Architectural Drawing:Chapter 3: Architectural Drawing Types [An architect uses eight basic drawing types within the drawing set to most completely ‘describe the design of a bullding. ee PLAN View ofthe horizontal lanes of the bulling, showing their re lationship to each ater. A plan fs a horizontal section, pcally depicting te ain 3 tough ‘cut approximately 3-0" (915) -—M fem to il ie i 1— View of vertical cut through the bulding’s components. A section acts as a vertical pan and ‘often contains elevational information, such as doors and windows. This informatio is shown with aighter ine weight than the section cut. SECTION ELEVATION View ofthe vertical planes ofthe bulting. showing their relationship to each other. An elevation is wewed perpendicual rom a selected plane ‘THREE-DIMENSIONAL REPRESENTATIONS Perspectives (not scaled), axonometics, an isometries describe the building or space ina way that conventional plans, elevations, and sections cznnot. Perspectives ao particularly effective In producing a vew that would actualy Be expertenced by being in the space designed.LARGE-SCALE VIEW View of plans, elevations, or sections ata larger soale and wit more deta than the base drawings. Large-scale ews typically show materials, ‘specific dimensions, and notes, AX. £2, DETAIL Largescale plan, elevation, or section that proses very spectic Information about the materials and ‘construction of a ehasen area of 2 project component. Details are eyed int largerscale drawings. ygueea TCO DIAGRAM Draing at no particular scale, depicting organizing principles, thought processes, system ‘components, or connections that nave informed the design ofthe buldng but are ot part ‘ofthe conventional scaled views. Ql WS SN.UNDERSTANDING DRAWING CONVENTIONS For logiity and comprehension, designers employ a number of graphic conventions intheit drawings that communicate the designs eqully to chen, consultants, and contractors. In a necessary abstraction, nes, symbols, and txt ll combine to corwey the designers vision LINE WEIGHTS AND TYPES Lines are essential tothe communicative language of an iteror designer. Lines convey 3 project's Intended plan, demonstrate the sectional quality ofthe space, and visually cue the reader to matters of hierarchy, type, and ntent. Line weights and types can be created ‘through various mecia both manually and digitally. Line types have many funtion in n terior drawing, The designer determines the relative ‘meaning for different weights; Nowever, heavier lines ace typically reserved for plans and sec: ton cuts, while lighter ines form the outlines of surfaces and funiture within a room, Hear a —— O02 ———— ns ol tot ple et 07 ———— ons (06) 014 (036) Medium and Light 2007-018) henge sos ade ‘1003 (0.08) ee ova Dashed ate. 7 tsa rtm ees, orb he ‘stare. ‘Dashed tines represent many diferent cloments, from objeets that are hidden ftom view to objects above the eut plane (e4, eabinets adove Kitchen counters), rom the type of wall Construction to changes in level. They can also be tied to consultant trades, showing, for ‘example, structural gids, electrical wing, lighting and switching, or mechanical routing 30. colo, secs, wo STE Hicrarchy in a plan crawing is established through the careful use of ine weights and types, Here the wals that are eut are the most heavy rendered: furture and builtins are Hahte: fnd hidden elements such as shelving and eabinstry are expressed with dashed lines, amy otog — — >| ects aoe TS medium tne snowing sash indeating ermetr of tect bajets above medium ie showing to witin oject | 4 1 | sn esting —7 {| sect macon | tromvow mt i \ ravegsasce 31Interior Elevations Elevations are typiealy drawn ata larger Seale than the plans ofa project. This allows for the inclusion of mere deta, such as specif: information about the dimensional and material, ) ‘ualtes of objects inthe interior. Elements on elevational drawings are cross referenced to ‘section and plan details that futher develop the design. Her, cabinets, transoms, door and azing details, and custom fixtures are highlighted. soon Gap Details Detals indicate how the design i to be {abrcated, and range from wall sections to mechanical coordination details to rillvork construction. They are produced ata lager scale than all other drawings In the set. Seales for detais can be 8 small a 1/0 = 1°12 through to fll scale, Occasionally, dotalis are drawn st larger than fu ses to transmit leary the intent ofthe designer to the fabrica: tor or contractor. In deta dawinas, / ‘materials are rendered symbole, and annotations specify the material and fabrication methods tobe used, 38 coun, sic, aww sre crouingsaece 39‘Two-Point Common Method Perspective Locates the fed postion ofthe viewer at two-dimensional surface that recor the projected perspective image ‘2nd aligns perpendicular to the viewer's center of vision, The picture pane isthe only tue size ‘lane inthe perspective il: Onjects behind te picture plane project to Is surface smaller than tue scale, wheress those between the vewer and the picture lane project ois surface larger ‘than tue seal. “Measuring Line (ML): Located on the peture lane, the measuring line Is the ony true seal ne ina perspective crawing. Most commonly this 2 vertical line rm whieh canbe projected the Koy verti! elmensions ofthe objet. Horizon Line (HL: Lies atthe intersection of the picture plane and a horizontal plane through the ‘ee ofthe viewer. ‘Vanishing Point: Point at which paral ines aopear to oct in perspective. The lft (vp) and right (yp vanishing points for an object ae determined by he points at whieh a set of ies ‘fgintng from the station point ad paral the object ines intersect te picture plane. ‘Ground Line (GL: Lis atthe intersection ofthe pieture plane and the ground pane, ‘One-Polnt Common Method Perspective (One point perspectives use a single vanishing poi, and al edges and planes that are perpen- cular tothe picture plane vanish toward tis poi. To locate this point (C), draw vertical ine from the station point to the horizon ine. Building edges that are parallel to the petre plane ‘2ppear as peal lines in perspective, with no van sing point. «+ Picture Frame !-«. ~t iene cone intont te pete frat pps af totd As the a | ieee fe pte pee {moves farther frm the ture pane, te fieldPerspective Drawings Interior perspective drawings donot differ in construction from ther architectural counter- parts, though their obvious focus onthe interior makes the ehoie af reference point much 10 large an ange or the pleture frame to wise. Pleture Plane (PP): Flat surtace, alvays perpendicular tothe viewer's center of vi Sion, on which the image in perspective is projected. ‘Station Point, or eye point (SP): Locotes ‘the postion and height ofthe viewer. etevation | wth a 46 colon sce, wostne 5. Care must be taken, however, not to cstort the image by making the cone of vision Horlzon Lino, or eye helght (HL): Locates ‘the horizon as estabished by the wewer’s heights its typically projected from the vert cat measuring line (ML. Ground Line (GL): Represents the intersection ofthe ground plane and te pctwe plane. . ne CContor of Vision (Cn 2 one-point porspoc te, a ine perpendicular to tne horizon tine is deawn from the center ofvskon to estab lish the point to which al ines converge Vanishing Point (VP): Vanishing points in @ ‘wo pont perspective are found by projecting lines parallel to each axis ofthe plan unt thay meet the picture plane. Lines are then rected perpendicular tothe horizon in.Scale:Chapter 8: The Human Scale “The scale ofthe human body informs almost every aspect of architectural design. The Oi seslorues ob the pate IRN ‘dimensions in this chapter represent an average range (the lower number denotes the Inches andthe bive bars indieato milimoters. 2th percentile, wile the upper number denotes the 97.5th percentile). ‘aut Mate Figure ‘Adu Female FigureACCESSIBLE DESIGN DIMENSIONS: arcs, wus) oe ‘ep e| g a ad 5 i “003 ‘Architects must equal be famitar wh the dimensions of those with snecal needs, specie the constraints posed by wheelchai use. Design ty accommodate wheelchairs and other special ees is increasing the rule rather than the excaton, particularly as the concept of universal ‘design gains more prominence. Universal design suggests making all elements and spaces accessible to and usable by all poople tothe greast extant possible—a goal that, thou ‘thoughtful planning and design, need not acto the costo production. esi doth a0 30) nen she nn CVSS, A igre O55 oe ors) 0 65-20) ‘thes do phone cin gh ress)Presentation:Chapter 4: Presentation and Communication Drawings perform multiple tasks for the interior designer. They help communicate ideas to the elent at the beginning stages of a project; they present the image and ‘content of the design at strategic points in the process; and they are integral to the ‘construction documentation. Their effectiveness, however, depends on the manner in which they are presented. Designers have a variety of presentation methods avail able to them, al of which have specific functions inthe design process. Anything that an interior designer transmits to the public should be considered a reflection of the design practice. Letterheads, business sards, proposals, brochures, design boards, ‘models, and projected images all serve to communicate the designer's ideas. It is thus important to develop a clear and graphically cohesive program regardless of how the work is being presented, DEVELOPING A PRESENTATION ‘Akay hil for the designers the ability to dvelop an appealing and successful presentation ‘that translates tne ideas ana processes that led to spoctc design decisions, Creating 8 nar ‘ative, outlining and storyboarding the presentation, and determining the appropriate medium {or the content are but 2 few ofthe interior designer's task. The designer must also grasp how drawings—used as graphic eloments—funetion within diferent types of presentations, and how te prneples of graphic design can influnce the ‘resentation. It's.a good idea to keep an updated litrary of graphic design references that not ‘only offer inspiration, but also provide strong examples of article layout and narrative develop ment, The design award issues of graphics magazines are an excellont starting place, ‘Keep in ming that the relatively recent appearance of high quality color prints —even from fairly inexpensive inkjet printers—has expanded the resources avaiable for presenting ideas in printed form. It is tmportant that te intoor designer take a look at how the forma of Brint can affect the translation of design ideas. and also now to draw on graphic skis to sup por tis communication. 58. cou, sce avo ste DESIGN BOARDS Design boards setup a sequential and ordered structure in which the intent of the roposa Is ilustrated. For boards to succeed, the principles of storyboardng must be ‘applies tothe information being presented thisentals the hierarchy of the elements on the board itself and the sequence in which the narrative unfolds, Design boards alow the client to spend as much time withthe work as possible, and thus elements should be paced to allow for further discovery the longer thoy are examined. Numerous issues need te be considered when deslgning presentation toads. Number of Boards In determining the nun ber of boards ina presentation, several ‘questions must be asked: Whats the size ofthe project? How mary drawings wil be needed to adequately describe the project? ‘Ne there gong to be perspectives? Wil ‘samples bo attached directy tothe board or scanned and add to a perspective? Narrative Development and Outning Dewwioning 2 narrative fr the presentation ‘means, essentially, tling the story of the esign process. A wel-concelved nara te structures what and when to include in the presentation. Narratives provide a ‘amework that can allocate emphasis and importance to certain aspects ofthe proc {85. Maintlning an outtine of the design Intent, and developing it as the project itself ‘evolves, wil focus the narrative Spacing, Seale, and Speed: When developing the layout fora presentation, iis important to consider how the boards wil be viewed. ‘Some viewers wil quickly scan the boars, and others will pause to look at the work in opt. By amcipating this, layout statogies regarding the spacing and seale of objects can begin to address the speed at whien Otientation: Boards arranged wth theit Fength i the vertical mension are said to be in portrait format and those with a width longer than height are referred toa landscape. Each has (ts benef: Portal ‘ofiented boards have a visual resonance withthe printed page, and when displayed {in sequence, allow for more information in less horizontal space. Landscape-orientes ‘boatds enable @ more natural cropping of Views for perspectives, ond their with en ourages 2 more relaxed sequencing.Winite Space: The surrounding white space can be used to increase the relative im portance of any drawing, sample, or text ‘n the page. Designers should avoid over ompiicating the layout ofthe presentation by crowding too few boards with too much Information. Asing another boar i aways ‘Storyboarding and Thumbnails: useful method for developing the presentation is. tocreate several vaiatons as mock-ups ‘These mock ups gather the information tobe presented and then explore several sequencing strategies. Grid Development Labeling and Annotation: Often overlooked, fone of the most important factrs in de ‘termining how a ajout is perceived is the choice of fonts that wil transtate the designer's text. Clear, legible type, used at varying type siaes, e2n add another layer to how a boadd is reac it aso offers another _raphic element forthe design ofthe board. Establishing a good hierarchy of fonts early Inthe process allows annotations to be placed in relation tothe graphs in precise ways, AL the very least, decisions should bbe made with rogar tothe folowing label types in a document ttle font, label font, {and caption font To establish the structure and placement of abjects on a presentation board, the designer must develop 2 template that provides rule in the form of ards, Grids, eet up corectly, can larity the cistrbuton of the design elements. it uncertain where to start, interior designers can draw from the wold of the graphic art, frm which the following examples come, to fash ron their own gra systems. Singlo Columa Mutt-colume | Layout Strategies The following examples ilustrate two ofthe ways In which » modular gid system can be doployed In alarger set of design boards, Anchored, Images ond ites, Modular ‘id ot alos forReferences: Grimley, C. (2007). In Love M. (Ed.), Color, space, and style: All the details interior designers need to know but can never find. Beverly, Mass.: Rockport Publishers. McMorrough, J. (2006). Materials, structures, and standards: All the details architects need to know but can never find. Gloucester, Mass.: Rockport Publishers.