Иностранный язык в профессиональной деятельности. Английский язык. Дизайн интерьера. Дизайн пространственной среды. Учебное пособие

One of the most important things landscapers do before starting a project is surveying the land. Failing to survey a plot properly can have serious consequences. One of these is accidently working on the wrong side of a property line. To prevent this problem, builders and landscapers place stakes in the ground at the property’s corners. They also site structures no closer than a half a meter from the line. This helps them stay on the correct side. A plat, or a map of the piece of property, is a good reference tool to locate the property lines.

Another reason for surveying land is to identify underground structures nearby. These include pipelines, such as gas lines, water lines, and sewer lines. Additionally, landscapers should know the locations of any wells or underground septic tanks. Disrupting these structures can cause expensive damage – and possibly a public health hazard.

It’s important to carefully evaluate all these factors before starting work.

Running into unseen obstacle partway through a project can be costly and dangerous.

9. Write a word or phrase that is similar in meaning to the underlined part

1.Before beginning a project, landscapers evaluate and measure the land.

2.The surveyor placed a sharp, pointed object in the ground to mark the location of property line.

3.The landscaping team members studied the official map of the piece of property before starting to dig.

4.Because the surveyor incorrectly measured the piece of land, the design did not match the space.

Siting the house

10. Fill in the sentences with the most suitable word or phrase from the box

1.Siting of the house should maximize the use of passive ________________.

2.Siting of the house should take maximum advantage of existing

___________.

3.The home should be ____________ from the road and/or neighbors.

4.The lot will require considerable _________________.

5.Difficult ______________ will dictate house siting.

6.The home will _________ with Nature.

7.The home will create impressive visual __________.

8.The home should look as though it has been on the landscape ____________.

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9. The architect was famous for ____ his buildings to take advantage of the views.

11. Match the descriptions of existing home or lot (1-5) with possible further actions the designer did to develop the property

1)The client bought a very small lot in the city’s older neighborhoods, where modest Craftsman-style, clapboard – covered bungalows and picket fences abound.

2)“The view was the most important thing, because you can’t change it, but the old house, which was built in 1937, had undistinguished architecture and was boring” – the owner says.

3)“We bought five hundred acres of bottomland that used to be just swamp and dirt. We wanted the house to be private and able to blend into the countryside”. “I know him well, I thought I knew exactly what he wanted”, says an architect, “a house perched up high, with great views. But he said, ‘No, I want it hidden.’”

4)The artist has long been drawn to native American artifacts and wanted his new house in the hills in New Mexico - whose architecture should have a certain austerity – to be a work of art in which the horizon provides the only frame.

5)“We bought the site and spent the next ten years dreaming of what we would put on it”, recalls the owner. He chose the firm to create the house for his family with an exterior that would fit into the landscape but have the dramatic geometry, a kind of “high-tech pueblo”.

_________________________________________________________________________________________________________________

a)The architect designed an adobe-style house with a perennial garden in the hills above Santa Fe. The rooms ramble on, bending in crescent fashion around a courtyard with an old Spanish fountain along one wall. From the terrace outside master’s bedroom, from the courtyard and from the gardens, one can look down through the black-green hills to the valley below.

b)The partners of Design Group Architects have drawn inspiration from age-old rocks and ruins in devising some of the area’s most striking structures. Walls reach out to embrace arriving guests and to protect those within. Their jagged edges suggest ruins and canyons, eroded by wind and water over the centuries.

c)The architect could make something of it, could give the house architecture – good fireplaces, cornices, dadoes, solid mahogany doors. The façade’s windows were given a Gothic treatment.

d)In deference to the neighbors, the architect designed the house with gables and lots of small windows, covered it in clapboard and wrapped a picket fence around the front yard.

e)The architect partially buried the entrance side and roofed it over with prairie sod. The shapes are soft and molded to echo the contours of the surrounding foothills. Retaining walls made of planters hold back the earth. When the junipers

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mature and cover them, they’ll be living green walls. From the road the structure is barely visible because it is sunk below the fields that surround it.

12. On the Internet find the examples of homes matching these front profiles. Supply photos and describe them.

1.A symmetrical, lakefront home ….

2.Designed to crown a hilltop, a three-level home is clearly in command of all approaches.

3.A straight shot to the garage puts the homeowners inside. From there, the family home feels private, with few windows or access points to the road beyond.

4.Stone is paired with wood in a new addition to a historic home.

5.A prow-front bump-out great room in the center of the home gives an awesome first impression.

6.Set back in the woods, the home merges the definition between front and back.

7.The second story overhangs the first, with a second floor balcony emphasizing the importance of the view.

8.The driveway passes right by the front door and delivers occupants to the family entrance of the home through the garage.

13. Translate the sentences, paying attention to the phrases with a noun / nouns in an attributive position.

1.The front of the home is all about curb appeal and appearances.

2.The back of the home is where the majority of our outdoors time is spent.

3.A deck spills off the back of the home, where French doors flank a massive stone fireplace and afford speedy access to the outdoors.

4.These homeowners have adorned their home with country touches, from a twigbuild garden fence to a rock-lined gravel driveway.

5.A dormer deck combination provides a great place for coffee off the master bedroom.

6.Shiplap siding emphasizes the vertical rise of the great room, as well as the garage and guest suite beyond.

7.A barn-like exterior, with gambrel roof, reveals its residential nature with a bump out front entryway. Stone finish adds a sense of history to the structure.

14. Translate the sentences, paying attention to the participle constructions.

1.Decking skirts the entire home, placing the emphasis on being outside.

2.Built into a slope, a deck allows the occupants to walk out their first floor onto an elevated deck.

3.Rising among dunes, this shingle home is dominated by glass, offering occupants the salty air and fantastic seaside views they sought when they designed.

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4.The producer supplies wall panels with most of the windows already installed, saving time on site.

5.Most visitors crisscrossing the ski village’s downtown don’t even see the lot.

6.The agent had told us about the stupendous views we would have – once we took a few trees down – and described huge windows with sunlight pouring in.

Vocabulary

abound – v, to exist in very large numbers

adobe – n, earth and straw that are made into bricks for building houses clapboard – n, a set of boards used to cover the outside of a building, or one of these boards: clapboard houses

cornice – n, wood or plaster that runs along the top edge of a wall, used for decoration: A carved cornice runs around the high-ceilinged room

creek – n, AmE a small narrow stream or river

crescent – n, a curved shape that is wider in the middle and pointed at the ends curb appeal – n, the level of attractiveness of a property when it is viewed from the street

dado – n, the lower part of a wall in a room, especially when it is decorated differently from the upper part of the wall

deck – n, a wooden floor built out from the back of a house, where you can sit and relax outdoors

devise – v, to plan or invent a new way of doing something

dormer – n, a window built into a roof, so that it sticks out from the roof driveway – n, the hard area or road between your house and the street

gable – n, the upper end of a house wall where it joins with a sloping roof and makes a shape like a triangle

girdle – v, literary to surround something

jagged – adj, having a rough or pointed edge or surface

perennial – adj, a plant that is perennial lives for more than two years

picket fence – n, a fence made up of a line of strong pointed sticks that are fixed in the ground

plat – n, a map of a piece of property

plot – n, a piece of land that is specifically defined or designated for something rolling – adj, rolling hills have many long gentle slopes

sod – n, the layer of earth with grass and roots growing in it stupendous – adj, surprisingly large or impressive = magnificent

the great outdoors – informal, the countryside, considered as enjoyable and healthy

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UNIT 3

INTERIOR DESIGN: PRE-DESIGN WORK

1.Warm up. Interior design brings to mind a picture of designers sketching plans, playing with colour and texture to produce exciting schemes, or haunting specialist shops to track down unique pieces of furniture, decorative objects or detailing to customize their work. But before the designer can consider any of the creative process the pre-design work starts.

a) Discuss the following question: What are the initial stages of a design project?

b) Describe the client-designer relationship.

2.Read and translate the text. Then suggest: a) what questions a designer’s questionnaire will likely contain; b) what a key consideration for public spaces designing is, c) what an important but not the easiest area to discuss is; d) what the proposal sets out

The brief and the proposal

The process of gathering information from the client regarding requirements and lifestyle is usually referred to as ‘taking the brief’. Taking the brief is a logical process and some designers work with a prepared questionnaire. Establishing what the existing limitations are can be as crucial as crucial as establishing what the client ideally wants to end up with in terms of storage, working space, comfortable seating and up-to-date technology, in a style they are happy with.

The initial meeting with the client gives both parties the opportunity to form a view as to whether they would make a successful working partnership. If a client is unfamiliar with a designer’s work then it would also provide a chance to browse through a portfolio.

A commercial brief will need to take into account market factors, branding and particular considerations applicable to the clients involved. It would also require the designer to take the time to talk in depth to key people working in the specific commercial area in order to understand requirements, constrains or practical considerations the proposed project might raise. For example, circulation through a space is a crucial aspect of a design and a designer working on a restaurant, for example, should discuss a traffic-flow plan to ensure that staff and guests can move about the space in comfort and safety, from entrance to tables, from kitchen to tables, from table to cloakrooms, and so on.

Inevitably, some clients may have very fixed ideas about their requirements which are not viable within the budget they are suggesting, while others are concerned about setting any form of budget figure for fear of the designer’s reaction, or even derision. However, it is obviously an issue that needs early agreement if the project is to reach a satisfactory conclusion.

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The proposal should set out the various stages of the project, what the client can expect to receive in the way of drawings and illustrations, and a breakdown of project fees for services at each stage. In addition, it should contain detailed terms of business and conditions of engagement. There are situations when a designer should be prepared to negotiate and be sensitive to any possible constraints which could be related to timing, budget or legal or technical difficulties. In these situations, the designer could suggest alternative methods of approach such as phasing the work or looking at different fee structures to suit the project.

3. Read and translate the text.

The survey

Once the client has agreed to the proposal the designer can start the next stage of assembling information as a basis for the creative process, which begins with surveying and measuring on-site.

Firstly, the space needs to be measured so that scale drawings can be produced as a basis for the spatial planning and subsequent layout. This is then followed by a thorough analysis of the existing space. The detailed measurements of the space are recorded on a rough floor plan of the area and would include any existing fitted furniture. The designer would also mark in the position of any existing services such as gas pipes, radiators or television, and electrical sockets and switches. Also added to the plan are the height of window sills from the floor as well as the depth and width of sills, window-frame reveals and architraves.

The orientation and resultant quality of light and strength of sunlight are likely to affect decisions on the design and decoration, and so the way a room faces would also be indicated on the survey plan.

The second part of the fact-finding process for the designer is to carry out an analysis of the existing space. This would include all the information pertaining to the space involved that is non-measurable.

It is obviously important that the fabric of a building is in a decent state of repair. Older properties may have been built without a proper damp-proof course, for example, and there may be other hidden problems, which have to be remedied before any decorative work is carried out. The designer might need to bring in specialists to check a range of items such as roof timbers or floor joists.

After collating all the necessary information in the form of the client brief and survey, the designer begins the process of formulating a creative response.

4. To complete an analysis of a space for a domestic interior, a designer should provide a checklist for each room. Write at least two questions that need to be considered for each element: ceiling, walls, flooring, electrics, heating, joinery, doors, and windows.

Ceiling _____________________________________________________

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Walls _______________________________________________________

Flooring_______________________________________________________

Electrics________________________________________________________

Heating________________________________________________________

Joinery________________________________________________________

Doors ________________________________________________________

Windows________________________________________________________

5. In the excerpt Surveying a room fill in the spaces (1 – 11) with the suitable words or phrases from the list. Translate the sentences paying attention to modal verbs.

a new lease of life, superficial ‘clutter’, type of flooring, circulation around a room, services, plaster-work, contemporary-style, fireplace, storage, measuring, consideration

Surveying a room

In some countries, permission would never be given for the removal of fine windows in a ‘listed’ property, but some ‘unlisted’ properties might benefit from the installation of 1) _________ windows to allow increased light into the interior.

In a listed period building, planning permission will be required for the removal of specific interior decorative detailing, such as the 2) ______________.

A designer should discuss with a client whether a 3) __________ is to be retained, restored or removed.

When 4) _________ windows, the height of the window-sill from the floor, as well as the depth and width of sills, frames, architraves and reveals, all need to be noted.

5) __________ must be given to the style and quality of the paneling, decoration, positioning and architrave of a door.

On a survey report, a designer should make a note of any existing furniture. A piece of furniture might be given 6) _____________ if placed in a different room.

During the client briefing and when surveying the room, it is essential to consider any problems with 7) ____________ in relation to its use and the client’s lifestyle.

It is important to establish whether there is any existing 8) storage and to explore where shelving or cupboard space could be installed, if required.

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Note should be taken of any existing 9) ________, which could include radiators, electrical sockets, gas points or pipes.

It is essential to check what 10) ___________ is already laid, since it might be possible to restore an existing wood or stone floor.

An important aspect of a design survey is to see beyond the 11) ____________

in a room and establish whether traffic flow might be improved by repositioning doors or radiators.

6. Read the text and make a list of questions so that the answers would provide a summary of the text.

Preliminary research and style considerations

Nearly all projects require some research into materials and finishes and a design practice will have a trade reference library to help support this function. The content of the library will include catalogues of companies supplying items such as lighting, furniture, glass and mirror, kitchen and bathroom equipment, suspended ceilings, partitioning, wall coverings, floor coverings and accessories. In addition, there will be a range of pattern books and samples. Libraries are often set up to allow a designer to view a sample under both natural and artificial light.

Since trend and styles change so fast, many designers depend on the publications and seminars of market-research specialists, analysts and forecasters on a seasonal basis. Trade fairs and exhibitions are another important resource for the interior designer, offering for inspection the latest technology for interiors, new collections of furniture, materials, finishes and accessories, and inspirational room sets.

Many suppliers update their collections seasonally and a designer will make regular visits to their showrooms to see the latest products and discuss with sales representatives how these can be best used. Another source of new ideas and styles can be the show houses or flats that are put together to facilitate the sale of homes in new developments or apartment blocks.

The client and designer might have very different views of what constitute the style, modern or classical, for example. However, if clients are very openminded or have no particular ideas of their own there are a number of options open to the designer. One idea, is to base the style of the project on the architectural style of the property, or to introduce an interpretation of a historical style such as Gothic, art deco or Shaker. Another approach is to work with a theme such as oriental, industrial, romantic, retro or minimalist. All in all, it is the inspiration of a chosen style interpreted through the individual approach of the designer to meet the specific brief of a client that produces a distinctive outcome.

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7. Read the text and fill in the spaces with the words from the box.

Formulating a concept and sketching up ideas

After taking and analyzing the brief and carrying out the survey and any initial research required, one of the most demanding and crucial stages for the designer is the creative process. The first is to decide on a concept.

When seeking a concept a designer has to take into consideration 1)__________ such as budget, the property itself, or lifestyle factors. Some designers will formalize their concept into a board that they show to the client to 2) __________ an initial feel for the design. Concept boards can successfully 3) _________ the essence of a design. Images and different colour combinations can be taken from a variety of sources, with garden, fashion or food-related images. Taking 4) ________ from something other than an interior design magazine or brochure has the advantage of forcing the designer to stretch the 5)__________. These boards can also 6) _________ interesting 7)

_________ items such as paper, fabric samples or leaves.

Once the basic concept has been established it will require further development and refinement. For the very preliminary ideas, there is no substitute for 8) ________. While not every interior designer is necessarily a fine artist, a sketch, however crude it might be, will help to 9) _______ how a design idea might look within a space and whether it is worth working up further. These sketches might take the form of freehand 10) ________ or rough layouts which can then be worked out on tracing paper, or thin layout paper, over the original survey 11) ________ . One of the skills that sets the professional interior designer apart from the enthusiastic 12) __________ is the ability to work three-dimensionally and to visualize how a particular design or style might look within a space.

8.Surf the Internet and find examples of concept boards (at least three). Present them to the class with a short description, for example:

Contrasts of form and texture lie at the heart of this concept, with interesting ideas emerging around the use of shadow reflection. The images also suggest the client’s love of travel.

9.Finish the sentences:

a)Information gathered at the survey is a crucial part of the design process, allowing the designer ______________________________________________.

b)A valuable part of a designer’s work is to visit ________________________.

c)Show houses tend to display the latest _______________________________.

d)Identifying a style that a client has in mind can prove difficult since style___________________________________________________ .

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e)Minimalism, which was at its peak in the late 1990s, has now evolved into

_______________________________________________________________ .

f)Concept boards help the designer move on from the methodology of the design process towards _____________________________________________.

g)Assembled in the same way as a collage, concept boards tend to comprise

________________________________________________________________.

e)Designing for public spaces can be extremely exciting and challenging and it is many people’s dream to__________________________________________.

Vocabulary

collate – v, to gather information together, examine it carefully, and compare it with other information

dimmer – n, an electric light switch that can change the brightness of the light glaze – v, to fit glass into window frames in a house, door etc

joinery – the work of a joiner (who make wooden doors, window frames etc) joist – n, one of the beams that support a floor or ceiling

pertain to – phr v, to relate directly to something

sand – v, to make a surface smooth by rubbing it using a special piece of

equipment

screening – n, tests or checks that are done to make sure that things are acceptable or suitable for a particular purpose

sill – n, the narrow shelf at the base of a window frame unsightly – adj, ugly or unpleasant to look at: unsightly buildings

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