Tools for Developing Learning Skills in Children

The natural way for a child to learn is through play. For children play and learning goes hand in hand; they will benefit from learning situations that are enjoyable. By using building blocks, working with jigsaws and threading toys, and matching colors, textures, and shapes, children acquire essential skills, which enable them to learn to read, write and count.Children will invent their own games and toys, but well-designed toys can provide stimuli for exploring and discovering new things. Toys need not be expensive or complicated. The best toys are ones that fascinate a child and to which he will return again and again. Often a household item will provide your child with the kind of playthings he needs to ensure future intellectual achievement, it is not necessary to buy even one educational toy.Providing a Stimulating EnvironmentOne of the ways to encourage your child’s development is to foster creative play with an inviting environment. The way you display your child’s toys to a large extent determines whether they will be played with or not. Toys that are piled high are not inviting, whereas toys arranged into little scenes, stimulate him to sometimes even make other creative arrangementsIt helps if there are spaces to play in, particularly activity areas, like a painting table and somewhere he can splash about with water. An interesting environment should not only be confined just to indoors. If you have a garden, fill it with suitable equipment, like swing, a slide, and even a little play hill-all of which stimulates your child’s imagination


Choosing ToysParents sometimes feel frustrated when they spend hours choosing the safest, most colorful, most fun, and even educational toy for their child, only to learn that he will be clinging to his old toy. It is almost impossible to choose a ‘best toy’ for your child. The one that is best for his is the one that fascinates him endlessly, and to which he will return gaining more and more stimulation and enjoyment and will provide him the greatest learning experience.The less formed ad more basic a toy, the more possibility it leaves for a child’s imagination and may help his creativity, more than a very expensively dressed doll which can only be one character.One of the most important things to remember is that children change very rapidly, especially in the first 3 years and that a toy which entertains a two-month-old, will not entertain a two-year-old. As they develop they need different stimuli and the choice of toys must reflect these needs. The toy chosen must be appropriate for his age. If it is too good advanced then he will not know to play with it in the proper manner, and will not gain enjoyment. If on the other hand, it is too primitive, he will get bored easily. Toys must stimulate all the 5 senses-vision, hearing, touch, smell and taste.Having decided upon the appropriate type of toy for him, you must also consider a few more things. Is it completely safe? Is it stimulating? Does it have play value? Is it fun? For example, a bag of bricks is a ‘good’ toy to buy because it can be enjoyed at different ages with pleasure and will stimulate imaginative and active play. Toys that fit together or snap together teach children that they can change the appearance with dexterity.Safety is also a very important consideration when choosing or making a toy. You must not only check for dangerous design faults when purchasing them but also at check for defects at regular intervals. It is impossible to provide a child with a totally safe environment. However, you must take sensible safety precautions and satisfy his inquisitiveness with safe indoor toys. Your children must always be properly supervised and never left to play alone outdoors.Using Household Items to Make ToysYou do not have to spend a lot of money to provide him with the best toy money can buy. A quick look around the kitchen can provide your child with hours of fascinating fun.ContainersPlastic food containers are the most versatile household toys. Plastic containers of different sizes can be used for putting in-taking out games. Put a few dried pulses in a firmly closed container and you have a rattle saucepans with wooden spoons create drum sets.FoodDried pulses can be stuck on pieces of card to make kitchen collages. Vegetables like potatoes and carrots can be made into printing blocks.Paper GoodsToilet rolls with a little decoration make finger puppets. Hand puppets can also be made from paper bags. Empty cotton reels when threaded together makes a good pull toy, especially if painted to resemble a caterpillar.Avoid T.V. in Young Kids


TV has the mesmerizing and numbing effect on children and cuts them off from the direct experiences of their own world which are needed in order to develop. TV cuts down on the amount of social contact with the parent which is important for social and linguistic development.Books and ReadingA single way, in which a parent could enrich a child’s environment, is by having books in the house. Words are crucial to the way our brains function. Books provide children with words to express feelings, ideas, and thoughts. They explain the world he lives in. They provide the tool for imaginative play, introduce ideas and are fun.Try to read to your child every day, or even several times a week and preferably at the same time. Choose books that are visually appealing with illustrations. Children like photos of people, places, and events, with which they are familiar.Fairy tales are fascinating to children, and they will learn to distinguish between real and unreal. They also encourage abstract thoughts and creative thinking.The vocabulary should be easy to understand and the print big. Run your finger along the print, but do not force him to follow your finger. Make him notice things in the pictures. Re-read books for your child, especially if he asks you to. Don’t stop reading to him even though he starts to read by himself. Teach him to take care of books. Store books on low bookshelves in his room as this will encourage browsing, and always have a variety on hand.

BIM Process Risks for MEP Design Service and How to Mitigate Them

Global construction practice has seen substantial changes over recent years, with the arrival of BIM being a key factor. Building Information Modelling, known as BIM, is a process that involves the creation of 3D models, which enables designers and engineers to create accurate construction scheduling, estimate costs and adapt intelligently to design changes. Accurate building information models and precise building designs are created from the outset, which benefits all stakeholders in the construction process, particularly MEP (mechanical, electrical and plumbing) designers. MEP (M&E) designers or engineers design MEP services, while MEP contractors are then responsible for spatial coordination, detailed design, fabrication and installation. Though BIM drives an effective process for MEP (M&E) design services, there are some risks involved. We look at how these risks can be mitigated.

Firstly, it is useful to understand exactly what the BIM process contributes to MEP engineering design. A BIM model helps visualise spatial MEP requirements. Detailed views are created for analysis, and any clashes of spatial requirements are identified and can be resolved at an early stage. Designs can be altered to mitigate any clashes, and these changes can be seen in the model.

The progress of the MEP design and coordination workflow process has been supported and driven by technological advancements. BIM technology has played an important role in making this possible, especially the use of 3D models through Autodesk’s BIM 360 tool. BIM 360 is a cloud-based software platform developed primarily for construction, which employs checklists, equipment tracking and the monitoring of tasks to improve quality and on-site safety. Within BIM 360, models can be utilised for 2D construction documentation and the 3D coordination of trades. BIM 360 permits the control of processes by project managers, subcontractors, designers and architects at all design stages. It enables the sharing of vast amounts of information between stakeholders and easy communication.

MEP designers can utilise architectural, structural and trade models to plan in detail from the onset of a project by designing in 3D. In general, the process involves MEP design and installation workflows that will streamline planning, designing, coordination, fabrication, installation and construction of a project. Following architectural design, the MEP design engineer develops building services design elements, such as lighting, cooling, heating, drainage, waste, fire prevention and protection services. In most cases, the design engineer is not involved with the detailed spatial design of building services. Usually, it is the MEP, or trade, contractor who carries out the detailed spatial design and installation. It falls to the MEP contractor to convert the consultant’s design into an installation-ready MEP format and provide MEP shop drawing services. At times, fabricators creating ductwork or pipework elements, electrical ladders or sprinklers in a module also contribute.

The BIM process brings all stakeholders on to the same platform at every design stage.

Therefore, an effective collaboration tool would be required to:

  • Enable access to MEP designers, architects, structural designers, MEP contractors
  • Host various formats for files and documents
  • Ease communication
  • Permit designers and shareholders to work on the same models and share design data

BIM 360 Team with Collaboration for Revit (C4R) offers this. It integrates stakeholders and project information into a single cloud-based platform and improves quality while reducing rework. Checklists can monitor safety on site, equipment can be tracked and asset data can be collated. Any problems can be resolved early in the design process, minimising delay, cost and rework.

BIM Process Risks for MEP

Communication

If architects, modellers and designers do not communicate properly, designs may not be properly integrated and the occurrence of errors in the MEP model will increase.

Building Code Understanding

Client needs and local code requirements are of paramount importance and must be clearly understood. If misunderstandings of building codes and client requirements occur the MEP design will be negatively impacted.

Coordination

Stakeholders must coordinate effectively. Any modification executed by any MEP service should be communicated to all other trades. Failure to do so can create hazards at the project implementation stage.

Cost Estimation

The BIM process can help determine overall costs and take off quantities. MEP resources, labour and prices are considered, but materials availability and costs may vary over the duration of the design and implementation, affecting cost estimation.

Technical Knowhow

Effective BIM usage requires in-depth knowledge of BIM technology and Revit, Navisworks, etc. to develop precise MEP designs. Errors could prove costly.

Incomplete BIM Use

In common practice, BIM is used for a specific MEP objective rather than for each and every part of the design process. These include:

  • Remodelling or renovation
  • Material takeoffs and estimation
  • Design models by contractors
  • Detailed models of MEP components

Unless the BIM scope and output are accurately defined, the intended use of the BIM model may not occur.

BIM Model Not Shared with Construction Team

When 2D documents are printed from the model, some of the 3D data may not be transferred. The construction team may need to design a new 3D model, leading to unexpected changes. Designers may not share models with contractors because they are incomplete or do not tally with the construction documents, creating errors and tensions.

Not Possible to Model Everything

Creating models is time consuming. Many details, such as size, shape, location, quantity, and orientation with detailing, fabrication, assembly and installation information, can be included. It may not be possible to create models for every portion of the design, resulting in an incomplete overall picture.

MEP Design Handoff

Contractors traditionally received 2D line diagrams, schedules and specifications of the design from MEP designers. Currently, an increasing number of MEP design engineers create models, raising confusion about who is responsible for duct placement, equipment placement and coordination responsibility – designers or contractors. Models created by MEP designers may not be spatially accurate enough during the early stages.

However, there are several ways to mitigate these shortfalls, such as:

  • Early BIM Adoption (During Design Stage)

All project stakeholders should be encouraged to use BIM from the design stage, with clear guidelines for its use. If BIM is adopted at a later stage without clear specification of its purpose, the results could be confusion, wastage of time and increasing costs.

  • Defined Roles within the BIM Process

Design and modelling roles must be clearly defined before beginning design. If MEP subcontractors need to provide MEP BIM, with accurate routing, attachment details and equipment connections, they must be clearly informed of this and it should be part of the contractual obligations. They will not be able to rely on MEP consultant models in such a case.

  • Improved Coordination Skills

MEP design in BIM currently utilises improved spatial coordination skills during the design phase. This could be a result of employing more technically qualified professionals for these services, and as a consequence, contractors are presented with more accurate models to work with.

  • Accountability for Coordination

Internal coordination is necessary for a viable BIM model, much like a 2D drawing set used to be. Revisions, modifications and file versions must be coordinated as well. Since 3D models are complex, coordination must be monitored and controlled to prevent expensive and unnecessary rework. Even though files can be hosted in the cloud, it is advisable to maintain backups.

It is a certainty that precise, effective design with fewer errors is possible using BIM but there may be challenges in achieving those designs. Specifying the role of BIM, its usage, the stakeholders involved and the challenges to be expected can help optimise the benefits of using BIM and minimise its risks. The positive impact of building information modelling will be felt for some time. Analysing and mitigating the risks involved in its use can only benefit the industry and its players.

What Is Graphic Design: History And Origins

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

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

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

Graphic Design History

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

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

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

Background

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

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

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

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

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

In the 19th Century

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

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

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

First Vanguards

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

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

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

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

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

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

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

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

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

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

Design Schools

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

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

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

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

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

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

Second Vanguards

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

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

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

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

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

Present Times

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

Job performance and skills

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

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

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

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

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

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

Defining the problem.

Targeting.

Conception of communication strategy.

Display.

Schedule Production.

Monitoring Production.

Evaluation.

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

Visual communication.

Communication.

Visual Perception.

Management of financial and human resources.

Technology.

Media.

Assessment techniques.

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

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

Decoding the Ductwork Design Process, Methods and Standards

Today, one of the significant objectives in MEP engineering design for HVAC design engineers is to improve energy efficiency, maintain air quality and thermal comfort. Energy efficiency, air quality and comfort in a building depend on how heating, cooling and air distribution systems are designed and this is where careful ductwork design plays a significant role. Ductwork and HVAC system design are important as it ensures indoor air quality, thermal comfort and ventilation. If the HVAC system and ducts are not designed accurately, it could lead to poor air quality, heat loss and make the conditioned space in the building uncomfortable.

The primary function of the ductwork design system is to ensure a least obtrusive channel is provided through which cool and warm air can travel. When designed accurately, HVAC air distribution systems will play an important role in countering heat energy losses, maintaining indoor air quality (IAQ) and providing thermal comfort.

To understand how ductwork can be designed in a cost-effective and efficient manner, this article decodes ductwork design and provides a brief outline of the design process, methods and standards.

What is Ductwork?

The basic principle of ductwork design is to heat, cool or ventilate a building in the most efficient and cost-effective way. The primary function of ductwork is to design conduits or passages that allow air flow to provide heating, cooling, ventilation and air conditioning (HVAC).

In the duct design process, the basics of air flow must be understood. Return air goes into an air handler unit (AHU), through a filter and into the blower and with pressure it goes through the A coil or heat exchanger and then it goes out into the supply air system. If the ductwork is designed correctly it enables the AHU to produce the right amount of air through the heat exchanger. In a typical air distribution system, ducts must accommodate supply, return and exhaust air flow. Supply ducts provide air required for air conditioning and ventilation, return ducts provide regulated air to maintain IAQ and temperature and exhaust air flow systems provide ventilation.

For ductwork design to be efficient, MEP engineering design teams need to have designers with a mechanical and engineering background. Ductwork design specialists or building service engineers must also possess thorough knowledge of other disciplines such as architectural, civil and structural concepts to ensure HVAC systems are clash free.

The Ductwork Design Process

The ducting system design process is simple, provided that the specifications are clearly mentioned and the inputs regarding application, activity, building orientation and building material are provided. Based on the information provided calculations can be completed to create an energy-efficient and clash-free design. Typically, air conditioning and distribution systems are designed to fulfil three main requirements such as:

• It should deliver air flow at specific rates and velocity to stipulated locations.

• It should be energy efficient and cost effective.

• It should provide comfort and not generate disturbance or objectionable noise.

The process of ductwork design starts once architectural layouts and interior design plans are provided by the client or MEP consultants. Building service engineers then require specification requirements such as application, the number of people, the orientation of the building and architectural characteristics to make calculations on heat load and air flow. Before any calculations are carried out, single line drawings are drafted to showcase the flow of ductwork in the building. Once they are approved, calculations for heat load and air flow are conducted. Once the heat load calculations are complete, the air flow rates that are required are known and the air outlets are fixed. With the calculations, specifications and layout, the ducting system design layout is then designed taking into consideration architectural and structural details of the conditioned space and clashes with other building services such as electrical, plumbing (hydraulic) and mechanical services.

To start the ductwork design process there are inputs required regarding details about the type of application, specification requirements, building orientation, architectural characteristic and material.

• Application type - Ductwork design will vary based on the type of application the building will be used for such as manufacturing, data centres, medical applications, scientific research and comfort applications such as restaurants, offices, residences, institutional building such as schools and universities.

• Specification requirement – To create an efficient duct design, designers need to know what type of activity will be conducted and the average number of people that will use the conditioned space. This will help in calculating the air flow, velocity and heat load required to maintain temperatures and IAQ. In comfort applications, for instance, an office or restaurant will require different duct design and air velocity than a residence.

• Orientation and material of the building - The orientation of building and material used plays a key role in gauging heat absorption which will help determine the cooling and ventilation requirements. Based on whether a building faces north, south, east or west, and where it is geographically located, heat absorption can be calculated. The type of material used for construction also affects the amount of heat gain and loss of the building.

The challenges of incomplete inputs or non-availability of required inputs are discussed in an upcoming article on Ductwork Design Challenges and Recommendations.

Ductwork Design Methods

Ductwork design methods are usually determined based on the cost, requirements, specifications and energy efficiency standards. Based on the load of the duct from air pressure, duct systems can typically be classified into high velocity, medium velocity and low velocity systems. There are three commonly used methods for duct design:

1. Constant Velocity Method – This method, designed to maintain minimum velocity, is one of the simplest ways to design duct systems for supply and return air ducts. However, it requires experience to use this method as the incorrect selection of velocities, duct sizes and choice of fixtures could increase the cost. Moreover, to maintain the same rate of pressure drop in duct runs, this method requires partial closure of dampers in duct runs (except index run) which could affect efficiency.

2. Equal Friction Method – This conventional method used for both supply and return ducts maintains the same frictional pressure drop across main and branch ducts. This method ensures dissipation of pressure drops as friction in duct runs rather than in balancing dampers. However, like the velocity method, partial closure of dampers is required and this could lead to noise generation.

3. Static Regain Method – This method commonly used for large supply systems with long ducts is a high velocity system that maintains constant static pressure before each branch or terminal. While this is a balanced system as it does not involve dampering, longer ducts may affect air distribution to conditioned spaces.

While different duct design methods used vary from application to application, duct system performance and system balancing and optimisation need to be considered. After the air handling unit (AHU) is installed, the system needs to be balanced and optimised to enhance performance. In system balancing and optimisation, air flow rates of supply air outlets and return air inlets are measured, and dampers and fan speed are adjusted. Especially in large buildings, balancing air conditioning systems may be expensive and time-consuming, but it is required as it provides benefits that outweigh the cost incurred in installing the system. To minimise total and operating cost, many optimisation methods are used as such as the T-Method Optimisation described in the DA3 Application Manual of AIRAH (Australian Institute of Refrigeration Air Conditioning).

To design air distribution systems that are energy efficient and cost effective, HVAC system designs must include basic engineering guidelines and adhere to certain design standards. Let us consider some of the guidelines and standards used in the industry in different countries.

Ductwork Design Standards

When designing air conditioning systems, HVAC design engineers must be knowledgeable about the basic methods, guidelines and standards applicable, from the type of units used, calculations required, methods of construction, type of material, duct system layouts, pressure losses, duct leakage, noise considerations to optimisation using testing, adjusting and balancing (TAB). Listed below are some of the standards organisations and associations in the U.S., U.K., Australia and India, that provide manuals, codes and standards for the HVAC industry.

U.S.

• SMACNA (Sheet Metal and Air Conditioning Contractors’ National Association) – It provides a manual on HVAC systems duct design that includes basic yet fundamental methods and procedures with importance on energy efficiency and conservation. While the manual does not include load calculations and air ventilation quantities, it is typically used in conjunction with the ASHRAE Fundamentals Handbook.

• ASHRAE (American Society of Heating, Refrigerating and Air-Conditioning Engineers) – It is an association that emphasises on the sustainability of building systems by focusing on energy efficiency and indoor air quality. The ASHRAE Handbook is a four-volume guide that provides the fundamentals of refrigeration, applications, systems and equipment. Updated every four years, the handbook includes international units of measurement such as SI (systems international) and I-P (inch-pound).

U.K.

• CIBSE (The Chartered Institution of Building Services Engineers) – is the authority in the UK that sets standards for building services engineering systems. The Codes and Guidelines published by CIBSE are recognised internationally and considered as the criteria for best practices in the areas of sustainability, construction and engineering.

• BSRIA (Building Services Research and Information Association) – is an association that provides services that help companies enhance their designs to increase energy efficiency in adherence to Building Regulations, mock-up testing of systems and BIM support.

Australia

• AIRAH (Australian Institute of Refrigeration Air Conditioning) – provides technical manuals for professionals in the HVAC industry and information ranging from air conditioning load estimation, ductwork for air conditioning, pipe sizing, centrifugal pumps, noise control, fans, air filters, cooling towers, water treatment, maintenance, indoor air quality and building commission.

India

• BIS (Bureau of Indian Standards) – is a national authority that provides standards and guidelines as per the International Organization for standardisation (ISO). The handbooks by BIS stipulates the code of practices applicable to the HVAC industry such as safety code for air conditioning, specification for air ducts, thermostats for use in air conditioners, metal duct work, air-cooled heat exchangers and data for outside design conditions for air conditioning for Indian cities

• ISHRAE (The Indian Society of Heating, Refrigerating and Air Conditioning Engineers) – provides indoor environmental quality standards and testing and rating guidelines based on common IEQ parameters standards and criteria for the classification of buildings based on energy efficiency.

While HVAC design engineers must keep relevant standards in mind and ensure that local codes are applied in designs, energy efficiency is a primary objective as well. Ductwork design plays a significant role in regulating indoor air quality, thermal comfort and ventilation. The key function of ductwork design is to provide the least obtrusive channel through which cool and warm air can travel in the most efficient and cost-effective way.

Inaccurate duct designs could result in poor indoor air quality, heat loss and uncomfortable conditioned space in the building. A well-designed air conditioning HVAC system will ultimately optimise costs. By regulating pressure loss, selecting the right duct size, balancing air pressure and controlling acoustics, ductwork designers could optimise manufacturing, operational, environmental and commissioning costs.