2012_Graphic Communication

Graphic Communication

Summer 2012 Architecture 497 Graphic Communication Assistant Professor David Karle Teaching Assistant: Alex Mastera University of Nebraska-Lincoln College of Architecture

University of Nebraska-Lincoln College of Architecture 232 Architecture Hall Lincoln, NE 68588-0107 (402) 472-7943 http://archweb.unl.edu/ Summer 2012 Arch 497 Graphic Communication This course will demonstrate critical working strategies of all three Adobe creative suit programs with the goal of preparing students for their individual disciplinary studio tasks. Basic fundamentals will be investigated, synthesized, and utilized through a series of teaching methods including, lectures, charrettes, field trips, and project assignments.

All Rights Reserved.

No part of this publication may be reproduced in any manner whatsoever without permission in writing from the University of Nebraska - Lincoln, College of Architecture.

Typeset in Minion Pro and Arial Narrow.

Printed by Lulu

Every reasonable attempt has been made to identify owners of copyright. Errors or omissions will be corrected in subsequent editions.

Graphic Communication

Transform 6 Reveal 26 Sequence 46 Assembly 66 Project 84 Inform 102 Perform 122

FINDING THE APPROPRIATE VISUAL REGISTER IS CRITICAL IN EXPLORING AND TRANSLATING IDEAS. DRAWING IS A TOOL, AN INTEGRAL PART OF THE DESIGN PROCESS. DRAWINGS SHOULD TELL A STORY, BOTH THROUGH REPRESENTING A SPECIFIC IDEA, AND ALSO AS A MEANS OF GENERATIVE DISCOVERY OR EXPLORATION. FOCUSING ON SOFTWARE TOOLS FOR REPRESENTATION (PHOTOSHOP, ILLUSTRATOR, INDESIGN) THIS CLASS WILL PROVIDE A COMPREHENSIVE APPROACH TO THE MECHANICS AND FUNDAMENTALS BEHIND PRINT RELATED DESIGN. THE COURSE WILL EXPLORE HOW GRAPHIC COMMUNICATION CAN BE USED AS A TOOL TO FACILITATE PRESENTATION TECHNIQUES AND INVESTIGATE BEST PRACTICES. Learning Objectives and Goals:

- Master principals of graphic communication.

- Demonstrate a comprehensive approach to the mechanics and fundamentals behind print related material.

- Develop proficiency in Adobe Creative Suite programs.

- Expand knowledge on drawing types and vocabulary.

- Produce a manual of processes and techniques.

4

RESEARCH LENSES

1. Transform

This section will develop a generative system for describing the language of self-similar morphologies. The project will formulate the geometric “kit-of-parts� for a family of existing forms in order to create an extensible morphology.

2. Reveal

This section will develop techniques for representing ambient qualities. Work will emphasize such instances as sounds levels, temperature zones, water content, or night and day transition, with the restriction of drawing atmosphere, not structure.

3. Sequence

This section will develop the staging of sequential events. Focus may be given to fast or slow, singular or multiple objects.

4. Assembly

This section will explore how a complex formal logic can be diagrammed in 2D+3D for fabrication and final assembly.

5. Project

Traditional and experimental axonometric and perspectival projection.

6. Inform

Info-Graphics, Information Design, and Data Visualization.

7. Perform

How do objects and spaces perform? This section will develop the ability to see and draw the actions of performative objects.

5

TRANSFORM

Marcellus Kipruto and Bryan Perez Definition- a change in composition or structure; outward form or appearance; character or condition (Merriam-Webster Dictionary) In architecture, transformation is the process of morphing and giving new purpose to a modified surface or volumetric space. The process is generally represented through diagrams or drawings.

More complicated transformations require multiple models or renderings to accompany the diagrams and explain in detail the modifications to the spaces or surfaces of the project. The transformation of a surface is the process of modifying the purpose of a surface or blending two or more surfaces together to create a more complex surface. Transformation of space can be a simple as the blending or morphing of two adjacent spaces into a single space, or it can be the stacking, twisting, or blending of volumetric forms of various purposes to create a single structure.

6

History

Figure 1.1: Mobius Strip

Architectural transformation has existed throughout architectural design, evolving as new technologies and techniques are introduced.

One of the most simplified examples of surface transformation is the Mobius strip, discovered by August F. Mobius and Johann B. Listing in 1858. The Mobius strip is a surface with only one side and only one boundary. This single, rectangular surface plane is twisted once and the opposite ends are reconnected, forming a continuous loop.

This morphs the flat, two-dimensional surface into a volumetric form. Volumetric space transformation can be related to the design of churches, as adjacent spaces are joined together to form the main interior space. In particular, the nave of the church has transformed over time as new structural elements were invented, including the arch, buttress, and barrel vault.

Figure 1.2: Christ Church Cathedral/ Dublin, Ireland/ 1797 7

Figure 1.3: Arcade Canopy/ Preston Scott Cohen/ 2009

Figure 1.4: Lou Ruvo Center for Brain Health / Frank Gehry / 2009

Objective

Objective

Create a covered connection between a corporate headquarters, a movie theater, a hotel, and a shopping center.

Design a research center for Alzheimer’s and Huntington’s diseases in Las Vegas, Nevada.

Content

Content

Cantilevered panels of glass and stainless steel create a canopy in between the buildings.

60,000 square foot complex with a metal-clad skin, faced in shingled panels, and punctured with a grid of windows.

Technique

Technique

Based off of a single, hyperbolic parabola panelized into three large triangular surfaces. The glass is tilted, making it look like one large panel being compressed by the buildings.

The drawing shows a section through the building, identifying how the deconstructed structure relates to itself by creating interior space and how the spaces are joined and connected to each other.

8

Figure 1.5: St. Louis CityArchRiver / BIG / Projected for 2015

Figure 1.6: Grammel Hellerup Gymnasium/ BIG / 2012

Objective

Objective

Expand urban activities into the park, creating a seamless transition from urbanity to landscape.

Create a sustainable multi-purpose hall for Old Hellerup High School.

Content

Content

Public use structures and spaces that interact with the landscape.

The gymnasium roof acts as both an enclosure as well as an informal outdoor meeting space for students. Both the gym and roof courtyard are social focal points on campus.

Technique

Technique

In these images, the edges of a ground surface was twisted over itself to create a roof and wall surface for a new public space.

The soft curved wood roof construction is raised at the center to maximize the interior height while maintaining a minimal exterior profile. The roof is reinforced to also become a ground surface.

9

Figure 1.7: Nordpark Railway Stations/ Zaha Hadid / 2004-2007

Figure 1.8: “Twists and Turns” / Mader Stublic Weirmann / 2006

Objective

Objective

Designing four railway stations with its own unique context, topography, and circulation all while maintaining a coherent overall language.

Create an art installation by using an exterior skin of lights to interact with the built structure of the Uniqa Tower.

Content

Content

Inspired by natural ice formations, lightweight, organic roof structures “float” over concrete plinths.

A series of images illuminate the facade of the building and interact with the rigid structure, alternating between linear and organic lines, and giving the illusion that the Uniqa Tower is morphing.

Technique

Technique

The roof structure is made of double-curvature glass. CNC milling and thermoforming were used to generate these structures.

LED lights cover the exterior facade, transforming the building into a large, three-dimensional video screen.

10

Figure 1.9: Yademan Tower / Architecture Atelier / 2011

Figure 1.10: “Lightfall”-Tel Aviv Museum of Art / P. S. Cohen / 2007

Objective

Objective

Entry for the Ofogh Tarh and Andishe architecture competition to build a world-class tower which achieves a creativity, sustainability, and environmentally responsive construction process.

Resolve the tensions between the tight, idiosyncratic triangular site and the museum’s need for a series of large, neutral rectangular galleries.

Content

Content

Design diagram of a residential building that combines Iranian central courtyard buildings with the formal structure of an irregular skyscraper.

The diagram shows the process of twisting the stack of independent plans, rotating each level independently.

Technique

Technique

The base of the building matches the existing site, while the main structure is twisted to maximize the sun exposure in response to the change of seasons.

Twisting the stack of geometric surfaces to fit the site as well as refract natural light into the deepest recesses.

11

Figure 1.11: People’s Building Shanghai / BIG / 2010

Figure 1.12: Mobius House / UN Studio / 1998

Objective

Objective

Create a hotel, sports, and conference center for the World Expo 2010 in Shanghai, a building for the people.

Have two people live together in one house with separate spaces, joined by a common linking space.

Content

Content

Diagram shows the transformation of a single line into the Chinese symbol for “people”, the concept to the building’s design.

A three-dimensional computer model along with sections of the house show the relationship between spaces.

Technique

Technique

Two arched buildings emerge – one from land and the other from water- extending vertically in the direction of the sky, united at the top.

The smooth Mobius curves is depicted in an abstract way through circulation, play of light, spatial organization and the movement of the occupants through their house.

12

Figure 1.13: Calatrava’s residential tower /Santiago Calatrava SA/2005

Figure 1.14: Walter Towers / Bjarke Ingels Group / 2007

Objective

Objective

Designed as a symbol for the eco-friendly Swedish city, Malmo.

The shearing of the building was to be able to allow more surface area of the building to be exposed to direct natural light.

Content

Content

The left diagram shows the tower’s inspiration from a turning torso.

The right diagram shows a section of the building and its floor plan.

Series of diagrams shows the transformation of a single block, split and rotated to maximize direct natural light exposure.

Technique

Technique

The building’s twisting structure was inspired by a human body in movement. Each floor rotates slightly to create the twisting effect of the building.

Cut, twirled and splayed apart, resulting in a giant undulating W that’s a single, continuous building masquerading as four wavy towers.

13

ILLUSTRATOR STEP-BY-STEP 1.0 Exporting Rhino File as Adobe Illustrator

1.1 Create the four phases of the transformation in Rhino using

“Make2D” and Export as Adobe Illustrator file (.ai) Note: Make sure to set up all layers under three main layers (“Red Box”, “Blue Box”, and “Blend”). Each layer should have sub-layers which include “Profile”, “Interior”, and “Hidden” 1.2 Open the new Adobe Illustrator file that was recently saved, which should look similar to the image on the right.

2.0 Edit Artboard

2.1 To change the artboard dimensions to fit the images go to File > Document Setup > Edit Artboard.

You may also click the “Document Setup” button at the top of the screen as shown then open “Edit Artboard”.

2.2 The screen will show anchor points along the edge of your artboard. To adjust the size, click and drag the corner anchor points until the drawing fits inside, or along the top toolbar enter the height and width manually Note: When entering dimensions, the artboard will adjust its size equally in all directions away from its reference point (which is the center point by default). To adjust the artboard in one direction, select the desired anchor point from which the artboard will expand from. (Reference the blue circle)

3.0 Reorganize Layers

3.1 In any project, organization of layers is essential to work efficiently. When the project was exported from Rhino, it maintained all of the layers as set up in your Rhino project, but not any master layers if created. Select the “Layers” icon on your right toolbar to open the list of your layers for edit.

(Windows > Layers or F7 will also open the layers box.)

3.2 Select the “New Layers” icon at the bottom of the box.

3.3 Double-Click the new layer to rename the layer to “Red Box” and change its reference color to red to correspond with the other layer colors.

3.4 Select all of the existing “Red Box” layers and drag to the new Red Box master layer. This will change the existing layers into sub-layers under the main “Red Box” layer.

3.5 Repeat steps 3.2 - 3.4 for the “Blue Box” and “Blend” layers.

14

4.0 Adjust Overall Line Types

4.1 Once the layers have been reorganized, select all of the lines in the drawing. Click and drag over the entire drawing to select all of the lines, or in the “Layers” box, select the circle on the right side of each of the master layers. On the top toolbar, select Window > Stroke, select the “Stroke” icon, or CTRL+F10.

4.2 In the Stroke window select “Butt Cap” to end the line through its anchor point (most important for dashed lines to keep them the exact length specified).

4.3 Select “Miter Joint”. When joining lines at a corner, this creates a single pointed corner similar when using fillet in Rhino.

4.4 Make sure “Align Stroke to Center” is also selected. When thickening a line, it will thicken evenly on either side of the line’s path.

5.0 Adjust Line Thickness

5.1 Next assign line weight to the objects to increase the graphic representation of the diagram. Reopen the “Layers” Box (ref. 3.0) 5.2 Select the “Red Box Profile” lines by clicking the circle on the right side of the sub-layer to highlight all the lines of the same layer Note: If you select the circle on the Master Layer, it will select all lines in that layer and will change the weights of all of the lines, not only the profile lines 5.3 Change the lineweight to 0.03in.

5.4 Repeat 5.2 and 5.3 for the “Red Box Interior” (0.015in) 5.6 Choose the “Red Box Hidden” lines. Change the lineweight to 0.005 in, the dash to 0.2in and the gap to 0.1in (Note: Always use a 2:1 ratio between dash and gap) and select “Align Dashes”

6.0 Fillet Corners

6.1 To fillet the exterior corners of an object, first select all of the “Red Box Profile” lines of a single object by selecting each line. If the profile layer is selected instead, it will try to connect all of the lines into a single lines. (Note: select lines of the same object and same color at one time to maintain the layers) 6.2 Once selected go to Edit > Path > Join or press Ctrl+J to join the lines. This will create a continuous line around the profile of the individual object and clean the corners using a Miter Joint (which was selected previously) 6.3 Repeat the first two steps with each of the other objects.

15

PHOTOSHOP STEP-BY-STEP 1.0 Set-Up Photoshop Document

1.1 Render each phase in Rhino with transparent background at 300 DPI and at the proper size relative to the linework. Save as .PNG file to maintain the transparencies. (.JPEG or .BMP will flatten the render and produce a white background) Note: When selecting the size of the render, choose a larger size if necessary. The image quality will remain the same or increase when the image size is decreased, but will become more pixelated if the image size is increased.

1.2 Open a new Photoshop document and rename document to ‘Transformation Diagram’ 1.3 Match the document size to the artboard size of the Illustrator linework file, Resolution to 300 DPI, and CMYK (the standard mode of ink for printing)

2.0 Place Illustrator File as Smart Object

2.1 Turn off the hidden lines of the diagram in Illustrator and re-save the document.

2.2 In Photoshop, place the diagram as a “Smart Object” by going to File > Place and selecting the Illustrator file. Select “Page” and “Crop to: Bounding Box”. Press enter or the check mark on the top toolbar to complete the placing of the image.

NOTE: By placing a file or image in Photoshop as a “Smart Object”, any adjustments made to the file in its original program can be updated in Photoshop by right-clicking on the layer in “Layers” box, selecting “Replace Contents”, and choosing the new file to replace.

3.0 Place Render as Smart Object

3.1 Place the rendered image of Phase 2 by going back to File>Place 3.2 Align the bottom corner of the large box with the first phase of the linework drawing and resize by entering the same width and height percentage on the top toolbar. Alternatively, click on a corner of the box and drag to resize, holding SHIFT while resizing to maintain constraint proportions (height and width will resize proportional to each other.) Arrow keys will shift the image to help align all edges.

3.3 Once properly re-sized, press ENTER or click on the Check Mark on the top toolbar.

3.4 Repeat for rendered Phase 3 and 4, placing Phase 4 in twice (aligning one to Phase 3 of the diagram and the other to Phase 4)

16

4.0 Rearrange Layers

4.1 On the tool bar, click on Window>Layers (or CTRL+F7).

This will open the “Layers” box.

4.1 Move the layers and arrange the images to the back. This will make the outline lines to be clear and to define the edges of the image.

5.0 Changing Transparency

5.1 To adjust the transparency value, in the “Layers” box select one of the rendered image layers. At the top of the box, change the opacity to 35% or your preference. (“Opacity” and “Transparency” are the similar: when “Opacity” is at 100%, “Transparency” is at 0%) 5.2 Repeat for the other 3 rendered images.

Note: Use the same opacity value for all images to maintain a relationship between images. When editing in general, make same changes to all of the rendered images.

Adding transparency reduces the intensification of the image and allows the linework to stay prominent and clear.

6.0 Adjustments to Layers

6.1 Open the “Layers” box. At the bottom click on the circle that is half white and half black (“Adjustments”).

6.2 Click on “Levels” to open the Levels adjustment box. (This will also create a new “Levels” layer) Note: Use “Levels” to make adjustments to the intensity or exposure of the images.

6.3 Adjust the “Levels” as show in the image. This will make the values slightly darker to increase the shading values of the objects.

6.4 To use the adjustments on all rendered images, move the “Levels” layer in the “Layers” box until it is above the rendered image layers. Any layers below an “Adjustment” layer will be affected by the adjustment.

Note: To adjust only one layer, hold ALT- and click between the adjustment layer and the layer to be adjusted.

17

STUDENT WORK: STEP-BY-STEP Marcellus Kipruto 1.0 Set Up InDesign Document

1.1 To open a new document, go to File>New>Document (or Ctrl +N). A New Document window pops-up.

8.2. Set the desired number of pages. Check the “Facing Pages) to have the booklet set-up. Or uncheck if printing as single pages.

1.3 Select the desired size of the paper by using the drop box on Page Size or adjusting manually then set the orientation(portrait or Landscape).

1.4 Set Gutter to .125”. Margins set to .5” except “Inside” set to .75 if working on a booklet to have space for binding.

1.5 Adjust “Bleed” to .25” to allow images to be printed to the edge of the paper.

2.0 Setting Master Pages

2.1 On the top right side of the window click on the “Pages” then right click on the plain square box. Click on “New master” to add a master sheet. On the New Master name it and click “Okay”.

2.2 Ditto 9.1 if you need a ne different master sheet.

2.3 Applying Master Page to the Pages 2.4 Select one of the pages, right click>Apply masters to pages. Type the pages you want to add master layout.

2.5 Go to the page on added master layout, right click>Over Wright All Master Page Items or(Alt+Shift+Ctrl+L.)

3.0 Setting the Characters

3.1 Click on the character label on the left side of the screen. On the small box at the bottom of the character bar add “Create New Style” 9.2 Double click on the Character Style, a box pops-up.

Select “Basic Character Format”.

3.3 Name your style name, to”Body Text”, set the; Font family > Aerial Narrow; Font style>Regular; Size 9pt. After adjusting all the necessary boxes click “Okay”.

3:4 Repeat 9:3 to set the Chapter tittle, font style>Bold, Size>18pt, Leading>18pt, Case> All Caps.

18

4.0 Setting the Units

4.1 On the Bar menu click Edit>Preferences>Units and Increments, select “Horizontal” and “Vertical” and adjust into “Inches” 4.2 Adjust the layout into the desired setting. The page is ready to place an image.

4.3 Ctrl+R. to get the ruler on the sides. Click on the ruler and drag the guiding lines to set paper layout on vertical and horizontal sides.

4.4 When all the guide lines are set, select one and Right Click, then Check on the “Lock Guides” to allow you move other staff without moving the guides.

5.0 Placing Images to the Page

5.1 After adjusting your window, select the box you want to place the image.

5.2 On the menu bar, Click File>Place, then select the image from your documents and click open.

5.3 The image will be placed inside the selected box.

6.0 Adjusting the image

6.1 The image will still be selected on step 12.3, right click on the selected drawing> Fitting>Fit Content Proportionally. Or (Alt+Shift+Ctrl+E.).

6.2 The image will fit to the box proportionally. To adjust to precise size while maintaining the proportions, select the image, press shift and hold, drag one corner of the image.

6.3 Adjust your image to the preset window to get the right view of the required portion.

19

STUDENT WORK: BEFORE AND AFTER Marcellus Kipruto ARCHITECTURE HALL IS A VERY BUSY PLACE THROUGH OUT THE DAY. MOST OF THE STUDENTS SPEND THE MOST PART OF THEIR DAY AND NIGHT WORKING ON PROJECTS TO MEET DEADLINES. BETWEEN THEIR TIGHT STUDY SCHEDULE, THEY TAKE BREAKS AND WALK TO VAROIUS PARTS OF CAMPUS TO GAIN A BREATH. TO SOLVE THIS PROBLEM, THE FACULTY PROPOSED CRASHPAD PROGRAME FOR THE STUDENTS TO RECREAT ON THE WEST FAÇADE OF ARCHITECTURE HALL. THE PROGRAME GIVEN IS RELAX-REVIVE-REFRESH. DOING MORE RESEARCH IN THIS DESIGN PROGRAM, I FOUND THAT THES ITEMS HAVE NO DEFFINED BOUNDARY BETWEEN THEM. I APROACHED THE DESIGN WITH HAVING THE SPACES OVERLAP EACH OTHER, AND HAVING VARIENCE IN FLOOR LEVELS AND DIFFERENT SPACIAL RELATION IN HIGHT AND VOLUME.

CRASHPAD B

OBSERVATION TOWER

A

REF. LEV +0’ 00” THIRD FLOOR ARCH HALL

UP

LEV. +0’ 0”

DN LEV. +3’ 0”

MEZZANNINE FLOOR

DN

DN - 3’ 4”

LEV. +3’ 0”

SEATING AREA

BLACONY

MEZZANNINE

THIRD FLOOR

OPEN TO FLOOR BELOW

LEV -10’ 0”

UPPER FLOOR PLAN SCALE 1/4”-1’ 0”

SECOND FLOOR

n

FIRST FLOOR CUBICLES UP LEV. -10’ 0”

DN LEV -10’ 0”

SEATING AREA

SEATING AREA

CUBICLES

DN

DN

LEV -14’ 4”

LOWER FLOOR PLAN

SCALE 1/4”-1’

SECTION A-A

n

B

PLANTERS

SCALE 1/4”-1’0”

A

PLANTERS

Board 1~(54x24in).

RELAX

REFRESH

THIRD FLOOR

REVIVE

ARCH HALL ROOF TOP

SECTION A-A PERSPECTIVE

OBSERVATION TOWER

OBSERVATION TOWER

PROGRAME PARAPET WALL

PARAPET WALL

THIRD FLOOR

CUBICLES

SECOND FLOOR

FIRST FLOOR

FRONT ELEVATION

SECTION B-B

n

SCALE 1/4”-1’ 0”

SCALE 1/4”-1’ 0”

RELAX

REVIVE

REFRESH

CRASH PAD MARCELLUS KIPRUTO

Board 2~(54x36in) 20

University Of Nebraska Lincoln Prof. Lindsey Bahe/Arch 211/Fall 2010

THE CRASHPAD

PROGRAM: REVIVE - RELAX - REFRESH

OBJECTIVE: The faculty proposed a Crash Pad Program for the students to recreate on the west facade of Architecture Hall. The approach to the design is having the spaces overlap each other, with variance in floor levels and different spacial relation in height and volume.

The View: This is the most important part of the design.

It helps to draw the user out of the building to the outside world helping one to relax, revive and refresh.

Upper Floor Plan: Mezzannine and the roof top.

Lower Floor Plan: The cubicles.

Front Elevation: The new structure is rapped on the west facade as a skin emmerging from one side and dissapeapers on to the wall on the other sideside.

Section B-B

Section A-A

Crashpad Final Layout (condensed) 8.5” x 11” / 2012

21

STUDENT WORK: STEP-BY-STEP Bryan Perez 1.0 Set Up InDesign Document

1.1 Open a New InDesign Document by going to File> New> Document.

1.2 Choose “Letter” for the document size and select “Landscape” orientation. All of the other presets are okay and can be changed later if necessary.

Note: “Facing Pages” is checked to view the document as spreads in a book, where two pages are viewed side-by-side. For a single sheet document, the “facing pages” option will not affect the layout whether or not the box is checked.

1.3 Click “OK” once the page setup is complete.

2.0 Document Units / Master Page

2.1 Once the new sheet is displayed, Right-Click on the top ruler and select “Inches” to change the document size from Picas to Inches, the common measuring unit in architecture and related fields.

2.2 On the right-side toolbar, select the “Pages” icon to open the “Pages” box. Select the “Master” Page.

Note: For a single sheet document, “Master” Page will not have much affect. The purpose is to create a layout that will be used on multiple pages. Anything placed on the “Master” Page will be replicated on all pages in the document using the “Master” Page as a template.

3.0 Layout Title, and Gutter

3.1 Next step is to lay out a grid system to use as a template for placing images and text. To place a guideline on the “Master” sheet, Left-Click (Hold) on the ruler, drag the guide onto the document, and release. For horizontal guides, use the top ruler; for vertical guides, use the left ruler.

Note: The number that appears by the cursor is the distance from the edge of the page where the ruler is. If an exact distance is needed, place the guide in the general area then on the top-left of the screen, enter the exact distance (Y for horizontal guides and X for vertical guides) 3.2 Layout Horizontal guidelines for the Title 1” from the top edge of the page and a Gutter (for binding) .75” from the left edge of the page.

22

4.0 Layout Master Grid

4.1 On the top toolbar, select Layout> Margins and Columns..

Enter .0625 (1/8”) for the Column spacing. This will give guides to separate images so that they do not overlap or butt up against one another.

4.2 On the left toolbar, Select “Rectangle Frame Tool” (or press F).

Click near the intersection of the two guidelines to lock one corner to the intersection and Click and Drag the box to the opposite corner of the page, where the two purple lines (Margin Lines) meet at the bottom right. Keep holding the Right-Click.

4.3 Before releasing the Right-Click, press the Up Arrow to divide the frame horizontally and the Right Arrow to divide it vertically.

Create a 4 x 4 grid of boxes, then release the Right-Click.

4.4 Place guidelines on the edges of the boxes to create the grid.

5.0 Touch-up Images / Delineate Profiles

5.1 In Photoshop, open one of the model photos to be used in the layout. Delete any visible background that is not a part of the model and adjust the “Levels” to emphasize the proper attributes of the particular model. Once finished, save as .PNG to retain the transparent background.

5.2 Open the new .PNG file in Illustrator. On a New Layer and using the line tool, follow the profile of the model, drawing a new line on top of the image. The thickness of the line should be relevant to the size of the image. Once the entire profile is drawn with the correct thickness, select all lines and press CTRL-J to join.

5.3 Save as .AI file (Adobe Illustrator) 5.4 Repeat 5.1-5.3 for each image to be placed in the InDesign document

6.0 Place Images in InDesign

6.1 In the InDesign file, click on the box to place the first model Illustrator file, then select File>Place> ‘.ai’ file.

6.2 The image will most likely be too large to be seen in the box. To resize, click on the box and hover the mouse over the middle of the image. Click on the round circle that appears then resize the image to fit in the box by clicking and dragging the anchor points.

6.3 Repeat 6.1-6.2 for the rest of the images.

Note: Use the guides as an initial help but the image size can vary outside of the guides. To place a larger image, delete the boxes in its position then place a new larger Reference Frame.

Reminder: keep at least .0625” (1/16”) spacing between images and texts.

23

STUDENT WORK: BEFORE AND AFTER Bryan Perez

Connection Study Model

Ventilated Form Model

Ventilated Canopy - Connection Final Model Original Photos from Analysis and Composition Arch 140A- Ventilated Surface/ Connection Project, Fall 2011

24

ARCH 140A S. PETERSON FALL 2011

ANALYSIS AND COMPOSITION

Connection Study Model (Chipboard)

Ventilated Form Model (Chipboard)

Regulating Line Plus Positive and Negative SpaceVilla Savoye (Le Corbusier) Above- Reference Photo Top Right- Positive on Negative Final (Comic Backer on Foamcore) Right- Negative on Positive Final (Cardstock on Foamcore)

Use of Color in Image Abstraction to Emphasis a Design Principle: MovementVincent Thomas Bridge (San Pedro,Ca) Above- Reference Photo Top Right- Iteration Sketch (Marker and Pen on Trace) Right- Final Composition (Cardstock on Foamcore)

Ventilated Canopy Connection Final Model (Museum Board, Wire, Tissue Paper)

1

Analysis and Composition Third Year Portfolio Layout 8.5” x 11” , Summer 2012

25

REVEAL

Amanda Balhorn and Kendra Heimes REVEAL. Sharing the three dimensional qualities of the built environment and its relation to human experiences through representation.

Reveal, by definition, means “to make known” or “to unveil a secret”(dictionary.com). Through various forms of graphical representation, one can expose the user to information not previously known. The lens displays not only the built form, but the atmospheric, emotional, and cultural relationships in relation with the user. This can be done in a variety of ways, through various layers of information and color/texture application, which often helps to set a specific mood. Reveal is used to trigger how one should feel when experiencing the space, without the user physically inhabiting it. Upon viewing, a deeper level of comprehension of the project, and the relation to oneself is portrayed. This experience can often be overwhelming and simultaneously intriguing.

26

History Raimund Abraham Raimund Abraham, an Austrian Architect, came to the United States in 1964 to practice and teach architecture. He believed drawing played an equally significant role in architecture as building did.

During his time in the United States, he created a series of drawn works. These pieces displayed all of the terrors, and anticipation which he had toward the field, along with a variety of other emotional and cultural signifiers pertaining to the project at hand.

The Gloud House, drawn in 1970, displays Abraham’s argument at a high level of resolution. The house is displayed through a technical drawing that bleeds into more organic shapes in the surrounding landscape. These signifiers portray the various elements of the house.

Abraham designed the house to be a junction of various elements, including emotions, events, and experiences. The list ranges from dreams, gestures and illusions to rituals, birth, death, and memory.

From these drawings, Abraham influenced an entire generation, bringing the art of revealing one’s work through representation to attention. Various works have been executed in a variety of ways and are continued to be used today.

Figure 2.1 The Gloud House / Raimund Abraham / 1964

27

Figure 2.3: “Way out West-Berlin”/ Peter Cook / 1988

Objective Designed to display the cultural effects on cities, landscape elements are overlaid, and intertwined in the buildings.

Content Line drawings, images, drawings, sketches

Technique Horizontal and vertical line drawings start to blur, while the images on the top of the drawing slowly morph and shape into actual rooms, so that the landscape literally forms the building.

Figure 2.2: 75 Peters / Adam and Eve / 2011

Objective Designed for Peter Cook on his 75th birthday. The image is supposed to represent Peter through the eyes of society.

Content Concrete and abstract graphite sketches and colored accents.

Technique The blur between realistic and abstract drawing helps to emphasize Peter’s thoughts and how virtual and concrete worlds coexist within.

Color is used to help emphasize the blur between the two.

28

Figure 2.4: Hybrid Lifestyles / Constantinos Caropoulos-Alefantis / 2011

Objective Design a sustainable environment relating to a diverse cultural background considering domestic, religion, production, transportation and education of Paris.

Content Site plan, elevations, perspectives, renderings, Photoshopped overlays

Technique The overlaying of materials, and slow revealing effect of certain architectural elements provides not only an understanding of the built form of Paris, but the complexity of people and their lifestyle.

Figure 2.5: Immigration Centre/ Justine Bell / 2009/2010

Objective Looking at a new way to dialogue to display an architecture that concentrates on arrival and transition between both physical and imagined borders.

Content Line drawings, Photoshop, Hand drawn effects, colored renders

Technique Drawing techniques of highlighting through color and black renders helps to emphasis depth, while various areas of line drawings and smaller, textured elements provides a sense of physical and qualitative boundaries.

29

Figure 2.6: The architecture of resonance / Agnus Earl / 2011

Figure 2.7: Chicago Expo Highrise / Mary Alejandra Alverez / 2009-2010

Objective

Objective

Shows context and feeling of the space as well as how it is built, structurally and interior views.

Speculating on Cultures at the Edge of Destruction

Content Renderings, line drawings, hand drawn interior views, Photoshop effects, photos

Technique The various photos, and graphics that are faded in/out of the building give a sense of the user interactions. Various fading and highlighting effects helps define the atmosphere and hierarchy of space.

30

Content Renderings, photos, line drawings

Technique The various transparencies and overlays of renderings and photos creates the illusion of chaos manifested in society.

Figure 2.8: Part model, part x-ray, part cad drawing / Brian West / unknown

Figure 2.9: Negative Impression Exhibition / Ball-Nogues Studio / 2012

Objective

Objective

Display result of mechanical operations.

Questions the contemporary architectural vogue for digital complexity and abstraction.

Content X-rays, line drawings, renderings

Technique The use of various transparencies reveals depth and multiple mediums creates a sense of mechanical function and mystic creation.

Content Cast impressions of VW Beetle and speed boat, renderings, images, and drawings.

Technique Overlay of renderings, images, and drawings, combined with various transparencies reveals not only the structure, but how the user works within the space.

31

Figure 2.10: The Cult of the Infinite / Isaac Barraclough / 2011

Figure 2.11: A Scribe House / Isaac Barraclough / 2011

Objective

Objective

To show doubt of ones place within the universe, and where one came from.

Describe the relentless task of digesting a book’s contents in small scholarly rooms

Content

Content

Series of perspectives, renderings, text, and line drawings

Images; drawn and collaged, line drawings, script annotations

Technique

Technique

Sections through the fragmented house, with the image receding to a black point in space creates the confusion and doubt of placement within the image, and world.

The use of script surrounding and unfinished image of the room, and blurring techniques between the two display how non physical elements such as the written word can be what completes a room.

32

Figure 2.12: The Sami House / Robert Lansberry and Simen Forbes Rolfsen / 2011

Figure 2.13: Piazza Dante / Neil Spiller / 1999

Objective

Objective

Objective: The Sami House was designed for the Sami tribes to gather annually and celebrate their heritage. Various aspects of their culture and relations to the earth are the main focus of these events.

The image therefore gives a sense of the space designed and it’s relation back to tribal customs.

Design of a public space that showed relation spatially and culturally.

The project goal was to break free of the 1930 town planning style which was inarticulate.

Content

Technique

Rendered materials, charcoal

Technique The textures of the space provided by the materials creates an atmospheric quality of the built project for the tribe.

Content Perspective & elevation drawings The use of detail in shadowing and abstraction within the combined line drawings helps define the image. It provides an energy which reveals spacial and experiential dynamics within the space.

33

ILLUSTRATOR STEP-BY-STEP Step 1.0: Make2D

After you select your view and highlight your information use the Make2D command. In the menu after drawing layout make sure you have current view checked, under options have “show hidden lines” and “maintain source layers” checked & then press OK. After making 2D join all the lines in each layer according to lineweight and export as an Illustrator file.

Step 2.0: Layers Palette

Open file in Illustrator, select all hidden line layers by holding CTRL while clicking on circle by each layer in the layers pallet.

Step 3.0: Stroke Palette

3.1: In the stroke pallet, choose 0.25pt by clicking the down arrow in the stroke pallet by the box that says weight, and select the butt cap box below the dropdown menu.

3.2: Check the dashed lines box, in the dash box type 8 and in the gap box type 4 [Preferred ratio is 2:1].

3.3: Make sure the box “Aligns dashes to corners and path ends, adjusting lengths to fit” is selected in the top right corner of the dashed lines box is selected.

34

Step 4.0: Line Weights

Select each box layer, and choose line weights .5, .75, 1, and 1.5 depending on depth, and make sure that the butt cap option is always selected.

Step 5.0: Place Links

Make a new layer, go to file then choose place, select file with correct line work for elevation, hit Place, in the window that appears make sure the “crop to� says bounding box, and hit OK.

Step 6.0: Edit Links

After editing your linked file , save [CTRL S]. In your master file, in the links palette, there should be an icon in the links palette next to the updated link. Select the layer, and at the bottom right of the toolbar, select the update link icon.

35

PHOTOSHOP STEP-BY-STEP Step 1.0: Placing/Updating a Smart Object

1.1: File>Place. Select the file you want to place, and click “Place”.

1.2: Adjust size and hit “Enter” to place the file on your artboard.

1.3: To update a smart object, right click on the smart object layer in the layers palette. In the pop-up menu select “Replace Contents...”

1.4 Select the updated file and click “Place” to update the link.

Step 2.0: Editing a Smart object

2.1: Select the layer desired to edit in the layers palette.

2.2: Using the “Polygonal Lasso Tool” select the area of the image you want to edit.

2.3: Click “Add Layer Mask” at the bottom of the layers palette.

2.4: Use the “Gradient Tool” to add a graduating transparency.

2.5: Press CTRL+D to deselect masking area.

2.6: In the Layers Palette, select the mask on the layer that you want to edit.

2.7: Right click on the mask and select “Refine Mask...”

In the Refine Mask Palette, select the “On Layers” option to show how your edits affect multiple layers.

2.8: in the “Adjust Edge” section, adjust sliders for desired effect. Hit OK to save changes.

Step 3.0: Gradient Overlay

3.1: Select area in layer to graduate.

3.2: Select the Gradient tool [G] and select the gradient color/style in the top menu.

3.3: Check the transparency box, and choose the opacity level in the menu bar.

3.4: Draw line over the selected area, the shorter the line, the more severe the gradient.

3.5: underlay with image for a transparent effect.

36

Step 4.0: Smart Object Image Adjustments

4.1: Select Smart Object layer desired to edit.

4.2: Click the “Create New Fill or Adjustment Layer” icon at the bottom of the layers palette and select desired filter [Brightness/ Contrast].

4.3: Hold down the ALT key and click between the image layer and the Brightness/Contrast layer to select only that layer.

4.4: make adjustments accordingly.

Step 5.0: Making Texture

5.1: Use the “Polygonal Lasso Tool” to select area desired to texture.

5.2: Select the “Paintbrush” tool.

5.3: In the top dropdown boxes, choose a paintbrush style, and adjust the size based on the size and style of desired texture.

5.4: Adjust the opacity to 50% and the fill to 35%.

5.5: click and drag brush over selected area to create texture.

Final Image

37

STUDENT WORK: STEP-BY-STEP Amanda Balhorn Step 1.0: Exporting from Rhino

1.1 Before Make2D, find the view that you want to use and save that view.

1.2 Right click on view name > Set View > Named Views‌ > click the Save As icon > type in a name & click OK. 1.3 Select desired objects in your saved view & Make2D. Refer to Illustrator Step 1.

1.4 Then export the selected Make2D lines & export them as an Illustrator file.

Step 2.0: Editing Linework (Illustrator)

2.1 Clean up the raw linework brought in from Rhino by editing the stroke weights, cut tool, etc. to create depth & make the drawing easier to read.

Refer to Illustrator Step 4.

2.2 To create arrows go to the Stroke menu and select the drop down by which end of the line you want the Arrowhead on and select desired Arrowhead style. You can also edit the scale of the arrowhead to make it larger or smaller for stylistic effects.

Step 3.0: Transform (Photoshop)

3.1 Select Smart Object layer to edit.

3.2 Edit > Transform. Select transform method desired (rotate, scale, skew, etc.)

38

Step 4.0: Free Transform (Photoshop) 4.1 Select Smart Object layer to edit.

4.2 Edit > Free Transform.

Step 5.0: Gaussian Blur (Photoshop)

5.1 Select layer to apply blur effect to.

5.2 Filter > Blur > Gaussian Blur.

5.3 Edit Radius to get desired effect, the larger the radius the more dramatic the blur effect.

Step 6.0: Place Options (Photoshop)

6.1 When placing in Photoshop (File > Place) and your placed file first shows up, at the top of the window there are options to transform the file before you officially place it.

6.2 Adjust Scale to get desired size or effect. You can either do this in one direction or both by linking or unlinking the scales.

6.3 Adjust the angle of the file by changing the angle field.

39

STUDENT WORK: BEFORE AND AFTER Amanda Balhorn

EXPLODED AXONOMETRIC SCALE: 1/2”=1’0”

AREA PLAN

SCALE: 1/2”=1’0”

FRONT ELEVATION SCALE: 1/2”=1’0”

ARCH 210 Final Project Board

40

WALL SECTION SCALE: 1/2”=1’0”

Re-worked Project Board The initial drawings were imported into Illustrator and the lineweights were reworked to create more depth and detail for the viewer’s clarity.

Additional diagrams were constructed to further explain the assembly and construction of the individual pieces. Edited drawings were then imported into Photoshop and arranged in such a way that they relate to each other and start to further explain the other. A detailed photo of the model was added as a descriptive material, while a texture was underlaid across the entire board to provide atmospheric qualities.

41

STUDENT WORK: STEP-BY-STEP Kendra Heimes Step 1.0: Adjusting Opacity (Illustrator)

1.1: Insert silhouette and make fill color black.

1.2: In the stroke palette, select the Transparency tab.

1.3: Select Opacity and make 50.

Step 2.0: Sky Edit (Photoshop)

2.1: File>Place line image.

2.2: File>Place an image of the sky.

Note: make sure that the sky layer is below the line drawing layer in the layers palette.

2.3: Select Sky layer and add a mask.

2.4: Select the Eraser tool and in the brush dropdown make the size 450, choose the blurred circle to opacity to 20% and the Flow to 30%.

2.5: Erase along the ground plane edge and slowly fade up.

Step 3.0: Insert inverse Linework (Illustrator)

3.1: Take a second section cut and apply lineweights accordingly.

3.2: select a line and Select>Same>Stroke Weight to select similar line types.

3.3: in the color palette make select no fill and a white border color.

3.4: Save and place into Photoshop against a black background.

Note: If you have a fill, the transparency level will stay the same after changing it from black to white.

42

Step 4.0: Add Grass Texture (Photoshop)

4.1: Select the Paint tool.

4.2: In the brush selection dropdown, select the grass brush, and adjust size to grass type (Prairie, Lawn).

4.3: in the Toggle Brush Panel adjust the spacing of the grass spacing.

4.4: Select two colors of green and create grass.

Step 5.0: Adding Trees (Photoshop)

5.1: File>Place tree.

5.2: Reduce opacity to 75%.

5.3: Apply a layer mask and use Eraser tool to edit the tree shape.

5.4: Using the paint brush tool, add a texture to the tree.

5.5: Select the texture layer and the tree layer, and place in folder.

Rename “tree”.

Note: layers are still available for individual editing in folder.

Step 6.0: Adding Text (Photoshop)

6.1: create new layer and label “text”.

6.2: Select the text tool .

6.3: In the Character palette choose desired font and text size.

6.4: draw text box in desired location and add text.

43

HIDDEN HILLS HIGHSCHOOL SECOND LEVEL: PLAN & SECTION

STUDENT WORK: BEFORE AND AFTER Kendra Heimes

DN

NORTH BUILDING SECTION

N

SCALE 1” = 40’

SOUTH BUILDING SECTION

N

SCALE 1” = 40’

SECOND FLOOR PLAN SCALE 1” = 40’

N

CUT AND FILL CUT FILL

Final Group Project Board

44

Re-worked Project Board The primary section that shows the relationship of the building to the sloped site was imported into Photoshop and edited to show photo realistic characteristics of the sites relation to the building. The Transverse section was then inverted and imported below the first section to compare relationships within the building. The plan provides a reference to where section cuts are taken, and the ground plane of the inverted section continues on to mark where the section is taken within the plan.

45

SEQUENCE

Brian Duncan and Jamie Lewis Sequence contains many diverse meanings. One might look at it from a designer standpoint, in which sequence of movement becomes important. Designers create specific entry sequences to fit a particular condition within a space. Circulation throughout the building also plays a major role in the sequence of movement within a specific space. One may also look at it in terms of sequenced phases. Phases of construction show the building process of any object. Phased sequencing can also show object transformation throughout time which identifies an object’s particular sequence of events. In any instance, sequencing results in a symbolic linear depiction, rather literal or implied.

46

History In 1872, Eadweard Muybridge used photographic sequencing to prove that there was a moment in a horse’s gallop where all four hooves left the ground at once as shown in the middle image.

Muybridge then spent much of his later career producing thousands of images that captured progressive movements within fractions of a second. He studied the movement and motions of both humans and animals in different daily activities.

Figure 3.1 / Photographic Sequencing / Eadweard Muybridge / 1872 47

Figure 3.2: Warm & Cool Air Circulation / Seung Bae / 2010

Objective To recognize the sequence of air flow between cold and warm air in a generic space.

Content Simple diagram of cool air transforming into warm air within a structured space.

Technique Line drawing overlaid with graphic elements

48

Figure 3.3: Agamon Hakhula Visitor Center / L2 Tsionov-Vitkon / 2012

Objective To understand the entrances and primary circulation within the Visitor Center.

Content A top perspective view of the Agamom Hakhula Visitor Center showing designated entrance points as well as primary circulation throughout the center.

Technique Line drawing overlaid with graphic information to indicate specific entrances and movement throughout.

PUBLIC CIRCULATION

CIRCULATION

JUDGE CIRCULATION

Figure 3.4: Courthouse Circulation / Jamie Lewis / 2012

Figure 3.5: AIM Competition Winner / Sebastian J. / 2010

Objective

Objective

To show the separate entry sequences and circulation between the judge and the public

To show the initial entrance and ramp sequence one follow throughout each level of the building.

Content

Content

A diagram showing the initial entrance points, for the judges and the public, and the vertical circulation through the floor profiles.

A sequenced diagram of floor plans showing initial entrance points and circulation routes on each level.

Technique

Technique

Line drawing perspective overlaid with graphic information and color indicators.

Line drawing overlaid with graphic information to indicate a pathway.

49

Figure 3.6: Soumaya Museum / LAR / 2011

Figure 3.7: Expo 2010 Danish Pavilion / BIG / 2010

Objective

Objective

To show the central circulation and sequence visitors would follow within the Soumaya Museum.

To show the initial entrance and ramp sequence one follow throughout each level of the building.

Content

Content

A perspective diagram showing suggested circulation that rotates around a central core within the Soumaya Museum.

A diagram of the proposed entrance and pathway throughout the Danish Pavilion at each level.

Technique

Technique

Line drawing perspective overlaid with renders and color indicators to help describe central circulation.

Line drawing overlaid with color indicators showing primary circulation.

50

Figure 3.8: Construction Sequence / CUTANGUS / 2011

Figure 3.9: Venture Design / Stephen Luoni and UACDC / 2011

Objective

Objective

To display the construction sequence of an airplane through a series of layered renderings.

To describe the different phases of reconstructing the urban area surrounding the five-lane highway.

Content

Content

Interior to exterior rendering sequence of a jet plane showing construction and design evolving from each phase.

Exploded axonometric diagram showing an urban layout and the reconstruction phases that are proposed to be added.

Technique

Technique

Multiple rendering of layers reveals the plane’s construction sequence.

Exploded axonometric line drawing overlaid with graphic information showing new additions to an existing urban layout 51

Figure 3.10: Blackfriars Priory / Feilden Clegg Bradley Studios / 2011

Figure 3.11: Storyboarding / Walt Disney Studios / 1930

Objective

Objective

To give the contractor full detailed sequenced phases of construction of the renovated stairs.

To depict the concept of the proposed film in a simplistic manner.

Content

Content

Step by step graphic depictions of the construction sequence of a stairway construction from the initial phase of constructing a ramp to the end resulting stairway with railings.

Four still-framed images showing significant scenes for a proposed film production that display the underlying concept.

Technique

Technique

Line drawing overlaid with graphic information and rendered properties

Free-hand drawn illustrations show quick representations of significant that help the viewer understand the overall concept of the production.

52

Figure 3.12: Nude Descending a Staircase / Marcel Duchamp / 1912

Figure 3.13: Wound-Up Waves Diagram / Courtesy Science / 2011

Objective

Objective

To show the flow and movement of an individual descending a staircase.

To show the sequence of how an initially tilted planetary ring twists over time into a spiral pattern of ripples.

Content

Content

The motion of an abstract nude human descending a staircase in reference to time.

An image showing the three phases of the planetary ripple effect, including the initial impact, the immediate reaction, and the reaction development.

Technique

Technique

The artist used back and forth sequencing of legs to imply motion down a staircase.

Sequencing of events shows the change in shape over time.

53

ILLUSTRATOR STEP-BY-STEP 1.0 Tips On Exporting From Rhino

1.1 Command (Make2D) to turn three dimensional model into a two dimensional drawing. Make sure the box for “Maintain Source Layers” is checked and the box for “Show Hidden Lines” is unchecked. Click OK. 1.2 Select all, File, Export Selected, Save as a .AI file (Adobe Illustrator) 1.3 Make sure Preserve Model Scale is selected at 1 feet = .0625 inches.

2.0 Illustrator - Lineweights

2.1 Open previously exported Illustrator file TIP: Select the EDIT menu > Preferences > Units to make sure that all units are changed to inches.

2.2 Highlight “Lineweight 1” in the Layers panel. Click on the Select All tool (Circle) which will select all lines in that layer. Change stroke to .0313”.

2.3 Repeat step 2.2 for “Lineweight 2” layer. Change stroke to .0156”.

2.4 Repeat step 2.2 for “Lineweight 3” layer. Change stroke to .0078”.

3.0 Illustrator - Creating A New Layer

3.1 In the layers panel, create a new layer by selecting the icon in the lower right corner called “Create New Layer”.

3.2 Double click the new layer and rename the layer to “Renders.”

3.3 Change layer color to blue and click OK. 3.4 Drag “Renders” layer to the bottom of the layers panel.

3.5 Lock all 3 Lineweight layers by clicking the grey box to the left of the layer title in the Layers panel and a padlock symbol will appear indicating that layer is locked.

54

4.0 Illustrator - Placing A File

4.1 Make sure the “Renders Layer” is highlighted.

4.2 FILE > Place 4.3 Select the file you would like to place > PLACE > ENTER to confirm the placement on the artboard.

5.0 Illustrator - Alignment

5.1 Group the placed renders or images using Select All (CTRL A) and CTRL G. 5.2 Using the Alignment Panel, select the icons for Vertical Align Center and Horizontal Align Center. Lock the current layer using CTRL 2.

5.3 Repeat Steps 5.1 and 5.2 for the Linework Layers but do not lock the linework. Use the arrow keys to finely adjust the linework into exact placement over the rendered images.

NOTICE: The lineweights remain on top of the rendered image because they are above the “Renders” layer in the layers panel.

6.0 Illustrator - Applying An Overall Texture

6.1 Unlock the 3 Lineweight layers and then lock the “Renders layer”.

6.2 Click the Swatch Panel on the right side of the screen. In the lower left corner of the Swatch Panel > click the icon for Swatch Libraries dropdown menu > Patterns > Basic Graphics > Basic Graphics_Textures. The swatch will then open on your screen.

6.3 Holding SHIFT, select all Lineweight layers using each of their selection tools in the layers panel (circle symbol).

6.4 Apply textured swatch by clicking a desired pattern. The lineweights will then fill with the specified swatch over the renders.

55

PHOTOSHOP STEP-BY-STEP 1.0 Photoshop - Canvas Size And Placing Objects 1.1 FILE > New

1.2 In the “New” options window, make sure width and height are measured in inches and adjust canvas to an appropriate size.

1.3 Adjust resolution setting and color mode if necessary. Click OK. TIP: Always use CMYK color mode for printing.

1.4 FILE > Place > Select image file > Place. Click OK to import as a smart object.

1.5 Press ENTER to finish placing object on artboard.

2.0 Photoshop - Creating An Adjustment Layer 2.1 Select file layer > Adjustments Icon Levels.

in the layers panel >

2.2 First adjust black and white adjusters, and then adjust grey to desired contrast.

2.3 Select Adjustment Layer (Titled “Levels”) and hold ALT. Then select the line between file layer and the adjustment layer. This will apply the adjustment layer to that specific file layer only.

2.4 Select both adjustment and file layer and drag to Group Icon near the bottom of the Layers Panel.

3.0 Photoshop - Creating A Layer Mask 3.1 Select Group Layer

3.2 Click Mask Icon near bottom of Layers Panel (Grey square with a white circle) NOTE: A white rectangle appears next to the selected layer in the layers panel. This represents the transparent screen over the original image. Any adjustments to it will be shown in the white rectangle.

56

4.0 Photoshop - Color Overlay

4.1 Make sure “Group 1 Layer” is selected in the Layers Panel 4.2 Click the Adjustments Icon dropdown menu.

> Hue/Saturation from the

4.3 Check “Colorize” in the Hue/Saturation Options box. Adjust Hue adjuster to desired color.

5.0 Photoshop - Adjusting The Color Overlay 5.1 Select Brush Tool from left side menu.

5.2 Make sure the swatches near the bottom of the left menu are black over white TIP: Click arrows to reverse them if needed.

5.3 Paint with the brush tool over anything that you want to show through from the original layer.

TIP: Reversing the swatches (white over black) will remask anything on the selected layer that was uncovered.

6.0 Photoshop - Replacing Objects

TIP: Photoshop makes it very easy to adjust layers from previous files.

6.1 Right click on the layer you would like to update.

6.2 Select Replace Object from the dropdown menu.

6.3 Select file you would like to replace the existing with or update.

TIP: Since your replacing smart object, the replacement will import in the same position as the original. This makes adjusting linework and renders in a combined file simple and fast.

57

STUDENT WORK: STEP-BY-STEP Jamie Lewis 1.0 Rhino - Exporting 3D Model

1.1 Make2D any line drawings.

TIP: In the “Make2D” options menu be sure that “Maintain Source Layers is checked.

1.2 Select the drawing to export.

1.3 FILE > Export Selected 1.4 Save as an Adobe Illustrator (.AI) file. Click OK. 1.5 Save at an appropriate scale and click OK.

2.0 Illustrator - Applying Color

2.1 Open the .AI file in Adobe Illustrator.

2.2 Select the layer where you want to apply color using the Select All tool in the Layers panel.

2.3 In the upper left corner of the screen change the fill to the desired color.

TIP: If the fill tool does not work, make sure that all lines are joined.

2.4 When finished, be sure to save the artboard as an Adobe Illustrator (.AI) file.

3.0 Photoshop - Applying Adjustments

3.1 Open a new document in Photoshop that is an appropriate size for your image or render.

3.2 FILE > Place > Select the file to place > PLACE > ENTER Note: The file is now placed as a smart object.

3.3 Locate the adjustments icon near the bottom of the layers panel. Click on the icon for the drop down menu > Levels.

3.4 Move the adjusters in the Levels panel to desired effect. Make any other minor adjustments using the adjustments icon without severely altering the image quality of the render.

58

4.0 InDesign - Generating InDesign Layout

4.1 Open Adobe InDesign, EDIT > Preferences > Units and Increment. Change “Horizontal” and “Vertical” settings to “Inches” > OK. 4.2 Select “New Document”. In the “New Document” menu, adjust the page number and change the size to fit your project.

4.3 Change number of columns to at least 3 and the gutter to .0625 at minimum > OK Tip: You can continue to add or delete columns by using LAYOUT > Margins and Columns. Rows may also be added by dragging down a grid line from the ruler.

5.0 InDesign - Exporting To A PDF

5.1 WINDOW > Output > Preflight Tip: Before exporting to a PDF, always run a preflight test to find any errors within the InDesign file.

5.2 If necessary correct any errors, then FILE > Export > Save the file using a descriptive title.

5.3 In the “Export Adobe PDF” dialog box, you can customize any settings, including registration and crop marks and number of pages.

When finished, select EXPORT. 5.4 Give the PDF file a few minutes to process before opening.

6.0 InDesign - Packaging Files

Tip: When completely finished with a layout or project, it is helpful to package the files so that all links and fonts are placed into one folder with the final InDesign file.

6.1 FILE > Package 6.2 In the “Package” dialog box, any errors for missing links or fonts will be displayed. You can choose to replace these with available fonts or reset the links.

Tip: It is important to correct any errors, otherwise your layout will be packaged without the necessary components.

59

2

DN

STUDENT WORK: BEFORE AND AFTER Jamie Lewis 1

DN

B

A

LEVEL 6 FLOOR PLAN 0 4 8 12

32

HOLDING

PRIVATE CIRCULATION

DN

3

OFFICE

OFFICE

COURTROOM

COURTROOM

OFFICE COURTROOM

UP

PRIVATE PUBLIC

PUBLIC CIRCULATION ATRIUM

LIBRARY

LEVEL 5 FLOOR PLAN 32

SITE PLAN

DN

UP

2

0 4 8 12

UP

LEVEL 4 FLOOR PLAN 0 4 8 12

LANCASTER COUNTY COURTHOUSE 105 NORTH 8TH STREET LINCOLN, NE 68508

32

NEBRASKA DN

HWY I-80

2

ATRIUM LIBRARY

PUBLIC CIRCULATION JUDGE CIRCULATION

CIRCULATION

EXPLODED AXONOMETRIC

PROGRAM

UP

1

DN

32

1

PUBLIC/PRIVATE THRESHOLD

CIRCULATION

COURTROOM OFFICE HOLDING OFFICE COURTROOM OFFICE

CIRCULATION

0 4 8 12

1. COURTROOM 4

2. OFFICES 3. HOLDING LEVEL 3 FLOOR PLAN 0 4 8 12

32

4. LIBRARY 5. ATRIUM

UP

4

1

2

DN

UP

5

UP

VIEW OF ENTRY RAMP

LEVEL 2 FLOOR PLAN 0 4 8 12

32

4

VIEW OF ELEVATOR LOBBY

VIEW OF COURTROOM

5

UP

COURTROOM AND RAMP SECTION 0 2 4 6

5

16

UP

LEVEL 1 FLOOR PLAN 0 4 8 12

0 8 16 32

64

32

UP

JUDGE PARKING

LEVEL 6 FLOOR PLAN 0 4 8 12

32

SECTION A

SECTION A 0 4 8 12

32

SECTION B 0 4 8 12

32

36 x 48 in.

The initial presentation of my courthouse project presented many difficulties in organization. I was unable to present the project in the way that I wanted due to the layout of these two boards. I constantly had to switch back and forth between the two boards in order to support my statements and present my project in an effective order.

60

36 x 48 in.

LANCASTER COUNTY COURTHOUSE 105 NORTH 8TH STREET LINCOLN, NE

NEBRASKA

JAMIE LEWIS ARCH 211 SPRING 2012

ROOF PLAN

4

DN

HWY I-80 3

DN

2 SIXTH FLOOR

DN

HOLDING

UP

PRIVATE CIRCULATION OFFICE

OFFICE

COURTROOM

COURTROOM

HOLDING OFFICE

FIFTH FLOOR

COURTROOM PRIVATE PUBLIC

4

UP

2

3

FOURTH FLOOR

LIBRARY

4

DN

ATRIUM

DN

UP

PUBLIC CIRCULATION

UP

3

DN

PUBLIC CIRCULATION

5

2

JUDGE CIRCULATION

PUBLIC AND PRIVATE THRESHOLD

CIRCULATION

THIRD FLOOR

EXPLODED AXONOMETRIC

DN

UP

UP

1

5

1. ATRIUM 2. ELEVATOR LOBBY

2

3. COURTROOM 4. OFFICES 5. LIBRARY

4

3

2 2

5

1

OFFICE COURTROOM OFFICE COURTROOM OFFICE COURTROOM

SECOND FLOOR

B

A

UP

SOUTHWEST AXONOMETRIC WITH SITE

1

LIBRARYATRIUM

COURTROOM AND RAMP SECTION 0 2 4 6

UP

UP

PROGRAMMATIC ELEVATION SOUTHWEST AXONOMETRIC

16

SOUTHEAST AXONOMETRIC

NORTHWEST AXONOMETRIC

FIRST FLOOR SITE PLAN 0 4 8 12

32

UP

0 8 16 32

64

JUDGE’S PARKING

GROUND FLOOR

1

2

3

SECTION A

36 x 48 in.

SECTION A

SECTION B

36 x 48 in.

The presentation of my initial boards allowed me to understand how I moved through the layout and what needed to change in order to create smoother transitions. I used flashbacks from my final critique to redesign a new layout that allowed me to move through the presentation in an effective and appropriate order. Key render images and annotative text were added as well to help the viewer understand the presentation better.

61

STUDENT WORK: STEP-BY-STEP Brian Duncan 1.0 Rhino To Illustrator

1.1 Follow the 1.0 TIPS ON EXPORTING FROM RHINO threw 5.0 ILLUSTRATOR - ALIGNMENT to get renders with overlaid linework.

2.0 Rhino - Ghosted Roof

2.1 Rhino in Perspective view port change from Wireframe to Ghosted 2.2 Select the ghosted roof view Export Selected 2.3 Export as an Adobe Illustrator (*.ai)

3.0 Illustrator - Ghosted Roof

3.1 Overlay Ghosted Roof over the middle render 3.2 Adjust lineweight and color to expose the underlaying cones.

Tip: I found that .0078 inch lineweight and a light grey color works the best.

3.3 Save file again as Adobe Illustrator (*.ai)

62

4.0 Photoshop - Adjustments

4.1 Place the Photoshop file onto a 8.5 x 11 inch artboard 4.2 Add an Adjustment Layer > Levels 4.3 Adjust the contrast in darks and lights in the Levels Layer 4.4 Save file as a Photoshop (*.PSD *.PDD)

5.0 InDesign - Spread

5.1 Create a grid guideline for your portfolio spread 5.2 Make sure there is a 3/4 inch gutter around the boarder 5.3 Add placement boxes, once again maintaining a gutter in between boxes but at a 1/4 inch or smaller size 5.4 Place adjusted Photoshop file, resize to fit if need, making sure to only down size to keep from pixelating.

6.0 InDesign - Finishing Touches

6.1 Add an overall project title in the upper corner opposite the binding edge, Font Arial Size 18pt 6.2 Also add titles to each individual image, for these use the same font but at a size 9pt 6.3 Add a text box with a quick description of your work, if needed

63

STUDENT WORK: BEFORE AND AFTER Brian Duncan

Phaeno Science Centre

Phaeno Science Centre Wolfsberg, Germany 1997 - Zaha Hadid Brian Duncan Arch/Ides/Larc 223 Molly Macklin October 26, 2010

Top View Ground Elevations

Top View Cone Elevation

Rendered Perspective View 1

Section Cut

Section Cut Wall

Section Cut Windows

2D Side View

Section Cut Wall Designs

Top Veiw Elevations

Renedered Perspective View 2

2D Top Veiw Renedered Perspective View 3

Perspective View Elevations

36 x 72 in In my initial board, the renders are unclear because of the soft edges. Some images do not show anything important in reference to my building. The board also seems overcrowded.

64

To fix this, I re-rendered images and added two dimensional line work over top. I also cut out images that were unclear. In addition, I created a sequence study of the support cones. I also adjusted levels of all images in Photoshop to help them portray a clearer message.

Pheano Science Center ARCH 223 J. Cheon Fall 2010

Perspective Render

2D Front View

Wall Detail Section

Ground Elavation

Wall Section

Cone Elavations

Window Section

Detail wwSection

Building Elavation

Support Cone Study

8.5 x 11 in 65

ASSEMBLY

Emily Goans and Jenna Kreuger According to the Middle East Technical University, assembly drawings are “The drawings are that are used to give information for the manufacture or construction of a machine are used as working drawings...” And according to Griff Wason Art and Illustration, who makes technical art for their clients, states that an assembly drawing is “a diagram, or illustration of an object, that shows the relationship or order of assembly of various component parts.”

In this study, assembly will be looked at as a means of representing a collection of objects and their relationship to one another. Drawings used in order to represent assembly will be examined through layering and phases. Layering objects can be used to show hierarchy or placement within a whole object and phases will be used to describe a step process in relation to time.

66

History Figure 4.1

Two of the most commonly used drawing types in which to convey assembly is through section or exploded view drawings. According to “Engineering and The Mind’s Eye” by Eugene S. Ferguson both of these types were first experimented with in the renaissance in the note books of Marino Taccola, Georgius Agricola, and Leonardo Da Vinci. Sections, called cut way views when first developed, were primarily seen in Georgius Agricola’s book De Re Metallica, published in 1556, that illustrated the relationships between what was happening above and below ground in regards to mining (figure 4.2). The most well-known of the early exploded view drawings is Leonardo Da Vinci’s diagram of his reciprocating motion machine (figure 4.1).

Figure 4.2 67

Figure 4.3: All Star Diesel / Newmar / 2009

Figure 4.4: Cathedral of Christ the Light / SOM / 2008

Objective

Objective

To diagram the construction of one of the motor homes that Newmar produces.

To show the different layers that went into constructing the walls of the Cathedral of Christ.

Content

Content

An axonometric view of a motor home with certain pieces exploded away from the form and internal layers peeled up.

Different materials in the shape of the walls sitting above one another with dashed lines connecting them.

Technique

Technique

A rendering technique from a 3-D modeling program is used to produce this almost life like image. Another technique used in the modeling is to peel up some of the materials so that the potential customer can see all components of the construction.

Renderings of each material separately, brought together and lined up with dashed lines showing where they connect and labels added in illustrator.

68

Figure 4.5: Nobel Home / Jetson Green

Figure 4.6: F.A.T. (Fluent Adipose Tectonic) / Form-ula

Objective

Objective

To show the materials that are used in the construction of a Nobel Home.

To show the thickness of the floor and ceiling and structure that resides in the floor and ceiling.

Content

Content

A frame of a house with different levels of material shown at different points with some pieces removed from the structure.

A section cut in both directions of the proposed addition that shows the thickness of the floor and ceiling and all the components that are included in that space.

Technique

Technique

This drawing may be hand drawn, but a similar effect could be achieved using illustrator’s Livepaint and gradient tools as well and different line settings. This drawing also utilizes the technique of cutting away at some of the materials so that the viewer can see what layers are underneath the outer layers and some exploded view techniques to isolate important pieces.

This drawing used a line drawing technique with poche on the sections that can be achieved through line weights and shading in illustrator.

69

Figure 4.7: Vilhelmsrd Primary School / BIG / 2010

Figure 4.8: Boscolo Hotel Nice / BIG / 2008

Objective

Objective

To show the building’s relationship to the land.

To diagram program generation.

Content

Content

This series of drawings shows the process that BIG used to get a form and program for the building.

These phases show a how an idea was formed from the surrounding site.

Technique

Technique

This series of drawings shows the process that BIG used to get a form and program for the building.

BIG uses phases to show project progression and site context. These phases are separated by large scale and small scale drawings.

70

Figure 4.9: How to assemble a N-connector to a 10 mm coax-cable / DisWire / 2011

Figure 4.10: How to Draw Mickey Mouse / Michael Syoorn / 2009

Objective

Objective

To show a step by step process of placing parts in the correct places to achieve a final, compiled, product.

To give a set of instructions to be used to draw Mickey Mouse.

Content

Content

Drawings show instructions to assemble a N-connector to a coax cable.

Sketches used to show step by step process. Using parts of a drawing to make a finished drawing.

Technique

Technique

Phase progression using word description and similar drawings.

Hand sketching was used, along with numbering and short descriptions in each step in order to achieve an end product.

71

ILLUSTRATOR STEP-BY-STEP Step 1.0: Selecting Specific Layers

1.1 Turn off visibility for all layers except for the outside edges layer.

Step 2.0: Using Swatches

2.1 Open a swatch library you would like to use (you can access swatch libraries by clicking on the swatches button then on the swatch libraries button in the bottom left corner of the box).

Step 3.0: Fill Color

3.1 Fill each outline with the desired color by clicking on the profile line.

3.2 Click the color button to make sure that the fill square is on top and then by clicking on the desired swatch from your swatch library.

72

Step 4.0: Changing Line Color and Lineweight

4.1 Turn on and select all layers and change all lines to black using pop out box under the color button.

4.2 Select all objects in layer by clicking on the circle to the right of the layer name and change each layer to the appropriate line weights.

Outside edges - 1pt

Inside lines - .5pt

Dashed lines - .25

Step 5.0: Making Dashed Lines

5.1 Select all of the dashed lines layer and make them 50% black, with a dash of 6pt and a gap of 3pt.

Note: Gray lines will not show up on OCE printer, in that case just keep the lines full black.

Step 6.0: Adding Hatch Patterns

6.1 Add hatching to green and purple objects by copying their outside edges to the side by dragging them while holding “alt� button.

6.2 Change the fill to the hatch pattern you want (hatches can be found by clicking on the swatch libraries menu, patterns, basic graphics, basic graphics texture).

6.3 Turn the outside lines off.

6.4 Move the hatched boxes over the original box.

73

PHOTOSHOP STEP-BY-STEP Step 1.0: File Setup

1.1 Open up a new document with the dimensions of 4x5 inches and place your line work illustrator file into this new document (file, place, choose line work file).

1.2 Find and save pictures of all the textures you want to put into your file.

Step 2.0: Place Image and Mask to Fit Object

2.1 Place in photo of desired texture using same method used to place in the line work, resize photo so that it is barely bigger than to box and hit enter to place. (when resizing make sure to hold shift while dragging the corners of the box, this will allow the pictures to keep their own proportions and not distort the textures).

2.2 Use the pen tool to trace around the outside edge of the box.

2.3 Right click and choose make selection.

2.4 Once box is selected hit the mask button under the layers menu.

This will mask all of the texture photograph that is outside the outside edge line.

2.5 Repeat this for all 4 vertical materials.

Step 3.0: Distorting Image

3.1 Find a wood texture you would like to use.

3.2 Place the image into your Photoshop file and scale the texture picture to be the same height as one of the faces of an outside panel, press enter to place picture.

3.3 Make sure that the layer containing your wood texture is selected and hit Edit> Transform> Distort.

3.4 Drag the corners of the picture to match the corners of the face of the panel, this will make the grain of the wood go in the correct direction.

74

Step 4.0: Repeat

4.1 Repeat this for the other 3 faces of the other 3 panels (the panels across from each other are parallel so if you want you can just copy one panel to the one across from it and mask the corner of panel 3 that overlaps with another material using the pen tool like we did above).

Step 5.0: Filling Wood Object Edges

5.1 Make a new layer and put it at the very bottom of the layer menu.

Use the paint bucket tool and select one of the darker shades of brown in the wood texture (to do this zoom all the way in so that you can see the pixels, hold alt and click on the specific colored pixel you want). Once you have selected the color you want, click on the background to color the whole background this color (you will have to be in the layer with the picture of the wood panel you are using to select the color and then move to your new layer you have just created to color the background).

5.2 Then use the pen tool to outline the two edges showing of each panel, once you have outlined all the showing edges right click and choose make selection, this should select all exposed edges that have has lines drawn around them, then hit the mask button to mask all of the background except for the edges.

Step 6.0: Adjusting Levels

6.1 Use the pen tool to select the right face of each of the 4 vertical boxes, then right click, then select Make Selection.

6.2 Once all four faces are selected hit the Adjustment button and choose Levels.

6.3 Adjust the layer so that this face is darker than the rest of the box (make sure that levels adjustment layer is above all of the layers containing the faces, if the levels button is below an of the faces on the layers menu they will not be affected by the adjustment).

6.4 Repeat this for the left faces, these should be lighter than the right faces but darker than the original photo, this way it appears as if the light source is coming from the left and adds a more 3-dimensional quality to the boxes.

75

STUDENT WORK: STEP-BY-STEP Emily Goans Step 1.0: Organize Spread

1.1 In InDesign, click File>New>Document (CTRL + N), Set up a document with a width of 17 inches and a height of 8.5 inches. Click OK. 1.2 Change your unit of measure to inches by going to Edit> Preferences> Units and Increments...Change ruler increments to inches and change the gutter to 3/4 of an inch.

1.3 Create equally spaced column guides by going to Layout> Margins & Columns.... Increase the column number to 5. Click OK.

Step 2.0: Set-Up Font

2.1 In order to change font for the title of the presentation board, go to Window>Styles> Character Styles. Use “Board Title” for the style name, Century Gothic for the font family, regular for the font style, 14pt for the size, auto for the leading, optical for the kerning, and all caps for the case.

2.2 Repeat this to create a “Subtitles” and “Text” style name, and 11pt and 9pt fonts size respectively.

2.3 Create a text box on a layer called “Text” that lines up with the upper left pink boarder lines while having the “Boarder Title” character style selected. Type “Lancaster County Courthouse” in that text box. (Use CTRL + ALT + C while the text box is selected in order to fit the box to the text.)

Step 3.0: Set-Up Frames

3.1 Create a layer called “Frame”. In that layer, select the frame tool in the tool bar on the left side of the screen.

3.2 Create frames that fit into the 5 columns.

76

Step 4.0: Place Files

4.1 Select Frame 1. Go to File> Place (CTRL + D) and place the rendered perspective into that frame. This will create a link in the pages box on the right hand side of the screen, under the links tab.

4.2 Select the placed image and right click. Choose Fitting> Fit Content to Frame (CTRL + ALT + E). This will fit the placed image to the proportions and boundaries of the frame.

4.3 Place the remaining files into their respective frames.

Step 5.0: Update Illustrator Files

5.1 Click the image in Frame 3 (Program). Go up to the links tab in the pages box and right click the highlighted link. Select “Edit Original.” This will open the original file in the original program (Illustrator).

5.2 In Illustrator, select the dashed vertical lines. Slide the lines over to the edges of the plan and snap to those edges. Increase the lineweight of the dashed lines to .1.

5.3 Save that file with the original name. (CTRL + S)

Step 6.0: Update InDesign Board

6.1 In the previous InDesign file, go to the links tab in the pages box.

You sill see a yellow triangle with an exclamation point next to the file updated in Illustrator. Double click the icon to update the link that has been edited.

6.2 File> Package will allow you to save the file and create a new folder containing all of the file’s links.

77

STUDENT WORK: BEFORE AND AFTER

Emily Goans

LANCASTER COUNTY COURTHOUSE 351 WEST CORNHUSKER HIGHWAY LINCOLN, NE. 68521

ATRIUM

JURY ROOM

GALLERY

OFFICES HOLDING

5

20

50

RESTROOMS SECTION KEY

JURY ROOM

9AM LIGHT STUDY

CAFE

12 PM LIGHT STUDY

3PM LIGHT STUDY

6PM LIGHT STUDY

RA

1500FT

COURTROOM

SECURITY CHECK

RY

LINCOLN

COURTROOM

SECURITY CHECK

OFFICES HOLDING

BREAK ROOM

JURY ROOM

RECEPTION SECURITY CHECK NEBRASKA

OFFICES HOLDING

SITE

RECEPTION

OFFICES

CONFERENCE ROOM

0

COURTROOM

SECURITY CHECK

I-180

LIB

I-80

N

D

A

CORNHUSKER HWY

HWY

RA

CORNHUSKER

CORNHUSKER HWY

VE

I-80

PROGRAM AND PUBLIC OR PRIVATE

I-180 SITE

SITE MAP

0

5 PUBLIC

20

50 PRIVATE

ATRUIM CORRIDOR VIEW

LIBRARY VIEW OF LINCOLN SKYLINE

NW 4TH ST

NW 4TH ST

CORNHUSKER HWY

PRIVATE JUDGE PARKING

---

N elev 1

12 PM LIGHT STUSECTIONS

PUBLIC

1 {3D}

APPROACH AND CIRCULATION

351 WEST CORNHUSKER HIGHWAY

0

5

PUBLIC

20

50 PRIVATE

The Lancaster County Courthouse Project This presentation board includes final materials for the design of my courthouse. The courthouse was meant to reach two goals: create a path through the building that leads the public to the library, and create views along that path.

The board above is not organized or diagrammed to fit those goals. I wanted to redo the board to portray an organized system of process, and a better explanation of what it would be like to be a user on the path within the courthouse.

(The board above was originally 96” x 36”).

78

LANCASTER COUNTY COURTHOUSE 351 WEST CORNHUSKER HIGHWAY

JURY ROOM

JURY ROOM

COURTROOM

SECURITY CHECK

OFFICES HOLDING

COURTROOM

SECURITY CHECK

JURY ROOM

GALLERY

I-180

CAFE

RY

ATRIUM

RESTROOMS 1500FT

LIB RA

LINCOLN

SECURITY CHECK

OFFICES HOLDING

BREAK ROOM

COURTROOM

RECEPTION SECURITY CHECK

NEBRASKA

OFFICES HOLDING

GALLERY AND VERANDA

RECEPTION

OFFICES

CONFERENCE ROOM

PUBLIC ROOF GARDENS

SITE

VE

HOLDING CELLS CORNHUSKER HWY

RA

N

D

A

I-80

KER HWY CORNHUS

CORNHUSKER HWY

JURY ROOMS

I-80

PUBLIC AND PRIVATE SPACE I-180

JUDGE OFFICES SITE

SITE MAP COURTROOMS

INTERIOR PERSPECTIVE

DOWNTOWN LINCOLN

CORNHUSKER HWY

T

PROGRAMATIC AXONOMETERIC

NW 4TH STREET

CAFE

1

{3D}

LIBRARY

ATRIUM

VIEW CORRIDORS

FURNATURE AND PARKING

SECURITY CHECK

PLAN

SITE

MOVEMENT ALONG GROUND PLANE

ENTRANCE

The Lancaster County Courthouse board has been redone with more solid column spacing, a ground plane diagram, programmatic diagram, view corridor diagram, and a closer perspective rendering. With these new diagrams, a progressional theme can be seen. Site studies, programmatic adjacencies, spacial relationships, and the views set up through the building allow for a more thorough understanding of the courthouse.

(This board was created at 17” x 8.5”).

79

STUDENT WORK: STEP-BY-STEP Jenna Krueger Step 1.0: Opening Up File & Drawing Boundary Lines

1.1 Open up floor plan and save as under a different name.

1.2 Delete fine details (such as furniture) that do not add to the main idea of your diagram so that it is easier to read.

1.3 Use either the pen tool in Illustrator or draw in the original rhino file to make closed shapes around the areas you wish to color (export from Rhino and place lines into Illustrator if you drew in Rhino).

1.4 Make sure all lines for each area (Judges, Public, and Accused) are in their own layers.

Step 2.0: Coloring in Areas

2.1 Choose a color grouping you would like to use, they should be colors that will mix well together to make different colors but still look good together. You can find pre-set color groupings either in your swatches menu (as described in Illustrator tutorial) or from kuler.com.

2.2 Access Kuler color groupings in Illustrator go to window > extension > Kuler and load whatever theme you want to your Illustrator swatches by clicking the “add selected theme to watches� button.

Step 3.0: Change Opacity Settings

3.1 Change your opacity settings by clicking opacity and changing normal to multiply. This will allow all colors to be seen through one another rather than overlapping one another but will not change the intensity of the color.

3.2 If you need the colors to mix more so that you can see distinctly where each area is you can change the amount of the opacity but keep in mind this will change the intensity of your colors.

3.3 Save this file and open up the InDesign file you want to place it in.

80

Step 4.0: Placing in InDesign

4.1 Draw 4 equal size boxes in which to place your files. An easy way to do this is to hit the right and left arrows while dragging your box.

You can set the spacing between the boxes by clicking on Layout > Margins and Columns and changing the gutter distance (do this before drawing the boxes).

Step 5.0: Sizing Files

5.1 Place the same Illustrator file into each box, you can either click on the box and go file > place, or click on the box and hit CTRL + D. 5.2 Right click the box with file placed to get to your fitting settings. “fill frame proportionally” will make your file the size of the frame without distorting the picture (you may still have to drag to fit the picture horizontally rather than vertically, be sure to hold shift while dragging). “fit frame to content” (CTRL + ALT + C) will shrink the box to the size of your file.

Step 6.0: Changing Layers

6.1 In order to illustrate the additive process in which the colored areas overlap, turn on and off layers to show each area by itself and then all together. You can turn layers on and off in InDesign by right clicking and choosing object layer options.

81

STUDENT WORK: BEFORE AND AFTER

Jenna Krueger

  5

1 5

1

1

2 7 6

3

2

2

6

3

R

2

2

5

2

R

2



2

R

4

N





SECOND FLOOR

SECOND

FLOOR



1

1

1

GROUND

GROUND

LEVEL

LEVEL

1 5

3

3

5

N











 

This is the portfolio page (11x8.5 inch) for my Arch 211 courthouse project that I used in my portfolio for my application into the third year of the architecture program and the University of Nebraska – Lincoln. I was very happy with the way my portfolio turned out, but in the interest of looking forward towards my application into graduate school I wanted to re-do this page and some of the files to better represent the first building I have ever designed.

82

5



3

N







JUDGES

   

PUBLIC























When making this new portfolio spread (two 11x8.5 inch sheets) I decided to focus on the drawings and diagrams that best supported the main idea of my design, the separation of the judges, accused, and public. I also edited my existing files by adding line work to my section perspective and doing touch ups on both of my renders in Photoshop. In addition I added more technical details to my floor plans and generated a new diagram to demonstrate the main idea of separation.

83

PROJECT

Lauren Butts and Jerilyn Sykes The use of projection drawing is one of the oldest methods of drawing and successful due to the fact that it can be read and understood by people of different disciplines. Projections are a way to show how information relates to each other and to explore the spatial characteristics of an object or building by providing further information into voids and intersections of different planes (Preston Scott Cohen, 2001). Being able to explore these spatial characteristics thoroughly, the brain is able to gain a better understanding of the object or building as a three dimensional object. The projection drawing, whether simple or very detailed , is an important drawing in understanding the spatial characteristics of an object or building.

84

History

Figure 5.1 : Urban street projections / Unknown / 2012

Orthographic projection was formalized by Gaspard Monge at the end of the eighteenth century. Monge worked as a drafter for the French army officers while France was at war. Due to the war, his work involving orthographic projection was kept secret for many years. Once Monge was able to publish his work, the use of orthographic projection became popular. Stone cutters were the first to use his methods, but in time carpenters and other trades changed their old ways and replaced them with orthographic projection.

As a form of descriptive geometry, orthographic projection is a way to represent a three dimensional object in two dimensions.

This is done by taking top, side, and front views of an object at the same scale and aligning the views. This allows for the object to be read clearly and as a three dimensional shape.

Orthographic projection also serves as the basis for other forms of projection, such as the Taylorian method. The Taylorian method produces orthographic projection drawings from perspective views of an object. By doing so, a type of distorted symmetry is created. The process by which three-dimensional operations of projection unfold into two dimensions requires reversing the object by rotating the object relative to its perspective projective.

Projection drawings utilize many other drawings and views such as axonometrics, obliques, and one point and two point perspectives. With a combination of different views, a successful and informative projection drawing can be created.

85

Figure 5.2 : House Projection / Robert Gardiner

Figure 5.3 : House Projection / Robert Gardiner

Objective

Objective

Projecting each face of an object 90 degrees to the surface of the glass box allows one to see six views of that represents the object.

This is a valuable diagram because it is unfolding the box to one plane showing every side of figure.

Content

Content

Elevations

Elevations

Technique

Technique

This is important because each view of the object allows us to see surfaces we don’t usually see. The back and bottom side of the house are now visible.

Once the elevations are projected on the sides of the glass box we are able to unfold the box. To have a clearer representation of how each surface aligns.

86

Figure 5.4 : Six Views of an Automobile / Frederick Giesecke / 1994

Figure 5.5: Wydra House Addition / Preston Scott Cohen / 1987

Objective

Objective

This is useful to see that the front of a figure isn’t always perceived as the real front. The front should be the most detailed and descriptive side with the other views organized respectively.

This projection diagram shows how different drawings relate to each other.

Content

Content

Elevations

He uses the existing floor plan along with the addition floor plan and projects the sections and elevations appropriately

Technique

Technique

After all of the views are laid flat on the same plan showing us each side of the object and how they relate to each other.

Elevations, floor plans, and sections

87

Figure 5.6 : Patterns for Head Start Facilities / Preston Scott Cohen /1994

Figure 5.7 : The Sacristy of San Carlo ai Catinari /Preston Scott Cohen /2000

This projection is used to show the spaces that are formed throughout the complexity of the intersections of the shapes.

The objective of this drawing is to project the lines off of the photographs in order to create a drawing which a model can be created from.

Objective

Content

Projected Shapes

Technique

This drawing is produced by overlaying the different shapes and the corresponding projections.

88

Objective

Content

Photographs, Projections

Technique

This is the Taylorian method which consists of projection from perspective views, in this case the perspective view from the same photo.

Figure 5.8 : Cornered House/ Preston Scott Cohen/ 1992

Figure 5.9 : Kate Mantilini Restaurant / Morphosis / 1986

Objective

Objective

The objective of this drawing is to show the spatial qualities of this section cut at the specific cut on the floor plan.

This drawing is used to highlights and emphasize aspects of the building that make it unique.

Content

Content

Floor plan, Section

Roofplan, 3D Top Views

Technique

Technique

This drawing is created by overlaying the section on top of the floor plan.

This drawing is created by overlaying the top 3D views on the roofplan in the corresponding place that they are located in the building.

89

ILLUSTRATOR STEP-BY-STEP 1.0 Change Line Color

1.1 Before exporting the drawing from Rhino, layout and align the views for the drawing. This will ensure accuracy of the alignment.

1.2 To change the line color, use the cursor to select the lines you wish to change the color of. To select multiple lines that are not joined, hold down SHIFT while selecting multiple lines.

1.3 Once the lines you wish to change the color of are selected, make sure the “stroke” color is in front of the “fill” color in the color tool bar. Once this is done, select the color that you wish to change the line color to by clicking on the color.

2.0 Change Line Weight

2.1 To change the line weight, select the lines you wish to change the weight of using the cursor.

2.2 This can be done quickly by using layers if you wish to change the line weight of the whole layer. It is best to organize layers before exporting from Rhino. These layers will be brought into Illustrator with the object. This can be done by selecting the dot to the right of the layer name. This selects all the lines within the layer.

2.3 Once the selection is made, the line weight can be changed under the stroke panel. The stroke panel is found on the toolbar panel on the right, but the line weight can also be changed at the top of the page. There is a stroke drop down menu that can be used to change the stroke of the selected lines.

3.0 Fill the Object

3.1 In order to fill an object with color, the lines must be joined together. To join segments together, the ends of the line must be touching. Select the lines to join using the cursor and hit CTRL +J on the keyboard or Object > Path > Join.

3.2 To fill the joined lines with color, selected the joined lines. In the color panel (as used in step 1.0) make sure that the fill color is now in front of the stroke color.

3.3 As in step 1.3, select the color that you wish to fill the object with.

90

4.0 Cut

4.1 For this drawing, we will be overlaying the section cut on top of the plan view along where the section is cut. Before using the cut tool in Illustrator, drag a ruler line down to where you want to cut the line segments on the plan view. In this case the cut will be along the line where the section is cut. Before exporting in Rhino, distinguish where the section cut line is so that it can be accurately cut in Illustrator.

4.2 To activate the cut tool, press ‘C’ on the keyboard. When the cut tool is active, the cursor will appear as a set of cross hairs. Click the points on the line segments you wish to cut. This will split the drawing so that part of it can be removed, and replaced with the section cut (the drawing on the left).

5.0 Drag

5.1 Once the line segments that were cut have been removed, the section drawing can now be moved to the section cut line. To do so, select all of the section drawing using the cursor.

5.2 Pick an anchor point to drag the drawing with, in this it would be easiest to use either one of the bottom right or left points. This way the points can snap to the end points on the top view plan.

5.3 The fill of the section can be applied before or after the section drawing is moved into place. Refer to step 3.0 for how to fill the section.

6.0 The Final Drawing

The final drawing should consist of the section drawing overlaid on the top view plan along the section cut line.

91

PHOTOSHOP STEP-BY-STEP 1.0 Set Up in Rhino

1.1 To simplify and speed up the Photoshop process, create the composition in Rhino.

1.2 Make sure the different parts of your drawing, in this case the two rendered sections and linework, are in different layers. With different layers, exporting views and rendering from the same view is easy and quick, and will help organize Photoshop layers.

1.3 Before exporting or rendering ,be sure to set the view in order to quickly return to the same view. To do so, right click on the viewport name > set view > named views > save. The dialog box will appear and a name can be set for the view.

1.4 Once the view is set, turn on and off layers to export different layers and to render. Renders should be saved as TIFF files to keep the transparency, and lines should be exported as AI (Illustrator)files after using the “Make2D” command.

2.0 Placing as a Smart Object and Selecting

2.1 To place the object as a smart object, open a new Photoshop file.

Once a new file is open, click File > Place and then select the file you wish to place. The object should be brought in as a smart object. If it is not, make it a smart object by clicking Layer > Smart Objects > Convert to Smart Object. This will make replacing a file (if needed) easier and you won’t have to start over. You can tell if it is a smart object by looking at the layer in the layer toolbar and if there is this icon 2.2 To fill the section cut with color, use the lasso tool( in this case the polygonal lasso tool because of the straight edges) to select that area you wish to fill with color. By holding the Shift key, you can make multiple selections at the same time.

3.0 Color Fill

3.1 Create a new layer for the section fill.

3.2 After using the lasso tool to select the area you wish to fill with color as done in step 2.2, select the paint bucket icon and choose the fill color you would like. With the paint bucket tool active, click within the selected area. When there are multiple selections, the paint will be applied to all selections.

92

4.0 Masking

4.1 In order to get the section fill correct, turn off the section fill layer and use the pen tool to outline the inside of the section you wish to be empty.

4.2 Once the points have been selected, right click and select “make selection” to select the area.

4.3 With these areas still selected, move the cursor and highlight the layer name in the layer toolbar. Add a vector mask by selecting the icon at the bottom of the layer toolbar.

4.4 With the mask applied and the areas you would like blank still selected, use the paint bucket tool with white as the fill and “fill” the voids. The white will reveal what is under the mask.

5.0 Overlaying Images

5.1 Place the image you wish to overlay in the Photoshop file by repeating the process in step 2.

5.2 Adjust the transparency of the level by changing the opacity of the layer. This is done by selecting the layer in the layer toolbar you wish to make more transparent. In the top right corner of the layer toolbar is the control for opacity by the layers. Use the slider to change the level of opacity.

6.0 Overlaying Linework

6.1 After exporting from Rhino, open the file in Illustrator to change line weights or make dashed lines. Save the file in Illustrator.

6.2 In Photoshop, repeat step 2.0 and place the Illustrator file in the document. Using the transform tools, manipulate the placed file so that the layer fits where the layer is suppose to be.

6.3 The color of the layer can be changed by double clicking on the layer name, selecting “color overlay” in the left column, and clicking on the color you wish to overlay on the layer.

93

STUDENT WORK: STEP-BY-STEP Lauren Butts 1.0 Export From Rhino

As done in Photoshop Step-By-Step 1.0 and Illustrator Step-By-Step 1.0, set up your views in Rhino to make sure that the views line up.

Be sure that the different objects or views are in different layers so that when exported, the different layers allow for ease of changing line weights and colors. Additional views and renders can be added to the drawing as well, but lining up all the drawings at once will ensure accuracy.

2.0 Line Weights and Line Color

Using Illustrator, follow the steps in Illustrator Step-By-Step 1.0 and 2.0 to change the line weights and color of the line drawings that have been exported. For this drawing, it will be on a black background, so most of the lines have been changed to white. Some lines will have a render underneath so the lines have been changed to black.

3.0 Place Files in Photoshop

Once the line weights have been changed in Illustrator, the drawing can be put together in Photoshop. Place the files in Photoshop as Smart Files by clicking File > Place >Select the File. To ensure that the drawing is a smart file refer to Photoshop Step-By-Step 2.1.

94

4.0 Adjust Opacities

Select the layers that you wish to change the opacity of. In this drawing, the opacity of the layers containing the rendered skin has been changed so that it is more transparent. See Photoshop Step-ByStep 5.2 for detailed instruction on changing the opacity of layers.

5.0 Overlay Linework

After placing the Illustrator linework file in Photoshop, use the transform controls to stretch and pull the points to overlay on top of the image. See Photoshop Step-By-Step 6.0 for more details on overlaying linework.

6.0 Lines and Text

6.1 Once the opacity of renders and line work has been overlaid and completed, save the Photoshop file. In Illustrator, open a new file to place the Photoshop file into.

6.2 To place the file, click File > Place > Select the File.

6.3 Before adding lines or text, create a new layer for each, one for lines and one for text. If you were need to replace your Photoshop file with a newer file with changes, the lines and text will stay the same.

FRONT ELEVATION

SIDE SECTION

PLAN PERSPECTIVE

TUNNEL PROFILES

POCHE

95

STUDENT WORK: BEFORE AND AFTER Lauren Butts

PLAN

SCALE 1/2”= 1’-0

SECTION

SCALE 1/2”= 1’-0

Arch 210 Fall 2011 Poche Project Originally 36” x 36” Page

96

ELEVATION

SCALE 1/2”= 1’-0

FRONT ELEVATION

SIDE SECTION

PLAN PERSPECTIVE

TUNNEL PROFILES

POCHE

For this drawing I wanted to create a better layout that would highlight the spatial and transparent qualities of my project.

This new drawing is 36” x 36” like the original drawing.

97

STUDENT WORK: STEP-BY-STEP Jerilyn Sykes 1.0 Starting the Document

1.1 Before opening a document go to Edit > Preferences > Units and Increments 1.2 Change the units to inches 1.3 Open a new document File > New > Document 1.4 Make sure the document is the size and orientation you want I set up an 8.5x11 landscape for my portfolio.

2.0 Setting up Document

2.1 Change Margins and gutter so it is large enough to bind Layout > Margins and Columns 2.2 Change Binding Margin (usually Left) to ¾ “ keep the others at ½” 2.3 Change gutter to 1/8” this will leave space between each frame

3.0 Organizing Document

3.1 Add frames to layout your document. It helps organize your layout and makes it easier to place images 3.2 Click the icon on the left with the box and x in the middle 3.3 Click and drag cursor over document to make the size desired 3.4 If you want them to be the same size click and drag and then press the up and right arrow keys to get more rows and columns. I used this for some of my frames that were the same size, but for the ones that were different I individually made a frame.

98

4.0 Add Character Styles and Page Numbers

(This will keep your text consistent throughout the whole document and makes it easier to make changes) 4.1 Window > Styles > Character Styles the window will come up 4.2 Click the drop down arrow on the top left > new character style 4.3 Play with each option depending how specific you want it 4.4 At minimum click Basic Character Formats and add a name, pick font and font size. I used Titles, Subtitles, and Bod Text as my names. I used Arial font and bolded my Titles to add more emphasis to the course.

Finally for text size I used 18pt for my titles to add emphasis, 12pt for my subtitles to show more important information, and 9pt for my body text because that’s where I had large amounts of text or captions which don’t have to be large.

4.5 Right click or double click on the name and click to edit.

4.6 To apply character styles to text either select text box and click the appropriate character style or highlight the desired text and click the character style.

4.7 To make page numbers make a text box go to Type > Insert Special Character > Markers > Current Page Number

5.0 Add Files to Layout

5.1 Click the place holder then go File > Place and find your file 5.2 To size images to frames click the image then go to Object > Fitting > Fit Content Proportionally 5.3 CTRL ALT C will shrink the box around the object, it’s a quick may to clean up your page.

6.0 Finishing the Document

6.1 Check for errors 6.2 Window > Output > Preflight 6.3 If there is a red dot that says error it needs to be fixed probably a linking issue.

99

STUDENT WORK: BEFORE AND AFTER Jerilyn Sykes Analysis and Transformation, Digital Mounted on 8.5x11 foam core

100

It was hard for me to get good pictures of my projects and I wasn’t always good about documenting everything, so I knew I’d have to do a lot of editing. I had raw pictures of my projects from analysis and composition and needed to revise them.

I used illustrator to remake my gray scale project. It was easy to measure the rectangles and apply color to make a more appealing image. For my cube project I modeled it in Rhino and rendered it and then took it into Photoshop to touch it up.

8x8 card stock mounted on 8.5x11 card stock

8x8x8 foam core cube

8x8 card stock mounted on 8.5x11 card stock

8x8 card stock mounted on 8.5x11 card stock

Analysis and Composition Spring 2012 Erhard Scheutz

Iteration 1

Iteration 2

Iteration 3

I made a collage using a 5:8 ration grid with a gray scale. First I tried to make a simple grid then I added different tones to the rectangles. The goal was to represent balance, heirarchy, and proportion, without the same colors touching creating a “T” of

Final Gray Scale Card Stock

I digitally represented how the floor plan of “Country House in Brick” could transform into the painting “Rythym of a Russian Dance.” I had to gradually manipulate the floor plan so it was still possible to see where each line fell into the painting. I started by moving the lines on the floor plan to look more like the painting while gradually adding color.

Iteration 1 1/2 Scale Card Stock

Iteration 2 Foam Core

I made a 3D model displaying the 5:8 ratio with each plane. I started with the inside of the cube and worked my way to the outer faces. The model had to represent an 8x8 cube out of foamcore using different thicknesses. After making a model to full scale I realized some things needed to change and be supported better.

Final Proportion and Space Foam Core

Analysis and Transformation

8.5x11 Portfolio Page

101

INFORM

Katie Horn and Matt Kreutzer INFORM: Representing knowledge through graphical images. in·form: Give (someone) facts or information; tell: “inform her of the situation.” - Webster’s Dictionary Informative design uses graphics in a manner which clarifies or instructs based on information provided in images and drawings. In order to apply informative design effectively, graphics must be both simple and relevant.

Because design is often a complex, multistep process which the presentation of graphics must be simple to maintain clarity.

Informative design must compliment, not complicate provided drawings and images, forcing information provided in graphics to be relevant.

Informative design can be represented in reductive or inductive graphics. Reductive graphics highlight certain aspects of the design in order to increase the understanding of the design. Inductive graphics show added information beyond the design to easily show what thoughts and information were considered for the design.

102

History Early maps were some of the first infographics in existence. Other examples were cave drawings, petroglyphs carved by American Indians, and later icons created to keep track of supplies and animals.

One of the earliest graphs was created by Christopher Scheiner in 1626 in order to explain the rotation of the sun over time. In 1786, William Playfair published an atlas filled with statistical graphs, bar graphs, line graphs, histograms, area charts pie charts. These graphs are still used today in modern infographics to explain data, change, and knowledge. One of the most commonly used infographics seen every day is a subway map, a representation of something real in order to better expalin something complicated.

Infographics and diagrams are used in almost every field including astrology, meterology, mathematics, painting, engineering and architecture according to Mark Garcia in The Diagrams of Architecture.

In the 1980’s and 1990’s architectural diagrams became the main subject of books as more and more research was done into the role of diagramming in architecture. Diagrams and diagramatic architecture became a topic of interest and a greater tool for emerging architects including Rem Koolhaas/OMA, Peter Eisenman, Zaha Hadid, Lars Spuybroek, Daniel Libeskind, Bernard Tschumi, Foreign Office Architects, UN Studio and many others.

Figure 6.1: New York Subway Lines / 2011 103

Figure 6.2: 8House / Bjark Ingles Group / 2010

Figure 6.3: New London Embassy / Morphosis / 2009

Objective

Objective

Reductive graphics expose the essence, essentials or identity of a sub- This diagram shows the historical connection between the New ject or form by eliminating all non-essential forms, features or ideas. London Embassy and the U.S. Capitol Building. This highlights the similarities and differences between the two buildings in order to show the connection between the two.

Content

BIG’s 8House graphics visually demonstrate the complete concept behind the form of the building while maintaining a minimalist approach. The various colors in each graphic represent the horizontal separation of the building, utilizing the space for both residential and commercial use. The diagrams also represent how the tilt of the building allows the residential section to benefit from natural sunlight.

Technique BIG’s use of minimal content within their graphic representation of 8House eliminates unnecessary information and emphasizes the necessary information. While if each graphic were represented alone the subject may be too minimal, when represented in a series the graphics remain simple yet also become cohesive.

104

Content Diagram showing sections of the two buildings with specific elements highlighted and called out with text.

Technique By juxtaposing sections of both buildings, the similarities and differences are easy to identify and evaluate. The specific elements are highlighted through the use of graphics and text generated in Illustrator. They are called out on both sections in order to easily compare and contrast the two designs.

Figure 6.4: IFCCA / UNStudio / 1999

Figure 6.5: Dojima Project / Fumihiko Maki / 1964

Objective

Objective

This diagram shows the relative building heights of a section of New York in relation to the influx of goods and people to the area. While the high influx of people at Grand Central Station is balanced by the raising volume, the influx of people at Penn Station stands alone.

This diagram shows the relation of the circulation paths of people and goods within the complex. This also shows those same relationships within the building. By showing the two together, a greater relationship between the buildings and complex is shown.

Content

Content

Diagram showing the relative building heights and influx of people through curved surfaces overlaid together.

Plan showing the complex of buildings and a section of one of the buildings with lines drawn representing the movement of people and objects.

Technique The different surfaces are colored in order to correspond to different things such as building height or the number of people. By applying a slight opacity to all of the layers, the intersection and interaction is easier to show between the layers.

Technique Simple plan and section drawings were drawn over with lines to show the movement of people and objects within the building and complex. The lines were then differentiated to show the interaction between the different highlighted elements.

105

Figure 6.6: Estuary to Infrastructure / Andrew Tenbrink / 2010

Figure 6.7: Field: New Ecologies / Andrew Tenbrink / 2010

Objective

Objective

Inductive graphics should coexist with rendered images and existing drawings.

Inductive graphics should represent an abundance of information quickly and cohesively.

Content The rendered perspectives represent a theory for infrastructural expansion. The accompanying statistical data and images represent the impact the infrastructures would have on humans and the accompanying environmental benefits of the proposed expansion.

Technique The image uses existing renders alongside statistical information and images applied in Photoshop. The graphics are successful because instead of being inserted beside the rendered perspective, they are actually overlaid onto the renders and each element works to become part of one cohesive and informative design.

106

Content The image consists of a rendered section perspective, and explanations of information which is relevant to the render. The explanations are provided in a flowchart and are directed to different parts of the render with simple linework.

Technique Because the image provides a large amount of information along with a detailed render, the graphics remain simple to maintain clarity. The flowchart is used to organize the information cohesively, and the graphics become successful because they interact with different parts of the rendered images simply. Although an abundance of data is provided, because the graphics were designed thoughtfully, they do not overwhelm the image.

Figure 6.8: The Earthscraper / BNKR Arcquitectura / 2012

Objective

Technique

Clearly and concisely show main elements of the design through the use of inductive graphics. The drawing highlights some of the sustainable design elements as well as some of the historic setting surrounding the site.

The main drawing is a rendered section perspective with an image of the city beneath. The aerial view is another rendered perspective which has the surrounding context labeled and then called out in a key. The labels and context are able to be created easily in Illustrator. The image is also cropped by the rendered perspective which has a white background behind which feathers off on the edges. The diagrams on the right side are a combination of rendered images with graphics overlaid on top with Illustrator. The graphics are then explained with text generated again in Illustrator.

Content The image shows the rendered section perspective with an aerial view to show the context of the site. Simple rendered drawings highlight the sustainable elements in the design as well as other elements of the design.

107

ILLUSTRATOR STEP-BY-STEP Step 1.0: Create a bar graph

Step 1.1: In Rhino, draw rectangles that are scaled to the data you want to depict. Ex. Column A=100 so draw a rectangle that is 100 inches long.

Step 1.2: Extrude the graph in order to make a 3-D graph.

Step 1.3: If you want to line the graph up with a render, use background bitmap and place the image in the perspective screen in order to help line the graph with the render.

Step 1.4: Then change the angle of the view in order to line them up.

This is a process of multiple adjustments and replacing the background bitmap in order to align the graph with the render.

Step 1.5: Once the graph is lined up the way you like, use “Make2D” to create the line work of the created bar graph.

Step 1.6: Finally, export the lines to Illustrator.

Step 2.0: Edit the Lines

Step 2.1: Once in Illustrator, edit the line work so the outside border of all the bars are a thicker line weight.

Step 2.2: Next, select the all the lines and click the “Live Paint” tool.

Next click the lines to make it a Live Paint Group. Then simply color in the graphs with the “Paint Bucket” tool.

Step 2.3: To apply the text, use the “Text” tool and generate only one of the numbers.

Step 2.4: Next, use the “Make Envelope” tool. Be sure to select the “make with mesh” option by selecting it from the drop down menu when you click and hold the tool. These are located on the top panel next to the Paragraph and Character options.

Step 2.5: In the dialog screen that pops up, select 1 column and 1 row.

Step 3.0: Align the Text

Step 3.1: Next, rotate the text to align with the bottom edge of the graph.

Step 3.2: Resize the text if you need to.

Step 3.3: Using the “Direct Selection Tool” or the open arrow, select the top two anchors and drag them to the right.

Step 3.4: Then select the bottom two anchors and drag them to the left.

Step 3.5: Finally, edit the handles to make the text straight. In order to do this, you will need to drag them closer to the anchor point and in line with the other anchor points.

108

ENVELOPE WITH MESH TOOL

Step 4.0: Create the Remaining Labels

Step 4.1: Copy, then paste to create the rest of the labels.

Step 4.2: Double click on the text in order to edit the text.

Step 4.3: Finally, realign or resize the text as needed to fit with the graph.

Step 4.4: Repeat the same process to create the bottom labels.

Step 4.5: Save the Illustrator File.

Step 5.0: Place the Graph in the Render

Step 5.1: Open the render that you want in Illustrator.

Step 5.2: Place the graph into the new Illustrator file.

Step 5.3: You may need to resize or rotate the graph in order for the graph to line up correctly.

Step 6.0: Create Labels and Titles

Step 6.1: Finally, create labels and titles using the text tool.

Step 6.2: Larger text reads better, but be careful that they do not overwhelm your graphics.

Step 6.3: Save the new Illustrator file. The drawing can then be placed into an InDesign or new Illustrator file.

109

Step 1.0: Place Image

Place image that you will be creating a flowchart for into an Illustrator file, (Command D); use the selection tool to move and resize the image.

Step 2.0: Use Rounded Rectangle Tool

Step 2.1: Use the rounded rectangle tool to create the appropriate amount of rectangles for your flowchart.

Step 2.2: To resize the rectangles, use the selection tool.

Step 3.0: Connect Rectangles

Step 3.1: Connect the bubbles together using the line segment tool.

Step 3.2: Because the line segments are open ended it is important that the ends are rounded.

Step 3.3: Change the lineweight so that lines are thick enough for the flowchart to be easy to follow but not distract from the image.

110

Step 4.0: Color Coordinate Flowchart

Step 4.1: Make a system for color coordinating your rectangles so that the graphic coordinates with the image or information to be provided within the rectangles.

Step 5.0: Add Text Using the Type Tool

Step 5.1: Use the selection tool to resize and center the text within each rectangle.

Step 5.2: Change the color of text to provide maximum legibility.

Step 6.0: Merge Flowchart with Image

Step 6.1: To ensure that the graphics interact with the image or drawing, the flowchart should reference specific points on the image. Step 6.2: Use the line segment tool to guide information provided in the graphics to points on the image or drawing.

111

PHOTOSHOP STEP-BY-STEP Step 1.0: Apply Hue/Saturation

Step 1.1: Open the image in Photoshop Step 1.2: Apply a Hue/Saturation adjustment found above the “Layers” panel in the “Adjustments” panel. Do not go through the menu up top as you want to create a mask for the image.

Step 1.3: Using the sliders, reduce the Saturation as much as possible.

Step 1.4: Turn the Adjustment layer off by selecting the eyeball next to the layer.

Step 2.0: Select the Colors to Keep

Step 2.1: Go to Select>Color Range.

Step 2.2: Select the first color you want to keep by clicking on the image.

Step 2.3: Next, select the eyedropper with the plus sign and add any other colors that you want to keep again by clicking on them in the image. In this image, there were variety of greens that were kept.

Step 2.4: Finally, check the box next to “Invert” to switch all the colors. Then, click “OK.”

Step 3.0: Apply Small Edits

Step 3.1: Turn the Hue/Saturation Adjustment layer back on by clicking on the box next to the layer.

Step 3.2: In most cases, some colors may be kept that you did not want or in areas you did not want. The inverse may also be true that some areas may be de-saturated that you wanted saturated. To add colors back in, use the Brush tool and select Black as your color.

Then color in the areas you want to be saturated. To de-saturate areas, use the same process but select White as your color.

Step 3.3: Save the Photoshop File.

Photoshop Tip: Black has values of CMYK of 100,100,100,100 while White has values of 0,0,0,0. You can also quickly select them in the Color Panel by clicking on their respective swatches.

112

Hue/Saturation Adjustment

Saturation Slider

To turn layers on/off

Step 4.0: Create Infographics in Rhino/InDesign

Step 4.1: Create the infographics in Rhino. Make sure that the layers are organized so that once the file is converted to an Illustrator file, the graphics will be easy to manipulate.

Step 4.2: Select the graphics and ‘Make2D’ in Rhino. Select the graphics and ‘Export Selected’. Save as an ‘ai’ file so that it will open in Illustrator.

Step 4.3: Next, open the file in Illustrator and edit lineweights by using the select tool and changing the stroke value. We removed the lineweight completely by selecting the entire object and selecting the red-slash icon on the stroke menu (‘no stroke’).

Step 4.4: Once the lineweights are correct, save the document as an Illustrator file (smart object) so that it can be placed in Photoshop.

Step 5.0: Apply Infographics to Image

Step 5.1: To apply the infographics to the Photoshop file, first place the smart object (file, place.)

Step 2.2: In the original Rhino file the graphics were saved as separate layers, so should be easy to manipulate the size and placement of each object (in this case bar graph) with the move tool.

Step 5.3: Change the transparency and fill color of the objects. The transparency and colors should be changed so that the infographic look as if they are interacting with the image. To change the color, select the smart object and use the eyedropper tool to select a color that coordinates with the image. The ‘layer opacity’ can be changed by changing the percentage on the layer toolbar.

Step 6.0 Insert Text

Step 6.1: Insert Text using the text tool.

Step 6.2: You can edit the size of the text by using the transform tool.

Step 6.3: To create a shadow effect, copy all of the text. Select the Text tool and change the color to black. Then using the Transform tool move the text slightly to the right and up. Be sure to place the new text layers under the original ones.

Tip: It will be easier to control the text layers if you create a group and then place them all under that layer. You can duplicate the group and edit it just like any other layer.

113

STUDENT WORK: STEP-BY-STEP Matt Kreutzer Step 1.0: Apply Line Weights

Step 1.1: If your original file does not have a series of layers set up already, create multiple layers. There can be as few or as many as you want, but at minimum a recommendation would be to have a layer for every line weight.

Step 1.2: Name the layers what linetype will be on there. (For example: “Road-Dashed” contains only the dashed lines for the streets).

Step 1.3: Select lines to be moved to a different layer. Click and drag the small square to the right of the layer name and drag to the proper layer. (Repeat as necessary) Step 1.3: Click the circle on the right side of the layer name to select all of the lines on that layer.

Step 1.4: Change the lineweights for each layer.

Step 2.0: Use Live Paint

Step 2.1: You don’t want to use Live Paint with the line work you just created as it will be much more difficult to edit later on. A better technique is to copy all of the linework to a new layer.

Step 2.2: Create a new layer and move in beneath the linework layer(s).

Step 2.3: Select all the line work and then copy and paste it on to the new layer.

Step 2.4: Turn off the linework layer(s).

Step 2.5: Select everything in the Live Paint Layer Step 2.6: Reduce the line weight to beneath your lowest lineweight (Ex: Reduce lineweight to 0.1pts if your lowest lineweight is 0.25) Step 2.7: With lines still selected, select the “Live Paint” tool to make the lines a Live Paint object.

Step 3.0: Use Layers to Highlight

Step 3.1: If you want to highlight different parts of your building to create a sequence of drawings, use the live paint tool and layers to highlight those things within the same document.

Step 3.2: Using the same techniques as in Step 2.0, create Live Paint layers.

Step 3.3: Use the Live Paint tool to highlight the areas that you want.

Illustrator Tip: If you have a color palette, it is easier to create boxes off to the side with all of them and then use the eyedropper tool to select the color rather than trying to find them in your swatches. Put all of those boxes in a Palette layer that you can turn off later.

114

Step 4.0: Import with Options

Step 4.1: In InDesign, after you have your layout set up, Go to File>Place... to insert your file.

Step 4.2: In the dialog box, find your file.

Step 4.3: Make sure to check “Show Import Options.”

Step 4.4: Click “Open.”

Step 4.5: In the new dialog box, Click on the “Layers” tab on top.

Step 4.6: You can then select which layers you want to display from your Illustrator file.

CHECK THIS

Step 5.0: Copy Diagram to Create Sequence

Step 5.1: Copy the Diagram as many times as you need.

Step 5.2: You can then edit the layers in each individual copy. To do this, select the image with the “Direct Selection Tool” (White Arrow Tool).

Step 5.3: Next, right click on the image and select “Object Layer Options...”

Step 5.4: You can then turn layers on and off for that individual image.

Step 6.0: Layout File and Add Text

Step 6.1: Use the guide tools to help layout your file.

Step 6.2: Use the text tool to label the drawings and create the title.

Step 6.3: If you edit any of the original drawings, the files will automatically update in this file making updating work much easier.

115

STUDENT WORK: BEFORE AND AFTER Matt Kreutzer EGRESS SYSTEM

EGRESS OUT OF BUILDINGS WITH FIRE DISTANCE

KEY BUILDING CORE ACCESS TO CORE

ARCH 310 - Massing Egress Diagram 18”x36” (Above): The entire document was generated in Illustrator with few lineweights. Updating the document was also difficult as a Live Paint had been applied directly to the linework.

URBAN BLOCK REMIX

RENDERED PERSPECTIVE

ARCH 310 - Final Building Renders (Above and Right): These were rendered in Revit and then some Photoshop effects were applied before they were brought into Illustrator. They were not linked so any changes meant I had to replace the image in the Illustrator file. Text was then added in Illustrator over the top as well as the people.

116

URBAN BLOCK REMIX

MIXED-USE BUILDING

RENDERED PERSPECTIVE MATT KREUTZER ARCH 310 STEVE HARDY

URBANBLOCKreMIX EGRESS OUT OF BUILDINGS WITH FIRE DISTANCE

KEY BUILDING CORE MINIMUM EGRESS DISTANCE

SOUTHWEST RESIDENTIAL TOWER

SOUTHEAST RETAIL FLOORS

NORTHWEST RETAIL FLOORS

WEST OFFICE BUILDING

NORTHEAST RESIDENTIAL TOWER

SOUTHEAST OFFICE BUILDING

OFFICE FLOORS

RESIDENTIAL FLOORS

PENTHOUSE RESIDENTIAL FLOORS

Reworked Drawing (Above): The individual diagrams were generated in four separate Illustrator files. Lineweights were applied as well as Live Paint to highlight different buildings. They were then imported into InDesign and different layers were turned on or off to highlight different aspects. The document is much easier to update and work with.

Reworked Drawings: An adjustment layer was used to edit the appearance of the images so that it was not destructive. A background image was also placed in Photoshop. The people are vector graphics and were placed in Illustrator. Text was not added as that would be added in any InDesign file.

117

STUDENT WORK: STEP-BY-STEP Katie Horn Step 1.0: Choose Elements For New Layout from Existing Layout or Saved Files

Step 1.1: It is important that documents represented on a page work together cohesively. Choose images and drawings that display hierarchy and a process.

Step 2.0: Set Margins/Page Size/Create Grid

Step 2.1: When opening a new InDesign file, you will be prompted to select a page size for your document. (Because this document is for a portfolio, I chose standard page size 8.5 by 11 inches).

Step 2.2: Next you will be prompted to set the margins. (Standard size margins for 8.5 by 11 inch documents is one half-inch.)

If the document is going to be bound, make sure that the inside margin is larger. (To edit margins, select “Margins and Columns...” from the Layout tab).

Step 2.3: To add grid lines to the document, double click anywhere on the ruler. Lines can be changed by clicking and dragging.

Step 2.4: Margin and page size edits should be applied to the master page located in the ‘pages’ menu, to keep the document consistent.

Step 3.0: Place and Resize Objects

Step 3.1: Use the rectangle frame tool (F), to create frames for images to be placed in.

Step 3.2: Place files into rectangle frames (Command D). The rectangle frame will cut off parts of the image that do not fit in the rectangle frame.

Step 3.3: To resize the image, select the circle icon that appears when you hold your mouse over the image. Edges of the image will be highlighted orange. Move and resize image to fit in frame.

Step 3.4: To create consistent rectangle frames, use the align command to ensure that images are an equal distance apart (see Step 5).

Grid will turn green when edges of rectangle frames are aligned.

118

Step 4.0: Create Consistent Character Styles

Step 4.1: Highlight text or select text box to format. Under the Type menu, select ‘Character Styles’. Create and name a new character style.

Step 4.2: To change basic features of the style select ‘Basic Character Formats’ and change font size, font, etc.

Step 4.3: Make sure to name the character styles to match elements within the document (ex: ‘Title’ or ‘Caption’).

Step 4.4: Once character styles are established, simply select a text box or highlight elements within the text box and select the name of the character style that applies to the text. Size and formatting will automatically change to match character style. Character styles will ensure consistency within the document.

Step 5.0 Align Captions, Drawings, and Images

Step 5.1: Captions, drawings, and images should be aligned throughout the document.

Step 5.2: To align captions to text, Select ‘Object and Layout’ within the Window tab.

Step 5.3: Change the spacing of the object. Standard image-to-caption spacing is one-sixteenth of an inch (.0625).

Step 5.4: For captions, select the objects you want to align, and click ‘distribute vertical space’.

Step 5.5: Often, images need to be horizontally and vertically aligned. Select either option to align the images. Objects can also be aligned left, center, right, top, or bottom. (All options that can be selected within the align menu.)

Step 6.0: Save and Package Files

Step 6.1: Because InDesign files often contain links from Illustrator, Photoshop, JPEG files, etc. it is important that all of the files are saved together so images do not become pixelated when opened in a different location.

Step 6.2: To package files, select ‘Package’ under the File tab. Packaging files creates a folder containing every object within the InDesign file.

Step 6.3: After packaging the file, you will be prompted to save.

Saving the file in the same location as the packaged objects will maximize file organization. It is important when opening file on a different computer/submitting it electronically, that every link is packaged so that there are no issues opening or viewing the file.

119

STUDENT WORK: BEFORE AND AFTER Katie Horn

I focused on my Analysis and Composition portfolio page. Before I edited and laid out my work in InDesign, I had several rough photographs that needed to be improved in Photoshop; the images also needed to be laid out and explained in InDesign.

120

Analysis and Composition ARCH 140A/Fall 2011

“Complexity”

“Dissassembly”

“Transparency”

“Assembly” Void Concept Drawings

Preliminary coursework explored concepts such as ‘assembly’ ‘dissassembly’ etc. Explorations would eventually contribute to concepts explored in the final model.

Spanning Intervention 2D Concept

The intention of the final analysis and composition project was to utilize process work gathered throughout the entire course (photographs, drawings, etc.) The above process work contributed to the spanning intervention final project.

Spanning Intervention Final Project (Natural Light)

Spanning Intervention Final Project

From the exploration of a concept in 2D, we continued to alter elements from half of the composition, eventually combining a preliminary 3D model of the project with a classmates. The geometric model in the center void space of the final piece used the concept of a grid to explore how the light could be altered when traveling through the geometric model.

After editing all of the images in Photoshop and improving linework in Illustrator, I laid out the work on an 8.5x11 inch portfolio page.

My intention was to display the work as a process. My goal was to create hierarchy by displaying process work before final work, while maintaining a cohesive idea in all of the pieces.

121

PERFORM

Brianna Murphy and Carolina Preciado per·form [verb] Carry out, accomplish, or fulfill (an action, task, or function).

Work, function, or do something to a specified standard.

The basis of performative representation is the interaction of objects in space with the dimension of time. The product of such interaction is the motion or function of objects. Though the type and degree of an object’s change may vary, time is the common denominator amongst most all performance types. Time is an independent variable; it provides a consistent measure of performance. Be it people, tools, or architecture, objects perform in some way or another. Charting this performance as a factor of time is key in performative diagramming. The objective in developing structural performance interfaces and surfaces is to work with the potential for gestural motion in combination with biological form, image or surface textures related to the content of the creative compositions that are being performatively explored in time.

122

History Figure 7.1: Man Dancing / Eadweard Muybridge / 1884

Just as history is a factor of time, time is a factor of a transformation period through a sequential movement aspect of an existing functional object. Form follows function is a principle associated with modern architecture and industrial design in the 20th century.

Architecture can also be given performative capacity through the movement of people around and through a building. The experience of structures, spatial presence and materiality along with the engagement of the eye and the body makes architecture performative. The role of the architect in performance is to understand the multiply effects in material and time, rather than to simply predict.

The creating of architecture of spectacle and performance comes through the movement of the object/building itself rather than from the subject. The Millennium Bridge in Gateshead, UK, is the world’s first rotating bridge, which is an excellent example of the way motion and function have combined in architectural creation. Performative architecture is still under developing ideas as a concrete definition.

As the term is widely used but rarely are structures linked back to being performance architecture.

Cited from Performative Architecture: Beyond Instrumentality Edited by Branko Kolarevic and Ali M. Malkawi

Figure 7.2: Climate Himalaya / Winchester and Ramos / 2012

123

Figure 7.4: Outreach / Atmos Studio / 2012

Objective Lines extend from joints of the human body to depict its flexural qualities as it moves with specific contortional changes through time.

Figure 7.3: X / Robin Rhode / 2010

Content

Objective

The depicted movement is in a simplified diagram with connected, contiguous changes that relate to the shape of the geometry drawn along side the physical movements.

The series of still frames aims to chart the intricate changes associated with what one would consider a single sweeping motion through the artistic dissection of creative work.

Content A man is depicted in different, sequential points in time while working on creating a work of art.

Technique Photographs of drawn artwork and a human arranged on board.

124

Technique Digital modeling and manipulation with linework of geometry, inverted on black background to enhance linework.

Figure 7.5: U.P. Civil Building / Soluri Architecture / 2007

Figure 7.6: Sudden Forest / Project Gaitway / 2012

Objective

Objective

The sketch illustrates the circulation needs of the building through movement of program throughout, roughly charting the human performance in the space.

The diagram shows spatial, infrastructural, and experiential aspects of the spaces depicted. The aim is to relate the cross-connecting trails with the programmatic features of the diagram and trails on the existing terrain.

Content The diagram is a simplified, conceptual sketch of circulation within building based upon adjacency of program. Time isn’t explicitly noted by is intrinsic to the depicted movement.

Technique Hand sketch and scan which is possibly retroactive to the completed building design.

Content The diagram uses arrows and map overlays alongside an exploded programmatic diagram to show relationship. The drawing makes explicit reference to the positions, alignments and directionalities of systems of circulation.

Technique Digital diagramming with overlay of linework on renderings.

125

Figure 7.8: Biological Polymer / Mirco Bianchini / 2010 Figure 7.7: Utility HRSG Cycle / Victory Energy / 2011

Objective This highly performative diagram describes the steps in the process in a type of heat-generating system. It clearly depicts the literal flow of materials throughout in a left-to-right fashion, which illustrates the importance of time and the correct order of operations for successful performance.

Content Bold graphics accompanied by descriptive text create this performative diagram. Illustrations of mechanical structures and their conceptualized interactions chart its performance.

Technique The diagram utilizes major gradient changes within the confining linework to depict movement and changes in congruence with text.

126

Objective The drawing describes how the intense variation in the reactions of the biological polymers as they progress through stages of change.

The progression is illustrated in a clear left-to-right organization.

Content Chemical reactions of polymers are shown in a diagrammatic flow chart with documentation images showing sequence of reaction.

The depicted geometry is of simplified linework with connected, contiguous changes to the geometry with respect to time.

Technique Digital flow chart diagramming with various photographs marking certain instances of performance of reactions. Renders with overlaid linework and graphics applied.

Figure 7.9: Politics of Fabrication / Max Hacke / 2012

Figure 7.10: No Walls Only Partitions / Studio Stanta / 2011

Objective

Objective

The perspectival diagram depicts the manufacturing process as a product of both time and space. Curiously, the product itself is a product of time and space.

The image details how the moveable partitions act as walls but change and can be manipulated to form to the desired function for the space, in essence creating entirely different spaces with the same material as the need arises.

Content The diagram is primarily a perspective of a section of the manufacturing structure used in the production of some material with additional diagrammatic directional attributes.

Technique Digital model linework with render overlay, diagrammatic movement illustrations, and additional photo features.

Content The perspectival renderings in the example detail the formal manipulations of the partitions and chart the arrangement changes in terms of the necessary performative function.

Technique Perspectival rendering of digital manipulations of the partitions with material and spatial detail.

127

Figure 7.11: Monomia / Ahmed Shokir / 2012

Figure 7.12: Monomia / Roosevelt Golino / 2012

Objective

Objective

This highly complex visualization aims to relate the environmental effects of water scarcity in Owens Valley, California. The diagram illustrates the intricate relationships between water’s presence and absence in the location through a variety of spatial functions.

This drawing aims, again, to relate the intricate relationships between the location in Owens Valley, CA, to the water availability in the area. The perspectival view relatively clearly depicts how these environmental factors react and change through time.

Content

Content

The diagram utilizes plan-based overlaid information of water source availability showing the progression of water’s location and effects over time.

The diagram utilizes perspectival line drawings with overlaid mapping of water-based areas and usage, as well as multiple grid systems depicting relationships.

Technique

Technique

Digital linework and additional mapping of objects within layout.

Digital linework and additional mapping of objects within layout.

128

Figure 7.13: Dense Rhythm / Zifan Liu / 2010

Figure 7.14: Bamboo House / Laurent Saint Val / 2010

Objective

Objective

This composite of diagrams aims to clearly represent the programmatic aspects within a structure in relation to the particular formal development the building has incurred as a result. The primary goal is to represent the function and the structure’s ability to perform to its needs through a series of simplistic illustrations.

This diagram of the structure details Guadua Tech, which is a method to prepare a modern system of terminal assembly for bamboo, allows for standing great compression and tension forces.

The illustrations aim to show how bamboo poles have been joined with high-tech X-type joints to create the bamboo exoskeleton of the building. The color-coded diagrams depict the usage of these innovative materials and their respective performative functions.

Content The drawing inventories a range of perspectival line drawings with strategically sequenced functional changes.

Technique Digital linework with perspectival mapping and sectional detailing.

Content The diagrams chart the different functions of the structure of the building through perspective elevations. The different structural components are highlighted in the four simple drawings.

Technique Rendered, colored diagrams with overlaid linework and a key for structural performance.

129

ILLUSTRATOR STEP-BY-STEP 1.0 Importing Model Linework

1.1 Import linework in plan view of object into Illustrator. Object should contain linework that depicts the moving performance of the object. These separate instances of motion will be charted in different layers.

Rhino Tip: It is vital to set proper layers prior to exporting. Arrange layers in sequential order, from top to bottom, making sure all modeled parts of each instance are accounted for. Color code layers with easily distinguishable colors. Set the view in plan using Viewport Properties > Set View. Use Make2D, selecting options for maintaining these layers as well as showing hidden and tangent lines.

3.0 Rearranging Groups of Layers

3.1 Each colored layer will contain 3 sub-layers: Visible, VisibleTangent, and Hidden. In the Layers table, highlight these 3 sub-layers by holding CTRL and clicking each one.

3.2 Move and place between other existing layers according to order.

In this case, the red layers are at the bottom and ascend in rainbow order, with black at the very top.

Tip: When moving layers, make sure that a thickened line with a small arrow is appearing where the desired placement is to occur.

Otherwise, if a large arrow is visible, the selected layers will actually be placed within the layer highlighted by the arrow.

Rhino Tip: Anything that is not visible in the Make2D command will be categorized as hidden. Anything that is tangent to the viewing plan, such as text, will be in the VisibleTangent layer.

2.0 Rearranging Individual Layers

2.1 Rearrange the individual sub-layers of each main colored layer in the Layers table so that the order is Visible, VisibleTangent, and Hidden within each color group.

2.2 Turn off all hidden lines as this diagram will not require them.

The VisibleTangent layer may also be turned off if desired and if text or surface detail linework is not necessary.

Tip: If you need to move or scale the object(s), make sure to turn all layers associated with the object back on by clicking the far left box showing the “eye� symbol for each layer. This ensures that the configuration of the object is maintained.

130

4.0 Selecting Objects within Layers

4.1 After layers are completely rearranged, select each individual set of visible layers to alter the line weights and colors. To select all objects on a layer, click the far right edge of the layer line so that a box with a fill color matching the layer color appears.

4.2 Hold Shift and click other layers in the same area to select multiple layers’ objects if necessary.

Tip: If you click and no color-coded box shows up, the layer is either turned off (not visible) or there are no objects present in that specific layer.

5.0 Applying Line Weights and Color

5.1 With object on the specific layers selected, apply lineweights according to the step of performance of the object. Each of the intermittent moving parts will be solid and have a progressive lightto-heavy lineweight.

5.2 Color each set a consistently changing shade of gray as well to help emphasize the end conditions. 20% to 70% grays are preferred.

Make sure the stroke box is selected in the Tip: A consistent lineweight change is necessary. Here, a change of 0.1pts is instilled for each instance of the movement, starting from 0.2. The main parts (purple and black layers) will be a standard 1pt line. An estimated maximum line weight for an object that fills a 17x11 page would be about 1.5pt thick solid lines.

6.0 Creating Reference Lines

6.1 After completion of color progression both in line weight and color, adding orientating details is optional. Place lines through the end points of the scissors’ progression of movement.

6.2 Create a circle using the Ellipse Tool, which is selected by clicking and holding the Rectangle Tool icon, hovering over the Ellipse Tool, and then releasing the mouse button. Holding Shift while creating the ellipse maintains an equal height/width ratio, resulting in a circle.

Tip: Most reference lines should maintain a subdued gray color while the main object components (the end scissor positions in this case) should have the heaviest lineweights and visual hierarchy.

131

PHOTOSHOP STEP-BY-STEP 1.0 Import Rhino Renders

1.1 To further enhance the performative changes in the scissors, renders of the scissors will be imported into Photoshop and manipulated. The application of progressive transparency to each instance of movement will be beneficial to this object, so individual renders of the moving handle are imported in each position.

Rhino Tip: Before rendering, put the view in plan, selected the entire object composition, and use the command ZS to zoom to the selection. Save this view; it’s important to maintain the same rendering view for Photoshop import.

1.2 In a new Photoshop file with the same dimensions as the renders, use File > Place to choose and place each PNG render file as a Smart Object on its own individual layer.

2.0 Rearrange Object Layers

2.1 Depending upon how individual renders are placed, the layers for each Smart Object may need to be rearranged in order from top to bottom. Clicking on the layer name and dragging will allow the hierarchical change.

2.2 Rearranging layers before applying effects or adjustment layers is preferred so as to maintain layer clarity and avoid applying changed to the wrong layers and objects.

Rhino Tip: For ease of maintaining correct proportions and resolutions, place the renders into a new Photoshop file which has the same dimensions of the Rhino render.

3.0 Apply Transparency to Objects

3.1 After each render has been placed onto the Photoshop file and reordered according to the movement changes, apply transparencies to each individual render. The transparency adjustment bar is located in the upper right corner of the Layers menu. Recommended transparencies range from 40% to 90% as the desired visual weight increases.

Rhino Tip: The differentiation in gray tones between the different instances is the result of the gradation of rendering colors. Having already set the different colors and rendering separately makes Photoshop transparency changes more dramatic and less work.

132

4.0 Overlay Linework on Renders

4.1 The transparency progression will be further enhanced by the application of the Illustrator linework over the finalized renders.

To import linework, click File > Place to choose your Illustrator file.

4.2 Resizing will likely be necessary for the lines to line up with the renders. Use Shift to maintain correct proportions when transforming size.

4.3 Drag this Smart Object layer to the top of the list so all linework is visible.

5.0 Apply Color Adjustments

5.1 Because the linework has been applied, the selection of specific areas defined by this linework will be possible. Making sure the linework Smart Object layer is selected, use the Magic Wand to selected portions of the scissor handles to be recolored.

5.2 The tolerance, located in the upper left toolbar when the Magic Wand is selected, should be adjusted to about 5 to ensure the most similarly colored pixels are selected. Use Shift to select multiple selections, as shown.

6.0 Finalization

6.1 It is important that the correct layer for color changes is selected.

In this case, the Smart Object line work layer should be used. Since this layers is at or near the top of the list, any adjustments to it will affect layers beneath.

6.2 Using the Color Balance table under Adjustments menu, the tone of the selected objects can be changed to a more vibrant hue. Notice that Photoshop maintains the transparency applied to the rendered objects before. With this method, more than one color can be applied. Other effects such as Levels and Contrast can also be applied with this method.

133

STUDENT WORK: STEP-BY-STEP Brianna Murphy 1.0 Open Render in Photoshop for Editing

1.1 In Photoshop, open the JPEG saved after rendering a selected perspectival space in either Rhino or Revit.

1.2 In the Layers menu, click on the “Background” layer and hold while dragging the mouse down to the “Create a new layer” icon button. This will duplicate the render so that lighting effects and filters may be applied to the duplicate layers.

Tip: Creating duplicate layers and applying filters to these copied layers of the same render will allow you to quickly test different effects and easily compare them by turning the layers on and off.

Revit Tip: Render the space with minimal amounts of material textures in order to create the cleanest images possible. Smooth surfaces also react better to later Photoshop adjustments.

2.0 Applying Light Effects and Adjustments

2.1 With a copy of the “Background” layer selected, the dropdown menu Filter > Render > Lighting Effects.

2.2 In this table of options, choose Omni in the Light Type dropdown menu. This style of filter will provide a subtle overall lighting effect.

2.3 Drag the center point of the circle depicted in the Preview box at the left of the Lighting Effect dialog box to a location that is most logical for a light flare or concentration. Skylights work well.

2.4 Manipulate the amounts of Intensity, Exposure, and Ambiance as is visually acceptable in the Preview box. Testing the limits on how bright or concentrated the light point gets is suggested.

2.5 Apply various photo adjustments such as Brightness and Contrast, Levels, Color Balance, etc. under the Adjustments menu.

3.0 Placing Entourage within Rendered Image

3.1 After completing the desired Lighting Effects change, people and objects relevant to the setting should be placed for reference.

A substantial number of clean PNG files of entourage should be collected before placing. Raw photos may also be Photoshopped so that backgrounds are removed and only human images remain.

3.2 In the main top toolbar, click File > Place and choose the desired PNG file. Scale as best as possible in the appropriate perspectival location. Hit “Enter” so the object is placed in its own layer as a Smart Object. If the object needs to be edited, right click on the Smart Object layer and choose “Rasterize Layer.”

3.3 Experiment with transparencies for each of the entourage layers.

Some entourage will need to be cut. Use the Polygonal Lasso tool to make a clean cut selection and hit “Delete” to cut selected portion.

134

4.0 Creating an InDesign Document

4.1 After editing of drawings and diagrams is complete, placing finished work into an InDesign layout for large-format or portfolio presentation is crucial. Open a new InDesign document.

4.2 Set the size of the page to the desired dimensions or that required by a professor or portfolio prompt. Size may be manipulated at anytime throughout the document’s creation and modification, but it is best to create the correct size so as not to have to reorganize.

4.3 Choose the necessary number of pages. Again, this can be adjusted at any time.

Tip: For routinely used board sizes, select the desired settings and click the “Save Preset” button for easy setup in the future.

5.0 Creating Master Pages

5.1 For any multiple-page document that needs to maintain a consistent style, a standard layout is crucial. Master pages help to keep layouts and placement simple and consistent. In the Pages menu, right-click within the menu and choose “New Master...”

5.2 Options to rename and base this “New Master” will appear in a dialog box, followed by the appearance of the newly named master page which is open for editing. Dotted frames indicate an object that is locked within the Master page formatting.

5.3 Apply guides, rectangle frames, and text boxes as is necessary for the section that the Master Page will apply to.

6.0 Creating Proper Links

6.1 For an InDesign document to function optimally, the file must contain accurate and high-quality links to original drawing files from Illustrator, Photoshop, or another file type. Placing these files within the rectangle frames is key to both maintaining a proper file link and to simplistically cropping objects within the layout.

6.2 With a rectangle frame selected, click File > Place and select the desired drawing file to be inserted. Checkmark the “Show Import Options” box if only certain layers of a file are desired.

6.3 Many times, the inserted file is placed at the highest size possible, and so only a cropped portion appears in the frame. Right-click and choose Fitting > Fit Content Proportionally.

Tip: Objects that are “Pasted” rather that “Placed” will not create a link, cannot be automatically updated, and are embedded in the file.

135

STUDENT WORK: BEFORE AND AFTER Brianna Murphy

PRODUCED BY AN AUTODESK STUDENT PRODUCT

HISTORIC HAYMARKET

COURTHOUSE

URBAN PROPOSAL

PRODUCED BY AN AUTODESK STUDENT PRODUCT

SITE PLAN 1/32’ = 1’

PRODUCED BY AN AUTODESK STUDENT PRODUCT

PRODUCED BY AN AUTODESK STUDENT PRODUCT PRODUCED BY AN AUTODESK STUDENT PRODUCT PRODUCED BY AN AUTODESK STUDENT PRODUCT PRODUCED BY AN AUTODESK STUDENT PRODUCT

OFFICES

OFFICES

STAIR/ELEVATORSTAIR/ELEVATOR SHAFTS SHAFTS COURTROOMS LIBRARY

COURTROOMS LIBRARY

HOLDING RESTROOMS

HOLDING

PRODUCED BY AN AUTODESK STUDENT PRODUCT

FLOOR PLANS 1/16” = 1’

PRODUCED BY AN AUTODESK STUDENT PRODUCT

COURTROOM SECTION CUT 1/2” = 1’

PRODUCED BY AN AUTODESK STUDENT PRODUCT PRODUCED BY AN AUTODESK STUDENT PRODUCT PRODUCED BY AN AUTODESK STUDENT PRODUCT PRODUCED BY AN AUTODESK STUDENT PRODUCT PRODUCED BY AN AUTODESK STUDENT PRODUCT

5 Level

Level 5

el 3 Lev

39’

- 23

’

10’ l2Leve - 0’ l1 Leve

Level 3

Level 1

SECTION PERSPECTIVE - TRANSVERSE

BRIANNA MURPHY ARCH 211 BRAD BROOKS BEN HOVLAND

SECTION PERSPECTIVE - LONGITUDINAL

Courtroom Project / ARCH211 / 2012 The 3’x8’ overall layout needed intense reworking in its alignment and contents as well as more concise representation and a more obvious progression.

136

- 54’

4Level

Level 4

PRODUCED BY AN AUTODESK STUDENT PRODUCT

PRODUCED BY AN AUTODESK STUDENT PRODUCT

PRODUCED BY AN AUTODESK STUDENT PRODUCT

PRODUCED BY AN AUTODESK STUDENT PRODUCT

PRODUCED BY AN AUTODESK STUDENT PRODUCT

PRODUCED BY AN AUTODESK STUDENT PRODUCT

PRODUCED BY AN AUTODESK STUDENT PRODUCT

PRODUCED BY AN AUTODESK STUDENT PRODUCT

RESTROOMS

OFFICES STAIR/ELEVATOR SHAFTS

DOWNTOWN LINCOLN

PRODUCED BY AN AUTODESK STUDENT PRODUCT PRODUCED BY AN AUTODESK STUDENT PRODUCT PRODUCED BY AN AUTODESK STUDENT PRODUCT

COURTROOMS LIBRARY

RESTROOMS

OFFICES STAIR/ELEVATOR SHAFTS COURTROOMS LIBRARY HOLDING RESTROOMS

CIRCULATION_PUBLIC

CIRCULATION_ACCUSED

CIRCULATION_JUDGES

ELEVATION_NORTH

PRODUCED BY AN AUTODESK STUDENT PRODUCT

PROGRAM_DIAGRAM

PRODUCED BY AN AUTODESK STUDENT PRODUCT

FORM_BUILDING ANGULAR RELATIONSHIPS

PRODUCED BY AN AUTODESK STUDENT PRODUCT

FORM_SITE ANGULAR RELATIONSHIPS

PRODUCED BY AN AUTODESK STUDENT PRODUCT

PRODUCED BY AN AUTODESK STUDENT PRODUCT

PRODUCED BY AN AUTODESK STUDENT PRODUCT

ELEVATION_WEST

ELEVATION_SOUTH

PRODUCED BY AN AUTODESK STUDENT PRODUCT

COURTROOM PROPOSAL

HOLDING

PRODUCED BY AN AUTODESK STUDENT PRODUCT PRODUCED BY AN AUTODESK STUDENT PRODUCT PRODUCED BY AN AUTODESK STUDENT PRODUCT 1 ATRIUM 2 LIBRARY 3 COURTROOM 4 OFFICE

4

5 RESTROOM 6 STAIRWELL

7

7 HOLDING MAIN 8 HOLDING CELL

2

9 MAINTENANCE 10 STORAGE

9

3

5

1

3

3

8 5

6

5

5

5

5

5

6

6

1

10

6

1 10

10

5

6 1

1

10

10

10

4

4

4

4 4

4

4

4

PLAN_FIRST FLOOR

PHYSICAL MODEL_SOUTHEAST PERSPECTIVE

PHYSICAL MODEL_SOUTHWEST PERSPECTIVE

PLAN_SECOND FLOOR

PLAN_THIRD FLOOR

4

PLAN_FOURTH FLOOR

PLAN_FIFTH FLOOR

RENDER_INTERIOR COURTROOM PERSPECTIVE (SW)

COURTROOM SECTION_LIGHTING DETAIL

PERSPECTIVE_CLAY RENDER FROM SOUTHWEST

PERSPECTIVE_CLAY RENDER FROM SOUTHEAST

Level

5 - 54’

Level 5

l4 Leve el 3 Lev

Level 4

el 2 Lev Leve

l1

- 39’ - 23’

- 10

’

- 0’

Level 3

Level 1

RENDER_INTERIOR COURTROOM PERSPECTIVE (SE)

SECTION PERSPECTIVE_TRANSVERSE

SECTION PERSPECTIVE_LONGITUDINAL

PRODUCED BY AN AUTODESK STUDENT PRODUCT

PRODUCED BY AN AUTODESK STUDENT PRODUCT

PERSPECTIVE_CLAY RENDER FROM NORTHWEST

Courtroom Project / ARCH211 / 2012 The same 3’x8’ overall layout has been revamped for a smooth left-to-right transition of the diagrammatic process of the building. Renders, photographs, and elevation work have all been made consistent respective to their types. The layout has been immensely improved through aligning similar representation aspects.

137

STUDENT WORK: STEP-BY-STEP Carolina Preciado 1.0 Exporting from Revit into Illustrator

1.1 Open your sheet view in the Project Browser.

1.2 In your sheet view, select the Sheet Boundary.

1.3 From the purple “R” drop down menu, choose Print. In the Print window, under Printer/Name, select Adobe PDF from the drop down menu.

1.4 Select the Properties button next to the drop down menu. Click on the Layout tab in the Adobe PDF Documents properties window.

1.6 From the orientation tab, select the correct orientation of your page either landscape or portrait.

2.0 Adjusting Paper Size

2.1 Click the Advance tab in the lower right corner.

2.2 Choose Paper Size > PostScript Custom Page Size. Change the Width and Height to the appropriate dimensions.

2.3 From the Paper Feed Direction choose Short Edge First > OK > OK > OK. Make sure “Current Window” is checked under “Print Range” Settings > Setup.

2.4 Under “Zoom” check ‘Zoom, 100% size’. Then check “Center” under “Paper Placement” Check Vector Processing > High > Colors.

2.5 Under “Options,” choose Hide ref/work planes > Hide scope boxes > Hide crop boundaries > OK.

3.0 Saving and Opening PDF in Adobe Illustrator

3.1 The Save Settings window will pop up, click “Yes”. In the “New” window, name your print setup, then click “OK”.

3.2 Click “Preview” and make sure that the preview looks correct.

Click “Print > OK .

3.3 In the “Save PDF File As”, pick a location to save your PDF, and name the file, then click “Save”. The PDF will write and display in an Adobe Acrobat window, then close the PDF. 3.4 You will notice that on all 4 sides of the plot, there are black filled boxes. To get rid of these, open your PDF in Adobe Illustrator.

Delete black fill in Illustrator.

138

4.0 InDesign Layout

4.1 In the “Layout” drop down menu, click “Margins and Columns.”

4.2 Set “Bottom” and “Top” to 0.5 inches. Set “Inside” and “Outside” to 0.75 inches. This is the standard gutter for most printed and bound materials.

4.3 Place “Rectangle Frame Tool (F)” proportionally as needed all over layout. These frames can be used to roughly chart or specifically define a layout.

4.4 From the Ruler Guide you can drag the guides horizontally or vertically to the dimension needed into the layout. Rectangle Frames will snap to these guides using standard settings.

5.0 Placing Images

5.1 Now that the layout is completed, start placing images into the Rectangle Frames.

5.2 Select the Rectangle Frame where image will be placed.

5.3 In the upper left corner click in the “File” drop down menu, choose “Place”. If image does not fit in the frame, right click on the frame, scroll down to “fitting” and select the best option to adjust your layout.

Tip: When resizing either the frame or the placed image within the frame, click on the frame hold Shift and drag to maintain the proper proportions. Hold Shift+Ctrl to resize both the frame and image.

6.0 Adding Text in a Character Style

6.1 From the “Window” Drop down menu select Styles > Character Styles (Shift+F11), then click the “Create new layer” icon, and then double click on your new layer.

6.2 In the dialog box that pops up, name the character style. For example, “Section Title.”

6.3 On the upper left side of the window select “Basic Character Formats.” Under this tab, adjust your character style as desired, choosing the font family, style, size, etc.

Tip: For books at or around the 8.5” x 11” dimension mark, a font size of 12 points is a typical title font size, with body fonts ranging from 9 to 11 points in size.

139

STUDENT WORK: BEFORE AND AFTER Carolina Preciado

Carolina Preciado 35224825 Arch/Larch/Ides 223 s'10 Lab Section TA: Nate Holland Guthier Theater

Exterior Hidden Lines

11

5

3D View 15

12

9 9

6

3D View 18

2D Plans

Exterior Rendering 1:1

1

A101

1

8

rendering 1:1

B B D

W

D

-

A101 10

7

G

UP

G

UP

H 9 A101

9

15

interior rendered 1:1

3

Exterior Render

Callout of Level 1 1 : 500

A101

4

Callout of Level 5 1 : 500

2D section Level 10 51

16

interior rendering 1:1

Level 10 51

Level 8 36 Level 7 29

Perspectival hidden line sections Level 6 22

Level 3 11

2

13

Copy (3) of {3D}

14

Copy (4) of {3D}

Level 10 51 Level 9 41

Level 7 29

8

north 1 : 500

Guthrie Theater Board 36�x60� Layout / ARCH 223 / 2012 Layout contains standard requirements for plans, elevations, sections, exterior and interior renderings, perspective linework, etc.

140

Level 10 51

Level 10 51

Level 8 36

Level 8 36

Level 1 0

Level 10 51

Level 8 36

Level 6 22

Level 3 11 Level 2 6

Level 2 6 east 1 : 500

Section 1 1 : 500

2D Elevations

Level 5 19

Level 4 14

7

Level 2 6 1

Level 7 29

Level 6 22

Level 1 0

Level 1 0

Section 2 1 : 500

Level 5 19 Level 3 11

9

south 1 : 500

Level 3 11

Level 1 0

Level 1 0 10

west 1 : 500

A101

ARCHITECTURAL DELINEATION FACULTY:

JANGHWAN CHEON

SECTION A

SECTION B

RENDERED PERSPECTIVE

SOUTH ELEVATION

8

01 10

7

A

UP

UP

INTERIOR RENDERING

LEVEL A 9

A101

LEVEL B 9

PERSPECTIVE

Guthrie Theater Portfolio 8.5”x11” Layout / ARCH 223 / 2012 More emphasis on the strongest individual plans, elevations, and sections, with hierarchical changes in lineweight, cleaner renderings, and a better aligned layout.

141

CONTRIBUTORS Assistant Professor David Karle Teaching Assistant: Alex Mastera Amanda Balhorn, Interior Design Lauren Butts, Architecture Brian Duncan, Architecture Emily Goans, Architecture Kendra Heimes, Architecture Kathryn Horn, Architecture Marcellus Kipruto, Architecture Matthew Kreutzer, Architecture Jamie Lewis, Interior Design Alex Mastera, Architecture Brianna Murphy, Architecture Bryan Perez, Architecture Carolina Preciado, Architecture Jerilyn Sykes, Interior Design

Graphic Communication

Summer 2012 Architecture 497 Graphic Communication Assistant Professor David Karle Teaching Assistant: Alex Mastera University of Nebraska-Lincoln College of Architecture