Construction and
Design ManualDrawing equipment,
paper and lines
Getting to know the graphic effets: pene vs. ink
Peneil and ink pens are both equally usefl when drawing,
however produce very different effets. (is important co know
the advantages and disadvantages of each of them in the
‘rawing process. A simple pencil can produce a reat variety of
lines, strokes and tonal effects depending on different factors
The different degrees of precision and grey values are easily
variable. Whether a ine is precise or fuzzy will depend upon
‘whether the pencil point is sharp or chiseled and on the degree
of pressure used whilst drassing. How dark lines appear ona
surface also depend upon the hardness ofthe pencil lead itself
‘This versatile drawing tool affords endless possibilities For dot
lines and a large spectrum of tonal gradiations of light and dark.
effects. Ieremains afm favourite For design professionals and
students alike
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Itis essential to know bath of these tools wellto understand when Tonal values must be produced through density of lines and
ouse them and what effeetsthey can create within a drawing, strokes, aswell as chrough hatehing effects. Lines produced
nk pens ‘with ink will always havea crispness and even quality that pencil
Tinets work only with the point tipof the pen, whieh d lines usually eannot achieve. They are ideal for finished work and
the exact line weight produced. Unlike the pencil, addi represent an excellent bass for copying, as their thickness and
pressure will not change the weight or darkness ofthe lin. blackness remains consistent and eleatly legible
sometimes also referred to as ine liners or
itl f\dilvat auDrawing equipment,
paper and lines
Graphic effects with markers
‘The many-variations of stokes, textures and hatchings made pos-
sible by markers are great for enhaneing.a blackcTine drawing. Tis
important to remember that their tonal values will appear darker
‘on paper than on vellum, and that hand movements.and gestures
‘must be considered as part of the overall rendering effect.
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a We OADrawing equipment,
paper and lines
Line weights in plan and elevation
Imarchitectural graphics, black lines usually form the basis of
every drawing and projeetion, regardless of media. Whether
drawn by hand or with the help ofa digital media and CAD-
programmes, lines describe forms and define planes and sur-
aces. In order to ensure easy legibility, they need to be brought
together propery ina drawing,
the thicker the line weight ina drawing, the stronger and bolder
‘will appearto the viewer. Line weights need to be organized
and given a hierarchy. These will differ, depending on the scale
ofthe drawing. Iris important to remember that the elements
closer tothe viewer can generally be drawn with a stronger line
weight than those appearing further away.
athe say an element plane
weighttean have inadrawing
lenis might be he grad pane
‘ath a paving pattern, an elevation,
tis usualy tne backarounaPct 1
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the leat plane
Plan view oo Lineweights
‘naplan
Lowerstements,
heviewee|
Line weighs
Inanclevaton
Foreground BackgroundDrawing equipment,
paper and lines
Line weights and their effect in a drawing
sntiation of line weights in a dra
‘emphasis may become unclear and drawings difficult
the viewer. Different line weights help to differentiate distances
rom the viewer, since the heaviest lines appear elosest.Ithe
ground plane is drawn with heavier lines than the spatially
buildings, it may dominate the drawing and
rr'seye towards a less important aspect ofthe de
ry, in an elevation, che foreground should carry the
in the scene as opposed to the background (see
132). When lines are close together, they often result in
‘textural pattern which further communicates surface mater
alswithi patterns assist,
the outlines x othe viewer. the
snd to be thinner
drawing in land
scape architecture should be easy legilibity allowing the viewer
‘oinstantly understand what is happening in the space
withoue correct diff
Tine weights
thantheDrawing equipment,
paper and lines
Line types, quality and effect
rechand lines re usually adopted atthe start ofthe design pro
‘ess, These lines ate deawn without a straightedge, as imperfect
Dut continuous strokes witha strong start and finish, individ
allines may appear abit shaky, however, when grouped, they
appear unified. These sft ines are often repeated and overlaid
especially when thinking on paperand testing ideas. Freehand
lines are loose, exploratory and unfinished, often communica
ting work in progress.
i
As the design provess matures, forms will become finalized,
‘with staight lines drawn using a straightedge. these will have
slightly more finished quality. Depending on the speed with
‘which itis drawn, the line thickness may be inconsistent and,
asa result, ean still appear sketchy or unfinished. This effet
‘might be dseful when presenting design variations. Overlapping
‘corners also contributes to the sketeb-like effeet. The more eon
sistent the quality of the individual lines, the more finished their
appearance,
When a design is finished, more formal draftsmanship is usually
required, The ines are all crisp and continuous, gvinga precise
and finished impression, Corners are sharp and all ines are
drawn havea consistent weight throughout. These finished
‘echnical drawings are less commonly draven by hand, as they are
often left 10 CAD programmes, which produce perfeet lines and
il
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mmThe plan view and
the rendition of symbols
Scale and drawings
Floor plans and roof plans
Roof plans and shadows
Drawing trees
‘Tree symbols
Shade, shadows and tonal values
‘Tree groups
Shrubs, hedges and grass
Trimmed hedges and woody plants
Vegetation surfaces
Flowering plants
Sketching planting beds
Pergolas, garden pavilions and arbours
Paying patterns and seales
Frechand surfaces
Walls, stairs and ramps
Rocks and stone walls
Built water features
Moving water
Furniture and people
Contour lines
Retaining walls
North arrow and graphic scales
Drawing process
Flements of a successful line drawingThe plan view and
the rendition of symbols
Drawing tees in plan,
“Trees in plan are usually drawn in an idealized form,
_Byery tree symbol begins with eieleas its base. The middle
ofthe circle suggests where the stem meets the ground plan
and does not necessarily need special graphie emphasis
Inahand drawing, itis best to start with apencil, using
either cirele template ora compass to draw the cirele form.
Asnoted, the circle isa universal symbol fora tree, represent
ingany tree type.
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sis common to loosen up the edge of the cicle using textural
hatching, especially since this ais identifleation and increases
legibility: The tree symbol is recognized as an clement of vegeta:
tion rather than a hard geometrie form. Small and ieegular
strokes and textures breakup the pure circular base shape and,
‘depending on the detail in the texture, ean give some informa.
tion about the tre, even if is simply to distinguish a deciduous
ttce ftom an evergreen one.‘Trees ana vegetation
Thee symbole
edges and grass
Vegetation auraces,
Floweing pans
‘Sketching planting becs
{an ip ot gh source is
By ppg olage ote n
orks with ag route,
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ring coors fags eine
re gradient can hop uncerscora the
Tre couc e owes oe Yoo, uch
tetage xe tomar he waa
Tunes avy tm he ight source
eats agri in gi tones.
The resutng toe crown appears 12The plan view and
the rendition of symbols
Drawing plants together
rrean be daunting to draw vegetation. itis full ofso many small,
ineegular and complex parts. A good way to practise iby closely
looking atand recording plants from real life situations, Draw
and sketch them as much as possible. Overtime, sketching wil
automatically hecome faster and will concentrate on key features,
Jeaving out much of the detail. Observation and freehand drawing
‘remain the best waysto train perception and to gain confidence.
‘Theyare also great ways to learn about plants.and vegetation.
LILDEARG a toaen‘Trees ana vegetationThe plan view and
the rendition of symbols
‘Topography, terrain and landforms: contour ines,
‘when workingon landscape projects, weoften deal with natural xach contour line represents alevel elevation above or below
landforms. These involve three-dimensional slopes and vertical common measuring point. The lines will have defined intervals,
changes, which have tobe shown onatwo-dimensionsl plan, usually determined by the topography orlandform itself, as well
is extremely important counderstand the concept of contour as the seale of the drawing. For example, avery large site with
lines. These lines area graphic!
and communicate vertical changes and differing levelsin smaller site with relatively lar teeran.
topography to the viewer.
rethod used to represent steep slopes and embankments will have larger intervalsthan a
Regus othow curves ot nely
‘to contour nes appoar in pln,
they aways representa constant
Inv ornareTopography ane terrain 3
Fetanng wats
‘nese contour nesin plan represent avery uneven tan
gente epson
fs
“The vata! love rpreconod by gach of hse lines can bo i]
laf sparaoa om one another byte hen aval Wi te i
hap of a sleence cut ine npn the deren tevelscan be |
‘erica located win ine hart en every pointe oct, \
they ean oe connected toform alegne section ote tera |
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\Wily spaced contour represent telnet ot Closely spacadconlowsreprorenttoapsiopes, Conair ines whelatvaly equal pacing il
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Drawing perspectives: seeing and understanding space
Inorderto draw perspectives correctly itis important to
“understand how we see space. In order to master the perspective,
knowing its principles and characteristicsis absolutely
essential. Thisis especially so for landscape arehiteets who
concern themselves with designing and communicating space
rather than objects or buildings. Perspectives follow principles
‘which are rooted bath in descriptive geometry and in painting.
de sp000, wheter 0 or magia
Core quit acorn arn
foncetna perpactis key pines
‘hese principles ate valid when drawing perspectives ata desk
instudio and when drawing outdoors, on ste. Perspective
projections offer sensory view ofaspace, as opposed tothe
‘more mechanical views found in paraline or orthographie
projections. Ifa perspective space is not constructed correctly,
Iwill be impossible co rescue it even with most sophisticated‘axonomete projection
lagonals
Vvanssning pons Stas ana amps
1ypos of perapactve Retectens
Coordinates and signs Ropetitns forms anc monsons
CConaiuctng a perspective grid Simple shadows
"nwo main types of perspective will he discussed here, asthey ‘The topicof perspective ie very important, and is the subject
appear most Frequently inthe design and planning diseiplines: of eountless books. This ehapter will only briefly show the
linear perspective and atmospheric perspective. dlfferent types of perspective, how they are used in landscape
architecture and che basie methods for their construction,Perspective
Linear perspective: basi prineiples
Although the linesr perspective was well known in antiquity,
ic became less important in the visual aets during medieval
times. wasn't until its rediscovery Rensissance, that it was
extensively developed as an artand asa science, Perspective
knowledge allowed countless masterpieces in art and architec
‘re to happen and is tll very relevant in design development
and presentation today.
Linear perspective follows clear and defined rules and prin-
ciples. Asean be deduced from the name, linear perspective
Aeals primarily with lines and how they behave in conjune
‘ion with these prineiples.ttis therefore exteemely useful
for constructing and presenting three dimensional built
structures and spaces, as they would be naturally seen and
experienced by a viewer.
‘haractreo of «ner perpectve‘axonomette projection
Intoaucton iagonals
Vanishing posts Stare andrampe
1ypos of perepactve Retoctens
Coordinates and sightinos Ropetits forms anc demensons
CConaiuetng a perspecive grid Simple snadows
‘tear perapectve aosumos tate
\neweri standing at ate poston
Inspacs and iosing ata scene
‘rect nfontothim. Tot
‘eleradto se moneciar vient
thesoene aa tough ange
‘yeanatn nas ental sighing
Cone ns atu approximately
50" 90" Anoin key aesorpton
perepoctiv tnt a pete plane,
findthe apace nei loaing saint
at The pice planets eesontay
‘curonn canvas or paper Dock
Upon wnien ns perspective scene I
Erna parses possasns
talon pot! an the grou pana
“Ine orzon io a ot normaly
Vil, sles near king ane
Desan ore rst nigh pon =|
‘mourtan does pay an important
role now perspec is porcoNee
nan conetuctng perapachae.
Unie paling views otal parte
nae remain permit Lines ming
‘way rom me vlwereppoet
‘orworg al specie poison te
‘ansing points and oceur where me
towers ightine mets he nanan
linge picture pane. Most of us
vwuinae sen a picture oraiway
Innnty tars azn in tar
and dating perspective ram
‘erhographic wn para projections,
oom
—f\
one space
Vanishing einePerspective
Linear perspective: principles and characteristies
“the methodology for constructing perspectives follow distinct
rules of geometry and are based on the concept of ‘seeing
through’ an imaginary, transparent picture plane. With the
help of the viewer's sightlines ll elements behind this plane
are projected onto the planet form the resulting perspective ”
image, The diagram below shows the st up, which must De um
kept in ming when constructing perspective. cemaeeea eins
vaniaibg pant on tha Porzon Ine
‘Vanisingpoint
rennin Ww Baa
al scummy
Seat ea
satan Satna‘axonomete projection
iagonals
jnates and siahtinas
CConaiucting a pespecive grid Simple shadows
Lines perspectnes nave cary
ssiigpaie ‘erp one
A parepectve scene often has over:
Inpping abees anc oreenortoned
panes
Copjece ote se ize appar
geen es ney get tease
Vanishing pont Verte! Ine em
nascent coh
‘Siparence ot spucePerspective
(ore oin perspective: one sd of 29
‘wo-poit pcepecti rose ot ne
object pat fo te plete paneGustafson Porter
London
Ccutupark wesergastanik,
‘her Wesiypak Dstt Count
(ty oranstrtem,
Ud, Poors Bounds, Norheref Belgium
Below ot: Paapect of Wetargastabo
Pa 1997-2004 Acyl par adie dating,
“nat Pin Woeorgsto Par
Coloured penton tang papa
‘ery paint on base awing,
clage wit a petocory.
Gustafson Porter works across the diverse disciplines of landscape, archi-
tecture, engineering and design and is familiar witha wide range of working
‘methods and best practice,
‘we havea reputation for creating innovativeand contemporary landscape
design, our eore strength lies in our design skilisand the ability to deliver
high-quality design on prestigious projects, in successful, close relationship
swith our clients, on time and within budgets,
ur workis particularly known for its very sensual and sculptural approach,
tocteating a landseape design. We aim to distil the soul ofthe place and
‘manifest thisin the physical design. Notably the distinctive feature of our
‘work isthe use of jd-modelling and seulpting ofthe ground and movement
ofthe earth,
urprojeets covera wide range of functions, elimate zones, geographi
caland geophysical characters, and historical and cultural backgrounds,
‘Theyvary considerably in dimensions, from the sizeable 1. 5ha culture
park Westergasfabriek in Amsterdam to the intimate Treasury courtyards
London, and the fist landscape installation atthe 11th Architecture
Biennale in Venice. The leap from the rational tothe intuitive, from site
data to design gesture, happens cary in the design process with small-scale
_grading sketches that inform large clay models of sculpted ground planes,
“The design later emerges as a vivid land form ftom both the clay and the
secch,Rummey design
London/Sevenoaks
Proj: Down Roya Nore ant
Chent-Th Henan Geeup
2 bow Roya Race Cure n Noro lan
Furnnoy Design proves ntl concept
Aroung ore resesiopmert la ateplan
ting waster rains, amply rented
“Te tim othe Mutton wos o convey
the coaace oft propos, ov Oe
fetanee on accra ats stage What sor ot
Pinos would tbe int sono sings mht
boappropice? What er oflancscape could
beusesto gare he mactrin fo ge
enarenoe tos urge ana are aoarwnoaaing
fey use twougnout De you? Al ese teas
ete orrensod qu winin Pe oneseek il
‘atch aeagn pee before an urge conned
‘ont prograse mesing oy using batons
seg sis
sec gy endered
‘ig page: Aaia perapecov fhe Down Royal
ce Course anc Showground (projet ongoing).
Rummey Design isa multi-ciseiptinary design practice based in the UK,
but nowadays working also in North Afries, Mauritivs, Lebanon, Italy and
Ieland, Founded twenty years ag0, the fitm employs landscape architects,
urban designers and envizonmental consultants, and collectively they u
\dertake masterplanning and design projects at small and lage scales,
Current projects include the masterplanning and design of leisure resorts,
‘major esidential proposals including new settlements in the UK and North
Africa, urban regeneration projects and designs for private cents.
an important question when dealing with such a diversity
of projects, clients and cultures. Rummey Design believes itis vital that
cliente understand the rationale and thinking underlying a design ifthe
result isto be convineing and it ist be supported. Iris not enough |
prepare design and expeet acceptance without clear communication and
explanation.
How is this achieved? We believe it ean be done at two levels: simple, hand
sketches ta convey an idea ora principle of adesign, and more saphist.
cated, often digital graphies. Nowadays, there sa generally great compe
tence in producing digital graphics, and there are many software packages
available, but basic drawing skills have been neglected, Wins this? Hand
drawing can convey an idea in seconds through diagrams of varying com
plexity, and clients lke them They can be produced ‘on the spot’ and they
area tool to help three-dimensional thinking and to help draw the client, oF
other interested people, into the discussion. Hy using graphics software or
even stylusand tablet, traditional drawing skills ean be coloured, rendered
‘or manipulated to combine the efficiencies expected nowadays with the
qualities of expression ofthe pre-dgita ers.
Hand drawings arc expressive, give an individual signature'to your work,
can he very fast and can encourage the designer to exploit ideas three
dimensionally in away that is aocessible to the client and public.
For Rummey Design they ate a vital part of our visual communication
process, which includes digital deaving, animation ane fi,
318 Rummy denonWES
LandschaftsArchitektur
Hamburg
Projet Nerdnavoen Eaueatoral and Docunanision
(Cee, uitsoau- Dore. Competton Fistpriae, 000
Projet oa: WES Landeenatsarenonr wn
Korsborg Acton
‘cc Arcekurpeels 2005 - Honowrabie Merton
ec Pe danig on colour photograph copy,
‘tour panciean wn pan
WES Landschaftsarchitekturis directed by four parmers: Peter
Schatz, Wolfgang Betz, Michael Kaschlce andl Henrie Wehberg: Krafft
(Claus Rodding is manager and tHinnetk Wehbergis consultant and
representative for WES. The frm has offles located in Hamburg, Oyten and
Berlin. Our projeetsate located actoss Furope, the Middle Fast and Asia
WHS Landschaftsarchitektur has been designing architectural interior and
exterior open spaces for over 40 years, from the small-scale private garden
rightup tothe large-seale urban design, open space planning, environ
‘mental assessment and att in the public realm are aso part of our project
repertoire
\We have designed and built many prestigious projects in Getmany and
Europe, including the design for Hamburg's inner-city promenade
Jjungfemstieg, the open areas around the new building for Spiegel
Publishing, Berlin's Alexanderplaty, the Autostad in Wolfsburgand the
Goethe University campus in Frankfurt. Our design forthe areas around
the Erfurt train station won an avard from the Federal Foundation for the
Culture ofthe Built Environment The Berlin-Brandenbarg International
Airport, the award-winning spaces fr the new Culture and Social Seience
Faculty in Salzburg and many other lage scale projects in Asia are amongst
those which have won WES mutch Intemational acclaim.
“The sketch isan important means of expression within our work. Whether
trying to finalizean idea, or in presentation and documentation of a design,
«drawing remains a permanent feature. A sketch can showan idea in away
that a computer generated visualization simply cannot. These visualizations
hhave no abstractions they suggest a seemingly-finished work and allow litle
space for development of atmosphere, colour and materiality. A sketch can
capture spatial situations quickly and easily, without any fnal obligation,
“the hand drawing, regardless ofthe technigite and method with which it
‘was produced, ill always retain the unmistakable handwriting and graphi
language ofthe author and, as. result, is unique, Drawing is always held in
high esteem, reflecting the joy and craftsmanship of designing,‘Mec: Protoopy on vlan, ou panetrnding
‘The epson anna lnner oly age flrs ure mary
‘igo vnble whist irtagiang an undorycund carpark aa am
‘talon wi te epee