Narrative, either based on successive actions in a story or on spaces that are seen sequentially, is at the centre of creative imagination. There are creations, in which fictional and spatial narratives are inseparable from each other.

Sophia Psarra

Our movement through space as it correlates with time, has a profound effect on the way that we perceive our surroundings. As one travels through space, a personalized narrative is created that informs individual experience of the surrounding environment. Our past intermingles with our present and is projected towards our future. An architecture evolved through the unfolding narratives generated through our movement might begin to offer the potential of personal meaning as it interweaves with our memories. Umberto Eco speaks of the freedom of interpretation a maker may give the viewer through the duality of such an open work.

Carlo Rovelli states Thinking of the world as a collection of events, of processes, is the way that allows us to better grasp, comprehend and describe it. [...] “The world is not a collection of things; it is a collection of events. The difference between things and events is that things persist in time; events have limited duration. He notes, we are our memories, we are event.

In movement our mind creates pictures that present themselves as sequences within our memories. Moving through a space presents one with images relative to the physical position of the viewer as a sequence over the duration of time. Such sequences contribute to our perception of an environment. Sergei Eisenstein discusses the potential of the montage sequence as we move through space, and Tschumi of the opportunites held within sequences. The images in these sequences do not act alone, each one relies on its predecessor to weave a descriptive story for the observer to witness and interpret.

This cumulative nature of sequences allow their frames to derive significance through juxtaposition. Narratives are thereby authored in our minds as we move forwards, with our memory holding preceding frames as they are interwoven with the present and projected into the unfolding of events on the edge of the future. Explorations of the perception of space through the lens of montage, can begin to uncover alternative or distorted realities and the new narratives these can write. Experimentation within the realms of memory, perspective, creative narrative construction, framing and chasing the unexpected explored the potential of these concerns, asking the question, how might such individual narratives be encouraged through design?

To experience and follow an architectural sequence is to reflect upon events in order to place them into successive whole

Bernard Tschumi


  1. Psarra, Sophia. Architecture and Narrative: the Formation of Space and Cultural Meaning. Routledge, (2009), 66.
  2. Tschumi, Bernard, Architecture and Disjunction. MIT Press, (1996), pp. 165-166.
Chasing the Unexpected

What does it mean to chase the unexpected? This project evolved a tool that might begin to enable us to ignite and register the unexpected in even the most familiar of journeys. The tool opens an understanding of a chosen situation or plot by doing registrations through chasing the unexpected.

A Montage of Space

In this exploration, ideas of moving through are explored through the lens of perception, montage, and sequence. In 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?

A Gate to Imagination

While walking through Bergen a mark in the ground invites me to jump over it. A choice is given to play with it or ignore it. 

This research looks for ways to stimulate the imagination and how this forms a story that is embedded for everyone in their narrative. It is about the imagination through which a story is created around reality. Suddenly a water supply becomes a horse. It is this kind of playing, imaginary playing I research in my project.

A Present Through Memory

The work evolved a reflection of space through different drawing techniques. Mon Plaisir in Bergen, is a place with a long history. A place of coming and going. A place of memory. 
I asked people to leave their own memories; experiences, thoughts and emotions. The work starts to uncover modes of capturing Mon Plasir as fluid memory, asking how might we express this within drawing.

Building for Discovery

While navigating through the intense topography of Bergen, I was fascinated by how the city was revealed. The experience of the city changed as one moved through various levels and vantage points. The terracing construction of the cityscape exposed different forms of activity that begin to relate to each other through their adjacency, and within their context.