Proportion, like phronesis or ‘good judgment,’ has been made obsolete by the contemporary condition. Scales once relating our physical surrounds and technical ability are no longer indicative of the ways in which we live. The freedom with which we eschew logical rules of measure for unconventional angles and forms is emblematic of the ongoing technical revolution. There is a propensity to generate otherworldly aesthetics with little connection to historic references. It has become the modus operandi for technically derived production.
The modes of representation displayed here, as well as their object of reference, attempt to shed light on these tendencies. At the same time, they act as overlays to an otherwise traditional vernacular of architecture found throughout the rural southeast by instigating a critical questioning of our familiarity with form and function. The generation of projective geometric representation to describe the architectural rigor of the project serves to highlight the fitness of not only the orthography of its plan, section, and elevation, but also of the object for its site and surroundings.
There is an inherent stability in a drawn or printed image. In direct contrast with the speed and fleeting nature of constant stimulation, it allows a critical dissonance to resonate. Here, techniques of overlay and transposition articulate cohesion between orthographic and spatial generation. Light is used in varied capacities to lend voice to the architecture that it may reveal its narrative. A willful temporality is instilled in the architecture through its operations of light and shadow. The void of the physical form is an absence of substance. Simultaneously, it is a substantial absence, defining space for shadow - or the absence of light - to record the perceptual nuance of the structure and its intentional presence.