DECODING ARCHITECTURAL DRAWINGS by Laura Gutierrez Mesa

ARCHITECTURAL DRAWINGS

DECODING ARCHITECTURAL DRAWINGS

Decoding

To my parents, for making all this possible.

Acknoledgments

This book is the product of a master Thesis research by Laura Gutierrez Mesa Summer Semester 2019 (MAID) Master of Arts in Integrated Design Anhalt University of Applied Sciences Design Department Thesis Advisors: Prof. Uwe Gellert and Prof. Dr. Japer Cepl Dessau-RoĂ&#x;lau Printed by Grafische Werkstatt der Hochschule Anhalt

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This book is the product of a Master Thesis research about communication and representation tools in architectural presentations. In this section, I want to thank some people that contribute to create DECODING Architectural Drawings, it wouldnâ&#x20AC;&#x2122;t be possible without their advise and support. First, I will like to thank my Family for being the most important emotional and academic support during the development of this book, also thanks to my thesis advisors Prof. Uwe Gellert and Prof. Dr. Jasper Cepl, for their help and insights during the research. Thanks to Sheroze, Marie and Raphael, for their contributions and ideas. And Finally thanks to all the architects colleagues with whom Iâ&#x20AC;&#x2122;d worked in the past, for their lessons, and for the inspiration to design this book. This book is dedicated to all the people who want to understand more about architectural presentations to be more involved in the process of building the world we live in.

Acknoledgments

AUTHOR'S NOTE One of the things that I like the most about architecture is that is an everyday life art that is necessarily related to all human beings (in one way or another), and this is why it should be the result of the contribution of the whole society. In the few years I studied or practice architecture, even though I enjoyed it a lot, I realized that there seems to be a problem of communication between the different stakeholders in architecture projects, maybe because the lexicon used to present projects is very technical and specific to the field, or because of the tools of visualization that we used to materialize ideas. Nowadays, architects use sketches, scale plans, models, and renders in the same way they have been using them since the beginning of times; the upturn in representation is very limited, even though, in the last few years there has been a big technological improvement in construction methods, new improved materials, and intelligent technologies to control buildings, that make the exercise of design a lot simpler than before. However, this doesnâ&#x20AC;&#x2122;t mean that because we keep using the same methods of representation, they are perfect or even adequate. In fact, most of the time these tools are very difficult, if not impossible to understand for people not related to the field.

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But why are they so complex? To be able to design and understand architectural drawings, architects have to study for almost five years, so why do we use these same drawings that took us so long to understand to communicate with clients? Or why do we assume that they will understand them as well? This book is not intended to teach how to make architecture, but rather to show and explain (in a simple and graphical way) some of the basic concepts of visualization tools used in architecture presentations, making architecture more accessible for laypeople to understand and hopefully generate consciousness of the importance of clear communication in our practice as architects. In every architecture project, there are different stages of the process, from the first step of conceptualization or ideation to development and construction details, to finally building a project. What interests me most is the first phase of the process, where the most important things and the essence of the project are defined. In this step, the most important thing is to be able to communicate and materialize our ideas combined with the wishes of our clients.

Author's Note

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TABLE OF CONTENTS CHARPTER 1

CHARPTER 2

CHARPTER 3

CHARPTER 4

EXPRESSION

2D DRAWINGS

3D DRAWINGS

COMBINED DRAWINGS

69 Axonometric projections

90 Combined Drawings

Introduction

43 Multiview projections

Types of lines

Types of Multiview p.

Types of Axonometric p.

Primary elements

Facade / Elevation

Oblique Projections

92 Example 2-3

Architecture is Space

Ground plan / Floor plan

Types of Oblique p.

94 Example 4-5

Sections

80 Perspective projections

96 Example 6-7

Site plan

20 Context 21

Openings

Scale

Depth and Line Weight

Volume in 2D

The set of drawings

Tree of Projections

Types of Perspective p.

Example 1

99 Closure

Table of Contents

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CHAPTER 1

EXPRESSION Expression

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INTRODUCTION To understand architectural drawings is important to analyze them from the perspective of their creators; every drawing is charged with a lot of symbolism, from the types and thickness of lines, the colors, shadows, etc. Every kind of drawing is meant to give different information, which ideally, every person would be able to understand at first sight. The amount and scope of architectural projects are infinite, the types of expression vary in every architecture studio and also depending on the size of the project, but there are some basic universal rules that allow us to understand drawings made by other architects. The following section of this book will explain these basic universal rules. In the following chapter, I will first explain the basic elements of architectural drawings and the attributes of expression applied to them, also how architects commonly deliver plans to their clients, and finally, I will show the origin of most frequently used kinds of drawings in architectural presentations.

Expression - Introduction

FIGURE 1

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Thick black - contineus = Volume edges

Black - dashed = Hidden edged

Thin black - contineus = Details

Thick green - contineus = Cuts

Thin gray contineus = Desapired objects

Thin green - dashed= Projections

TYPES OF LINES The character of a line is defined by our perception of its length, although a line theoretically only have one dimension, the degree of thickness that makes it visible also give us a particular perception that defines how can it be used for.

Either if a line is bold or thin, dashed or continuous it stands out or is more tenuous and fragile; help us make the illusion of a visible element. To facilitate communication, in this book, I will only apply the conventions used in figure 1

FIGURE 1 SAME COMPONENT LINES - DIFFERENT INFORMATION These two examples in figure 2 have exactly the same amount and position of lines of figure 1, but changing the thickness, color and continuity, the whole perception of the elements, making visible other compositions.

Expression - Types of lines

PRIMARY ELEMENTS All architecture drawings are composed of these four primary elements; first, the point that connected to another point becomes a line, then this line connected to another line becomes a two-dimensional plane, and then, this plane, connected to another plane, creates the illusion of a three-dimensional

volume. Even though these elements are visible to the eye, they donâ&#x20AC;&#x2122;t actually exist, but when we combine them together they allow us to represent substance, shape, size color and texture in a hypothetical three-dimensional space.

POINT

LINE

The point is the origin of all elements, and it indicates a position in space.

A line gives information about length and direction.

PLANE

VOLUME

A plane gives information about length, width, shape, surface, and orientation.

A volume gives information of length, width, depth, form, space, shape, surface and orientation.

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EVOLUTION OF THE PRIMARY ELEMENTS

Expression - Primary elements

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ARCHITECTURE IS SPACE All the objects that compose architectural drawings are somehow reinterpretations of the primary elements explained before (walls, roofs, stairs, doors, etc.), but they mean nothing by themselves without the most important component of architecture that is Space, as we inhabit the spaces of our built environment and not the solid walls, roofs, and columns that shape it. Even though it is formless, Space is a material substance like any other element; we can feel it through the things we see, the things we touch, the things we hear or the things we smell. The dimensions and scale, the materials and textures and how the light is reflected in the built environment depend on our perception of the spatial boundaries defined by the primary elements.

Expression - Architecture is Space

CONTEXT Positive Space

Positive Space

Negative Space

I must clarify that architecture and Space are not only the built forms but also the relationship they have with the surrounding environment. In architectural representation we called positive

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space to the forms we inhabit in our built environment and negative space the resulting space that connects these forms. We move through negative spaces and inhabit in positive spaces.

OPENINGS

To connect the positive space and the negative space, the solid volumes most be first emptied and then perforated; we call these perforations openings, and correspond to all the elements

through which we can cross, we can see through, or that allows the passage of light and air (Doors, windows, overhead lights are some examples of openings).

Expression - Context-Openings

SCALE A very important attribute of architectural drawings is the graphic scale, without it, it would be impossible to design and build the complex architecture of the present; it allows us to accurately represent and draw objects, spaces, buildings and details to a smaller or more practical size. To make the design easier, designers and engineers have a set of scales that are commonly used and recognized around the world. It is not common to find scale drawings that are made on an irregular scale. The scale system explain in this book is based on the metric system (the most commonly used) but there is also a set of scales that are based on the imperial system where the logic behind it is the same but the nomenclature is different.

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WHAT IS A SCALE?

Expression - Scale

HOW SCALES WORK But what exactly is a scale plan? When a drawing is described as â&#x20AC;&#x153;to scaleâ&#x20AC;? means that every element in the drawing is bigger or smaller but always in the same proportion related to the real or proposed object. Architects and engineers used a variety of standard scales that are common to all in the construction industry, and normally every kind of plan (depending on the size of the project) is displayed in a specific scale. In the real world, one meter is equal to one meter. A drawing at a scale of 1:10 means that the object is 10 times smaller than in real life scale 1:1, or 1 unit in the drawing is equal to 10 units in real life. It can be confusing sometimes that everytime the objects get smaller in the drawing the number in the scale gets bigger.

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LOGIC OF SCALES

SCALE 1:1

SCALE 1:5

SCALE 1:10

SCALE 1:20

Real size object

5 times smaller

10 times smaller

20 times smaller

Note: This drawing is not printed on a real scale, it is a graphical representation of how scales work.

Expression - Scale

HOW EACH SCALE IS USED FOR

1:1 - 1:5

1:10 - 1:20

1:25 - 1:75

1:100 - 1:125

Details Joints Fixation (with dimensions)

Furniture Details Materials (with dimensions)

Detail plans Detail section Materials Coatings (with dimensions)

Ground Plans Elevations Sections (with general dimensions)

Note1 : These are examples of the most commun usage of scales corresponding to a specific type of drawing, but this is not a fixed rule and is completely dependent on the size of the project and the amount of details it requires.

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1:200 - 1:250

1:500 - 1:1.000

1:2.000 - 50.000 - <

Location Building site Roof plan

Urban context Site Location

Cartography Maps Zoning

Note 2: These examples show the most commonly used scales specifically in architecture, designers and engineers use a different set of scales.

Expression - Scale

DEPTH AND LINE WEIGHT

2D DRAWING OF A 3D OBJECT

2D DRAWING OF A 2D OBJECT

The illusion of depth is implied in the shapes

The illusion of depth is not implied in the shapes

Representing depth in two-dimensional drawings is not an easy task; in real life, the little space between each of our eyes help us perceive the same object from two different points of view. Even if we stand directly in front of the object, we will see a small change of perspective if we see the object with just one of our eyes, and then with the other; this is what makes possible to understand an object in a three-dimensional space. In two dimensional drawings, we per-

ceive the same object equally with each one of our eyes independently, because there is nothing behind it. That makes it impossible to distinguish which objects are closer, or further in the drawing. With two dimensional drawings of 3D objects, there is already a perceptible illusion of depth implied; but how can we represent depth in two-dimensional drawing when the objects donâ&#x20AC;&#x2122;t have a sense of depth implied in the configuration?

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THE MOUNTAIN EFFECT For this, there is a method in architectural representation that I am going to call “the mountain effect”. When we look at a landscape of mountains, the ones that are closer seem to have darker colors than those that are further away; this same effect is applied in architectural

drawings. Distance is represented with a “degrade” of colors that go from dark colors or thick edges lines (in case the drawing is made only with outlines) to light colors or thin edges lines.

Expression - Depth-Line Weight

POSITION OF THE VIEWER

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EXPRESSION OF DEPTH IN 2D PROJECTIONS Far

Close DEPTH EXPRESSED IN GREY SCALE

Far

Close DEPTH EXPRESSED IN LINE WEIGHT

Expression - Depth-Line Weight

VOLUME IN 2D In the last section of this book, I explained how depth is represented in two-dimensional drawings; that concept applies only when there are different flat surfaces in the drawing. What happens then when we want to show an object that is curved like a cylinder or a sphere? As the object itself has different deepness because is curved it can be represented in two different ways.

POSITION OF THE VIEWER The first one is also based in the concept of grayscale degrade, simulating the natural shadows that allow us to perceive that an object is curved in real life, even if the object is curved in a concave or convex way.

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POSITION OF THE VIEWER The second one is the line method where curved surfaces have multiple lines that get closer or further indicate the curve of the object, either if the object is concave or convex.

EXPRESSION OF CURVED OBJECTS IN 2D DRAWINGS

SHADOWS TYPE

LINES TYPE

Expression - Volume in 2D

SPHERE

CYLINDER

FLATS SURFACES

3D VIEW

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CURVED SURFACES

EXPRESSION OF DEPTH AND VOLUME IN 2D DRAWINGS

SHADOWS TYPE

LINES TYPE

FRONT VIEW

Expression - Volume in 2D

THE SET OF DRAWINGS Every architecture project requires a set of different kinds of drawings (2D and 3D), to have complete information with enough detail, to be able to understand the whole project. In the next two chapters of the book, I will explain some of the most important and commonly used drawings in architectural presentations. It is important to know that there is no chronological order in which they should be displayed; all drawings are complementary and have different information that is connected to the information in the other drawings. This set of plans is commonly called blue prints, even though the original meaning of blue prints refers to a technique of reproduction of technical drawings using a contact print process on light-sensitive sheets.

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3D DRAWINGS 2D SITE PLANS 2D SECTIONS 2D FLOOR PLANS 2D ELEVATIONS

Expression - Set of drawings

TREE OF PLANAR GEOMETRICAL PROJECTIONS

Parallel projections

Pespective projections

One vanishing point

Two vanishing points

Three vanishing points

Oblique projections

Top-Down

Military

Cavalier

Ortographic projections

Cabinet

Axonometric

CATEGORY 3D DRAWINGS 2D DRAWINGS

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Isometric

Dimetric

Trimetric

Multy view ortographic

PROJECTION DRAWINGS Planar geometrical projections have been one of the most helpful tools of representation in the history of architecture. They facilitate our understanding of three-dimensional space and allow us to represent this last one in two-dimensional drawings, with enough information to reproduce it in real life. The world of these geometrical projections is wide, complex and too technical to understand for people in everyday situations; but some of these projections are commonly used by architects in architectural presentations. The tree of Planar geometrical projections displayed here is the origin of all 2D and 3D architectural drawings, it shows how they are categorized. In the next two chapters of this book I will explain these categories and the basic attributes of each architectural drawing, also how and for what reason architects normally use them in architectural presentations.

Expression - Projection Drawings

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CHAPTER 2

2D DRAWINGS 2D Drawings

TREE OF PLANAR GEOMETRICAL PROJECTIONS

Parallel projections

Pespective projections

One vanishing point

Two vanishing points

Three vanishing points

Oblique projections

Top-Down

Military

Cavalier

Ortographic projections

Cabinet

Axonometric CATEGORY 2D DRAWINGS

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Isometric

Dimetric

Trimetric

Multy view ortographic

MULTIVIEW PROJECTIONS In the tree of planar geometrical projections, the only two-dimensional drawings are the multiview projections; they belong to the category of planar projections from where all the most important technical drawings come from. Within multiview projections, there are several kinds of drawings that I will further explain in this chapter. Examples of Multiview projections: Roof plans Facades/Elevations Ground plans Sections Site plans

2D Drawings - Multiview projections

90째 Projection lines

Projection plane

Figure 3

Projection

SIDE VIEW

3D VIEW

PARALLEL PROJECTIONS

ORTHOGRAPHIC PROJECTIONS

In parallel projection, the projection lines from the object to the projection plane are parallel to each other. Therefore, lines that are parallel in three-dimensional space remain parallel in the two-dimensional projected image.

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90째

lines

Projection plane

PARALLEL-ORTOGRAPHIC-MULTIVIEW PROJECTIONS

In orthographic projections (wich means 90째 angles), all the projection lines are perpendicular to the projection plane. This allows most of the lines to be projected with true dimensions in the projection plane, except for the edges of the object that have an angle different from 90 째, in relation to the projection plane. (Example the roof of the volume of figure 3).

PROJECTION PLANE In multiview projections, there is no sense of three-dimension, even if the drawing comes from a three-dimensional object, that is why we called them 2D drawings. We called the projection plane the resulting images of the projected object, like if the projection plane is the paper where the final drawing is done.

2D Drawings - Multiview projections

Projection plane : Roof plan / Top View

Projection plane : Elevation / Right View

Projection plane : Elevation / Back View

Projection plane : Elevation / Front View

Projection plane : Elevation / Left View

Projection plane : Floor Plan / Bottom View

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TYPES OF MULTIVIEW PROJECTIONS With multiview projections, we can produce up to six pictures of an object called primary views, with each projection plane parallel to one of the coordinate axes of the object. Even though six different sides can be drawn, usually only three views of a drawing give enough information to make a 3D object.

2D Drawings - Multiview projections

North Facade East Facade

West Facade

South Facade

VOLUME WITH FOUR FACADES

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FACADE-ELEVATIONS A Facade (Elevation) makes part of the multiview projections and is the external closure of a project; normally every project has four facades according to every one of the cardinal points but this can change depending on the shape of the building.

rth

North

-W

-E

rth

West

t as

East

South

TOP VIEW AND FACADES ORTOGONAL AXIS If the predominant axis of the project is perpendicular to the cardinal point, we call the Facades North, South, East, and West; but if

TOP VIEW AND FACADES DIAGONAL AXIS the prominent axis of the project is diagonal in relation to the cardinal points, then we call the Elevations north-east, north-west, South-east and South-west.

2D Drawings - Facades

MULTIVIEW PROJECTION FACADE When a facade has different depths in the surfaces, and they are projected into the projection plane, they get flatten and the sense of depth is lost.

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DIFFERENT DEPTH SURFACES The most important information provided by facades is the general height dimensions, and those of the elements that compose it; also the location of the openings of the volume in relation to the exterior, and in more

FLAT 2D DRAWING FACADE

detailed planes, the materiality and textures. Facades plans allow us to understand the vertical composition of the volume in a more accurate way because of its real dimensions.

SENSE OF DEPTH WITH SHADOWS

Normally in technical working drawings, facades are represented in black and white; but for architectural presentations and contests is common that architects add shadows and textures to simulate depth in the different surfaces.

2D Drawings - Facades

IRREGULAR FACADES

Two facades share the same surface

The examples shown before are composed only with orthogonal 90Â° edges, so the projection plane is a very accurate representation of the volume; but what happens when the facade is irregular? Figure 4 represents

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FIGURE 4

an example of a more complex facade where one of de surfaces of the volume is shared by two of the projection planes of two different facades.

HOW THEY ARE MADE

There is no right way to start designing a project; some architects start for the volume in 3D and others, start for the distributions of the program in the ground plan. If the

project doesnâ&#x20AC;&#x2122;t have a volume, the facades are the result of projecting the visible edges of the floor plan to a base line, and then adding highs to compose the volume in a vertical view.

2D Drawings - Facades

ORIGINE OF GROUND / FLOOR PLANS

lume

n vo

e Hidd

ec Proj

tion

plan

Visible projection plane

lane

ion p

S ect

Volume with section plane

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0.90 cm

GROUND PLAN / FLOOR PLAN In architecture, we call ground plan the lowest horizontal base of a project; if the project has more than one level, then we call the other plans floor plans, specifying the number of the floor. The word ‘plan’ in German is ‘Grundriss’ which correlates to ‘ground cut’ in English; it was the first kind of architectural representation used, and now is one of the most important ones. It makes part of the multiview projections, with a little difference; in order to understand them, it is necessary to imagine a building split horizontally in about 0.90 cm above the floor, where the upper part of the construction is hidden, allowing us to see what is underneath. Normally everything that is cut by the section plane is shown with a bold line, often with a solid fill to show objects that are cut through, and anything that is seen beyond is generally shown in a thinner line.

2D Drawings - Floor Plans

CUT WALLS AND LOW WALLS

Acces points Openings / Low Walls

In the example before, we saw how the ground plans are made, but what happens when the volumes are perforated? the low walls are represented with a thinner line than the cut walls, or also with a filled but in a lighter color than the cut walls. Is impor-

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tant to differentiate between the low walls and access points (Doors, full sized windows). In this case, the mountain effect also applies to floor plans; the closer an element is to the projection plane, the thicker the lines are or the darker the filled color is.

EXAMPLES OF GROUND PLANS Floor plans are one of the most important plans because they allow us to understand the interior distributions of a project, and also the relationship with the exterior through the openings. Depending on the scale, they are made with more or fewer details.

SCHEMATIC In the left example, all walls that are cut are filled in black, low walls are grey and access are white; this would be the more schematic version of the ground plan. In the example on the right, we can already see the structure, which normally is represented with filled black, so the non-estructural walls

MORE DETAIL become dark gray, openings light grey and access have detailed lines of the windows and door frames. These are the basic ways of expression in technical drawing; nevertheless every architecture studio has different ways of expression, but most of the time the alterations are superficial and each element is still recognizable.

2D Drawings - Floor Plans

ORIGINE SECTIONS

Acces points Openings / Low Walls Vertical connections

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SECTIONS / VERTICAL CUTS Sections or vertical cuts are basically the same as floor or ground plans; but instead of cutting the volume horizontally, the cut is vertical; this allows us to understand the interior of a project, to see the true mesures of height, the relation with the exterior and the internal vertical connections. The word ‘section’ in German is ‘Aufriss’, which correlates to ‘up/vertical cut’ in English. It also makes part of the multiview projections as the ground plans, and comes from the same logic of projection where a portion of the volume is hidden, allowing us to see what is behind it. Unlike the floor plan, sections are not always made in a specific part of the project; the choice of place to make the section depends entirely on what the architect wants to show. Normally everything that is cut by the section plane is shown with a bold line as well, often with a solid fill to show objects that are cut through, and anything that is seen beyond is generally shown in a thinner line.

2D Drawings - Sections

TYPES OF SECTIONS

PERPENDICULAR

DIAGONAL

As I stated before, a section can be made in different parts of the project depending on what needs to be shown. Also there are different kinds of sections, perpendicular to the coordinate axes, (cardinal points) diagonal

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DISPLACED or displaced. These last two types are very rare but some architects used them in special cases. Note: These are not official names of sections, but a way I decided to call them for this explanation.

Section plane

Section plane Hidden Volume

Hidden Volume

PERPENDICULAR

Hidden Volume

DIAGONAL

DISPLACED

The Section plane (which is the same as the projection plane), is always perpendicular to the viewer, which in case of the diagonal section, reveals more edges in the back.

2D Drawings - Sections

Some architects called longitudinal section to the section that goes along the length (Longest axis of the project), while a transverse section is across the length (Short axis of the project), also called a cross section.

Longitudinal Section

Sections are always referenced in the ground plane or the Roof plan(as shown in this example), indicating the direction of the volume that was cut and is still visible; this reference is usually represented with arrows and is also marked with letters AA’, BB’ CC’ etc. These letters will name the sections displayed in the presentation. There is no limited number of sections; a project can have as many sections as required to provide complete information.

SECTION REFERENCE

Direcction of the section

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Transverse / Cross Section

LONGITUDINAL SECTION AA'

TRANSVERSE / CROSS SECTION BBâ&#x20AC;&#x2122;

2D Drawings - Sections

SITE PLAN / LOCATION PLAN North

Gaudi Park

53 Street

3rd Avenue

Access points SITE PLAN / FLOOR PLAN Site plans or location plans give information about context; the connection of the project with the direct surroundings and the nearest streets. Normally if the project is located near important or significant places, they will also be marked in the site plan. A site plan is usually displayed according to the cardinal points with the north on the top, commonly marked with an arrow. A site plan

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North

Gaudi Park

53 Street

3rd Avenue

SITE PLAN / ROOF PLAN can be shown as a Roof plan, or as a ground plane indistinctly, depending on what the architect wants to express. A site plan in section shows the relation of the interior distribution with the access point to the project; and a Location plan with Roof plan shows the relation with the other buildings and can also show how the sunlight affects the project if shadows are represented.

2D Drawings - Site plan

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CHAPTER 3

3D DRAWINGS 3D Drawings

TREE OF PLANAR GEOMETRICAL PROJECTIONS

Parallel projections

Pespective projections

One vanishing point

Two vanishing points

Three vanishing points

Oblique projections

Top-Down

Military

Cavalier

Ortographic projections

Cabinet

Axonometric CATEGORY 3D DRAWINGS

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Isometric

Dimetric

Trimetric

Multy view ortographic

AXONOMETRIC PROJECTIONS Axonometric projection is a type of parallel orthographic projection, used for creating three dimensional drawings of objects and architecture. With an axonometric projection, the scale of an object does not depend on its location in relation to the viewer (an object that is close has the same scale and mesurenments as an object that is far); in consequence, these images look distorted, because human vision is based in perspective. Despite this limitation, axonometric projections can be useful for purposes of illustration, especially because it allows simultaneously relaying precise measurements. There are three main types of axonometric projections with multiple variations that I will explain in the next section.

3D Drawings - Axonometric projections

90째

Projection

SIDE VIEW

3D VIEW

PARALLEL PROJECTIONS

ORTHOGRAPHIC PROJECTIONS

In parallel projection, the projection lines from the object to the projection plane, are parallel to each other. Therefore, lines that are parallel in three-dimensional space remain parallel in the two-dimensional projected image. Objects drawn with parallel projection do not change scale if they are close or far from the viewer. This is advantageous for architectural drawings, because real measurements can be taken from the image.

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90째

lines

Projection plane

Projection lines

Projection plane

PARALLEL-ORTOGRAPHIC-AXONOMETRIC PROJECTIONS

In orthographic projections, (which means 90째 angles), all the projection lines are perpendicular to the projection plane. This allows most of the lines to be projected with true dimensions in the projection plane. except for the edges of the object that have an angle different from 90 째 in relation to the projection plane.

PROJECTION PLANE

Unlike multiview projections, the projection lines are still perpendicular to the projection plane, but the object is rotated around one or more of its axis to reveal multiple sides.

3D Drawings - Axonometric projections

TYPES OF AXONOMETRIC PROJECTIONS - All angles are equal = 120° - All axis are proportionally equal lenght

120°

30° Rotation of the object to revel multiple sides

30°

Base line is always 30° - 30°

FORESHORTENING

ISOMETRIC

An important attribute of axonometric projections is foreshortening, a visual effect or optical illusion that causes an object or distance to appear shorter than it actually is, because it is angled towards the viewer, altering the dimensions of the volume edges in the projection plane.

Isometric projection is the most commonly used form of axonometric projection in architectural drawing. The direction of viewing is such that the three axes of space share the same angle of 120°. This allows that even if the scale and dimensions do not appear in real length, the distortion caused by foreshortening is uniform, so the proportions of the three axes remain the same.

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100°

- Two angles are equal

- All angles are different

- Two axis are proportionally equal lenght

- All axis are different in lenght and not proportional

97°

100°

119°

144°

160°

DIMETRIC

TRIMETRIC

A Dimetric projection is an axonometric projection where two of a volume axis make equal angles with the plane of projection, and the third angle is larger or smaller than the other two. One scale is used for the two equal axis, and another scale to foreshorten the third axis in a different ratio. Dimetric projections are more flexible than the isometric projections, as the scale varies, and have a more artistic look, but they are not frequently used in architectural presentations.

A trimetric projection is an axonometric projection where any of the axis forms equal angles with the plane of projection. Each of the three axis and the lines parallel to them, have different ratios and are foreshortened differently. The object is projected so that no axis form an angle less than 90°. This axonometric projection is commonly used in videogames but rarely used in architectural presentations.

3D Drawings - Axonometric projections

TREE OF PLANAR GEOMETRICAL PROJECTIONS

Parallel projections

Pespective projections

One vanishing point

Two vanishing points

Three vanishing points

Oblique projections

Top-Down

Military

Cavalier

Ortographic projections

Cabinet

Axonometric CATEGORY 3D DRAWINGS

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Isometric

Dimetric

Trimetric

Multy view ortographic

OBLIQUE PROJECTIONS As well as axonometric projections, Oblique projections are a type of parallel geometrical projection used for creating three-dimensional drawings of objects or architecture; they are commonly used for pictorial purposes (architecture contest), rather than for working technical drawings because of its surreal look. They are commonly used to display three-dimensional urban plans and illustrations.

3D Drawings - Oblique projections

oje Pr

n tio

oje Pr

lin

SIDE VIEW

3D VIEW

PARALLEL PROJECTIONS

OBLIQUE PROJECTIONS

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126°

ine

o cti

Projection plane

126°

Projection plane

PARALLEL-ORTOGRAPHIC-OBLIQUE PROJECTIONS

Unlike multiview and axonometric projections, in oblique projections, the parallel projection rays are not perpendicular to the viewing plane as with orthographic projection, but strike the projection plane at an angle other than ninety degrees.

PROJECTION PLANE In an oblique projection drawing, the displayed angles among the axis as well as the foreshortening factors are arbitrary. The distortion created is usually attenuated by aligning one plane of the imaged object to be parallel with the plane of projection, thereby creating a true shape, full-size image of the chosen plane.

3D Drawings - Oblique projections

TYPES OF OBLIQUE PROJECTIONS In Oblique projections the objects are not in perspective, so they do not correspond to any view of an object that can be obtained or seen in real

90°

life, but they simulate the real volume on proportion and with real measurements to give us an idea of length, width, and heights.

45°

90°

135° 45°

True width dimension

135°

True hight dimension

135°

True hight dimension

135°

True width dimension

CAVALIER

CABINET

In Cavalier projections, one face of the projected volume is parallel to the projection plane, and the third axis is projected as going off in an angle (typically 30° or 45°) keeping its real measurements in all axis.

Cabinet projections have the same characteristics that Cavalier projections, with one difference; unlike Cavalier projection, where the third axis keeps its length, in cabinet projection the length of the receding lines are cut in half.

Decoding

135° 90°

135° True dimension

90° 180°

n sio en di m

Tr u

sio en

True hight dimension

True width dimension

90°

u Tr

True length dimension

90°

45°

True width dimension

TOP-DOWN

MILITARY

Like in Cavalier and Cabinet projections, in TopDown projection one face of the projected volume is parallel to the projection plane, but the third axis is projected in 90°, like if the receding lines were behind the frontal face that is parallel to the projection plane.

In military projections, the horizontal floor plan is isometrically drawn so the floor plan is not distorted and the verticals edges are drawn at a 90° angle.

3D Drawings - Oblique projections

TREE OF PLANAR GEOMETRICAL PROJECTIONS

Parallel projections

Pespective projections

One vanishing point

Two vanishing points

Three vanishing points

Oblique projections

Top-Down

Military

Cavalier

Ortographic projections

Cabinet

Axonometric CATEGORY 3D DRAWINGS

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Isometric

Dimetric

Trimetric

Multy view ortographic

PERSPECTIVE PROJECTIONS Perspective projections are the last type of three-dimensional drawings in the tree of geometrical projections; they are based in how the human eye works. Perspective projections have the effect that distant objects appear smaller than nearer objects, and the lines that are parallel in nature, appear to intersect in the projected image. If we look of a railway or a street (in real life) as they go further in distance the parallel lines that composed them seem to converge towards a single point. The same thing happens in perspective projections, this type of 3D drawings look more realistic because they are closer to a real life view, therefore people, in general, understand them more than the rest of the technical drawings.

PERSPECTIVE VIEW OF A RAILWAY

3D Drawings - Perspective projections

Projection plane

PERSPECTIVE - PROJECTIONS

Projection

n lines

Projectio

lines

SIDE VIEW

3D VIEW

PERSPECTIVE PROJECTIONS Unlike all the rest of 3D drawings, the projection lines that strike the projection plane, are not parallel to each other, but each one of them strikes the projection plane in a different angle, and converge in a single point, we call this point the vanishing point. VANISHING POINT VISIBLE SIDE OF THE DRAWING IN THE PROJECTION PLANE

Decoding

PROJECTION PLANE Because of its proximity to real life views, perspective projections are one of the most used tools of communication in architectural presentations. Perspectives projections are usually categorized into one-point, two-point, and three-point perspectives, depending on the orientation and location of the projection plane towards the axis of the projected object.

3D Drawings - Perspective projections

TYPES OF PERSPECTIVE PROJECTIONS ONE VANISHING POINT A drawing has one-point perspective when it contains only one vanishing point on the horizon line. It is the result of a projection viewed from an angle such that the object is placed directly parallel with the viewerâ&#x20AC;&#x2122;s line of sight, or directly perpendicular. This type of perspective is typically used for displaying interior atmospheres and sections.

1 VANISHING POINT HORIZON LINE

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TWO VANISHING POINTS A drawing has two-point perspective when it contains two vanishing points on the horizon line. In an illustration, these vanishing points can be placed arbitrarily along the horizon. Two-point perspective projections have one set of lines that are parallel to the projection plane and two sets that are oblique to it. the Parallel lines oblique to the projection plane converge to a vanishing point. This type of perspective is the most commonly used in rendered images for architecture presentations; normally displaying the outside of a building (facades), and interior spaces.

2 VANISHING POINTS HORIZON LINE

3D Drawings - Perspective projections

THREE POINT PERSPECTIVE (WORM VIEW) Three-point perspective is often used for buildings seen from above (or below). In three-point perspective, an additional vanishing point appears for the two sets of parallel lines that converge in the horizon and one more for the vertical parallel lines. For an object seen from above, this third vanishing point is below the ground. For an object seen from below, as when the viewer looks up at a tall building, the third vanishing point is high in space. It is often used for displaying buildings from above or below which is why it is known as worm view perspective. The vertical parallel lines can converge in the upper part of the volume or in the bottom. Three-point perspectives are often used to represent high structures or skyscrapers.

Decoding

3 VANISHING POINTS HORIZON LINE

BIRD’S EYE PERSPECTIVE A bird’s-eye perspective is an elevated view of an object from above, as if the observer was a bird or was looking at the project from a plane. It doesn’t belong to a particular category of geometrical projections because it can be made with different techniques (axonometric, perspective, oblique, etc.), but is a very common drawing in architectural presentations because it allows us to see the whole projects in relation to the context. It is usually used to show urban plans and site plans.

3D Drawings - Perspective projections

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CHAPTER 4

COMBINED DRAWINGS Combined Drawings

COMBINED DRAWINGS In the following section, I will show some examples of how is possible to combine some of the types of drawings and techniques of expression I explained before in this book. Architects frequently combine the types of drawing to add value to a specific image and provide more information. Depending on the type of project, architects decide to use one or another combination of drawings that fit the character of each specific project. All the images I will show as examples are products of my own work or in collaboration with the architecture studio MOBO Architects.

Decoding

ISOMETRIC - SECTION OF INTERIOR SPACE

EXAMPLE 1 Kitchen Leon Mozzarella Bar MOBO Architects 2016

Combined Drawings

ONE POINT PERSPECTIVE - ROOF PLAN

EXAMPLE 2 Hostal mercado Courtesy of MOBO Architects 2017

Decoding

AXONOMETRIC - BIRDâ&#x20AC;&#x2122;S EYE PERSPECTIVE

EXAMPLE 3 Hornachuelos housing complex Courtesy of the Author 2017

Abstract

TWO POINT PERSPECTIVE - FACADE

EXAMPLE 4 Hornachuelos housing complex Courtesy of the Author 2017

Decoding

ONE POINT PERSPECTIVE - FLOOR PLAN

EXAMPLE 3 Hostal mercado Courtesy of MOBO Architects 2017

Abstract

ONE POINT PERSPECTIVE - SECTION

EXAMPLE 6 Uniandinos headquarters Courtesy of MOBO Architects 2016

Decoding

ISOMETRIC - FLOOR PLAN

EXAMPLE 7 SDIS Building Courtesy of MOBO Architects 2015

Abstract

Decoding

CLOUSURE Some of the concepts explained in this book are easy to understand, but others have a higher level of complexity that requires more dedication and practice. With this book, I do not intend to teach people how to make architecture, but rather to provide a reference guide that can make it easier for people to understand more and be more involved in architectural projects. Also I would like to inspired architects to be conscious about to importance of real communication in our daily practice. As I said before, every architectural drawing provides different information, if people know where each drawing comes from, and what they can learn from it, for me is a good start to improve communication.

Abstract

THE END

Laura Gutierrez Mesa Dessau-RoĂ&#x;lau Printed by Grafische Werkstatt der Hochschule Anhalt