People Matters
A study upon creating space in relation to people’s interactions and events
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A major study presented to the Department of Architecture, Oxford Brookes University in part fulfilment of the regulations for the Diploma in Architecture. Statement of Originality This major study is an original piece of work which is made available for copying with permission of the Head of the Department of Architecture. Signed …………………………………………………….. Eleftherios Kanakaris
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People Matters A study upon creating space in relation to people’s interactions and events
Eleftherios Kanakaris
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Acknowledgements I would like to thank my tutor Tonia Carless for her constant help provided in person as well as her tireless ability to reply readily to a large number of consecutive e-mails. Her mentoring is the main input I have had throughout this study and I am grateful for her ability to provide information regarding everything related to each of the shifts this study has experienced. Igea Troiani has been the inspirational reason for undertaking Major Study. I am grateful for a feeling of safety she has provided throughout this year as she was always there and willing to provide help for any issue. I am very thankful for her inspiring enthusiasm in architecture as part of life and not the opposite. The constant happy misunderstandings with her due to my inability to express myself, has made this study very frustrating in a funny way and will always put a smile on my face in the future. I should not forget to express my gratitude for our amazing field trip we have had in Paris thanks to her organising skills and her extremely entertaining presence.
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I owe a lot to my new close friends with whom I have had the privilege and the joy to study with and who were always available for bouncing ideas and for being supportive through stressful times. George Nearchou, Francesco Miniati, and Ileana Liaskoviti, thank you for sharing this trip in Major study with me. Gareth Leech thank you very much for proof reading as much as you could in such short notice. Many thanks go to my very close friend Chrysa Makri for her ability to inspire architectural thought and for her wonderful help throughout this year. I never forget to mention my cousin George Agianniotakis for his unusual and humorous genius and his ability to fill my heart just by being with him. I am also thankful to my family cousins and friends in Greece for their love and support. Mother and Father I am so thankful to you for being who you are and for supporting me in your own special way. Future is unpredictable but I sincerely hope you share it with me.
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Abstract People Matters is a study upon the possibilities of creating storytelling architecture by exploring the connection between human activities (events) and the physical space where they take place. Throughout this study, architecture is considered to be the amalgamation of two realms; the conceptual realm – a world of ideas - and the perceptual realm experienced through movement in the built environment. Event, movement and space become the vehicles for approaching each of those realms. Theoretical research and several design tasks both become the medium for approaching the subject. Two major parts constitute the process of this project in two semesters. Part One, “Towards a Graphic Novel Design”, sets the theoretical framework for exploring the link between architecture and emotion in representational forms. Models of sequential art become the main focus of study in order to learn from their techniques of incorporating time in the final output. Eventually, similar techniques could be applied for the production of an architectural design able to sentimentally connect with the user. Narratives and storytelling architectural drawings form the focal point at this stage. Ideas about linking the two realms of architecture – the conceptual realm and the perceptual experience of the physical space – through the production of storytelling design, establish themselves.
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Part Two, Riot Narratives, concerns the interweaving of the first part’s research into a design proposal. Deductions based on the previous research were drawn and eventually formed the methodology for the production of the design. In parallel, research on museums as places of strong narrative nature took place. Of particular interest was the relationship between the visitor and the exhibited objects that bear cultural meaning by nature or by careful arrangements inside the museum space. Principles regarding the explicit arrangement of objects in the physical space were taking into account for designing space that works as a narrator. Sequences of events became the ultimate inspiration and the director for creating space. This part of the project is intrigued by Tschumi’s concerns (during the revolution of the 1968) regarding the possibility of architecture to design socio-economic change. Present events of riots and demonstrations in Athens become the focus of this part due to their significance in transforming the social and political future of Greece and EU. An architectural proposal is finally made by storyboarding a significant event and it aims to respond to the general need of the people of Athens for a more Democratic environment.
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Contents Statement of Originality
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Title Page
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Aknowledgements
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Abstract
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Contents
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Introduction
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Part 1: Graphic Novel Design
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Chapter 1: The Story
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Chapter 2: Telling the Story
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Chapter 3: Architectural Narrative
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Chapter 4: Sequences
4.1: Sequential Theory
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4.2: Sequential Art
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4.3: Sequences in the Physical Space
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4.4: Storyboards in Architecture
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4.4.a: Storyboarding as a Way of Thinking
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4.4.b: Storyboarding as a Dialog Tool
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4.4.c: Storyboarding as a Journey Map or User Map
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4.4.d: Storyboarding Towards a Cinematographic Design
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Chapter 6: Design Tasks
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Part 2: Space Design
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Chapter 1: Narratives in the Physical Space
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Chapter 2: Museum Narratives
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2.1: Sir John Soane Museum
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2.2: Museum Acropolis
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2.3: Museum of Modern Art, New York
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Chapter 3: The Museum is the Centre of Athens
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Chapter 4: Environmental Trigger
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Chapter 5: Deductions
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Chapter 6: The Design
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6.1: The Event
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6.2: Storyboarding the Event
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6.3: Introduction to the Site
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6.4: Current State
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6.5: Proposal
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6.6: Conceptual Advantages of the Proposal
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6.7: Functional Advantages of the Proposal
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List of References
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Introduction 15
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Formulating the question The project initiated by the will to develop a story of fantasy and to represent it graphically. Interest in political, economic and social theories existed from the start and the story aspired to establish a critical content based on these theoretical premises and selfconcerns; Concerns such as the possibility of a dystopian future environment as a result of the rapid technology advancement. According to Marie-Laure Ryan in Narrative as Virtual Reality: “Once, the power to automatically capture and duplicate the world was the sole privilege of the mirror; now this power has been emulated by technological media—photography, movies, audio recordings, television, and computers—and the world is being filled by representations that share the virtuality of the specular image.” The appearance of the Virtual Reality as a tool used to generate virtual test models of the world bred concerns about the possibility of it being used as Baudrillard’s simulacra; what if Virtual Reality was used to deceive? Such was the nature of concerns which were aimed to be incorporated into the story of fantasy. Architecture would be integrated in the background to reflect upon the emotions of the characters and their interactions. What kind of architecture could be used to narrate the despair of the characters and what kind of architecture could be used to narrate their happiness?
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Simply, this project is about creating architecture able to narrate emotions. Thus, “People Matters” is directly connected with people and their interactions through a series of events in order to understand their emotional state which architecture is asked to reflect. It explores the ways in which carefully constructed spatial arrangements can communicate cultural and emotional messages to their viewers. The subtitle of the project “A study upon creating space in relation to people’s interactions and events” conveys exactly this. Conceptual and Perceptual For approaching the theme this study considers architecture as a composition of two major realms; the conceptual realm – a world of ideas – and the perceptual realm that involves the experience of the physical space. This means that the project will firstly make a sentimental approach to architecture through a world of fantasy, ideas and emotions. Eventually, based on this approach, deductions will inform the methodology of a design proposal in a physical context. “The relationship between the conceptual and the perceptual was discussed in the second half of the twentieth century as part of two powerful and interrelated oppositions: form and function, form and meaning. These binarisms arose as a reaction to the utopian visions of Modernism and its underlying assumptions that by manipulating building forms we can affect the ways in which we live in spaces, shifting the emphasis away from social performance to social meanings.” (Psarra 2009: 2)
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Psarra (2009: 3) mentions that the first architect who identified the conceptual and the perceptual aspects of architecture and argued that they are expressed through a dominant opposition was Bernard Tschumi. “On the one hand, architecture as a thing of the mind, a dematerialized or conceptual discipline with its typological and morphological variations, and on the other, architecture as an empirical event that concentrates on the senses, on the experience of space” (Tschumi 1999: 83). Tschumi suggests that the perceptual realm of architecture (‘the Labyrinth of experience’) and the conceptual aspects of it (or ‘Pyramid of concepts are interdependent and mutually exclusive. This is due to the fact that one cannot go outside the Labyrinth and see the whole. “Architecture constitutes the reality of experience while this reality gets in the way of the overall vision” (Tschumi 1999: 49). “People matters” is a study intrigued by this statement of Tschumi and will explore the possibilities, if any, of actually bridging the conceptual and the perceptual characteristics of architecture as a means for successful narrative in architecture - a better architectural outcome. A journey of explorations starts here that investigates concepts of narratives in representation and in the physical space, in order to create architecture that works as a storyteller; a physical space that captures its users by telling them stories and concepts beyond the physical.
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Part 1: Graphic Novel design
Creating space from fantasy by focusing on the characters and their interactions
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Chapter 1: The Story Two distant worlds meet. The highly developed technology world (Dectric) meets the primitive world (Eldene) at a place where there is perfect balance. People reside in both worlds but no one has shown any interest to live in the meeting point yet. It’s a fantasy project based on real concerns about how an ideal or happy life could be like. In the story there are plenty of characters each on one of the two worlds, each with their own beliefs. Some of them think are happy, some of them are happy and some of them are tortured in their everyday mentality. The project aimed to develop the story and represent it graphically. Questions were raised regarding the best fitted architectural backdrop to accommodate the characters of the story. The Eldene world would fit more to a utopian countryside whereas the Dectric would be an urban dystopia. In any case, the architectural backdrop needed to narrate the current emotions of the characters in every scene that would be drawn. From an extract of the story where two characters converse it is possible to understand that the main axis of this project had been the people.
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“you might feel like breaking a window because that’s your way of screaming to be loved. It feels nice for a moment, doesn’t it? But then it’s gone. And then what? Maybe drugs? Still it’s better than killing yourself. You will constantly be looking for something to replace this void in your heart. A substitute…” he said. “Substitutes are good. But when you experience the better, the good is worse. That’s what you need to find.” “…for you see, it’s not just about your feelings; it’s about exchange them. They need to be shared. You need someone to exercise your chance to love and to be loved. This is how love between two people flourishes. And this is how relationships eventually expand into forming a society. A lonely self is not a self at all. It’s purely an imaginative situation. You need another one to make you feel that you do exist.” Additional information regarding the story in its current state can be found in the file “The Story” and in the video “Two worlds meet” provided.
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Chapter 2: Telling the story Exploration of storytelling techniques is crucial in this study as it explores the mechanics and principles in passing a message. Similarly in architecture, the architect needs to pass a message through a specific proposal that bears meaning. This meaning needs to be successfully communicated to the user of the space in favour of linking the conceptual with the perceptual aspects of architecture. According to Will Eisner (1996), the act of telling a story can be found deep in the social behaviour of people in ancient and modern times. He claims that stories are used in social groups for various purposes such as discussing morals and values, teaching behaviour within the community or even for satisfying curiosity. They are able to dramatise social relations and problems of living and to express ideas or act out fantasies. Sequential paintings in the caves of Lascaux (estimated 17,300 years old) reveal the use of sequential art for storytelling purposes in the primitive times. The teller of stories in a clan or tribe, served as the teacher, entertainer and historian during the primitive times. Will Eisner (1996: 7) states: “The story form is a vehicle for conveying information in an easily absorbed manner. It can relate very abstract ideas, science, or unfamiliar concepts by the analogous use of familiar forms of phenomena.� It is in human nature the need of telling and absorbing stories as a means of communication. The first part of this study is interested in exploring how storytelling can be used through familiar forms of phenomena for communication in architecture. It is important then to understand the essence of narrative and where it enters architecture.
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Chapter 3: Architectural Narrative Sophia Psarra (1999: 2) claims that narrative is usually considered to be a form of representation bound with sequence, space and time. However, it can also be regarded “as structure, a particular way of combining parts to create a whole, or as narration, as the process or the activity of selecting arranging and rendering story material in order to achieve specific time-bound effects on a perceiver.” A narrative requires a narrator and a reader as architecture requires an architect and a viewer respectively. Therefore, a narrative cannot be reduced to the plot of a story that is narrated or to the particular way in which it is received by the reader. The nature of narrative also includes structure and the way in which the story is presented to an audience by an authorial entity, an architect, a film-maker or the curator of an exhibition. The relationship between narrative structure, perceptual experience and representation is the aspect of narrative that is most relevant to architecture and the subject of this part of the study. “Narrative enters architecture in many ways, from the conceptual messages it is made to stand for to the illustration of a design through models, drawings and other representational forms. This aspect of architectural expression, what the design speaks of, is relevant to narrative in representation. It concerns the semantic meanings of buildings and places, and the contribution of architecture to the expression of social and cultural messages.” (Psarra 1999: 2)
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Several design tasks are presented following the final chapters of the first part that take into account the principles of narratives in architecture. The design tasks’ purpose was to experiment with architectural representation forms for passing a message and for practically understanding the use of narratives in architectural representation. The question following the understanding of the narratives in architectural representation is what type of art or tools could be used for a more successful narrative? As mentioned before, narrative is a form of representation bound with sequence. Thus the design tasks will mainly focus on sequential art forms testing their ability to be used for architectural representation. Further study of theories regarding sequences in architecture mainly stated by Tschumi, follow.
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Chapter 4: Sequences 4.1 Sequential Theory As aforementioned, narrative is often connected with sequence and sequence introduces the dimension of time into the project. Due to this characteristic attributed to sequences, they allow sentimental connection with the project. Tschumi (1999: 161) claims that sequences have emotional value and provides the following example to support his claim; “Moretti, again, discussing St. Peter’s: “pressure (access doors), limited liberation (atrium), opposition (atrium walls), very short pressure (basilica doors), total liberation (transversal of nave), final contemplation (space of central system).” According to Tschumi (1999: 153) any architectural sequence includes or implies three aspects. The first, internal aspect is the method of work and the two external ones deal with the ‘juxtaposition of actual spaces’ and the “program (occurrences and events)”. This part of the study deals with the two external aspects in architectural representation. It focuses on events from the story of fantasy in which the characters participate. The juxtaposition of spaces is revealed as the events progress and it is represented in the backdrop of each successive frame. Analysing sequences is a way to sentimentally approaching architecture mainly in forms of representation. Exploring sequential art principles and storyboard design proved to be a great way to approach designed space (usually in the backdrop) by focusing on the characters first. This project considers this approach highly significant. It is vital to emotionally connect with the user of a space in order to understand the needs that the proposed design is asked to cover. Eventually, in the second part of this study, the design approach will emerge by storyboarding a character involved in an event.
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4.2 Sequential art As mentioned before, sequential art has its roots in the Upper Paleolithic era, around 17,300 years ago. Sequential art can also be found in the early 19th century with the series of paintings by Thomas Cole “The Course of Empire”. The most well-known forms of sequential art today are the comics, the graphic novels and some might claim the storyboards. The latter however, are not considered to be a standalone form of art (Cristiano G. 2007: 8). Later on, this study will explore other possible uses of storyboards in architecture. Fig. 1 According to James Brown (2007: 18) “the relationship between architecture and comics could begin with the prints and paintings of William Hogarth (1697 – 1764).” In the series of paintings and prints ‘A Harlot’s Progress’, the passage of time is obvious through the change of architectural backdrop. The main character’s descent into prostitution is noticeable by the change of the backdrop from the upper-class townhouse of her lover to a cheap room inside a brothel. The success of this series of paintings and prints is probably due to the fact that this story could be told to a wider audiFig. 2 ence not necessarily literate.
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The main element of sequential art from which architecture can benefit from is the introduction of time in representation. James Brown (2007: 9) states that conventional methods of architectural representation that is images of frozen moments, fail to indicate occupation, time and the process of the design. “Judging and appreciating buildings, space and place solely by the appearance of their two dimensional representations blurs the line between the nature of the building and the nature of the representation, negating and eliminating both narrative and time.� (Brown, 2007: 9) However, models of sequential art such as comics, graphic novels (which are similar to the comics but usually with more extended and thoughtful plots) and storyboards, have three potential advantages over traditional architectural representational forms. Comic strips and graphic novels feature a narrative element, thus they introduce the dimension of time to the images. Not only do the consecutive frames indicate the progress of time, but also the space and time between those frames. Comics and graphic novels also allow the reader to control and interpret the pace of experiencing the narrative. Lastly, they incorporate the unique style of the artist and thus cannot be read without appreciating the creator’s individual interpretation. Eisner (1985) states that in the format of the comic book, the regiments of art (perspective, symmetry etc.) and the regiments of literature (grammar, plot, syntax) become superimposed upon each other. Hence, aesthetic perception and intellectual pursuit are both part of the act of reading a comic book. Is it possible then to argue that forms of sequential art offer a more sophisticated way of representing, discussing and designing architecture? More importantly, can the narrative structure in those forms help in these architectural processes?
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4.3: Sequences in the physical space Sequences inside the physical space can be found in the project “Slow House” by Diller and Scofidio. The official description of the project speaks about a weekend house with no façade, only a front door. The house itself is conceived a passage from ‘physical entry’ to ‘optical departure’ or, simply, ‘a door to a window’. This project is an expression of the concept of sequence inside the physical space.
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Fig. 4
Le corbusier’s ‘Promenade Architecturale’ is also an idea that refers to the experience of the movement inside a physical space. This concept speaks about the observer’s pathway through the built space and is one of Corbusier’s main elements that have been applied in his architectural and city-planning designs. It is the order of images viewed by an observer through their gradual advancement inside the structure. Theories that deal with sequences inside the physical space evoked thought regarding the ways in which those concepts could be represented in sequential drawings for communicating architectural information. In the design task 10 “Towards a place of comfort” that follows (Part 1, Chapter 6) there is an attempt to create sequential drawings with the focus on a character where the change of the architectural backdrop intended to narrate the change of the emotions of the character as he progressed through the physical space.
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4.4 Potential use of Storyboards in Architecture Cristiano Giuseppe (2007: 6) states: “... A storyboard can be considered as pre-direction of the film. A good storyboard, in fact, should make you focus not on the style of the drawings but on the continuity of the scenes and on how cinematographic it is. It is also vital for a good storyboard artist to understand how a plot works, as very often you are asked to find solutions that are not written in the script. For example, how to make the cut from one scene to the next more interesting, or just simply how to visualise the inner feelings of a character.” This part of the project explored various potential uses of the storyboards as an architectural tool not only for representation but for other purposes as well. Following there is a brief reference to those ideas. However, towards a final design proposal, storyboards were used similarly to Tschumi’s Manhattan Transcripts. Elaboration on Tchumi’s technique and the adaptation of it for the purposes of this project will take place in Part 2, chapter 6.
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4.4.a Storyboarding as a way of thinking Application of the storyboarding method in the drawing process of spaces has the ability to increase productivity against time. If used in the brainstorming stages of the drawing process for architecture it can help produce a wider range of ideas on paper. A broader list of options can bring the potential of the final design to a maximum. “Drawing is a way of thinking� (Ball and Kuhlman 2010: front page)
4.4.b Storyboarding as a dialog tool Regarding the communication of the architect with the client, with other architects (in an architectural studio for example) or with other end users (professionals and non), storyboard design is a great tool. Quick sketches that take into account points of view, camera angles, mood of a space etc. are clear and storytelling. This is a large section that can benefit from storyboards and this study aims to research more into the use of them as a tool to develop dialogue and exchange information with others (professionals or not). It aims to study how and what impact would that make upon the space and its users.
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4.4.c) Storyboarding as a journey map or user map This chapter will research into uses of storyboards in architecture as ‘journey maps’; a way of planning the transition of the user from a space to another. How does this method affect the spatial arrangements towards a coherent design? How can storyboards help illustrate and plan the different uses of a space in the progress of time? A technical approach to storyboard design. Cristiano explains (2008: 100) how certain ‘shots’ can reveal the following action. Could the same rule apply in storyboarding as user maps as well? 4.4.d) Storyboarding towards a cinematographic design The use of storyboarding design can lead to a wide collection of images and perspective drawings essential for explaining the design. Those drawings which are set up using cinematographic techniques can later be developed to high art illustrations which can be used to better express he mood of the space and pass the intended message. Similar to the client boards used in the film industry (Cristiano 2007: 14) the final drawings could be used for advertising a project, or to generate interest in a project. Those drawings can complete the link between the conceptual and the perceptual aspects of architecture by ultimately capturing the atmosphere of the space in its future use.
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Chapter 6: Design Tasks “Architecture is discussed, explained and identified almost entirely though its representations. Indeed, these representations are often treated as though they were architecture itself. Huge status is given to the imaginary project, the authentic set of photographs of the eminent critical account. This is a paradox. Architecture is fundamentally concerned with physical reality, yet we discuss and even define architecture (as opposed to building) through an elaborate construct of media representations: photography, journalism, criticism, exhibition, history, books, films, television and critical theory.� (Brown, 2007: 9) Necessities regarding the use of techniques of representing space from fantasy emerged. Design from fantasy now becomes the focus of the project. Space design artists from the film industry were studied in order to learn from their techniques in creating space from scratch that would be able to narrate emotion and engage the viewer. Cinematographic techniques for creating atmospheric, narrative frames for the story were studied from films and artists such as Ken Adam and applied in early design tasks. Camera angles, focus, successful perspective views, lighting etc. were taken into account when executing the first design tasks. The project explores various forms of sequences taking into account architecture as Event Movement Space. It also went through the sequence towards a final design output in order to explore narratives that emerged from it regarding the process of design. In the following design tasks, such sequences reveal the patterns of use of mixed media in the process of the making of the design tasks. A simple scene created in a 3D program helped in the matters of scale and distance inside the frame. It also proved to be a great tool for easily choosing the right camera angle. The successive frames reveal the construction lines drawn over the basic 3D objects. Eventually light and shadows where applied and the highlights with the darkest parts aimed for a high contrast in the area where the first glance of the viewer needed to be drawn to.
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Task 1: “Trycede approaches�
Fig. 5 This design task explores the use of a comic style sequence in order to show the character inside the built environment.
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Task 2: “Arguments under the watch of someone�
Fig. 6 This design task explores the use of a comic style sequence in order to show the character inside the built environment.
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Task 3: “The father approaches�
Fig. 7 This design task is an early stage of a cinematographic design taking into account matters of scale, camera angles, perspective etc.
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Task 4: “The balcony view”
Fig. 8 This design task is an early stage of an attempt to design a scene from Ballard’s novel “high-rise”.
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Task 5: “Trycede finds Elen�
Fig. 9 This design task is a more developed attempt of creating a cinematographic scene with the characters in the lower part and the imposing architecture above them,
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Task 6: “The Father finds Trycede�
Fig. 10 This design task is an unfinished attempt of another scene from the story that was being developed for the purpose of this study.
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Task 7: “Character Sequences�
Fig. 11 Prepared for a presentation, this task indicates the sequence of designing the characters in order to reveal the process.
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Task 8: “Mixed Media Sequences”
Fig. 12 Prepared for a presentation, this task indicates the process towards the final cinematographic design of the scene “Trycede finds Elen”
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Task 9: “Storyboarding for Task 10”
Fig. 13 Quick sketches in form of storyboards to prepare design Task 10.
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Task 10
Towards a place of comfort 46
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Design task 10 is an attempt to use sequential techniques for representing architectural information. This task aims to use the change of the architectural backdrop to narrate the change of emotions of the character as he progresses inside and outside of the structure.
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Part 2: Space design
Creating space from reality by focusing on the users and their interactions(events)
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Chapter 1: Narratives in the physical space Although not in great extent, it is interesting to explore narratives in the physical space as well. Psarra (2009: 2) states; “But architecture does not only express meaning. It also participates in the construction of meaning through the ordering of spaces and social relationships. Architects respond to this ordering by orchestrating relations independently of a viewer’s perception and visualising space as a perceptual condition, from the hypothetical viewpoint of a spatially situated observer. Relating visualisations of three-dimensional spaces and abstract frameworks of rules, architects arrange conceptual and perceptual layers of order.� According to Pssara, in the attempt to design a space the architect makes a perceptual and conceptual approach which means that these realms are not necessarily mutually exclusive as Tschumi suggests. What is more, based on what is aforementioned in part 1, the conceptual approach is regarded to have a stronger narrative element with the use of sequential art tools.
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Chapter 2: Museum Narratives Regarding narratives in the physical space, of particular interest was the museum as a built space for successful narrative. This is due to the fact that inside the museum space, one can witness careful arrangement of object for the construction of a story. In the Ashmolean museum in Oxford for example, as the visitor progresses vertically inside the structure, not only can he view the exhibits individually, but through this specific arrangement, he can experience the exhibition through a ‘vertical passage of time’ as well. This is a general concept in the arrangement of the exhibited objects inside the physical space. Generally, the arrangement of objects inside the museum has the potential to construct additional narratives and add to the meaning of the objects. Psarra (2009: 4) states; “Objects can be viewed for their own importance, but the design of the exhibition has the potential to construct additional meanings for each piece based on the spatial and visual interrelationships with others. Given these characteristics, museum narratives can illuminate the ways in which the conceptual and perceptual characteristics relate to the conceptual mechanisms governing the display. Additionally, the analysis of museums can explain how the organizing principles of space and the collection relate to the exploration patterns of visitors and, therefore, how these buildings become sites for different types of narration.” At this stage a few museums were studied in order to learn from the principles of designing spaces of successful narrative.
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2.1. Sir John Soane museum One of the museums that proved interesting was the Sir John Soane museum which was also visited for the purposes of the project. The spaces inside the museum introduce a peculiar approach for the construction of narrative inside the space. According to Psarra (2009: 11) “many scholars have suggested that it incorporates Soane’s interests in the notions of eternity and death, and a preoccupation with his own position in the world of architecture.” The building is a conversion of Soane’s house in a museum where one can experience a great interest in the classical past through the sequence of spaces. However, the principles of object arrangements inside the spaces are not of any classical order at all. Various optical effects, the use of mirrors and reflections and the unique arrangement of hundreds of objects that crowd the space, show that Soane did not rely on classical order for gaining appreciation. (2009: 113) Unfortunately it is not possible to elaborate on the high complexity of Soane’s museum in the notions of reflections, spatial construction and narrative, architecture and poetry. However it feels necessary to include Soane’s claim influenced by Le Camus ‘that ‘architecture speaks a language of its own, and above all building, like a historical picture, must tell its own tale’ (Watkin 1998: 9). Le Camus believed that character of a space should reflect the owner’s personal story. This story is fundamental for the arrangement of spaces inside the museum with every room expressing a part of narrative (Psarra 2009: 131).
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2.2 Museum Acropolis Due to extensive Tschumi readings, the project expressed interest in his personal approach for proposing a museum located in Athens and opposite the Acropolis; the cradle of Democracy itself. Of particular interest to this project was Tschumi’s approach for the construction of narrative structure inside the museum space. The building was first expressed into a base, middle and top, which were specially designed for the needs of each part. The base of the museum floats on pilotis over the current archaeological excavations. A glass ramp that provides views to the excavations, takes the user to the galleries in the middle. The top level of the museum which is made up of the rectangular Parthenon Gallery rotates slightly to orient the marbles of the Frieze as they were originally at the Parthenon 2,500 years ago. Of high significance to this project is the dialog that is created from and to the Acropolis with the top floor of the museum. The visitor’s path narrates a rich spatial experience that begins from the city street and develops into the historical world of the different periods of archaeological enquiry. Inside the museum there is a profound narrative structure regarding the arrangement of the exhibited objects as well. Such is the arrangement of the Caryatis statues which were originally used as structural columns in the Erectheion. The rectangular arrangement of the Caryatis inside the museum narrates their original use. Generally, the architecture of interior of the museum tends to be discreet. As it was posted in ArchDaily online; “…the Museum is deliberately non-monumental, focusing the visitor’s attention on extraordinary works of art.” The Museum Acropolis is a great example of strong narratives inside the physical space were as quoted from Psarra earlier, the objects are exhibited for their own importance but the design of the exhibition aims to construct additional meaning.
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2.3 Museum of Modern Art, New York The final museum example of a modern type that concerned this study is the Museum of Modern Art in New York. According to Glen Lowry, the director of the museum, the building’s architecture is unique due to its comprehensive narrative structure. “The MoMA is associated with the history of modern art in an intimate way, attempting to make order out of the complex relationships among art movements.” (2004: 21) He has also stated in an interview on the Greek magazine “Aegean”; “The museum of modern art is a space where artists discuss through their exhibits, their ideas for a better future.” The project showed interest in this interview as he refers to the benefits of a contemporary museum in a society as a place for progressive and challenging ideas to be discussed. He also mentions the triangular relationship between the displayed art, the artist and the visitor. Consequently, Lowry notes the importance of the architecture of the museum in order to enhance the connection between the user and the displayed artefacts. This connection is created through the cultural meaning that the exhibited objects bear as mentioned earlier.
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Chapter 3: The museum is the centre of Athens With the focus still on the people, this part turns to Athens 2012; Events of violence triggered by the imposition of austerity measures by the parliament members has completely transformed the built environment of the centre of Athens, to that of the riot, bombed, burned, and destroyed type. Through those events, one witnesses the use of architecture to express and glorify disappointment, despair and anger. Questions arise regarding the role of architecture and of the architect in this particular socio-economic context. It is obvious that the people of Athens burn down and destroy architectural structures in order to express their despair and disappointment. Is it possible then that architecture is used in a more constructive way in order to express feelings of hope, peace and a more democratic future? Can design proposals immediately respond to the events and promote socio-economic change? Ideas about creating a museum in the centre of Athens establish themselves. Towards this manner, considerations about preserving the riot environment take place. From personal notes earlier in the project; “Could I consider Athens as the ‘Museum of Modern Art” and exhibit objects in specific places where riots took place? Could this architectural project use the graphic novel as a magazine to publicise people’s words, opinions, or become a collection of critical artistic expressions for the current state in Greece?” However the design ideas of this nature took a slight shift. Consequently a design proposal of a democratic public space is made underneath which, objects used in the riots are exhibited.
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Chapter 4: Environmental Trigger The focus of the design part of this project is a result of two coincidental factors that took place at this particular stage of study; General Tschumi readings revealed some of his texts regarding architectural design with social and political concerns while numerous significant demonstrations with social and political spirit took place in Athens 2012. Tschumi (1999: 6) writes; “Fascinated by the ability of the metropolis to generate unexpected social or cultural manifestations upheavals […] how might it be possible to design the conditions rather than to condition the design? […] one of the texts was titled “The Environmental Trigger” and the extensive questioning it contained outlined my major concern; “How could architecture and cities be a trigger for social and political change?” Sharing the same concern, the project proposes an amphitheatre to be built at the Syntagma square. The reasons for this are expressed later in the chapters 5 and 6
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Chapter 5: Deductions This project concludes to the fact that the conceptual realm and the perceptual experience are two characteristics of architecture that are not necessarily mutually exclusive. As Psarra suggests (2009: 3) “Architecture cannot be reduced to the duality of the conceptual realm and the reality of bodies in physical space. This duality appears as a longstanding division between mind and body endorsed by architectural and philosophical theories.” Such theories are expressed by Tschumi who ethologically motivated by Deleuze, “by advocating recombinations of program, space, and cultural narrative, Tschumi asks the user to critically reinvent him/herself as a subject.” (Wikipedia source: Tschumi) This project considers this attitude of Tschumi’s unnecessary. ‘People Matters’ gives value to the user’s freedom and the possibility that he or she might not need to reinvent him/ herself as a subject. In the case of this project that focuses on the people of Athens, a common need for a more democratic environment is profound.
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It seems legit to argue that physical space of strong narrative nature is able to promote a more constructive reaction to people. By suggesting that the space cannot predict the event and that the conceptual and the perceptual are mutually exclusive, one eliminates the potential of spaces to promote ideas through strong narrative in their physical nature. In this case the amphitheatre promotes public discussion. And the concept of the space was captured through the events themselves. The perceptual experience of the amphitheatre narrates democratic ideas and ideals and the same ideas and ideals are facilitated and expressed by the amphitheatre. In this case there is a direct connection between the perceptual and the conceptual. On the other hand, Thchumi’s environmental trigger has been a catalyst for this project which considers people as the trigger. People who by using the space for public discussion or for standing opposite (or ‘against’; similarly to the English parliament) – the authority of the Greek parliament can trigger socio-economic change themselves.
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Chapter 6: The Design The Event Towards a design proposal, the project focuses on one of the many events that took place in Athens, which however is of higher significance. The event involves Mr Manolis Glezos who is considered to be a national hero since the Second World War as he removed the Swastika flag from the Acropolis with the help of Mr A. Santas in 1941. The event takes place in February 2012 with Mr Glezos joining a peaceful demonstration against the election of new austere measures by the members of the parliament. Later during that demonstration, Mr Glezos is attacked by a member of the Swat team and is lead to the nearest hospital. In his interview after he left the hospital, Mr Glezos stated that it is not important that he personally got attacked. It is significant however that the Greek citizen was attacked and that is an act against Democracy. He suggested that he met with the person who attacked him to discuss and converse regarding the incident, as an ultimate solution to the problem that caused it. That statement itself evoked the idea of creating a democratic space to promote public meetings and peaceful gatherings that would ultimately support and revive the constitution of Democracy.
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Storyboarding the event The data collected during the first part of this project was taken into consideration for informing the methodology of the design. Similarly to Tschumi’s Manhattan Transcripts, the notion that informed the capturing of the concept of the design was the storyboarding of the event in which Mr Glezos was involved. Four storyboard frames of the event produced diagrams of the movement of the persons involved in it. Those diagrams represented the movement of Mr Glezos and of the member of the Swat team. Finally the clash between them, and the movement of Glezos’s friends who run to his assistance were represented diagrammatically. The diagram of the movement of the people involved in the fourth frame, shaped an amphitheatre in plan and the final architectural proposal was then established.
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Introduction to the site Every architectural intervention in the city of Athens is sentenced to bear the burden of history and memory. The Syntagma square, under the imposing presence of the Parliament building, raises the question of the incorporation of the new, while the contemporary part of the city shapes its everyday presence in unique and contradicting venues, continuing its course in time. The notion of the variable – that is the experience of space and time through movement - consist the interpretation key. The city does not have only one face. It constantly shifts however subtly. Rapid everyday movement of the citizens reveals to their eyes a city that is seemingly known to them, however unknown in its detail; unfamiliar really.
Current State The current Syntagma square consists of two levels. One is at the height of the Amalia St (0 level) and the other is at the height of the main square (-1 level) which extends towards the west near the Ermou St (pedestrian street). On the west side of the main square there is a 7 lane vehicle road that separates the main square from the Ermou St.
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Proposal The main idea of the proposal is to create an amphitheatric shaped square at level 0 supported by colonnades from level -1. The main square then consists of two levels; Level -1 will be a dark roofed space with the colonnade as its main element. The main materials used will be reinforced concrete for the columns and steel structured staircases that take the visitors upstairs to level 0. The public will be able to access level -1 from the metro station (east) as well as from the Stadiou Rd (west) and from the level 0. Level 0 starts at 0 metres height and gradually advances towards a height of 6 metres (the highest point of the amphitheatre. The main material used for this level will be concrete and glass for the shops, as well as white marble for the amphitheatre. Public access to this level will be mainly available from Amalia St (east) and from Stadiou Rd (-1 level) through elevators as well as from the staircases that rise from level -1.
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Conceptual advantages of the proposal The main advantages of this proposal bear cultural meaning. By creating an amphitheatric shaped square the project promotes an open space for the public that facilitates peaceful gatherings and promotes public discussion. By raising the amphitheatre 6 metres above level 0, the project aims to create a direct dialog between the public space and the parliament building; a dialog between the public and the authority. As one progresses from the -1 level towards the 0 level, he can experience the shift from a “dark past� towards a bright future. This is achieved by the materiality and shape of the -1 level that narrates crude and dark urban conditions whereas the highly reflective materials used on the 0 level floor (white marble and white painted concrete) bring the feeling of cosiness to the public that occupies it.
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Functional advantages of the proposal a) The main square gains better views towards the parliament and the memorial of the Unknown Soldier. b) The 7 lane Stadiou Rd is now covered by the square providing a more quiet and peaceful environment in the heart of the city while facilitating Stadiou Rd that now continues straight avoiding the curve. c) The pedestrian street of Ermou now connects with the main square through the elevators in the west uninterrupted by the Stadiou Rd. d) Generally the distinction between the levels of the main square and the vehicle roads (apart from Amalia Rd) provide a more pleasant space where people are encouraged to stop and enjoy their stay at the coffee shops provided.
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List of References 83
Primary Sources Ball D, Kuhlman, M (eds) (2005) The Comics of Chris Ware: Drawing is a way of thinking. Mississippi: University Press The comics of Chris Ware mainly represent housing buildings and their occupation. For that reason it is important to explore his approach in order to support and explore ideas about spatial occupation and its representation in the form of sequential art. Ballard J.G (1977) High Rise. New York: Printed in the United States of America Focusing on novel writing, urban dystopias and society hierarchies, this novel was necessary to be read. Based on this novel and Ballard’s skill on descriptive narration of the physical context, a drawing was produced which later was used as part of a comic strip made for a scene of my story.
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Cristiano G (2008) The Storyboard Design Course: the ultimate guide for artists, directors, producers and scriptwriters. London: Thames & Hudson Ltd. This is the main source of information about storyboard design. It explains the meaning and nature of storyboard design and its applications in a large list of media. This book triggered many ideas about possible use of storyboard design in architecture. De Botton A (2007) Architecture of Happiness. London: Penguin Books Ltd A sentimental approach to architecture which is core to this study’s directions for a better architecture. This approach could possibly guide architects to better visualise occupation of space before it is built. Eisner W (1985) Comics and Sequential Art. Florida: Poorhouse Press Eisner is the originator of the graphic novel. This book was particularly interesting for the explanations on the structure of this form of sequential art which creates its own literary form (1985: 8) with the use of repetitive images and recognisable symbols.
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Eisner W (1996) Graphic Storytelling and Visual Narrative: principles and practices from the legendary cartoonist. New York: Norton & Company Ltd. This book was significant for this study as a source of clarification of the nature of the story and how it can be manipulated and represented in specific ways in order to convey a message. It also explains the print process of a comic book, which initiated the idea of using similar technique for the printing of this proposal. Ken Adam Designs the Movies: James bond and Beyond. As discussed, part of my methodology includes filmic studies. It is important for the approach of this study to explore how professional artists work on spatial arrangements in futuristic scenery. Ken Adam’s drawing style and ideas upon this subject are particularly interesting for this study. Ingels B (2009 ) Yes Is More: An Archicomic on Architectural Evolution. Evergreen This book illustrates the architecture project of the BIG architects in a comic style form. The layout of the images is inspiring and will probably inform the layout of this study’s final design proposal. Also, the title ‘Yes is More’ and the explanation of Ingels on the similar titles (‘Less is More’, ‘Less is Bore’ etc.) gave the idea of the words in the front page of this study ‘Thes-is Core’.
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Poynor R (1989) Nigel Coates: The City in Motion. London: Fourth Estate Ltd. Interesting for exploring Nigel Coates’s approach to a narrative architecture. Psarra S (2009) Architecture and Narrative: the formation of space and cultural meaning. Abingdon: Routledge This book first brought to light Tshumi’s theory (which is discussed under Tschumi’s Architecture and Disjunction) and the link between narratives and physical space. Tschumi B (1999) Architecture and Disjunction. Cambridge, MIT Press Thscumi’s opinion on the exclusiveness of the conceptual and perceptual aspects of architecture gave direction to this study which tries to explore ways of eliminating that exclusiveness by connecting these aspects.
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Secondary Sources Baudrillard J (1994) Simulation and Simulacra. Michigan: University of Michigan Press. This book was used as a primary source before the study’s focus moved away from my story in order to depersonalise the research. This book is a great influence to my story for its explanation, among others, on the ‘deceiving’ values of some objects. Berman M (1982) All That Is Solid Melts into Air: The Experience of Modernity. New York: Simon and Schuster Goethe, Marx, Baudelaire, modernism and the tragedy of development, were all related to the historical materialism approach of this study at early stages. Birn J (2006) Digital Lighting and Rendering (2nd Edition). Berkeley: New Riders Used for an image that shows how the same picture can narrate a different story only by changing the lighting. In the image it is easy to understand possible places of the checkerwboard. Borden J (1996) Strangely Familiar: Narratives of Architecture in the City. London: Routledge For the purpose of the study to explore narratives in an urban context.
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Bordwell D (1985) Narration in the Fiction Film. Wisconsin: The University of Wisconsin Press To be studied. Frank E.E (1983) Literary Architecture: essays toward a tradition. California: University of California Press At early stages, it could prove to be inspiring regarding possible combinations of text and design in an architectural project. Fortin D (2011) Architecture and Science-Fiction Film: Philip K. Dick and the Spectacle of Home. Surrey: Ashgate Publishing Ltd. Currently studying. Harvey J W (1965) Character and the Novel. Suffolk: The Chaucer Press This book was used at the initial stages of this study for its useful explanations of how he characters and their interactions are structured in the novel. Herman D, Jan M, Ryan ML (eds) (2005) Encyclopaedia of Narrative Theory. London: Routledge Psychological and sociological explanations on characters and their interactions in the novel.
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Hermsen S (eds) (2007) U.X.L. Graphic Novelists. Michigan: Thomson Gale Corporation Expanding on graphic novelists’ techniques Lowry G (1998) Building the Future: Some Observations on Art, Architecture and the Museum of Modern Art, Elderfield McCloud S (1993) Understanding Comics: The Invisible Art. New York: Kitchen Sink Press A guide essential to the graphic novel approach of this study. Explanations on the vocabulary of comics and on the relationship between time and frames in a comic can be found here. Miller D (2008) The Comfort of Things. Cambridge: Polity Press It was proposed for study at early stages of this study. Explanations on the world of objects that surrounds us which seemed important for shaping the world in my story.
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Watkin, D. (1996), Sir John Soane: Enlightenment Thought and the Royal Academy Lectures, Cambridge: Cambridge University Press. Ryan ML (2001 ) Narrative as Virtual Reality: immersion and interactivity in literature and electronic media. Baltimore: The John Hopkins University Press It refers to Baudrillard’s simulacra and expands on the differences between the simulacra and virtual reality. This book inspired The Father’s misuse of virtual reality as simulacra.
Saraceni M (2003) The Language of Comics. London: Routledge A Guide for the comic composition and graphic representation techniques. Schaik Mv, Macel O (eds) (2005) Exit Utopia: Architectural Provocations. London: Prestel A ‘70s approach to a utopian new city; the ‘New Babylon’. Architectural approach to a new urban environment. Could provoke thoughts for this study’s approach to a utopian place. Trehin G (2006) Urville. London: Jessica Kingsley Publishers Inspiring for its graphic representation of architecture based on fantasy.
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Internet Sources Benedikt M (uknown date) Marcos Novak, “Liquid Architectures in Cyberspace” from “Cyberspace: First Steps”. Available at http://www.zakros.com/liquidarchitecture/liquidarchitecture.html [accessed 11th October 2011] Novak’s approach to architecture raised question marks about the constant need for changing our physical environments (hence the word ‘liquid’) as an extension of the psyche. This was a source of interest regarding my critical approach to the built environment in my story. Social Sterotypes. Available at http://www.socialstereotype.com/_/Features/Entries/2008/9/22_KEN_ADAM.html [Accessed 1st December 2011] Presents parts of Ken Adam’s work with James Bond film and his association with Stanley Kubrick for the scenery design of the film ‘Dr Strangelove’ Artist Partners Ltd. Available at http://www.artistpartners.com/film_animation/chris_ baker_ai.html [Accessed 25th December 2011] Conceptual design and storyboards of artist Chris Baker for several Steven Spielberg’s films such as Artificial Intelligence, Eyes Wide Shut etc.
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Beautiful Life (2011). Available at http://www.beautifullife.info/graphic-design/artist-daniel-dociu/ [Accessed 14th October 2011] Environment and character design by the game artist Daniel Dociu (art director of the game ‘Guild Wars’ by ArenaNet). The seductive environments and their architecture has been a major influence for this study Alex the Artist. Available at http://www.alextheartist.com/ [Accessed 13th October 2011] Architecture and fantasy environment projects by Alex Kaiser (former architecture student at Oxford Brookes). Kekai Kotaki (2011). Art of Kekai Kotaki. Available at http://www.kekaiart.com/ [Accessed 5th October 2011] Environment and character design by the game artist Kekai Kotaki of Arenanet. The seductive environments and their architecture has been a major influence for this study. Xia Taptara (2007-2011) I Draw Girls. Available at http://idrawgirls.blogspot.com/ [Accessed 29th September 2011] Tutorials of the environmental and character artist Xia Taptara (former ArenaNet artist). His work has been a major influence on the digital painting techniques for fantasy art. Arena Net (2000-2011). Ambition on a Grand Scale – Matt Barrett Talks Asura Environment Art. Available at http://www.arena.net/blog/ambition-on-a-grand-scale-matt-barrett-talks-asura-environment-art [Accessed 7th October 2011] Environment artist Matt Berret talks about his art on the design of the ‘Asura’ world. Diller Scofidio + Renfro. Available at http://www.dsrny.com Riba bookshops.com. Available at http://www.ribabookshops.com/item/le-corbusier-andthe-architectural-promenade/73262/
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E-Books Tang X (2011) Narrativizing the Architectural Copyright Act: another view of the cathedral. Yale Law School. Available at http://digitalcommons.law.yale.edu [Accessed 9 December 2011]
Theses and Dissertations Brown J (2007) The Comic Architect: Words and Pictures Along the Line Between Architecture and Comics. M. Arch Dissertation. University of Sheffield. An informative for this study source for stating the importance of architecture in the backdrop of paintings and images. An exploration on the act of using comic graphics for presenting architecture Mateas M, Phoebe S (1999) Narrative Intelligence. Computer Science Department. Carnegie Mellon University An approach to the narrative nature of humans. Explanations on how stories are used for exchanging information. Young M, Riedl M (uknown) Towards an Architecture for Intelligent Control of Narrative in Interactive Virtual World. Computer Science Department. NC State University. A text that brought to light the ‘Mimesis System’ for building intelligent interactive narrative worlds. An idea that could be used for the writing of my story.
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Films Artificial Intelligence (2001) Directed by Steven Spielberg [Video] USA: Warner Brother Pictures Studies of artist’s Chris Baker drawings on spatial design and how it was applied in the film. A Scanner Darkly (2006) Directed by Richard Linklater [Video] USA: Warner Independent Pictures in Association with Thousand Words A professional use of Rotoscoping techniques (traced over video sketches to animate later). Thoughts of using similar technique to animate a storyboard in this study were eliminated as studies of the ‘making of ’ of this film showed that the rotoscoping process is extremely lengthy (directors of the film stated that for every minute of the film, three hundred and fifty man hours were needed). Dr. No (1962) Directed by Terese Young [Video] UK: EON Productions Studies of sketches of Ken Adam on spatial design and their application on the film. Critical appraisal of the
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Equilibrium (2002) Directed by Kurt Wimmer [Video]. USA: Dimension Films Study of the film’s sentimental approach to a possible emotionless human society in an urban dystopia. Tron Legacy (2010) Directed by Joseph Kosinski [Video] USA: Walt Disney Pictures Critical appraisal of the film’s extreme cinematographic techniques for representing a technologically advanced, futuristic dystopian world inside the current one. Waking Life (2001) Directed by Richard Linklater [Video] USA: Fox Searchlight Pictures Similar approach as in the film ‘A Scanner Darkly’. Rotoscoping techniques applied here as well.
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Journal and Novel Coates N et al (1983) NATO Magazine. London: Spin Offset ‘Narrative Architecture Today’ became part of the study for a deeper explorations of the relationship between narratives and architecture through an architectural manifesto. DC Comics (Sep 2009) Batman: Reborn Browsing through graphic novels to explore and familiarise with the type. Eisner W (2000) A Contract With God and Other Tenement Stories. New York: DC Comics This was the first graphic novel to be published. It was of interest to this study for this novel’s use of graphic techniques to explain an urban story with a sociologic approach. This study’s design task “Towards a place of comfort” was influenced by Eisner’s novel in terms of representing a house as a shelter from rainy weather. Huxley A (1932) Brave New World. London: Chatto & Windus A novel about a dystopian world.
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Starlin J (1982) The Death of Captain Marvel. Marvel Comics Browsing through graphic novels to explore and familiarise with the type. Lainer R & Wagner I (2000) Silent Architecture: Narrative Technology, Digital Creativity. Exploration on the narratives of graphical representations of architecture with the help of technology. Analysis on the qualities of these narratives.
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