Tuesday, January 20, 2015

Experiential Narrative

Purpose:

Current methods of contemporary architectural design fail to engage and provide both physical and mental stimulation for its users, through the active separation of the mind and body from occupied space, the intended architectural experience of space becomes diluted.  

Position:

The value of architectural experience lies within emphasizing the consciousness of its users; in contemporary architectural practice, the visual field is limited to two dimensional imagery and actively represses users from engaging with the built environment. 

Why is this necessary? Walter Benjamin, Illuminations

“Architecture is only viewed when one is distracted, slowly revealing its essence and is absorbed through experiences rather than one focus that demands full concentration.”

- reaffirm the reality of architectural experience through a more thorough method of communication

- reality of architecture should be a more experiential narrative of architectural ideas
(usually ones that are lost between design conception and construction)
 - not only representative of a culture, but becomes an engaging narrative of that culture

Creating a tangible narrative, experience of the dynamic narrative

Exploring the experience/ narrative of cinema – translation of the 2D into a 3D dynamic narrative

Designing through a sequential narrative promotes a visual understanding and engagement with space.

Using the imagery of film- is the experience of the 2D, dynamic image, more engaging and communicative than the dynamic user moving through a static space? Shouldn't the architectural experience have a similar degree of engagement?  

Hypothesis:
Strategy
 01: Defining and Deconstructing the Narrative
Through restructuring current design procedures, with a greater focus on the creation of an experiential narrative before a structured functional program; the narrative of the architectural sequence informs and communicates an architectural idea into an experience for its user.


Strategy 02 : Heightening Perception

A more phenomenological approach to current building design, through a reinterpretation of design tools, allows for a more inclusive method of interaction as the body becomes reintegrated and with a heightened level of experience that is accessed through the engagement of the senses. 


Strategy 03: Conceptual Communication

The re-centralization of architecture through tactility, reconsideration of texture, weight, density can be more thoroughly perceived, and engaged with to fabricate the reality of space within the built environment.    

“The total perception of architecture depends on the material and detail of the haptic realm” (Holl, 91)


How can the experience of communicative imagery be translated into a model that engages with the built environment? How can it be interpreted in a haptic manner? 

5 comments:

  1. I may have gotten it wrong, but I think your thesis is more about engagement with the space rather than having a narrative. Because doesn't every architectural project have a narrative in its own way? And they are even experiential narratives in essence based on the experience of a person in that specific space.
    I also think that your second strategy is more like a goal, not an actual strategy. In which way are you going to heighten the perception?
    Interesting topic by the way!

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  2. In my videogame-related research... film/cinema/games being items in popular culture, readings directed me to realize the power of architects/architecture in creating realistic narratives to enhance cinematic experiences (the experience of gameplay in my case...). There were a lot of references to amusement park ride designs (eg. disneyland, universal studios, etc) - although just a replication of film spaces, it's about the idea of turning 2D cinema/film narratives into 3D tangible structures or experiences... maybe something to look into?

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  3. I am exploring on similar topic, regarding how ocularcentricism reduces architecture to foreign objects in our environment. In case you haven't came across these, I find the following readings very helpful:
    Peter Zumthor - Thinking Architecture
    Kengo Kuma - Anti-Object

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  4. I really like where you are going with the narrative approach. You seem to be dealing with some parallel themes to mine, but through an entirely different framework.

    This was actually incredibly helpful as an example of how to frame the strategies! thanks.

    I'd like to make my own post but I am still not able to.

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  5. Use of the term "diluted" is poignant in this instance as it implies a diminishing of the architectural experience with an excess of something else - in this case it is the separation from body and mind. The perception and cognition of space seems to be the crux of the thesis, specifically the spectrum of consuming this information ranging from narrative sequencing to multi-sensory inputs.
    A good person to speak with would be Matthew Suriano in 2nd year M.Arch as he struggled with similar issues in defining atmospheres. Though his thesis work is distinct from what you are developing, it would at the very least offer some additional resources for you to draw upon.
    Are you focusing on "communicative imagery" based upon what Andrew already has pointed to (Pallasmaa's "Eyes of the Skin") as the "occularcentric" model of operation?
    To focus on a haptic response is interesting however why look to "interpreting" the experience through haptic methods? Could the thesis pertain to the potential that haptic inputs hold in improving the spatial experience rather than "interpreting"? Thinking in such a manner would validate your thesis' exploration in ARCHITECTURE rather than architectural representation.

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