Questions answer for Assignment
Godsey, Lisa. Interior Design Materials and Specifications. New York: Fairchild Books, 2017. Fairchild Books Interior Design Library. Web. 16 Aug. 2020. <http://dx.doi.org/10.5040/9781501317620>.
Accessed from: www.fairchildbooksinteriordesign.com Accessed on: Sun Aug 16 2020 19:13:10 Central Daylight Time Access provided by: Oklahoma State University
Copyright © LisaGodsey. All rights reserved. Further reproduction or distribution is prohibited without prior permission in writing from the publishers.
Air changes per hour (ACH)
Best practices Carcinogens Coefficient of friction Commissioning agents Critical radiant flux (CRF) Ecosystems Flammability Green
Leadership in Energy and Environmental Design (LEED)
Low-E glass Outgas Particulates Passive solar Sick building
syndrome Specification
Specify Sustainable Synthesis Third-party testing Trombe wall Volatile organic
compounds (VOCs)
Key Terms
Chapter 1
MAKING MATERIAL SELECTIONS
After reading this chapter, you should be able to:
• Learn about important material characteristics that will pertain to all materials in your project’s design program.
• Learn how building codes and health and sustainability guidelines affect your material choices.
• Understand how to evaluate testing data that confirms your selections comply with requirements.
• Understand when and how to produce material costs for your clients. • Understand the different spec formats and when they are used. • Understand the supply chain and all the people that you will interact with
when specifying materials. • Understand the process of selecting, specifying, and implementing your
designs.
Objectives
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information upon which they make important decisions is reliable and objective.
Designs that you create will be implemented only if they fall within budget constraints. It is something of a juggling act to distribute project resources among hundreds of project decisions. Completed projects not only meet your client needs but also build your reputa- tion. Projects that run out of money fail to satisfy your clients’ needs, damage your reputation, and cast a bad light on interior designers generally, so it is imperative that you fulfill project goals while managing client bud- gets responsibly.
GUIDELINES Many influences beyond client preference guide the designer’s selections, so it is helpful to understand the distinctions between the various guidelines that you will reference. While codes are always mandatory and are considered to be the minimum standard of practice, and rating systems are usually voluntary, guidelines are often referenced to help designers exceed the minimum and work toward best practices. Guidelines are frequently referenced in code and rating system requirements. To understand this better, consider the International Build- ing Code (IBC). It is a guideline that was developed as a model code, and it references standards in other guidelines to explain performance minimums that it requires. Individual jurisdictions may adopt parts of the IBC for their own local codes. Your material selections must comply with local building codes.
Building Code Designers specify materials for surfaces and items that are installed in spaces that are governed by building codes and accessibility requirements as stipulated by the ADA. Both codes and the ADA are mandatory for your selections.
Most local codes are based on model codes like the IBC. The IBC is the most commonly used model code that individual jurisdictions have utilized to create their own local building codes. It was developed by the International Code Council (ICC), a nonprofit, non- governmental organization.
Codes vary in stringency by location and occu- pancy class (building use, such as lodging or mercan- tile), increasing in stringency when risk goes up. Spaces
Understanding the content of this chapter will give you a foothold on how to evaluate the material selections that you make for your clients’ projects.
Entry-level designers are typically responsible for researching and comparing material selections and working with their project manager to determine the best from among all options discovered. For this reason, it is very important for your career that you understand how to evaluate options so you are presenting the best choices to the rest of your design team. There are rea- sons provided by codes and standards as well as reasons defined by your specific project that will indicate which materials are the best for your job.
Understanding the content of and the difference between codes, standards, and guidelines helps you prioritize your criteria for making material selections. Codes are required conditions on completed project sites. Building safety and fire codes describe these man- datory characteristics. Standards are consistent methods for testing or performance measurements. The Ameri- can National Standards Institute (ANSI), American Society of Heating, Refrigerating and Air-Conditioning Engineers (ASHRAE), and American Society for Test- ing and Materials (ASTM) are a few examples of orga- nizations that develop standards you will reference.
Guidelines are a way of configuring or detailing your designs to achieve a desired result. The Americans with Disabilities Act (ADA) mandates that you incorporate the ADA Accessibility Guidelines in your designs for public spaces. The National Kitchen and Bath Associa- tion (NKBA) also has guidelines for best practices when designing kitchens and baths. There is no law mandat- ing that you must use NKBA standards, as there is in the case of the ADA, but when you design kitchens and baths, your designs will be more functional if you do.
As interior designers, we cannot always satisfy all our requirements for a material. We need to prioritize characteristics in order of importance so we can make the best decisions. You must satisfy those conditions that are mandated by law and, after those mandates are satisfied, you will also include other standards and guidelines among your considerations.
When evaluating materials, interior designers rely on testing and recommendations of numerous parties. They do not perform their own material tests, but they are still responsible for the health, safety, and welfare of their clients. Designers must carefully scrutinize third- party testing data and recommendations to be sure the
Lightly regulated:
Private space (like a residence) in stand-alone buildings (vs.an apartment or condo building)
Used by able-bodied adults who are familiar with the premises (inhabitants stay for long duration)
Use presents no exceptional hazards
Heavily regulated:
Public spaces shared by a variety of people both publicly-owned (like schools) and privately-owned (like restaurants)
Spaces that serve vulnerable populations (like children or sick people)
Hazardous materials or processes are contained
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• Ease of use (particularly in panic situations) • Visibility • Air quality
Fire safety codes stipulate resistance to flame. Flame spread ratings vary through Classes A, B, and C, with Class A being the most stringent against flame develop- ment and C being the least. All building and surfacing materials are governed by codes for commercial instal- lations, and codes also govern many residential surfaces. Testing that proves the material you specify meets minimum code standards should be done by third-party organizations such as Underwriters laboratory (Ul). Third-party testers should have no connection to the company’s products so that they are impartial. Build- ing code, also referred to as life/safety code, includes items and surfaces that you specify, such as floors, walls, ceiling surfaces, doors, stairs, ramps, and furnishings. Flammability is one of the biggest concerns for designers specifying surfacing.
Test methods include the following: Methenamine pill: The methenamine pill test tests mate- rials’ resistance to a burning object that falls on them. A pill is placed on the material and ignited. Seven out of eight samples must resist burning out from the center. Measured from center to the edge of the burn, the flame must be extinguished in less than 8 inches.
where users may be unfamiliar with the building and its exits, where vulnerable populations exist (such as the young or infirm), and that contain high-hazard areas (like restaurant kitchens) are subject to codes that are stricter than for low-risk spaces like a single-family home. Figure 1.1 illustrates the gradation.
Your career may take you into areas of design where you will evaluate selections for their resistance to impact and explosions and other less common hazards that are also governed by code. For the purposes of this general topic, we will be addressing the most typical situations. Remember that every jurisdiction develops its own code, so codes vary slightly from one jurisdiction to another. You will need to follow the local code for the project location.
Your commercial project must comply with the Americans with Disabilities Act (ADA). The ADA defines mandatory guidelines that must be met to accommodate people with disabilities. These guidelines do not vary with jurisdiction; the same requirements apply across the nation.
Many guidelines pertaining to interior design work govern size and configuration of spaces, but our focus here is on finishes and items that designers specify.
Guidelines pertain to
• Fire resistance • Slip resistance • Ability to be cleaned or sanitized
Figure 1.1 The spectrum of code stringency makes logical sense. This makes it easy to wrap your brain around the material restrictions that will apply to your project.
Lightly regulated:
Private space (like a residence) in stand-alone buildings (vs.an apartment or condo building)
Used by able-bodied adults who are familiar with the premises (inhabitants stay for long duration)
Use presents no exceptional hazards
Heavily regulated:
Public spaces shared by a variety of people both publicly-owned (like schools) and privately-owned (like restaurants)
Spaces that serve vulnerable populations (like children or sick people)
Hazardous materials or processes are contained
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transition, and changes greater than ½ inch require a ramp.
• Carpet may have a maximum pile height of ½ inch and must be fastened along all edges.
Sustainability Green design includes sustainable site planning, pollu- tion prevention, restoration of urban and habitat sites, accessibility of public or alternative transportation options by building occupants, storm water runoff man- agement, reduction of heat island effects, maximization of open space, reduction of light pollution, water-use reduction, energy conservation, recycling, conserva- tion of materials, sustainable practices and materials, attention to toxicity and general occupant health, and utilization of daylight in interior spaces.
Material considerations are important, not just in the sustainable characteristics of the materials themselves but also in the assembly of the materials into building components that work together to create sustainable options. Energy-efficient windows are an example of such a construction: two panes of specially formulated or coated low-E glass are separated by an insulating space. Material considerations are also part of integrated design elements interacting with each other in the environ- ment. For instance, dense materials assist passive solar systems by absorbing radiant heat from the sun during the day and releasing it at night, evening out the load on heating systems with constructions such as a trombe wall or dense flooring material. Building in accordance with sustainable principles is no longer an option because many building codes now require sustainable solutions.
The United States Green Building Council (USGBC) has been a leader in defining sustainable principles, having developed the Leadership in Energy and Environmental Design (LEED) system for evalu- ating the effectiveness of building designs in achieving sustainability. This system is separate from building codes, and compliance with lEED standards is optional. The lEED system awards points for meeting specified criteria. Buildings can achieve a silver, gold, or platinum certification depending on how many sustainable char- acteristics are incorporated into the design.
Green, or sustainable, materials and products you specify will have one or more of the characteristics from Table 1.1. The more green characteristics that a product exemplifies, the greener it is.
Steiner tunnel test: The Steiner tunnel test involves a 25-foot chamber and gas jets. The material is adhered to the top of the chamber, and gas jets burn for 10 minutes. The distance of burn indicates the rating from 0 to 200. Asbestos is 0; oak flooring is 100, considered a moderate burn rate. Class A materials have a flame spread rating of 0 to 25; Class B, from 26 to 75; and Class C, from 76 to 200. Class D ranges from 200 to 500. Class D material is not permitted even in one-family and two-family dwellings. Class D decorative paneling has been implicated in a number of fatal fires.
Chamber test: The chamber test is similar to the Steiner tunnel test, but material is placed on the floor of the chamber. The rating system has only two classifications, B and C, so a descriptive scale is difficult. Also, the relationship between the rating and fire spread has not been proven.
Radiant panel test: The radiant panel test entails placing a sample on the floor of the test chamber and heating the sample using a gas-fired panel mounted at an angle over it. The amount of energy required to sustain flame in the sample is measured and described as critical radiant flux or CRF (flux here refers to the flow of heat energy). The greater the energy required, the higher the number, mean- ing more resistance to flame, so low numbers indi- cate higher flammability. This test is usually used for flooring materials.
ADA REQUIREMENTS In addition to regulating space planning and clearance issues, the ADA governs product and material selec- tion with the aim of creating environments that can be safely used by people with disabilities. The following are examples of how product selections that you will make to complete your project will be governed by the ADA.
Flooring materials:
• These materials must be level and flush with sur- rounding surfaces.
• Slip resistance must meet a coefficient of friction greater than 0.6.
• Changes in height ¼ inch or less require no transi- tion, but changes up to ½ inch require a beveled
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A D A R E q U I R E M E N T S
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• Harvesting raw material—Is the source location dev- astated or remediated after raw material is collected?
• Manufacturing—Were environmental consider- ations such as pollution and water and energy use addressed in the manufacturing process?
When researching how green a product is, consider not only the product characteristics but also the manu- facture, installation, use, maintenance, removal and disposal. Is it green along the course of its entire life? The life of the goods includes the following:
Table 1.1 Several characteristics contribute to a material’s sustainability. An ideal material would meet all criteria but such a material is rare.
Characteristic Meaning Examples
Renewable More of the material can be produced. Plant or animal based so can grow more. Recycled content that will continue to become available.
lumber, jute, leather
Sustainable The time and resources needed to produce the material. Managed forestry
Recyclable The material can be put to some other use at the end of its current use.
Used concrete can be broken and become aggregate in new concrete work
Recycled Material that would have gone to a landfill is used as an ingredient in new products.
Down-cycling—Used products are turned into items of less value than the original item.
Old carpet turned into car bumpers for parking lots
Up-cycling—Used products are turned into items of greater value than the original item.
Recycled newspaper turned into solid surfacing for countertops
Cradle-to-cradle—Old products turned into new versions of themselves.
Carpet fiber reclaimed and turned into new carpet fiber
Postconsumer—The item has been used and was destined for a landfill when it was diverted from the waste stream into a new purpose.
Aluminum cans recycled into aluminum for storm doors
Preconsumer—Scraps from production are cycled back into the material stream at a fabricator’s place of manufacture.
Glass trimmings from production are melted into new batches of glass
Durable This refers to the physical fitness of the material for its intended location as well as the longevity of its design.
Stone mosaics in the Pantheon
Adaptability The item can be reused in its current form in a new location.
Carpet tiles moved to a new facility
low-embodied energy
little energy was consumed in producing and transport- ing the item. Materials that are regionally manufactured or regionally harvested.
Using stone from a local quarry rather than an overseas source
Sustainably maintained
The material does not require excessive maintenance for its location.
Porcelain tile that can be easily maintained without the use of noxious chemicals
Nontoxic Compounds that are unhealthy for humans and the envi- ronment are not used.
Specify inert components that do not off-gas VOCs so they do not affect indoor air quality (IAq)
Biodegradable Material that will deteriorate harmlessly into safe components.
Specify plant-based materials that are not treated with toxic chemicals and will degrade into harmless components when exposed to living organisms if possible
Carbon neutral Production of the material does not increase the amount of greenhouse gas in the atmosphere.
Select materials that have low energy use or manufacturers that offset carbon dioxide by, say, planting trees
Remanufactured Material that is reworked to extend its life. Carpeting is one example of a material that can be overprinted to refresh its appearance if it “uglies out” before it wears out
Reuse Secondhand items salvaged from other sites. Architectural salvage and furniture have established markets so convenient reuse of some product categories is available
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• Antimony—Found in fire-retardant finishes—is an ingredient in halides, used in flame retardants.
• Arsenic—Found in pressure-treated lumber—is a naturally occurring heavy metal used as a preserva- tive. long-term exposure to arsenic has been linked to cancer of the bladder, lungs, skin, kidneys, nasal passages, liver, and prostate.
• Bisphenol A (BPA)—Found in paints, coatings, and adhesives—is responsible for reproductive dysfunction.
• Cadmium—Found in plastics and pigments—is a heavy metal used in pigments for red, orange, and yellow and causes brittle bones and kidney damage.
• Chlorofluorocarbons (CFCs)—Found in solvents— are a synthetic chemical that react with chemicals high in the atmosphere, resulting in the depletion of the earth’s protective ozone layer.
• Dioxin—Generated during the manufacture of materials containing polyvinyl chloride (flooring, wallcoverings, paint, plastic liners, etc.) and in bleaching and incineration as part of the produc- tion of materials used in interiors—is a component of plastic released when it breaks down or is burned in landfills. Dioxin is toxic and bioaccumulative (not flushed from our bodies and does not break down in the food chain) and causes endocrine problems.
• Formaldehyde—Found in sheet building products, textile resins, and glues—is a cancer-causing, volatile organic compound outgassed in paints, glue adhesives, and laminates.
• Furans—Found in some grouting products, in the energy derived from burning fuel, and used in the synthesis of nylon—are bioaccumulative toxins that are also suspected carcinogens.
• Halogenated compounds—Commonly used to make flame retardants and in polyurethane foam for upholstery—are persistent bioaccumulative toxic chemicals thought to cause neurological and repro- ductive problems and are banned by the EU.
• Lead—Found in existing paint finishes—is a toxic, bioaccumulative heavy metal.
• Mercury—Found in electrical switches and fluo- rescent lamps—is a toxic, bioaccumulative heavy metal.
• Packing and shipping—Was minimal packaging used, and were shipping distances short?
• Preparation and installation—Was minimal site prep required, and was it free of chemicals that outgas?
• Use and maintenance—Can it be used without damaging people and the environment and be maintained without solvents?
• Removal and disposal—Can it be removed without excessive damage and reused or recycled?
Nontoxic Materials Sustainable design has quite naturally assumed the issue of toxicity (the degree to which a substance is poison- ous) within its domain, since what is bad for our systems is often also bad for ecosystems. This materials topic centers on volatile organic compounds (VOCs), the chemical sensitivities of individuals, and carcinogens.
Because VOCs are volatile, they can change states from a solid or liquid to a gas. These gasses and particulates together affect indoor air quality (IAq). The solvents in paint thinner are an example of such compounds. You would never dream of sipping these solvents from a cup, but you are ingesting them when you breathe the fumes of these volatile compounds after they have changed from a liquid to a gas. Because these compounds are organic, they can interact with our bod- ies’ processes and mechanisms. There is a wide range of tolerance among different people. Some people’s bodies react dramatically to chemicals in their environment, whereas others report no ill effects because of their bod- ies’ current ability to achieve a healthy stasis. While IAq can be improved with more sophisticated venti- lation equipment that manages how much fresh air is provided—air changes per hour or ACH—it is much better to specify materials that do not emit VOCs.
Sick building syndrome is another issue related to air quality. For a variety of reasons, some buildings have a higher incidence of illness among the people who work or live in them. Often the culprit is mold in HVAC ducts, but chemicals in the air are also frequently to blame.
Common Carcinogens While the following list is not exhaustive, carcinogens and other toxic materials often specified by interior designers include the following:
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• Perfluorinated chemicals (PFCs)—Found in stain repellents—are thought to cause thyroid problems and some cancers.
• Polychlorinated biphenyls (PCBs)—Used in paint, plastic, and rubber—are bioaccumulative and are cancer-causing in humans.
• Polyvinyl chloride (PVC)—Common plastic, 70 percent of which is used in building industries and found in fabric, furniture, and finishes—is linked to the production of dioxin in the atmo- sphere and requires many harmful additives (heavy metals and plasticizers like phthalates).
According to the Environmental Protection Agency (EPA), volatile organic compounds are up to ten times more concentrated in interior environments than in the open. Another problem being encountered comes from the synergy or interaction between two or more different chemicals. Two chemicals that may out- gas are not problematic by themselves, but when they meet each other, they bond, thus forming a chemical with different properties than the two original constitu- ents; this third chemical can be problematic.
Protection Against Toxins Vigilance against toxins prompts us to
1. Specify inert material that will not chemically react or interact with organic systems; material with no VOCs.
2. Specify material that will outgas quickly or has had enough time to outgas sufficiently.
3. Encapsulate toxic material in a nontoxic material.
Environmental Costs Design and building decisions are always price driven. The value of the result is compared to the cost of acquir- ing it. This cost is typically evaluated in terms of dollars alone, which is incomplete for obvious reasons. When comparing two materials, you should consider a num- ber of factors beyond cost. For example, materials and finishes that outgas harm not only end users but also the fabricators who handle them, and they poison the environment.
Consideration 1.1 Toxicity directly addresses the effect that the product’s “ingredients” have on the human body, but interestingly enough, often the things that are bad for human beings are also bad for ecosystems. When you avoid toxic materials for your client’s sake, you are usually preserving the health of the environment as well.
When calculating the full costs, consider not only the price in dollars but also the sustainability (minimi- zation of harm to the ecological balance of the earth) and social impacts. Sometimes companies circumvent high environmental safety standards and workplace safety standards in the United States by moving manu- facturing to places where polluters are not prosecuted and workers are not protected by laws requiring a living wage or safe working conditions. Companies may locate facilities in impoverished areas where they provide jobs, but if they do not contribute to the formation of a stable community in the process, they may pull out of that area to find workers who will work for lower pay, for instance, leaving it impoverished once more. Companies com- mitted to sustainability also build stable communities around them; it is not enough to say they are improving an area just because they are currently providing people with jobs. Costs in dollars, environmental impact, and social costs should all be part of your accounting when you compare potential materials and products for your projects.
THIRD-PARTY ORGANIZATIONS When you are evaluating products and materials, you will look beyond claims made by manufacturers them- selves, searching for third-party verification of claims of sustainability, safety, and quality. There is a distinction among first-party organizations that have an immediate interest in a product, secondary organizations that have an association with a product, and third-party organiza- tions that have no interest in a particular product. For example, for wood flooring, a first-party agent would be the manufacturer of the flooring. A second-party agent would be the National Wood Association, whose mem- bers are people in the wood flooring industry. A third- party agent would be an organization like the Forest Stewardship Council (FSC), an independent, nonprofit
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on s.
C H A P T E R 1 M A K I N G M A T E R I A L S E L E C T I O N S
8
defined area of expertise are often very accurate when they estimate. Kitchen designers, for example, depend on good “guesses” because they proceed with the detailed design work after the contract has been executed (signed by the parties) with dollar amounts included. Office landscape designers have developed a similar expertise. Other kinds of designers prefer to wait until some of the design work has been completed and approved by the client before beginning to budget.
Clients are naturally interested in the expected cost of their project at the outset. Generally speaking, there are three degrees of exactness to meet the nature of the need that prompted the request: you will want to appropriately match the estimate that you discuss with them to the phase of the project so you are as accurate as possible.
• In the early stages, there are too many unknowns to be exact, so ballpark estimates, based on quantity of material and recent local pricing, help determine if a material is even a possibility.
• Cost comparisons are more exact and consider extra work that may be required for one material versus another and will be based on current pricing.
• Actual costs for purchase are understood to be firm prices, so bidders will submit quotes to confirm exact pricing.
Ballpark Estimates A ballpark estimate is delivered when a client is consid- ering whether or not to pursue a particular notion. It is logically delivered as a range and is based on past experi- ence with similar projects. You may be able to simply tell your client that extensive kitchen remodeling can cost between $100 and $300 per square foot (SF), etc. This may be enough information for your client to make a decision about whether to proceed with a project.
association established to promote the responsible man- agement of the world’s forests. Third-party agents play a crucial role in the selection and evaluation of surfaces and items that you’ll specify. Independent organizations that test materials for sustainable and safety characteris- tics should be free of bias as they develop quality stan- dards, make educational resources available, or evaluate products. Sometimes industry organizations fulfill this role. Numerous organizations, each with its own mission and emphasis, contribute to product data serving the design industry. Table 1.2 (opposite) lists second- and third-party organizations that pertain to materials for interior design. This list is a sampling of a vast organi- zation structure supporting the building industries. For instance, a couple of organizations focused on wood are included here; however, more than fifty such organiza- tions in the United States are devoted to wood products.
Consideration 1.2 Even if testing is performed by objective third parties, it will be ordered and paid for by the manufacturer, who will specify the tests they would like to have performed.
Environmental costs are more complicated to cal- culate and evaluate than costs in dollars. Remember that third-party evaluation of these and other costs may be more reliable than calculations performed by the manufacturer of a product that you are considering for your project. See Table 1.3 for costs that may be global, regional, or local.
BUDGETS AND ESTIMATES Once a reasonable budget has been drawn up, it is another guide to selections and design details as the project develops. Designers who specialize in a narrowly
Table 1.3 Environmental costs for mismanagement of resources affect the earth and people at all scales.
Global Costs Regional Costs Local Costs
Ozone depletion land degradation Eutrophication (oxygen depletion in water)
Global warming potential Acidification potential (acid rain) Toxicity in soil or water
Resource depletion Upsetting ecosystems Creation of photochemical oxidation (smog)
Pollution (air, water, sound)
D ow
nl oa
de d
fr om
w w
w .f
ai rc
hi ld
bo ok
si nt
er io
rd es
ig n.
co m
o n
Su n
A ug
1 6
20 20
1 9:
13 :1
0 C
en tr
al D
ay lig
ht T
im e.
A cc
es s
pr ov
id ed
b y
O kl
ah om
a St
at e
U ni
ve rs
ity . I
P ad
dr es
s:
13 9.
78 .1
29 .1
13 . S
ub je
ct to
th e
Fa ir
ch ild
B oo
ks I
nt er
io r
D es
ig n
L ib
ra ry
te rm
s of
u se
, a va
ila bl
e at
w w
w .f
ai rc
hi ld
bo ok
si nt
er io
rd es
ig n.
co m
/te rm
s- an
d- co
nd iti
on s.
B U D G E T S A N D E S T I M A T E S
9
Ta bl
e 1.
2 D
es ig
ne rs
a re
li ke
th e
co nd
uc to
r i n
an o
rc he
str a
as se
m bl
in g
al l t
he p
ar ts
of th
e pi
ec e.
Y ou
w ill
re ly
o n
ex pe
rts o
f a ll
ki nd
s to
m ak
e th
e be
st de
ci si
on s
fo r y
ou r c
lie nt
. T he
re a
re
m an
y se
co nd
- a nd
th ird
-p ar
ty o
rg an
iz at
io ns
th at
a re
e xp
er ts
in th
ei r o
w n
to pi
cs th
at y
ou w
ill w
an t t
o kn
ow a
bo ut
in o
rd er
to g
et th
e in
fo rm
at io
n yo
u ne
ed to
m ak
e se
le ct
io ns
.
O rg
an iz
at io
n Fu
nc ti
on R
ef er
en ce
s In
cl ud
e In
du st
ry A
ffi lia
ti on
In fo
rm at
io n
fo r
Yo u
A m
er ic
an A
ss oc
ia ti
on o
f T ex
ti le
C
he m
is ts
a nd
C ol
or is
ts (
A A
T C
C )
w w
w. aa
tc c.
or g
Pr ov
id es
te st
m et
ho d
de ve
lo pm
en t f
or
qu al
it y
co nt
ro l
R es
ea rc
h pa
pe rs
a nd
st ud
en t
re so
ur ce
s Pe
op le
in te
xt ile
in du
st ry
Ex pl
ai ns
te st
s f or
te xt
ile s
A m
er ic
an C
on cr
et e
In st
it ut
e (A
C I)
w w
w. co
nc re
te .o
rg Pr
od uc
es c
on cr
et e-
re la
te d
co de
s, sp
ec ifi
- ca
ti on
s, an
d re
po rt
s; ad
m in
is te
rs c
er ti
fi- ca
ti on
p ro
gr am
s i n
th e
co nc
re te
in du
st ry
C on
cr et
e pr
od uc
ts a
nd
in st
al la
ti on
C on
tr ac
to rs
, s up
pl ie
rs , a
nd
m an
uf ac
tu re
rs Ex
te ns
iv e
re se
ar ch
o n
m at
er i-
al s a
nd b
es t p
ra ct
ic es
A m
er ic
an N
at io
na l S
ta nd
ar ds
In st
i- tu
te (
A N
SI )
w w
w. an
si .o
rg
D ev
el op
m en
t o f s
ta nd
ar d
fo r m
at er
ia ls
an
d as
so ci
at ed
p ra
ct ic
es In
de pe
nd en
t t hi
rd p
ar ty
fo cu
se d
on a
b ro
ad ra
ng e
of m
at er
ia ls
a nd
pr
od uc
ts
N on
e D
es cr
ip ti
on o
f t he
or
ga ni
za ti
on
A m
er ic
an S
oc ie
ty fo
r T es
ti ng
an
d M
at er
ia ls
( A
ST M
) w
w w.
as tm
.o rg
Te st
s m at
er ia
ls a
nd d
es cr
ib es
q ua
lit y
st an
da rd
s V
ar ie
ty o
f b ui
ld in
g an
d fin
is hi
ng
m at
er ia
ls N
on e
R es
ea rc
h ab
st ra
ct s
A m
er ic
an s w
it h
D is
ab ili
ti es
A ct
(A
D A
) w
w w.
ad a.
go v
D efi
ne s c
on fig
ur at
io ns
fo r p
la ce
s th
at w
ill b
e ac
ce ss
ib le
to p
eo pl
e w
it h
di sa
bi lit
ie s
In fo
-r ic
h si
te in
cl ud
es th
e ac
t i n
it s e
nt ir
et y
an d
re la
te d
is su
es N
on e
T he
si te
is n
ot re
st ri
ct ed
a nd
al
l i nf
o is
a cc
es si
bl e,
in cl
ud in
g ch
ec kl
is ts
fo r y
ou r p
ro je
ct s
A rc
hi te
ct ur
al W
oo dw
or k
In st
it ut
e (A
W I)
w
w w.
aw in
et .o
rg
D ev
el op
m en
t o f q
ua lit
y st
an da
rd s a
nd
ed uc
at io
n of
m em
be rs
A rc
hi te
ct ur
al w
oo dw
or k
an d
ca se
go
od s
M an
uf ac
tu re
rs a
nd su
pp lie
rs Po
dc as
ts a
bo ut
l EE
D , b
ac k
is su
es o
f m ag
az in
e
A ss
oc ia
ti on
fo r C
on tr
ac t T
ex ti
le s
(A C
T )
w w
w. co
nt ra
ct te
xt ile
s.o rg
Ed uc
at io
n an
d pr
om ot
io n
of v
ol un
- ta
ry p
er fo
rm an
ce a
nd su
st ai
na bi
lit y
gu id
el in
es
C on
tr ac
t t ex
ti le
s W
ho le
sa le
rs a
nd c
on tr
ac t
te xt
ile tr
ad es
W hi
te pa
pe rs
, n um
er ou
s l in
ks
B ri
ck In
du st
ry A
ss oc
ia ti
on (
B IA
) w
w w.
go br
ic k.
co m
Te ch
ni ca
l, bu
si ne
ss , a
nd le
gi sl
at iv
e in
fo rm
at io
n B
ri ck
a nd
re la
te d
pr od
uc ts
B ri
ck p
ro du
ce rs
, s up
pl ie
rs , a
nd
in st
al le
rs Ex
te ns
iv e
in fo
rm at
io n
on
m an
y as
pe ct
s o f b
ri ck
in du
st ry
B ui
ld in
g St
on e
In st
it ut
e (B
SI )
w w
w. bu
ild in
gs to
ne in
st it
ut e.
or g
Pr ov
id es
in fo
rm at
io n
to d
es ig
n an
d bu
ild in
g tr
ad es
a s w
el l a
s s up
pl ie
rs o
f na
tu ra
l s to
ne
N at
ur al
st on
e Im
po rt
er s a
nd tr
ad es
pe op
le Su
st ai
na bi
lit y
re se
ar ch
, ge
ne ra
l s to
ne in
fo
B us
in es
s a nd
In st
it ut
io na
l F ur
ni tu
re
M an
uf ac
tu re
rs A
ss oc
ia ti
on (
B IF
M A
) w
w w.
bi fm
a. or
g
D ev
el op
s s ta
nd ar
ds fo
r N or
th A
m er
ic an
of
fic e
fu rn
it ur
e O
ffi ce
fu rn
it ur
e M
an uf
ac tu
re rs
, s up
pl ie
rs , a
nd
se rv
ic e
pr ov
id er
s a ss
oc ia
te d
w it
h co
m m
er ci
al fu
rn it
ur e
In du
st ry
n ew
s f ro
m p
ra c-
ti ce
is su
es to
le gi
sl at
io n
in
ar ch
iv ed
n ew
sl et
te rs
C ar
pe t a
nd R
ug In
st it
ut e
(C R
I) w
w w.
ca rp
et -r
ug .o
rg D
is se
m in
at es
in fo
rm at
io n
to c
on su
m er
s an
d in
du st
ry p
ro fe
ss io
na ls
Te xt
ile fl
oo r c
ov er
in gs
Te xt
ile fl
oo r-
co ve
ri ng
m
an uf
ac tu
re rs
Ex te
ns iv
e re
se ar
ch o
n m
at er
ia l
an d
in st
al la
ti on
g ui
de lin
es
C er
am ic
T ile
In st
it ut
e of
A
m er
ic a
(C T
IO A
) w
w w.
ct io
a. or
g
Ed uc
at es
in st
al le
rs a
nd re
la ys
m
an uf
ac tu
re r i
nf or
m at
io n
to th
e pu
bl ic
A ll
ti le
p ro
du ct
s M
em be
rs a
re m
an uf
ac tu
re rs
, su
pp lie
rs , a
nd in
st al
le rs
Ex te
ns iv
e re
se ar
ch o
n m
at e-
ri al
s a nd
c on
st ru
ct io
n be
st
pr ac
ti ce
s
(c on
ti nu
ed )
D ow
nl oa
de d
fr om
w w
w .f
ai rc
hi ld
bo ok
si nt
er io
rd es
ig n.
co m
o n
Su n
A ug
1 6
20 20
1 9:
13 :1
0 C
en tr
al D
ay lig
ht T
im e.
A cc
es s
pr ov
id ed
b y
O kl
ah om
a St
at e
U ni
ve rs
ity . I
P ad
dr es
s:
13 9.
78 .1
29 .1
13 . S
ub je
ct to
th e
Fa ir
ch ild
B oo
ks I
nt er
io r
D es
ig n
L ib
ra ry
te rm
s of
u se
, a va
ila bl
e at
w w
w .f
ai rc
hi ld
bo ok
si nt
er io
rd es
ig n.
co m
/te rm
s- an
d- co
nd iti
on s.
C H A P T E R 1 M A K I N G M A T E R I A L S E L E C T I O N S
10
Ta bl
e 1.
2 (c
on tin
ue d)
D es
ig ne
rs a
re li
ke th
e co
nd uc
to r i
n an
o rc
he str
a as
se m
bl in
g al
l t he
p ar
ts of
th e
pi ec
e. Y
ou w
ill re
ly o
n ex
pe rts
o f a
ll ki
nd s
to m
ak e
th e
be st
de ci
si on
s fo
r y ou
r c lie
nt . T
he re
a re
m
an y
se co
nd - a
nd th
ird -p
ar ty
o rg
an iz
at io
ns th
at a
re e
xp er
ts in
th ei
r o w
n to
pi cs
th at
y ou
w ill
w an
t t o
kn ow
a bo
ut in
o rd
er to
g et
th e
in fo
rm at
io n
yo u
ne ed
to m
ak e
se le
ct io
ns .
O rg
an iz
at io
n Fu
nc ti
on R
ef er
en ce
s In
cl ud
e In
du st
ry A
ffi lia
ti on
In fo
rm at
io n
fo r
Yo u
C on
cr et
e C
ou nt
er to
p In
st it
ut e
(C C
I) w
w w.
co nc
re te
co un
te rt
op in
st it
ut e.
co m
Pr ov
id es
c on
su m
er in
fo a
nd tr
ai ni
ng fo
r fa
br ic
at or
s C
on cr
et e
co un
te rt
op s a
nd st
on e
C on
cr et
e fa
br ic
at or
s In
fo rm
at io
n- ri
ch si
te in
cl ud
es
vi de
os o
f p ro
du ct
io n
C on
cr et
e N
et w
or k
w w
w. co
nc re
te ne
tw or
k. co
m Pr
ov id
es in
fo rm
at io
n ab
ou t t
ec hn
ic al
an
d de
si gn
is su
es re
la te
d to
c on
cr et
e C
on cr
et e
in a
ll fo
rm s,
in te
ri or
an
d ex
te ri
or A
ll tr
ad es
a nd
v en
do rs
su pp
ly -
in g
co nc
re te
p ro
du ct
a nd
la bo
r lo
ts o
f i nf
or m
at io
n an
d vi
de os
re
la te
d to
c on
cr et
e w
or k
C on
st ru
ct io
n Sp
ec ifi
ca ti
on s I
ns ti
tu te
(C
SI )
w w
w. cs
in et
.o rg
In de
xi ng
sy st
em fo
r s pe
ci fic
at io
ns M
an y
va ri
ed p
ro du
ct s i
nd ex
ed fo
r sp
ec ifi
ca ti
on w
ri te
rs N
on e
M as
te r f
or m
at n
um be
ri ng
sy
st em
a nd
o th
er in
fo
En er
gy S
ta r
w w
w. en
er gy
st ar
.g ov
R at
es a
pp lia
nc es
o n
en er
gy c
on su
m pt
io n
El ec
tr ic
al a
pp lia
nc es
N on
e A
ll ki
nd s o
f t ip
s f or
sa vi
ng
en er
gy
G la
ss A
ss oc
ia ti
on o
f N or
th A
m er
ic a
(G A
N A
) w
w w.
gl as
sw eb
si te
.c om
Te ch
ni ca
l i nf
or m
at io
n an
d ed
uc at
io n
to
gl as
s t ra
de s
Fl at
g la
ss a
nd sa
fe ty
g la
ss M
em be
rs a
re g
la ss
m
an uf
ac tu
re rs
Fu ll
te ch
ni ca
l p ap
er s r
el at
ed
to g
la ss
G re
en gu
ar d
En vi
ro nm
en ta
l I ns
ti tu
te w
w w.
gr ee
ng ua
rd .o
rg Ed
uc at
es b
ui ld
in g
tr ad
es a
nd c
on su
m er
s ab
ou t i
nd oo
r a ir
q ua
lit y
(I A
q )
M at
er ia
ls a
nd in
st al
la ti
on p
ro d-
uc ts
a nd
p ra
ct ic
es th
at a
ffe ct
in
do or
a ir
q ua
lit y
N on
e N
um er
ou s r
es ea
rc h
pa pe
rs o
n br
oa d
sp ec
tr um
o f t
op ic
s
G re
en S
ea l
w w
w. gr
ee ns
ea l.o
rg
Pr om
ot es
th e
m an
uf ac
tu re
, p ur
ch as
e,
an d
us e
of e
nv ir
on m
en ta
lly re
sp on
si bl
e pr
od uc
ts a
nd se
rv ic
es
Pr od
uc ts
a nd
p ro
ce ss
es th
at a
re
su st
ai na
bl e
N on
e lo
ts o
f i nf
or m
at io
n ab
ou t s
us -
ta in
ab le
p ro
du ct
s a nd
m et
ho ds
fo
r s us
ta in
ab le
m an
ag em
en t
H ar
dw oo
d Pl
yw oo
d an
d V
en ee
r A
ss oc
ia ti
on (
H PV
A )
w w
w. hp
va .o
rg
In fo
rm at
io n
an d
sa m
pl in
g fo
r h ar
dw oo
d Su
pp lie
rs o
f h ar
dw oo
d pr
od uc
ts R
ep re
se nt
s h ar
dw oo
d, v
en ee
r, an
d pl
yw oo
d su
pp lie
rs ,
sp ec
ifi er
s, an
d pr
od uc
er s
R ea
so na
bl y
pr ic
ed in
fo rm
at io
n fo
r s al
e
H ar
dw oo
d M
an uf
ac tu
re rs
A ss
oc ia
ti on
w
w w.
ha rd
w oo
dc ou
nc il.
co m
H ar
dw oo
d flo
or in
g In
fo rm
at io
n ab
ou t h
ar dw
oo d
sp e-
ci es
, fl oo
rs , a
nd fi
ni sh
es H
ar dw
oo d
pr od
uc er
s In
fo rm
at io
n fo
r p ro
fe ss
io na
l C
EU tr
ai ni
ng w
it h
se lf-
te st
a t
en d
of e
ac h
le ss
on
In te
rn at
io na
l O rg
an iz
at io
n fo
r St
an da
rd iz
at io
n (I
SO )
w w
w. is
o. or
g
D ev
el op
m en
t o f c
om m
on in
te rn
at io
na l
st an
da rd
s f or
m at
er ia
ls a
nd a
ss oc
ia te
d pr
ac ti
ce s
N um
er ou
s o rg
an iz
at io
ns
de ve
lo pi
ng st
an da
rd s i
n in
di -
vi du
al c
ou nt
ri es
c on
tr ib
ut e
T hi
rd p
ar ty
a s w
el l a
s or
ga ni
za ti
on s w
it h
an in
te re
st
in d
ev el
op in
g tr
ad e
In fo
rm at
io n
ab ou
t I SO
In te
rn at
io na
l C od
e C
ou nc
il (I
C C
) w
w w.
ic cs
af e.
or g
D ev
el op
s g ui
de lin
es th
at a
re o
ft en
ad
op te
d by
ju ri
sd ic
ti on
s d ev
el op
in g
th ei
r lo
ca l c
od es
B ui
ld in
g, sa
fe ty
, s us
ta in
ab ili
ty ,
an d
ac ce
ss ib
ili ty
g ui
de lin
es T
hi rd
-p ar
ty a
ge nc
ie s s
uc h
as
A ST
M a
nd U
SG B
C In
fo rm
at io
n- ri
ch si
te c
ov er
in g
go ve
rn an
ce o
f n um
er ou
s a re
as
of in
te re
st to
d es
ig ne
rs
le ad
er sh
ip in
E ne
rg y
an d
En
vi ro
nm en
ta l D
es ig
n (l
EE D
) w
w w.
us gb
c. or
g
Es ta
bl is
he s s
ta nd
ar ds
fo r s
us ta
in ab
le
de si
gn M
at er
ia l a
nd in
st al
la ti
on p
ra c-
ti ce
s a s w
el l a
s b ui
ld in
g co
nfi gu
ra -
ti on
su gg
es ti
on s
U ni
te d
St at
es G
re en
B ui
ld in
g C
ou nc
il (U
SG B
C )
In fo
rm at
io n
pe rt
ai ni
ng to
be
co m
in g
a lE
ED p
ro fe
ss io
na l
M ar
bl e
In st
it ut
e of
A m
er ic
a an
d B
ui ld
in g
St on
e In
st it
ut e?
( M
IA +B
SI )
w w
w. m
ar bl
e- in
st it
ut e.
co m
Pr ov
id es
c on
su m
er s a
nd in
du st
ry w
it h
in fo
rm at
io n
ab ou
t n at
ur al
st on
e m
at er
i- al
s a nd
in st
al la
ti on
N at
ur al
st on
e Su
pp lie
rs a
nd in
st al
le rs
In
fo rm
at io
n- ri
ch si
te w
it h
re se
ar ch
p ap
er s a
nd v
id eo
s
D ow
nl oa
de d
fr om
w w
w .f
ai rc
hi ld
bo ok
si nt
er io
rd es
ig n.
co m
o n
Su n
A ug
1 6
20 20
1 9:
13 :1
0 C
en tr
al D
ay lig
ht T
im e.
A cc
es s
pr ov
id ed
b y
O kl
ah om
a St
at e
U ni
ve rs
ity . I
P ad
dr es
s:
13 9.
78 .1
29 .1
13 . S
ub je
ct to
th e
Fa ir
ch ild
B oo
ks I
nt er
io r
D es
ig n
L ib
ra ry
te rm
s of
u se
, a va
ila bl
e at
w w
w .f
ai rc
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bo ok
si nt
er io
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ig n.
co m
/te rm
s- an
d- co
nd iti
on s.
B U D G E T S A N D E S T I M A T E S
11
M as
on C
on tr
ac to
rs A
ss oc
ia ti
on o
f A
m er
ic a
(M C
A A
) w
w w.
m as
on co
nt ra
ct or
s.o rg
Po lit
ic al
a dv
oc at
es fo
r a nd
e du
ca ti
on
of m
as on
ry in
st al
le rs
sp on
so ri
ng
ce rt
ifi ca
ti on
p ro
gr am
s
B ri
ck a
nd n
at ur
al st
on e
in
st al
la ti
on St
on e
in st
al le
rs Ex
te ns
iv e
ba si
c in
fo rm
at io
n ab
ou t b
ri ck
m as
on ry
M as
on ry
V en
ee r M
an uf
ac tu
re rs
A
ss oc
ia ti
on (
M V
M A
) w
w w.
m as
on ry
ve ne
er .o
rg
D ev
el op
s t ec
hn ic
al , m
ar ke
t, an
d
pe rf
or m
an ce
in fo
rm at
io n
fo r t
he st
on e
in du
st ry
St on
e an
d br
ic k
ve ne
er p
ro du
ct s
St on
e an
d re
la te
d pr
od uc
ts
su pp
lie rs
Pr od
uc t a
nd in
st al
la ti
on
in fo
rm at
io n
N at
io na
l A ss
oc ia
ti on
o f A
rc hi
te ct
ur al
M
et al
M an
uf ac
tu re
rs (
N A
A M
M )
w w
w. na
am m
.o rg
Ed uc
at io
n of
m et
al fa
br ic
at or
s, de
ve l-
op m
en t o
f p er
fo rm
an ce
st an
da rd
s a nd
ad
vo ca
cy
M et
al fa
br ic
at or
s, ar
ch it
ec tu
ra l
m et
al (
lik e
do or
s) , a
nd fu
rn it
ur e
M an
uf ac
tu re
rs a
nd su
pp lie
rs In
fo rm
at io
n ab
ou t m
et al
p ro
d- uc
ts , p
ro du
ct io
n, a
nd fi
ni sh
in g
N at
io na
l O rn
am en
ta l a
nd
M is
ce lla
ne ou
s M et
al s A
ss oc
ia ti
on
(N O
M M
A )
w w
w. no
m m
a. or
g
Ed uc
at io
n of
m et
al w
or ke
rs a
nd a
dv oc
ac y
fo r m
et al
in du
st ri
es M
et al
s a nd
m et
al fi
ni sh
es M
et al
w or
ke rs
B as
ic a
nd c
on su
m er
-o ri
en te
d in
fo
N at
io na
l T er
ra zz
o an
d M
os ai
c
A ss
oc ia
ti on
( N
T M
A )
w w
w. nt
m a.
co m
Es ta
bl is
he s s
pe ci
fic at
io ns
a nd
st an
da rd
s Te
rr az
zo a
nd m
os ai
c in
st al
la ti
on In
st al
le rs
a nd
fa br
ic at
or s o
f te
rr az
zo su
rf ac
es li
te ra
tu re
o f p
ro m
ot io
na l
na tu
re
N at
io na
l W oo
d Fl
oo ri
ng A
ss oc
ia ti
on
(N W
FA )
w w
w. nw
fa .o
rg
D efi
ne s s
ta nd
ar ds
fo r q
ua lit
y w
oo d
pr od
- uc
ts a
nd th
ei r i
ns ta
lla ti
on G
en er
al in
fo rm
at io
n ab
ou t w
oo d
sp ec
ie s,
de fin
it io
ns o
f q ua
lit y
st an
da rd
s f or
m at
er ia
l, an
d be
st
pr ac
ti ce
s f or
in st
al la
ti on
W oo
d flo
or in
g su
pp lie
rs a
nd
in st
al le
rs Fe
w st
ud en
t r es
ou rc
es b
ut
an im
po rt
an t o
rg an
iz at
io n
N or
th A
m er
ic an
l am
in at
e Fl
oo ri
ng
A ss
oc ia
ti on
( N
A lF
A )
w w
w. na
lfa .c
om
Es ta
bl is
he d
to d
efi ne
a nd
m ai
nt ai
n st
an -
da rd
s o f q
ua lit
y fo
r l am
in at
e flo
or s
la m
in at
e flo
or in
g pr
od uc
ts a
nd
in st
al la
ti on
la m
in at
e flo
or in
g m
an uf
ac tu
r- er
s a nd
in st
al le
rs Ex
pl an
at io
n of
q ua
lit y
de te
r- m
in an
ts b
y A
ST M
R es
ili en
t F lo
or C
ov er
in g
In st
it ut
e (R
FC I)
w w
w. rf
ci .c
om
Te ch
ni ca
l a nd
b es
t p ra
ct ic
es in
fo rm
at io
n R
es ili
en t fl
oo ri
ng M
an uf
ac tu
re s a
nd su
pp lie
rs Fu
ll te
ch ni
ca l p
ap er
s
Ti le
C ou
nc il
of N
or th
A m
er ic
a (T
C N
A )
w w
w. tc
na ti
le .c
om
C ur
re nt
in fo
o n
be st
p ra
ct ic
es a
nd le
gi s-
la ti
on fo
r t ile
in du
st ry
R ig
id ti
le m
at er
ia ls
a nd
in
st al
la ti
on M
an uf
ac tu
re rs
, s up
pl ie
rs , a
nd
in st
al le
rs R
es ea
rc h
an d
in fo
rm at
io n
U nd
er w
ri te
rs l
ab or
at or
y (U
l) w
w w.
ul .c
om T
hi rd
-p ar
ty sa
fe ty
te st
in g
of m
at er
ia l
pr od
uc ts
B ro
ad v
ar ie
ty o
f p ro
du ct
s N
on e
Fe w
st ud
en t r
es ou
rc es
b ut
an
im po
rt an
t o rg
an iz
at io
n
U ni
te d
St at
es H
id e,
S ki
n an
d le
at he
r A
ss oc
ia ti
on (
U SH
Sl A
) w
w w.
us hs
la .o
rg
G ov
er nm
en t o
rg an
iz at
io n
pr om
ot in
g le
at he
r t ra
de le
gi sl
at iv
e an
d bu
si ne
ss in
fo rm
a- ti
on re
la te
d to
le at
he r
le at
he r s
up pl
ie rs
le gi
sl at
iv e
an d
bu si
ne ss
in
fo rm
at io
n
W al
lc ov
er in
gs A
ss oc
ia ti
on (
W A
) w
w w.
w al
lc ov
er in
gs .o
rg D
is tr
ib ut
io n
of in
fo rm
at io
n in
th e
w al
l- co
ve ri
ng in
du st
ry W
al lc
ov er
in g
M an
uf ac
tu re
rs , d
is tr
ib ut
or s,
an d
su pp
lie rs
Te ch
ni ca
l d at
a, e
st im
at in
g gu
id es
W or
ld F
lo or
C ov
er in
g A
ss oc
ia ti
on
(W FC
A )
w w
w. w
fc a.
or g
Pr ov
id es
in du
st ry
p ar
tn er
s a nd
c on
- su
m er
s w it
h in
fo rm
at io
n ab
ou t fl
oo r
co ve
ri ng
s
B ot
h pr
od uc
t a nd
in st
al la
ti on
st
an da
rd s
Fl oo
r- co
ve ri
ng m
an uf
ac tu
re rs
, se
lle rs
, a nd
in st
al le
rs C
on su
m er
in fo
rm at
io n
an d
vi su
al iz
at io
n to
ol s
D ow
nl oa
de d
fr om
w w
w .f
ai rc
hi ld
bo ok
si nt
er io
rd es
ig n.
co m
o n
Su n
A ug
1 6
20 20
1 9:
13 :1
0 C
en tr
al D
ay lig
ht T
im e.
A cc
es s
pr ov
id ed
b y
O kl
ah om
a St
at e
U ni
ve rs
ity . I
P ad
dr es
s:
13 9.
78 .1
29 .1
13 . S
ub je
ct to
th e
Fa ir
ch ild
B oo
ks I
nt er
io r
D es
ig n
L ib
ra ry
te rm
s of
u se
, a va
ila bl
e at
w w
w .f
ai rc
hi ld
bo ok
si nt
er io
rd es
ig n.
co m
/te rm
s- an
d- co
nd iti
on s.
C H A P T E R 1 M A K I N G M A T E R I A L S E L E C T I O N S
12
derive an annual cost for the material. This number can form a valid basis for comparing two materials to see which one will be the more economical over its life.
Actual Costs for Purchase When your client is ready to implement plans that you have produced and selections that you have made, you will produce contracts, proposals, work orders, specifications, requests for bids, or other documents that will eventually cause the work to occur. Unlike the other two kinds of estimates you provide, these documents of actual costs for purchase are legally binding. They must be very complete and precise. Once they have been agreed to, the work must be provided and paid for as stipulated in the document. Your specification is the basis for the purchase contract.
Materials are sold in units of measure. The unit of measure varies; materials are sold by the square foot, lin- eal foot, roll, etc. When calculating the purchase cost, you will need to know how the material is sold to be able to estimate for your budget.
PROGRAMMING CONSIDERATIONS
In addition to the influence of codes, standards, guide- lines, and costs, designers take into account numer- ous considerations that are particular to their clients’ unique sites. Aesthetic expression is often foremost in their minds as they finalize a selection. Approaches undertaken to select appropriate materials may be as generalized as principles of design or include more com- plex considerations involving marketing efforts or brand expression (marketing image of a product). You might want to ask yourself questions like the following:
• Where do I want visual emphasis? • How can materials alter the distribution of visual
weight throughout the space to balance it? • How can sustainability be addressed with materials? • How can material selections assist effective use of
natural daylight, reflecting light, and minimizing glare?
• How can I specify to minimize toxins in the environment?
• How can I use materials to visually organize spaces to improve way-finding or to demarcate distinct functional areas within a large open area?
Helpful Hint 1.1
Over time you will get a sense of how much cer- tain installation tasks cost. These costs are usually estimated based on time required to complete the installation. They are often calculated on half-day increments that include travel time. Many contrac- tors use construction estimating software packages, but rather than take the time to learn and set them up, you might want to purchase (or borrow from your library) the RSMeans Cost Data book or a simi- lar publication. It distinguishes between regions for recent costs and therefore accounts for the difference between the cost of the same work in New York City versus Jellico, Tennessee.
If you do not have personal experience that you can rely on because the project is not like anything that you have done before, you may need to do some research to come up with some usable figures for consideration. If going to these lengths leads to your winning a job, you will certainly be glad that your numbers were fairly accurate.
Cost Comparisons You may make cost comparisons between material options to get the client headed in the right direction. The estimate may be based on cost of the material only or may include prepwork or other unique needs. If the installation will remain in place for decades, it is appro- priate to calculate the life-cycle costs.
Life-Cycle Costs life-cycle costing includes all costs for the duration of the installation. When accounting for life-cycle costs, add together the cost of
• Material • Prepwork required • Installation • Maintenance per year multiplied by the number of
years the material is predicted to last • Cost of removing and disposing of the material • Cost of restoring surfaces to receive other materials
after removal
Divide that total cost over the life of the material by the number of years the material is likely to last to
D ow
nl oa
de d
fr om
w w
w .f
ai rc
hi ld
bo ok
si nt
er io
rd es
ig n.
co m
o n
Su n
A ug
1 6
20 20
1 9:
13 :1
0 C
en tr
al D
ay lig
ht T
im e.
A cc
es s
pr ov
id ed
b y
O kl
ah om
a St
at e
U ni
ve rs
ity . I
P ad
dr es
s:
13 9.
78 .1
29 .1
13 . S
ub je
ct to
th e
Fa ir
ch ild
B oo
ks I
nt er
io r
D es
ig n
L ib
ra ry
te rm
s of
u se
, a va
ila bl
e at
w w
w .f
ai rc
hi ld
bo ok
si nt
er io
rd es
ig n.
co m
/te rm
s- an
d- co
nd iti
on s.
G l O B A l C O N S I D E R A T I O N S
13
lists some materials that come in units you will use to estimate. Square-foot estimates are easy: measure the length and width of a surface and multiply both num- bers together. lineal feet and lineal yards are also simple to estimate. No matter how wide the material, it is sold by the lineal yard, so you will measure only how much length you need. Square yards are similarly uncompli- cated. Determine the square-foot measurement and divide by nine to calculate square yards.
Remember, when budgeting you should account for both the installation and the product in the price, either in the construction budget or as a separate line item accompanying the material proposal, because installa- tion prices vary. For example, a stone tile and a porce- lain tile may be comparable in price for the material, but the stone tile will cost nearly twice as much to install.
GLOBAL CONSIDERATIONS Global considerations affect people and places beyond the immediate area. Business, humanitarian, and design considerations are prominent in discussions of global thinking. A designer who is working on a project in a distant location or one who assembles people and material resources from around the globe is involved in “global design.” Understanding climate, culture, tra- ditional materials, and precedent will help you predict how end users will respond to your designs.
• How can material selections create the specific atmosphere called for in the space or express the brand to coincide with marketing efforts? How can they work to enhance a theme?
• How can materials be used to manage noise or direct sound functionally as would be desired for my project?
• Which materials will work with the kind of main- tenance the facility is likely to receive?
Other considerations are implied by life-cycle cost factors. Issues like durability are obvious considerations. logical assumptions pertaining to maintenance are also accounted for. Even though the lobby of a park district building and that of a fine hotel have many program points in common, the level of care that the park build- ing would receive relative to the lobby of the hotel would not be equal, so material selections for each would vary. The hotel is a 24-hour facility operating 365 days a year, which also has implications for appropriate maintenance methods. Similarly, the emergency room at a hospital must be maintained while occupied, so materials that can be easily cleaned while people are present would be a programmatic consideration for facilities like these.
Material Units and Estimating Material is sold in varying unit measures (increments in which a material is sold or estimated). Table 1.4
Table 1.4 Typical units of measure for items you will estimate and specify.
Unit of Measure Items Sold in Such Units
Each FF&E (furniture, fixtures, and equipment): desks and kitchen cabinets, toilets, light fixtures
Fittings like faucets, component parts to systems such as accessory parts for light fixtures
Optional trims like decorative tile pieces
Square foot Most types of flooring (except carpet), field tile for walls and floors; paint coverage is estimated this way although paint is actually sold by the liquid measure, like pint, quart, or gallon
lineal foot Millwork trim, vinyl base
Square yard Carpeting
lineal yard Fabric and most commercial wallcovering
Roll Wallpaper, particularly for the residential market, is priced by the roll (but often sold in two-roll increments as a continuous piece)
Bolt Fabric and commercial wall covering that you need in large quantities may be sold to you in full bolts at a lower price than when you are buying yards cut from full bolts
Job Any material may be specified and defined as including all material required. For example if you sold “carpet installed in multipurpose room” it would be assumed that however much carpet was required, it would be provided under the agreement.
D ow
nl oa
de d
fr om
w w
w .f
ai rc
hi ld
bo ok
si nt
er io
rd es
ig n.
co m
o n
Su n
A ug
1 6
20 20
1 9:
13 :1
0 C
en tr
al D
ay lig
ht T
im e.
A cc
es s
pr ov
id ed
b y
O kl
ah om
a St
at e
U ni
ve rs
ity . I
P ad
dr es
s:
13 9.
78 .1
29 .1
13 . S
ub je
ct to
th e
Fa ir
ch ild
B oo
ks I
nt er
io r
D es
ig n
L ib
ra ry
te rm
s of
u se
, a va
ila bl
e at
w w
w .f
ai rc
hi ld
bo ok
si nt
er io
rd es
ig n.
co m
/te rm
s- an
d- co
nd iti
on s.
C H A P T E R 1 M A K I N G M A T E R I A L S E L E C T I O N S
14
A designer who is thinking globally will not sim- ply transport to a distant location. The designer who is thinking globally may also reference design solutions that originate in neither the designer’s home base nor the project site. For instance, a designer working on a project for a hot climate may look at solutions for keeping cold air out in a cold climate in order to meet the needs of the project’s design program. You will perform research on culture, vernacular architecture, climate, local materi- als, and many other topics so that your own horizons are broadened to include options beyond what is familiar to you from your experience in your home country.
Humanitarian considerations will hone your focus onto conditions of production in the locale where you will be sourcing material. What are the condi- tions under which the material is produced? Are they safe for workers and the environment, or are working conditions hazardous and waste from production dis- posed of carelessly, damaging the environment where the workers live? What kind of contribution does pro- duction make to the local economy? Does production strengthen the local economy and raise the standard of living in a sustainable way, or is it likely that foreign manufacturing concerns could divert business to a dif- ferent locale to pursue lower labor costs, devastating any gains that might have been realized? This investigation is complicated when a product that you are specifying is processed in several different places along its production route, having been harvested in one place, formed in another, and finished in yet another. As an example of the issues that you might encounter in such an investi- gation, according to the United Nations International Children’s Emergency Fund (UNICEF), approximately 158 million children participate in child labor, often working in hazardous conditions.
Helpful Hint 1.2
Third-party organizations are often a good source of information about industry-specific considerations that you should keep in mind while determin- ing what your criteria should be as you search for appropriate products.
methods that may be new to you and explore solutions from outside your own building culture and the build- ing culture of the project site. You will access potential solutions from around the globe.
MANAGING THE SPECIFICATION
After you have selected materials for your project, you must evaluate and manage information about them. We tend to think of structuring the specification as some- thing that occurs after the selection has been finalized, but if, from the start, you think of your selection in terms of what must be communicated about it, you also can use the specification as a thinking tool. Thinking of each selection as an eventual specification will help you organize information that you will need anyway as the selection process moves forward.
The “Spec” You will need to describe the products and labor required to complete the installation. Specifications (“specs”) break down into basic types that may be combined into a single spec. An open specification describes the mate- rial and installation but omits mention of any specific manufacturer’s item. As a result, the bidders can provide the most economical materials. An open specification is typically required for governmental projects or other instances where the lowest cost for the installation is more important than a particular product solution. A closed specification also lists labor and materials but will reference a particular manufactured product. A semi-open spec includes the description of a unique item by manufacture item number, but then with the addition of the words or approved equal, it can be opened up to alternative product suggestions to control costs or product lead times. A performance specification lists the functional outcomes desired, but no product is described. It would be very unusual for a designer to write a specification this way, but you will likely include performance stipulations in any spec that you write. For instance, an open or closed spec might include perfor- mance specifications or make reference to testing that is to be performed.
Table 1.5 distinguishes between the different kinds of specs that designers might write.
The design history of a client’s locale, as it spans time and distance, will be reviewed by the designer who is thinking globally. You will employ materials and
D ow
nl oa
de d
fr om
w w
w .f
ai rc
hi ld
bo ok
si nt
er io
rd es
ig n.
co m
o n
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1 6
20 20
1 9:
13 :1
0 C
en tr
al D
ay lig
ht T
im e.
A cc
es s
pr ov
id ed
b y
O kl
ah om
a St
at e
U ni
ve rs
ity . I
P ad
dr es
s:
13 9.
78 .1
29 .1
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drafting (CAD) drawings to specs and to construction scheduling information, simplifying building construc- tion management somewhat.
Master Specification In addition to the CSI format, you may work for a firm that structures individual specifications based on a master specification. Commonly called a master spec, this spec is prepared by the manufacturer or spec writer for modification by the designer in order to meet the unique needs of a client’s job. Specifications are more than a description of what you need for a portion of your project; they are also understood to define a contract, so precise language is required when composing a spec. You don’t want to leave anything out or leave anything open to interpretation.
Because specifications span the topics of selections and contracts, many designers use master specifications or specification formats. Some of the master specs that you will find and use are simply templates that you fill in to complete a specification. Other master specs that you will use are generated by product manufacturers to help you specify their product. Even though these specs are more complete than master spec templates, you will still modify them for your specific job requirements, and you will still be responsible for their clarity and completeness. Never issue a spec that you do not fully comprehend or one that contains references that you have not looked up.
Master or template specifications are sometimes prepared by organizations. For example, the National Wood Flooring Association (NWFA) has prepared generic specs pertaining to wood flooring products. The master spec that you might use as a guide for writing your own spec may have been written by a company like the Association of Researchers in Construction Manage- ment (ARCOM), whose business is writing specs to sell to others, usually to manufacturers who pay ARCOM to write a specification for their unique products.
SPECIFYING Dissecting the master spec: The general organization of master specs varies slightly, but information that you provide in a spec may include any of that contained in Sample Spec 1.1 that follows.
Project specification books can have hundreds of specifications and can be several hundred pages in length. large spec books are organized like other kinds of books, with a table of contents. The Construction Specifications Institute (CSI) has devised an organiza- tional structure for project specification books that has been adopted by many firms that design large building projects. It suggests an “order of appearance” for material specifications. According to this system, the sequence that orders your specs will be listed as a series of three pairs of numbers that move from broadest scope to nar- rowest. So, early in the design process, you know that a wall will be painted, but you have not yet determined what decorative finish you will eventually specify. In that case, you know that it is division 09 (finishes) and that decorative finishes are subgroup 94. Therefore, your spec will be CSI # 09 94 until you decide that it will be, for example, faux finish, which is 16. Now you can complete the numbering as 09 94 16 and locate it in your spec book between stained finishes (09 93 23) and antigraffiti finishes (09 96 23). Contractors and other parties to your project will know where to look for that specification.
The CSI format includes labor and materials, so it simplifies the connection between specifications and construction management. Building Information Mod- eling or Management (BIM) connects computer-aided
Table 1.5 Specification content will vary with your project needs and governing mandates from stakeholders.
O pe
n Generic specification that identifies a product and describes the installation process and/or results but does not list a specific vendor or manufacturer.
C lo
se d Provides all the information that is included in an open
spec but in addition to that, a particular supplier or man- ufacturer is identified and the supplier’s/manufacturer’s product that is to be used on the project is identified.
P er
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an ce
Describes what the completed installation must accom- plish. For example if the completed installation of floor surfacing must provide a certain level of slip resistance or emit a restricted amount of VOCs, those standards will be described along with how the installation is to be tested to prove that the requirement has been met.
R ef
er en
ce If material must comply with standardized testing, which
is to be performed prior to installation, you may refer- ence the test and the score that must be achieved. For instance, if a coating must meet an NFPA 286, Ul 1715, and 2009 IBC 803.1.2 you would reference those tests in your spec.
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Part 1 General Information 1.1 Related Documents
A. This includes references that must be accessed in order to comprehend the entirety of the spec. The items that you describe here might be drawings or data that are to be kept as part of the definitions of the spec.
1.2 Summary A. Describe any work that is related to the work in
the spec. If another trade must perform part of the work, you would identify that work as Related Work Specified Elsewhere. An example of this would be the electrical work required to complete an order for motorized drapery. The electrical work is part of the installation but is provided by the electrician, not the drapery workroom. However, the drapery workroom has an interest in the specifications that the electrician is receiving about the electrical work to be provided, so you would reference the specification to the electrician in this spec as related work.
B. Describe the scope of the project defining the work to be performed and the identity of the party that will be responsible for each item mentioned and the materials that are to be provided as part of the contract.
C. Related work describing the work of other trades that must precede the work described or will come after, affecting the work described.
1.3 References A. If codes or best practices standards defined by
trade or third-party organizations are to be part of the required work, reference them here.
1.4 Contractor Submittals A. If you require shop drawings, samples, or mock-
ups describe them here. If samples or mock-ups may become part of the completed work, say so in this section.
B. If verification data must be provided to certify that the installation conforms to fire code, meets LEED requirements, proves that the workroom is insured, or meets other certification, describe the documents that will satisfy this condition.
C. Other paperwork that may be required by others pertaining to the installation such as installation instructions or recommended maintenance.
1.5 Quality Assurance A. Describe the minimum experience the workers
who will be providing the material and installation are required to have, credentials that they must hold, and the minimum performance threshold that the installation must achieve in testing.
B. It is typical to require that materials be delivered to the site in the manufacturers’ unopened containers so you can be sure there are no substitutions that would compromise the quality of your installation.
1.6 Delivery, Storage, and Handling A. Describe how to get the materials on-site in a
condition that renders them suitable for a quality installation. Some materials are damaged by freezing temperatures, moisture, or other environmental conditions that you want to prevent. Material may have to acclimate to site conditions for a specified period of time or be protected from dust, dirt, or other potential damage, so use this section to describe all the conditions that must be maintained to ensure the material is in good condition throughout the installation.
1.7 Maintenance of Installation A. The material will likely have to be protected
from damage after installation until the owner takes possession of it, usually upon completion of all the work. Describe the conditions that are required. You might describe how to cover the material, how long it is to remain protected, if a minimum temperature must be maintained at the site, or whether other conditions must be present until the owner takes possession. Describe those conditions here.
Part 2 Products 2.1 General Information
A. List all materials that are to be provided as part of the contract, including materials unique to your job as well as materials required to complete the installation. For example, all fasteners and adhesives required for installation should be identified as being included in the contract.
B. Installers are expected to provide their own tools of the trade and come equipped with their own ladders, shims, braces, etc., required to complete the installation.
C. The quality of each material provided should be described, including any reference specifications or testing standards. An ASTM standard is an example of a reference that you might include in this section.
2.2 Manufacturers A. List acceptable manufacturers. You may list only
one manufacturer if you are writing a closed specification.
2.3 Products A. Describe the product to be installed; include any
item numbers. B. Describe any related products that will be
required, such as trims, sealants, membranes, etc. C. Describe any work that must be performed on the
material before, during, and after the installation. If the material must be cut to fit, polished, and sealed, such instructions would be part of your product description.
SAMPLE SPEC 1.1
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P R O C E S S
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falls on the designer. The organization of the process may take different forms that affect how much detail is required for specification records. Table 1.6 sums up the differences distinguishing each type of organization.
PROCESS The interior designer is often the hub of the materi- als selection, so coordination between all parties often
17
Part 3 Execution 3.1 Examination
A. Describe the condition that the material must be in if it is to be considered acceptable upon completion of the job. If it must be free of defect, acclimated to the site, or in another condition to ensure a satisfactory installation, describe it here so that the installer can confirm prior to installing that the material will be acceptable. In the building industry, installation constitutes acceptance, and there is no recourse for an unsatisfactory material after it has been installed.
B. Describe the condition that the site must be in before the installation can begin. Should the heating plant be fully functional? What work by others must be completed before the work described in this specification can commence?
3.2 Preparation A. Describe work that must be performed under
this contract (not related contracts mentioned earlier) to get the material or the site ready for installation.
3.3 Installation A. There are different approaches that you might
take for this section. You might describe the
process to be followed or might describe the result that you require, or you may combine them. For example, You may say that the installer is to use a bubble level in the center of the unit to check that the installation is level. You might simply say that the installed material is to be level. You may combine the two and say that the material is to be demonstrably level by testing with a bubble level placed in the center of the installed unit.
B. If there are allowable tolerances, describe them. In the preceding example, you might say something like “do not exceed 3/32” deviance from level in 10 feet or more.”
3.4 Post Installation A. Describe the condition that the installation should
be in before the installer leaves the job site. If the materials must be cleaned to a certain standard, sealed, or protected, or other work performed under this contract, describe those conditions in precise language.
B. If scraps and waste are to be disposed of by persons executing this contract, describe those procedures.
C. If you must sign off on the installation before it is to be considered to be complete, describe how that is to be arranged.
SAMPLE SPEC 1.1 (continued)
Table 1.6 The structure of job contracts affects your approach to the work and project management.
Contract Organization Characteristics Implications for Materials Management
Design-bid-build Custom design completed prior to bidding by multiple bidders
• Selections completed prior to bidding • More work performed up front • Detailed spec records
Design-negotiate-build Custom design completed prior to contract with single bidder
• Selections may be made during bidding • Management of selections may be shared • Detailed spec records for all materials selected by designer
Design-build The contractor and designer are the same entity, and custom design is documented only as necessary to communicate with tradespeople
• Selections may be made even during construction • Designer/contractor manages selections • Specifications for owner approval
Owner-build Custom design is built by resourceful owner acting as general contractor
• Selections will be completed per your contract • Owner manages selections • Specifications prepared for client approval
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C H A P T E R 1 M A K I N G M A T E R I A L S E L E C T I O N S
18
To keep the material selections moving forward and ensure they are installed on time and properly, each party to the project has to meet his or her responsibili- ties as they pertain to the specifications of surfaces and items. Review Table 1.7 for the various parties to the project.
THE SUPPLY CHAIN A number of people handle the supply of materials for a job. It’s a good idea to understand who does what along the supply chain so that you are interacting with the appropriate person depending on where you are in the selection process. The various suppliers include
• Manufacturers—Make a product; assemble or fabri- cate materials for use in interiors.
• Manufacturers representatives (“reps”)—Promote the use of these materials to designers and archi- tects and may provide other services to promote the use of the products they represent, such as custom details and specification formats. Some reps do not sell product and will refer you to a dealer when you are ready to purchase.
• Dealers/distributors/vendors—Sell material to trades (including designers, architects, contractors, and retailers). Distributors may offer the service of re- viewing the materials list to ensure that it has all the required pieces to complete the installation. These are the people who respond to the designer’s request for proposal (RFP). Some distributors do
As you move down the list from design-bid-build to owner-build, there is some likelihood that your level of responsibility for managing selections will decrease. More responsibility = more time = higher design fees.
The specifications described here are used in large commercial firms and the interior departments of archi- tectural firms. Smaller firms and residential firms may also use the format or may have simplified specifications. Firms may use one format for specifying materials for construction and another for specifying furnishings that they sell. Computer programs written for design firms can provide a template for the proposal to a client and later convert the proposal into orders to suppliers and eventually also generate the invoice from the informa- tion initially entered by the designer. No matter what form the specification takes, it must include all perti- nent information.
COLLABORATING Collaboration begins very early in the design process, and in addition to designers, architects, clients, and contractors, design teams may include lEED-accredited professionals and commissioning agents, facility man- agers, manufacturers’ reps, and others. Once your client has decided to proceed with the project, you may find yourself collaborating with varying combinations of tradespeople and professionals to complete the installa- tion. It is a good idea to have a general idea of who bears what responsibility so that you are addressing issues with the most logical person.
client understand the scope of work in the same way; otherwise, you may find yourself expected to deliver service that you did not mean to include in your agreement. Some firms will work only on full-service con- tracts as a way of protecting their reputations by con- trolling every aspect of the job. These firms become known for their excellence and high prices. Other firms build a reputation out of providing only those services that they are uniquely qualified to provide and leave all the purchasing and implementation of the design to resellers and contractors.
Just as your client may purchase top-of-the-line products or economy products, he or she will also find that the marketplace provides varying degrees of project management service to go along with the provision of design ideas. Some design firms are simply furniture specifiers, whereas others produce novel design ideas and details. Your client may want full-service design and expect you to detail, specify, and manage the implementation of the design. Other clients understand that limiting your service will also limit your fees and may decide to economize there. It is crucial that both you and your
For the Connoisseur 1.1
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Table 1.7 Projects are collaborative efforts. Even though roles are generally defined for all parties, the contract will clarify areas of overlap.
Who You’ll Collaborate with as You Manage Material Selections
How? and/or Why?
Architect Installation details and specifications will be transferred into the architect’s documents so a single set is referenced rather than multiple drawings by different offices; collaborate on decisions about surfaces.
General contractor The general contractor will determine which trades will be required to install the surfacing materials that you select; you’ll meet and answer questions and render decisions all along the production process.
Subcontractors The subs will install the materials according to your directions, including following manufac- turer recommendations you forward to them as well as your custom installation details.
Other designers If there are specialists on the job, you’ll collaborate with them in the selection of materials. These specialists include those listed here.
Acoustic consultants will have special material requirements for their systems and you will make selections from among their recommendations or find new materials that comply with their needs.
Lighting consultants depend on reflectivity of surface for successful designs so you will interact with them as you select colors and finishes.
LEED consultants advise and document the project’s sustainability. You will submit information about your selections for their records as well as work with them to locate appropriate materials.
Office systems suppliers will organize the components of panel and desk systems. You will make your selections for these items from their standard offerings.
Kitchen or millwork designers must coordinate their materials and finishes with the rest of your project so you will select from standard offerings or work with them to develop custom finishes.
Client The client approves of all materials and finishes prior to incorporating that material into the specs. Some firms have the client sign an acknowledgment of his or her approval.
not provide services other than managing the sale to the trades, but most will not sell to end users.
• Resellers and retailers—Sell material to end users. Retailers may also offer design services or may only sell product. They may sell to end users and design- ers or contractors. Designers and contractors prefer to do business with vendors who extend a trade discount (or charge the end users a higher price).
Some supply chains are short, such as the millworker making cabinetry sold directly to the end user. When this happens, all of the preceding functions are performed by one person; your millworker is the manufacturer, rep, distributor, and retailer. Some supply chains are long; a resin panel material may be represented by each of the different individuals described here in the chain. When you contact manufacturers about their product, they may refer you to a rep who will educate you about the product and then pass you along to a dealer to work on the particulars required for pricing. If the dealer does not
install, he or she may recommend installers who have experience with the product so you can assemble the labor costs along with the material costs for the product. If it is common for a particular material to be sold as part of an assembly, as is the case for glass, wood, and other such materials, you may contract with the fabricator who will sell the material, fabrication, and installation for a lump sum. In the case of the resin panels, you may never learn the cost of the material; it will be buried in the cost of the whole job.
PROJECT ORGANIZATION After reviewing the preceding information, you can eas- ily see that this industry is complex and that in addition to the people you see at the job site, there are many other participants, each with his or her own interests and responsibilities. The designer will constantly evaluate the need for, and form of, communication with the different participants while managing selections.
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the type of information that you share with the various parties will vary from job to job. On a given job, your client may demand a lot of information, and on another job, you may be working with a client who prefers not to get bogged down with minute details of the spec. Some installers prefer to have more information than others.
Review the example in Figure 1.2 showing a rather generic manufacturer’s spec for carpet indicating who in the project would be likely to receive what informa- tion listed there. Some of the information is for you, to help you make a decision; other information is of inter- est to your client; some to the vendor, etc. Realize that
Figure 1.2 Example of a generic manufacturer’s spec for carpet, indicating who in the project would be likely to receive what information.
Speci�cations
Construction tufted Surface Texture textured patterned loop Gauge 1/12” (47.0/10 cm) Recycled Content 25% pre-consumer Recycled Content by total weight Stitches Per Inch 10.0 per inch (30.37/10 cm) Finished Pile Thickness .121” avg (3.1mm) Dye Method yarn dyed Backing Material Unibond® by LEES Face Yarn Antron® Legacy nylon 6,6 with DuraTech Soil Protection by Invista Fiber Technology Duracolor® by LEES Stain Resistant System Passes GSA requirements for permanent stain resistant carpet* Face Weight 22 oz/yd2 (746.02 gm/m2) Size/Width 12’ width (3.66 m) Pattern Repeat 18” W x 26 2/5” L (45.72 cm x 67 cm)
Performance
Static 3.0 kv when tested under the Standard Shu�e Test 70 degrees Fahrenheit (21 degrees Celsius) - 20% R.H. Flammability Passes DOC-FF-1-70 Pill Test Flooring Radiant Panel Test Passes DOC-FF-1-70 Pill Test Smoke Density NBS Smoke Chamber NFPA-258 - Less than 450 Flaming Mode CRI Green Label Plus Certi�ed Y Construction Materials 100% man-made materials for superior stability. Speci�cations are subject to change without notice when such changes do not alter product performance. Slight color variation may occur from dye lot to dye lot.
Warranties
Wear Lifetime Unibond Warranty Static Lifetime of Carpet Edge Ravel Lifetime of Carpet. Guaranteed no edge ravel in normal use (no seam sealer required). Delamination Lifetime of Carpet. Guaranteed no delamination in normal use. Chair pads are not required but are recommended for maximum appearance retention. Tuft Bind Lifetime of Carpet. Guaranteed not to zipper, wet or dry. Adhesive LEES warrants that the use of LEES adhesives will bond the carpet to the properly prepared substrate for the life of the carpet. Substrate must meet LEES recommended �oor preparation procedures. Should LEES adhesive not be used, Lifetime Adhesive Warranties become null and void. Stain Resistance LEES provides lifetime stain warranty and a 10 year Lightfastness and Atmospheric Contaminant Warranty on all Duracolor carpets. This lifetime stain warranty covers all Duracolor carpets made by LEES.
*Under GSA requirements stain resistant carpets must score no less than 8.0 (10.0 is best) on the AATCC Red 40 Stain Scale. Carpet samples must �rst be exposed to 100 revolutions of the Tabor abrader (1,000-gram weight per H-18 wheel) and then the abraded area must be stain tested using AATCC test method 175.
Designer Vendor Installer Client
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P R O J E C T O R G A N I z A T I O N
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After the selection has been finalized, pricing will be confirmed. It may be the case that up to this point the designer’s material estimates, called takeoffs, have been used for price comparisons and a ballpark estimate from one installer has been used as the instal- lation cost. If, for purposes of comparison, the pricing has been assembled this way, you will now meet with the selected installer, review the site conditions, and receive a firm price for the work, along with the pre- cise quantity of material that the installer will need to complete the job. If your firm will be ordering the material, you will order the quantity requested by the installer. If the installer will order the material, he or she is likely to deliver the bid as material installed.
This content and organization may be your call, or may be determined by office protocol. In any case, you will be responsible for determining how much information is required and where to draw the line to avoid oversatu- rating the people who will receive the information that you compile.
The designer performs a number of tasks to man- age the specifications, beginning with the options that the designer presents to the client and ending with the completion of the punch list. Material options will be selected to meet the criteria established in the design program. They are presented to the client, and recom- mendations are made to help the client make a good selection from the choices presented.
Table 1.8 Interior designers must manage all phases of production from initial selection through inspection to close the punch list. Notice the flow of the management tasks and the time required. Some materials are staged in accordance with other work, such as plumbing. Plumbing valves and pipe, “roughs,” go in when the project is in studs and the rest of the assembly, the faucets and handles, called the “trim,” must wait until the walls are finished.
Month
1 2 3 4 5 6 7 8 9 10 11 12
Light/Electrical
Architectural
Decorative
Plumbing
Flooring
Wood
Tile
Stone
Resilient
Carpet
Walls
Paint
Wallpaper
Tile
Stone
Wood
Millwork
Trim
Cabinetry
Window Coverings
Furniture
Select Bid Contract Sample Inspection Punch list complete
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legend defining the various tasks that the designer must perform to manage selections.
SUMMARY In this chapter you learned a variety of standards, guides, and recommendations that contribute to design goals for the materials and installations you devise for your clients’ projects. They included mandatory and best practices considerations that were developed by a num- ber of second- and third-party organizations, including both private and public entities.
Global considerations are increasingly important in design, and this chapter reviewed some considerations that the conscientious designer analyzes when specify- ing for the global emphasis of a project. Global consid- erations are appropriate for all design projects.
Another important consideration during the selec- tion and specification of materials is the client’s budget. As a designer, you will develop different kinds of esti- mates during the various stages of a project for project management.
You will manage selections from making an initial generic selection to identifying the precise materials to be used to writing the specification and monitoring the installation.You also will collaborate with several enti- ties along the supply chain to orchestrate the process.
WEB SEARCH ACTIVITIES 1. Go to the International Code Council website,
www.iccsafe.org, and notice the number of com- munities that are part of the guidelines developed by the ICC. The ICC reviews its various guidelines on a continuous basis and changes its recommenda- tions every three years or so. Keeping in mind that the ICC is often refer- enced by jurisdictions as they develop their local code mandates, you can understand that the ICC is a place to see what future codes will require. Anticipating the future is part of the program- ming process. Select one area of interest (such as disabilities or sustainability) and see what is being considered by ICC right now and will likely become a requirement in local codes in the future. Save the location on your computer so you can quickly browse these topics as you work on your
With all the firm price quotes on hand, the material order can now proceed.
Regardless of who places the order for the materials, the designer is responsible for reviewing and approving samples and shop drawings. The shop drawings show custom constructions that document all the details for fabrication. Custom work frequently requires the pro- duction of shop drawings.
There are a number of sample types that you may review. One common sample is a finish sample. Finish samples are reviewed for wood finishes, sealants for tile and stone, as well as color samples of many different kinds. Another kind of sample is called a mock-up, which is a life-size construction. A cabinet door and drawer face may be constructed full scale to allow you to check proportions and details; a few pieces of tile may be adhered to a board and grouted and sealed so that you can confirm the visual compatibility of the materials installed. Typically, production will not proceed until the samples, shop drawings, and mock-ups are approved or signed off (this sometimes means an actual signature and date in permanent marker on the sample itself).
After the samples are approved and the fabricators have permission to proceed, the work will be put into production as soon as possible. If a shop has other cus- tomers whose orders predate yours, you will wait until your job comes up in the production schedule before your material will be produced. Sometimes shops have a lot of work in house (they have contracted with many other purchasers), so lead times spanning months are not unusual for some manufacturers and workrooms. Therefore, it is a good idea to inquire about lead times when you are making your initial material selection. The material will be produced and shipped when the order is complete and the balance on the material has been paid.
The contractor will need to have material on the job site by a particular time to meet the deadlines in the construction schedule. You will track the progres- sion of the materials selected as the job moves forward so you know when you should block out time to inspect material that is being installed. Some materials should be inspected on-site before, during, and after installa- tion. To be proactive in managing your selections, find a way of keeping track of the management tasks that you must perform at each phase to keep your jobs on track. Table 1.8 shows one simplified version of manag- ing this task. Notice at the bottom of the form there is a
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ceramic tile; in that case, search for installation cost ceramic tile. Measure the area of the surface to receive the material that you select and see how much money you would likely have to budget for the material and installation as you managed your client’s budget.
6. Go to the Construction Specifications Institute website (www.csinet.org) and search for information about MasterFormat. One of the free PowerPoint presentations is called “What Is MasterFormat?” View the slides for a more in-depth explanation of MasterFormat. If you cannot find this information on the CSI website, search for What’s MasterFormat? PPT.
7. Go to the Construction Specifications Institute website again. Under the Common questions tab, there is a choice to see an answer to “What’s My MasterFormat Number?” Click on that choice and find the link to download the numbers and titles. You might want to reference the numbers on any specifications you write while studying this topic. Save the PDF to your computer so that you don’t have to find it again because this site is not the easi- est to use. If you cannot find it on the CSI website, per- form a general search to find the MasterFormat index numbers. Peruse the divisions. Division 9 has many materials of particular interest to interior designers.
8. Search for a master spec for a selected product. For example, you might search for master spec wood floor- ing. Save or print the document and reference it as you review Sample Spec 1.1 earlier in this chapter. In the master spec you find online for a spe- cific material, you will probably notice that there are numerous places where you must customize the spec. look for brackets like [this] and <this>, which indicate you need to confirm or insert infor- mation. Also keep your eyes open for numbered lists. When you see a numbered list, it will fre- quently mean you must pick one option from the list, as items numbered there are exclusive choices and to have a number of them in your spec would present confusing contradictions.
9. Search for an example of each step in the supply chain for a single kind of material.
design projects. You will want the projects in your portfolio to be aligned with current thinking when you hit the streets and look for your first job, and this is one tool that you can use to anticipate the future.
2. Go to the Americans with Disabilities Act web- site, www.ada.gov. Find the Guidelines document and notice the topics that pertain to material sur- faces, such as ground and floor surfaces and ramps and steps. Also notice resources for specific kinds of facilities such as small businesses and lodging facilities. These brochures were written with busi- ness owners in mind, and they provide clear expla- nations of requirements that are likely to pertain to those kinds of businesses. You may want to review one or two of the brochures that pertain to your areas of interest in interior design.
3. As a designer entrusted with the health, safety, and welfare of your clients and the public, you will weigh the health effects of your decisions along with other programming issues. Manufacturers serving the design industry will respond to demands from designers to create safe products, but you must be vigilant and create that demand by only specifying safe products for your clients, especially if you are creating designs for vulnerable popula- tions. Vulnerable populations include children whose immune systems are not fully developed; the elderly, whose immune systems are often sup- pressed; and people with illnesses whose immune systems are compromised. Go to www.epa.gov and search for the health effects of the chemicals listed here in the text. You may prefer to use a search engine directly instead of starting at the EPA website, but if you do, make sure your source is reliable and objective.
4. Go to the USGBC website, www.usgbc.org. Under Resources, you will find succinct and self- explanatory introductions to the importance of lEED and how the system works. All the presenta- tions are worth perusing, so pick at least one and spend a few minutes to learn about it.
5. Choose a material that you would like to use in your selected project and note the price. Then perform a search for installation cost informa- tion for the material. For instance, say you picked
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3. What is the purpose of the Americans with Dis- abilities Act? What are some examples of guidelines contained in the ADA?
4. What are the characteristics of sustainable products?
5. When making selections for a commercial interior, what flame resistance is generally required for the materials that you select? What might be some examples of surfacing material that would meet both ADA and fire safety?
6. What are VOCs?
7. Under what system are sustainability guidelines organized and accounted for? What organization developed these guidelines? What is the relation- ship of these guidelines to building codes?
8. What are characteristics of sustainable materials?
9. What chemicals are you likely to encounter as you select materials for your clients that you should try to avoid?
10. What is accounted for in a life-cycle cost analysis?
11. What are some of the ways to approach the task of thinking globally?
12. What does social sustainability mean?
13. Why are third-party organizations critical to objec- tivity? What are the benefits of objectivity in the development of guidelines and standards?
14. When would you produce a ballpark figure for your client? A cost comparison? At what point is it appropriate to invest the time to develop complete costs? Why wouldn’t you develop complete costs during the design development phase?
15. What is the form and function of the Construction Specifications Institute indexing system?
16. What is a master specification, and how will you use it?
17. What functions do each of the people in the supply chain perform?
10. Professional designers must acquire continu- ing education units (CEUs) as part of activities required to maintain their membership in profes- sional design organizations. Many CEU learning opportunities are free of charge—presented live by vendors or online through sites like AEC Daily. Go to www.aecdaily.com and click Continuing Education. Notice that the courses are arranged according to the CSI index. look in Division 9 (Finishes) for topics that you might like to view related to this material. There will be an opportunity to take a test at the end of each presentation. The test is required of professionals seeking CEUs but is just for fun for you; however, when you pass the test, you might want to print or save the certificate as documenta- tion of the experience (especially if your instruc- tor has you keep a class notebook of information related to this topic).
PERSONAL ACTIVITIES 1. Find images of a variety of interior places in maga-
zines or online. A hospital room, hotel lobby, res- taurant, classroom, and an office would allow for a good variety of programmatic considerations. What considerations would you account for if you were the designer responsible for making mate- rial selections for each place? In your opinion, are the selections shown appropriate? If you would not have specified some materials shown, what would you have used instead? If you deem that the materials shown are appropriate, what makes them so?
SUMMARY QUESTIONS 1. What is the difference between codes and standards
or guidelines?
2. Why can’t you use the IBC for your guide on all of your projects?
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