Constructing the Orders

an image of the five orders, the Tuscan completely, and the rest only showing those parts covered in my instructions?

The steps I have come up with to form the classical orders in SketchUp all follow the same basic pattern of creating sectional profiles first, then turning the profiles into 3D elements, using a variety of different methods. However, these basic steps will be supplemented as each of the orders increases in complexity from the Tuscan to the Composite.

The simplicity of the Tuscan order provides an easy introduction to modeling an order in SketchUp, and allows both for the introduction of a number of different methods that can be used with all the orders, as well as practice in dealing with dimensions and forming moldings.

The Doric order introduces a greater level of complexity than the Tuscan, and also a greater need for extrapolation and interpretation on my part. There are several areas where Chambers does not provide the necessary information needed to construct an element (as with the soffit, for example), so please keep in mind that the below is not meant as a canonical version of Chambers’ Doric order. Where I find the need for extrapolation or interpretation I will point this out, and provide my solutions and sources if any, but you are free to come up with your own alternative solutions as you construct the order.

Just as the Doric is more complex than the Tuscan, the Ionic is more complex than the Doric. This results in even more need for extrapolation and interpretation, the primary issues here dealing with the volutes and bolsters, for which I feel neither Chambers nor any other authority provides enough detail for them to be recreated exactly as the authors might have intended. This is particularly illustrated with regard to the relationship between the volutes and bolsters with the ovolo. The following is therefore my interpretation of Chambers’ example, done to the best of my ability. As before, where interpretations are called for, I will try and explain what the issue is, what my solution was, and why I came up with the solution I did.

The Corinthian order is the most complex so far, and therefore has the most need for extrapolation and interpretation. The major issue with this order being the capital, with it’s foliate leaves and caulicoli formed around the bell-shaped core, as there is almost no way to describe these in enough detail to not require personal interpretation.

The Composite order is in one respect the most complex of all the orders, as it can combine elements from all the other orders. In the current context, however, it is simpler, as it builds off all the preceding orders in modeling methods, including the volutes of the Ionic and foliage of the Corinthian. Here, it is just bringing those methods together into one order.

Before we proceed, however, there are some things that I feel are important for you to know before continuing, so that you may gain the most from your experience reading this work, with the least misunderstanding or problems.

Things to Keep in Mind

The following explains how I use SketchUp while modeling, and some tips I utilize while doing so. While I don't require you to follow these principles, understanding them will help you tremendously in following the instructions further on in the work, as I make use of all of them as I describe how to model the orders.

My SketchUp Interface

The following settings I use in SketchUp are not required for you to use, but I believe are important to know before you go forward, so you can be aware of what I am looking at or working with on my own system.

I use the Architectural Design style with Extenson and Endpoints visible, the former set to two and the latter set to seven. I use these settings as it allows the endpoints of lines and arcs to show up, which makes it easier when modeling, either with being able to see segments when dividing lines or seeing multiple lines or arcs that you want to join together. If your style doesn’t have these settings applied, you can look at the section Creating and Editing a Style in the SketchUp Help system for information on changing these settings.

Modeling techniques to use with the work

The following list covers techniques I use and will follow in this work, so knowing them will help you in understanding the instructions used in this work.

SketchUp tips to use with the work

The following are just a few SketchUp specific tips I have found useful while modeling and encounter frequently, so knowing them now will save repeating them.

When creating molding profiles using equilateral triangles I strongly advise doubling the numbers of sides used by the construction arcs & circles, as otherwise there is a strong chance that the connections will not meet clearly, which will affect the resulting geometry.

When creating the molding profiles using construction lines outside the component, after you paste them into the component and delete the temporary diagonal lines the faces will be deleted as well; this can easily be remedied by simply drawing over an existing line, which will repair the geometry and recreate the face.

Frequently when creating faces they will be oriented the wrong way, so the front is facing reverse (you can tell as the color will not match the other faces); this can be remedied by right-clicking on the face and choosing reverse faces.

When preparing to turn a profile into a 3D element, it is convenient to use the Weld Extenson to join lines and arcs together so you don’t have unnecessary cleanup afterwards.

Methods for Constructing the Orders

Create Sectional Profiles

The starting point for the orders will be creating profiles, which are similar to sectional drawings, being a half of the order, it’s Centerline being on the Origin point along the Blue Axis, with the outline of it’s side pointing towards the Red Axis. These are formed from the basic SketchUp tools, with methods adapted from manual drafting for forming the various molding outlines.

The Pedestal will be separated into three profiles, one each for the Base, Die and Cap (the first and last as moldings that will wrap around the Die core). The minimal Column is separated into five profiles: two each for the base & capital (to separate their rectangular & cylindrical elements from each other) and one for the cylindrical shaft that lies between them. And the most basic Entablature is separated into three profiles, one each for the Architrave, Frieze and Cornice (the first and last as moldings that will wrap around the Frieze core, just like for the Pedestal).

To actually form them, you will simply follow the instructions for each order, combining straight lines with the various moldings illustrated in the earlier chapter Classical Moldings.

Create Standalone Components using Push/Pull

This is a rather simple SketchUp technique, that can be used for various parts of the orders.

  1. Open the profile component
  2. Select the top edge of the profile, and rotate/copy it 90 degrees clockwise, using the Centerline as the pivot point
  3. Now, select the face of the profile and use push/pull to bring it forward to the end of the rotated line
  4. Then, with the Push/Pull tool still active, press the Esc key to deselect the moved face, rotate to see the left face of the new cube, and double-click that face to bring it out the same distance as the last push/pull action, and repeat for the back face

Create Standalone Components using Push/Pull with Intersect & Rotate

This is similar to the previous method, but is used for complex profiles.

  1. In Iso view
  2. Open the component, then use the Push/Pull tool to pull the profile face out towards the front a distance greater than its width (the exact amount isn’t critical, just so it’s longer than it’s width)
  3. Now, select all, right-click, and make group
  4. Rotate/Copy the group 90 degrees clockwise, centered on the rear left corner or column Centerline
  5. Move the new group to the right on the Red Axis till its rear-left corner is on the column Centerline, aligned with the rear-left corner of the original group
  6. Select both groups, Right-click, and explode
  7. Select All, Right-click on the selection, and choose Intersect Faces With Selection
  8. Double-click on each of the two ‘profile faces’ that extend beyond the intersecting geometry and erase them, followed by the lines remaining from their sides (which should leave you with a corner of the final element)
  9. Select All, and Rotate/Copy the selection 90 degrees clockwise, centered on the column Centerline, then repeat 3 times (by immediately typing “x3” after the first Rotate/Copy)
  10. Turn on X-Ray view, and delete the edges and faces that bisect the component geometry (including the short Line running up the Centerline, along with the lines separating the side faces), then close the component, and turn off X-Ray view

Create Wedges for Cylindrical Components

In creating cylindrical components like columns, you can create either the entire cylinder at once, or create a group of pie-shaped wedges that together will form the cylinder. I favor the latter as it reduces geometry and is beneficial when creating fluting for the columns. The first step to turn a profile into a column, therefore, is to create the necessary wedges.

Since SketchUp approximates circles by using line segments, I find it works best when creating wedges that there be a half circle-segment on each side of the wedge, with a pair of segments in between. Thus each outer curve of the wedge will need three circle segments (the two whole plus the two half segments) per wedge.

In addition, you need to know how many wedges to create per column. I favor creating 20 wedges for the Tuscan & Doric columns, and 24 wedges for the Ionic, Corinthian & Composite columns, as this is the number of flutes conventionally given to the columns and thus convenient if you later want to apply fluting.

With the number of wedges known, you then need to know the number of degrees out of a circle needed to make each wedge. You can find this by dividing the circumference (360 degrees) by the number of wedges. So, using 20 wedges, you have 18 degrees (360 ÷ 20 = 18), half of which would be 9 degrees (which will be used in the steps below).

  1. With the component or group profile(s) you want to turn into a wedge visible
  2. In Iso view, draw a line, starting from the bottom-left of the base on the Centerline, going down a short distance on the Blue Axis
  3. Using the bottom endpoint of the line just drawn as your center, draw a circle (setting the number of segments as 60 sides) at a radius equal to the lower diameter, and aligned along the Red Axis
  4. Use the protractor tool to set a pair of diagonal guides on the face of the circle, using the circle center as the protractor center point, one at 9 degrees clockwise and one at 9 degrees counter-clockwise, both from the Red Axis directly under the profiles
  5. Draw a pair of lines, going from the center of the circle out along both diagonal guides, till they extend beyond the circle edge (creating the triangular shape of the wedge)
  6. Erase the circle outside of the triangular wedge, the two lines along the wedge sides, the short vertical line, as well as the guides, leaving just the arc itself
  7. Select the components/groups and rotate them 9 degrees counter-clockwise (with the Centerline as the center), so it is aligned with the endpoint of the arc for the wedge
  8. Select the arc of the wedge, and copy it into memory
  9. Open your component/group, Paste-in-Place, and use Follow-Me on the profile face to create the 3D wedge, erase the copied arc, and close the component
  10. Now repeat the same step for any additional components/groups (you don’t need to re-copy the arc as it should still be in memory)
  11. You can now erase the arc used for the wedges

Create Cylinders from Wedge Components

Once you have the wedges created, it’s time to turn them into a full cylinder, which involves simply rotating/copying the wedges, then cleaning them up a little before combining into a single component.

  1. Select the wedge components, activate the Rotate tool, tap the Ctrl or Cmd key to make copies, use the triangular point of the top left of the wedges or Centerline as your pivot point, and rotate/copy the components 18 degrees clockwise, then immediately type “x19” (to repeat the rotation 19 times, so you end up with 20 rotated wedges all told)
  2. With the original three components still selected, move/copy them out to the right so they are clear of the other geometry
  3. If you lose the selection, just move/copy one of each of the three components, it doesn’t matter which.
  4. Open each copied component, and double-click the front or closest side face of the wedge, right-click, and hide the face & edges, then double-click the other side face and do the same, then close & erase each copied component
  5. Now, you can select all the individual wedge components of each element and combine them into a single component

Wrap Molding Profiles around Core Components

This is the method I use for dealing with pedestals and entablatures that are standalone elements and which are formed of core elements and moldings. This allows the individual molding profiles to be saved externally so they could be used on a wall or building instead of a core, with any repeating elements (such as dentils or mutules in the cornice) then being Moved/Copied (or arrayed) down the needed length.

  1. Move the molding components backwards on the Green Axis so they are located at the back right corner of the core component
  2. Open each molding component, and draw a line, starting at the top of the molding and working around the frieze till you get back to your beginning (to create a path for Follow-Me to use), then select the lines just drawn
  3. Now activate the Follow-Me tool and click on the profile face to create the molding around the core, then close the component

Steps to Form the Orders

The way I go about forming the orders is fairly similar for them all, barring the individual differences between them, and the growing complexity of the orders as you progress from the Tuscan to the Composite. Below I will give a brief outline of the steps you will encounter in the next five chapters.

The steps to form the Tuscan column order will be:

The above steps will be used with the remaining orders, but with additional steps included as required due to the greater complexity of the other orders.

These additional steps will include:

The details of all of these steps will be covered in each chapter, as it applies to the different orders, as some will require more steps than others.