sequence. Instead of a design tool, montage proposes another editing technique for animated architectural previews. On a more analytical level, the workings of a hand-drawn or digitally generated transformational sequence (that may function as an integral part of a linear production process or presented as an end-product), depend on the qualities of the
Tschumi proposes that this deceptive continuity between cause and effect, which is achieved through the use of juxtaposed frames, can be ‘broken’ by using superimposed frames as when introducing the cinematic element of montage. According to Tschumi, the superimposition of disparate frames is expected to reveal the irreducible contradictions occurring between the stages of the architectural transformation.
difference involved in its progressions. According to Henri Lefebvre, despite the fact that an “induced” difference derives from the existence of “opposition”, it does not undermine but “remains within” the system it constitutes. On the other hand, a “produced” difference derives from the existence of “contradiction/ transcendence” because it “presupposes the shattering of a system [and]… it emerges from… chasm”.[11]
Such a superimposition may result in “ruptures” through which, the architect’s underlying, conflicting but evolving decision-making, can be exposed.[10] Inevitably however, montage functions rather as a transition between two disparate transformational stages or as the means of linking various transformational sequences through their superimposition. Montage seems to operate in both cases as an inter-connective device, yielding a compositionally (re)structured animation as a self-contained virtual
It has been argued that animation is usually presented as a singular flow of idealistic creation, isolated from any real material relations, interactions and experiential time. Animation has its roots in cinematic modes of presentation and spectatorship as well as scientific simulation and data visualisation. Architects like Greg Lynn investigate the mutually challenging ‘dialogue’ between animation and architecture and develop methodologies for creatively and 20