| Workshop 4c | |
|---|---|
| Course | Arch 200c |
| Date | 2012/10/23 |
| Learning Objectives | This Workshop will focus on post-processing in Photoshop and Illustrator. We'll be creating renderings by using the strengths of multiple softwares, trying to make good use of time. It is through the lens of the sectional perspective that we will show how post-processing can offer a wealth of creative and exploratory methods of inquiry. |
| Agenda |
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| Uses Tool(s) | Rhinoceros , Illustrator CS5 , Photoshop CS5 |
INTRODUCTION
By layering information, we are able to adjust the amount of information gleaned from our drawings, creating hybrids between conventional drawing types, such as plans, sections, elevations and perspectives. This practice of combining layer upon layer can begin to reveal rich overlaps that help to situate the subject(s), concept(s), and experiences relevant to a project.
Think of an architectural drawing you love. Now, think about what you love about it. What is being represented? Is there one subject or multiple? Is the drawing conventional as a section, plan, diagram, etc., or is it a hybrid?
Though I’m a sucker for an austere, minimalist drawing just as much as the next student of architecture, more often than not, the architectural drawings we love convey a good deal of well-crafted complexity that has been artfully woven together in a clear and concise way. We “get it” very quickly – it being the subject or subjects – regardless of the complexity or amount of information that went into its creation. The more information you can get into a drawing without muddling it up, the richer it becomes.
The above drawing by LeCorbusier shows how the plan and the section, both vital drawings for architects, can be combined to form a sectional perspective that still delivers the information from the plan and section, but also allows entry into the space through the perspective. This particular section perspective gains an advantage through symmetry. The plan info would not be fully understood, for example, in an asymmetrical building.
The above LTL drawing is showing the focused, narrow approach of the space, while revealing the actual depth of the footprint, which is quite small.
Precedents: 1pt and 2pt
The precedents in these slides represent some of the possibilities of the sectional perspective drawing, including those with one vanishing point (1pt) and those with two vanishing points (2pt). Depending on your subject the section can be a simple poche or line work (early slides), or it can showcase how the space comes together, calling out building systems (second to last slide) and potentially the projection of space past the section plane (last slide).
WORKFLOW: Section Perspectives from Digital Models
The workflow for this session will walk you through how to create your own sectional perspective drawing from an existing digital model. We will be using a rhino model provided for you to cut a 3d section, frame a perspective (1pt or 2pt), render the perspective, and bring the section lines and render into illustrator for final assemblage. This workflow is going to give you an entirely digital method of creating a sectional perspective, but that is not to say that mixed mediums, including hand drawings, cannot be used in this process to create section perspectives. That said, the ideas can easily be expanded upon if a more complex drawing is sought, involving hand drawing, Photoshop, collage, etc.
IN-CLASS EXERCISE: Create a Section Perspective
Related Workflows:
Vray 1: Workshop 4a
Vray 2: Workshop 4b
Using Clipping Masks to combine Images and Line Drawings