A study of potential narrative architectures

This two years have helped me to define and develop a methodology. I haver learned how to analyse the potentialities of specific perspectives, learning how to recognise them, how to study them and how to explain them.

It happens that sometimes a specific framed space catches our attention making us to stare at it. This action it’s difficult to explain in a first approach. It is linked to the emotions and to the imagination. This research is the study into the parameters of why a specific perspective can trigger our imagination.

The interest in this topic started with the intention of relate architecture and cinema, wondering how spaces can become cinematographic and how much the perspective and composition of elements can play an important role in how the spectator gets the information.

Why cinema?
The cinema is part of the popular culture and very easy to refer to it, easy to recognise and to use it as an example. The analysis of the cinematographic references has enriched the analytical methodology, not just as a library of examples but also as a way of creating new ways of explaining.

The analysis of cinematographic images helps to reveal specific spatial concepts that we don’t necessarily see. By training the eye to see these spatial characteristics in specific framed images, we are capable to recognise them in our surroundings.

I am especially interested in those spaces that help things to remain hidden. I would rather choose to analyse an image with a semi opened door through which we can see a part of a kitchen than an image showing the complete kitchen. I believe that our mind completes the missing information that the image doesn’t provides, and then a potential narrative appears into the structure of the specific perspective.

These research has grown into the consideration of the space that is being observed, the specific position of the observer itself and
the awareness of these structure that could be witnessed by a second observer as an omnipresent spectator.

Maquette kamer
For the last experiment within the Master I tried to combined all the things learned until now in one last experiment. With the specific condition that our tutors would assess us through a zoom meeting (as a Skype meeting, not physically present) I decided to study the potentialities of that specific point of view.

The static position of the spectator. She cannot look up or down, right or left, turn around…. She would always see what my computer camera would be seeing. I decided to put the computer camera in a specific static point of view in the middle of a room, I built a set up in front of the computer that would reveal the space behind the computer. So the observer would get a composition of impossible perspectives.

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Aina Roca

Aina Roca is an architect and researcher based in the Netherlands. She has cultivated a pluridisciplinar interest on space, which have taken her to carry a research that brings together her love for her profession and her passion for cinema.

With her research she looks for ways to study cinematography spaces from an architectural point view, in order to use the concepts in both disciplines. She works with scale models to be able to develop further that concepts into real space and to study the relationship between object, observer and space. Her goal is to keep developing this research and be able to use it as a teaching tool.