Basics Architecture: Representational Techniques

186 Pages·2008·27.81 MB·English

by  Lorraine Farrelly

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BASICS BASICS
Publisher’s note
ARCHITECTURE ARCHITECTURE
Lorraine Farrelly
01 01
Ethical practice is well known, taught Featured topics This first book in the Basics LB Lorraine Farrellyis an architect,
oa
and discussed in the domains of caonnalcyetipctaula sl ksektecthcehses Architectureseries explores rrasic and coordinates the degree courses
medicine, law, science and sociology observational sketches the many concepts and techniques ines A representational in architecture and interior design
but was, until recently, rarely experimental techniques used to represent architecture, Frc at the University of Portsmouth’s
discussed in terms of the Applied measuring ranging from the way in which ah School of Architecture. She has
Visual Arts. Yet design is becoming scale sketches are used to develop rreite experience of working on both large-
an increasingly integral part of pselacntsions conceptual ideas, through to lly ctu techniques scale and smaller-scale architectural
our everyday lives and its influence elevations the working drawings and models re projects. Lorraine lectures extensively
perspective 0
on our society ever-more prevalent. required for the construction 1 on representation in architecture,
axonometric drawings
isometric drawings of buildings. specifically exploring freehand
AVA Publishing believes that our
photomontage sketching, physical and CAD
world needs integrity; that the collage Representational Techniques
modelling and presentation ideas.
ramifications of our actions upon modelling covers both two-dimensional and
cad software
others should be for the greatest three-dimensional methods of
graphic and oral presentations
n n
happiness and benefit of the greatest storyboards representation and demonstrates
relating to or characterised a way of carrying out a
number. We do not set ourselves portfolios the range of media options available. by representation particular task especially the
out as arbiters of what is ‘good’ or execution of an artistic work
Featured contributors Using examples from leading or a scientific procedure
‘bad’, but aim to promote discussion 6a architects
international architects
in an organised fashion for an Alsop Architects r
Architecture Plb and designers, along with more e
individual’s understanding of their p
Block architecture experimental student work, r
own ethical inclination. CJ Lim/Studio 8 e
a broad array of interpretations,
Design Engine s
By incorporating a ‘working with Dixon Jones possibilities and applications e
ethics’ section and cover stamp dRMM are demonstrated. n
Format Milton t
on all our titles, AVA Publishing aims a
Hyde + Hyde The book provides an invaluable t
to help a new generation of students, Jakob + MacFarlane i
resource for students and o
educators and practitioners find John Pardey Architects n
David Mathias architectural professionals,
a methodology for structuring their a
Morphosis and offers an accessible l
thoughts and reflections in this Piercy Conner Architects introduction for anyone interested t
vital area. Pierre d’Avoine Architects e
S333 Architecture + Urbanism Ltd in graphic communication and c
Steven Holl Architects drawing techniques. h
Witherford Watson Mann n
i
Other titles in AVA’s Basics q
Architecture series include u
e
Construction and Materiality s
and Architectural Design.
ava publishing sa
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BASICS
ARCHITECTURE
Lorraine Farrelly
01
representational
techniques

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Copyright © AVA Publishing SA 2008
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ISBN 978-2-940373-62-8
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of Art
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All reasonable attempts have been made to trace, clear and credit the
Date: 2007
copyright holders of the images reproduced in this book. However, if any
credits have been inadvertently omitted, the publisher will endeavour to
This image brings together all
incorporate amendments in future editions.
aspects of the architectural scheme.
It communicates both the concept
of light used in the museum’s interior
galleries and the sense of the
building in the context of its
surrounding landscape.
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Contents
6 Introduction
8 How to get the most out of this book
10 Sketch 34 Scale 68 Orthographic
projection
12 Tools and materials 36 Measuring
70 Plans
14 Conceptual sketches 40 Full size
78 Sections
18 Analytical sketches 44 Detail scale
82 Elevations
22 Observational 50 Interior scale
sketches 86 Drawing conventions
54 Building scale
24 Sketchbooks 88 Drawing categories
58 Urban scale

28 Experimental 92 Exercise 3: drawing
techniques 62 Not to scale
32 Exercise 1: sketch 66 Exercise 2: scale
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94 Three-dimensional 116 Modelling 144 Layout and
images presentation
118 Physical models
96 Perspective 146 Layout
122 Physical modelling
100 Axonometric drawings equipment 154 Graphic
presentations
104 Isometric drawings 128 Model scales
160 Oral presentations
106 Other applications 132 CADmodels
162 Storyboards
112 Photomontage and 134 CAD software
collage 164 Portfolios
140 Fly through
114 Exercise 4: 168 Exercise 6: layout
142 Exercise 5:
perspective and presentation
modelling
170 Conclusion
172 Glossary
174 Further resources
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176 Acknowledgements ent
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177 W orking with ethics Co
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Introduction
Representation is an important aspect of any visual
or design-based discipline and the techniques for
representing architectural ideas are both exciting and
challenging. Architectural ideas can eventually become
buildings. An idea leads to a concept, which becomes a
sketch. The sketch is then developed into a physical
sketch model and a set of scale drawings that are
explored and investigated in detail.
Representing each of these stages of architectural
development requires a variety of skills. Sometimes freehand,
loose or intuitive drawings and models, where concept and
abstraction are critical, are the best techniques to employ.
At other times, the precise detail of CAD drawings might be
needed to explain how a building is assembled. The
challenge of architectural representation is to generate
the right type of image to suit the given stage in the
design process.
Architectural drawings employ a kind of language, and the
right dialect is needed for a given situation. The language
of architectural drawing is varied, but the vocabulary is basic.
Ideas are expressed as lines and all lines or strokes on
a page are careful and considered. The excitement with
architectural representation is to use the language of
drawing, to perfect it and develop it so it communicates
the architectural idea to become a unique, real architectural
experience.
As with all drawing techniques, it is important to practise
and develop your own skills and adapt methods to different

situations. Within each of the book’s six sections you will find
an exercise, which will allow you to test and apply the ideas;
introduced. A sketchbook (ideally one that has blank, thick
paper and is A4-size or larger) and pencil are important tools
to have to hand. Whenever you draw or make a mark in your
sketchbook, keep it, don’t erase it. There are no such things
as mistakes in drawing. It’s all a visual record of your ideas;
s some will be better than others, but they all contribute
e
qu towards something bigger and better. If nothing else, you can
ni
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c
al te sketchbook and see how far you have travelled.
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Sketch
This section explores ideas of how to sketch and draw at all
stages of the design process.
Scale
This section looks at the range of specific drawing scales
that can be used at various stages of the architectural design
process. Understanding the application of these scales for
different situations is critical.
Orthographic projection
Orthographic projection looks at the measured drawings
that explain the idea of the building in two-dimensional
form: plans, sections and elevations. These two-dimensional
drawings reveal the three-dimensional intention of the
building.
Three-dimensional images
These are the most easily accessible images and provide a
perspective view of a space, which will give an impression of
the experience of the building on a particular site or location.
Three-dimensional images are also useful for creating
construction and assembly drawings.
Modelling
Modelling ideas allow an exploration spatially of concepts,
spaces and form at all stages of the design process. Models
can be created physically or using CAD software.
Layout and presentation
The communication of the idea is critical. How it is organised
and presented is an important design consideration.

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How to get the most out of this book
This book introduces different aspects of representational
techniques in architecture via dedicated chapters for each
topic. Each chapter provides examples of the creative use
of different representational techniques in architecture at
each stage of the design process. The examples shown are
contributions from a range of contemporary architects and,
together with detailed analysis in the text, form a book that
offers a unique insight into the practical and professional
world of architectural design.
Chapter openers
These introduce and outline the
key information in each chapter.
Scale 34|35
Scale has multiple meanings in architecture. Drawings
can be to scale (adhering to an established or agreed
reference or system), ‘out of’, or ‘not to’ scale.
Historically, architects have employed a range of scale
systems. Classical Greek and Roman architecture,
for example, used a modular system of measurement.
In classical architecture each module was the width of
the column base, and this was used to determine the
classical system of orders and their relative
proportioning. Le Corbusier also used a modular system
based on the proportions of the human body, which
PLorocjaetciot:nP: hPaarreis T, oFwraenrce ehnusmuarend s cthaalet .his architectural designs related to
ADracthei:t2e0c0t:6 Morphosis To represent a space or building, comparative scale
systems are needed to design, develop and explain the
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pidheoat oomf tohnet aimgep riemsasgivee psrcoavleid oesf tahne When drawing to scale, the right scale system needs
proposed structure, which is set to to be used for the appropriate context. Smaller or larger
become an iconic form in the city. scale investigations will lend themselves better to
different types of projects, for example, the design of
a city will be better understood in large scale, whereas
the design of a piece of furniture will necessitate a
smaller scale system and drawing.
Understanding scale is to connect with the relative size
of cities, places, buildings, spaces and objects and to
learn how they in turn connect with one another and the
people that occupy and use them.
ques Representational techniques Sketch› Scale›Orthographic projection
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8|9
Information panels
Section headings Supporting information panels
Each chapter unit has a clear provide contextual and
heading to allow readers to quickly supplementary content, which
locate an area of interest. supports the body text.
Conceptual sketches 14|15
École des Beaux-Arts
(School of Fine Arts), Paris
The École des Beaux-Arts was
the official school of art in France.
It was established in 1793 as part of
the reforms of the French Revolution
and was formerly part of the Royal
Academy of Painting and Sculpture.
The school had a reputation for its
conservative approach, founded on
‘classical’ architectural ideas and
classical Greco-Roman architectural
principles, but provided a sound
technical grounding in painting,
architecture and sculpture.
A beaux-arts style evolved from
the nineteenth century and many
influential architects trained there
from Europe and USA. The style that
it influenced was classical, grand and
Project: University Centre Architectural ideas or concepts are described in a form Parti diagrams technically precise.
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Each unit’s introduction appears in In-depth discussion of working Highlights the current chapter he
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that are to be discussed. covered in the book’s body text. following units. g
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