Beginnings of Interior Environments Fashion Series 11Th Edition Full Chapter

(eBook PDF) Beginnings of Interior
Environments Fashion Series 11th

Edition
Visit to download the full and correct content document:
https://ebooksecure.com/download/ebook-pdf-beginnings-of-interior-environments-fas
hion-series-11th-edition/
Beginnings of
Interior Environments
DESIGN SERVICES OF
# 108855 Cust: Pearson Edu/OH/CHET Au: Jones/Allen Pg. No. i C/M/Y/K
Title: Beginnings of Interior Environments, 11/e Server: Jobs
A01_JONE6003_11_SE_FM.indd 1 Short / Normal / Long
S4CARLISLE
Publishing Services 30/11/12 11:24 AM
DESIGN SERVICES OF
# 108855 Cust: Pearson Edu/OH/CHET Au: Jones/Allen Pg. No. viii C/M/Y/K
S4CARLISLE
Contents
Preface xv
PART I INTRODUCTION TO INTERIOR

2 T he V alue of I nterior D esign : H ealth ,
S afety , and W elfare 33
ENVIRONMENTS 1 Health, Safety, and Welfare 33
Definition of Interior Design and Responsibilities of an Sense of Place
Interior Designer 2 Interior Environment Theory: Why We Need the Built
Design for Multicultural Environments ■ Design for Sustainable Environment 34
Environments ■ Design for Special Population Environments Maslow’s Human Needs ■ Communities to Personal Space:
■ Interior Designer/Architect and Decorator: The Taxonomy
Home and Comfort ■ Society’s Collective Values
Relationship with Allied Professions 6 Historic Preservation 36
Traits and Knowledge Required by Interior Designers 6 Grassroots Development ■ Publications and Standards
Textbook Organization 6 Multicultural Environments 38
1 U nderstanding I nterior D esign 9

Development of the Interior Design Profession 9
The Science of Spatial Behavior 40
Proxemics and Social Design ■ Anthropometrics ■ Ergonomics
Universal Design 42
Candace Wheeler and Elsie de Wolfe ■ Frank Lloyd Wright Design for Special Populations 44
Professional Design Organizations 10 Americans with Disabilities Act (ADA) ■ Children ■ Elderly and
Goals of Interior Design 11 Special User Groups
Function and the Human Factor ■ Aesthetics ■ Economics Evidence-Based Design 47
and Ecology History ■ Relationship to the Design Process ■ Advancement of the
The Design Process/Scope of Services 13 Profession
Initial Client Contact ■ Programming ■ Conceptual or Schematic Environment: Sustainable Design 48
Design ■ Design Development ■ Contract Documentation Environment, Economics, and Equity ■ Reduce, Reuse, Recycle
■ Contract Administration ■ Evaluation ■ Fields of Study Related to Sustainable Design
Career Specializations in Interior Design 22 Summary 51

Residential Design ■ Contract or Commercial Design ■ Related Design Scenario: Willson Hospice House 53
Design Professions ■ Allied Professions
Summary 24 PICTORIAL ESSAY: H istory of S tyle 56
Design Scenario: Fortune 500 Consumer
History of Style 56
Products Company 25
Historical Styles and Their Evolution 56
Ancient ■ Middle Ages ■ Renaissance ■ Baroque ■ French Styles
■ Chinese Styles ■ Hispanic Styles ■ African Styles ■ Japanese Styles
■ English Styles ■ American Styles
ix
DESIGN SERVICES OF
# 108855 Cust: Pearson Edu/OH/CHET Au: Jones/Allen Pg. No. ix C/M/Y/K
S4CARLISLE
Historical Styles Summary 72 Psychological and Physiological Effects of Colors 127
Evolution of Modern Design 72 Feelings and Reactions to Individual Colors ■ Studies in Color
■ Multiculturalism and Color ■ Reflecting Personality ■ Reflecting
Victorian Era ■ Traditional Revivals ■ Early Modernism
■ Modern Styles ■ American Styles
the Character of the Room
Modern Design Summary 82 Interactions Between Color and the Elements and Principles
of Design 132
Style Selection 82
Space ■ Texture ■ Size and Proportion ■ Balance ■ Juxtaposition
of Colors ■ Light
PART II DESIGN FUNDAMENTALS 85 Application of Color to Interior Backgrounds 135
Design Think! 86 Ceilings ■ Paneled Walls ■ Window Treatments ■ Wood Trim
■ Color in Wood
Investigation and Interpretation ■ Association and Assemblage
■ Resolution and Review Selection of a Color Scheme 136
Visual Literacy 88 Distribution of Color ■ Color Transitions from One Room
to Another ■ Visual Communication
Gestalt and Perceptual Theories
Color Forecasting 137
Concept 90
Summary 138
3 E lements and P rinciples

Two Basic Types of Design 99
of D esign 99 Design Scenario: Community Concept–UPS Innoplex 139
PART III BUILDING SYSTEMS 149

Structural Design ■ Applied Ornamentation or Decorative Design
The Construction Process 150
Elements of Design 102
Site Selection and Development ■ Footings and Foundations
Space ■ Line ■ Shape and Mass ■ Texture ■ Light ■ Color
■ Framing ■ Sheathing, Roofing, and Interior Building Systems
■ Pattern
■ Finish Materials
Principles of Design 107
Scale and Proportion ■ Balance ■ Rhythm ■ Emphasis ■ Harmony
Summary 115 5 C onstruction C omponents , S ystems ,
C odes 155
and
4 C olor 117
Light in Color 117
Contract Documents 155
Plans ■ Elevations ■ Sections ■ Schedules ■ Details ■ Roofing Plans
and Engineering Drawings
Warm, Cool, and Neutral Colors 118 Structural Classifications 163
Warm Colors ■ Cool Colors ■ Neutral and Neutralized Colors Steel ■ Masonry ■ Concrete ■ Wood
The Standard Color Wheel 118 Doors 165
Color’s Three Dimensions 119 Door Construction ■ Types of Doors by Operation ■ Door Design
Hue ■ Value ■ Intensity or Chroma and Placement
Creating Color Schemes 120 Windows 169
Achromatic ■ Monotone ■ Monochromatic ■ Analogous Window Construction ■ Types of Windows ■ Window Design
■ Complementary ■ Shibui ■ Feng Shui and Placement
Color Theorists and Theories 125 Sustainable Design: Low E-Glass 172
The Ostwald System ■ The Munsell System ■ Related Color Fireplaces 173
Systems ■ Computer Applications Fireplace Construction ■ Types of Fireplaces ■ Fireplace Design and
Sustainable Design: Natural Earth Colors 126 Placement
x ■ Contents
DESIGN SERVICES OF
# 108855 Cust: Pearson Edu/OH/CHET Au: Jones/Allen Pg. No. x C/M/Y/K
S4CARLISLE
Heating, Ventilating, and Air-Conditioning (HVAC) PART IV SPACE 217
Systems 176
Form and Space 220
Forced Air Heat ■ Radiant Heat ■ Ventilation ■ Air-Conditioning
■ Central Vacuum Systems Space Planning 220
Sustainable Design: Solar Energy 176 Square Footage Calculations 221
Sustainable Design: Indoor Air Quality 177
Plumbing 178 7 S pace P lanning : F urnishings
Programming Information for Space Planning 223
to R ooms 223
Supply Systems ■ Heating Systems ■ Plumbing Fixtures
■ Waste Removal Economic Concerns ■ Function and Human Factors ■ Guidelines for
Acoustics 180 Furnishing Dimensions
Security 181 Space Planning for Specific Activities 226
Conversation Area ■ Dining/Conferencing/Lecturing ■ Video/
Emergency: Egress and Sprinklers 181
DVD/Television Viewing and Presentation ■ Clerical, Studying, and
Codes and Federal Regulations 181 Computing ■ Sleeping ■ Storage ■ Food Preparation ■ Bathrooms
Federal Requirements Space Planning for Specific Rooms 232
Summary 183 Reception, Lobby, Entry Hall, or Foyer ■ Living Room and
6
Conversation Areas ■ Family Room ■ Dining and Conference Rooms
Lighting, Electrical, and Communications 185 ■ Office ■ Bedroom
Making the Most of Space with Furniture 244

Goals of Lighting Design 185
Summary 245
Function and the Human Factor ■ Aesthetics ■ Economics and
Ecology
Sustainable Design: Energy Codes and Lighting 8 S pace P lanning : R ooms
Residential Zones 248
to B uildings 247
in LEED 191
Organizations and Regulations 191 Public Zones ■ Private Zones
The Quantity of Light 192 Commercial Zones 256
The Quality of Light: Color and Location 193 Public Zones ■ Private Zones
Color Rendering Index ■ Color Quality Scale ■ Kelvin Temperature General Zoning Requirements 259
■ Lighting Location The Principles of Design in Relation to Space ■ Space and Traffic
Natural Light Sources 194 Flow Guidelines ■ Site Orientation and Selection
Artificial Light Sources 195 Sustainable Design: The Economy of Space Planning 262
Incandescent Lamps ■ Discharge Lamps ■ Solid-State Lamps
Organizing Systems 264
Alignment ■ Manipulation
Lighting Fixtures 200
Architectural Lighting ■ Systems Furniture Lighting ■ Portable
Analyzing Residential Floor Plans 267
Lighting Square Plan ■ Rectangular Plan ■ Multistoried Plan ■ T, U, H,
and L Plans ■ Loft Plan ■ Atrium Plan ■ Circular Plan ■ Attached
Lighting for Areas and Activities 204
and Multifamily Plans ■ A Well-Arranged Floor Plan ■ A Poorly
Power and Communication 207 Arranged Floor Plan
Switches ■ Outlets ■ Communication Systems Analyzing Commercial Floor Plans 277
Design Guidelines for Lighting, Power, and Location ■ Systems ■ Design
Communications 210
Summary 279
Summary 211 Design Scenario: Residential Loft and Commercial Real Estate
Design Scenario: Beachfront Condminium 212 Office 280
Contents ■ xi
DESIGN SERVICES OF
# 108855 Cust: Pearson Edu/OH/CHET Au: Jones/Allen Pg. No. xi C/M/Y/K
S4CARLISLE
PART V MATERIALS, FURNISHINGS, Ceiling Illusions 319
AND FABRICS 287 WALLS 321
Wall Construction 321
Function 288
The Human Factor ■ Durability ■ Safety ■ Acoustics Sustainable Design: Moveable Wall Systems 321
Aesthetics 288 Nonresilient (Rigid) Wallcoverings 321
Economics 289 Plaster and Wallboard ■ Wood ■ Masonry ■ Other Wallcoverings
Quality ■ Cost ■ Ecology Moldings 328

Wall Moldings ■ Crown Moldings
9 F loors 291
Hard Flooring 291
Paints and Finishes 330
Types of Paints ■ Types of Finishes ■ Paint Textures
■ Decorative Finishes
Nonresilient Flooring 292 Resilient (Flexible) Wallcoverings 333
Masonry ■ Concrete ■ Epoxy
Wallpaper ■ Vinyl-Coated and Vinyl Wallcoverings
Wood Flooring 297 ■ Other Resilient Wallcoverings
Methods of Laying Wood Floors ■ Stained and Stenciled Wood Estimating Wallcovering Quantities 336
Floors ■ Alternatives to Wood Flooring
Selecting Wall Materials and Finishes 336
Resilient Flooring 299
Summary 337
Vinyl and Linoleum ■ Rubber ■ Cork
SOFT FLOOR COVERINGS 301
History of Rugs and Carpets 301
11 F urniture 339
Types of Furniture 339
Design Characteristics 302 Chairs ■ Sofas ■ Desks and Credenzas ■ Tables ■ Storage ■ Beds
Fiber ■ Yarn ■ Construction ■ Backing ■ Surface Characteristics ■ Built-in Wall Units ■ Moveable Furniture
■ Special Features
Systems Furniture 347
Sustainable Design: Flooring Materials 303 General Classifications of Furniture Styles 349
Handmade Rugs 307 Quality and Craftsmanship 352
Oriental Rugs ■ French Rugs ■ Other Types of Rugs
Wood ■ Metal ■ Plastics ■ Glass ■ Palms and Grasses
Padding 311 Upholstered Furniture 358
Design Considerations 311 Parts of Upholstered Furniture ■ Labeling ■ Selecting Quality
Size and Space ■ Color and Pattern ■ Texture Upholstered Furniture
Codes and Regulations 312 Summary 360
Measuring and Installation 312 Sustainable Design: Selecting “Green” Furniture 360
Summary 313 Sustainable Design: LEED-CI and E3-2010 361
10 C eilings
CEILINGS 315
and W alls 315
12 T extiles 365
Fibers 366
Types of Ceilings 315 Natural Fibers ■ Manufactured Fibers
Ceiling Construction and Materials 318 Fabric Construction 369
Plaster and Gypsumboard ■ Glass and Plastic ■ Stamped Metal Woven Textiles ■ Nonwoven Textiles
■ Fabric ■ Wood ■ Suspended Ceilings and Tiles Textile Coloring/Dyeing 372
xii ■ Contents
DESIGN SERVICES OF
# 108855 Cust: Pearson Edu/OH/CHET Au: Jones/Allen Pg. No. xii C/M/Y/K
S4CARLISLE
Finishing 372 Three-Dimensional Art 411
Prefinishes ■ Functional Finishes ■ Decorative Finishes ■ Engineered Sculpture ■ Other Arts and Crafts
Sustainable Design: Colored Fibers and “Green” Selecting Accessories and Art 413
Textiles 373 Grouping and Placing Accessories and Art 415
Fabric Testing and Safety Codes 374 Two-Dimensional Art in Wall Composition ■ Arranging Accessories
Durability ■ Colorfastness ■ Flammability ■ Labeling and Art in Storage Units
Textile Care and Maintenance 377 Summary 417
Textile Uses in Interior Design 377 Living Room Comparison 418
Window Treatments ■ Upholstery ■ Slipcovers ■ Walls ■ System Design Scenario: Lifetime Television 420
Furniture Panel Fabrics ■ Health Care Fabrics ■ Accents
Selecting Textiles for Interiors 380 PART VI THE PROFESSION OF INTERIOR
Combining Fabrics ■ Textiles for Period Rooms ■ Textiles for DESIGN 427
Commercial Interiors ■ Textiles in Presentations
Solving Design Problems with Textiles 386
Summary 388 14 I nterior D esign
Career Progression 431
as a C areer 431
Textile Terminology 388

Education ■ Experience ■ Examination ■ Licensing and Registration
13
and
W indow T reatments , A ccessories ,
A rt 393
■ Continuing Education
Professional Interior Design Organizations 438

ASID ■ IIDA ■ IDC ■ IDEC ■ IFI
Window Treatments 393 The Business of Interior Design 441
Hard Window Treatments 394 The Business Plan ■ Businesses Structures ■ Insurance
Blinds ■ Shutters ■ Shoji Screens ■ Grills ■ Specialty Glass ■ Business Documents ■ Setting up a Design Studio
Soft Window Treatments 400 ■ Marketing ■ Business Contracts ■ Fee Structures
Draperies ■ Curtains ■ Shades ■ Plants Professional Ethics 446

Window Top Treatments 404 Interior Design Forecast 447
Soft Materials ■ Hard Materials Outlook for the Profession ■ Challenges for the Profession
Window Treatment Hardware 406 Sustainable Design: Solar Architecture and the
Functional Hardware ■ Decorative Hardware Earthship 456
Drapery and Curtain Headings 406 Summary 458
Design and Placement of Windows and Window Design Scenario: Stonehurst Place 459
Treatments 407
Appendix A Residential Programming Questionnaire 465
Sustainable Design: Energy-Efficient Window
Treatments 408 Appendix B Furniture Inventory Sheet 469
ACCESSORIES 408 Appendix C Typical Set of Residential Construction
Drawings 471
Lamps ■ Books ■ Mirrors ■ Clocks ■ Screens ■ Hardware
■ Flowers, Foliage, and Plants Glossary 477
Art 410 References 485
Two-Dimensional Art 410 Index 491
Paintings, Drawings, Prints, and Photographs ■ Frames and Mats
Contents ■ xiii
DESIGN SERVICES OF
# 108855 Cust: Pearson Edu/OH/CHET Au: Jones/Allen Pg. No. xiii C/M/Y/K
S4CARLISLE
DESIGN SERVICES OF
# 108855 Cust: Pearson Edu/OH/CHET Au: Jones/Allen Pg. No. xiv C/M/Y/K
S4CARLISLE
Preface
The field of interior design encompasses a unique blend of art and sci- embrace furniture and textiles and end with window treatments, acces-
ence. I have always told my students that successful designers construct sories, and art.
a balance between their left and right brains. The designer’s goal in any Much care has been taken to update images and ensure that illustra-
interior is to analyze the needs and desires of the client, and through tions and figures clearly enhance the text discussion. One of the great-
the synthesis of this information, create a healthful, safe, and sustain- est challenges of updating texts is, as Don Schlitz wrote, “knowing
able environment that enhances the client’s quality of life. The mission what to throw away and knowing what to keep.” With 150 new images
of this text is to assist beginning designers in achieving this goal. as well as updated and new illustrations, the text continues to be stimu-
lating, intriguing, and current.
Significant Changes in the Eleventh Edition

The eleventh edition of Beginnings of Interior Environments discusses Text Overview
foundation information that helps the reader understand the nature of
The following synopsis is repeated in the Introduction to ensure that
interior design and the interior design profession. The text continues
students understand the broad knowledge base required of interior de-
the tradition of earlier editions as an introductory and practical ap-
signers.
proach to understanding interior design. When I became sole author
with the 8th edition, I intentionally addressed interior design holisti- Part I, Introduction to Interior Environments, discusses the his-
cally, stressing the importance of commercial and residential environ- tory of the design profession and reviews in detail the process by which
ments equally. Considerable attention was given in the 8th and 9th interior designers complete an interior space. Drawings and plans
editions to the design process, conceptual development, sustainable demonstrate the use of visual communications. Chapter 2 looks at the
design, Internet resources, multiculturalism, and design for special Human Factors in interior design including Evidence-Based Design,
populations. Design Scenarios were added to exhibit project work Universal Design, and health, safety, and welfare issues. Additionally,
that illustrates concepts explained in preceding chapters. Sustainable Chapter 2 expands on the interior environment’s influence on humans
Design sidebars include specific information on green design. These and the earth—from the personal space needs and desires of the inhab-
are updated as needed with each new edition. itants to the global impact on the natural world. A pictorial essay on
The most significant changes in content in the 11th edition include the history of style familiarizes students with significant eras of design
a section on Evidence-Based Design (EBD) in Chapter 2. New informa- that influence today’s interiors and form the basis of where we have
tion reviews EBD’s history and application in the health, safety, and come from, and thus where we are headed.
welfare of the inhabitants as well as its ability to advance the profes- Part II, Design Fundamentals, establishes the basics for the study
sion. EBD is also viewed with respect to the traditional design pro- of design in all creative fields. Part II emphasizes the design thinking
cess. Additionally, the Sustainable Design section has been enhanced in process, visual literacy, and the principles and elements of design that
Chapter 2. As most now recognize, sustainable design is part of every guide designers in technical and decorative design decisions. Color is
design project. Sidebars on sustainable design continue to emphasize given special attention because of its complexity.
this throughout the text. Part III, Building Systems, emphasizes the architectural, build-
Discussions on design theory and processes have been expanded and ing components, lighting, electrical, and mechanical aspects of design.
include a section on Design Think!. The space planning chapters have This section assists future designers in understanding the visual com-
advanced information on commercial building analysis, and additional munications needed to collaborate with electrical, mechanical, and
information on systems furniture has been provided. structural engineers; the client; and the rest of the design team.
Significant chapter reorganization occurred based on feedback from Part IV, Space, addresses both the technical requirements and the
the reviewers. The Lighting sections were reorganized within Chapter 6, creative dimensions of planning the layout of furniture and rooms. De-
moving the more technical information to the latter part of the chap- signers learn to read floor plans by thinking and visualizing in three di-
ter. Information on doors, windows, and fireplaces from later chapters mensions (3-D). These chapters encourage designers to recognize space
is now grouped with construction components in Part III, Building as volume and to design from the inside out.
Systems. Part V has been reorganized to start with the interior back- Part V, Materials, Furnishings, and Fabrics, provides a foundation
ground materials for floors, then walls and ceilings. The later chapters for understanding the multitude of selections available to designers. It is
xv
DESIGN SERVICES OF
# 108855 Cust: Pearson Edu/OH/CHET Au: Jones/Allen Pg. No. xv C/M/Y/K
S4CARLISLE
organized to first review the options of background surfaces, floors, ceil- able in answering project questions and securing images. C ynthia
ings, and walls; it then moves to furniture and textiles; and it ends with Pararo at Pineapple House Interior Design and Shelly Hughes at
decorative elements. Hughes|Litton|Godwin were instrumental in the sharing of resources,
Finally, Part VI, The Profession of Interior Design, discusses images, and projects throughout much of this edition. Their attention
the steps required to become a professional member of the interior de- to detail is greatly appreciated.
sign industry. It reviews basic business practices, ethics, and the future Many individuals have assisted in verifying information. Several
of the profession. The final chapter brings the interior design topics practicing designers and educators reviewed chapters for accuracy and
full circle. Text and images illustrate the variety of design opportuni- readability. I appreciate their candid and constructive comments and
ties available to students. Faculty may wish to merge this section with have altered much of the text based on these reviews.
Chapter 1 depending on the scope of the course. Many thanks to the following individuals who reviewed the man-
I appreciate comments on the text—what is working, what is not, uscript: Robin Carroll, Mississippi State University; Zane D. Curry,
or new ideas. Please send them to lmjones@brenau.edu with Beginnings Texas Tech University; Deirdre J. Hardy, Florida Atlantic Univer-
of Interior Environments in the subject line. sity; Sharon Hodson, Florida Atlantic University; Catherine Kendall,
University of Tennessee at Chattanooga; Evelyn Everett Knowles, Park
University; Jason Meneely, University of Florida; Sister Denise M.
Download Instructor Resources from the Mollica, IHM, Immaculate University; Janet P. Pazdemik, American
River College; Marilyn A. Read, Oregon State University; and Nancy
Instructor Resource Center Wolford, Canada College. I do wish you could see your reviews amassed.
It is amazing how we all decide to teach in different orders and stress
The Instructor will have access to Pearson Education’s Instructor
different subject matter. What each of us values in the text also varies
Resource Center (IRC), which provides an Instructor’s Manual and
greatly. It is the diversity that makes this profession great. That being
PowerPoint slide presentation to accompany this content. The online
said, where a majority suggested changes, those changes did occur.
Instructor’s Manual develops standard test questions and practical stu-
The following individuals deserve special recognition for their as-
dio design problems.
sistance in previous editions with their respective areas of expertise:
A series of electronic visual presentations has also been developed for
Chris Strawbridge (UPS design scenario), Felicia Arfaoui and Deirdre
this edition. These visuals provide a basis for instructor lectures and/or
O’Sullivan (Suntory), Tom Szumlic (concept), Andrea Birch (concept),
presentations. These presentation materials also allow the online links,
Janet Morley (textiles), and Carol Platt (modern design history).
embedded in the chapters, to become live.
The accomplished freehand renderings of the space planning pro-
To access supplementary materials online, instructors need to re-
cess, visual literacy, furniture types, and three-dimensional volume de-
quest an instructor access code. Go to www.pearsonhighered.com/irc
velopment are from the creative hand of Carol Platt. Paul Petrie, Steve
to register for an instructor access code. Within 48 hours of register-
Clem, Marcia Davis, Charles Gandy, and Roger Godwin served as a
ing, you will receive a confirming e-mail including an instructor access
constant source of encouragement, vision, and stability throughout my
code. Once you have received your code, locate your text in the online
catalog and click on the Instructor Resources button on the left side of design career. I still value their insights.
the catalog product page. Select a supplement, and a login page will Linda Zuk at WordCraft was patient throughout the many changes
appear. Once you have logged in, you can access instructor material for occurring in this text and worked as a great liaison to S4Carlisle. I am
all Prentice Hall textbooks. If you have any difficulties accessing the grateful for her insights and attention to detail. A sincere thank-you is
site or downloading a supplement, please contact Customer Service at extended to copyeditor Marianne L’Abbate and indexer Karen Winget.
http://247pearsoned.com. Their willingness to pose questions and review details accurately are
highly valued! Laura Weaver and Alicia Ritchey of Pearson/Prentice
Hall were supportive throughout the process and open to the necessary
Acknowledgments changes relating to images and text and, in particular, the paper selec-
tion. To all the staff at Prentice Hall/Pearson who worked to upgrade
Special appreciation is extended to the photographers, designers, ar- the design, your efforts are appreciated. Joanne Casulli with the Bill
chitects, and manufacturers who contributed images and information Smith Group was helful in securing the last round of image permis-
for this text. Truly one of the most rewarding experiences of working sions and supplying sites for appropriate substitutions.
on this text was searching for and securing the images created by many To my colleagues in ASID, IDEC, and at Brenau University, as well
talented professionals. The design community has been very helpful in as to my students, I express my wholehearted appreciation for your sup-
sharing pertinent information and materials. port, motivation, and understanding. To my dearest friends and fam-
I am particularly grateful to photographers Gabriel Benzur, Chris ily in Georgia, Indiana, and in the North Fork, I appreciate the space
Little, Jeffrey Jacobs, and Robert Thien, and to the photographers of (both physical and psychological) you allowed for my husband and me
Hedrich Blessing for their extensive photo contributions. Jenny Fidler to complete the text. To my parents, Verle and Nona Fiegle, I express
and Creel McCormack at TVS; Kim Scarbourgh at Design Directions, deep-felt gratitude for the tenacity and dedication that you instilled in
Inc.; Barbara Shadomy at Stonehurst Place; Barbara Brennan at Life- me. These characteristics have helped immensely. And, Mom, we miss
time Television; and Amy Tessier at Wilson Associates were invalu- you dearly, but I feel your gentle spirit guiding my thoughts.
xvi ■ Preface
DESIGN SERVICES OF
# 108855 Cust: Pearson Edu/OH/CHET Au: Jones/Allen Pg. No. xvi C/M/Y/K
S4CARLISLE
Finally, to my husband Philip, I cannot adequately express my sin-
cere appreciation for the hundreds of hours (taken from our personal
About the Author
time) that you spent, once again, wordsmithing, typing, calling, and Lynn M. Jones, ASID, IDEC, LEEDAP, knew she wanted to pursue in-
generally assisting with the organization of this text, its first edit, and terior architecture at an early age. In grade school she developed house
the art and photo manuscript. For your spirit and sustained encourage- plans on graph paper and raked leaves or shoveled snow into floor plan
ment, I am forever indebted. patterns; furniture in her room was always on the move. Lynn graduated
from Purdue University magna cum laude with a Bachelor of S cience
in Environmental Design, and at age 23 became NCIDQ certified.
History of This Text She earned her Masters in Historic Preservation from the U niversity
of Georgia summa cum laude. Her thesis, The Design of National Park
Phyllis Sloan Allen began the first edition of Beginnings of Interior En- Visitor Centers: The Relationships between Buildings and Their Sites, took
vironments in 1968. She updated and enhanced the textbook five times, Lynn and her husband to more than 100 National Park locations. She
until requesting that her protégé, Miriam F. Stimpson, assist with the has since earned an MBA in Leadership.
6th edition. The text was considerably rewritten by Miriam and in- Lynn worked full time as a designer in Atlanta for several years,
cluded new information on history, furniture, CAD, and residential focusing on hospitality and commercial office design. She has been an
space planning. For the 7th edition, Miriam added a lighting chapter, educator since 1984 and opened her own business, Jones Interiors, in
expanded information on accessories, and introduced commercial de- 1989 to coincide with her educational endeavors. Her work has re-
sign. More than half the photos were also updated at this time. Lynn ceived awards from ASID, AIA, and IDEC. She was named outstand-
M. Jones took over the text with the 8th edition and it has evolved as ing faculty member at Brenau University, where she served as Interior
indicated above. Design Program Director from 1988–2000, Chair of Art & Design
from 1997–2005, Graduate Coordinator/Chair of Interior Design from
2006–2011, and currently serves as Associate Dean of the Undergradu-
ate College.
Lynn and her husband spend their summers at a remote homestead
in northwest Montana, where she finds inspiration and respite in the
beauty and simplicity of nature.
Preface ■ xvii
DESIGN SERVICES OF
# 108855 Cust: Pearson Edu/OH/CHET Au: Jones/Allen Pg. No. xvii C/M/Y/K
S4CARLISLE
DESIGN SERVICES OF
# 108855 Cust: Pearson Edu/OH/CHET Au: Jones/Allen Pg. No. xviii C/M/Y/K
S4CARLISLE
Part I
CHAPTER 1
Introduction to Interior Understanding Interior Design
Environments CHAPTER 2
The Value of Interior Design:
Health, Safety, and Welfare
Interior design unites the seemingly
PICTORIAL ESSAY
opposite disciplines of art and science by
History of Style
relying on the tools of science to craft the
FIGURE I.1A In the true blend of art and science, the CIDA office emulates
functional elements of three-dimensional the importance of interior design. The open office areas, collaborative spaces,
and enclosed work areas meet the diverse needs of the client. Warm colors and
space as well as the aesthetic ones. bamboo flooring (a good sustainable product selection) provide a warm entry for
visitors and employees. As seen on the floor plan on the next page, a strong angled
axis leads the visitor into the workspace.
—International Interior Design Association (Designer: Progressive AE. Photograph by Kevin Beswick, People Places & Things)
1
DESIGN SERVICES OF
# 100892 Cust: Pearson Edu/OH/CHET Au: Jones/Allen Pg. No. 1 C/M/Y/K
M01_JONE6003_11_SE_CH01.inddTitle:
1 Beginnings of Interior Environments, 10/e Server: Jobs Short / Normal / Long
S4CARLISLE
Publishing Services
29/11/12 12:49 PM
T
hroughout history humans have organized and enhanced their Interior design includes a scope of services performed by a profes-
surroundings to meet their physical and psychological needs. sional design practitioner, qualified by means of education, experience,
Tools and products were developed and refined to perform specif- and examination, to protect and enhance the life, health, safety, and wel-
ic tasks. Furniture, fabrics, and finishes changed to meet people’s needs. fare of the public. These services may include any or all of the following
tasks:
The physical arrangements of rooms, furnishings, and mechanical and
electrical systems have been relocated based on aesthetics and function.
■ Research and analysis of the client’s goals and requirements; and de-
Today, the interior design profession incorporates a broad scope of ser-
velopment of documents, drawings, and diagrams that outline those
vices offered to a wide variety of clients (Figure I.1A and B). needs;
■ Formulation of preliminary space plans and two- and three-dimensional
Definition of Interior Design design concept studies and sketches that integrate the client’s program
and Responsibilities of an Interior needs and are based on knowledge of the principles of interior design and
theories of human behavior;
Designer ■ Confirmation that preliminary space plans and design concepts are safe,
The following definition, developed by the National Council for In- functional, aesthetically appropriate, and meet all public health, safety,
terior Design Qualification (NCIDQ), demonstrates the scope of the and welfare requirements, including code, accessibility, environmental,
interior design profession: and sustainability guidelines;
■ Selection of colors, materials, and finishes to appropriately convey the de-
Interior design is a multifaceted profession in which creative and technical sign concept, and to meet socio-psychological, functional, maintenance,
solutions are applied within a structure to achieve a built interior environ- life-cycle performance, environmental, and safety requirements;
ment. These solutions are functional, enhance the quality of life and culture ■ Selection and specification of furniture, fixtures, equipment, and mill-
of the occupants, and are aesthetically attractive. Designs are created in work, including layout drawings and detailed product description; and
response to and coordinated with the building shell, and acknowledge the provision of contract documentation to facilitate pricing, procurement,
physical location and social context of the project. Designs must adhere to and installation of furniture;
code and regulatory requirements, and encourage the principles of environ- ■ Provision of project management services, including preparation of proj-
mental sustainability. The interior design process follows a systematic and ect budgets and schedules;
coordinated methodology, including research, analysis, and integration of ■ Preparation of construction documents, consisting of plans, elevations,
knowledge into the creative process, whereby the needs and resources of the details, and specifications, to illustrate nonstructural and/or nonseis-
client are satisfied to produce an interior space that fulfills the project goals. mic partition layouts; power and communications locations; reflected
FIGURE I.1B The floor plan of the CIDA office illustrates the emphasis of interior design on concept, function, and aesthetics. The angled axis, as seen in the image on page 1 and
in the computer-aided design plan above, draws the visitor into the space. Interior designers develop the ability to visualize interior environments by reading two-dimensional floor plans.
These plans define the interior partitions, furniture locations, and traffic flow.
(Designer: Progressive AE)
2 ■ Part I Introduction to Interior Environments
DESIGN SERVICES OF
M01_JONE6003_11_SE_CH01.indd 2
Title: Beginnings of Interior Environments, 10/e Server: Jobs Short / Normal / Long
S4CARLISLE
Publishing Services
29/11/12 12:49 PM
ceiling plans and lighting designs; materials and finishes; and furniture ■ Observation and reporting on the implementation of projects while in
layouts; progress and upon completion, as a representative of and on behalf of the
■ Preparation of construction documents to adhere to regional building client; and conducting postoccupancy evaluation reports.
and fire codes, municipal codes, and any other jurisdictional statutes,
Source: http://ncidq.org/AboutUs/AboutInteriorDesign/DefinitionofInteriorDesign.aspx
regulations, and guidelines applicable to the interior space;
■ Coordination and collaboration with other allied design professionals
who may be retained to provide consulting services, including but not Design for Multicultural Environments
limited to architects; structural, mechanical, and electrical engineers;
and various specialty consultants;
Designers coordinate interiors that are welcoming to a multicultural
■ Confirmation that construction documents for nonstructural and/or nonseismic community. Different cultures view color and space in a variety of ways.
construction are signed and sealed by the responsible interior designer, as ap- As global travel and the Internet bring design communities c loser to-
plicable to jurisdictional requirements for filing with code enforcement officials; gether, designers commonly complete projects overseas. Sensitivity to
■ Administration of contract documents, bids, and negotiations as the cli- individuals’ tastes and cultural preferences permits designers to suggest
ent’s agent; the appropriate design solutions for these clients (Figure I.2).
FIGURE I.2 Interior design for clients of diverse

cultural backgrounds is an expanding market.
This seating area, located in the Park Hyatt Dubai,
was designed based on the client’s request for “a
simplistic form of Arabic architecture combined with
the crispness of simple Greek architectural building
elements.” Custom shapes, intricate patterns, delicate
moldings, and indigenous materials reflect the
country’s native culture. Strong architectural forms
reflect the classical Greek design.
(Interior Architectural Design by Wilson Associates. Photography
by Michael Wilson)
Part I Introduction to Interior Environments ■ 3
DESIGN SERVICES OF
S4CARLISLE
Publishing Services
29/11/12 12:49 PM
Design for Sustainable Environments considerations and use and specify products that are recycled and
can be recycled. The use of sustainable products and the develop-
Interior designers also are responsible for protecting the envi- ment of environmentally sensitive interiors is called sustainable or
ronment by employing sustainable resources whenever possible. green design (Figure I.3).
Designers develop design solutions that promote environmental
FIGURE I.3 This house, called the Suncatcher, is

constructed from used tires packed with dirt and stacked
to form the walls. The walls are covered with stucco to
create a Southwest adobe interior. The windows face
south to aid in the solar design. (A) Exterior; (B) entry
hallway, looking back toward the front door; (C) living
area.
(Jones Interiors Photography by Philip A. Jones) A
B C
DESIGN SERVICES OF
Title: Beginnings of Interior Environments, 10/e Server: Jobs Short / Normal / Long
S4CARLISLE
Publishing Services
29/11/12 12:49 PM
■ Prepare schematics, drawings and documents relating to the design of in-
More info online @
terior space, in order to enhance the quality of life and protect the health,
www.asid.org/designknowledge/sustain American Society of Interior Designers safety, welfare and environment of the public
Sustainable Design Knowledge Center; links to many other resources
Source: http://ifiworld.org/#Definition_of_an_IA/D
www.aiasdrg.org American Institute of Architects Sustainable Design Resource
Guide; links to other resources In the United States, however, professionals who use the title “interior
architect” are challenged by the architectural community for the use
of the term architect. Currently that title is limited to those who have
Design for Special Population Environments earned an architectural degree from an accredited institution, gained
Interior designers are responsible for developing interior environments practical experience, passed the national architectural exam, and become
for people of all ages and abilities, including the elderly, children, and registered by the state. Graduates of bachelor-level interior design (and
those who are temporarily or permanently disabled. According to Anita interior architecture) programs in the United States are positioned to
Rui Olds in Child Care Design Guide, one out of every three children combine their academic and professional experiences to sit for NCIDQ.
under the age of five is enrolled in a part-time or full-time day care Many states have legislation concerning the practice of interior de-
program. Conversely, by 2030, approximately 26 percent of the popu- sign through practice and/or title acts. These are regulated through a
lation will be over the age of sixty-five; many of these individuals will state board, frequently in conjunction with the regulation of architec-
prefer to age at home, called aging in place. Designers understand the ture. These states may require the completion of a bachelor’s degree
complexities related to the diverse needs of these clients. accredited by the Council for Interior Design Accreditation, CIDA (see
The concept of universal design focuses on creating spaces and fur- below), and passage of the NCIDQ exam as the basis for licensing, reg-
nishings to meet the needs of individuals regardless of age and ability. istration, or the use of the title “registered interior designer” or simi-
Interior designers integrate the needs of a wide variety of individuals lar. However, in states without these acts, individuals can practice as
into a particular space. interior designers without education, experience, and/or examination.
Much effort is extended nationwide by the interior design profession-
More info online @ al community to ensure that practice and title acts are enacted in all
www.design.ncsu.edu/cud The Center for Universal Design
states to protect the profession and the public. Legislation is constantly
www.universaldesign.org Universal Design Alliance changing; therefore students pursuing a career in interior design are
encouraged to confer with their state boards. (See Chapter 14 for more
information.)
Interior decorating, or the embellishment of interiors through the use
Interior Designer/Architect and Decorator: The Taxonomy of finishes and the selection and arrangement of fabrics and furnishings,
The terms interior designer/interior architect and interior decorator have is a subset of interior design. A decorator is not required to complete a
different meanings. Interior design is the profession that embodies bachelor’s degree and typically works only in residential design.
the previous definition and responsibilities as defined by NCIDQ. In It is important to emphasize that, although the interior designer
some countries, the practice of interior design is referred to as interior may be responsible for the application of design solutions for load-
architecture. Some universities in the United States also use the title bearing walls, the practice of interior design does not include the struc-
interior architecture for their interiors program’s name. tural design of buildings. Designers collaborate with a team of allied
The International Federation of Interior Architects/Designers (IFI) professionals, especially when working with mechanical and electrical
is a nonprofit organization formed in 1963 that serves as the singular systems and construction components.
international voice that “acts as a global forum for the exchange and As defined earlier by NCIDQ, the interior designer is “qualified
development of knowledge and experience, in worldwide education, by education, experience, and examination, to protect and enhance the
research and practice.” Note the use of the organization’s title—Interior life, the health, safety, and welfare of the public.” The Council for In-
Architects/Designers. IFI “exists to expand, internationally and across terior Design Accreditation (CIDA) is a self-governing organization
all levels of society, the contribution of the Interior Architecture/ that reviews and accredits educational programs in interior design (as
Design profession through the exchange and development of knowl- well as college programs entitled interior architecture). The standards
edge and experience, in education, practice and fellowship.” Their defi- developed by CIDA, with input from practitioners and educators, form
nition of a professional interior architect/designer parallels NCIDQ’s a common body of knowledge required of all interior designers, regard-
definitions: IFI’s definition states the following: less of their specific career direction. University programs certified by
CIDA ensure that aspiring designers receive the appropriate content
Qualified by education, experience and applied skills, the professional Inte-
rior Architect/Designer accepts the following responsibilities:
knowledge to practice as entry-level interior designers.
■ Identify, research and creatively solve problems pertaining to the func- More info online @
tion and quality of the interior environment www.accredit-id.org Council for Interior Design Accreditation
■ Perform services relating to interior spaces including programming, de- http://ifiworld.org/#About _IFI International Federation of Interior Architects/
sign analysis, space planning, aesthetics and inspection of work on site, Designers
using specialized knowledge of interior construction, building systems and www.ncidq.org National Council for Interior Design Qualification
components, building regulations, equipment, materials and furnishings
DESIGN SERVICES OF
S4CARLISLE
Publishing Services
29/11/12 12:49 PM
Relationship with Allied Professions professions. Students using this text as a part of an introductory design
course may be required to start drafting or to work with computer-
While developing a new or renovated interior for a client, a designer aided design (CAD) software (Figure I.4). This section also expands
works as a member of the design team. Interior designers may work on the interior environment’s influence on and value to humans and the
with architects; builders; decorators; landscape architects; mechanical, earth—from personal space needs and desires of inhabitants, regardless
electrical, and structural engineers; and product and graphic designers. of nationality or ability, to the global impact of design on the natural
Designers are also likely to work with other professionals including world. Also in Part I, a pictorial essay traces the history of style, illus-
lighting and sound specialists, historic preservationists, and a wide va- trating the importance of past eras and their influence on contemporary
riety of other specialized contractors in interior finishes, fabrics, furni- interiors.
ture, and products. The success of a job depends on communication and Part II, Design Fundamentals, establishes the basics for the study
collaboration among these design professionals. of design in all creative fields, including the importance of the design
thinking process, visual literacy, and the development of the concept.
Traits and Knowledge Required Part II emphasizes the principles and elements of design that guide
by Interior Designers designers in technical and decorative design decisions. Color is given
special attention because of its complexity.
Successful interior designers develop strong communication and busi- Part III, Building Systems, emphasizes the architectural, electrical,
ness skills to perform competently and effectively with clients and and mechanical aspects of design. Lighting solutions are particularly
allied professionals. Interpersonal communication skills are a key important in interior spaces. This section assists future designers in
attribute of a professional interior designer, as both a listener and a understanding the visual communications needed to collaborate with
communicator. Designers work with a variety of trades that require electrical, mechanical, and structural engineers, the client, and the rest
concise interactions to ensure accuracy in project specification and of the design team.
timeliness. Visual as well as written communication skills enable the Part IV, Space, addresses both the technical requirements and the
designer to describe design solutions clearly. Designers are also clever creative dimensions of planning the layout of furniture and rooms. De-
managers and business entrepreneurs. Designers work with budgets, signers learn to read floor plans by thinking and visualizing in three di-
schedules, contracts, and other legal documentations necessary in the mensions (3-D). These chapters encourage designers to recognize space
built environment. Designers must be able to sell their ideas, manage as volume and to design space from the inside out.
their time, and work collaboratively in team situations. Part V, Materials, Furnishings, and Fabrics, provides a foundation
Designers develop a knowledge base that provides a background for their for understanding the multitude of selections available to designers.
design decisions and project solutions. A broad-based curriculum combin- For example, designers need to know the advantages and disadvantages
ing a strong liberal arts foundation with a professional interior design com- of selecting cut-pile carpet over level-loop carpet, or flat latex paint
ponent prepares emerging design professionals for successful careers. over semi-gloss alkyd.
This text prepares aspiring interior designers for the study of the Finally, Part VI, The Profession of Interior Design, discusses the
interior environment. steps required to become a professional member of the interior design
industry and reviews basic business principles and ethics. The text con-
Textbook Organization cludes with an outlook for the profession.
Part I, Introduction to Interior Environments, discusses the history of More info online @
the design profession and reviews in detail the process by which inte-
www.careersininteriordesign.com/what.html Career website sponsored by
rior designers complete an interior space. Drawings and drafted plans
professional design organizations
demonstrate the use of visual communications required of all design
DESIGN SERVICES OF
Title: Beginnings
of Interior Environments, 10/e Server: Jobs Short / Normal / Long
S4CARLISLE
Publishing Services
29/11/12 12:49 PM
FIGURE I.4 Visual communication requires designers to articulate their ideas visually to the client before completing the project. In this project, the designer developed the presentation floor
plan using CAD software. The perspective was created by first using a wire frame drawing in CAD. A freehand sketch then personalized the wire frame form. The photograph indicates the same
perspective view upon completion of the interior space.
(Architect/Designer: Hughes|Litton|Godwin. Photograph by John Haigwood)
DESIGN SERVICES OF
S4CARLISLE
Publishing Services
29/11/12 12:49 PM
Another random document with
no related content on Scribd:
For weeks six young men, all professors of religion, met in the Academy out of
school hours, and sung, and read, and prayed together. One day Richard was
on his way to the room when he overtook a gay youth, and invited him to the
meeting. Out of curiosity he consented, another and another followed, until
these were so many, that they adjourned to the vestry by the advice of the
Pastor, where he took charge of it.
CHAPTER X.
DICK'S VISIT TO MAINE.
BUT, going back a few months, during the winter vacation at the Academy,
Dick persuaded his parents to allow him to go to Maine for the purchase of a
cow.
He was now nearly fourteen years of ages was tall and stout; but his father
needed much arguing, both from Dick and his mother, before he gave his
consent.
"What do you know about the selection of a good cow?" the minister asked.
"I have read the Agricultural reports, father, and the Farmers' journals, about
the good points in a milker. I can learn the rest."
"But you will have to carry the money about you; what if you should be
robbed?"
"I'll venture that," answered Dick, his eyes twinkling. "I shall take your oldest
carpet-bag, with a few clothes in it; I shall carry my money in that. When I go
into the boat, I shall throw it under the seat. No one will imagine it contains
any thing of value or I should take better care of it."
"I consent," said his father laughing; "but it's a mystery to me how you have
learned so much of the world."
It was near the close of a cold winter's day, that Richard left the cars at
Newark, and started on foot for the back country where he had heard cows
were very cheap. He had his half-filled carpet-bag in his hand and was
trudging through the snow in the middle of the street, feeling, I will not deny it,
rather homesick. He was only a boy after all, fondly nurtured in a sweet home.
He was alone in a strange land. He knew not where he should find a place to
sleep. One thing Dick did know. He was sure that he had not gone beyond the
notice of his heavenly Father.
"I can't be lost," he said half aloud, "while He sees me, and He knows that I
need help," and up his heart flew on wings of faith and love to the throne
above the skies.
"I want to do what is right," he said. "Dear Lord, lead me in the way, and help
me in my business, so I can return home in safety."
His heart felt lighter after this, and he trudged on sometimes through drifts
over the half broken road, for near a mile. It was growing quite dusky, and still
no house in sight.
"I wont be afraid," said Dick to himself. "God knows just where I am, and how
much I want some supper." To keep up his spirits he began to sing:
"The Lord my Shepherd is."
Presently he heard the sound of sleigh bells, coming swiftly toward him. He
turned in the direction, and stood still. Soon he saw a man with a heavy beard,
alone in a pung. His heart beat wildly.
"Shall I speak? He may be a robber."
The man had checked his horse and was staring hard at him.
"Wont you ride, stranger?" asked a friendly voice.
"Thank you, sir, I will."
"I reckon you aren't from these parts," said the man after a more careful
survey of his companion.
"No, sir, I'm from Massachusetts. I'm a stranger here. I came to buy a cow for
my father, who is a clergyman. Do you know any for sale about here?"
"Well," said the man laughing, "I reckon any o' my neighbors'd sell if they
could get their price. But to-morrow'll be time enough to talk about it. We're
most home now. Wife'll have supper ready."
Tears gushed to Dick's eyes, though they were not often seen there. How
kindly had his heavenly Father provided for him. He almost wished to hug the
kind man. One mile more was soon passed; but not before Dick had told much
of his personal history and of his own wishes for the future, to all of which the
man listened with intense interest.
They drove at last up to a one story white house large on the ground floor and
chambers in the attic. The curtains were drawn up, and a bright wood fire
blazing inside. How pleasant it all looked to poor Dick. At the sound of the
bells a woman's face appeared at the windows.
"Walk right in, Mr.—" he hesitated.
"My name is Richard Stuart."
"Mr. Stuart, wife," said the man, "I'll be in directly."
"Let me help you," urged Richard. "I'm used to that sort of work."
"No, not to-night. Walk right up to the fire, and make yourself at home."
"Where did you happen to meet Mr. Brown?" asked the wife after a cordial
grasp of welcome to the stranger.
"About two miles back. He was very kind to bring me home. I didn't know the
way to a tavern."
"'Twouldn't have been like Thomas Brown to leave a stranger by the road
side," she said laughing. Then she busied herself pouring a pan of steaming
hot biscuit upon a plate, and setting the yellow earthen teapot on the table. Mr.
Brown and a young man, his son, came in just as she had completed the
arrangements, and after a vigorous washing said, "Draw up now;" and he took
his seat at the table.
They sat quiet for a minute looking at Dick, who blushed furiously. At last Mr.
Brown said, "I didn't know but you'd say grace. I reckon you're a professor."
Richard instantly folded his hands and asked God's blessing on the food
before them.
Every one then took hold in earnest of the business of eating; and Dick
perceiving from a dish being pushed toward him that he was expected to help
himself, did so. Biscuit and butter and maple molasses, gingerbread and
sugar cookies, blackberry preserve and pumpkin pie, and crullers, made a
most tempting repast to the hungry traveller.
When they rose from the table the men tipped their chairs back and began to
ask questions of Dick, while Mrs. Brown cleared the table, and washed the
dishes, occasionally adding a word. In an hour or two the boy had given his
new friends a brief history of his life at home, and the occasion of his journey.
Soon after seven a neighbor came in having driven his horse and sleigh into
the barn floor. Dick's eyes twinkled at the introduction he received.
"Mr. Manly, Mr. Stuart; Mr. Stuart's a minister's son, from Massachusetts come
to buy a cow. He's a professor,—attends school in New Hampshire,—going to
stay with us a spell."
"You must stop with me part of the time," urged Mr. Manly after a searching
gaze in Richard's face.
At home and among his mates Dick was always called good company; but
never had his conversational powers been appreciated and admired as this
evening.
With an occasional question and a "You don't say, now!" from one and
another, the boy went on from agricultural to educational subjects, and back
again. He told of his Rarey experience; of his declamations at school; of his
speculations in poultry; of the state of religion in the different denominations,
of the great salaries received by famous singers in church. He stated that he
sung in church himself, and after some urging consented to end the evening
by singing a hymn.
A little before nine the visitor began to grow restless, hitching his chair back
and forth, and looking at the clock. At last Mr. Brown took the hint and said:
"Wont you stop, neighbor. Mr. Stuart'll be likely to conduct worship, I reckon.
We'll be glad to have you join us."
"I'll stay then," answered Mr. Manly, letting his chair rest on the floor.
Richard's heart beat so fast that he could scarcely breathe. "How can I pray
before these strangers?" he asked himself. But without one doubt that a
minister's son, who could discuss so many subjects with perfect ease would
wish to conduct the service, Mr. Brown asked his wife to bring the Bible, and
pushed the candle nearer the youth.
"I'll try at any rate," was Dick's resolve. "I wont deny my Lord."
He selected the ninety-first psalm, but before he read sung the hymn
commencing:
"Majestic sweetness sits enthroned

Upon the Saviour's brow."
To this Mr. Manly beat time loudly with his foot on the floor.
Richard's voice trembled as he began:
"O God, we are strangers who have met here; but thou knowest our hearts,
and whether we love thee."
"Amen!" shouted Mr. Manly.
This response so disconcerted the poor boy, unused to such interruptions,

that, he was obliged to begin his prayer again. He had repeated his first words
when the visitor called out in a more earnest tone—
"Hallelujah!"
The perspiration started in groat drops all over Richard's face. He paused a
minute. There was no help for it, he must begin again. This time he went on a
little farther, when a loud shout—
"Praise the Lord!" set to flight every proper thought. He said, "amen," and
arose from his knees, in a singular state of mind, between laughing and
crying.
The limits of my true history of Richard Stuart, only allow me to add in brief,
that having accomplished the object of his journey in a most satisfactory
manner; and having made friends for life of good Mr. and Mrs. Brown, he
returned home, and soon went back to school where he remained till the end
of his year.
Of his subsequent career, and his success in professional life, perhaps I shall
speak in another volume. I can only say here, that the principles of his
childhood, his love to the Saviour, his trust in the dealings of Providence, grew
stronger as he advanced in years; while the same habits of industry and thrift,
the sweetness and mirthfulness which had made him a favorite, gained for
him warm and enduring friends, when he most needed them.
*** END OF THE PROJECT GUTENBERG EBOOK DILIGENT DICK
***
Updated editions will replace the previous one—the old editions will
be renamed.
Creating the works from print editions not protected by U.S.

copyright law means that no one owns a United States copyright in
these works, so the Foundation (and you!) can copy and distribute it
in the United States without permission and without paying copyright
royalties. Special rules, set forth in the General Terms of Use part of
this license, apply to copying and distributing Project Gutenberg™
electronic works to protect the PROJECT GUTENBERG™ concept
and trademark. Project Gutenberg is a registered trademark, and
may not be used if you charge for an eBook, except by following the
terms of the trademark license, including paying royalties for use of
the Project Gutenberg trademark. If you do not charge anything for
copies of this eBook, complying with the trademark license is very
easy. You may use this eBook for nearly any purpose such as
creation of derivative works, reports, performances and research.
Project Gutenberg eBooks may be modified and printed and given
away—you may do practically ANYTHING in the United States with
eBooks not protected by U.S. copyright law. Redistribution is subject
to the trademark license, especially commercial redistribution.
START: FULL LICENSE

THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg™ mission of promoting the free

distribution of electronic works, by using or distributing this work (or
any other work associated in any way with the phrase “Project
Gutenberg”), you agree to comply with all the terms of the Full
Project Gutenberg™ License available with this file or online at
www.gutenberg.org/license.
Section 1. General Terms of Use and

Redistributing Project Gutenberg™
electronic works
1.A. By reading or using any part of this Project Gutenberg™
electronic work, you indicate that you have read, understand, agree
to and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or
destroy all copies of Project Gutenberg™ electronic works in your
possession. If you paid a fee for obtaining a copy of or access to a
Project Gutenberg™ electronic work and you do not agree to be
bound by the terms of this agreement, you may obtain a refund from
the person or entity to whom you paid the fee as set forth in
paragraph 1.E.8.
1.B. “Project Gutenberg” is a registered trademark. It may only be

used on or associated in any way with an electronic work by people
who agree to be bound by the terms of this agreement. There are a
few things that you can do with most Project Gutenberg™ electronic
works even without complying with the full terms of this agreement.
See paragraph 1.C below. There are a lot of things you can do with
Project Gutenberg™ electronic works if you follow the terms of this
agreement and help preserve free future access to Project
Gutenberg™ electronic works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation (“the
Foundation” or PGLAF), owns a compilation copyright in the
collection of Project Gutenberg™ electronic works. Nearly all the
individual works in the collection are in the public domain in the
United States. If an individual work is unprotected by copyright law in
the United States and you are located in the United States, we do
not claim a right to prevent you from copying, distributing,
performing, displaying or creating derivative works based on the
work as long as all references to Project Gutenberg are removed. Of
course, we hope that you will support the Project Gutenberg™
mission of promoting free access to electronic works by freely
sharing Project Gutenberg™ works in compliance with the terms of
this agreement for keeping the Project Gutenberg™ name
associated with the work. You can easily comply with the terms of
this agreement by keeping this work in the same format with its
attached full Project Gutenberg™ License when you share it without
charge with others.
1.D. The copyright laws of the place where you are located also
govern what you can do with this work. Copyright laws in most
countries are in a constant state of change. If you are outside the
United States, check the laws of your country in addition to the terms
of this agreement before downloading, copying, displaying,
performing, distributing or creating derivative works based on this
work or any other Project Gutenberg™ work. The Foundation makes
no representations concerning the copyright status of any work in
any country other than the United States.
1.E. Unless you have removed all references to Project Gutenberg:
1.E.1. The following sentence, with active links to, or other

immediate access to, the full Project Gutenberg™ License must
appear prominently whenever any copy of a Project Gutenberg™
work (any work on which the phrase “Project Gutenberg” appears, or
with which the phrase “Project Gutenberg” is associated) is
accessed, displayed, performed, viewed, copied or distributed:
This eBook is for the use of anyone anywhere in the United
States and most other parts of the world at no cost and with
almost no restrictions whatsoever. You may copy it, give it away
or re-use it under the terms of the Project Gutenberg License
included with this eBook or online at www.gutenberg.org. If you
are not located in the United States, you will have to check the
laws of the country where you are located before using this
eBook.
1.E.2. If an individual Project Gutenberg™ electronic work is derived

from texts not protected by U.S. copyright law (does not contain a
notice indicating that it is posted with permission of the copyright
holder), the work can be copied and distributed to anyone in the
United States without paying any fees or charges. If you are
redistributing or providing access to a work with the phrase “Project
Gutenberg” associated with or appearing on the work, you must
comply either with the requirements of paragraphs 1.E.1 through
1.E.7 or obtain permission for the use of the work and the Project
Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.
1.E.3. If an individual Project Gutenberg™ electronic work is posted

with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any
additional terms imposed by the copyright holder. Additional terms
will be linked to the Project Gutenberg™ License for all works posted
with the permission of the copyright holder found at the beginning of
this work.
1.E.4. Do not unlink or detach or remove the full Project

Gutenberg™ License terms from this work, or any files containing a
part of this work or any other work associated with Project
Gutenberg™.
1.E.5. Do not copy, display, perform, distribute or redistribute this

electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg™ License.
1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form,
including any word processing or hypertext form. However, if you
provide access to or distribute copies of a Project Gutenberg™ work
in a format other than “Plain Vanilla ASCII” or other format used in
the official version posted on the official Project Gutenberg™ website
(www.gutenberg.org), you must, at no additional cost, fee or expense
to the user, provide a copy, a means of exporting a copy, or a means
of obtaining a copy upon request, of the work in its original “Plain
Vanilla ASCII” or other form. Any alternate format must include the
full Project Gutenberg™ License as specified in paragraph 1.E.1.
1.E.7. Do not charge a fee for access to, viewing, displaying,

performing, copying or distributing any Project Gutenberg™ works
unless you comply with paragraph 1.E.8 or 1.E.9.
1.E.8. You may charge a reasonable fee for copies of or providing

access to or distributing Project Gutenberg™ electronic works
provided that:
• You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg™ works calculated using the
method you already use to calculate your applicable taxes. The
fee is owed to the owner of the Project Gutenberg™ trademark,
but he has agreed to donate royalties under this paragraph to
the Project Gutenberg Literary Archive Foundation. Royalty
payments must be paid within 60 days following each date on
which you prepare (or are legally required to prepare) your
periodic tax returns. Royalty payments should be clearly marked
as such and sent to the Project Gutenberg Literary Archive
Foundation at the address specified in Section 4, “Information
about donations to the Project Gutenberg Literary Archive
Foundation.”
• You provide a full refund of any money paid by a user who

notifies you in writing (or by e-mail) within 30 days of receipt that
s/he does not agree to the terms of the full Project Gutenberg™
License. You must require such a user to return or destroy all
copies of the works possessed in a physical medium and
discontinue all use of and all access to other copies of Project
Gutenberg™ works.
• You provide, in accordance with paragraph 1.F.3, a full refund of

any money paid for a work or a replacement copy, if a defect in
the electronic work is discovered and reported to you within 90
days of receipt of the work.
• You comply with all other terms of this agreement for free
distribution of Project Gutenberg™ works.
1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™

electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
the Project Gutenberg Literary Archive Foundation, the manager of
the Project Gutenberg™ trademark. Contact the Foundation as set
forth in Section 3 below.
1.F.
1.F.1. Project Gutenberg volunteers and employees expend

considerable effort to identify, do copyright research on, transcribe
and proofread works not protected by U.S. copyright law in creating
the Project Gutenberg™ collection. Despite these efforts, Project
Gutenberg™ electronic works, and the medium on which they may
be stored, may contain “Defects,” such as, but not limited to,
incomplete, inaccurate or corrupt data, transcription errors, a
copyright or other intellectual property infringement, a defective or
damaged disk or other medium, a computer virus, or computer
codes that damage or cannot be read by your equipment.
1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except

for the “Right of Replacement or Refund” described in paragraph
1.F.3, the Project Gutenberg Literary Archive Foundation, the owner
of the Project Gutenberg™ trademark, and any other party
distributing a Project Gutenberg™ electronic work under this
agreement, disclaim all liability to you for damages, costs and
expenses, including legal fees. YOU AGREE THAT YOU HAVE NO
REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF
WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE
FOUNDATION, THE TRADEMARK OWNER, AND ANY
DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE
TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL,
PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE
NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.
1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you

discover a defect in this electronic work within 90 days of receiving it,
you can receive a refund of the money (if any) you paid for it by
sending a written explanation to the person you received the work
from. If you received the work on a physical medium, you must
return the medium with your written explanation. The person or entity
that provided you with the defective work may elect to provide a
replacement copy in lieu of a refund. If you received the work
electronically, the person or entity providing it to you may choose to
give you a second opportunity to receive the work electronically in
lieu of a refund. If the second copy is also defective, you may
demand a refund in writing without further opportunities to fix the
problem.
1.F.4. Except for the limited right of replacement or refund set forth in
paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO
OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED,
INCLUDING BUT NOT LIMITED TO WARRANTIES OF
MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
1.F.5. Some states do not allow disclaimers of certain implied

warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted
by the applicable state law. The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.
1.F.6. INDEMNITY - You agree to indemnify and hold the
Foundation, the trademark owner, any agent or employee of the
Foundation, anyone providing copies of Project Gutenberg™
electronic works in accordance with this agreement, and any
volunteers associated with the production, promotion and distribution
of Project Gutenberg™ electronic works, harmless from all liability,
costs and expenses, including legal fees, that arise directly or
indirectly from any of the following which you do or cause to occur:
(a) distribution of this or any Project Gutenberg™ work, (b)
alteration, modification, or additions or deletions to any Project
Gutenberg™ work, and (c) any Defect you cause.
Section 2. Information about the Mission of

Project Gutenberg™
Project Gutenberg™ is synonymous with the free distribution of
electronic works in formats readable by the widest variety of
computers including obsolete, old, middle-aged and new computers.
It exists because of the efforts of hundreds of volunteers and
donations from people in all walks of life.
Volunteers and financial support to provide volunteers with the

assistance they need are critical to reaching Project Gutenberg™’s
goals and ensuring that the Project Gutenberg™ collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a
secure and permanent future for Project Gutenberg™ and future
generations. To learn more about the Project Gutenberg Literary
Archive Foundation and how your efforts and donations can help,
see Sections 3 and 4 and the Foundation information page at
www.gutenberg.org.
Section 3. Information about the Project

Gutenberg Literary Archive Foundation
The Project Gutenberg Literary Archive Foundation is a non-profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation’s EIN or federal tax identification
number is 64-6221541. Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state’s laws.
The Foundation’s business office is located at 809 North 1500 West,

Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up
to date contact information can be found at the Foundation’s website
and official page at www.gutenberg.org/contact
Section 4. Information about Donations to

the Project Gutenberg Literary Archive
Foundation
Project Gutenberg™ depends upon and cannot survive without
widespread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can
be freely distributed in machine-readable form accessible by the
widest array of equipment including outdated equipment. Many small
donations ($1 to $5,000) are particularly important to maintaining tax
exempt status with the IRS.
The Foundation is committed to complying with the laws regulating

charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and
keep up with these requirements. We do not solicit donations in
locations where we have not received written confirmation of
compliance. To SEND DONATIONS or determine the status of
compliance for any particular state visit www.gutenberg.org/donate.
While we cannot and do not solicit contributions from states where

we have not met the solicitation requirements, we know of no
prohibition against accepting unsolicited donations from donors in
such states who approach us with offers to donate.
International donations are gratefully accepted, but we cannot make

any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.
Please check the Project Gutenberg web pages for current donation
methods and addresses. Donations are accepted in a number of
other ways including checks, online payments and credit card
donations. To donate, please visit: www.gutenberg.org/donate.
Section 5. General Information About Project

Gutenberg™ electronic works
Professor Michael S. Hart was the originator of the Project
Gutenberg™ concept of a library of electronic works that could be
freely shared with anyone. For forty years, he produced and
distributed Project Gutenberg™ eBooks with only a loose network of
volunteer support.
Project Gutenberg™ eBooks are often created from several printed

editions, all of which are confirmed as not protected by copyright in
the U.S. unless a copyright notice is included. Thus, we do not
necessarily keep eBooks in compliance with any particular paper
edition.
Most people start at our website which has the main PG search
facility: www.gutenberg.org.
This website includes information about Project Gutenberg™,

including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how
to subscribe to our email newsletter to hear about new eBooks.

Beginnings of Interior Environments Fashion Series 11Th Edition Full Chapter

Uploaded by

Copyright:

Available Formats

Beginnings of Interior Environments Fashion Series 11Th Edition Full Chapter

Uploaded by

Document Information

Original Description:

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Beginnings of Interior Environments Fashion Series 11Th Edition Full Chapter

Uploaded by

Copyright:

Available Formats

(eBook PDF) Beginnings of Interior

Environments Fashion Series 11th

PART I INTRODUCTION TO INTERIOR

1 U nderstanding I nterior D esign 9

Career Specializations in Interior Design 22 Summary 51

3 E lements and P rinciples

PART III BUILDING SYSTEMS 149

Making the Most of Space with Furniture 244

Quality ■ Cost ■ Ecology Moldings 328

Textile Terminology 388

Professional Interior Design Organizations 438

Soft Window Treatments 400 ■ Marketing ■ Business Contracts ■ Fee Structures

Draperies ■ Curtains ■ Shades ■ Plants Professional Ethics 446

Significant Changes in the Eleventh Edition

Introduction to Interior Understanding Interior Design

2 ■ Part I Introduction to Interior Environments

FIGURE I.2 Interior design for clients of diverse

Part I Introduction to Interior Environments ■ 3

FIGURE I.3 This house, called the Suncatcher, is

4 ■ Part I Introduction to Interior Environments

Part I Introduction to Interior Environments ■ 5

6 ■ Part I Introduction to Interior Environments

Part I Introduction to Interior Environments ■ 7

"The Lord my Shepherd is."

"Shall I speak? He may be a robber."

"Wont you ride, stranger?" asked a friendly voice.

"Thank you, sir, I will."

"Walk right in, Mr.—" he hesitated.

"My name is Richard Stuart."

"Mr. Stuart, wife," said the man, "I'll be in directly."

"Majestic sweetness sits enthroned

Richard's voice trembled as he began:

"Amen!" shouted Mr. Manly.

This response so disconcerted the poor boy, unused to such interruptions,

Creating the works from print editions not protected by U.S.

START: FULL LICENSE

To protect the Project Gutenberg™ mission of promoting the free

Section 1. General Terms of Use and

1.B. “Project Gutenberg” is a registered trademark. It may only be

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other

1.E.2. If an individual Project Gutenberg™ electronic work is derived

1.E.3. If an individual Project Gutenberg™ electronic work is posted

1.E.4. Do not unlink or detach or remove the full Project

1.E.5. Do not copy, display, perform, distribute or redistribute this

1.E.7. Do not charge a fee for access to, viewing, displaying,

1.E.8. You may charge a reasonable fee for copies of or providing

• You provide a full refund of any money paid by a user who

• You provide, in accordance with paragraph 1.F.3, a full refund of

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™

1.F.1. Project Gutenberg volunteers and employees expend

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you

1.F.5. Some states do not allow disclaimers of certain implied

Section 2. Information about the Mission of

Volunteers and financial support to provide volunteers with the

Section 3. Information about the Project

The Foundation’s business office is located at 809 North 1500 West,