How to Represent People on Drawing Plans

There has always been a connection between architecture and visualization.

Not all visualization is most communicating data, sometimes visualizations show concepts. The core of what architects practise is creating visuals that communicate complex concepts, processes and spaces.

Over hundreds of years, architects have adult and refined different drawing types and techniques that help to communicate these ideas to people. Permit'south take a look at some drawings of the Pantheon to see how they communicate.

The drawings in this mail come from two different sets. The more yellowish of the two are older drawings from "Les edifices antiques de Rome" by Antoine Babuty Desgodetz in 1682. The grayscale drawings are the newer set from Francesco Piranesi in the 18th century.

Both of these sets of drawings were done afterward the construction of the Pantheon, but they are nevertheless skillful for communicating some of what would be necessary to create the edifice.

Even if you take never been to the Pantheon, these drawing sets will provide a feeling of what the building is like.

Plan Drawings

Plan drawings are the virtually common architectural drawings. Think of them every bit a map of the building, as they provide a view of the layout from in a higher place. Imagine cutting horizontally through a building at about three feet (or approximately 100cm) in a higher place the floor level and drawing everything that was sliced through. In some drawings, the walls are shaded black, while in others they are given a lighter texture. The black portion in drawings is called Poché, and indicates everywhere that a wall or cavalcade was cut through for the drawing. Sometimes plan views also include more details than merely what is at the 3′ level. They often include floor coverings, furniture, kitchen and restroom fixtures, appliances, or stairs.

Some plan view drawings happen at other levels in a building. In this drawing, there is a plan of the attic space, as well every bit a reflected ceiling programme, showing the inside surface of the dome.

Here's another programme that shows the roof, too as the coffered ceiling. Piranesi's drawings get beyond the typical role of a plan view of communicating wall thickness, door and window locations, and the segmentation and sizes of a space. His drawings have much more detail in the shading and texturing, and are much more informative nearly the qualities of the infinite.

Section Drawings

Department drawings involve the aforementioned cutting technique as plans, although the cutting plane is vertical instead of horizontal. The point of a section view is to show the heights of each floor, and any complex structures similar foreign ceilings.
Sections are typically cutting at correct angles to the axes in a building, and unless their position is obvious, there are often reference lines on plan views to bear witness where the section cuts fall. In the two cartoon sets here, those reference lines are absent. The Desgodetz sections are adequately simple, cutting through the center of the dome along the longitudinal and transverse axes, with one department through the portico.



The Piranesi sections are more interesting. The shadows are shown as if the building really were cut and sunlight was streaming in. This technique helps to communicate the depth of the edifice much more conspicuously than the Desgodetz sections.



In improver to the same sections as Desgodetz, Piranesi drew a portico department looking back towards the building, without the wooden roof construction.

Elevation Drawings

In addition to seeing the shape and space on the within of a building, architects also need to communicate what the outside of a building will exist like. 1 of the drawing types for this is the Elevation drawing. Top views evidence materials, texture profiles of the edifice, and heights of and between elements like windows and detailing.


Once again, the Piranesi drawings prove much more particular.

Perspective Drawings

And then far, all the drawings have been idealized views of the building that could never exist in real life. All the lines that are parallel in real life are fatigued every bit parallel in the drawing. For a slightly more than realistic view, architects utilise perspective drawings. Piranesi did one perspective of the Pantheon.

In that location are also other views similar to perspective drawings. Axonometric views show three sides of a cartoon with the tiptop rotated 45º, while the sides are skewed so verticals are vertical and horizontals are at 45º. Isometric views are similar, only using 30º angles and skewing the peak and sides equally. In both axonometric and isometric projections, the lengths of every line is measurable, while in perspective drawings, the lengths vary depending on the location in the scene.

One interesting affair to annotation is the people in the drawing. These people are chosen scale figures, and are shown to assistance get an thought of the size of the edifice. Ideally, at that place would be more of these figures in the other drawings likewise as the perspective. The Pantheon is a swell example of how of import these figures are, considering without them it is difficult to grasp the calibration of such a huge building.

Details

Oft times, an overall view can't show enough detail to communicate how something is synthetic. When architects demand to prove more than, they utilize detail views.

Detail Sections show cuts through a portion of a building in order to describe the structure technique and material use.

Other details only show the shape and texture of things.
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Site Plans

In addition to the edifice itself, information technology is important for architects to provide context for a building. Showing what is nearby, also as the cardinal direction that a building faces is important for understanding the character the building volition have. Neither Desgodetz nor Piranesi created a site plan for the Pantheon, but there is an amazing cartoon of Rome by Giambattista Nolli from 1748, the Pianta Grande di Roma, now known as the Nolli Map. The map has an intense amount of detail. The next three images are all unlike zoom levels of the Nolli Map, showing increasingly more context effectually the Pantheon.

All of these drawing techniques adult very early in the history of compages, and were so successful at communicating and recording the ideas, processes, and concepts that go into a edifice that they are still used widely today. Equally technology changes, the means of producing the drawings has evolved too, however the cartoon forms themselves have and will continue to stay more often than not the aforementioned. Even the advent of digital 3D modeling has not changed the necessity of having a basic set of plans, sections, elevations, details, and site plans to get a building built.

Drew Skau is Visualization Architect at Visual.ly, a PhD Computer Science Visualization pupil at UNCC with an undergraduate degree in Architecture. You can follow him on twitter @SeeingStructure

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Source: https://rockcontent.com/blog/visualization-in-architecture-drawing-types/

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