STUDENT Architectural Graphic Standards PDF

 INTRODUCING... ARCHITECTURAL GRAPHIC STANDARDS ONLINE More than just the print edition online… a subscription to the new Architectural Graphic Standards Online provides access to a powerful online resource for the studio environ...

 INTRODUCING... ARCHITECTURAL GRAPHIC STANDARDS ONLINE More than just the print edition online… a subscription to the new Architectural Graphic Standards Online provides access to a powerful online resource for the studio environment that allows students to search expert content and access thousands of AIA-endorsed, downloadable details. Included with this book is a unique discount code offering a free one month trial and access to special student pricing. See back panel for details. bend.indd 2 2/20/2017 12:42:13 PM ffirs.indd 2 2/13/2017 5:47:31 PM  GRAPHIC STANDARDS STUDENT EDITION TWELFTH EDITION KEITH E. HEDGES, AIA, NCARB EDITOR-IN-CHIEF AU T H O R E D B Y THE AMERICAN INSTITUTE OF ARCHITECTS T H E M AG N U M G R O U P I L L U S T R AT O R ffirs.indd 3 2/13/2017 5:47:31 PM  Cover image: © Wiley Cover design: C. Wallace (Wiley) This book is printed on acid-free paper. Copyright © 2017 by John Wiley and Sons, Inc. 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ISBN 978-1-119-31251-2 Printed in the United States of America 10 9 8 7 6 5 4 3 2 1 ffirs.indd 4 2/13/2017 5:47:31 PM  ACKNOWLEDGMENTS SENIOR EDITOR VICE PRESIDENT AND PUBLISHER SENIOR EDITOR EXECUTIVE EDITOR EDITOR DEVELOPMENT EDITOR EDITOR SENIOR PRODUCTION MANAGER EDITOR SENIOR PRODUCTION EDITOR EDITOR ASSOCIATE MARKETING DIRECTOR EDITOR EDITORIAL ASSISTANT EDITOR DESIGNER EDITOR COPYEDITOR SPI GLOBAL INDEXER SUBJECT MATTER EXPERT SUBJECT MATTER EXPERT EDITOR-IN-CHIEF ffirs.indd 5 2/13/2017 5:47:31 PM ffirs.indd 6 2/13/2017 5:47:31 PM  VII CONTENTS Building Siting and Layout 72 Daylighting Design 43 Passive Design 72 Active Systems 72 Continued Operations Goals 73 Designing for Sound 45 CPTED Concepts 73 Strategies 74 Subdivisions and Office Parks 74 Multi-Family Dwellings 74 The 4Rs 55 Overview 75 Asset (Building) Resilience and Community Short-Term versus Long Term Resilience Resilience 55 Planning 75 Resilience Management–Based Building Designs 56 Anthropometrics and Ergonomics 4 Community Resilience 57 Human Behavior 4 Anthropometric Data 4 Overview 58 Universal Design 9 Durability 58 Long-Term Performance 58 Ideology of Construction Drawings 79 Accessible Design 12 Climate Change 59 National CAD Standard 79 Technical Criteria 15 Technological Obsolescence 59 Organization 79 Public Restrooms 30 Drawing Conventions 79 Symbol Classification Structure 82 Introduction 83 Solar Radiation and Building Orientation 32 Gravitational and Lateral Loads 59 OmniClass Construction Classification System 83 Solar Constant 32 Shelter 64 UniFormat 83 Orientation and True North 33 Flood 65 MasterFormat 84 Solar Time 34 Fire 65 SectionFormat 84 Implementing Sustainable Products and Procedures 84 Solar Angles 35 Blast Resistance 67 Solar Path Diagrams 35 Ballistic Protection 68 Solar Position and Heat Gain 37 Forced Entry/Physical Attack How BIM Overcomes the Limitations of CAD 85 Resistance 69 Cybersecurity 70 Designing for Cold and Underheated Climates 38 Designing for Hot Arid Climates 40 Energy and Environmental Impact 71 Designing for Humid, Overheated Passive survivability 71 Climates 40 Overview 72 Climate Data 41 Building Function and Tenants 72 General 94 ftoc.indd 7 2/14/2017 8:02:11 PM  VIII Concrete Formwork 94 Wall and Roof Sheathing 152 Concrete Formwork for Columns and Footings 95 Plywood Subflooring on Wood Framing 153 Concrete Formwork for Walls 96 Lintels 121 Plywood Sheathing for Roofs Concrete Formwork for Slabs and Beams 97 Unit Masonry 123 and Soffits 154 Concrete Formwork Accessories 98 Columns and Pilasters 124 Oriented Strand Board 155 Masonry Stairs 124 Panel Products and Wood Veneers 155 General 99 Reinforcing Steel, Welded Wire Fabric Reinforcing, Stressing Tendons, and Fibrous Wood Adhesives 159 Reinforcing 99 Nails 161 Placement of Steel Reinforcing 101 Properties of Metals 126 Shields and Anchors 162 CNC Machining for Metalwork 128 Finishes on Metals 128 Cast-in-Place Concrete 103 Concrete Admixtures 103 Structural Metal Framing 130 Supplementary Cementitious Materials 104 Glass Products 166 Concrete Surfaces, Finishes, and Integral Thermal Resistance Values of Glazing Color 104 Decorative Metal Detailing 135 Materials 168 Concrete Coatings 106 Perforated Metals 136 Solar Gain Through Fenestration Systems 168 Properties of Glazing Materials Used in Manufactured Window Units 170 Installation Guidelines, Details, and Construction Metal Fastenings 138 Tolerances 172 Clay Masonry Units 108 Concrete Masonry Units 109 Glass Block: Design Data 110 Wood Materials 142 Stone Uses and Properties 110 Wood Classification—Softwood and Hardwood 144 Soils Definitions: Terms and Stone Masonry Patterns and Veneer 112 Wood Sources 144 Classifications 176 Stone Details 114 Forest Certification 144 Soil Studies and Reports 176 Reclaimed Wood 144 Expansive Soils 180 Radon in Soils 180 Mortar and Grout 114 Designing for Cold and Permafrost Climates 181 Wood Preservatives 144 Fire-Resistant Construction 146 General 183 Masonry Anchorage and Reinforcing 116 Settlement and Differential Settlement 183 Masonry Ties 117 Standard Foundations 183 Masonry Accessories 119 Plywood Design Data 148 Shallow Foundations 185 Masonry Movement Joints 119 Plywood Panel Types 149 ftoc.indd 8 2/14/2017 8:02:11 PM  IX Deep Foundations 188 Timber Frame Roof Decking 259 Seismic Base Isolation 191 Wood Stairs 259 Composite Systems 260 Design Considerations 456 Glass Flooring 263 Industry Standards 457 General 192 Sustainability 457 Subgrade 192 Climate and HVAC Systems 457 Types of Slabs-on-Grades 194 Exterior Walls 263 Design Process 457 Exterior Windows 302 Design Coordination 458 Exterior Doors 319 HVAC System Types 460 Crawl Space Insulation and Ventilation 195 Heat Generation 462 Refrigeration 466 Roofing Design Considerations 324 HVAC Distribution Arrangements and Basement Walls 196 Roof Coverings 327 Components 469 Backfilling Against Basement Walls 198 Roof Openings 356 HVAC Delivery Components 478 HVAC Control Systems 481 Other HVAC Systems and Equipment 482 Economizers 482 Climate and Energy 204 Interior Partitions 364 Exterior Climatic Influence 204 Wall Finishes 376 Design Considerations 484 Interior Climatic Influence 205 Interior Windows and Glazing 388 Sprinkler Occupancy Hazard Considerations for Climate Zones 206 Interior Doors 391 Classifications 485 Thermal Movement 206 Interior Hardware 402 Types of Fires 485 Sustainability and Energy 209 Access Panels 405 Sprinkler Heads 485 Interior Floor Construction 406 Standpipes 489 Floor and Base Finishes 406 FDC Connection 489 Long-Span and Tensile Structures 210 Interior Ceiling Construction 417 Fire-Protection Pumping Systems 489 Floor Assemblies 212 Ceiling Finishes 418 Rated/Nonrated Cabinets 491 Roof Assemblies 216 Interior Specialties 421 Fire-Protection Specialties 491 Comparison of Systems 220 Locating Pull Stations and Extinguishers 492 Selected Floor Loads 221 Concrete 222 Concrete Stairs 227 Industry Standards 493 Structural Metal 228 Design considerations 428 Sustainability 493 Space Frames 230 Elevators 428 Transformers 493 Cold-Formed Metal Framing and Bracing 232 Escalators 434 Lighting and Branch Wiring 495 Metal Floor Decking 233 Electrical Panelboards and Metal Stairs 236 Circuit Breakers 498 Wood Framing 238 Design Considerations 435 GFCI 499 Shop-Fabricated Structural Wood 245 Accessibility 435 Lighting Control 505 Heavy Timber Construction 246 Sustainability 435 Light Trespass and Light Pollution 505 Glued-Laminated Construction 249 Domestic Water Distribution 435 Facility Power Generation: PV 505 Wood Decking 250 Sanitary Waste 438 Other Electrical Systems 507 Framing Details for Roofs 252 Plumbing Fixtures 445 Shop-Fabricated Wood Trusses 254 Rainwater Drainage 450 Glued-Laminated Shapes 256 Graywater Systems 454 Design Considerations 510 ftoc.indd 9 2/14/2017 8:02:11 PM  X Telecommunications Systems 510 Exterior versus Interior Design Standards 600 Local Area Networks 512 Aquatic Facilities 577 Ramps 600 Building Management Systems 513 Stair and Ramp Handrails 601 Fountains and Decorative Pools 609 Vehicular and Pedestrian Equipment 518 Playgrounds 609 Commercial Equipment 521 Retaining Walls 611 Institutional Equipment 526 Slope Protection and Erosion Control 582 Sight Lines 529 Human Factors and Audiovisual Design 530 Urban Tree Rooting 615 Audio Intelligibility 530 Dewatering 583 Irrigation 615 Presentation Rooms 531 Trees, Plants, and Ground Covers 616 AV Support Spaces 531 Tree Planting in Urban Areas 619 Residential Equipment 531 Open-Cut Excavations 584 Entertainment and Recreational Shored Excavation 584 Equipment 535 Lateral Support 584 Rooftop Planting Details 621 Graywater Wastewater Management 621 Fixed Furnishings 542 Introduction 586 Movable Furnishings 551 Contours 586 Slopes, Grades, and Spot Elevations 587 Subsurface Drainage Systems 623 Storm Drainage Utilites 624 Design Considerations for Surface Drainage Planning Considerations 588 Systems 624 Sound-Conditioned Rooms 566 Design Considerations for Parking Lots 591 Porous Paving Materials 625 Saunas and Steam Baths 567 Design Considerations for Porous Paving Vaults 568 Systems 625 Porous Pavement Construction 594 Alternative Porous Paving Materials 595 Fabric Structures 570 Unit Paving 596 Site Lighting 626 Space Frames 572 Paver Selection 596 Paver Preparation 597 Metal Building Systems 573 Design Considerations 597 Paving System Construction 597 Sound and Vibration Control 576 Regulations 600 ftoc.indd 10 2/14/2017 8:02:11 PM  XI A NOTE FROM THE PUBLISHER Over the years, I have seen my fair share of battered editions of Architectural With this fully digital edition, our objective is to make an architect’s work life Graphic Standards (AGS) in architects’ offices; even in the pick-up trucks of easier. We have deepened our definition of what it means to create a com- construction contractors. As an amateur architect and an author who has plete and trusted companion for architects in the office, on a worksite, or written about architecture, I have my own treasured volumes. Why not? AGS anywhere one pleases. I haven’t seen many architects climb a scaffold with is a classic and a testament to a long partnership between Wiley publishing an AGS under their arm, but I have seen many with handheld devices. and the American Institute of Architects. It may be one of the only profes- As Wiley’s digital capabilities evolve, we want you, our customers, to sional reference books to have its own history, beginning with Drafting find working with our content to be as effortless as possible. We understand Culture: A Social History of Architectural Graphic Standards (MIT Press, this dramatic shift in the context of defining ourselves as a learning company 2008), written by practicing architect, historian, and Professor of Architecture devoted to the educational and professional needs of our customers from the at Georgia Tech, George Barnett Johnston. beginning of their architectural education to the end of their professional We do not know why John Wiley (1808–1891), the son of our founder, careers. In premier undergraduate architecture programs with which I am chose to publish a book for architects and their customers, but he chose well. familiar, students work collaboratively in digital environments foreshadowing Andrew Jackson Downing’s Cottage Residences was published by Wiley & the work environment at architectural firms where they will be employed. Putnam in 1842. An influential pattern book of houses, it was consulted Even in small offices, collaboration in a digital environment is part of the across America by house builders and led to the widespread construction of work routine. In short, we at Wiley are ready to meet you, the architect, residences in the picturesque “Carpenter Gothic” style. It is still in print where, when, and how you work. today. With Downing’s book, John laid the foundation for an architecture list We believe deeply in our mission to serve you; we are appreciative of that included many reprints of the work of John Ruskin. your needs; and we will continue to connect with them as we redefine pub- The publication of the 12th edition is a defining moment in AGS’s 84-year lishing in a world reshaped by digital experiences. history. As we like to say in publishing, content is escaping the confines of a book. The precursor for this on AGS was the introduction of a CD in 1996 and Peter Booth Wiley an ebook in 2007. In this edition, however, AGS becomes completely digital Chairman Emeritus and Member of with its content fully searchable online. There are, of course, those who still the Board of Directors of John Wiley treasure a book or prefer both print on paper and digital. The new edition will & Sons, Inc. also be available in book form. flast.indd 11 2/13/2017 5:47:43 PM  XII A NOTE FROM THE AIA Across the years, Architectural Graphic Standards (AGS) has retained its globally. Practice is evolving toward greater collaboration. Architects can work name, and the commitment of the American Institute of Architects (AIA) has more efficiently and creatively, but they require quick access to current techni- remained unwavering in its mission—to provide an indispensable resource cal information, from codes to new building materials, to avoid costly errors. for the design and construction industry. However, the content of AGS, The 12th edition supports the ways we access and process knowl- entirely irrespective of format and media, has changed in significant ways. edge—visually. In doing so, the latest edition of AGS gives new life to what To serve a rapidly transforming profession, the industry’s bible had to the Editor-in-Chief Dennis Hall identifies as the intent of the first authors: to change with it. Consider the expanding range of modern architectural prac- produce a graphic-centric resource. tice. When the first edition of AGS was published more than eight decades I thank Dennis Hall, his editors, the countless contributors of content— ago, wellness, resilience, sustainability, and accessibility were not on the both written and visual—as well as the proofreaders and fact checkers. That profession’s or AGS’s radar. The initiative behind Charles George Ramsey and so many hands could weave a seamless resource testifies to their dedication Harold Reeve Sleeper’s first edition (1932) centered wholly around creating to serve our varied, demanding profession. a “technical” touchstone of graphic standards for architectural drafting, at a From the very first time the AIA and Wiley joined hands as partners for time when architects were actively pursuing their professionalization as a the sixth edition in 1970, we have built a valued, mutually supportive relation- distinct body. ship that has benefitted generations of architects, growing with and guiding Times change. Today, obesity, an aging population, and the impact of the architectural profession in the pursuit of excellence. Through all the climate change have emerged as among the most urgent issues of the 21st iterations of Architectural Graphic Standards, our commitment to quality century, issues that lend themselves to design thinking on a global scale. The continues, but never wavers. Use this distinctive new resource well, and current scope of architectural services has expanded enormously beyond prosper. what could ever have been imagined in the early 1930s in response to client and community needs. Robert Ivy, FAIA Along with the “what” of architectural practice, the “how” of project EVP/Chief Executive Officer delivery has likewise altered, especially in the last decade. Computers and The American Institute of Architects electronic media have compressed time and space, as architecture spreads flast.indd 12 2/13/2017 5:47:43 PM  XIII ARCHITECTS’ TRIBUTES TO To mark the publication of the 12th edition of Architectural Graphic Standards Graphic Standards for its beautifully detailed dimensional dia- (AGS) and its digital launch with Architectural Graphic Standards Online grams at all scales: from describing the human body in space to (www.graphicstandards.com), Wiley approached architects from some of the defining the turning radii of vehicles. This information helps me to most forward-looking practices in the United States; these firms were spe- design bespoke buildings and interiors that function perfectly and cifically selected for their strong vision and their engagement in making are easy to use. I imagine that future editions of Architectural design and construction. We asked them to each provide a short statement, Graphic Standards will include a detailed and interactive digital commenting on what AGS means to them, how it has contributed to their model of the human body and of groups of people, both in static practice, and how they anticipate AGS being used in the future with the and dynamic modes. This information can be integrated into the further evolution of the digital and data-driven design techniques. design process so that the measure of human needs in architec- What is marked is the attachment that these prominent architects all ture is more integrated than ever before. have to AGS. This is poignantly expressed by Steven Ehrlich, Founding Partner Robert Siegel, AIA, NCARB of Ehrlich Architects in Culver City, California, which won the 2015 AIA National Firm Award: Corie Sharples is Principal of SHoP Architects in New York, a firm that has in the last couple of decades helped redefine the relationship between design I treasure my sixth edition of Architectural Graphic Standards, which and construction. Here she describes how AGS represents an essential infor- was given to me as a birthday present by my parents in 1973. I had mation tool: just returned from three years of traveling and practicing architecture in Africain the Peace Corps, and was starting a residential design- From the founding of SHoP almost 20 years ago, my partners and build practice in Vermont. My mother inscribed the book: “May this be I recognized that there was an enormous and inefficient division the beginning of a very happy and exciting future.” My engineer- between thinking and doing in architecture. A lot of what we’ve inventor father, a tough guy, wrote, “Learn it all by heart. But if you tried to do since is work to bridge that gap: to unify the process of need any further info call me. Good luck for good architecture.” design with the process of building, to close the distance between I have used the AGS so much over the years that it is now theory and practice. We’ve tried to prove in the real world that the literally held together by duct tape. The launch of the online edition best architectural results, the most creative, come when architects ensures that it will continue to be an essential reference for archi- are able to control the process of construction through the intelli- tects in the digital age. While technology has transformed our gent management of building information. We’ve developed a lot of profession in thrilling ways, we do not (yet) live in a virtual world: proprietary methods and technologies over the years to help us get Buildings are still made of wood and steel and mortar. there. But, looking back, even to the time before our firm bought its first computer, we had a copy of Graphic Standards by our side. The Steven Ehrlich, FAIA, RIBA clarity of images and diagrams in the book was an early inspiration For Robert Siegel, Design Director at Gensler, AGS has been a ubiquitous for our own approach to communication. It was our first real infor- presence for an architect who thrives on design: mation tool: a resource so complete in its technical data that it let our creativity run free. As F.K. Ching’s Form, Space, and Order is to deciphering the con- Corie Sharples AIA ceptual and formal basis of architecture, Architectural Graphic Standards is to creating the built environment. I love to draw and Claire Weisz, Principal-in-Charge of WXY Studio, an award-winning urban invent. Since I started my practice, I’ve depended upon Architectural design and planning office, also in New York, closes by reminding us not only flast.indd 13 2/13/2017 5:47:43 PM  XIV how AGS provides a visual lexicon, but also how its development over time too complex to be memorized and, perhaps more critically, too acts as an effective barometer as summed up by the great Modernist archi- scattered to be found in one place in an architect’s office. But in tect Eero Saarinen in a foreword to the 1956 edition: particular I am fond of how he used the wonderful term “contem- poraneous” to describe its essential value. That is what is striking As far as touchstones of architecture practice go, Architectural about the mechanism of reissuing it as needed by the field. Graphic Standards is our lexicon. Not only do we need and use the Saarinen in ending his evaluation of Architectural Graphic latest edition in our libraries, but we also see the book as a mile- Standards stated that it “will show the future the dizzy speed and stone of achievement; as a way to measure the passage of time expanding horizons of architectural development and practice in whereby nothing is lost. Years ago the principal at my first job in our time.” Now after almost 60 years dizzying may be an under- architecture rewarded my youthful enthusiasm with his fifth edi- statement, but this index to the state of the art of building today tion from 1956—since the sixth has long been in use. With a still holds its own. foreword written by no other than Eero Saarinen—and in a great- looking font—it remains within close reach of my desk to this day. Claire Weisz, FAIA Not every book has a summary from one of architecture’s lumi- With thanks to Steven Ehrlich, Robert Siegel, Corie Sharples, and Claire naries and it doesn’t disappoint in its clear snapshot. Agreeing Weisz. with his predecessors’ estimate of its value as an essential part of architectural practice, serving to gather facts and references flast.indd 14 2/13/2017 5:47:43 PM  XV TIMELINE The increase in size and complexity of Architectural Graphic Standards since its initial publication has mirrored the extraordinary accomplishments of architecture in the 20th century. Pennsylvania Station, New York, New York (McKim, Mead and White) John Wiley & Sons publishes Architectural Details, a prototype for Architectural Graphic Standards La Villa Savoye, Poissy, France (Corbusier) Chrysler Building, New York, New York (William Van Alen) Wiley publishes first edition of Architectural Graphic Standards Fallingwater, Bear Run, Pennsylvania (Frank Lloyd Wright) 10,000th copy sold 100,000th copy sold The Glass House, New Canaan, Connecticut (Philip Johnson) Fourth edition published: changes in building technology trigger 80% increase in length over prior edition Fifth edition published: final edition prepared by Charles Ramsey and Harold Sleeper Seagram Building, New York, New York (Ludwig Mies van der Rohe) Salk Institute, La Jolla, California (Louis Kahn) Sixth edition published: first edition edited by American Institute of Architects; John Hancock Center, Chicago, Illinois (Bruce Graham/Skidmore Owings and Merrill) incorporates Uniformat organization AIA Headquarters, Washington, DC (The Architects Collective) Centre Pompidou, Paris, France (Richard Rogers and Renzo Piano) National Gallery of Art East Wing, Washington, DC (I.M. Pei) Vietnam Veterans Memorial, Washington, DC (Maya Lin) Ninth edition published: incorporates ADA guidelines; new material on building systems and energy-efficient design First digital version of Architectural Graphic Standards released as CD, version 1.0 J. Paul Getty Museum, Malibu, California (Richard Meier) Guggenheim Museum, Bilbao, Spain (Frank Gehry) Reichstag, New German Parliament, Berlin, Germany (Foster + Partners) 1,000,000th copy sold Jewish Museum Berlin, Berlin, Germany (Daniel Libeskind) Tenth edition of book and version 3.0 of CD published The Gherkin’, 30 St Mary Axe, London, UK (Foster + Partners) Graphic Standards franchise expands with the release of Interior Graphic Standards Seattle Central Library, Seattle (Rem Koolhaas/OMA) De Young Museum, San Francisco (Herzog & de Meuron) In conjunction with American Planning Association, Planning and Urban Design Standards is released Landscape Architectural Graphic Standards published To celebrate its 75th anniversary, eleventh edition of book and version 4.0 of CD published Metropol Parasol, Seville, Spain (Jürgen Mayer H) John Wiley & Sons celebrates 200th anniversary The American Institute of Architects celebrates 150th anniversary The Bird’s Nest’, National Stadium for Beijing Olympic Games, Beijing (Herzog & de Meuron) MAXXI Museum, Rome (Zaha Hadid Architects) Second Edition of Architectural Graphic Standards for Residential Construction book Burj Khalifa, Dubai (Skidmore, Owings and Merrill) and CD-ROM 1.0 release Interior Graphic Standards, 2nd Edition and CD 2.0 release Guangzhou Opera House, The People’s Republic of China (Zaha Hadid Architects) The Shard, London (Renzo Piano) One World Trade Center, New York, New York (David Childs of Skidmore Owings & Merrill) The Shanghai Tower, Shanghai, The People’s Republic of China (Gensler) Architectural Graphic Standards 12E releases Architectural Graphic Standards Online launches flast.indd 15 2/13/2017 5:47:44 PM  XVI INTRODUCTION formats, whether as an ebook or in a CD form, to become a highly searchable online tool. Though it still remains available in print and ebook formats to As the go-to book for architects for over eight decades, Architectural Graphic provide users with the information in the medium of their choice, the online Standards (AGS) provides a unique barometer for measuring change within the version fully acknowledges that AGS as an indispensable source for design industry: tracking and assimilating shifts and innovations within the design/ and technical information for practitioners has to reflect the practices of construction sector with each new edition. Change has never been more architects of today: a profession that now spends nearly every day on screen apparent or intense than in the last two decades, as the widespread adoption and only has seconds available to search for the essential nugget of informa- of technology has prompted significant transformation of the industry. This has tion it requires. had a far-reaching impact not only on the medium in which buildings are designed and constructed, but also on processes, standards, analytics, and ways of delivering professional services. Changes encompass the expansion of project delivery methods and role changes; new building codes and industry Despite new online developments, the editorial vision for the 12th edition of practices, which have been extended to include accessibility, sustainability, and AGS marks a return to the publication’s essential characteristic—its highly building resilience guidelines; new building products and construction meth- visual quality—which generations of architects have prized. An over-arching ods; and an evolution of new and expanded building information management aim of this edition has been to restore the more graphic-centric content. This organizational standards. remains true to the primary intent of the original authors, Charles George While all these changes are significant in the evolution of architectural Ramsey (1884–1963) and Harold Reeve Sleeper (1893–1960); it has also graphics and the standards of practice of the architect, the expanding range been central to AGS’s success across the years as it is entirely in tune with of practice tools now available to architectural professionals has had a much how architects consume and communicate design information. To optimize on more far-reaching effect. Only three decades ago, architects labored over the effectiveness of this, it was also our ambition to provide more focused drafting boards, producing so-called “working drawings” for the purpose of information. The editors constantly asked us, “What do architects need to providing the contractor with a complete set of instructions on how to put know about this subject matter?” Our goal was to eliminate unimportant together the building. Specifications were carefully written to reflect materi- content and concentrate on relevant knowledge, ensuring that information is als and methods of construction. However, as design professionals sought to presented in a manner that is clear, complete, concise, and correct. Finally, shift liability away from themselves for the construction issues and new we wanted to recognize the evolution of construction documents and were design and production tools increased production efficiency and the ability to mindful of today’s best industry practices. It is also important to recognize manage building information, the final work product of the architect has what AGS is not. This book is not intended to repeat information in The evolved into “design intent” documentation. This type of construction docu- Architect’s Handbook of Professional Practice (American Institute of ment is more generic and highly dependent upon contractor coordination Architects, 15th edition, Wiley, 2014), regarding firm management, project drawings and manufacturer’s information, in order to explain the actual delivery, or contracts, but complement that knowledge with more technical building construction. Building codes have recognized these changes in con- information on the graphic instruments in the service of the architect. While struction documents and have codified some building product manufacturers’ AGS does not focus on building types or spaces, some design information installation instructions, as requirements to provide the minimum informa- regarding the construction of unique spaces and building types is included. tion necessary to construct buildings and to protect the health, safety, and The 12th edition of AGS concentrates on the core knowledge of architectural welfare of the public. design and the creation of the built environment. As the great architect and Now with the 12th edition, AGS is undergoing a watershed moment in educator Mies van der Rohe liked to say: “Architecture begins when you its own evolution as it shifts from being defined purely by the page and place two bricks carefully together.” Likewise, Mario Botta said, “The first act becomes available digitally online for the first time. Content is being liberated of architecture is to put a stone on the ground. That act transforms a condi- from the confines of a book binding and the limits of its previous electronic tion of nature into a condition of culture; it’s a holy act.” Both architects flast.indd 16 2/13/2017 5:47:44 PM  XVII understood the importance of how to use materials creatively and correctly efficiency in processes and building performance. This is dependent upon our in creating great architecture. AGS will continue to provide architects with ability to gather, manage, and use building information to achieve better the knowledge to understand the elements of a building and the implications aesthetic, functional, and technical performance of our designs. International of technology and construction as part of the design process. efforts in the creation of global unique identifiers (GUIDs) that associate properties of construction objects with specific products is a first step in achieving this goal, but we can only achieve goals we can measure and we While graphics are a far better medium for communicating design ideas than must develop practice tools to verify and monitor building performance at words, in today’s complex world of “big data,” words are necessary to con- every level. These evolving practice tools are only a few of the evolutional vey building performance requirements and other nongraphic information. changes in a rapidly expanding industry of traditional and specialty practices. As architects, we are not only the designers of our buildings, but also the For the last 84 years, AGS has sought to provide design professionals, own- managers of the information necessary to procure, construct, and operate ers, and contractors knowledge regarding best practices in architectural the facility. AGS recognizes the importance of terminology as notations on graphics as a means of creating architecture. We recognize the changes and drawings, building code requirements, manufacturer’s installation instruc- challenges of our industry and are poised to create electronic tools to con- tions, and for electronic search tools. Careful attention has been paid to tinue the legacy of Ramsey and Sleeper in sharing design knowledge. The ensure the consistent use of proper construction terminology throughout new online version of AGS will enable continuous updates of critical informa- AGS. Terminology has been coordinated with the 2010 edition of UniFormat™, tion and the latest standards of practice. The ability to link knowledge from a MasterFormat™ 2014 Update, the OmniClass Construction Classification wide array of Wiley design publications and industry experts will make this System™ tables, and the International Building Code. These building infor- tool truly indispensable. mation organizational structures are used in AGS as a means of organizing The American Institute of Architects (AIA) was founded upon the lofty chapters into sections and information within the chapters. We can also goal of architects working together to improve our profession and the cre- expect the future of architectural graphics to be highly dependent upon the ation of the built environment through knowledge sharing. I am honored and ability to organize, retrieve, and reuse information. pleased to have contributed to this worthy goal and the 12th edition of Architectural Graphic Standards. Architectural graphics as a part of the architect’s instruments of service have Dennis J. Hall, FAIA, FCSI evolved and will continue to do so. The interoperability of building information Editor-in-Chief of Architectural is critical to the future of a profession and an industry that must improve Graphic Standards flast.indd 17 2/13/2017 5:47:44 PM  XVIII PR E FAC E For more than eight decades, the Architectural Graphics Standards (AGS) has You will discover that this flagship book is much more than our first been the iconic book, which guided the design of the built environment in the ‘go-to’ resource. The book bears stories of legend. I urge you to find your 20th and 21st century North American by bringing complex ideas to visual life professor’s AGS on her bookshelf and ask. You will see a face light up and like no other comprehensive manuscript. The AGS is an indispensable profes- regale in a reflective tale of late night studio adventures. Architecture is a sional resource that articulates the state-of-the-art in holistic building design passion that burns in many of us, and your new Student Edition is the tinder. and construction through a graphic-centric composition. The visual delivery Virtually everything needed to realize a design idea is at your fingertips, as of information uniquely unites the gap between concept and practice with you will experience your own swashbuckling tales of enlightenment. incredible content breadth and depth. Many thanks to the AIA, and the AGS editors and contributors in estab- Revised for the first time since 2008, the AGS Student Edition thought- lishing the truly exceptional underlying framework; the Wiley team of fully frames the significantly new and updated content into an academic Margaret, Lauren, Kalli, and others for injecting life into the Student Edition companion piece suitable for a wide range of design and technical curricula and bringing it to fruition; the advisory board of Chris, Danielle, Leslie, throughout a student's architecture education, and even into the early stages Michael, Randy, Tony, and Traci for their insightful feedback; and my wife of professional practice. The Student Edition covers the design and documen- Kathy and children Sarah and Brice for their patience and encouragement. tation process for the building materials and elements of several project types, and features considerably new and updated content such as the emer- Keith E. Hedges, AIA, NCARB gent theme of resiliency in buildings. A strong index offers direct access to Editor-in-Chief of Architectural hundreds of architectural elements from over a thousand illustrations. Graphic Standards, Student Edition flast.indd 18 2/13/2017 5:47:44 PM  SECTION 1 DESIGN PRINCIPLES & CONSTRUCTION DOCUMENTATION 3 31 53 77 p01.indd 1 2/13/2017 5:48:10 PM p01.indd 2 2/13/2017 5:48:10 PM  FUNCTIONAL PLANNING 1 4 9 CH01.indd 3 2/13/2017 5:32:56 PM  4 FUNCTIONAL PLANNING HUMAN FACTORS HUMAN FACTORS Human factors information refers to the variables that affect describe dimensional variation on anthropometric charts: that is, the and that data is integrated with memories and emotions. Visual human performance in the built environment, such as human mean percentile (50 percent), the small extreme percentile (2.5 form is perceived as having a context with boundaries. Visual physiology and human psychology. Data accumulated from the percent), and the large extreme percentile (97.5 percent). form can be understood to be a dynamic system of directional fields of engineering, biology, psychology, and anthropology are “Ergonomics” is the application of human factors data to design. This lines of forces that are innate, kinetic, and independent of the integrated in this multidisciplinary field. “Fit” describes a design term was coined by the U.S. army when it began to design machines representational content of a form. Once a form’s attributes that uses human factors information to create a stimulating but to fit humans, rather than trying to find humans to fit machines. have been perceived, humans tend to give the perceived form nonstressful environment for human use. Some areas of fit are symbolic meaning. This meaning is cultural and personal, result- physiological, psychological, sensual, and cultural. ing from associations and past experiences. Touch: Touch is essential to human development and growth. Texture is learned most completely through skin contact. Human Human behavior is motivated by innate attributes such as the five skin is sensitive to temperature, pain, and pressure. Vision and senses and by learned cultural attributes. Each human has a touch are interwoven in sighted humans. Memory of tactile unique innate capacity to gather sensual information. How that experiences allows humans to understand their environment The field of anthropometrics provides information about the dimen- information is understood is determined by personal and cultural through visual scanning. sion and functional capacity of the human body. “Static anthropomet- experience. “Proxemics” is the study of human behavior as it Hearing: Humans can use hearing to determine distances. rics” measures the body at rest; “dynamic anthropometrics” mea- relates to learned cultural behavior. Human behavior is motivated Sound moves in concentric circles and in horizontal and vertical sures the body while performing activities defined as “work.” by the innate nature of the animal, and this behavior is expressed planes. The ear transmits these airborne vibrations to the brain Dimensional variation occurs in anthropometric data because of the and modified by each person’s learned culture and traditions. where it is processed and assigned meaning. The ability to focus large range of diversity in the human population. To utilize anthropo- hearing is called “sensory gating.” The ability to gate sound metric charts effectively, a designer must identify where a subject varies and diminishes with aging. user group falls in relation to these variables. The factors that cause The five senses determine human comfort levels in the environ- Smell and taste: Research about smell is difficult to conduct human variations are gender, age, ethnicity, and race. Patterns of because human sensitivity to smell is highly variable over time and ment and are a part of human factors studies. growth affected by human culture cause variation in human measure from person to person. A person’s sense of smell to an odor can as well. Percentiles that refer to the frequency of occurrence Site: Behavioral scientists agree that, for human beings, seeing fatigue quickly during exposure. Smell is defined in terms of com- is the most engaged sense for gathering information. Physical monly perceived odors such as flowery, putrid, burned, resinous, form is perceived when visual data is organized into patterns, and spicy. Taste and smell are closely related in human experience. CH01.indd 4 2/13/2017 5:32:58 PM  HUMAN FACTORS FUNCTIONAL PLANNING 5 CH01.indd 5 2/13/2017 5:32:59 PM  6 FUNCTIONAL PLANNING HUMAN FACTORS CH01.indd 6 2/13/2017 5:33:01 PM  HUMAN FACTORS FUNCTIONAL PLANNING 7 CH01.indd 7 2/13/2017 5:33:03 PM  8 FUNCTIONAL PLANNING HUMAN FACTORS 1.1–1.6 Timeline data adapted from Papilia and Wendkos Olds, 1989. Contributor: Alvin R. Tilley, Henry Dreyfus Associates, The Measure of Man & Woman: Human Factors in Design, John Wiley & Sons, New York, 2001. CH01.indd 8 2/13/2017 5:33:05 PM  UNIVERSAL AND ACCESSIBLE DESIGN FUNCTIONAL PLANNING 9 UNIVERSAL AND ACCESSIBLE DESIGN “Universal design is a process that enables and empowers a the few barrier free environments (Barrier Free Environments, the Principles. Each of the eight goals represents specific outcome diverse population by improving human performance, health and Stroudsburg, PA: Dowden, Hutchinson, and Ross, Inc., 1977). measures and corresponds to a knowledge base from research wellness, and social participation” (Steinfeld and Maisel, 2012). in fields including human performance, social participation, and Ron Mace would give the movement its name and its first definition Proponents of universal design view it as an approach to good wellness. The first four goals focus on human performance in the in his book, Universal Design: Barrier Free Environments for design, and they posit that by considering the full range of human knowledge areas of anthropometry, biomechanics, perception, and Everyone (Los Angeles, CA: Designers West, 1985): “Universal ability across our lifetimes (small/big, young/old, with varying cognition, while the last four goals address health and social par- design is the design of products and environments to be usable by abilities across every size and every stage of life), designers can ticipation outcomes. all people, to the greatest extent possible, without the need for provide better environments for everyone. In short, “Universal adaptation or specialized design.” design strives to make life easier, healthier, and friendlier for all people” (Steinfeld and Maisel, 2012). While universal design must In the 1990s, Mace worked with a group of fellow advocates and also be accessible, it exceeds the minimum requirements of acces- designers (architects, product designers, engineers, and environ- sible design standards to provide optimum conditions for people mental design researchers) to create the Principles of Universal Accommodate a wide range of body sizes and abilities with and without disabilities. Design, providing a conceptual framework for implementing uni- (see Figure 1.7). versal design as an essential part of good design. The authors of Some equate universal design with accessible design; however, the Principles argued that there was a business case for wide- there are distinct differences. Accessible design is the design of a Keep demands within desirable limits of body function spread adoption of the concept—increasing markets through the certain percentage of features to conform to technical require- (see Figure 1.8). design of more usable products and environments. This marked a ments as required by laws such as the Architectural Barriers Act significant shift away from the regulatory approach taken by codes (ABA), the Rehabilitation Act, the Fair Housing Amendments Act and standards. The Principles included a set of design criteria (FHAA), and the Americans with Disabilities Act (ADA). It does not focused primarily on issues of usability: (1) equitable use, (2) flex- guarantee inclusion for everyone, nor does it guarantee good ibility in use, (3) simple and intuitive use, (4) perceptible informa- design in a holistic sense. In addition to achieving the goals of body fit and personalization, tion, (5) tolerance for error, (6) low physical effort, and (7) size and This section will explain the differences and relationship between space for approach and use. this adjustable-height lavatory and vanity allows adults and chil- these two very different approaches to design. One addresses the dren to comfortably reach the faucets and use the mirror. While the Principles proved to be valuable to early adopters of full range of human experience and abilities and the other derives universal design, proponents of the concept across the world rec- from an accommodation model that has a narrower focus. The sec- ognized that usability alone is not sufficient to encourage wide- tion will provide details on the basic minimum requirements for spread adoption and to address design goals important to the accessible design and offer suggestions on where designers broader population (see Steinfeld and Maisel, 2012). For example, should exceed the minimum to provide a more welcoming and more usable environments alone do not necessarily open opportu- inclusive environment for all people by addressing universal design nities for participation in society for people with disabilities, goals. women, or minority groups. What good is a more usable school This section is divided into three subsections: building to women if the schools do not provide enough security for their safe education? Additionally, a neighborhood design that does Universal design: This subsection will provide a background on not support walking contributes to increased levels of obesity and the philosophy and goals of universal design and present four further disability, regardless of how usable the buildings in a com- case studies of universal design in public buildings and housing. munity might be. In addition, the Principles did not provide any Accessible design: This subsection will discuss the legislative evidence base or benchmarking strategy for achievement. In order history and regulatory process of accessible design and intro- to encourage adoption by the broader professional community and duce important federal laws such as the Americans with public, the Center for Inclusive Design and Environmental Access Disabilities Act (ADA), Fair Housing Amendments Act (FHAA), (IDeA Center) at the University at Buffalo—State University of Architectural Barriers Act, and the Rehabilitation Act. New York developed eight Goals of Universal Design to complement Technical criteria: This subsection will provide detailed drawings for how to comply with key accessible design standards and provide suggestions on how to exceed those standards to exem- plify best practices in universal design. Architect Koning Eizenberg Architecture and the exhibit designers, Springboard Architecture Communication Design, turned a mundane hand dryer into something more at the Pittsburgh Children’s Museum. They took an object that is simple to use and clear in its utility, multiplied it, mounted it within multiple reach ranges, and transformed it into an experience. Our bodies and minds are in a constant state of change across our lifetime. We are not static. We are also exceedingly diverse— young and old, small and big, fast and slow; we come in shades of many skin colors and with many different backgrounds, aspira- tions, and ways of life. Increasingly, we humans are gaining more control over our world, our bodies, and our minds. To design uni- versally is to design for improving the human experience of the built environment for all. It recognizes that the designed environ- ment can improve life experiences at the individual and societal level. Universal design is a manifestation of the increasing control we have over our world, through discovery and application of knowledge. In addition to being a philosophy that puts the needs of people first, universal design has a practical side as well. Universal design is a continual improvement process that seeks to achieve the best possible outcomes with the means available, recognizing that not every project and context has the resources available. Universal design is most successful when fully integrated within a project. As a design movement, it is the result of a meeting of minds between human-centered design approaches and the dis- ability rights movement. In the 1970s, architect Michael Bednar suggested that the value of “barrier free design,” the term used at the time to address the removal of design practices that discrimi- nated against people with disabilities, extends to all of us, not just 1.7 Springboard Architecture Communication Design LLC, Pittsburgh. Contributors: Dr. Ed Steinfeld, AIA and Jonathan White, Center for Inclusive Design and Environmental Access (IDeA Center), University at Buffalo, New York CH01.indd 9 2/13/2017 5:33:05 PM  10 FUNCTIONAL PLANNING UNIVERSAL AND ACCESSIBLE DESIGN Ensure critical information for use is easily perceived. Methods of operation and use are intuitive, clear, and unambiguous. This intersection design has several features that improve aware- This faucet follows the common conceptual model of having the ness for all people. Curb ramps with return curbs guide pedestri- cold lever on the right and hot on the left. The faucet is coded with ans in the direction of the safe crossing zone. The detectable color and pictograms to aid in understanding by children and non- warnings let people know they are about to enter the street. English speakers: blue snowflake for cold, red flame for hot. Countdown timers, pictograms, and an audible beacon all let peo- ple know when it is safest to cross while high-contrast markings alert drivers to the presence of a crossing zone. Contribute to health promotion, avoidance of disease, and preven- tion of injury. This right-of-way provides a choice of transportation method, encouraging healthy alternatives to the automobile. Contributors: Dr. Ed Steinfeld, AIA and Jonathan White, Center for Inclusive Design and Environmental Access (IDeA Center), University at Buffalo, New York CH01.indd 10 2/13/2017 5:33:06 PM  UNIVERSAL AND ACCESSIBLE DESIGN FUNCTIONAL PLANNING 11 Treat all groups with dignity and respect. The site plan of this school shows spaces designed for community use, including playing fields, a community garden, a placita for gatherings and parent meetings, and a shade structure where parents can congregate and provide informal supervision of chil- dren at play. Contributor: Sally Swanson Architects, San Francisco, California CH01.indd 11 2/13/2017 5:33:07 PM  12 FUNCTIONAL PLANNING UNIVERSAL AND ACCESSIBLE DESIGN Incorporate opportunities for choice and the expression of indi- vidual preferences. “Accessible” is a design term first appearing in the 1950s, describ- ing elements of the physical environment that are usable by people with disabilities. Originally, the term described facilities that wheel- chair users would be able to access, but the term has evolved to include designs for a wider group of people with more diverse Kitchens are one room of the house requiring sufficient light for detailed tasks such as cutting vegetables. This kitchen has several levels needs, such as people with hearing and vision limitations. of lighting to suit anyone’s preference or needs and adjust for different times of day and mood. Continuing advances in medicine and technology have changed the character of disability since the introduction of accessible design. The population with disabilities is now more diverse, with many more people who have severe disabilities able to live indepen- dently and participate in community life. New technologies for wheeled mobility, including power wheelchairs, scooters, and seat- ing and positioning systems, have increased the complexity of design for wheeled mobility. New building technologies, such as residential elevators, wheelchair lifts, and power-door operators, have made the provision of accessible facilities more practical and less expensive. Accessible design will continue to change as medi- cal advances and technologies continue to evolve. From an architect’s perspective, appropriate accessible design for public facilities and multifamily housing is different from custom design of residences or workplace accommodations for people with disabilities. Public accessibility standards establish general design specifications that broadly accommodate minimal needs. Design for a specific user in a private residential setting or work environment should address that user’s specific needs and involve much more interaction with the client to ensure the design accom- modates the person’s preferences. It is also likely that people with disabilities will appreciate universal design approaches because they improve function beyond minimum requirements and increase social participation and safety. Architects should become familiar with the federal legislative pro- Respect and reinforce cultural values and the social and environ- cess and its terminology to help them understand the intent of mental context. laws, their requirements, and their continuing evolution. A “law” is an act of a legislative body. A “regulation” is developed by a regu- latory agency such as the Department of Justice or the Department of Housing and Urban Development. A regulation defines the spe- cific ways that a law is implemented. A “standard” is a stand-alone Lactation rooms are an increasingly common example of how to break down cultural barriers, allowing mothers to comfortably breastfeed document, often used to implement a regulation. A “voluntary or pump with privacy if desired. consensus standard” is developed by a standards organization such as the American National Standards Institute (ANSI) or the National Fire Protection Association (NFPA), which has rules gov- erning the process of standards development to ensure equity and fairness. A standard can be referenced by a model code, which can in turn be adopted by a regulatory agency. Standards can also be issued by standards setting agencies of the government and refer- enced in their own regulations. “Guidelines” are a general term that can refer to nonbinding design criteria or to the equivalent of standards. Guidelines are sometimes issued by one government agency and then adopted as standards by another. Laws can also incorporate standards by reference or even include their full text. At present, the laws, regulations, and standards governing the implementation of accessible design are highly complex; there- fore, architects must educate themselves, and stay abreast of current developments to e