![]() ![]() Be careful to select only the faces and not their corresponding edges. Next, shift and single click to select the three faces all adjacent to one another that you can see, which are the front, top and left faces of the box. Zoom in and rotate your view so that you are looking down and towards the positive X and Y axes. ![]() Starting at the origin, extrude a cube of whatever size and units are easy to see in your model, say 10 x 10 x 10. In SketchUp the object can be used to dial in exactly the location, date and time required to cast perfect aligned shadows.Ĭreating the box in SketchUp is simple. In it, Martin illustrated the use of a simple cube-shaped “shadow box” to determine where shadows should be drawn. Leslie Martin’s 1952 book, Architectural Graphics. The solution is to use a technique from traditional drafting as described in C. The same technique may also be used to give depth clues in section study as shown in Figure 4.įigure 4: Simple floor plan study using section cut & shadows cast by vertical wall elements. The length of the shadow gives a good indication of the size of the object as well. With this classic orientation, a shadow that appears at 45 degrees on the building’s face now reflects an object’s edge protruding orthogonally from it. To develop these two images I used a parallel projection in SketchUp with my view aligned to the building’s front, and the shadows set to cast precisely from 45 degrees to the right and 45 degrees above the ground. This technique is particularly effective at showing-off historic buildings such as Portland’s 1913 Gas and Coke Company Building (Figure 2), however, it also works for modern, low relief buildings like Portland’s twelve west by ZGF Architects (Figure 3). I love how traditional architectural elevations rendered in the Beaux Arts style provided shadows showing the depth and relief of the façade. ![]() It is my inner mathematician colliding with my inner architect. In this tutorial Brian takes us through the steps he uses to align the sun. He used the SketchUp renderings of the Portland Gas & Coke and twelve west buildings to create a series of fine art prints. As an artist, Brian’s primary medium has been printmaking. He has a passion for where, when and how the sun enters a space. He has a PhD in Computer Science from the University of Washington, and a Master of Architecture degree from the University of Oregon. Brian Lockyear is a computational designer in Portland, Oregon, using and developing sustainable design tools for architecture. ![]()
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