Construction and Design ManualDrawing equipment, paper and lines Getting to know the graphic effets: pene vs. ink Peneil and ink pens are both equally usefl when drawing, however produce very different effets. (is important co know the advantages and disadvantages of each of them in the ‘rawing process. A simple pencil can produce a reat variety of lines, strokes and tonal effects depending on different factors The different degrees of precision and grey values are easily variable. Whether a ine is precise or fuzzy will depend upon ‘whether the pencil point is sharp or chiseled and on the degree of pressure used whilst drassing. How dark lines appear ona surface also depend upon the hardness ofthe pencil lead itself ‘This versatile drawing tool affords endless possibilities For dot lines and a large spectrum of tonal gradiations of light and dark. effects. Ieremains afm favourite For design professionals and students alike Pencitend rade Abt dla ae. = - = allio de. cua at MPN iia i MM a HA YGG%.Fenaerng wth mark Grapnie posses Itis essential to know bath of these tools wellto understand when Tonal values must be produced through density of lines and ouse them and what effeetsthey can create within a drawing, strokes, aswell as chrough hatehing effects. Lines produced nk pens ‘with ink will always havea crispness and even quality that pencil Tinets work only with the point tipof the pen, whieh d lines usually eannot achieve. They are ideal for finished work and the exact line weight produced. Unlike the pencil, addi represent an excellent bass for copying, as their thickness and pressure will not change the weight or darkness ofthe lin. blackness remains consistent and eleatly legible sometimes also referred to as ine liners or itl f\dilvat auDrawing equipment, paper and lines Graphic effects with markers ‘The many-variations of stokes, textures and hatchings made pos- sible by markers are great for enhaneing.a blackcTine drawing. Tis important to remember that their tonal values will appear darker ‘on paper than on vellum, and that hand movements.and gestures ‘must be considered as part of the overall rendering effect. Sy Baa: Pom #14... a We OADrawing equipment, paper and lines Line weights in plan and elevation Imarchitectural graphics, black lines usually form the basis of every drawing and projeetion, regardless of media. Whether drawn by hand or with the help ofa digital media and CAD- programmes, lines describe forms and define planes and sur- aces. In order to ensure easy legibility, they need to be brought together propery ina drawing, the thicker the line weight ina drawing, the stronger and bolder ‘will appearto the viewer. Line weights need to be organized and given a hierarchy. These will differ, depending on the scale ofthe drawing. Iris important to remember that the elements closer tothe viewer can generally be drawn with a stronger line weight than those appearing further away. athe say an element plane weighttean have inadrawing lenis might be he grad pane ‘ath a paving pattern, an elevation, tis usualy tne backarounaPct 1 Fenaerng wth mare “Ca angi ofview GW"t0 the leat plane Plan view oo Lineweights ‘naplan Lowerstements, heviewee| Line weighs Inanclevaton Foreground BackgroundDrawing equipment, paper and lines Line weights and their effect in a drawing sntiation of line weights in a dra ‘emphasis may become unclear and drawings difficult the viewer. Different line weights help to differentiate distances rom the viewer, since the heaviest lines appear elosest.Ithe ground plane is drawn with heavier lines than the spatially buildings, it may dominate the drawing and rr'seye towards a less important aspect ofthe de ry, in an elevation, che foreground should carry the in the scene as opposed to the background (see 132). When lines are close together, they often result in ‘textural pattern which further communicates surface mater alswithi patterns assist, the outlines x othe viewer. the snd to be thinner drawing in land scape architecture should be easy legilibity allowing the viewer ‘oinstantly understand what is happening in the space withoue correct diff Tine weights thantheDrawing equipment, paper and lines Line types, quality and effect rechand lines re usually adopted atthe start ofthe design pro ‘ess, These lines ate deawn without a straightedge, as imperfect Dut continuous strokes witha strong start and finish, individ allines may appear abit shaky, however, when grouped, they appear unified. These sft ines are often repeated and overlaid especially when thinking on paperand testing ideas. Freehand lines are loose, exploratory and unfinished, often communica ting work in progress. i As the design provess matures, forms will become finalized, ‘with staight lines drawn using a straightedge. these will have slightly more finished quality. Depending on the speed with ‘which itis drawn, the line thickness may be inconsistent and, asa result, ean still appear sketchy or unfinished. This effet ‘might be dseful when presenting design variations. Overlapping ‘corners also contributes to the sketeb-like effeet. The more eon sistent the quality of the individual lines, the more finished their appearance, When a design is finished, more formal draftsmanship is usually required, The ines are all crisp and continuous, gvinga precise and finished impression, Corners are sharp and all ines are drawn havea consistent weight throughout. These finished ‘echnical drawings are less commonly draven by hand, as they are often left 10 CAD programmes, which produce perfeet lines and il | I= | IU mmThe plan view and the rendition of symbols Scale and drawings Floor plans and roof plans Roof plans and shadows Drawing trees ‘Tree symbols Shade, shadows and tonal values ‘Tree groups Shrubs, hedges and grass Trimmed hedges and woody plants Vegetation surfaces Flowering plants Sketching planting beds Pergolas, garden pavilions and arbours Paying patterns and seales Frechand surfaces Walls, stairs and ramps Rocks and stone walls Built water features Moving water Furniture and people Contour lines Retaining walls North arrow and graphic scales Drawing process Flements of a successful line drawingThe plan view and the rendition of symbols Drawing tees in plan, “Trees in plan are usually drawn in an idealized form, _Byery tree symbol begins with eieleas its base. The middle ofthe circle suggests where the stem meets the ground plan and does not necessarily need special graphie emphasis Inahand drawing, itis best to start with apencil, using either cirele template ora compass to draw the cirele form. Asnoted, the circle isa universal symbol fora tree, represent ingany tree type. BEM Me 9g 2p ie sis common to loosen up the edge of the cicle using textural hatching, especially since this ais identifleation and increases legibility: The tree symbol is recognized as an clement of vegeta: tion rather than a hard geometrie form. Small and ieegular strokes and textures breakup the pure circular base shape and, ‘depending on the detail in the texture, ean give some informa. tion about the tre, even if is simply to distinguish a deciduous ttce ftom an evergreen one.‘Trees ana vegetation Thee symbole edges and grass Vegetation auraces, Floweing pans ‘Sketching planting becs {an ip ot gh source is By ppg olage ote n orks with ag route, ‘mucha saprere ring coors fags eine re gradient can hop uncerscora the Tre couc e owes oe Yoo, uch tetage xe tomar he waa Tunes avy tm he ight source eats agri in gi tones. The resutng toe crown appears 12The plan view and the rendition of symbols Drawing plants together rrean be daunting to draw vegetation. itis full ofso many small, ineegular and complex parts. A good way to practise iby closely looking atand recording plants from real life situations, Draw and sketch them as much as possible. Overtime, sketching wil automatically hecome faster and will concentrate on key features, Jeaving out much of the detail. Observation and freehand drawing ‘remain the best waysto train perception and to gain confidence. ‘Theyare also great ways to learn about plants.and vegetation. LILDEARG a toaen‘Trees ana vegetationThe plan view and the rendition of symbols ‘Topography, terrain and landforms: contour ines, ‘when workingon landscape projects, weoften deal with natural xach contour line represents alevel elevation above or below landforms. These involve three-dimensional slopes and vertical common measuring point. The lines will have defined intervals, changes, which have tobe shown onatwo-dimensionsl plan, usually determined by the topography orlandform itself, as well is extremely important counderstand the concept of contour as the seale of the drawing. For example, avery large site with lines. These lines area graphic! and communicate vertical changes and differing levelsin smaller site with relatively lar teeran. topography to the viewer. rethod used to represent steep slopes and embankments will have larger intervalsthan a Regus othow curves ot nely ‘to contour nes appoar in pln, they aways representa constant Inv ornareTopography ane terrain 3 Fetanng wats ‘nese contour nesin plan represent avery uneven tan gente epson fs “The vata! love rpreconod by gach of hse lines can bo i] laf sparaoa om one another byte hen aval Wi te i hap of a sleence cut ine npn the deren tevelscan be | ‘erica located win ine hart en every pointe oct, \ they ean oe connected toform alegne section ote tera | { wll \Wily spaced contour represent telnet ot Closely spacadconlowsreprorenttoapsiopes, Conair ines whelatvaly equal pacing il ty aoped opera, Foes acon speY j G J Z G J U _ WLLL) YYPerspective Drawing perspectives: seeing and understanding space Inorderto draw perspectives correctly itis important to “understand how we see space. In order to master the perspective, knowing its principles and characteristicsis absolutely essential. Thisis especially so for landscape arehiteets who concern themselves with designing and communicating space rather than objects or buildings. Perspectives follow principles ‘which are rooted bath in descriptive geometry and in painting. de sp000, wheter 0 or magia Core quit acorn arn foncetna perpactis key pines ‘hese principles ate valid when drawing perspectives ata desk instudio and when drawing outdoors, on ste. Perspective projections offer sensory view ofaspace, as opposed tothe ‘more mechanical views found in paraline or orthographie projections. Ifa perspective space is not constructed correctly, Iwill be impossible co rescue it even with most sophisticated‘axonomete projection lagonals Vvanssning pons Stas ana amps 1ypos of perapactve Retectens Coordinates and signs Ropetitns forms anc monsons CConaiuctng a perspective grid Simple shadows "nwo main types of perspective will he discussed here, asthey ‘The topicof perspective ie very important, and is the subject appear most Frequently inthe design and planning diseiplines: of eountless books. This ehapter will only briefly show the linear perspective and atmospheric perspective. dlfferent types of perspective, how they are used in landscape architecture and che basie methods for their construction,Perspective Linear perspective: basi prineiples Although the linesr perspective was well known in antiquity, ic became less important in the visual aets during medieval times. wasn't until its rediscovery Rensissance, that it was extensively developed as an artand asa science, Perspective knowledge allowed countless masterpieces in art and architec ‘re to happen and is tll very relevant in design development and presentation today. Linear perspective follows clear and defined rules and prin- ciples. Asean be deduced from the name, linear perspective Aeals primarily with lines and how they behave in conjune ‘ion with these prineiples.ttis therefore exteemely useful for constructing and presenting three dimensional built structures and spaces, as they would be naturally seen and experienced by a viewer. ‘haractreo of «ner perpectve‘axonomette projection Intoaucton iagonals Vanishing posts Stare andrampe 1ypos of perepactve Retoctens Coordinates and sightinos Ropetits forms anc demensons CConaiuetng a perspecive grid Simple snadows ‘tear perapectve aosumos tate \neweri standing at ate poston Inspacs and iosing ata scene ‘rect nfontothim. Tot ‘eleradto se moneciar vient thesoene aa tough ange ‘yeanatn nas ental sighing Cone ns atu approximately 50" 90" Anoin key aesorpton perepoctiv tnt a pete plane, findthe apace nei loaing saint at The pice planets eesontay ‘curonn canvas or paper Dock Upon wnien ns perspective scene I Erna parses possasns talon pot! an the grou pana “Ine orzon io a ot normaly Vil, sles near king ane Desan ore rst nigh pon =| ‘mourtan does pay an important role now perspec is porcoNee nan conetuctng perapachae. Unie paling views otal parte nae remain permit Lines ming ‘way rom me vlwereppoet ‘orworg al specie poison te ‘ansing points and oceur where me towers ightine mets he nanan linge picture pane. Most of us vwuinae sen a picture oraiway Innnty tars azn in tar and dating perspective ram ‘erhographic wn para projections, oom —f\ one space Vanishing einePerspective Linear perspective: principles and characteristies “the methodology for constructing perspectives follow distinct rules of geometry and are based on the concept of ‘seeing through’ an imaginary, transparent picture plane. With the help of the viewer's sightlines ll elements behind this plane are projected onto the planet form the resulting perspective ” image, The diagram below shows the st up, which must De um kept in ming when constructing perspective. cemaeeea eins vaniaibg pant on tha Porzon Ine ‘Vanisingpoint rennin Ww Baa al scummy Seat ea satan Satna‘axonomete projection iagonals jnates and siahtinas CConaiucting a pespecive grid Simple shadows Lines perspectnes nave cary ssiigpaie ‘erp one A parepectve scene often has over: Inpping abees anc oreenortoned panes Copjece ote se ize appar geen es ney get tease Vanishing pont Verte! Ine em nascent coh ‘Siparence ot spucePerspective (ore oin perspective: one sd of 29 ‘wo-poit pcepecti rose ot ne object pat fo te plete paneGustafson Porter London Ccutupark wesergastanik, ‘her Wesiypak Dstt Count (ty oranstrtem, Ud, Poors Bounds, Norheref Belgium Below ot: Paapect of Wetargastabo Pa 1997-2004 Acyl par adie dating, “nat Pin Woeorgsto Par Coloured penton tang papa ‘ery paint on base awing, clage wit a petocory. Gustafson Porter works across the diverse disciplines of landscape, archi- tecture, engineering and design and is familiar witha wide range of working ‘methods and best practice, ‘we havea reputation for creating innovativeand contemporary landscape design, our eore strength lies in our design skilisand the ability to deliver high-quality design on prestigious projects, in successful, close relationship swith our clients, on time and within budgets, ur workis particularly known for its very sensual and sculptural approach, tocteating a landseape design. We aim to distil the soul ofthe place and ‘manifest thisin the physical design. Notably the distinctive feature of our ‘work isthe use of jd-modelling and seulpting ofthe ground and movement ofthe earth, urprojeets covera wide range of functions, elimate zones, geographi caland geophysical characters, and historical and cultural backgrounds, ‘Theyvary considerably in dimensions, from the sizeable 1. 5ha culture park Westergasfabriek in Amsterdam to the intimate Treasury courtyards London, and the fist landscape installation atthe 11th Architecture Biennale in Venice. The leap from the rational tothe intuitive, from site data to design gesture, happens cary in the design process with small-scale _grading sketches that inform large clay models of sculpted ground planes, “The design later emerges as a vivid land form ftom both the clay and the secch,Rummey design London/Sevenoaks Proj: Down Roya Nore ant Chent-Th Henan Geeup 2 bow Roya Race Cure n Noro lan Furnnoy Design proves ntl concept Aroung ore resesiopmert la ateplan ting waster rains, amply rented “Te tim othe Mutton wos o convey the coaace oft propos, ov Oe fetanee on accra ats stage What sor ot Pinos would tbe int sono sings mht boappropice? What er oflancscape could beusesto gare he mactrin fo ge enarenoe tos urge ana are aoarwnoaaing fey use twougnout De you? Al ese teas ete orrensod qu winin Pe oneseek il ‘atch aeagn pee before an urge conned ‘ont prograse mesing oy using batons seg sis sec gy endered ‘ig page: Aaia perapecov fhe Down Royal ce Course anc Showground (projet ongoing). Rummey Design isa multi-ciseiptinary design practice based in the UK, but nowadays working also in North Afries, Mauritivs, Lebanon, Italy and Ieland, Founded twenty years ag0, the fitm employs landscape architects, urban designers and envizonmental consultants, and collectively they u \dertake masterplanning and design projects at small and lage scales, Current projects include the masterplanning and design of leisure resorts, ‘major esidential proposals including new settlements in the UK and North Africa, urban regeneration projects and designs for private cents. an important question when dealing with such a diversity of projects, clients and cultures. Rummey Design believes itis vital that cliente understand the rationale and thinking underlying a design ifthe result isto be convineing and it ist be supported. Iris not enough | prepare design and expeet acceptance without clear communication and explanation. How is this achieved? We believe it ean be done at two levels: simple, hand sketches ta convey an idea ora principle of adesign, and more saphist. cated, often digital graphies. Nowadays, there sa generally great compe tence in producing digital graphics, and there are many software packages available, but basic drawing skills have been neglected, Wins this? Hand drawing can convey an idea in seconds through diagrams of varying com plexity, and clients lke them They can be produced ‘on the spot’ and they area tool to help three-dimensional thinking and to help draw the client, oF other interested people, into the discussion. Hy using graphics software or even stylusand tablet, traditional drawing skills ean be coloured, rendered ‘or manipulated to combine the efficiencies expected nowadays with the qualities of expression ofthe pre-dgita ers. Hand drawings arc expressive, give an individual signature'to your work, can he very fast and can encourage the designer to exploit ideas three dimensionally in away that is aocessible to the client and public. For Rummey Design they ate a vital part of our visual communication process, which includes digital deaving, animation ane fi, 318 Rummy denonWES LandschaftsArchitektur Hamburg Projet Nerdnavoen Eaueatoral and Docunanision (Cee, uitsoau- Dore. Competton Fistpriae, 000 Projet oa: WES Landeenatsarenonr wn Korsborg Acton ‘cc Arcekurpeels 2005 - Honowrabie Merton ec Pe danig on colour photograph copy, ‘tour panciean wn pan WES Landschaftsarchitekturis directed by four parmers: Peter Schatz, Wolfgang Betz, Michael Kaschlce andl Henrie Wehberg: Krafft (Claus Rodding is manager and tHinnetk Wehbergis consultant and representative for WES. The frm has offles located in Hamburg, Oyten and Berlin. Our projeetsate located actoss Furope, the Middle Fast and Asia WHS Landschaftsarchitektur has been designing architectural interior and exterior open spaces for over 40 years, from the small-scale private garden rightup tothe large-seale urban design, open space planning, environ ‘mental assessment and att in the public realm are aso part of our project repertoire \We have designed and built many prestigious projects in Getmany and Europe, including the design for Hamburg's inner-city promenade Jjungfemstieg, the open areas around the new building for Spiegel Publishing, Berlin's Alexanderplaty, the Autostad in Wolfsburgand the Goethe University campus in Frankfurt. Our design forthe areas around the Erfurt train station won an avard from the Federal Foundation for the Culture ofthe Built Environment The Berlin-Brandenbarg International Airport, the award-winning spaces fr the new Culture and Social Seience Faculty in Salzburg and many other lage scale projects in Asia are amongst those which have won WES mutch Intemational acclaim. “The sketch isan important means of expression within our work. Whether trying to finalizean idea, or in presentation and documentation of a design, «drawing remains a permanent feature. A sketch can showan idea in away that a computer generated visualization simply cannot. These visualizations hhave no abstractions they suggest a seemingly-finished work and allow litle space for development of atmosphere, colour and materiality. A sketch can capture spatial situations quickly and easily, without any fnal obligation, “the hand drawing, regardless ofthe technigite and method with which it ‘was produced, ill always retain the unmistakable handwriting and graphi language ofthe author and, as. result, is unique, Drawing is always held in high esteem, reflecting the joy and craftsmanship of designing,‘Mec: Protoopy on vlan, ou panetrnding ‘The epson anna lnner oly age flrs ure mary ‘igo vnble whist irtagiang an undorycund carpark aa am ‘talon wi te epee