Rushton, Nan Michelle2014-03-142014-03-141998-09-02etd-11142005-193955http://hdl.handle.net/10919/35699This exploration is one artist's view of visual reasoning through the study of depth perception. The experiment searched for pre-architectural forms through an investigation of geometric rectangular shapes and planar figures in anticipation of finding architectural volumes, that is, three-dimensional objects. I used three parameters to observe: the expected or planned, the anticipated, and the unforeseen. The pre-architectural sketching style used the disciplines of painting, sculpture, graphic arts, color theory, optics, and photography to formulate an architectural language. First, as artist (painter), I selected the medium of light as the brushstroke, color as the pigment, and photographic film plane as the canvas to capture image abstractions. Second, I used one-point perspective as the viewer's line of sight. Finally, I employed a series of shape abstractions to form a succession of transparent sections that composed the subject matter. This experiment sought to analyze visual perception by capturing the spatial depth of images, that is, a reproduction of something sculptural in likeness. The challenge was to reintegrate the abstracted Rectangular Shapes and Planar Figures. In order to achieve this physical abstraction, I created a modified camera obscura. This exploration produced clearly defined images-as-products that were interpreted as pre-architectural forms, which allowed me to translate color abstractions into architectural form studies, or models-as-products. Thus, the experiment created architectural volumes using light and color in order to draw points, lines, planes, and spatial depth.In CopyrightLight DrawingHolographic StereogramDepth PerceptionLinear PerspectivePerspectiveVisualizationColor TheoryConceptualSchematic DesignPre-DesignVisual WorldThree-Dimensional SketchingVisual FieldPinhole CameraThesishttp://scholar.lib.vt.edu/theses/available/etd-11142005-193955/