Sem5 - Architecture Setting
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SETTING
ARCHITECTURAL
The setting is a set of elements that complement the plan and elevation representation of the architectural
object. The setting is easy to create, details should practically be avoided, preferring an effective drawing. A
dramatic drawing is called a drawing that aims to cause a quick effect, of trees, sky, clouds. If specific
details are desired, it is better to make them on the architectural form.
Representation of the construction wit
setting. The naked architecture. ho The drawing has four elements of setting. The figure of a
ut
person (called human scale), the tree, textures and shadows.
The setting is very important because it gives proportion on
the one hand and enhancement and aesthetics on the other.
The setting and the landscape are very delicate themes, rich in varied elements: such as light, appearance of the
ground or floor, vegetation, foliage, architecture, furniture, accessories, and the human figure, etc.
Express Cheer up
Season
• Want • State • Climate
• Character • Details
communicate
ELEMENTS OF
SETTING
1. They are subject to perspective deformations and have to verify their height with the
perspective centers.
2. The type of foliage in the representation
of an interior space is made to scale
with the spatial situation of the
architectural drawing.
3. All these setting elements follow the
rules of composition: BALANCE,
HARMONY AND RHYTHM
HUMAN SCALE
Virtually all architecture is for human beings, even the design of zoos is for animal habitation, but for human visits.
Incorporating drawings of people into architectural representations even gives meaning to the project.
Proportions of a man and Proportions of a woman (Looms. 2007)
You have to be quick to draw the human figure, it is not about representing it in detail but about doing it in PROPORTION . Sometimes you
have to be very schematic, but respecting the basic proportions of women, men and children.
The appearance of the drawn figures will be well represented even if the shapes drawn are with a high level of geometric abstraction . It is even
better to draw several figures instead of just one. The purpose of the drawing is to accompany the architecture, to
provide an environment according to the type of user.
Marine (1988)
The scale figure is probably the most useful of the setting elements, because of the humanization and realism it
conveys to a presentation drawing. When including figures, remember that in general they only serve as support and
do not require much detail or refinement. However, they must reflect some proportionate qualities, vital to be
effective. In general terms, the figures usually appear attributing functions and imbuing the drawings with a sense of
activity and identity.
PLANT FIGURES
They are difficult to draw without a reference
of their vision from above. When these
figures are used, their placement should be
such that, individually or in small groups,
they relate to the proposed design.
FIGURES IN ELEVATIONS
It is easy to use them to improve the appearance of elevations. Its placement should not be arbitrary, it should confer
direct interaction with the place.
For example, it is very effective to place the figures at the
entrances, peeking through openings, leaning or sitting in the
designed interior. In the same way, an additional sensation is
achieved when the figures are visible both outside and inside
through the glass of a window. For this, care must be taken to
soften the figure behind the glass.
They can also be compositionally structured in
overlapping groups, to give a sense of depth, or placed
giving changes in level. When reducing the scale of the
drawing, it is normal for the amount of detail to
decrease, until only its perimeter is graphed, but
sometimes, in some very small scale drawings, they
appear as black silhouettes.
URBAN FURNITURE
Urban furniture is understood as everything related to the atmosphere for the habitability of the city, common
spaces, streets, parks. Thus, benches, light poles, garbage cans, and vehicles will be elements of urban furniture.
Whether in elevation or plan, geometric or
almost fantasy, the importance lies in
conveying ideas precisely. You have to be
cautious, too much setting can cause the
meaning of the drawing to be lost.
VEGETATION AND
SKIES
Vegetation, trees, plants, grasses give life to perspectives, or to the drawing of facades. Even in the plan, its
incorporation is a visual support.
Marin (1988)
Marin (1988)
The drawing may not be precise or detailed, but it may highlight the representative elements that will accompany the
architecture. Whether for perspectives, facades or details that give scale. Color, previously studied in this text, is an
element of representation that contributes to expression.
The incorporation of fauna, for example, birds, in the representation of the sky generates an atmosphere of naturalness to the architectural
works.
Watercolor by Oscar
Domínguez
TREES ON THE ELEVATIONS
The use of foliage on elevations provides a vivid contrast with the hardness of the built form, thanks to the delicacy of proportions in the
relationship between trunk and vault; The line described is in some cases fluid and tangled and, in some, it is only outlined. Another aspect
is the variety of stylization of the trees. The differences in level of detail possibly derive from the designer's degree of intimacy with the
environment, and the purpose for which the foliage is drawn, for example, to hide an environment that does not fit into the project, a lot of
foliage, or to set a patio without hiding the design, only the perimeter of the canopy is drawn
TREES IN PLANT
Trees drawn in plan can be classified into two types
according to the view in which they are represented: in
view from above, with the texture of the foliage according
to the direction of the sun's rays, in order to better suggest
the crown; and in section view, where the cut, with or
without foliage, reveals the trunk and branches. The trees
also allow themselves to be represented with their cast
shadow.
The drawing starts from a circular contour, as a
guide, then each designer develops a personal
style without abandoning the various degrees of
abstraction or detail according to the scale
and ends of the plan .
TREE DRAWING METHOD
It is convenient to make live sketches of real trees. To do this, you must first determine the overall shape and
proportion of the trunk and mass of foliage, sketching the shapes that remain between the masses of leaves. In this
way, the triviality of the stereotype is avoided and greater realism is conferred on the resulting representation.
Then, according to the scale of the drawing, we will give detail
to the branches and leaves, nourishing it with thickness and
depth, through the use of shadow. Another rudimentary way
to create tree shapes is to start each stroke from the base,
gradually opening upwards.
Especially the skies can be made with very fast and effective techniques, if the color of the paper is left untouched,
and only certain parts are pigmented with watercolor, the cloud effect is true.
A technique with striking results consists of drawing with light wax base colors on dark papers, not necessarily black and white. The effects
are achieved quickly and this technique is simpler than it seems. The effect achieved can be the same with colored pencils. Another
technique that can be used is collage, cutting out the silhouette of buildings and leaving colored papers in the background, even
incorporating photographs.