Aerie. (1995) Artist/Designer: Samuel Ringman. Watercolor, each: 15.3cm 15.3cm Of this exploratative design development series, Ringman writes, "A house is framed against the sky to dramatize its ability to respond to the ever-changing conditions of season and climate." The framework of the house is a structural grid upon which panels of glass or solid material can be moved at the discretion of the occupants or the dictates of weather.
Proposed Performing Arts Center, London. (1992) T.W. Schaller. Watercolor, 56cm 56cm An intentionally "claustrophobic" composition was selected for this work to emphasize the constraint imposed by the design response to a dense, urban site.
Ho Am Art Museum, Kyung Gi-Do, Korea. (1993) Artist/Designer: Peter Huf. Architect: Kyu Sung Woo, in collaboration with Chris Haff. Computer drawing. The superimposed section provides the viewer with visual clues as to questions of form and scale without obscuring the representation of the roof structurethe real message of this arresting image.
Mnemotech Center. International Ideas Competition, Vittorito, Abruzi, Italy. (1993) Artist/Designer: Gordon Grice OAA, MRAIC. Architect: Mragna Architect, Inc. Ink on mylar and pencil crayon on cronaflex, 66.6cm 46.1cm The simple, fluid drawn line as languagethat of the written word as well as the visual imageis both the message and the artistic impetus of this compelling work.
Untitled (1972) Aldo Rossi. Mixed media, 43cm 40cm Though at first glance, this work may appear deceptively "childlike" in its straightforward presentation of simple form, there is a more complex story hidden in the intentionally divisive composition and the conflict that is subsequently established with other representational ele
Animal. (1975) Cathie Scholl. Ink, 19.5cm 19.5cm The line perfectly describes objects by definin borders; what is in, what is out. In this case, the animal's lunch is allowed to emphasize the "inness" of the creature's contour.
Ball Field, (1986) Nathan T. Schaller. Crayon, 78cm 117cm The idea of "field" was essential here and the artist allowed it to assume the appropriate level of visual and compositional importance by completely filling the page.
Concept Sketches: Proposed Book. (1992) David Sylvester. Pencil, each: 23.4cm 23.4cm This artist is remarkably facile at imagining space in unexpected ways; in this case we see various views of a kitchen's refrigerator from a curious insect's perspective as well as an ethereal moonscape as seen by a mothall the more striking for its unusual composition and simplicity of concept.
Forty Story Building. (1988) Adam R. Decker. Marker, 30.7cm 23cm Despite any apparent abstraction, it is in fact conceptual representationalism at work here; the "fortyness" of the building acts as controlling inspirational factor.
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