SH.SAM HODGSON
ARCHITECTURAL DESIGNER
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Renovations

How to read your existing floor plan before planning a renovation

A practical exercise for reading an existing floor plan, tracing daily movement and identifying the questions a renovation design should answer.

An existing floor plan is more useful when you treat it as a map of daily life rather than a finished design document. I would use it to notice where movement becomes awkward, which rooms already earn their space and where a small change might improve several parts of the house. You do not need to solve the renovation on the page. The aim is to give your design team a clearer picture of what the house does now and what you want it to do better.

Key points

  • Check whether the drawing reflects the house before relying on its dimensions or layout.
  • Trace real daily journeys and furniture use instead of judging rooms by name alone.
  • Mark problems, valued qualities and unanswered questions separately so an early idea does not become the brief by accident.

Start by asking what the drawing actually represents

A floor plan might come from a council property file, a past consent, a sales listing or somebody's old sketch. Those are not interchangeable. MBIE notes that renovation projects may have no original plans, or plans that do not reflect what was actually built or altered later.

Walk through the house with the drawing and circle obvious differences. A shifted doorway, enclosed deck or missing wall matters because the next design needs to begin with the building that exists, not an earlier version of it. Treat dimensions as provisional until the design team has checked what is needed for the project.

  • Write the source and date of the plan on the page.
  • Circle anything that looks different from the house.
  • List spaces or parts of the building that the drawing does not explain.

Trace three ordinary journeys

Print the plan at a size you can draw on. Choose three journeys that happen most days and trace each one in a different colour. You might follow the trip from the front door to the kitchen with bags, from the bedrooms to the bathroom in the morning, or from the cooking area to the outdoor table.

Notice where lines collide, double back or pass through a room that is trying to do something else. A generous room can still work poorly if it is also the main route through the house. A small room can work well when doors, storage and furniture support the way it is used.

  • Where do two people regularly need the same narrow space?
  • Which doors interrupt furniture or another route?
  • Where do coats, shoes, washing or groceries stop because there is nowhere sensible to put them?

Make separate marks for friction and value

Use one copy of the plan to mark frustrations and another to record what you want to protect. The second sheet matters. A renovation brief that only records problems can accidentally lose a sunny corner, a useful view, a quiet room or an easy connection to the garden.

Keep the notes specific. Instead of writing 'kitchen too small', describe what fails: two people cannot prepare food together, the pantry blocks the fridge, or visitors stand in the route to the back door. Specific observations leave more room for a good design response.

  • Mark the places that feel light, calm or naturally social.
  • Note the rooms that already suit their purpose.
  • Identify useful walls, storage and outdoor relationships worth keeping.

Look at relationships before room sizes

The useful question is often not whether a room is large enough, but whether it is connected to the right things. Study pairs of spaces: kitchen and dining, bedroom and bathroom, entry and storage, living room and outdoor area. Write down what each relationship needs to make easier.

The Mitchell Street renovation in Brooklyn is a useful example of this way of thinking. The design did more than add private accommodation. It also opened the main living zone, removed a leaking conservatory and created a clearer shared centre, while the existing structure, roof and site levels shaped the new work.

  • Which spaces should feel connected but do not?
  • Which activities need separation, privacy or quieter access?
  • Could one change improve more than one relationship?

Sort facts, questions and ideas

Create three boxes beside the plan. Put confirmed information in facts, unresolved matters in questions and possible responses in ideas. This stops a first suggestion, such as moving the kitchen or removing a wall, from quietly becoming a requirement before the wider problem has been explored.

Council-held records can be a useful starting point. MBIE says a property file may include original specifications and drawings, while a LIM contains information the council holds about the property. Neither replaces checking the existing house and obtaining the advice appropriate to the work.

  • Fact: what you can confirm about the current house.
  • Question: what needs investigation or professional input.
  • Idea: one possible response, not yet the answer.

Bring the marked-up plan, not a polished solution

Your annotated plan can now support a useful first design conversation. Bring the drawing, photographs of the places you marked and a short explanation of the three changes that would make the biggest difference to everyday life.

The next step is not to redraw your notes neatly. It is to test them against the site, budget, building and wider brief. The early stages of our process are designed to turn that information into options before the project becomes expensive to change. If you are considering a renovation, I am happy to look at the plan with you and help identify the next questions.

  • Choose the three observations that matter most.
  • Bring records and photographs, even if the information is incomplete.
  • Ask what should be verified before design options are compared.

Sources and further reading

Source information checked 14 October 2026 at 9:36 am GMT+13. Rules may change; check the linked official guidance for your project.

ABOUT THE AUTHOR

Sam Hodgson

I’m the Founder, Director and Owner of Modal Architecture. I’m based in Auckland, spend one week each month with our Wellington team and regularly work in Queenstown.

More about me

This content is prepared with assistance from artificial intelligence tools and published under the authorship of Sam Hodgson.

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