A Montage of Space

In this exploration, ideas of moving through are explored through the lens of perception, montage, and sequence. In a motion picture, a series of images are designed and arranged in a certain way to suggest new ideas or interpretations. In architecture, this is possible through the movement of the observer in space altering their perception due to their physical position—also known as parallax. How can we draw out and construct the movement in space to design architecture around that changing view?

The research began with a walk-through Bergen which revealed what appeared to be a long sloping hill with a bench resting in the middle of Nygardsparken. This impression was shattered as you continue to walk the path of the park and hidden elements reveal themselves however the idea of a privileged view presented itself as an item of interest. Initially, the allure of this privileged view brought about the questions of its potential in a design application and how it influences the reality of space versus what we think we are seeing. Multiple places may exist in one site, but we can only see one at a time.

Tests with the pinhole camera were made while using models to alter the recorded image and to play with the illusion of what exists in the space. Further illusionary tests were made by modelling the site based on the photograph instead of reality, allowed the freedom to experiment with 2-D and 3-D surfaces, depth, and perception. Parameters such as light and movement were recorded to assess at what point the illusion breaks down and stops working. In controlling the relationship between the viewer and object you begin to manipulate the observers understanding of the space and allowing for multiple ways to read something.

However, in the fixation of the privileged view, it becomes clear that it has an adverse effect on the desired movement through space. A single perspective view immediately acts as a privileged view. From Eisenstein’s Montage and Architecture, this is “an obstacle blocking in the imagination of the reader the infinite potentiality of other possible views.”

The aim of the project is to develop a process of drawing and representing space through the eye of the observer that could then further be used in the development of architecture. The collaged perspectival drawing reveals how we inhabit space through multiple dimensions of movement and time. When applied as part of the design process, this may act as a useful drawing tool that reveals opportunities to discover hidden spaces or design areas to reach the observer and their changing views.

The work tells us that there is much more complexity, depth, and aesthetic value to be gained by using various perspectives and multiple complementary views that allow and encourage movement. It offers an enhanced experience because if each view is carefully constructed based on the first impression it gives, special consideration will be put towards where/how it is placed and designed. A building, park or city does not offer much-does not excite, intrigue, or motivate if all can be found upon first glance.

Altering the object itself revealed the application in designing architecture and the implied landscape. The park itself acts as a hidden or secluded green space within the city that offers the feeling of having been transported to a new space. Then why not go further? By creating more dimension and more interest within the space. The privileged view is suddenly broken up and a new interest appears. This opens the idea and potential of finding novel places within places or discovering new spaces that only appear through movement and would not interact with a static position.


  1. Sergei M. Eisenstein, Yve-Alain Bois and Michael Glenny, Montage and Architecture, in: Assemblage, No. 10 (Dec., 1989), pp. 110 – 131

Collage, showing multiple perspectives simultaneously

Temple of ancient virtue, intervention in Nygårdsparken

Series of images taken as a spectator of the garden with Temple addition