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Dissertations / Theses on the topic 'Architectural Narration'
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Gunhan, Aslihan. "From Houses To House Museums: Architectural Representation Of Different Narrations." Master's thesis, METU, 2011. http://etd.lib.metu.edu.tr/upload/12613838/index.pdf.
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The transformation of historic houses into house museums is not only a current issue within the field of museology, but also a new phenomenon for architecture. The deconstruction of the term &ldquo<br>house museum&rdquo<br>into &ldquo<br>house&rdquo<br>and &ldquo<br>museum&rdquo<br>and the meaning these terms acquire, have the potential to generate a new discussion in architecture. Besides being a physical dwelling unit, &ldquo<br>house&rdquo<br>will be interpreted as a domestic space where the inhabitants are able to personalize. A museum, on the other hand, will be approached as a modern institution reflecting issues related with historiography and aesthetics. &ldquo<br>Curiosity Cabinets&rdquo<br>as the origin of museums are re-visited for its conceptual correspondence with the house museum. Interpreting the house museum as the new curiosity cabinet, the analysis of the terms &ldquo<br>house&rdquo<br>, &ldquo<br>home&rdquo<br>, &ldquo<br>museum&rdquo<br>and &ldquo<br>house museum&rdquo<br>has the power to decipher the potentials of a spatial transformation, which renders the curiosity arousing concepts and spatial formations visible. Specific tools of architectural narrative are used to interpret selected cases, aiming to perform an integrated discussion on this architectural entity.
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Stinson, Benjamin. "Descriptive narrative : the experience of architecture through writing /." view abstract or download file of text, 2004. http://wwwlib.umi.com/cr/uoregon/fullcit?p1418756.
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Ertugrul, Elcin. "An Inquiry Into Architectural Scenario." Master's thesis, METU, 2005. http://etd.lib.metu.edu.tr/upload/12606648/index.pdf.
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This study is an inquiry into the phenomenon of &lsquo<br>architectural scenario&rsquo<br>generally understood as architect&rsquo<br>s temporal projections about his/her real product: the edifice. The means of architectural representation are utilized to display the architect&rsquo<br>s projections in advance of the realization of an edifice. They can also be considered as tangible products to reveal the &lsquo<br>architectural scenario&rsquo<br>. The aim of this study is to examine verbal/written and visual modes of &lsquo<br>architectural scenario&rsquo<br>through a historical survey and to uncover its various definitions and interpretations. While elaborating on this issue cinema/filmmaking is used as a paradigm for comprehending the architectural scenario as the process of image construction. &lsquo<br>Architectural scenario&rsquo<br>is explored in the frame of architectural representation.
This thesis is a reconsideration of the architectural production in terms of conceptualizing &lsquo<br>AS&rsquo<br>, which is inherently valid in the form making processes.
4
Patkar, Manjiri. "Virtual imagery in nineteenth century French travel narratives perception and description of architectural space /." Diss., University of Iowa, 2002. http://ir.uiowa.edu/etd/192.
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Papaconstantinou, Georgios. "Approches théoriques des modes d'organisation spatiale des architectures multimédias." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010657/document.
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Notre implication personnelle dans le design de projets de multimédias culturels nous a conduits à nous intéresser plus particulièrement aux architectures multimédias, qui constituent le sujet de cet ouvrage. Le terme «architectures multimédia» décrit trois axes différents: les architectures spatiales, les architectures du contenu et les architectures de programmation et de navigation interactive. Des analogies et des relations peuvent être établies entre l’organisation spatiale et la structure programmatique du projet architectural et les propriétés correspondantes d’une œuvre multimédia. L’accent est mise sur les multimédias culturels de la période 1990-2005 dans le but de découvrir des éléments innovants dans la conception de l’interface graphique et interactive. Ces innovations, qui constituent des programmes artistiques nouveaux, ont contribué à faire progressivement émerger un nouveau langage propre à l’espace numérique multimédia. Un nouvel habitus de la production artistique s’est développé sur l’héritage des vieux moyens d’expression et sur l’assimilation des nouveaux médias<br>Through our personal involvement in the design of cultural multimedia projects we have developed a special interest in multimedia architectures, which are the subject of this text. The term “multimedia architectures” denotes three different axes: spatial architecture of screens and interfaces, architecture of the content organisation and the architecture of programming and navigation design. Analogies and relations can be established between the spatial organization and the program structure of the architectural project and the corresponding properties of a multimedia work. The cultural multimedia of the period 1990-2005 have been analysed with the aim of discovering innovative elements in the design of the graphical and interactive interface. These innovations represent new artistic programs and have contributed to the gradual emergence of a new language, specific to the digital space of interactive multimedia. A new habitus of artistic production has developed on the legacy of the old means of expression and on the assimilation of new media
6
Whitmire, Derrick. "Architecture as Theater; Creating a Vital Architectural Narrative." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337950009.
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Besserud, Keith Roland. "Architecture and narrative : an exploration." Thesis, Georgia Institute of Technology, 1986. http://hdl.handle.net/1853/23783.
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Lai, Andy K. O. "The architectural narrative of multiculturalism." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ39670.pdf.
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Whitley, Marc Geoffrey. "Architectural Narrative through Spatial Sequencing." Thesis, Virginia Tech, 2018. http://hdl.handle.net/10919/83780.
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Architecture is temporal. It is rooted in time and place and subject to the elements and actors that embody its space. As actors, we are active participants in this dynamic, whether consciously or subconsciously. Spatial comprehension is internalized through vision and augmented by touch – the body, hands, feet, and aural experiences. Within this paradigm, we perceive the passage of time and space as an infinite stream of consciousness, or narrative of events, successively linked through memory. Bernard Tschumi describes this sequence as “space, event, movement”, a fragmentary slice within the infinitely repeating sequence of our experiences. Simply existing in the world weaves us into this sequence. Out of the infinite, architects define space and develop a physical narrative through which actors engage and meaning is derived. Our syntax is the walls, ceilings, floors, solids and voids. And like writing or in film, architectural significance is based upon the juxtaposition and combination of sequential “chapters”. Although this quality is inherent to architecture, architects often undervalue supporting content for critical passages. “Programs fall into three categories: those that are indifferent to the spatial sequences, those that reinforce it, and those that work obliquely or against it” (Tschumi 159). Most architecture seems to follow the first order, or reinforce spatial sequences where it is convenient. Are we not concerned with the journey from point A to point be B?<br>Master of Architecture
10
Hendershot, David Lee. "Architecture, meaning, narrative." Thesis, Georgia Institute of Technology, 1985. http://hdl.handle.net/1853/23174.
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Aquilon, Mark G. E. "Narrative, film, architecture." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape2/PQDD_0018/MQ48247.pdf.
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Stodghill, Kathleen. "Architecture as narrative." Thesis, Virginia Polytechnic Institute and State University, 1990. http://hdl.handle.net/10919/52105.
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Paek, Seung-Han. "Korean Commercial Architecture: An Alternative Narrative of Modern Architecture." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1218735985.
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Thesis (M.S.)--University of Cincinnati, 2008.<br>Advisors: Nnamdi Elleh (Committee Chair), Patrick Snadon (Committee Member), Kimberly Paice (Committee Member). Title from electronic thesis title page (viewed Apr. 18, 2010). Includes abstract. Keywords: Korean Commercial Architecture; Alternative Narrative; Modern Architecture; Everyday Life; Modernity. Includes bibliographic references.
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Lu, Andong. "Narrative space : a theory of narrative environment and its architecture." Thesis, University of Cambridge, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.611784.
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Marchisen, Kirk Joseph. "Transformation through analogy : narrative in architecture." Thesis, Georgia Institute of Technology, 1986. http://hdl.handle.net/1853/22379.
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Czmiel, Michael R. "Curated Specificities: The Architecture of Narrative." University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1522337252615888.
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Jalal, Tooba. "The Wall as protagonist - Devices of an architectural narrative." Thesis, Virginia Tech, 2019. http://hdl.handle.net/10919/93592.
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Narratives are there in everyone's lives. They are made up of stories that interest us, stories that we want to share with others. However, narrative is not only limited to the written or spoken word. It is made up of a complex system of units and devices which can be explored in many different genres and media. One such medium is Architecture.
This thesis is an investigation in decoding the elements that are essential for a narrative. Comparing and analyzing the concept using other medium especially the cinematic medium as a point of reference to understand how it can be applied to architecture. Testing out these discoveries to create a visual arts school in Lugano.<br>Master of Architecture
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Romaniuk, Olha. "Designing in the Context of Urban Heterotopia: Participative Programming and Narrative Formation through Transversal Design Process." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1275667372.
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Ji, Zheng. "Disjunction of narrative space." Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1305455.
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"Book of architecture, as opposed to books about architecture, develop their own existence and logic, they are not directed at illustrating buildings or cities, but at searching for the ideas that underlie them."Bernard Tschumi (The Manhattan Transcripts)For me, after studying several years, architecture has become religion. The architecture design is no longer a creation but has become a discovery journey. The way to see and think is as important as design. This thesis is not going to show how I design, but how I see, how I think and how I understand the architecture.The aim of this thesis is to find a way to rethink architecture by examining the communication between observers, architecture and architect. By introducing the hypothesis of a communicative model, a structure that consists of the object and subject which involve in the interactive relationship needs to be addressed. For this purpose, structuralism linguistics is introduced to implement the analysis of the architecture. The structuralism linguistics directly deals with the interaction between object and subject. By the study, an ideological conclusion is presented, which I call projection.The second part is Guandong Museum Competition, which is completed when I worked in Eisenman Architects. As an example, this project not only shows the design, but also shows the relationships between several intertwined systems.The third part of this thesis is The Highline competition project which is my first attempt to implement the projection idea in the design. By applying the meaning layer structure derived from linguistics, the design offers a new architectural perception which is based on the understanding of the interactions between objects and subjects.<br>Department of Architecture
20
Gün, Onur Yüce. "Narration of light : computational tools for framing the tonal imagination." Thesis, Massachusetts Institute of Technology, 2006. http://hdl.handle.net/1721.1/35503.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2006.<br>Includes bibliographical references (leaves 105-106).<br>Existence of light reveals the architectural space. And images depict them. This thesis proposes a computational model for evaluating tonal and compositional qualities of photorealistically rendered synthetic images. Its aim is to assist the architects to quickly externalize their spatial imagination through automated evaluation and selection of volume rendered images in search of the ones they like to achieve. Taking the visual perception as the focal communication tool in design, the research promotes the use of computer generated realistic images to the very beginning of the design process. The implemented tool, Narration of Light is a plug-in that runs on the 3D Studio Max 7 environment, where realistic images can be rendered without any evaluation for the generated images. The tool aims to create a more self-conscious rendering environment that would computationally recognize the qualities of image by reading it via bitmap values.<br>(cont.) The plug-in, while trying to determine the user's intention regarding the tonal distribution of light via any kind of user selected images, it also embeds algorithms of established photographical composition techniques to evaluate and classify the generated images. In the awareness of the strong relationship between space, light and images, this research intends to offer an alternative image-driven design process as well as going into the experimentation of evaluating the quality of images with computational means.<br>by Onur Yüce Gün.<br>S.M.
21
Rabie, Omar. "Revealing the potential of Compressed Earth Blocks : a visual narration." Thesis, Massachusetts Institute of Technology, 2008. http://hdl.handle.net/1721.1/43006.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2008.<br>Includes bibliographical references (leaves 63-64).<br>Compressed Earth Blocks (CEB) is a developed earth technology, in which unbaked brick is produced by compressing raw soil using manual, hydraulic, or mechanical compressing machines. Revealing the potential of an affordable sustainable material like CEB may help tackle today's fundamental challenges, social equity and environmental sustainability. For one year in India, I learned and practiced the basics of this technology in Auroville Earth Institute, and then conducted a group of design and construction experimentations for a natural resort project. Through these experimentations, I tried to reveal CEBs' capabilities through design innovation. The thesis captures my new understandings of the design competence of the material in relation to the design process, through narrating the story of this experience using images and a dialogue between the designer, mason, sponsor and the blocks themselves.<br>by Omar Rabie.<br>S.M.
22
Friedman, Laurie E. "Architecture that inspires fantasy : narrative and design explorations." Thesis, Massachusetts Institute of Technology, 1987. http://hdl.handle.net/1721.1/73760.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1987.<br>MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH.<br>Includes bibliographical references (p. 125-127).<br>The subject of this thesis is architecture that inspires fantasy and the important role that various buildings play in helping us understand and gain insight into both the physical and social contexts in which they exist. A collection of five fantasy-inspiring buildings. constructed during different decades and in different cities will be examined. Each will be the subject of both a short story revealing one viewer's fantasy, and a critical analysis that reflects upon the story by discussing specific building characteristics that spark the viewer's imagination. From these narrative studies will emerge design criteria and strategies for architecture that inspires fantasy to then be utilized in a design of a restaurant for the nuclear age.<br>by Laurie E. Friedman.<br>M.Arch.
23
Cudnohufsky, Joel. "Fragmentation in narrative space." This title; PDF viewer required. Home page for entire collection, 2005. http://archives.udmercy.edu:8080/dspace/handle/10429/9.
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Williams, Laura E. "Mind the Gap: Influence of Filmic Strategies on the Architectural Sequence." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1276953299.
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Sebring, Ellen Irene. "Musical form in non-narrative video." Thesis, Massachusetts Institute of Technology, 1986. http://hdl.handle.net/1721.1/77318.
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Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1986.<br>MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH.<br>Includes bibliographical references (leaves 75-76).<br>"Musical Form in Non- Narrative Video" explores musical structure as a model for visual form over time, specifically in the creation of artistic video. Video is a medium in which sound and image coexist at the source as electronic signals, offering new possibilities of abstract synesthesia. Forms in which neither sight nor sound dominants facilitate a sensory experience of the content. A musical model for abstract form supports an effort to free video from the forward-impelled, linear narrative; to create a form which can be experienced many times on multiple levels. Musical parameters such as meter, dynamics and motivic development are correlated to visual parameters. Their application in my own videotapes is analyzed. Experimental form-generated pieces are outlined. "Aviary" and "Counterpoint" are video scores which present two different approaches to music image composition. A score system in which video and audio can be synchronized via SMPTE Time Code and MIDI Digital Audio Code is examined. Increasing videodisc distribution opens an avenue for serious artistic applications of music- image composition for a home, concert and exhibition medium. The videodisc medium also breaks down the linear impulse in favor of viewer choice with accompanying demands for formal growth.<br>by Ellen Irene Sebring.<br>M.S.V.S.
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Ho, Wan Ching. "Computational memory architectures for autobiographic and narrative virtual agents." Thesis, University of Hertfordshire, 2005. http://hdl.handle.net/2299/7772.
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This thesis develops computational memory architectures for autobiographic and narrative virtual agents. Humans and many animals naturally possess a sophisticated memory system for reasoning, learning and also sharing information with others. However it has been a difficult challenge to model the characteristics of such a memory system in the research fields of both Artificial Intelligence and Artificial Life. We propose a framework for enhancing reactive autonomous agents to retrieve meaningful information from their dynamic memories in order to adapt and survive in their environments. Our approach is inspired by psychology research in human memory and autobiographic memory – through remembering the significance of episodic events that happened in the past, agents with autobiographic memory architectures are capable of reconstructing past events for the purpose of event re-execution and story-telling. The memory architectures that were developed are capable of organizing and filtering significant events which originate in agents’ own experiences as well as stories told by other agents. To validate our memory architectures, both simple and complex Artificial Life type of virtual environments with static as well as dynamic resources distribution were implemented that provide events with different levels of complexity and affect the internal variables of the agents. The performance of various types of agents with different memory control architectures are first compared in single-agent experiments. Each agent’s behaviour is observed and analysed quantitatively together with its lifespan and internal states measurements. Group performance with and without communication are measured in experiments with multiple autobiographic ii agents. Results confirm our research hypothesis that autobiographic memory can prove beneficial – resulting in increases in the lifespan of an autonomous, autobiographic, minimal agent. Furthermore, higher communication frequency brings better group performance for Long-term Autobiographic Memory agents in multi-agent experiments. An interface has been developed to visualise agents’ dynamic autobiographic memory to help human observers to understand the underlying memory processes. This research leads to insights into how bottom-up story-telling and autobiography reconstruction in artificial autonomous agents allow temporally grounded behaviour to emerge. This study therefore results in a contribution to knowledge in Artificial Life and Artificial Intelligence.
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Angles, Zachary (Zachary John). "Narrative tactics for making other worlds possible." Thesis, Massachusetts Institute of Technology, 2018. http://hdl.handle.net/1721.1/115724.
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Thesis: M. Arch., Massachusetts Institute of Technology, Department of Architecture, 2018.<br>Cataloged from PDF version of thesis. "February 2018."<br>Includes bibliographical references.<br>Be they childhood games of make-believe, sophisticated literary projects, or political inventions (a "Great America") authors have taken advantage of a world-building imagination creating their own worlds, and theorizing what they were doing. From the 1960s onwards, fictional worlds were studied from a philosophical point of view, using "possible worlds" theory and modal logic, which consider the ontological status of fictional worlds, the nature of their functioning, and their relationship with the actual world. These ideas have been combined with literary theory, setting the foundation for the study of imaginary worlds. Architects and Urbanists have used facets of world-building arguably for as long as the disciplines have existed. Though modernity launched a highly conscious tradition of imagining worlds in literature and creative culture, it also stained imagination and dreaming with a connotation of frivolity and a wastefulness that was antithetical to modern projects of utility and rationality. In the later half of the twentieth century there was an increase in number of architects exploring the irrational and imaginative in defiance of the reign of rationalism. A chasm tore through the discipline: grounded and rational practitioners on one side and imaginative inventors of form, indulgently entrapped in their fantasies, on the other. World-builders have developed robust methods for producing visions for futures, pasts, and other worlds. A study of worldbuilding and narrative methods and their possible application to architectural and urban design has remained largely unaddressed. This thesis proposes methods for design and tests these methods through a case study. The case study is the city of Boston in the year 2100 being changed by many factors not least of which are the effects of sea level rise. A story has been authored, the world surrounding that story has been structured, and designs within that world have been represented. This thesis seeks to combine methods from storytelling, world-building, and scenario planning in order to allow imaginative explorations of, and design for speculative environments, in response to, and preparation for, challenging situations. And, in the end it seeks to provide tools to tell better stories and see better worlds.<br>by Zachary Angles.<br>M. Arch.
28
Strohecker, Carol. "Electronic collage : the videodisc and interactive narrative." Thesis, Massachusetts Institute of Technology, 1986. http://hdl.handle.net/1721.1/27954.
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Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1986.<br>MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH<br>Bibliography: leaves 52-59.<br>by Carol Strohecker.<br>M.S.V.S.
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Livesey, Graham. "Narrative, ephemerality and the architecture of the contemporary city." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60547.
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This thesis proposes the exploration of three architectural sources that are narrative in nature: the Renaissance Entry of a Monarch as a public event in the city, the Surrealist novel as a critical medium, and the Teatro del Mondo project by Aldo Rossi for the Venice Biennale of 1979-80, in order to address the making of architecture in the contemporary city. The royal entry and the modern novel are forms that provide for possible interpretation of the city and reflect the difference between the modern and the pre-modern eras. Aldo Rossi's Teatro del Mondo as a work of architecture that was both ephemeral and a place of narrative, was a project that addressed the difficult problems of the architecture of the city. Architecture no longer participates in the realization of ritualistic narrative, as when the festival gave permanence to urban institutions by revealing the order of the Cosmos. However, there remains the necessity for architecture to engage imagination and the narratives implicit in the world.
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Lang, Steven. "Victorious Architecture : the changing shape of narrative in film." Queensland University of Technology, 2004. http://eprints.qut.edu.au/15929/.
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Screenplay: A wealthy industrialist, Victor Sanderton, has undergone a life change and set up an 'Institute of Higher Learning' in rural South East Queensland. He invites environmental and other contemporary New Age luminaries to hold workshops, while the attendees get in touch with their roots by planting trees. Victor, however, has not come to terms with his own weaknesses. Aleesha, a young runaway, distracts him from his higher purpose. Matt, one of his employees, thinks he sees in this an opportunity to enrich himself at Victor's expense. The situation is further complicated when a private detective, Helen Cox, is employed by Aleesha's mother to search for her. Logline: The ones who think they're strong are most at risk. Exegesis: While the narrative structures employed in the novel form have developed freely over the last century, in mainstream film they have remained relatively static. Even though film is predominantly a visual medium, and therefore suffers from an inherent shallowness, more complex narrative models can present opportunities for film to better mirror the human condition.
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Pence, Tara Leigh. "In an other sense : architectural order and building narrative in three museums." Thesis, Georgia Institute of Technology, 1990. http://hdl.handle.net/1853/21698.
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Wolf, Lewis. "Pistons, pins-ups & fisticuff - a graphic narrative exploration of architectural design." Diss., University of Pretoria, 2012. http://hdl.handle.net/2263/30219.
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The project is an investigation of the development of architectural space through drawing. The aim is to arrive at a design through the use of a graphic novel. The building has three programmes that augment the current conditions of the context. A motorcycle workshop and showroom; a boxing academy, and short term accommodation [apartments]. If fiction is really an invented reality, then protagonists are interpretations of projected contexts. The use of a comic offers a subjective perspective of design, as well as the ability to explore spaces where architecture is a backdrop. This is similar to the use of architecture in film. Parallel to the progression of the storyline, the process of illustrating the scenes forms the platform for the development of the architectural design.<br>Dissertation MArch(Prof)--University of Pretoria, 2012.<br>Architecture<br>MArch(Prof)<br>Unrestricted
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Sama, Jose Marcos. "Narrative light : the design of a monastic retreat." Thesis, Massachusetts Institute of Technology, 1988. http://hdl.handle.net/1721.1/78992.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1988.<br>Includes bibliographical references (leaf 28).<br>This thesis is the design of a monastic retreat on Cumberland Island, off the coast of Georgia. The island serves as the source of the generative concept that organizes the sequence of spaces within the monastery. The thesis proposes that light possesses the capacity to reinforce the generative concept. This capacity might be called a narrative use of light in which light tells us of the intentions behind the concept. A narrative use of light is expressed in Louis Kahn's design for the Unitarian Church in Rochester, New York. Kahn employs the light to evoke a sense of roundness within the square central room. By this simple move, Kahn has softened the comers, thus retaining the essence of his initial concept which depicts the space as a circular room. His attitude towards the light tells us of the generative concept. The thesis is composed of three sections. The first describes a walk through the island which collects impressions about the nature of the island. The second section describes how impressions of the island have been transformed into architecture, and how light tells a story, as one walks through the buildings. As a reference, religious buildings by Tadao Ando and Jorn Utzon are evaluated in the third section, as additional sources for creating a narrative with light.<br>by Jose Marcos Sama.<br>M.Arch.
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Jamieson, Claire. "NATØ : exploring architecture as a narrative medium in postmodern London." Thesis, Royal College of Art, 2015. http://researchonline.rca.ac.uk/1683/.
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This thesis is concerned with the way that architecture, (that is space, buildings, cities and urban environments), has been and continues to be speculated upon through a rich palette of narrative methods. Taking NATØ, the group of young architects led by Nigel Coates that emerged from the Architectural Association in the early 1980s as its subject matter, the thesis questions how architectural production is able to narrate and the modes and methods it employs. The research reveals echoes and resemblances between NATØ projects and a wider artistic, filmic and literary culture that emerged from the specific political, social and physical conditions of 1980s London. Personal archives of original NATØ material – including drawings, photographs, magazines, ephemera and writings – are exposed for the first time. Combined with personal interviews with NATØ members and other significant individuals, the narrative traces the group’s evolution and development at the AA in Unit 10 in the late 1970s, to their active period between 1983-1987. The thesis also examines the key influences of Coates and his early work: exploring his relationship with Bernard Tschumi, the influence of a period spent in New York and his association with diverse artists and filmmakers in London. As such, the research presents the first detailed examination of NATØ and produces original insight into the territory of architectural narrativity. The thesis contextualises this moment of narrative architecture with the evolution of narratology over the same period – a discipline whose changing consideration of narrative in the 1980s expanded from a literary basis to take in a broad range of media. Engaging with contemporary narratology, the thesis employs concepts and terms from narrative studies to develop an interdisciplinary understanding of how narrative functions in architectural production. The thesis also constitutes a history of postmodernism that represents an alternative to the dominant architectural mode, considering NATØ’s output as a subcultural form of architectural production that drew on techniques of bricolage, montage, fragmentation, polyvocality and defamiliarisation. Framing NATØ’s work through an understanding of the way in which their use of medium evolved alongside their conceptual ideas, the thesis considers the material in relation to four distinct areas, each constituting a chapter: performance and video, the drawing, the magazine and the exhibition. Chapter 1 on performance and video exposes the influence of both Tschumi and a pivotal year spent in New York on Coates, and the development of his ideas from student to co-tutor at the AA in the late 1970s. The chapter proposes a move from the highly cerebral and literary approach of Tschumi, to one concerned with the presentness of direct experience via video. Chapter 2 takes the architectural drawing as its subject, showing how Coates evolved the drawing in his unit at the AA in the early 1980s, and how in turn NATØ employed the drawing as an 8 expressive narrative medium. Chapter 3 considers the group’s self-published magazine, NATØ, produced between 1983-85, drawing parallels with street style publications i-D and The Face, of the same era. The chapter proposes the graphic design of the magazine as a medium through which NATØ developed the explorations of the drawings into a more complex form – positing the idea of the mise-en-scène of the magazine. Finally, Chapter 4 examines the apotheosis of NATØ’s output: the exhibitions Gamma City at the Air Gallery (London, 1985), and Heathrow part of ‘The British Edge’ at the Institute of Contemporary Art, (Boston, 1987). Taking the ideas established in the previous chapter into three dimensions, the chapter proposes the installation as a microcosm of the narrative experience of the city that NATØ sought – evoked through an embodied drift through space, and the replacement of the architectural scale model with the auratic object or stimulator artefact. Concluding, the framework of narrative architecture set out in the thesis is proposed as both a period preoccupation and a way of thinking about spatial narrativity more broadly. It critical assesses the potential for such architectural narrativity to be designed and built, finding the truest form of narrative architecture emerging from the city condition itself. Finally, the conclusion proposes a lineage of projects and ideas that have evolved since the late 1980s whose concepts represent a continuation of NATØ’s preoccupations.
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Rosenwald, Heidi. "Non-linearity as architectural narrative : a center for contemporary composition in three movements." Thesis, Massachusetts Institute of Technology, 1999. http://hdl.handle.net/1721.1/69754.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1999.<br>Includes bibliographical references (p. 129-133).<br>A thesis for architecture in three movements: I. Tempo molto moderato. (Theory.) (2767 w). II. Allegro. (Architectural Expression.) (2283 w). III. Gusto. (Final Building.) (3102 w). To see space, one needs a language. To express space, one needs a vocabulary. I have built on an existing vocabulary - one found in the writings of Faulkner - of non-linear narration. Through a series of studies I attempted to translate this literary construct into a language of spatial and experiential expression. In a dialogue with the literary, I added an architectural vocabulary by identifying existing buildings that possessed non-linear qualities. Together, this language and these vocabularies form my tools for articulating my vision. In music one can have shifting tonal centers. In literature separate points of view can create simultaneous stories. How can architecture create a multiplicity of spatial experiences and thrive from an intersection of art forms? From my studies I have abstracted two components that in dialogue lend each other greater significance. The movement through the building - necessarily sequential and physically linear - complements the experience of the spaces: non-linear and open for multiple interpretations. I attempt to express this dichotomy by setting up a tension in the architecture of anomalies to the expected. The space challenges perception and inspires in the moment of overlap (or gap) a re-thinking of the conventional and the usual. The building I will present is the Center for Contemporary Composition. Housed within one building, a multitude of programmatic activities cater to an environment of contemporary music creation and performance. It is a place for short-term residency that encourages idea exchange and intense creativity within a group of composers coming from diverse backgrounds. The building is the medium that renders new ideas in an architectural language, an evocative language derived from an external yet parallel source.<br>by Heidi Rosenwald.<br>M.Arch.
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Galyean, Tinsley Azariah. "Narrative guidance of interactivity." Thesis, Massachusetts Institute of Technology, 1995. http://hdl.handle.net/1721.1/29090.
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JOHN, PREETA. "Multiplicity and Narrative in the Collective House." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1212179145.
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Yazgan, Kerem. "Designography Of Architecture." Phd thesis, METU, 2003. http://etd.lib.metu.edu.tr/upload/531228/index.pdf.
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Practice of architecture requires the performance of different kind of activities for the production of an architectural work. Architectural production is achieved through two major processes which are design and construction. Each involves activities peculiar to it. Conceptualizing and drawing are two examples of activities embedded in the design process. Generally, there is a time interval between design and construction, in that what is created is not realized immediately. Although there are time intervals between each process and each activity, they must somehow be related. The conventional view of architecture relates them with the aid of analogies or knowledge from socio-political framework. However, these methods divert architecture from questioning issues of the discipline itself. This thesis claims that architecture should be liberated from narratives that are used to relate design, built work and users. Moreover, it suggests that each activity takes shape not through reference to analogies or representations, but through acts at the instant of production. This thesis discusses the acts involved in design process. It claims that design requires
the design of its acts as well. For that, it offers ideas about the identification and operation of acts in design with reference to certain works of architecture. The investigation concerning how acts are organized opens up a new area of research in the architectural discipline: a research concerning designography in architecture.
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Wiszniewski, Dorian Stephen. "Architecture and unavowable community : architecture and community as affirmation of insufficiency and incompleteness." Thesis, University of Edinburgh, 2010. http://hdl.handle.net/1842/9595.
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My thesis concerns how architecture can actively participate in processes of community-formation without reducing its creative processes to the oppositional tensions, prejudices and instrumentality of conventional left/right or bottom-up/top-down politics, “two poles of the same governmental machine.” By elaborating the architect as craftsman-author, my thesis explores Community and processes of political and poetic Representation. It is critical towards the biopolitics of governance. Theorisation is drawn principally from the political philosophy of critical theory, phenomenology and hermeneutics. My thesis promotes the architecture of “unavowable community.” Rather than forming communities by grouping likenesses together, and architecture forming their limits to either secure self-sufficiency or protect against insufficiency, architecture is tasked with finding methodologies for delimiting community-formation based on affirmative views of incompleteness and insufficiency. It is arranged in three Sections: Section I sets out the political and representational ground from which the investigation into community begins – it is a brief investigation into historical processes of forming community; Section II sets out possibilities for rethinking community – it is an investigation that shifts questions of craftsmanship, authorship, politics and representation from the search for appropriate community form to processes for becoming community; Section III is an investigation into the processes of craftsmanship and authorship directed towards the unpredictable but nonetheless “coming community” – it sets out a methodology for how an architect might go about proposing community.
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Guney, Diyana. "Episodes of Feelings." Thesis, KTH, Arkitektur, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-289220.
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Exploring narrative driven architecture.Architecture has been used as a physical medium that goes beyond providing shelter, but also to tell stories or document historical epochs. The architectural structures of old were designed to give its visitors an experience steeped in narrative such as biblical scriptures or even engender feelings of awe as they passed through a space. This is evident in the well established culture of architecture being something you experience, not merely a thing viewed through images. A building can not speak to you without you being beside or inside it. Architecture is an experience, an adventure and it is storytelling. “ Understanding nor organising are not enough nor necessary” (John Hejduk). This project was an opportunity for me to go after my dreams and passion of exploring storytelling through architecture. My love for film and cinema, fairytales, magic and myths. To somehow connect architecture to my passion of storytelling, whilst being challenging, has taken me to places unknown and helped me rediscover architecture, space and the human itself. The project is not about creating space for purpose, or purpose out of space, it is an experimentation of how space and design can be formed solely based on a narrative and the narratives view and understanding of the world. Is it not a psychoanalysis but merely an adventure where I invite you to feel and understand a person and his feelings through the help of architecture and design. The space will tell you everything that you need to think about.
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Wei, Chenlu. "Entering Sequence of Narrative Spaces." Thesis, KTH, Arkitektur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-223544.
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By designing a teahouse including archetypes of school, home and church, I try to investigate how architecture can work in the same way as the other artistic or literary forms, like painting and writing, to create atmosphere and express emotions. This thesis project consists of three questions: 1. Why space can evokes human's feeling? 2. What is space and what is place? 3. How to evoke special feelings by space?
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Haarmann, David B. "Sky, Earth, Horizon: Explorations in Transformative Architecture." University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1439295116.
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Nathansohn, Nof. "Digital nomads : space + narrative computing for the village of Al Araqib." Thesis, Massachusetts Institute of Technology, 2020. https://hdl.handle.net/1721.1/127875.
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Thesis: S.M., Massachusetts Institute of Technology, Department of Architecture, May, 2020<br>Cataloged from the official PDF of thesis. "May 2020."<br>Includes bibliographical references (pages 82-83).<br>For political reasons, the officially unrecognized Bedouin village of Al Araqib in Israeli's Negev desert is prevented from building permanent structures. While the state of Israel does not issue demolition warrants for new illegal houses, it instead demolishes these houses without a warrant, under the auspices of a law that allows the police to destroy new illegal structures within 30 days of construction. This situation has encouraged the people of Al Araqib to become familiar with different technologies. They use solar energy to provide electricity to the village, and smartphones to document and report demolitions. As an act of resistance as much as a practical measure, they repeatedly rebuild their houses, appropriating architecture as a political tool. This creates a situation where the Bedouin with their strong nomadic history, uses physical structures--the language and logic used by their oppressors--in the fight for their ancestral land.<br>Beyond supporting and recognizing the Bedouin people's fight for justice, this design thesis asks to harness the conflux of physical architecture and digital technologies in an effort to create innovative modes of communication that speak to the experiences of unrecognized populations, struggling for cultural survival. Specifically, through collaborative work by the people of Al Araqib, this thesis initiates a laboratory of tools and techniques that harness the spatial characteristics of the land and the social narrative of its people. Aiming to strengthen their ability to communicate more widely and more productively, the thesis proposes a platform that includes a set of digital and physical tools, such as digital design and fabrication, hackable devices, internet of things, architectural drawings, videos, sensors, GPS, automatization and GIS. Lastly, this thesis catalogues these diverse tools as part of a content management system and as a 'cookbook'.<br>It is composed of spatial information, automated and visualized to create a more persuasive narrative, and of journalistic strategies that introduce knowledge sharing and evidence of the reality of demolition and its impact on human lives.<br>by Nof Nathansohn.<br>S.M.<br>S.M. Massachusetts Institute of Technology, Department of Architecture
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Soffer, Jessica E. "Narrative Landscape: Sculpting Form through Memory." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1306499756.
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Touzjian, Richard. "From Film to Architecture:An Extended Cinematic Design Process based on Architectural Interpretations of Narrative Film." 京都大学 (Kyoto University), 2011. http://hdl.handle.net/2433/151991.
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Simon, Grell Sofi. "Time and architectural representations: the illusion of being eternal." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21655.
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Att beskriva en byggnad som tidlös är bland det finaste en kan säga. Några av världens mest uppskattade byggnader har beskriv- its som just det, tidlösa. Hur kommer det sig att en av den finaste komplimangen och erkännandet en byggnad kan få, egentligen är intetsägande?Tiden går ständigt och det finns ingenting någon kan göra för att ändra det. Människor, djur och även byggnader utvecklas och åldras. I denna uppsats ska jag undersöka hur det kommer sig att arkitekter tenderar att undvika att tiden påverkar arkitektur, både i hur den skapas och i hur den representeras.<br>One of the greatest compliments a building can receive, is to be described as timeless. Some of the most appreciated buildings in the world has been described just as that, timeless or eternal. How is that, that one of the best compliments and acknowledgementsa building can receive, dosen’t really say anything about the build- ing?Time goes by and there is nothing anyone can do about it. People, animals and even building get old. In this essay, I will ex- amine why architects tends to avoid that time gets to architecture, both by how it is created and in the architectural representations.
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Roberts, Katherine R. "Storehouses of abundance and loss architecture, narrative and memory in West Virginia /." [Bloomington, Ind.] : Indiana University, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3238500.
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Thesis (Ph.D.)--Indiana University, 2006.<br>"Title from dissertation home page (viewed July 12, 2007)." Source: Dissertation Abstracts International, Volume: 67-10, Section: A, page: 3929. Adviser: Henry Glassie.
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Moschel, Amanda. "Narrative Structures: The Creation of Meaning Through Reference and Collage in Architecture." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337263822.
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Jin, Jiayi. "When exhibitions become experiences : the nARration of augmented space inside a science museum." Thesis, University of Nottingham, 2018. http://eprints.nottingham.ac.uk/50489/.
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This Ph.D. thesis is focused on the concept of ‘Augmented Space’ and its design sensitivities, not only by combining physical space and all kinds of AR technologies as the one, but also exploring this new spatial format in a broader sociological context of augmented interaction that flows between digital and physical layers inside museums. Throughout the article, augmentation is reconceptualised as an idea/concept and cultural/aesthetic practice rather than as the pure technology. It first articulates the notion of augmented space, highlights different dimensions of augmented space that visitors perceived from science exhibition settings, and further generates theoretical convergences; technical implications and practical reflections. Then aims at bringing novelty from spatial, technological and experiential perspectives to the co-productive exhibition-making. This thesis finally points out the shortcomings and limitation of this Ph.D. research and provides advice and directions for future curating works with AR.
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Hrechdakian, Karine. "An experiment in form : the merging of cinema-verite documentary and narrative filmmaking." Thesis, Massachusetts Institute of Technology, 1988. http://hdl.handle.net/1721.1/74969.
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