🔴🔥How To Draw Perspective Of Stadium Design Concept - How To Draw The Colosseum In Perspective

 

🔴🔥How To Draw Perspective Of Stadium Design Concept - How To Draw The Colosseum In Perspective

🔴🔥How To Draw Perspective Of Stadium Design Concept - How To Draw The Colosseum In Perspective

**🔴🔥Freehand Drawing 101: How To Draw Perspective Of Stadium Design Concept - How To Draw The Colosseum In Perspective

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Essential Free Hand Drawing Exercise, Perspective Shades, and Shadows
**How To Draw Perspective of Stadium Design Concept

A decision that only the architect can take!

Architectural drawing is like photography: it is no good having a high-end, feature-packed camera if you lack the ability to compose images and capture the essence of the subject. Having the technology to generate preliminary architectural and design ideas does not necessarily mean that the final result will be convincing.

The choice of medium, be it 6B pencil, drawing pen, or watercolor brush, is no guarantee of good architecture, which demands a basic understanding of proportion, perspective, form, and color.

The ability to connect the eyes, mind, and hand when designing details, buildings, and cities also requires familiarity with a wide variety of architectural cultures, periods, and styles. It entails knowing, based on practical experience, that ideas build on one another, and -being able to absorb and develop traditions and use one’s own outlook and ideas to create distinctive buildings for clients that can be highly valued.

Such is the nature of architecture: it is very rarely created in a vacuum and is usually part of a context of variety and difference. Take away the sharp edges of architectural space, and you are left with nothing. The architect’s pen stroke brings it together and gives it form, which assumes an ability to imagine the space and give it proportion, structure, and beauty. Only the architect can make these decisions. Like all talents, architectural imagination and creativity are God-given but also born of practice and experience. People who have seen, understood, and adapted other people’s ideas are more easily able to come up with ideas of their own, drawing on a rich menu of visual and spatial ingredients. A person who uses drawing to explore the built environment sees its variety in a different light, and perhaps with greater respect than someone who can imagine nonexistent space only by donning 3D spectacles. Architecture and the art of drawing are inseparable – and people who are good at drawing usually make good architects.

What is beauty? 

A few years ago, a group of international researchers sought to unravel the mysteries of human beauty. They used state-of-the-art, totally impartial computer technology, and a huge dataset to establish once and for all why particular faces are perceived as beautiful, and whether beauty exists independently of ethnic, social, and cultural background; in other words, whether it can be calculated mathematically. The scientists input countless photos of faces from all over the world, each described by survey respondents as particularly beautiful, into a powerful computer. The resulting information, they believed, could be used to generate a face that would be recognized by any human being as possessing absolute beauty. But what the computer eventually spat out was a picture of an ordinary face, neither beautiful nor ugly, devoid of both life and character. It left most viewers cold. The accumulated data had created not superhuman beauty, but a statistically correct average.

But that is precisely what you would expect of a computer. Here, I want to examine the relevance of this anecdote to architectural beauty, and discuss whether drawing by hand, a skill fast disappearing from everyday practice, is one worth preserving. It would appear to be a relic of the past – but does that mean that computer-generated images are the future? Thanks to modern design and display software, the intention of this book may seem quaintly anachronistic. Would any architect today think of presenting a client with a building detail drawn in Indian ink, or a perspective in pencil?

Clients often expect designers to produce pixel-perfect images right from the beginning of the design process, looking not unlike photographs at first glance. And even before the ground is broken, a virtual idea has already acquired the authority of a tangible reality that serves as the benchmark during the construction process. Often, the client is disappointed because a detail bears no resemblance to the initial plan. Sometimes, poor-quality rendering ends up provoking a protracted legal dispute: was the balcony supposed to be made of reinforced concrete, or just brightly painted steel? Like it or not, the computer is a handy desktop tool, a creativity machine that translates the most outlandish fantasies into physically realizable, fully costed designs that can be altered at a click of a mouse. The resulting photorealistic printout gives form to an idea that has not really even taken shape in the architect’s own mind.

It is easy to forget that, for all its apparent creative talents, a computer is just a machine. The image that emerges from the printer is like that of the perfect face in the experiment, shaped by complex, soulless programs. Paradoxically, the tool we use in an attempt to make it look less soulless is also the computer. After all, animation means adding life and soul to an otherwise lifeless object, creating a realistic, perhaps even moving image using infallible, invisible, and incomprehensible computer code. The spaces inhabited by avatars in computer games are not greatly different from the standard CAD output used by architects to persuade developers, contractors, clients, and competition juries.

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