.

There may not be enough space in a room for the activities that are planned there.

If structural changes are needed, you of course will need to work with an architect/

engineer/surveyor/contractor.

Compose a new floor plan showing the proposed new structural layout which incorporates all

the changes the client has in mind and that you‟re suggesting. Draw in where all the services

will be accessed from. Draw in an arrow to indicate the direction of north. Spend enough time to

make sure you have each room, hallway and space in the right position and of the correct

dimensions.

At this stage you may notice some fundamental problems with the changes. A space could be

too small to carry out the activities intended for it. A room could be too far from or too

inaccessible from another for some reason. There may not be enough room for storage or to fit

the furniture that‟s intended for it. There may be insufficient light. A space could be too large and

difficult to make warm and inviting.

Before committing to structural changes, consider if it‟s possible to highlight or disguise features

using light, color and architectural detail to change the visual structure enough. This would be a

much less disruptive option and could save the client significant costs. Here are some tips:

In a room

that‟s too small

In a room

that‟s too big

If a ceiling is

too high

If a ceiling is

too low

Break up the

length of a

long hallway

use light, cool, receding colors to give the illusion of space. Use

mirrors. Choose furniture that blends in with the background colors.

Remove some furniture. use large scale furniture. Arrange furniture and lighting in groups.

Use dark, warm, advancing colors on walls and possibly the ceiling.

emphasize the horizontal elements by using a picture rail, slatted

blinds, or a wide mirror/artwork. Draw attention to the lower part of

the room by placing features there and using lighting. Use a darker

color on the ceiling and bring it down to the height of the picture rail.

Use lighter colors on the walls. emphasize vertical lines with striped wallpaper, full length curtains

etc. and disguise any horizontal lines. Use light colors on the floor

and ceiling and shades that are a little darker on the walls.

by putting in an arch or horizontal flooring pattern. Create pools of

light with down lighters to create interest. Apply receding colors on

side walls and advancing colors on the walls at either end. Let

mirrors push out the walls and add light. Break up the expanse of

length with artwork.

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3.1.2 PLAN THE ARRANGEMENT OF FURNITURE

Your choice of furniture will largely be based

on the activities that will take place in each

room. Think about each activity and what

pieces/storage/items it will need. How much

space can you allow the furniture to take up

and still allow enough room for movement

and circulation? Print out or copy your floor

plan a number of times and experiment with

different sizes and arrangements of

furniture. Draw the furniture pieces to scale.

It‟s a good idea to make separate

cut outs of the larger pieces so you can move them

around easily. You can also find stencil sets to make it

easy to draw on shapes. Some tips for furniture

arrangement:

A 3-seater sofa rarely accommodates three

people comfortably. Most 3-seaters look better

made with two cushions instead of three.

When placing a dining table, allow enough space

for people to walk around when the chairs are in

use. You‟ll need a minimum of 3feet between a

table and a wall for comfort.

In a small kitchen, use the full ceiling height for cupboards. It can be used for long term

storage items and it eliminates the need to dust up there! Provide an easy and safe

method of accessing the high cupboards.

Poufs can give extra seating in a living area without adding as much imposition as a sofa

or armchair. They often allow for storage too.

If planning fitted wardrobes, make sure you allow enough depth for coat hangers (about

2feet) and that rails are at a height that suit the users.

If there‟s a nice view from any part of the house, make sure you allow this to be enjoyed

to its maximum by anyone in the house and don‟t obscure it with furniture. Also, bear in

mind to direct focus there with the furniture placement.

When ordering furniture, check that it will fit through the access points in the house –

measure both external doors and internal, staircases and hallways. There have been

many occasions when a window had to be removed to allow a piece inside or a crane

hired to lift furniture to a high floor.

Plan for plenty storage. It‟s one of the most common complaints people have about their

living spaces.

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3.1.3 PLAN THE LIGHTING

Don‟t make the mistake of seeing lighting as part of the accessorizing of a room or the finishing

touches. It‟s very important to plan the lighting at this stage. It‟s an integral part of your overall

design plan.

WHAT DOES LIGHTING DO?

Function. Lighting facilitates the household members to carry out the various activities of

their lives at different times of the day. It‟s there to replace natural light when needed.

Focus. Clever use of lighting draws attention to and highlights aspects of an interior that

are the most appealing or worthy of focus. It also directs attention away from less

appealing aspects so they can recede into the background. It can showcase particular

elements of your design like color, furnishings, art, architectural features or textures.

Mood. Lighting is probably the biggest factor that contributes to the mood of a room or

space. A well-planned lighting scheme will generally make any room appear more

pleasing. It can make a space feel warm and welcoming or, if not well chosen, cool and

uninviting. You can create a playful scene, a romantic one or a clinical environment with

carefully chosen lighting that works strategically with the other elements.

A poor lighting design can overpower or wash out some carefully chosen design pieces,

diminishing the impact of your design work. Think of it as an asset and an ally – working with

you to enhance your wonderful creative plans.

If you have the advantage of working on a project before electrical services have been installed,

you have free rein to decide where circuits and sockets can be positioned to integrate

seamlessly with and support your overall design plan. If not, you‟ll have to be creative in working

out a solution that fits best. Once you‟ve decided on the placing of the furniture and fittings and

have knowledge of the activities intended, you‟ll see where on your floor and elevation plans

sockets are needed. Do everything you can to avoid trailing cables or adapters accommodating

too many plugs. It‟s dangerous as well as aesthetically ugly. You will learn more about choosing

different types of lighting in Module 5.

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3.1.4 PLAN THE DESIGN SCHEME

At last, the most fun and creative part of the process! No doubt you have thought of many ideas

you‟d like to offer your client to manifest a beautiful, pleasing and functional end result.

We‟ll go into many of the currently popular interior styles in later modules which will give you lots

of inspiration. Here we‟ll take you through some theoretical principles to bear in mind.

Budget will more than likely be the most defining parameter around your design plan. Everyone

does a certain amount of designing every day in choosing how to dress – suiting the style to

both personal taste and the activities we‟ve planned, choosing colors that flatter, combining

pieces that either complement or contrast, harmonize or stand out and finally, accessorizing.

Designing an interior utilizes similar skills and qualities.

As we mentioned earlier, having a collection of magazines, clippings, personal sketches and

photographs is always a good starting point when looking for inspiration for a new design.

Here are some practical tips in deciding on a styling scheme:

No room will be seen in isolation but as part of the overall scheme – aim for unison.

Having said this, variation between rooms is needed to provide interest. A dominant color

in one room could be an accent color in an adjacent one. Keep connecting areas like

hallways mostly in neutral colors so they will merge easily into the rooms and spaces

leading off them and make sure each room works well with its neighboring areas.

Using the same floor covering throughout each floor of a small house gives a feeling of

spaciousness as well as unifying the overall design. It can also be more cost effective

than choosing different types.

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3.1.5 GET CLIENT FEEDBACK

Your next step is to present your ideas to your clients and get feedback. Bring your floor and elevation plans and sketches in a portfolio case to look professional. It will also help you to feel professional. Bring along a carefully chosen supply of magazines or make a list of websites were you can further show the kind of look you‟re suggesting and explain how yours will compare or differ.

Set the scene for proper evaluation of your

ideas. Before you open your portfolio case,

recap with clients what you discussed on

the last visit – the issues they wanted to

address, the problems they wanted to

solve, the style ideas they had in mind, the

needs of the household members.

Summarize what you‟re setting out to

achieve. Remind them of what they want to

keep and want to change.

Point out the strengths and weaknesses of

how things are now. Explain in a diplomatic

way what you see as positive aspects to

the existing design and what you think

should be changed.

When you‟ve established what your job as

designer is setting out to achieve, then go

about showing how you propose to do this.

Lay all your preparation piece by piece,

explaining as you go. Take your time and

let your clients see this is an in-depth process, you‟ve done a lot of preparation and you‟re taking a

professional approach. You also build the anticipation and will be more likely to get a positive

reaction.

Give them time to browse through the plans and boards. If you sense any hesitancy, gently ask

a few leading questions and try to explain where there‟s confusion or offer reassurance where

clients are unsure how the design will work. Have some alternative choices in mind that could

replace some aspects and still keep to the general plan. Don‟t offer too many choices; this can

just lead to indecision. If the client is happy to go ahead with your ideas, well done! You‟ve done

a good job. Discuss your fees and payment structure.

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3.2 Working with the team

If your client has approved your design ideas and wants you to implement the plan, you will

more than likely be working with a number of other professionals on the job. Most projects will

involve a team of people. The most important member of the team is always the client. This is

the person who makes the whole project possible. A client could be an individual, a couple, a

family, a company, an office manager or some other type or organization.

Next is the design team, who makes the ideas feasible and finally come all the subcontractors

who implement and realize the different components of the overall plan. You may be the only

person charged with the design or you could be a member of a team.

Taking on the role of the designer or one of a team of designers is a challenging but very

exciting and rewarding job. It involves a lot of interaction with the client and with the other

members of the project team. Always begin and with the kind of approach that will lend to a

constructive and supportive working environment, even if there‟s a conflict to be worked out and

try to maintain a positive, collaborative relationship with others on the project at all times.

3.2.1 GOOD COMMUNICATION

Maintain good communication between you and the client and between you and the other

professionals involved. If it‟s a large team, arrange meetings at critical points to make sure

everyone is fully briefed on what‟s been achieved so far, what‟s happening next, what‟s further

on in the project, what decisions still need to be made and what changes are necessary.

Even though you‟ve been employed as the designer, to do a really professional job, you will

actually take on other roles and responsibilities too. You‟ll be a facilitator, diplomat and director.

You‟ll be a translator, translating the client‟s wishes into an effective and pleasing design

solution.

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3.2.2 JOIN A PROFESSIONAL ORGANIZATION

To guide you on how to carry out these responsibilities in the most effective way and to promote

your professionalism among clients and potential clients, consider joining a professional

organization like the American Society of Interior Designers. They outline a code of conduct and

professional ethics by which to practice. According to Wikipedia “Through education, knowledge

sharing, advocacy, community building and outreach, the Society strives to advance the interior

design profession and, in the process, to demonstrate and celebrate the power of design to

positively change people‟s lives.”

3.2.3 OTHER ROLES ON SITE

On a large project, there will be a materials manager or purchasing manager, also called a

quantity surveyor. If it‟s a smaller project, you will fulfill this duty yourself. The responsibility of

this role is to study all details of a design plan and prepare a bill of materials listing the individual

components need to carry out the full project. As the work progresses, you may need to adjust

costing according to any changes to the plan. For medium sized projects it may be a good

solution to employ someone on an hourly rate to do this job.

If the job is big enough to employ one, the main contractor is directly responsible to the client

and the design team and also works in unison with the quantity surveyor. The responsibility of

this role is to direct the work on site within schedule and budget. He may sub contract some

work to specialist areas. These sub-contractors could be chosen by the contractor or jointly by

the client, design team and contractor.

Specialist consultants may be required for specific areas like ventilation, alternative energy

solutions and information technology. Structural engineers may be needed for structural

changes.

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3.3 Payment strategies

On some design projects, a client will just employ you to come up with the design ideas and

plan drawings. On other jobs, you will be asked to oversee the implementation of the work

involved, which is a much bigger undertaking. In these cases, you need to be prepared in

advance for downsides and unforeseen eventualities and protect yourself financially.

Here are some payment strategies that help you manage potential financial risk:

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2

3

4

5

6

7

Arrange your fee structure so you get paid an hourly rate for design work and

project supervision and all materials are paid for directly by the client.

Arrange a contract or at least a signed, written agreement in place before you

start work.

Include as much detail as possible in the written agreement/contract in case of

any dispute of changes of mind later.

Arrange your own insurance.

Allow the contractor and client to work out their financial terms and payment

schedule.

Secure a substantial deposit for your work in advance and arrange a schedule

of payments for the remainder.

Another way of working is to charge a percentage of the total cost of the job.

This can mean you wait longer to be paid.

If it‟s a small project, without a contractor or other design professionals and you are directly

employing all service providers, painters, decorators, kitchen suppliers etc. arrange everything

in writing and make sure any changes are added to the original agreement. It‟s best to agree a

price for a specified amount of work rather than a daily rate. Always be aware that, once the

work has begun, any changes, even small ones will be subject to an extra cost. After work

begins, it can often happen that an unforeseen problem arises, like a plumber finds a leak that

needs to be repaired. Immediately make your client aware of this and of whatever extra cost will

be involved so everyone is clear and agrees the new fee.

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3.4 Project management tips

When trying to keep to a schedule, allow for setbacks and

delays. It‟s rare that a project will go from start to finish without

some.

If you‟re ordering goods, confirm all details of the order in writing

also including the agreed price. Include the client‟s name and

delivery address clearly on all correspondence.

During the course of the project, it‟s a good idea to send contact

reports to your client. In this you can list what work has been

done, what‟s happening next and highlight any problems,

changes or delays.

This practice has a few advantages:

The more you keep your client informed the more smoothly the project will go.

You have a record of your communication in case there are any disputes at a later stage.

It shows the progress of work which will make your payment schedule easier to

implement.

For the continuity of your business and to make your job easier, build a good library of

contractors and service providers – electricians, plumbers, carpet suppliers and fitters, flooring

specialists, carpenters, decorators etc. you‟ll get to know the trustworthy ones as you build a

portfolio of work.

3.5 Design evaluation

When the job has been completed, it‟s a very good learning exercise to critically evaluate how

the project went. It allows you to record and replicate the processes and parts of the job that

went well so you can replicate and continually refine these on future assignments. It also gives

you an invaluable opportunity to see what did not work well or turn out well. This needs honest

objective assessment. You‟ll be doing yourself a big favor if you‟re able to admit your faults or

see what practices can be improved so you can give a better service to your next clients and

build your professional reputation.

Ask the opinion of others. Did you meet the requirements of the brief? Was the client happy?

Did you keep to budget? Was the project completed on time? Did you communicate clearly and

often enough with the client and all other stakeholder? Could any part of the process be

improved? Are you proud to put this project on your website?

Assuming you are, take pictures when it‟s just completed and not „lived in‟ yet to use to promote

yourself.

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3.7 Common design challenges

ANTHROPOMETRIC DATA

While this may seem very technical, it may be necessary to take

some measurements of the range of human movement into

account when you‟re designing around a small space, like in a

kitchen of a small apartment. You always need to make sure that

the ranges of activities that will take place are given ample room

before any work is carried out.

SPACE PLANNING

Making more efficient use of space is often one of the driving

forces behind a client‟s wish to remodel an interior. In particular,

older houses may need to be reorganized to accommodate modern lifestyles. A growing family‟s needs and habits change, also needing a

change of use and focus in a home.

Define the circulation pattern around the house and plan your layout to accommodate

this.

Place furniture and equipment so that it supports the activities and wishes of the users.

Consider whether any significant lifestyle changes are predicted in the foreseeable future

and check whether your plan accommodates these.

Take into account the relationships among the members of the household and how the

new interior will impact on their interaction and privacy.

Technology changes rapidly. When integrating your customers IT wishes, always

investigate what changes are predicted next and suggest allowing for the newest

advances.

Use mirrors when you want to create the illusion of more space in a small area. They can

visually double the size of a room. If full length, don‟t add base boards or cornicing. If

you‟re placing furniture against a mirror, remember it will visually double in depth.

A cupboard door than opens onto a limited area can be split into double doors so they

protrude only half the depth of the full sized one. Disguise storage units by decorating to

look exactly the same as the surrounding walls and give similar architectural details.

If a door blocks a view or interrupts the flow of traffic, change the swing. Doors are best

opening onto a wall rather than into a room.

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STYLING

A reliable way of approaching an interior design project is to base your plan on one of the

popular home decorating styles, or a workable combination. Don‟t try to combine several;

keep it to two to three. Once you have a launch pad to start from, you can personalize

the space to suit your clients taste, personality and needs and the issues to be resolved.

(More on current popular styles in Module 7)

Though current styles are a good basis to start from, steer away from particularly whacky

or whimsical trends that will date quickly. Aim for more classic expression of a style

which will endure in a pleasing way.

Always choose the highest quality furniture, fittings and materials that your client‟s

budget can afford. Quality always looks better and lasts better.

If you‟re making a piece of art or other design element a focal point, take time to make

sure it‟s a perfect match to your clients preference as it will be the first thing they notice

in that space for the coming years.

Aim for lines that are clean and simple. Negative space allows unique furniture pieces to

stand out more.

CONCEALED LIGHTING

Make sure lighting that is designed to be concealed doesn‟t actually show any part of the fittings

or light source which will ruin the effect. It‟s a bit like seeing backstage while you‟re watching a

performance.

SOUNDPROOFING

Take into account how much sound carries between rooms and between floors. Foresee all

activities that will take place in each space and which ones will run simultaneously. Think about

how much privacy and silence is needed when and where.

ENTRANCES

Think about what happens in the lives of the users around entrances. Are there pets needed

regular access? Children? What about maintaining hygiene? Is there enough storage near the

entrance for coats, hats, sports equipment, bags, outdoor footwear, picnic boxes, etc.? Will you

need to consider disabled access for any household member or visitors?

DOORS

Always remember the potential for accidents and noise from slamming doors. Consider each

door individually when deciding whether it opens into or out from a room.

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STAIRCASES

As well as all the design aspects to a staircase, think about safety. If you have the space, could

you consider breaking the rise into smaller sections with landings every few steps?

STORAGE SPACE

This is a vital consideration when designing any space. Even with the use of lofts, basements

and attics for storage, most households never seem to have enough. Cars often have to give up

their designated garage space for storage.

BEDROOMS

Bedrooms are no longer just for sleeping. They are used as studies, dens, exercise spaces,

playrooms and much more. Consider how lives in any household will evolve in the coming ten

years when planning your design.

GLASS

All glass specified for use in a home should be safety glass which is tempered or toughened to

prevent accidents.

LIGHT

Make as much use of natural light in a house as possible. The sun not only provides us with our

primary source of natural light, it also gives warmth, vitamin D and has a distinctly uplifting

psychological effect. Many people have health conditions as a result of deprivation of sunlight

from being indoors with poor light for too long or from living in a place in the world that gets a

small amount of unobstructed sunlight. The daylight

entering a building is measured as a ratio of

the interior light, or lux level, to the outdoor

level of light under an overcast sky. Always

take note of the orientation or aspect of a

house and of each room. Where sunlight is

very strong, external, electronic blinds or

shutters can be fitted. This can also be done

manually with internally fitted curtains or

blinds.

Bring light into a dark part of a house by

putting in internal windows, either clear or

translucent, that will allow light to flood in from

an adjoining room. Houses that preserve a

link with the outdoors, by managing to get

light to travel throughout the space, also

become more appealing.