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An Architectural-Based Study of The Animated film: “The Incredibles”

Conference Paper · August 2023

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AN ARCHITECTURAL-BASED STUDY OF THE ANIMATED FILM:

“THE INCREDIBLES”

Dr., ERDEM KÖYMEN 1

1 S. Zaim University, Faculty of Engineering and Natural Sciences, Department of
Architecture, - 0000-0002-6924-421X

ABSTARCT

The rapid evolution of computer technology signifies the simultaneous transformation of the
disciplines of 3D animation and architecture. This transformative process has revealed itself as
the shift of 3D animation from the second to the third dimension and the transition within
architecture from the computer serving as a mere presentation tool to becoming a fundamental
component of design.

This study can be regarded as research exploring the intersection of animation art and the
discipline of architecture. The research aims to comprehensively examine the architectural
elements and spatial design within the animated film “The Incredibles”, directed by Brad Bird.
The film portrays a family narrative centered around the daily lives of superheroes, and this
study offers a comprehensive approach to understanding the meaning, function, and aesthetics
of the spaces depicted in the film. The study primarily addresses how spatial design in the film
impacts the characteristics of the characters and the progression of the storyline. Notably,
spaces like the Parr Family’s home have designs that reflect the characters’ abilities and
weaknesses. Additionally, the study investigates the visual aesthetics and details of the spaces
in the film. The design of spaces incorporates a retro-futuristic style from the 1960s, offering
both a nostalgic experience to the audience and a reflection of a vision of the future. The film
meticulously incorporates architectural elements such as color palettes, the use of lighting, and
perspectives.

In conclusion, this study examines the relationship between the art of animation and the
discipline of architecture through the lens of “The Incredibles”. The role of spaces in character
development, visual storytelling, and narrative enhancement in animation contributes to our
understanding of how animation enriches the field of architecture. It also provides valuable
perspectives on how spatial design can be utilized as a storytelling tool within the realm of
architecture.

Keywords: Architectural-based analysis, 3D animation films, The Incredibles

1. INTRODUCTION

Animation is the act of animating a sequence of interconnected motion frames within a given
duration, typically measured in seconds. This term can be referred to as an art form in which
visual scenes are generated using various techniques. Computer animation or 3D animation, on
the other hand, is defined as a field where moving images are produced using computer
technology (Akören, 2018). 3D animation is, in fact, considered a natural progression from

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stop-motion and 2D animation. In such animations, objects (models) are created within a
computer environment, and 3D figures are manipulated with visual skeletons. Changes between
the start and end of movements are automatically calculated through computer processes
(Köymen, 2008). The field that this research is connected to within the realm of architectural
science, “scene design,” can be described as the stage where every scene in an animation film
is meticulously crafted (Aksoy, 2002). This process is responsible for expressing each stage of
animation and meticulously creating all scenes. The subject of architecture in 3D animation
films, which is the focus of this study, manifests itself during the scene design stage described
above. 3D characters often play their roles in pre-planned 3D scenes that include architectural
elements. Scenes in 3D films can be compared to real-world film sets or theater stages
(Köymen, 2008). In this context, virtual characters replace real actors, and virtual cameras
replace real cameras..

3D Animation films, when examined, reveal that architectural elements are as significant as 3D
characters and are assigned roles within the film. Ismail Tunalı asserts that architectural
structures possess a vital reality and emphasize their integration into human life (Tunalı, 2004).
However, the experience of virtual characters within the film gains meaning through the
presence of architectural elements. This is closely related to the functionality of virtual
structures within the film.

This paper can be defined as a study examining the intersection of the art of animation with the
discipline of architecture, presenting findings from the master’s thesis titled “Architecture in
3D Animation Films.” In this research, the aim is to investigate architectural elements and
spatial design by excluding the geometric analysis context of the 2004 animated film “The
Incredibles,” directed by Brad Bird. The study not only evaluates the impact of the film’s spaces
on character development, visual storytelling, and narrative but also offers new perspectives
from an architectural standpoint on how spatial design can be used as a tool in storytelling.

2. THE ROLE OF ARCHITECTURE IN 3D ANIMATION FILMS

In examinations of 3D animation films, it has been observed that the incorporation of the
“architectural identity,” “era,” and “emotional atmosphere” into the 3D scenes is considered
one of the most crucial tasks in the creation of these films. Building upon this fundamental
observation and through film analyses and literature reviews, the following deductions have
been made to elucidate the role of architecture in 3D animation films.

In real life, all constructed structures are aimed at meeting the needs of individuals or society
(Soygeniş, 2006). In spatial design, the importance of knowing the ergonomics of the
individuals who will use the spaces and conducting dimensional analyses to meet these needs
is universally acknowledged by architects. The dimensions in design become precise based on
findings from analysis. In the creation of architectural works, aspects such as the mass height
of the structure, the size of spatial compartments, and their relationship with human creation
and life in functional and emotional terms are vital (Güngör, 2005). With these approaches, it
becomes evident that the establishment of living spaces for characters in 3D films is directly

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related to the analysis of their ergonomic structures and functional features. The primary
function of architecture in 3D animation films is to serve as a backdrop for the films while also
supporting the narrative (Dedeal, 1999). Often, virtual universes are metaphorically represented
to the audience, ensuring credibility. Furthermore, the action within the film is complemented
by architectural elements, enhancing the film’s watchability.

Architecture used in 3D animation films actively plays a role in reflecting a particular era,
referencing real buildings or architectural movements and styles. Through architectural
modeling, it is possible to visually reinterpret and recontextualize traces of cultures within the
film, making them more relatable to the audience. The portrayal of the time period in which the
film is set is supported by the architecture used. For instance, a film featuring architectural
elements from the 16th century transports the viewer to that era. An example of this can be seen
in the 3D animation film “Shrek” (Shrek, 2007), which creates the impression of the Middle
Ages through palace structures and square layouts reminiscent of Medieval architecture.

Another aspect in which the discipline of architecture interacts with 3D films is the design of
surreal spaces within the films and their alignment with the characters. Many 3D animated films
are set in fantastical realms, and the process of creating and harmonizing these surreal spaces
with the characters is crucial. Films produced using 3D animation technology set in
otherworldly environments are quite common. In “Robots” (Robots, 2005), for example, surreal
buildings and cityscapes are constructed from metallic gears and robotic parts. These structures
are rooted in architectural conventions from the real world, with metallic components
assembled to resemble real-world structures. Additionally, surreal spaces are frequently
encountered in mythological stories, and architects play a role in creating the mystical
atmosphere decided upon by the directors.

There are also examples of 3D animation films set in a future that has not yet occurred, such as
“Meet the Robinsons” (Meet The Robinsons, 2007). In “Meet the Robinsons,” the visual
narrative of the future is established by incorporating various technological architectural models
into the film. Characters who travel to the future via a time machine encounter buildings that
move, grow spontaneously, and change color. This architectural transformation serves as
metaphors representing the future, surprising the characters and enhancing the storytelling of
the future narrative. The familiarity of the characters is disrupted, allowing the audience to
explore new worlds and spaces.

Architecture in 3D animation films emphasizes the roles of virtual characters within the film.
The characteristics assigned to characters can be discerned not only through their speech and
clothing but also from the architectural spaces in which they live. A few seconds of footage
taken from the interior or exterior architecture of a character’s school can convey the role of a
schoolchild in the film, just as a snippet of an architectural detail from a tailor’s office can
represent the role of a tailor. Examples of this can be found in the interior designs of the school
in “Meet The Robinsons” (Meet The Robinsons, 2007) and the office of the tailor Edna in “The
Incredibles” (The Incredibles, 2005).

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Another auxiliary function of architecture emerges when it comes to representing symbolic

structures that define the city in which the film is set. For instance, in the 3D animation film
“Ratatouille” (Ratatouille, 2007), the impression of the film being set in Paris is created by
incorporating a model of the Eiffel Tower. Another example is seen in “Monsters, Inc.”
(Monsters, 2001), where special doors allow monsters to transition from the monster city to the
human world, opening into different children’s rooms in various countries. The differences
between these countries are portrayed through symbolic elements of the cities they arrive in
when the doors open. This emphasis on countries is made evident when a door opens to a
Japanese child’s room with a view of Mount Fuji, and another door opens to a room in Paris
with a view of the Eiffel Tower. In a scene from another Pixar 3D animation film, “Finding
Nemo” (Finding Nemo, 2003), the inclusion of models of the Sydney Opera House and the
Sydney Harbour Bridge signifies that the scene takes place in Australia.

These and similar observations can be expanded upon. In summary, it is evident that
architecture plays a significant role in the construction and storytelling of 3D animation films.
According to the deductions made, the field of architecture contributes to storytelling
parameters that are crucial in films, such as identity, atmosphere, credibility, temporal
emphasis, role, character portrayal, and location description. In the framework outlined in this
section, the next section will explore the potential contribution of architecture to the film “The
Incredibles” (The Incredibles, 2005) through readings.

3. AN ARCHITECTURAL-BASED STUDY OF THE ANIMATED FILM:

“THE INCREDIBLES”

“The Incredibles” is a 3D animated film produced by Pixar Animation Studios, the company
known for creating animation films such as “Toy Story I” (1995), “Toy Story II” (1999), and
“Finding Nemo” (2003). It was completed in 2005 and released to the public. The film’s
storyline is briefly summarized as follows: Bob Parr, also known as Mr. Incredible, is one of
the world’s most famous superheroes, fighting against evil forces and saving people’s lives.
After 15 years of superhero life, Bob retires for various reasons and begins to live a normal life
with his wife, who is also a former superhero, and their three children. However, Bob’s life,
now involved in insurance work, has become extremely mundane. One day, he receives a
message that calls him to an island for a highly secretive mission (URL 1).

Figure 1. Action Scenes from “The Incredibles”

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The film’s technical director, Rick Sayre, has stated that “The Incredibles” has an aspect that
breaks viewers’ logical expectations (Vaz, 2004). When examining the film, it can be
observed that unexpectedly, it begins with a documentary-like atmosphere but abruptly shifts
to an action scene with impeccable visual and sound quality (Figure 1).

Figure 2. Examples of Stylized Characters and Textures from “The Incredibles” (Vaz, 2004)

The film’s character designer, Teddy Newton, has mentioned that from the beginning, they
wanted the characters and environmental elements to appear stylized like traditional cartoon
characters rather than having a photorealistic quality. According to Newton, achieving broad
acceptance of an object in 3D often requires some exaggeration. Therefore, instead of using
highly detailed textures for characters and architectural elements, they aimed to convert these
textures into a more cartoon-like style, simplifying them and studying Disney designers who
were highly skilled in staging (Vaz, 2004) (Figure 2).

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Figure 3. Examples of Retro Architectural Design and Concept Art from “The Incredibles”
(Vaz, 2004)

The film’s production designer, Leo Romano, who created many characters and architectural
elements through his drawings, mentions that they reconstructed all human emotions, moods,
and atmosphere from scratch using shapes and colors. He adds that the general design approach
that shaped the film’s concept is rooted in the past but with a desire to introduce modern leaps.
With these approaches, they borrowed lines and forms from continuous architecture and applied
this gain to other objects (Vaz, 2004). In Figure 3, this approach can be observed in the urban
texture and coloring of the city. The architectural texture is designed with muted pastel tones
in somber scenes, while more vibrant colors are used in dynamic scenes.

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Figure 4. Concept Art for the Parr Family’s House from “The Incredibles” (Vaz, 2004)

Art director Ralph Eggleston mentions that they aimed to reflect the look of 1950s suburban
neighborhoods in the film (The Incredibles, Production Notes). Figure 4 illustrates the city and
the location of the Parr family’s house within this context. Furthermore, the interior spaces are
strengthened within this context by using furnishings and lighting elements that reflect the
design aesthetics of the 1950s.

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Figure 5. The Parr Family’s House from “The Incredibles”

It has been observed that the architectural elements in many scenes of the film play an active
role in storytelling. For example, the Parr family’s house, with its architectural arrangement,
provides a setting for the family environment in the film and the portrayal of the relationships
within this environment. Additionally, the architecture used also provides viewers with
information about the characters. As seen in Figure 5, the film incorporates architectural choices
that are in harmony with the concept of a residence, such as living and dining rooms, a study,
and a garage, all of which support the storytelling within these spaces.

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Figure 6. Office in Bob’s House and Concept Drawings from “The Incredibles” (Vaz, 2004)

Bob has a special room in his house where he keeps old memories. The film’s animation
designer, Andrew Jimenez, mentions that people often keep certain memories to remember the
past and that for Bob, they symbolized these memories with elements such as framed newspaper
headlines and magazine covers on the walls of his office (The Incredibles, Production Notes).
His nostalgia for a past filled with many victories is brought to life through architectural
arrangements like the memory wall in this office room (Figure 6).

Figure 7. Edna Mode’s House and Concept Art (Exterior) from “The Incredibles” (Vaz, 2004)

Another significant architectural structure in the film is the Bauhaus-style house of Edna Mode,
the character who designs superhero costumes. Lou Romano mentions that when they started
designing this character’s house, they wanted it to be very modern and minimalist while also
detailing it with equipment related to superheroes, combining Edna’s title as a “hero costume
designer” from the past (The Incredibles, Production Notes). Figure 7 shows the concept
drawings of this residence and the 3D model within the film. The style of the house, its position

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within the landscape, the laser door detail at the entrance, and the sculptures used in the
landscape are all aimed at conveying the impression Romano intended for the film.

Figure 8. Edna Mode’s House and Concept Art (Interior) from “The Incredibles” (Vaz, 2004)

Lou Romano and his team, responsible for creating Edna’s house, conducted research on Greek
mythology and art for inspiration, focusing on everything related to gods and superheroes of
that era. During their research, they realized that the forgotten and antiquated art of ancient
times generally aligned well with the world of superheroes in the film. In the final designs of
the film, they blended ideas from ancient times with modern concepts. One of the walls in the
house is covered with a large wall frieze depicting scenes from the Trojan War, taken from vase
decorations. In contrast, they placed a fountain statue representing the sea god Poseidon on the
exterior of the house (The Incredibles, Production Notes). These details and concept drawings
are shared in Figure 8.

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Figure 9. Edna Mode’s Laboratory and Kitchen with Concept Drawings (Vaz, 2004)

According to the film’s director, Brad Bird, in typical action films, the focus is solely on action,
and family dramas and daily activities are often discarded. Bird states that in this film, they
demonstrated that both extraordinary and ordinary events can be incorporated into the design.
For example, Edna’s house has a fully equipped laboratory, but her kitchen has a “very intimate
and warm” appearance (The Incredibles, Production Notes). The volumetric size of Edna’s
house is also supported by the character’s voice acting (Andrews et al., 2005). For instance, in
the scene where the characters move into the large living room, the sounds change according
to the size of the space, and echo values increase. This allows viewers to gain an auditory sense
of the building’s volume as well (Figure 9).

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Figure 10. Syndrome’s Island and Bob’s Luxury Apartment from “The Incredibles” (Vaz, 2004)

In the film, another group of architectural structures is represented by the island where
Syndrome, symbolizing evil, resides. At first glance, the producers wanted this island to appear
as a “paradise.” This way, when Bob accepts the secret mission and goes to the island, viewers
would rejoice for him, thinking he would finally escape his disliked job. The initial impression
intended for the island is conveyed through the luxurious apartment where Bob stays. However,
as time passes, the darker side of the island begins to surface, revealing that the island is not the
“paradise” it was believed to be (Vaz, 2004). Figure 10 shows images of Bob’s suite and scenes
from the island. Architectural elements such as windows, terraces, furnishings, and landscaping
were used to give it the appearance of a tropical vacation suite.

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Figure 11. Images and Concept Art from Syndrome’s Island (Vaz, 2004)

The initial designs for the island, according to the producers, envisioned it as having more
spaces, resembling a place like Disneyland. It was intended to have a glacial area, a desert
section, and a forest filled with sequoia trees. However, the producers later decided to simplify
the spaces and adorned the island with discreet buildings (Vaz, 2004). The largest inactive
volcanic mountain on the island serves as a kind of missile launch ramp, and access to the main
areas is provided through underwater hidden tunnels and secret entrances resembling waterfalls
(Figure 11). These architectural elements emphasize the mystery of the island. At the beginning
of the scenes set on the island in the film, the mysterious character Syndrome is slowly
introduced to the audience. The character’s introduction process parallels the mysterious
designs in the architecture. As the superheroes explore the mysteries within the island’s
architecture, the mysteries surrounding the Syndrome character also begin to unravel. In this
sense, architectural details have been used strategically in the film’s storytelling.

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Figure 12. Visuals and concept studies from Syndrome’s island (Vaz, 2004).

The evil on the island is also emphasized by the elements of architectural decoration. For
instance, in the scene where Bob dines with the character Mirage, volcanic lava is chosen as
the backdrop. This decorative element also serves as a movable mechanism, facilitating
transitions between spaces, including doors and corridors. In one of the chase scenes on the
island, Dash’s ability to run at speeds of nearly 300 kilometers per hour required the tropical
island to be constructed at twice the originally planned size (Vaz, 2004). This approach
illustrates a unique signifier of the close relationship between the characters’ abilities and the
organization of the environment (Figure 12).

Figure 13. Visual representation (a) and concept (b) illustrating the role of architecture in
expressing Bob’s mood.

Bob Parr is forced to work in an office, hiding his abilities, in one scene of the film. His working
space appears quite cramped in proportion to his size. As seen in Figure 13, this tight design is
achieved by placing a large column element in the workspace. It is believed that this tightness,
especially when intentionally designed in the setting, plays a supporting role in reflecting the
character’s troubled mood and gloomy world. This mood, related to the pale colors chosen for
Bob’s office, is another auxiliary function of the architecture that emerges through the use of
color (Figure 13).

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Figure 14. Images from Bob’s office.

In addition, in this office section where it is understood that Bob is working unwillingly, in
addition to the boring fullness of the volume, a compressed atmosphere has been created by
playing with camera angles. The producers have stated that they used this method to make the
images more intertwined and suffocating (Andrews et al., 2005) (Figure 14). Furthermore, the
multitude of other office sections in the environment and the uniformity based on repetition of
these offices also support the emphasis on the character’s boredom with life through
architecture.

Figure 15. Scene of Director Hup’s office and concept drawing (Vaz, 2004)

In the scene set in the office of Director Hubb, which the producers describe as portraying
“small-minded people,” the chair on which Bob sits creates an uncomfortable impression, the
tips of the pencils on the desk point towards Bob, and there is a small cactus plant modeled to
resemble Director Hubb’s head behind Bob. All of these elements, as mentioned, have been
added to the film as architectural decor details indicating that Bob is uncomfortable being in
that space (Andrews et al., 2005) (Figure 15).

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Figure 16. Architectural structures creating the cityscape in “The Incredibles.”.

The director of photography and staging expert, Patrick Lin, stated that for the filming of the
final battle scenes in the movie, they did not initially opt to design and model the entire city.
Because the battle scene was very large and complex, it was deemed illogical to first model the
city and then think about how the film would be shot. Therefore, they initially conducted shots
involving low-geometry architectural models, and then, with the director’s approval, they
modeled and placed the entire city based on these shots (Vaz, 2004) (Figure 16). In the cityscape
of these scenes in the film, building forms with matte colors and repetitive details were used to
emphasize the characters. Alongside architectural elements representing the city impression,
such as residences, cinemas, offices, etc., a water element in the form of a city park was also
preferred. Especially with the use of the water element in the city park, the storytelling revolved
around Frozone’s superpower of creating ice, adding depth to the narrative.

4. CONCLUSION

In this research, the use of architecture in 3D animated films has been examined through the
lens of “The Incredibles.” The study focused on the role and auxiliary function of architecture,
while excluding the analysis of geometric layouts and design elements within the film’s 3D
model structure. Based on the areas of focus, it was observed that architecture is as important
for storytelling in a 3D animated film as the film’s main characters. In this context, architecture,
which can touch upon various fields and has the potential to contribute directly by being
involved in the production process, has played an active role in the 3D animation film industry.

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One finding of the research is that the 3D animation film industry has the potential to provide
a field of work for architects who have expertise in computational design. Architects can blend
their knowledge of design, form, and scale, which arises from their artistic and technical
education, with the discipline of 3D animation. In doing so, they can effectively apply their
skills in new fields, potentially enhancing the quality of the end products.

Architects whose goal is to create the virtual world of a 3D animated film can adjust their
designs according to the rules of this virtual world with architectural perspectives. This is
expected to expand and enhance architects’ design approaches and theoretical perspectives,
which are typically limited to producing structures for humans in the real world.

Architects whose goal is to create the virtual world of a 3D animated film can adjust their
designs with architectural perspectives according to the rules of this virtual world. It is believed
that this situation will enhance architects’ design approaches and their theoretical perspectives,
which are mainly limited to creating structures for people in the real world.

The formation of architectural projects is subject to various constraining influences, and

sometimes it can direct the design beyond the architect’s intentions. Experimental architecture,
which has emerged since the 18th century and has been mostly directed towards conceptual and
utopian projects, has broadened the narrow vision that architects often face and introduced
different perspectives to design. It is considered that the architectural organizations in 3D
animation films, which are believed to be a practical field for experimental architecture, will
provide architects with an extensive and free design environment where they can unleash their
imagination.

In the scope of the research, it has been observed that in The Incredibles, a 3D animated film
that was examined, a specific time frame was intended to be reflected in the film, and this action
was supported by architecture in terms of storytelling. In this regard, important tasks are thought
to be assigned to architects in the field of “representation,” which directly relates to the
discipline of architecture. It is clear that architects’ studies on areas such as art and architectural
history can find a reflection area, particularly in terms of conveying the architectural styles and
trends of a specific era to the film with appropriate rules. The utilization of animation discipline
by architects for learning and education is considered necessary for the development of this
discipline.

Even though the spaces in the examined film never coexist, they create a visual unity throughout
the film. From this, it can be seen that there is a dominant design concept throughout the film.
Detailed geometric analyses from an architectural concept perspective can be conducted to
obtain scientific results regarding the similarities in scenes.

In his article examining current trends in cartoon and animation education, Akören emphasizes
the necessity of determining new contents in spatial design and continuing through them. He
also highlights the importance of technology support in this regard (Akören, 2018). This signals
the existence of a potential area for support for architects or architecture students who continue

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or complete their education with the support of architectural fields in the realm of operational
design and computer environments.

In a study conducted by Bağcı and Başaran (2018) on animation department students and their
animation education, it was found that there is a limited number of academic staff in this field.
Collaborative efforts with architecture faculties are considered a potential solution, particularly
to obtain support in the area of spatial design, and it is believed that this deficiency can be
partially addressed through such collaborations.

In this research, it is believed that the results and findings obtained can be similarly applicable
to fields closely related to architectural science such as interior design, urban planning, and
landscape architecture. The systematic design and incorporation of interior, urban, or landscape
elements into films, within a scientific framework, are expected to contribute significantly to
the animation industry.

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Akören, A. N. (2018). Çizgi film ve animasyon eğitiminde son eğilimler. Etkileşim, (2), 124-
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Enstitüsü, Yüksek Lisans Tezi, Eskişehir.
Andrews M. vd., “The Incredibles”, Two-Disc Collector’s Edition DVD, 2005.
Bağcı, H. & Başaran, E. (2018). Bilgisayar Destekli Tasarım ve Animasyon Programı
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Dedeal, N., (1999), “Temel Özellikleriyle Çizgi Canlandırma”, Pusula Yayıncılık, İstanbul.
Güngör İ., (2005), “Temel Tasar”, Bilgisayar Destekli Baskı ve Rek. Hizmetleri A.Ş., İstanbul.
Köymen, E. (2008). Üç Boyutlu Animasyon Filmlerde Mimarlık. (Yayınlanmamış Yüksek
Lisans Tezi). Trakya Üniversitesi, Edirne.
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Monsters, Inc., (2001), “DVD”, Pixar.
Nemo, (2003), “DVD”, Pixar.
Ratatouille, (2007), “DVD”, Pixar.
Robots, (2005), “Widescreen Edition - DVD”, Blue Sky.
Shrek III, (2007), “Widescreen Edition - DVD”, DreamWorks.
Soygeniş, S. (2006). Mimarlık: düşünmek, düşlemek. Yapı Endüstri Merkezi Yayınları.
The Incredibles Prodüksiyon Notları.
The Incredibles, (2004), “Two-Disc Collector’s Edition - DVD”, Pixar
Tunalı İ., (2004), “Tasarım Felsefesine Giriş”, Yem Yayınları, İstanbul.
URL 1: https://www.pixar.com/feature-films/the-incredibles.
Vaz M., (2003), “The Art of Finding Nemo”, Chronicle Books, San Francisco.

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