04 Pres Shadow

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Architectural Presentations

Session 4 - Shadows

Assignment due:

Color handout completed and Playhouse model built

During class time today work on 3 different color schemes for your project - make a print and do different color schemes on the print. The schemes must be able to be categorized as one of the ones discussed in class.

Michael DoyleColor DrawingVan Nostrum Reinhold 1981, p. 280-281

When complete, we will select the best one. This scheme will be the one you’ll use on your final project.

Michael DoyleColor DrawingVan Nostrum Reinhold 1981, p. 281

There should be a dominant hue, value and chroma for the scheme to work best. To liven it up have subordinate elements create tension. This contrasting element can be hue (green-red), value (light-dark) or chroma (rich yellow,-dull yellow).

Use a board underneath so the color doesn’t bleed through.

Lay down the colors in parallel lines in the direction of the material you are representing.

Color on the floor plan usually works best with monochromatic/neutral schemes.

Exterior elevations usually will be rendered more realistically. Try to mimic actual colors.

We will use this scheme in your final presentation. Write down the pen numbers so you can do the colors on the final scheme.

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During class today you need to show me the model and we will have to digitally photograph it.

The photo will be included on your presentation.

Today we’re going to look at shades & shadows -especially in elevation views. As always there are standards. This is not for actual shadows but suggested shadows. It is a standard.

Home Planner MagazineSummer 1996, p.44

If we want true shadow lines we would need to know the inclination of the sun during summer, winter and spring/fall equinoxes. We would need to know the orientation of the building as well. Some CAD programs can generate this. Some cities require this in every project.

Ramsey/SleeperArchitectural Graphic StandardsJohn Wiley & Sons 1994, p.407 & 409

Shadow StandardsImagine a point of light traveling through a cube of space. The light is going from corner to corner. If we were looking at it in elevation view, it would look like a 45 degree line going from top right to bottom left. If looking in plan view, it would look like a 45 degree line going from bottom right to top left.

Muller, Fausett, & GrauArchitectural Drawing & Light ConstructionPrentice Hall 2002, p.544 (altered)

Most plan book would have this type of casting. Notice that they are just elevation drawings with shadows put on. We could never see the building like this. There would be perspective in real life! But it is a quick way to show depth. This is what we’ll be doing with our projects.

Home Planner MagazineSummer 1996, p.44 & 45

To cast shadows, imagine a point of light traveling across the object (45 degree in plan and elevation). If the point of light is stopped, a shadow will be created. We then use our geometric principals to construct the shadow. The points of light that areimportant are those on the edge.

Muller, Fausett, & GrauArchitectural Drawing & Light ConstructionPrentice Hall 2002, p.207

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The plan & elevation can create the correct shadow. Imagine casting the shadow of the first triangle, then the second and connecting the points.


Although this is a “suggestive” technique, you can test it out on a model and a lamp. Put the light 45 degrees from the model and look at it. The correct standard shadows will form. You can also see what real sunlight will do by orienting a model of the project near the site location on a sunny day. To get the full effect you must go out during the equinoxes in a 6-9 month cycle (winter, spring or fall, summer).

The shadows of complex objects are the sum of the shadows of simple shapes. When creating shadows of complex objects –break them down to simple shapes.

Jules Chiavaroli, AIA, NCARBAEC Drafting FundamentalsWest Publishing Company 1994, p.124

The length of a shadow is the height of the shape. Cast the shadow line 45°in plan and elevation.


The shape of a shadow is dependant on the surface it falls.

Jules Chiavaroli, AIA, NCARBAEC Drafting FundamentalsWest Publishing Company 1994, p.125-126

Sometimes shadows don’t always hit a surface. For example, the shadow that falls off the edge of the building - where did it go?


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An example of how shadow falls on an angled plane. You use the same technique. Work in plan as well as side elevation to get the full image.


Look at Shadow Worksheet of cabin. We will be casting a shadow on our project elevation views to make it look real. This handout will give you some basics. Let’s add shadow to the south elevation. To set up place plan above elevation.

Step 1 Cast 45°lines on plan and elevation.

Step 2Bring lines down from plan to elevation.

Step 3Connect lines at intersections.

Step 4Clean up connections.

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Step 5Look at details.

Step 6Add small shadow lines.

Step 7Shade without covering up lines below.

What a difference shadows make!

Compare hand-drawn shadows with model

Now it is your turn to do the other three elevations. The East elevation is tricky because you need to use the same technique as discussed earlier.


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When done with the exercise - we will check with model of cabin. NO looking at model till all done!

Use CAD and create a separate shadow layer (red), use an open hatch (user defined, 45°, 1”) to fill shadow area. Then begin to cast a shadow using the same techniques in our handout.

Assignment List

By end of class period:- Have 3 color schemes for the Playhouse- Photograph Playhouse model- Shadows cast on handout

By beginning of next class period:- Shadows cast on 4 elevations of the

Playhouse- Bring drafting tools

Documents

04 Pres Shadow