Archive for category Architectural Drawing
Introduction to the Approach to Architectural Drawing
We are beginning with a new tab on “Architectural Drawing”. We will cover a wide range of topics regarding Architectural Drawing which will help Architecture and Engineering students to achieve excellence in Drawing.
Let’s begin with our lessons on Architectural Drawing.
Art in the past was an intellectual, scientific and poetic discipline. Draftsmanship was of primary importance, though drawing has been playing a service role to painting, sculpture and architecture.
Contemporary art/Architecture has to return to classical roots for redefinition for standards and precepts. Follow that route and you will learn soon enough.
The importance of spending months on the fundamentals of drawing may not be obvious immediately. Repetition unavoidably is the key. Repeated acts of seeing, selecting, and thinking through the physical marking on paper are indispensable to growth.
Reading about Architecture or talking about drawing will not do what pencil in hand will do. Drawing takes repeated effort. But at the outset, a great deal of technical discipline/drawing etiquette must usually come before creative leaps.
Distractions to be avoided
- Feel blocked/frustrated
- Copying – Need to develop comprehension beyond copying.
- Do not latch on the flashy techniques too early in your career – You may lose a great deal of integrity and individualism in expression.
Understanding Pictorial Space – II
An analytical drawing of spatial symbols clues which indicate distance and depth in our perception of form.
The primary visual cues which aid our perception of Depth:
- Binocular Vision
- Motion Parallax
Our eyes are overlapping fields of view and Stereoscopic Depth Vision.
The pictorial images created by graphic displays have to depend totally upon secondary cues to depth.
Depth is created by –
- Relative apparent size – Linear perspective objects become smaller as they are far away.
- Light and shadow
- Atmospheric haze (Ariel perspective)
- Overlap – most potent secondary cue to depth
Understanding Architectural Transformations
The aim of the project is to involve the students in a pre-design exercise in leading the student from a simple shape to a complex design.
Each shape should involve – Repetition, Size
- A full size tracing sheet divided by 4”x4” squares. A comic strip format.
- Use of a soft pencil – 0.5mm – 2B
- 6”x6” ordinary tracing sheet for over lays.
- Take the most complex design in the last box, enlarge and use values and color. (Color pencils/ Water colors on hand made paper)
Understanding the concept of Spatial codes
In order to give birth to an idea the Architect must adopt some form of abstraction which represents the pictures in his mind using symbols or annotations.
Simplified drawings of a concept which stress the relationship and orientations of its physical components.
Transformations which aid the designer in visualizing changes in time.
Pictorial Space | Secondary cues to Depth
The aim of this drawing is to translate analytically an object into differing perceptions responding to four of the secondary depth cues.
- Relative apparent size – (Linear perspective) objects become smaller as they moveaway.
- Light and shadow
- Atmospheric Haze (Darker frontal tones to lighter variations in the background – through values/ or dotting technique)
- Overlap – contour drawing – boundaries
- Design and draw a series of black and white bands on a sheet of paper with different thicknesses and widths.
- Crush the sheet into a paper ball
- Partially open up the paper ball into free standing mass of lines, form and space.
- Place it under a strong light and draw four sketches
The image below is an example of the Exercise for understanding the concept of Pictorial Space.
Understanding the concept of Mapping of Visual Parameters
The near/far fluctuations of the limits of our vision is the aim of this exercise which attempts to plot such parameters in a simple diagrammatic form.
- Find a central open space in a locality
- Draw the surrounding buildings/objects in PLAN
- Stand in the middle and rotate on the spot. By rotating on the spot draw a line which describes at eye level; the shape of the limits of your all round field of vision.
- Thus we create a spatial bubble.
Also check out:
Conceptual Space | Perception of Space
The design of space is first a mental concept and any resultant response is primarily experienced through visual perception.
A form oriented approach in which space can be literally ignored – or a waste product after design is still prevalent in architectural circles.
From a form dominated perception to a renewed awareness of space as dynamic – vase/ faces experiment tangible substance.
The spaces between buildings is as important as the spaces which contain them.
Spatial Diagramming (Interior Spaces)
To create in a diagram and thinking attitude which has transported your minds eye through an interior space. It sharpens the mind. This is not a figurative drawing but a subjective diagram. The diagram might emerge elliptical due to the eyes perceptual window.
A) Draw lines from a field of vision different points – Select and connect various points in a room.
Perceptual/Psycological Space | Architectural Drawing
Observing the behaviour of occupants of different types of interior space and an introspection of ourselves in relation to each space.
- A comic strip format
- The shape, sound and dynamics of space
Select three different kinds of interior space:
- A small confined space – waiting room
- A large lofty space – mosque/mandir etc
- Public/Private space – a spherical shape
One hour in each space.
Perception of Space | Architectural Drawing and Design
The need to develop an awareness through graphics of the “Form of Space” as an element vital in itself.
A whole series of perceptual overlays – Architectural space. Day/night; seasonal cycles; Light/Dark; Moon; Artificial light; Warm/Cold; pressure.
Much of our understanding of environment is experienced through the sense of touch/ TACTILE/ yet we are not aware of it very much. A little awareness will help.
The primary aim of this exercise is to experience tactile sensations and be able to use it in spatial design.
Our bodily contact with the edges of space is central to our awareness of ourselves and spatial location.
As designers of environment, we should base future man made spaces upon some understanding of its contribution to the experience of others.
Visual as well as kinaesthetic space.
- Use a Comic Strip Format
(Compile a tactile space diary in a sequence based upon a consciously experienced chain of touch sensations within one room).
- To Catalog in words and diagrams the varieties of SURFACES and TEXTURES encountered by our preselected extremeties of your body during a short period of time.