Zachary Yarnell Thesis Document

MOMENTS OF A STORY

Zachary Yarnell

Terminal Masters Project The University of South Florida School of Architecture + Community Design

Acknowledgments With my time here at SA+CD coming to an end, I realize how much this program has helped me to grow into the individual I am today. I would like to start by thanking Steve Cooke for the guidance and support over the years. The lessons I have learned reach beyond studio alone and have helped me to further enjoy the beautiful things in life.

I would also like to thank all of the other faculty members at SA+CD. My experiences ranging from studio to half way around the world have opened my eyes to new and incredible ways of thinking. Thank you for this wonderful journey.

Last but not least, I would like to thank my family and my beautiful girlfriend Christine. This has been a long road but I never lacked support. Thank you so much for the love and being there every step of the way.

MOMENTS OF A STORY

An exploration of storytelling and the experience of architecture

Zachary Ross Yarnell

Terminal Master’s Project | Spring 2016 School of Architecture + Community Design | University of South Florida

Thesis Chair:

Steve Cooke

Professor of Architecture USF | Tampa , FL.

Thesis Committee:

Josue Robles Caraballo Professor of Architecture USF | Tampa , FL.

Anat Pollack

Professor of Video, Animation, and Digital Arts USF | Tampa , FL.

Table of Contents Abstract

Pg.

Precedents

Pg. 4 Pg. 5 Pg. 7 Pg. 9 Pg. 11

Andrew Stanton Daniel Kahneman MIR/Zaha Hadid Villa Savoye

Sequence Introduction Anticipation Climax Resolution

Apertures Occupiable Threshold Focus Panoramic Shepherd

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13 18 20 22 24

Pg. Pg. Pg. Pg. Pg. Pg.

26 28 30 32 34 36

Three Charettes Stream Horizon City

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38 40 48 56

Conclusion + Further Studies

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List of Figures

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Works Cited

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ABSTRACT

What makes a piece of architecture meaningful? I have asked myself this question many times over the last few years. It is easy to judge a building on its aesthetics, but there is more to an architectural experience than how it looks. Recalling my childhood, I remember my Mom-mom’s house and although the exact form and layout out have been blurred in my mind over the years, I still vividly remember the warm tones of the wood, the beauty of the light hitting the floor of the living room and the shadows that concealed the corners. It is not about the memories that took place there, because this is a separate feeling from those brought on by happy memories of family. I do not get the same feeling about the “cookie-cutter” home I grew up in. Yes, there are a lot of happy times that have occurred in my parents house, but the textured drywall and neutral tiles do not convey that elusive feeling; the one that touches you in a way that is beyond simple beauty.

Movies and stories have always had the ability to evoke similar feelings for me, which leads to the question; How do these storytellers connect with me in such a way? Psychologist and Nobel Memorial Prize winner Daniel Kahneman explains how we experience life as two selves. One that is in the moment, the “experiencing self” and one that is remembers moments from the past, the “remembering self.”1 He goes on to explain how “we don’t only tell stories when we set out to tell stories. Our memory tells us stories, that is, what we get to keep from our experiences is a story.”

We experience life in a very similar way that we experience stories.

With this understanding, this thesis evolved into an exploration of how a past feeling or experience can be integrated into a design thought process. By focusing on what the memory is composed of and what details evoke those emotions, it becomes a question of how those concepts can take architectural form and become a deeper experience of space.

1. Kahneman, Daniel. “The Riddle of Experience vs. Memory.” TED.com. TED, Feb. 2010. Web.

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PR E C E D E N T S

Precedents can be an incredible tool that can help an architecture student discover and develop new ideas, however, rarely do they ever go beyond other examples of architecture. While looking for precedents for this thesis, I did not want to focus on form or function. It became more about the things that moved me and made me think about architecture from a different point of view. How does Pixar evoke wonder in the eyes of its viewers, how do the experiences of my past affect my experiences of tomorrow, and how can a video of an early morning rain shower transport me back to a sunshower I remember as a child.

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Writer, Director, and Producer at Pixar.

Stanton is best known for the pivotal roles he played in the creations of the Toy Story series, A Bug’s Life, Monsters Inc., Finding Nemo, and Wall-E.

Storytelling

Fig. 02 - Andrew Stanton

Andrew Stanton S t o r y t e l l e r

Stanton, along with many others at Pixar, emphasize that the successes of their films completely rely on the strength of the stories they’ve produced. Although, they have helped to revolutionize the world of computer animation, the technology is still seen as a tool to tell the story. At TED2012, Stanton went on to explain the lessons in storytelling, what he has learned and how to captivate an audience.

Make Me Care The audience should have sympathy for the character; something that draws you in and gives you a reason to follow their story.

Take Me With You Entice the audience and provide a promise.

Let the audience know that it will be worth their time to follow you on this journey.

Be Intentional What motivates the protagonist? There should be a clear reason to why they are striving to achieve their goal.

Let Me Like You Develop a character that is worthy of the audience’s attention. Find ways to let them relate to and appreciate the character.

Delight Me “Hold them still for just for a brief moment in their day and have them surrender to wonder.” Ensure a moment of catharsis and allow the audience to enjoy the accomplishments of the character.2

Architecture

Architecture is a story, and it is one that we inhabit everyday of our lives. From parti to details, what are the elements that make us care? What moments make us pause to soak up the beauty; to be left in a state of wonder? How can architecture become a part of our story and enhance it? These storytelling lessons taught by Stanton can be seen as lessons in architecture.

2. Stanton, Andrew. “The Clues to a Great Story.” TED.com. TED, Feb. 2012. Web.

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Professor of psychology at Princeton University. The recipient of many awards in the field of psychology along with the Nobel Memorial Prize in Economic Sciences.

Psychology

Fig. 03 - Daniel Kahneman

Daniel Kahneman P s y c h o l o g i s t

Kahneman is a pioneer in the world of psychology, developing the idea of two selves. The experiencing self and the remembering self. These two selves represent how we experience our lives. The experiencing self has moments of experiences and moves through life continuously, one experience after another. On the other hand, the remembering self lives in the past, choosing

to hold onto selected moments that we can reflect on at a later time and use to make decisions in the future.

Kahneman refers to the remembering self as a story teller. He states, “We don’t only tell stories when we set out to tell stories. Our memory tells us stories, that is, what we get to keep from our experiences is a story.” The key things that define these stories are changes, significant moments, and endings, which he goes on to emphasize that the endings are very important. How a story ends can greatly affect how we feel about these stories later on.

Kahneman gives an example of how someone was listening to classical music for twenty minutes and found it to be beautiful; however, at the very end there was a horrible

screeching sound. This person then said that it ruined the entire experience. He explains how this is untrue, the experience was not ruined, but the memory of the experience was ruined. 3

Architecture Taking this into account when thinking of architecture, it becomes clear that these are all things that should be considered and done so at multiple scales. People interact with architecture in a very thorough and detail oriented manner. In the memory of my Mom-mom’s house, I can quite recall the form and layout, but the light and shadows in the room have been imprinted on my memory.

3. Kahneman, Daniel. “The Riddle of Experience vs. Memory.” TED.com. TED, Feb. 2010. Web.

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Fig. 04 - MIR_01

In this video by MIR, which showcases Zaha Hadid’s Sleuk Rith Institute, the quiet calm of a morning shower is captured as the sun rises. Not all the spaces shown would normally be chosen for a rendering, however, that is the beauty of this video. It shows the spaces like circulation and in-between the book shelves where people would actually be using this building and how they are affected by the morning light and a soft rain. This is a perfect example of how a building can capture and highlight a moment of the day.

Fig. 05 - MIR_02

Fig. 06 - MIR_03

Fig. 07 - MIR_04

Fig. 08 - MIR_05

Fig. 09 - MIR_06

Fig. 10 - MIR_07

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Fig. 11 - Villa Savoye Graphic

Villa Savoye is an example of how a path through a building can become the core storyline to a design. Upon entering the home, a ramp is directly in front, drawing your attention upward.

From there the interior and exterior gathering spaces are presented before you are lead up to the roof garden.

This is where an aperture frames where your journey began, just before you entered the house. It is a simple gesture, but remains clear throughout the building. There is a focus on the less private gathering spaces, keeping your attention away from the service spaces and bedrooms.

Fig. 12 - Villa Savoye_02

Fig. 13 - Villa Savoye_03

Fig. 14 - Villa Savoye_04

Fig. 15 - Villa Savoye_05

Fig. 16 - Villa Savoye_06

Fig. 17 - Villa Savoye_07

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SEQUENCE Fig. 18 - Sequence Sketch_01

Fig. 19 - Sequence Sketch_02

The purpose of this study was to explore a different approach to designing a space and moments that lead to it. Rather than focusing on the final frame of the sequence, the thought process is more about developing how you reach that point and build the anticipation for the reveal.

Technique: The frames were drawn as tonally inverted images so that the light could literally be drawn rather than producing shadows to suggest how the light conditions are.

Fig. 20 - Sequence Sketch_03

Fig. 21 - Sequence Sketch_04

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Fig. 22 - Inverted Sequence Sketch_01

Fig. 23 - Inverted Sequence Sketch_02

Fig. 24 - Inverted Sequence Sketch_03

Fig. 25 - Inverted Sequence Sketch_04

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INTRODUCTION Fig. 26 - Inverted Sequence Sketch_01

Architectural Moment:

This marks the beginning of the experience. With the strip of light leading your eye to the end of the hall, where the space is flooded with light, curiosity builds and the form draws you in.

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ANTICIPATION Fig. 27 - Inverted Sequence Sketch_02

Architectural Moment:

After making the journey down the hall, these are the last few steps. Just before the turn, the excitement builds to see what lies beyond.

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Fig. 28 - Inverted Sequence Sketch_03

Architectural Moment:

The time has come to see what sits around the corner. Eyes still adjusting to the intense light outside, the experience is at its peak and this journey nearing its end.

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R E S O L U T I O N Fig. 29 - Inverted Sequence Sketch_04

Architectural Moment:

The space is revealed and the goal has been reached.

This exercise is an exploration of the relationship between architecture and storytelling.

A great story does not reveal everything all it once, it builds on itself and presents a journey you want to be a part of.

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APERTURES

Producing a library of aperture types, allows for a series of spaces and edge conditions to be developed. The different types can be used individually or in a collabrative manner that create an experience that goes beyond a single moment in time. Using these types as tools within a storyline of a space an entire experience can be developed; the views these apertures provide become a part of how the room is used as one moves through the space.

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O C C U P I A B L E Fig. 30 - Inverted Occupiable

Root Word

Occupy - To live in (house), to fill (a place or space), to be in, to use (time).

Architectural Definition

An openning with depth that creates a volume that is seperate from the host space and is at a large enough scale for human inhabitation.

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T H R E S H O L D Fig. 31 - Inverted Threshold

Root Word

Threshold - The point or level at which something begins or changes.

Architectural Definition

An openning that marks the end of one space and the beginning of another. One that frames the initial view and effects how one is introduced to an upcoming space.

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F

O

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Fig. 32 - Inverted Focus

Root Word

Focus - (1) A center of activity, attraction, or attention.

(2) A point of concentration.

(3) Directed attention.

Architectural Definition

An aperture used to draw attention towards a specific object, direction, etc.

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P A N O R A M I C Fig. 33 - Inverted Panoramic

Root Word

Panoramic - An unobstructed, wide view of an extensive area in all directions.

Architectural Definition

An openning that provides the least obstructed view possible.

This aperture has the least apparent frame.

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S H E P H E R D Fig. 34 - Inverted Shepherd

Root Word

Shepherd - A person who protects, guides, or watches over animals, a person or group of people.

Architectural Definition

An aperture designed with the intent of creating directionality; used to guide individuals towards a desired location.

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THREE CHARETTES

The goal of the following three projects was to expand upon my design thought process. Initially, the form of each design was inspired by an image from a previous travel. Free of the physical restrictions of a specific site, each design focuses on spatially framing the contents of the image in a new way. These forms were then given a story or a memory to enrich the concept and give it more meaning. In the end, these architectural moments examined what elements of the buildings from my past gave them meaning and has caused them to remain in my memory over the years.

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S T R E A M

Concept 1

Site Hiroshima, Japan

Cutting through a forest in Hiroshima, Japan, this stream served as a perfect point for inspiration of an aperture concept. With the space formed by nature over time and the light breaking through the trees, this image captures a beautiful landscape to influence a piece of architecture.

Fig. 35 - Stream

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Fig. 36 - Stream Graphic

Form Initially, the form of the aperture focused on framing the stream, following it as it passes underfoot. As the design evolved, Becoming a mixture of the threshold type aperture and shepherd type aperture, this design emulates the valley that has been created between the trees and the path that is formed below.

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Experience To push the concept further, I reflected upon a house from my early childhood that had a lush courtyard contrasting the asphalt and stucco of the suburbs. Naturally, the final design evolved into an entry space. Expanding upon the form that was developed based on the stream, the path to and from the door follows the stream as it cuts through the concrete courtyard. The heavy walls create a secure space that is calm and filled with the sounds of passing water. Without completely secluding itself from outside world, this space takes ownership of this small portion of the stream.

Fig. 37 - Stream Aperture Model

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Water in the Aperture Entry Sequence

Fig. 39 - Stream Floor Plan

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H O R I Z O N Concept 2

Site Hiroshima, Japan

Along a path that winds its way up a mountain in Hiroshima, Japan, there is a break in the trees revealing the bay below. This image was selected due to its wealth of information in focus but the draw of the what’s to come as you follow the water out of frame.

Fig. 40 - Horizon

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Fig. 41 - Horizon Graphic

Form The frame is designed to split the view into a series of moments. As one approaches the aperture there is the view of the bay with the water extending off to the right. It is not until the occupant sits within the frame that they can view off to where the water is leading their view.

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Experience Being an occupiable aperture, this space became a reading bench that would be paired with a personal library.

The library is dimly lit, with just enough light to find your book but retain the mystery of shadow. Once a book is selected, the reader can enjoy the warmth of the sun that fills the reading space.

Fig. 42 - Horizon Aperture Model

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Horizon in the Aperture Reading Space

Fig. 44 - Horizon Floor Plan

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Concept 3

Site The High Line, New York

With its raised position, the High Line allows for observation of the city as it moves below. This image is a collection of frames within a frame; many lives organized in various levels of privacy.

Fig. 45 - City

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Fig. 46 - City Graphic

Form Working with the idea of frames within frames, this aperture is composed of three levels of smaller scaled spaces. Each of these frame a portion of the image and come together to form the image in its entirety. What would normally be laid out in plan is tilted upward to form the aperture.

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Experience The concept of observing life became the focal point of this design. Just as shelves are filled with photographs and keepsakes the spaces are filled with hobbies and gatherings.

This design takes part of the occupants life and fills the edge of the design with it; putting it within view of those who pass by while creating a filter to hide the private spaces behind.

Not only does this add a layer to the buildings facade that is unique to its inhabitants but also, the occupants can view through their lives as they look upon the city.

Fig. 47 - City Aperture Model

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Horizon in the Aperture Reading Space

Fig. 49 - City Floor Plans

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CONCLUSION + FURTHER STUDIES

With the semester coming to an end, this thesis became an exploration of new and old; taking a new form and interlacing it with a story. For the stream design, it is the story of coming home and creating a space that allows you to enjoy the moment of arrival. With the horizon design, it became a story of choosing a book, the beauty of an aged bookshelf shrowded in shadow, and then finally sitting in the sun, overlooking the bay as you enjoy your novel. And the city design, is a wall of life, one that gives a brief description of those who live behind it and allows them to view the city through a filter of the things they love. The conclusion of this document does not mark the end of exploration. With this new way of generating an architectural concept many questions were revealed. I will not only try to imbue the new with experiences of the old but continue to further question what makes a meaningful piece of architecture.

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List of Figures Pg. Pg.

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Fig. 01 Fig. 02

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Fig. 03

Pg. 9 Pg. 10

Pg. 11 Pg. 12

Fig. Fig. Fig. Fig. Fig. Fig. Fig. Fig. Fig.

04 05 06 07 08 09 10 11 12

Fig. 13 Fig. 14 Fig. 15 Fig. 16

Inverted Sequence Sketch_02 Andrew Stanton; https://tedcdnpi-a.akamaihd.net/r/tedcdnpe-a.akamaihd.net/images/ ted/21999050384c78a09ce1df4aba46b27f47cbd3c5_2880x1620.jpg?

Daniel Kahneman; https://static-secure.guim.co.uk/sys-images/Arts/Arts_/ Pictures/2015/7/14/1436873850124/Daniel-Kahneman-009.jpg Mir_01; Screenshot: https://vimeo.com/108552570 Mir_02; Screenshot: https://vimeo.com/108552570 Mir_03; Screenshot: https://vimeo.com/108552570 Mir_04; Screenshot: https://vimeo.com/108552570 Mir_05; Screenshot: https://vimeo.com/108552570 Mir_06; Screenshot: https://vimeo.com/108552570 Mir_07; Screenshot: https://vimeo.com/108552570 Villa Savoye Graphic Villa Savoye_02; http://jeberger.free.fr/photos/2006/Architectes%20Moderne/02%20-%20 Le%20Corbusier%20-%20Villa%20Savoye_Gd.jpg Villa Savoye_03; https://classconnection.s3.amazonaws.com/618/flashcards/1220618/ jpg/-0241337044883735.jpg Villa Savoye_04; https://commons.mtholyoke.edu/modernarchitecture/wp-content/ uploads/sites/157/2015/11/047A_KC_LECORBUSIER_04312_1.jpg Villa Savoye_05; http://images.adsttc.com/media/images/5567/6899/e58e/ cebd/7a00/0040/large_jpg/Pare_83compV2.jpg?1432840324 Villa Savoye_06; https://placeexploration.files.wordpress.com/2015/10/2520027795_ d98e298108_o.jpg

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Fig. Fig. Fig. Fig. Fig. Fig. Fig. Fig. Fig. Fig. Fig. Fig. Fig. Fig. Fig. Fig. Fig. Fig. Fig. Fig.

Pg. 16 Pg. 17 Pg. 18 Pg. Pg. Pg. Pg. Pg. Pg. Pg. Pg. Pg. Pg. Pg. Pg.

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18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37

Villa Savoye_07; https://ksamedia.osu.edu/sites/default/files/styles/primary/public/ originals/04_0004146_0.jpeg?itok=Im77C_tX Sequence Sketch_01 Sequence Sketch_02 Sequence Sketch_03 Sequence Sketch_04 Inverted Sequence Sketch_01 Inverted Sequence Sketch_02 Inverted Sequence Sketch_03 Inverted Sequence Sketch_04 Inverted Sequence Sketch_01 Inverted Sequence Sketch_02 Inverted Sequence Sketch_03 Inverted Sequence Sketch_04 Inverted Occupiable Inverted Threshold Inverted Focus Inverted Panoramic Inverted Shepherd Stream Stream Graphic Stream Aperture Model 65|66

List of Figures cont.

Pg. Pg. Pg. Pg. Pg. Pg. Pg. Pg. Pg. Pg. Pg. Pg.

49 50 52 53 56 57 58 60 61 64 65 66

Fig. Fig. Fig. Fig. Fig. Fig. Fig. Fig. Fig. Fig. Fig. Fig.

38 39 40 41 42 43 44 45 46 47 48 49

Stream Final Rendering Stream Floor Plan Horizon Horizon Graphic Horizon Aperture Model Horizon Final Rendering Horizon Floor Plan City City Graphic City Aperture Model City Final Rendering City Floor Plans

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Works Cited Bird, Brad, Ed Catmull, Alvy Ray Smith, Andrew Stanton, and Michael Rubin. “Pixar - A Human Story of Computer Animation.” YouTube. Computer History Museum, 07 Dec. 2007.

Web. “Focus.” Merriam-Webster’s Learner’s Dictionary. Springfield, Massachusetts: MerriamWebster’s, Incorporated, 2008. Merriam-Webster.com. Web. Kahneman, Daniel. “The Riddle of Experience vs. Memory.” TED.com. TED, Feb. 2010. Web. “Occupy.” Merriam-Webster’s Learner’s Dictionary. Springfield, Massachusetts: MerriamWebster’s, Incorporated, 2008. Merriam-Webster.com. Web. Pallasmaa, Juhani. The Eyes of the Skin: Architecture and the Senses. Chichester: WileyAcademy, 2005. Print.

“Panoramic.” Merriam-Webster’s Learner’s Dictionary. Springfield, Massachusetts: MerriamWebster’s, Incorporated, 2008. Merriam-Webster.com. Web. “Shepherd.” Merriam-Webster’s Learner’s Dictionary. Springfield, Massachusetts: MerriamWebster’s, Incorporated, 2008. Merriam-Webster.com. Web.

Stanton, Andrew. “The Clues to a Great Story.” TED.com. TED, Feb. 2012. Web. Tanizaki, Junichirô, Thomas J. Harper, Charles Moore, and Edward G. Seidensticker. In Praise of Shadows. (New Haven, Conn.): Leete’s Island, 1977. Print.

“Threshold.” Merriam-Webster’s Learner’s Dictionary. Springfield, Massachusetts: MerriamWebster’s, Incorporated, 2008. Merriam-Webster.com. Web. Watters, Allen. “Design II.” Valencia College, Summer 2010. Design Studio.

Zhou, Tony. “In Praise of Chairs.” YouTube. Every Frame a Painting, 29 May 2015. Web. Zhou, Tony. “Lynne Ramsay - The Poetry of Details.” YouTube. Every Frame a Painting, 07 May 2015. Web.

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Thank you.