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autore |
SABRINA WILK |
titolo |
CONSTRUCTION AND
DESIGN MANUAL. DRAWING FOR LANDSCAPE
ARCHITECTS |
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editore |
DOM publishers |
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luogo |
BERLIN |
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anno |
2014 |
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lingua |
INGLESE |
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Argomento e tematiche affrontate |
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Few other professions can match landscape
architecture's requirement graphically to represent and communicate so much
content and so many ideas. From large-scale master-plans and strategic
visions, design concepts and outdoor experiences, to specific vegetation and
precise construction details - at some point everything has to be explained
on paper. This handbook focuses on two areas which, even in the age of
digital media, are still staples of the profession: orthographic projections
and blackline drawings. Intended to be both
instructional and inspirational, this book covers the basics of landscape
architectural representation, hand drawing and sketching in an easy to
understand way, encouraging readers to draw their ideas and develop their own
graphic language and style. |
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Giudizio
Complessivo: 9 (scala 1-10) |
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Scheda compilata da:
KASIŃSKA ZOFIA |
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Corso di Architettura e Composizione Architettonica 3
a.a.2014/2015 |
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Sabrina Wilk is a
landscape architect born in Toronto. She received her Bachelor degree in
Landscape Architecture from the University of Toronto, before going on to
complete her Diplom Ingenieur
degree in Architecture from the Technical University of Karlsruhe under the
supervision of Professor Dieter Kienast. She
founded the LineScape drawing initiative in 2007 to
promote and foster drawing practise and techniques within the landscape
architectural professions. |
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Contenuto |
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This book is merely a starting point and only
scratches the surface of this topic. The reality is that drawing in landscape
architecture is much more complex and compelling than what is presented in
this book. Hovewer inside, we can find a lot of
inspiration and help how to draw. |
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CAPITOLI |
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Capitolo I– Drawing equipment, paper and lines |
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In this chapter the author show
equipments to draw. He also explain that drawing has big potential for creative
expression, that lines can appear light or heavy, calm or dynamic- it depends
of our emotions and atmosphere so always our drawing will be different. It is
important that architects work with images automatically and they must know
how to express their ideas. In drawing, lines are only a method
of representation, used to distinguish and identify shapes on paper. |
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Capitolo II – Projections |
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In the second chapter, we can see differences
between ortographic and paraller projections and perspective projections.
Writer explains that landscape architects not only need to understand how
projections are constructed but they also have to understand how an object or
space can be change because of the projections describes and communicates
different aspects. There are a lot of methods, every of them has another
advantages and potential effect. It is important also to see that each
projection conveys different relationship between an object, space and
viewer. |
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Capitolo III- The plan view and the rendition of symbols |
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In this chapter, writer tell us
about drawings in scale, buildings, trees and vegetation, build structures,
water, surfaces and materials, enliving scenes, topograpy and terrain and
graphic symbols. There is important to understand that term scale refers to
the proportional relationship between a real spatial dimension and its
representation in a drawing so, depending on the scale, drawn elements are
often subjects to a graphic simplification, reducing some elements to hightly
abstracted symbols. The autor talks about working in urban and rural areas
what means that design drawing involve buildings as well as topography. The
important is to show connection between urban planning and shape of building
and the internal organization of a building. Architects should show not only
what they design, they have to remember about real view of designed area so
the autor tell us how to draw realistic shadows. Since desing project is concerned
with designing outdoor spaces, they deal with a hudge variety of natural vegetation.
Symbols of trees in plan can range in levels between universality and
particularity even if in plan these symbols are only graphic interpretation
of a real view. In our drawings, regardless of style and degree of
abstraction, presenting of our project should always feature a graphic
similarity and continuity of all different projections, such as plan, section
and elevation. The autor show how to draw trees in groups
because it is important for the viewer to understand how the trees are
arranges, how they relate to other elements
in design and how their placement define space. Architects have to remember that
simple sketch techniques can only convey about plants because vegetational
structure is very intricate and complex. In a sketch we can only feel an
impression of abstract drawing because it is not so much detailed realism
however the symbols and textures communicate just the right volume of key
characteristics to indicate the plants. The writer tells also about
topography, terrain and landforms and says that it is extremely important to
understand the concept of contour lines. Especially to represent and
communicate vertical changes and differing levels in topography to the
viewer. Each contour reperesents another level elevation above or below a
common measuring point. In the and of this chapter the
autor says how to finish draw in successful way: the first point is about
forms and outlines, architects have to define and communicate objects, areas
and surfces in drawing. Everything need to correspond to the object itself,
allowing the viewer to identify quickly what architects wanted to show. The second point tells about lines
and hierarchies. We can read that important is using stronger lines for
higher, more dominant elements like trees and buildings when ground plane
should be draw not so hard. |
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Capitolo IV – Elevation and section |
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In
this chapter we can read about elevtion, vegetation in elevation, built
structures and sections. Like the plan views, elevations are abstracted
projections. The author says that it is important to construct an elevation so
that the most important design contents are included in the final elevation.
Sometimes it is necessary to draw more than only one elevation- in totally
different directions. Architects can use the perspectives who will always
communicate a spatial experience far more effectively than a projected
elevation. However, a perspective can`t show a real scale. In drawings,
elevation work together with another aspects so it is important to make a
contrast between it and vegetations. The
author show us how to draw plants and explain that draw the plant volumes
using varied and irregular outlines, never regular. Also the overlapping
planes of an elevation and different advancement of details can create very
interesting view. Very
important is to draw people on sketches because it is nice way to indicate
scale. Architects usually do this without details, just in very simple way. The
last topic in this chapter is about section. Doing the sections architect can
show the relationships of interior and exterior spaces, different uses and
functions and different topography. |
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Capitolo V – Paraller projections |
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The fifth
chapter says about paraline views in drawings. There are three dimentional
representations which we can find in architectural presentations. These
representations are constructed with tree axes- X, Y, Z with a horizontal
baseline. First
of them is isonometric, who shows all free sides of an object. In isonometric
paraller lines are projected with a 30 degree angle to the right and left of
the horizontal baseline. Second
of them is elevation oblique where an elevation is placed on the horizontal
baseline. Third
of them Is the axonometric. It is easy to construct- the plan is rotated in
conjunction with a horizontal baseline, which offers another views. It`s
similar like in elevator oblique- in axonometric everything is constructed
with scale. |
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Capitolo VI – Perspective |
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The chapter
six says about perspective in landscape architecture. The author wants to
explain how important is the way how we see space. He thinks that perspective
drwings offer a sensory view of a space, as opposed to the more mechanical
view for exmple in paraline or ortographic projections. He talks
about linear perspective, which assumes that a viewer who is standing at the
fixe position- look at the scene directly in front of him. Easy way to draw
is using a prepared grid- we just have to remember that eye of the viewer is
on the level 1.60m and in this way we can easy calculate a propotions and
with knowledge of perspective principles, it is not hard to use perspective
grids to construct and test design ideas and graphic variations. |
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Capitolo VII – Architectural presentations, layout and lettering |
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The author show
to architects how to make an effective compositions. On eof the most
important is to show project in the easy way- viewers must engage with it
quickly and follow the hierarchy of presented information easily. They have
to understand all the design process and key of project. Everything should be
made with harmonious and good compositions, which communicates the main idea.
Architects must remember about symmetrical layouts- it helps the viewers to
read quickly what is important in project. |
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Capitolo VIII – Lanscape architects |
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In this
chapter the author show us examples of famous lanscape architects. One of
them is the team LDA Design. They work in every scale but they develop smart
and creative solutions that are shaped around economic, environmental and
social objectives. For this team, it is very important to understand the
place where they design, deliver requirements of the client and the needs of
the community. They use a lot of drawings because they belive that hand
drawing have a a central role in communicating our ideas well. For them, hand
drawing is important throught its ability to communicate design though,
perhaps capturing a more direct interpretation of the design ideas and the
emotional creativity anv important vision of the designer. It is also a way
to communicate between people. The second
one is an example of Iohrer.hochrein from Munich. They focus on on the
diverse aspects of open spaces, preferring the interaction between dense
urban areas and the larger landscape. They think that CAD drawings are too
much precision than they are able to show in first step of designing. First
they use pencil on paper- from the first concept sketch, to the communicative
perspective and in the and to the development and final details. They belive
that traditional drawing remains an indispensable part of drawing. |
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GLOSSARIO |
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Drawing equipment – the necessary items for a drawing, like: pencils, ink pens,
markers, sketchbook. |
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Projections – the presentation of an image on a surface which have been around since
antiquity. |
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Scale in drawing
– the ratio of a distance on a
map to the corresponding actual distance. Depending on the scale, drawn
elements are often subject to a graphic simplificaations, reducing some
elements to highly abstracted symbols. |
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Elevation and section – a particular sides of a building. Elevations and sections
are commonly found in architecture, where they are useful for communicating
information about duilding fasades, vertical elements and interiors of
buildings. |
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Paraller projections – also called paraline views, are three dimensional
representations which are frequently found in architectural presenttions. |
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Perspective – perspective projections offer sensory view of a space, as
opposed to the more mechanical view like paraline or ortographic projections. |
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Layout – the
way in which the parts of drwings are arranged. |