Architectural Drawing Course_ Tools and Techniques for 2D and 3D Representation ( PDFDrive ) (1)

Vertical extension Digital modeling
A 3-point perspective is constructed in a similar manner to a
2-point perspective, except that all the vertical lines converge Digital modeling provides designers with an adaptable
to a distant vanishing point. This technique is useful when process for constructing three-dimensional representations
constructing views looking up at a tall building or looking down of their developing designs. In programs like SketchUp,
into deep spaces. In each case, either the picture plane is Form Z, Rhino, and Revit, you can translate two-dimensional
tilted or the object is tilted relative to the picture plane. In a information into three-dimensional models and generate
sense, all three axes are oblique to the picture plane. infinite views. Due to its ease of use, SketchUp is often
used during the design process for form generation and
Z West Bank Industrial Worker’s Club manipulation, single view perspective, and as an underlay
for freehand sketching. The other programs tend to be more
This view from the approach ramp was constructed to emphasize complex with a wider range of capabilities, especially for
both the power of the forms and at the same time the delicate complex geometries. In addition, they are often used for
quality of the floating buildings. Similarly the dark sky that speaks presentation-quality representations due to their superior
of impending doom is contrasted by the bright sunlight. The rendering capabilities. Other three-dimensional modeling
drawing is pencil on Arches paper. programs like Revit represent recent initiatives in Building
Information Modeling (BIM) and tie together the entire
Replicating experience model so that changes in one view will automatically be
Perspective drawings are not solely used updated in all views.
as presentation drawings for clients, planning,
or academic reviewers. They are necessary Three-dimensional models can also serve as the basis for
throughout the design process to verify plan digital animations, closely mimicking the experience of
and section ideas against spatial and someone walking through the design.
experiential ones. They are design tools that
aid in developing your ideas. Design changes Although not a common practice, single perspectives can
can easily be made between the perspective also be created with any of the two-dimensional programs
and the plan. Familiarize yourself with the like Autocad and Vector Works in the same fashion as
techniques of perspective construction so construction by hand—you simply treat the monitor as a
that you can understand and manipulate the virtual drawing board. When creating still images with digital
variety of images capable of being drawn. programs like Form Z or SketchUp, it is important to maintain
While plans and sections help create space, a critical level of observation to preserve the desired
only perspective images replicate experience intentions for each representation. It is also necessary to
of that space. control the CV to ensure that space is not distorted.

No matter which program you learn to draw and model with,
it is important to understand the relationships between
drawing types developed in both digital and manual
representation. Skills training in hand drawing provides
a solid foundation with which to consciously and willfully
design using digital media.

C Spatial expression

This K-8 school was modeled in Revit
9.1 and then rendered with Mental Ray
in 3DS Max 9. The role of the sectional
perspective is to express, using color,
the spatial relationship between the
pool, the gymnasium, and the library.
Structural elements depict boundaries
and light qualities in the space. It
provides the viewer with the ability to
see multiple spaces simultaneously.

UNIT 26: Finishing a perspective 99

Unit: 27

Architectural element
design: opening

By designing a single architectural element you will become
aware of the many design decisions involved in each
component part of the element and in the relationships of
those component parts in creating the overall project.

C Reconsidering V Framing a view Familiarize yourself with as much information
worlds as you can before conceptualizing your project.
Openings are abstract thresholds This first phase of data collection will involve
A television is not between elements. At Arches National site and precedent research.
typically considered Park in Utah, this single arch frames a Getting started
an opening, but it view of the distant mountains. Most designs are not created in a vacuum.
can be reconsidered Ideas, inspirations, and responses can be
as a window on a  Precedents drawn from the existing conditions on the site of
world of sound and the project. The various scales of the existing
moving pictures. The Villa Savoye by Le Corbusier conditions can be investigated. That is, a site
juxtaposes a glazed strip or ribbon might be a room within a building, within a
window with similar sized unglazed neighborhood, within a district, or within a city.
openings. An opening on the roof Each of these existing conditions can influence
terrace acts as the focal point of the the design. The existing conditions can also
circulation sequence through the expand to neighboring sites, context, and
house, framing a view of the histories. Always consider what is around the
adjacent landscape. site, not just the physical elements like buildings,
trees, open space, and transportation networks,
but the cultural ones as well. The existing
conditions, along with the rules of the program—
whether they are code considerations or rules
created in an academic setting—need to be
considered when brainstorming the project.

Precedent research
Typological precedents—those designs that
have come before with the same program—
are excellent places to start your research. This
is especially important for beginning design
students, as what they bring to the design
process is intuitive and limited by personal
experience. To broaden your knowledge base,
familiarize yourself with historical precedents
and the meanings behind the designs.

100 CHAPTER 5: Subjective representation: perspective

The design problem When considered abstractly, you can think shape, material, texture, transparency, and so
When confronting design issues, it is important beyond the familiar double-hung, bay, or forth. Openings are not neutral elements. Even
to challenge preconceived notions and critically slider window. You experience a variety of conventional openings make a statement about
evaluate the essence of the design problem. opening types on a daily basis. Their ubiquitous their use; for example, residential windows, often
Step back from everyday language and think nature blurs them into the background of the of a typical size and scale, are recognizable as
more conceptually about the problem. built environment. different from commercial window types.
The term “opening” as it relates to architecture is Openings are thresholds between two sides. Possible functions of an opening
used to define everyday building elements like These sides can be unique or similar depending •to let light in
windows and doors. Opening, as defined by on the context in which you are operating. •to frame a view in
Webster’s New World Dictionary, is an open Regardless of the type of side, the opening •to frame a view out
place or part, hole, gap, or aperture. From this participates in both realms simultaneously and •to provide a place of occupation
definition the term “opening” can be independently. The opening affects the •to demonstrate the thickness of the wall
disassociated from the familiar term “window.” experience of a space depending on its size,

16Assignment: 24-ft door location 6 in Strong ideas

Design an opening Opening location • The simpler the idea, the stronger the project
3 ft-6 in 16 ft will be. Simple does not mean mundane or
You will be examining the nature of an opening 9 in 6 in boring. Simple means that an idea is honed
in detail by exploring issues of light, ventilation, down to its essence. It has clarity.
significance, size, scale, materiality, proportion,
privacy, view, point of view, space, place, • Architectural moves should support more
security, and control. The project is small, but than one idea. Ideas that have multiple
involves complex decision-making. This is clear influences strengthen the project.
from the list of issues mentioned, especially
when each issue is considered as a threshold 2” 15’-6’ 64 4 Process: research
between one side and another. Find three precedent examples that could
Opening location N 024 6 provide inspiration for your own design.
Brief Do not limit yourself to the preconception
You are asked to design an opening for that opening = window.
an existing room. The site is an existing Z The room Remember that the process of design is
corner room on the second floor of a iterative. You will start the process, evaluate your
building with given dimensions and sun You are asked to intervene into an existing room.
orientation (see diagram). The program of the room is left ambiguous (it is
not a bedroom or a living room) so that the focus initial solutions, and redesign based on the
• The opening(s) can only be placed on the two of the design is based on the proportions of the clarity of the narrative relative to the articulation of
indicated surfaces, the south and west walls, in room and room orientation. the idea. You will repeat this process over and
the selected areas. Multiple openings can be over again. Understand that the initial idea you
located on both walls. of 35% of the total surface area of the two produce is the generator of the architecture and
• The ceiling height in each space is different— exterior walls indicated on the plan. will be manipulated over time. Your initial
a dotted line on the plan indicates where the • Each wall has a different thickness. sketches may not look like the final outcome of
change in ceiling height takes place. One • The opening cannot penetrate the roof the project. This is fine; through the iterative
ceiling height is 10 ft (3 m) and the other is (no skylights). process you will learn to develop your ideas.
12 ft (3.65 m). Choose which ceiling plane • Glass used may be clear, colored, or frosted; This takes experience and time.
is higher than the other based on your no glass block or other types of specialty glass
conceptual design ideas. may be used. Sketch initial ideas, including your initial
• A door must be added to the plan along the reactions to the assignment and precedent
north wall. Consider the type, size, and method Think back to Unit 1 (page 12), and remember research, in your sketchbook. Any idea that
of operating the door relative to the experience that architecture is not a purely practical comes to mind should be recorded. Do not
of the user in the room, and its relationship to discipline. Design involves creating a narrative try to use all of your ideas in one project.
the opening design. that defines the meaning behind the physical Learn to edit your ideas—too many ideas
• The opening can take up to a maximum moves of design. Solutions for design should are just as bad as too few.
be both practically and poetically driven.


UNIT 27: Architectural element design: opening 101

Translating ideas to paper or models Consider the location of the plane of the glass through the experience of someone looking at
• Create three study models at 1⁄8 scale to in the the wall thickness. Should the glass be or occupying the opening. Use the perspectives
investigate the conceptual thinking recorded in centered in the wall, flush to one side, or as a design tool. You can manipulate elements
your sketchbook. What is the intention of the asymmetrical? What does it mean to have of the perspective, such as the height of a wall,
opening? How does it react to the existing glass that is flush versus centered? the location of an edge, or the size of a form,
conditions? Is it about light? What quality of Developing the initial design which can then be modified in plan. In addition,
light? If it is about view, what is the nature of the Select one of your original study models as use the perspectives to represent floor, wall,
view? Is it directional? Is it about viewing out at the basis for your design. Develop your opening and ceiling materials to begin to characterize
an object or in at those occupying the space? ideas, using the hardline drawings as underlays the space.
• Hardline a plan and section of the room on to make changes and modifications to your Using charcoal drawings
trace without any design elements at 1⁄4 scale. design. As you continue to think and sketch, Create charcoal drawings of the opening
Use this as an underlay for freehand create a new study model to explore your ideas design to experiment with the way light moves
orthographic sketches. at a larger scale. This new study model should and changes throughout the day. This is a
• Review how to draw glass in plan and section. be twice as big as the first study model, at 1⁄2 critical design tool that documents how light
Typically, glass is drawn using two lines as close scale. An increase in scale requires an increase enters the room through your opening.
together as possible while still maintaining two in detail in both drawings and models. To understand how light moves in space,
distinct lines. Remember all materials have Using perspective drawings place your study model on a work surface
thickness. At ⁄1 16 scale glass is represented with At this time in the process, it is good to and use a desk lamp to cast light through the
two lines roughly 1⁄2 in (1.2 cm) apart to scale; construct a few perspectives to investigate how space. Or take your model outside. Sunlight
at 1⁄8 scale this might be 1 in (2.5 cm) apart. your ideas in plan and section are executed is scaleless, so shadows cast on the model
The two lines representing the glass should replicate built conditions.
never be further apart than 1 in (2.5 cm).

Image folder exercise

Find window precedents and add to your image folder.

Le Corbusier La Tourette, Ronchamp, Villa Savoye,
La Roche-Jeanneret
Frank Lloyd Wright Fallingwater
Steven Holl The Chapel of St. Ignatius
Marcel Breuer Whitney Museum
Tadao Ando Koshino House, Church of Light,
Church on the Water, Vitra Museum
Clark and Menefee Middleton Inn
Louis I. Kahn Salk Institute, Esherick House
Konstantin Melnikov House in Moscow
Carlo Scarpa Brion Cemetery, Canova Cast Museum
Walter Gropius Bauhaus
Alvaro Siza Faculty of Architecture, Faculty of Journalism,
Galician Center of Contemporary Art,
The Serralves Foundation,
Vieira de Castro House
Guiseppi Terragni Casa del Fascio
Herzog & de Meuron Roche Pharma Research Institute
Jean Nouvel L’Institut du Monde Arabe

The Palm House at the Royal Botanic Gardens, Kew, in London, UK
102 CHAPTER 5: Subjective representation: perspective

Marcel Breuer

Z Charcoal drawing Marcel Breuer (Hungarian b.1902
d.1981) was one of the fathers of
This charcoal drawing for the opening assignment emphasizes Modernism. He employed modular
contrasts between dark and light. The sharp light casting across construction with simple forms.
the space is representative of the setting sunlight in the western He taught at the Bauhaus with
sky. Note the reflective quality of the walls around the openings. Walter Gropius and is perhaps
most recognized for his furniture
C Exploded axon designs. The Wassily chair,
constructed out of bent steel
This exploded tubular members, was in part
axonometric drawing, influenced by steel handlebars
on 90lb hot press on his Adler bicycle. One of his
Arches watercolor paper, best known buildings is the
emphasizes the layered Whitney Museum in New York City.
elements that make up Its heavy inverted ziggurat-inspired
the system of the window. form with a monocle-like window
The window wall is pulled was once controversial. Over time,
away from the space to however, it has been heralded as
enable a clearer sense of a bold, inventive building that
the component parts of challenges contemporary notions
the opening. of aesthetics.

The material palette in the space, concrete walls and Using Arches paper Z Window as object
ceilings along with wood flooring, can influence the
design of the project. • It is an opaque surface: you cannot trace on The Whitney Museum in New York
this paper unless you have a light table. by Breuer: the single small window
opening along Madison Avenue
• Erasing is more difficult than on vellum. was a powerful gesture at a time
when the curtain wall of glass was
• A pencil mark leaves an indentation in the paper proliferating. This window allows
even after you erase it, so press lightly. you to look up at the street, not
just across it.
• It is expensive: this can be intimidating, although
you can draw on the back.

• It comes in pre-sized sheets, so offers less
flexibility than a vellum roll.

UNIT 27: Architectural element design: opening 103

Unit: 28

The kit of parts

The kit of parts project dates back to
the 1950s with the introduction of the
nine-square grid problem by John Hejduk
at the University of Texas.

Along with fellow academics Colin parameters allow you to concentrate a myriad number of solutions These basswood models capture the
Rowe, Robert Slutsky, and others, on developing the narrative as it is possible. As problem solvers, sharp light cast into the space.
Hejduk was part of a new trajectory in relates to the composition of spaces architects deal with their own kit
architectural education that promoted and the sequence associated with of parts in the building codes,
design as a formal issue. those spaces. zoning codes, covenants, and
program requirements.
The original “kit of parts” problem Compositional design strategies
included a reduction and simplification make up the core of the kit of parts
in the number and type of formal problem. Composition is the
elements, often repeated, that led to a active arrangement of parts to create
focus on threshold, enfilade, space, a whole; to establish order. Even
vistas, and movement. These limited with the limited number of parts,

17Assignment: This exercise challenges you grid. They must remain rectangular
to compose a series of spaces, and may not be placed on the very
Using the kit of parts using a prescribed kit of parts, edge of the plinth.
to orchestrate an experience, • Subtract a volume 2 ft 6 in
based on five themes. (76 cm) high by 6 ft (1.82 m) wide
by at least 10 ft (3 m) long to
Your site is a solid plinth, measuring accommodate an entry stair.
2 ft 6 in (76 cm) high, • Define a sequence through
by 80 ft (24.40 m) long, the site using eight 6-in (15-cm)
by 32 ft (9.75 m) wide. columns and five walls measuring
The plinth is delineated by a 4 x 4 ft 10 ft x 12 ft, 16 ft, 22 ft, 36 ft, and
(1.22 x 1.22 m) grid. 40 ft (3 m x 3.7 m, 4.9 m, 6.7 m,
Brief 11.0 m, and 12.2 m). Place
• Locate two shallow columns at grid intersections and
reflecting pools: align the centerline of walls with a
one measuring 1 x 38 x 18 ft grid line, except at the perimeter of
(0.3 x 11.58 x 5.50 m), and another the plinth where the edge of the
measuring 1 x 22 x 10 ft (0.3 x 6.70 wall must align with a grid line. Do
x 3 m) wide. You may place the not place columns inside the pools.
pools anywhere, as long as at least
two edges of each align with the

104 CHAPTER 5: Subjective representation: perspective

C Capturing space Mies van der Rohe

Space between the Ludwig Mies van der Rohe (German-American b.1886 d.1969) is considered to be
walls, roof, and columns one of the most influential of the early Modernists. After establishing himself at IIT
is captured in this in Chicago, Mies went on to create a number of influential buildings in the U.S.. His
constructed perspective. buildings aspired to establish a new style to embody the spirit of the times. Perhaps
This image orients the first to do this was the German pavilion for the World Exhibition in Barcelona in
the view to the space 1928–1929, the Barcelona Pavilion. It embodied the streamlined aesthetics of the era.
between two walls. The Barcelona Pavilion was an exercise in harmonious proportions and exquisite
composition of materials. The expression “Less is more” has been attributed to Mies.

The Barcelona Pavilion.

• Use a combination of walls and plan of your site (the plinth). While sketching in plan, think three- should be drawn to showcase the
columns to support a canopy Generate at least 12 different dimensionally about your design. character of the materials, textures,
(see diagram for dimensions). spatial compositions based For each plan draw a series of four and space as light changes
The edges of the canopy must on the following themes: small perspective sketches that throughout the day.
run parallel to the lines of the grid. • ceremony represents the sequence of Final representations
No wall may cantilever over the • contemplation movement through your design. • Plans and sections at ⁄3 16 scale
edge of the plinth. • dialogue Do the sketches reinforce the (1 longitudinal section and
• Finally, find a place on the site for • imbalance idea? If not, revise the sketch (use 2 cross-sections)
a monolith measuring 1 ft 6 in x 2 ft • tension trace), then return to the plan and • 3 constructed perspectives
6 in x 12 ft (45.6 cm x 76.24 cm x Explore each theme at least once. modify it based on the perspective • 1 basswood model
3.65 m). Orient the monolith This allows you to be selective changes. Draw plans and sections • 2 charcoal drawings
vertically, horizontally, or on its side. about which ideas you develop at ⁄3 16 scale so that relationships • Final presentation images
At least two edges must align with and clarifies your thought process. between the two can be exploited. including perspective drawings,
the grid. Record the definitions of each Make a model to help establish diagrams, orthographic projections,
Process word along with your own the sequencing strategy and and final models.
You will design several spatial interpretations of them. Brainstorm provide opportunities to study the
compositions using all of the the meanings of these words. light qualities of the spaces. In
parts in your kit. Use a soft pencil This will provide a foundation for addition, creating a series of
(2B or 4B) or felt-tip pen to your design. charcoal drawings will demonstrate
freehand trace over a hardline light interacting with the kit
elements. Charcoal drawings

UNIT 28: The kit of parts 105



CHAPTER 6

Dynamic rendering
strategies

This chapter looks at a number of different rendering techniques
that enhance the dynamic qualities of representations.

Architectural drawings can evoke a sense of the mood, texture,
and atmosphere of a space, transcending mere two-dimensional
abstract representations.

Dynamism in architectural drawing can be achieved through variations
in medium, vantage point, and composition. In addition, graphic
elements and graphite rendering techniques can be layered onto a
line drawing to enhance its evocative quality. These explorations can
provide the viewer with a greater sense of the architect’s intentions by
exaggerating certain aspects of the representations. Color, point of
view, layout, or the addition of collage elements provide opportunities
for you to present your ideas in a more compelling and lively manner.
These methods enhance existing graphic constructions while creating
opportunities for new representations. Dynamic presentations should
support design intentions.

In addition, this chapter will explore the step-by-step process of design
while examining space as both an additive and subtractive design tool.
The way in which space can be used to describe and diagram existing
conditions will be examined along with the methods of translating initial
design ideas into spatial explorations. The distinction between additive
and subtractive methodologies will be defined.

107

Unit: 29 Read this!

Rendering techniques Darden, Douglas
Condemned Building
Line drawings alone cannot convey the textural qualities of a space: Princeton Architectural Press,
how a room reacts to light, what materials enrich the space, or the way
light and materials interact. It is sometimes necessary to enrich line New York, 1993
drawings with indications of material, shade, and shadow.

Material indications and rendering in a Metal and stone can be rendered metal or wood. Adding shade and
drawing help to convey the texture, with some sense of inherent reflection shadow can provide more depth
rhythm, and scale of a space. Materials or shadow. In some cases, a tonal to a rendering.
can be indicated through a variety of value is given to only one material
line techniques and are produced on to distinguish it from others. Concrete
floors, walls, and ceilings ranging from is a good example. It can be rendered
concrete, wood, metal, glass, plastic, using a variety of techniques but the
and so forth. Material renderings main consideration is that it has a
provide tonal value to the drawing. tonal value different than that of

The two issues to consider when representing
materials are scale and intention.

Scale Z Shape and texture
Consider at what scale the representation is
drawn. For example, brick can be rendered in This pencil rendering by Douglas
a number of different ways depending on the Darden reveals the shape and
scale of the drawing. Start by indicating the textures of the elements in this
horizontal nature of the material. Abstract the design. By rendering most of the
material so that in the representation it appears object, the white of the page
convincing. A drawing at ⁄1 16 scale might require becomes compositionally important.
a more abstracted version of brick than a
drawing at a larger scale, such as 1⁄2. Even C Material indications
at this large scale, you will need to consider
if there are additional vertical breaks needed This pencil-on-Arches elevation drawing
that identify individual bricks versus the more endeavors to relate the materiality,
general horizontal nature of the brick. construction, and light quality of the
Depending on the level of detail desired, shipping containers that comprised
every joint of every brick can be drawn. the housing units in this project, located
Intention in downtown Los Angeles. Careful
Consider what you want to emphasize with a attention was paid to the details so that
material: horizontality, verticality, or a particular the physical reality of the containers
wall or surface? Some drawings are best was not compromised.
presented when only certain hierarchical
materials are rendered. This limitation on material
rendering can reinforce design intentions.

108 CHAPTER 6: Dynamic rendering strategies

C Connection
to the ground

This sectional
perspective makes the
section legible through
the application of poche.
By depicting the cut in
black poche and making
it thicker, a stronger
connection to the ground
is implied. This is further
emphasized by the pools
that dig into the ground.
The material renderings
of wood and tile on the
interior characterize the
quality of the pool space.

ZX Material rendering techniques: Digital rendering understand the abstract quality of rendering
techniques developed during the design process,
The positive shape of a stopwatch is rendered in Computer programs have become extremely while clients may want a more “realistic” image to
different ways in graphite. The vertical hatching (top) sophisticated in their ability to output images with experience the space before committing the
creates a neutral textured surface, useful for describing rendered materials and entourage. Though the money to physically construct it.
wall surfaces. The stippled texture (middle) creates an amount of time it takes to construct and render
impression of concrete, but can be time consuming. computer models has decreased significantly over
The darker vertical hatching could be used to depict the last few years, it still presents a high level of
dark wood surfaces. In three dimensions, hatching is attention and time commitment to output detailed
used to define tonal areas (below). Rather than and beautiful digital images. Architects generally
drawing a line where two surfaces intersect, the two
planes were rendered with hatching to imply a line. C Realistic
rendering

Realistic digital
renderings allow
clients to compare
their interpretations
of the drawings with
the intentions of the
designer. This image
emphasizes the spatial
dynamics of a sculpture
garden inside a newly
designed museum.

UNIT 29: Rendering techniques 109

Unit: 30 Read this!

Charcoal drawing Johnson, Nell
Light is the Theme: Louis I. Kahn
One method of drawing that captures the quality of light in a
space is charcoal drawing, mentioned briefly in Unit 11 as a sketching and the Kimbell Art Museum
technique. This unit will describe in more detail the construction Kimbell Art Foundation,
of a charcoal drawing using compressed charcoal. Fort Worth, 1975

Louis I. Kahn was one of many light when designing. He knew Brooks, Turner
architects who understood the how natural light animated a room Turner Brooks: Works
importance of considering natural and brought it to life. Princeton Architectural Press,

“The making of spaces is the making New York, 1995
of light at the same time.”
Precedents
Louis I. Kahn, talk at the Otterlo Congress
Drawings from Hugh Ferris and
Turner Brooks offer examples of
evocative high-contrast black and

white images. These images
explore the possibilities of design

as opposed to being purely
representational.

The medium of charcoal combined depending on the length of the
with perspective drawings provides charcoal stick, pressure applied by
a method to render mood, light, the artist and the positioning of the
and textural qualities in an evocative stick, whether vertical, horizontal, or
manner that transcends the line angled. The soft compressed
drawing. Charcoal drawing utilizes charcoal is similar in shape and
contrasting lights and darks to size to pastel crayons. You can
demonstrate how light affects and hold the charcoal stick in a variety
influences space, materials, and of ways to achieve different line
movement. In this method, tone types. You can also smear it with
and shade are used to create your fingers, reducing the marks of
volumes or planes of solids and any individual stroke on the page.
surfaces. This drawing type Methodology
enables you to reveal the One technique among many to
experiential nature of a space in a lessen the tension of drawing with
very evocative manner, as well as to such a dark material on a white
design spaces influenced by light. surface is to use the charcoal to
lightly tone the entire drawing
Z Monumentality There are several charcoal options: surface. Your blank sheet of white
• vine stick paper is shaded to a gray tone with
Hugh Ferris used charcoal to • soft compressed the long edge of your charcoal
evoke a sense of monumentality (preferred—provides a variety of applied with light pressure. By
in his building representations. line types but is a little messy) reversing the page from stark white
Note the surface quality of the • pencil to a tonal gray, the pressure, both
marks on the page. literal and figurative, of making the
first mark on the page is lessened.
The soft compressed charcoal By toning the paper you can now
stick is ideal for the beginning either add black marks with the
student. It offers a myriad of
possible marks on the page
110 CHAPTER 6: Dynamic rendering strategies

CZV Spatial narrative

Charcoal is a dynamic medium that enables dark shadow areas and delicate
veils of light to describe the play of light on surfaces. These three charcoal
perspectives depict a spatial design narrative through a series of single views.
They reveal a strong division of space with vertical elements. Light is used
to wash wall surfaces, provide views or direct movement.

charcoal or erase for light or white There is a “messy” quality to Color or not until one has mastered black-and-
marks. Tones of gray are possible charcoal that liberates you from the Similar art forms, such as black and white photography, emphasizing
through rubbing. You can smear need to be precise. Any mistake white photography, rely on tonal tone, shade, and quality of light,
the page with the heel of your can be easily fixed by rubbing, differences in the image to one should not try using color film.
hand, your finger, or a rag. smearing, erasing, or adding more enhance and reveal the depth of His suggestion can be heeded by
Concentrate on making marks charcoal. There is a massaging of the space. Walker Evans, well those thinking of shifting from
that are less like lines and more the paper to work the image into known for his black-and-white black-and-white drawing to color
like planes of dark or light. No place. Start light and work toward documentary photography during prematurely. The complexity of
lines exist in nature, so the marks dark. It is easier to darken the page the Depression, only started using color should be tackled after you
on the page should be considered than it is to lighten or completely color photography much later in his master black and white.
spatial delineators—not edges. erase the black. career. He has suggested that

UNIT 30: Charcoal drawing 111

Unit: 31 Light and intention

Shade and shadow Become a keen observer of light
and how it acts and reacts to
The interaction of architecture
and light is an integral component surfaces. Place a complex object
of design. under a desk lamp and draw it under

Representational forms in which you several different light conditions.
can show the effects of light include Think about when the light can create
orthographic projections, axonometric,
and perspective line drawings. The both short and long shadows.
graphic depiction of shadows in these Think about the orientation of the
drawings provides additional depth, light—will that enhance or obscure
characterizing the interaction between part of the design? Be aware of
architecture and light. how graphic representations can

Shade and shadow added onto reinforce intentions.
orthographic drawings gives a
three-dimensional characteristic Z Compositional balance
to a drawing by emphasizing the
depth and space through light and how Long shadows provide compositional
it interacts with surfaces. Shadows expose balance and change the emphasis from
the physical relationship between the elements the object to the space between the
in the space that are receiving the light and shadow and the object.
the elements that are creating the shadow,
the wall, window cutout, and so forth.

Two key elements to consider when constructing
shadow drawings:
• Shadows are cast onto a surface
(no surface = no shadow).
• A consistent dimensional relationship exists
between the element casting the shadow and
the surface accepting it.

V Interaction of light Z Indication of depth in plan

Shade and shadow rendering in this Shadow plans indicate the changing
perspective provide a sense of how floor depths. They reveal the relative
the light filters into the space and heights of individual elements and
interacts with the shelving system. the relationship between solid
112 CHAPTER 6: Dynamic rendering strategies and transparent surfaces.

V Indication of Lighting terminology
depth in elevation
As a designer, it is important to note the
In elevation drawings, sun orientation relative to any site that
shadows demonstrate you are building.
the relative relationship In the northern hemisphere:
between elements, • Summer Solstice: June 21 at noon
indicating the depth of • Winter Solstice: December 22
recesses or projections. at noon
Solar charts are available that provide
C Relative C Scale in context the correlating height and angle of the
influence of light sun in the sky relative to a specific
In a site plan/roof plan shadows show location. Note on these charts that the
In section drawings, the scale and form of a building relative summer sun and winter sun move along
shadows show the to the topography of the site. They also very different paths in the sky. Closest
relative influence of provide a method of distinguishing your to the June 21st date, the summer sun
light in a space. The building from the adjacent context. rises north of east and sets north of west
farther away the surface while on dates closest to December
is from the light the Z North light 22nd, the winter sun rises south of east
darker the rendering. and sets south of west.
North-facing windows get diffuse natural light. Many The sun can only be cast onto surfaces.
artists’ studios face north for the evenness of the Light source: sun or artificial
light quality over the course of the entire day. On rare lighting that acts upon an object.
occasions, light can even get reflected from adjacent The rays of the sun are considered
buildings, creating some cast shadows into a space. parallel for constructing shadows.
This is due to the distance light travels
Always find the local sun conditions for your between the sun and the Earth—
building site. around 93 million miles. In reality,
the sun’s rays diverge as they reach
the Earth’s surface, but this divergence
is insignificant relative to shadow
casting. In contrast, artificial lights
typically emit a radial light due to
their proximity to the object casting
the shadow.
Shade: an unlit surface of an object.
Shadow: the shape of one object cast
onto another surface.

10 AM S
E

NW

UNIT 31: Shade and shadow 113

Unit: 32 Read this!

Color, collage, and composition Nicholson, Ben
The Appliance House
Several other media types can be used to enhance representations. MIT Press, Cambridge, MA 1990
Both collage and colored pencils can be introduced to drawings in
an effort to make them more dynamic. Compositional issues also Woods, Lebbeus
play a key role in emphasizing elements in a representation. “Lebbeus Woods: Terra Nova

C Abstract overlay 1988–1991”, Architecture
and Urbanism,
This arresting collage shows ways to
overlay abstract information while extra edition no. 8 pp 1-171,
highlighting important aspects of human August 1991
scale and usage of the space. This
image marries collaged elements, photos, Pamphlet Architecture 1–10
and color with a perspective drawing. Princeton Architectural Press, NY,
It depicts the “potential” as opposed to
the reality of the space. For instance, NY 1998
there is a roof on this school building, but
the ceiling is depicted as sky to imply a
connection to the world beyond.

Collage XV Depicting
In the early 20th century, the cubist artists multiple experiences
Braque and Picasso introduced the technique
of collage. Collage is an abstract method of The drawings depict the multiple
representation that combines existing images experiences of walking through the
with contrasting materials to create a new image. gentrified Chelsea Meatpacking
Typically, materials are applied to new two- district in New York City. The one
dimensional painted or graphic work. Collage below and to the right shows a section
artist Ben Nicholson describes collage as “an through a collage that juxtaposes views
aggregation of various pieces which create an of the seemingly incompatible industrial
irresistible spectacle in the eye of the maker.” High Line and the meatpacking
warehouses against trendy galleries,
nightclubs, and pastry shops.

Collage provides opportunities to rethink the Colored pencils
existing. The act of making a collage or Colored pencils can be added cautiously
remaking an image records thoughts that to emphasize a dynamic moment in a
cannot be articulated in drawing alone. representation or to further represent an idea.
Collage provides a starting point for generating Color is not to be used as a method of
new ideas and evaluating existing conditions. applying “realism” to a project. It should
still be considered an abstract medium
that can emphasize specific elements
in a representation or tie them together.

114 CHAPTER 6: Dynamic rendering strategies

C Color and page composition

The page composition of a single image can reflect the
design intentions while engaging dynamic color elements.
The page is elongated to emphasize the verticality of the
architectural design. The red rendered sky is an abstraction.
The marks of the pencil are visually apparent and give
texture to the sky. The building surfaces are rendered to
evoke the quality of materials.

X Black and white duality

This composition, a stark black and white image,
powerfully conveys the cut in the earth and the
horizontality of this idea. The project, for a
political prisoner, uses a clear duality of the page
to convey the strong single move in the project,
a long platform.

Z Entourage

Entourage establishes scale. It is common in section
and perspective drawings to populate the image with
people, while furniture is often added in plan. Depict
people interacting with and using the architecture.

Preservation of hand drawing

Advances in digital programs have not
completely replaced hand drawings
in the profession. Architecture firms
such as Lewis.Tsuramaki.Lewis,
Tod Williams Billie Tsien, and
others utilize a combination of
hand-constructed perspectives
and digital textures, colors, and
entourage to create beautiful
composite drawings. Hand drawings
are often scanned into Photoshop and
manipulated using a variety of techniques.
The quality of the hand drawing is
appreciated and thus retained.

Many firms use the following processes:
1. Create Form Z model; 2. Print out
perspective view; 3. Layer hand drawing
onto it; 4. Scan drawing; 5. Manipulate
in Photoshop.

UNIT 32: Color, collage, and composition 115

Z Evocative graphics Z Head shot
studio, LA
Graphic images can also be added to imply a
relationship to other drawings or time periods. Graphic The drawing was executed
lettering, a turquoise sky, and a flying dirigible are all from a low angle as a way of
used to enhance the quality of this perspective. Note emphasizing the height and
that the color of the sky is not meant to replicate a real structure of the design. Both
“blue” sky but to indicate that the sky is different than the ground and the sky are
the rest of the image. The CHC and corresponding left as abstract representations
numbers indicate the name of the competition, as a way of talking about the
“Capital Hill Climb,” and entry number K017. The placelessness of the site
scale, location, and color of these graphics recalls that was the leftover space
the Russian Constructivist era. The dirigible as behind a billboard on Sunset
collage functions to evoke a sense of the future. Boulevard. The drawing is ink,
gold leaf, and film on linen.

C Selective color Z Hybrid drawing

Color is selectively added in this pencil composition to both This drawing demonstrates the combination of a
the sky of an exterior perspective and the background of the series perspective and site plan. The inverted perspective
of interior perspectives. In this case, a dynamic color is used to tie (white lines on black background) provides a large
the elements on the page together. Too much color could detract dark sky to establish a more dynamic image.
from the overall clarity of the board. More color does not equal
more dynamism. There is a clear hierarchy of images within the
composition. The section model replaces the section drawing.

116 CHAPTER 6: Dynamic rendering strategies

4Case Study:

Dynamic rendering

Firm structures and are creating Z Rendering for purpose
Bauen Studio additions that are appropriate
Renderings have the power to change a well- to the scale of the neighborhood. This perspective for a house addition and
drawn hardlined pencil drawing into something Unfortunately, these additions renovation is shown using two different techniques:
dramatic and dynamic. Rendering techniques do not necessarily reinforce the material and sky rendering and photocollage. In
range from material application to shade and potential “communal” aspect in each case, the perspective was constructed in pencil
shadow to realism. Rendered drawings are the neighborhood. to show the formal characteristics of the addition.
useful in presentations to clients. Materials, Traditionally, residential additions In the top example, the materials were rendered and
textures, and quality of light can be clearly are realized as additive elements the background was abstracted, placing a greater
communicated in these types of drawings. attached to an existing structure. emphasis on the transparent elements of the new
Project But when an “addition” is larger architecture. A connection between the interior and
The addition to a 1950s suburban house than its host, how should it be exterior is emphasized. The collage with the photo
consisted of a dining room, mother-in-law suite, referred to? The architects (bottom) allows the scale of the new addition to be
and master bedroom suite. This project is addressed this issue by understood relative to the existing concept.
located in the Providence District of Fairfax conceptualizing the addition as
County outside of Washington, D.C. The an element that is not merely attached to
neighborhood is representative of typical 1950s its host, but rather as one that is integrated.
development patterns, with single family homes They have blurred what is typically referred to
situated on small lots. Like many transforming as “new” and “old.” This binomial nomenclature
neighborhoods, this one is also experiencing the (of black and white) lacks the possibility of the
real estate phenomenon of the “tear-down,” new blending with the old. When a space has
where the original house is purchased for its characteristics of both, rich ambiguity follows.
land value, the house is demolished, and Spaces which exhibit elements of old and
replaced with a starter mansion. This not only new develop into various shades of gray. For
has a socio-economic effect on the example, a new bookshelf/storage unit defines
characteristic of the neighborhood, but also the boundary of an existing space, becomes
compromises its native architectural structures a new wood floor which flows into the dining
and spatial quality. Generally speaking, most room addition and leads outside the house to
new homeowners respect these existing become a terrace, ultimately terminating as a
planter. Furthermore, this re-orientation to the
X Fluid diagrams front of the house onto the street coincides with
how the neighborhood is reinventing itself by
These diagrams indicate inverting the 1950s privatized realm, which
the fluid nature of the traditionally opened the house to the rear.
addition with the existing
house. Rooms that are
new have more detail,
including floor patterns
and furniture.

UNIT 32: Color, collage, and composition 117

Unit: 33 Read this!

Addition and subtraction Architectural Graphic Standards
John Wiley & Sons
For the last few decades, there has been a trend in urban design 10th edition, 2007
that emphasizes rethinking the city street as a spatial container
and not just the result of the buildings or objects that line it. This Design tips
conceptualization of space can be applied at a variety of scales
including the city, the street, a building, a room, or an object. Train yourself to think about the
following when you are designing:
To facilitate this conceptualization when carved out of a solid element additive process of joining materials
process, space must be considered a whether in a physical model or three- together to represent space. Research/history: this could include
physical entity; a shapeable thing that is dimensional computer modeling and but is not limited to typology studies:
concisely defined rather than residual. It when thought of as a cast of an interior This type of conceptualization of see what others have done before you
is a medium to work with and within space. The process of carving, space contrasts with the additive and learn from the past;
rather than the resultant of walls, floors, ultimately a process of reduction, is conceptualization of the earlier kit of
and ceilings. Space can be visualized very different from the more typical parts assignment (see page 104). Existing conditions: you always
have a context to work within; know
everything you can about the site and
the context—what is the history of the
site? This is not just about the physical
aspect, but the social and cultural
context as well.

C X Subtractive quality

Foam provides a material that can be carved and manipulated to expose
the spatial desires of a design. The subtractive quality of this material is
reminiscent of figure-ground maps (see page 55), where contained and
well-defined spaces are juxtaposed against well-defined solids.

118 CHAPTER 6: Dynamic rendering strategies

V 3D figure-ground maps

Figure-ground maps of urban
environments can be recreated as
physical three-dimensional models.
The methodology of making these
models with a laser cutter enables
the simultaneous construction of a
positive model (left), in which buildings
are solid additions, and a negative
model (right), where the spaces between
buildings are solid and the buildings
themselves are subtracted. These
models of the Pompidou Center in
Paris demonstrate the space as a
three-dimensional entity.

Spatial analysis 1 2
3 4
This sequence of studies created in SketchUp depicts 6
a variety of spatial volumes defined by the design of an
outdoor classroom. The outdoor classroom in the center,
the rectangular form, implies a series of intersecting
spatial volumes at a variety of scales. Some volumes
of space are defined by the cornice line of the perimeter
buildings (see image 2), while other spaces are defined
by the landscape elements of the outdoor classroom at
the scale of a person (see image 4). Images 3 and 4
indicate a spatial connection between the site and
adjacent circulation spaces.

5

UNIT 33: Addition and subtraction 119

18Assignment:

Space for a traveler

Brief • a middle room with only dressing area with space for a Process
Design a temporary place of one exterior wall condition, or suitcase and hanging clothes, a Your task is to design an innovative,
occupation for one person pausing • a corner room with two place to wash, a place for bathing, thoughtful space for the traveler.
after an overnight flight. The room is exterior wall conditions. a steam room or sauna, a toilet, a You are asked to suspend any
to be located inside the airline’s The traveler may use the room for TV, a radio, a coffee maker, a place preconceived notions of familiar
arrival lounge at Heathrow Airport in bathing, changing clothes, work, for magazines, a space for writing, objects. Words like bed, closet,
London with a view of the tarmac or relaxation. It should include a and a place of rest such as a bathroom, and shower have not
and can represent either: chaise-longue. been used to dissuade you from

Rem Koolhaas V Exploring relationships

Rem Koolhaas (Dutch Z Analysis diagram This collage diagram explores the link
b. 1944) is a writer between the acts of cleansing and
turned architect, A typical, analytical design diagram by viewing. The view is obstructed by the
theorist, and urban Rem Koolhaas taken from the Seattle moving water during this act.
planner. In 1978 he Public Library competition design
wrote his seminal treaty, process integrates text, data, V Hierarchical
Delirious New York. In and architectural form. connection
this manifesto, Koolhaas
explores the history of Service elements
New York City and the are pushed to
consequences of the the edge of this
1807 matrix that divides “room for repose”
the city into 2,028 space. All are kept
blocks. His office, to a low height to
OMA, The Office maintain a visual
for Metropolitan connection with the
Architecture, established raised element at
in 1975, has built the end of the
critically acclaimed space—the bath.
structures around the
world. Koolhaas’ work can best be
typified for his interest in programming
and diagramming and analyzing how
these inform the organization of
the building. For his design of the
Seattle Public Library, Koolhaas
analyzed historical precedents
coupled with speculations of future
uses of the library based on
computer advances in the storage
and displaying of information and
potential adaptations to how future
generations will socialize and interact.

120 CHAPTER 6: Dynamic rendering strategies

assembling familiar notions You must critically examine always occur along the shorter wall. inside the room may be any
of these and simply arranging activities and associated rituals. The view from the room will be to thickness. You may change the
them in the space. A Pay particular attention to body the south. A corner room occupies floor level but entry into the room
re-conceptualization of items measurements, movement, routine, the southeast corner of the floor. must be at one level. The floor is
found in a hotel room or and scale. Due to the intimate The clear height in the room is 42 in (1.06 m) thick and can be
bathroom is key to this project. nature of the space, consider 12 ft (3.65 m). The ceiling height carved into up to 36 in (91.4 cm).
Ask yourself: what is the essence materials carefully. may not be modified to less than
of a shower, bed, or closet? The dimensions of each wall will 6 ft 8 in (2.02 m). Assume a roof
What is the scale associated be determined by you, but the thickness of 18 in (45.72 cm), a
with each? How does a person overall area is limited to 240 sq. feet 12-in (30.5-cm) block exterior
interact with each? (23 sq. meters). The smallest load-bearing wall and interior
Pragmatics alone will not be room dimension is 6 x 40 ft perimeter walls of the
sufficient to solve this problem. (1.82 x 12.2 m) and entry must room at 6 in (15.24 cm)
minimum. Walls added

Starting the design process

Prepare yourself Find historical precedents of the body, its
Research includes conceptual Research bathrooms and hotel measurements,
analysis of activities associated rooms. Consider other examples and its manner
with the program, diagramming that deal with the challenge of a of movement.
movement, defining terms, small space such as submarines, Make three study
historical research, and site train cars, ships, or RVs. models at 1⁄8 or 1⁄4 scale,
documentation and analysis. Come up with ideas exploring different ideas.
• Make a series of at least five Assess and analyze the research Create a series of sketch
sketches that represent the action that you have accumulated. perspectives of views inside
of showering from the point of view Compare it to elements in the brief. the spaces. Diagram your
of the person taking the shower. Try to articulate your own ideas from ideas. Keep them simple.
Think about movement, action, and this research and analysis. Repeat these exercises
especially the space required for throughout the process.
the activities and rituals associated Explore your ideas Sketch your ideas on trace
with the bathroom. Is there a Consider how to separate or or in your workbook. As you
particular sequence of action that combine wet and dry spaces. become more confident
can be conveyed in drawings? How can a ritual be conveyed? with your designs you can
• Define “ritual,” “repose,” Think about body movement finalize it on vellum or Arches.
“procession,” “threshold,” through the space. Consider The final set of drawings
and “routine.” each element. For example: should be done at 3⁄8 scale
• Research body proportions Sink—what is a sink? How tall? and should include several
and dimensions associated with Where does the water come out? sections, a plan, and various
bathing, relaxing, and minimal Where does it drain? What material? three-dimensional representations
sleeping spaces. Why there? Is it also used for a including a model.
• Ask yourself: what is a good shower? What is the difference?
height for sitting, leaning, or Is it a fixture or just a stream of Z Analysis diagram
standing under things? water and a drain? Do you need
• Measure and document the a basin? If so, why? When do Record your design ideas in your
space your body occupies while you use it? Upon entry? Apply sketchbook. Using a variety of
performing activities such as sitting, these types of questions to every representation techniques allows
lying down, and reading. element in the room. you to see the design from many
Focus on the relationship between points of view.
fixtures, walls, and occupied UNIT 33: Addition and subtraction
space at the scale of the individual,
while recognizing the significance

121

5Case Study:

Veterans Memorial competition Visit these

Architecture design competitions Competition brief By reclaiming this space from Jewish Memorial, Berlin
are a means for architecture firms Design a Veterans Memorial for a purely path and landscape World Trade Center Memorial,
to acquire work and to achieve University on its urban campus for elements, the memorial establishes
recognition. Competitions test both up to 400 veterans. clearly defined public spaces for New York
theoretical and practical design Designers the campus community and the
ideas. Young firms have the Bauen Studio, winning entry and general public to occupy. Websites
opportunity to compete for projects building commission. Concepts
against more established firms. www.bauenstudio.com Three parallel elements organize www.deathbyarchitecture.com
Unfortunately, competitions do not Memorial design requires an the site; two spatial, one vertical. A http://www.architectureweek.
always provide the winners with the understanding of the problem at black granite wall, contemplative com/cgi-bin/calendar.cgi?d
opportunity to build the winning hand and a thorough knowledge garden, and public plaza are
project. Many competition hosts of the existing site conditions. situated in a manner that allows for
promote “ideas competitions” The design for the Veterans multiple readings of the space (see
where a search for potential Memorial looks to reclaim residual spatial diagrams on age 76).
solutions is sought, but a confirmed space on an urban campus using Interwoven within the garden is a
interest in hiring or building the two strategies: paved ground plane abstracting
winning design is not clear. • to create a more formalized the American flag with 13 strips and
What to expect space, and 50 lights. Birch trees to the north
If you win a competition you may • to orchestrate a visual sequence and east act as framing devices
not win the design commission. within the campus environment to and help contain the space.
The competition committee may create connections between Orchestrated views ensure a
select to build the second-place circulation and place. balance between the spaces being
design. This may be due to visually protected and appropriately
expense, or an inability to build open for ceremonial activities.

the winning project. The black granite wall is double-
sided. Its southern elevation faces
CXConceptual inspiration the campus and serves as a
backdrop to campus life, and the
The conceptual inspiration came from tree specimen northern, contemplative, side
identification tags (below left) and the tags worn by military reflects the intimate nature of war
personnel (left). The modified version (below right), and loss. The public side features a
congregated onto a black granite wall, can be laser-etched mural depicting iconic
touched and held by memorial visitors. images of conflicts. The private
side, however, is the focal point of
the memorial, with each soldier Z Range of representations
represented by a single stainless
steel plate. The 278 plates, which A basswood model (top) was used
reflect the faces of the visitors, unite to test the spatial clarity of the project.
the dead with the living. They are Continuity was emphasized by the
designed to be touched and lifted; limited number of model materials.
singly reflecting the individuality Perspective representations (center)
of each soldier, and collectively were used for fundraising efforts to
representing the bond soldiers present a realistic image of what was to
form in times of war. The plates are be built. The bottom photograph shows
organized randomly; however, the the finished wall in context.
physical search for names on the
wall allows the visitor potentially to
engage intimately with the memorial
and discover the common threads
that tie fallen soldiers together.

122 CHAPTER 6: Dynamic rendering strategies

6Case Study: Schools

Architectural mock-ups If you are interested in this type of
investigation, from representation
Representations of architectural implied vertical walls in most of the X Making space to construction, many architecture
ideas through scale models interventions) and how people schools are now embracing a
and drawings have limitations. interacted in and reacted to them. Students begin to construct the design/build component in their
The reality is that they are just Once the installations were in room for a traveler using rope and curricula. As schools continue to
that: representations. place, people could walk through paper. This temporary space provides diversify their course offerings, you
The study of architecture is the full-scale designs to experience students a look at the processes should verify your options for this
most often limited to the making the relationship of the spaces in associated with construction, teamwork, design/build component with each
of representations. Students plan and begin to get a sense of and space-making. school’s stated curriculum.
often graduate without ever the spaces they created.
having constructed elements at Phase 2: Full-scale mock-up Places to consider:
full scale. The construction of Next, students constructed • Vermont School
full-scale objects and buildings in a full-scale mock-up of the • Rural Studio at Auburn University
an academic setting can provide “room for a traveler” project. • UNC Charlotte
students with a unique opportunity The mock-up helped facilitate • University of Washington
to allow the representation of an the students’ spatial understanding • Yale University—Building Project
idea, its size, scale, and spatial of a design. The project was
effects, to become reality. constructed using string and Translating design skills to
Phase 1: Temporary paper. This completed the larger-scale projects
plan installations students’ translation of architecture Even though this book is intended
Beginning architecture students as representation to architecture as an introduction to architecture
placed plan installations of their as real space. Structural, representation and design, it
240-sq. ft (23-sq. m) room for a spatial, and material considerations also provides you with a foundation
traveler (see page 120) using became apparent in the for designing responses to larger
temporary materials like tape, full-scale mock-up. For many and more complex problems.
chalk, string, cans, light, and this was the first time they Everything is applicable regardless
people. Leaving the environment truly understood the spatial of scope and scale. The myriad
of architectural representation implications of their design. issues that you discover when
meant that they could begin to thinking about seemingly simple
understand, at full scale, the impact elements such as the opening
of their design. They tested the real (see page 101) can be adapted to
dimensions of their projects, as a each element in architecture.
plan convention (there were no When multiple elements come
together you will be prepared for
the resulting complexity.

UNIT 33: Addition and subtraction 123

posts and piles M.Arch | M.City Planning Thesis
A Construction Trades Training Center for the Eastern Canadian Arctic

CHAPTER 7

Accessing the profession

This chapter will clarify methods of accessing the profession, the current degrees
available from architecture schools in the U.S., and the different program types. This
information, along with general advice, can help you figure out your best path to
joining the profession.
In addition, this chapter addresses some of the mysteries and myths about the
architecture profession. They are perpetuated by television, lay people, the media,
and with the common overuse of the term, architect.

125

Unit: 34

A career in architecture

If you are interested in the profession of architecture or the built environment,
there are a number of ways that you can get involved. The level of involvement
will depend on your time commitment and your level of interest.

For those who are interested in a groups provide an advisory role local neighbors to shape Websites
more advisory role, joining a community to the planning commission or community-led projects. They
group that is directly involved with other local decision-making body. develop housing, open space, www.NAAB.org
development in a neighborhood This type of group, depending on the economic initiatives, and www.archcareers.org
would be a good place to start. Most neighborhood, can be very powerful. grassroots initiatives while www.ncarb.org
cities have neighborhood groups creating an avenue for
and CDC (Community Development CDCs, usually nonprofit groups, neighbors to communicate. These websites provide up-to-date
Corporations) that are involved in the are more directly involved in building information on the changing
built environment. Neighborhood the neighborhood. They engage the landscape of architecture education,
internship requirements, and
examination changes.

If your interest in the built Walter Gropius
environment exceeds a purely
advisory role you can apply to Walter Gropius’ (German b.1883 d.1969)
architecture school. If you’re not involvement in the creation of the Bauhaus School
sure if architecture school is right of Design in Dessau, Germany, in 1919 is one of
for you, you can enroll in courses his most significant contributions to the Modern
such as photography, sculpture, Architecture movement. He hired radical artists
art, figure drawing, drawing, digital László Moholy-Nagy, Paul Klee, and Wassily
drawing, or drafting. Each course Kandinsky, among others, to create an
provides some aspect of creative interdisciplinary school that brought together
thinking that is applicable in the sculpture, industrial design, graphic design,
architecture profession and will textiles, and architecture. The Bauhaus embodied
open your mind to more careful an energetic spirit of the times that embraced
observation of the world, along with standardization and prefabrication to reinvent
stimulating your creative energies. architecture’s roles in a changing world.
In the U.S., you do not have to
make a commitment to architecture Gropius emigrated to England and eventually
immediately after high school. You moved to Cambridge, MA, where he taught at the
can attend undergraduate school Graduate School of Design at Harvard University.
majoring in a discipline other than His teaching theories became the basis for many
architecture, then enroll in an curricula in schools of architecture around the
architecture graduate school. Many U.S. He later founded The Architecture Collaborative
universities have undergraduate (TAC), which became a well-known and respected
programs that allow you to architecture firm.
experiment with the discipline
before making a commitment.

126 CHAPTER 7: Accessing the profession

Paths to licensing Myths

To obtain a license in the U.S. you must first obtain a professional degree from an accredited school of To be an architect, you have
architecture, complete IDP (Intern Development Program) training, and then take a seven-part licensing to be good at math.
exam. The type of school you attend and the length of time needed to complete the required IDP You need to know basic geometry,
training vary from individual to individual but the licensing exam is now consistent across the country. algebra, and calculus. The required
math course for most architecture
B.S. in Architecture B.S. in another degree Bachelor of Arts schools is basic calculus. More
(pre-professional degree) Obtaining a four-year liberal arts degree before important than having high-level
Attending a pre-professional architecture degree attending a master’s degree program provides math skills is having a creative,
program allows you flexibility when you attend you with a broad-based education. This type of open mind.
graduate school. Some coursework completed in background enables you to select a graduate To be an architect, you have
the undergraduate program may be credited in school based on your own educational desires. to be a good artist.
the master’s program, allowing you more This path usually requires the longest time Though knowing how to draw is
opportunities to take elective courses. spent in graduate school. certainly a valuable skill, it is not
necessary to know when entering
Only professional degree programs in architecture are accredited by NAAB (National Architecture design school. More important is a
Accrediting Board). No undergraduate programs are accredited. Some undergraduate programs willingness to learn and practice.
are part of professional programs, but don’t get accredited separately. Graduate school can last Sketching and drawing are skills
anywhere between one and three years, depending on your undergraduate education. that can be taught. Good sketches
are those that convey an idea
Professional degrees, accredited ❱ ❱❱ or intention.
Architects make a lot of money.
B. Arch (Bachelor of Architecture): this is entire semesters of the curriculum. Money shouldn’t motivate you
an accredited 5-year professional degree. This is the terminal degree in architecture. to become an architect. Starting
salary from graduate school might
M. Arch (Master of Architecture): this is Arch II, post professional: this is a be around $35,000–$45,000
an accredited first professional degree. second professional degree which is not depending on location, market,
The length of time you spend in a master’s an accredited degree. construction cycle, economy
program depends in large part on the program D. Des (Doctor of Design): this is usually (local, national, and global),
you enroll in and your undergraduate education. a multiyear advanced research degree. experience, and type of firm.
Some schools provide credit for architecture PhD: this is the typical route for You must specialize in
courses taken during the undergraduate history/theory professionals. residential, commercial,
education, while others allow you to skip or industrial design.
Design is a skill applicable to all
Understand that picking an architecture school should not be about the quickest path to licensing. scales and programs. You do
When selecting, think about your learning desires and the agenda of the school. Schools frame the not need to specialize in one area
methodology of design in many different ways. Find a school that complements your interests. over another. Firms certainly get
pigeonholed with designing certain
IDP (Intern Development Program) training types of projects and it takes an
The training requirements for IDP usually take about three years to complete. Some schools provide educated client to understand that
architects who are well trained can
6-month internship opportunities that count toward IDP credits. Verify with each individual school. design anything from furniture, to a
building, to a city.

Licensing Exam
This seven-part exam is usually taken after completing the IDP training, although

some states allow you to enroll in IDP and ARE concurrently.

UNIT 34: A career in architecture 127

Unit: 35

Manual vs. digital representation

Hand drawing provides the most direct way to transfer thoughts onto In today’s profession
paper. The knowledge of how to construct three-dimensional images,
to think using your hand on paper, and to analyze ideas through • Know how to draw by hand, make
sketches provides an excellent foundation for architectural design. models, and use digital programs.

No matter how sophisticated and the page. Digital programs are which tools are best for the task. • It is also important to know when
digital software becomes, drawing tools of design just like the pencil. Knowing the variety of tools you to cross over between the two.
by hand will always be necessary. You need to learn when to use have available allows you to stay
It provides the most direct each, what their capabilities and in control of them. • Know how to sketch.
connection between your ideas limitations are, and determine
• Construct drawings by hand, then
scan, render, and color.

• Physical models are still highly
important design tools.

Pros of digital drawing Cons of digital drawing
• Multiple people working on drawings; a streamlined communication process • Output can be time-consuming
• Don’t have to redraw an entire drawing when making changes • Resolution between the computer screen and paper can be tricky
• Data assessment—solar charts, shadows, solar gain, structural issues; • Time to commit to output beautiful renderings

component parts available through building information modeling (BIM) software

Frank Gehry C Sculptural
composition
Frank Gehry (Canadian b. 1929) has
become internationally recognized Clad in non-conventional
for his sculpturally composed materials such as titanium,
buildings. His 1980s house and questioning the formal
renovation in Santa Monica, CA, relationships of floor,
made him an architecture superstar. wall, and ceiling, Gehry’s
His early work explored the use of visceral works, such as
inexpensive materials arranged in the Walt Disney Concert
dynamic compositions. More recent Hall in Los Angeles, stand
work challenges the relationship in powerful contrast to the
between structure and skin. rectilinear world in which
He revolutionized his design they are situated.
process through the use of
three-dimensional digital modeling
programs. Many of the technologies
used by his firm were originally
developed for the automobile and
aerospace industries.

128 CHAPTER 7: Accessing the profession

7Case study:

SINGLE Speed DESIGN—from digital to fabrication

The “digital revolution” in architecture has take to understand the real implications of that pieces that are curved in two axes could be
allowed architects to quickly visualize complex digitally generated form. This large-scale model cut from perfectly flat material. Interestingly, the
geometries. But the jump from the screen to of a building, named the ACC Bench, was orthographic projection became most important
reality has not been so seamless: actual developed in the software CATIA. Factors like in making the leap from digital to reality.
materials are less pliable than digital matter, the flexural ability of plywood were input as Architects
resisting the translation from computer to reality. generative rules for developing the curves. SINGLE Speed DESIGN,
However, this bridge between what we design Finally the three-dimensional form was Jinhee Park and John Hong.
and what we build is an important next step to converted into a two-dimensional projection so

X Digital model V 3D becomes 2D

This screenshot of the CATIA model shows the construction The curvilinear forms were converted
components in 3D form. Factors such as plywood flexure and sheet into 2D projections
size become generative rules for the curvilinear forms. for templating.

X Model as furniture

By bending a thin material into
a honeycomb structure, the structural
concept was tested
at a larger scale.

X From 2D to 3D

The 2D plywood forms were bent into the 3D volumes: full-scale
digital templates allowed the simple translation from 2D to 3D.

UNIT 35: Manual vs. digital representation 129

Unit: 36

Your portfolio

A portfolio is a carefully composed visual record of your work. It is not
necessarily a collection of all of your work, but a collection of projects
that demonstrates a specific aspect of your designs. It is a high quality
representation of your designs as well as your design process.

You will want to consider which projects
to include in the portfolio and how
much of the project to include.

V Portfolio presentation

The presentation of the portfolio
content is important—you are not
only presenting the content of each
project, but the booklet itself is a
reflection of you, your skills, and your
aesthetics. Be concise; edit your work.
Summarize project information in a
clear, concise manner, keeping in mind
that your audience has never seen
nor heard of each particular project.
Text and graphic explanations are
important but should be brief.

Depending on the audience, Competition/grant/fellowship problems; that is, highlight Everything about your portfolio
you may need one of the portfolio: Depending on the your process of design. As should be carefully considered,
following portfolios: brief, this may emphasize one digital drawings and models from the page size, layout, number
Entry into architecture school: aspect of your work over another. become ubiquitous, your problem- of images per page and per
This portfolio would include If asked for, the portfolio may solving skills set you apart from project, location and size of
any image that expresses include only hand drawings or others applying for jobs, school, images, and the amount and size
your creativity and thought other hand crafted art work. or grants. For process images of text. Fix or modify any drawings
processes. Undergraduate Professional portfolio: This include sketches, study models, that do not meet an “excellence
admissions committees are portfolio includes finished images process models, and diagrams. criteria” before including them in
not expecting architectural of your completed built work to In addition, the process your portfolio. Establish a pattern
images in this portfolio. show potential clients. representations need to be for your portfolio; a system that is
Internship portfolio: This The content of each portfolio is supported by beautiful, flexible but recognizable from page
portfolio includes theoretical very different, but with digital well-crafted final presentation to page. Look at how books and
design projects from school technology it is relatively easy to drawings and models. Show a magazines are organized. Consider
and any additional relevant customize each portfolio. In your variety of work in the portfolio, creating a two-page spread versus
coursework like photographs, portfolio, you want to emphasize including orthographic drawings, a single-page layout. Think
paintings, or sculpture. your ability to think through three-dimensional images, and graphically about the booklet itself.
models represented in manual The portfolio itself is a process, not
and digital methods. just a collection of images.

130 CHAPTER 7: Accessing the profession

Paper
Good paper takes ink better.
Printing on standard paper sizes or
smaller is more economical. Buying
the right paper brand for your
printer also makes for better
printing. Heavyweight, coated
matte, or glossy paper is good for
portfolio printing.

Text and fonts Binding
Text is visual information that must be considered There are several binding options, including
as part of the composition. Keep text short. Pick spiral, wire, book, and velo. Spiral binding is
fonts that are neutral and support the images. a decent cheap option. Do not use cheap
Don’t center text; align it with an edge of an plastic binders or clear covers. There are
image. Never use title capitals. Never stretch text. excellent, durable binders made of leather or
Limit your use of bold and italics. When flipping metal, but these can be cost-prohibitive when
through the portfolio, if you notice the layout sending out multiple copies of your portfolio.
before the content of a page, you should rework it. Making your own binding with tape and
If you see the font before you see the content, find fasteners is an option. If you want to add
a new font. Use text wisely. or delete pages from your portfolio, this will
impact which binder you use.
Organization Pattern
Put your best work at the beginning of the Place repetitive elements in the same location
portfolio. You need to capture your audience’s on each page. Just like in this book, each
interest with your best design and best chapter has a number associated with it which
representations. Usually the first project is is located in the same place, on the first page
also one of your more complex projects. of the chapter, on the same side of the spread.
Generally provide 1–4 pages for each project. Do not let the organization of the book disrupt
This will depend on the complexity of the project, the content of the book.
the type of representations you have for the
project and your audience.

Tadao Ando Lee House Study
Studio One
Christopher Genter

This research assignment studied how Tadao Ando
differentiated between circulation, public, and private spaces.
We also found how contradictions can create complex spaces
that still work. The bedrooms for example are on different floor
plates so that there is never a direct view into bedrooms, yet
they are glazed on either side. The privacy is not so clearly
defined, but depends on the users of the house.

Drawing and diagramming these spaces came after an
extensive eighth scale model was built. The model separates
at all the floors. This proved difficult since the floor plates shift
on either side of the ramp. Modeling in this fashion made it
very clear on how the spaces work with each other to form the
house as a whole.

The house itself is made of cast in place concrete and
floor to floor glass. The layout of the house is directly related to
the process of casting concrete as well as the dimensions of the
traditional Tatami mat.

UNIT 36: Your portfolio 131

Civic zones map of Iqaluit showing significant civic buildings and routes

Learning the landscape: rocks, lichen, siding, lampposts and piles M.Arch | M.City Planning Thesis C Highlighting your skills
A Construction Trades Training Center for the Eastern Canadian Arctic
Scheduling of the training program to negotiate the rhythms of climate, hunting, shipping, and construction M.Arch | M.City Planning Thesis The quality of these portfolio
A Construction Trades Training Center for the Eastern Canadian Arctic pages is greatly enhanced by
the quality and quantity of the
linework in the sketches. Show
off your best work and your best
skills in your portfolio.

Diversity of work be prepared to explain it to when oriented in the same X Using the page
Your portfolio is a collection of someone else. direction, as the actual building
images that best represent your Documentation— would. Be aware that white Your portfolio pages are
abilities and interests. Therefore, what you will need materials have a tendency to get a similar to your drawing sheets.
depending on the audience for the Do not include original work in little washed out in the sunlight. Use the white of the paper
portfolio, including other types of your portfolio. You should either Overcast days provide gentle, flat as part of your composition
non-architectural work is scan or photograph your artwork. light that is best for shooting. strategy. Note how the sectional
encouraged. You will need to To document your models and To document your flat work you will perspective is tied directly into
maintain the same high standards charcoal drawings you will need a need a scanner. You can get a the white of the page.
for this work as you did for the digital camera. If you plan to shoot small-format inexpensive scanner
architectural representations. Do inside, you will need lights and a that allows you to scan your own ARCH 601
not allow personal feelings or black or white sheet as a backdrop. work and piece it together in Critic: Judith Kinnard
sentiment to sway your decisions in You can also shoot outside using Photoshop. You can also find Live/Work Urban Intervention
this area. For example, include the sun as your light source. professional shops or copy stores Downtown Charlottesville, VA
photographs and artwork that are Models cast shadows in the sun, that have large format scanners.
critical and compelling, but not These stores charge a range of
because it has an image of your
favorite pet. In general, include
images of photography, graphic
design, painting, sculpture,
drawing, and furniture.

As you gain experience in the south elevation east elevation north elevation
profession, start to include south-north section east-west section
professional work in your portfolio. west-east section
Remember to credit the appropriate ARCH 601
firm and state your role in the Critic: Judith Kinnard
design, drawing, or development of Live/Work Urban Intervention
the images you present. Details Downtown Charlottesville, VA
from construction document sets
are good to include, especially if
you worked on, designed, or
contributed to them in some way.
Make sure you understand the
content of the detail and

132 CHAPTER 7: Accessing the profession

to see...

V Scale of images building type, signage, and regulating elements. Using these left view of typical pavilion interior at gallery
characteristics in combination with each other could create below views of exit path leading to view of
The text on the lefthand page is a strong visual zone in the disconnected fabric of the Fort other pavilion across the channel
considered as a single box and Point Channel. In addition to these strategies, a system would
reads much like the other two blocks be instilled in the zone where there would be a direct visual SICILIANO
of images on the same page. The connection from within each of the building units through a finely
hierarchy of the spread is established tuned circulation system.
on the righthand page with a large
perspective image. The creation of a series of museum pavilions, incorporating a
variety of these characteristics, such as materiality, building type,
signage, and regulating elements, provided the building blocks for
the visual museum zone in the Fort Point Channel. The pavilions
take the form of simple glass boxes, to allow for flexibility within
the pavilion, for gallery space, art lighting needs, and movement
throughout the entire museum system. In allowing the simple
glass box to push out into the channel, anchoring itself on the
bank, the pavilions could adapt to any available site along the
channel.

below diagrams of regulating elements as
an example of creating a visual zone in the
Fort Point Channel right diagram of pavilion
positions based on views between the pavilions

...and to be seen.
SICILIANO

prices, usually based on square You need not worry about your font. Font choice for your resumé Read this!
footage or area of the paper to project or model being lost or should be consistent with your
scan. Images should be scanned destroyed if you have documented portfolio. Do not allow the font to Kane, John
at a minimum of 300 dpi in it thoroughly. be the subject of the resumé— A Type Primer
grayscale or color. Save the images You will need access to digital let the content be the focus. Be Prentice Hall, 2003
as a jpeg or tiff; tiffs are better programs like Adobe Photoshop descriptive and clear about your
because they retain more to clean up images and Adobe previous jobs and your roles related Lupton, Ellen
information but for your portfolio InDesign to organize your to each job. Include all relevant Thinking with Type: a Critical
either is fine. page layouts. work experience, interests, and Guide for Designers, Writers,
You should document final design Resumé goals. You can treat the resumé
images and design process for a Your resumé is also a like a design problem: assess Editors, & Students
project so that in the future you representation of you. It will be the existing logic and common Princeton Architectural Press,
have a greater selection of images visually assessed in the same formats, learn from them, and
from which to choose. Include idea manner as your portfolio. It is modify as needed. Update your 2004
sketches, study models, and therefore critical to select a good resumé and portfolio often.
process models as documentation.

C Hierarchy of elements

These portfolio pages present a
hierarchy of images with a variety
of representation types exhibited.
A sketch image on the left is
typically repeated for each type
of project and marks the start of
each project.

UNIT 36: Your portfolio 133

Unit: 37

Internships

Internships offer you the opportunity to engage with professionals in a variety of fields
related to architecture. You may have the opportunity to work on all phases of a project
from schematic design to construction administration. This position in a firm will allow
you to see first-hand how different practices create and think about architecture.

One thing to understand when can about practice. In the office
participating in an internship is that environment, realize that you are part
interns are at the low end of the of a team. Listen and give your
hierarchy of the office. You are typically opinion. Recognize that design is
performing repetitive work during the a small portion of the activities that
beginning of your career. This should go on in the office. Pay attention
not discourage you—see the and ask lots of questions.
opportunity as part of this learning
process and absorb everything you

Finding an appropriate internship The years in an office, working
takes time and patience. You as an intern, prepare you for
want to find a firm that allows you many of the practicalities of the
to grow and learn while investing architecture profession. Your
in your education as an architect. internship plays a critical role in
Your first internships are usually what and how you learn about
filled with familiarizing yourself with the profession in more detail.
how firms conduct business, Look for firms that allow you the
office standards, and the firm’s most flexibility with work types. You
philosophy on design. You will do not want to be building models
become knowledgeable about or completing red lines for three
local and national building codes years. Will the firm provide you with
and the general process of how opportunities to visit job sites,
to take a conceptual idea through attend job meetings, or investigate
to construction. construction or material techniques
Interning in an architecture office is that are not commonplace in the
a required component of becoming office? Your responsibility will grow
an architect. A degree from an as you gain more experience.
accredited Masters of Architecture
program along with multiple years Z The intern’s role
of work in an architectural office, During the process of design, interns assist in both
under the guidance of a licensed manual and digital methods of representation, including
architect, constitute a component drawing on the computer and constructing models for
part of the licensing process. review by project architects, clients, and contractors.

134 CHAPTER 7: Accessing the profession

8Case study:

Working for a nonconventional office—Design Corps

Cause: every 30 workers, one shower for every 10 challenging farmworker housing conditions and
North Carolina is home to one of the largest workers, one toilet for every 15 workers, and do are themselves determined to set higher
farmworker populations in the U.S. According to not require mattresses or telephone access in standards for farmworker housing.
the National Center for Farmworker Health, case of emergency. Overcrowding, inadequate Method:
migrant farm labor supports a $28 billion fruit sanitation and unsafe structural defects are just Design Corps’ vision is realized when people
and vegetable industry in the U.S., the majority some of the realities of farmworker housing. are involved in the decisions that shape their
of which is hand harvested. Despite their integral Design Corps has developed the Farmworker lives, including the built environment. This
role in the food economy, migrant and seasonal Housing Program to build quality new housing design process involves a synthesis of ideas
farmworkers are some of the most economically on farms where there is a need. The program is from three major stakeholders; the farmer, the
disadvantaged people in the U.S.—many earn a true partnership that involves the farmers and farmworker, and the State Housing Finance
less than $10,000 annually and over 60% of the workers in the process of developing the Agency. This participatory process is composed
families have below-poverty-level incomes. Low design and making it affordable to both through of meetings, surveys, discussions, and is
income correlates to poor housing conditions, the assistance of federal funds, which are integrated with material and manufactured
which are often substandard or nonexistent. secured by Design Corps. This project, a pilot housing research to provide housing options
Even “Gold Star” growers, who are providing for housing in North Carolina, is designed for that are affordable, durable, and sustainable.
some of the best housing options, only meet former farmworkers who have lived in the www.designcorps.org
state codes which require only one wash tub for

Design Corps design process components: introduction of as many energy and sustainable
1. Participatory process material strategies as possible.
Farmworker surveys, site visits, and research are 4. Sustainability
key components in their participatory process. The design integrates strategies that respond to
Their vision is realized when people are involved issues of sustainability, economy, and durability.
in the decisions that shape their lives, including Some strategies include passive solar, light-
the built environment. colored enclosure systems, cross-ventilation,
2. Healthy housing and low-flow fixtures. An outdoor garden is
The ambition is to improve the lives of designed to assist with solar gain and also to
farmworkers through design that responds address and ameliorate conditions of food
to principles of decent and healthy housing, insecurity in farmworker populations.
consideration for cultural customs, and daily Impact:
routines. Housing conditions directly affect The project outcome addresses the cause in a
farmworker health, sanitary conditions, significant manner: How does the solution
and nutrition. function in context? What changes or resulting
3. Manufacturing process outcomes were documented in participants,
This project employs the benefits of communities and/or audiences?
manufactured housing, including economy,
speed, and minimization of waste. In recognition V Design for others
of some of the limitations of manufactured
housing, including standard dimensions and This shed for FEMA trailer residents on the
material options, this project is a synthesis of a Gulf Coast was designed and built by
manufactured unit and a site-built portion that Design Corps after Hurricane Katrina in 2005.
integrates the manufactured unit into the site.
Addressing issues of solar orientation, cross
ventilation, and square footage, the site built
portion is completed by a General Contractor.
Working with a General Contractor allows for
modifications to the manufactured portion and

UNIT 37: Internships 135

Timeline of architects

RENAISSANCE TO INDUSTRIAL REVOLUTION

1300 1400 1500 1600 1700 1800 1900

Filippo Brunelleschi 1377–1446
Leon Battista Alberti 1404–1472
Leonardo da Vinci 1452–1519
Albrecht Dürer 1471–1528
Michelangelo 1475–1564
Raphael 1483–1520
Andrea Palladio 1508–1580
Gian Lorenzo Bernini 1598–1680
Francesco Borromini 1599–1667

Claude-Nicholas Ledoux 1736–1806
Thomas Jefferson 1743–1826
Sir John Soane 1753–1837
Karl Friedrich Schinkel 1781–1841

136 Timeline of architects

INDUSTRIAL REVOLUTION TO PRESENT

1800 1900 2000

Joseph Paxton 1801–1865 Michael Graves 1934–

E.E. Viollet-le-Duc 1814–1879 Norman Foster 1935–

Henry Hobson Richardson 1838–1886 Raphael Moneo 1937–

Otto Wagner 1841–1918 Renzo Piano 1937–

Antoni Gaudí 1852–1926 Robert A.M. Stern 1939–

Louis Sullivan 1856–1924 Tadao Ando 1941–

Frank Lloyd Wright 1867–1959 Tod Williams Billie Tsien 1943–

Charles Rennie Mackintosh 1868–1928 Morphosis 1944– Contemporary firm date 1972

Adolf Loos 1870–1933 Rem Koolhaas 1944–

Piet Mondrian (artist) 1872–1944 Steven Holl 1947–

Walter Gropius 1883–1969 Zaha Hadid 1950–

Ludwig Mies van der Rohe 1886–1969 Douglas Darden 1954–1996

Le Corbusier 1887–1965 Archigram 1960s

Antonio Sant’ Elia 1888–1916 Machado and Silvetti
Hugh Ferris (illustrator) 1889–1962 Contemporary firm date 1974
El Lissitzky 1890–1941
Patkau (Patricia and John)
Alvar Aalto 1898–1976 Contemporary firm date 1978

Louis I. Kahn 1901–1974

Marcel Breuer 1902–1981

Giuseppe Terragni 1904–1943

Carlo Scarpa 1906–1978

Charles (1907–1978) and Ray (1912–1988) Eames

Oscar Niemeyer 1907–

Eero Saarinen 1910–1961

Paul Rudolph 1918–1997

Frank Gehry 1929–

Aldo Rossi 1931–1997

Peter Eisenman 1932–

Richard Rogers 1933–

Alvaro Siza 1933–

Richard Meier 1934–

Timeline of architects 137

Glossary

Additive design Construction lines Entourage
The joining of two planar elements to The lightest lines in a drawing, used to Elements like people, cars, trees, bushes,
create space. ensure alignments between elements in a and other landscape elements added to
single drawing or between two drawings drawings to provide scale, character,
Analysis such as plan and section. Typically these and texture.
A reductive process; a simplification of lines are visible when viewed up close
one idea in isolation. but disappear at a distance of 3 ft (90 cm) Figure-ground plan
or farther. A diagram of the building fabric which
Assisting planes uses black and white to depict buildings
Planes created in perspective construction Cut lines and space, respectively. No other delineations
to facilitate the transfer of height In plan or section these are the darkest lines are made—no streets or pavements, for
measurements to non-coplanar surfaces. representing cut elements. example. It provides a method to understand
patterns of the built environment and the relative
Axial Diagram size and shape of figural spaces.
A strong single relationship between The process of visually abstracting a building or
parts that are aligned with one another object into its main ideas. Hidden lines
along an axis. Radial and linear are two These are dashed lines that depict
types of axial relationships. Elevation objects or planes that are technically not
A two-dimensional drawing depicting a vertical visible in a drawing. For example, hidden
Axonometric cut outside of an object, looking toward its face. lines are used to show objects above
An objective three-dimensional representation Imagine a plane perpendicular to the ground that the cut line in plans.
that combines plan and elevation information does not intersect with the building or object.
on a single, abstract drawing. It depicts Elements outside of the object, for example Hierarchy
a view that cannot ever be perceived in the ground, are rendered as a cut line. The The emphasis of one element over all others;
real space. The axon is measured along object or building itself is not cut through; all useful for diagramming.
three axes in three directions and its ease of of the lines related to the building are elevation
construction is due to the fact that parallel lines. Elevation lines vary with distance from the Horizon line (HL)
elements remain parallel. There are many projected picture plane. Elements farther away In perspective construction, the horizon line
types of axonometric drawings, including are lighter than those that are closer. is the height of the viewer standing at the
paraline projection, (plan) oblique projection, station point.
and isometric. Elevation lines
These delineate between spatial edges. Typically Isometric
Composition elevation lines farther away from the cut are A type of axonometric projection that
The arrangement of parts including constructed with a lighter lineweight than those provides a lower-angle view than a plan
their placement, quantity, geometry, and surfaces closer to the cut. All elevation lines are oblique. Equal emphasis is given to the three
scale in relationship to themselves and lighter than cut lines. major planes. The isometric does not allow for
to the whole. construction to be extruded directly from the
Enfilade existing plan but requires the reconstruction
Cone of vision The alignment of openings between rooms of the plan with its front corner being drawn
The conical volume of 60 degrees taken from that provides a view along the length of the at 120 degrees instead of 90 degrees.
the eye of someone located at the station point adjacent rooms. The Shotgun, a typical U.S. Vertical information is typically true to scale.
in perspective construction. Distortion begins vernacular-style house, is an excellent The measurements are transferred along the
outside the 60-degree cone. example of the enfilade condition. receding 30 degree axes.

138 Glossary

Measuring line (ML) Plan Station point (SP)
In perspective construction, the vertical line A horizontal cut through an object, building, The location of the viewer in perspective
established from the intersection of the picture or space, typically directed down. Imagine a construction.
plane and the plan. All measurements must be plane, parallel to the ground plane, intersecting
taken from this line. a building or object. The cut represents those Subtractive design
elements sliced by the plane and is rendered The method of carving into a solid element
Negative space with the darkest lineweight. There are a number to create space.
The residual, or leftover, space outside of an of types of plan drawings including site plan,
object or building. Negative space should be floor plan, roof plan, reflected ceiling plan, and Threshold
considered as a design opportunity. figure-ground plan. The point at which two spaces or elements
join together.
One-point perspective Poche
A type of perspective construction with a This word comes from the French pocher Two-point perspective
single vanishing point. meaning “to make a rough sketch.” It is A perspective construction with two
typically understood to be the solid elements vanishing points.
Orthographic projections in a building rendered in solid black.
Two-dimensional abstractions of three- Vanishing point (VP)
dimensional objects; orthographic projections Profile lines The point (or points) at which parallel
include plan, section, and elevation. These define the edges between an elements in a perspective converge.
object or plane and open space in
Parti axonometric drawings.
The graphic depiction of the main idea,
or concept, of a project. Program
The uses of a building or space.
Perspective
Perspective construction is a subjective Proportion
representation that aims to translate the The compositional relationship between parts.
experience of a three-dimensional space,
building, or object onto a two-dimensional Section
surface. It is a prescriptive single point of A vertical cut through an object, building,
view. A perspective cannot mimic the complexity or space. Sections describe vertical
of the human eye, which perceives peripheral relationships and help define the spatial
and binocular vision, but it is an acceptable characteristic of the building. Imagine a
representational tool. plane, perpendicular to the ground plane,
intersecting a building or object. As in the
Picture plane (PP) plan, the information that is cut by the plane
In perspective construction, a transparent is rendered using the darkest line weights.
plane, intersecting the cone of vision, that
receives the projected perspective image Sightlines
and is perpendicular to the viewer. In the In perspective construction, the projected lines
two-dimensional construction of perspective connecting the eye to the object being viewed.
its location helps to determine how large the The perspectival image occurs where the
perspective image will be. sightlines cross the picture plane.

Glossary 139

Resources

Bibliography Websites National Architectural Accrediting
www.greatbuildings.com Board (NAAB)
Brown, G. Z., and Mark DeKay. Sun, Light & www.mapjunction.com NAAB is the accrediting agency for professional
Wind Architectural Design Strategies. 2nd ed. http://nolli.uoregon.edu architecture degree programs. Available on their
Hoboken, NJ: John Wiley & Sons, Inc., 2001. www.deathbyarchitecture.com website is the most up-to-date list of accredited
degree programs in the U.S. and Canada.
Ching, Francis D. K. Architecture Form, Space, 1735 New York Avenue, NW
and Order. 2nd ed. Hoboken, NJ: John Wiley Washington, DC 20006, USA
& Sons, Inc., 1996. 202-783-2007, www.naab.org

Ching, Frank. Design Drawing. John Wiley Architecture Organizations National Council of Architectural
& Sons, Inc., 1997. Registration Boards (NCARB)
The American Institute of Architects (AIA) The mission of NCARB is to safeguard the
Fraser, Iain, and Henmi, Rod. Envisioning The professional organization that represents health, safety, and welfare of the pubic. NCARB
Architecture: An Analysis of Drawing. Hoboken, American architects. With over 80,000 members, works on professional practice standards as
NJ: John Wiley & Sons, Inc., 1994. the AIA supports high professional standards well as applicant registration standards.
(code of ethics) and provides access to 1801 K Street, NW, Suite 1100-K
Laseau, Paul, and Tice, James. Frank Lloyd resources, education, and advice. Washington, DC 20006-1310
Wright: Between Principle and Form. New York, 1735 New York Avenue, NW 202/783-6500, www.ncarb.org
NY: Van Nostrand Reinhold, 1992. Washington, DC 20006-5292, USA
1-800-AIA-3837, www.aia.org Related Organizations
Uddin, M. Saleh. Hybrid Drawing Techniques
by Contemporary Architects and Designers. American Institute of Architecture The American Architectural
Hoboken, NJ: John Wiley & Sons, Inc., 1999. Students (AIAS) Foundation (AAF)
This nonprofit, student-run organization is the The AAF educates the public about the
Yee, Rendow. Architectural Drawing: A Visual voice of architecture and design students. The importance of architecture and design
Compendium of Types and Methods. 2nd ed. AIAS promotes both education, training, and on improving lives.
Hoboken, NJ: John Wiley & Sons, Inc., 2003. professional excellence. 1799 New York Avenue, NW
1735 New York Avenue, NW Washington, DC 20006
Pressman, Andrew: Editor-in-chief. Architectural Washington, DC 20006, USA 202-626-7318, www.archfoundation.org
Graphic Standards. Hoboken, NJ: John Wiley 202-626-7472, www.aias.org
& Sons, Inc., 2007. www.archcareers.org
Association of Collegiate Schools of This website, part of the AIA, lays out the
Clark, R. and Pause, M. Precedents in Architecture (ACSA) procedures to become an architect. They
Architecture. Van Nostrand Reinhold, 1996. Founded in 1912, over 250 schools in the U.S. highlight the 3 E’s of the process: Education,
and Canada now make up the membership Experience, and Examination.
140 Resources association of the ACSA. The promotion of
quality architectural education is the main State Architecture Board of Registration
focus of the body. www.ncarb.org/stateboards/index.html
1735 New York Avenue, NW Individual state boards will provide the
3rd floor requirements for licensing in that state.
Washington, DC 20006, USA Registration, examination, and practice
202-785-2324, www.acsa-arch.org requirements are regulated by this agency.

U.S. Architecture schools accredited with NAAB

Academy of Art University NewSchool of Architecture University of Idaho
Andrews University North Carolina State University University of Illinois at Chicago
Arizona State University North Dakota State University University of Illinois at Urbana-Champaign
Auburn University Northeastern University University of Kansas
Ball State University Norwich University University of Kentucky
Boston Architectural College Ohio State University University of Louisiana at Lafayette
California College of the Arts Oklahoma State University University of Maryland
California Polytechnic State University, Parsons School of Design/New School University University of
Pennsylvania State University
San Luis Obispo Philadelphia University Massachusetts-Amherst (Candidate)
California State Polytechnic University, Pomona Polytechnic University of Puerto Rico University of Miami
Carnegie Mellon University Prairie View A&M University University of Michigan
Catholic University of America Pratt Institute University of Minnesota
City College of the City University of New York Princeton University University of Nebraska, Lincoln
Clemson University Rensselaer Polytechnic Institute University of Nevada, Las Vegas
Columbia University Rhode Island School of Design University of New Mexico
Cooper Union Rice University University of North Carolina at Charlotte
Cornell University Roger Williams University University of Notre Dame
Drexel University Savannah College of Art and Design University of Oklahoma
Drury University Southern California Institute of Architecture University of Oregon
Florida A&M University Southern Polytechnic State University University of Pennsylvania
Florida Atlantic University Southern University and A&M College University of South Florida
Florida International University State University of New York at Buffalo University of Southern California
Frank Lloyd Wright School of Architecture Syracuse University University of Tennessee, Knoxville
Georgia Institute of Technology Temple University University of Texas at Arlington
Hampton University Texas A&M University University of Texas at Austin
Harvard University Texas Tech University University of Texas at San Antonio
Howard University Tulane University University of Utah
Illinois Institute of Technology Tuskegee University University of Virginia
Iowa State University Universidad de Puerto Rico University of Washington
Judson College University of Arizona University of Wisconsin-Milwaukee
Kansas State University University of Arkansas Virginia Polytechnic Institute and State University
Kent State University University of California at Berkeley Washington State University
Lawrence Technological University University of California at Los Angeles Washington University in St. Louis
Louisiana State University University of Cincinnati Wentworth Institute of Technology
Louisiana Tech University University of Colorado at Denver/Boulder Woodbury University
Massachusetts Institute of Technology Yale University
Miami University & Health Sciences Center.
Mississippi State University University of Detroit Mercy
Montana State University University of Florida
Morgan State University University of Hartford
New Jersey Institute of Technology University of Hawaii at Manoa
New York Institute of Technology University of Houston

Resources 141

Index

Aalto, Alvar 13, 18 Community Development Ferriss, Hugh 40, 110 Labrouste, Henri 51
addition and subtraction Corporations (CDCs) 126 figure drawing 50–51 Le Corbusier 15, 18, 19, 25, 79,
118–123 figure-ground maps 55, 100, 102
aesthetics 12 competitions 122 118, 119 Leonardo da Vinci 18
Alberti, Leon Battista 83 complex spaces 76–77 Five Points of Architecture 15 Lewis.Tsurumaki.Lewis 115
analysis 78–79 composite representations 62–63 Floor Area Ratio (FAR) 29 licensing 127, 134
analytical sketching 39 composition 41, 115 floor plan 54 lighting terminology 113
Ando, Tadao 102 computer-aided design (CAD) 29 Foss, Martha 77 line drawings 15, 18
Arches paper 103 computer-aided manufacturing Foster, Norman 19 exercises 47
architectural scale 22, 59 Furness, Frank 51 line weights 46, 54
architecture, definition of 12–13 (CAM) 29 lines
art, architecture as 12 computers 13, 61 Gehry, Frank 128 types 59
Asplund, Gunnar 13 concept 30–31 gesture sketching 39 vertical/horizontal 40
audience 28–29 cone of vision (CV) 85, 98 gouache 42 Lissitzky, El 66, 75, 80–81
axonometric drawing 20, 72–81 Construction Administration (CA) 29 graphic images 116
exploded 21, 103 Construction Documents (CD) 29 graphite 42 Mackintosh, Charles Rennie 51
introduction to analysis 78–79 Conté crayon 42 Graves, Michael 18 Malevich, Kazimir 80
introduction to axonometric contour sketching 39 Gropius, Walter 103, 126 manual vs. digital representation
cross-hatching 41 Grosz, George 46
74–75 CV (resume) 133 128–129
introduction to El Lissitzky 80–81 hatching 40, 41, 109 marks, making 43
spatial overlap and complex Darden, Douglas 108 Hejduk, John 104 measuring line (ML) 85
degrees, accredited 127 Herzog & de Meuron 102 Meier, Richard 79
spaces 76–77 Derrida, Jacques 75 Himmelblau, Coop 30 Melnikov, Konstantin 102
variations 75 Design Corps 135 Holl, Steven 45, 73, 102 Michelangelo 18, 19
Design Development (DD) 29 Hong, John 129 Mies van der Rohe, Ludwig
Bauen Studio 117, 122 design sketching 39 horizon line (HL) 85 105, 123
Bauhaus 81, 102, 103, 126 diametric 75 Hughes, Mary 50 mock-ups, architectural 123
Beaux Arts tradition 15 digital modeling 75, 99 modeling techniques 64–67
blind sketching 38 digital programs 14, 61, 115 image folder 23 models 14
Breuer, Marcel 102, 103 digital software packages ink 42 models as representations
Brooks, Turner 43, 110 61, 128 Intern Development Program architectural mock-ups 27
Brunelleschi, Filippo 83 drawing 14 physical vs. digital models 26
building elevation 57 methods 15 (IDP) 127 practicalities 24
Building Information Modeling sketchbooks 15 internships 134–135 typical modeling materials
types 20–23 isometric 75 26–27
(BIM) 29 Dürer, Albrecht 68, 69, 84 Moholy-Nagy, László 126
building sections 56–57 Dürer’s alphabet, constructing Kahn, Louis I. 18, 41, Mondrian, Piet 80
buildings, definition of 12 68–71 102, 110 multiple sections 20
Kandinsky, Wassily 126
career in architecture 126–127 edge contours 18 kit of parts project 104–105, New York Five 75, 79
CATIA modeling program 128, 129 Eisenman, Peter 73, 75, 79 118 Nicholson, Ben 114
charcoal drawing 15, 43, 102, 103, elevation 57, 113 Klee, Paul 126 nine-grid square problem 104
English measurement system 22 Koetter, Fred 55 Nolli, Giambattista 55
105, 110–111 entourage 115 Koolhaas, Rem 30, 120 Nouvel, Jean 102
Clark and Menefee 102 Evans, Walker 111
collage 20, 114, 120
color 114–115, 116

142 Index

objects, sketching small 48–49 rendering 18, 106–123 Slutsky, Robert 104
observational sketching 38 addition and subtraction 118–123 Soane, Sir John 51
openings 100–103 charcoal drawing 110–111 spatial analysis 119
orthographic projection 20, color, collage, and composition spatial diagrams 29
52–71 114–117 spatial overlap 76
definition 53 digital 109 squiggles 109
composite representations shade and shadow 112–113 station point (SP) 85
62–63 techniques 108–109 still-life sketching 44–45
construction: Dürer’s alphabet representation 14 stippling 40, 41, 109
68–71 representational intention 16–19 Stirling, James 73
modeling techniques 64–67 Richardson, Henry Hobson 51 street section 56
plan, section, and elevation roof plan 54 studio 13
Rowe, Colin 55, 104 subtractive quality 118
54–61 Rudolph, Paul 40 Sullivan, Louis 51

papers and pads 32, 44 scale 21, 43, 49, 59, 108 Terragni, Giuseppi 102
Park, Jinhee 129 Scarpa, Carlo 102 The Architecture Collaborative
pastel crayons 43 Schematic Design (SD) 29
perspective 16, 20, 82–105, 102 Schinkel, Frederick 51 (TAC) 126
one-point 86, 94–97 schools, architectural 123, 130 tonal variation 41
three-point 86 scribbling 40 tools
two-point 86, 87, 88–93, 94 section 54, 56, 57 caring for equipment 35
aerial 97 chair 60 for freehand work 33
concepts 84–85 creating a 58 for hardline work 33–34
finishing a 98–99 shade/shadows 49, 50, 55, 102, for model-making 35
inverted 116 papers and pads 32, 44
the kit of parts 104–105 112–113, 116 transferring data 43
opening 100–103 shading 40 triangular scale 22
presenting 86–87 sightline (SL) 85 Tsien, Billie 23, 115
rendering 21 SINGLE Speed DESIGN 129
sectional 97 site plans 55 van Doesburg, Theo 73, 75
terminology 85 Siza, Alvaro 102 vanishing point (VP) 85, 97
photography 38 sketchbooks 15 viewpoint 39
picture plane (PP) 85 sketching
plan oblique 74 figure drawing 50–51 wall section 56
plans 54–55, 57 media 42–45 water-based washes 42
poche 55, 58, 97, 109 plexiglass sketch 39 watercolor 42
portfolio 130–133 selecting an object 48 white space 41, 63
proportions 43 sketches to study 18–19 Williams, Tod 23, 115
Prouns (El Lissitzky works) sketching small objects 49 Wright, Frank Lloyd 13, 16,
80, 81 sketching the line 46–47 18, 102
still-life 44–45
Raphael 18 techniques 40–41
reflected ceiling plan 55 types 38–39
Rembrandt van Rijn 18, 19 unusual viewpoint 39

Index 143

Credits Page 68al Bettmann/Corbis
Page 68bl Bettmann/Corbis
Quarto would like to thank and acknowledge the following for supplying Page 68br Bettmann/Corbis
the illustrations and photographs reproduced in this book. Page 75 Courtesy Eisenman Architects
Key: a above, b below, l left, r right. Page 79 Courtesy Richard Meier & Partners Architects LLP
Page 80 Eileen Tweedy/Victoria and Albert Museum London/The Art
Page 12 Charles Bowman/Robert Harding World Imagery/Corbis Archive/©DACS 2007
Page 13 Richard Einzig/arcaid.co.uk Page 84 Bettmann/Corbis
Page 15ac Private Collection/ Archives Charmet/The Bridgeman Art Page 100ar Michael Hare/Shutterstock
Library/©FLC/ADAGP, Paris and DACS, London 2007 Page 100c Shi Yali/Shutterstock
Page 17 Library of Congress Page 100bl Edifice/Corbis/©FLC/ADAGP, Paris and DACS, London 2007
Page 18c Alinari Archives/Corbis Page 103 Angela Hornak/Corbis
Page 18ar Bettmann/Corbis Page 102 Dennis Gilbert/Esto/View
Page 18b Library of Congress Page 102 Jeff Goldberg/Esto/View
Page 19al Alinari Archives/Corbis Page 105 Richard Bryant/Arcaid/Corbis/©DACS 2007
Page 19ar Rembrandt Harmensz. van Rijn Graphische Sammlung Page 108 Copyright 2007, Estate Douglas Darden
Albertina, Vienna, Austria/The Bridgeman Art Library Page 115br Lewis.Tsurumaki.Lewis, Upside House,
Page 19 Foster + Partners 2001 sectional perspective
Page 24 Patkau Architects Inc Page 120 Seattle Diagram, Office for Metropolitan Architecture
Page 33 German Ariel Berra/Shutterstock Page 126br Oscar White/Corbis
Page 37 Library of Congress Page 128bc Kurt Krieger/Corbis
Page 40 Library of Congress Page 129 Single Speed Design,www.ssdarchitecture.com
Page 41 Álvaro Siza Page 135br Design Corps
Page 45 Courtesy Steven Holl
Page 51t Hunterian Museum and Art Gallery, University of Glasgow

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.

144 Credits

ARCHITECTURAL Emphasizing architecture’s creative aspects, this book gives you a
drawing foundation course in architectural design. It introduces you to the
course 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.

Mo Zell has taught drawing at several colleges and universities Printed in China
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.