What Is Graphic Design: History And Origins

Graphic design is a profession whose business is the act of designing, programming, and create visual communications, generally produced by industrial means and intended to convey specific messages to specific social groups, with a clear purpose. This is the activity that enables graphically communicate ideas, facts and values processed and synthesized in terms of form and communication, social, cultural, economic, aesthetic and technological. Also known as visual communication design, because some associate the word figure only to the printing industry, and understand that visual messages are channeled through many media, not just print.

Given the massive and rapid growth in the exchange of information, the demand for graphic designers is greater than ever, particularly because of the development of new technologies and the need to pay attention to the human factors that are beyond the competence of engineers who develop them.

Some classifications are widely used graphic design: advertising design, editorial design, corporate identity design, web design, packaging design, typographic design, signage design, multimedia design, among others.

Graphic Design History

The definition of the graphic design profession is rather recent, in what concerns their preparation, their activities and goals. Although there is no consensus on the exact date of the birth of graphic design, some dating during the interwar period. Others understand that begins to identify as such to the late nineteenth century.

Arguably specific graphic communications purposes have their origin in Paleolithic cave paintings and the birth of written language in the third millennium BC. C. But the differences in working methods and training required auxiliary sciences are such that it is not possible to clearly identify the current graphic designer with prehistoric man, with xylograph fifteenth century or the lithographer 1890.

The diversity of opinion reflects the fact that some see as a product of graphic design and all other graphical demonstration only those that arise as a result of the application of a model of industrial production, those visual manifestations that have been “projected” contemplating needs of different types: productive symbolic ergonomic contextual etc.

Background

A page from the Book of Kells: Folio 114, with decorated text contains the Tunc dicit illis. An example of art and page layout of the Middle Ages.

The Book of Kells – A Bible handwritten richly illustrated by Irish monks in the ninth century CE-is for some a very beautiful and early example of graphic design concept. It is a graphic demonstration of great artistic value, high quality, and that even a model for learning to design-for even surpasses in quality to many of the current-editorial productions, and also from a functional point of view contemporary This graphic piece responds to all needs presented the team of people who made it, however others believe that it would be graphic design product, because they understand that their design is not adjusted to the idea of current graphic design project.

The history of typography-and by transitive, also the history of the book-is closely linked to graphic design, this may be because there are virtually no graphics designs that do not include such items graphics. Hence, when talking about the history of graphic design, typography also cited the Trajan column, medieval miniatures, Johannes Gutenberg’s printing press, the evolution of the book industry, the posters Parisian Arts Movement and Crafts (Arts and Crafts), William Morris, Bauhaus, etc.. “

The introduction of movable type by Johannes Gutenberg made books cheaper to produce, and facilitate their dissemination. The first printed books (incunabula) scored the role model to the twentieth century. Graphic design of this era has become known as Old Style (especially the typefaces which these early typographers used), or Humanist, due to the predominant philosophical school of the time.

After Gutenberg, no significant changes were seen until the late nineteenth century, particularly in Britain, there was an effort to create a clear division between the fine and applied arts.

In the 19th Century

First page of the book “The Nature of Gothic” by John Ruskin, published by the Kelmscott Press. The Arts and Crafts intended to revive the medieval art, inspiration in nature and manual labor.

During the nineteenth century visual message design was entrusted alternately two professionals: the artist or the publisher. The first was formed as an artist and the second as a craftsman, often both in the same schools of arts and crafts. For the printer as art was the use of ornaments and selecting fonts printed in his compositions. The artist saw typography as a child and paying more attention to ornamental and illustrative elements.

Between 1891 and 1896, the William Morris Kelmscott Press published some of the most significant graphic products Arts and Crafts Movement (Arts and Crafts), and established a lucrative business based on the design of books of great stylistic refinement and selling them to the upper classes as luxury items. Morris proved that a market existed for works of graphic design, establishing the separation of design from production and the fine arts. The work of the Kelmscott Press is characterized by its recreation of historic styles, especially medieval.

First Vanguards

Poster for the Moulin Rouge in Paris. Made by Henri de Toulouse-Lautrec with color lithography in 1891. Thanks to Art Nouveau, graphic design and visual clarity gained by the composition.

Isotype of the Bauhaus. Founded in 1919 by Walter Gropius, is considered the birthplace of the graphic design profession.

Given Poster for Matinée. Made by Theo van Doesburg in January 1923. The free font organization, expresses the spirit of the Dada movement, irrationality, for freedom and oppose the status quo and visual expressions of the time.

Corporate identity design for Lufthansa, by the Development Group 5 of the HFG Ulm. Ulm School was an inflection point in the history of design, since there is outlined the design profession through scientific methodology.

Current pictograms design for the National Park Service of the United States. The idea to simplify the symbols forms developed during the 1950s.

The design of the early twentieth century, as well as the fine arts of the same period, was a reaction against the decadence of typography and design of the late nineteenth century.

The interest in ornamentation and the proliferation of measurement changes and typographical style one piece design, synonymous with good design, it was an idea that was maintained until the late nineteenth century. The Art Nouveau, with its clear desire stylistic was a movement that contributed to higher order visual composition. While maintaining a high level of formal complexity, did so within a strong visual consistency, discarding the variation of typographic styles in one graphic piece.

Art movements of the second decade of the twentieth century and the political turmoil that accompanied them, generated dramatic changes in graphic design. The Dada, De Stijl, Suprematism, Cubism, Constructivism, Futurism, the Bauhaus and created a new vision that influenced all branches of the visual arts and design. All these movements opposed to the decorative arts and popular, as well as the Art Nouveau, which under the influence of the new interest in geometry evolved into the Art Deco. All these movements were a revisionist and transgressive spirit in all arts of the time. This period also publications and manifestos proliferated through which artists and educators expressed their opinions.

During the 1930s developed for the composition interesting aspects of graphic design. The graphic style change was significant because it shows a reaction against eclecticism ornamentalist organicism and the time and proposes a more stripped and geometric. This style, connected with Constructivism, Suprematism, Neoplasticism, De Stijl and Bauhaus exerted a lasting influence and inescapable in the development of twentieth century graphic design. Another important element in relation to professional practice, was the increasing use of visual form as communication element. This item appeared mostly in the designs produced by the Dada and De Stijl.

The symbol of modern typography is the sans serif font or serif, inspired by industrial types of the late nineteenth century. Highlights include Edward Johnston, author of the font for the London Underground, and Eric Gill.

Design Schools

Jan Tschichold embodied the principles of modern typography in his 1928 book, New Typography. He later repudiated the philosophy presented in this book, calling it fascist, but remained very influential. Herbert Bayer, who dirigó from 1925-1928 the typography and advertising workshop at the Bauhaus, created the conditions for a new profession: the graphic designer. He put the subject “Advertising” in the education program including, among other things, the analysis of advertising media and the psychology of advertising. Notably, the first to define the term Graphic Design was the designer and typographer William Addison Dwiggins in 1922.

Thus Tschichold, Herbert Bayer, László Moholy-Nagy, and El Lissitzky became parents of graphic design as we know it today. They pioneered production techniques and styles that have been using later. Today, computers have dramatically altered production systems, but the approach that contributed to experimental design is more relevant than ever dynamism, experimentation and even very specific things like choosing fonts (Helvetica is a revival, originally a Typography design based on the nineteenth-century industrial) and orthogonal compositions.

In the years following the modern style gained acceptance, while stagnated. Notable names in modern design midcentury are Adrian Frutiger, designer of the typefaces Univers and Frutiger, and Josef Müller-Brockmann, large poster of the fifties and sixties.

The Hochschule für Gestaltung (HFG) in Ulm was another key institution in the development of the graphic design profession. Since its founding, the HFG distanced himself from a possible affiliation with advertising. At the beginning, the department concerned was called Visual Design, but it quickly became clear that his current goal was to solve design problems in the area of mass communication in the academic year 1956-1957 the name was changed to Department of Visual Communication, modeled Visual Communication Department at the New Bauhaus in Chicago.2 3 In the HFG Ulm, decided to work primarily in the area of persuasive communication in the fields such as traffic sign systems, plans for technical equipment, or visual translation of scientific content. Until that time were not systematically taught these areas in any other European school. In the early ’70s, members of the Bund Deutscher Grafik-Designer (Association of German graphic designers), unveiled several features of their professional identity, as in the case of Anton Stankowski among others. While in 1962 the official definition of the profession was directed almost exclusively to the advertising, now extended to include areas located under the rubric of communication visual.4 corporate images produced by the Development Group 5 of the HFG Ulm such as those created for the firm Braun or airline Lufthansa were also critical to this new professional identity.

Gui Bonsiepe and Tomas Maldonado were two of the first people who tried to apply the design ideas from semantics. In a seminar held at the HFG Ulm in 1956, Maldonado proposed modernizing rhetoric, classical art of persuasion. Maldonado Bonsiepe and then wrote several articles on semiotics and rhetoric for Uppercase English publication and Ulm magazine that would be an important resource for designers to that area. Bonsiepe suggested that it was necessary to have a modern system of rhetoric, semiotics updated as a tool to describe and analyze the phenomena of advertising. Using this terminology, could expose the “ubiquitous structure” of a message publicitario.5

The idea of simplicity and good design feature continued this for many years, not only in the design of alphabets but also in other areas. The tendency to simplify influenced all means at the forefront of design in the 1950s. At that time, developed a consensus that simple, not only was the equivalent of good, but was also more readable equivalent. One of the hardest hit areas was the design of symbols. The designers raised the question of how they could be simplified without destroying its informative function. However, recent investigations have shown that the shape simplification only one symbol does not necessarily increase readability.

Second Vanguards

Reaction to the sobriety growing graphic design was slow but inexorable. The origins of postmodern fonts back to the humanist movement of the fifties. In this group highlights Hermann Zapf, who designed two typefaces today ubiquitous Palatino (1948) and Best (1952). Blurring the line between serif fonts and sans serif and reintroducing organic lines in the lyrics, these designs served more to ratify the modern movement to rebel against him.

An important milestone was the publication of the Manifesto, first things first (1964), which was a call for a more radical form of graphic design, criticizing the idea of design in series worthless. He had a massive influence on a new generation of graphic designers, contributing to the emergence of publications such as Emigre magazine.

Another notable designer of the late twentieth century is Milton Glaser, who designed the unmistakable I Love NY campaign (1973), and a famous Bob Dylan poster (1968). Glaser took elements of the popular culture of the sixties and seventies.

The advances of the early twentieth century were strongly inspired by technological advances in photography and printing. In the last decade of the century, technology played a similar role, but this time it was computers. At first it was a step back. Zuzana Licko began using computers to compositions soon, when computer memory was measured in kilobytes and typefaces were created by dots. She and her husband, Rudy VanderLans, founded the pioneering Emigre magazine and type foundry of the same name. They played with the extraordinary limitations of computers, releasing a great creative power. Emigre magazine became the bible of digital design.

David Carson is the culmination of the movement against contrition sobriety and modern design. Some of his designs for Raygun magazine are intentionally illegible, designed to be more visual than literary experiences.

Present Times

Today, much of the work of graphic designers is assisted by digital tools. The graphic design has changed enormously because of computers. From 1984, with the appearance of the first desktop publishing systems, personal computers gradually replaced all analog in nature technical procedures for digital systems. Thus computers have become indispensable tools and, with the advent of hypertext and the web, its functions have been extended as a means of communication. In addition, the technology also has been noted with the rise of telecommuting and special crowd sourcing has begun to intervene in work arrangements. This change has increased the need to reflect on time, motion and interactivity. Even so, the professional practice of design has not been essential changes. While the forms of production have changed and communication channels have been extended, the fundamental concepts that allow us to understand human communication remain the same.

Job performance and skills

The ability to design is not innate, but acquired through practice and reflection. Still, it remains an option, one thing potentially. To exploit this power is necessary continuing education and practice, as it is very difficult to acquire by intuition. Creativity, innovation and lateral thinking are key skills for graphic designer job performance. Creativity in design exists within established frames of reference, but more than anything, is a cultivated skill to find unexpected solutions to seemingly intractable problems. This translates into design work of the highest level and quality. The creative act is the core of the design process manager but creativity itself is not an act of design. However, creativity is not exclusive graphics performance and no profession, although it is absolutely necessary for the proper performance of the design work.

The role that the graphic designer in the process of communication is the encoder or interpreter works in the interpretation, organization and presentation of visual messages. His sensitivity to the form must be parallel to its sensitivity to the content. This work deals with the planning and structuring of communications, with its production and evaluation. The design work is always based on customer demand, demand which eventually established linguistically, either orally or in writing. This means that the graphic design transforms a linguistic message in a visual demonstration.

The professional graphic design rarely works with nonverbal messages. At times the word appears briefly, and in other texts appears as complex. The editor is in many cases an essential member of the communications team.

The design activity often requires the participation of a team of professionals, such as photographers, illustrators, technical illustrators, including professionals with less related to visual message. The designer is often a coordinator of various disciplines that contribute to the production of the visual message. Thus, coordinates its research, design and production, making use of information or specialists in accordance with the requirements of different projects.

Graphic design is interdisciplinary and therefore the designer needs to have knowledge of other activities such as photography, freehand drawing, technical drawing, descriptive geometry, psychology of perception, Gestalt psychology, semiology, typography, technology and communication.

The professional graphic design is a visual communications specialist and his work is related to all steps of the communication process, in which context, the action of creating a visual object is only one aspect of that process. This process includes the following:

Defining the problem.

Targeting.

Conception of communication strategy.

Display.

Schedule Production.

Monitoring Production.

Evaluation.

This process requires the designer to possess an intimate knowledge of the areas of:

Visual communication.

Communication.

Visual Perception.

Management of financial and human resources.

Technology.

Media.

Assessment techniques.

The four guiding principles of graphic design are variables that graphic design professional should consider when facing a project, these are:

  • The Individual: conceived as ethical and aesthetic unit that integrates society which is part and to whom the visual space is uniform, continuous and connected.
  • The advantage: because it responds to a need for information and this is communication.
  • The atmosphere: because it requires knowledge of physical reality to contribute to the harmony of the habitat, and the reality of other contexts for understanding the structure and meaning of the human environment.
  • The economy: it encompasses all aspects related to the study of the cost and streamlining of processes and materials for the implementation of the elements.

Successful Design Management for the 6 Stages of Design of Infrastructure and Building Projects

Design Management

Design Management seeks to establish project management practices that are primarily focused on enhancing the design process. For Infrastructure and Building projects the successful implementation of Design Management throughout the entire Project Life Cycle can represent the difference between a superior outcome for the project in terms of Quality, Timing, Cost and Value or failure, given the complexity of Infrastructure and Building projects in today’s environment.

Design Management is however primarily focused on the Design Process within the project framework and as such is only a part of the overall Project Management of a project, albeit a critical part of the project.

If you are going to be a successful Design Manager and achieve superior outcomes for both your clients and your own business, you cannot manage design haphazardly and expect consistent results. You must manage design projects by undertaking a proven stage by stage process. This brief article outlines those stage by stage processes and gives the Design Manager a guide to successfully design managing Infrastructure and Building projects. The Design Management role is considered in this article in the context of an in-house or consultant client side Design Manager and not a Design Manager within the design team itself. It is also on the basis of a fully documented Design and Construct only contract.

Stage 1: Early Design Management Involvement-Statement of Need

The output for this stage will be a Design Report that will directly feed into the Client’s Statement of Need and overall Business Case.

Early involvement to the Project Life Cycle is important but this may need to be reinforced with the Client to appreciate and understand the benefits this will provide. There are several key tasks during this stage:

1.1 Obtaining and Assessing all the available key design Information

  • Collation of all available data and information
  • Visit the site
  • Review contract as related to design aspects
  • Review the level of the design that has been prepared to date
  • Evaluate information and highlight critical issues
  • Review findings with Client
  • Assess the team capability requirements and resourcing
  • Assess any spend on fees required at this stage
  • Engage consultant as required to provide required technical and project inputs to assist the preparation of the design report.

1.2 Design Risk Review

  • Identify design risks and create a Design Risk Register
  • Identify any Safety in Design issues
  • Analyse and provide suggestions for risk mitigation for ongoing stages
  • 1.3 Design Report Input to Statement of Need
  • Prepare draft of design report input into the Statement of Need report and review with Client
  • Prepare final Design Report component into the Statement of Need report

Stage 2: Design Management during the Outline Design Stage

With the Statement of Need or Business Case formally approved for the project to proceed, the next step is to get the Outline Design Stage going.This stage involves clearly defining the Client requirements and project needs so as to form a sound foundation for the design process to proceed and is the right time to engage consultants and set up the formal Design Management process. The following are the key tasks in this stage:

2.1 Define Client design requirements and project design needs

  • Gather all available and updated project data from the Client.
  • Identify any gaps in the information provided.
  • Meet with the Client to review the information provided and identify additional information required.
  • 2.2 Engage Design Consultants
  • Engage all the key consultants that are required to develop the Functional Design Brief. It is critical that the consultant’s scope of work is clear for the level of input required and clearly noted in their Contract.

2.3 Prepare Functional Design Brief

  • Manage and coordinate the consultant team to deliver the Functional Design Brief that will respond to and record all the client requirements and needs and form the basis to proceed for all disciplines.
  • The Functional Brief will generally be supported by Concept design sketches that provide an outline of the proposed design.

2.4 Prepare the Design Management Plan (DMP)

The DMP provides the roadmap for the way the design will be managed and needs to be prepared at this stage of the design process for best results. The DMP is a component of the Project Management Plan prepared by the Project Manager.

The key Design headings in a DMP are as follows:

  • Introduction
  • Project Overview
  • Objectives
  • Process and related procedures
  • Status
  • Documentation & Deliverables Schedule
  • Value Engineering
  • Reviews
  • Change Management
  • Independent Third Party Checks, Permits
  • Quality Management
  • Client Approvals
  • Close Out & As Built Record

2.5 Outline Cost Plan

  • Manage and coordinate the development of the Outline Cost Plan with the Quantity Surveyor, with input from all the relevant consultants.

2.6 Identify Design Risks

  • Identify Design Risks within the overall Risk Management framework.
  • Analyse and manage risks and update the Risk Register, design out risks where possible.
  • Ensure Safety in Design requirements are followed.

2.7 Value Management

  • Arrange a Value Management workshop. Value Management is a systematic review of the essential functions or performance of a project to ensure that best value for money is achieved. It takes an overall view of the function of the project as well as capital and recurrent costs.
  • Prepare a Value Management Report and implement recommendations.

2.8 Project Approvals

  • Outline and define the planning approval process and coordinate with the design process requirements.

Stage 3: Design Management during the Schematic Design Stage

With the Outline Design Stage formally approved for the project to proceed to the next stage, the next step is to get the Schematic Design Stage going. This stage involves developing the design across all the disciplines in response to the approved Functional Design Brief. The following are the key tasks in this stage:

3.1 Manage the Development of the SchematicDesign

  • Manage the team in developing the Schematic Design.
  • Monitor the compliance of the Schematic design with the Functional Design Brief.
  • Review Design Programme and coordinate with overall project programme.
  • Coordinate the development of the Schematic Design with the project procurement process.
  • Manage the preparation of the Schematic Design Report which contains drawings and outline specifications for all disciplines.

3.2 Schematic Design Cost Plan

  • Manage and coordinate the development of the Schematic Cost Plan with the Quantity Surveyor, with input from all the relevant consultants.
  • Identify any major design decisions to the Quantity Surveyor that could influence cost.

3.3 Identify Design Risks

  • Identify Design Risks within the overall Risk Management framework.
  • Analyse and manage risks and update the Risk Register, design out risks where possible.
  • Ensure Safety in Design requirements are followed.

3.4 Value Engineering

  • Arrange a Value Engineering Workshop, including external peer reviewers to negate any “built in” resistance to change and get a fresh perspective
  • Prepare a Value Engineering Report and present to the Client and implement approved Value Engineering recommendations within the Schematic Design Report or in the detailed design stage as appropriate.

3.5 Project Approvals

  • Review and update the planning approval process and coordinate with the design process requirements.
  • Manage the submission of any required Planning Approval Applications.

3.6 Update the DMP

  • Review and update the DMP as required catering for the current project circumstances.

Stage 4: Design Management during the Detailed Design Stage

With the Schematic Design Stage formally approved for the project to proceed to the next stage, the next step is to get the Detailed Design Stage going. This important stage involves developing the design to tender and construction across all the disciplines in response to the approved Schematic Design Report. The following are the key tasks in this stage:

4.1 Manage the Development of the Detailed Design

  • Manage the team in developing the Detailed Design ready for tender including as required coordination meetings between disciplines experiencing coordination difficulties and the exchange of progress design drawings and specification for proper inter-disciplinary coordination.
  • Manage changes and variations.
  • Monitor the compliance of the Detailed Design with the Schematic Design Report, Value Engineering recommendations and the Functional Design Brief.
  • Review Design Programme and coordinate with overall project programme
  • Coordinate the development of the Detailed Design with the project procurement process including early issue of documents to the Quantity Surveyor to start the Bill of Quantities. Any “shortcuts” in the deliverables to accommodate the tender programme need to be fully understood and agreed
  • Coordinate the inputs to the development of the Contract documents being prepared by the Project Manager
  • Consider the requirement for lead disciplines that are producing background and base drawings, such as architects on building projects, to complete these ahead of the supporting engineering disciplines, so as to allow the supporting disciplines adequate time to complete their dependent work. The team cannot realistically work effectively all in parallel to deliver all at the same time without some lag with the lead discipline. It also allows time for the lead consultant to review the documentation from the dependent disciplines. Allow adequate time in the design programme for this lag in completion and coordination.

4.2 Detailed Design Cost Plan and Pre Tender Estimate

  • Manage and coordinate the development of the Detailed Cost Plan with the Quantity Surveyor, with input from all the relevant consultants.
  • Identify any major decisions to the Quantity Surveyor.
  • Prepare for the Pre Tender Estimate (PTE).
  • Take any required action if the PTE is in excess of the Detailed Design Cost Plan.

4.3 Identify Design Risks

  • Identify any additional Design Risks within the overall Risk Management framework.
  • Analyse and manage any remaining risks and update the Risk Register, design out risks where possible
  • Ensure Safety in Design requirements are followed

4.4 Peer Review and Value Engineering

  • Arrange for the drawings and specifications that are being prepared for Bill of Quantities or that are at 90% completion to be issued for external Peer Review to review the “tender readiness” of the tender documents for each of the disciplines. This is also the time to review the consistency of the presentation of the documents across all disciplines and the adherences to project protocols such as title sheet formats, sheet sizes, drawing extents and overlaps, drawing scales, document numbering and revision notation.
  • As part of the Peer Review, Value Engineering of the detailing within the tender documentation should be undertaken at the same time to ensure the detailed design is the most efficient possible.
  • Manage the peer review responses and issue to the team to respond to the comments and incorporate the recommended and agreed comments or mark ups. Allow adequate time in the design programme for this important process.

4.5 Project Approvals

  • Review and update the planning approval process and coordinate with the design process requirements.
  • Manage the submission of any required Planning Approval Applications.
  • Obtain any required certification from the consultants.
  • Manage any required inputs to obtain the required Planning and Building approvals.

4.6 Update the DMP

  • Review and update the DMP as required to cater for the current project circumstances
  • 4.7 Tender Readiness Report
  • Prepare Tender Readiness report to the Client recommending issue to tender including any project issues or risks and the PTE.

Stage 5: Design Management during the Tender Stage

With the Detailed Design Stage Tender Readiness Report formally approved for the project to proceed to Tender, the next step is to arrange the design documents to be issued for tender. The following are the key tasks in this stage:

5.1 Prepare Design Documentation for Tender

  • Manage the team in delivering the documents as per the DMP at the required time in the required hardcopy and soft copy formats to the required locations.
  • Collate the required document transmittals.

5.2 Housekeeping

  • Take the opportunity to catch up with housekeeping of files on the server, in local drives and hardcopies.

5.3 Tender Technical Queries and Clarifications

  • Manage all incoming tender technical queries and clarifications during the tender period and arrange responses from any of the team where required.
  • Participate in any Tender clarification meetings with the contractor as requested by the Project Manager.

5.4 Addendums

  • Manage any design and documentation requirement for addendums that are required due to omissions from the Tender due to time constraints or from new Client requirements.

5.5 Tender Evaluation

  • Manage all required technical tender review and evaluation inputs from the team to allow the tender to be evaluated from a technical perspective.
  • Where required prepare a technical evaluation report and deliver to the Project Manager.
  • Participate in any negotiation meetings where technical matters require further clarification and arrange appropriate technical inputs from team.

5.6 Manage Consultants

  • Manage the finalisation of design related fees and any outstanding variations and claims.

Stage 6: Design Management during the Construction Stage

With the Tender formally awarded and on the assumption that the Project Manager will typically manage the construction phase delivery of the project, then the role of Design Manger will generally be reduced during this stage to a support role only or where required due to incomplete or ongoing design development resulting from client variations or changes made during tender negotiations. The following are some of the key tasks in this stage:

6.1 Issue Approved For Construction(AFC) documents

  • Manage the team in delivering the AFC documents as per the DMP at the required time in the required hardcopy and soft copy formats to the required locations.
  • Collate the required document transmittals

6.2 Housekeeping

  • Take the opportunity to complete the housekeeping of files on the server, in local drives and hardcopies

6.3 Outstanding Design

  • Manage the team in delivering any outstanding design due to client changes or changes resulting from tender negotiations

6.4 Manage Contractor Design Submissions

  • Subject to the complexity of the design, assist the Project Manager to manage the team in reviewing and responding to any contractor designs.

Design Management in Action

The above methodology represents a general approach for Design Managing Infrastructure and Building Project. This methodology has been applied successfully to numerous projects undetaken by the author, however as any Design Manager will know, every project is different and every design and project team is generally comprised of different team members.

The key to making the above methodology work is studying, applying and start implementing it to suit your particular project. It offers focus and a clear direction for any design for an Infrastructure or Building project to achieve a superior outcome for your Client and your own business.

Retail Design for Vehicle Showrooms

Why the Right Retail Design is Important for Motor Showrooms

When vehicles undergo constant design upgrades and enhancements to make them more appealing and efficient, it stands to reason that the spaces that market them should do so too. Inspired by new ideas of efficiency and aesthetics that guide the designs of cars and other vehicles, the showroom environment can aspire to the same principles, powered by branding and relevant retail design drawings. In fact, the right retail store layouts can almost immediately and directly impact sales and productivity.

As the corporate branding world is trending in the direction of specific fixtures, fittings, furniture and other collaterals that showcase and reinforce corporate identities in car stores, the role of comprehensive retail store plans in transforming showrooms into bespoke retail spaces cannot be underestimated. This is where 3D architectural modelling and BIM modelling services become invaluable.

To further branding goals, the structure and circulation of the retail space is critical. Once this is decided, ambience can be developed through lighting, sound, materials and branded touchpoints. Brand graphics and their positioning build the confidence of potential customers. Motor showrooms display their products in vast open spaces. Exact positions of each vehicle at the showroom layout is dimensionally represented by accurate retail drawing sets. While preparing the layout plan, the length and breadth of any display systems or racks are shown.

Within the branding purview of structure and circulation, consistency is important. Exterior branding, structural features and signage should follow inside and entice, interest and fortify the product. To ensure this consistency, a dedicated team is essential. Each client employs individual corporate branding, communication, style guidelines and standards. A dedicated team assigned to a client can be trained to deliver each client requirement. These can include:

  • Space planning design
  • Interior design
  • Elevations – exterior and interior
  • Store refurbishment drawings
  • Updating existing designs
  • Detailing of store features, such as signage, mannequin locations and light fixtures

Typically, a project manager is identified, who then undergoes training with a client representative. This training is passed on to a dedicated team of engineers and architects, who study design guidelines and deliver high quality drawings to the client and receive regular feedback. Communication is accurate and issues are resolved quickly.

Motor Retail Design Elements

Standards for each aspect of the showroom experience are planned and designed, from internal and external spaces to entrances to circulation systems. Retail space must allow for both permanent and non-permanent features, such as features that may change when new models arrive. Structural constraints affect overall design; columns, stairways, ceiling height, windows and emergency exists are all factors. In motor showrooms, all available space must be utilised. Floor plans guide circulation, which then inclines the consumer to travel to important displays and, ultimately, to the sales associate. Car showrooms can be quite grand, displaying double-height glazing, bright lights and expensive stone/ceramic floors, but customers require clear routes to the service area/workshop. Also, showrooms must be large enough for the number of cars that need to be displayed. Even service bays in the body shop and the number of technicians must be considered. The use of detailed retail design drawings and BIM technology ensure that the required parameters for all these features are adhered to.

Vehicular display is prime, but there is also a high standard for building services that must be maintained. Effective cooling in customer areas must counteract heat absorbed in highly glazed areas. Sustainable properties could lead to lower energy bills, lowering overheads. With effective MEP coordination, the features to alleviate loads, energy use and carbon emissions that could be planned are:

  • Extended eaves, brise-soleil and canopies, which reduce solar gain, especially on the main façade
  • Roof lights to provide basic lighting needs
  • Enhanced insulation for cladding and roofs
  • Motion-detecting lighting for bathrooms and other areas not always in use
  • Double-glazed glass insulated compact sectional access doors that allow maximum natural light, while being useful for vehicular movement. They conserve air conditioning and insulate the building.

A soothing yet impressive ambience adds extra edge to the showroom experience, and this is a zone where MEP drawings, models and coordination play a major role. Primarily, this is achieved by lighting and materials, but sound and audio also play a key role, providing it appeals to the target market. But to get back to lighting, the right lighting may perhaps cause the greatest dramatic effect in a motor showroom. Functionality and the ability to showcase display vehicles are vital. This involves layered lighting, with a choice of intensities and fixtures. The lighting of the ceiling and roof should cover structural features and direct customers to key areas.

With valuable display vehicles, security is important. Ideally, motor showrooms have access control, alarms and sophisticated internal and external CCTV, with movement tracking and links to remote monitoring centres, yet another feature to benefit from relevant MEP coordination.

Perspective

In the end, a well-executed retail space must be viewed from the consumer’s perspective. Retail design should control the customer’s view of the retail space. All of these crucial factors would be difficult to plan without the necessary elevations and walk-throughs provided by advanced architectural designs, specifically retail store CAD drawings and 3D models by Revit.

Retail Design Drawings for Motor Showrooms

Effective planning for motor showrooms call for exceptional design models and drawings. Preferred drafting stages and services for retail spaces include:

  • Store Concept
  • Floor Design & Fixtures
  • Electrical and Lighting
  • Customized Colour and Material Matching

Designers and drafting service personnel with relevant inter-domain expertise can utilise their experience to coordinate business and retail for a brand. Services on offer are:

  • Zoning, layout design
  • Interior design, graphics and visual branding
  • POS displays and locations
  • Design detailing and seasonal roll-outs

These can be customized with integrated 2D retail drafting for specific client requirements. With BIM modelling solutions, these can also be turned into detailed 3D space rendering, where the entire retail space plan can be visualised by the client. Textures of walls, colour schemes and other details can be viewed in realistic conditions with the use of 3D space renders. This allows modifications before the design is approved for production drawings. A major advantage is that scale modelling costs can be saved.

Seamless project execution can occur using AutoCAD and Revit software. This means project steps can be monitored in real time, projects can be completed and moved to the quality check stage, which can be performed thoroughly based on project scope. The retail drawing sets can be reviewed in its final form by the client and valuable feedback can be implemented. In the final design stages, a final quality check can be conducted. Skilled drafting services by retail space planners are updated with global retail trends, some still in a process of evolution. These services can greatly contribute to maximising potential in a motor showroom and provide customers with the best planned retail environment.

Since retail design drafting services are inevitable in the process, it seems logical to consider how cost-effective and quality-efficient they can be. Global trends lean toward the growing popularity of outsourcing these tasks. The reasons are compelling.

Advantages of Outsourcing Retail Design

Less Costly – Outsourced retail design drawings are competitively priced compared to the same quality and quantity of work executed locally, and since many outsourced firms employ work shifts, drawings or 3D architectural models are delivered faster.

Global Exposure – Outsourcing firms are exposed to retail establishments across the globe. Thus, the technical personnel are well qualified, well trained and well acquainted with international building codes and brand guidelines.

Flexibility – Outsourced firms can generally operate either as a small dedicated team or as a large team of 40 draftsmen or more to execute projects of larger volume or those with quick turnaround times, so work can be scaled to perfectly meet requirements.

Updated Expertise – Outsourced firms employ technical personnel who excel at BIM and are generally well updated on other software, including AutoCAD, Revit, etc.

Extensive Experience – Trusted outsourced firms have been designing and drafting retail spaces for years for clients in Europe and the UK.

Quality outsourcing services provided for retail design include:

Production Drawings Sets

Besides providing complete construction drawing sets from Autodesk (Revit or AutoCAD) to the retail industry, SolidWorks has been used to create engineering drawings. All key drawings, including floor plans, internal elevations, external elevations, construction plans, setting-out drawings, composite plans, finishing plans, lighting and ceiling plans, comprehensive equipment schedules and material and component take-off data are included.

Retail Design

Retail design, documentation, and project management, concept design and layouts are provided.

3D/4D Models

Using Revit Architecture and Revit MEP tools, 3D models and scan-to-BIM services, using point cloud data, are provided, with 4D scheduling added for new site construction.

Retail BIM Data

BIM services provide automated schedules to ensure, accuracy, speed of design output, rendering and visualisation tools to create realistic views.

Manufacturing/Assembly Drawings

Manufacturing and assembly drawings for bespoke retail furniture, fixtures and fittings, using AutoCAD detailing software is provided.

Floor Plans

Colour-coded floor plans and 3D plans.

Computer Generated Images

Computer-generated images for external and internal views are generated, showing images with artistic and watercolour effects.

In conclusion, for the detailed demands of retail design in motor showrooms, the ideal option seems to be the way of outsourced firms, as they offer one-stop shops for creating initial 2D drawings from rough sketches and photos to delivering 3D models for space design and final production drawings. They offer services tailor-made for specific business needs that are easy to execute and flexible to modifications. They employ highly qualified staff with experience, knowhow and talent for retail design drawings and the expertise to use the latest software in the retail design industry. Most importantly, this ultimately helps save time and cost.