Professional Documents
Culture Documents
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First published in Great Britain 2010
A&C Black Publishers
36 Soho Square
LondonWlD 3QY
w'ww.acblack.com
ISBN: 978-1408-12991-3
Gilles Ronin has assertedhis rights under the Copyright, Design and PatentsAct, 1988,to be ldentlfiod $ thc
author of this work.
All rights reserved.No part of this publication may be reproducedin any form or by any mctru - gfsphls,
electronic or mechanical,including photocopying, recording,taping or information storsgcInd r€trlcvd ryltcmi -
without the prior permissionin writing from the publishers.
Publisher:Collette Hanicotre
Editor: Corinne de Montalembert
Pagedesign:Florence Le Maux
Cover design:James'W'atson
Proofreader:Madeleine Biaujeaud,
Photography:Olivier Ploton
English text layout: Penny Mills
Translator:Alexa Stace
Editorial assistant:
Ellen Parnavelas
This book is produced using paper that is made from wood grown in managcd,sustainableforests,It is natural,
renewableand recyclable.Thelogging and manufacturing processesconfornx to the environnental regulationsof
the country of origin.
your project
Developing V a r i a t i o nasn dt r a n s f o r m a t i o n s
It is by means of several kinds of representation, From the first you will be confronted witlt tlrc
drawings and plans, that we learn how to develop a practice of conversion. Getting into thc hrrbit of'
project. In this book, some of these representations varying elements from the start, on the grrplrics
rurebased on real spaces- houses and flats - and we side as well as from a model, is way of bcttcr'
will give you finished examples of real conversions, understanding the rules of design, at the sanrc tirrre
like the numerous books on home decoration or as inventing modifications, of finding and projct -
irrterior design which you will find in the public ting ideas.
library. But becauseyou live in your own space,the Let's take an example.You can draw a particrrlur'
cxamples you find are never just right. This book space or room like a camera, strictly copying wlrlt
therefore aims to show above all a real method of is in front ofyou, but you would not be makirrs usc
clrawing, with a progressive acquisition of the skills of the rules which permit you to show the splcc
which wiii enable you to carry out operations logr- in question a little differently: a partition less,sorrrc
cllly, and to put your own ideas down on paper. panels here and a transparent space there, tl-rc cci-
ling taken down to increasethe loft space,anci why
not a flight ofstairs to facilitate access,etc.
Some of the elementary principles of persl.rct'-
The progression tive and some professional tricks will teach you t<r
First of all there are the principal drawings, like the think intelligently about your drawing, as thorrqlr
ground plan and the section, the technique ofscale it were a little mechanism where you can nrovc tlrc
drawing, which allows you to measure the spaces parts about.
to be converted, and then finally the different kinds From the first pages on line, its valucs urrtl
of perspective which enable you to understand colours, we get into the habit of grafting on v:rri:r-
space,whiie studying its modifications. tions and new creations.
Themes such asa small conversion (ofa bcdrrlr>rrr,
sitting-room or kitchen) will be introcluccd pro-
gressively,but also more general,architccturll iclcls,
such asdepth, thickness,geometry and tlansp:rrcrrty.
AP-AT]oN FOR- DP-AWIN(
PR-FP
L e a r na n dp r a c t i s b e a s i cf r e e h a n d r a w i n gt e c h n i q u eTs h . e s ea r e
i n d i s p e n s a bf ot er a L rI e p r e s e n t a t i o n a I d r a w an yo
i ndg , uw i [ [n e e ds o m e
understandin og s r t h ef o t L o w i ncgh a p t e r s .
f t h e s es k i l . Lf o
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Ttiehne
Drawing a I i n ei s a r e f l e c t i oonf y o u r a t t i t u daen dy o u rp e r s o n a L iTt yh.ek i n d
-
o f I i n e d i r e c tc, t e a nc, l u m s yh, e s i t a n h t ,e a v yt,i g h t i, n c i s i veet c- d e p e n d s
DA/'wING.
on y o u rp e r s o n a L ilttyi m
. p r o v ew s i t hp r a c t i c ea,s y o uw i L st e ew i t ht h e s ef e w
w a r m i n g - ue px e r c i s e s .
Figures
The construction of certain shapes, notably the
square,and then the circle, is a pernanent exercise
in drawing.The shapesenable us to see the value
of the vertical and horizontal, basis of all propor-
tion and orientation of line, in brief the nreasure
of the whole drawing.The constructions arc lirn-
I
bering-up exercises,to practise regularly,likc goitrg i
.... ."...\,
to the gym!
P r o p o r t i o nasr e r e [ a t i v m
e e a s u r e m e n tW s .ea r e n o td i s c u s s i nage s t h e t i c s
h e r e ,i t i s s i m p t ya q u e s t i o on f t h e L e n g tohf c o n n e c t i obne t w e e tnh ev a r i o u s
e t e m e n tas n dt h e d i s t a n c b e e t w e e tnh ev a r i o u sp o i n t si n t h e d r a w i n g .
N o t et h a t ,i f y o ug e tt h e s ec o n n e c t i o nasb s o L u t erLi gyh ta t a [ [p o i n t sy, o u r
d r a w i n gw i L b l "e p e r f e c t tayc c u r a t eT.h i si s a v i t a t s k i L L m
t oa s t e r .
12
C o n s t r u c t i nagd r a w i n g
n tcd,
j"'ti- ,,
al";" , .
'i: .'"'.
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the plan
Drawtngr
T h ep L a no r l a y o uits a v i e wf r o ma b o v eA. n e l e v a t i o n I h, o r i z o n t a t v i ef w
a c, eo n ,
i f y o uI i k e w
) o r k so n t h e s a m ep r i n c i p t ew,i t ha s c a L et o, w h i c hy o ua d ds o m e
c o d e sa n dc o n v e n t i o nt hsa ts a v et i m ea n dm a k et h e p t a ne a s i e tro r e a d .
'/ro cr Loh\
fZr lw
Scales
Tlrc scale is the connection in size between the
H{r( qrc tl*ec ykru nf rhz s^w flar, wtt'ln r/too rt taYw
lt
lr\ cl-awing and reality. Scale allows us to measure
rhrzed.t"'ffrrznr vla havz^or sl**w
sonl,et. clistanceson a plan or a map.
q2 O,J 4
t/zo v tar^
F,r t^
^1ANy
h^4.r,r, u'*,I',!)o',r'
FIAr I€€^V
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DAAA//A.rC.
17
eorrverrtlorrs
arrdsvrnbols A thin line
This shows details which are not structural - strips
of parquet, motifi on a wall, elements in low relief
Convention a sr ea n i n t e r e s t i nags p e cot f p t a nd r a w i n g sA.s i t i s n o tp o s s i b tteo ctc.
g i v et h e d e t a i t so f s o m ee t e m e n tw s h i c ha r ee i t h e rt o os m a I t o, r o t h e r w i steo o
r e p e t i t i v seu, c ha s d o o r sw Thin dotted line
, i n d o w se t c ,w e u s es y m b o l s .
This shows the outline of large elements which are
lbove the plan, such as a large beam, or the boun-
claries of a nezzanine or overhang.
Doors
Doors are shown open, rheir width to sca-le,indi-
cating if they open inwards or outwards.You don't
draw a line for the threshold. Avoid showing the
door with a diagonal line - on the contrary take ) u,tr LuuJrv
the chance to practise drawing a quarter-circlel
The symbol is simple, showing just the frame and
rwtlws d'rnwug wt sfrnww*:r nf rlrz owrtht
the top of the door (thickness may or may not be
:yrtnl": Nrretlat ws 4rt lr^Lf-lyrtrl",l'"Lf
shown to scale). Only the passagethrough is really
shown to scale.
1 rtalunr
f
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Windows _t_
Windows (except for French windows) are shown rluwr rrTy
by
uy Lwu perpendicular lrres
two pcrpgrrcrruurar lines orl
on tlle
the wail,
wa[, snowlng
showing
the width of the ledge. They are usually shown Fuw d.rffzd,Lr,ntun"danat-trg
a
Arrow sh.wuyt d,ucofww
s h u t ( s e ep l 6 ) .
Dw rf rhz:rty: nv<<antw nr wzrharg
$41urcr (gnard,raul)
C o n v e n t i o nr se g a r d i n g[ i n e s
Unlike a sketch, in a scale drawing the thickness
of the lines must be consistent and regular, because
they signi$z something. When drawing in ink, or
with instruments, the thickness is strictly control-
led, but when using pencil you are in control. It's
a good exercise!
A b a s e[ i n e ,o r c o n t o u r tl4q ^ nt
It shows an edge in the space, an outline, for rl,w stars
example the top of a piece of furniture or the
banister of a staircase.In fact you don't make many
lines of this kind on a plan drawing. l{cfwru LLM
18
Lines indicating dirnensions S h o w i n gf u r n i t u r ea n de q u i p m e n t
Scc p24 In general, pieces of furniture ilrc nol shttwtt ott
a ground plan, since they are not pL\nllrlllct)t.llut
The section line and the walls if their presence is useful on your luyout, yott r'rttt
Whcn you make a floor plan, in principle you show choose to show them exactly,or to tlsc syttt|.rtlls,lts
cvcrything under a certain height. By convention, shown below.
this is fixed at 1 metre from the ground. Everything Fixed sanitary ware is always slrowrr (tltcsc rtt't'
lubove this height is left out of the plan. But there not furniture). Kitchen furniturc is vurillrlt', rtrrtl
ilrc certain elements which come up from the you can decide for yourself.
ground and go higher than this fixed height, e.g.
thc outside walls and partition walls. On a floor
plan these are shown cut off, as if a horizontal
bhde had separated them from the upper part.
The passageof this blade defines the section. To
differentiate the section it is drawn with a very
hearry line.
The stairs
You also show what is under the stairs, as for
cxample a small storage space. The banister, lb-]
or guard rail, is shown by two lines. To indicate i-tJ
the direction of the stairs draw an arrow, always htt wurh
indicating upstairs. z tarwffr
wew,dnvrryzn
z-Jcq?r Jtf4
T h eL o g i cb e h i n dt h e s y m b o l s
Note that there is always a logic in these conven-
tions: a single line indicates an outline, two iines
two outlines, which here makes the top of the
banister,or handrail.'When the section line arrives
at the windows, it is replaced by two thin little qth lctt
lines, closed-up, which indicate the thickness of
the Elass.
lorlt
19
Changir-rgt
arounrd
the furrriture
\J
G e tu s e dt o w o r k i n go n a f l o o rp [ a n ,
L a y i nogu tt h e d i f f e r e natr r a n g e m e n t s
o f f r r r n i t r rvr e
o r cr o u [ dh a v ei n t h e
s a m er o o m . D r a wa p t a no f t h e r o o m
y o ua r ei n n o w t, h e nc h a n g e the
furniture a r o u n dT. h i se x e r c i sw eiIl
g e ty o ua c c u s t o m et od u n d e r s t a n d i n g
t h ed i m e n s i o nosf v a r i o u es [ e m e n t s , I
b e i n ga w a r eo f t h e i rp r o p o r t i o nasn d
thinkina g b o u t h ee m p t ys p a c e s
w h i c he n a b l ep e o p l e t o m o v ea b o u ta
room.
trus( wrnLza
lkt f rha rmn wLrhw
furn"tturc.vw oawybtrov[y rhu as trwr;y
(LIA{J 4J MC{JJ4,U
20
lzom.d,
arrargen^4hi':fh.( dlnug rntk ha: t huolarrn47ewt' il4 /"t,ru,1q
ratl,clrat tem
tzzn nwed,rwnl' ah"/,dw arra. whf, rf (h4, ynov&LMtr rfu wtntr+w
anl tfu il,ffwlr-rcvtw
sittug-rwn' l.rastzr* rcvtszd'. dnorharlcuvlkc[ul vll.
TO HeLP PIAN
A Fv&v/71/AF
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c A 1 1 7c o l o u a
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AvD COvr/DE.A
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wtLL ^rot-R
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vFw puacFlArFr.
r
21
T-ll , .
. Y r I '
l| i,l ro\ \- /-vA t r n n
lL , L u l U l ld t l O S e C I l O n
A n e t e v a t i oi n
s a s t r a i g h t - ovni e wo f a w a [ [ .l f y o us t a n db a c k ,L o o k i nagt t h e
w a Lh I o r i z o n t a [ y[ yo,uh a v ea f u I t - f a cvei e wo f t h ew a I t ,k n o w na s a n e l e v a t r o n .
T h ep r i n c i p Li set h es a m ea s f o r t h ef l o o rp l , a nT.h es i d ew a L t as r et h u s
s e c t i o n evde r t i c a [ [ay s, t h e y w e r eh o r i z o n t a toLnyt h ef L o o pr L a nT. h i se L e v a t i o n
c a nb e c a t [ e da s e c t i o n aeL[ e v a t i o n .
The drawing is of what is facing you, the items t&rwt rf q tafl'r*tn, tt tb pala ,/ zo,
against the wall: doors and windows, but also
l" i nw:"kathfvr drnwtrgsr.rwLl
shelves and tables, making an ensemble, like a small
fagade in your room. Side passages,
syausnr/, flr.t,arrargtmeff rf dzraLb
doors and win_
dows are always cut ofl, but avoid cutting a single s*1" qJo"ytvard,s, lwluasil. Nrrefhe
isolated item, such as a column. All this is imoor_ rkob"zy rf tfu sotwt" h,nt, rt hzly
tant: the line of section must indicate the volume
ffitrzrt-tnrr rl,z rnyrv :yau
in general and the openings, even if they are not
exact\ opposite.
El,evqflM
rf n sr,ttug-rwn,,fth a.str,alL
tabny nr,"d,,z
22
trl
,*A
il
DrqwJlw rnvbr i,tveltvqt|ttv (fac{-rtu) I\tqw (ht vqtut,r
m
t o l e uu'lrvl'epL
R e a r r a n g i nagn a r e ao f w a t l
l\cthinking the layout of a flat doesn't alwaysmean
rrroving interior walls. Rearranging a wall panel,
changing the decoration and objects displayed is
in itself an important modification.You can plan
this on paper, especially if you are thinking of
buying new elements such asshelves,storageboxes,
scts of drawers etc.
D e s i g ni n m o d u l e s
Thke measurements of the various elements to be
included, and imagine the various different ways
they could be put together. They will be much
nrore interesting if you have worked them out in a
clrawing: they then become reai little compositions,
combining practicality with aesthetics.
1t
t
4
23
lVaku-rg
alayout
T h el a y o uct o n s i s tos f p r o d u c i nagg r o u n dp t a na n de t e v a t i o nosf a b u i t d i n go,r
o n eo f i t s p a r t s a
, ftertaking m e a s u r e m e not sn t h es p o t ,T h e r ea r et h u st w o
p h a s e st a: k i n gm e a s u r e m e nat ns dc o p y i ntgh e mo u to n t h ed o c u m e n t s .
c,4p
A team effort
Ideally there should be three people involved: one 3b
to draw and take notes, and two to hold the tape
when large areas are involved. At home, you can il
get your family involved in this operation. Bur if J1,,. l
you are on your own you'll just have to manage.
$o L ' l p 'Jr-t
A sketchof the groundptan I
This is the moment to apply the principles of l. 16
T h ed i m e n s i o n s
These are indicated on a parallel line in the same
direction, with small lines to indicate where
rw,nLL
Luu rv uluae l,w ir,,
ParaLhL dtcotwm snnl)ttzu
the measurement runs, and little bias marks to w Mrl fl4t l^4lltuHL\lltt w,d,watzthft' t't u a
indicate that it's a measurement. not oart of the Myu w4Jw'tt^tli- ard, rrt
drawinE. Be methodical!
l4rf f rl.',( drawt*g
24
v
-il;
Tldyinguptheftoorplan/drawing
the . .=-
{
thing
whol,e
Yrlu can now go on to a drawing of the whoie
M i
tlring. Think of the floor plan as a good sketch
which you want to improve or tidy up. Of course ;*
F
you can work in two stages:a first sketch as a foun- i
dation, and then superimpose a final drawing. i
I
t
'
F o r m a ta n ds c a l e W r
Now itt time to choose a scale. Let's think of +
an example. If you are doing a layout of a flat of
100m', more or lesssquare,it will be around 10m x /l}.
C o n s t r u c t i ntgh e f l o o r p l a n
You must first of all make an outline, that's to say
trace out the lines which will not be visible at the
final stage of the work, but which will help to
ensure that the visible lines are well positioned.
, e $
Studythe layout
Before drawing the floor plan, make little sketches
of it, diagrams in which you can analyse the gene-
ral dimensions.Without really making a final plan,
it's a way of understanding its logic.
25
Lalroutof a flat
I n t h i se x a m p [w e e g o o n t o t h e l a y o uot f a w h o l ef l a t ,T h ed r a w i n g s
o n th e s et w o p ag e ssh o wth e d i ffe re nstages, t andthe pr ogr essive
f i n e - t u n i nogf t h e d r a w i n ga s w e s k e t c ha n dv e r i f yt h e d e t a i t s .
26
vLrlw fkrd' d*awt*g,alldrz un;frrw,nflrtu
haad,al,frr
aw wWrwryrgleoti
l,qit,tw. stz fh4,dr4h rf d^zy,yleotvwygc a0,
4,
27
PELfPECT(VE
I n a s c a t ed r a w i n g y o uh a v ea g o o dv i e wo f t h e l o c a t i o an n dc a nt a k e
m e a s u r e m e nat s a c c u r a t eat ys y o uc o u t di n t h ea c t u a t s p a cM e .o r e o v et hr ,i s
i s t h ed r a w i n m g o s tu s e di n b u i L d i nwgo r k .
I n o r d e rt o d o t h i s ,y o un e e dt o t r a i ny o u r s e [t fo [ o o ka t s p a c ed i f f e r e n t L y
f r o mt h ew a y y o un o r m a L lpye r c e i viet .T h u sw e a r e n o wg o i n gt o c o n s i d e r
m o r e ' v i s u a [ ' m e t h oodf rse p r e s e n t a t i-otnh e d i f f e r e nkti n d so f p e r s p e c t i
t6
' tvtrufv
'
tr''f/d!'
29
lsornetricprolectlor-r
Th i sf o r m o f p e rsp e cti ve i s ve rye a sy
t o a p p l . yM. o r e o veirt e n a b L eyo s u
e v e n t u a [ttoy t a k em e a s u r e m e n t s ,
a s w i t ha f l o o rp | ' a nI.n e f f e c tt,h e
p a r a L l el i Ln e sd o n o tc o n v e r g e
t o w a r d st h ev a n i s h i npgo i n t t; h e y ,lo p^ptr) rn frnl thz waLb.
s t a yp a r a l l e S t . e v e r avIa r i a t i o n s Nd-aal,srrlnar *hn yw t*vlw aruLrr.rn rhz lryo"r, d'z ,zot^Aile, f tha face: rf d,z wall:ra[a n*
e x i s ta, c c o r d i ntgo t h ea n g l eo f s i g h t rlnzasycorrf a ynrnlhlp|rattt^r h,t,llwLfV llzs stry ynrall,eLtr eaahnrhz,r.rlv vwwts d,wtrrrtd,
c n o s e nn: e a r e tro t h e l a y o u to, r u+rtkwn rv rlv,ywnrl yl"a.w, t^t l,zey:thu ,U"krfy
n e a r e tro t h e e l e v a t i o n .
1I
4t'
rf
!.
An effectof reduction
The prqection view does not distort length. It To mitigate this impression we can corrcct it ,r
produces a paradoxical optical illusion: thinking we Little by reducing the height, but then yor-rlosc tlrc
lre seeing in perspective, we find that the vertical chance of taking measurements.Note thlt rrrcustr-
lines, that's to say the walls, are higher than in reality rements are only taken while the vertical lincs strry
' lf DlMENSroNr
because,if the perspective was true, they would parallel, and parallel to the sides of the flt>or plrrrr. (lr\rrlvl( ! ' ' Jr ( ' ' ( ' l r \ l t i
tiJl l'!lrl(
cflectively be dwarGd by the effect of distance. PIAN t:t-^*'
rrt'rl rlt l r(x)R
I t l t t ' a pt t
l(AL' BvT/
R(',MAlf'llDEt'lT
f'trrl1|)M)
rHE
UNCHAN6€D/
llFl(i(ARr
ll 1l1l vl FII(At
t*^t' *ntfjl
API-FloLoN'reR'
/)rA(,\)FlALl *
NOR- VlII
D M€N('DN
] H(:IR OPJ('INAL
V! I H
A ] R
31
Drawlrrgthroe-dlmrensiorral
obtects
arrdfurruture
T ou n d e r s t a ntdh i st e c h n i q uoef t h e p r o j e c t i ovni e w ,s t a r tw i t hs i m p L o e b j e c t ss,u c ha s c u b e sb, e f o r ed r a w i n gs p a c e s .
Practisb o r d o m e s t i ac p p L i a n c -e st h i si s a g o o de x e r c i swe h i c hw i L fLa m i l . i a r i ys oe uw i t h
e yd r a w i n gp i e c e so f f u r n i t u r e
t h e i rs h a p e sa n dd i m e n s i o n T s .h e s ep r o g r e s s i vs e
k e t c h ew s i Ua. t s or e m i n dy o uo f t h e i n i t i apLr i n c i p t eosf d r a w i n gI:i n e s
o f c o n s t r u c t i oann dp r o p o r t i o n s .
Ywwl) wt"u,lotb'ry atrhz d*a*u.gs,atwkol,yvtnrrhu vr,ew u ^vf^l twd,rawwg a l^allntjut rhts tsd*tattthzfqotrhat, u1*,
L,rn* o"rseLvu
tt a rzdnucLya,r tf d,a vt'smLfidd' ah4'ahvawry frrn rlz varul'"g
/loirt, du vizwisyraotw"U ,l" Jarne45yznyotwz ,r,rl,
varu,tlutgyraw (su drawtrg,yefl.
ora,wrha Jq^4.r{,
vr rcotargl,evf z. P^r unrhz verttpaLluw: aht, rhtn rhz yarailzLw^,tt
rlugrcw,a, ykw vf rha nficor
32
rl,a fin*:hzrtd.rnwwg
4. Drnwthz aryh vf rl,'zta.aL r Drtw tlz tatL qh/, rhatuthz rar vf rfu arwu 6. Ad.d,
th"fu4t
33
Destonan offlcesoace \J
.r
t. f(4.rf ty bawug :
drawtrs Drqw rlelrc^yi,
s"rfaq, firsr.
.E
.:x
'tt..,
' -:tu*-'
.,
a"'::
#;5-
i 5i:::l'
i;l:
_ li"*-
I ' F o l r( r l o , v
v/try (NABLFf
.tttt you
f Qri^/ / t
ro rTuDy
DtlAtL.f n
ND 7-A16
^iltol ( Alt(
MELy.
'/aF4+r''1/
;;'.
35
Fiaytngaboutwtth space
F i n a L lw , ye, c a nc o n s i d ear s p a c ea s a n a s s o c i a t i oonf w a t [ sa n do b j e c t sU. s i n g
a g r i dt r a c e do u t b e f o r ea n dp t a c e d u n d e rt h e p a g eI i ft h e p a p e ri s t h i ne n o u g h )
a t l o w sy o ut o pta ya b o u tw i th sp a ce sa s youplease.Onceyouhavemaster eo
t h e p r i n c i p | . oe fsp r o j e c t i oyno uh a v ea t y o u rd i s p o s i t i oanh i g h t yu s e f u I
i n s t r u m e net ,q u i v a t e tnot a s m a [ [ - s c a m [ eo d e Lb,u te a s i e tro m o d i f y .
\.
Drawinga kitchen
Here is an exercisein using prqection.The preli-
nrinary drawing of the corner of the room and a
framework of 60cm squaresautomatically enables
you to place units to the correct size.This visual-r- t Df4wa rumfur rf eootnJf/artJ
iation of the units, even if simplified, enablesyou ftrarvkr/" ilz) avrrsyavtrll'g1a
to group them better. rlu rumhr tf ltt"lr,ewuwfl q,hi
4lllinr'.c$,
3 Ad), shadl4yand,d,*auh,a,tl47
rhzymtrl.:frvrwygc ,t.
kitche
Swapplngrour-rd
bathrroomr
T h i sp r o j e cm t a k e sa s i g n i f i c a cn ht a n g et o t h eh o m e I. n s o m eo t d
i s o f t e nf a rf r o mt h ed i n i n ga r e aa n dt h e
f l a t so r h o u s e tsh e k i t c h e n
bathroom i s v e r ysma L t. Wh a tw e w a n tto do is swapthemr ound,
c o r n e irn a L i v i n g - r o owm
c r e a t i nag k i t c h e n a r e aa, n da
i t ha d r n i n g
m o r es p a c i o ubsa t h r o o m w i t hn a t u r al Li g h tT. h eL i v i nrgo o m sh a v cb e e n
e n [ a r g ebdyg e t t i n g r i do f a d o o ra n dt a k i n gd o w na p a r t i t i ow n a t LT. h i s
is s h o w ni n t h efo L L o w i e g mp tew,h e rea layouthasatr eady
n xa been
don e{ s e ep . 2 6 lr.
Hs^toa.nwXSwayrwwL
rhzv t*v rwwl
to rccthz avadatLe
syau.
*-\ |
t lu farti,rt,onrL,nvctecnralaw
rwq.ytorhar wcoatuvt"r*ilucd''a
{^rurc lirol,ewtmtr, t^'r ^1t,t, *t
W4,vre rhz lzwLtfww wv[-
oq,t/v
"y
rctehrc
Dcffi,rcnrrut nf wraLLtMa dlnina a,rca,
al.rrgn ,uaLL,
wrtfus/"elvil,ah.d'rcvr(gc
unks v d,i;yQywu,n
.;
I
l f .
I
4
?s
Vlsrlahsil-rga krtchrerrcorr-rer
T h i se x a m p Ltea,k e nf r o mt h e t r a n s f o r m a t i oonn p a g e3 8 ,p u t si n t op r a c t i c e
t h es t u d i e m s a d eo n k i t c h e fnu r n i t u r ea,n dt h ed i f f e r e ncto m b i n a t i o on nst h e
6 0 c mm o d u L eT.h ep r o j e c t i ovni e w l, i k eo t h e rr e p r e s e n t a t i o sn hs o, w sh e r e
i t sI i m i t a t i o nb
s ,e c a u s iet i s i m p o s s i b t e
o s h o wa s p a c ea, n dt h ew a I L w s hich
d e l i m iitt ,a t t h es a m et i m e .0 n t yt h eg r o u n dp l a n sa n ds e c t i o nisn t h e i rw a y
g i v ep r e c i s e s o l u t i o ntso t h i sp r o b L e m .
t l
i
*,i
4
{t
,i
I
f
i
ti.
.,J
\,
t,r,
Qrfrahtt
v-r,rohznfrvntgzvrn rt t'oln
e,wfrontytt ru" d^z
rlnzLt'v,g-rwm unqhte lnalJ
40
PkruW ytylcor. r'lwt y yarr
rf rhaynrt,rwwwalL u ra[an
w. Awrxtraorcr lwd'w
:lqwr"tehw.wttl'urhu [ilr rf
fuawug vvcontv:tu@ whaf u
hqltW atwerhaf,u^**t,
*W*.V rl'artl,z all*g u
fr4r6l4rchi'. DFr/GryMAGtct
wHtcH ALLow,
WALU 70
T6 TAAN
f '/fPgA/Df C6/L/vcf
,* ,,"^*'*'
OTHFA AI€&AA,,,";
;;;: :,:::
AtDt wHtc+
A a F A / O 7p ( ) t f t E L E
^ltTH
A AFAL
fcALE ^,1oD€,L,
This partition has two distinct parts: top and bot- IHE VAR.]OV(
TTA6Ef
tom. The bottom must remain closed because it
conceals kitchen elements, equipment or storage.
On the other hand the top part can stay open or
half-open, in any case becoming the object of an
obvious change.The partition becomes the fron-
tage of the kitchen, while still being the end of
the entry hall.We can treat it with elements which
have some of the properties of a faqade, such as rf rh,e,
yarzL
louvres, venetian blinds and houseplants.
n-rhz uj, rf rha
enrryhall
ckn kzyr,nwexan"yLe,
nnl'
flw rransfvrYnafw".
42
l)ilot studyof the lower part with open shelves.The
uppclrpart rcfcrcnccsthe kitchen,and is presented
rs its luq:ldc.()u tlrc lcft is a staudwith a pot of
lrcrlrs,unclorr tlrc right is rrsystcnlof louvres.
Preparatorydrawing Thc top pilrt hidcsl light,cvokingthc shtrtters
of
rr bistt'tl.
sthl,yart ruwW frvvv"tlvfal,n
utlwg hv,twtt tlu Lmpw
oymyarr tt tt
rAaruvd,
43
Transfornrrlrrg
a flat
I n t h i so t h e re x a m p L iet ,i s a s p a c ew i t ha d o u b t eo r i e n t a t i ownh i c hw i L b
l ,e
c r e a t e di n s w i t c h i n rqo u n dt h e k i t c h e na n db a t h r o o m .
rlv,hob ftnr. r 1,,,e 4,aci,htu yku/" vrvilz ynrrs
fl+at }nt'trtt, r,u,a,hl,7fu waLl,t
4rc fr4hqtrch.t',
*l"oh qllnwa/" werall
/ttur(, wluohngrcrurl,
/nwwwh, rct. \
45
Creatir-rg
a dresslng-roorrt
ar-rda bathroor-rl
D i f f e r e nkti n d so f s p a c e sc a nb e d r a w nu p v e r yq u i c k Luys i n gr e a d y - m a dger i d s .U s et r a c i n g
p a p e ro, r a n yo t h e rp a p e trh a ti s t r a n s p a r e en nt o u g ht ,o L e t h e m a r k i n gssh o wt h r o u g h .
B e l o we, x p l o r i ndgi f f e r e nut s e ss f 6 5 n : r - ot t q i n nn r i d) t p . 8 3 ls, h o w ni n g r e yi n t h ef i r s t
d r a w i n tgo s h o wi t i n p o s i t i o n . EEFOR-E
Howoaturh.tssynu tt
uwrry vr arzd, tt t r.laryt,
plaozrhzovrnzrrf t'l^ernvtt\.4r rhzyvw,rrf tl^zgnd, tlz tedrwnJ
*lne,rc
t-h.e
thretylnrzsr,r,tzrv,or,rhznyku rhzefutusnas
t'v ttraun,fl+eovrzaf d,uvvruwns
"{i
;::""-'
t',1
! *r
l r 'l
1 l
n* '* ' t
4 l
c
I
q- - '
i .,.
F.
\ , 1 ' {
47
thingsir-rperspective
Seerng
T h e e f f e r -ot f n e r s n e c t i vceo m e sf r o m w h a t o u r v i s i o nm a k e so f w h a t t h e e v e
s e e s .B e t w e e nt h e e y ea n d t h e o u t [ i n e so f a n o b j e c tw e c a n d r a w t h e s i d e s
o f a n a n g l e ,t h e a n g t ea t w h i c hw e s e e t h e o b j e c t W . e c a n o b s e r v et h a t i f t h e
o b j e c tm o v e sf u r t h e ra w a y ,t h i s a n g L eb e c o m e sn a r r o w e r a, n d t o t h e e y e ,t h e
n h i e r -st e e m qt n h e s m a t L e rT.h i s i s t h e e f f e c tk n o w na s n e r s n e c t i v p
*|#leiis.d
, --' ,ug;'I'
rl"e *holzorl,lzoru*
rf ynrahl
r'wtreussar(yhnzurraL- &Mr4(u
49
T h eh o r i z o n
The multiplication of parallel lines*generates a
whole series of vanishing points, aligned to each
other. This alignment is called the horizon. Thrs
line does not appear of course, but it is recom-
mended to place it in a realistic drawing as well
as in an imaginary one, because it is the principal
reference point for fixing perspective.
50
h c l 9 6
rlu yrunt w thz hrqvn hr"d'm vzrcbaLlcnzml't"oarc rlq #urvtr l"u erbn a tfll ft du lfr{T,
rlu yonrwnrf rl.'zvtvrver.
tr1
T h eh e i g h to f t h e h o r i z o n
Our position in a space affects both the vanishing
point and the horizon. In the drawings on thrs
page, look at the view from above and below.They
show clearly that the horizon, at the height of the
vanishing point, the convergence of the edges of
the shelves, is at eye level.And if we stand higher,
or sit lower, we can see that the horizon follows
our movement.
T h eh e i g h to f t h e h o r i z o ni n t h e d r a w i n g
Once the height of the horizon has been esta-
blished in a space,it must be shown in the drawing.
That then depends on the framing you want. If
you want to show what is above the horizon, you
will place it towards the bottom of the window
(seep.73).
52
lul w wryvtu,tlzEvrt,t'thz wall tzcrws
"
tQfrthry t&nmet^ vdzr an/. rhr rnanu r,r'yka,
wcl'ln rfu,a*ry
HIN wc oqtuuri*r,aft (h4 lzbk nf t-lw ,wn, seeugrhat t1z h$tzsru,al. !y{ h,vcL, a.t,i Hcrcrhzhrrzor",'tr U kv([,tunq alu,( a ltt*fftt rl a wU ry th wal,lr, Ne
"nw,ts
tw-rl*d,t ay thz wall; r 4,2 lvgkfi"w"rlw uilug ts ato^r z r w4tHr tlwnsetrlrat cl1.( wuhq lunlrt r/ 4n,wl t
nol^hat urttu,tvutrtlltvfst'ftfrr';r,
wvrret.rh.rnan ot,rlv.r1,7lxu ralfu tlstt rA+ilrcrv(r,hqrut h,t luatl,h ntwc
tlz Lw,z
rf th l,,arusn,
T h eh e i g h to f t h e h o r i z o np, e o p t ea n d
the sca[e
t^ f ht,tA'^wug,wt lul tlqt tl,cstarver
The horizon being at eye level of the observer mrrr lt vanl, lc,a^.tttlv l.nru,rn tr
(about 1.5 metres if he,/she is standing) it follows ar gVthvelf, tlu pturnftatNlsrvrl'.c
that if other people, positioned in the same way, rglrt wl'+ktclowtlv I'uglx rf rl,.tpryh
are shown in the drawing, their eyes will be at the ttanl#g,
sane level, aligned with the horizon. At the same
time, this perception can tell us instinctively about
the heieht of the room.
rs,*'l
KEP7, reAcrvC
IT OUT /f
E.ffFWr/AL
P-€A.L6Lr't.
Thevlew fronnthe front
T h i si s t h ev i e wf a c i n gy o u ,t h e m a i np a r t ,u s u a t [tyh ew a t If r o mt h e b o t t o m ,
s h o w ni n e t e v a t i oann dt h e s i d e si n p e r s p e c t i vTeh. ew a L i[s n o td i s t o r t e bd y
p e r s p e c t i v- et h e s i d e ss t a yp a r a t l e t[ h, e p r o p o r t i o nasr e k e p ta n dw e c a n
choose w h i c hs c a l et o u s e .
FLoNT4l VtFWt
errnral lLMs
L
"kr
wqll at flrc, zh/,)
54
T h ep r i n c i p l e o
s f a f r o n t a Iv i e w The probtemof depth
At this stagcthcrc rcrnainsone problem:how to
dcflrrcthc dcpth. Irr cftc.ct,trothingallowsus to
drrrwthc lirrcsin firlnt of or bclrindthc backwall
if'thcy ru'cpirlltllclto it.Tlrcy ilrc;lt 0 ccrtairrdis-
tlncc,l.lovclncdlry pctspcctivc, urrdwc rrccdr way
of'fixirrgthis rlistlrrt'c.lrr tlrc tillklwing pagcsyou
w i l l f i n d r l nc x i t ( ' n
t t c t h o do t ' d o i r r gt h i s . T h cp r i n -
ciplc is sirrrplc, lrut,if georrretryis llot your thing,
tlrr.cxplilrratirlrr nriglrtsceilrrilther0lrstraet. lf you
wiulf to rltawcxtrctpclspcctivcs you lrirvcto apply
it, lrtrtfirr ske.tchlrook sturlies, wlriclrwc urcrnairrly
itttr.rcstcd irt ltclc,it is crrouglrkr uudcrstirrrcl the
, rl*oh rf dw yar'zlfrvnrht,tvtrcm priut'iple,iurdtlrcrrapplyir by guesswork, in order
z v,tedzfinz tll l,tgk nf rhz hortzy*,whrrh
to rvoid obviorrrerlon of pcrccpti()n.
orrrtsfrnl,trc rl,e gt lzvdaf rl,z tturvcr,
g. wt,olnutz
n yuskbrufwtl'z vanuhwg lvtnt rwrl,zhrt<vruaentre,
ffi w rghr, whbl,orrreslrnlsrc tl,,e,yrs:utlz,
Wrurwlrrf thz ntyrvt, + .
+
*
4J w{ t4w earh,cr(ftt I r). wa aa.tufh.avd.rawLvrlv va^ukog
linz: *ht"ol, dznaroqrz d^z :tte wal"h,t{
-)&/
{ra
trtr
rHE ITAGE' OF THE DMW/NC
To draw the depth
Here is how to go about drawing the depth of
a frontal view. If you prefer you can just do this
first exercise, which explains the method. It's very
simple - let's start with a small example.
6
J,/
YOU CA^,/
AAA/VF AT
TA/€f F
vtEv{f tN
A.,rrot.€
tN_autJ-tvE
r'/AY, AND
lo lKtp THtr
FlPto^,o-,ur.
wHy rf rf A feV,AR.E3
vrttfhntgwtrg a dar^nMfrafwtu, rcrefl",atwhzw
oo w eqrwLtv rlw durahta rf th+ vtservzr -frvyn
rh'ehonzuuo teorws tlw var*:hug /w,t vf al)
s. Drawrh.elqrkwal li*.t A, E,, rhanB E,, rhz Las wh,bharc q( +r" tr rlug,o"nl, ykru.
yw l,avt,nqrlarl onrvwtlvgrorwl tt Jlvqft,
A'E t^4}4Jnruargh vf +r" ah"d, tr ooruitt resrh+
fttuoh4d,tr rhe taal" wall, fu<l*L rf a sV,wre. tl", FWry enntLes ^s to
find,rhz d.efd."frvwilz wtkL.
56
M a s t e r i n tgh e d e p t h
You see then that points O and D show your posi- ,",.
tion in the space: point O gives your height and !; *3
't"i;' q
your position laterally; point D gives your distance. ),t
"^:'Y)J.'*"-;'"n
Mastery of the distance is a little tricky. If you
are placed too near (ifD is placed near O) the sides P - 7
.'tt"t'
57
Torilovebacka partitlonwall
H e r ei s a s i m p L ae p p t i c a t i oonf w h a th a sj u s t b e e ne x p t a i n e O
d .nthe left:a r oom
i n w h i c hw e p r o p o s teo m o v eb a c kt h e p a r t i t i ow n a [ [t o a c e r t a i nd e p t hI P ) .A n d
o n t h e r i g h t :h o wi t w i t [l o o k .
58
THE DMWING
t. Dr4wrhz :ynu u"ehvarww,tt ag|ucwsonlapkq rl'rzyru^acyal vanhhug z. FrtuwA, tnarLrff a tl,wrth47thar, q"al r, p, t7w,eq^ued,
o phoatlz yrirt vf d,utahteD, oD nrrzsyrntug toJ1* /,istqhta d'utaht{rfu nrfl,tnn lvu n wve,
frtnr WA
frvntl'Z wa.U,. Drawd^zyruouyaLvan*:lu"*gLws ftwardao, ah/, vM fwturdr D
frvnrfu tntttn trf rha wall qr A
a.aal,(,
3. Draw Pa, AD qt P,
oru:ses 4 DrawvwrhlgrvawL tlv lw A p , whbh w rlu tau tf r/,t
Mw l4rfl,rwt'wall, ayylyq.1rlu pru^rtyhtryhrwtl ttuft(tt t(.
59
ereatinganextenston
to blockoff acorner
w e c a nm o d i f yt h e p r o j e cftr o mp 5 8 b yc r e a t i n a g c o r n e rf o r a h o m ec i n e m a ,
I i b r a r yo, f f i c ee t c .T od o t h i sw e h a v et o m a k ea n e x t e n s i ofnr o mt h e n e w
p a r t i t i own aL[.
60
T-HE V,4R.JOV'TTAGECOF T?E PLO/ECT
? i i$ *_-*_|+p._-
D
,ln{
t, v'lehavetog, taol-ft d,,'t,uuttul ,Lxol o771^,,^11 2. Pkcr e (fir uanyh Fr r,ttr\, ltawn rc dU pah al,aunfir
(wkh vrq,yart orntwrwgnf rlw A*l fcoa^sarhu wd) rl'wlnr yaruDaaarnlt4T n du kprh rf rlv uruunn rc tc
cnatl,aa to ffiLa 4pownft waJu{whtJ. trufaor, w tlrz rrwdz.Pkq p rn du l,orta,till,n wW fnnfu rglr.l,atl,
pn/corwa dtawagr,rnly th":gn,,,M fk" f rhaltrttiwrv otrn4rrf rl,,clnr ani,t.Ert47P'fxrwan{
ft du rrrilfu rf fl,l
wal h'awrutva l:Wwwsoah. pvw rf ,Lurarwt. Yw havcP',
!
61
Plannlrrg
the space 4 HOME CINEM,A
W ec a nc r e a t ea n e x t e n s i o[ns e ep . 6 0w ) i t ht h e i d e ao f
p t a n n i nag p a r t i c u l asrp a c eb: o o kc o r n e rc, h i [ d ' sr o o m ,
etc.
,{ EooK COR.NEL
62
,1 EEDLOOM /OFFICE
A')
t
Convertrno
a soaceunderthe eaves
H o wd o y o ud r a wt h e p e r s p e c t i voef s L o p i nwga t t sa n da
BEtrOR.-E
L i t t l fel i g h to f s t e p s ?I n t h i se x a m p l iet i s n o tt h ee n dp a n e l J / t J
I h'( ry4ct rcrv( ctrr/(flLcn. I h'( lnrc
t h a tw i l . bl .e u s e df o r t h e e L e v a t i obnu, ta n i m a g i n a rpyt a n
vf rcfurrr,ct,u ynirlucl' ty tlw
of reference d n t h ef i r s tg r o u n dp L a na n ds y m b o L i s e d
s i,t u a t e o
d,vtzLlw.
b yt h ed o t t e d[ i n eT. h ep o i n tD c a nt h u sb e p [ a c e q d u i t en e a r
tho O lqoa n 5Rl ec. thic. nrnio/-t i c c_i ,f r. l_
r ta
aAI e oIi nncsi rtl o
a eiIhnae S
c np- a c e
m a r k e do u tw i t ht h e d o t t e dL i n ea, n ds o t h e r ei s n o tm u c h
d a n g eor f d i s t o r t i o n .
i ".:.
D e s i g n i nag p t a t f o r mf o r a b e d
64
l-Hrr qE7au6,
Apltie,c
pAv€Lr
,; ^ ,:;;:,
D e s i g n i nag s m a t lf t i g h to f s t e p s D e s i g n i nag s k y t i g h t _*)
€NADtFr ,r
The secondconversionis the creationofa second ro .,"b r,
6xACr w/DtH
dormer window on the right-hand wall, at the Of .?'Hg
bottom of the room, which we imagine as being oPFNrNc.no
lF nrAD€,
one-third the size of the remainingpanel,ar:d in
the centre.Flereis the method for dividing a panel
into three equal parts;it appliesequally well to a
panelseenin perspective.
Orawtlnz Wr d.t4,v.nL:rf
rhz y^anzl*hbl'" seyararetrhz
-frvrw
first' d.rrmtr ww,ltt
l t t t J
fM {ttd N4.U t h$( d,!4r,hau
gweywrhz n^d/.li rf d,,4
yarcL oraw tl'e wel,i"an LLrre.
Thz fia (soowv) alhw5fsy3 ref: ul vtt,d.r.vtAz
rhz I'211ka"d.rec,rlrcwdrawtrcd^zvan*:lr"r.g
[ , ah.d,ty wva^,:vf ilc llgrnnL wd,z bfr, Draw thz d't"yrna[:
d,wtnzrl,z l,ortz-nffqktw rhra tn or(4rt t-lz rLsers rf tl,a z daa-yxpr^tPt
tl" t@ rf d',evnn*:lwg yruntsar-d,fl'a yaral,hL tl"ns orc'atzl'
ah als ,r/l
At rfu. yrwtt f a,tercectwn
d.rawfia z vertaal,s
wl"uL *il dlvtd,erh4
yanzLin tl,rce
65
A few strnpleconstructior-t
tricks
H o wd o y o ue s t a b l i s he q u a Id e p t h s ? To dividea wa[[ Howto dealwith an irregu[ar-shaped
How do you divide the vanishing line AB into a Itt enough to draw the vertical lines linking T space
given number of equal parts (here 5)? to H.
In this space, the right-hand wall has been rota-
ted so that it is no longer perpendicular to the
wall below, but turns at an angle. In this case the
edges of the panel do not meet at the vanishing
point O, but at a new vanishing point P. It's there
no matter which horizontal generates a vanishing
point on the horizon. This prepares us for the
:* the oblique view in which our gaze, turned to
4 L 3 + 5 , . . ,
\-/# !*/ the side, brings about the displacement of the
vanishing points.
Dr4,w4,Lu.,z to tl''z lro1zuruJf4rfuV 4(
yarail,eL
A, ar"d,rnqrL *r r zqrwLVttwhf,J.
66
Howdo you draw a circte? or projectionview?
Perspective
The drawing of a circle is always bounded by a Note that a detailfar awayfronr thc vurrishirrgpoint
square and appears as an ellipse. Note that the large looks like a projection- thc vlrrislrirrglirrcsurc
axe and the small axe of the ellipse do not merge almostparallel.In fact, snrallolrjcctsoficrr irppr,rrr'
with the axes of the souare. asif pro.1ections.
Itt why asscrrrbly instrtrt'tiorrs
lrrc
often illustratedon this principlc.
,f
,/"'.,'
"tff*-"-**'"'**
+! r.. -f*AlFq.M"*"*::1r,n*
i 6l
dowr-ra partitionwail
Takintg
D i f f e r e nkti n d so f s p a c e sc a nb e r a p i d Lsyk e t c h e od u t b y m e a n so f a r e a d y -
m a d eg r i d .W o r kw i t ht r a c i n gp a p e ro, r a n yo t h e rp a p e fr i n ee n o u g h toshow
t h eg r i du n d e r n e a t h .
AFTER*
v'ttrl'"rlz l,'elyrf rhzgnn,w
rcJe s+ rhz tkol'-vwrhzrgl.r
hasteewt-qlzr, d.lwnahd,tl.,a
WW cnkryzd,frwr.!rw{
tlnavte*vf rhz*LyW, at rl,a tao[-
68
Creatinga mezzanine
or overhang
Grid 1 (seep.82) allows the study of a more com-
plicated conversion, to take advantage of extra
space that has just been created at the end of a
room.
,l
I
.l
It,
8EtrOP.,E cvrurnv(wwLua:l^alVns vis,nnlise rlnzr,tw tl4ot. rfu puvqht d rhtrerwttwn:a phrftrmrn rlte
Tl"i wasrcr vi,:i.th,
w"thz frrr lsroL. Wzuttu*u€fhtr ani a Jfakvnil/khkr, f lq lnr
0nrl^rlett Ltft ttly, tur wdlk ,l,l4y tailr wt
fy rlv pkt'vrn,N€pn\ffr{ rfurf'ftorff rlu
f^F,rt tMztau)'1,€,
69
Theobhouevie
T h i sv i e wi s a t s oc a L [ epde r s p e c t i vwei t ht w ov a n i s h i n g
p o i n t sb, u t d o n ' tw o r r y :t h e d r a w i n gi s q u i t es i m i [ a tr o
t h ef r o n t a l v i e w .
l::1'r-1
,fr."a_
'f.,--.
I
l
r fu runfh,l,col
vutswtclr*
&ortlatw ft tccth.t nry
t
i wol,uf',aatuw:t/'wc rtll havea
yrtrctyal varukta ynnr (hzre
The view here has already been shown on page
prz) an*lur vaul,+nqyrtrr
66, in'how to deal with an irregular shaped space'.
qllcari owrlv hfl - ee,. Flere, our gaze is slightly turned towards the left. In
this view, the left-hand parts of the room seem fur-
ther away from the centre. They thus seem smaller
and this perception is most marked on the vertr-
cal, the left-hand angle. The two lines of the panel
at the end, at ground level and at the junction
with the ceiling, now seem to converge towards a
vanishing point PF1. In a frontal view these lines
were parallel; now they are convergent. And they
are still parallel in realiryl This is an application of
the fundamental principle of perspective: objects
further away seem smaller to us.
70
'fhe
rigorous construction of this kind of pers-
pective necessitatesa ground plan, an elevation
or a section and a geometric device which is a
little complicated and whrch is not shown here.
Nowadays, in professionalpractice this classicpers-
pective is done by computer (seep,80).
Using the oblique view here starts with a
sketch of the ground plan of your interior space
or an imaginary space,in which the first elements
are placed by guesswork. It's what we call in the
following pages'building by eye'.We also use some.
tricks of the trade which are enough to obtain a
good result.
Here too, the grids enable you to make some
sketches (seep 86)
\
"1.,
t;
71
Desiglr-rlr-rg
a roonfrby eye
To desinn hv eve fotlow the a p p r o a cshu g g e s t ehde r e s: e t t i n gt h e b o u n d a r i e s , P t a c i n gt h e h o r i z o n
p o s i t i o n i nt hge h o r i z o an n dd r a w i n g
i n t h e p r i n c i p a[ r[ n e s . The horizon, as you know, is at eye level.To posr-
tion it weil, aim for a point that you are certain
is at eye level, then measure it, remembering that
the eye level of someone standing h 1.5-1.6 metres
high, and 1 metre for someone sitting down. Aim
for this point and mentally trace the horizontal line
that passesthrough it. Imagine drawing a red line
on the wall at this height.That's the horizon exactry
(so long as you don'r change height!).When you
are drawing, think of putting the horizon, accor-
ding to the composition you want.
72
H o wd o y o up l a c et h e h o r i z o ni n t h e d r a w i n g ?
73
wt'*hlbh h,nz:yo* q.rc^JrlV ft fihl,
tlavug wvrL2d,
point
P t a c i n gt h e v a n i s h i n g rhz varu;h"ryyrr,nt,firn (hzvrtznt-q(wr,
Now is the moment to put in vanishing points, to
left and right. One often feels it would be easy to
vf t'lw l.,"wsrlrg havea d,rectww rwwr,
Lt'vrh,a
place them by eye, directly. Experience teaches that ft ^l'iplLd.'py
araall yarailzL,
fu azfi**".
this impression is wrong, and leads to mistakes.
What I am giving here is an absolutely reliable way \\\\%
74
p o i n ti s n o t o n t h e p a p e r
l f t h ev a n i s h i n g
Very often the vanishing point is outside the com*
position, and so outside the drawing, or even the
sheet of paper. But that doesn't mean outside your
vision, even ifyou have to turn your head slighdy
to the side. Nevertheless, in so doing you are chan-
ging the line of sight and the drawing. In this case
you have to be able to draw the lines without
the vanishing point. In general we get by using
guesswork, but I am going to show you a trick
for making another vanishing line, or at least for
checking that your drawing is not too inaccurate.
'rHe
crA17t oF coNtTzvcT-ioN
, lfarf wLtlLa vahuhu4 l,ttu,F 4h.d,thz \tttzslL F, lt z Dr4wa.scoml,vt I Lu"z,rhewerccnl, tt I t\.Lt I onw du l4l*h srvl *ttw ^ vltxo^l htv h"w
d,rawanth.er vatulwg ti*v, frcn:rw yratt A, d.raw a rzxargh uLft,rcleatwt, fftr" dq ^t'llh f d'4 F!firgh 4r Fl,4Ftt* f t*t".
wlu"oh
rl,a vertpaLL1*ta yasu rhro41l"a. iler1rfttfdv @l*h,
75
T \ ' f f I I I
DITIEIENI OOllqU-OV1EWS
W o r kw i t ht r a c i n gp a p e ro, r p a p e rt h i ne n o u g ht o s e et h e m a r k i n g su n d e r n e a t Th .h et h r e ee x a m p l essh o w
h o wd i f f e r e nvti e w so f a r o o mc a nb e m a d eu s i n gr e a d y - m a dger i d s g , i v i n ga c o r n e rv i e w t, h e
v a n i s h i nI qi n e sa n dt h ed i m e n s i o n s .
76
Taklngouta partition
watl
'l'lris
s l r o w ts; t k i t r g r r rI rpt r l t i t i t r rw
r r r liln l b c d r o o u r .
W t ' t l t u r l r c t h c s p l r ' cg r r i r r ewdl r e r rt l r ct w o r o o r l l s
i t l e. j o i t r c t Al , t ' o t ' r t ci t l u s [ r c r ' nk c p t .r u l l k i r r gt h e
r r l r,l j o i r rb t r w e e r ft l t c t w o r ' c i l i r r g s .
.--1r
t
t
,\,
it 1
i
I
A vlow frorrrabovo I
U n t i In o ww e h a v ea t w a y a s ssumed a h o r i z o n t av Ii e w a, l L o w i nugs t o s e e
r e a I v e r t i c a[ i[n e sa n dd r a wp a r a t | . ea| 'nsdv e r t i c a l sT.h i si s t h ev i e wt h a t
c o r r e s p o n tdost h e m o s tu s u a t s i t u a t i ao n ds i m p l i f i edsr a w i n g inperspect
l f t h es i g h t[ i n ei s c h a n g eddr a m a t i c a LuLpyo,r d o w n t, h ev i e wi s
transformed H.o wd o e ct ,h o n o r c n a r - t jcyhea n g ew h e nt h ev i e wi s n o t
hori z on t a[ ?
{',",'--,**-
tf weaocxht^at'e tha
dzylr, n va^t':h.trgyrtnt
vf rl,'z varrtoalluwsovma
Lt4tTvww.
i rri. u,66r
FkaM A&ovE,
li
tT rc THE
vcArrCAL
47ry5:9
78AT COA/VF!.C€
IOevAADt
THE EoTTaM/
vAv/r8lN/6
i v7-O 7-nF
D/r7-AA/c€
rhz vtewu :fl)L l^.tt<vnta.L,
*tth d^z lwrt<vwar rh,ercy rf rl.,z
EXA.:TLY
L/KF TAIE
d'rawwg,wlu"ol" ahws^J fr vwht4fr, rl,.t vte, ftua.rd,Jdv tmnyn H)N<DNTAL
L/vEf /A/ A.
Hot-t<I)NTAL
vt€^t.
78
anda hrgh-angle
view
W i t ht h e h i g h - a n g L
v iee w t, h e e f f e c its e x a c t Lt h
y e s a m eu p w a r d s .
T h ed r a w i n gs h o w st h e s a m ep r o g r e s s t o n .
'
tI
t
t
I
I lu vuwoalhrl.
tctwhal,v'wthraol.t fu varuh.,r,y yrunt
* rlq nft u'nlt,ril.t ynnt d tk ilryLruww
tLtvr4ll/, at
tl,"ttu*tlt,
'7 If 7H€
IN 7H€ HIGH-ANGLE VI€W/
WH'CH CONV€LCE
V€ATICAL LIN€f
80
Makinga modelfor your projects
When you have grasped the main principles,
especiallythe possibilityof grouping elementsor
objects and stipulatingtheir dimensions(seethe
little box below to the right ofthe screen)you can
Lrsethe sofrwarefor various tasks,seeingthe result
nlore or lesscomolete and realistic.
82
6PJDz
vwwfqvtwW th'e,(l,avarwtu
rf tl,a tw,aua"vv^11
83
Grrds fror-rtal
vlews
- i l b l i : *
84
rd' slnows a l,aryz,,*m, t^f rcft (h4f rlw ,ttd,rloa nff rc.ttu(tv(
-JM a4,t/v
naLz ,,r tl,.e wtdtl"Jw w4t1i',Lt'vwlu,ol"oaserlne ydzs are,d,rawn r art u,4 lt or't
tl'e vnrus Lwvsrturl,z flsvr
' " t t t t t -
, t o
t ,
t t "
-
I a t r
I h
I I I I
a tr
bt
, a I
r a t
I
t t tt;_t
.
t i
a t i f ,t
_ _,
a
a
atr
' t c r r
urlos IoI oollqueuews
C&D FOL TwO vANl(H,^/G PO,N?-f
I I
.,
:
"*i- - + - L *
t - i I
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t?*'{ t
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86
GAID FO& ()^.16VAN,f H,NG Po/N7-
f rh.efrrffal vLw
a
t
b > - - b + : , t i - l -
- --
t - . 5 - L 5 r . a a - -
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p.'7
Drawingfor lnteriorDesignersis a practicalguideaimedat helpingbuddlngInterlor
designerslearnhow to draw professional lookinginteriordesigns.lt ls accesslble,
beautifully and practical.
illustrated Guidance is givenon drawingperspectlve, floor
plans,drawingfurnitureand renditions of rooms.Fittedwith sketches and drawlngs,
this is the idealguideto producingsuccessfuIhanddrawings of interiordeslgns.
GillesRoninis anarchitect
andlecturer
at theSchoolof Architecture
at ParlsMalaquis.
rsBN978-1-4081-zggr-g
fl4.99
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