Right
Information is edited to the minimum to concentrate attention on the essential subdivision of the existing building shell. Dimensional accuracy is not as important as clarity of information.
Below right
The precise relationship between the new and existing elements can only be effectively established with a drawing made to scale. Traditional instruments will produce an acceptable level of accurate detail.
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closer scrutiny of aspects of the design and to identify the areas where thought must be given to construction techniques. Often, as in this case, there will be few substantial changes, but drawing to a larger scale can point to areas that are potentially awkward to resolve visually and allow speculation about detail. Even if such larger scale drawing were not to result in any changes, which is unlikely, drawing and re-drawing would still be an important part of the design process because the repetitive act obliges a designer to reflect again on ideas evolved at the smaller scale.
While designers working on a project may understand very clearly the three-dimensional implications of their own plans and sections, it is less apparent to clients, and frequently to other designers. It therefore makes sense to produce freehand three-dimensional sketches that clarify the interrelationships. It is important to make sure, particularly in a domestic project, that clients understand exactly what is being discussed and its implications. Generally, as in the first diagram in this sequence, simplification of image is important for clarity.
It should also be acknowledged that making looser drawings, like the three-dimensional images, has a productively therapeutic effect on the designer. They offer relief from making detailed technical images that demand the simultaneous consideration and reconciliation of aesthetic and practical priorities, and a more disciplined and labour intensive drawing technique. They may also occasionally identify potential physical clashes between elements that were previously unsuspected in two dimensions.
Most designers will quickly scribble three-dimensional views, for their own enlightenment, in the course of making plans and sections and these may, occasionally, be upgraded for presentation purpose. This habitual introspective scribbling is a useful way of maintaining a freehand drawing skill that can be useful when it is necessary to produce spontaneously an explanatory sketch in response to a client’s question. Such ad hoc drawing may be the last hand drawing activity to be superseded by the computer and, if it is done well, it will always impress a client – or a colleague.
Above
This larger, scaled area of the elevation allows more detailed examination of the smaller elements:
light fittings, handrail fixings, even door handles.
Below
Another three-dimensional diagrammatic sketch helps clarify the relationship of the three levels and the stairs that connect them. It is again simplified for clarity.
section and, from that, a definitive section and its interaction with the original is established on computer. The computer’s capacity to deal with curved lines is particularly useful for establishing a precise form. With the information contained in section, and plan, it is easy to generate the two three-dimensional images, one showing the new structure in isolation and one showing its relationship to the existing building.
Both remain diagrammatic to an extent, with heightened shadows and the glazed cladding shown without indication of support or fixing, but the fundamental problems have been identified and solved. More detailed resolution can follow.
When creating an interior within a conventional rectangular plan, it is often feasible to work on computer from the outset.
However, if the proposal is three-dimensionally complex then it is more usual to record first moves in rough sketches that will establish viable starting points for the production of more complex and precise computer images.
This project is for the insertion of a complex multi-level interior, to sit within the shell of an existing building and to break through its roof. First a perfunctory diagram is created, which has no need to represent the existing plan and section in any detail. The second sketch, overlaid on a section of the original building, investigates the relationship of new levels to the existing
A spontaneous expression of the first idea, showing the cascading form set between the end elevations of the existing building but with no indication of its materiality. Arrows draw attention to a revised circulation strategy.
1
Freehand lines, overlaid for accuracy on a section of the existing building, begin to define the relationship of new to old.
Hints of figures and equipment indicate that consideration of function is beginning to influence decision making and that the designer is remembering that the way in which users experience the building should not be sacrificed to the dramatic gesture.
2
A much more considered and resolved computer generated version of the section clearly sets out levels and new and existing structures but is most valuable as a definition of the geometry of new glazed cladding and the structure that supports it. The form rather than the transparency of the glazing is given precedence but the nature of the structure, its profiles and joints are clearly identified.
3
A computer-generated perspective clarifies the principles of the relationship between the new structure and the overlapping glazing elements.
4
The contrast between solid structure and transparent cladding and the relationship of both to existing gables is more clearly explained
5
a drawing board. It remains a matter of personal preference, but there are significant advantages to working digitally.
Once basic information has been fed into the computer, it becomes simple to generate outputs quickly and convincingly in two and three dimensions. The accuracy and clarity of the finished image ensure that, in contrast to freehand sketches, there is much less room for misinterpretation during discussion with colleagues, consultants and clients.
It must still be conceded that in the earliest stages of the design process one is likely to make quick freehand sketches, and for some designers – particularly those educated to use traditional techniques – this is, and will remain, true and they will adamantly defend their position, with a vigour that might suggest they may suspect that their argument is a shaky one.
For those who have used computers from the beginning of their training, and as an integral part of their practice and daily lives, it has become as easy to ‘doodle’ and ‘sketch’ on screen as on
An early, diagram of an elevation suggests the idea of a ribbon stretching over a floor and up a wall.
1
The idea of a continuous, undulating ribbon is developed in threedimensions.
2
Walls, furniture and figures are added to establish context and describe how the area might work.
3
A first section, which relates profile to overhead structure, provides information from which all subsequent drawings are generated. The figure establishes scale.
4
The basic form remains consistent, but inflated components replace the original fabric.
5
Sections extruded into three dimensions begin to explain spatial possibilities.
6
The computer is a drawing instrument that also makes online access to manufacturers’ websites easy and furniture and finishes may be downloaded to become an integral part of the design process. Colours, to match paint or material samples, furniture and figures may be scanned and pasted into the image.