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TECHNICAL DRAWING BARTLETT SCHOOL OF ARCHITECTURE /// SUMMER FOUNDATION 2012
TEACHER Antoine HERTENBERGER, Architect DPLG / ETSAM, Set designer. For any question please feel free to write at: antoine@erten.eu.
A WORD OF This workshop is an introduction to the technical language of architectural representation. It is intended to familiarize INTRODUCTION students with basic concepts through a series of exercises that develop necessary skill sets, supplemented with examples, references and research recommendations inside and outside of the architectural field.
The basic premise is that technical drawing is an inseparable part of the design process, a powerful instrument that not only gives the means to present a design proposal but is a key part of the development process of any project as well. Architects employ a variety of different drawing types, each with its purpose and rules, based on a common, agreed upon visual language. Students will learn why and how to use the most common of these representation techniques and will be encouraged to develop creativity and personal style through the different exercises. They will assess three main themes which will be detailed as follow:
THEME 01 PLAN, SECTION AND ELEVATION
Eileen Grey
A brief introduction and/or reminder on two-dimensional orthographic drawings. Orthographic (90º) projections and how to describe a three-dimensional object with two dimensional drawings. Associated themes: Measurements, proportions, coordination, line types, survey and measured line drawings, composite representations‌ REFERENCES
BOOKS: _Ching, Frank (Francis D.K.), Architectural Graphics, Van Nostrand Reinhold, New York 1975. _Richard Murphy, Carlo Scarpa & Castelvecchio, Venezia, Arsenale, 1991. Plans sections, elevations, working sketches, axonometric and measured line drawings of the building.
THEME 02 AXONOMETRIC AND OBJECTIVE ABSTRACTION
Carlos Jimenez Cenamor
Short presentation of the axonometric drawings family (isometric, diametric, trimetric, oblique projection, etc.). Rules and advantages of the isometric view (control of the measures along the axis, easy scaling, easy understanding of volumetric relationships, etc.). CONSTRUCTION OF SPACE: The isometric view in large scale, space representation, cutaway and exploded views, diagrams and conceptual views. The use of axonometric views in project conception. CONSTRUCTION OF THE OBJECT: The isometric view in close scale, details and assembling processes or how to explain with drawing complexes processes.
REFERENCES
BOOKS: _Peter Eisenman, Giuseppe Terragni: Transformations, Decompositions, Critiques, Monacelli Press, Inc., New York, 2003 _Edward Ford, The details of Modern Architecture, volumes 1 and 2, MIT, Cambridge, MA, 1996. _Mark Rylander, The importance of Perspective Drawing in the Design Process: Phillip Grausman’s drawing class at Yale. Crit, no.15, pp30-35, summer 1985. _Rudolf Arnheim, Art and Visual Perception: A Psychology of the Creative Eye. Berkeley and Los Angeles: University of California Press. METHODS: _Francis DK Ching, with Juroszek, Steven P., Design Drawing, Van Nostrand Reinhold, New York 1998. _Rendow Yee, Architectural Drawing: A visual Compendium of Types and Methods, John wiley & Sons, 2007. WORKS: _Early Eisenman works _Gordon Matta-Clark splitting works _Senoh Kappa’s travelling books (Japanese edition only) _Lewis Tsurumaki Lewis, Opportunistic Architecture, Princeton Architectural Press, 2007.
THEME 03 DRAWING AND RENDERING TECHNIQUES Throughout all the proposed exercises there will be constant encouragement to develop drawing and rendering skills through experimentation. We will deal with line types, textures, depth, shades, colors with pen and/or ink as well as with resources such as tracing paper layering, inlays, cutouts, etc.
FIRST EXERCISE FROM BOX TO PATTERN A PRELIMINARY EXERCISE
This exercise is about experimenting in a rather direct way the movement from the three dimensional model to two dimensional drawing. Students will be presented with a choice of cardboard volumes, ranging from quite simple to really complex shapes. They will be asked to develop the template pattern (or net) for the volume they choose. In order to understand the object and plan the representation students will have to make schematic analytic drawings, thus relying on representation to expand their control of the process, bringing to the forefront two mutually dependent mechanisms of production: interpretation and intuition. STEP 1
DRAWING OF THE NET The first part will focus on the technical representation of the net. Student will have to face measurement, coordination and scale issues, as well as line types and representing codes as they will be asked to differentiate in their representation cut lines, fold lines, glue tabs, etc.
STEP 2
INVERTED PROCESS The second step is about the transmission of intention trough drawing. Students will have to represent in one single axonometric drawing the process of folding their net. They will have to study the object and the folding movement to find the most explicit view and positioning of the elements and then face other important representation issues such as: how to explain movement, how to show the correspondence between the parts, how to depict actions required (folding, cutting, gluing, etc.), how to draw elements that are hidden by the view, etc.
Own
STEP 3
COMPREHENSIVE REPRESENTATION Students will be invited to further investigate representations themes using their drawing skills and experimenting with the distinctive features of the tracing paper (textures trough drawing, photocopy, adding of photos, transparency issues, coloring, etc.).
Daniel Lachenmeier
OFFICE Kersten & Van Severen
SECOND EXERCISE HOW TO USE THE CITY ARCHITECTURAL INNOVATION FOR A SOCIAL REVOLUTION For this exercise we will investigate this year’s Foundation Course’s motto applied to the opened spaces of the city. The democratic ideal of public life through the use of public space has deteriorated. As our cities accelerate towards segregation (social, economic, cultural, ethnic), the opportunity for public interaction is on the decline. “The importance of voluntary and obligatory participation in civic life has been usurped by the consciousness of the arbitrary nature of assigned cultural meanings and by the increasingly important role that consumption of goods and services plays in the formation of individual identity.” (01). Although it can be argued that modern society has withdrawn from public life that used to inform city centres 02), it is important to underline that it is people who apply meaning to public space, wherever it may be. The concepts of public, space, democracy and citizenship are being redefined by people through lived experience. Discussion has surfaced around the idea that, historically, public space has been inherently contradictory in the way that it has always been exclusive in who has been able to participate. This has caused the "counterpublics” to establish their own public spaces to respond to their own concerns. These spaces are in constant flux, and in response, its users restructure and reinterpret physical space. Baldwin Hills in Los Angeles for example has evolved from a parking lot to a scene of intense commercial and social activity. Locals gather here to meet and socialize, sell and consume goods. The historical ideal of fixed public space around a monument which informs the program of the space is not viable for a contemporary diverse social range as no single physical space can represent a completely inclusive “space of democracy”. While democracy and public space don't entirely coincide, it is the potential of their intersection that becomes politically important. Geographers like Gill Valentine have focused on performativity and visibility in public spaces, which brings a theatrical component or “space of appearance” that is central to the functioning of a democratic space. (01)
John Chase, The garret, the Boardroom and the Amusement Park, JAE 47/2 Nov. 1993 Michael Sorkin, Variations on a Theme Park: The New American City and the End of Public Space, New York: Hill and Wang, 1992 (02)
Marie Compagnon
Using the notions of folding volumes we have gone through in the first exercise students will be asked to develop what we will refer to as a “Portable Folding Topography” or PFT. The assignment take on the role of what Roland Barthes identifies as Shifters, a technique or artifact introducing a change of trajectory within an established sequence of procedures or uses. Students will have to develop and represent an object acting as “Shifter” in the cityscape. While the use and aspect of the Portable Folding Topography is up to the student we will introduce a few limitations: _The PFT should be easily transportable when folded by no more than two people, _The PFT can be constituted by the accumulation of a large set of transportable identical “base” items.
STEP 1
EXPERIMENT WITH PAPERS AND SCISSORS The students will first convert their analytic and intuitive labor into the production of a very simple concept model, combining feeling, intellectual and manual work. This model will be the base for the next steps.
Marie Compagnon
STEP 2
DRAWING THE PFT /1 Students will produce an axonometric view of the artifact in use.
STEP 3
DRAWING THE PFT /2 They will then combine on a single sheet of tracing paper: _a representation of the base pattern of the artifact with indication of dimension, _an axonometric drawing of the folding process.
STEP 4
DRAWING THE PFT /3 Students will then be invited to: _experiment with drawing issues to complete the graphic material, _ further develop trough drawing assembly details and construction issues.
Almudena Cano Pi単eiro
MATERIAL LIST ESSENTIALS: ≥ Transparent set square 45º and 30º/60º, both 40cm or more ≥ Transparent Ruler 40cm or more ≥ Mechanical pencil, Size: 0,5mm, drafting type (not the general writing lead pencils which have a short and conical tip. Drafting pencils have a thin cylindrical lead sleeve that allows the pencil tip to be run along a ruler edge with precision). ≥ Lead refills, 0.5, hardness: B, HB, 2H and Blue or Red colored leads ≥ UNI PIN / Mitsubishi (or similar), at least: 0.1mm, 0.3mm, 0.5mm sizes in Black ≥ White eraser ≥ Drafting tape ≥ A2 sized Portfolio.
ADVISED: ≥ Adjustable set square, 26cm or above, ≥ Rotring rapidograph, sizes: 0.10, 0.25 and 0.35 ≥ Kneader eraser (“putty rubber”) to dab lines and dilute strength and to be shaped by hand for precision erasing.