15 October 2015


  1.  “Each cell is an invitation to pause but the sequential structure urges the eye forward. The conflicting impulses to move on and linger are resolved through a narrative”.  This is really similar to how people experience and move through different types of architecture.  The “spatial narrative” is what determines how people will move through a space or where they will pause within a building.  Can we discuss examples of spaces that do this and how a storyboard might convey these spaces or the ways in which we move through them?
  2. When comparing storyboards to film he discusses the “imaginative appeal of each individual image” in the storyboard which is restricted by size and stasis.  Does each image become more powerful/critical because one image must convey activity over a period of time? How does a storyboard successfully compress time even more than film is typically forced to do? Does the imaginative aspect of a person’s interpretation of a series of images weaken or strengthen the use of storyboard in presenting architectural projects?
  3. In looking at a bunch of images of storyboards online, I began to notice how each frame is typically the same size and shape not really denoting a type of hierarchy.  In architectural storyboards how can storyboards begin to show hierarchy?  Of a space? Of an experience?
  4. Davids talks a bit about frames and how the “relationship of one framed image to another can be a story in itself”.  What is the relationship of the frames, the images and the narrative?  What can the relationship be from image to image or frame to frame and how do these small relationships create an overall narrative?
  5. With a storyboard there is no real narrative connected to the images as there is in comics, the narrative needs to be invented by the viewer.  How could this help an architectural project presented with a storyboard or how could it hurt it?  Let’s assume the designer isn’t there to present or provide their personal narrative.

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