rendering lecture (arch 3) 10 march 2015.docx

7/23/2019 Rendering Lecture (Arch 3) 10 March 2015.docx

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Expanded Outline: Lecture on RenderingArch 3 TTH Sections: Araneta, de Leon, Varona, YazonUPCA MOFA, 10 March 01!

0"0 Introduction0"1 The sa#in$ % &A 'ict(re is )orth a tho(sand )ords"* + a''ies so )e in architect(ra

co--(nication" .t re/ers to the notion that a co-'e idea can e con2e#ed )ith (st asin$e sti i-a$e" A si-'e dra)in$ can 'ass on a $reat a-o(nt o/ in/or-ation"

0" .(stration"

Intellectual property 4.P5 is a ter- that re/ers to creations o/ the -ind" 6a-'es o/inteect(a 'ro'ert# are artistic )or7s i7e in -(sic and iterat(re8 desi$ns # architects,ind(stria desi$ners, $ra'hic desi$ners and other 'ro/essionas8 disco2eries and in2entions8e2en )ords, 'hrases and s#-os" Le$a# and (nder .P a)s, o)ners o/ .Ps are $rantedcertain ec(si2e ri$hts" The -ore co--on t#'es o/ inteect(a 'ro'ert# ri$hts 4.P95 areco'#ri$ht and 'atents" Other ea-'es are ri$hts that 'rotect trade-ar7s, and in so-ecases, trade secrets"

.n sec(rin$ a 'atent /or, sa#, an in2ention, there are certain re(ire-ents )hich -(st es(-itted # the a''icant )ho -a# e its ori$ina creator or an assi$nee" Thesere(ire-ents o($ht to inc(de a 'recise and cear descri'tion o/ the oect o/ the 'atent

a''ication" This is i-'ortant eca(se sho(d the descri'tion 'ro2e to e a-i$(o(s andac7in$ s'eci;c detais, there co(d e e$a 'roe-s that -i$ht rise ater )hich canco-'ro-ise the .P9 o/ the 'atent o)ner" And in -ost 'atents, dra)in$s i(stratin$ thein2ention can co--(nicate etter and /aster"

Figure 1"<ia$ra- /ro- =a-es Aert >onsac7?s 'atent a''ication 4U"S" 'atent 3@,B0,$ranted March @, 1@@15 /or the -achine he in2ented that co(d theoretica# ro as -an#ci$arettes in a da# as B@ )or7ers co(d -a7e"

0"3 The language of architectural communication is mainly visual.Vis(a -eans itin2o2es $ra'hics and i-a$es" This inc(des 'hoto$ra'hs, dra)in$s, $ra'hs, dia$ra-s,t#'o$ra'h#, n(-ers, s#-os, $eo-etric desi$ns, -a's, en$ineerin$ dra)in$s, etc"

0"B Can #o( thin7 o/ a etter )a# # )hich desi$ners can e'ress and co--(nicate their ideasThe message is design and the medium of its expression is graphics. <esi$n and$ra'hics are so interreated that it is diDc(t to see one )itho(t the other" And (st i7eearnin$ an# an$(a$e, st(dents )ho intend to e 'ro;cient in architect(ra co--(nicationneed to ac(ire certain s7is and e /a-iiar )ith its ee-ents" E=(st i7e an# other an$(a$e,e it s'o7en or so-e technica in$o i7e a co-'(ter 'ro$ra-, it has its in$(istic ee-entsand characteristics: str(ct(re 4$ra--ar and s#nta5, -or'hoo$# 4/or-5, se-antics4-eanin$ % -(ti2aence, aritrariness5, d#na-ic 4can chan$e, e re;ned5, etc""



0"! Drawing as tool for creative visualiation and architectural communication.O2erthe ast t)ent#%;2e #ears, there ha2e een incredie ad2ances in di$ita co-'(tertechnoo$#" The (se o/ co-'(ters ca(sed, and is sti eGectin$, re2o(tionar# chan$es in$eneratin$ i-a$es and dra)in$s 2ita to the desi$n 'rocess" Ho)e2er, it re-ains tr(e thatcreati2e 2is(aization and architect(ra co--(nication re# on dra)in$s and $ra'hic i-a$esto eGecti2e# con2e# ideas )hether these are 'rod(ced -an(a# or (sin$ c(rrenttechnoo$ica inno2ations"

1"0 !rief Overview of Traditional Drawing Typesin "rchitectural #resentation

1"1 O$servation drawing re/ers to the 'rocess in )hich one creates a s7etch /ro- direct#oser2in$ a s(ect" hie there are 'araes and si-iarities in 'hoto$ra'h# as a -ethod o/I$ra'hica# ca't(rin$ Ian oect, a dra)in$ o/ the sa-e oect # direct oser2ation reieshea2i# on the inter'retation o/ theoser2er ands(ect to 'resent oser2ae 'h#sicaconditions" E6ercises and 'ates on this t#'e )ere $i2en to st(dents in Arch "

1" Imagination Drawing" This -ethod o/ dra)in$ is asica# creatin$ /ro- the &-ind?s e#e*and (sed -ain# in the creati2e desi$n 'rocess" .t o/ten in2o2es dra)in$ )itho(t tracin$o2er an i-a$e or direct# seein$ anoect" Si-iar to &cartoonin$*, this -ethod o/ dra)in$can e (ic7 to $enerate" Another /or- o/ i-a$ination dra)in$ is &2is(a scriin$* in )hichi(strations are $enerated /ro- istenin$ to a diao$(e or con2ersation"

1"3 Overlay and Trace Drawing" This &ste'%#%ste'* dra)in$ -ethod (tiizes a ase i-a$e 4itcan e another dra)in$ (t (s(a# a 'hoto$ra'h or a SketchUp -ode 2ie)5 )hich is thenco2ered )ith trace 'a'er and de2eo'ed into a s7etch" ># a#in$a tracin$ sheet o2er thease i-a$e, one can create a dra)in$ that -atches the 'ro'ortions and 'ers'ecti2edeineation acc(rac# o/ the ori$ina"

1"B Thum$nail and %oncept Drawings. As either a sin$e i-a$e or a series o/ se2era ones,th(-nai dra)in$s 'ro2ide eGecti2e 2is(a s(''ort in $ra'hic 'resentations" These s-adra)in$s can rea7 (' ar$e oc7s o/ tet to enhance the o2era a#o(t"

"0 Introduction to &y$rid 'isualiation: Le$$itt?stradi$ita dra)in$8 -er$in$ traditiona handdra)in$ )ith di$ita toos

"1 Tradigital drawings are 2is(aizations $enerated # a 'rocess that intentiona# co-inestraditiona hand%dra)in$ techni(es )ith co-'(ter%$enerated 3< di$ita -odein$ and <-ani'(ation to 'rod(ce 2is(a i-a$es ha2in$ the cra/ts-anshi' o/ a traditiona dra)in$ andthetechnica acc(rac# o/ a di$ita i-a$e" Accordin$ to =i- Le$$itt, tradi$ita dra)in$s /a intothree -ethods:

" Overlay and trace method" This dra)in$ -ethod in2o2es a asic o2era# and tracedra)in$ -ethod 4as disc(ssed in1.35 )ith the ori$ina art)or7 dra)n direct# o2er a 'rint4(s(a# /ro- a SketchUp -ode5" Both the ori$ina art)or7 and ase -ode i-a$e are thenscanned to$ether" The -ode 2ie) is 2isie eneath the art)or7 and creates an interestin$h#rid that endshand dra)in$ )ith 3< co-'(ter -odein$"

"3 (imple composite method. The si-'e co-'osite -ethod o/ tradi$ita dra)in$ 'rod(ces a'resentation renderin$ )hich is ro($h# !0J di$ita and !0J hand%dra)n" Modi/#in$ these'ercenta$es can $i2e the ;na i-a$e a &harder* 4K ha2in$ -ore co-'(ter%$eneratedee-ents5 character or a &so/ter* 4K )ith -ore hand%dra)n /eat(res5 oo7" This 2is(aizationtechni(e 'rod(ces a dra)in$ that has a the characteristics o/ a hand dra)in$ and #ethidden eneath the ines and coors is the co-'(ter -ode" Since a $ood 'art o/ the dra)in$is co-'(ter%$enerated, the a-o(nt o/ ti-e s'ent to ;nish it can e $reat# red(ced" ASketchUp -ode can 'resent se2era 2ie)'oints to choose /ro- and, at the sa-e ti-e, ecorrect in 'ers'ecti2e deineation"

"B "dvanced composite method. This co-'osite -ethod o/ tradi$ita dra)in$ de'endshea2i# on di$ita i-a$in$ 'rocesses and 'rod(ces a 'resentation renderin$ )hich is ao(t0J di$ita and 10J hand%dra)n" Most o/ the ;na i-a$e in2o2es di$ita -ani'(ation"



SketchUp is (sed /or settin$ the 'ers'ecti2e 2ie) and e2e o/ detaiin$" The -ost co--on#(sed $ra'hic -ani'(ation so/t)are is Adobe Photoshop" Other so/t)are:Revit , 3Ds Max ,Luio! and Auto"ad" Moreo2er, there arerenderin$ '($%in so/t)are a2aiae i7e: /orSketchUp, there?s #$Ra% , &erk%thea and SU Podiu8 and /or 3Ds Max , there is#$Ra% aso"So-e di$ita 'rocesses are disc(ssed eo):a" Digital painting techni)ues. <i$it a 'aintin$ is a 2is(aization o'tion $enerated

entire# in the co-'(ter" Adobe Photoshopis (sed /or i(stratin$ and coorin$ a di$itai-a$e"

" Digital watercolor process" <i$ita )atercoor is a h#rid 2is(aization techni(ein2o2in$ a -(ti%ste' a''roach that starts )ith a SketchUp -ode 2ie) that has een'hoto%reaistica# rendered (sin$ Shader'ight or so-e other '($%in so/t)are 'ro$ra-,then 'rinted and dra)n direct# onto )ith $ra'hite 'enci, coored -ar7ers and coored'encis" The art)or7 is ;na# scanned and atered )ith a )atercoor ;ter (sin$ AdobePhotoshop" The res(tin$ i-a$e oo7s 2er# -(ch i7e a traditiona hand 'ainted)atercoor renderin$"

c" "dvanced digital montage.<i$ita -ash(' is a co-'e h#rid renderin$ techni(eincor'oratin$ di$ita 'hoto$ra'h#, 3< co-'(ter -odein$ in SketchUp, traditiona handdra)in$ and di$ita 'aintin$" The res(tin$ 2is(a re'resentation is a end o/ di$ita toosand traditiona hand dra)in$ techni(es"

3"0 Introduction to Digital Drawing Tools: Hi$h i-'act di$ita toos /or 2is(aizin$ desi$n

3"1 62o(tion o/ 3< co-'(ter 2is(aization and 2a(e SketchUp -odein$a. SketchUp" This 3< so/t)are )hich ori$inated in 001 is an eas# to (se co-'(ter

-odein$ 'ro$ra- that ao)s /or in;nite constr(ction o'tions, 'ers'ecti2e contro and2is(a eGects"

SketchUp 4/or-er# (oog'e Sketchup5 is a 3< -odein$ co-'(ter 'ro$ra- /or a 2ast ran$eo/ desi$n a''ications" A /ree)are 2ersion, SketchUp Make, and a 'aid 2ersion )ithadditiona /(nctionait#, SketchUp Pro, are a2aiae"SketchUp is c(rrent# o)ned # )rib'e*avigatio!, a -a''in$, s(r2e#in$, and na2i$ation e(i'-ent co-'an#"SketchUp )asinde'endent /ro- 000 to 00 and then o)ned # (oog'e /ro- 00 to 01"

There is an onine o'en so(rce re'ositor# o/ /ree%o/%char$e -ode asse-ies 4e"$", )indo)s,doors, a(to-oies, etc"5, 3D +arehouse, to )hich (sers -a# contri(te -odes" The'ro$ra- inc(des dra)in$ a#o(t /(nctionait#, ao)s s(r/ace renderin$ in 2ariae &st#es*,s(''orts third%'art# &'($%in* 'ro$ra-s hosted on a site caed ,xte!sio! +arehouse to'ro2ide other ca'aiities 4e"$", near 'hoto%reaistic renderin$5, and enaes 'ace-ent o/ its-odes )ithin (oog'e ,arth"

" SketchUp modeling strategies for di*erent pro+ect types. .n constr(ctin$ aSketchUp -ode /or a 2is(aization 'roect, instead o/ (idin$ a hi$h# detaied and ti-e%cons(-in$ -ode, constr(ct either a &-assin$ -ode* or a &sta$e set -ode* )ith theintent to ca't(re the asic 3< in/or-ation )ith the east a-o(nt o/ ti-e in2est-ent anddetai"

3" Drawing from digital photography. The ra'id de2eo'-ent in co-'(ter technoo$# has-ade 'hoto$ra'h# 2er# ine'ensi2e" 62en toda#, the re2o(tionar# di$ita ca-era, in2ented

in 00, is 'ractica# aread# ('sta$ed # s-art 'hones /or ca't(rin$ i-a$es o/ eistin$conditions"

Tip: Print 'hoto$ra'hs in etter size on a standard ho-e 'rinter and trace o2er the'hoto$ra'h to create dra)in$s" The eistin$ 'hoto$ra'h 'aired )ith the dra)in$ -a7es acoo &e/ore and a/ter* 'resentation"

3"3 Internet sourced imaginga" Google Image. This internet too is an eceent so(rce /or 2is(a in/or-ation )hen

constr(ctin$ a dra)in$" There are n(-ero(s so(rces o/ 'hoto$ra'h# )hen researchin$s(ects to dra) in the )e" hou--.co is a $reat so(rce /or 'recedent 'hotos"

" Google Earth" More in/or-ation )ith hi$h reso(tion aeria 'hoto$ra'h# is a2aiae /or(se in creatin$ S7etchU' -odes and renderin$s" Use oo$e 6arth /or site di-ensions,



inte$ratin$ 3< (idin$s in S7etchU' and (ic7# (idin$ ase i-a$es /or dra)in$s" Theoo$e Street Vie) is an eceent so(rce /or $eneratin$ ase in/or-ation /or s7etches" The hi$h 'osition o/ Street Vie) ca-eras is idea /or creatin$ 'ers'ecti2es"

c" The-Blueprints.com is a )esite dedicated to coectin$ 3NBN!%2ie) dra)in$s,te-'ates and (e'rints /or as -an# oects as 'ossie" 9an$in$ /ro- h(-ans toaircra/t and cars to -oie 'hones, the $oa is to 'ro2ide re/erence -ateria /or 3<-odeers, scae -odeers, re'ica (iders, etc" ># ('datin$ the )esite on a dai# asis,it c(rrent# has -ore than !,000 i-a$es in its coection, )hich -a7es this the ar$est/ree coection on the internet"

3"B The growing potential of digital ta$lets and touch screen monitors. More desi$nersare creatin$ di$ita dra)in$s on Sasu!g and App'e taets (sin$ a ar$e n(-er o/ dra)in$a''s" Another $ad$et is the +aco "i!ti dra)in$ -onitor (sed /or creatin$ 100J di$itadra)in$s % co-'ete# dra)n and coored in the co-'(ter"

B"0 The (tu* of "rchitectural Rendering: #rinciples, Elements, Techni)ues

B"1 !asic Rendering Elementsa. Drawing (ie" Ha2in$ the dra)in$ as s-a as 'ossie + A3, 111 or e2en s-aer +

enaes #o( to easi# scan the ori$ina art)or7 on a standard des7to' scanner" An#dra)in$ at a ar$er size )i dra-atica# increase dra)in$ ti-e"

" Drawing -ormat" The s(ect o/ the dra)in$ )i in2aria# dictate the /or-at # )hichthe i-a$e is 'resented" The sha'e and orientation o/ the /ra-e o/ a rendered dra)in$4s(are, 2ertica rectan$e or 'ortrait, horizonta rectan$e or andsca'e5 )i ar$e#de'end on thesha'e and /or- o/ thes(ect, )hether a < 4'an or ee2ation5 or 3<4'ers'ecti2e5 'resentation" Moreo2er, )e need to consider 'rinci'es o/ $oodco-'osition in the 7ind o/ /or-at to /oo): the o2era a#o(t o/ a ee-ents /o(nd in thedra)in$ 4$ra'hics, tet, dia$ra-s, inset i-a$es, etc"5 and their reationshi' to oneanother" A $ood andsca'e dra)in$ /or-at is : in 'ro'ortion"

c" Drawing Layout" >ased on the eGect #o( )ant to achie2e 4e.g./ dra-a, character o/'ace, etc"5 deter-ine the 'ositionin$ o/ the -ain oect 4K /oc(s5in reation to the otheree-ents in the dra)in$" Other as'ects that can he' achie2e #o(r desired eGectarei$htin$, coor and detai 4C/" B"!d Dra0i!g Detai'5"

B" Rendering orthographic drawings. >e/ore startin$ to render, chec7 i/ #o(?2e inc(ded athe i-'ortant dra)in$ ee-ents on the dra)in$8 these can e aes, di-ensions, $ra'hicascae, north 'ointer, ree2ant s#-os and 'icto$ra-s, etc"a5 D design presentation drawings and construction wor/ing drawings"5 (ite development plans

415 >(idin$s and other str(ct(res 4roo/ or (idin$ /oot'rint545 9oads, dri2e)a#s, 'ath)a#s, 'a2ed o'en areas435 Landsca'in$: trees and /oia$e, hardsca'e, )ater, etc"4B5 <etais4!5 Shado)s 4indicatin$ hei$ht and soar orientation5

c5 -loor plans415 Finishes45 <etais: /(rnit(re, accessories, 'anters, etc"435 .s it ad2isae to inc(de shado)s

d5 Elevations

415 Finishes: tet(re, coor, $ass"45 Shades and shado)s435 6nto(ra$e: trees, 'eo'e, 2ehices4B5 Others: si$na$e, a-' 'osts, oards, etc"

e5 (ections415 Finishes: tet(re, coor, $ass"45 Shades and shado)s 4i$ht so(rce5435 6nto(ra$e: 'eo'e, 'ants, etc"

/5 (hadows in D drawings. Pottin$ shado) ines"Possie renderin$ -edia"

B"3 !rief review of linear perspectivea" One%'oint, t)o%'oint and three%'oint 'ers'ecti2e % de'endin$ on the s(ect"



" Shado)s and reections in 'ers'ecti2e"

Q">": Pers'ecti2e 'ottin$ shortc(ts )i not e 'art o/ this ect(re" Ho)e2er, it can erie# disc(ssed in the o'en /or(- sho(d an#one as7 ao(t the to'ic"

B"B Drawing0rendering entourage

a" Drawing human 1gures.415 Pacin$ 'eo'e in the dra)in$ re(ires chec7in$ i/ the ;$(res are correct# deineated

and consistent )ith the 'ers'ecti2e 2ie)" This -eans that the# are set on theircorrect I-o(ntin$ hei$hts? reati2e to the 2ie)in$ hei$ht at the station 'oint" The;$(res sho(d aso ha2e the ri$ht scae and 'ro'ortion reati2e to the distance o/their 'ace-ent on the ;ed /ro- the station 'oint 4K 'rinci'es o/ di-in(tion and/oreshortenin$5" 9e-e-er that in a 'ers'ecti2e at nor-a 2ie)in$ hei$ht 4ao(t1"!0- /ro- the L5, the e#es o/ standin$ ;$(res)i a e nearthe horizon"

45Trace 'eo'e /ro- i-a$e ;es" Ho)e2er, a2oid creatin$ 'eo'e an# ar$er than inches in a dra)in$ or #o( )i ;nd #o(rse/ $ettin$ o$$ed do)n in too -(chi(strati2e detai"

435 i2e a /air e2e o/ reais- to the 'eo'e #o( '(t in the dra)in$8 hei$ht, 'ost(re,a$e,detais i7e cothes and accessories 4e.g., a$s, (-reas5, etc"

4B5 SketchUp 'ro2ides an eas# )a# o/ correct# 'acin$ 'eo'e in the 'ers'ecti2edra)in$"

4!5 >e consistent in the shades, shado)s and reections"

" Drawing 2otor 'ehicles415 >e/ore '(ttin$ cars and 2ehices in the dra)in$, chec7 i/ these are consistent )ith the

'ers'ecti2e 2ie), i.e., scae and 'ro'ortion in ter-s o/ their 'ace-ent )ith res'ectto the de'th o/ ;ed 4di-in(tion5, their correct a# on the s(r/ace and in reation tothe 2ie)in$ hei$ht at the station 'ointand their correct orientation as the# -a# ha2ediGerent 2anishin$ 'oints" <ra) the o o/ a 2ehice ;rst" EQ">" % Tires o/ 'ar7ed2ehices are de/or-ed at the otto-" h# hat do thin7 is the sha'e o/ tires o/2ehices in -otion

45 Ca(tion on dra)in$ -otor 2ehices /ro- i-a$ination as these can e tric7# in ter-so/ scae and 'ro'ortion" . sti s($$est co'#in$ 2ehices /ro- 'hotos as it?scon2enient,/ast, correct in scae and /air# acc(rate in detai" >e -ind/( tho($h o/ the e2e o/detai #o( )ant to '(t in"

435 Chec7i/ shades, shado)s and reections are consistent" 4./ it?s a da# scene, )hat?sthe 'osition o/ the s(n Are there other i$ht so(rces5

4B5 SketchUp can easi# and correct# 'ace -otor 2ehices in 'ers'ecti2e"c" Drawing Trees, -oliage and Other Landscaping Elements.

415 .-a$ine the str(ct(ra /ra-in$ o/ the tree8 the 'ositi2e and ne$ati2e areas in its /or-8shades, shado)s and hi$hi$hts8 the e2e o/ detai + trees and /oia$e nearer to the2ie)er )i ha2e -ore detai, i$$er ea2es, etc" 4K 'rinci'es o/ di-in(tion and aeria'ers'ecti2e5"

45 Ree' the detais si-'e" .t?s so eas# to o2er%render and ris7 ta7in$ the /oc(s oG the-ain s(ect o/ the dra)in$"

435 Aside /ro- the (s(a ento(ra$e ee-ents, addaccessories i7e o(tdoor i$htin$,si$na$e, o(tdoor /(rnit(re, etc" A$ain e -ind/( o/ the e2e o/ detai"

d" Drawing detail" .n dra)in$ detais, the &ess is -ore* a''roach is so-ethin$ $ood to7ee' in -ind" A renderin$ )ith -ini-a detai can e ade(ate# re'resentationa and)i ta7e ess ti-e to $enerate than one )ith a $reat a-o(nt o/ detai" So +415 >e/ore startin$ a dra)in$ 'roect, deter-ine ahead o/ ti-e the e2e o/ detai #o(

)ant to sho)" There is a $ood chance that o2erdetaiin$ can ta7e the /oc(s a)a#/ro- the -ain oect o/ the dra)in$"

45 Ionin$? #o(r dra)in$ into areas 4e.g., /ore$ro(nd, -idde and ac7$ro(nd, ri$ht sidee/t side5 )i he' #o( decide the e2e o/ detaiin$ #o( )i a''# on each 'ortion"onin$ aso he's in the a#o(t"

435 Oects in the /ore$ro(nd and nearer to the 2ie)er )i ha2e -ore detai" Ho)e2er,this is not an aso(te r(e eca(se a s('er%detaied ee-ent can stea the 2ie)er?s



attention a)a# /ro- the /oc(s o/ the dra)in$" On the other hand, oects at theac7$ro(nd and are ess detaied 4K 'rinci'e o/ aeria 'ers'ecti2e5"

"erial perspective or atmospheric perspective re/ers to the eGect the at-os'herehas on the a''earance o/ an oect as it is 2ie)ed /ro- a distance" As the distanceet)een an oect and a 2ie)er increases, the contrast et)een the oect and itsac7$ro(nd decreases, and the contrast o/ an#detais )ithin the oect aso decreases" The coors o/ the oect aso eco-e ess sat(rated and shi/t to)ards the ac7$ro(ndcoor, )hich is (s(a# (e, (t (nder so-e conditions -a# e so-e other coor 4/or

ea-'e, at s(nrise or s(nset distant coors -a# shi/t to)ards red5"

4B5 9e-e-er: 7ee'it si-'eand (ic7"

B"! Traditional rendering media

a. %olor 2ar/ers"Mar7ers ha2e so2ent ased in7 4acoho or #o5 and (s(a# are 'ensha2in$ d(a ti's 4;ne 'oint, road 'oint5"415 "vaila$le $rands.&ureco'or is the -ost readi#%a2aiae coor -ar7er rand here in

the Phii''ines" .t is acoho ased and has a ran$e o/ 13! coors" Other rands are:% oke!, acoho ased, 1B coors, =a'an%-ade, co--ercia# a2aiae here8% "hartpakAD, #o ased, sin$e tri%ni ti',130 coors, US%-ade, $enera#

're/erred d(e to its ar$e in7 ca'acit# and 2er# $ood endin$ characteristics,

co--ercia# a2aiae here8% "opic, acoho ased, 3!@ coor ran$e,=a'an%-ade, e'ensi2e, a2aiae (t rarein Mania8

% Prisaco'or , ess co--on, e'ensi2e 4ao(t B5"% Letraset , acoho ased, )ide ran$e o/ coors, -ade in UR, (nco--on and 2er#

e'ensi2e"45 "dvantages

% con2enient to (se % easier co-'ared to )ater coor8% coors are consistent and 'redictae8% can e a#ered and ended8% (sin$ )ith $ra'hite and coored 'encis can $i2e eceent res(ts"

435 (ome disadvantages% hardto contro, es'ecia# in de;nin$ and hodin$ cris' ed$es8% so-e rands do not end )e4oke!, &ureco'or 5 tho($h the# ha2e se'arate

ender 'ens a2aiae8% $enera# -ar7ers do not -i )e )ith )ater%ased -edia"

" %olored #encils" Coored 'encis are -ost# (sed to s(''e-ent -ar7ers # creatin$2ariae tones and tet(res 4s7ies, 'a2in$ -aterias,etc"5" A techni(e . o/ten (se /oraddin$ tones is s-(d$in$ coor 'enci ;in$s or 'o)der direct# on the dra)in$" .tis eas#to a''#, /ast, sa/e 4(st (se an eraser sho(d #o( -a7e a -ista7e5, and can #ied $oodres(ts"

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!"0 Open -orum and 3rap4up

Internet ResourcesS7etchU' So/t)are: )))"s7etch('"co-Shaderi$ht 9enderin$: )))"shaderi$ht"co-S7etchU' Video T(torias:)))"danieta"co-Hand <ra)in$ >o$ and T(torias: )))"dra)in$shortc(ts"co-

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REQUIRED SUBMISSIONS AND DEADLINES(PLEASE NOTE THE CHANGE IN REQUIREMENTS IN B.2.)

Follow the Instructions given on the handouts with the following final outputs for submission.

PHOTOGRAPHY MODULE

A. Minor Exercise on Photography (due March 17, Tuesday)

A.1 Pdf file of 10 Photos of Kirigami, Origamic Architecture consisting of -A.1a Three (3) photos each of 2 kirigami constructs = 6 images

A.2 a Four (4) photos of your best origamic architecture.

A.2 5R prints

A.2a One (1) 5R print of best photo of first kirigami model

A.2b One (1) 5R print of best photo of second kirigami model

A.2c One (1) 5R print of best origamic architecture photo

B. Major Exercise on Photography (also due March 17, Tuesday)

PLEASE TAKE NOTE OF CHANGE IN REQUIREMENTS.

B.1 Three (3) 5R prints of selected UP Diliman building at different points of view and/or

different times of the day

B.2 Three (3) 5R prints of architectural details of the subject UP Diliman building.

B.3 Two (2) 5R prints of your AFH model with the intention of using the photo in the plate for

Rendering.

Put all prints in envelope. Label each of your photos with your last name, other names; Arch 3- Yazon; Date of submission. Label the envelope in the same way.

COLOR RENDERING MODULE

All requirements due Thursday, March 19, all in A3 (select your format)

A. Minor Plate - Rendered 2D (Orthographic Drawings of your AFH)

Site Development Plan (show graphical scale)

Floor plan/s (show graphical scale)



Two (2) elevations (show graphical scale)

One (1) section (longitudinal and showing stairs)

B. Major Plate (A3)

Exterior Perspective

Interior Perspective

"rch 5 6 2odule on "dvanced Rendering

Araneta <e Leon L(na 9i2era Santos Varona Yazon

E7ER%I(E O8 "D'"8%ED RE8DERI89: #RE#"R"TIO8

2bectives

1" To e /a-iiar )ith the 're'arator# acti2ities and -aterias /or ad2anced renderin$"" To ta7e 'hotosNdi$ita i-a$es o/ -odes to ser2e as ase i-a$es /or o2eraid ad2anced

renderin$"

4!structio!s

1" Ta7e 'hotosNdi$ita i-a$es o/ the /oo)in$ an$es o/ #o(r A)eso-e# Fantastic Ho(se4AFH5 and to'o$ra'h# -ode to$ether:

a" 1 + To' Vie)" 1 + Front Vie)N6e2ationc" 1 + 9i$ht or Le/t Side Vie)N6e2ation + 'hoto$ra'h the side that sho)s -ore

architect(re ee-ents e"$" )indo)Ns, door, or terraceNacon#, etc"d" 1 + 6terior Pers'ecti2e 4nor-a e#e 2ie)5e" 1 + .nterior Pers'ecti2e

" Print each 2ie) to ;t an A3 size co'# 'a'er in >ac7 and hiteNra#scae, andsca'eorientation" >e s(re that there are no distortions in the 'rinted i-a$e"Print ao)in$ /or-ar$ins and tite oc7"

3" >rin$ the /oo)in$ on Thursday, 2arch , ;<:a" Printed i-a$es" 9enderin$ -aterias + #o(r 're/erred -edia 4-ar7ers, coor 'encis, )ater coor, 'en

and in7, etc"5c" B + A3 size Tracin$ 'a'er 4at east @0$s-5 Etite oc7 and -ar$ins -a# e dra)n in

ad2anced" B + A3 size Co'# 'a'er Etite oc7 and -ar$ins -a# e dra)n in ad2ance

B" Start conce't(aizin$ the 'ans and sections o/ #o(r AFH" Yo( -a# 're'are initia



s7etchesNst(dies /or #o(r 'ersona (se"

A9CH.T6CTU9AL MO<6L MAR.Q A<V.C6 FO9 STU<6QTS

Let me explain first of all that I am writing this from the perspective of someone who has had personaexperience of having to make architectural models with limited resources. Although I am now a professionalmodel maker I was once a student at the Welsh School of Architecture where they viewed models as animportant part of the design process. Through my three years on the course and subseuent many years in the

model making profession I have seen! or made myself! most of the common mistakes people make whensetting out to produce an architectural model. "opefully I can help you avoid these errors and save you a lot ofwasted time and effort.

#lanning your architectural model

The first and most important step for any architectural model making project is to establish a clear

goal for the model. In other words! what is the model for! what is its purpose! what does it need to

communicate# $ery few people have the budget and resources to make a model that shows everything abou

their pro%ect. It is more realistic to choose an aspect of your design that the model can show well.

&or example! if you are designing a building in a sensitive area! a monochrome massing model can show theoverall form and layout of your design and how it sits in its context. This will give viewers an instant genera

understanding of your pro%ect. The colors! materials and any other detailed elements can be explained through

additional drawings! photographs! swatches! etc.

Another approach is to let your drawings show the general overview of your pro%ect and use an architectura

model to illustrate one of the detailed aspects. &or example you could make a part'model of a particularly

interesting area of the building( an entrance feature perhaps or a decorative elevation. )r you could make a

sectional model that slices through the building to show the internal spatial organi*ation.

The important thing is to start with a clear purpose for your architectural model and then work out what sort of

model will best achieve your goals.

3hat scale should the architectural model $e=

)nce you have decided what your model needs to illustrate! the next step is choose the most appropriate

scale. This decision is affected by two things: (1) how big an area you need to model; and (2) how

much detail you want to show. If you need to show a big area! perhaps for a site context model! you would

have to choose a smaller scale! say +,- or even +,+. This is to avoid the model becoming too big to be

practical. /ut at these smaller scales you need to be aware that is not really possible to show much in the way

of detail.

If the purpose of the model is to show %ust the building itself you could consider +,0 or even +,+ scale. At

these scales you can show windows! doors! balconies! etc. "owever! if your goal is to illustrate a particular

area or detailed element of the building you may well need to go bigger again! say +,- scale or even +,0

scale.

Whatever the purpose of your model! being able to understand scales will enable you to work out practical!

achievable options for your particular pro%ect. 1any students will already have a clear understanding of scales

and those who have can skip this next bit! but if you are a little unclear on the sub%ect it is probably worth

reading.



Scales are actually very simple. The scale of architectural models is a ratio ' in other words! the relative si*e of

the model to the real thing. &or example! +,+ scale 2we would say it as 3one to one34 would be a life si*e model.

Whereas! +,+ scale 23one to ten3 or 3one tenth scale34 would be one tenth of actual si*e. Likewise! +,+

would be one hundredth of actual si*e! and so on. The larger the scale indicator number! the smaller the

model! which means less detail can be shown.

Another useful way to think about scales is to work out how many millimeters represent one meter at the

particular scale you are considering. We do this by dividing + by the scale indicator number. &or example

for +,0 scale! divide + by 0 and you get the answer -. Which tells you that one meter in real life will be

represented by -mm on the model. So if the area you need to model is + meters x + meters suare! you

+,0 scale model would be -mm x -mm 2+ x -mm4.

&or particularly large sites you will need to use a much smaller scale! say! +,+. At this scale the

architectural model will be one thousandth of the actual si*e. To work out how many millimeters will represent a

meter we redo the sum we did above! + divided by the scale indicator number 2in this case also +4. The

answer is obviously +! meaning that one meter on site will be represented by + millimeter on the model. A

suare site + meters x + meters would therefore be + millimeters suare as a +,+ scale model.

"rchitectural model ma/ing methods and materials

&or the purposes of this general guide I will not go into a lot of specific detail on architectural model making

techniues and materials as this is a very broad area and will be covered in a separate article. "ere are some

basic rules to follow though.

e realistic about what you can achie!e with the time" materials and facilities a!ailable to you. 5o no

try and make the model show every detail of your design or you %ust won6t finish it. $ery often it is students with

good model making skills that do not finish their architectural model! simply because their enthusiasm has got

the better of them and they have tried to show too much. )r! the model does get finished but it has taken up so

much of their time and energy that other important parts of their presentation have to be rushed or do not get

done at all.

It is tricky to get the balance right but it is better to be a little less ambitious with the model and focus on

submitting a coordinated! fully reali*ed overall presentation.

The use of color is another area where models can go wrong. Sometimes it6s safer to keep things monochrome

2white! for example! can look uite 3architectural3 and stylish4 unless you are very confident with color or it6s a

vital part of what your model is trying to show.

#lways present your model on a good" solid base with a clean edge finish 7 this acts almost like a picture

frame and enhances the general appearance of your model.

As far as materials are concerned! unless you have easy access to a workshop and a reasonable level oexperience with machinery! it would be best to work with card or foam$board or similar! easy'to'cut materials

such as /alsa or Lime wood. In other words! anything that you can cut with either a sharp blade or %unior hack

saw and stick together with conventional shop bought glues.

And when you are cutting! if possible! try to use a suare! especially if you are cutting out floor plates or

elevations. 8eeping everything suare is crucial if you want to achieve a neat! crisp finish for your building. It is

also worth investing in a metal ruler as you will find a plastic or wooden ruler will get damaged very uickly.



Whether you are cutting with a craft knife or a scalpel! it6s better to use several light passes rather than trying

to cut all the way through with one go. 9ou will get a cleaner cut and you are less likely to slip and cut your

finger.

Sourcing materials can be difficult! but your best bet is to investigate your local Art : ;raft shop and check also

if there is a hobbyist model shop in the area. These shops will usually have a good range of materials but do

get what you need early. It is surprising how uickly a group of students all working on a similar design brief

can empty the shelves of all the best materials.

If you cannot get what you need locally there are several model making supplies companies with on'line

catalogues who provide a good mail order service. $isit my web site www.modelmakers'uk.co.uk and click on

Links at the top right hand side of the page where you will find a list of useful links for architectural model

making supplies. )r use a search engine and see what that turns up.

<ood luck with building your architectural models. If there is only one thing you remember from this information

make it this 7 %t will take twice as long as you think it will .

<areth 1organ

"rchitectural 2odel !uilding TipsB% Larry Simmons/ e5o0 "o!tributor

UW Architectural Commission model of the new Business School building on the Seattle campus.

Architect(ra -odes are re(ired 'ro/essiona# /or re'resentin$ (idin$s and (idin$ sites'rior to creation" As a )a# to de-onstrate desi$n detais and 2is(a i-'act on the en2iron-ent,a -ode dra)s the 2ie)er in, sho)in$ /ro- e2er# an$e 'recise# )hat the (ider has in -ind"

Pro2idin$ the 'ro'er i-'act )ith a -ode can -a7e the diGerence in $ettin$ across #o(r idea, so7ee' a /e) (se/( ti's in -ind )hen 'er/or-in$ #o(r -ode constr(ction"

!uilding to (cale

For 2is(aization, scae is etre-e# i-'ortant" Choose a scae /or #o(r (idin$ that sho)s oGthe desi$n detais )itho(t o2er)he-in$ the 2ie)er # ein$ too ar$e" For residentia -odes a1:!0 scae o/ 1NB inch re'resentin$ 1 /oot is co--on# (sed" ./ #o(r -ode inc(des andsca'in$/eat(res #o( can dro' the scae /(rther in order to 7ee' the -odes ase size -ana$eae" Forco--ercia (idin$s, s-aer scaes are (sed /or the sa-e reasons, to 7ee' the ase the -ode

http://www.modelmakers-uk.co.uk/





sits on s-a, and to ao) 2ie)ers to ta7e in -aor architect(ra /eat(res )hie sti ein$ ae tosee the (idin$ as a )hoe" Co--ercia -odes sho(d e 7e't s-aer than 1:100 scae or 1N@inch to the /oot"

hen -odein$ interiors, a scae o/ 1:! )hich is 1N inch to 1 /oot, is co--on" The ar$er scaeis (se/( /or )hen #o( need to sho) s'eci;c 'atterns and tet(res in interior desi$n" Anotherco--on scae #o( can choose to -ode interiors in is 1 inch to 1 /oot, )hich is the scaeco--on# (sed # -iniat(rists and doho(se -an(/act(rers" This scae is 'artic(ar# (se/( /orthe n(-er o/ interior ite-s a2aiae /or (se in #o(r -ode, inc(din$ (idin$ -aterias,)indo)s and doors, car'ets, )a'a'er, /(rnit(re and i$htin$ ;t(res"

2aterials

Yo( can (se -an# diGerent -odein$ -aterias in (idin$ an architect(ra -ode" The -aterias(sed are not as i-'ortant as the )a# in )hich the# are (sed" A -ode '(t to$ether )e )ithine'ensi2e -aterias ased on a $ood desi$n is etter than an# -ode (sin$ e'ensi2e-aterias (t desi$ned 'oor#, so s'end )hat #o( /ee co-/ortae )ith on -aterias #o(recon;dent in )or7in$ )ith"

For ease o/ (se )hen -odein$, oth a-ate(rs and 'ro/essionas (se hi$h%i-'act 'o#st#rene"

Yo( can t#'ica# ;nd this 'astic -ateria in sheets o/ soid )hite /ro- ho# sho's" The -ateriais eas# to c(t and coor, and inds )e (sin$ so2ent ce-ent" For creatin$ the ase /or #o(r-ode, the -ateria (sed in ho(sehod ins(ation can e easi# sha'ed into an# needed /or- )itha hot )ire c(tter" Yo( can aso (se this o'en ce s'ra# /oa- -ateria /or creatin$ oc7 (idin$s)here itte detai is re(ired, /or ea-'e, )hen de-onstratin$ a ar$e ind(stria site orcit#sca'e"

'isual "ids

To aid in the 2is(a a''reciation o/ #o(r -ode, inc(de etraneo(s oects s(ch as cars or'eo'e" Additiona oects can he' to 'ro2ide scae co-'arison /or #o(r -ode as )e as tosho) entrance and eit areas, traDc and acti2it# areas" For ea-'e, i/ #o(r -ode inc(des a'a#$ro(nd, 'a#in$ chidren can rin$ attention to the /eat(re8 sho''in$ centers can inc(de;$(res o/ sho''ers, and 'ar7in$ areas adacent to a (idin$ can inc(de cars to sho)co-'arati2e size"

.nc(de andsca'in$ /or #o(r -odes" 62en i/ #o(re -odein$ a sin$e%/a-i# residence, a-ini-a a-o(nt o/ andsca'in$ can he' the 2ie)er reate to the -ode as a re'resentation o/ anact(a oect" Foia$e, side)a7s, 'ar7in$ ots, an#thin$ that -a7es #o(r -ode oo7 a 'art o/ thes(rro(ndin$ andsca'e can he' connect 2ie)ers to )hat #o(re re'resentin$"



&ow to !uild a (cale &ouse 2odelB% Alexis Lawrence/ e5o0 "o!tributor

Architects and de2eo'ers o/ten (se scae -odes in their )or7 as a )a# o/ sho)in$ their cienteact# )hat the# are 'annin$" A scae -ode o/ a ho(se is an eact re'ica /or- that sho)seact# ho) the ho(se )i oo7 )hen it is (it, do)n to the 'recise -eas(re-ents" Yo( dontha2e to e a 'ro/essiona to (id a scae ho(se -ode, tho($h" ./ #o( are 'annin$ to (id, #o(

can see )hat #o(r ho(se )i oo7 i7e # -a7in$ #o(r o)n scae -ode o(t o/ si-'e -aterias"

.nstr(ctions

12easure the house. The ho(se #o( )ant to (id -a# (st e a 'an on 'a'er, or #o( -a#need to -a7e a -ode o/ a ho(se that is aread# in eistence, s(ch as a historica ho-e" ./ thatsthe case, #o( )i need to $et the di-ensions o/ the ho(se on a sides" Yo( )i -eas(re a sides,the hei$ht at the taest 'oint o/ the roo/ and the o)est, the 'orch and the )indo) sizes" An#detai #o( 'an to inc(de on #o(r -ode, #o( )i need a 'recise -eas(re-ent /or, oth insideand o(tside" .ts 'ossie that the (e'rints /or the ho(se are sti aro(nd so-e)here" ./ #o( can;nd those, the# )i co-e in 2er# hand#"

Determine the scale that you are going to use. 1NB inch K 1 /oot is a standard scae" ./ #o(are doin$ a -ode o/ a s-aer ho(se, #o( -a# e ae to (se 1N inch K 1 /oot" A/ter #o( decideon #o(r scae, #o( )i con2ert a o/ #o(r -eas(re-ents" ./ the ho(se is 100 /eet on$ on eachside and #o( are (sin$ a 1NB inch K 1 /oot scae, #o(r ne) -eas(re-ents )i e ! inches aaro(nd"

3Draft your model. >e/ore e$innin$ #o(r -ode, dra) a scae 2ersion o/ the ho(se #o( )ant to(id, (sin$ #o(r scae -eas(re-ents" This )i ser2e as the asis /or #o(r -ode" ./ #o( are-a7in$ the -ode /ro- (e'rints, -a7e a co'# o/ the 'rints and chan$e a o/ the-eas(re-ents to #o(r ne) scae so that #o( )i ha2e an eas# re/erence"

B%ut the pieces for your model. Yo( can (se an# 7ind o/ (idin$ -ateria that #o( )ant, (t)ood )i hod (' etter than cardoard" >asa )ood is eas# to c(t and )or7 )ith" Yo( can c(t it)ith (st an W%acto 7ni/e, )hich -a7es it eas# to contro #o(r c(ts" Use #o(r scae (idin$ 'ansto -eas(re and c(t o(t each section o/ the ho(se"



!"ssem$le your pieces. 9e/er to #o(r -odein$ 'ans o/ten" >asa )ood )i hod to$ether 2er#)e )ith s('er$(e" =(st hod the 'ieces to$ether )hie the $(e dries"

(e the 'arts o/ the roo/ to$ether, (t (st set it on the to' o/ the ho(se )itho(t $(in$ it on" This )i ao) #o( to i/t the to' oG and 'ee7 inside i/ #o( ha2e created a detaied interior"

&ow to 2a/e a (cale 2odelB% Eric Benac/ e5o0 "o!tributor

Make a Sca'e Mode'

Scae -odes re'resent a re%creation o/ an oect" Ho)e2er, scae -odes tr# to 7ee' the reati2een$th, )idth and hei$ht o/ each 'art o/ the -ode the sa-e as on the ori$ina oect" 2a/ing ascale model re)uires careful math, sculpting, drawing and $uilding s/ills. The modeshould $e planned out well in advance of $uilding. " poorly planned scale model won>taccurately represent its source o$+ect well.

Instructions

12easure the dimensions of each aspect of the o$+ect you are modeling. This can edone # (sin$ a ta'e -eas(re or # oo7in$ (' the di-ensions onine" rite these di-ensionsdo)n in a -ethod #o( can (nderstand" For ea-'e, /or a car #o( co(d ha2e -eas(re-ents o/the o2era en$th and )idth o/ the car, as )e as the hood, tires and roo/"

(cale the dimensions down to model sie. This is acco-'ished # di2idin$ the en$th # aconsistent n(-er" For ea-'e, achie2in$ a -ode that is 1N30th the size o/ the ori$ina re(iresdi2idin$ a ori$ina -eas(re-ents # 30" Ree' trac7 o/ these ne) -eas(re-ents"

3Draw a plan for your model? ma/e sure each part loo/s as accurate as possi$le. Use#o(r ta'e -eas(re or a r(er to -a7e s(re each -eas(re-ent is correct" Yo(r 'an )i he' #o('re'are /or the constr(ction o/ each 'iece o/ #o(r car as )e as (nderstand ho) the# )i oo7)hen $(ed to$ether"

B



@se your /nife to carve out each piece from your $uilding material? the $uildingmaterial can $e anything that you feel comforta$le using. Use #o(r ta'e -eas(re or r(erto -a7e s(re each 'iece o/ the -ode is the correct size"

!#aint each piece the correct color or colors. Use -(ti'e coats on each 'iece" P(t a 'ieceso/ the sa-e coor net to one another to ens(re the coor coatin$ -atches as 'er/ect# as'ossie"

(e a #o(r 'ieces to$ether accordin$ to #o(r 'a'er dra)in$" Let the -ode sit /or se2era ho(rs(nti the $(e is dr#"

rendering lecture (arch 3) 10 march 2015.docx

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