Narrative as a Base in Architecture Yash Kora 27/01/2020 ABSTRACT One of the fundamental concepts of modern architectural theory is the idea that architecture is a form of language. If narratives exist, as Ronald Barthes and others concludes, as a writen, oral, visual discourse in an ‘infinite diversity of forms’, then architeclure and cities become agents that can be studied for their narrative significance in a presented or mediated form as unmediated exstence ie. actual space. Thus fo examine how the ordering mechanisms in literature and art can informs the Development of Experience in Architecture. Bernard Tschumi’s The Manhattan Transcript. For Tschumi, narratives are a means of exploring architecture's ability to communicate through spatial poradigms and as such, seek on aclive engagement between the user ond architectural space. Tschumi notes that he is ‘..examining architecture “frame by frame", as through o film-ediing machine’ and isis well known that much of his creative output has evolved from theories of montage and ediing and a discourse of film and cinema, Projects like the screenplays or The Manhation Transcript. The Manhattan Transcript, Tschumi uses the ‘riparite mode of notoion’: movement, event, and space. Using Ihis mode of notation, Tschumi slates thot itis “proceeded from a need lo question the modes of representation generally used by architecs: plans, sections, axonometrc, perspectives “His work revolves around the aspecls of sequence/program of the images, the movements that occur from the sequence and the form that comes oft Alter completing this piece, Tschumi concluded with his statement, which describes his syle, “There is no architecture without action, no architecture without events, no orchitecture without program.” (Bernard Tschumi Architects, 1976) Tschumi's fascination of he element of movement within architectural space and scriptograms (diagrams) 1o perceive is whotinrigues me to work with The Manhattan Transcripts and ullimately Tschu movement and space in architectural representation definitions of LN BuildingsWassily Kandinsky’s Point and line to Plane. Kandinsky ‘invented’ abstract painting when he sow one of his landscape pieces tuned upside down and realized that even though the objects were unrecognizable, the painting sill invoked emotion He went on to form « belief that elements of a painting (lines, planes, colors) are lke notes in music - abstract - and that they can be used Independently of representation to convey an atmosphere, a message, an emotion, ele. The theory Point and line fo plane, he explored the interrelation between color, form, line direction and infensily of he pointto create an aesthetic experience. In his way the arlst engaged the sigh, sound and emotions of the public. In his writings, Kandinsky analyzed the geometrical elements which make up a painting — the point and the line, He called the surface the artist worked on the plane. A point is a bit of color on the plane, it doesn’t take the form of just a dot, itcan be a square, a star or something morecomplicoted. But according tothe position of the point on the plane it can resonate or create tension with other points of lines. The line is an extension of force applied to the plane - applied with pencil or paintbrush. Ths form can take many shapes. The straight tine, angular line or curved line. Again, these forms can create tension or show space in their relation to other points andlines. When it comes to elements in design, we have two basic elements to work with. Positive form and negative space. The mos! basic concrete form isa dot. Many dots in a row become aline. A shape in its mos basic form isa dot Similar to Kandinsky's theory about points, dots create a reference point in relation to the space around i Changing the size ond position of a dot this can actively influence the composition. Now a line is all about movement. Itleads somewhere, this causes the eye to move along it.The line can direct you towards and move you away from a poin However, he figures motion as an element tse without invariably representing ‘hat which moves or has moved Kandinsky's development of mastery over the Expression of Motion inirigues me lo work alongside Tschumi’s definitions of Movement and Space in architectural representation. Ullimately it generates the exercise fo see simple forms, the skill which becomes essential when observing expressions and forming a narrative, specially in age of information and communication.Methodology Study & Analyse Bernard Tschumi form fiechniqua Wassily Kandinsky] the manhattan transcript of Point & Line to Plane Nan Narrative _ event, movement, space through the aspects of sequences of images, the movement that occur from the sequence and the form that comes of it. lexpression of motion lhrough the aspects of interrela- Hion between color, form, line di- rection and intensity of the point to create an aesthetic experi- lence to convey an atmosphere, Ja message, an emotion, * Subjective experience of space becomes its very concept + Parameters of Expressiveness language Interconnected nature of various disiplines Art ‘Architecture Future’ Draw lens 3 ee ee = Process eeeeece 10 obeserve a Narrative of Construction of Experience in ar- chitecture Buildings asa ners OR sens ase case study case study Represent «@ scriptograms as a conclusionNarrative as a Base in Architecture Yash Korat 29/01/2020 ‘ABSTRACT «@ form of One of the fundamental concepts of modern architectural theory is the idea that architecture language. If narratives exist, as Ronald Barthes and others concludes, as a writen, oral, visual discourse in an ‘infinite diversity of forms’, then architeclure and cities become agents that can be studied for their narrative significance in a presented or mediated form as unmediated exstence ie. actual space. Thus fo examine how the ordering mechanisms in iterature and art can informs the Development of Experience in Architecture. . Aims To investigate the art & literature expressiveness such that it leads to generate a process for architectural design and thinking, Objectives To identify the threshold between art and architecture To identify the traces between the theory and design practice in Parc La Villete by tschumi To analyze the narrative theme from the book ‘The Manhattan transcript’ & ‘Point & line to Plane’ To derive a pattern from abstraction in form of illustrations and models To observe and analyze the spaces through the lens of derived process Research Questions How narrative develops an expressiveness and longuage analogy? Can very understanding ond use of spatial narrative helps generate « habit of Observation? Does Narrativefulfll he gap between Fiction and fictional? How narrative os part supports the detailing of space How linear and non-linear understanding would help figure out what is missing intoday’s narration for architectural future? What is manifestation of intellectual and experiential understanding?Scope & Limitations The study covers the aspects of art and literature only The study islimitate to the study narrative theme in Bernard tschumi’s The Manhattan transcript and Kandinsky’s Point & line to Plane. Further analyzing limitate to the case study of par of a city or buildings with similar programs