The design process’ is a term that covers a set of operations which, when carefully undertaken by the designer, result in a thoroughly considered and well-crated design solution that meets the needs of the client. The process is not exclusive to interior design and, in one form or another, applies to all i elds of design. Design might be seen as a largely linear activity, with a start point (at which the client makes first contact with the designer), and an end point, when the project has been implemented (that is, constructed or built). However, the reality is that within the process many of the individual tasks are interrelated and highly dependent upon one another, so changes to one element of a design solution will ot en require that earlier parts of the process are revisited and revised as appropriate.
You should try to see the design process as a malleable one where the different tasks are adaptable to the unique nature of each project. The design process is not a standard ‘one size i ts all’ solution, and you will need to develop your understanding of it so that you can see how it might be used to meet the needs of individual projects that you work on.
The design process in action
In the following description of the major parts of the design process, the comments made earlier about its l exibility should be borne in mind; any or all of the actions described here could be adapted to suit individual projects. It will also become clear that the job of a designer actually involves a great deal of general administration work in addition to the design element of a project. When working as part of a large practice, this may not be especially apparent, as job roles will probably be tightly defined. In smaller companies, however, the designer may find themselves deeply involved in all aspects of the process.
Analysis
Analysis is relevant at two related but distinct parts of the project cycle: In the very earliest stages, before in-depth design work takes place, the designer will need to assess the scale and complexity of the project work to be undertaken. This will allow preliminary estimates to be made of the time and resources needed to complete the project, and these will in turn provide a foundation upon which the designer can base a fee proposal. Part of the work at this stage will involve determining the scope of the project and the likely format and content of the presentation, as this will control, to a large degree, the amount of drawings and visuals that are prepared, all of which take time that will need to be charged to the client.
Following this and once the client has agreed to the proposed design work being undertaken to reach the i rst presentation stage, the designer can take an in-depth brief from the client. Initial examination of the brief, allied to a general understanding of the project, will give the designer a starting point for further research. All of this work will lead to the second tranche of analysis, in which the designer is aiming to edit, distil and ultimately make sense of all the information that has been gathered. Some of the information will relate to the practical aspects of the brief, some to the aesthetic, some of which could be contradictory in nature. Over time, the designer will become used to setting priorities and reaching a comfortable compromise with regard to conl icting information. It is very rare to i nd a project that does not need some element of compromise to succeed, but there is never one single way to deal with it. Each project must be looked at on its own merits, and decisions reached that rel ect the unique nature of that project.
Once analysis is complete, conclusions regarding style and content of the project can be summarised by creating a concept. This will then be used to generate ideas and drive the project. Difterent methods of analysis and concept styles are looked at in greater detail in the next chapter.
The design process in action
In the following description of the major parts of the design process, the comments made earlier about its l exibility should be borne in mind; any or all of the actions described here could be adapted to suit individual projects. It will also become clear that the job of a designer actually involves a great deal of general administration work in addition to the design element of a project. When working as part of a large practice, this may not be especially apparent, as job roles will probably be tightly defined. In smaller companies, however, the designer may find themselves deeply involved in all aspects of the process.
Analysis
Analysis is relevant at two related but distinct parts of the project cycle: In the very earliest stages, before in-depth design work takes place, the designer will need to assess the scale and complexity of the project work to be undertaken. This will allow preliminary estimates to be made of the time and resources needed to complete the project, and these will in turn provide a foundation upon which the designer can base a fee proposal. Part of the work at this stage will involve determining the scope of the project and the likely format and content of the presentation, as this will control, to a large degree, the amount of drawings and visuals that are prepared, all of which take time that will need to be charged to the client.
Following this and once the client has agreed to the proposed design work being undertaken to reach the i rst presentation stage, the designer can take an in-depth brief from the client. Initial examination of the brief, allied to a general understanding of the project, will give the designer a starting point for further research. All of this work will lead to the second tranche of analysis, in which the designer is aiming to edit, distil and ultimately make sense of all the information that has been gathered. Some of the information will relate to the practical aspects of the brief, some to the aesthetic, some of which could be contradictory in nature. Over time, the designer will become used to setting priorities and reaching a comfortable compromise with regard to conl icting information. It is very rare to i nd a project that does not need some element of compromise to succeed, but there is never one single way to deal with it. Each project must be looked at on its own merits, and decisions reached that rel ect the unique nature of that project.
Once analysis is complete, conclusions regarding style and content of the project can be summarised by creating a concept. This will then be used to generate ideas and drive the project. Difterent methods of analysis and concept styles are looked at in greater detail in the next chapter.
By following a structure design process and by carefully considering the needs of their client, Project Orange have created a calm and rel ective interior for this house in Suffolk, England
This diagram represents the stages of the design process, though each element can change or be adapted as required by the project. The diagram does not illustrate the relative amounts of work required for each task; again these will be dependent on individual circumstances.
Development
The development stage of the project is one of the most interesting for the designer. It is where the natural talents of most designers i nd their expressive outlet, and where the individual can really make their mark on a project. This is the stage where the needs of the client are taken and transformed into a workable, practical and aesthetic design solution. It is where ideas are generated and given life, where ‘l ights of fancy’ are captured and turned into feasible and stunning reality. The discovery of an idea and the realisation that it can be used and made into something special is exciting, it is an experience that designers live for. It motivates and helps spur the designer on to discover more of what the project holds. Interior design is problem solving on a large and complex scale, but we are also adding the aesthetic touches, the humanising elements, that make interiors appealing and functional on an emotional level.
Development work can sometimes be hard, requiring a great deal of thought and re-working until the result is as perfect as is practicable, but the pleasure and pride that the designer experiences when it goes well are worth the effort.How much development work needs to be undertaken depends very much upon exactly what the client requires from the designer. If the client expects to see ‘concept sketches’ for a project, then only minimal design work may need to be undertaken; just enough basic space planning and the development of a few decorative ideas or motifs, for example, to allow the designer to produce sketch visuals of the proposals. If, however, the client wants to see a fully resolved design solution, then a great deal of development work will be undertaken; space planning, decorative details, and bespoke items will all need to be worked on, and this will generate a much larger number of drawings and supporting work.
During this stage, many different strands of the i nished design will be coming together. Space planning will be a major priority. Taking account of ergonomic needs, the designer will seek to create a balanced and effective furniture layout that meets the functional needs of the user. The designer will be sourcing furniture, i nishes and fabrics which will be chosen for their aesthetic and practical fit with the concept, with space-planning constraints also informing furniture choices. As the decorative scheme begins to take shape, the collection of i nishes will be rei ned and edited.
The design is likely to be quite l uid; changing and evolving while heading towards a fully resolved i nale. Being open to change is one of the best qualities a designer can have. It is by being open and seeing where the development process leads that unique breakthroughs in the design can be made.
Whatever form ideas may take, get ing them out of your head and on to paper is crucial to being able to see the issues clearly. It is not enough to try to ‘think things through’ and then create a drawing to record a i nished idea, as almost no one is gifted enough to be able to foresee a fully resolved and articulated design. Instead, it is through the act of drawing itself that issues are identified and resolved. This is such an important point for the novice designer to grasp: drawings are not made simply to record an idea or detail that has already been formulated in the designer’ s mind. Instead, making drawings is a process of ‘thinking on paper’. Drawing is crucial to the development of a design, an extremely powerful tool in the designer’ s arsenal. Sketching and hand drawing play a part in the lives of almost all designers, even those who use computers on a daily basis to turn their ideas into the drawings used for construction purposes.
Quick sketches and formal technical drawings are used in conjunction to conceive new ideas and examine their impact on the scheme. Plans are usually the i rst technical drawings to be made, but as soon as the i rst planning options are being explored, the designer should be thinking in three dimensions, so elevations, sections or perspective sketches will follow to show other aspects of the space. Drawing is an excellent way of comparing alternatives, of seeing different options side by side.
After the project has been presented to the client, and the client has approved the work to date, further drawing will be needed to progress the project. These drawings, done in more detail than those for the presentation, will be sent out to tender to allow accurate quotes to be given by potential contractors. They will highlight what work needs to be done to the space and, where necessary, will show constructional details, thus ensuring that the designer’ s vision for the project is realised by the contractors as intended.
It should be said that, while the designer is always aiming to provide the best solution possible, that solution is almost certainly going to include compromises. At the very least, there will be competing, if not conl icting, needs and wants in almost every design brief. It is the job of the designer to make judgements and to prioritise. In some situations, it will be the practical that is the most appropriate, in others the aesthetic will win. You will be able to make these judgements having referred to your design analysis and concept.
Two quick but considered perspective sketches by Mark Humphrey that have been drawn to help visualise different aspects of an interior.
Another sketch by Mark Humphrey that attempts to rationalise his ideas for a DJ booth at a London club. h is simple sketch embodies the essence of the concept, and will be developed further through accurate working drawings that will provide a fabricator with all the information needed to create the piece for real.
Development
The development stage of the project is one of the most interesting for the designer. It is where the natural talents of most designers i nd their expressive outlet, and where the individual can really make their mark on a project. This is the stage where the needs of the client are taken and transformed into a workable, practical and aesthetic design solution. It is where ideas are generated and given life, where ‘l ights of fancy’ are captured and turned into feasible and stunning reality. The discovery of an idea and the realisation that it can be used and made into something special is exciting, it is an experience that designers live for. It motivates and helps spur the designer on to discover more of what the project holds. Interior design is problem solving on a large and complex scale, but we are also adding the aesthetic touches, the humanising elements, that make interiors appealing and functional on an emotional level.
Development work can sometimes be hard, requiring a great deal of thought and re-working until the result is as perfect as is practicable, but the pleasure and pride that the designer experiences when it goes well are worth the effort.How much development work needs to be undertaken depends very much upon exactly what the client requires from the designer. If the client expects to see ‘concept sketches’ for a project, then only minimal design work may need to be undertaken; just enough basic space planning and the development of a few decorative ideas or motifs, for example, to allow the designer to produce sketch visuals of the proposals. If, however, the client wants to see a fully resolved design solution, then a great deal of development work will be undertaken; space planning, decorative details, and bespoke items will all need to be worked on, and this will generate a much larger number of drawings and supporting work.
During this stage, many different strands of the i nished design will be coming together. Space planning will be a major priority. Taking account of ergonomic needs, the designer will seek to create a balanced and effective furniture layout that meets the functional needs of the user. The designer will be sourcing furniture, i nishes and fabrics which will be chosen for their aesthetic and practical fit with the concept, with space-planning constraints also informing furniture choices. As the decorative scheme begins to take shape, the collection of i nishes will be rei ned and edited.
The design is likely to be quite l uid; changing and evolving while heading towards a fully resolved i nale. Being open to change is one of the best qualities a designer can have. It is by being open and seeing where the development process leads that unique breakthroughs in the design can be made.
Whatever form ideas may take, get ing them out of your head and on to paper is crucial to being able to see the issues clearly. It is not enough to try to ‘think things through’ and then create a drawing to record a i nished idea, as almost no one is gifted enough to be able to foresee a fully resolved and articulated design. Instead, it is through the act of drawing itself that issues are identified and resolved. This is such an important point for the novice designer to grasp: drawings are not made simply to record an idea or detail that has already been formulated in the designer’ s mind. Instead, making drawings is a process of ‘thinking on paper’. Drawing is crucial to the development of a design, an extremely powerful tool in the designer’ s arsenal. Sketching and hand drawing play a part in the lives of almost all designers, even those who use computers on a daily basis to turn their ideas into the drawings used for construction purposes.
Quick sketches and formal technical drawings are used in conjunction to conceive new ideas and examine their impact on the scheme. Plans are usually the i rst technical drawings to be made, but as soon as the i rst planning options are being explored, the designer should be thinking in three dimensions, so elevations, sections or perspective sketches will follow to show other aspects of the space. Drawing is an excellent way of comparing alternatives, of seeing different options side by side.
After the project has been presented to the client, and the client has approved the work to date, further drawing will be needed to progress the project. These drawings, done in more detail than those for the presentation, will be sent out to tender to allow accurate quotes to be given by potential contractors. They will highlight what work needs to be done to the space and, where necessary, will show constructional details, thus ensuring that the designer’ s vision for the project is realised by the contractors as intended.
It should be said that, while the designer is always aiming to provide the best solution possible, that solution is almost certainly going to include compromises. At the very least, there will be competing, if not conl icting, needs and wants in almost every design brief. It is the job of the designer to make judgements and to prioritise. In some situations, it will be the practical that is the most appropriate, in others the aesthetic will win. You will be able to make these judgements having referred to your design analysis and concept.
Implementation
After all the design work has been agreed and signed off by the client, implementation can begin. Once contractors have been engaged to carry out the work, the involvement of the designer could be minimal, with a number of site visits to check that work is being accomplished as intended. The designer could, on the other hand, be involved in a very hands-on supervisory role. In some countries, depending on the depth of training that the designer has undertaken, legislation may limit their involvement with the implementation process. The term ‘project management’ is sometimes restricted to those who have undertaken specii c training in that subject, so the designer may i nd legal limitations on what they are able to contribute to this part of the process.
Even if this is the case, it is likely that the designer ’s input will be required to resolve some of the issues that are bound to arise as the implementation progresses. A good relationship with contractors and others involved in the project will be a great help, and this can in part be achieved by proving that you understand some of the problems that may arise during the implementation phase. Knowledge of building practice, materials and their limitations, and local building regulations, will all give the designer credibility with those in the building trade. Neat, legible and complete drawings are vital in communicating with the construction team. As part of the development stage, you will have tried to anticipate all the drawings that will be required for the various trades involved with the project to accurately interpret your instructions. This may well be a much greater number of drawings than was needed to communicate your design proposals to the client. Even at the implementation stage it may be necessary to create new drawings to deal with some of the unexpected and unforeseen situations that arise.
Long-term professional relationships with tradespeople are otfen forged by designers, with the same contractors being used time and time again for their projects. The trust that is built up in this way can be very helpful to the easy running of the project, allowing for a more eficient workl ow because of the familiarity that exists with the designer ’s ways of working. Good workmen will trust and respect the designer ’s judgement, even if this means working outside of their experience, but this trust can take time to mature. If contractors are not known to the designer, then it is especially important that the designer maintains a professional attitude at all times. All drawings must be thorough and complete. Decisions made and changes agreed need to be fully documented and recorded, as disagreements could be costly and cause friction between the parties involved.
Whatever form ideas may take, get ing them out of your head and on to paper is crucial to being able to see the issues clearly. It is not enough to try to ‘think things through’ and then create a drawing to record a i nished idea, as almost no one is gifted enough to be able to foresee a fully resolved and articulated design. Instead, it is through the act of drawing itself that issues are identified and resolved. This is such an important point for the novice designer to grasp: drawings are not made simply to record an idea or detail that has already been formulated in the designer’ s mind. Instead, making drawings is a process of ‘thinking on paper’. Drawing is crucial to the development of a design, an extremely powerful tool in the designer’ s arsenal. Sketching and hand drawing play a part in the lives of almost all designers, even those who use computers on a daily basis to turn their ideas into the drawings used for construction purposes.
Quick sketches and formal technical drawings are used in conjunction to conceive new ideas and examine their impact on the scheme. Plans are usually the i rst technical drawings to be made, but as soon as the i rst planning options are being explored, the designer should be thinking in three dimensions, so elevations, sections or perspective sketches will follow to show other aspects of the space. Drawing is an excellent way of comparing alternatives, of seeing different options side by side.
After the project has been presented to the client, and the client has approved the work to date, further drawing will be needed to progress the project. These drawings, done in more detail than those for the presentation, will be sent out to tender to allow accurate quotes to be given by potential contractors. They will highlight what work needs to be done to the space and, where necessary, will show constructional details, thus ensuring that the designer’ s vision for the project is realised by the contractors as intended.
It should be said that, while the designer is always aiming to provide the best solution possible, that solution is almost certainly going to include compromises. At the very least, there will be competing, if not conl icting, needs and wants in almost every design brief. It is the job of the designer to make judgements and to prioritise. In some situations, it will be the practical that is the most appropriate, in others the aesthetic will win. You will be able to make these judgements having referred to your design analysis and concept.
Implementation
After all the design work has been agreed and signed off by the client, implementation can begin. Once contractors have been engaged to carry out the work, the involvement of the designer could be minimal, with a number of site visits to check that work is being accomplished as intended. The designer could, on the other hand, be involved in a very hands-on supervisory role. In some countries, depending on the depth of training that the designer has undertaken, legislation may limit their involvement with the implementation process. The term ‘project management’ is sometimes restricted to those who have undertaken specii c training in that subject, so the designer may i nd legal limitations on what they are able to contribute to this part of the process.
Even if this is the case, it is likely that the designer ’s input will be required to resolve some of the issues that are bound to arise as the implementation progresses. A good relationship with contractors and others involved in the project will be a great help, and this can in part be achieved by proving that you understand some of the problems that may arise during the implementation phase. Knowledge of building practice, materials and their limitations, and local building regulations, will all give the designer credibility with those in the building trade. Neat, legible and complete drawings are vital in communicating with the construction team. As part of the development stage, you will have tried to anticipate all the drawings that will be required for the various trades involved with the project to accurately interpret your instructions. This may well be a much greater number of drawings than was needed to communicate your design proposals to the client. Even at the implementation stage it may be necessary to create new drawings to deal with some of the unexpected and unforeseen situations that arise.
Long-term professional relationships with tradespeople are otfen forged by designers, with the same contractors being used time and time again for their projects. The trust that is built up in this way can be very helpful to the easy running of the project, allowing for a more eficient workl ow because of the familiarity that exists with the designer ’s ways of working. Good workmen will trust and respect the designer ’s judgement, even if this means working outside of their experience, but this trust can take time to mature. If contractors are not known to the designer, then it is especially important that the designer maintains a professional attitude at all times. All drawings must be thorough and complete. Decisions made and changes agreed need to be fully documented and recorded, as disagreements could be costly and cause friction between the parties involved.
During the construction phase, the implications of some of the decisions made by the designer will become apparent. A new extension to this property to house the kitchen requires the demolition of existing walls and the introduction of extra support in the form of steel joists; a relatively easy idea to propose, but quite daunting to see put into practice.
Evaluation
It is healthy for a designer to constantly question the chain of decisions that have been taken to that point, and to maintain a self-critical attitude towards everything throughout the life of a project. Before reaching the implementation stage, revising work that has already been done can be a healthy way to work.From the client ’s point of view, the design process is usually considered complete after the implementation stage, but the designer should also evaluate the project in an ef ort to learn from it. A time of rel ection will be valuable immediately after the design has been delivered, as lessons learned during the process will still be fresh in the mind, and it is good practice to revisit the project after an appropriate period has elapsed (say six months or a year), as lessons which become apparent only after a space has been occupied and is functional can be learned. While it may or may not be possible to rectify any shortcomings that are identii ed on an individual project at this stage, the knowledge acquired can be fed into subsequent projects.
Whatever the extent of the work undertaken to try to visualise the i nished outcome of the project during the design development, there will be some instances where you can only properly judge some of your aesthetic decisions as the project is implemented. Although it may be possible to make changes at this stage, there will almost certainly be cost implications. It may be more appropriate to simply learn the lesson for next time, but take no action on site.
The importance of drawing
Drawing is an activity that you may well not have taken part in for some time before coming to design training. It can, therefore, by very intimidating, but you need to understand that you don’t need to be an accomplished artist in order to be a good designer. What you do need is a willingness to commit ideas to paper and to not be afraid of what others might think of your drawing abilities. Experienced designers do not judge the quality of the sketch, they judge the idea that the sketch is expressing. Formal, accurate, technical drawings (plans, elevations, sections, for example) are created on the drawing board or on the computer, and the techniques for producing them are skills that most people can learn. Sketches, on the other hand, are freehand drawings that can be rough, immediate and expressive, or more carefully executed. However they are arrived at, sketches exist to quickly capture and communicate ideas; they are not necessarily meant to be beautiful representational drawings.
This sketchbook shows rough ideas that have been captured very quickly. The sketchbook has been used as a notebook, and the ideas shown will be looked at and further developed later on. Most designers will keep at least one sketchbook close at hand almost all the time so that they can easily record ideas that occur to them.
This spontaneous but considered freehand perspective drawing was created in the presence of the client in order to expand upon ideas shown in formal presentation drawings. These types of sketches are invaluable for answering questions that clients pose during presentation.
A rendered plan showing a bedroom and bathroom coni guration at an hotel in St. Petersburg, Russia. Drawings such as this will help the designer to develop the concept into a workable design solution and will form the basis of the presentation to the client, but further drawings will have to be made to aid the implementation.
Professional practice
‘Professional practice’ is a term that covers the personal qualities and business procedures of the individual designer, and also the framework of regulation that the designer is subject to while working. The latter falls outside the scope of this book, as the laws that govern design work vary considerably from country to country, and are frequently subject to change. Some basic and universal business practices are, however, worth looking at.
What makes a good designer?
Designers are creative people, and being organised does not always come naturally to a creative personality. It is, however, a trait that all designers would do well to cultivate, as there is so much more to the business of design than just designing. Being organised is probably the most important facet of a professional attitude, though not the only one. For those who get involved in the full range of tasks associated with the day-to-day operation of a design practice, it could be that they will spend no more than 20 per cent of their time actively pursuing the development of a design. The other 80 per cent can easily be taken up by the mundane side of running a business: administration, i ling, letter writing, travelling and so on.
Allied to good organisation skills is good time management. Because interior design is a subject that it is easy to be passionate about, it is also one where it is easy to spend a disproportionate amount of time on the design work, to the detriment of other tasks that need to be undertaken if a project is to be completed successfully. To help with this, one of the i rst things to be done on a project is to create a project plan that shows the tasks that need to be addressed in order to successfully complete the project. Probably the most useful way of visualising the project plan is in the form of a Gantt chart; a horizontal bar chart that illustrates a project schedule. Strictly speaking, a true Gantt chart shows the outcomes of a project, and not the actions that will be undertaken to reach those outcomes, but for most designers this distinction is academic, and can be ignored. Software, including free open-source programs, are available to help produce project plans.
How designers should charge for their services is one of the questions that new designers are usually anxious about. Over time, three main models for charging (with many variations on them) have appeared and can be summarised as:
- Charging a percentage of the overall project value.
- Charging only for items supplied by the designer (such as furniture) with a mark-up fee.
- Charging a design fee based on an assessment or projection of hours worked on the project.
Arguably the most appropriate method of charging is that which sees the designer charging a design fee. This means that the client can see what is being paid for directly, without fees being ‘hidden’ in other charges, as is the case when a mark-up is added to goods supplied. It also means that payment is made within a reasonable amount of time of the work being done, and that i nancial commitments on the client are kept to a minimum as charges for each stage of the project are agreed before work is undertaken. However the designer decides to charge, an open and transparent system will be to the benefit of all.
While it is helpful if the relationship between designer and client is a friendly one, it is important that there is a written contract or form of appointment between both parties for the legal protection of both sides. This will dei ne the type of services provided and their scope, the fee structure, dispute resolution, copyright issues, and what is expected of both designer and client. Trade associations in many countries will have standard documents that can be used in these cases, but even if this is not so, contracts can be drawn up with the assistance of a professional that will protect the interests of all concerned.
Designers should realise that they are not alone when undertaking a project. Other professionals can be brought in as required to add their expertise to the project. Structural engineers, surveyors, quantity surveyors and project managers are examples of such professionals, and they can all help make a project feasible and deliverable to the client. The interior designer may still be the prime contact between client and project if they were approached i rst by the client, with each of the others reporting to the designer.
This project timetable is presented in the form of a Gantt chart and shows the key stages of the life of a project. Gantt charts are a very good way of showing the various tasks or stages, and how long each will last, though they cannot show the relative amount of work required to complete each stage
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