International Journal of Sciences:
Basic and Applied Research
(IJSBAR)
ISSN 2307-4531
(Print & Online)
https://gssrr.org/index.php/JournalOfBasicAndApplied/index
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Exploring the Interplay of Architecture and Cinema: A
Narrative Perspective
Mohamed Maher Mohamed*
Department of Architecture, Faculty of Engineering, Ain Shams University, Cairo, Postal Code 11617, Egypt
Email: [email protected]
Abstract
This paper explores the interplay between architecture and cinema from a narrative perspective, specifically
within the context of Villa Savoye's promenade. The study aims to investigate how architectural design
principles and cinematic storytelling techniques converge in creating immersive narrative experiences. Through
an investigation of Villa Savoye's architectural features, cinematic adaptations, and the viewer's journey, this
research sheds light on the ways in which narrative elements intertwine, enhancing the overall experience within
spaces like Villa Savoye's promenade. By examining the concept of the architectural promenade as a narrative
within cinematic spaces, this study uncovers how the narrative qualities of the promenade contribute to
enhancing the viewer's experience. It explores the reciprocal influence and enhanced storytelling potential
offered by the interrelationship between architecture and cinema. Through a comprehensive methodology
involving literature review, case study, and visual analysis, this research provides insights into the dynamic
interplay between these two art forms, further enriching our understanding of their reciprocal connection.
Keywords: Architecture; Cinema; Film; Storytelling; Narrative; Spatial experience; Architectural Promenade.
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Received: 6/19/2023
Accepted: 7/24/2023
Published: 8/6/2023
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* Corresponding author.
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1. Introduction and background
Architecture and film are frequently compared, according to Schöning [1], because of their shared relationship
to the visual and physical worlds. They both magnify the dimensions of the physical universe (its surface, frame,
light, and depth) through their psychic images. Architecture and film only reveal their generative power when
we reach the depths of our individual and collective memory, and only reveal their mythopoetic inspiration
when they use their physical tools, interactions, and assemblage. It's important to keep in mind that there is a
two-way relationship between architecture and cinema because these two mediums have influenced one another.
For instance, architects utilized the cinematic medium to promote modern architecture in the 1920‟s and 30‟s
[2]. Cinema, in turn, has used architecture and the urban environment in the portrayal of the general mood and
atmosphere that a specific film intends to convey [3]. Furthermore, cinematic concerns about the effective
representations of space are highly important in the audio-visual decision processes regarding mise-en-scéne,
cinematography, editing, post-production, and sound while making a film. “The production of images by cinema
is the epitome of the physical construction of space by architecture” [1]. According to Starkey [4], the past,
present, and future are all inextricably entangled in the world we live in along with the experienced,
remembered, and imagined. There is no separation between place and event, space and mind. Together, they
define one another and create a unique experience. Perhaps more than anywhere else, the world of film enables
us to experience this duality. Film provides a "window" through to a different world, taking the viewer to places
that may be more "real" than anything we encounter every day. Pallasmaa's text, The Lived Image, explores the
relationship between the real and imagined in cinema and architecture. It highlights how cinema has
transformed our understanding of place and time, blurring the boundaries between the real and imagined worlds,
and alternating our perceptions of ourselves. This paradigm expands our imagination, with images made from
real-life experiences at its core. he emphasizes the importance of image in shaping our perceptions of the world
around us [5]. He added architects such as Bernard Tschumi, Coop Himmelb(l)au, Jean Nouvel and Rem
Koolhaas have integrated cinematic concepts and techniques into their design vocabulary. In recent years,
cinema even became part of the curriculum of architecture schools in order to discover previously undiscovered
aspects of architecture [5]. Even before the invention of cinema, the practice of architecture established a close
relationship between "space, movement, and narrative" through a variety of "techniques of observing
architectural views," including perspectival paintings and drawings, picturesque landscape designs, cartographic
maps, CinemaScope picturing, and panoramic installations [6]. According to Bruno, while various disciplines
may influence one another to a certain extent, the connection between architecture and cinema can be argued to
be one of the most profound [6]. Vidler acknowledges that among all the arts, architecture has a particularly
specific and intricate relationship with cinema [7]. Sergei Eisenstein, a filmmaker, eloquently captures the
unique and complex nature of this relationship with the following statement: “painting has remained incapable
of fixing the total representation of a phenomenon in its full visual multidimensionality, Only the film camera
has solved the problem of doing this on a flat surface, but its undoubted ancestor in this capability is —
architecture” [8]. One of the first examples of this relationship between architecture and cinema can be found in
Le Corbusier's villa Savoy the architectural promenade. As Le Corbusier put it while developing his concept of
the architectural promenade: “The architectural spectacle offers itself consecutively to view; you follow an
itinerary and the views develop with great variety; you play with the flood of light” [6].
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2. Architecture, Cinema and Narrative
Architecture and film have long been interconnected disciplines, both focused on visual storytelling and the
creation of immersive experiences. The interplay between these two art forms can be observed in how film
narratives influence architectural design, aesthetics, and spatial experiences. Through the use of narrative
techniques, films have the power to shape our perception of architectural spaces and inspire innovative
approaches to design. Understanding this reciprocal relationship is crucial for architects, as it provides insights
into how cinematic storytelling can enhance the built environment and create meaningful spatial narratives.
2.1. Architecture and Cinema: A Storytelling Relationship
The Film's origins can be traced back long before the first projected images or the invention of photography.
The Acropolis was designed as a cinematic experience; the eye is led on a path structured by narrative. Auguste
Choisy an architectural historian, argues that its composition is planned as if viewed by the eye of a filmmaker,
offering an architectural sequence “subtly composed, shot by shot” [9]. The architect carefully choreographs the
user‟s experience, and his emotions could subsequently be controlled. In fact, the word „cinema‟ is derived from
the Greek word kinema – “which means both motion and emotion” [6]. It was only when the Classical era was
revisited in the Renaissance that the second cinematic advancement, namely Linear Perspective, was made.
Cinematic thinking was once again triggered when it became possible to capture views accurately, as the human
eye perceives them [9]. Filmmakers acknowledge that encountered, remembered, and imagined experiences
hold equal weight in our consciousness, evoking equal emotions. Mental spaces play a crucial role in
understanding filmic spaces, aiding viewers in interpreting narratives. Cues like motion, sounds, light, and
framing help us perceive the boundaries of filmic space. Film highlights aspects of physical space that architects
contribute to, broadening our comprehension of both physical and mental spaces [10]. Pallasmaa furthers his
discussion of cinema and architecture by commenting on the lived image as lived space by suggesting that
cinema operates as lived image and architecture exists as lived space [10]. According to Kurt [11], Storytelling
is a deliberate compositional procedure that is altered to convey a message. In architecture, storytelling
represents a specific approach to design that is linked to the human experience. Furthermore, it facilitates the
configuration and montage of spatial sequences with specific communicative aims. [12]. Ricoeur [13] believed
that narrative structure could intersect the temporality of architecture with the spatiality of tale and define the
communicative and psychological values of spaces. He stated: “We can state that in the starting situation of
duplex parallelism between tale-architecture and time toldspace constructed, it is possible to found an
absolutely primitive reason to not abide by the simple realization of difference between storytelling and
architectural design, this reason is the fact that neither the time of tale nor the space of architecture are simple
portions of universal time or geometrical space” [13]. Therefore, storytelling in architecture could be a
fundamental composition system based on the notion of experience [14]. As we experience a trajectory through
a series of events that form a plot while watching a film. In the course of a narrative, the author or director
connects events. This is similar to designing architecture; the intentional act of relating parts to other parts or
concepts to other concepts. These types of “figurations” deliberately place spatial or narrative elements in a
specific order. Livesey discusses the potential linkages between narrative theory and contemporary architecture
in his essay “Narrative: The Heuristic Journey” and in quoting Ricoeur: “to imitate human actions, to make a
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plot is „to make the intelligible spring form the accidental, the universal from the singular, the necessary or the
probable from the episodic” [15].
2.2. Cinema and Narrative Structure
Film art begins when a director reformulates and combines various visually qualified shots under the influence
of a written dreamed world in order to elicit different reactions in the spectator's mind and form out new
meanings. It is the director's control over the combination and reformulation of space and time in the matrix of
narrative, mise-en-scene, and editing/montage [16]. It is the organization of spatial and durational sequences that
is divided into scenes first, and then scenes are divided into a whole series of shots that are designed visually
qualified within the confines of a frame under the control of a pre-determined written text [17].
Narrative means in its simplest terms 'telling a story'. In a broader definition, it is concerned with how stories get
told, how they are constructed and how a representative environment is created with the techniques of
storytelling. Heath's in Narrative Space compares the space-time situation in real life and its representation in
cinema. He claims that the juxtaposition of shots taken at different times and locations can result in continuous
stories in filmic reality [18]. Narrative can be described as the conceptual framework that conveys ideas,
emotions, or concepts through a cohesive story. It forms the cornerstone of the plot and develops through stages
like synopsis, treatment, and screenplay. Events are presented in accordance with narrative tools, including
causal relations, chronological order, duration, frequency, character analysis, and spatial locations. Rowe states
that Narrative involves viewers making sense of their experiences, asking questions, and anticipating answers. It
challenges our expectations of genre conventions and the potential for surprise or frustration. It encourages
questioning the future and ending of events [19].
Figure 1: Bordwell and Thompson‟s principles of narrative construction [16].
Bordwell and Thompson [20] consider a narrative to be a chain of events in cause effect relationship occurring
in time and space. According to them, "a narrative begins with one situation; a series of changes occurs
according to a pattern of cause and effect; finally, a new situation arises that brings about the end of the
narrative." Although all the components of this definition such as causality, time and space are thought to be
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important for the narratives in most media, Bordwell and Thompson put causality and time at the center, since a
random string of events is hard to perceive as a story. Therefore, they make sense of principles of narrative
construction by identifying its events under a story and a plot; and linking them by cause and effect, time, space,
and patterns of development as shown in Figure (1).
2.3. Spatial Experience: Motion in Space
While discussing the experience of architectural space, Schöning remarks that we must walk through space to
experience it. “The time is takes to do this gives us another consciousness of the space. But of course, that is not
all, because the events that happen during our passage through the space influence our perception of it” [1].
The motion of the camera, but not necessarily the position, height, or direction that it is generally moving in, can
impact the overall experience. Sabbagh notes that the unsteady motion of a shoulder mounted camera can bring
an informal look to a film [21]. In cinema, the camera can move through space as humans do through buildings.
We observe through its lens within the confines of its frame. Architecture, on the other hand, defines space and
creates an experience. As a result, movement is crucial in cinema; it not only dictates how and what we see, but
it also defines the overall experience. Schöning reinforces this idea, describing space as something we
experience through our senses in both cinema and architecture primarily through sight and sound [22]. Sight,
being the primary sense in cinema, is subject to the perception of motion and thus the movement of the camera
is as important as the way in which we move around an architectural space. The movement of the camera or the
movement of subject in front of the camera creates an experience that will be perceived differently based on the
positions, angles, and motions in the scene. Tawa says [23] “Camera position and movement in relation to place
and action are critical”, A still camera set frontally and normal to the action that moves parallel to its picture
plane will convey a very different regime of visuality and looking than one set high, shooting obliquely at an
acute angle and moving diagonally in relationship to the setting and action. Tawa uses the example of Le
Corbusier's Villa Savoye to combine a filmic sense of space and an architectural form and explains that the Villa
has a cinematic spatial configuration in that it follows a narrative as it forces the occupant to walk through
spaces to get to others. As the occupant walks the predetermined path, spaces open up in front of them. Tawa
summarizes how cinema and architecture work with space in that the creative person behind them - whether
architect or filmmaker - works with space in different ways due to their tendencies towards areas of creation
[23]. Movement plays a vital role in the development and advancement of a narrative, whether it involves
transitioning between scenes or traversing different locations. Within architecture, pathways serve as symbols of
direction, movement, and circulation. Spatial pathways are recognized as a technique in cinematic
choreography, reflecting the relationship between the path taken by the user and the perspective of the viewer.
In film, pathways serve as visual cues that demonstrate how movement is orchestrated within a static screen
[24]. This alteration in architectural thinking about spatial experience has influenced how this concept is
represented. The invention of cinema aided in changing perceptions of spatial experience. Movement is the
keyword in the design process. Architect uses the spatial experience as a guide to design [25]. “To what extent
could the literary narrative shed light on the organization of events in buildings, whether called “use,”
“functions,” “activities,” or “programs”? If writers could manipulate the structure of stories in the same way
as they twist vocabulary and grammar, couldn‟t architects do the same, organizing the program in a similarly
objective, detached or imaginative way?” [26].
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3. Villa Savoye's Promenade: A Narrative Journey
Le Corbusier developed the concept of architectural promenade to convey spatial experiences in architectural
drawings using cinematic terms. These images are presented in frames and sequential drawings, allowing the
perception of space through moving visuals as shown in Figure (2). This approach enables a genuine
engagement with physical space, not only by integrating abstract forms, voids, and solids, but also by
incorporating the narration of human movement within those spaces. Le Corbusier said that “Arab architecture
teaches us a precious lesson. It is best appreciated walking, on foot. It is when walking, when moving, that one
sees the ordering principles of architecture unfold” [25].
Figure 2: A Series of drawings by Le Corbusier [27].
The villa operates as a combination of spatial sequences merging across shifting levels of the planes that are
sliced through by the promenade. The promenade essentially constructs a landscape-like quality which is
contained within a Cartesian envelope, thus clearly and objectively defining the building, as an object in space
as shown in Figure (3). It is only within the envelope that a spontaneous movement unfolds in space,
irrespective of the ambiguous exterior shell of the Villa.
The journey of the promenade in Villa Savoye begins from the road and incorporates the essence of the
industrial revolution by designing for the vehicle, the quintessential symbol of movement and modernity. The
car is an integral component in his architecture and signifies the machine age, thus symbolically incorporating
the notion of promenading into a mechanized component [28].
While the concept of the promenade can be seen as a viewpoint in its simplest form, Le Corbusier's
interpretation and portrayal of the promenade go beyond a singular perspective. It is intentionally indirect and
unplanned, highlighting the significance of space and time in architecture, as well as the interplay between the
architectural promenade and the idea of mobility. Moreover, Le Corbusier's promenade possesses a poetic and
lyrical essence that extends beyond providing multiple viewpoints to pedestrians. It acts as a mechanism within
the geometric structure, seamlessly connecting spaces and generating meaningful events [28].
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Figure 3: The promenade through the Villa Savoye [29].
Moreover, the idea of architectural promenade was further explored in a unique mode of representation in
“L'architecture d'aujourd'hui” (Architecture Today). This film, created collaboratively by Pierre Chenal and Le
Corbusier between 1930-31, served as a complementary tool to illustrate the concept of architectural
promenade. According to Penz, the concept of "architectural promenade" was portrayed in film, drawing
inspiration from narrative storytelling techniques to express the experience of space [30]. The ramp is indicated
as an architectural path that is designed to follow. It is exaggerated in the drawings of Villa Savoye as well. The
woman character is seen ascending the ramp as shown in Figure (4).
Figure 4: The Ramp Scene of the Villa Savoye (Chenal, 1930) [30, 31].
There is also spectacle eye; we are the eye of the camera. In the film, experience is constituted as spectator
identified with the character; on the other hand, in the architectural drawings scenes which are indented to be
perceived by the spectator are framed. Penz says “Architectural promenade is a simple narrative device,
probably the most „affordable‟ to express spaces. It allows viewers to understand spatial relationships through
identification with a character‟s point of view and adherence to screen language rules.” [30].
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Le Corbusier uses the concept of framing in his design of the promenade, very similar of the technique used in
cinema. He carefully plans the sequence of frames to create a visually appealing experience. In his drawings,
horizontal windows take precedence over vertical ones, resembling picturesque scenes from nature.
The variation in landscape views throughout the journey from the ground floor to the roof garden -Figure (5)- in
Villa Savoye is achieved through diverse framing techniques. These "frames" act as catalysts for movement and
offer a continuous stream of changing perspectives as shown in Figure (6).
Figure 5: Scenes from the ramp, Villa Savoye, Le Corbusier [32, 33].
Figure 6: Scenes from Villa Savoye, as Le Corbusier framing the landscape [33].
Every frame works together to create a series of consecutive frozen scenes for the architect's intended route.
Architectural promenade is not only a tool for incorporating the imagined spatial experience into the design
process, but it is also a concept for generating form. Le Corbusier creates multiple layers of meaning while
designing.
He creates his designs through abstraction and pure geometry. Promenade converts voids and solids into slabs
and ramps.
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4. Findings and Discussion
The exploration of the interplay between architecture and cinema from a narrative perspective reveals several
compelling findings, shedding light on the reciprocal relationship between these two art forms. This relationship
has been explored in various previous studies, offering valuable insights into their interrelationship. Pascal
Schöning [1], proposes the integration of filmic techniques into architectural design processes. François Penz [2]
[30], investigates overlaps between the two disciplines, and discusses the use of the architectural promenade as a
narrative device in architecture. Stephen Starkey [4], explores the emotive power of film through physical space
in his work on cinematic architecture. Juhani Pallasmaa [5, 10] delves into the existential nature of space in both
cinema and architecture, he further examines the lived space in cinema and architecture, emphasizing the
existential image. Molinari and Bigiotti [12], in their research they suggest a proposal to read and write spaces
through storytelling in architecture. Many other publications investigated interrelationship such as in [6, 11, 14,
23]. These studies contribute to our understanding of the relationship between architecture and cinema,
exploring various aspects such as narrative, Spatial experience, and the potential for storytelling in architectural
design.
The study reveals that there is a strong convergence between architectural design principles and cinematic
storytelling techniques, leading to the creation of immersive narrative experiences within architectural spaces.
The deliberate composition and framing of these spaces take inspiration from cinematic shots, allowing
architects to guide the viewer's gaze and influence their perception. This intentional integration of cinematic
elements enhances the overall narrative experience present within architectural designs. the findings emphasize
the close relationship and shared characteristics between architecture and cinema. Both disciplines engage with
motion, emotion, and storytelling to captivate and connect with their audiences. Architecture can be approached
as a deliberate composition system, where spatial arrangements are carefully constructed to evoke specific
experiences for users, much like how narratives are created in the medium of film. the study highlights the
significant role of the director in cinema, who exercises control over space and time to create narratives that
produce targeted reactions and convey meaningful messages. In both architecture and cinema, narrative creation
involves the use of various storytelling techniques. This includes organizing events in cause-and-effect
relationships, employing a framework based on time, space, and patterns of development. These principles
guide the arrangement and sequencing of spatial elements in architectural design, allowing for the creation of
coherent and engaging narratives within built environments. To create compelling cinematic narratives,
filmmakers must understand and employ these principles effectively. Likewise, architects can benefit from
understanding and applying these cinematic storytelling techniques to enrich their designs and provide users
with immersive experiences that evoke emotional responses and convey meaningful narratives.
The investigation into the interplay between architecture and cinema within Villa Savoye's promenade has
yielded insightful findings. Through an analysis of architectural design principles, cinematic storytelling
techniques, and the viewer's journey, this study provides a deeper understanding of the narrative perspective in
this unique space.
Firstly, the promenade itself emerges as a powerful narrative device within cinematic spaces. The carefully
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orchestrated sequence of frames, similar to cinematic shots, produces a series of consecutive frozen scenes along
the architect's intended route. This narrative structure engages the viewer by unfolding a story through spatial
progression. As visitors move from one frame to another, they experience a sense of motion in space, similar to
the pacing and sequencing of shots in a film. Furthermore, the architectural features of Villa Savoye exhibit a
deliberate integration of cinematic elements. The dominance of horizontal windows over vertical ones creates
framed views reminiscent of cinematic shots, allowing visitors to experience scenes from nature like living
paintings. This intentional framing contributes to the narrative quality of the promenade, as it guides the
viewers' gaze and shapes their perception of the surrounding environment. The reciprocal influence between
architecture and cinema becomes evident in the enhanced storytelling potential that arises from their
interrelationship. Villa Savoye's design incorporates abstraction and pure geometry, transforming voids and
solids into slabs and ramps along the promenade. This transformation not only impacts the spatial experience
but also generates new forms and narratives. The dynamic relationship between architecture and cinema allows
for the creation of immersive environments that evoke emotions and engage the viewer on multiple levels.
Overall, this research provides compelling insights into the interplay of architecture and cinema from a narrative
perspective. The findings emphasize the potential for architectural design to learn from cinematic storytelling
techniques, creating immersive spaces that engage users on both intellectual and emotional levels. By embracing
this reciprocal relationship, architects can enhance the narrative qualities of their designs and create meaningful
spatial experiences that resonate with viewers and users alike.
The findings of this study have to be seen in light of some limitations. Firstly, this study primarily focuses on
the relationship between architecture and cinema. However, there may be other art forms or disciplines that also
influence spatial experiences and narrative constructions in different ways. Also, the study focuses on the
narrative structure of the architectural promenade of Villa Savoye as a case study for exploring this relationship.
Finally, this study relies on qualitative analysis, drawing upon theories and visual analysis.
5. Conclusion
This paper explored the relationship between architecture and cinema within a narrative perspective, it reveals a
rich and reciprocal relationship. Both fields are concerned with visual storytelling and the creation of immersive
experiences. Knowing that architects have long recognized the potential for cinematic thinking in their designs,
from the careful composition of the Acropolis to the advancements in linear perspective during the Renaissance.
The choreography of a user's experience, as well as the ability to evoke emotions through spatial narratives,
show how architecture can emulate the storytelling qualities of film. Cinema, with its ability to capture views
and engage the viewer's imagination, widens our understanding of both physical and mental spaces.
Understanding the relationship between cinema and narrative structure allows us to appreciate the art of
storytelling in film and explore its parallels with architecture's creation of spatial experiences. Exploring the
movement of the camera or subjects within a film scene contributes to the creation of various experiences for
viewers, this idea can be applied to architecture, where spatial pathways and movement play essential roles in
narrative development and user engagement. The study was carried on within the context of Villa Savoye's
promenade which illustrates Le Corbusier's thoughtful integration of framing techniques, narrative devices, and
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the interplay between space and movement which elevates the spatial experience within the promenade, which
contribute to a broader understanding of the reciprocal connection between architecture and cinema, suggesting
that their interplay can elevate the spatial experience and storytelling potential in architectural design. Future
research can further explore this interrelationship in different architectural contexts and investigate into more
specific aspects of narrative structure and spatial experience within cinematic spaces. Finally, this paper
highlights the significance of considering the narrative perspective when analyzing the interplay between
architecture and cinema.
6. Declaration of conflict of interests
The author declares no conflict of interests.
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