LANGUAGE OF VISION

KYLE S. SHEPPARD

CONTENTS

ELEVATION

NARRATIVE

PERSPECTIVE

SPECULATIVE

SITE MAP

SECTION

CONCLUSION

BIBLIOGRAPHY

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ELEVATION

Sketching context is under-standing context. Elevations can be fairly stale when com-pared to other architectural drawings; however, this does not mean that there is nothing to be learned. The elevation plays the role in understand-ing scale and the relationships of scales in context (environ-ment, both built and natural).

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Broken down, this elevation consists of layers that form a final product. The importance of the assignment is to learn the role of each layer in order to choreograph a final product.

These layers are arbitrary, lacking a personal touch and reason aside from the reason of completing an assignment. By understanding the ideas of Paul Klee, in the book PEDA-GOGICAL SKETCHBOOK, comparison of product and theory can effect future pro-ductions in a more meaningful way.

The theory of Paul Klee, when analyzing lines, gives purpose to lines and the forms created. These elevations are flat, however, forms are created by the active lines that form the perimeter. As described by Klee, “An active line, limited in its movement by fixed points” tells that story the boundaries of a sketched elevation. The fixed points shift the perimeter and create form that begins the story of an elevation.

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As all layered elements collide in a final orchistra of prod-uct, texture is an additional layer, informing the viewer. As Wassily Kandinsky stated in POINT AND LINE TO PLANE, “texture is a means to an end and it must be looked upon and as such so used.”

Texture must become it’’s own end while serving in the over-all composition. Every layer plays a role in the composi-tion, just as every instrument in an orchistra.

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In the narrative sketches, texture and line collide in a battle for attention. The bold fill of the texture overwhelms the product in an attempt to frame the path. Caution must be taken in the future to en-sure the narrative is balanced.

NARRATIVE

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The perspective sketch can be considered a specific nar-rative sketch. In this case, the beginning thoughts of a building are set to a sheet of paper where ideas can be-come physical manifestations

PERSPECTIVE

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“The term “Basic Plane” is understood to mean the mate-rial plane which is called to receive the content of the work of art.”

-Wassily Kandinsky

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The speculative narrative includes many layers of other assignments, compiled to produce a single work. The success is weighed by how the speculative sketch speaks within the layers of context.

The three speculative sketch-es to the left are light in nature and speak to the color tones of the context. In the future, the speculative sketch must read slightly louder than the context. This can be ac-complished while continuing a visual relationship to the context.

SPECULATIVE

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The site map is an example of how texture and color can pro-duce basic planes that speak towards a larger idea. The contrast between the canopy and built figures was an impor-tant idea that may have gone to far. The figures begin to distract the viewer which hides the main idea.

SITE MAP

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This revision of the site map depicts a more successful collaboration of texture and color that portrays a big idea. It is the absence of color that produces the texture of the canopy which can become must more than just a canopy. In an absence comes a view-ers sense of wonder. The absence must be framed or balanced to not discourage the observer from placing their own sense of worth to the work.

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The section drawing as a com-munication tool focus’ on the relationship of context and the ground plane. Textures are used to show the relationship of spaces as adjacencies in the intervention section. The contextual section uses more line work to show the relation-ship of scale to the interven-tion along the ground plane.

To much texture and color in the adjacency section can diffuses the success by overwhelming the main idea of how spaces are working in conjunction to one-another. This is different from the contextual section where more line work can generally mean more detail which, under normal circumstances, helps the section drawing tell a more detailed story.

SECTION

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Texture, line, plane, color, and point can all be utilized to produce a successful sketch. The success of the sketch is in how the elements are used as tools to tell the story.

With practice and failure, les-sons are learned that eventu-ally overcome and produce sketches that succeed in tell-ing a proper narrative based on an overall idea.

Although it is important to have an overall big idea when sketching, it is never a bad circumstance to arrive at a new idea. As long as the idea is understood through the sketch, success has been made.

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BIBLIOGRAPHY

Klee, Paul. Pedagogical Sketchbook. London: Faber and Faber, 1968. Print.

Pedagogical Sketchbook” is an investigation into the dynamic principles of visual arts. The book is considered an excellent exercise in modern art thinking, relating objects to physical and intellec-tual space concepts. The narrative of the book is composed in order of main ideas: Line and Structure, Dimension and Ballance, Gravitational Curve, followed by Kinetic and Chromatic Energy and finishing with drawings related to chromatic and thermo-dynamic.

The book will allow me to begin to think beyond the physical realm, while sketching, into a world of metaphysical and spiritual.

Kandinsky, Wassily, and Hilla Rebay. Point and Line to Plane. New York: Dover Publications, 1979. Print.

The point isthe most concise form; it is extension, form and color. A line is the product of force ap-plied in a given direction. A plane is the material surface on which the artist draws or paints; called the basic plane.

The book is an analysis of the geometric ele-ments that make up every painting - the point and the line. Kandinsky analyzed art to be from the point of view of their inner effect on the observer. Tonality plays a major role in communicating the inner effects of the observer through simple geo-metric elements.

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Dean, Andrea Oppenheimer., and Timothy Hursley. Rural Studio: Samuel Mockbee and an Architecture of Decency. New York: Princeton Architectural, 2002. Print.During a time of overwhelming prosperity and at-tention towards archtiecture and the starchitects that pave paths for the profession, the Rural Stu-dio is an educational experiment acting towards an alternative substance. The idea of hands-on experience in designing and building real objects using scavenged and reusable materials.

The ideas at play are also strong in the realm of sketches. Substance can ex-ist as materials can be scavenged from the memory or created as necessary.