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First published in Great Britain 2010 A&C Black Publishers 36 Soho Square LondonWlD 3QY w'ww.acblack.com ISBN: 978-1408-12991-3 Copyright @ Dessainet Tolra/Larousse 2009 A CIP cataloguerecord for this book is available from the British Library. Gilles Ronin has asserted his rights under the Copyright, Design and Patents Act, 1988,to be ldentlfiod $ thc author of this work. All rights reserved. No part of this publication may be reproducedin any form or by any mctru - gfsphls, electronic or mechanical,including photocopying, recording,taping or information storsgcInd rtrlcvd ryltcmi without the prior permissionin writing from the publishers. Publisher:Collette Hanicotre Editor: Corinne de Montalembert Pagedesign:Florence Le Maux Cover design: James'W'atson Proofreader: Madeleine Biaujeaud, Photography:Olivier Ploton English text layout: Penny Mills Translator :Alexa Stace Editorial assistant: Ellen Parnavelas This book is produced using paper that is made from wood grown in managcd,sustainable forests, It is natural, renewableand recyclable.Thelogging and manufacturing processes confornx to the environnental regulationsof the country of origin. Printed and bound in China
contents
Introduction Representing An Interior Developing your project Space The progression Variations and transformations 4 5 5 5 5 6 8 10 10 1I 1.2 13 1.4 16 16 18 18 18 18 18 18 18 19 19 20 22 23 23 24 24 24 24 24 Walls and partitions Format and scale Floor plan Layout ofa Flat
24 25 25 26 2ft 30 3l
PERSPECT
Materials The Line Graphics, tonal values and colours Figures Proportions Constructing a drawing Isornetric Ptojection An effect of reduction Objects DrawingThree-ditnensional arrd Furniture Designing an o{lice space A foldaway oflice on a shelf Grouping office furmture Playing about with space Drawing a kitchen Swapping around kitchen and bathroorn Visualising a kitchen corner Creating an open partition Transforrning a flat Creating a dressing room and a bathroom Seeing things in perspective The vanishing point The horizon Moving the vanishing point on the horizort The height of the horizon The height of the horizon in the drawing The height of the horizon, people ancl scalc The view frorn the front The principles of a frongal view The problem of depth To draw the depth Mastering the depth To rnove a partition
Planning the space Converting a space undet the eaves |)csignirrg r rp l r t f i r r r u f o r r rl r c d | ) c s i g r r i n lr;r s r r l l l f l i g l r t o f s t c p s | ) e s i g n i r r;g rs k y l i g l r t A Fcw Sirrrplc (lonstrrtction Tricks c lt r ltrrr tl c p t l t s I low to cstrrtrlis 'lir t l i v i t l cr r w r r l l lp pc lc dc w i t l r i t t t i t ' t ' c 1 . 1 t t l l t r - s l rs I low to rlcrrl l r ' i r tl c ? I l o w t l o y t t t tr l t ' ; t w 1i 1 1v 1i1 ,'*2 l\'r'sltc l it v c o t ' p t r r i l '1 'Ihking l)owu n l)trtition ril/all ( l r r ' : ti lrr g , r trt t ' z z ; t rittt c o t ' o v t ' t ' l r : t t t 1 . 1 'I'lrc ()blirlut, Viow l)r.sigrrirrg n r()(rn by Eye S t ' l t i n gI l r c l r o t t n r l r t t ' i t ' s l t l r ritr r gt l r t 'l t o t ' i z o t t l ) l : t itt r gl l t c l t o ti z o t ti r r t l r c t l r l w i r r g r r r ttll t c l i r r co l ' l ) l ; rirr r gt l r t ': r r r g l crs t l r ct c i l i r r g oirrt l ) l r ritn g , t l t r ' v ; r t t i s l t i tp rg pg o i t t ti s t t o l o t t t l r c p l p c r f l ' t l r r 'v ; r r r i s l r i u I)illcrcrrt ()blit;rro Vic,ws 'f t rrll o r r t ; r p r r t l i l i o rw irkirrg A Vitrw firxrr Abovc . . . ...And o High-AnglcVicw l)rnwirrg orr thc Ctxrrputer Skt'tt lrlJp lixlrlolltiorr |ilst Stcps M r r k i r r gu r r r o t l c lf i r r y o r r r p r o j c c t s
PLANSANDL OUTS
Drawing the Plan Scales Conventions and Syrnbols Doors Windows Convenrions regardinglines A base line, or contour A thin Line A thin dotted line The logic behind the symbois Furniture and equipment Changing Around the Furniture Elevation and Section I\earranging an area of wall I)esign in modules Making aLayottt Organisation of the layout A team effort A sketch of the ground plan Thc dimensions
62 64 64 65 65 66 66 66 66 67 67 68
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Grids for Isometric Projections Grids for FrontalViews Grids for Oblique Views
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Infroductior-r
Sitting quietl.y at home, sketchbook in hand, is theideat wayto tackte d r a w i n gI.n f a c t , y o u rh o m ei s a n absotute perhaps mineof subjects to draw, youalready have a ptan in yourhead fora makeover or ionversion?
House space not only contains objectsto be drawn, but offers a setting,enablingyou to understandperspectiveand to explore the different waysof depicting space. Once you have graspedthe principles,drawing will become a game,even a pleasure. If you want to study a litde carpentry prqect, take down a partition wall, or simply dream about what you could do later,you will find here how to draw a layout, enablingyou to make several plansfor your space. Itt alsoa good exercise in drawing. You will alsofind here the practicalprinciples which will help you put your plans down on paperand better express your ideas, for no serious project getsmade without a progressive plan. It is alsoan opportunity to learn some tricks of the trade and conventionswhich are part of an architecttknow-how and which willhelp with ideas. The relationshipbetween a drawing and a project is at the heart of this book, and is reciprocal. If the capaclryto representa spaceis the prerequisitefor convertingit, and is a techniqueto be acquired, the different variationsalsooffer many absorbing exercises for those learning to draw.
V a r i a t i o na sn dt r a n s f o r m a t i o n s
From the first you will be confronted witlt tlrc practice of conversion. Getting into thc hrrbit of' varying elements from the start, on the grrplrics side as well as from a model, is way of bcttcr' understanding the rules of design, at the sanrc tirrre as inventing modifications, of finding and projct ting ideas. Let's take an example.You can draw a particrrlur' space or room like a camera, strictly copying wlrlt is in front ofyou, but you would not be makirrs usc of the rules which permit you to show the splcc in question a little differently: a partition less,sorrrc panels here and a transparent space there, tl-rc cciling taken down to increasethe loft space,anci why not a flight ofstairs to facilitate access, etc. Some of the elementary principles of persl.rct'tive and some professional tricks will teach you t<r think intelligently about your drawing, as thorrqlr it were a little mechanism where you can nrovc tlrc parts about. From the first pages on line, its valucs urrtl colours, we get into the habit of grafting on v:rri:rtions and new creations. Themes such asa small conversion (ofa bcdrrlr>rrr, sitting-room or kitchen) will be introcluccd progressively, but also more general,architccturll iclcls, such asdepth, thickness,geometry and tlansp:rrcrrt y.
The progression
First of all there are the principal drawings, like the ground plan and the section, the technique ofscale drawing, which allows you to measure the spaces to be converted, and then finally the different kinds of perspective which enable you to understand space,whiie studying its modifications.
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Drawing a I i n ei s a r e f l e c t i oo nf y o u r a t t i t u da en dy o u rp e r s o n a L iT ty h.ek i n d o f I i n e d i r e c tc , t e a nc , l u m s yh , esitanh t ,e a v yt,i g h t i , n c i s i ve et c- d e p e n d s y o u r on p e r s o n a L iltty . p r o v ew im s i t hp r a c t i c e a,s y o uw i L s t e ew i t ht h e s e few w a r m i n g - ue px e r c i s e s .
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A line is not just a thirrg irr itsclt, lr r.cprcscnrs something - it is a synrbol ()f il (.()nt()r.rf, rrrr ;rxis, a horizon, the motifs orr thc floor or. thc scttirrg of the door-frame. A lirrc hrrsu firrrrr, nrost oficrr straight,a point of departurc rrrrdirrrivul,it posirion in spaceand on the pagc, rrrrorictrt;rtiorr.lrr prrrctical terms a line is the routc bctwecrr two poirrts, and it is the points that rrrc criricrrl rrrrtl nrtrst lrc well placed.
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The construction of certain shapes, notably the square,and then the circle, is a pernanent exercise in drawing.The shapesenable us to see the value of the vertical and horizontal, basis of all proportion and orientation of line, in brief the nreasure of the whole drawing.The constructions arc lirnbering-up exercises, to practise regularly,likc goitrg to the gym!
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Proportion as r er e [ a t i vm e easurement W s .ea r e n o td i s c u s s i n g a esthetics here, it issimpty n f t h e L e n g to a q u e s t i oo hf c o n n e c t i ob ne t w e e t n h ev a r i o u s points e t e m e n ta s n dt h e d i s t a n c b ee t w e et n h ev a r i o u s i n t h ed r a w i n g . N o t et h a t ,i f y o ug e tt h e s e connection as b s o L u t erL yh ta t a [ [p o i n t sy ,our ig yc c u r a t e drawing wiLb l "e p e r f e c t ta T.h i si s a v i t a t s k i L L m t oa s t e r .
When drawing, get into the habit of observing proportions, and watch out for the errors which will inevitably arise.To look at the proportions of arcctangle,the simplest way is to compare it mentally with one or several squares.
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C o n s t r u c t i na gd r a w i n g
liol your first try, choose a wall panel, with a door, rvirrdow, picture frames, pieces of furniture etc. | )r';rw it all on the flat, as though there were no l)crspcctive (there probably is) respecting not just t lrc proportions of each element, but showing how tlrcy a1ign, the diagonal, horizontal and vertical lirrcswhich connect all these objects This operatiorr is what we call constructing the drawing.
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r/too rt taYw lt lr\ Tlrc scale is the connection in size between the cl-awing and reality. Scale allows us to measure clistances on a plan or a map. Note that there is no sca-leon a sketch or in a perspective drawing, since the objects, varying rn size according to the distance,are not measurable.
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A thin line This shows details which are not structural - strips of parquet, motifi on a wall, elements in low relief ctc. Thin dotted line This shows the outline of large elements which are lbove the plan, such as a large beam, or the bounclaries of a nezzanine or overhang.
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Windows (except for French windows) are shown by uy Lwu perpendicular lrres two pcrpgrrcrruurar lines orl on tlle the wail, wa[, snowlng showing the width of the ledge. They are usually shown s h u t ( s e ep l 6 ) . Dw
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A b a s e[ i n e ,o r c o n t o u r
It shows an edge in the space, an outline, for example the top of a piece of furniture or the banister of a staircase. In fact you don't make many lines of this kind on a plan drawing.
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dirnensions
a n de q u i p m e n t Showing furniture
In general, pieces of furniture ilrc nol shttwtt ott llut a ground plan, since they are not pL\nllrlllct)t. if their presence is useful on your luyout, yott r'rttt lts choose to show them exactly,or to tlsc syttt|.rtlls, shown below. Fixed sanitary ware is always slrowrr (tltcsc rtt't' not furniture). Kitchen furniturc is vurillrlt', rtrrtl you can decide for yourself.
The section line and the walls Whcn you make a floor plan, in principle you show cvcrything under a certain height. By convention, this is fixed at 1 metre from the ground. Everything lubove this height is left out of the plan. But there ilrc certain elements which come up from the ground and go higher than this fixed height, e.g. thc outside walls and partition walls. On a floor plan these are shown cut off, as if a horizontal bhde had separated them from the upper part. The passageof this blade defines the section. To differentiate the section it is drawn with a very hearry line. The stairs You also show what is under the stairs, as for cxample a small storage space. The banister, or guard rail, is shown by two lines. To indicate the direction of the stairs draw an arrow, always indicating upstairs.
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Note that there is always a logic in these conventions: a single line indicates an outline, two iines two outlines, which here makes the top of the banister,or handrail.'When the section line arrives at the windows, it is replaced by two thin little lines, closed-up, which indicate the thickness of the Elass.
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G e tu s e d toworking o n a f l o o rp [ a n , L a y i no gu tt h e d i f f e r e n atr r a n g e m e n t s o f f r r r n i t r rv re orc r ou[d have i nt h e s a m er o o m . D r a wa p t a no f t h e r o o m y o ua r ei n n o w t , h e nc h a n g e the furniture a r o u n dT . h i se x e r c i sw eiIl g e ty o ua c c u s t o m e to du n d e r s t a n d i n g t h ed i m e n s i o n os f v a r i o ue s[ e m e n t s , being aware o f t h e i rp r o p o r t i o n as nd thinkina g b o u t h ee m p t y spaces w h i c he n a b l e people to move about a room.
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R e a r r a n g i na gn a r e ao f w a t l
l\cthinking the layout of a flat doesn't alwaysmean rrroving interior walls. Rearranging a wall panel, changing the decoration and objects displayed is in itself an important modification.You can plan this on paper, especially if you are thinking of buying new elements such asshelves, storageboxes, scts of drawers etc.
Design in modules
Thke measurements of the various elements to be included, and imagine the various different ways they could be put together. They will be much nrore interesting if you have worked them out in a clrawing: they then become reai little compositions, combining practicality with aesthetics.
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lVaku-rg alayout
T h el a y o uc t o n s i s to gg r o u n d s f p r o d u c i na p t a na n de t e v a t i o n os fa buitding o,r , ftertaking o n eo f i t s p a r t s a m e a s u r e m e no ts n t h es p o t , There a r et h u st w o phases : king ta measuremen s dc o p y i ntg at n h e mo u to n t h ed o c u m e n t s .
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start with preliminary drawings on which we mark the measurements taken.These drawings are an intermediate stage berween the sketch and the ground plan: they are done by hand, on the spot, but with most of the codes in place. Now that you are (more or less) fully informed on all the ways of showing what you can see, you must get ready to take the measurements.
marking down tlrc lrcirsurr.rrrcnts of crc:lr room, there is a tcndency trl frllgct the thickncss of the wallsor panels.Trkc nlcil$rlrcllcnt twicc,to guardagainst mistakcs. Mcasurcirgninst tlrc rcll flnt suface,not the thick rrrouldinl{s oll tltc cloors or wall oanels.
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Details
The amount of detail required depends on your final intention. For a flat, dont include panel n.rouldings. But if you are planning to reorganise a library or similar, you probably should include them.
A team effort
Ideally there should be three people involved: one to draw and take notes, and two to hold the tape when large areas are involved. At home, you can get your family involved in this operation. Bur if you are on your own you'll just have to manage. $o
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T h ed i m e n s i o n s
These are indicated on a parallel line in the same direction, with small lines to indicate where the measurement runs, and little bias marks to indicate that it's a measurement. not oart of the drawinE. Be methodical!
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the uptheftoorplan/drawing Tldying thing whol,e
Yrlu can now go on to a drawing of the whoie tlring. Think of the floor plan as a good sketch which you want to improve or tidy up. Of course you can work in two stages:a first sketch as a foundation, and then superimpose a final drawing.
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a n ds c a l e Format
Now itt time to choose a scale. Let's think of an example. If you are doing a layout of a flat of 100m', more or lesssquare,it will be around 10m x I 0m. At a scaleof 1/50 (or Zcm per m.) it will be a square20cm x 20cm,which could go in anA4 format. But it will be too cramped, asyou must always Ieave some space around the drawing. Thus an A.3 format (29.7crn x 42cm) or even larger (50cm x 65cm) would be more appropriate. Of course,you can cram in a little more in a sketchbook.
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You must first of all make an outline, that's to say trace out the lines which will not be visible at the final stage of the work, but which will help to ensure that the visible lines are well positioned.
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Studythe layout
Before drawing the floor plan, make little sketches of it, diagrams in which you can analyse the general dimensions.Without really making a final plan, it's a way of understanding its logic.
25
Lalrout of a flat
I n t h i se x a m p [w e e g o o n t o t h e l a y o uo t fa whole f l a t ,T h ed r a w i n g s o n th e s et w o p ag e s sh o wth e d i ffe re nstages, t andthe pr ogr essive f i n e - t u n i no gf t h e d r a w i n g a sw e s k e t c h a n dv e r i f y t h ed e t a i t s .
rhu firr lryw, wudzin lt*, lrartun lauoln tlufaor rhar rhc,flwr yLan rf d,.a nrvlaanh flar w rea[ysunph
tdrwd, ^f tlr 4 d,tyrcawru. rlw drawLla i wr ft saql,c,.
26
vLrlw fkrd' d*awt*g,alldrz un;frrw,nflrtu haad,al,frr aw wWrwryrgleot i l,qit,tw. stz fh4,dr4h rf d^zy,yleotvw ygc a0,
4,
27
PELfPECT(VE
y o uh a v e v i e wo f t h e l o c a t i o a n n dc a nt a k e I na s c a t e drawing a good th measuremen at s a c c u r a t ea ty s y o uc o u t d i n t h ea c t u a t s p a cM e .o r e o v e r ,i s i s t h ed r a w i n m g o s tu s e d inbuiLdin wg ork. y o un e e d t o t r a i ny o u r s e [ Inorder t o d ot h i s , tf o [ o o ka t s p a c e differentLy p to consider f r o mt h ew a y y o u normaLl ye r c e i vie t .T h u sw e a r e n o wg o i n g -otn more'visua['metho h ed i f f e r e n kti n d s ofperspecti od f rse p r e s e n t a t i
t6
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29
|. vrt oqrL, wlvnrlv phwl,at tun ylvtcrl, lsruer ila I'e1Alt rf rhznryks,a: d,z n aLd,toaft rlv vuwfavwt rlv fam rf rl,,c wnlk,r, rlt. azrrwvw rf rhzJcnwryrnft-lvyk*.
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An effectof reduction
The prqection view does not distort length. It produces a paradoxical optical illusion: thinking we lre seeing in perspective, we find that the vertical lines, that's to say the walls, are higher than in reality because,if the perspective was true, they would cflectively be dwarGd by the effect of distance. To mitigate this impression we can corrcct it ,r Little by reducing the height, but then yor-rlosc tlrc chance of taking measurements. Note thlt rrrcustrrements are only taken while the vertical lincs strry parallel, and parallel to the sides of the flt>or plrrrr.
PIAN t:t-^*' rrt'rl rlt l r(x)R I t l t t ' a pt t l(AL' BvT/ R(',MAlf'llDEt'lT f'trrl1|)M) llFl(i(ARr ll 1l1l vl FII(At
rHE UNCHAN6D/
*ntfjl
* NOR- VlII
31
arrdfurruture
T ou n d e r s t a ntd h i st e c h n i q uo ef t h e p r o j e c t i o vn iew, s t a r tw i t hs i m p L o eb j e c t s s,u c ha s c u b e sb , efore drawing spaces. Practisb e yd r a w i n g pieces offurniture o r d o m e s t ia c p p L i a n ces t h i si s a g o o de x e r c i sw eh i c h w i Lf La m i l . i a r i y so e uw i t h t h e i rs h a p e s a n dd i m e n s i o n T s. hese progressiv se k e t c h ew s i Ua . t s or e m i n d y o uo f t h e i n i t i ap Lr i n c i p t eo sf d r a w i n gI:i n e s ofconstructio an n dp r o p o r t i o n s .
Ywwl) wt"u,lotb'ry atrhz d*a*u.gs, atwkol,yvtnrrhu vr,ew u ^vf^l twd,rawwg a l^allntjut rhts tsd*tattthzfqotrhat, u1*, L,rn* o"rseLvu tt a rzdnucL ya,r tf d,a vt'smL fidd' ah4'ahvawry frrn rlz varul'"g /loirt, du vizwisyraotw"U ,l" Jarne 45yznyotwz ,r,rl, varu,tlutg yraw (su drawtrg,yefl.
32
rl,a fin*:hzrtd.rnwwg
t. Dr4waw nrglz rf 3o" tlz tty , rhzn d*vt"dz Lww mt*n. T/uwd'wrlzzqaLhatf u"tl,'rzz.
6. Ad.d, th"fu4t
33
Taking advantag e o f t h e b e n e f i to s f t h e p r o j e c t i ovn iew, i , e .k e e p i n t gh e d i m e n s i o nm s ,a k e s o m ed e t a i l es dt u d i e o s f a n o b j e co piece t ra sma[[ of furniture M . ore v i s u atL h a ng r o u n d p l a n st,h e s e yo studies"atto wut o s h o w t h i c k n e so s, b j e c ts su p e r i m p o s o en d eu p o n a n o t h ea r n ds p a c e s T.h a n k t so t h e flexibil.i o tf yd r a w i n g , e c a ni n t r o d u cs i n p e n c i [w ee e - t h r o u g vh i e w sa , voiding m u L t i p |v. ie ews o f t h e s a m et h i n q .
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34
Y^rSuwfatt
'l'lrc
lrrojcction view enablesyou to move furniture ls you pleaseTry out some arrangements ,rtorrrrrl Itr lintl the one that suits you best, before buying tlrc vlu'ious elements of your office corner. z Dr4w tlvdw v{rttoq.l,s, tlutu d,rqw tlw vartor^s wv!- stnrfaus an/,
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35
a kitchen Drawing
in using prqection.The preliHere is an exercise nrinary drawing of the corner of the room and a automatically enables framework of 60cm squares you to place units to the correct size. This visual-ryou iation of the units, even if simplified, enables to group them better.
t Df4wa rumfur rf eootnJf/artJ 1a ftrarvkr/" ilz) avrrsyavtrll'g uwfl q,hi rlu rumhr tf ltt"lr,ew 4lllinr'.c$,
wu flvw *t *r cxykm'e/" /W 32, *lu.oh rh.e vyrflwns rrq.r[s frcvcnt th.tdra*ug teag rcn/"enst!.
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However, projections have the advantage of raising questions, like that of the partition wall now separating the kitchen from the entry hall, which was before the wall with the bathroom door. (This partition is studied on p.42.) rr'
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40
PkruW ytylcor. r'lwt y yarr rf rhaynrt,rwwwalL u ra[an lwd'w w. Awrxtraorcr wttl'urhu :lqwr" tehw. [ilr rf
fuawug vvc ontv:tu@ whaf u
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fr4r6l4rchi'.
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41
an openparttttorr Creatlng
Tlnr
fal,:euul.,"rg
42
l)ilot studyof the lower part with open shelves.The uppclrpart rcfcrcnccs the kitchen,and is presented ()u tlrc lcft is a staudwith a pot of rs its luq:ldc. lrcrlrs, orr tlrc right is rrsystcnl uncl of louvres.
drawing Preparatory
sthl,yart ruwW frvvv"tlvfal,n utlwg hv,twtt tlu Lmpw (
oymyarr tt tt rAaruvd,
the entrance, with storage drawers. In thc Lrppcr part, the objective is not to indicate thc kitclrcn beyond.
43
Transfornrrlrrg a flat
I n t h i so t h e re x a m p L ie t ,i s a s p a c e w i t ha d o u b t e orientatio w nh i c h wiLb l ,e created i n s w i t c h i nr qo u n d t h ek i t c h e n a n db a t h r o o m .
rlv,hob ftnr. r 1,,,e 4,aci,ht u yku/" vrvilz ynrrs fl+at }nt'trtt, r,u,a,hl,7fu waLl,t 4rc fr4hqtrch.t', *l"oh qllnwa/" werall ngrcrurl, /ttur(, wluoh \ rct. /nwwwh,
a.vlvna.rtr, vuw rf tlu or^otaL Hcrc., yam, rhz walkarL yarrtrtvru rhz r*ms rc tt o rrzd, arr slqww a: hartlad,zvis
45
plaoz rnvtt\. rf t'l^e rhzovrnzr 4r rhzyvw,r rf tl^zgnd, *lne,rc t-h.e thretylnrzs r,r,tzrv,or, as rhznyku rhzefutusn
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,4FTER-
rlu :yau hastu* rzdasgrcd, fv orz4t'(4 dresl4r-rwtw.r/u :ynaer,wfrrnr rf rl,z wwan* lw teewnse/, tt d.etgr" a Litdz rffiq orrrzr.
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tJ'trc,tl^'z t:lrrvtt'(al. htt'ha,t \tat leetu t,rttotl^,c latlu'oott (:ecy.ss). Th.e orrrtl,or wkeltkol to tl^',e har leer"ulcd,ft arearc tfn4. Lttt,h.cn shswt
47
rv(
point T h ev a n i s h i n g
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49
T h eh o r i z o n
The multiplication of parallel lines*generates a whole series of vanishing points, aligned to each other. This alignment is called the horizon. Thrs line does not appear of course, but it is recommended to place it in a realistic drawing as well as in an imaginary one, because it is the principal reference point for fixing perspective.
50
'W'hen
we move, the vanishing point of the lines in one direction seems to move too.-We can experience this in a room by looking at the vanishing point of the tiling. This shows that the vanishing point is notjust an effect oflines, but also an e{fect of our vision and our position in a space.
tr1
T h eh e i g h t ofthehorizon
Our position in a space affects both the vanishing point and the horizon. In the drawings on thrs page, look at the view from above and below.They show clearly that the horizon, at the height of the vanishing point, the convergence of the edges of the shelves, is at eye level.And if we stand higher, or sit lower, we can see that the horizon follows our movement.
T h eh e i g h t ofthehorizon in thedrawing
Once the height of the horizon has been established in a space,it must be shown in the drawing. That then depends on the framing you want. If you want to show what is above the horizon, you will place it towards the bottom of the window (seep.73).
52
"
wcl'ln rfu,a*ry
'tr U kv([,tunq alu,( a ltt*fftt rl a wU ry th wal,lr, Hcrc rhzhrrzor", Ne tlwnsetrlrat cl1.( nol^hat urttu,tvutrtl wuhq lunlrt r/ 4n,wl t ltvfst'ftfrr';r, wvrret. rh.rnan ot, rlv.r1,7lx u ralfu tlstt rA+ ilrcrv(r, h ntwc hqrut h,t luatl, rf th l,,arusn, tlz Lw,z
t^ f ht,t A'^wug,wt lul tlqt tl,cstarver mrrr lt vanl, lc,a^.tt tr tlv l.nru,rn ar gVthvel rl'.c f, tlu pturnftatNlsrv rglrt wl'+ktclow pryh tlv I'uglx rf rl,.t
ttanl#g,
FLoNT4l VtFWt
errnral lLMs
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This view presents all the advantages of perspective, and in an architectural drawing of the interior it allows us to show the floor, the side walls and all the elements seen here - furniture and the arrangement of detaiis - in a much more realistic way than a projection. Moreover, if we take a photo, keeping che axis of the object horizontal and perpendicular to the wall, we get a frontal view. 'We have the impression of being in the space shown, while with the projection view we were outside. In principle there is no longer the problem of walls in front hiding things, walls which have to be deleted or made transDarenr.
1i "i
54
s f a frontaI T h ep r i n c i p l e o view
z v,te dzfinz tll l,tgk nf rhz hortzy*, whrrh orrrtsfrnl,trc rl,e gt lzvdaf rl,z tturvcr,
g. wt,olnutz n yuskbrufw aentre, tl'z vanuhwg lvtnt rwrl,zhrt<vru rc tl,,e, rf ntyrvt, yrs:utlz, thz ffi w rghr, whbl,orrreslrnls Wrurwlr
4J w{ t4w earh,cr(ftt I r). wa aa.tufh.av d.rawLvrlv va^ukog linz: *ht"ol, dznaroqrz d^z :tte wal"h,t{ {ra
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r Dr4w a taoL-wallft a,olwsansoah. Drawu+(h.e hravt, rl,z vanuh.ug lwti- o, nnd, yvun A ahtr,E ft fl,a frnf rf rl,z *all,.
varutkry /vw) w ywt D (a,h.fflar 3. Pla,ae rl,e lwtzw"tv tlu rgk, sa"tared, a( da,Jraha eq"alto thar w\t tt* 4rc, fkc{d, u. relarwn, tt rlrz wall r/nu dutaloa u waJwzd, rn tlu hort<uru t'vtl,z saha saala
6 J,/
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lqrkwal li*.t A, E,, rhanB E,, s. Drawrh.e yw l,avt, nqrlarl onrvwtlvgrorwl tt Jlvqft, fttuoh4d,tr rhe taal" wall,
wHy rf rf A feV,AR.E3 vrttfhntgwtrg a dar^nMfrafwtu, rcrefl",atwhzw -frvyn oo w eqrwL durahta tv rlw rf th+ vtservzr rh'ehonzuuo teorws tlw var*:hug /w,t vf al) rhz Las wh,bh arc q( +r" tr rlug,o"nl, ykru. A'E t^4}4Jnruargh vf +r" ah"d, tr ooruitt resrh+ fu<l*L rf a sV,wre. tl", FWry enntLes ^s to d.efd." wtkL. find,rhz frvwilz
56
Masterint gh e d e p t h
You see then that points O and D show your position in the space: point O gives your height and your position laterally; point D gives your distance. Mastery of the distance is a little tricky. If you are placed too near (ifD is placed near O) the sides are very distorted. If you are too far away (if D is further from O) you risk being simply outside the room. Moreover, in that case,point D is often outside the drawing - annoying because you need a wider piece of paper that the area being drawn. see a similar problem when taking photographs which necessitatewide angle shots to compensate for the absenceofdistancc. Here too, there are practical limits which we get round by showing transparent walls.We can also choose to show only the part near the back wall, without trying to give too big a view of the sides. 'We
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57
58
THE DMWING
t. Dr4wrhz :ynu u"ehvarww, tt ag|ucwsonlapkq rl'rz vanhhug yru^acyal phoa o oD d,utahte D, tlz vf nrrzsyrntug yrirt /,istqhta toJ1* frtnr WA wa.U,. Draw d^zyruouyaL van*:lu"*g Lws ftwardao, ah/, vM fwturdr D frvntl'Z qr wall tntttn a.aal,(, trf A rha frvnrfu
z. Frtuw A, tnarL rff a tl,wrt ,eq^ued, h47thar, q"al r, p, t7w d'utaht{rfu nrfl,tnn lvu n wve,
6
3. Draw Pa, oru:ses AD qt P,
4 DrawvwrhlgrvawL tlv lw A p , whbh w rlu tau tf r/,t Mw l4rfl,rwt'wall, ayylyq.1 rlu pru^rtyhtryhrwtl ttuft(tt t(.
s , Draww rl'a vt al lias frrw du ta:e w,nl thg wfth rh.e tnteruzor vqhtJ Li,yw:.
59
60
? i i$
*_-*_|+p._,ln{
t, v'le have ,^11 tog, taol-ft d,,'t, uuttul ,Lxol o771^, (wkh vrq, yart orntwrwgnf rlw A*l fcoa^sa rhu wd) a to ffiLa 4pownft waJu{whtJ. trufaor, w tlrz cnatl,a pn/corwa dtawagr,rnly th":gn,,,M fk" f rhaltrttiwrv wal h'awrutva l:Www soah.
rl'wlnr yaruDaaarnlt4T n du kprh rf rlv uruunn rc tc Pkq p rn du l,orta,till,n wW fnnfu rglr.l,atl, rrwdz. otrn4r rf rl,,c lnr ani,t.Ert47P'fxrwan{ ft du rrrilfu rf fl,l pvw rf ,Lurarwt. Yw havc P',
havcl,rawn tn tlw taalptal{ tf dta 3. onaeJow drawtntl',e ve aLh,rws, ft tht cxf(ruwLL, "! rhln draw th daryw,al pra.tVaLvanul",y Lr,nzs. ftwqrrlJo wluphwdlgwcyo'nrhz -frontnf tl'e t^:c ,tzrrwqL ewu:|tty drawug wutlne, Lwwrf th,efinr . lryvur ttward,:rh.ekru vf ftglr
rfu atr^ylxcl,lgtcor
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61
4 HOME CINEM,A
,{ EooK COR.NEL
t tyvtre wtd,(, rh.cextcwwwu rcdtcc/"tv 4.t4.rfuftnyv wlrol"vrvu o ynrtn[y isalfteahl, Jc,lq.r4fc, a how cwt^4 arqr frtn rhz ,ctt' rf rlv n*n"
Tlw taol- vf thz n*tn w nsed,frr ylaowg a wfn aL,/ shalvct. r/w syau tatthJ4.rc^q"d, tl,a cxrerulm"/Ltlray rlw yarr u"frtnr ornf4uu v{U tlttv, 4.h1, a a wrL s^rfnu ar.l, a yarrttww rlu,ch
or(4fu a reaL l"ftth avfr4htl,
62
,1 EEDLOOM /OFFICE
rlw erer,.tnww wwrylzrc!abscd, vwrl,z d,ovr stdz a.h.d, I'a"lett"^)- fu*. rlw kolt- nf thz ,*rn w turr,ed,brtr atuvffic{.
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BEtrOR.-E
J
marked o u tw i t ht h e d o t t e d L i n ea , n ds o t h e r ei s n o tm u c h d a n g eo r fd i s t o r t i o n .
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ykrfvrm (roonD,ktlryo^ 9l*:t rhzlugk rf rh'e hr^t T/u txrtutntL rtr'zlofr, vr,tfu,d.rttzd, ylnu vru P u rhzrz sn t'hardu ykrftrn algu wkl'"rhz {,rsrs l,ghrnwtlzrgl"t.
64
Apltie,c ^ ,:;;:,
D e s i g n i na g s m a t lf t i g h to f s t e p s
D e s i g n i na gskytight
The secondconversion is the creationofa second dormer window on the right-hand wall, at the bottom of the room, which we imagine as being one-third the size of the remainingpanel,ar:d in the centre. Flereis the method for dividing a panel into three equal parts;it appliesequally well to a panelseenin perspective.
Orawtlnz Wr d.t4,v.nL:rf *hbl'" seyararet rhz y^anzl rhz -frvrw first' d.rrmtr ww,ltt
fM {ttd N4.U t h$( d,!4r,hau
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Thz fia (soowv) alhw5fsy 3 ref: ul vtt,d.r.vtAz rhz I'211ka"d.rec,rlrcwdrawtrcd^zvan*:lr"r.g [ , ah.d, ty wva^,: vf ilc llgrnnL wd,z bfr, d,wtnz rl,z l,ortz-nffqk tw rhra tn or(4rt t-lz rLsers tl" t@ rf d',evnn*:lwg yruntsar-d, fl'a yaral,hL 'LJ Lws aLlnws tr d.r4w tlu:tqs
ah
At rfu. yrwtt f a,tercectwn d.rawfia z vertaal,s wl"uL *il dlvtd,e rh4 yanzLin tl,rce
als
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65
To dividea wa[[
Itt enough to draw the vertical lines linking T to H.
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4
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f
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5.
Draw l,|,ttzs frrtn p tt tlv yri,tt: t, z, s 4,h/, + rlrese vnntslttt'g Ltr'z:d,i,vtdz AE zqunlfo
66
,f
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AFTER*
v'ttrl'" rlz l,'ely rf rhzgnn,w rcJe s+ rhz tkol'vw rhzrgl.r has teewt-qlzr, d.lwn ahd,tl.,a wr.!rw{ WW cnkryzd,fr tlnavte*vf rhz*LyW, at rl,a tao[-
68
room.
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cvrurnv(wwLua:l^alV ns vis,nnlise rlnzr,tw tl4ot. Tl"i wasrcr vi,:i.th, w"thz frrr lsroL.
r^/!wa7
69
Theobhoue vie
T h i sv i e wi s a t s oc a L [ ep de r s p e c t i v we i t ht w ov a n i s h i n g p o i n t sb , u td o n ' t worry: t h ed r a w i n g isquite simi[at ro t h ef r o n t a l v i e w .
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,fr."a_ 'f.,--.
l
r fu runfh,l,col vutswtclr* nry &ortlatw ft tccth.t wol,uf',aatuw: t/'wc rtll have a ( yrtrctyal varukta ynnr hzre prz) an*lur vaul,+nq yrtrr qllcari owrlv hfl - ee,.
The view here has already been shown on page 66, in'how to deal with an irregular shaped space'. Flere, our gaze is slightly turned towards the left. In this view, the left-hand parts of the room seem further away from the centre. They thus seem smaller and this perception is most marked on the vertrcal, the left-hand angle. The two lines of the panel at the end, at ground level and at the junction with the ceiling, now seem to converge towards a vanishing point PF1. In a frontal view these lines were parallel; now they are convergent. And they are still parallel in realiryl This is an application of the fundamental principle of perspective: objects further away seem smaller to us.
70
rigorous construction of this kind of perspective necessitatesa ground plan, an elevation or a section and a geometric device which is a little complicated and whrch is not shown here. Nowadays, in professionalpractice this classicperspective is done by computer (seep,80). Using the oblique view here starts with a sketch of the ground plan of your interior space or an imaginary space,in which the first elements are placed by guesswork. It's what we call in the following pages'building by eye'.We also use some. tricks of the trade which are enough to obtain a good result. Here too, the grids enable you to make some sketches (seep 86)
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a p p r o a cs hu g g e s t e hd e r es : etting t h eb o u n d a r i e s , P t a c i n g thehorizon positionin ge h o r i z o a th n n dd r a w i n g i n t h ep r i n c i p a [ The horizon, [rnes. as you know, is at eye level.To posrtion it weil, aim for a point that you are certain is at eye level, then measure it, remembering that the eye level of someone standing h 1.5-1.6 metres high, and 1 metre for someone sitting down. Aim for this point and mentally trace the horizontal line that passesthrough it. Imagine drawing a red line on the wall at this height.That's the horizon exactry (so long as you don'r change height!).When you are drawing, think of putting the horizon, according to the composition you want.
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Setting theboundaries
Mark out the boundaries of the spaceyou want to show and study:left, right, above and in front of you.ty to avoid too wide an angle - 90" is about the widest angle that our eyes can take in. For the record, an angle of 75" corresponds in photography to an objective with a focus of 24mrn, i.e. a very wide angle.
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H o wd o y o up l a c e thehorizon i n t h ed r a w i n g ?
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Placing t h ea n g l e s a n dt h e l i n eo f t h e ceiling
When you are standing in a room, the most obvious lines are the vertical lines of the corners and the horizontals which mark our the ceiling, like the cornices. Draw these three (or five) lines, being careful with the horizontals of the ceiling, for you still don't know their vanishing point.
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point Ptacing t h ev a n i s h i n g
Now is the moment to put in vanishing points, to left and right. One often feels it would be easy to place them by eye, directly. Experience teaches that this impression is wrong, and leads to mistakes. What I am giving here is an absolutely reliable way of placing the vanishing point: Take a pencil and hold it horizontal, parallel to the lines where you are looking for the vanishing point.Think of the lines behind you - on the floor or carpet under your feet, or under the furniture which are often parallel to the first vanishing lines. Now think of the line from your eye which is going in the same direction. It's one of the family of lines for which you are searching the vanishing point. Ifyou are looking in this direction you are aiming at the vanishing point. Bring up the pencil to your eye, without changing direction, as if it were a blowpipe with which you are sending a dart towards the point.The point you are aiming at is the vanishing point. You will probably be surprised to see that the point is not at all where you would have placed it by guesswork, but still further. You will also see that using guesswork you don't put it at the right height on the horizon, but a little above. 'sees' Generally speaking, one the horizon a little too high.
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p o i n ti s n o t o n t h e p a p e r l f t h ev a n i s h i n g
Very often the vanishing point is outside the com* position, and so outside the drawing, or even the sheet of paper. But that doesn't mean outside your vision, even ifyou have to turn your head slighdy to the side. Nevertheless, in so doing you are changing the line of sight and the drawing. In this case you have to be able to draw the lines without the vanishing point. In general we get by using guesswork, but I am going to show you a trick for making another vanishing line, or at least for checking that your drawing is not too inaccurate.
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Next, go up the tool palette and click on square 2. Click on the screen,slide across, then click again to let go.You have drawn a rectangle.
SketchUp
This is a modelling software program for Macs or PCs, perhaps the most impressive and user-friendly, used by thousands ofstudents and professionais alike.And what's more, itt free.Tap Sketchup into your search engine and fo11ow the instructions. Download the free version and start.
Firststeps
Start by exploring thc diflt'rcrrt menus. Later, you clrrr corrsrrlt the help and dowrrloltl tlrc instruction videos.Yru will scc the ground, bounded by rrxcs, tlrc menu bar and the palcttc of it'orrs opposite (if not, unclcr l)isplly, choose tools).Here is how to rrst' them for the first tinrc:
Now click on square 3 - the cursor become a little block with an arrow. Go back to the rectangle which becomes greyish, click on it and then, holding down the button, slide towards the top - a miraclel
Exp[oration
You are presentedwith talking icons, and many aids are available.We show here a smail, simple example to show you what it can do, but remember that rn spite of its apparent simplicity it is in facr extremely sophisticated.You can make a model, modify it, view it from every angle, add colours and materials, study shadows according to time and place, etc.The online aids are very good - they will help you savea lot of time and discover possibilitiesyou misht not other-wise know about.
Click on 1 (at the bottonr) rrrrtl then on the screen, :rrrd tlrcrr, holding down the nrousc lrtrttorr you can move about youl sl)il('c. The little hand enablcs yorr to move things sideways. Ytxr lcuvt' a tool by clicking on thc sprrc'c bar or on the black arrow ut thc top of the palette.
For more fun click on the little box opposite (in the menus at the top) or go toWindows, Shadows, click on'apply shadows'- another miracle.
These exercises will show you how SketchUp works.You won't have understood everything, and you need severalhours to get used ot it. (Start by printing the'memento'in the Help menu.)
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guideaimedat helpingbuddlngInterlor Drawing is a practical for lnteriorDesigners designers learnhow to draw professional lookinginterior designs. lt ls accesslble, perspectlve, beautifully illustrated and practical. Guidance is givenon drawing floor plans, drawing furniture and renditions of rooms. Fitted with sketches and drawlngs, this is the idealguide to producing successfuI handdrawings of interior deslgns. GillesRonin is anarchitect andlecturer at theSchool of Architecture at Parls Malaquis.