Professional Documents
Culture Documents
Stephanie Else
CONTENTS 2|3
Preface 4
Introduction 6
Consider: Anatomy 9
Narrative in Motion: Constructing the Image 10
An Unfolding Narrative 18
Considering the Potential of the Stilled Narrative 32
Stationary Motion: narrative through the eye of the spectator 34
On Subjectivity 41
Temporal Thinking 44
Epilogue 71
Notes on the Method 73
References & Bibliography 75
PREFACE
- Lee H. Skolnick
- Jon Franklin
4|5
It is important, initially, to consider and understand the term ‘narrative’ - the intended use
of which is integral to this discussion.
Derivation:
narrative: from the Latin narrāre - to recount - and gnārus, knowing.
Definition:
An account of a series of events, facts etc., given in order with the establishing of connections
between them; a story.1 1
Though it is often loosely used and not fully understood, typically the term is associated
with the written or spoken word which recounts a series of connected events. Simply, it
is storytelling: a basic human concept which manifests itself throughout culture. It is the
conscious way in which we communicate experiences and ideas to others.
- Marco Frascari
- Jean-Luc Godard
Human beings are dominated by the compulsion to return to the familiar, or when
there is nothing familiar to be found, to familiarise ourselves with the unfamiliar.
- Neil Leach
6|7
artefacts out-with their original context. The architect has to therefore consider how the
object can continue to convey its purpose - its ‘story’ - within its new environment.
This DRU aims to investigate and challenge the perception of narrative, which is
determined initially by the physical, spatial relationship between the occupant and the
artefact; secondly, by the role of the author (architect/photographer); and finally by the role
of the reader (occupant/spectator).
Consider: Anatomy
‘It’s a kind of anatomy we’re talking about’. (Zumthor 2006) As a composition of things,
architecture is choreographed – in this respect, it is fundamentally structured. Space,
material and light are essential elements; within museums, artefacts are perhaps the most
essential. In this particular building typology the exhibits give the building its purpose.
Within successful museum architecture, the absence or presence of any single artefact has a
profound impact on the narrative of the space(s). The architecture is only part of the story.
Sverre Fehn’s archaeological Nordic museum in Hamar, Norway epitomises the concept of
architectural narration. Fehn considers a range of inventive stories and images. At the point
he is able to bring a particular story into his material concept, a creative resistance force
belonging to structure evolves. (Fjeld 2009)
Preoccupied with the connection between earth and sky, mellomron – the space between,
Fehn’s architecture actively explores and challenges the position of the viewer in relation
to, at its most macro scale, the cosmos; the perceived intermediary that is the ‘horizon’; and
at a more micro scale, the object and, significantly, the position of the object in relation to
the horizon.
The inherent embodied memory of material, specifically, is a platform upon which Fehn
considers his intervention. Inserted within the existing stone structure, a fluid concrete
route unfolds as a constructed landscape. His investigation into the concept of the shifting
horizon is made manifest through the considered integration of stairs and ramps within
this suspended narrative. These devices within the continuous, shifting route purposefully
activate the ‘space between’. This influences the perception of the space as the visitor’s
position in relation the ground/horizon and sky is continually transformed. It appears Fehn’s
intention is not to predetermine the visitor’s perception but to guide them both through and
out-with an interpreted sequence of history.
Through the cross section [opposite] Fehn’s metaphors are clear. The concrete route appears
as a series of ‘vessels’ apparently suspended within the enclosing frame. They contain
the visitor within the space while the ramp (the smaller of the three) specifically directs
movement. His own sketch [p.24] entitled The Discovery of the Object is also evidenced
here.
It is the presence of material enveloping this route that most evidently conveys Fehn’s own
ethos. The stone walls at ground and first floor levels exhibit an aura of permanence and
endurance pertaining to the earth; while on the uppermost level the lightweight, rhythmic
quality of the timber structure relates to the sky. Connecting the levels, the contemporary
concrete insertion appears to allude to both. It subtly interacts with the old only when
necessary to permit the existing marks in the landscape - the protected ruins - to continue
their now slowed decay.
Having considered the broad anatomy of the narrative, it is relevant to discuss a significant
portion of the architectural dialogue where these separate elements are choreographed to
form a cohesive whole.
Within this context there exists a crucial subtext. As a museum, it is the artefact which
contains the most significance –the dramatis personae within the architecture.
Thus the architect accepts his limits and allows the individual’s interpretation to conclude
the narrative
10|11
Physically suspended between two levels – two horizons – is a modest timber rowing
boat. Situated at the moment where the visitor is drawn through an enclosed space to an
open double height volume which exposes the entirety of the structure3. The individual is
1
instantly aware of their position in relation to the object – the perception of being beneath
the horizon. This predetermined route permits the visitor to view the craftsmanship of
the object, first, from below - from within an absent body of water - and then once more,
from above, at the new horizon where perception is more familiar. Essentially it is the
object within this conscious sequence, at this precise moment, which controls the spatial
experience. The cross section through this space - and through the object - identifies a
striking similarity between the actual vessel [the boat] and the implied vessel [the ramp].
[fig.06]
The artefact, removed from its intended environment and purpose, is communicated by
Fehn in the manner of his own interpretation. His approach allows the boat to be properly
exhibited whilst also exploring his own metaphor. He does not seek to directly replicate
the original but in suspending the boat he evokes a fictional - yet entirely credible - scene
of a boat docked alongside a concrete pier. Fishing rods, specifically staged nearby, further
suggest a potential continuation of the narrative.
Consider, for a moment, that the exhibit no longer occupies the space.
Without the presence of this specific object the purpose of the space is transformed.
It is argued then, that the considered anatomy of the architecture influences perception.
The omission or alteration of any single element affects the understanding of the whole.
Ultimately, Fehn’s considered approach and sensitivity to both building and artefact is
evident in the success and clarity of the narrative.
3. Spatially this sequence can be likened to a ‘dolly shot’ within a film narrative – a cinematic technique
whereby the viewer is drawn towards something in the distance through a forward motion involving the physical
displacement of objects. Note: this differs to a ‘zoom shot’ where the object in the distance is magnified and
seemingly brought towards the viewer, achieved through changing the focal length of the camera. This evaluation
aims to highlight the significance of the physical participation of the visitor within the intended narrative.
12|13
fig.03. Constructed
‘cinemetric’ montage
fig.04. cinematic ‘dolly’ shot technique fig.05. principles of ‘zoom’ shot
14|15
fig.06.
fig.07. space with exhibit:
spectator’s view is controlled and directed towards new ‘horizon’
16|17
- Peter Zumthor
[On theoretical practice] …theory and idea reside inherently in the subject matter
– it is only the fact of their resolution within a physical reality that makes them
poetic.
- David Chipperfield
18|19
An Unfolding Narrative
Pertaining to movement: the physical displacement of a body through space and time.
‘Sequential experiences of space [in parallax] can only be played out in personal
perception…If we allow magazine photos or screen images to replace experience, our
ability to perceive architecture will diminish so greatly that it will become impossible to
comprehend it.’
- Steven Holl
speak. Thereafter, personal history, memory and ethos of the individual are inherent to the
conclusive perception.
4. ‘The Death of the Author’ 1967 - Essay by Roland Barthes, who argues that the interpretation of a text should
not be limited to nor end with the discovery of the Author (the scriptor).
20|21
‘Suppose you shoot a whole movie in a single frame?...You get a shining screen.’
– Hiroshi Sugimoto
A single image may be less tangible than a built space but it is certainly no less profound.
Perhaps even more so – for often it is not what it is seen but rather what remains unseen.
Simply, it is the result of an individual’s decision at a moment in time to capture whatever
is or isn’t. For this reason photography, inherently subjective and thus comparable to an
architectural narrative, is the process of rendering observation self-conscious. (Dyer 2001)
32|33
fig. 10
Stationary Motion: Narrative through the Eye of the Spectator
Hiroshi Sugimoto’s monochromatic Movie Theatre collection aims to capture the essence
of the space and its intention. Apparently devoid of people, the emptiness exists in stark
contrast to the brightly illuminated, blank movie screen. Using multiple exposures on his
camera, Sugimoto’s attempt to potentially find something ‘still’ within a moving image is
realised: through setting the exposure time to coincide with the duration of the film, the
spectator is rendered invisible. In this way ‘time passes through [his] camera’. (Dyer 2005)
The absolute whiteness of the screen suggests something more; some narrative intentionally
unseen. Essentially, this series of photographs exist as a physical representation of the
conscious effort by the individual to somehow capture, in a still image, the passage of time.
Similarly, English installation artist Corneila Parker, explores the possibilities of motion
stilled. Her installations comprise shattered objects, suspended mid-air – her exploding
shed installation [1991], perhaps most recognisable, is a narrative suspended in time: it is
simultaneously with and out with the moment – not unlike Fehn’s ‘suspended route’.
Much like Sugimoto’s Movie Theatre photographs, the process of production is as important
as the ‘end product’. A systematic selective process of layering through which the creator
physically constructs their imaginings in reality. Entitled, Cold Dark Matter: An Exploded
View, Parker suggests a further layer of perception by the viewer. It concerns both the
measurable and immeasurable. The latter part of which intimates the exploded axonometric
drawings one might find in a technical manual: a sort of ‘mapping out’ of the way in which
things can be understood. The first part meanwhile, suggests the vast detachment from the
immeasurable and unknown. The title is both simple and fundamental: mostly it assigns
purpose.
As Barthes alludes to in Death of the Author, interpretation is infinite and should not be
restricted by its creator.
34|35
fig. 11
I am interested in the presentation of culturally-made objects in spaces—and the
spaces themselves as such objects, the presentation of presentation, if you like.
- Candida Höfer
Through the medium of photography, Candida Höfer also endeavours to capture a sort
of intermediary narrative of space. Temporary absence, not emptiness, is what permeates
her constructed images. Momentarily, it seems that a person might enter the image and
activate the space.
36|37
On Subjectivity
‘A text consists of multiple writings, issuing from several cultures and entering into
dialogue with each other, into parody, into contestation; but there is one place where this
multiplicity is collected, united, and this place is not the author, as we have hitherto said
it was, but the reader.’ - Roland Barthes
Consider not the presence of subjectivity but rather the absence of objectivity
Photographer, Ivan Brodey, was faced with the challenge of somehow capturing the
‘spatial narrative’ of the Skadalen School for the deaf [1975] – one of Sverre Fehn’s lesser
known projects. It became necessary to depart from the single image. The photographer
has to search for another structure, to use the potential of a photograph to transport the
viewer into a fictional world of spaces. Even when there was no obvious narrative except
the one traced by the use of the building, a photograph can invite the viewer to explore and
experiment. [Fuchs-Mikac 2009]
‘…there are actually many ways to understand it. This is the key to an architecture of
transcendence, that continues to be active in the meeting of people and places long after the
thought has left the mind of the architect. Such an architecture demands our participation,
and it changes us.’
- Ingerid Almaas
Consider:
Site as artefact.
Building as artefact.
Artefact.
Photograph as artefact.
44|45
Duration.
Each is constructed by man either over a period of time or instantaneously: the concept of
‘duration’ 5 is paramount.
1
5. ‘Duration’: The not yet meets the already gone. (Holl 2000)
Chipperfield’s Neues Museum in Berlin relentlessly exemplifies the collision of these
‘things’ and, even further as the city becomes the artefact. The building at once, exists
within the city, its ‘physical’ site boundary yet somehow out-with time. Berlin, with
its visible scars and historical fractures permeates the architecture. There is an inherent
temporal perception whereby the built context accepts its tumultuous history: there is no
illusion.
‘…this, a new building that neither celebrates nor hides its history but includes it…Each
decision, whether about repair, completion or addition, was grounded by the articulation
of its physical quality and its meaning , where all parts of the building attempt to inflect to
a singular idea; an idea not of what is lost, but what is saved.’
- David Chipperfield
In considering the Museum itself, much like Fehn’s example, in both instances, the
buildings themselves are as much the ‘artefact’ as the objects contained within. There is an
explicit embodiment of cultural value within their respective physical anatomies. Though
these values may be defined in opposition; where one exhibits a sort of monetary wealth - a
‘monumental’ artefact - while the other, a simple barn with archaeological significance,
demonstrates its more modest achievements, both nonetheless exist as constructed and
preserved cultural memories respective of their context.
Great importance and consideration is, of course, given to the placement and composition
of the internal artefact(s). Though the scalar values of these examples differ dramatically,
the principles are comparable.
In the Neues Museum, the Egyptian Courtyard upper platform is the most internalised
space in the entire building and is also the only dead-end. It is one of the largest spaces and
it contains some of the smallest artefacts - a successful paradox. The significant principle
here is containment: the courtyard is bounded by building; the platform by columns;
and the artefact by display case. This space exists out-with the formality of the enfilade
composition which structures the majority of the building; instead the rooms are structured
within themselves as ‘spaces within spaces’.
This sequential relationship between spatial scales is acknowledged through the presence of
the spectator. Perception, literally, is point-of-view at a moment in time.
46|47
‘…devoid of any diversions that would disrupt her transcendental rooms, where nothing is
staged, but where, as the architect of order, Höfer leaves nothing to chance.’
- Constance W. Glenn
In the publication Neues Museum Berlin, Höfer’s photographs are seamlessly juxtaposed
with the text narrative. Two images, identical save for the absence/presence of one object
clearly convey how perception of a space can alter with the addition or subtraction of a
single thing: here, the photograph becomes the artefact. The North Dome, depicted in
these images, contains the bust of Nefertiti and acts as a pivot point in the museum; the
South Dome, located at the opposite end of this particular axis contains a sculpture of the
Roman God, Apollo. The considered placement of these artefacts along this axis articulates
a relationship between the Sun Queen and the God of the Sun.
Composed in such a way as to evoke meaning, the photographs suggest new interpretations
and perceptions [as alluded to in the ‘Potential of the Stilled Narrative’].
figs.16&17
Candida Höfer: Nefertiti, North Dome
50|51
axial perspective
52|53
50|51
altered perspective:
altered perspective
left: own image, right: image by Candida Höfer
the subjectivity of the photographer affects the selective composition of the image
awareness of temporal presence
54|55
fig. 18
56|57
58|59
‘The apocalyptic strain in popular cinema has provided us with plenty of images of that
moment, seconds after some unspeakable catastrophe, when the mass of humankind has
been erased from the planet, leaving its once bustling civic spaces forlorn and attendant.’
(Höfer 2006)
Film, of course, is an illusion. The credibility of which is determined by the viewer. Gregory
Crewdson looks beyond this illusion and exposes the fragility of the apparent constructed
reality that is the film set. Monochromatic, abandoned and lifeless, his photographs suggest
what once was. He frames the view as one might frame a movie scene, selectively layering
and exposing the structure of the sets. This is an unusual approach by Crewdson whose
photographic narratives are usually constructed and detailed with such precision: in this
series of photos it appears he is actively looking for the de-constructed narrative.
Where Höfer presents the idea that the spaces are empty ‘just for the moment’, held in
suspense from activity, Crewdson’s portrayal seems final and exhibits the idea that ‘this is
it – there is no more’.
fig. 19
stark reality: Chernobyl
66|67
Epilogue
‘Architecture does not exist in isolation from culture and society; rather it forms an
interrelated connection of people, processes and material worlds…In architecture, percept
and concept are revealed as two aspects of one and the same experience.’
– Marco Frascari
What is clear, is that through the examples discussed, the authors - architect/photographer
- none of whom prescribe a single, conclusive narrative but rather demonstrate support
for interpretation through the physical composition of their unique perspectives on
contemporary society and culture.
This text is a narrative written from a personal perspective. As the author, the intention
has been to highlight the importance of the ‘role of the (viewer)’ within the narrative(s)
conceived and conveyed by its author(s).
Like beauty, narrative is ambiguous and subjective. This essay addresses, not ‘beauty
through the eye of the beholder’ but rather ‘narrative through the eye of the spectator’.
Reflectively, this essay might equally have been entitled The Illusion of Narrative as it has
become evident that term cannot be considered in its singular form. As long as architecture
continues to be observed and experienced, the narratives are infinite.
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From the outset an interest in the technique of Carlo Scarpa – his process and craft, and
ultimately his specific composition of ‘things’ to form his unique architectural dialogue,
highlighted the potential of investigating ‘narrative’. In addition to this, an interest in the
narrative of film in relation to the city had developed in line with our separate integrated
design studio project: Filmhaus, Berlin. This influence is evident in both the essay and the
‘cinemetric’ technique integrated within the layered drawings.
The Neues Museum narrative drawing initially developed in a similar manner yet
eventually manifested itself rather differently. A far more experiential, physical drawing
which became what might be described as a three-dimensional map, evocative of a personal
spatial experience.
Viewed in parallel, the drawings, both drawn at 1:100, exhibit the importance of scalar
value. The process of constructing the drawings questions the importance of ‘things’: what
is the ‘essential’. Through their continuous transformation these drawings evidence the
constant working and reworking of personal perception.
Finally, selected images of these drawings [the drawings de-constructed once more] are
juxtaposed with the text narrative to provide a considered visual focus and reference.
These images, intentionally printed on tracing paper, reflect the method of constructing the
layered drawings. The visual transparency of which also suggests multiple perceptions of
the images - similar to that of an architectural narrative.
Together, the written body of work and the physical ‘thinking machines’ facilitate a
thorough comprehension of the tangible meaning of ‘narrative’ and its cultural associations.
Considering it as an ‘anatomy’ and exploring the possibilities of the ‘stilled image’ has
been surprisingly enlightening and has developed into a framework which will continue to
inform my design process.
REFERENCES
Image Credits
References for images not directly credited in main body of text.
Images not referenced are Author’s own.
Roland Barthes
Barthes, R. (1967) Death of the Author. [essay online]. Available at:
http://www.tbook.constantvzw.org/wp-content/death_authorbarthes.pdf [accessed April
2014]
John Berger
Berger, J. (2005) Berger on Drawing. Cork, Ireland: Occasional Press
David Chipperfield
Chipperfield, D. (1994) Theoretical Practice. London: Artemis
Sverre Fehn
Fjeld. O,P. (2009) Sverre Fehn: The Pattern of Thoughts. New York, US: Monacelli Press
Marco Frascari
Sharr, A. (2012) Reading Architecture and Culture: Researching Buildings, Spaces and
Documents. Abingdon: Routledge
Constance W. Glenn
Glenn, W,C. et al. (2007) Candida Hofer: The Architecture of Absence. Hampshire, UK:
Aperture [Thames and Hudson]
Jean-Luc Godard
cited in the film, ‘The Little Soldier’ (1963)
Steven Holl
Holl, S. (2000) Parallax. New York, US: Princeton Architectural Press
Neil Leach
cited in Macleod, S. et al. (2012) Museum Making: Narratives, Architectures and
Exhibitions. Abingdon: Routledge
Lee H. Skolnick
Sharr, A. (2012) Reading Architecture and Culture: Researching Buildings, Spaces and
Documents. Abingdon: Routledge
Peter Zumthor
Zumthor, P. (2006) Atmospheres. Basel, Switzerland: Birkhauser