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THE INTERIOR DESIGN REFERENCE + SPECIFICATION BOOK
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Chapter 1: Starting an Interior Project
The thought of starting an interior project can be daunting; however, with a bit
of strategic planning, a project can be launched smoothly and effectively. What-
ever the scale of the project, four basic elements must be considered from the
beginning: project site, program, schedule, and budget. These four items are
seldom determined exclusively by the client or the designer, but usually by both
in collaboration. The fewer the variables, the more efcient the process will be.
PROJECT SITE
In general, a client engages a designer once a site or space is in hand. It is then the designer’s
task to analyze the space to ensure that it will meet the client’s needs. Sometimes, a client may
not have a single space in mind, but rather a few options that the designer will test to ascertain
which one best suits the client’s needs. Both of these scenarios suggest that the client is work-
ing toward a particular program; however, sometimes the physical space generates the program.
In this case, the designer’s task is to decide the best layout for the space and design a program
within those constraints.
PROGRAMMING
Programming is the process of defining the needs of those who will use the space, in advance
of creating the design. Whether for a home kitchen renovation or for a newly constructed
restaurant, this exercise should evaluate the functional performance, opportunities, and
constraints of the existing space. Furthermore, the program should articulate what spaces,
features, or attributes must be added to improve functionality and give an appropriate and
compelling character to a space. The programmatic goals should be precisely qualied in a
brief, the written document that outlines all functional, dimensional, and relational require-
ments. This list of objectives will form the basis for evaluating design solutions in subsequent
phases of the project.
Programming can be broken down into three central types of activities:
and
goals and the format of the program wish list can vary widely. For small projects, gathering
data and analyzing the client’s needs are essential; providing a written report is less so. That
said, to avoid miscommunication, some record of the process must be made. Thus, program-
ming might consist of a lled-in questionnaire, a detailed interview, or a inventory that denes
the microdeterministic issues, such as the number and type of shoes within a closet or the
amount of cupboard space needed to accommodate everyday dishes and ne china. For large
corporate and institutional projects, the designer will need to listen to and put in order criteria
from a broad range of stakeholders. Often the interior designer must synthesize conicting
information and make recommendations to the client that can have policy implications beyond
physical planning. Documentation is essential. In all cases, the designer is required to priori-
tize wish lists to make meaningful and nite design decisions.
Although this step might at times seem extraneous,
cess because it is here that the client’s problems and goals are clearly identified
nication is key to articulating the program and managing expectations for the design phase. A
lack of understanding the goals at this stage may result in cost overruns during the construc-
tion phase or, even more detrimental, a project that does not meet the client’s basic needs.
Ideally, the program serves as a core map from which design objectives, spatial adjacencies,
and building constraints are elaborated.
SITE PROGRAMMING SCHEDULE BUDGET
PROGRAMMING ACTIVITIES
Gathering Information Analyzing Information Documenting Information
•Collectfloorplans.
•Visits itew ithclient.
•Reportfieldobservations.
•Determin eclientstructure
•C ompileinformationon
•Interviewclientreprese nta
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Text
In general, a client engages a designer once a site or space is in hand. It is then the designer’s
task to analyze the space to ensure that it will meet the client’s needs. Sometimes, a client may
not have a single space in mind, but rather a few options that the designer will test to ascertain
which one best suits the client’s needs. Both of these scenarios suggest that the client is work-
ing toward a particular program; however, sometimes the physical space generates the program.
In this case, the designer’s task is to decide the best layout for the space and design a program
ments. This list of objectives will form the basis for evaluating design solutions in subsequent
Programming can be broken down into three central types of activities:
gathering, analyzing,
and documenting information. Within this framework, the process for establishing the project
goals and the format of the program wish list can vary widely. For small projects, gathering
data and analyzing the client’s needs are essential; providing a written report is less so. That
said, to avoid miscommunication, some record of the process must be made. Thus, program-
ming might consist of a lled-in questionnaire, a detailed interview, or a inventory that denes
the microdeterministic issues, such as the number and type of shoes within a closet or the
amount of cupboard space needed to accommodate everyday dishes and ne china. For large
corporate and institutional projects, the designer will need to listen to and put in order criteria
from a broad range of stakeholders. Often the interior designer must synthesize conicting
information and make recommendations to the client that can have policy implications beyond
physical planning. Documentation is essential. In all cases, the designer is required to priori-
tize wish lists to make meaningful and nite design decisions.
Although this step might at times seem extraneous, programming is critical to the design pro-
cess because it is here that the client’s problems and goals are clearly identified. Good commu-
nication is key to articulating the program and managing expectations for the design phase. A
lack of understanding the goals at this stage may result in cost overruns during the construc-
tion phase or, even more detrimental, a project that does not meet the client’s basic needs.
Ideally, the program serves as a core map from which design objectives, spatial adjacencies,
and building constraints are elaborated.
PROGRAMMING ACTIVITIES
Gathering Information Analyzing Information Documenting Information
•Collectfloorplans.
•Visits itewithclient.
•Reportfieldobservations.
•Determin eclientstructure
and end users (Who makes
the decisions? Who uses the
spaces?).
•C ompileinformationon
client (client’s mission,
structure of organization,
future goals, etc.).
•Interviewclientreprese nta-
tives and end users.
•Analyzeinterviewnotes.
•Creat ebubblediagramsof
ideal spatial relationships.
•Determin estaffcountsand
future projections.
•Developlistsoftypeand
quantity of spaces.
•Definespecificneedswithin
a given space (i.e., storage
for a specific number of
files).
•Listissuesthatneedclarifi-
cation or resolution.
•Documentclient’smission
and project goals.
•Summarizeprogramfor
current needs and future
growth.
•Includemeeti ngnotesfrom
interviews.
•Obtaincli entappr ovalon
program and projections.
•C ompilereport.
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THE INTERIOR DESIGN REFERENCE + SPECIFICATION BOOK
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SCHEDULE
An ideal project schedule specifies not only the designer’s responsibilities, but also the impor-
tant decisions to be made by the client, as well as the critical role of the contractor as a member
of the project team
. As a result, the schedule should address all of the project milestones, in
the form of a checklist, and assign to a team member the primary responsibility for oversight.
Schedules include, but are not limited to, establishing the timeframe for executing contracts
and acquiring existing condition surveys; dening the length of design phases; receiving
concept design and budget sign-off; bidding and negotiating with contractors; obtaining
permits; dening construction duration; and xing a move-in date. If the date for moving in is
already known, it is best to work backward from this date to determine the duration of each
milestone. Reviewing the overall timeframe against the checklist of activities will determine its
reasonableness. It is also important to research the duration of the regulatory and approvals
processes in the local area because they often consume more time than expected.
Week
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 1 2 3 4 5 6
CHECKLIST
Contract Negotiations
Programming / Pre-Design
Interior Survey
Presentation of Design Concepts
Approval of Design Concept
Schematic Design
Conceptual Price Estimate
Review and Approval of Budget Estimate
Design Development
Review and Approval / Design Sign-Off
Construction Documents
Bids and Negotiations
Award Contract
Acquisition of Permits
Mobilization of Site
Construction Administration
Installation of Furnishings
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Starting an Interior Project
13
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tant decisions to be made by the client, as well as the critical role of the contractor as a member
the form of a checklist, and assign to a team member the primary responsibility for oversight.
milestone. Reviewing the overall timeframe against the checklist of activities will determine its
reasonableness. It is also important to research the duration of the regulatory and approvals
Month
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 1 2 3 4 5 6
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THE INTERIOR DESIGN REFERENCE + SPECIFICATION BOOK
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SCOPE OF PROJECT
As the design of a small project is further developed, it is important to work with a contractor
who will estimate the project costs based on drawings and specications that the designer
provides. For small projects, estimates should not be based on square footage, but rather,
should identify and price all construction materials and labor costs. For medium to large proj-
ects, either a cost estimator or a construction manager will prepare the budget. Cost estima-
tors are hired exclusively to put together construction estimates. Construction managers are
contractors/builders that are hired early in the design process to manage the cost of a project
through the design phases. These experts typically have signicant market experience and
can establish a project budget based on a dollar value per square foot; however, the budget
should always be tested against a detailed breakdown based on project scope. For very large
projects, it is standard to request several estimates to test the market value of the project.
When large discrepancies appear in prices, quantity surveyors might be hired to verify material
quantities. Price variations are more symptomatic of different material quantities than of dif-
ferent unit prices, and the quantity surveyor can help resolve these disputes.
BUDGET
Establishing a project budget is crucial for streamlining the design process. It instantly com-
municates the scope of the work and the level of finishes. Project budgets are divided into hard
and soft costs. For an interior project,
hard costs cover the cost of construction and fixtures,
furniture, and equipment (FF&E). A typical assumption for an FF&E budget is 10 percent of the
overall construction cost.
Soft costs include, but are not limited to, designer’s fees, consultant’s
fees, project management fees, permitting fees, insurance, and project contingencies.
A designer’s primary concern is to meet the budget for hard costs. To ensure that a budget is
realistic, a conceptual pricing estimate should be conducted early in the process. For small
projects, it may not be realistic to have an estimator or a contractor on board at the initial stage.
Instead, the designer may be able to provide “ballpark” numbers based on their experience.
The danger is that construction costs are extremely volatile and subject to change depending
on many factors, such as ination and shifting market conditions. So for early pricing studies
or ballpark assumptions, it is important to include contingencies for unknown factors. There
are several types of contingencies, whose percentages of the total estimate will change as the
design develops.
TYPES OF CONTINGENCIES
Design Contingencies Money that is reserved for design elements that are not known
during a pricing study. The earlier that a pricing estimate is
completed, the higher the percentage for design contingen-
cies should be. As the design is further documented, this per-
centage decreases—until the category disappears at the end
of the construction documents. These contingencies typically
range from 5 to 10 percent of the overall estimate.
Construction
Contingencies
Money reserved for unknown conditions due to the renovation
of existing buildings. These contingences can range from 5 to
15 percent of the overall estimate.
Owner Contingencies Money an owner reserves for change orders once a project is
in construction. Change orders typically occur due to a change
in scope, schedule, or a combination of the two. These contin-
gences can range from 5 to 15 percent depending on the con-
dition of the existing building. Generally, the older the building,
the more the owner should reserve for unforeseen situations.
Escalation Money reserved for increased costs for materials and labor due
to time lapses from the initial pricing study to actual construc-
tion. These contingences can range from 3 to 5 percent per
year, from when the project was originally priced.
BUDGET TERMINOLOGY
Change Order
Competitive Bid
Guaranteed Maximum Price
(GMP)
Invitation to Bid
Value Engineering (VE)
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