Just as exterior elevations are created to reveal exterior elements and features, interior elevations reveal the interior features of a building. One way to understand the creation of interior elevations is to imagine ourselves inside the room we are drawing. Imagine standing inside a room facing one wall directly, with a large sheet of glass (the picture plane) inserted between the viewer and the wall. The interior elevation can then be created by outlining (projecting onto the picture plane) the significant features of the wall. Each wall of the room can be drawn in elevation by means of projecting what is visible as the viewer faces that wall directly (Figure 1-10). Interior elevations are used extensively in professional practice. Successful elevations must clearly depict all interior architectural elements in a consistent scale. Interior elevations are typically drawn in a scale ranging from 1⁄4"=1'0" to 1"=1'0". Elevations drawn to depict accessories, equipment, cabinetry, fixtures, and design details are often drawn at 3⁄8"=1'0" or 1⁄2"=1'0".
Millwork and other highly complicated elevations are often drawn at 1⁄2"=1'0" or larger. All elevations require the use of differing line weights to clearly communicate spatial relationships. Typically, any portion of walls cut through and those closest to the viewer are drawn using a bold line weight. Receding elements become progressively lighter in line weight as they move farther from the picture plane. Some designers draw the line representing the ground line as the boldest, with those lines representing the top and sides of the wall drawn just slightly lighter in weight. Figure 1-11 depicts kitchen elevations for the townhouse project.
Interior elevations can be difficult for beginning students to master. However, they deserve full attention because accurate elevations are necessary to successfully communicate key elements of a design. Figures 1-12a and 1-12b are interior elevations depicting very different design schemes for the same lobby space, indicating their importance in delineating the quality of a particular space. Like floor plans, elevations used for design presentations vary greatly from those used for construction. Elevations used for construction drawings must necessarily contain significant dimensions as well as appropriate technical information. Those used for presentations can be drawn more freely and often contain less tech
nical information but must be drawn accurately and in consistent scale. For elevations to work well in visual presentations, they must be clearly keyed, noted, or referenced to the floor plan. Regardless of the referencing method used, titles must be included beneath all elevations and scale should be noted. Drawing interior elevations by hand or digitally requires a clear understanding of the concepts involved. To this end, a case study project containing information about how elevations are constructed for an existing residence can be found in Appendix 2. Elevations used for presentations are enhanced by the use of tone, value, color, and/or other graphic devices, many of which are discussed in Chapter 5
plane. Sections should expose and convey important interior relationships and details such as doors, windows, changes in floor level, ceiling heights, and, in some cases, finish material locations. Design and presentation sections differ greatly from construction sections. Construction sections require technical information to communicate information about building systems. In contrast, design sections and presentation sections focus on form, finish materials, and definition of interior space. For sections to work well in visual presentations, they must be clearly keyed, noted, or referenced to the appropriate floor plan. Generally, sections are referenced to the floor plan with use of a symbol that denotes the locations of the vertical cut. Figure 1-13 is an example of a hand-drawn (with tools) design section for the town-house project.
Millwork and other highly complicated elevations are often drawn at 1⁄2"=1'0" or larger. All elevations require the use of differing line weights to clearly communicate spatial relationships. Typically, any portion of walls cut through and those closest to the viewer are drawn using a bold line weight. Receding elements become progressively lighter in line weight as they move farther from the picture plane. Some designers draw the line representing the ground line as the boldest, with those lines representing the top and sides of the wall drawn just slightly lighter in weight. Figure 1-11 depicts kitchen elevations for the townhouse project.
Interior elevations can be difficult for beginning students to master. However, they deserve full attention because accurate elevations are necessary to successfully communicate key elements of a design. Figures 1-12a and 1-12b are interior elevations depicting very different design schemes for the same lobby space, indicating their importance in delineating the quality of a particular space. Like floor plans, elevations used for design presentations vary greatly from those used for construction. Elevations used for construction drawings must necessarily contain significant dimensions as well as appropriate technical information. Those used for presentations can be drawn more freely and often contain less tech
nical information but must be drawn accurately and in consistent scale. For elevations to work well in visual presentations, they must be clearly keyed, noted, or referenced to the floor plan. Regardless of the referencing method used, titles must be included beneath all elevations and scale should be noted. Drawing interior elevations by hand or digitally requires a clear understanding of the concepts involved. To this end, a case study project containing information about how elevations are constructed for an existing residence can be found in Appendix 2. Elevations used for presentations are enhanced by the use of tone, value, color, and/or other graphic devices, many of which are discussed in Chapter 5
SECTIONS
As described earlier, a building section is a view created as though a vertical plane has cut through the building and been removed. Unlike interior elevations, which depict only what occurs inside the interior, sections can expose the structure of the building. In drawing sections, it is important to include the outline of the structural elements as well as the internal configuration of the interior space. Sections require varied line weights as a means of describing depths and spatial relationships. It is typical to show what is cut through, and therefore closest to the viewer, in the boldest line weight; receding features and details are drawn using progressively lighter line weights. It is important to consider carefully the most useful location (or locations) of the building to show in section. The section should be cut through the building as a single continuousplane. Sections should expose and convey important interior relationships and details such as doors, windows, changes in floor level, ceiling heights, and, in some cases, finish material locations. Design and presentation sections differ greatly from construction sections. Construction sections require technical information to communicate information about building systems. In contrast, design sections and presentation sections focus on form, finish materials, and definition of interior space. For sections to work well in visual presentations, they must be clearly keyed, noted, or referenced to the appropriate floor plan. Generally, sections are referenced to the floor plan with use of a symbol that denotes the locations of the vertical cut. Figure 1-13 is an example of a hand-drawn (with tools) design section for the town-house project.
REFLECTED CEILING PLANS REFLECTED CEILING PLANS
are often used in conjunction with floor plans, elevations, and sections to communicate interior design. Reflected ceiling plans communicate important information about the design of the ceiling, such as materials, layout and locations of fixtures, and ceiling heights. A reflected ceiling plan is drawn as though a giant mirror were on the floor reflecting the elements located on the ceiling. The use of reflective imagery allows for the ceiling plan to have exactly the same orientation as the floor plan. There is often a distinction between ceiling plans used for presentation and those used for construction. Typically, ceilings plans created for construction are highly technical and include a great deal of information. Reflected ceiling plans used in design presentations can
be simplified. Most often reflected ceiling plans used in presentations include simplified lighting information, ceiling heights, and finish materials, whereas precisely measured, complex technical lighting plans are required for construction. Figure 1-14 is a simple reflected ceiling plan for the town-house project appropriate for use in a design presentation. More complex ceiling plans used for different projects can be found in Figures C-71a, C-71b, and C-72. Together, floor plans, elevations, sections, and ceiling plans communicate information about the quality of an interior environment. Because these drawings are abstracted, fragmented versions of three-dimensional form, they depend on one another to communicate effectively.
The orthographic projections covered in this chapter relate directly to the communication and design of interior space. Differing versions of orthographic projections are used for construction and presentation, but they are used in one form or another on virtually all projects. Additional types of orthographic drawing are used to communicate the features of buildings and building sites. Site plans, foundation plans, demolition plans, roof plans, framing plans, exterior elevations, wall sections, and design details are also used in the design of buildings. Designers of interior space must be knowledgeable about the nature of these drawings, how they are created, and how they relate to the interior architecture of a building.
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