Ebook PDF Understanding Construction Drawings For Housing and Small Business Canadian Edition PDF

(eBook PDF) Understanding
Construction Drawings: For Housing

and Small Business Canadian Edition
Visit to download the full and correct content document:
https://ebooksecure.com/download/ebook-pdf-understanding-construction-drawings-f
or-housing-and-small-business-canadian-edition/
THIRD EDITION
I I
••
••
VI
. UNDERSTANDING CONSTRUCTION DRAWINGS FOR HOUSINGAND SMALL BUILDINGS
Framing Details 177

Bracing of Walls 178
Back Framing 179
Doncaster Drawings and Examples of Floor and Wall Framing 180
Framing Details 180
Chapter 8 Assignment: Wall Framing and Doncaster Drawings 189
Chapter 8 Assignment 2: Floors and Walls, Brook Drawings 191
Chapter 8 Quiz Review: Floors and Walls Using Whittington Drawings 193
CHAPTER 9 ROOF FRAMING 195

Introduction 195
Types of Roof Construction 195
Roof Terminology 195
Conventional Cut Roof 199
Gable Roof 199
Ceiling Joists 199
Rafter Spans 200
Hip or Cottage Roof 200
Intersecting Roofs 201
Roof Trusses 203
Flat Roofs 204
Bracing 205
Reading Truss Plans and Insta llation Practices 207
Roof Plans 222
Framing Key Points 222
Chapter 9 Assignment 1: Doncaster Truss Drawings and Doncaster
Drawings 224
Chapter 9 Assignment 2: Roofs and the Brook Drawings 226
Chapter 9 Quiz Review: Roof Theory & Reading Roof Plans Using the
Whittington Drawings 228
CHAPTER 10 EXTERIOR FINISHES: WALLS, ROOFS, AND CONCRETE SLABS 230

Introduction 230
Wall Finishes 230
Masonry (Brick and Stone Cladding) 231
Siding 237
Stucco and Exterior Insulated Finish Systems 242
Roofing Materials 244
Eaves (Cornice) 247
Finish Concrete 247
Concrete Strength 247
Finishing Concrete 248
Exterior Finishes and the Doncaster House 250
Chapter 10 Assignment 1: Exterior Finishes and Doncaster Drawings 254
Chapter 10 Assignment 2: Exterior Finishes and the Brook Drawings 256
Chapter 10 Quiz Review: Exterior Finishes Using Whittington Drawings
and SWO Condition Drawing 258
NEL
Copyright 2015 Nelson Edueatjon U d. All Rights Reserved. May not be copied, scanned. or duplicated. in whole or in part. Due to e lec-tronic rights, some third party c.on1en1
may be suppreSsed from the e Book a nd/or eChapte,,(s). Nelson Education re...:;erves the rig.hi 10 remove a dd itional content at any time if subsequent right-: restrictio ns require it.
CO NTENTS
..
VII
CHAPTER 11 MECHANICAL AND ELECTRICAL SUB-TRADES 260

Introduction 260
Mechanical and Electrica l Systems 260
Plumbing System 263
Potable Water 263
Drain, Waste, Vent System 263
Plumbing Permit Requirements 265
Plumbing Components and Materials 269
Rough-in of Fixtures 271
Heating Ventilation and Air Conditioning System 274
Types of Heating Systems 281
Central Air Conditioning 282
Chapter 11 Assignment 1: Plumbing and HVAC Theory 284
Electrical System 287
Electrical Cables 288
Green Building Systems 291
Chapter 11 Assignment 2: Electrical, Green Systems, and Doncaster
Drawings 296
Chapter 11 Quiz Review: Electrical, HVAC, Plumbing, and the Brook
Drawings 298
CHAPTER 12 THE BUILDING ENVELOPE 301

Introduction 301
The Building Envelope 301
Heat Flow 302
Conduction 302
Convection 303
Radiation 303
Moisture Movement 303
Air Ba rriers 303
Vapour Barrier/Retarder 304
Caulks and Sealants 304
Ventilation 305
Insulation Types 316
Chapter 12 Assignment 1: The Building Envelope and the Doncaster
Drawings 317
Chapter 12 Assignment 2: The Building Envelope and the Brook Drawings 319
Chapter 12 Quiz: The Building Envelope and the Whittington Drawings 321
CHAPTER 13 INTERIOR FINISHES, KITCHENS, AND STAIRS 324

Introduction 324
Interior Finishes 324
Gypsum Boa rd Panels (Drywall) 325
Drywall Installation and Finishing 326
Millwork and Trim 328
NEL
VIII UNDERSTANDING CONSTRUCTION DRAWINGS FOR HOUSINGAND SMALL BUILDINGS
Kitchens 331
Kitchen Installation 332
The Doncaster Kitchen 336
Chapter 13 Assignment 1: Interior Finishes, Kitchens, Baths, and Doncaster
Drawings 337
Stairs 339
Stair Terminology 339
Stair Design and Calculations 341
Calculating Unit Run and Unit Rise 342
Calculating Stairwell Opening Size 342
Calculating Headroom 344
Stairs and Doncaster Drawings: How to Reference Information from
Drawings 344
Other Interior Finishes 348
Floor Finishes 348
Types of Floor Finishes 348
Fireplaces 348
Doncaster Gas Fireplace 351
Schedules 352
Chapter 13 Assignment 2: Stairs Using Doncaster Drawings 354
Chapter 13 Quiz Review: Interior Finishes, Kitchens, And Stairs Using The Brook
Drawings 356
CHAPTER 14 SPECIFICATIONS AND CONTRACTS 358

Introduction 358
Specifications 358
Specification Types 359
Sample Specification 361
Specifications for Production Home Builders 361
Contracts 371
Contract Components (Fixed Price) 371
Other Items 373
Change Orders 373
Sample Contract Documents 373
Chapter 14 Assignment 1: Specifications and Contracts 382
Chapter 14 Quiz Review: Specifications and Contracts 385
CHAPTER 15 AN INTRODUCTIO N TO DRAWINGS AND DETAILS FOR RENOVATION

AND MULTIPLE-UN IT BU ILDI NGS 388
Introduction 388
Renovation Drawings 388
Sample Renovation Drawings 389
Chapter 15 Assignment 1: Renovation Drawings Using Khalmur Drawings 399
Multiple-Unit Buildings: Semi-detached and Townhouses 401
Party Wall (Fire Sepa ration) Details 403
Chapter 15 Quiz Review: Multiple-Unit Buildings and Renovations 409
NEL
CO NTENTS
.IX
CHAPTER 16 INTRODUCTION TO SMALL BU ILDI NGS ANO INSTITUTIONAL COMMERCIAL

INDUSTRIAL (ICI) TYPE DRAWINGS 411
Introduction to Small Buildings and ICI Type Drawings 411
Similarities between Residential and Institutional, Commercial, and Industrial
Drawings 412
Typical Differences between Residential and Institutional, Commercial, and
Industrial Drawings 412
Coding of Floors 412
Coding of Rooms and Spaces 413
Coding of Components 413
Reference Grids 413
Cross Referencing of Drawings 414
Engineering Drawings 415
Concrete Volume Calculation Example 418
Chapter 16 Assignment: Sma ll Buildings, ICI Theory, and Mini Mart Drawings 421
Chapter 16 Quiz Review: Small Buildings, ICI Theory, and Mini Mart
Drawings 423
Appendix A: Assignment Answers 425

Appendix B: Math Review 433
Appendix C: Squaring a Corner Using the Pythagorean Formula 443

Appendix D: Calculating Headroom for Stairs 444
Appendix E: Web References 445
Glossary 446
Index 454
NEL
...
", ,
~ ~~
Forewo~
/
he housing industry in Canada has weathe red However, before any building can be c reated,
T both strong economic markets and difficult
conditions, but even Canada's Economic Action
there must be a p lan, a blueprint, a construction
drawing. The more comp lex the building, the
Plan recogn izes housing as a strong engine for more elements will appear on the construction
the economic well-being of the country. In addi- d rawings; many drawings have numerous pages
tion, renovation activity continues to su r pass to capture all of the necessary components. The
new home constru ction, w ith annual expendi- ability to accu rately read and understand con-
tures over $25 billion and growing. stru ction drawings is a skill that is needed by
What does th is mean? Quite simply, it means not only the carpenters on the site but also the
that the residential construction industry is strong estimator who orders the lumber, the mason
and growing, and is p roviding opportunities f or who determ ines the amount of brick, the roofing
careers of all sorts. The construction industry, supplier estimating the shing le requirements,
because it is comprised of many small compa- the w indow manufacturer supplying the win-
n ies and a huge network of support industries dows, etc. Consider the understanding needed
and services, is not well understood as a huge by the electrician, the plumber, and the heating
cont ributor to the economic well -being of the contractor. If you are supplying the kitchen cabi·
country. In fact, the Canadian housing industry nets or floor cove ri ngs and ti le, you w ill have to
is the barometer of the Canadian economy. It is understand the construction drawings, in order
essential to Canada's social and economic pro· to make your product fit. As you learn to read
g ress and to the v ital ity and competitiveness of and understand construction d rawings, you
our urban commun ities. soon rea lize that you have learned to th ink in
Over the last few yea rs, in my leadership roles three dimensions.
with the Canadian Home Builders' Association, Construction drawings are so much more
I have been in a position to ca rry many impor- than j ust a floor plan! For a custom builder they
tant messages to governments at all levels, and I represent part of the contract; fo r a p roduction
have also had the opportunity to speak to many builder they help guarantee quality and cost con -
g roups, particu larly students, about the many tro l. Municipal inspectors check the construction
career opportunities offered with in the industry. d rawings to ensure code comp liance before con·
If you think for a moment about a house and str uction beg ins. Mortgage lenders and insur-
the many components and products requ ired to ance adjusters often use the drawings in order
create a function ing building, then conside r all of to evaluate build ings not yet constructed.
th ings that go into that house to make it a home, In a ma rket where many homes are pu r·
then mult iply those elements by the number of chased before they are constructed (presale) it
people and functions necessary to b ring those is critical for even the salespeople to understand
p ieces together, you w ill appreciate the long list the drawings in o rder to explain the spaces and
of exciting roles within the construction industry. specifications to potential purchasers. The details
X NEL
Copyright 2015 Nelson Edueatjon Ud. All Rights Reserved. May not be copied, scanned. or duplicated. in whole or in part. Due to elec-tronic rights, some third party c.on1en1
may be suppreSsed from the eBook and/or eChapte,,(s). Nelson Education re...:;erves the rig.hi 10 remove additional content at any time if subsequent right-: restrictions require it.
FOREWORD XI
.
of the construction d rawings provide for every mind. A construction d rawing i s a picture of a
condition expected: sloping lots, soil conditions, box drawn f rom all sides, inside and out, top and
setbacks, drainage service connections, etc. The bottom, and all of the elements to be contained
in the box. Once mastered, the skill fo r reading
construction d rawings are referred to repeat-
and understanding construction drawings lasts a
edly throughout the constru ction process, when lifetime, opening the door for numerous career
each element is added, and as the municipal choices not only on construction sites but also in
build ing inspector checks the progress against other industries re lated to housing.
the d rawing to ensure compl iance.
In recent yea r s there has been increased MARY LAWSON
attention given to consideration of the "enve- V.P. General Manager, Oalerose Country Homes
lope" of the building. This detail deals with insu- 2004 President- Canadian Home Builders'
lation and moistu re barriers as well as air f low. Association
All of these concerns improve the performance 1998 President- Greater Toronto Home Builders'
Association
of the building. Aga in, th is detail is clearly part
1988 President- Calgary Home Builders Association
of the construction d rawings.
Currently on the Foundation Board of George Brown
As you develop the skill fo r reading construc-
College
t ion d rawings, remembe r not to read them in
Previously served on Board of Governors of George
isolation. The lines and details on the page must
Brown College
create an image of the finished product in your
NEL
f'*
I ...
~
'
,,•
~
Pretace
wrote this revised and updated text to respond • NBC requi rements regarding the notching
I to the need to educate students on print reading
for the Canadian housing and renovation mar-
and drilling of d imensional lumber,
• a new set of imperia l d rawings ca lled the

kets. Although the United States and Canada Brook, and
sha re many common p ractices, the number of
• over 160 additional imperial-based assign -
differing p ractices makes it important for stu-
ment and quiz questions.
dents to lea rn Canadian construction methods
and applicable codes. A lthough p r int read ing information can
By teaching t his course to the construction transcend numerous const ruction sectors, the
trades, architectural, construction management, p ri mary focus of th is text is housing and small
and renovation programs, I have found it impera- buildings (Part 9 of the NBC).
t ive that students understand and visua lize the Because this is a Canadian text it covers two
build ing process and the components used to systems of measurement. The f irst and official
bu ild. A lso, wh ile portions of this content may be system is the metric system; the other is the impe-
taught in more detail in other courses, this course rial system. Five primary sets of d rawings, as well
lays the foundation fo r everything that follows. as numerous section details, are used throughout
This text i s updated and references the th is text. The Five complete drawings are:
National Build ing Code (2010 NBC) of Canada
1. Doncaster Drawings
as its refe rence for code-related issues. There These are the main d rawings used throughout
are numerous refe rences to NBC parts p rovided the text and are of a production home. The
throughout the text. Your province may have its actual house construct ion has been photo -
own provincial code adapted from the NBC, and graphed from start to finish. Compari sons
many of the reference parts may be the same. and refe rences between the d rawings and
Add it ional content in this edition includes
the construct ion methods used to build the
• more details and information on sustainable house are made throughout the text. Added
building practices, to th i s edition are a number of 30 Revit
• information and photos about energy d rawing images that display the structu ral
efficiency, components in such a way that the student
can more readily visual ize the components
• an overview of build ing information mod-
used to construct the build ing. This helps
elling (BIM ) and three- dimensiona l (30)
students better understand what the draw-
images of the model house used throughout
ings mean and how th is information i s
the text,
tu rned into reality, as well as showing the
• information on engineered flooring systems f inished project. These d rawings are d rawn
and ICF details, in metric and can be found in the back of the
• details about roof f raming, text and for instructors on the text 's website
• detailed information on concrete strengths in pdf format. (see http://www.nelson.com /
and conversion factors, stephenson3e).
XII
.. NEL
PREFACE XIII
2. Whittington Drawings 4 . Khalmur Crescent Drawings

This set of drawings provides students with These drawings, fou nd in Chapter 15, a re
another perspective an d lay o ut . Both the of a sim ple addition an d were d rawn by
Wh ittington draw ings and the Doncaster the Toro nto Area Chief Bu ild ing Officials
d rawings are used in a number of the assign- Comm ittee (TACBOC) to help expla in
ments and quizzes.T hese drawings are d rawn d rawing requirements needed fo r a bu ilding
in metric and can be fo und in the back of the permit. The Khalmur drawings help students
text and for instructors on t he text's website compare some of t he d ifferences involved
in pd f format. (see http://www.nelson.com/ in read ing p lans an d build ing a new home
stephenson3e). as o pposed to bu ild ing an addit ion, whe re
t he process involves matching materials that
3. The Brook Drawings
su pport and tie into the existing bu ild ing.
New t o th i s ed ition, the Br o o k drawings
These drawings are drawn in imperial and
provide students wi t h a f ul l set of draw-
for instructo r s can also be fou nd on the
i n gs done 1n im p eria l measurements,
text's webs ite in pdf format. (see http: //
allowing students to compare and contrast
www.nelson.com/ stephenson3e).
t h em wi t h the Doncaster and Whittington
d r awi n gs, w h ich a r e d raw n 1n metric 5. Mini Mart Drawings
measurement (th e Brook drawings come These drawings, discussed in Chapter 16, are
attached to the t extbook an d have th e for a small retail store. The building is struc-
name "Brook" in the ti t le b lock). A n um ber t ura l steel and t he d rawings that were pro-
of assig n ments and have been adde d that duced for educational purposes introduce
uti li ze the Brook d raw ings in Chapters 6 you to architectural and engineering d rawings
throug h 13. Uniq ue to t he Broo k d rawings using a structura l g rid. These drawings are in
is tha t they are base d on pro d uction home metric and can be found in the back of the
bu ild ing, provid ing the stu dent w ith the text and fo r instructors on the text's webs ite
opportunity to v iew a design t hat includes in pdf fo rmat. (see http://www.nelson.com/
two o pt ions fo r the front elevation of stephenson3e).
the house, Elevation A and Elevation B,
which enables b u il de r s to conf orm to
loca I a rch itectu r a I control req u irement s TEXT LAYOUT
and to diversify the look of the neig h bou r- Chapters 1 to 4 of th is text cove r the fu n-
hood they are creatin g . T he Brook draw- damenta ls of rea d ing drawings, incl ud ing
ing s also p rovide a number of opti ons and visu ali zation; under stan d ing sca les and
details no t indicated in the Doncaste r or measureme nt systems; types of d rawings;
Whittington d rawing s, s uch as th e opti ona l constructi o n notes; and u n der standin g
side door fo r both Elevations A and B, and abbreviations, hatchings, and symbols.
incor porates t he use of manufactu re d joist Chapters 5 to 13 fo llow t he typ ica l sequence
systems fo r the f loors. There i s also a sep - of constructing a house from init ial zoning
arate set of electr ica l p lans provided for an d permits to comp letion.
these drawings, enabl ing the stu d en t to
better comprehen d how b u ild ing systems Chapter 14 provides valuab le information on
can be separated int o the ir own draw- the purpose and use of specificatio ns and
ing s as the ir comp lexity inc reases. T hese contracts.
drawings can also be found for inst r uctors Chapter 15 is broken into two sections the
on t he text's webs ite in p df fo r mat. (see first is on renovation practices and interpreting
http://www.nel son .com / stephenson3e ). d rawings for renovations. The second is on
NEL
XIV
. UNDERSTANDING CONSTRUCTION DRAWINGS FOR HO USING AND SMALL BUILDINGS
mu ltip le-unit buildings (e.g., townhouses). • One Quiz Review per chapter
This latter section focuses on understanding • Key terms in bold w ith list at end of chapter
townhouse drawings, including issues of fi re and definitions p rovided in g lossary
separation and sound transm ission.
• List of r eference websites p rovided 1n
Chapter 16 references the M ini Mart draw- appendix.
ings included with the text. Chapter 16 is
meant to introduce you to other methods of
construction, such as structural steel, and to INSTRUCTOR RESOURCES
how the build ings differ from housing and The Nelso n Educat io n Teaching A dvantag e
small buildings. Chapter 16 also introduces (NETA ) prog r am del i vers research-based
how the structural grid is used for orienta - instructor resou rces that promote student
t ion purposes on large residential and com- engagement and h igher-o rder thinking to enable
mercial drawings. the success of Canadian students and educators.
Chapters 14, 15, and 16 were p laced at To ensu re the h igh quality of these materia ls,
the end of the text recognizing that some all Nelson ancillaries have been profession -
instructors may not have time to cover all of ally copy-edited. The ancillaries for th is text are
the chapters and may the refore use them in authored by the text author, Tom Stephenson,
another course. T he chapte rs are designed and are p rovided on the Instructor Companion
such that an instructor can move some out Sit e at www.nelson.com/stephenson3e.
of sequence to better suit teaching and pro -
• Instructor 's Manual offers chapter-specific
g ram needs (e.g., Chapter 14, Specifications
Key Teaching Points, Teaching T ips, and
and Contracts, could be moved to follow
Lecture Ideas as wel l as a list of Learning
Chapter 4, Abb r eviations, Hatch ings,
Obj ectives, Chapter Topics, and KeyTerms.
Symbols, Construction Notes, and Detail
Drawings). • Quiz Review answers are available sepa-
rately in Word and PDF fo rmat.
FEATURES FOR STUDENTS • The Test Bank is available in a new, cloud -

based p latform. Testi n g Powered by
• Chapter Outcomes listed at the start of every
Co gn ero® i s a secure online testing system
chapter that allows you to author, edit, and manage
• Comparison of production home building to test bank content from any place you have
custom home building Internet access. There are approximately
• Completely updated references to pertinent 320 multiple-choice, 80 True/ Fa lse, and
National Building Code of Canada (2010) 160 short-answer questions avai lable in
sections Cognero.
• Construction methods and materials addressed • An additional short answer, multiple choice,
and related to construction drawings and essay type questions with answers are
p rovided fo r each chapter in printable Word
• Green and sustainable building practices ref-
o r rtf format.
erenced throughout the textbook
• NETA PowerPoint lecture slides fo r each
• Details of const ruction p rocess of actual
chapter are in Microsoft® PowerPoint®. There
house with matching drawings
is an average of 55 slides per chapter, many
• Five comp lete sets of drawings featuring key figures, tab les, and photographs
• One to two Student Assignments per chapter from Understanding Construction Drawings,
with answers in appendix at back of text th ird edition. NETA principles of clear design
NEL
Copyright 2015 Nelson Edueatjon Ud. All Rights Re served. May not be copied, scanned. or duplicated. in whole or in part. Due to e lec-tronic rights, some third party c.on1en1
may be suppreSsed from the e Book a nd/or eChapte,,(s) . Nelson Education re...:;erves the rig.hi 10 remove a dd itional content at any time if subsequent right-: restrictio ns require it.
PREFACE XV
and engaging content have been incorporated see how quickly the teache r can become the stu -
throughout, making it simple fo r instructors dent in a world that is constantly changing.
to customize them fo r thei r courses. Special thanks to Mary Lawson fo r taking
• Add itiona l drawings and photos f rom the t ime to write a fo reword, and to M ichae l Nauth
text are also available in the Image Library for his techn ica l check of the drawings.
Thank you to the reviewers who provided
• The Doncaster, Whittington, Brook, Kha lmur
thei r feedback on the preliminary reviews: Luc
Crescent, and M ini Mart d rawings from the
Lapierre, A lgonquin College; Martin Askes,
back of the text are also p rovided in pdf fo rmat
Fanshawe Col lege; Scott Fleming, Fleming
with the Instructor Resources fo r the text at
College; and Ann Pepper, Georgian College.
http://www.nelson .com /st ep hen son3e for
I wou ld like to thank the editorial team
the instructor to use in the PowerPoint slides.
at Nelson Education Ltd., in particu lar, Anne
Wi lliams, Jackie Wood, A lexis Hood, Susan
Calvert, Susan James, Claire Horsnell, Jaime
Acknowledgements Sm ith, and Rache l Eagan (who sought all the
wou ld like to thank Wayne Cassidy of Cassidy permissions). Thanks also to Katherine Goodes
I & Co. fo r p rovid ing the co re d rawings used

in this text and f or his ongoing support of edu-
for gu iding me through the development of this
edition, keeping the proj ect on t rack and on time.
cating students in the construction sector, and I Finally, I want to thank my lovely w ife Sophie
also want to thank Tribute Homes fo r providing who is simply the best wife in the world, for
access to its home bu ilding site to photograph not only being patient w ith me during this long
the construction of the homes used in the text p rocess, but also encouraging, motivating, and
d rawings and for p rovid ing backg round docu- inspir ing me to write and complete the text.
ments and information. Particu lar thanks to I could not have done th is without you! I also
Steve Brockstein, construction project manager; want to thank my daughter Madeline the j our-
John Mazzuca, senior site supervisor; and David nalist for all her editorial and w riting advice and
Speigel, v ice president of operations. my daughter Frances the lawyer fo r her help on
I also want to thank my many colleagues and the legal areas pertaining to construction con -
students from George Brown College who have tracts. This work is t ruly a fam ily project.
taught me so much over the years, particularly
John W ills who orig inally helped me brainstorm
the initial concept and provided some of the key
contacts that helped make this text become a
About the Author
rea lity, and Rainier Blundel for his expertise in om is a fu ll-t ime professor at George
d rawing the drain drawings used in Chapter 11.
I also want to thank Clint Kissoon and the many
T Brown College. He has a diverse back-
ground in teaching, having taught in the dis-
other contributors to the Mini Mart drawings, with cipl ines of Bu ild ing Science, Construction
special thanks to Frank Osso for his help editing Management and Construction Business
the CAD f iles. Also I want to thank Clint Kissoon Management, Arch itectu re, Carpentry and Brick
for providing permission to use the BIM illustra- and Stone Masonry. Tom developed, the Building
t ions of the Doncaster house that is cu rrently Renovation Technology program and teaches in
being researched and used in the College's BIM the Construction Engineering Technology pro -
certificate and construction programs. Finally I g ram and the Architectura l Technology and Civil
want to thank Jonathan Gibb fo r hi s work for diploma p rograms, as wel l as in the Bachelor of
George Brown College on developing the BIM Appl ied Technology, Construction Science and
for the Doncaster house; Jonathan has made me Management Degree program at George Brown.
NEL
Copyright 2015 Nelson Edueatjon Ud. All Rights Reserved. May not be copied, scanned. or duplicated. in whole or in part. Due to e lec-tronic rights, some third party c.on1en1
may be suppreSsed from the e Book a nd/or eChapte,,(s). Nelson Education re...:;erves the rig.hi 10 remove a dditional content at any time if subsequent right-: restrictio ns require it.
xvi UNDERSTANDING CONSTRUCTION DRAWINGS FOR HOUSING AND SMALL BUILDINGS
Tom has worked w ith leaders in industry, Administration. He has been an active member
such as Mattamy Homes in developing their at the local, provincial and national levels of the
in-house employee training program, and he Canadian Home Building Association. He also
currently consu lts with EllisDon Construction, teaches Proj ect Management for the Toronto
assisting them in the development and delivery Construction, the Ontario General Contractors
of their in-house project management. Pri or to Association, and the Labourers' International
teaching, Tom owned, managed, and operated a Union of North America. Tom is the 2014 recip-
m id-sized general contracting. ient of the Society for Teaching and Learning
Tom holds two deg r ees, a Bachelor of in Higher Education (STLHE) College Sector
Administrative Studies and a Master of Business Educator Awa rd.
NEL
Copyright 2015 Nelson Edueatjon Ud. All Rights Reserved. May not be copied, scanned. or duplicated. in whole or in part. Due to e lec-tronic rights, some third party c.on1en1
may be suppreSsed from the e Book a nd/or eChapte,,(s). Nelson Education re...:;erves the rig.hi 10 remove additional content at any time if subsequent right-: restrictio ns require it.
- ~ Construction Drawings:
An Overview
LEARNING OBJECTIVES
After completing t h is c ha pter, you will b e able to:
• Identify, compare, and contrast the dif- • Identify the basic processes u sed to
ferent construction industry sectors. produce a set of drawings.
• Identify d ifferent types of drawings • A nalyze, visual ize, and sketch an orth o-
and thei r best use as applied to con- graphic drawing based on a three-
struction . dimensional drawing of an object.
INTRODUCTION FIGURE 1.1

Thi s chapter prov ides an overv iew of the con- School being constructed for children from new housing
being built at this location. New residential subdivisions
structi on industry, its many sector s, and its
requ ire institutional buildings such as schools.
impact on the Canad ian economy. T he types
of d rawings used for construction p roj ects are
ex plained, as are key concepts that wi ll help you
develop the skill of analyzing and visualizing
what you are t ry ing to co nstruct from a set of
c:
d rawings. This chapter w ill also provide a brief II II r• Sl
c:
overview of Building Information Model ling, Q)
.!!
referred to as BIM. The construction indust ry is
evolving with exciting changes in technology
-a.
Q)
( /)
E
t hat are taking place. It is ex pected w ithin the
next few years that there will be w i despread
-
,2
0
>
adoption of BIM, wh ich will advance t he use
of t h ree-dimensional (30) model s, along w ith
-"'
u
Q)
~
:,
0
the integ ra ti on of other d i sciplines such as

estimating, p roject management, and facilities FIGURE 1.2
Office building under construction.
management in larger p rojects.
THE CONSTRUCTION
INDUSTRY
Wh il e th i s text will focus on "housing" and
"small bu ildings" as defi ned in the N ational
Building Code of Canada (N BC), it is important to
appreciate how much we rely on construction in
our daily lives. The construction industry p lays a
large ro le in the economic growth and prosperity
of Canada. The industry comprises a number of
sectors, including:
• Institutional: hospitals, universit ies, co lleges,
schools, libraries
• Commercial: office build ings, retail stores,
restaurants
NEL 1
2 UNDERSTANDING CONSTRUCTION DRAWINGS FOR HOUSING AND SMALL BUILDINGS
• Industrial: manufacturing and industrial-type repai r (for example, underg round pa rking
buildings. garages and balcony slabs on condominium
buildings)
FIGURE 1.3
Industrial construction.
FIGURE 1.5
Residential sub-division under construction.
§
~
Q)
-§.
-Q)
( /)
E
,2
0
~
t:
:,
8
The acronym ICI is commonly used to identify FIGURE 1.6
the institutional, commercial, and industrial con- Extensive renovations to an existing residential building.
struction sectors.
• Residential: single, mu ltiple low-rise, and -- -
h igh-rise residential bu ildings
FIGURE 1.4
High-rise condom inium under construction with exterior
curtain walls completed. l I §
• {
-
~
Q)
( /)
E
,2
0
~
Q)
t:
:,
--------~8
FIGURE 1.7
Restoration of a historical building.
• Renovation and redevelopment: renewal, c:

repair, and modification, including change of Slc:
use of existing structu res .c:
Q)
• Restoration: the restoration of existing build -

ings to bring the structure back to o r above
- c.
Q)
( /)
E
its original condition, including both exterior
and interior wo rk. Includes historical projects
-
,2
0
>
and projects whe re materials have worn to
"'
t:
Q)
:,
0
the extent that they require replacement or u
NEL
CHAPTER1 CONSTRUCTION DRAWINGS: AN OVERVIEW 3
• Infrastructure: ci v il projects such as roads, higher, more energy efficient and environmentally
b ridges, subways, water and sewage treat- sustainable level than is currently standard practice
ment facil it ies (e.g. National Building Code regu lations), w ith the
These sectors do not necessarily rema in sep- intention of eventually becoming t ru ly sustainable.
arate and distinct. For example, a res idential high-
r ise may have commercia l office and retail space
on the lower f loors; an industrial manufacturing THE PURPOSE
plant may include commercial office space; and, OF DRAWINGS
increasingly, hospita ls, universities, and colleges In order for any construction project to be suc-
may incorporate restaurants and retail space. cessfu l it must have a clearly thought out set of
The renovation and restoration sector s d rawings and specifications. The drawings and
involve all the other sectors, and all homes and specifications, also known as plans, blueprints,
buildings w ill eventually requ ire modifications, o r prints, p rovide general contractors and sub -
upgrades, o r retrofitting to maintain them and contractors with the information required to accu -
bring them up to their high est an d best use. rately tender and bid for proj ects. The d rawings
"Highest and best use" is a real estate develop - and specifications provide the bidders with accu -
ment term that refers to the development of a rate, detailed information concerning the proj ect.
p roperty that w ill offer the best return because The general contractor is then able to accurately
it is being put to the best and most desired use. estimate the resou rces (materials, labour, and
Another area that spans all the construction equipment) requ ired to construct the project. The
sectors listed above is the movement of society client will be able to select the successful bidder
towa rds building more energy efficient and envi- with the confidence that all the bidders submitted
ronmentally sustainable buildings and infrastruc- their bids based on the same drawings and speci-
ture. The World Commission on Environment and f ications, which accurately reflect the proj ect. The
Development developed a definition of sustainable client can make a selection based on an apples-
development that was included in its 1987 report: to-apples bid, as opposed to an apples-to-oranges
b id, in which the cl ient and contractor have dif-
Humanity has the ability to make develop -
f erent expectations fo r the project. Failure in this
ment susta inable - to ensure that it meets
the needs of the present without compro - area is the source of many m isunderstandings,
mising the ability of future generations to cost overruns, poor construction, and lawsuits.
meet their own needs. The concept of sus- Construction drawings are also a requ ire-
tainab le development does imply limits - ment for apply ing f o r a bu ild ing permit. They
not absolute limits but limitations imposed ensure that the building meets all building code
by the present state of techno logy and social requirements, including minimum standa rds
organization on environmenta l resources with regard to safety and durability. The National
and by the ability of the biosphere to absorb Building Code (NBC) is the model code used in
the effects of human activity.' Canada; many p rovinces have developed their
The Green movement is affecting the way we own building codes based on the NBC.
design and construct our buildings. As a result,
building design, management, methodology, and Architectural Offices
techno logy are changing and evolv ing to better Drawings are developed by skilled architects, archi-
meet societal requirements and demands. In tectural technologists, and engineers (for the pur-
order to be successful, Green Building requ ires poses of th is text, unless noted fo r specialization
that we do a better j ob of integrating our design purposes, we wil l refer to architects, architectural
and construction processes to ensure that these technologists, and engineers as designers); some
benefits are maximized and that the building func- smaller contractors may also perform this function,
tions as an integrated system. A lthough there are particu larly for housing and small buildings (Part 9
numerous definitions fo r what Green Building is, of the National Build ing Code). Licensing requ ire-
this text wi ll define Green Building as building to a ments vary between provinces, and the intended
use o r occupancy of the build ing may require
•From "Our Common Future;· Report of the World Commission
p rofessional stamps of approval f rom different
on Environment and Development, World Commission on
Environment and Development, 198Z Published as Annex to professional designations such as arch itects and
General Assembly document A/42/427. Chapter 2. engineers. Designers may work in small one-person
NEL
Copyright 2015 Nelson Edueatjon Ud. All Rights Reserved. May not be copied, scanned. or duplicated. in whole or in part. D ue to e lec-tronic rights, some third party c.on1en1
may be suppreSsed from the e Book a nd/or eChapte,,(s). Nelson Education re...:;erves the rig.hi 10 remove a dditional content at any time if subsequent right-: restrictio ns require it.
4 UNDERSTANDING CONSTRUCTION DRAWINGS FOR HO USING AND SMALL BUILDINGS
practices, or in large multiperson offices that work Once p lotted, multiple cop ies can then be pro -
on hundreds of projects a year. Traditionally, draw- duced by either fu rther plotting or photocopying.
ings were done by hand and run th rough a process Whi le still in its infancy, the use of tablets with
that resulted in a blue background with white lines; touch screens to v iew drawings is gaining trac-
these types of d rawings, known as blueprints, are t ion very quickly, offeri ng the advantage of being
usually now found in city archive offices and his- able to zoom into v iew and annotate drawings,
torical reco rds storage. From these roots, drawings forming an effective means of sending requests
received the name "blueprints" and to this day are for information (RFI) quickly and efficiently.
often still referred to that way.
Today almost a ll construction drawings Imperial and Metric
are drawn using computer-aided design (CAD) Standard Sheet Sizes
systems, wh ich allow the designer to quickly Drawings are plotted or d rawn on many different
design, revise, and send d rawings electronically. sizes of sheets (see Tables 1.1 and 1.2 below).
However, some designers still use the t raditional Many res idential d rawings for production home
method of d rawing by hand. building are d rawn on 11" x 17" o r B-size sheets.
CAD d rawings are p ri nted on a plotter. The The 11" x 17" size provides a low-cost alternative
p rocess is referred to as "plotting the d rawings:• fo r copying. The size of sheet is determined by the
size of the project, the scale, and the readab ility
FIGURE 1.8 of the drawings at that particular scale (refer to
CAD designers at work at Cassidy & Co.. an architectural
technologists' practice specializing in production of home Chapter 2 fo r more detailed information on scales).
designs.
TABLE 1.1
Drawing Sheet Sizes: Metric
Sheet Designation Overall Size (mm)
AO 841 x 1189
A1 594 x 841
A2 420 x 594
A3 297 x 420
A4 210 x 297
Source: Reproduced with the permission of Canadian St andards
Association from CSA Withdrawn Standard CAN3 878.3-Mll -
Building Drawings - Basic Engineering which is copyrighted by
CSA, 5060 Spectrum Way, Mississauga ON, L4W 5N6 Canada.
TABLE 1.2
Drawing Sheet Sizes: Imperial
FIGURE 1.9
A CAD drawing being plotted. PDF files are also often Sheet Designation Overall Size (inches)
sent via email for review and plotting purposes. A 8Vi' x 11•
B ,,,, x 1711
c 17" x 22"
D 22" x 34"
E 34" x 4411
Source: W ith the permission of Canadian Standards Association
(operating as CSA Group), material is reproduced from CSA
Group Standard, CAN3 878.3-M77 entitled "Building Drawings -
Basic Engineering" which is copyrighted by CSA Group, 5060
Spectrum Way, Suite 100, M ississauga ON, L4W 5N6. This mate-
rial is not the complete and official position of CSA Group on the
referenced subject, which is represented solely by t he standard
in its entirety. While use of the mat erial has been authorized, CSA
is not responsible for the manner in which the data is presented,
nor for any interpretations thereof. For more information or to
purchase standards from CSA Group, please visit http://shop.csa.
cat or call 1-800463-672Z
NEL
Types of Drawings FIGURE 1.10

Constr uction d rawings are laid out to most Railway track illustration showing vanish ing point as rails
efficiently provide the information requi red to merge to one.
construct the building. To the novice, a set of

construction drawings might seem confusing,
and you may conclude that a three-dimensional
d rawing w ill provide the best means of illus-
trating the build ing wh ile p roviding the informa-
t ion to build f rom. There are definite advantages
to having a th ree-dimensional model for v isual - §
~
ization and integration purposes (BIM). It is, how- Q)
-£.
ever, impractical to build f rom three-dimensional
d rawings. For example, the detailed information
-Q)
( /)
E
,2
required fo r the building process cannot be prop - 0
erl y displayed, nor can we see the required infor-
mation th rough the wal ls o r floors. Therefore,
fil
t::
:,
a number of two-d imensional o r orthographic 8

d rawings are requ ired for a typ ical construction
p roject. However, this does not mean that three- FIGURE 1.11
dimensional drawings are not important. They Rectangular block drawn in perspective.
are used in a number of different ways, f rom on-
VANISHING
site sketching to architectural renderings.
POINT -
The kinds of three-d imensiona l d raw-
ings used most frequently in the construction §
industry are: ~
Q)
-£.
•
•
Perspective drawings
Isometric d rawings
-
Q)
( /)
E
,2
• Oblique d rawings. \-----"', 0
The type of two-d imensional d rawings used fil
t::
most f requently in the construction industry is: .._____.8

• Orthographic d rawings .
use this architectura l rendering format because

Perspective Drawings
they want their potential clients to see the project
Perspective drawings p rovide the most real istic
in an attractive and real istic format.
view of the object. A pictu re taken with a camera
is a perspective view. These d rawings are d rawn
to what is known as a vanish ing point. (There Isometric Drawings
may be several vanish ing points on a single Isometric drawings provide a three-dimensional
d rawing.) Th is can be most easily understood look that a Ilows the viewer to readily see the
if you imagine standing on a railroad t rack and shape of the obj ect. An advantage of isometric
looking off into the distance at the rails. You w ill d rawings over perspective drawings is that they
see two rails joining to one in the distance, in can be drawn to scale, thus providing a means
essence travelling to a vanish ing point. for adding dimensions. However, if the d rawings
Because this type of drawing has tape ring are complex it w ill become difficu lt, if not impos-
v iews, it is not d rawn to scale and is therefore not sible, to provide all the necessary information
typica lly used for placing any kind of dimensions without excessively crowd ing the drawing.
on the drawing. However, it is used by builders, Isometric d rawings are drawn w ith all hori-
developers, and designers as a means of show- zontal lines drawn at a 30-deg ree angle to the
casing the project.Typically, perspective drawings horizontal, all vertica l lines drawn vertical, and
are used in sales and marketing materials such as with circles represented by d rawing an ellipse to
brochures, newspapers, and posters. The builders p rovide a three-d imensional look to the drawing.
NEL
6 UNDERSTANDING CONSTRUCTION DRAWINGS FOR HOUSING AND SMALL BUILDINGS
Isometric d rawings are used to provide a a particu lar co nstruction detail (for example, a
th ree-dimensional scale view of an obj ect. Usually f raming detail o r a cabinet detail). Inexpensive or
the objects do not require a great deal of ex pla- f ree software such as Google Sketch Up ca n also be
nation. In many cases, site superintendents w ill used to quickly draw sketches on a tab let o r laptop.
quickly sketch an isometr ic d rawing to co nvey You w ill also find isometric drawings used in many
information to a t radesperson or cl ient regarding textbooks and magazines for the same purpose.
FIGURE 1.12
Perspective drawing used as a promotional rendering for sales and marketing of new homes, Tribute Homes. drawn by
Cassidy & Co.
DONCASTER ELEY. B 2578 SQ. FT.

Source: Cassidy & Co. Architectural Technologists
FIGURE 1.13 FIGURE 1.14

Isometric sketch displaying horizontal lines at 30-degree Isometric sketch of horizontal lines at 30 degrees for a
angle. rectangle.
30° ANG LE 30° ANG LE
30° 30°
NEL
FIGURE 1.15
Isometric sketch used to illustrate a fram ing detail for a two-stud corner.
CORNER STUDS
/ BOTIOM PLATE
SUB-FLOOR
FLOOR JOIST
Sil l PLATE
FIGURE 1.16 FIGURE 1.17

Isometric sketch used to illustrate a cabinet detail. Oblique drawing of a rectangle or box.
FIGURE 1.18
Oblique drawing of a simple house.
Oblique Drawings
Sim ilar to isometr ic drawings, oblique draw ings
p rovide a th ree-d imensional view that provides
r eaders w it h three-d imensional (vi sual) inf o r-
mation rega rding t he obj ect whi le showing the
object as a w ho l e. Obliq ue d rawings are rela-
t ively easy to draw.T hey are d rawn w it h the face
of the obj ect in an orthograph ic view (straig ht
on) w hile the si de of the obj ect is drawn out at FIGURE 1.19
Single orthographic view of a crown moulding.
an ang le, generally 45 deg rees.
Oblique drawings are used effectively to d is-
play mouldings or trim details. A client may look
at a section v iew of a moulding but may not be
able to visua lize it because it is not being viewed
as three-dimensional. However, adding a few
lines going out at 45 degrees f rom the sectional
drawing can suddenly cla rify the image, providing
a three-dimensional representation of the obj ect.
NEL
Another random document with
no related content on Scribd:
the grave she ran up to him.
"Mr. Solemn," she said, "did she get out in the night?"
"Who get out?" said the old man, in a very puzzled voice.
"My little girl, Mr. Solemn. Did she get out that night, after you covered her up, you
know?"
"No," said Solomon, "she couldn't get out—how could she?"
"Then she's in there yet," said little Dot very sorrowfully.
"Yes, she's there, safe enough," said the grave-digger; "it's the last home of man, is the
grave, Dot."
"But, Mr. Solemn, you said she was in heaven," Dot went on, in a very mournful little
voice.
Solomon did not know how to answer her; indeed it was very puzzling to himself. He
wished he could think what to say to Dot; but nothing would come to him, so he gave
up the attempt, and tried to think of something else.
But Dot's busy little mind was not satisfied. The little girl's mamma must be right; and
she had said she hoped Dot would see Lilian above the blue sky. Dot wondered how she
would get up above the sky.
"Mr. Solemn," she said one day, "don't you wish you were just like a bird?"
"No," said the old man—"no, Dot; I'd rather be digging my graves."
"But, Mr. Solemn, they've got two wings," she went on.
"And what would you do with two wings, my little dear?" said the grave-digger.
"I'd go right up into the sky, and look for my little girl," said Dot.
"Oh," said Solomon, "your thoughts are always running on that, Dot. How's dolly to-
day?"
But Dot had left her dolly at home—she had almost forgotten it the last day or two.
CHAPTER VI
SOWING SEEDS
THE next week was very wet, and Dot's mother would not let her go into the cemetery.
So she sat at home by the fire with her doll upon her knee, wondering what her little
girl was doing, and whether she was really in the sky. Then she listened to the rain
pattering against the window-panes, and thought how wet the little grave would be, and
how bare it must look, now there were no daisies upon it. Dot hoped very, very much
that her little girl was not inside.
Every time that Solomon passed to and from work, Dot was at the window to nod to
him. He missed her very much this rainy weather; but he had to go on with his work in
the cold and damp, just as usual. It was a great cheer to the old man to see the little
face at the window, morning and evening; and sometimes Dot's mother was there too.
Dot would pull her by the apron when she saw her old friend coming.
"Mother," she would say, "here's my Mr. Solemn!"
And then her mother would run with her to the window, to see the old grave-digger
pass.
But as soon as the sunshine came, and the grass began to be dry, Dot was by
Solomon's side again. She walked with him to the cemetery, though, as soon as they
reached the gates, she ran quickly forward to look at her little girl's grave. But when
she got to the place she stood still in amazement. It looked quite different from what it
did when she was there last. The sides of the grave were covered with nice soft grass,
which looked green and fresh after the rain. Then the top of the grave was quite flat
and smooth like a flower-bed, and in the middle of it was a small rose tree.
Dot ran round the grave several times, to look at all these changes. Then she sat beside
it, and patted the grass, and smoothed the mound, and admired the rose bush.
After a time she went to look for Solomon, to tell him what she had found.
"Oh, Mr. Solemn," she cried, "my little girl's grave is ever so pretty!"
"Yes," he said, "I know it is, Dot; a man came and did it a week ago—I think it was the
lady's gardener. I thought I wouldn't tell you, my little dear—you'd be more surprised
like."
"Oh, Mr. Solemn, did you see the rose tree?"
"Yes, I saw it, Dot."
"Mr. Solemn, I know what I'll do; I'll put you a rose tree on your grave when you die—a
real nice one, I will."
The old man took her up in his arms and kissed her, and then he went on with his usual
work.
It was a bright summer's morning not long after, when Dot saw the two little girls who
had walked behind the lady and gentleman at the funeral coming in at the cemetery
gate. The elder of them had a green watering-can in her hand, and her sister had a
small covered basket. Dot followed them at a little distance, and watched them going to
the quiet corner of the cemetery.
But before they went in among the trees they turned round and caught sight of Dot.
Their mamma had told them to look out for her, so they came back to meet her.
"Are you Dot?" said the elder sister.
"Yes," said Dot shyly.
"Mamma told us about you," said Violet.
"And she thought you would help us," Ethel went on. "We're going to sow some seeds
on Lilian's grave—are we not, Violet?"
"Yes," said Violet. "Gardener wanted to do it, but papa says we may do it quite by
ourselves. Come, Dot, you shall walk with us."
So the three children went hand in hand to the little grave.
It was a long business sowing the seeds; but when the little brown things were put
safely in, and Dot had given the earth a last pat with her hand, Violet said they must be
watered.
"Dot," she said, "where can we get some water?"
Dot ran with the green watering-can to the pump near the cemetery gates, and soon
returned with the water, with which Violet carefully watered the earth where the seeds
had been put in.
"They ought to be watered every day," she said; "gardener always waters his seeds
every day. They won't spring up if they haven't enough water, will they, Ethel? What are
we to do about it?"
"Please, I'll do them," said little Dot.
"Oh, will you?" said Violet. "That will be a very good plan, won't it, Ethel?"
"Yes," said her sister; "and we can leave Dot the small can."
"But you must hold it up as high as you can, Dot," said Violet, "and do it very gently, or
you will wash the seeds out of the ground. Do you think you can manage?"
"Yes," said Dot gravely, as though impressed with the greatness of her trust. "Will the
little girl like them?" she asked, as they walked away.
"What little girl?" asked Ethel.
"Your little girl," said Dot, nodding in the direction of the grave.
"What, Lilian?" said Ethel. "Yes, I'm sure she will like them if she knows. But, then, you
see, I'm not quite sure if she does."
"Perhaps Jesus will let her fly down and look at them," said Violet.
"Oh, I don't think she would want to come, Violet," said her sister; "she would have so
many pretty flowers to look at up there."
"Then she is in the sky?" said Dot, standing quite still and fixing her eyes earnestly on
the two little girls.
"Yes," said Violet in a shocked voice; "didn't you know that, Dot? But you're such a tiny
little thing isn't she, Ethel?"
"But, please," said Dot eagerly, "I saw Mr. Solemn put her in, right down among my
daisies in a white box, and, please, I would so like to know how she got out."
"She didn't get out," said Ethel.
"Because she never went in," Violet went on; "she told mamma so, you know, before
she died."
"Then, please," said Dot, "wasn't she in the little box?"
"Yes, she was—at least—no, she wasn't. I wish mamma was here," said Ethel; "she
could tell you how it was. That was her body, you know, in here; her soul was in the
sky."
"I don't quite see," said Dot, being puzzled.
"Why, this is your body, Dot," said Violet, taking hold of Dot's arm, and giving it a little
pat.
"But, please, that's my arm," said little Dot in a very bewildered voice.
"Yes," explained Ethel, "but all this is your body, Dot—all over you; your soul's inside
somewhere, where you can't see it."
"I should like to see my soul," said little Dot.
"Oh, but you never could!" said Violet. "Could she, Ethel?"
"No, I think not," said Ethel. "Perhaps when we get to heaven we shall."
CHAPTER VII
THE LITTLE WHITE STONE
As soon as the two young ladies were gone, Dot hastened in search of Mr. Solomon. She
found him walking home to his dinner, his spade over his shoulder; and, slipping her
hand in his, she walked beside him, and told him her morning's adventures.
"Please, Mr. Solemn," she said, "have you got a soul?"
"Why, yes," said Solomon; "everybody's got one—to be sure they have."
"Then they'll only put your body in the ground, Mr. Solemn? I'm so glad—that won't
matter so very much, will it?"
Solomon made no answer, so Dot went on—
"Shall you like your soul to go to heaven, Mr. Solemn?"
"Yes, child," said the old man; "it's a good place in heaven, so they say."
"Shall you dig graves in heaven, Mr. Solemn?"
"No," said the old man with a laugh; "there are no graves in heaven. There is 'no more
death, neither sorrow, nor crying.'"
Solomon had learnt this verse at his mother's knee, years ago, and it came back to him
with a strange freshness which almost startled him.
Dot looked up in his face as she said brightly—
"What a very nice place heaven must be! But what will you do there, Mr. Solemn, if you
don't dig graves?"
"Why, sing, I suppose, Dot—sing hymns and such like."
"I didn't know you could sing, Mr. Solemn," said Dot with a laugh. "You've got such an
old voice, it all shakes about. But you and me must help each other; that'll do, won't
it?"
Never were plants more diligently watered than those on Lilian's grave; and great was
Dot's delight as she saw the little green shoots coming one by one out of the ground.
But what was her surprise one morning, on going to the grave, to find two men in her
quiet corner. They were very busy, for they had brought with them a small white marble
stone for the little girl's grave. Dot never left the place whilst they were there; she
watched their every movement with the deepest interest, and when they were gone she
examined the stone very carefully, though she could not read a word of what was on it.
But old Solomon put on his spectacles and made it out for her.
"'Lilian Stanley,'" he began.
"That is my little girl's name," said Dot.
"'Died May 3, 1863, aged 6 years.'"
"Is that all?" asked little Dot.
"No; wait a minute," said the old man. "I'll tell you it all—here's some reading at the
bottom: 'White in the blood of the Lamb.' That's all, Dot."
"What Lamb, Mr. Solemn?"
"Oh, I don't know, Dot; that's a text; it's in the Bible somewhere."
"I want to know all about it," said Dot impatiently. "Can't you tell me, Mr. Solemn?"
But just then they heard a voice behind them, saying—
"Oh, that looks very well. I am so glad it is done!" and, looking up, they saw the little
girl's papa, with Violet having hold of his hand.
Solomon touched his hat respectfully, and moved away; but Dot stayed behind, for she
wanted to hear about the text on the little girl's grave.
"'White in the blood of the Lamb,'" read Mr. Stanley aloud.
"What Lamb?" asked little Dot simply.
"The dear Lord Jesus," said the gentleman. "My little girl would never have got to
heaven if He had not washed her in His blood. And now Lilian wears a white robe, made
white in the blood of the Lamb. Yes, my children," he went on, taking the little girls by
the hand, "there is no other way to the bright land above the sky; there is no other way
to get rid of your sin—and no sin can enter into heaven. But Jesus has loved you, and
shed His blood for you, and He can wash you whiter than snow."
"Will He wash me?" said little Dot.
"I am sure He will, my child, if you ask Him," said the gentleman.
Then he took the two little girls to a seat on the gravel path not far away, and he taught
them this short prayer:
"'Wash me, and I shall be whiter than snow.'"
And that prayer was treasured up in little Dot's heart.
Over and over again she repeated it as she walked home, and many times she said it
during the day. And when Dot's mother came to look at her child in bed, little Dot
turned over in her sleep, and she heard the words again, "Wash me, and I shall be
whiter than snow."
CHAPTER VIII
THE FADING DAISY
THE autumn came on very early that year. There were cold east winds, which swept
among the trees of the cemetery, and scattered their leaves on the ground. Then there
were thick mists and drizzling rains, and each morning and evening the dew fell heavily
on the grass. And now and then there was a slight frost, which nipped the geraniums
and the fuchsias and all the flowers which had been so bright through the summer.
It grew very damp and chilly in the cemetery, but Dot was still in her place at Solomon's
side. She was very pale and thin, he thought; and he fancied she shivered sometimes
as she stood on the damp grass. He would wrap her up in his old great-coat very
tenderly as she sat on the cold stone near him, and he would tell her to run about to
warm herself many times in the day.
But Dot was not so fond of running about as she used to be. She had been very tired
lately, and she would soon come back to him, and stand beside him at his work, talking
to him in her pretty childish way.
He liked to hear her talk, and he was never dull when she was with him. She had taught
him her little prayer, and old Solomon could say it as well as she could. As for Dot, it
was seldom out of her thoughts, and Solomon often found her kneeling amongst the
trees of the cemetery, and "asking the dear Lord Jesus," as she called praying.
But Dot's mother often sent for her in, for she noticed that her child was not well. She
had a tiresome little cough, which often kept her awake by night, and distressed old
Solomon by day. He walked into the town, poor old man, on purpose to buy her some
lozenges, which he heard had cured a neighbour of his. He thought they might make his
little dear's cold well.
But Dot's cough still continued, and grew worse instead of better. At last her father took
her to a doctor, and he gave her some medicine, and said she must be kept warm. So
Dot's mother kept her at home, and she could only kiss her hand to Solomon as he
passed the window to his work. He came to see her in the evenings, for she fretted so
much for him that her mother invited him to come as often as he could.
"Mr. Solemn," she said one day, "I know all about it now."
"About what, my dear?" asked the old man.
"About my little girl, and heaven, and Jesus, Mr. Solemn. Has He washed you, Mr.
Solemn?"
"I don't know, my dear," he replied.
"Cause you can't go to heaven if He doesn't, Mr. Solemn."
"No, I suppose not," said the old man. "There's a many things in me as ought to be
different—I know that, Dot."
"You will say my little prayer, won't you, Mr. Solemn?" said Dot.
"Yes, Dot, I will," said the old man; "God helping me, I will."
She was teaching him many lessons, was this little child; and now that he saw her
slipping away from his sight, each day growing more thin and pale, he felt as if his
heart would break.
Violet and Ethel, and their papa and mamma, often came to see Dot, and brought her
tempting things to eat—jellies, and grapes, and cooling drinks.
Dot was very pleased to see them, and would look out of the window for their coming
for hours together.
But the flower was fading very quickly. Dot was taken suddenly worse, and even her
mother knew that her little girl would not be long with her. She was very tender to Dot
now; she would hold her little girl in her arms for hours together, for Dot was very
weary, and liked to lie quite still, with her head on her mother's shoulder. And at length
there came a long, sorrowful day, when Dot's father stayed away from work, and Dot's
mother sat all day beside the little bed, which they had brought down for the child to lie
upon.
It was evening, and little Dot was sinking fast. She had scarcely spoken all day, except
to murmur her little prayer; but now old Solomon had come in, after his day's work,
and was sitting beside her, holding her tiny hand in his.
She opened her eyes and smiled at him.
"Mr. Solemn," she asked, "have you said it?"
"Said what, my dear?" replied the old man.
"My little prayer, Mr. Solemn."
"Yes, my dear—yes, Dot; I've said it many a time, and, what's more, my dear, I'm an
old sinner, but I do believe the Lord's heard me, and done it for me; I do believe He
has."
"I'm so glad," said little Dot; and she smiled as she said it.
He stayed with her till it was quite late, and when he was coming away she said wearily
—
"I'm so tired, Mr. Solemn."
"Are you, my dear?" said the old man.
"Please, Mr. Solemn, say my little prayer for me to-night."
Solomon knelt down by the side of the bed. Dot's father and mother knelt beside him,
and little Dot clasped her hands and shut her eyes, whilst the old man prayed in a
trembling voice—
"Lord, dear Lord, wash us all to-night, and we shall be whiter than snow. Wash me, and
little Dot, and Dot's father and mother, for Jesus Christ's sake. Amen."
Then he kissed Dot, and came away with a troubled heart.
The next morning, as he went to his work, he heard that his little girl was dead.
"What! My little little darling gone!"

CHAPTER IX
OLD SOLOMON'S HOPE
THERE was a little grave to be dug that day, and it was the hardest task old Solomon
ever had. The earth seemed to him as heavy as lead that morning; many a time he
stopped and moaned, as if he could work no more. He sometimes looked up, as if he
half expected to see his little Dot standing at the top of the grave. He almost thought he
heard her merry laugh, and her dear little voice saying, "Won't you say my little prayer,
Mr. Solemn?"
But this was his little Dot's grave, and she was dead. It could not be true; oh, it could
not be true!
But, as the old man toiled on, a happier thought stole into his old soul, and he thought
he saw his little Dot, dressed in white, and walking with the angels, near the dear Lord,
in the home above the blue sky. And it did old Solomon good to think of this.
The grave was close to Lilian's; side by side they were to lie, for so Lilian's father had
ordered it. For he loved little Dot for the care she had taken of his child's grave.
It was the day of the funeral—little Dot's funeral. Old Solomon was wandering among
the trees of the cemetery, and every now and then stooping wearily to gather
something from the ground. He was getting daisies to put in his little dear's grave. They
were very scarce now, and it gave him much trouble to collect them, and they looked
very poor and frost-bitten when he put them together, but they were the best he could
find, and, with trembling hands, he threw them into the little grave.
It was a very quiet funeral. The gentleman and lady and their two little girls came to it,
and Dot's father and mother, and old Solomon did his sorrowful part.
And they looked down into the grave at the little white coffin lying amongst the daisies.
Then all was over, and the robin sang his song on little Dot's grave.
Lilian's father ordered a stone exactly like that which he had put to his own child—a
small white marble stone, and on the stone were these words—
"LITTLE DOT,"
and underneath was Dot's text:
"WASH ME, AND I SHALL BE WHITER THAN SNOW."
Old Solomon toiled on, often lonely and sad. The neighbours said he was getting
childish, for he often fancied that his little Dot was alive, and he would look up from the
graves and smile at her, as he used to do when she stood at the top. And he often
thought he heard her little voice whispering among the trees of the cemetery. And the
words she whispered were always those of her little prayer.
So Solomon grew to think of her as alive, and not dead, and it comforted his old heart.
"For," said he, "it will not be very long before I shall see her again."
Thus Solomon was troubled no longer at the thought of his own grave, or of who should
dig it.
And the people who came to the cemetery often looked at the two little graves, and
read the two lovely texts.
THE END
Printed by
MORRISON AND GIBB LIMITED
Edinburgh
*** END OF THE PROJECT GUTENBERG EBOOK ANGEL'S
CHRISTMAS, AND, LITTLE DOT ***
Updated editions will replace the previous one—the old editions will
be renamed.
Creating the works from print editions not protected by U.S.

copyright law means that no one owns a United States copyright in
these works, so the Foundation (and you!) can copy and distribute it
in the United States without permission and without paying copyright
royalties. Special rules, set forth in the General Terms of Use part of
this license, apply to copying and distributing Project Gutenberg™
electronic works to protect the PROJECT GUTENBERG™ concept
and trademark. Project Gutenberg is a registered trademark, and
may not be used if you charge for an eBook, except by following the
terms of the trademark license, including paying royalties for use of
the Project Gutenberg trademark. If you do not charge anything for
copies of this eBook, complying with the trademark license is very
easy. You may use this eBook for nearly any purpose such as
creation of derivative works, reports, performances and research.
Project Gutenberg eBooks may be modified and printed and given
away—you may do practically ANYTHING in the United States with
eBooks not protected by U.S. copyright law. Redistribution is subject
to the trademark license, especially commercial redistribution.
START: FULL LICENSE

THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg™ mission of promoting the free

distribution of electronic works, by using or distributing this work (or
any other work associated in any way with the phrase “Project
Gutenberg”), you agree to comply with all the terms of the Full
Project Gutenberg™ License available with this file or online at
www.gutenberg.org/license.
Section 1. General Terms of Use and

Redistributing Project Gutenberg™
electronic works
1.A. By reading or using any part of this Project Gutenberg™
electronic work, you indicate that you have read, understand, agree
to and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or
destroy all copies of Project Gutenberg™ electronic works in your
possession. If you paid a fee for obtaining a copy of or access to a
Project Gutenberg™ electronic work and you do not agree to be
bound by the terms of this agreement, you may obtain a refund from
the person or entity to whom you paid the fee as set forth in
paragraph 1.E.8.
1.B. “Project Gutenberg” is a registered trademark. It may only be

used on or associated in any way with an electronic work by people
who agree to be bound by the terms of this agreement. There are a
few things that you can do with most Project Gutenberg™ electronic
works even without complying with the full terms of this agreement.
See paragraph 1.C below. There are a lot of things you can do with
Project Gutenberg™ electronic works if you follow the terms of this
agreement and help preserve free future access to Project
Gutenberg™ electronic works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation (“the
Foundation” or PGLAF), owns a compilation copyright in the
collection of Project Gutenberg™ electronic works. Nearly all the
individual works in the collection are in the public domain in the
United States. If an individual work is unprotected by copyright law in
the United States and you are located in the United States, we do
not claim a right to prevent you from copying, distributing,
performing, displaying or creating derivative works based on the
work as long as all references to Project Gutenberg are removed. Of
course, we hope that you will support the Project Gutenberg™
mission of promoting free access to electronic works by freely
sharing Project Gutenberg™ works in compliance with the terms of
this agreement for keeping the Project Gutenberg™ name
associated with the work. You can easily comply with the terms of
this agreement by keeping this work in the same format with its
attached full Project Gutenberg™ License when you share it without
charge with others.
1.D. The copyright laws of the place where you are located also
govern what you can do with this work. Copyright laws in most
countries are in a constant state of change. If you are outside the
United States, check the laws of your country in addition to the terms
of this agreement before downloading, copying, displaying,
performing, distributing or creating derivative works based on this
work or any other Project Gutenberg™ work. The Foundation makes
no representations concerning the copyright status of any work in
any country other than the United States.
1.E. Unless you have removed all references to Project Gutenberg:
1.E.1. The following sentence, with active links to, or other

immediate access to, the full Project Gutenberg™ License must
appear prominently whenever any copy of a Project Gutenberg™
work (any work on which the phrase “Project Gutenberg” appears, or
with which the phrase “Project Gutenberg” is associated) is
accessed, displayed, performed, viewed, copied or distributed:
This eBook is for the use of anyone anywhere in the United
States and most other parts of the world at no cost and with
almost no restrictions whatsoever. You may copy it, give it away
or re-use it under the terms of the Project Gutenberg License
included with this eBook or online at www.gutenberg.org. If you
are not located in the United States, you will have to check the
laws of the country where you are located before using this
eBook.
1.E.2. If an individual Project Gutenberg™ electronic work is derived

from texts not protected by U.S. copyright law (does not contain a
notice indicating that it is posted with permission of the copyright
holder), the work can be copied and distributed to anyone in the
United States without paying any fees or charges. If you are
redistributing or providing access to a work with the phrase “Project
Gutenberg” associated with or appearing on the work, you must
comply either with the requirements of paragraphs 1.E.1 through
1.E.7 or obtain permission for the use of the work and the Project
Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.
1.E.3. If an individual Project Gutenberg™ electronic work is posted

with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any
additional terms imposed by the copyright holder. Additional terms
will be linked to the Project Gutenberg™ License for all works posted
with the permission of the copyright holder found at the beginning of
this work.
1.E.4. Do not unlink or detach or remove the full Project

Gutenberg™ License terms from this work, or any files containing a
part of this work or any other work associated with Project
Gutenberg™.
1.E.5. Do not copy, display, perform, distribute or redistribute this

electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg™ License.
1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form,
including any word processing or hypertext form. However, if you
provide access to or distribute copies of a Project Gutenberg™ work
in a format other than “Plain Vanilla ASCII” or other format used in
the official version posted on the official Project Gutenberg™ website
(www.gutenberg.org), you must, at no additional cost, fee or expense
to the user, provide a copy, a means of exporting a copy, or a means
of obtaining a copy upon request, of the work in its original “Plain
Vanilla ASCII” or other form. Any alternate format must include the
full Project Gutenberg™ License as specified in paragraph 1.E.1.
1.E.7. Do not charge a fee for access to, viewing, displaying,

performing, copying or distributing any Project Gutenberg™ works
unless you comply with paragraph 1.E.8 or 1.E.9.
1.E.8. You may charge a reasonable fee for copies of or providing

access to or distributing Project Gutenberg™ electronic works
provided that:
• You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg™ works calculated using the
method you already use to calculate your applicable taxes. The
fee is owed to the owner of the Project Gutenberg™ trademark,
but he has agreed to donate royalties under this paragraph to
the Project Gutenberg Literary Archive Foundation. Royalty
payments must be paid within 60 days following each date on
which you prepare (or are legally required to prepare) your
periodic tax returns. Royalty payments should be clearly marked
as such and sent to the Project Gutenberg Literary Archive
Foundation at the address specified in Section 4, “Information
about donations to the Project Gutenberg Literary Archive
Foundation.”
• You provide a full refund of any money paid by a user who

notifies you in writing (or by e-mail) within 30 days of receipt that
s/he does not agree to the terms of the full Project Gutenberg™
License. You must require such a user to return or destroy all
copies of the works possessed in a physical medium and
discontinue all use of and all access to other copies of Project
Gutenberg™ works.
• You provide, in accordance with paragraph 1.F.3, a full refund of

any money paid for a work or a replacement copy, if a defect in
the electronic work is discovered and reported to you within 90
days of receipt of the work.
• You comply with all other terms of this agreement for free
distribution of Project Gutenberg™ works.
1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™

electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
the Project Gutenberg Literary Archive Foundation, the manager of
the Project Gutenberg™ trademark. Contact the Foundation as set
forth in Section 3 below.
1.F.
1.F.1. Project Gutenberg volunteers and employees expend

considerable effort to identify, do copyright research on, transcribe
and proofread works not protected by U.S. copyright law in creating
the Project Gutenberg™ collection. Despite these efforts, Project
Gutenberg™ electronic works, and the medium on which they may
be stored, may contain “Defects,” such as, but not limited to,
incomplete, inaccurate or corrupt data, transcription errors, a
copyright or other intellectual property infringement, a defective or
damaged disk or other medium, a computer virus, or computer
codes that damage or cannot be read by your equipment.
1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except

for the “Right of Replacement or Refund” described in paragraph
1.F.3, the Project Gutenberg Literary Archive Foundation, the owner
of the Project Gutenberg™ trademark, and any other party
distributing a Project Gutenberg™ electronic work under this
agreement, disclaim all liability to you for damages, costs and
expenses, including legal fees. YOU AGREE THAT YOU HAVE NO
REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF
WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE
FOUNDATION, THE TRADEMARK OWNER, AND ANY
DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE
TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL,
PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE
NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.
1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you

discover a defect in this electronic work within 90 days of receiving it,
you can receive a refund of the money (if any) you paid for it by
sending a written explanation to the person you received the work
from. If you received the work on a physical medium, you must
return the medium with your written explanation. The person or entity
that provided you with the defective work may elect to provide a
replacement copy in lieu of a refund. If you received the work
electronically, the person or entity providing it to you may choose to
give you a second opportunity to receive the work electronically in
lieu of a refund. If the second copy is also defective, you may
demand a refund in writing without further opportunities to fix the
problem.
1.F.4. Except for the limited right of replacement or refund set forth in
paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO
OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED,
INCLUDING BUT NOT LIMITED TO WARRANTIES OF
MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
1.F.5. Some states do not allow disclaimers of certain implied

warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted
by the applicable state law. The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.
1.F.6. INDEMNITY - You agree to indemnify and hold the
Foundation, the trademark owner, any agent or employee of the
Foundation, anyone providing copies of Project Gutenberg™
electronic works in accordance with this agreement, and any
volunteers associated with the production, promotion and distribution
of Project Gutenberg™ electronic works, harmless from all liability,
costs and expenses, including legal fees, that arise directly or
indirectly from any of the following which you do or cause to occur:
(a) distribution of this or any Project Gutenberg™ work, (b)
alteration, modification, or additions or deletions to any Project
Gutenberg™ work, and (c) any Defect you cause.
Section 2. Information about the Mission of

Project Gutenberg™
Project Gutenberg™ is synonymous with the free distribution of
electronic works in formats readable by the widest variety of
computers including obsolete, old, middle-aged and new computers.
It exists because of the efforts of hundreds of volunteers and
donations from people in all walks of life.
Volunteers and financial support to provide volunteers with the

assistance they need are critical to reaching Project Gutenberg™’s
goals and ensuring that the Project Gutenberg™ collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a
secure and permanent future for Project Gutenberg™ and future
generations. To learn more about the Project Gutenberg Literary
Archive Foundation and how your efforts and donations can help,
see Sections 3 and 4 and the Foundation information page at
www.gutenberg.org.
Section 3. Information about the Project

Gutenberg Literary Archive Foundation
The Project Gutenberg Literary Archive Foundation is a non-profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation’s EIN or federal tax identification
number is 64-6221541. Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state’s laws.
The Foundation’s business office is located at 809 North 1500 West,

Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up
to date contact information can be found at the Foundation’s website
and official page at www.gutenberg.org/contact
Section 4. Information about Donations to

the Project Gutenberg Literary Archive
Foundation
Project Gutenberg™ depends upon and cannot survive without
widespread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can
be freely distributed in machine-readable form accessible by the
widest array of equipment including outdated equipment. Many small
donations ($1 to $5,000) are particularly important to maintaining tax
exempt status with the IRS.
The Foundation is committed to complying with the laws regulating

charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and
keep up with these requirements. We do not solicit donations in
locations where we have not received written confirmation of
compliance. To SEND DONATIONS or determine the status of
compliance for any particular state visit www.gutenberg.org/donate.
While we cannot and do not solicit contributions from states where

we have not met the solicitation requirements, we know of no

Ebook PDF Understanding Construction Drawings For Housing and Small Business Canadian Edition PDF

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Ebook PDF Understanding Construction Drawings For Housing and Small Business Canadian Edition PDF

Uploaded by

Copyright:

Available Formats

(eBook PDF) Understanding

Construction Drawings: For Housing

Framing Details 177

CHAPTER 9 ROOF FRAMING 195

CHAPTER 10 EXTERIOR FINISHES: WALLS, ROOFS, AND CONCRETE SLABS 230

CHAPTER 11 MECHANICAL AND ELECTRICAL SUB-TRADES 260

CHAPTER 12 THE BUILDING ENVELOPE 301

CHAPTER 13 INTERIOR FINISHES, KITCHENS, AND STAIRS 324

CHAPTER 14 SPECIFICATIONS AND CONTRACTS 358

CHAPTER 15 AN INTRODUCTIO N TO DRAWINGS AND DETAILS FOR RENOVATION

CHAPTER 16 INTRODUCTION TO SMALL BU ILDI NGS ANO INSTITUTIONAL COMMERCIAL

Appendix A: Assignment Answers 425

Appendix C: Squaring a Corner Using the Pythagorean Formula 443

• a new set of imperia l d rawings ca lled the

2. Whittington Drawings 4 . Khalmur Crescent Drawings

ing s as the ir comp lexity inc reases. T hese contracts.

FEATURES FOR STUDENTS • The Test Bank is available in a new, cloud -

I & Co. fo r p rovid ing the co re d rawings used

INTRODUCTION FIGURE 1.1

the integ ra ti on of other d i sciplines such as

• Renovation and redevelopment: renewal, c:

• Restoration: the restoration of existing build -

Types of Drawings FIGURE 1.10

construct the building. To the novice, a set of

a number of two-d imensional o r orthographic 8

most f requently in the construction industry is: .._____.8

use this architectura l rendering format because

DONCASTER ELEY. B 2578 SQ. FT.

FIGURE 1.13 FIGURE 1.14

30° ANG LE 30° ANG LE

FIGURE 1.16 FIGURE 1.17

"No," said Solomon, "she couldn't get out—how could she?"

"Then she's in there yet," said little Dot very sorrowfully.

"Mother," she would say, "here's my Mr. Solemn!"

"Oh, Mr. Solemn, did you see the rose tree?"

"Yes, I saw it, Dot."

"Are you Dot?" said the elder sister.

"Yes," said Dot shyly.

"Mamma told us about you," said Violet.

So the three children went hand in hand to the little grave.

"Dot," she said, "where can we get some water?"

"Please, I'll do them," said little Dot.

"What little girl?" asked Ethel.

"She didn't get out," said Ethel.

"Then, please," said Dot, "wasn't she in the little box?"

"I don't quite see," said Dot, being puzzled.

"I should like to see my soul," said little Dot.

THE LITTLE WHITE STONE

"Please, Mr. Solemn," she said, "have you got a soul?"

Solomon made no answer, so Dot went on—

"Shall you like your soul to go to heaven, Mr. Solemn?"

"Shall you dig graves in heaven, Mr. Solemn?"

Dot looked up in his face as she said brightly—

"Why, sing, I suppose, Dot—sing hymns and such like."

"'Lilian Stanley,'" he began.

"That is my little girl's name," said Dot.

"'Died May 3, 1863, aged 6 years.'"

"Is that all?" asked little Dot.

"What Lamb, Mr. Solemn?"

But just then they heard a voice behind them, saying—

"'White in the blood of the Lamb,'" read Mr. Stanley aloud.

"What Lamb?" asked little Dot simply.

"Will He wash me?" said little Dot.