Download Architectural Drawing Course: Tools and Techniques for 2D and 3D Representation PDF

TitleArchitectural Drawing Course: Tools and Techniques for 2D and 3D Representation
PublisherBarron's Educational Series
ISBN 139780764138140
Author
LanguageEnglish
File Size26.0 MB
Total Pages147
Table of Contents
                            Cover
Titlepage
Copyright
Contents
Foreword
Accessing the profession
Learning to see: sketching
Orthographic projection
Objective abstraction: axonometric
Subjective representation: perspective
Dynamic rendering strategies
Accessing the profession
Timeline
Glossary
Resources
Index
Credits
Backcover
                        
Document Text Contents
Page 1

ARCHITECTURAL
dRAwIng
CoURsE

Tools and Techniques for
2d and 3d Representation

Mo ZELL

Page 73

71

assignment: 14

Conceptualizing an idea
Brief
Using the proportioning system established by
the Dürer letter elevations, design a device to
hold eight sketching pencils. You can store them
individually or as a group. You can only work
within the 4 in (100 mm) volume, and only using
straight lines.

Consider the 4 in (102 mm) cubic volume that
you constructed for the Dürer letter. Remove

Concept diagrams for a school program

A series of overlapping boxes indicates
a subtle connection between two
elements: circulation (orange) and
classroom units (gray). This diagram
describes how these units can overlap
into the hallway as instructional areas.

Tonal variations describe overlapping
spaces. An outline reinforces a more
subtle relationship between spaces.
Here, two classrooms are indicated by
the dark outline as overlapping and
sharing a middle zone between them.

This detail diagram depicts the specific
articulation of a classroom as it meets
the hallway. The orange indicates the
overlapping zone between classroom
and hallway.

Clusters of similar-sized boxes create
a negative space between, while the
subtle overlapping corners indicate
a connection between these
distinct elements.

2 Apply the Dürer proportioning system to all sides of the cube. this provides the
parameters in which you can work. think about
carving into the volume as part of the design
process. consider the length of the pencil and
how that will affect what you cut.

3Begin subtracting portions of the foam. the depth of the cut is based
on your notion of how the pencils will
be held up. the cuts, if deep enough,
will begin to affect the other faces of
the volume. consider the interface
with the human hand in the design.

4consider all six sides of the model. Any surface could be on
top. this aspect of the assignment
creates the challenge. Your site is
complex, even though as a volume
it appears simple.

1 establish the parameters of your “site.” For this assignment it is the 4-in (10-cm) cube. study the cube before you
begin designing. use it as a way to think spatially about a
concept. consider the weight of the pencils and how that will
affect what you cut.

UNIT 18: Construction: Dürer’s alphabet

all the lines other than the construction lines.
These lines represent the elements of the
Dürer proportioning system. Imagine working
only within the 4 in (102 mm) cube.

Your pencils do not have to be wholly contained
within the 4 in (102 mm) volume. Consider the
design from all six sides. Every orientation of the
cube must provide a place for all eight pencils.

Remember the goal of the assignment
and the definition of architecture.

Function: store eight pencils
Intention: how do I contain the pencils?
Architecture: aesthetics and compositions

What might provide you with compositional
or spatial strategies?

Page 146

144

Credits

Credits

Quarto would like to thank and acknowledge the following for supplying
the illustrations and photographs reproduced in this book.
Key: a above, b below, l left, r right.

Page 12 Charles Bowman/Robert Harding World Imagery/Corbis
Page 13 Richard Einzig/arcaid.co.uk
Page 15ac Private Collection/ Archives Charmet/The Bridgeman Art
Library/©FLC/ADAGP, Paris and DACS, London 2007
Page 17 Library of Congress
Page 18c Alinari Archives/Corbis
Page 18ar Bettmann/Corbis
Page 18b Library of Congress
Page 19al Alinari Archives/Corbis
Page 19ar Rembrandt Harmensz. van Rijn Graphische Sammlung
Albertina, Vienna, Austria/The Bridgeman Art Library
Page 19 Foster + Partners
Page 24 Patkau Architects Inc
Page 33 German Ariel Berra/Shutterstock
Page 37 Library of Congress
Page 40 Library of Congress
Page 41 Álvaro Siza
Page 45 Courtesy Steven Holl
Page 51t Hunterian Museum and Art Gallery, University of Glasgow

Page 68al Bettmann/Corbis
Page 68bl Bettmann/Corbis
Page 68br Bettmann/Corbis
Page 75 Courtesy Eisenman Architects
Page 79 Courtesy Richard Meier & Partners Architects LLP
Page 80 Eileen Tweedy/Victoria and Albert Museum London/The Art
Archive/©DACS 2007
Page 84 Bettmann/Corbis
Page 100ar Michael Hare/Shutterstock
Page 100c Shi Yali/Shutterstock
Page 100bl Edifice/Corbis/©FLC/ADAGP, Paris and DACS, London 2007
Page 103 Angela Hornak/Corbis
Page 102 Dennis Gilbert/Esto/View
Page 102 Jeff Goldberg/Esto/View
Page 105 Richard Bryant/Arcaid/Corbis/©DACS 2007
Page 108 Copyright 2007, Estate Douglas Darden
Page 115br Lewis.Tsurumaki.Lewis, Upside House,
2001 sectional perspective
Page 120 Seattle Diagram, Office for Metropolitan Architecture
Page 126br Oscar White/Corbis
Page 128bc Kurt Krieger/Corbis
Page 129 Single Speed Design,www.ssdarchitecture.com
Page 135br Design Corps

The author would like to thank and acknowledge the following for supplying other illustrations reproduced in this book.
Chapter 1: Billy Algiere (student), Brian Gregory (student), Allyson Abbott (student), Michael Mandeville (student), Kristin Kowalik (student), Marc Roehrle (architect),
Tony Wen (student), Pooneh Fassihi (student), Rob Levash (student), Caitlin Navin (student), John Hong (architect), Jinhee Park (architect), Chris Aubin (student),
Kyle Jonasen (student), Aleta Budd (student), Gina Siciliano (student), Mariana Creatini (student), Da Tha Nguyen (student). Chapter 2: Marc Roehrle (architect),
David Gamble (architect), Eunice Park (student), Mary Hughes (painter), Danielle McDonough (student), Tony Wen (student), Anisha Grover (student), Steve Fellmeth
(student). Chapter 3: Marc Roehrle (architect), Matt deCotis (student), Kristin Kowalik (student), Sarah Laliberte (student), Andrew Johnson (student), Heather Card (student),
Allison Browne (student), Ryo Inoue (student), Angela Giavroutas (student), Fatiya Diene (student), Gina Siciliano (student), Brienne Frey (student), Hokchi Chiu (student),
Kathryn Pakenham (student), Bridgette Treado (student), Chris Aubin (student), Michael Mandeville (student), Lauren Miggins (student), Eunice Park (student), Steve Fellmeth
(intern), Brian Gregory (student), Renee McNamee (student), Pooneh Fassihi (student), Kyle Jonasen (student). Chapter 4: Marc Roehrle (architect), Michael Mandeville
(student), Allyson Abbott (student), Martha Foss (architect), Mariana Creatini (student), Da Tha Nguyen (student), Brian Gregory (student), Brett Pierson (student),
Renee McNamee (student), Brienne Frey (student), Andy Lay (student), Kris Loper (student). Chapter 5: Marc Roehrle (architect), Brienne Frey (student), Luke Palma
(student), Sierra Sharon (student), Chris Minor (student), Amit Oza (student), Edgar Veliz (student), Brian Andrews (architect), Allison Abbott (student), Anisha Grover (student),
Brett Pierson (student), Mike Carroll (student), Ben Stracco (student), Dave Swetz (student). Chapter 6: Brian Andrews (architect), Steve Fellmeth (intern), Kathryn Pakenham
(student), Marc Roehrle (architect), Kornelia Znak (student), Anisha Grover (student), Renee McNamee (student), Elizabeth Maher (student), Randa Ghattas (architect),
Laura Boyle (student), Nawaz Kamthewala (student), Mariana Creatini (student), Da Tha Nguyen (student), Karina Melkonyan (student), Kathleen Patterson (student),
Phil Chaney (student), Tiffany Yung (student), Brett Pierson (student), Mitch Muller (student), Brienne Frey (student), Allison Browne (student), Mike Carroll (student).
Chapter 7: John Hong (architect), Jinhee Park (architect), Phil Chaney (student), Marc Roehrle (architect), Sarah Roszler (architect), Gina Siciliano (student),
Andrew Grote (architect), Ben Wan (student), Bryan Bell (architect).

Special dedication to my husband: Marc Roehrle
Additional thanks goes to Michael MacPhail, Andy Grote, Mary Hughes, Mark Pasnik, Lucy Maulsby, and Chris Hosmer, my friends and colleagues, who
provided frank and informative discussions about drawing and design. Without the unwavering support and inspiration from my husband, Marc Roehrle,
this book would not have been completed. I would also like to thank my family for their encouragement throughout the process.

Thanks to all my students over the years and especially to my spring 2007 manual representation class: Allison Browne, Hokchi Chiu, James Mcintosh,
Renee McNamee, Karina Melkonyan, Lauren Miggins, Kathleen Patterson, Brett Pierson, Stephanie Scanlon, Tony Wen, Tiffany Yung, Kornelia Znak.

While every effort has been made to credit contributors, Quarto would like to apologize should there have been any
omissions or errors—and would be pleased to make the appropriate correction for future editions of the book.

Page 147

Emphasizing architecture’s creative aspects, this book gives you a
foundation course in architectural design. It introduces you to the
visual language of architecture, encourages you to think spatially, and
inspires you to question the built environment.

Step-by-step tutorials explain the entire design process. In addition,
there are hands-on exercises that inspire you to practice your new skills,
from conceptualizing a space and visualizing it three-dimensionally to
creating sections, elevations, and fully-realized perspective drawings.

You’ll find information about building techniques and materials that
impact on design. You’ll also learn from case studies that show
different designers’ interpretations of a range of assignments. Finally,
you’ll get professional advice that will help you take your next steps
toward a career in architectural design.

P
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in
C

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in

a

ARCHITECTURAL
dRAwIng
CoURsE

Mo Zell has taught drawing at several colleges and universities
across the United States. She studied architecture at the University
of Virginia and Yale before spending several years working in the
profession. She is currently the coordinator of the foundation studio,
manual representation at Northeastern University in Boston. Mo is
also a founding partner in the design firm Bauen Studio, where she
co-designed the winning entry in the competition to create a Veterans
Memorial on Northeastern University’s campus.

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