Interior Design Materials And Specifications By Lisa Godsey Pdf
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This complete guide to the selection of materials for interiors has been updated to reflect recent industry changes and contemporary awareness of topics. Written from the viewpoint of the working designer, Interior Design Materials and Specifications, 3rd Edition, describes each material's characteristics and teaches students how to evaluate, select, and specify materials, taking into account factors including code compliance, building standards, sustainability guidelines, human needs, and bidding processes. Students will learn how to communicate with suppliers and vendors to achieve the results they envision and how to avoid some of the pitfalls common to material selection and specification.
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A well-constructed house speaks volumes of the material used that constitute to its final finish. When designing interiors, a lot of thought goes into its planning. In a profession such as interior designing, a designer has to carefully select material considering few factors such as durability, budget, comfort, safety, and flexibility. Interior Design Book Focus.
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No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. No responsibility for loss caused to any individual or organization acting on or refraining from action as a result of the material in this publication can be accepted by Bloomsbury Publishing Inc or the author.
Process16 Sample Spec 1. Selection Criteria Specifying Sample Spec 6. Selection Criteria Specifying Sample Spec 7. To best serve the needs of students who must assimilate a lot of content, this second edition has undergone tremendous changes relative to the rst.
The format of the information has been somewhat compartmentalized, allowing students to revisit portions of the various materials chapters and nd the information there complete for that issue of that material. Much information has been streamlinedconverted to tables and charts for fast assimilationand topics edited to address the materials more concisely and comprehensively. New pedagogical features allow for quick introduction to concepts and information that can be presented in smaller chunks, and do not require lengthy background information to comprehend.
Helpful Hints are quick tips for managing a portion of the process. They are related to, but distinct within, the materials presented. Points of Emphasis further explain some nuance or expand on a specic instance within the topic.
For the Connoisseur tidbits share some popularly held valuations or preferences. Cautionary Tales are just that, stories of what has gone wrong with an installation and why. These tales are an opportunity to see the often. Web Search Activities and Personal Activities for each chapter encourage students to apply newly gained knowledge and ending Summary Questions test comprehension of topics discussed in the chapter. This new edition also introduces a glossary of denitions for important Key Terms that are listed at the beginning of each chapter and bolded at rst mention within the text.
A textiles section has been added to address the needs of students in programs where textiles is not a separate course or an elective. It gives students a working knowledge of ber chemistry and the various characteristics of fabrics that affect performance. This chapter will also be a good overview for students who intend to study fabrics in more depth in a class devoted to fabrics alone.
Other new features engage students curiosity by suggesting consideration of possible outcomes of selections and requesting that the student form an educated opinion about an issue, or think of a resolution to a possible problem, in the What Would You Do? Shop Visits have been moved out of the CD and into the book proper so students are not required to switch media to access the material.
Streamlining the materials will help busy students get the gist of these topics quickly and, at times, even visually. This is a nuts-and-bolts subject that deserves the most straightforward presentation. The idea behind the book is to give the new designer a working knowledge of surfacing materials and the basis for a logical investigation when selecting and specifying.
Globalization, sustainability, and toxicity are important conversations within the material topics and are integrated into the materials chapters to help students make direct connections between the material and these issues. The specication format that has been adopted by the industry is used in every materials chapter so students.
The chapters have been rearranged so that they ease students into the topics with materials that are familiar to most people, such as wallcoverings and carpeting, to expand on the understanding that they have likely acquired before starting their interior design studies.
The book provides a background that will be the basis of material selections from a performance standpoint, making this valuable information to have acquired prior to studio classes. Their comments became the basis for many of the improvements that we made to meet the changes. Thank you, Olga Kontzias, for all of your suggestions for organization, especially regarding the new format of the chapters. Maureen Grealish, development editor, and Joe Miranda, senior development editor, contributed mightily to the organization and guided the process through a couple of iterations as we arranged and rearranged for ever more logical presentation.
The beautiful new cover was designed by Carly Grafstein. Last, but not least, thank you to Gale, still my best sounding board and friend. Objectives After completing this chapter, you should be able to: Specify how yarn, weave, and nish processes dene the characteristics of a textile. Understand how the chemistry of the ber affects performance.
Know what to consider when selecting and specifying a textile for a specic use. Explain how leather is used in place of textiles and how to evaluate leather for your clients job. Understand soft goods, their uses and design considerations, and installation. Understand upholstery production and evaluation.
Relate to sustainability issues associated with fabric and leather. Select from related materials, such as manufactured window coverings. Understand working with other materials used for window coverings and upholstery. Your clients may respond to fabrics and wallcoverings with more enthusiasm than they do for any other material you present to them.
This is because we come into physical contact with them, so they are especially personal. They must be visually appealing and appropriate and tactilely pleasant. You may even nd that your client is more involved in the evaluation of the fabrics that you present than they are in the furniture they go on!
Your evaluation of fabrics will address your program goals for cleanability, acoustical control, ame resistance, durability, fade resistance, sustainability, global markets, and other factors that will make the fabric serviceable and long lived in the environment. You dont need a textbook to tell you that a huge variety of fabric types has been developed to provide performance and aesthetic characteristics to interior design.
Your client is likely to have a personal reaction to the fabrics you suggest, even though you are suggesting a fabric not only to please them, but to create a look that is congruent with their brand or their projects concept. These visceral responses also play part in your selection. As you select and evaluate fabric, keep in mind that characteristics are inuenced by several factors.
For example: a crisp hand may be due to the ber type, like linen. Linen ber is described as crisp; it comes from the stem of the plant called bast ber.
Knowing its function on the plant makes it easy to understand why it is stiff. A high twist can also make a fabric feel more crisp, so a ber that is not characterized as crisp can still be used to make a crisp fabric.
A tight weave can also affect the hand of the fabric and make it feel crisper. A twill weave can have more body than a plain weave. Finishing processes such as starching or glazing part of the nishing process for cotton chintz lend crispness to fabric. The versatility that is created by the great number of materials and processes used to make fabrics results in myriad fabric choices that you must evaluate when you select fabrics for your jobs.
The characteristics of a fabric cannot ever be attributed to a single element of its ber, construction, or nishing, as they all work together to dene the nature of a particular fabric. Fiber sources can either be natural or synthetic. Some natural ber sources provide ber directly. Cotton and wool are such natural sources, so these bers are re-. Cotton is a natural cellulosic ber and wool is a protein ber.
Other natural sources for cellulosic ber are wood or bamboo. Wood and bamboo are often deconstructed into their chemical constituents and the chemicals are then recombined in forms that are more appropriate for textile production. You could imagine that the cellulosic material is chemically melted with other chemicals, the molecules rearranged and then extruded into laments. These bers have natural sources but they are still man-made, since they are extruded into bers. These bers are called man-made bers.
Wool is one of two protein bers, the other being silk. Wool is a category encompassing the hair from any animal. When we think wool, we immediately think of sheep.
There are many kinds of sheep with varying wool characteristics: some sheep have heavy lanolin production that makes their hair good for carpeting. Some sheep have long, ne hair and their wool is used to make worsted wool, which has a smooth, ne surface and good drape.
Some sheep have short, curly hair, which is good for fabrics that are woven to produce hefty fabrics with a warm hand. The hair of any animal can be made into wool textiles. The luxury bers from alpaca, camels, or cashmere and Angora goats can be found in blends for the furnishings industry, but because of the larger quantities required for furnishings versus clothing, it is not as common to see these bers used in fabrics for furniture and drapes as it is to nd them in apparel.
Although there are a few different species of silkworms, most of the silk that you will specify comes from one kind of caterpillar that eats mulberry leaves. Since this silk represents over 90 percent of the commercial silk industry, it is usually not distinguished from other kinds of silk and will be simply known as silk. Only when needing to distinguish from other kinds of silk will anyone refer to this silk as mulberry silk.
The other kind of silk that you are likely to specify is called tussah or less commonly, tassar silk. It is not as lustrous as mulberry silk and has a crisper hand. Silk from silkworm cocoons will be in longer strands if the insects are not permitted to chew their way out of the cocoon.
Other bers are derived from constituents that do not come from plants. These bers are synthesized from chemicals and extruded into ber the way the manmade bers are extruded, but since they are composed of chemicals that were not grown in nature they are called synthetic ber.
Table 3. Natural Fiber Protein Fiber Silk Wool Properties Good tensile strength, may water spot, yellows with age, degraded by UV rays Resists wrinkling, absorbent, resilient, burns slowly in direct ame, self-extinguishes. Hand and Appearance Smooth or slubby, lustrous, crisp drapability Worsted, smooth, drapable, short, staple, springy; varies by animal. Uses and Implications Drapery, light upholstery, used in blends Carpeting, upholstery, and drapery. Properties Absorbent, dyes well, ammable unless treated with chemicals; hydrophilic Absorbent, dyes well, resists piling and degradation from UV, wrinkles, reacts to moisture in air Absorbent, dyes well Absorbent, dyes well Very absorbent, antibacterial.
Uses and Implications Drapery and multipurpose in blends; difcult to keep clean without treatments or use in blends Upholstery wrinkles, drapery elongates and shrinks with changes in humidity, some use in carpeting, dry-clean only Floor covering, novelty Floor covering, novelty Multipurpose.
Properties Absorbent, easy to dye; from wood pulp Resists shrinking, moths, from wood pulp; cross-dyed with cotton or rayon Dyeability, wrinkle resistance, biodegradable Good wicking, low absorption, light ber, low smoke and ame; renewable from sugar crops, corn, and beets Very absorbent, antibacterial. Hand and Appearance Articial silk; drapes well Soft and drapable, variety of lusters possible Good drapability, varying construction simulates silk or leather.
Uses and Implications Multipurpose and light upholstery Multipurpose and light upholstery use Multipurpose fabrics Multipurpose fabrics. Properties Springy hand, resists wrinkling, shrinkage, mildew; melts, selfextinguishes; oleophillic Strong, elastic, abrasion resistant, resists damage by many chemicals, low absorbency; hydrophobic Low absorbency, dyeable, resists winkling, soiling, and damage from UV High bulk, resists abrasion, moisture, UV, chemicals; low melting temperature, oleophilic Fiberglass is nonabsorbent, ame resistant.
Hand and Appearance Pleats and creases must be heat set; crisp hand Lustrous, can be ne or coarse depending on ber cross section and size Can resemble cotton or wool Springy, waxy feel. Uses and Implications Carpet, multipurpose, used in blends for upholstery Carpet, upholstery, drapery, blends may pill Carpeting, upholstery, novelty; may pill unless continuous ber Carpeting, upholstery, used in blends.
Heavy, can cause skin irritation if handled excessively; the term glass curtains is also used in place of the term sheers, which may be made of another ber.
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No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. No responsibility for loss caused to any individual or organization acting on or refraining from action as a result of the material in this publication can be accepted by Bloomsbury Publishing Inc or the author. Process16 Sample Spec 1. Selection Criteria Specifying Sample Spec 6. Selection Criteria Specifying Sample Spec 7. To best serve the needs of students who must assimilate a lot of content, this second edition has undergone tremendous changes relative to the rst. The format of the information has been somewhat compartmentalized, allowing students to revisit portions of the various materials chapters and nd the information there complete for that issue of that material.
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Aug 11, - DOWNLOAD PDF Interior Design Materials and Specifications by Lisa Godsey Author: Lisa Godsey Pages: pages Publisher: Fairchild.
INTERIOR DESIGN MATERIALS AND SPECIFICATIONS
Buy now. This complete guide to the selection of materials for interiors has been updated to reflect recent industry changes and contemporary awareness of topics. Written from the viewpoint of the working designer, Interior Design Materials and Specifications, 3rd Edition, describes each material's characteristics and teaches students how to evaluate, select, and specify materials, taking into account factors including code compliance, building standards, sustainability guidelines, human needs, and bidding processes.
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