Add to ORKGIn this chapter Suzanne Buchan describes some examples of animation film's particular "bending" or manipulation of architectural space and contrast this to our experience of space in architectural set design in live-action cinema. The second part considers the architectural process and how this relates to the use of architectural fantasy in animation film. This is followed by a brief overview of what defines cinematic set design and a discussion about how animation films subvert this. The author then investigates how the space takes an active role in determining the narrative. The final part of the essay considers Anthony Vidler's concept of the architectural uncanny
Digital animation provides a new possibility to exhibit architectural projects, but it must address ...
The origins of a spatial dimension to the imagination of art and architecture can be traced to the f...
49 pagesThis booklet explores the term "architectural narrative", which applies a mode of describing...
In this chapter Suzanne Buchan describes some examples of animation film's particular "bending" or m...
Cinemas have always communicated beyond space and time. However, the illusion of being in a syntheti...
As part of our inquiry about the practice of architectural film and animation and where it might go,...
This paper sets up a paradigm for creative architectural animations, drawing cinematic, architectura...
Architects sometimes use architectural animations to explain their designs. To probe the practice of...
Since the late Nineties, digital architectural animation emerged as one of the main methods for repr...
Films use architecture as visual shorthand to tell viewers everything they need to know about the ch...
Architectural animations often evidence limitations when trying to get across our design intensions ...
Architecture as a form of art, whilst actively developing, finds new methods and conceptions. Curren...
When animation leaves behind the limited confines of the cinema screen to surface in the white cube,...
Goosebumps, hairs stand on end, a knot in the stomach, an inexplicable feeling of chill or even pani...
Even though inspired by cinema, architecture animations often oversimplify filmic space, and conflat...
Digital animation provides a new possibility to exhibit architectural projects, but it must address ...
The origins of a spatial dimension to the imagination of art and architecture can be traced to the f...
49 pagesThis booklet explores the term "architectural narrative", which applies a mode of describing...
In this chapter Suzanne Buchan describes some examples of animation film's particular "bending" or m...
Cinemas have always communicated beyond space and time. However, the illusion of being in a syntheti...
As part of our inquiry about the practice of architectural film and animation and where it might go,...
This paper sets up a paradigm for creative architectural animations, drawing cinematic, architectura...
Architects sometimes use architectural animations to explain their designs. To probe the practice of...
Since the late Nineties, digital architectural animation emerged as one of the main methods for repr...
Films use architecture as visual shorthand to tell viewers everything they need to know about the ch...
Architectural animations often evidence limitations when trying to get across our design intensions ...
Architecture as a form of art, whilst actively developing, finds new methods and conceptions. Curren...
When animation leaves behind the limited confines of the cinema screen to surface in the white cube,...
Goosebumps, hairs stand on end, a knot in the stomach, an inexplicable feeling of chill or even pani...
Even though inspired by cinema, architecture animations often oversimplify filmic space, and conflat...
Digital animation provides a new possibility to exhibit architectural projects, but it must address ...
The origins of a spatial dimension to the imagination of art and architecture can be traced to the f...
49 pagesThis booklet explores the term "architectural narrative", which applies a mode of describing...