Ohio University
Interior Architecture
HCIA 402, Winter 2007
Matthew Ziff, Associate Professor, Architect, NCIDQ Office: W 353 Grover Center Office Hours: TTH: 2-4, F: 3-4 Telephone: 740. 593. 2869 E-mail: ziff@ohio.edu
Course Syllabus
Course: HCIA 402, interior architecture studio iv, Call #: 03856 Credit Hours: 4 Prerequisites: completed HCIA 361, 361A, concurrent HCIA 402A Location: W 327 & W330 Grover Center Time: 1:10pm-5:00pm MW
Course Description: "research and design of selected interior architectural project types coursework includes research into project type, concept and schematic development, selection and specification of materials, and finishes, building code analysis, and oral presentations."
Attendance Policy: attendance is mandatory. it is expected that you will be at your desk and working from the beginning of class through the end of class.
if you are not at your desk and working, a message indicating where you are and why you are there is considered appropriate.
absence from class is absence from class. there are no 'excused' or 'unexcused' absences. you are allowed to miss class twice without penalty. more absences than these two will result in the course grade being lowered as described below.
two (2) absences are permitted without penalty. additional absences will be reflected in your grade at the end of the quarter. each absence beyond two (2) will lower the course grade by one half a letter grade (5 percentage points).
eight (8) or more absences will result in receiving a failing (F) grade for the course.
absences in excess of two (2) impairs your ability to take part in the content of the course. regardless of the reason for absence, the quality of a student's course work is significantly impacted by being removed from the studio environment, from the interaction that typically occurs with the faculty, and from interaction that occurs with peers.
absence in excess of eight (8) classes due to a
significant and appropriate event, such as a severe illness, or a death in the
immediate family, will result in receiving a grade of WP. in this situation
the student must re-take the course the following year.
an attendance sheet will be available every class session. it is your responsibility
to sign the attendance sheet. if you do not sign the attendance sheet you will
be recorded 'absent' for that class session.
Course Objectives: To engage in the process of designing office environments. The work done in this course will provide students with numerous opportunities to expand their knowledge, skills, and overall attitude toward the design profession. In particular, project programming, client identity, diagramming, space planning, furniture systems, and finish materials will be significant in this work.
Late Work: late work is unacceptable in the design profession.
late work will be downgraded. the companion statement to these is that deadlines
must be appropriate and reasonable, and i will monitor our progress and make
adjustments if necessary.
Grading: Grading in this IA studio course is entirely a qualitative matter. There are no absolute, or objective, tasks or targets to be achieved. To receive a grade of 'A' requires that you demonstrate, to me, intelligence, independence of thought, participation, creativity, appropriate design skills, completeness of work, accuracy of work, and an overall grasp of what we are investigtating and why we are investigating.
"A" indicates achievement of distinction
and excellence in several if not all of the following aspects:
1. completeness and accuracy of knowledge
2. intelligent use of knowledge
3. independence of work
4. originality
"B" indicates general achievement superior to the acceptable standard as defined as "C". it involves excellence in some aspects of the work, as indicated in the definition of "A".
"C" indicates the acceptable standard for graduation from Ohio University. it involves such quality and quantity of work as may fairly be expected of a student of normal ability who gives to the course a reasonable amount of time, effort, and attention.
Final Exam Time:
monday, march 12, 2:30pm tuesday, march 13 2:30pm thursday, march 15, 2:30pm friday, march 16: 2:30pm
we will only use three of these sessions. the final presentation schedule will be coordinated with the junior, and sophomore studio presentations in order that IA faculty may attend other studio critiques sessions as well as those they direct.
all students are required to attend two (2) of the three final critique
sessions. These times are set by Ohio University, and are not allowed to be changed. Please do not ask me to change our final presentation time, as I cannot.
Design:
everyone designs. most people only design sometime. only a few people design
most of the time. you and i design more than most people.
designing is about discovering an inherent order, or bringing order to a situation.
designing is a conscious activity, undertaken with a
purpose, within a context. designing is always undertaken within some form of
context.
designers are neither artists nor scientist, though
it is often casually said that design is "both art and science".
artists make the final product that their labors are directed toward. a designer's
work is directed toward the production of an abstraction of
the final product; a built space. artists also are free to propose whatever
they wish, without concerns of public health, welfare, or safety.
designers must always be aware of the health, safety,
and welfare of their clients, and of the general public.
design is not science, because design is primarily about changing the world,
making it better, while science is primarily about understanding the world,
and describing it.
designing is an activity. it is a process that when followed leads to a predicted result. designers predict the consequences of their proposals, but they can never fully, completely, predict the consequences of their proposals because users, people, always invent new and unexpected ways to engage a space, an object, a place. design is made dynamic through the interpretations that users bring to the work.
Tools for Designing:
your education involves transformations. think about the contents of the library. the shelves of the library hold data. when you absorb some of that data it becomes information. information becomes knowledge when you understand it, know how to use it, and can do something with it. a substantial amount of knowledge leads to wisdom. wisdom allows you to find alternative ways of doing things. your goal is to become wise.
designing involves three fundamental kinds of activities; reflection, analysis, and transformation. each of these allow you to generate, evaluate, and refine your designing.
Quality Level of Studio Based Design Education
This studio course, HCIA 402, is intended to be conducted at the highest appropriate
design education level. The goal of this course is to operate at and produce
work that is of the highest professional quality and character. What passes for adequate
work in some design practice environments is not the standard being used here
at Ohio University. The tasks, ideas, and attitudes that you will be asked to
explore are intended to allow you to understand and take part in design practice
of the highest quality.
The Design Work for the Quarter
I. Major Design Project
Office Design Project : This is linked to an in depth description of the Office Design Project.
II. Required Short Project
ADA restroom: this is a one week project:
We will begin on Wednesday, February 21, and it is due Wednesday, February 28, 1:10pm.
The 'Americans with Disabilities Act' (ADA):
designing a rest room facility: exploring, understanding, and presenting
project requirements: all dimensions are to be selected and presented using the Metric system.
one large sheet of drawings (must be printed, on paper)
(format should be the same as the final project format)
one plan: 3/8"-1'-0"
include dimensions of all components
2 vertical section/elevations of overall
space: 1"=1'-0"
include dimensions of all components
show floor thickness, ceiling/structure above
thickness, enclosing wall thicknesses
section detail of sink-wall-floor relationship:
3"=1'-0"
include dimensions of all components
include in the overall design: water resistant/water proof flooring materials hand drying device soap dispenser mirrors as appropriate four toilets, four sinks (F) two toilets, three urinals, four sinks (M) grab bars code compliant hardware and fixtures lighting fixtures as appropriate
design, and detail, a complete rest room facility, male and female.
the site of this rest room facility is to be your major project space. the size of the restrooms will be determined by your project requirements.
issues in the design of this space include:
size of spaces
quality and character of spaces
materials and finishes: physical safety and function, and visual character
clearance and accessibility
anthropometrics (ability of users to fit, reach, and fully use the facility in a comfortable manner)
lighting
this project is about being able to design within
the requirements of the ADA. this does not relieve you of your obligation to
see and think as an interior designer! this is to be an interesting, functional,
well crafted, beautiful, and refined work of design.
A fully designed public rest room that meets all ADA (Americans with Disabilities
Act) requirements.
The Metric System
Metric Engineering Scales - metric scale measurements is the standard in most of the world. The principles are similar. You have to get used to measurements expressed in meters (m) and millimeters (mm). One meter is slightly larger than one yard. A millimeter is 1/1000 of a meter. Metric scales are usually based on ratios. A ratio is the relationship of one measurement to another. For example, metric plot plans are often drafted in ratios of 1:100. This scale is very close to the scale 1/8" = 1'-0" (1:96). Metric floor plans are drawn in a ratio of 1:50. This is very close to a scale of 1/4" = 1'-0" (1:48). Construction details may be drawn to metric scales of 1:20, 1:10, or 1:5. It should be noted that all dimensions in metric dimensions are in millimeters.
The following are weblinks that offer information on working with the metric system:
Metric dimensions for standard paper sizes:
http://www.engineeringtoolbox.com/drawings-paper-sheets-sizes-d_349.html
Metric conversion tables: http://www.france-property-and-information.com/metric_conversion_table.htm#Length_Conversion Working in metric with AutoCad: http://www.cadmasters.com/techsupp/ldt/metric.html
Columbus Church Converted to NightClub
Time management
Dates & Activities
wednesday, jan 3
introduction & discussion of design work for the quarter
monday, jan
wednesday, jan 10
monday, jan 15: Martin Luther King Jr. Day: Classes Not In Session.
wednesday, jan 17: Let's discuss briefly, and think more about 'What is Design', and what is it that we are exploring in this major:
This website presents a short and clear widely accepted view of what design is about:
http://www.saskschools.ca/curr_content/paasurvey/design/desfund/desfund.htm
"Design fundamentals lie at the heart of design education, and the design studio experience, is where students learn to use a design process, establish disciplined work habits, discuss their work and collaborate with others. This forms the foundation of all subsequent design work in school and in the design professions." (Taken from the NCState University Design School webpage)
http://atschool.eduweb.co.uk/trinity/watdes.html
Design: some quotations for thought
monday, jan 22
wednesday, jan 24
monday, jan 29
wednesday, jan 31
monday, feb 5
wednesday, feb 7
monday, feb 12
wednesday, feb 14
monday, feb 19
wednesday, feb 21
monday, feb 26
wednesday, feb 28: ADA restroom project due: 1:10pm
monday, march 5
wednesday, march 7: last day of studio class
Design Education Overview
Designing is a practice based activity. Like playing a musical instrument, designing
is only learned, done well, and meaningful, when it is done regularly, repeatedly,
and with dedication.
Interior Architecture is a major in which
making things
(the active, engaged, physical process of making drawings, models, statements,
objects, spaces)
defines who you are
(as a designing person, having ideas, knowledge, beliefs, desires, points of
view)
and
how well you are doing
(as a design student, working to expand your horizons, develop skills, and discover
new points of view)
In this design program the grade of 'A' for both projects and courses, is not the 'typical' grade given. While there is not truly 'typical' grade given in our studio courses or lecture format course, it is more appropriate to say that the typical grade for both studio projects and overall courses is 'B'.
To receive a grade of 'A' indicates that the work is well above average: to the degree that it either is, or is very close to being 'excellent' in a number of characteristics.
Learning happens in many ways. Learning is achieved by reading, writing, repeating, reflecting, discussing, interacting, teaching, listening, and making. All of these are ways in which learning can be achieved at a substantial, deep, level. The truth of this statement is one of the reasons why many design programs, this one included, are founded on a studio based form of education. The design studio environment is one in which many, if not all of these ways of learning can be put into operation, (operationalized).
It is your charge to seek out, engage in, and take
conscious note of the benefits of being allowed to study in this kind of environment.
Going to college is a privilege. Take good advantage of this setting.
What is not design? Copying, mimicking, artificial, superficial, meaningless, generic, are some attributes of non-design.
What is design? Original, creative, meaningful, functional, elegant, context/site specific.
Design is, for us, which is to say those who are seeking to be able to work as designing individuals, at a fundamental level, a matter of 'making'. Making may touch upon many different issues, such as use, material, cost, and location. Making may take place at a variety of scales and within many different categories of human need. Furniture, landscape, rooms, buildings, pens, shoes, and eyeglasses all can be the work of designing individuals, working alone, or in teams, in urban offices, or in rural workshops. Making things is typically done in response to a need or a desire. Designing at its most fundamental is sometimes described as 'thinking before acting'. This is a pretty basic description of rational activity; thought before action. Design is a basic human activity. Peoples of all cultures all around the world design things, from utility items like tools, to paintings that have a primarily aesthetic function. You can think of design in sequential terms that address the way human beings live. Such a sequence can be described as:
Identifying Needs and Desires
Thinking about making (constructing) something/some place
Making (constructing) it
Using what has been made
Revising and replacing
Identifying New/Changed Needs and Desires
Design is fundamentally about making things, but it is more
than that. Design is a special kind of making, it is a kind of making that is
driven by ideas, and it is ideas that are engaged with the moment at hand, the
present, the state of the world as it exists right now. The ideas that drive
designers are typically about ways to make the world better, in large or small
ways. A better bottle opener, a better elevator, a better way to illuminate
a room, or a better way to arrange furniture in an office are each topics of
possible design exploration for a designer. Ideas that designers explore are
about materials, forms, color combinations, technologies used in manufacturing,
human needs and desire, the influence of climate, culture, and economics. These
are just some of the topics that designers turn their attention toward. The
work of the very best designers is what we hold up as examples of what we strive
for; innovation, subtlety, coherence, boldness, symbolic importance, and usefulness.
Design is about making, but simply making things does not mean that they are designed in any significant way. Design is driven by ideas. Good design is about exploring ideas that lead to making things very well. Good design is not necessarily expensive but western commercial culture has tried to make us think it is. Good design does involve things that poor design, or low level thought, do not. Good design often requires more time, because it takes time to do something well. Good design often requires more initial cost, because good materials and tools are more expensive than poor quality ones. Good design is a bit like good food; it costs more up front, but it will lead to a longer and better quality life.
Can designed things be 'pretty'? Sometimes yes, and sometimes no. 'Pretty'
is not the focus of design work, it is a possible result. At its best,
good design is more important than 'pretty'. At its best good design is important,
life altering, environmentally significant, and culturally influential. Making
things 'pretty' is a result, or an offshoot of design. Well designed things
may be pretty, but they are so because they are well designed, and it was that
quality, of seeking good design, based on ideas, that drove the designing. The
'Kleenex' tissue boxes that are called the 'designer' boxes are not designed;
they are simply prettified through the use of floral imagery. The boxes come
in several different floral motifs.
It is a bit like the concept of 'fun'. To set out to have fun often leads to unsatisfying results. On the other hand, to set out to do something interesting, challenging, or rewarding will result in 'having fun'. Fun is a result, an offshoot, of doing things. Our western commercial culture has warped 'fun' into a goal of its own, rather than letting it be a pleasant outcome of other activities.
Making things look like, or have a 'theme', of something else is not designing. Theme images are based on concepts and ideas of theater. Theater is entertainment, typically experienced for short time periods, for a particular desired effect. As in literature, a temporary suspension of disbelief is a central element in theater. Themed spaces seek to remove connections from the larger realities around them. Can themed spaces be interesting? Certainly, but they are always facades, surfaces that are supported by something completely foreign underneath. The best example of themed spaces that humans have devised is Disney World. Disney World requires millions and millions of dollars to prop up the facade world that you walk through. Sounds, smells, visual character have all been carefully molded to give the impression of being something that they are not. Literally under the streets of Disney World lies the maze of support systems that powers the facade you experience above. Disney World, even with the huge amount of money spent, rarely makes anyone over the age of 8 believe that what they are seeing is real, in the sense that it is what it is purporting to be. Cinderella's castle is, after all, not a real stone castle, the western town is just a movie set of facades, and the jungle is filled with stereo speakers and plastic rocks. To propose to make a coffee shop in Athens, Ohio that 'looks like a Hawaiian village', is not designing, it is theater. Does this mean that this never happens in practice? Of course not. All kinds of odd things happen in practice, but that does not mean that it is good design, or design at all for that matter.
Design is the exploration of ideas in relation to a need or desire in relation to physical and experiential characteristics. Designing a table quickly becomes an exploration of material character mitigated by anthropometric information. Good design is driven by ideas. The things that result certainly have image, style, or character, but these are the result of the exploration, not the cause of it. To design 'a table for use in Hawaii' is a completely different charge than to design 'a Hawaiian table'. The latter makes us think about beach, sand, straw, flowers, and some kind of table that is made up of these culturally iconic elements. This sounds like something to be sold in a tacky tourist shop. The former makes us think about what it is that makes Hawaii distinctive; climate, native materials, and cultural interpretation. A table for use in Hawaii could be made of metal, wood, glass, plastic, or stone.
Why? Because designing a table for use in Hawaii is, first of all, about designing something in the year 2002, not 1850. Today there are plastics, metals, woods, and other materials and technologies available in Hawaii that did not exist there, or anywhere else, in 1850. Our stereotypic image of Hawaii as a primitive, low tech, beach kind of place is naive, insultingly ignorant, and irresponsible. Design is about exploring ideas and making things based on that exploration. Design is a special kind of making, it is a kind of making that is driven by ideas that are engaged with the moment at hand, the present, the state of the world as it exists right now. The ideas that drive designers are typically about ways to make the world better, in large or small ways. The straw huts of Hawaii exist primarily as an image in a tourist brochure.
What you expect, want, like, is not necessarily what you need. This program is required to do things that may seem irrelevant or bothersome, such as:
•hold classes at 8:10 am
•contain project content that is legally, professionally, and ethically
important, such as working drawings, building codes, specification writing
•meet FIDER requirements, which are broad, and numerous
•meet Ohio University requirements, some of which are specific to this
institution, and some of which are typical of most universities
Your education here is expensive. When something is expensive, we typically 'value' it highly. Valuing your education means that you make studying/being a student, a top priority. It means that you try to get as much as possible out of your education, which means that you should constantly challenge yourself to raise your level of knowledge, skills, and attitudes toward design, and toward your own life in relation to the world around you.
Think beyond yourself. Many things must be done because they need to be done, and it does not matter if you 'want' to do them or not.
Design education is structured to move you to a greater and greater independence of thought, action, capability. Learn to first try to figure things out for yourself. If you make a real effort to try to understand something, but cannot, then you should ask for help, but not before making a substantial effort on your own.
Design Studio Presentations: This is not a "Battle
of the Bands"
The virtues of three dimensional images in presenting design work are without question. Everyone agrees: three dimensional representations of design ideas are valuable, communicative, and effective.
Form-Z is a powerful tool for creating three dimensional expressions of your design ideas. No one disagrees about this.
I want you to be clear, however, that simply because Form-Z is a powerful tool for creating three-d imagery, does not mean that your design education has been turned into a 'battle of the bands', so to speak, in terms of making Form-Z images.
Our studio design work is not a competition between all of you about who will make the most, and the most impressive, Form-Z images. I can easily imagine a superb design project presentation in which there is only one perspective image. At the same time, I can easily imagine a superb design project presentation in which there are numerous perspective images.
A clear, creative, well thought out, high quality presentation of a design project is just that. There is a great range to the kinds of images and statements that can be useful and persuasive within such a presentation. Your work, in consultation with me, should reflect your own selections, editing, refinements, and ideas about the best ways to communicate your design work.
Interesting Data
http://www.anver.com/document/vacuum%20lifters/glass_plate_guide.htm
Weight and Overhang Table
Glass Lifting
Glass Thickness Weight
lb/ sq ft Overhang 'L'
in. (mm) in. (cm)
0.125 (4) 1.7 19 (48.3)
0.188 (5) 2.5 21 (53.3)
0.250 (7) 3.4 24 (61.0)
0.312 (8) 4.2 27 (68.6)
0.375 (10) 5.1 31 (78.7)
0.500 (13) 6.7 34 (86.4)
0.625 (16) 8.4 39 (99.0)
0.750 (20) 10.1 41 (104.0)
0.875 (23) 11.8 43 (109.2)
1.000 (26) 13.5 48 (121.9)
Glass weighs 162 pounds per cubic foot.
Water weighs 62.4 pounds per cubic foot.
ADA website: http://www.access-board.gov/adaag/html/adaag.htm
The Knock My Socks Off award is an award that was created in 2004 to recognize design excellence within the Interior Architectrure program whenever and where ever it may happen. This award is given exclusively by Matthew Ziff. To date, Emily Bowman, Joshua Woodburn, David Reardon, Matt Baker, and Ashley Kirkland have received the Knock My Socks Off award.
At the conclusion of Winter Quarter 2007, Lynn Janicki, and Kara Wheeler have received Knock My Socks Off Awards for their excellent Office Design project work.
