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The study of interior design is exhilarating! It is a field filled with creative excitement, innovative beauty, and dynamic design! As a profession, it is never static or predictable primarily because the focus is on PEOPLE! Interior Design provides students with an introduction to the history and how-to's of the profession while expanding into business practices, career specializations, and educational requirements. In combination with the teaching package, students learn about the design process; the importance of color and light; historical influences such as furniture and architectural styles; and the human element such as sustainability, aging-in-place, universal design, anthropometrics, proxemics, and ergonomics.
With AutoCAD 2011, Autodesk enhanced the user interface and improved many drawing functions including annotative dimensions and text. Neither simplistic nor exhaustive, this revised edition of Digital Drawing for Designers teaches the latest version of AutoCAD by relating to what architects and interior designers understand best: the visual world. Beginning with the building blocks of drawing (lines, circles, and arcs), the book progresses through architectural graphic standards allowing students to create drawings and effectively communicate their design ideas. Advanced features - such as annotative dimensions, annotative blocks, express tools, and linking drawings (XREFs) - are also covered. Instructions are illustrated using language and concepts from manual drafting, creating a smooth transition to the digital environment for all designers. New learners will appreciate the step-by-step lessons and visual illustrations. Experienced design professionals can easily access material to refresh their knowledge. Clear, concise, and above all visual, this is the AutoCAD guide written for interior designers and architects. Features: - Updated for AutoCAD 2011: compatible with AutoCAD versions 14 through 2011 - Illustrations depicting tools, functions, the AutoCAD ribbon interface, and keyboard commands - Practice exercises to reinforce each chapter's topics - Clear explanation of drawing and printing with line weight - Quick reference aids: command reference guide, index, and large-type page headers - Companion website features downloads for each chapter, including exercises, plot styles, title blocks, drawing templates, and professional AutoCAD drawings Instructor's Resources: - Instructor's Guide includes course syllabi and chapter outlines, tips for teachers, and problems and assignments to suit the skill levels of both interior design students and new interior designers
Created specifically to help designers master AutoCAD, "Digital Drawing for Designers 2014" is neither overly simplistic nor excessively technical, and teaches by relating to what architects and interior designers understand best: the visual world. Beginning with the building blocks of drawing (lines, circles, and arcs), the book progresses through architectural graphic standards, enabling students to create drawings that effectively communicate their design ideas. Advanced features such as annotative dimensions, annotative blocks, express tools, and linking drawings (XREFs) are also covered. Instructions are illustrated using language and concepts from manual drafting, facilitating a smooth transition to the digital environment for all designers. New learners will appreciate the step-by-step lessons and visual illustrations, while experienced design professionals can easily access material to refresh their knowledge. Clear, concise, and above all visual, this AutoCAD guide speaks directly to the needs of architects and interior designers.
The Interior Dimension A Theoretical Approach to Enclosed Space Joy Monice Malnar and Frank Vodvarka " A plan proceeds from within to without... The exterior is the result of the interior." -- Le Corbusier This comment clearly indicates the primacy of the interior as a generator of form-- but design theory has historically emphasized buildings' exterior, not its interior. And this approach, essentially sculptural, has often had less than a beneficial effect on the building' s occupants. That situation is, however, changing, and the interior is increasingly being viewed as the designer' s primary concern. The Interior Dimension provides a much-needed theoretical overview of interior space-- its history and character-- in an organized and comprehensive manner. Exploring the history of spatial design from the first century B.C. to the present, this innovative book reviews the part of architectural theory that relates to the interior, as well as such related disciplines as fine art, psychology, philosophy, literature, and the environmental sciences. The approach is eclectic, and seeks to identify those design concerns necessary to proceed " ... from within to without." The book' s three-part organization clearly distinguishes fundamental design elements, their derivation, and applications within a cultural context. Each section addresses increasingly complex issues in design, thus providing a base of understanding for the succeeding chapter. First, The Interior Dimension examines the importance of theory, as well as attributes of fundamental design elements and their perception. The authors stress the abstract nature and generativepotential of even the simplest gesture, examining human spatial requirements both in terms of metaphysical aspects of visual elements and critical studies in perception. Second, it probes some of the positions that noted
The initial motivator for the development of DRM, a Design Research Methodology, and the subsequent writing of this book was our frustration about the lack of a common terminology, benchmarked research methods, and above all, a common research methodology in design. A shared view of the goals and framework for doing design research was missing. Design is a multidisciplinary activity occurring in multiple application areas and involving multiple stakeholders. As a consequence, design research emerges in a variety of disciplines for a variety of applications with a variety of subjects. This makes it particularly difficult to review its literature, relate various pieces of work, find common ground, and validate and share results that are so essential for sustained progress in a research community. Above all, design research needs to be successful not only in an academic sense, but also in a practical sense. How could we help the community develop knowledge that is both academically and practically worthwhile? Each of us had our individual ideas of how this situation could be improved. Lucienne Blessing, while finishing her thesis that involved studying and improving the design process, developed valuable insights about the importance and relationship of empirical studies in developing and evaluating these improvements. Amaresh Chakrabarti, while finishing his thesis on developing and evaluating computational tools for improving products, had developed valuable insights about integrating and improving the processes of building and evaluating tools.
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