Embodied Time: Applied and Incidental Architectural Narratives

In this analysis of storytelling through building, encompassing a search for practical applications for how future buildings can embrace the passing of time, narrativity has been categorised into: the ‘applied’ or ‘artificial’, meaning the construction of a directed story, identity or philosophy; an...

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Main Authors: Owen Davıes, Laura Hanks
Format: Article
Language:English
Published: Selçuk University 2022-11-01
Series:DEPARCH Journal of Design Planning and Aesthetics Research
Subjects:
Online Access:https://dergipark.org.tr/tr/download/article-file/2560523
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author Owen Davıes
Laura Hanks
author_facet Owen Davıes
Laura Hanks
author_sort Owen Davıes
collection DOAJ
description In this analysis of storytelling through building, encompassing a search for practical applications for how future buildings can embrace the passing of time, narrativity has been categorised into: the ‘applied’ or ‘artificial’, meaning the construction of a directed story, identity or philosophy; and the ‘incidental’ or ‘organic’, the accidental erosion and patination caused by weathering and human use. In ‘Building Time’, David Leatherbarrow considers three groupings for his analysis of buildings inhabiting the temporal dimension. The ‘Time of the Project’, the alterations, adaptations and adjustments made to a building, can be considered a prototype for ‘applied’ narrativity, while his ‘Time of the World’ can be linked to the gathering of ‘incidental’ narrativity. Leatherbarrow’s third aspect, the ‘Time of the Body’, can be compared to the phenomenological aspects linking these categories together, directing human passage and activity through design cues and through the traces of those who have come before (Leatherbarrow, 2021). At times these categories overlap and intertwine with each other, mirroring the idea that in the communication of narrative the “the corporeal is not more fundamental than the intellectual, but… are entangled” (Austin, 2012: 108). In summary, the aim is for an architecture that may “articulate the experiences of our very existence” (Pallasmaa, 2009 :19). Therefore, as time passes and our experiences become history, we can still tell our stories through the medium of building. This methodology to create buildings with a high degree of ‘story-ness’ was later tested in the design of a new library and literary museum. Based in Nottingham’s Lace Market, the existing tale of County House, a derelict and crudely adapted Georgian townhouse, was clarified, curated and secured, while the adjacent plots provided opportunities to experiment with applied and incidental narratives told through new buildings.
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spelling doaj.art-4cafc597e935469ea23413ab19a551d92023-09-15T13:11:03ZengSelçuk UniversityDEPARCH Journal of Design Planning and Aesthetics Research2822-41752022-11-0112275410.55755/DepArch.2022.10154Embodied Time: Applied and Incidental Architectural NarrativesOwen Davıes0Laura Hanks1University of NottinghamUniversity of NottinghamIn this analysis of storytelling through building, encompassing a search for practical applications for how future buildings can embrace the passing of time, narrativity has been categorised into: the ‘applied’ or ‘artificial’, meaning the construction of a directed story, identity or philosophy; and the ‘incidental’ or ‘organic’, the accidental erosion and patination caused by weathering and human use. In ‘Building Time’, David Leatherbarrow considers three groupings for his analysis of buildings inhabiting the temporal dimension. The ‘Time of the Project’, the alterations, adaptations and adjustments made to a building, can be considered a prototype for ‘applied’ narrativity, while his ‘Time of the World’ can be linked to the gathering of ‘incidental’ narrativity. Leatherbarrow’s third aspect, the ‘Time of the Body’, can be compared to the phenomenological aspects linking these categories together, directing human passage and activity through design cues and through the traces of those who have come before (Leatherbarrow, 2021). At times these categories overlap and intertwine with each other, mirroring the idea that in the communication of narrative the “the corporeal is not more fundamental than the intellectual, but… are entangled” (Austin, 2012: 108). In summary, the aim is for an architecture that may “articulate the experiences of our very existence” (Pallasmaa, 2009 :19). Therefore, as time passes and our experiences become history, we can still tell our stories through the medium of building. This methodology to create buildings with a high degree of ‘story-ness’ was later tested in the design of a new library and literary museum. Based in Nottingham’s Lace Market, the existing tale of County House, a derelict and crudely adapted Georgian townhouse, was clarified, curated and secured, while the adjacent plots provided opportunities to experiment with applied and incidental narratives told through new buildings.https://dergipark.org.tr/tr/download/article-file/2560523appliedarchitectureincidentalnarrativetime
spellingShingle Owen Davıes
Laura Hanks
Embodied Time: Applied and Incidental Architectural Narratives
DEPARCH Journal of Design Planning and Aesthetics Research
applied
architecture
incidental
narrative
time
title Embodied Time: Applied and Incidental Architectural Narratives
title_full Embodied Time: Applied and Incidental Architectural Narratives
title_fullStr Embodied Time: Applied and Incidental Architectural Narratives
title_full_unstemmed Embodied Time: Applied and Incidental Architectural Narratives
title_short Embodied Time: Applied and Incidental Architectural Narratives
title_sort embodied time applied and incidental architectural narratives
topic applied
architecture
incidental
narrative
time
url https://dergipark.org.tr/tr/download/article-file/2560523
work_keys_str_mv AT owendavıes embodiedtimeappliedandincidentalarchitecturalnarratives
AT laurahanks embodiedtimeappliedandincidentalarchitecturalnarratives