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First published in Great Britain 2010
A&C Black Publishers
36 Soho Square
LondonWlD 3QY
w'ww.acblack.com
ISBN: 978-1408-12991-3
Copyright @ Dessainet Tolra/Larousse2009
A CIP cataloguerecord for this book is availablefrom the British Library.
Gilles Ronin has assertedhis rights under the Copyright, Design and PatentsAct, 1988,to be ldentlfiod $ thc
author of this work.
All rights reserved.No part of this publication may be reproducedin any form or by any mctru - gfsphls,
electronic or mechanical,including photocopying, recording,taping or information storsgcInd r€trlcvd ryltcmi without the prior permissionin writing from the publishers.
Publisher:Collette Hanicotre
Editor: Corinne de Montalembert
Pagedesign:Florence Le Maux
Cover design:James'W'atson
Proofreader:Madeleine Biaujeaud,
Photography:Olivier Ploton
English text layout: Penny Mills
Translator:Alexa Stace
Editorial assistant:
Ellen Parnavelas
This book is produced using paper that is made from wood grown in managcd,sustainableforests,It is natural,
renewableand recyclable.Thelogging and manufacturing processesconfornx to the environnental regulationsof
the country of origin.
Printed and bound in China
contents
Introduction
Representing An Interior
Developing your project
Space
The progression
Variations and transformations
Materials
The Line
Graphics, tonal values and colours
Figures
Proportions
Constructing a drawing
PLANSANDL OUTS
Drawing
the Plan
Scales
Conventions and Syrnbols
Doors
Windows
Convenrions regardinglines
A base line, or contour
A thin Line
A thin dotted line
The logic behind the symbois
Furniture and equipment
Changing Around the Furniture
Elevation and Section
I\earranging an area of wall
I)esign in modules
Making aLayottt
Organisation of the layout
A team effort
A sketch of the ground plan
Thc dimensions
4
5
5
5
5
6
8
10
10
1I
1.2
13
1.4
16
16
18
18
18
18
18
18
18
19
19
20
22
23
23
24
24
24
24
24
Walls and partitions
Format and scale
Floor plan
Layout ofa Flat
24
25
25
26
PERSPECT
2ft
30
3l
Isornetric Ptojection
An effect of reduction
Objects
DrawingThree-ditnensional
arrd Furniture
Designing an o{lice space
A foldaway oflice on a shelf
Grouping office furmture
Playing about with space
Drawing a kitchen
Swapping around kitchen and bathroorn
Visualising a kitchen corner
Creating an open partition
Transforrning
a flat
Creating a dressing room and
a bathroom
Seeing things in perspective
The vanishing point
The horizon
Moving the vanishing point on the horizort
The height of the horizon
The height of the horizon in the drawing
The height of the horizon, people ancl scalc
The view frorn the front
The principles of a frongal view
The problem of depth
To draw the depth
Mastering the depth
To rnove a partition
wall
Creating an extension to block off
a corner
32
34
34
35
3(r
37
.]tt
4()
42
44
46
4fl
4tt
50
5l
52
52
53
54
55
55
5(r
57
5ri
60
Planning the space
Converting a space undet the eaves
| ) c s i g n i r r gr r p l r t f i r r r u f o r r r l r c d
| ) c s i g r r i n lr;r s r r l l l f l i g l r t o f s t c p s
| ) e s i g n i r r;gr s k y l i g l r t
A Fcw Sirrrplc (lonstrrtction Tricks
I l o w t o c s t r r t r l i sc lt rl t r r rt l c p t l t s
'lir
t l i v i t l cr r w r r l l
I l o w t o r l c r r lw i t l r i t t t i t ' t ' c 1 . 1 t t l l t r - s l r sl ppcl cdc
I l o w t l o y t t t t r l t ' ; t wl r ' i r tl c ?
l \ ' r ' s l t cl it v c o t ' p t r r i l '11i 1 1v1i1, ' * 2
'Ihking
l)owu n l)trtition ril/all
( l r r ' : ti lrr g , r trt t ' z z ; trittt c o t ' o v t ' t ' l r : t t t 1 . 1
'I'lrc ()blirlut,
Viow
l)r.sigrrirrg n r()(rn by Eye
S t ' l t i n gI l r c l r o t t n r l r t t ' i t ' s
l t l r ritr r gt l r t 'l t o t ' i z o t t
l ) l : t itt r gl l t c l t o ti z o t ti r r t l r c t l r l w i r r g
l ) l ; rirr r gt l r t ': r r r g l crsr r r ttll t c l i r r co l '
t l r ct c i l i r r g
oirrt
l ) l r ritn g ,t l t r ' v ; r t t i s l t i tpr g
f l ' t l r r 'v ; r r r i s l r i upgo i t t t i s t t o l o t t t l r c p l p c r
I)illcrcrrt ()blit;rro Vic,ws
'f
t rrll
i r k i r r go r r t ; r p r r t l i l i o rw
A Vitrw firxrr Abovc . . .
62
64
64
65
65
66
66
66
66
67
67
68
6L)
70
72
/z
72
73
73
74
...And o High-AnglcVicw
l)rnwirrg orr thc Ctxrrputer
S k t ' t tl r l J p
lixlrlolltiorr
|ilst Stcps
M r r k i r r gu r r r o t l c lf i r r y o r r r p r o j c c t s
75
76
77
78
79
80
u0
8i)
80
8i
Grids for Isometric Projections
Grids for FrontalViews
Grids for Oblique Views
82
84
86
Infroductior-r
Sittingquietl.y
at home,sketchbook
in hand,is theideatwayto tackte
d r a w i n gI.n f a c t ,y o u rh o m ei s a n absotute
mineof subjects
to draw,perhaps
youalready
havea ptanin yourheadfora makeover
or ionversion?
House spacenot only containsobjectsto be
drawn, but offers a setting,enablingyou to
understandperspectiveand to explore the
different waysof depicting space.Once you have
graspedthe principles,drawing will become a
game,even a pleasure.
If you want to study a litde carpentry prqect,
take down a partition wall, or simply dream about
what you could do later,you will find here how
to draw a layout, enablingyou to make several
plansfor your space.Itt alsoa good exercisein
drawing.
You will alsofind here the practicalprinciples
which will help you put your plans down on
paperand better expressyour ideas,for no serious
project getsmade without a progressiveplan.
It is alsoan opportunity to learn some tricks of
the trade and conventionswhich are part of an
architecttknow-how and which willhelp with
ideas.
The relationshipbetween a drawing and a project
is at the heart of this book, and is reciprocal.If the
capaclryto representa spaceis the prerequisitefor
convertingit, and is a techniqueto be acquired,
the different variationsalsooffer many absorbing
exercisesfor those learning to draw.
n -6r I jI nI IttoUr Ij I U I. \ T a n 2 n C
R
CD
c rUr r- 1
l yr ,rrt li n l vr r o
r \ uCI Jnrf u
DIJO_Urt
Y o ud o n ' tn e e dt o m a k ea d r a w t ntgo t a k eo u ta p a r t i t i own a L tB. u ti f t h es i t u a t i oins m o r ec o m p t i c a t eydo,uc a n n otth i n k
i t t h r o u gw
h i t h o ust o m es u p p o r tB. y p u t t i n yg o u ri d e a sd o w no n p a p e tr h e yc a nt h e nd e v e t oapn de n t a r g en,o tj u s ta s
disconnecte
t hdo u g h t a
s n di d e a sb, u tc o h e r e n t lA. yf .r e e h a n d r a w i n gi n p e n c i t g i v eyso ut h e L i b e r ttyo b e c r e a t i v e .
your project
Developing
V a r i a t i o nasn dt r a n s f o r m a t i o n s
It is by means of several kinds of representation,
drawings and plans, that we learn how to develop a
project. In this book, some of these representations
rurebased on real spaces- houses and flats - and we
will give you finished examples of real conversions,
like the numerous books on home decoration or
irrterior design which you will find in the public
library. But becauseyou live in your own space,the
cxamples you find are never just right. This book
therefore aims to show above all a real method of
clrawing, with a progressive acquisition of the skills
which wiii enable you to carry out operations logrcllly, and to put your own ideas down on paper.
From the first you will be confronted witlt tlrc
practice of conversion. Getting into thc hrrbit of'
varying elements from the start, on the grrplrics
side as well as from a model, is way of bcttcr'
understanding the rules of design, at the sanrc tirrre
as inventing modifications, of finding and projct ting ideas.
Let's take an example.You can draw a particrrlur'
space or room like a camera, strictly copying wlrlt
is in front ofyou, but you would not be makirrs usc
of the rules which permit you to show the splcc
in question a little differently: a partition less,sorrrc
panels here and a transparent space there, tl-rc cciling taken down to increasethe loft space,anci why
not a flight ofstairs to facilitate access,etc.
The progression
First of all there are the principal drawings, like the
ground plan and the section, the technique ofscale
drawing, which allows you to measure the spaces
to be converted, and then finally the different kinds
of perspective which enable you to understand
space,whiie studying its modifications.
Some of the elementary principles of persl.rct'tive and some professional tricks will teach you t<r
think intelligently about your drawing, as thorrqlr
it were a little mechanism where you can nrovc tlrc
parts about.
From the first pages on line, its valucs urrtl
colours, we get into the habit of grafting on v:rri:rtions and new creations.
Themes such asa small conversion (ofa bcdrrlr>rrr,
sitting-room or kitchen) will be introcluccd progressively,but also more general,architccturll iclcls,
such asdepth, thickness,geometry and tlansp:rrcrrty.
PR-FP
AP-AT]oN FOR- DP-AWIN(
e a s i cf r e e h a n d r a w i n gt e c h n i q u eTs h
. e s ea r e
L e a r na n dp r a c t i s b
yo
an
i ndg
, uw i [ [n e e ds o m e
i n d i s p e n s a bf ot er a L rI e p r e s e n t a t i o n a I d r a w
s r t h ef o t L o w i ncgh a p t e r s .
understandin
og
f t h e s es k i l . Lf o
i
*-*
-.----J--
t*
il
-\M
lVate
ff4,Mf4rcM-
wwrrtorwler
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wrrto r^lz.r, +r" ah"/,eo" s*-sVwtrzsfvr
atglas an-rLa ,,.n+fur,to te ^sd,:/arug!
A,7tt/ ,,rkLun^dzr
71pLyV
,,1f
f4,fctu ,,'15f rr drawt4y
yn'albl Lt,nzr
+t "l(ttr^4r(
cLq:fvr l^ol"/"ug
f4lff
wv fvsLfl,&1,
Eko!-ft[r-rr.y
t-lv Pnyt
rlw yaytr ^sd, dzttrj,s wwhzttr'zrk u a sttgb drawL4r7,
rr a srausrlnrf
-f,rsr
a"Jla"rt rf n:t',ly rnrh.t,
d,rawwgs
oart,a slaroljwLwrd"a ftu'ff ovver
r-f.yo*urtJruV fttu1r-tl^c drnwwg
tnl,tsytruntl,e
v^Null
nto^r
u
ofl* arc
*trlo *aftr"ilr*t, nst soo:/n /ayer,yrrfrrn r]" a.tko!-,tr avflj, tlu ynrtlzm,t
*u"LJug
rflow nrc,*bV
drawugs
4,fr[tr$rLut, tr"^fu,Xv" vvtlLrnd, tn JL4firLtnWJ(
l4ywr
rlu
tlznl ynyt o tlghtfu fttl4q4rerw ro-6yrt^ tr
rhz iltruqL
nr tw Lgqv$,
t^r tenwry d,uf-f',cnlr
rc f ,nd,.Tr?I*g 14yff,eud44trca rvl,L
q
l,as rn^al"(,,
sarfaufnr,f,4 yz*6[
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0t \, /lY\tA t-lU,ALLrw:
V
(0 hqvetha
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( ttrttyuttlh ll*ten lnanl,,
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ltrrlrt
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n nlq Lt
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han/,l,e, ff 'aJt,4
-frrtr"srft trcnl",
rntfur vwnd'e
ln u srfrz, qhj, (qswr vh,
rlu ynyt
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' \ t ' t l , ( t t , ( r, t t , t(
t t ,' l t t 1 , 1 t , 1 1, 1l 1
rf
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lt\/ul/ tt\u,lLtlr(i,',yrl
v/t Lt,ne,
rtrr,ltr trr(frl lut tt'rr.vt,tallrrw,all
"
#
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,&lr"
rurl thu',7h.
Ttiehne
Drawing
a I i n ei s a r e f l e c t i oonf y o u r a t t i t u daen dy o u rp e r s o n a L iTt yh.ek i n d
o f I i n e d i r e c tc, t e a nc, l u m s yh, e s i t a n h
t ,e a v yt,i g h t i, n c i s i veet c- d e p e n d s
y
o
u
r
on
p e r s o n a L ilttyi m
. p r o v ew
s i t hp r a c t i c ea,s y o uw i L st e ew i t ht h e s ef e w
w a r m i n g - ue
px e r c i s e s .
The [ine
A line is not just a thirrg irr itsclt, lr r.cprcscnrs
something - it is a synrbol ()f il (.()nt()r.rf,
rrrr ;rxis,
a horizon, the motifs orr thc floor or. thc scttirrg
of the door-frame. A lirrc hrrsu firrrrr, nrost oficrr
straight,a point of departurc rrrrdirrrivul,it posirion
in spaceand on the pagc, rrrrorictrt;rtiorr.lrr prrrctical terms a line is the routc bctwecrr two poirrts,
and it is the points that rrrc criricrrl rrrrtl nrtrst lrc
well placed.
Dr4wJiln4:rraglrr Lw"es
frotn tht,lrtht tT
ahrrl'zr, wwlw^t lnrbg t rl,o tt/ rf thz yut)
tw nwh. )^r sh,ynwg thz papr rl,z first
fLw, ql t;f tt rgtstz,r rl',ad*stq^(, tlan
draw s7Tlnaseawn"d'
fime
10
DA/'wING.
Graphics,
tonaIvaluesand cotours
You have to show surfaces, shadows, differences of
tone in your drawing. But the pencil is not made
for showing a suface.'W'ork out a range of values,
in small 2-3cm squares, from the lightest to the
darkest, in five or six stages,then do gradations.
Note how you can avoid it looking too mechanical
by combining repetition and variations.
rllrhz rrcccl,arc,4a,w
grgyi wtrLtar"lury, d.cts,
:w,allr7"l^, [.uvs,
*o. vay t-lwtht(rufy,
wurl'owt
oblry uy tlv wfau tw vnnoln.
r *
Figures
The construction of certain shapes, notably the
square,and then the circle, is a pernanent exercise
in drawing.The shapesenable us to see the value
of the vertical and horizontal, basis of all proportion and orientation of line, in brief the nreasure
of the whole drawing.The constructions arc lirnbering-up exercises,to practise regularly,likc goitrg
to the gym!
Dr4w 4. aurala audz 4 t?^4.rc
^/ rf Ltws,ad.dzd,
rlu dra*wg u n^ad.e
yrylrt:wely frctwyru"t:tn"a.dzat ran-dnw,t:h'en
yurwd' frezharl'. Th+sorzatzsthzr utzneotmu
"y
wkol,onwfu1
t*th.cr t*ru
"y
ard, Jr rw.
d"rawurg rlrl
d,tryrr',a.1":
rf rh.crrtargh,
nnl, rh.ewd,nw yy1,1^7't
4J Llvfh[
Hrb6.
I
i
.... ."...\,
th' (h4,J?^nre,drawdnad'tryv^'al,:,
wlu.oln
thzngwt,
nti.pw,t
rf
ahd'
:dzs
th
dn4
tht,
wd'nw
.ys^
ytw rf rfu t?^nre.rlni Ver4rwrvhasa y*ynst,hflr vwur crntlayow ft d'raw:hayz:wuyeayeoa.vz
nwl w Vltct, ft d'wrl'ca WWhi' aw Hvcra,l
d't rryw arght
Fra an L * :rttyt
+f / 30
4'hl/ 60 )'
Dr4wa Luv, tnarL q,Wwhr ar./"dww, t1
yara.
(yr, th4rL rff rl.t I,w tntv r cq,nnL
Draw srw lwrkvtqL Lt*,2s,anl' vtttpaL wws,
teo. st d,g yrtsry"tn ynrtbuJa.rffio,',1ry, wlu,h,
drawwg
ttoV ,l'o ws( ^sr,nLvnu wuavef^laxo1wal
Tl'.Ls
cxeroieaatute d.{^at1 d*^*t*g a Mtwvr!vf yaral.hlLws, fl"erunwby ngrd' vf
yery*'trrnl,a.rLws
Ar rl'a ta& rf a squ,are
/r4pra( drawug arglz: rf
3ao, 5fo, Go"4.h"d,9o"
I
a
I
11
Pronortiorrs
r
r \_/-yvr
P r o p o r t i o nasr e r e [ a t i v m
e e a s u r e m e n tW
s .ea r e n o td i s c u s s i nage s t h e t i c s
h e r e ,i t i s s i m p t ya q u e s t i o o
n f t h e L e n g tohf c o n n e c t i obne t w e e tnh ev a r i o u s
e t e m e n tas n dt h e d i s t a n c b
e e t w e e tnh ev a r i o u sp o i n t si n t h e d r a w i n g .
N o t et h a t ,i f y o ug e tt h e s ec o n n e c t i o nasb s o L u t erLi gyh ta t a [ [p o i n t sy, o u r
d r a w i n gw i L b
l "e p e r f e c t tayc c u r a t eT.h i si s a v i t a t s k i L L m
t oa s t e r .
When drawing, get into the habit of observing
proportions, and watch out for the errors which
will inevitably arise.To look at the proportions of
arcctangle,the simplest way is to compare it mentally with one or several squares.
Drlw Jrw rccrargl,u,ft4rtw7 wutltsqrnrzs*ht"rlryo flwn d+vttz^y
12
Dr4wltw rf rh.e:u"yl,erfocorsarow^.d,1w- ynturzs,
rh'efrvnt rf yueu:,f f,"ru.t *t, l,*^:zl.olnnyyli,artu,
il"all ^rewtl,J.Pry oarcfuL
4(futrwL rc rhat,
wk"ol"gwt
ntjzor
moL
m swtuviuaL
frvlffrtchr,
tdznttyy ahl' urd'tpafttlzr frnvotwru
C o n s t r u c t i nagd r a w i n g
liol your first try, choose a wall panel, with a door,
rvirrdow, picture frames, pieces of furniture etc.
| )r';rw it all on the flat, as though there were no
l)crspcctive (there probably is) respecting not just
t lrc proportions of each element, but showing how
tlrcy a1ign, the diagonal, horizontal and vertical
lirrcswhich connect all these objects This operatiorr is what we call constructing the drawing.
Prqori'Jedrnwt*g l*rt<shi'a.L
q^/, vzr(baL Lwrlt
Th.etu
q7 t lnccbwvnt t u l n t t , r t o t u ' fw l l l , t 4 l r t l v o / f o t t v r r u ,1l ys
lr4rtut d..rawt
vtJlaLt;t what t ws^[d,/lol Lrlt tI tlurr lqtq(il ttrtthl rrty\(rl lltcrt drncut
PANf ,4xo ul^yovT-f
T od r a wa p t a no f a c e r t a i ns p a c ey, o us h o u l di n t h e o r yh a v em a d ea n o t eo f a t [
t h e d i m e n s i o nbse f o r e h a nTdh. ep L a na n dt h e l a y o utto s c a [ ea r et h u sc t o s e t y
r e t a t e dB. u t ,t o m a k et h i sl a y o u yt ,o uh a v et o u n d e r s t a nt hd e p r i n c i p a L r u toef s
r e p r e s e n t a t i ot hne, ny o uw i [ [s e eb e t t e rh o wt o o r g a n i syeo u rw o r k .T h i si s w n y
w e a r eg o t n gt o s t a r tb ys h o w i n tgh e p r i n c i p L be es h r n tdh ep t a n .
n tcd,
j"'ti-
,,
al";" , .
'i:
4 t
t 4
.'"'.
I
{,
b
4o9
f
?
tl
Drawtngr
the plan
T h ep L a no r l a y o uits a v i e wf r o ma b o v eA. n e l e v a t i o n
a c, eo n ,
I h, o r i z o n t a t v i ef w
i f y o uI i k e w
) o r k so n t h e s a m ep r i n c i p t ew,i t ha s c a L et o, w h i c hy o ua d ds o m e
c o d e sa n dc o n v e n t i o nt hsa ts a v et i m ea n dm a k et h e p t a ne a s i e tro r e a d .
'/ro cr Loh\
fZr lw
Scales
H{r( qrc tl*ec ykru nf rhz s^w flar, wtt'ln
vla havz^or sl**w
rhrzed.t"'ffrrznr
sonl,et.
uaofu rl'z saynavtewvf llq synu, v tha
sanv ,t1ur r,tudztaLl.
16
r/too rt taYw
lt
lr\
Tlrc scale is the connection in size between the
cl-awing and reality. Scale allows us to measure
clistanceson a plan or a map.
Note that there is no sca-leon a sketch or in a
perspective drawing, since the objects, varying rn
size according to the distance,are not measurable.
M a k i n ga g r a p h i cs c a t e
Eachobjectis drawnto sca[e
by a fraction,suchasI/l0,called
Scrrlcis expressed
n tenth.For the interior of a houseor flat the scaie
of 1/50 is currentlyused.Thiscan alsobe expressed
its 2cm to the metre, or 2cnt p.m. (There are 50
tinres2cm in a metre.)
At this scale a room measuring 4 x 6nr bccourcs,
on paper, a rectangle of 8 x 12cm.You crur show
If you don't likc doing mental calculations, draw a
littlc scllc on thc plan.In this way you can measure,
rooms, staircases,kitchen equipnrent ctc. in tlrc
arrclcvcrr just tlkc irr at a glance, the dimensions of
'l:rrgcr'
space,but to give details you need a
scrrlc, tlrc sprtccsrrrrclolrjccts represented.
such as 1,/20 or 1,/1,0.
q2
4
O,J
t/zo v tar^
F,r t^
7HE t rt ALw/yt
-lrfi€
OA/c/vAL.
r H F l ' / G U T E , / N D €A I V E A T I
^1ANy
h^4.r,r,
u'*,I',!)o',r'
F I A r I €€^ V
D/V/DFD FoA
rA/6
DAAA//A.rC.
17
eorrverrtlorrs
arrdsvrnbols
Convention
a sr ea n i n t e r e s t i nags p e cot f p t a nd r a w i n g sA.s i t i s n o tp o s s i b tteo
g i v et h e d e t a i t so f s o m ee t e m e n tw
s h i c ha r ee i t h e rt o os m a I t o, r o t h e r w i steo o
r e p e t i t i v seu, c ha s d o o r sw
, i n d o w se t c ,w e u s es y m b o l s .
Doors
Doors are shown open, rheir width to sca-le,indicating if they open inwards or outwards.You don't
draw a line for the threshold. Avoid showing the
door with a diagonal line - on the contrary take
A thin line
This shows details which are not structural - strips
of parquet, motifi on a wall, elements in low relief
ctc.
Thin dotted line
This shows the outline of large elements which are
lbove the plan, such as a large beam, or the bounclaries of a nezzanine or overhang.
) u,tr LuuJrv
the chance to practise drawing a quarter-circlel
The symbol is simple, showing just the frame and
the top of the door (thickness may or may not be
shown to scale). Only the passagethrough is really
shown to scale.
rwtlws d'rnwug wt sfrnww*:r nf rlrz owrtht
:yrtnl": Nrretlat ws 4rt lr^Lf-lyrtrl",l'"Lf
rtalunr
1
f
I
"-J."
_t_
Windows
Windows (except for French windows) are shown
by
uy Lwu
perpendicular lrres
two pcrpgrrcrruurar
lines orl
on tlle
the wail,
wa[, snowlng
showing
the width of the ledge. They are usually shown
s h u t ( s e ep l 6 ) .
Dw
rluwr rrTy
Arrow sh.wuyt d,ucofww
Fuw d.rffzd,Lr,ntun"danat-trg
a
rf rhz:rty:
nv<<antw nr wzrharg
$41urcr (gnard,raul)
C o n v e n t i o nr se g a r d i n g[ i n e s
Unlike a sketch, in a scale drawing the thickness
of the lines must be consistent and regular, because
they signi$z something. When drawing in ink, or
with instruments, the thickness is strictly controlled, but when using pencil you are in control. It's
a good exercise!
A b a s e[ i n e ,o r c o n t o u r
It shows an edge in the space, an outline, for
example the top of a piece of furniture
or the
banister of a staircase.In fact you don't make many
lines of this kind on a plan drawing.
18
tl4q ^ nt
rl,w stars
l{cfwru LLM
Lines indicating
Scc p24
dirnensions
The section line and the walls
Whcn you make a floor plan, in principle you show
cvcrything under a certain height. By convention,
this is fixed at 1 metre from the ground. Everything
lubove this height is left out of the plan. But there
ilrc certain elements which come up from the
ground and go higher than this fixed height, e.g.
thc outside walls and partition walls. On a floor
plan these are shown cut off, as if a horizontal
bhde had separated them from the upper part.
S h o w i n gf u r n i t u r ea n de q u i p m e n t
In general, pieces of furniture ilrc nol shttwtt ott
a ground plan, since they are not pL\nllrlllct)t.llut
if their presence is useful on your luyout, yott r'rttt
choose to show them exactly,or to tlsc syttt|.rtlls,lts
shown below.
Fixed sanitary ware is always slrowrr (tltcsc rtt't'
not furniture). Kitchen furniturc is vurillrlt', rtrrtl
you can decide for yourself.
The passageof this blade defines the section. To
differentiate the section it is drawn with a very
hearry line.
The stairs
You also show what is under the stairs, as for
cxample a small storage space. The banister,
or guard rail, is shown by two lines. To indicate
the direction of the stairs draw an arrow, always
indicating upstairs.
lb-]
i-tJ
htt wurh
wew,dnvrryzn
z tarwffr
z-Jcq?r Jtf4
T h eL o g i cb e h i n dt h e s y m b o l s
Note that there is always a logic in these conventions: a single line indicates an outline, two iines
two outlines, which here makes the top of the
banister,or handrail.'When the section line arrives
at the windows, it is replaced by two thin little
lines, closed-up, which indicate the thickness of
qth lctt
the Elass.
lorlt
wa.slntasi,t"
W4,JM4JLIL
tl+owt try
d,s^tbt{d,
19
Changir-rgt
arounrd
the furrriture
\J
G e tu s e dt o w o r k i n go n a f l o o rp [ a n ,
L a y i nogu tt h e d i f f e r e natr r a n g e m e n t s
o f f r r r n i t r rvr e
o r cr o u [ dh a v ei n t h e
s a m er o o m . D r a wa p t a no f t h e r o o m
y o ua r ei n n o w t, h e nc h a n g e
the
furniture
a r o u n dT. h i se x e r c i sw
eiIl
g e ty o ua c c u s t o m et od u n d e r s t a n d i n g
t h ed i m e n s i o nosf v a r i o u es [ e m e n t s ,
b e i n ga w a r eo f t h e i rp r o p o r t i o nasn d
thinkina
g b o u t h ee m p t ys p a c e s
w h i c he n a b l ep e o p l e
t o m o v ea b o u ta
room.
trus( wrnLza
lkt f rha rmn wLrhw
furn"tturc.vw oawybtrov[y rhu as trwr;y
(LIA{J 4J MC{JJ4,U
?trft nrrntgtnzw, tlz, :rfa i vyywkt
^f ^^1
fireykx, *lnbl"l',a:fucwtwrdad,
ludAzr"
r/u Anu'grqtl,(u
t1rlw rzlzvuto*.
ratlwrol,rst
rc rh't,Itjtohzndwr
20
I
lzom.d,
arrargen^4hi':
fh.( dlnug rntk ha:
tzzn nwed,rwnl' ah"/,dw arra. whf, rf (h4,
sittug-rwn' l.rastzr* rcvtszd'.
t huolarrn47ewt' il4 /"t,ru,1q
ratl,clrat tem
ynov&L
anl tfu il,ffwlr-rcvtw
Mtr rfu wtntr+w
dnorharlcuvlkc[ul vll.
TO HeLP PIAN
r f A t A A , v c €e l
ENT/ yov
Y0ut DAAr.v/vC
/7A/€ Aooih
&AKrvc
A Fv&v/71/AF
c A 1 1 7c o l o u a
AvD COvr/DE.A
Ho^/
wtLL ^rot-R
8EPoA6
Avy vFw puacFlArFr.
r
21
I
'
.
Y
r
l| i,l ro\ \- /-vA
t
r
n
n
lL , L u l U l ld t l O S e C I l O n
T-ll
,
.
A n e t e v a t i oi n
s a s t r a i g h t - ovni e wo f a w a [ [ .l f y o us t a n db a c k ,L o o k i nagt t h e
w a Lh
I o r i z o n t a [ y[ yo,uh a v ea f u I t - f a cvei e wo f t h ew a I t ,k n o w na s a n e l e v a t r o n .
T h ep r i n c i p Li set h es a m ea s f o r t h ef l o o rp l , a nT.h es i d ew a L t as r et h u s
s e c t i o n evde r t i c a [ [ay s, t h e y w e r eh o r i z o n t a toLnyt h ef L o o pr L a nT. h i se L e v a t i o n
c a nb e c a t [ e da s e c t i o n aeL[ e v a t i o n .
The drawing is of what is facing you, the items
against the wall: doors and windows, but also
shelves and tables, making an ensemble, like a small
fagade in your room. Side passages,
doors and win_
dows are always cut ofl, but avoid cutting a single
isolated item, such as a column. All this is imoor_
tant: the line of section must indicate the volume
in general and the openings, even if they are not
exact\ opposite.
t&rwt rf q tafl'r*tn, tt tb pala ,/ zo,
l" i nw:"kathfvr drnwtrgsr.rwLl
syausnr/, flr.t,arrargtmeff rf dzraLb
s*1" qJo"ytvard,s,
lwluasil. Nrrefhe
rkob"zy rf tfu sotwt" h,nt, rt hzly
ffitrzrt-tnrr rl,z rnyrv :yau
El,evqflM
rf n sr,ttug-rwn,,fth a.str,alL
tabny nr,"d,,z
22
trl
,*A
il
DrqwJlw
rnvbr i,tveltvqt|ttv (fac{-rtu)
I\tqw (ht vqtut,r
m
t o l e uu'lrvl'epL
R e a r r a n g i nagn a r e ao f w a t l
l\cthinking the layout of a flat doesn't alwaysmean
rrroving interior walls. Rearranging a wall panel,
changing the decoration and objects displayed is
in itself an important modification.You can plan
this on paper, especially if you are thinking of
buying new elements such asshelves,storageboxes,
scts of drawers etc.
D e s i g ni n m o d u l e s
Thke measurements of the various elements to be
included, and imagine the various different ways
they could be put together. They will be much
nrore interesting if you have worked them out in a
clrawing: they then become reai little compositions,
combining practicality with aesthetics.
1t
t
4
23
lVaku-rg
alayout
T h el a y o uct o n s i s tos f p r o d u c i nagg r o u n dp t a na n de t e v a t i o nosf a b u i t d i n go,r
, ftertaking
o n eo f i t s p a r t s a
m e a s u r e m e not sn t h es p o t ,T h e r ea r et h u st w o
p h a s e st a
: k i n gm e a s u r e m e nat ns dc o p y i ntgh e mo u to n t h ed o c u m e n t s .
0rganisationof the layout
'We
start with preliminary drawings on which we
mark the measurements taken.These drawings are
an intermediate stage berween the sketch and the
ground plan: they are done by hand, on the spot,
but with most of the codes in place. Now that you
are (more or less) fully informed on all the ways of
showing what you can see, you must get ready to
take the measurements.
W a l t sa n d p a r t i t i o n s
Details
marking down tlrc lrcirsurr.rrrcnts
of crc:lr
room, there is a tcndency trl frllgct the thickncss
of the wallsor panels.Trkcnlcil$rlrcllcnttwicc,to
guardagainstmistakcs.Mcasurcirgninsttlrc rcll flnt
suface,not the thick rrrouldinl{s
oll tltc cloorsor
wall oanels.
The amount of detail required depends on your
final intention. For a flat, dont include panel
n.rouldings. But if you are planning to reorganise
a library or similar, you probably should include
them.
'When
c,4p
A team effort
3b
Ideally there should be three people involved: one
to draw and take notes, and two to hold the tape
when large areas are involved. At home, you can
get your family involved in this operation. Bur if
you are on your own you'll just have to manage.
il
J1,,.
$o
A sketchof the groundptan
This is the moment to apply the principles of
drawing laid out on page 10. Start by making a
freehand plan in a hardback notebook, preferably
room by room. Leave space around the drawing for
L ' l p
I
l
'Jr-t
l. 16
writing down the measurements. At this stage the
exact scale of the drawing doesnt matter because
you are going to mark it in.Try to keep the drawing
in proportion, so that it is easierto read.
T h ed i m e n s i o n s
These are indicated on a parallel line in the same
direction, with small lines to indicate where
the measurement runs, and little bias marks to
indicate that it's a measurement. not oart of the
drawinE. Be methodical!
24
rw,nLL
Luu rv uluae
w Mrl
fl4t l^4lltuHL\lltt
Myu
l,w ir,,
ParaLhL
dtcotwm
snnl)ttzu
w,d,watzthft' t't u a
w4Jw'tt^tli-
ard, rrt
l4rf f rl.',( drawt*g
v
-il;
the
Tldyinguptheftoorplan/drawing
thing
whol,e
Yrlu can now go on to a drawing of the whoie
tlring. Think of the floor plan as a good sketch
which you want to improve or tidy up. Of course
you can work in two stages:a first sketch as a foundation, and then superimpose a final drawing.
. .=-
M
{
i
;*
F
i
i
I
F o r m a ta n ds c a l e
Now itt time to choose a scale. Let's think of
an example. If you are doing a layout of a flat of
100m', more or lesssquare,it will be around 10m x
I 0m. At a scaleof 1/50 (or Zcm per m.) it will be a
square20cm x 20cm,which could go in anA4 format. But it will be too cramped, asyou must always
Ieave some space around the drawing. Thus an A.3
format (29.7crn x 42cm) or even larger (50cm x
65cm) would be more appropriate. Of course,you
can cram in a little more in a sketchbook.
t
'
W r
+
/l}.
j
C o n s t r u c t i ntgh e f l o o r p l a n
You must first of all make an outline, that's to say
trace out the lines which will not be visible at the
final stage of the work, but which will help to
ensure that the visible lines are well positioned.
, e $
Studythe layout
Before drawing the floor plan, make little sketches
of it, diagrams in which you can analyse the general dimensions.Without really making a final plan,
it's a way of understanding its logic.
25
Lalroutof a flat
I n t h i se x a m p [w
e e g o o n t o t h e l a y o uot f a w h o l ef l a t ,T h ed r a w i n g s
o n th e s et w o p ag e ssh o wthe d i fferenstages,
t
andthe pr ogr essive
f i n e - t u n i nogf t h e d r a w i n ga s w e s k e t c ha n dv e r i f yt h e d e t a i t s .
rhu firr lryw, wudzin lt*, lrartun lauoln tlufaor
rhar rhc,flwr yLanrf d,.aflar w rea[ysunphnrvlaanh
tdrwd,
^f tlr 4
d,tyrcawru.
rlw drawLla i wr ft saql,c,.
rdJ arrhz n.gl. oW ftW,
d.rawt*g
dztall rha
th*sseovrtr,
l^C4,JMWtLfJ.
26
q
vLrlw fkrd' d*awt*g,alldrz un;frrw,nflrtu
haad,al,frr
aw wWrwryrgleoti
l,qit,tw. stz fh4,dr4h rf d^zy,yleotvwygc a0,
4,
27
PELfPECT(VE
y o uh a v ea g o o dv i e wo f t h e l o c a t i o an n dc a nt a k e
I n a s c a t ed r a w i n g
m e a s u r e m e nat s a c c u r a t eat ys y o uc o u t di n t h ea c t u a t s p a cM
e .o r e o v et hr ,i s
i s t h ed r a w i n m
g o s tu s e di n b u i L d i nwgo r k .
I n o r d e rt o d o t h i s ,y o un e e dt o t r a i ny o u r s e [t fo [ o o ka t s p a c ed i f f e r e n t L y
f r o mt h ew a y y o un o r m a L lpye r c e i viet .T h u sw e a r e n o wg o i n gt o c o n s i d e r
m o r e ' v i s u a [ ' m e t h oodf rse p r e s e n t a t i-otnh e d i f f e r e nkti n d so f p e r s p e c t i
t6
' tvtrufv
'
tr''f/d!'
29
lsornetricprolectlor-r
Th i sf o r m o f p e rsp e cti ve
i s verye a sy
t o a p p l . yM. o r e o veirt en a b L eyou
s
e v e n t u a [ttoy t a k em e a s u r e m e n t s ,
a s w i t ha f l o o rp | ' a nI.n e f f e c tt,h e
p a r a L l el i Ln e sd o n o tc o n v e r g e
t o w a r d st h ev a n i s h i npgo i n t t; h e y
t . e v e r avIa r i a t i o n s
s t a yp a r a l l e S
e x i s ta, c c o r d i ntgo t h ea n g l eo f s i g h t
c n o s e nn: e a r e tro t h e l a y o u to, r
n e a r e tro t h e e l e v a t i o n .
,lo p^ptr) rn frnl thz waLb.
Nd-aal,srrlnar *hn yw t*vlw aruLrr.rn rhz lryo"r, d'z ,zot^Aile, f tha face: rf d,z wall:ra[a n*
rlnzasycorrf a ynrnlhlp|rattt^r h,t,llwLfV llzs stry ynrall,eL
tr eaahnrhz,r.rlv vwwts d,wtrrrtd,
u+rtkwn rv rlv,ywnrl yl"a.w,
t^t l,zey:thu ,U"krfy
|. vrt oqrL,wlvnrlv phwl,at tun ylvtcrl, lsruer
ila I'e1Altrf rhznryks,a: d,z n
aLd,toaft
rlv vuwfavwt rlv fam rf rl,,cwnlk,r, rlt. azrrwvw rf rhzJcnwryrnft-lvyk*.
Trgtrfrrm z ft + d,r,vtdz
tl'a fugk: a
an/' t fu ,, rhzwr(d.rqwd^ali,r'cs
2. v'ltaa\ttf a rumtkrrutnlrty nrJvynra7 r/4 W nr,.d,
r14lrstlztrf rhzykw.
1I
4t'
oturve tha rvuvvrv',rst/4.rLqrw6
aoa
yussutl,e,
ft dN(
arglzl ohv,*.
rf
!.
An effectof reduction
The prqection view does not distort length. It
produces a paradoxical optical illusion: thinking we
lre seeing in perspective, we find that the vertical
lines, that's to say the walls, are higher than in reality
because,if the perspective was true, they would
cflectively be dwarGd by the effect of distance.
To mitigate this impression we can corrcct it ,r
Little by reducing the height, but then yor-rlosc tlrc
chance of taking measurements.Note thlt rrrcustrrements are only taken while the vertical lincs strry
parallel, and parallel to the sides of the flt>or plrrrr.
(lr\rrlvl(
tiJl l'!lrl(
' lf
DlMENSroNr
! ' ' Jr ( ' ' ( ' l r \ l t i
PIAN t:t-^*'
rrt'rl rlt l r(x)R
I t l t t ' a pt t
l(AL' BvT/
R(',MAlf'llDEt'lT
f'trrl1|)M)
llFl(i(ARr
ll 1l1l vl FII(At
rHE
U N C H A N 6 €D /
t*^t'
API-FloLoN'reR'
/)rA(,\)FlALl
V! I H
] H(:IR
D M €N ( ' D N
OPJ('INAL
A
]
*ntfjl
*
NOR- VlII
R
31
Drawlrrgthroe-dlmrensiorral
obtects
arrdfurruture
T ou n d e r s t a ntdh i st e c h n i q uoef t h e p r o j e c t i ovni e w ,s t a r tw i t hs i m p L o
e b j e c t ss,u c ha s c u b e sb, e f o r ed r a w i n gs p a c e s .
Practisb
e yd r a w i n gp i e c e so f f u r n i t u r e
o r d o m e s t i ac p p L i a n c -e st h i si s a g o o de x e r c i swe h i c hw i L fLa m i l . i a r i ys oe uw i t h
t h e i rs h a p e sa n dd i m e n s i o n T
s .h e s ep r o g r e s s i vs e
k e t c h ew
s i Ua. t s or e m i n dy o uo f t h e i n i t i apLr i n c i p t eosf d r a w i n gI:i n e s
o f c o n s t r u c t i oann dp r o p o r t i o n s .
Ywwl) wt"u,lotb'ry atrhz d*a*u.gs,atwkol,yvtnrrhu vr,ew
u ^vf^l twd,rawwg
a l^allntjut rhts tsd*tattthzfqotrhat, u1*,
L,rn* o"rseLvu
tt a rzdnucLya,r tf d,a vt'smLfidd' ah4'ahvawry frrn rlz varul'"g
/loirt, du vizwisyraotw"U ,l" Jarne45yznyotwz ,r,rl,
varu,tlutgyraw (su drawtrg,yefl.
ora,wrha Jq^4.r{,
vr rcotargl,evf
rlugrcw,a, ykw vf rha nficor
32
z. P^r unrhz verttpaLluw: aht, rhtn rhz yarailzLw^,tt
rl,a fin*:hzrtd.rnwwg
t. Dr4waw nrglz rf 3o", rhzn d*vt"dz
tlz tty
Lwwmt*n. T/uwd'wrlzzqaLhatf u"tl,'rzz.
4. Drnwthz aryh vf rl,'zta.aL
z. Drqwthz ^yrgk:, d^zwrhz 4rw\r{tfl.
q, Dt'aw
tfu /w rt' rfu wh, rh4wrh'tHar.
r Drtw tlz tatL qh/, rhatuthz rar vf rfu arwu
6. Ad.d,
th"fu4t
33
Destonan offlcesoace
\J
T a k i n ga d v a n t a goef t h e b e n e f i tos f t h e p r o j e c t i ovni e w ,i , e .k e e p i n tgh e
d i m e n s i o nm
s ,a k es o m ed e t a i l esdt u d i e os f a n o b j e cot r a s m a [ [p i e c eo f
f u r n i t u r eM
. o r ev i s u atLh a ng r o u n dp l a n st,h e s es t u d i e s " a t t o
yo
wut o s h o w
t h i c k n e so
s ,b j e c tssu p e r i m p o s o
en
d eu p o na n o t h ear n ds p a c e sT.h a n k tso t h e
f l e x i b i l . iot fyd r a w i n gi n p e n c i [w, e c a ni n t r o d u csee e - t h r o u gvhi e w sa, v o i d i n g
m u L t i p |v. iee w so f t h e s a m et h i n q .
A fotdawayofficeon a shetf
If you only have a small space, and not much
money, you can make yourself a foldaway office,
even a mobile one if you fit castors on it.
t
.r
t. f(4.rf ty bawug :
drawtrs Drqw rlelrc^yi,
s"rfaq, firsr.
.E
.:x
'tt..,
'
-:tu*-'
z. Drtw n tl,'z fn* vtrbah, rlntnl,raw u" th.cmlv, l,cvcl,s
,ls^haad,.
.,
i;l:
i 5i:::l'
4
3. Nw drq w rffi.q, :hzLf.ovwrfiryt( rv rc,Jervt,
syaczfrr rlw out^L wvr a,h-d,
snwv*lqrcrn
34
Y^rSuwfatt
a"'::
#;5_ li"*-
Groupino
g f f i c ef u r n i t u r e
'l'lrc
lrrojcction view enablesyou to move furniture
,rtorrrrrlls you pleaseTry out some arrangements
Itr lintl the one that suits you best, before buying
tlrc vlu'ious elements of your office corner.
,)'
z Dr4w tlvdw v{rttoq.l,s,tlutu d,rqw
/
tlw vartor^s wv!- stnrfaus an/,
\
At1Lfl
I ' F o l r( r l o , v
v/try (NABLFf
you
.tttt
f Qri^/ / t
ro rTuDy
DtlAtL.f n
ND 7-A16
^iltol ( Alt(
MELy.
t Drq,w4 flwr ykr, rf rhz varn^s
tkwhr'r (wtJUt/"
'/aF4+r''1/
q Draw untll
il_
t;'
;;'.
rtlur d.cwrt's1ort
rud,: sltclves,
drawxr5,wvqtla
LrcW,J,
i,only nd.d,una
unall dradzrntl:- kny,
4 Ft,rurhrht,rr,arnyur,t
yrr(ul.,a,cilrf^rcr, lwb r"
35
Fiaytngaboutwtth space
F i n a L lw
, ye, c a nc o n s i d ear s p a c ea s a n a s s o c i a t i oonf w a t [ sa n do b j e c t sU. s i n g
a g r i dt r a c e do u t b e f o r ea n dp t a c e d
u n d e rt h e p a g eI i ft h e p a p e ri s t h i ne n o u g h )
a t l o w sy o ut o pta ya b o u tw i th sp a ce sa s youplease.Onceyouhavem aster eo
t h e p r i n c i p | . oe fsp r o j e c t i oyno uh a v ea t y o u rd i s p o s i t i oanh i g h t yu s e f u I
i n s t r u m e net ,q u i v a t e tnot a s m a [ [ - s c a m
[ eo d e Lb,u te a s i e tro m o d i f y .
\.
Drawinga kitchen
Here is an exercisein using prqection.The prelinrinary drawing of the corner of the room and a
framework of 60cm squaresautomatically enables
you to place units to the correct size.This visual-riation of the units, even if simplified, enablesyou
to group them better.
t Df4wa rumfur rf eootnJf/artJ
ftrarvkr/" ilz) avrrsyavtrll'g1a
rlu rumhr tf ltt"lr,ewuwfl q,hi
4lllinr'.c$,
z Drqw wfhz vzrfr,aaL
Luas,at
wu/W 32,flvw *t *r
cxykm'e/"
rh.evyrflwns rrq.r[s*lu.ohfrcvcnt
th.tdra*ug teag rcn/"enst!.
3 Ad), shadl4yand,d,*auh,a,tl47
rhzymtrl.:frvrwygc ,t.
kitche
Swapplngrour-rd
bathrroomr
t o t h eh o m e I. n s o m eo t d
t a k e sa s i g n i f i c a cn ht a n g e
T h i sp r o j e cm
i s o f t e nf a rf r o mt h ed i n i n ga r e aa n dt h e
f l a t so r h o u s e tsh e k i t c h e n
Wha tw e w a n tto do is swapthemr ound,
i s v e r ysma L t.
bathroom
a r e aa, n da
i t ha d r n i n g
c o r n e irn a L i v i n g - r o owm
c r e a t i nag k i t c h e n
w i t hn a t u r al Li g h tT. h eL i v i nrgo o m sh a v cb e e n
m o r es p a c i o ubsa t h r o o m
n a t LT. h i s
r i do f a d o o ra n dt a k i n gd o w na p a r t i t i ow
e n [ a r g ebdyg e t t i n g
been
n xa
g mptew,he rea layouthasatr eady
is s h o w ni n t h efo L L o w i e
d o n e{ s e ep . 2 6 lr.
Hs^toa.nwXSwayrwwL
rhzv t*v rwwl
t\t ttNltw t.vvtprtlec
v
natks
syau.
to rccthz avadatLe
*-\ |
t lu farti,rt,onrL,nvctecnralaw
rwq.ytorhar wcoatuvt"r*ilucd''a
{^rurc lirol,ewtmtr, t^'r ^1t,t, *t
oq,t/v
W4,vre rhz lzwLtfww wv["y
rctehrc
^t
Dcffi,rcnrrut nf wraLLtMa dlnina a,rca,
wrtfus/"elvil,ah.d'rcvr(gc
al.rrgn ,uaLL,
unks v d,i;yQywu,n
.;
I
l f .
I
4
I lv hotv.,nral
luvrrl rlv,yvnl ykwcxrcnl,
wk,hnoda(yt,t17
t,t'(othot(vl tlv lt,t,lta'u,
tn
ttt(, t0 il to haw n'{(l,tvtl,tyINL(l,c (r46tfl.ilt
la*rr,' tlvv twl.V+ut, I hi,rt awt4ytl,w.r
tlv Iuch,cnynu
|attu,'kt,l,Y
?s
Vlsrlahsil-rga krtchrerrcorr-rer
T h i se x a m p Ltea,k e nf r o mt h e t r a n s f o r m a t i oonn p a g e3 8 ,p u t si n t op r a c t i c e
t h es t u d i e m
s a d eo n k i t c h e fnu r n i t u r ea,n dt h ed i f f e r e ncto m b i n a t i o on nst h e
6 0 c mm o d u L eT.h ep r o j e c t i ovni e w l, i k eo t h e rr e p r e s e n t a t i o sn hs o
, w sh e r e
i t sI i m i t a t i o nb
s ,e c a u s iet i s i m p o s s i b t e
o s h o wa s p a c ea, n dt h ew a I L w
s hich
d e l i m iitt ,a t t h es a m et i m e .0 n t yt h eg r o u n dp l a n sa n ds e c t i o nisn t h e i rw a y
g i v ep r e c i s e
s o l u t i o ntso t h i sp r o b L e m .
However, projections have the advantage of raising
questions, like that of the partition wall now separating the kitchen from the entry hall, which was
before the wall with the bathroom door. (This partition is studied on p.42.)
rr'
,"d
.","6n
t
l
i
*,i
4
{t
,i
I
f
i
ti.
.,J
\,
t,r,
v-r,rohznfrvntgzvrn
rlnzLt'v,g-rwm
40
Qrfrahtt
rt t'oln
e,wfrontytt ru" d^z
unqhte lnalJ
PkruW ytylcor.
r'lwt y yarr
rf rhaynrt,rwwwalL
u ra[an
lwd'w
w. Awrxtraorcr
wttl'urhu
:lqwr"tehw.
[ilr rf
fuawug vvcontv:tu@ whaf u
hqltW
*W*.V
atwerhaf,u^**t,
rl'artl,z all*g u
fr4r6l4rchi'.
DFr/GryMAGtct
wHtcH ALLow,
WALU 70
T6 TAAN
f '/fPgA/Df C6/L/vcf
,* ,,"^*'*'
OTHFA AI€&AA,,,";
;;;:
:,:::
AtDt wHtc+
A a F A / O 7p ( ) t f t E L E
^ltTH
A AFAL
f c A L E ^ , 1 o D €, L ,
Crnizruel,vwwrf rlq Lt)ro
Jfac
41
Creatlngan openparttttorr
Tlnr
fal,:euul.,"rg
T h er e o r g a n i s i nogf t h e s p a c ei n t h i sf L a t[ s e ep . 4 0 )
m e a n st h a tt h e e n do f t h e e n t r yh a l La c t sa t t h e s a m e
+
; - ^ ^ - d r l L J P s l l ^P Cr r t i t i o ni n t ot h e k i t c h e n .
LllllE dJ
This partition has two distinct parts: top and bottom. The bottom must remain closed because it
conceals kitchen elements, equipment or storage.
On the other hand the top part can stay open or
half-open, in any case becoming the object of an
obvious change.The partition becomes the frontage of the kitchen, while still being the end of
the entry hall.We can treat it with elements which
have some of the properties of a faqade, such as
TTA6Ef
IHE VAR.]OV(
rf rh,e,
yarzL
n-rhz uj, rf rha
enrryhall
louvres, venetian blinds and houseplants.
ckn kzyr,nwexan"yLe,
nnl'
flw rransfvrYnafw".
42
l)ilot studyof the lower part with open shelves.The
uppclrpart rcfcrcnccsthe kitchen,and is presented
rs its luq:ldc.()u tlrc lcft is a staudwith a pot of
lrcrlrs,
unclorr tlrc right is rrsystcnlof louvres.
Preparatorydrawing
Thc top pilrt hidcsl light,cvokingthc shtrtters
of
rr bistt'tl.
sthl,yart ruwW frvvv"tlvfal,n
utlwg hv,twtt tlu Lmpw
(
oymyarr tt tt
rAaruvd,
the entrance, with storage drawers. In thc Lrppcr
part, the objective is not to indicate thc kitclrcn
beyond.
43
Transfornrrlrrg
a flat
I n t h i so t h e re x a m p L iet ,i s a s p a c ew i t ha d o u b t eo r i e n t a t i ownh i c hw i L b
l ,e
c r e a t e di n s w i t c h i n rqo u n dt h e k i t c h e na n db a t h r o o m .
rlv,hob ftnr. r 1,,,e
4,aci,ht
u yku/" vrvilz ynrrs
fl+at }nt'trtt, r,u,a,hl,7fu waLl,t
4rc fr4hqtrch.t',
*l"oh qllnwa/" werall
/ttur(, wluohngrcrurl,
\
/nwwwh, rct.
Hcrc.,a.vlvna.rtr, vuw rf tlu or^otaL
yam, rhz
walkarL yarrtrtvru rhz r*ms rc tt o rrzd,
arr slqwwa: hartlad,zvis
l lu yau wutLhralu*g
rl,z yau e55lnaww
wkhn"t yarrtrwnt
w.,vi,cwrf rl'z ol,aq7e:,fvr wl'unl"thz
grtl, wdl yrue ,u a tare
U
rTvrvl'r
rcrfu"t'wuw
brol''tn.
a yknrurg sl,*o|". t wt)Jtt
MD(JJ4Utr hab, sevzraltcfnrc
dzod,wgrn a stlraw".
45
Creatir-rg
a dresslng-roorrt
ar-rda bathroor-rl
D i f f e r e nkti n d so f s p a c e sc a nb e d r a w nu p v e r yq u i c k Luys i n gr e a d y - m a dger i d s .U s et r a c i n g
p a p e ro, r a n yo t h e rp a p e trh a ti s t r a n s p a r e en nt o u g ht ,o L e t h e m a r k i n gssh o wt h r o u g h .
B e l o we, x p l o r i ndgi f f e r e nut s e ss f 6 5 n : r - ot t q i n nn r i d) t p . 8 3 ls, h o w ni n g r e yi n t h ef i r s t
d r a w i n tgo s h o wi t i n p o s i t i o n .
EEFOR-E
Howoaturh.tssynu tt
uwrry vr arzd, tt t r.laryt,
plaozrhzovrnzrrf t'l^ernvtt\.4r rhzyvw,rrf tl^zgnd,
*lne,rc
t-h.e
thretylnrzsr,r,tzrv,or,
rhznyku rhzefutusnas
tlz tedrwnJ
t'v ttraun,fl+eovrzaf d,uvvruwns
"{i
;::""-'
{
t',1
*r
!
l
1
r
l
'l
n * '* ' t
4
l
c
I
q- -
i
'
.,.
szewgrlur'gh un thz rq^a.rcl
uat['e,y^tt yku ryzrttg:, anl'
ewwunlfo,frvru.turz
46
,4FTER-
rlu :yau hastu* rzdasgrcd,fv orz4t'(4
dresl4r-rwtw.r/u :ynaer,wfrrnr rf rl,z wwan*
lw teewnse/,tt d.etgr"a Litdz rffiq orrrzr.
F.
\ , 1 ' {
tJ'trc,tl^'zhtt'ha,t \tat leetut:lrrvtt'(al.t,rttotl^,clatlu'oott (:ecy.ss).
Th.eorrrtl,or wkeltkol to tl^',eLttt,h.cnhar leer"ulcd,ft arearc tfn4.shswt
47
Seerng
thingsir-rperspective
T h e e f f e r -ot f n e r s n e c t i vceo m e sf r o m w h a t o u r v i s i o nm a k e so f w h a t t h e e v e
s e e s .B e t w e e nt h e e y ea n d t h e o u t [ i n e so f a n o b j e c tw e c a n d r a w t h e s i d e s
o f a n a n g l e ,t h e a n g t ea t w h i c hw e s e e t h e o b j e c t W
. e c a n o b s e r v et h a t i f t h e
o b j e c tm o v e sf u r t h e ra w a y ,t h i s a n g L eb e c o m e sn a r r o w e r a, n d t o t h e e y e ,t h e
n h i e r -st e e m qt n h e s m a t L e rT.h i s i s t h e e f f e c tk n o w na s n e r s n e c t i v p
,. r/nzdrqwuVtzln",I'q: futn :u"/lifid, tt
rlnelws rt' ytrsytttwr
*|#leiis.d
rlw f"rrhzr aw(y 4.h,ntlzotw, rl,z:w'qll,er
u'Je€ff.t.
point
T h ev a n i s h i n g
^frW
48
r/nuu rhavan*:ltryyn5nt
rv(
I
It
t1
Ir
Ir
(
tu rlv Lw rf
+,rf wtrytna !w, w{,aarv
z. Tlz yartttwwwrh.e,rght ts rznwed,.
4 r y .
, --' ,ug;'I'
rl"e *holzorl,lzoru*
rf ynrahl
r'wtreussar(yhnzurraL- &Mr4(u
49
T h eh o r i z o n
The multiplication of parallel lines*generates a
whole series of vanishing points, aligned to each
other. This alignment is called the horizon. Thrs
line does not appear of course, but it is recommended to place it in a realistic drawing as well
as in an imaginary one, because it is the principal
reference point for fixing perspective.
50
h
c
l
9
6
rlu yrunt w thz hrqvn hr"d'm vzrcbaLlcnzml't"oarc
rlq #urvtr l"u erbn a tfll ft du lfr{T,
rlu yonrwnrf rl.'zvtvrver.
p o i n to n
M o v i n gt h e v a n i s h i n g
the horizon
rlq rturw l,at eahn4 r&wvl
ttN, rv rlu hfr,
'W'hen
we move, the vanishing point of the lines
in one direction seems to move too.-We can experience this in a room by looking at the vanishing
point of the tiling. This shows that the vanishing
point is notjust an effect oflines, but also an e{fect
of our vision and our position in a space.
tr1
T h eh e i g h to f t h e h o r i z o n
Our position in a space affects both the vanishing
point and the horizon. In the drawings on thrs
page, look at the view from above and below.They
show clearly that the horizon, at the height of the
vanishing point, the convergence of the edges of
the shelves, is at eye level.And if we stand higher,
or sit lower, we can see that the horizon follows
our movement.
T h eh e i g h to f t h e h o r i z o ni n t h e d r a w i n g
Once the height of the horizon has been established in a space,it must be shown in the drawing.
That then depends on the framing you want. If
you want to show what is above the horizon, you
will place it towards the bottom of the window
(seep.73).
52
lul w wryvtu,tlzEvrt,t'thz wall tzcrws
tQfrthry t&nmet^ vdzr an/. rhr rnanu r,r'yka,
"
wcl'ln rfu,a*ry
Tl"i wrnaw r,src( tt soal,€,,"'
t&a^szha,hzghr w nr r*u
bt/av *wlrrlw d^an
a.t,i
HIN wc oqtuuri*r,aft (h4 lzbk nf t-lw ,wn, seeugrhat t1z h$tzsru,al. !y{ h,vcL,
"nw,ts
uilug ts ato^r z r w4tHr
tw-rl*d,t ay thz wall; r 4,2 lvgkfi"w"rlw
Hcrcrhzhrrzor",'tr U kv([,tunq alu,( a ltt*fftt rl a wU ry th wal,lr,
Ne
tlwnsetrlrat cl1.(
nol^hat urttu,tvutrtlltvfst'ftfrr';r,
wuhq lunlrt r/ 4n,wl t
wvrret.rh.rnan ot,rlv.r1,7lxu ralfu tlstt rA+ilrcrv(r,hqrut h,t luatl,h ntwc
rf th l,,arusn,
tlz Lw,z
T h eh e i g h to f t h e h o r i z o np, e o p t ea n d
the sca[e
t^ f ht,tA'^wug,wt lul tlqt tl,cstarver
mrrr lt vanl, lc,a^.tttlv l.nru,rn
tr
ar gVthvelf, tlu pturnftatNlsrvrl'.c
rglrt wl'+ktclow
tlv I'uglx rf rl,.tpryh
The horizon being at eye level of the observer
(about 1.5 metres if he,/she is standing) it follows
that if other people, positioned in the same way,
are shown in the drawing, their eyes will be at the
sane level, aligned with the horizon. At the same
time, this perception can tell us instinctively about
the heieht of the room.
ttanl#g,
rs,*'l
KEP7, reAcrvC
IT OUT /f
P-€A.L6Lr't.
E.ffFWr/AL
Thevlew fronnthe front
T h i si s t h ev i e wf a c i n gy o u ,t h e m a i np a r t ,u s u a t [tyh ew a t If r o mt h e b o t t o m ,
s h o w ni n e t e v a t i oann dt h e s i d e si n p e r s p e c t i vTeh. ew a L i[s n o td i s t o r t e bd y
p e r s p e c t i v- et h e s i d e ss t a yp a r a t l e t[ h, e p r o p o r t i o nasr e k e p ta n dw e c a n
choose
w h i c hs c a l et o u s e .
FLoNT4l VtFWt
errnral lLMs
L
"kr
wqll at flrc, zh/,)
This view presents all the advantages of perspective, and in an architectural drawing of the interior
it allows us to show the floor, the side walls and all
the elements seen here - furniture and the arrangement of detaiis - in a much more realistic way
than a projection.
Moreover, if we take a photo, keeping che axis
of the object horizontal and perpendicular to the
wall, we get a frontal view.
'We
have the impression of being in the space
shown, while with the projection view we were
outside. In principle there is no longer the problem
of walls in front hiding things, walls which have to
be deleted or made transDarenr.
54
1i
"i
s f a f r o n t a Iv i e w
T h ep r i n c i p l e o
, rl*oh rf dw yar'zlfrvnrht,tvtrcm
The probtemof depth
z v,tedzfinz tll l,tgk nf rhz hortzy*,whrrh
orrrtsfrnl,trc rl,e gt lzvdaf rl,z tturvcr,
g. wt,olnutz
n yuskbrufwtl'z vanuhwg
lvtnt rwrl,zhrt<vruaentre,
rc tl,,e,yrs:utlz,
ffi w rghr, whbl,orrreslrnls
Wrurwlrrf thz ntyrvt,
4J w{ t4w earh,cr(ftt I r). wa aa.tufh.avd.rawLvrlv va^ukog
linz: *ht"ol, dznaroqrz d^z :tte wal"h,t{
{ra
+
.
At this stagcthcrc rcrnainsone problem:how to
dcflrrcthc dcpth. Irr cftc.ct,trothingallowsus to
drrrwthc lirrcsin firlnt of or bclrindthc backwall
if'thcy ru'cpirlltllclto it.Tlrcy ilrc;lt 0 ccrtairrdistlncc,l.lovclncdlry pctspcctivc,
urrdwc rrccdr way
of'fixirrgthis rlistlrrt'c.lrr tlrc tillklwing pagcsyou
w i l l f i n d r l nc x i t ( ' n
t t c t h o do t ' d o i r r gt h i s . T h cp r i n ciplc is sirrrplc,
lrut,if georrretryis llot your thing,
tlrr.cxplilrratirlrr
nriglrtsceilrrilther0lrstraet.
lf you
wiulf to rltawcxtrctpclspcctivcs
you lrirvcto apply
it, lrtrtfirr ske.tchlrook
sturlies,
wlriclrwc urcrnairrly
itttr.rcstcd
irt ltclc,it is crrouglrkr uudcrstirrrcl
the
priut'iple,iurdtlrcrrapplyir by guesswork,
in order
to rvoid obviorrrerlon of pcrccpti()n.
+
*
-)&/
trtr
rHE ITAGE' OF THE DMW/NC
To draw the depth
Here is how to go about drawing the depth of
a frontal view. If you prefer you can just do this
first exercise, which explains the method. It's very
simple - let's start with a small example.
ywt D (a,h.fflarvarutkry /vw) w
3. Pla,ae
rl,e lwtzw"tv tlu rgk, sa"tared,a( da,Jraha
eq"alto thar w\t tt* 4rc,fkc{d, u. relarwn,
tt rlrz wall r/nu dutaloa u waJwzd, rn
tlu hort<uru
t'vtl,z saha saala
r Dr4wa taoL-wallfta,olwsansoah.
Drawu+(h.ehravt, rl,z vanuh.ug
lwti- o,
nnd,yvun A ahtr,E ft fl,a frnf rf rl,z *all,.
6
J,/
Drawrha
, exrenit4T ft ^hrLl"Lf,
rNcfJ oA, ft rr\4k4(h.aI
z. Draw (h.a
A
oA an^d,
exrenl't;r fvward,J
rh4-frcrw.
YOU CA^,/
AAA/VF AT
T A / €f F
vtEv{f tN
A.,rrot.€
tN_autJ-tvE
r'/AY, AND
lo
lKtp THtr
FlPto^,o-,ur.
s. Drawrh.elqrkwal li*.t A, E,, rhanB E,,
yw l,avt,nqrlarl onrvwtlvgrorwl tt Jlvqft,
fttuoh4d,tr rhe taal" wall,
56
wHy rf rf A feV,AR.E3
vrttfhntgwtrg a dar^nMfrafwtu,
rcrefl",atwhzw
-frvyn
oo w eqrwLtv rlw durahta rf th+ vtservzr
rh'ehonzuuo teorws tlw var*:hug /w,t vf al)
rhz Las wh,bharc q( +r" tr rlug,o"nl, ykru.
A'E t^4}4Jnruargh vf +r" ah"d,
tr ooruitt resrh+
fu<l*L rf a sV,wre.
tl", FWry enntLes
^s to
d.efd."
wtkL.
find,rhz
frvwilz
M a s t e r i n tgh e d e p t h
You see then that points O and D show your position in the space: point O gives your height and
your position laterally; point D gives your distance.
Mastery of the distance is a little tricky. If you
are placed too near (ifD is placed near O) the sides
are very distorted. If you are too far away (if D
is further from O) you risk being simply outside
the room. Moreover, in that case,point D is often
outside the drawing - annoying because you need
a wider piece of paper that the area being drawn.
,",.
't"i;'
!;
q
),t
*3
"^:'Y)J.'*"-;'"n
P - 7
; , G
'1"
\
/.
'We
see a similar problem when taking photographs
which necessitatewide angle shots to compensate
for the absenceofdistancc.
Here too, there are practical limits which we
get round by showing transparent walls.We can also
choose to show only the part near the back wall,
without trying to give too big a view of the sides.
;t'
rf.yw wve lil)1r o, rh,c*awug w ahargrc,tL,
4Jil4 yenytorlvtl,ilJ wlituywJcf Mlru,r
rr f'wrlvr 4w7yfrvrn&v wall.tf.yonnwc,o
w4,rl4 o,,lw aH lrawhg 4 \tHlcotut vwN
^4aMrfu w4l'l''
'lr
-+
t
)r-
\u""'t'
.'tt"t'
tf.yM trwt 0fnn*,erfrvbj,.ywnrt
\
^\
)uf4.Ate hrLhi'
I
fuduraNTy
fut^fu walJ,
Durarta
ltu4f,
D
57
Torilovebacka partitlonwall
H e r ei s a s i m p L ae p p t i c a t i oonf w h a th a sj u s t b e e ne x p t a i n e O
d .nthe left:a r oom
i n w h i c hw e p r o p o s teo m o v eb a c kt h e p a r t i t i ow
n a [ [t o a c e r t a i nd e p t hI P ) .A n d
o n t h e r i g h t :h o wi t w i t [l o o k .
58
THE DMWING
t. Dr4wrhz :ynu u"ehvarww,tt ag|ucwsonlapkq rl'rzyru^acyal
vanhhug
phoatlz yrirt vf d,utahteD, oD nrrzsyrntug
o
/,istqhta
toJ1*
frtnr
WA
wa.U,.
Draw
d^zyruouyaLvan*:lu"*gLws ftwardao, ah/, vM fwturdr D
frvntl'Z
tntttn
a.aal,(,
trf rha wall qr A
frvnrfu
z. Frtuw
A, tnarLrff a tl,wrth47thar, q"al r, p, t7w,eq^ued,
d'utaht{rfu nrfl,tnn lvu n wve,
6
3. Draw Pa,
oru:ses
AD qt P,
s , Draww rl'a vt al lias frrw du ta:e w,nl thg
wfth rh.evqhtJ Li,yw:.
tnteruzor
4 DrawvwrhlgrvawL tlv lw A p , whbh w rlu tau tf r/,t
Mw l4rfl,rwt'wall, ayylyq.1rlu pru^rtyhtryhrwtl ttuft(tt t(.
6. Ptt^rvotl,q Lavsrc lrrger rcedz/"(LcfrharcqJdnttcd,ILM)
59
ereatinganextenston
to blockoff acorner
w e c a nm o d i f yt h e p r o j e cftr o mp 5 8 b yc r e a t i n a
g c o r n e rf o r a h o m ec i n e m a ,
I i b r a r yo, f f i c ee t c .T od o t h i sw e h a v et o m a k ea n e x t e n s i ofnr o mt h e n e w
p a r t i t i ow
n aL[.
r/u aitcql drawug wtthrhe
txfztuwr, shwr" u" dtfcd, LLwt
60
T-HE V,4R.JOV'TTAGECOF T?E PLO/ECT
? i i$
D
*_-*_|+p._,ln{
t, v'lehavetog, taol-ft d,,'t,uuttul ,Lxol o771^,,^11
(wkh vrq,yart orntwrwgnf rlw A*l fcoa^sarhu wd)
cnatl,aa to ffiLa 4pownft waJu{whtJ. trufaor, w tlrz
pn/corwa dtawagr,rnly th":gn,,,M fk" f rhaltrttiwrv
wal h'awrutva l:Wwwsoah.
3. onaeJowhavcl,rawn tn tlw taalptal{ tf dta
drawtntl',e ve aLh,rws, ft tht
cxf(ruwLL,
"!
rhln draw th daryw,al
pra.tVaLvanul",y Lr,nzs.
ftwqrrlJo wluphwdlgwcyo'nrhz -frontnf tl'e t^:c
,tzrrwqL
ewu:|tty drawug wutlne,
Lwwrf th,efinr .
lryvur ttward,:rh.ekru vf ftglr
2. Pkcr e (fir uanyh Fr r,ttr\, ltawn rc dU pah al,aunfir
rl'wlnr yaruDaaarnlt4T
n du kprh rf rlv uruunn rc tc
rrwdz.Pkq p rn du l,orta,till,n wW fnnfu rglr.l,atl,
otrn4rrf rl,,clnr ani,t.Ert47P'fxrwan{
ft du rrrilfu rf fl,l
pvw rf ,Lurarwt.
Yw havcP',
86 cAr5:prrl
4u wOr coryPuf€.
rHF L€NC
DE,PTH/ /.ND
Ll ^rHtcH
* THE^'DTH,.]
rfu atr^ylxcl,lgtcor
,uHtcH qtvEt
n'tj
f'
7H€ A/€r4/g,(.f6ryf
tO,v,
D
!
61
Plannlrrg
the space
4 HOME CINEM,A
) i t ht h e i d e ao f
W ec a nc r e a t ea n e x t e n s i o[ns e ep . 6 0w
p t a n n i nag p a r t i c u l asrp a c eb: o o kc o r n e rc, h i [ d ' sr o o m ,
etc.
,{ EooK COR.NEL
rh.cextcwwwu rcdtcc/"tv 4.t4.rfuftnyvt tyvtre wtd,(,
wlrol"vrvu o ynrtn[y isalfteahl, Jc,lq.r4fc,
a how
cwt^4 arqr frtn rhz ,ctt' rf rlv n*n"
Tlw taol- vf thz n*tn w nsed,frrylaowg a wfn aL,/ shalvct.
r/w syau tatthJ4.rc^q"d,
tl,a cxrerulm"/Ltlray rlw yarr u"frtnr
ornf4uu
v{U
tlttv,
4.h1,
a
a wrL s^rfnu ar.l, a yarrttww rlu,ch
or(4fu a reaL l"ftth avfr4htl,
62
,1 EEDLOOM /OFFICE
rlw erer,.tnww wwrylzrc!abscd,
vwrl,z d,ovrstdz
a.h.d,
I'a"lett"^)- fu*. rlw kolt- nf thz ,*rn w
turr,ed,brtr atuvffic{.
t
A')
Convertrno
a soaceunderthe eaves
H o wd o y o ud r a wt h e p e r s p e c t i voef s L o p i nwga t t sa n da
L i t t l fel i g h to f s t e p s ?
I n t h i se x a m p l iet i s n o tt h ee n dp a n e l
t h a tw i l . bl .e u s e df o r t h e e L e v a t i obnu, ta n i m a g i n a rpyt a n
of reference
s i,t u a t e o
d n t h ef i r s tg r o u n dp L a na n ds y m b o L i s e d
d u i t en e a r
b yt h ed o t t e d[ i n eT. h ep o i n tD c a nt h u sb e p [ a c e q
tho
O lqoa
n 5Rl ec. thic. nrnio/-t
BEtrOR.-E
J
/
t
J
I h'( ry4ct rcrv( ctrr/(flLcn. I h'( lnrc
vf rcfurrr,ct,u ynirlucl' ty tlw
d,vtzLlw.
a eiIhnae S
c np- a c e
i c c_i ,f r. l_
r ta
aA
I e oIi nncsi rtl o
m a r k e do u tw i t ht h e d o t t e dL i n ea, n ds o t h e r ei s n o tm u c h
d a n g eor f d i s t o r t i o n .
i ".:.
D e s i g n i nag p t a t f o r mf o r a b e d
11-
64
I gK_
9l*:t rhzlugk rf rh'eykrfvrm (roonD,ktlryo^
hr^t T/u txrtutntL
ylnu vrurtr'zlofr, vr,tfu,d.rttzd,
P u rhzrzsnt'hardu ykrftrn algu wkl'"rhz
{,rsrs l,ghrnwtlzrgl"t.
l-Hrr qE7au6,
D e s i g n i nag s m a t lf t i g h to f s t e p s
pAv€Lr
D e s i g n i nag s k y t i g h t
The secondconversionis the creationofa second
dormer window on the right-hand wall, at the
bottom of the room, which we imagine as being
one-third the size of the remainingpanel,ar:d in
the centre.Flereis the method for dividing a panel
into three equal parts;it appliesequally well to a
panelseenin perspective.
_*)
€NADtFr ,r
,;
Apltie,c
^ ,:;;:,
ro .,"b r,
6xACr w/DtH
Of .?'Hg
oPFNrNc.no
lF nrAD€,
Orawtlnz Wr d.t4,v.nL:rf
rhz y^anzl*hbl'" seyararetrhz
-frvrw
first' d.rrmtr ww,ltt
l
t
t
t
J
fM {ttd N4.U t h$( d,!4r,hau
Thz
fia (soowv)
alhw5fsy3 ref: ul vtt,d.r.vtAz
rhz I'211ka"d.rec,rlrcwdrawtrcd^zvan*:lr"r.g
[ , ah.d,ty wva^,:vf ilc llgrnnL wd,z bfr,
d,wtnzrl,z l,ortz-nffqktw rhra tn or(4rt t-lz rLsers
tl" t@ rf d',evnn*:lwg yruntsar-d,fl'a yaral,hL
'LJtr d.r4wtlu:tqs
Lws aLlnws
n^d/.li rf d,,4
gweywrhz
yarcL oraw tl'e wel,i"an LLrre.
Draw thz d't"yrna[:
rf tl,a z daa-yxpr^tPt
tl"ns orc'atzl'
ah
als
,r/l
At rfu. yrwtt f a,tercectwn
d.rawfia z vertaal,s
wl"uL *il dlvtd,erh4
yanzLin tl,rce
65
A few strnpleconstructior-t
tricks
H o wd o y o ue s t a b l i s he q u a Id e p t h s ?
To dividea wa[[
How do you divide the vanishing line AB into a
given number of equal parts (here 5)?
Itt enough to draw the vertical lines linking T
to H.
Howto dealwith an irregu[ar-shaped
space
In this space, the right-hand wall has been rotated so that it is no longer perpendicular to the
wall below, but turns at an angle. In this case the
edges of the panel do not meet at the vanishing
point O, but at a new vanishing point P. It's there
no matter which horizontal generates a vanishing
point on the horizon. This prepares us for the
the oblique view in which our gaze, turned to
the side, brings about the displacement of the
vanishing points.
:*
4
L
3
+
5
,
.
.
,
!*/
\-/#
Dr4,w4,Lu.,z
to tl''z lro1zuruJf4rfuV 4(
yarail,eL
A, ar"d,rnqrL *r r zqrwLVttwhf,J.
f
2. )rwv fhz lasr yrwrt r ft
ltLhi' E, arj, ext'enj, tt
ft tl^z /.ffqstu lav, orenllg varu,slu"rg
yrut c
5.
66
Draw l,|,ttzs
frrtn p tt tlv yri,tt: t, z, s 4,h/, +
rlrese vnntslttt'g Ltr'z:d,i,vtdzAE zqunlfo
r/u *qll aatulz d.wtdad,
da,retfowvlug flrm n
verrbaLlu.z.
Howdo you draw a circte?
Perspective
or projectionview?
The drawing of a circle is always bounded by a
square and appears as an ellipse. Note that the large
axe and the small axe of the ellipse do not merge
Note that a detailfar awayfronr thc vurrishirrg
point
looks like a projection- thc vlrrislrirrglirrcsurc
almostparallel.In fact, snrallolrjcctsoficrr irppr,rrr'
asif pro.1ections.
Itt why asscrrrbly
instrtrt'tiorrs
lrrc
often illustratedon this principlc.
with the axes of the souare.
,f
,/"'.,'
"tff*-"-**'"'**
+!
r..
-f*AlFq.M"*"*::1r,n*
*',;.1 1.---*.,,*,-"'',,
*,.lTp
i
6l
Takintgdowr-ra partitionwail
D i f f e r e nkti n d so f s p a c e sc a nb e r a p i d Lsyk e t c h e od u t b y m e a n so f a r e a d y m a d eg r i d .W o r kw i t ht r a c i n gp a p e ro, r a n yo t h e rp a p e fr i n ee n o u g h
toshow
t h eg r i du n d e r n e a t h .
AFTER*
v'ttrl'"rlz l,'elyrf rhzgnn,w
rcJe s+ rhz tkol'-vwrhzrgl.r
hasteewt-qlzr,
d.lwnahd,tl.,a
WW cnkryzd,frwr.!rw{
tlnavte*vf rhz*LyW, at rl,a tao[-
68
Creatinga mezzanine
or overhang
Grid 1 (seep.82) allows the study of a more complicated conversion, to take advantage of extra
space that has just been created at the end of a
room.
,l
I
.l
8EtrOP.,E
It,
cvrurnv(wwLua:l^alVns vis,nnlise
rlnzr,tw tl4ot.
Tl"i wasrcr vi,:i.th,
w"thz frrr lsroL.
rfu puvqht d rhtrerwttwn:a phrftrmrn rlte
Wzuttu*u€fhtr ani a Jfakvnil/khkr, f lq lnr
0nrl^rlett Ltft ttly, tur wdlk ,l,l4y tailr wt
fy rlv pkt'vrn,N€pn\ffr{ rfurf'ftorff rlu
f^F,rt tMztau)'1,€,
r^/!wa7
Jftuttl,4t't rf rfu |kffirw, ft avhJd,er
thzb vumL twv4of wv44.(rwnL.
69
Theobhouevie
T h i sv i e wi s a t s oc a L [ epde r s p e c t i vwei t ht w ov a n i s h i n g
p o i n t sb, u t d o n ' tw o r r y :t h e d r a w i n gi s q u i t es i m i [ a tr o
t h ef r o n t a l v i e w .
l::1'r-1
,fr."a_
'f.,--.
I
l
r fu runfh,l,col
vutswtclr*
t
i
nry
&ortlatw ft tccth.t
wol,uf',aatuw:
t/'wc rtll havea
yrtrctyal varukta ynnr (hzre
prz) an*lur vaul,+nqyrtrr
qllcari owrlv hfl - ee,.
The view here has already been shown on page
66, in'how to deal with an irregular shaped space'.
Flere, our gaze is slightly turned towards the left. In
this view, the left-hand parts of the room seem further away from the centre. They thus seem smaller
and this perception is most marked on the vertrcal, the left-hand angle. The two lines of the panel
at the end, at ground level and at the junction
with the ceiling, now seem to converge towards a
vanishing point PF1. In a frontal view these lines
were parallel; now they are convergent. And they
are still parallel in realiryl This is an application of
the fundamental principle of perspective: objects
further away seem smaller to us.
70
'fhe
rigorous construction of this kind of perspective necessitatesa ground plan, an elevation
or a section and a geometric device which is a
little complicated and whrch is not shown here.
Nowadays, in professionalpractice this classicperspective is done by computer (seep,80).
Using the oblique view here starts with a
sketch of the ground plan of your interior space
or an imaginary space,in which the first elements
are placed by guesswork. It's what we call in the
following pages'building by eye'.We also use some.
tricks of the trade which are enough to obtain a
good result.
Here too, the grids enable you to make some
sketches (seep 86)
\
"1.,
t;
71
Desiglr-rlr-rg
a roonfrby eye
To desinn hv eve fotlow the
a p p r o a cshu g g e s t ehde r e s: e t t i n g
t h e b o u n d a r i e s , P t a c i n gt h e h o r i z o n
p o s i t i o n i nt hge h o r i z o an n dd r a w i n g
i n t h e p r i n c i p a[ r[ n e s .
The horizon, as you know, is at eye level.To posrtion it weil, aim for a point that you are certain
is at eye level, then measure it, remembering that
the eye level of someone standing h 1.5-1.6 metres
high, and 1 metre for someone sitting down. Aim
for this point and mentally trace the horizontal line
that passesthrough it. Imagine drawing a red line
on the wall at this height.That's the horizon exactry
(so long as you don'r change height!).When you
are drawing, think of putting the horizon, according to the composition you want.
r/<t krexwa rf t'l"ct*n varuhug yrwm are
(9o"
TtryenT',b"1,ar ) Yw o4lvJ€{l,ut'vrtwntfrrt^uu
vwtl.',estdzsqh/, ql'aad,:yn olnteffcr tt ol.qusa
4.wrz,
wdzrqft argLe,nsug a Ltttlzg^+s*vr!r/u bn<vr" wrhz ,wyn
Lsnt- gu l,evtL,
t^r vn rl'z
S e t t i n gt h e b o u n d a r i e s
Mark out the boundaries of the spaceyou want to
show and study:left, right, above and in front of
you.ty to avoid too wide an angle - 90" is about
the widest angle that our eyes can take in. For the
record, an angle of 75" corresponds in photography to an objective with a focus of 24mrn, i.e. a
very wide angle.
72
lU( L(i ar thal"Al,o.yry-^..-ri
oluusc,aoorrd,tlg tt wl^aiJt
w4.hi.tr J
. eutral/y,
tf u anuy,/,fl4 wrLdAz,
H o wd o y o up l a c et h e h o r i z o ni n t h e d r a w i n g ?
uyward,t,
rhahorer,*ll tz qr rta txt"n
fyw arcLovkug
vfdu ygz
P l a c i n gt h e a n g l e sa n dt h e l i n eo f t h e
ceiling
f
I
I
fl* arcd.rawu11
fwrnt"ftN4r flwr hvel,du krawwdl k l,rryl,ry fu lflt.
fNvratl'ar uf.y* arc lwl,i4qcrwrThe,ly
nywartl,t
6yLsNwarrh,yraN ol,a:y7trg
r1,,4
Lu'l rlt'vuw- wl willt+tanst
rht hnr, w p, ?e,)
I l,t lwt at,Trvwlhvclart rf.runhdi,cwty
'lt^rtuf^ry,tt u nitr fv I,tluat fh,emrnoe,ts*
l,avcy^t tn rl,r wrrbalt nf rlv oor*, ^rlla
aw|,rl,,elqrwrcnhrf rh4qLlt*tq.
When you are standing in a room, the most
obvious lines are the vertical lines of the corners
and the horizontals which mark our the ceiling,
like the cornices. Draw these three (or five) lines,
being careful with the horizontals of the ceiling,
for you still don't know their vanishing point.
73
point
P t a c i n gt h e v a n i s h i n g
Now is the moment to put in vanishing points, to
left and right. One often feels it would be easy to
place them by eye, directly. Experience teaches that
this impression is wrong, and leads to mistakes.
What I am giving here is an absolutely reliable way
of placing the vanishing point:
tlavug wvrL2d,
wt'*hlbh h,nz:yo* q.rc^JrlV ft fihl,
rhz varu;h"ryyrr,nt,firn (hzvrtznt-q(wr,
rwwr,
vf t'lw l.,"wsrlrg havea d,rectww
Lt'vrh,a
^l'iplLd.'py
ara
all
azfi**".
ft
yarailzL,
fu
\\\\%
Take a pencil and hold it horizontal, parallel to
the lines where you are looking for the vanishing
point.Think of the lines behind you - on the floor
or carpet under your feet, or under the furniture which are often parallel to the first vanishing lines.
Now think of the line from your eye which is
going in the same direction. It's one of the family
of lines for which you are searching the vanishing
point. Ifyou are looking in this direction you are
aiming at the vanishing point.
Bring up the pencil to your eye, without changing direction, as if it were a blowpipe with which
you are sending a dart towards the point.The point
you are aiming at is the vanishing point.
You will probably be surprised to see that the
point is not at all where you would have placed
it by guesswork, but still further. You will also
see that using guesswork you don't put it at the
right height on the horizon, but a little above.
'sees'
Generally speaking, one
the horizon a little
too high.
flavurg wrrLzd'wrt t-lw van+:hug
/rtnt,JlvL rww tn4yww fhqr, ns wt,t'h
4rc,Jra7 ft f^t 4
rlv, hraw,yw
red,yr,arlpvwrh,ewall wurl, alv a:rl,N
1nr wharxt( Jutrut tt tz. Tl"enyrw
t^t4J(lW ,r rh' 14fff, nv rlz h+rWn
alrtnfudrnwru
74
p o i n ti s n o t o n t h e p a p e r
l f t h ev a n i s h i n g
Very often the vanishing point is outside the com*
position, and so outside the drawing, or even the
sheet of paper. But that doesn't mean outside your
vision, even ifyou have to turn your head slighdy
to the side. Nevertheless, in so doing you are changing the line of sight and the drawing. In this case
you have to be able to draw the lines without
the vanishing point. In general we get by using
guesswork, but I am going to show you a trick
for making another vanishing line, or at least for
checking that your drawing is not too inaccurate.
'rHe
crA17t oF coNtTzvcT-ioN
, lfarf wLtlLa vahuhu4 l,ttu,F 4h.d,thz \tttzslL F, lt
d,rawanth.er vatulwg ti*v, frcn:rw yratt A, d.raw
wlu"oh
rl,a vertpaLL1*ta
yasu rhro41l"a.
z Dr4wa.scoml,vt
I Lu"z,rhewerccnl, tt
a rzxargh uLft,rcleatwt,
4 Draw AB whiol" orffi{l thu wd,nn
la^t f fln ruoralgh,
r oraw thz,vawl, da"g,rnaL
[u^t
I t\.Lt
srvl *ttw ^ vltxo^l htv h"w
I onw du l4l*h
fftr" dq ^t'llh f d'4 F!firgh 4r Fl,4Ftt* f t*t".
iler1rfttfdv @l*h,
6 Fwth rl,,cttwt 'orwn fujvuurg A an/,A'
75
T \ ' f f
I
I
I
DITIEIENI OOllqU-OV1EWS
W o r kw i t ht r a c i n gp a p e ro, r p a p e rt h i ne n o u g ht o s e et h e m a r k i n g su n d e r n e a t T
h .h et h r e ee x a m p l essh o w
h o wd i f f e r e nvti e w so f a r o o mc a nb e m a d eu s i n gr e a d y - m a dger i d s g
, i v i n ga c o r n e rv i e w t, h e
v a n i s h i nI qi n e sa n dt h ed i m e n s i o n s .
rhz argLevf rhzgrd, otresyvnl,s
tt rlnz
ovrnzrrf rhr rwyw.Awarolrugyl.,atfuz*
nada ft lzad,thrn'gl, ft qqd+arrwm.
'. EU
76
rhz arylz rf t-lwgrtd,4 rca$rloasturc
ortnrtd,to rl,e hfr
z Egmd,d^zarylerf dvgnn 4,r(qrr
hal tuw crcqrzd,
rc tlu lCt anl,qrzrtrzd
ft rhz ta,ak-
Taklngouta partition
watl
'l'lris
s l r o w ts; t k i t r g r r rI rpt r l t i t i t r rw
r r r liln l b c d r o o u r .
W t ' t l t u r l r c t h c s p l r ' cg r r i r r ewdl r e r rt l r ct w o r o o r l l s
i t l e. j o i t r c t A
l , t ' o t ' r t ci t l u s [ r c r ' nk c p t .r u l l k i r r gt h e
r r l r,l j o i r rb t r w e e r ft l t c t w o r ' c i l i r r g s .
.--1r
t
t
,\,
it 1
i
I
A vlow frorrrabovo
I
U n t i In o ww e h a v ea t w a y a
s ssumed
a h o r i z o n t av Ii e w a
, l L o w i nugs t o s e e
r e a I v e r t i c a[ i[n e sa n dd r a wp a r a t | . ea| 'nsdv e r t i c a l sT.h i si s t h ev i e wt h a t
c o r r e s p o n tdost h e m o s tu s u a t s i t u a t i ao n ds i m p l i f i edsr a w i n g
inperspect
l f t h es i g h t[ i n ei s c h a n g eddr a m a t i c a LuLpyo,r d o w n t, h ev i e wi s
transformed
H.o wd o e ct ,h o n o r c n a r - t jcyhea n g ew h e nt h ev i e wi s n o t
h ori z on t a[ ?
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78
v t €^ t .
anda hrgh-angle
view
W i t ht h e h i g h - a n g L
v iee w t, h e e f f e c its e x a c t Lt h
y e s a m eu p w a r d s .
T h ed r a w i n gs h o w st h e s a m ep r o g r e s s t o n .
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hru(lvre tr i a,'tafizrhz bnwwg.)
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Drawtngon the connputer
Next, go up the tool palette and click on square 2.
Click on the screen,slide across,then click again to
let go.You have drawn a rectangle.
T h e r ea r e n u m e r o uds r a w i n ga i d sa v a i L a b lees, p e c i a l f. ol .rys t u d y i n ign t e r i o r
s n dt h e nt r a c ea n o u t L i noef t h e
d e s i g n0. n ew a yi s t o t a k es o m ep h o t o a
p l a n n em
d o d i f i c a t i o nHse. r ei s a n o t h e r w at yh a ta t l o w ys o ut o v i s u a I i syeo u r
i n t e r i oirn 3 D ,b ym a k i n ga m o d e oL n t h ec o m p u t e r .
SketchUp
Firststeps
This is a modelling software program for Macs or
PCs, perhaps the most impressive and user-frien-
Start by exploring thc diflt'rcrrt
menus. Later, you clrrr corrsrrlt
the help and dowrrloltl tlrc
instruction videos.Yru will scc
the ground, bounded by rrxcs,tlrc
dly, used by thousands ofstudents and professionais
alike.And what's more, itt free.Tap Sketchup into
your search engine and fo11ow the instructions.
Download the free version and start.
Exp[oration
You are presentedwith talking icons, and many aids
are available.We show here a smail, simple example
to show you what it can do, but remember that rn
spite of its apparent simplicity it is in facr extremely sophisticated.You can make a model, modify
it, view it from every angle, add colours and materials, study shadows according to time and place,
etc.The online aids are very good - they will help
you savea lot of time and discover possibilitiesyou
misht not other-wise know about.
Now click on square 3 - the cursor become a little
block with an arrow. Go back to the rectangle
which becomes greyish, click on it and then, holding down the button, slide towards the top - a
miraclel
menu bar and the palcttc of it'orrs
opposite (if not, unclcr l)isplly,
choose tools).Here is how to rrst'
them for the first tinrc:
Click on 1 (at the bottonr) rrrrtl
then on the screen, :rrrd tlrcrr,
holding down the nrousc lrtrttorr
you can move about youl sl)il('c.
The little hand enablcs yorr to
move things sideways.Ytxr lcuvt'
a tool by clicking on thc sprrc'c
bar or on the black arrow ut thc
top of the palette.
For more fun click on the little box opposite (in
the menus at the top) or go toWindows, Shadows,
click on'apply shadows'- another miracle.
These exercises will show you how SketchUp
works.You won't have understood everything, and
you need severalhours to get used ot it. (Start by
printing the'memento'in the Help menu.)
80
Makinga modelfor your projects
When you have grasped the main principles,
especiallythe possibilityof grouping elementsor
objects and stipulatingtheir dimensions(seethe
little box below to the right ofthe screen)you can
Lrsethe sofrwarefor various tasks,seeingthe result
nlore or lesscomolete and realistic.
rla yLrntrx5 vywLft, :k* rhz or(4(wv vf 4rv
(su
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pHoro.
pro1
Gndsfor tsonnetnc
ectlons
You can use the grids by means of a scanner and
printer, or photocopier.The lines are thick so that
they show up under tracing paper or a 60gm paper.
The two grids show the different angles, which
you will recognise. If you slide them under your
paper, they will give you the main outlines.
The dotted horizontal lines are the markers.
Starting from the bottom, they indicate rhe height
of a bench or chair, then that of a table The top
marker (on grid 2) indicates 2.5 metres, the standard height of a ceiling.
The squaresare assumedto be 1 metre (grid 2),
but you can use them as 50cm (grid 1) or any other
m e r \ u r e w h i c h s u i t sy o u .
82
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Drawingfor lnteriorDesignersis a practicalguideaimedat helpingbuddlngInterlor
designerslearnhow to draw professional
lookinginteriordesigns.lt ls accesslble,
beautifully
illustrated
and practical.
Guidance
is givenon drawingperspectlve,
floor
plans,drawingfurnitureand renditions
of rooms.Fittedwith sketches
and drawlngs,
this is the idealguideto producing
successfuI
handdrawings
of interiordeslgns.
GillesRoninis anarchitect
andlecturer
at theSchoolof Architecture
at ParlsMalaquis.
rsBN978-1-4081-zggr-g
fl4.99
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il[t[ti
t[lit
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