06 October 2010




1. Are storyboards limited to design proposals? Can we learn more by doing them after a building has been built? How do storyboards and film differ?

2. What does David Hockney mean states, “There are so many relationships created by juxtaposing each photo, and the permutations of these relationships seem so numerous, that you continue gazing at it, and seeing it in many different ways.” Do you think this is true?

3. Are storyboards still relevant as a media in architecture given the ease of creating virtual walkthroughs? What are the pros/cons of using storyboard vs film?

4. Storyboards can “challenge perceptions about the representation of architecture beyond eye-level”, such as from the point of view of a cat. What do we actually learn from them?

5. In respect to our studio project, how can storyboards be used to enhance design? Presentation?



1. How do we begin to design with descriptive emotion? Should we?

2. Vidler states, “Of all the arts, however, it is architecture that has had the most privileged and difficult relationship to film” (p.2 of pdf), how is this so?

3. When Vidler speaks of ‘spaces of horror’ what is he referring to?

4. What does Panofsky mean when he states, “To prestylize reality prior to tackling it amounts to dodging the problem…The problem is to manipulate and shoot unstylized reality in such a way that the result has style”.

5. Where in some of the films for our first exercise do you see the background being used as a tool to enhance the mood/theme of a scene?

6. Attention, Memory, Imagination, Emotion are the “forms of the inner world”, how are they used in modern design? Your designs?



1. How would you define the icon?

2. Why does McCloud present himself in such a cartoon-y way as oppose to articulating his face and physical demeanor? Do see this same idea in architecture projects?

3. Can design be abstracted too far? At or past the point of cartoon? How do you decide which level of abstraction is appropriate for your process?

4. What does McCloud mean when he says that inanimate objects become extensions of ourselves? Examples?

5. Why are protagonists often more abstract in cartoon/comics such as tin-tin, while the background or the antagonist is often very descriptive/articulated?

6. How do we separate the message from the messenger in architecture?

7. Is there a way to bridge the realm of the concept with the realm of the senses?

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