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latest update:  07/10/2008 02:22 PM

c o n c e p t u a l    f r a m e w o r k s

for graphic communication ...
 

L. A. Clement, Jr., JD, ASLA

© Lorn Clement College of Architecture, Planning and Design Kansas State University 2008

This page is outlines essential, useful ideas for graphic communication.  The list stems from books used in studio, and others that are out there are very informative.  See the recommended book list for studios. 

See generally a new book that will be required for fall 2008 LAR 220 design studios (in addition to the others):
Marc Treib, ed. Representing Landscape Architecture. New York: Taylor & Francis. SB 472 .T725 2008.

2-D Expression

Historically, landscape architects have used four key drawing systems (freehand or instrument/computer-aided) suited for different purposes (see Ching's many good books, Forseth, Lockard, Laseau's good books, Walker, Wang, White, etc.), which are now complemented by the perhaps less systematic mode of collage:

• diagramming
• orthographic projection (plan, section, elevation)
• paraline projection (isometric, dimetric, trimetric, plan oblique, elevation oblique)
• perspective sketching (one point, two point, as-many-as-you-need point, aerial, normal view)
• collage with photography, text, hand-drawn imagery, overlays, etc...

Line drawing

Considerations of line quality should be coupled with those concerning line hierarchy (darkness and width of line weight, depending on system and purpose; see Ching):

• primary: SPACE profile, spatial edge
• secondary: FORM object edge, forming planes visible
• tertiary: SURFACE texture

Value drawing:

Fundamental considerations:

• edge contrast
• gradations
• value arrangement (see The Ted Kautsky Pencil Book)

Color drawing

(See Doyle, Munsell); strategies (See Porter, Architectural Color):

... attachment to environment, context -- harmony

• pigment selection to blend with built or natural env't
• selection of hue, value, or chroma to diminish form by reduction of shine, or large or directional shapes
• regional palette (Lenclos)
• supergraphic camouflage to fragment scale/mass
• suggestion of other materials

... detachment from environment, context -- contrast

• target form against background
• define form, materials, edges (outline)
• define zones of activity or territory
• demarcate individual surfaces (facades)
• mark a progression 
• identify personality or status
• index components of form 
• color code or mark for physical safety and protection
• emotive purposes for mood, ambiance, atmosphere
• create a sense of place by traditional associations for architectural styles, elements, references to natural landscape components and their visual characteristics 

3-D / 4-D Expression

• physical models
• virtual reality models

Human Scale Figures

Why should we put human scale figures into our representations of landscape architecture?  A few reasons come to mind.  HSFs can indicate:

• scale relationships
• use and human behavior in the settings depicted
• visual overlaps that establish perspective depth
• a direction for the viewer's gaze, pointing perhaps
• where attention should be directed in terms of emphasis in the view
• other messages concerning social status or conditions in the setting

See Chapter 1 in Representing Landscape Architecture, esp. p. 29. 

Graphic design groups and firms addressing way finding in their work:

• Society for Environmental Graphic Design
• Biesek Design
• Cloud Gehshan Associates 
• Rolls, Barresi and Associates
• Mayer/Reed

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