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Architecture As Narrative
Architecture As Narrative
A sentence like the one above typically warns against revealing plot points of books or
movies, but how often does it appear in evaluations of architecture? Perhaps never. Yet
architects commonly refer to the building as a storytelling medium. In fact, the notion of the
architectural narrative may be as old as storytelling itself. ―Narratives that personify ethical
or existential questions have profoundly shaped our understanding of space; these mythical
tales and parables have the power to mediate between the spatial configuration of the
universe, of heaven and hell, and the everyday world and its reality of survival, sustenance,
and territory,‖ writes architect Nigel Coates in Narrative Architecture (Wiley, 2012). ―Within
the framework of these spatial geometries, narratives can engage with the medium of
space, and form the basis on which architecture can be given meaning.‖
In contemporary practice, however, architectural storytelling has fallen flat. Many
architects emphasize direct communication while eschewing the discovery,
transformation, and surprise that are essential features of a tale. In this sense, the
design of buildings today shares more in common with advertising than writing
fiction, aiming to express explicit messages to audiences with short attention spans.
―In the media, reference to 'narrative' is now so commonplace as to evade meaning,‖
Coates bemoans. ―In its tightest form it indicates a literary sensibility, but often dissolves
simply into an 'idea.' ‖
One firm that pursues the embodiment of narrative in building is Ogrydziak Prillinger
Architects (OPA). The San Francisco–based office, founded by principals Luke Ogrydziak,
AIA, and Zoë Prillinger, is an idea-based enterprise that aims to convey meaning in
architecture ―by creating powerful emotional and perceptual resonances,‖ according to
its website. The concept of narrative conjures many associations; in OPA’s case,
storytelling is an essentialized narrative that addresses the fundamental qualities of
human experience—as opposed to the didactic storytelling strategies one might see
in a church or museum exhibit. Ogrydziak and Prillinger are focused on ―shaping and
choreographing spatial experiences through the consideration of movement and formal
logic‖—a more challenging approach than the incorporation of a literal narrative.
Photo by Hufton + CrowShapeshifter
Consider Shapeshifter, a 5,900-square-foot residence outside of Reno, Nev. Designed for
two collectors of contemporary and Western art, the house embraces its immediate desert
context—or emerges out of it—in a unified topology of building and landscape. Shapeshifter
―explores slippery form by seeing the ground as a mutable, protean material, an untapped
unconscious,‖ the architects write. ―We reshaped the site into anticlines and synclines,
dunes and blowouts, and gradually the form of the house emerged with the terrain.‖
The creation of a holistic setting is a critical narrative strategy to situate the audience within
a totalizing experience. In this project, it also appears to be an attempt to overcome what
architect Bernard Tschumi, FAIA, has identified as a challenge to the architectural narrative:
the fact that a visitor can never perceive a building in its entirety. ―Architecture constitutes
the reality of experience while this reality gets in the way of the overall vision,‖ he writes
in Architecture and Disjunction (MIT Press, 1996). Yet Shapeshifter’s slippery spatial flows
create a continuous territory out of conventionally discontinuous elements. In the design
process, ―absolutely everything on the site was conceived as originating from the same
formal drive: the ground, the walls, the roof, everything,‖ Ogrydziak tells ARCHITECT. ―So
in this case, we emphasized this unity by using different materials in exactly the same
way… . As a result, even quite different materials, like a meadow in the landscape versus
zinc panels, share a consistent design language and conceptual simplicity.‖ In this way,
the visitor can become familiar with the systematic logic of the work—a fundamental
criterion for navigating a storyline—yet the architecture never lapses into predictability.
Windows located just behind the planks are partially obscured, and the casual observer
might miss their presence—yet once discovered, they offer additional clues of life within the
residence. ―The owners wanted a façade that was subtle and not ostentatious, something
that allowed a lot of light into the house without sacrificing privacy,‖ Prillinger says. ―And we
felt that a strategic blankness would best relate to the eclectic context and render familiar
traditional elements like the bay window strange.‖ Ogrydziak adds, ―We thought of the cedar
as a type of mask. If you squint, the project appears sensitive and contextual. But if you
don’t squint, you realize there is more going on.‖ The transition between orientations
required the addition of a transition element—something OPA calls a parametric ―twist‖
piece—which the architects had digitally fabricated for purposes of precision. ―These
digitally milled elements add a sense of motion to the façade and also bring it into the
contemporary moment, relieving it of some of the nostalgic craft references associated with
wood construction,‖ Ogrydziak says. The detail also ensures the kind of unusual, high-level
craft that invites up-close investigation once noticed—further enhancing the sense of
intrigue imparted by the mask.
Blaine Brownell
Blaine Brownell, FAIA, is an architect and materials researcher. The author of the four Transmaterial books (2006,
2008, 2010, 2017), he is the director of the school of architecture at the University of North Carolina at Charlotte.