Tài liệu Mastering Revit Architecture 2008_ Part 13 pptx

In this chapter you’ll learn the following techniques: ◆ Using shadows for presentation purposes ◆ Creating quality presentation plans and sections ◆ Creating elevations that convey dept

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Chapter 12 Presenting Your Design

As design professionals, we are deeply rooted in the art of representation and expression Our drawings are not just communication methods, they gain personal expression at our hands: Color, contrast, light, and shadow are manipulated to give a drawing life and dramatic poise From the loose napkin sketch to the photorealistic rendering, we imbue our designs with a sense of purpose and intent This intent is a driving force in architecture and critical to its progression Without models and drawings that challenge the senses, that make us imagine the otherwise unimaginable, where would we be today? For a moment, consider the drawings of Piranesi, Boullée, Wright, Woods, and Hadid Each is distinct, thoughtful, evocative—at times utopian Consider your own practice and your techniques—your role in shaping the built environment

Think about how your drawings are interpreted, received, and understood How do they shape the evolution of a design? How have digital tools changed the way you present and evaluate a design? Keep these questions in the back of your mind as we move through this chapter Consider how the techniques we look at can help you, and also think of how you might push some bound-aries and extend your creativity using the tools available in Revit

You’ve seen with Revit that many traditional documentation drawing types are generated on the fly with little or no effort With a few clicks of the mouse, you can generate entire building sections and elevations A perspective view takes a few seconds to generate Revit does a fairly good job of producing these drawings, but it can’t fully replace the skill and decision-making pro-cess of an artist design intent and the message still need to be considered by the designer, despite the afforadaces provided by technology Knowing this, Revit provides some tools to help you make your drawings more legible and expressive If need be, you can export a drawing as vector lines (.dwg, pdf) or as pixels (.jpg, png, and so on) and further refined to meet your design requirements

In this chapter you’ll learn the following techniques:

◆ Using shadows for presentation purposes

◆ Creating quality presentation plans and sections

◆ Creating elevations that convey depth

◆ Creating quality rendered perspective views

Drawings with Shadows

Shadows tend to be used for two purposes: analytical (Figure 12.1) and expressive (Figure 12.2) For analysis, shadows are used to see how a building will be affected by its environment and real-world sun angles based on the location of the site This analytic use is explored in depth in Chapter 14 and

is covered here primarily to introduce the shadowing tools The expressive use of shadow, our

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396 CHAPTER 12 PRESENTING YOUR DESIGN

focus in this discussion of presentation issues, conveys depth in drawings and gives them more character; it may or may not be tied to real-world sun positions

Revit provides a tool for both use cases, and you’ll see how to use each of these The nice thing about shadows in Revit is that it’s easy to enable them, and voila!—shadows are there

Figure 12.1

Analytical use of shadows in a site plan shows the effect of buildings on their environment

Figure 12.2

A more expressive view using shadows in

a shaded view without edges

Images courtesy of Felipe Manrique Diaz

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DRAWINGS WITH SHADOWS 397

Analytical Drawings: Sun and Shadow Studies

Using shadows analytically allows you to see (and demonstrate) the effect of a building on its ronment and, likewise, the effect of the environment on your building Using real-world sun and building positions, you can evaluate the design impact on its surroundings You need to know whether the building will have a negative impact and make sure building codes are satisfied You’ll also want to see the effect of the sun on the building itself, to study light penetration and how other buildings will affect light and shadow Figure 12.1 showes a site plan view with shadows turned on

envi-To get accurate sun shadows, you need to establish where the building is on the planet, and the date and time that you wish to analyze For example, it’s common practice all over the world to represent the extreme sun angles at both the summer and winter solstices—both are provided in the default template Depending on the city you’re in, these angles vary based on the latitude and longitude In Revit, every project has a location that is defined in the Settings Manage Place And Locations dialog, which has a direct influence on sun position (Figure 12.3) In the Place tab, choose from a list of cities; the latitude and longitude are set for you automatically If you don’t find your city in the list, choose a nearby city, and then edit the latitude and longitude to match your location

Figure 12.3

Set your building location using the Manage Place And Locations dialog

You need to set your location only once in a project This will affect all sun angle calculations

To turn on shadows and see the effect of date, time, and location, choose the Shadows On option from the view controls at the bottom of any view:

Enabling Shadows

Shadows are view specific They appear in the view—but how are the shadows being drawn?

Where is the sun defined? To see how the light is being cast, you need to click the Advanced Model Graphics option (Figure 12.4) where all the shadow settings are defined, including a direct link back to the Manage Place And Locations dialog From this dialog, you can access the Sun And

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Shadows Settings, play with the brightness and darkness of the sun and shadows, and override houette edges

sil-Figure 12.4

The Advanced Model Graphics dialog

Sun and Shadow Settings

Clicking on the ellipsis button (…) next to the Sun And Shadows Settings opens a dialog where you set the angle of the sun For analytical views, choose meaningful times and dates Revit ships with the presets shown in Figure 12.5

Figure 12.5

The Sun And Shadows Settings dialog for still images

There are two methods for setting the sun angle: By Date, Time, and Place; and Directly Be ful in this dialog not to change the radio buttons for a given named setting—doing so could cause problems later For example, if you set Summer Solstice to a manually set azimuth and altitude that aren’t accurate, you can create misleading settings If you need to create a unique setting, duplicate

care-an existing setting and go from there, rather than editing the preset options Or, if you really intend

to change the setting, go ahead and rename it to an appropriate and meaningful name

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DRAWINGS WITH SHADOWS 399

Figure 12.6

Adjust intensity to get different graphic results

To apply different settings to the same type of view, you need to duplicate the view and apply different Sun settings using the Advanced Model Graphics dialog Be aware that Sun settings (shadows and intensity) are not retained when you duplicate views—you must manually set the Sun settings for each view you duplicate

Expressive Drawings with Shadows

When you use shadows expressively, the need for accurate lighting conditions is not as important

as the need to define consistent angles so that your drawings express depth Without shadows, a façade appears flat and difficult to interpret By adding shadows and setting them to be Relative To View, you can establish a shadow angle that suits your needs and reuse those settings for multiple views The default template includes two presets for this in the Sun And Shadows Settings dialog: Sunlight From Top Right and Sunlight From Top Left (Figure 12.7)

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High-Contrast Black and White Effects

Using Hidden Line display and increasing the shadows to 80–90 percent produces nice, contrast elevations As you can see in Figure 12.8, this is a great way to create visuals that will read from far away

high-Figure 12.8

High-contrast black and white elevation

Soft Shadows

For a softer appearance, try using a Shading view (without edges) and setting Shadows to

30 percent and Sun to 70 percent You’ll get a very even-colored, washed-out feel (Figure 12.9)

Shadows = 90%

Display mode = Hidden Line

model courtesy of Felipe Manrique Diaz

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COLOR-CODED PLANS AND SECTIONS 401

Color-Coded Plans and Sections

Color, when associated with a key, is an effective way to signify meaning In the context of tural expression, the use of color is often used to convey how space is used, or intended to be used With Revit,you can use color to differentiate one object from another to communicate ideas about usage, size, importance, and cost—to name a few By assigning parameter values to colors and pat-terns, you can quickly make views that show how a building is spatially organized (Figure 12.10) For example, you can create a department floor plan by assigning departments to all your rooms and then apply a color fill scheme to the view that changes the color of rooms based on what depart-ment they’re assigned to

architec-Sun = 70%

Shadow = 30%

Display mode = Shading

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Figure 12.10

Use color and parameters

to generate color-fill plans

To make a color-coded plan, first duplicate an existing plan view The colors are based on the room element, so you need to place rooms in the plan before you can create a room color scheme You can also create new area plans, and use area separation lines to divide space at a more macro scale, and then assign values to each area that can then be colored with a color fill scheme You can select any room and access its element properties All of the properties in the Identity group can be color-coded Using project parameters, you can also add custom parameters to rooms In the View Properties dialog of the plan view, you can assign a color-fill scheme to the view Clicking that parameter takes you to the Color Fill Schemes dialog, where you can set up various schemes What-ever is selected in that dialog is applied to the view, and the rooms become colored

Color Fill Schemes

Color fill schemes are applied to views on a per-view basis, and are exposed as an instance property

of plan and area plan views To access and create color fill schemes, choose Settings Color Fill Schemes (Figure 12.11), or you can get to the same dialog from the View Properties dialog In the resulting dialog, you see a list of schemes on the left and all the rules and colors for those schemes

on the right Each scheme colors one parameter and all its values For each unique value, a unique color and/or hatch pattern can be assigned For example, if you choose to color by name, the table fills with all the room names in the project and assigns a color to each Clicking the button in the Color column allows you to choose your own colors While Revit will create new colors for you automatically with each new value, you are free to define your own colors, and can even save these into a template for use in other projects

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graph-a view, use the Color Scheme Legend commgraph-and in the Drgraph-afting tgraph-ab of the Design bgraph-ar

The color-scheme legend allows you to edit its type properties to control the visibility of the title, swatch size, fonts, and color (Figure 12.12)

Figure 12.12

Color-scheme legend properties

Note that the order of the values in the legend coincides with the order set up in the Edit Color Scheme dialog The default behavior lists each entry alphabetically, but you’re free to change that

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by using the Move Up/Move Down buttons when a row is selected Doing so simultaneously updates the color-scheme legend:

Another important graphical control of the legend is the Values Displayed parameter This gives you the option to show only values in the legend that are also in the view (By View) In a project where the number of departments and room names can be large, and they aren’t used in all floor plans, this is a great way to focus the legend on what is important to that view Many designers do not want to display all the color swatches, but this is ultimately up to your own personal taste, and what the drawings are intended to convey Choosing the All option shows all values used in the project, whether used in the view or not

Creating Predefined Color Schemes

If you’ve created a list of room names, departments, and a carefully chosen color palette of colors that are likely to be reused in future projects, you can transfer the color scheme from project to project and into your office template This transfers all the values and colors, even if the project you’re transferring to doesn’t contain that value

Transferring Color Fill Schemes between Projects

In an existing project, you can add room names and departments and assign them colors in the Color Fill Schemedialog To reuse the same values and colors from the project in other projects, use the following strategy:

1. Open the source project, and then open the project into which you want to transfer

2. Choose File Transfer Project Standards Select Color Fill Schemes in the Select Items To Copy dialog:

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1. Open a section view

2. From the Drafting tab, choose the Filled Region tool (Revit’s definition for Hatch), and click the Region Properties button on the Design bar Select Edit/New, and then duplicate the type—give it a name like Transparent Fill Change the Fill Pattern setting to Solid Fill and Background to Transparent, and choose a color

3. In the view, create the filled region boundary by tracing model elements

4. Finish the sketch

5. Continue adding filled regions to the view If you don’t want to make a new type of region for each and every color you use, you can use element overrides to change the color of each region:

Creating Presentation Plans and Sections

Not all plans and sections end up as drawings full of dimensions, tags, notes, and layers of struction information Easy to read, graphically clean drawings are used all the time in marketing collateral, on project websites, in print magazines, for competition boards, and for client presenta-tions A great way to create presentation-quality plans and sections is to clear out most of the textual information and fill in walls, floor, and roofs with a solid fill when they’re cut This creates views that are easier to read and that convey solid and void effectively (Figure 12.14) With Revit, this kind of representation is a few clicks away, and the fill hatch is tied directly to the element You don’t need a paint-bucket tool or special hatch tool to get results

con-3. Values are transferred into the project You can then access the list of values from the room’sElement Properties dialog:

This saves you from having to manually retype all these commonly used values, and the colors will beconsistent from project to project

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Figure 12.13

Use transparent filled regions with solid color to color section views

Figure 12.14

Plan view with walls and columns filled with solid black

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There are two strategies for dealing with solid fill for elements that are cut: as a property of the element, or as a property of the view Each strategy has its own merits Let’s review the options:

Coarse Scale Fill Patterns

Walls, floors, roofs, ceilings, and columns all have a Coarse Scale Fill type parameter This allows you

to define how the element will appear when cut in the view if the view detail level is set to Coarse.

The downside is that the property is stored with each type, so making all walls have the same hatch requires you to edit every wall type—the same goes for floors and roofs And if you decide

to change the color of the fill, you have to again edit every type

Also, not all elements have this property For example, in-place family walls, floors, and roofs don’t have this parameter, so you’d have to go a separate route to get correct graphics if you chose

to use this type of element

Graphic Overrides and View Templates

The other way to think of this problem isn’t as a property of the element but as a property of the view that can be re-used in other views Think of a view as a multidimensional lens through which you look at the model Once you’ve set up the right lens, you can apply it to any number of views and get the right results using view templates We recommend this direction for graphic overrides,

as it makes for an easier way to deal with entire categories of elements For example, most Revit egories can have their cut pattern overridden with a hatch or solid fill If you go to the Visibility/Graphic Overrides dialog and select the Wall, Floor, Roof, and Column categories (by holding Ctrl with each row selection), you can then click the Fill Override button and apply a solid fill hatch (Figure 12.15) This applies to elements in your active view but isn’t stored with the element These overrides are stored on a per-view basis and are distinct from the Object Styles dialog

cat-Figure 12.15

Use pattern overrides

to apply a solid fill to categories

This view setting is great—but what if you want to apply the same graphics to other views? Follow these steps:

1. Once you have the overrides set up, choose View Create New View Template from View

2. Name the view Cut Overrides

3. Right-click the view name you want to apply the overrides to in the Project Browser, and choose Apply View Template Choose the View template you just created

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You need to be aware of one thing when you go this route: All parameters are applied to the view, including Scale, so be prepared to change Scale back Also, the view display style is affected,

so a view may jump from Shading with Edges to Hidden Line

Elevations That Convey Depth

Revit applies the same line style to all edges based on the cut or projection settings in the Object Styles dialog This can lead to elevations that appear flat and lack depth Strategies for dealing with this issue range from highly parametric to using lines and drafting right on the view In Figure 12.16, the Linework tool and some graphic overrides were used to punch out the building elements in the foreground and halftone elements in the background

Figure 12.16

Edges can be made thicker with the Linework tool

Linework

The Linework tool allows you to select a line style and then apply it to edges of the model as an override Any edge can be overridden by this tool in order to change the line’s graphic appearance When activated, the Type Selector displays a list of available line styles in your project:

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ELEVATIONS THAT CONVEY DEPTH 409

The cursor changes to a pencil and highlights edges of the model as you move the mouse around the view With each click, the override is applied to the edge This override is associated with the element; if you move the element, the linework moves with it The line style applies to the entire edge of an element by default, but this can be adjusted For example, if you need to make the diag-onal line of this wall with a thicker line style, you select the Linework tool, choose the Wide line style, and then pick the edge of the wall The line goes the entire length of the wall (Figure 12.17a) While still in the Linework command, click and drag the blue control dot to adjust the length of the Linework override (Figures 12.17b-c) Note that if you have your view set to thin line display, you will not see the effects of using linework

To re-edit the length of Linework, you need to activate the tool and then again pick the edge you’re concerned with The same blue controls appear, allowing you to adjust the length of the line

If you need to remove a Linework override, the same principle applies: Activate the tool, choose

By Category in the Type Selector, and then pick edges in the model that you don’t want overridden

Drafting Lines

The other way to punch out the elevation is to use drafting lines and draw directly over the model

in the view This means you are not changing the appearance of a line in a view but adding new lines on top of the model With this method, you also choose a line style, and you can even use the Pick tool to get the same behavior you would with the Linework tool The only difference is that the lines aren’t automatically associated with the element you draw on Depending on your workflow and where you are in the process, this may be the best way to create a final elevation drawing A nice benefit to this method is that you have access to all the familiar, time-saving tools such as Trim, Align, and Multi-select

C

Tiêu đề	Presenting Your Design
Trường học	University of Architecture
Chuyên ngành	Architecture
Thể loại	Học phần
Năm xuất bản	2007
Thành phố	Hanoi

Định dạng
Số trang	31
Dung lượng	1,85 MB