8
Rendering Context
Because we design and evaluate architecture in relation to its
environment, it is important to incorporate the context in the drawing
of a design proposal. In each of the major drawing systems, we do this
by extending the ground line and plane to include adjacent structures
and site features. In addition to the physical context, we should
indicate the scale and intended use of spaces by including human
figures and furnishings. We can also attempt to describe the ambience
of a place by depicting the quality of light, the colors and textures of
materials, the scale and proportion of the space, or the cumulative
effect of details.
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PEOPLE
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The viewer of a drawing relates to the human figures
within it and is thus drawn into the scene. Therefore,
in the drawing of architectural and urban spaces, we
include people to:
¥ Express the scale of a space.
¥ Indicate the intended use or activity of a space.
¥ Convey spatial depth and changes of level.
Important aspects to consider in the drawing of
human figures are:
¥ Size
¥ Proportion
¥ Activity
Size
¥ In orthographic projection, the height and width of
elements remain constant regardless of the
elementsÕ depth within the projected view. We can
therefore simply scale the normal height of people
in elevations and section drawings.
¥ We can also scale the height of human figures in
paraline views. Since the view is three-dimensional,
however, the figures should have some degree of
roundness to indicate their volume.
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¥ In perspective drawings, it is generally easiest to begin
drawing people by locating where each figure is standing.
Then we can extend this spot vertically and place the eyes
of the head of each figure on the horizon line.
¥ Figures above or below the level of the observer should
first be sized as if on the same level, and then shifted up
or down as required. The principles of linear perspective
can be used to shift the figure right or left, up or down, or
into the depth of the perspective.
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Proportion
The people we use to populate a drawing should be in
scale with the environment. We therefore need to draw
human figures in proper size and proportion.
¥ First, we establish the height of each figure and then
the proportions of the parts, the most critical being
the size of the head. If we can divide the standing
human figure into seven or eight equal parts, the
head is between 1/7 and 1/8 of the total body height.
¥ We should avoid drawing outlined frontal views of
people that appear like flat, cardboard cutouts.
Instead, figures should be given a sense of volume,
especially in paraline and perspective views.
¥ When drawing a person sitting on a bench or chair, it
is usually best to first draw a figure standing
alongside the bench or chair. Then the established
proportions are used to draw the same person
sitting down.
¥ The attitude of each human figure can be established
by paying particular attention to the contour of the
spine and support points for the body.
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Activity
The figures in a drawing should convey the nature of the
activity in a space and be appropriate to the setting.
The manner in which we draw them should answer the
fundamental question: What activity should occur in
this room or space?
¥ Both groups and solitary figures should be appropriate to the
scale and activity of the space.
¥ People should not be placed where they might conceal
important spatial features or distract from the focus of a
drawing.
¥ Use the principle of overlap, however, to convey spatial depth.
¥ Figures should be clothed appropriately, avoiding unnecessary
details that might distract from the focus of the drawing.
¥ People should be depicted in a manner consistent with the
style of the rest of the drawing.
¥ Where appropriate, people should be shown gesturing with
their arms and hands.
¥ ItÕs important to be patient; each one of us inevitably
develops our own style of drawing.
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FURNITURE
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The type and arrangement of furnishings are important
indicators of use and activity in a space. Their placement
should remind us that there should be places on which to sit,
lean, rest our elbow or foot, or to simply touch.
¥ Drawing furniture in conjunction with people helps
establish their scale and maintain the proper proportion
of their parts.
¥ Except when furniture is the subject of a design, welldesigned,
commercially available examples should be used
as models.
¥ We should proceed from the geometric basis of each piece.
¥ Once the structural framework for the form is established,
we can add indications of material, thickness, and details.
¥ Furniture should be drawn simply in plan views.
Digital Libraries
Many CAD and modeling programs include ready-made
libraries or templates of these contextual elements. These
can be easily copied, resized, and placed directly into
drawings.
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VEHICLES
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We include a variety of vehiclesÑcars, trucks,
buses, even bicyclesÑto indicate roadways and
parking areas in exterior scenes.
¥ The placement and scale of vehicles must be
realistic.
¥ Drawing vehicles in conjunction with people helps
establish their scale.
¥ Actual models should be used whenever possible.
¥ As in the drawing of furniture, we proceed from
the geometric basis of the vehicular forms.
¥ If we draw vehicles with too much detail, they can
easily become unintended distractions and
detract from the focus of a drawing.
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LANDSCAPING
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Another opportunity to convey the context for a
design is in the drawing of landscaping elements.
These include:
¥ Natural plant materials, such as trees, shrubs,
and ground covers.
¥ Exterior construction, such as decks,
pavements, and retaining walls.
With these landscaping elements, we can:
¥ Convey the geographic character of a site.
¥ Indicate the scale of a building.
¥ Frame views.
¥ Define outdoor spaces.
¥ Direct movement.
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The drawing of trees begins with the appropriate branch
structures. Different types of branch structures are
illustrated below.
¥ The pattern of growth flows from the ground upward;
the branches are feathered as they grow outward.
¥ To this framework, the overall shape and massing of
the foliage is lightly sketched, without outlining this
profile too heavily.
¥ If adding texture to the foliage, we must pay close
attention to the appropriate scale of the leaves and
the resulting degree of tonal value and transparency.
¥ We should be economical. The amount of detail
rendered should be consistent with the scale and
style of the drawing.
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¥ In site plans, we indicate the positions of tree trunks and
lightly outline their foliage. Draw these outlines freehand
to give the foliage a textural quality.
¥ If the scale of the site plan permits, we can also show the
branch structures of the trees.
¥ To contrast with a light ground surface, we can give the
foliage a texture and tonal value.
¥ The types of plants we use in a drawing should be
appropriate to the geographic location of the
architecture. It is therefore necessary to differentiate
between deciduous trees, conifers, and palms.
¥ In floor plans, we cut through the trunks of trees and
therefore only suggest the extent of their foliage.
¥ The tonal value and texture of shrubs and ground
coverings should provide the degree of contrast
necessary to define adjacent pavements, decks, and
other exterior construction.
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We should pay careful attention to the appropriate
scale of the trees we draw in elevations and section
drawings. As always, the type of trees selected
should be appropriate to the geographic location of
the architecture.
¥ In small-scale elevations, we draw the portion of
tree trunks that are visible and simply outline the
foliage. Draw these outlines freehand to give the
foliage a textural quality.
¥ To contrast with the light values of adjacent,
overlapping, or background forms, we can give the
foliage a contrasting texture and tonal value.
¥ If the scale of the drawing permits and a high degree
of transparency is desired, we can simply draw the
branch structures of trees. The outline of foliage
can be suggested with dotted or lightly drawn
freehand lines.
¥ In paraline drawings, trees should have a threedimensional
quality in order to comply with the
principles of paraline drawing.
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In perspective views, we apply the principles of atmospheric perspective
to the drawing of trees and landscaping elements. Foreground elements
typically possess dark, saturated colors and sharply defined contrasts in
value. As elements move farther away, their colors become lighter and more
subdued, and their tonal contrasts more diffuse. In the background, we see
mainly shapes of grayed tones and muted hues.
¥ The contrast of trees and other landscape
elements in the foreground is sharpened. This
can sometimes be accomplished simply with an
articulated profile line.
¥ The middleground is typically the focus of a
perspective scene. This area therefore requires
more detail and sharp contrasts in tonal value.
¥ The background of a perspective has
diminished details, lightened tonal values, and
softened contrasts. Trees and landscaping are
shown merely as shapes of tonal value and
texture.
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REFLECTIONS
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¥ Water should be rendered as a horizontal
planar surface.
¥ We use horizontal lines: drafted lines for
still water and freehand, wavy lines for
ripply water.
¥ Surfaces that are light in value appear
lighter than the value of the water.
¥ Likewise, darker surfaces appear darker in
reflection than the value of the waterÕs
surface.
¥ The actual values we use for the reflecting
surface, as well as the reflections within
the surface area, should be determined
relative to the range of values for the rest
of the drawing.
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