A higher resolution picture of the site plan at 1:500, showing the new section line, shown from the ground floor indicating entrances to the building.
Final Drawings
For the final touches, I decided to add smooth, sketchy colouring to the blank section digitally and layer it over the hand painted drawing. This way, once I had digitally altered it, I could get a smoother finish on the drawing, as well as being able to blur the background so the bookcase and figures would not appear as sharp - which was my intended effect.
Final Section Drawing
For the final section, I began by drawing by hand all the initial linework that needed to be done, ensuring that the internal aspects were done in the even, thin line weight as I had seen from Toyo Ito's more technical sections. The main outlining of the building, as well as the floors had been done in a bolder line, as was prominent with most of Renzo Piano's sections. This was easy to do, and I had included the main item to the building, the shelving in the library, to draw attention to the core of the building - the most important focal point of the section.
I had then added the colouring, careful to know where the lines of light would come in, adding shadows in the darker corners as taken from the exemplars by Steven Holl. I added a strong, distinct gradient of purple where people would dwell. After scanning the image, it seemed sharp, but I would then alter this image digitally to make the colours seem softer, as well as add in the background to suit the manner that Renzo Piano had used. In addition to this, I would try and superimpose a real image of the sky into the background to give the section more depth.
Exemplar 5 - V&A at Dundee Design Proposal by Steven Holl
The main thing that struck me about Steven Holl's sections were the way the sections had been superimposed onto images of a real sky, giving an incredible sense of depth to the section. I would like to be able to do the same, but with a much brighter sky. His subtle use of shadow is not as conspicuous either, but is enough to influence the depth of the drawing.
In my section, I hope I could achieve as elegant a tone as Steven Holl has employed here, perhaps by effectively using the fades and gradients of calmer, more neutral hues for the private spaces in the drawing. I choose this technique for the private spaces as they would be predominantly empty, due to my showing of figures to signify public spaces, and this technique could help give a good real sense of depth and space to those areas.
As well, the shadows give a good indication of light, and suggests where natural light comes into the building. Since my building does have something simialr in the way of access of natural light, this could be an efficient and effective way of showing it in my section - predominantly where I have a skylight in the core of the building.
The simple annotations give clear indication as to the use of each space without crowding the section with too much text. I hope to be able to maintain this subtlety when labeling the spaces in my section.
Reference: steven holl architects: V&A at dundee shortlisted design. (n.d.).designboom. Retrieved July 22, 2012, from http://www.designboom.com/weblog/cat/9/view/11710/steven-holl-architects-va-at-dundee-shortlisted-design.html
Exemplar 4 - Harvard Art Museum & The Morgan Library
The Morgan Library, New York, NY
The Morgan Library, New York, NY
Harvard Art Museum, Harvard University
Renzo Piano's drawing style seems to be the most compatible with the visual communication that I would like to employ in my section. The choice of these three sections is based on his use of colour and tone to signify the aspects of spacial dwelling.
It is noted that he uses a strong yellow/orange colour to indicate areas of high traffic or where the users of the building would congregate to the most. The tone of the colour is usually bolder and stronger towards the bottom of the floor, and fades out towards the ceiling. This helps indicate where the intended public spaces are, coupled with the use of the silhouettes of the people. They are not present in all of the spaces in the building, and the use of colour draws attention to what seems to be focal social points in each structure.
I would like to be able to use this to illustrate what I would like to perceive as the main parts of my building. I can use strong colours as well as the figures to distinguish my public spaces from my private spaces.
I would also like to make note of the Harvard Art Museum section, with the depiction of the background. As mentioned in a previous exemplar by Renzo Piano, the objects in the background are less defined. In this section, we can see that the buildings in the background are made transparent, further aiding with making their inclusion apparent without overpowering the drawing.
In my section, I hope to use a similar technique to show the cliffs or river or bridge (as intended) within the context of the drawing without them dominating large portions of the drawing.
References: Harvard's Three Art Museums Will Share One Name and One Roof - The New York Sun. (n.d.). The New York Sun. Retrieved July 19, 2012, from http://www.nysun.com/arts/harvards-three-art-museums-will-share-one-name/80353/
Renzo Piano Workshop - The Pierpont Morgan Library :: arcspace.com. (n.d.). architecture online - arcspace is an architecture and design magazine that features today's most creative projects as well as the most influential of the past.. Retrieved July 20, 2012, from http://www.arcspace.com/architects/piano/morgan_library/index.html
Exemplar 3 - Sendai Mediatheque by Toyo Ito
This section by Toyo Ito is quite contrary to the more simple and colourful style as the first exemplar. Although the elevation in this case has taken on that method of visual representation, the section is quite technical.
The most noticeable aspect of this section is its equal, even line weight, which makes the section appear neater. It seems that it has been drawn in this manner due to the high level of detail and complexity through the design of this building.
As I have concentrated on the tone and colour previously, I think it is still important to have an exemplar that illustrates the necessity for clear structural detail, and I propose to use an even line weight when adding the internal structural elements to my drawing. Although I may have it greyed out as mentioned in previous posts, I would still want to be able to have a clear, concise representation of the design.
Witte, R., & Kobayashi, H. (2002).CASE: Toyo Ito, Sendai Mediatheque. Munich: Prestel :.
Exemplar 2 - Kimbell Art Museum by Renzo Piano
The Kimbell Art Museum section is a good example of a hand drawn section, which I would prefer as a drawing method. The main form and structure of the building is shown with clear, heavy lines, providing a clean outline for the design and boundary of the building. This is juxtaposed with the sketchy pencilled colouring that the surrounding elements are drawn in.
When it comes to colour, the details and objects in the foreground have much more detail and bolder colours, while the drawings become less defined to indicate that they are in the background. I would like to employ this method when using colour in my section, to be able to properly address the depth of the drawing.
The internal structural details are also as the previous exemplar has shown, greyed out and less prominent than the main outline of the building. I find that this style of artistic representation is a little more effective in that there is more texture to the drawing when being done by hand.
Reference: Architecture in the Shadows - design:related. (n.d.). Portfolios, Inspiration, Jobs and Networking for Creative Professionals - design:related. Retrieved July 18, 2012, from http://designrelated.com/news/post_detail?id=5790&tab=who_voted
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