Architectural Graphic Standards, Student Edition provides the depth and breadth of coverage they need, and the expert guidance that will help them succeed.
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All rights reserved. Published simultaneously in Canada. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form by any means, electronic, mechanical, photocopying, recording scanning, or otherwise, except as permitted under Section or of the United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, Rosewood Drive, Danvers, MA , Includes bibliographical references and index.
ISBN cloth: alk. Title: Architectural graphic standards. Sleeper, Harold Reeve, Hoke, John Ray, IV. R35 '. These called for changes and additions and inevitably the decision was made to publish a second edition in , which was almost 25 percent larger than the first.
Recovery from the Great Depression had begun when the second edition came out, and with rising construction activity the demand for Architectural Graphic Standards increased. To serve its users' growing needs, work soon began on a third edition which, when published in , was almost twice as large as the original edition. World War II lengthened the interval between editions; the fourth edition, prepared by Sleeper, appeared in and had grown to pages.
The fifth edition with pages , Sleeper's last revision, was issued in The coauthors' achievements in the initial decade, followed by the efforts of Sleeper, provided untold thousands of users with an invaluable resource for almost 30 years.
Now, more than 60 years after publication of the first edition, we look back on a remarkable record. Each edition has surpassed its predecessors. The book has grown fivefold in length, immeasurably in depth, and is now packaged in a variety of formats designed for the changing information requirements of architects, their students, and their colleagues in the design and construction fields. The collected editions are a chronicle of twentieth-century architectural practice and reflect as well those times when progress has meant preservinq and hence respecting our architectural heritage.
Generations of readers have benefited from this work, and we look forward to meeting the needs of generations to come. More than a million copies of Ramsey and Sleeper's book have influenced several generations of architects, engineers, and designers of the built environment, as noted by Robert Ivy and Philip Johnson in their respective essay and tribute to this tenth edition.
The release of the tenth edition of Architectural Graphic Standards is an unprecedented event even by the high standards set by this landmark publication. For the first time, revised print and digital versions are being released simultaneously. Also for the first time, both versions are fully integrated and contain the same content, in formats that are tailored to their respective media.
This integration culminates a major investment of effort and re,sources, and ensures that Architectural Graphic Standardst'will continue to be not only a definitive reference but also a valuable design tool. Subsequently, Matheson directed the design and layout of the book and personally oversaw its production and manufacture.
The immediate acceptance and success of Architectural Graphic Standards extended far beyond its anticipated audience of architects, builders, draftsmen, engineers, and students. Interior designers, real estate agents and brokers, homeowners, insurance underwriters, and lovers of fine books all carne to be among its users and admirers. To that list, I would like to add the many individuals, firms, trade associations, professional societies, and manufacturers who have given this publication its authority.
Their contributions are credited throughout this book on the appropriate pages. I would also like to acknowledge and thank three Institute editors: Joseph N. Boaz, AlA sixth edition ; Robert T. John has led this project for the last quarter-century, defining the technical content essential to a new generation of architects. Because of the collective wisdom and dedication of the Institute's editors, the basic principles of service to the industry that were set forth in the original edition continue to be advanced.
To each and every person associated with this special project I offer the words of Eero Saarinen, FAIA, who wrote in the foreword to the fifth edition: "Just as Vitruvius gives us understanding of the vocabulary of Renaissance architects, so Architectural Graphic Standards will show the future the dizzying speed and expanding horizons of architectural developments and practice in our time. Since , this indispensable tool of the trade has been a resource in helping the AlA carry out its historic commitment to the architectural profession and the public we serve by helping to bring order to this nation's building design standards.
What is remarkable about this work and the key, I believe, to its success has been the fact that Architectural Graphic Standards is the fruit of a thoughtful, cooperative process that makes every member of our industry an interested stakeholder. This book has empowered and inspired generations of architects to create a better built environment. The collected editions are a chronicle of the best architectural practices of the twentieth century.
Indeed, I would go so far as to make a claim that the very nature of modern practice is encapsulated in the pages of this splendid book. Each chapter, each page, and each detail assists the architect in the design process from programming through construction. Everyone at the AlA and every practicing architect is indebted to the founding authors, Charles George Ramsey, AlA, and Harold Reeve Sleeper, FAIA, for their leadership in creating this catalyst for coherence and coordination in a historically fragmented industry.
Without it, modern practice would likely not be as advanced. In this edition, there are so many contributions from talented AlA members and building design experts that it is impossible to acknowledge all of them here.
These men and women gave unselfishly and creatively so that the whole profession wili benefit from their knowledge and wisdom. But in terms of real change, with revisions to old pages and new pages added, the book's growth in content is estimated to be about 63 percent. For those who keep records, we have omitted ninth edition pages, revised pages, added new pages, and transferred pages unchanged from the ninth edition.
The ninth edition pages we have omitted constituted about 26 percent of that edition. This process of weeding out has helped enrich the book by making room for new material. Most of the pages that were eliminated were out of date or determined to be of little interest to today's professional. Because of the large number of new pages in this edition, I have not attempted to list them by name. Therefore, I encourage you to open the tenth edition and its CD-ROM product, located in the back cover of the book, and begin your journey.
Today, both existing buildings and new construction must comply with ADA requirements for accessibility. A special team of experts helped define and develop these new pages. Mazz, AlA; lawrence G. The publication of a major new edition of Architectural Graphic Standards requires the time, energy, and expertise of many people.
I would like to thank all of the great people at Wiley, but especially Robert C. Garber, publisher: Joel Stein, editorial director; Robert J. Weiselberg, associate editor; and Jim Harper, editorial assistant, for their commitment to this immense and complex project. I would also like to thank two very important players at Wiley who continue to shape the future and the very nature of this important work. At the AlA, I am delighted with the dedication of our professionals.
My special thanks go to three important people who make things happen. Vitullo, AlA, contributing editor. I am fortunate to have them as my friends and associates over three editions. I also want to thank Fred R. Since AGS was first published in , more than a million copies of this comprehensive source of design data and details have helped shape twentieth-century buildings and cities.
With the tenth edition, this influential volume, established by Charles George Ramsey, AlA, and Harold Reeve Sleeper, FAIA, will continue into the next millennium as a trusted companion to all who seek its guidance and reference. Historically, the primary audience of AGS has been made up of architects, interns, and construction specifiers as well as civil, structural, and mechanical engineers and students in all these fields.
In addition, however, a very important secondary market exists for AGS. This group is composed of general contractors, subcontractors, home builders, estimators, specialty contractorsfdevelopers, planners, landscape architects, interior designers, building code officials, building owners and building engineers, construction trade associations, historians and preservationists, facility space planners, librarians, homeowners, and lawyers.
As a result, most pages have new and improved page titles and section names. The tenth edition of AGS is the largest and most improved edition to date in terms of growth and content.
It consists of approximately 11, illustrations in twenty-one chapters. Much of the core information, or about 50 percent of the book, has remained unchanged. The new edition has increased by We are grateful for their important contributions. They made a wise decision in entrusting the future of their life's work to The American Institute of Architects, which has nurtured the book with great care and passion for its integrity.
As the standard bearer of Ramsey's and Sleeper's original vision, Graphic Standards is poised at the beginning of the new millennium, prepared for service for the next century and beyond. In conclusion, I want to express my deep appreciation to the AlA members and other contributors for their good efforts in the making of the tenth edition. We honor them by acknowledging their contributions on the relevant page or pages, as well as on the acknowledgments page following the preface.
Their valuable and inspired service to the Institute is a fine example of how the profession continues its undaunted support of Architectural Graphic Standards year after year. John Ray Hoke, Jr. Its clear drawings; charts and graphs, and now its digital bits, offer information on a mind-boggling range of issues that mirror the design and building process. It answers the question, "How do you do that? Graphic Standards presupposes the interrelationship of parts to whole projects, a nineteenth-century notion articulated by Wright when he said, "The part is to the whole as the whole is to the part.
Physical wisdom is represented in graphic ways. Throughout the millennia, humankind has recognized subtle changes in dimensions that make big kinetic or aesthetic differences. Consider the lowly step. It remains to the architect to devise the actual stair, but all can appreciate the underlying facts. You can read this book as social history as well.
Sections on accessibility, ecology, town planning, and historic preservation all arose following specific movements in the larger civilization. Likewise, the exquisite renderings from earlier in this century, with their complicated analyses of shade and shadow, have disappeared: Software has rendered such knowledge almost arcane, as the electronic GPS system eclipsed dead reckoning.
However, the potential unlocked by the computer age only underscores our need for a resource like Graphic Standards. When all things are possible, we need to know what things are best. Great freedom on the screen will be well-served by rock-solid craft and a knowledge of materials. The editors and contributors to this body of knowledge have, in a sense, created their own architecture with Architectural Graphic Standards. It, and its complementary digital version, form a structure of firmness, commodity, and delight.
Accessible and well-crafted, this sturdy and vast treasury of ideas allows us to study, adopt, and modify the accumulated wisdom of the past into our own new ideas. Thus armed, we step forward in time. Two houses built early in the twentieth century in Pasadena, California, illustrate divisions present early in the previous century.
The first, Greene and Greene's Gamble house, represents the apotheosis of hand craft, a contemporary wooden temple on a hillside rubbed to near perfection, as open and forthright as the capitalist family it served.
Just down the hill, Frank Lloyd Wright sounds a more complex chord at La Minatura, a sophisticated example of modular block construction, advanced for its moment, yet hinting at unresolved psychological forces.
The two residences represent radically different ideals, prescient of clashes that would follow in succeeding years. At the turn of the twenty-first cePl'tury, our own models seem to be virtual ones, a galaxy of computer-generated, biomorphic shapes developed by architect Frank Gehry and his coterie. The cyber revolution seems to promise endless formal possibilities through easily calculated custom fabrication.
We have traveled far from Wright and the Greenes. Bombarded by new information, which assaults us in an electronic torrent, we stand on an invisible divide with the sense that new ways of building are underway.
Where can those of us concerned with shaping the built environment turn for help? Throughout roughly two-thirds of the last hundred years, this encyclopedia of building convention and practice has offered succor and advice. Architectural Graphic Standards has been a repository of good ideas and a framework for constructing new ones; its content is singular, based on architecture's specific language, which is drawing. Since , architects, engineers, and a host of others have turned to its pages as they would a knowledgeable mentor.
The representations in Graphic Standards are ideal, not specific, meant to embody the best thinking and applications in universal settings, allowing the reader to tailor details to the real world. As a source of ideal principles, the book stands with other seminal antecedents, such as the work of Vitruvius from the first century BC; as a comprehensive resource, it compares to the work of Sir Banister Fletcher almost two thousand years later, with a nod to Diderot and the encyclopedists of eighteenth-century France.
Both of these books, in different ways, helped usher in the era of Modernism and contributed to my amazing journey in architecture. Sixty-eight years later and ten editions complete. Architectural Graphic Standards, or as I like to call it, Graphic Standards, has quadrupled in size and immeasurably in depth of content, thanks to the dedicated work of its gifted editors, architects, and contributors.
What's next, a Graphic Standards website? I can't think of another book published this century that has supported, taught, and delighted our profession as much as Graphic Standards. These ten editions are a chron- icle of twentieth-century U. Furthermore, the book is one of the most unifying and focused reference works available in the world. I have always considered my Graphic Standards as important in design as is my pencil. Every architect loves it, wears it out, and keeps it within arm's length.
It is a combination of the Encyclopedia Britannica and the telephone book-or maybe it's the Whole Earth Catalog of architecture! No architect can be without Graphic Standards, and with it every architect is empowered and equipped to practice architecture.
Ault Chip Baker Gordon B. Batson, PE Erik K. Beach Kim A. Forma Kenneth D. Franklin Sidney Freedman J. Humenn, PE D. Soule William W. The following anthropometric drawings show three values for each measurement: the top figure is for the large person or Space and access charts are designed to accept the Therefore, use the To accommodate both men and women, it is useful at times to add a dimension of the large man to the corresponding dimension of the small woman and divide bV 2 to obtain data for the average adult.
This is the wav height standards evolve. Youth data are for combined sex. Although girls and bovs do not grow at the same Pivot point and link systems make it easy to construct articulating templates and manikins.
Links are sirnplified bones. The spine is shown as a single link; since it can flex, pivot points mav be added. All human joints are not simple pivots. Some move in complicated patterns like the roving shoulder. Reaches shown are easv and comfortable; additional reach is possible bV bending and rotating the trunk and bv extending the shoulder. Stooping to reach low is better than stretching to reach high. Shoes have been included in all measurements; allowance may need to be made for heavV clothing.
Sight lines and angles of vision givtn ill one place or another applv to all persons. Niels Diffrient, Alvin A.
Silting SO Is Within Pelvic link. Environrnental temperature range is Weights lifted without discomfort or excessive strain are Push and pull forces, like moving carts. Noise above the following values can cause permanent deafness: 90 dB for 8 hr. Millimeters have been chosen to avoid use of decimals. Rounding to 5 mm aids mental retention while being within the tolerance of most human measurements.
HS 4 th. KOG t 5 B B lB5 OXe5 are measurements 3. Numbers outside boxes are 1. High Shelf M 3. Min 50 Foot Sroot It. Numben cctsioe boxes are 1. Alliin R. Masonry Institute of St. Louis; St.
Wind-resistant design involves resolving loads assumed to be applied to the structure in one direction for a short time monotonic loads. Wind load can induce shear that is both perpendicular and parallel with the structure. Seismic loads, on the other hand. In general, these provisions are limited to buildings with bearing walls not exceeding 10ft in height and gravity dead loads not exceeding 15 psf for floors and exterior walls and 10 psf for floors and partitions.
Sheathing for braced walls must be at least 48 in. Walls must be capped with double top plates, Uniform with end joints offset by at least 4 ft. Transfer must be accomplished with toe nails using three 8d nails per joist or rafter where not more than 2 ft o.
Roof to wall connections must be made at the exterior walls when the building is 50 ft or less in length. A combination of exterior and interior bearing walls is necessary when the building length exceeds 50 ft. In wood frame construction, a diaphragm is typically a structural "panel" made of a skin sheathing stretched over and fastened to ribs wood members such as 2x4s The resulting construction is stiff and strong enough to transmit forces to resisting systems such as the foundation.
Connections must be designed to transfer lateral forces and restrain overturning motion. Lateral forces can be either perpendicular or parallel to the structure.
The load from each part of a building that is created as the buildinq shifts from the movement of the earth must be transferred to adjoining elements roof sheathing to rafters to top plates to wall sheathing and studs to bottom plates to floor sheathing and framing and so on, until the lowest level of floor framing, from which the load moves to the foundation; in slab-on-grade construction, the load moves finally from the wall sheathing and studs to the bottom platesl.
The roof diaphragm comprises roof sheathing, roof framing rafters, top chord of truss, etc. The ceiling diaphragm comprises ceiling finish material for example, gypsum wallboard and ceiling framing ijoists, lower chord of trusses, etc. Roof-to-wall anchorage consists of hold-down anchors to resist uplift forces and nailing to resist shear forces 5.
The wall diaphragm comprises wall sheathing, wall framing, and sheathing fasteners. The floor diaphragm comprises floor sheathing, floor framing joists, trusses, etc. Wall-to-floor-to-wall anchorage consists of hold-down anchors and shear connectors for example, nails. In addition, the overturning loads in walls must be restrained by anchoring the ends of the shear panels whether traditional or perforated to the structural wall below.
Nontraditional materials such as LVL, I joists, and structural composite lumber can be used in seismic design; the capacities and applicable connection types of these products are available from the manufacturers. The seismic loads caused by the roof mass must be transferred to the wall, and the wall must be designed to resist both the effect of the mass of the roof and the mass of the wall. These combined loads must then be transferred to the floor below, which must be designed to resist the effect of both its mass and the load applied by the wall above.
In turn, walls below must resist these loads, until the force reaches the foundation, which must be able to resist the combined loads from the rest of the building. Capacities are based on structural I panels of Douglas fir, larch, or southern pine.
For additional thicknesses or alternative wood species, consult the American Plywood Association. The aspect ratio the ratio of the longer dimension to the shorter of a floor or roof diaphragm is limited to LiL 1 ::;; 4. Openings in the diaphragm are limited to either 12 ft or half the length of the diaphragm, whichever is smaller.
In traditional shear wall design, parts of the wall that are sheathed from top to bottom without openings are considered individually as shear panels. Hold-down anchors are required at both ends of each of these panels. Each segment must be restrained against the overturning motion and the shear to which it will be exposed.
The capacity of a traditional shear wall is the sum of the capacities of the individual shear waH segments, which are determined by multiplying the length of each segment by the capacity of the sheathing IMin. For perforated shear walls, the whole wall is considered as a single shear panel without regard to wall openings.
Hold-down anchors are required only at the ends of the wall. To determine the capacity of the wall, the lengths of the full-height sheathed areas are added together and the sum multiplied by the capacity of the sheathing. Perforated shear walls may require higher capacity sheathing than traditional shear walls to compensate for the lack of intermediate hold-down anchors.
The sheathed walls above and below the openings in a perforated shear wall increase the capacity of the wall The capacity of the shear wall must be adjusted by a factor derived from two variables: the maximum opening height and the percentage of full-height sheathing on the shear panel. In the following example, a factor of 0. The Wood Frame Construction Manual gives more examples. Example: Use in. Shear panels that consist of framing members and sheathing panel s or diagonal sheathing members provide the principal lateral resistance to shear loads.
Sheathing panels are made of plywood and aSB for structural panels , gypsum sheathing, or fiberboard. Diagonal wood sheathing boards or strapping can also be used. The shear capacity of the material depends on the quality of the framing and sheathing materials and on the connections.
Sheathing both sides with the same material doubles the capacity of the shear panel. Tests have shown that sheathing each side with a different material adds capacity, although this concept is not accepted by all codes.
Use 10d nails at all edges and in field center area as follows: for edge nailing, 6 in. This drawing is based on use of structural I panels of Douglas fir, larch, or southern pine. The values published for wood products must be adjusted by various factors, including size except for southern pine , to determine the appropriate design values for a particular application.
Repetitive members, consisting of three members spaced not more than 2 ft o. These factors are applicable only to solid wood products and glued laminated timbers. Connections have similar adjustment factors. Basic lighting designs are fairly generic and require but a modest level of effort to achieve a workable result. Use the high end of the light level ranges for older people, where finishes are especially dark, or where the work is particularly important or requires great speed.
However, a number of specific quality issues can be addressed objectively: Many design problems have reasonably obvious solutions determined by a combination of budget, energy code, and industry standards.
For instance, most office lighting designs utilize recessed troffers because they are costeffective and energy-efficient and they meet the standard expectations of owners and tenants. Choices among troffers require further consideration, although at that point style is a lesser issue. Eliminate flicker: Light sources should minimize or eliminate flicker caused by AC power or other influences.
Eliminate or minimize glare: Shield lamps from view. Minimize very bright and very dark surfaces. Illuminate walls and ceilings. Use light sources with good color rendering: Halogen, high CRI color rendering index full size and compact fluorescent, and high CRI metal halide and white HPS lamps should be used whenever possible.
In general, try to match CCT when mixing sources, such as halogen and fluorescent. Some situations call for uncommon or creative designs. In these cases, the distribution of the luminaire and its physical appearance become critical.
In particular, luminaires that enhance the architecture are desired for residences, hotels, restaurants, and other nonwork spaces. Decorative styles range from contemporary to very traditional; lamp options may permit a choice between incandescent and more energy-efficient light sources, such as compact fluorescent or low watt high-intensity discharge HID luminaires.
In fact. Early In the history of Ilghtln! Visual work is a primary reason for providing lighting. Enhancement of space and structure: It is only through the- presence of light that spatial volume, planes, ornament, and color are revealed. For centuries, structural systems evolved partly in response to aesthetic as well as functional desires for light of a certain quality. The progress from bearing wall to curtain wall was driven by the push of newly discovered technologies both in materials and in technique , by evolving cultural desires for certain spatial characteristics, and by a desire to admit light of a particular quality.
These developments are reflected in the Gothic church window, the baroque oculus, and the Bauhaus wall of glass. With the advent of electric lighting systems, this connection of structure to light was no longer entirely necessary, but most architects continue to pay homage to this historical tie. Focusing attention: The quality of light in a space profoundly affects people's perception of that space.
The timing and the direction of an individual's gaze are often a function of the varying quality and distribution of light through the space. Lighting draws attention to points of interest and helps guide the user of a space. Provision of security: Lighting can enhance visibility and thereby engender a sense of security. Lighting can also be used to illuminate hazards, such as a changing floor plane or moving objects. Illuminance can be measured and predicted using calculations; also illumination.
These vary by state but may include the following: 1. Mandatory use of readily accessible switching in all enclosed spaces. Exceptions are allowed for spaces in which this would be unsafe. Delete template? Cancel Delete. Cancel Overwrite Save. Don't wait! Try Yumpu. Start using Yumpu now! Terms of service. Privacy policy. Cookie policy.
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