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University of Tennessee Honors Thesis Projects University of Tennessee Honors Program

Spring 5-2007

Storytelling Through Architecture

Claire Nicole Wallace
University of Tennessee - Knoxville

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Wallace, Claire Nicole, "Storytelling Through Architecture" (2007). University of Tennessee Honors Thesis Projects.
https://trace.tennessee.edu/utk_chanhonoproj/1129

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 Claire Nicole Wallace
Bachelor of Architecture

Storytelling
 Table of Contents

Framing

Supporting

Locating

Forming

Referencing
Framing
 petroglyph found on Signal Hill in Arizona

"Visual storytelling of one kind or another has been around since cavemen were drawing on
the walls."

- Frank Darabont
 How can architecture seroe as a catalyst for storytelling?

How can architecture tell the appropriate stories?

Throughout time, people have used visual devices to capture stories. Visual storytelling displays
a histOlY of the past, an identity for the present, and a story for the future to compare and ap-
preciate. Architecture is an ever-present form of visual storytelling. The built environment has
the ability to capture the history of a place and tell that story through space. Architecture forms
a visual, spatial link between the past, present, and future, becoming a point in the timeline of a
place and culture.
 'flat' architecture

The Problem
Architecture constantly tells stories, but often these narratives are one-dimensional, 'flat' repre-
sentations. These stories comprise a single layer - style - a layer that tells nothing of culture, his-
tory, or pride in a place, but is instead rooted in economics and the desire to build things cheaply
and quickly.
TIle Solution
In order for visual storytelling to occur in the form of architecture, a multiple-layered language
must be developed. A spatial language is needed to tell the story of a particular place. If a spatial
language is developed, it is possible to tell the appropriate stories - stories of the people who
inhabit or have inhabited a place, the cultural history of a site, and evolution of use, building
materials, and technology.
Precedents as Solutions
The Gugalun House - An Addition
Peter Zumthor
Versam, Switzerland
1990-1994
Generations of alpine farmers have inhabited this site since the early 1700s. The original home-
stead - the smaller, more worn portion located on the edge of the hill, dates back to 1708. Peter
Zumthor designed a new, shared roof to house both new and old components of the home. The
newly designed kitchen, bathroom, and secondary spaces with larger windows follow the clas-
sical sequence of rooms found in homesteads in this area. Zumthor incorporates new ideas of
structure in the addition, creating a concrete "basin" in which the wood shell of walls is inserted.
"We aimed to design a new whole in which the old and new would be assimilated."

- Peter Zumthor
It is hard to imagine being an architect without having had experience of working on old buildings
- let's hope it has had an infLuence."

- Peter Zumthor
Th.e Stories
mutual respect for old and new
interweaving of old and new
humble beginnings
humble endings
Summer House
Alvar Aalto
Muuratsalo, Finland
1953
Alvar Aalto designed his summer home as an experiemental abode - a place for testing spatial
and formal relationships and material selections. The L-shaped enclosed space opens up onto a
courtyard, much like the 'typa' of traditional Fimlish farm houses.
H ••• powerful sense of a min"

- Michael Trencher
"Aalto took advantage of the ideal site conditions to incorporate a sequence of arche-
typal experiences and rituals: the voyage (the crossing of the water), the disembarka-
tion, the ascension, the arrival at the settlement, and refuge in its restorative itmer
sanctum. "

- Michael Trencher
The Stories
layering of materials
experimenta ti on
nature re-entering the building
vernacular space
Museo di Castel vecchio
Carlos Scarpa
Verona, Italy
1957-1964
The Scaligeri family built this castle in medieval times, and soon after a medieval church was
added and incorporated into the existing castle walls. Napoleon created several additions and
transformed the complex into housing for his troops. In 1924, the building was restored as a
museum, but was bombed in World War II. Carlos Scarpa was chosen to redesign and restore the
complex in 1957.
"What a tease it must have been for their hibernated longings to perceive your mischievous
juxtapositions of seemingly incongruous materials, your mid-air crossings of never-touching
beams, your cutting through a 'Wall just to reveal its matter as multilayered strata. They must
surely have taken you to their hearts."

- Emilio Ambasz, to Carlos Scarpa

When perusing the Castelvecchio, one may feel that "construction has been suspended midway,
that objects are in the process of being made or in the process of erosion."

- Emilio Ambasz
"In your opera, the libretto is always subseroient to the
memorable aria; in your architecture, the parts are the
whole."

- Emilio Ambasz, to Carlos Scarpa

The Stories
architecture as a discovery tool
overlap of old and new
hierarchy of detail
fleeting glimpses to aid in understanding
In order for buildings to tell the appropriate stories, 'accomodating architecture' must be created,
that is, architecture that engages with the history of a site, respects existing conditions of a place,
relates to present needs, and provides the potential for future use and adaptation. Just as Aalto's
Summer House, Scarpa's Castelvecchio, and Zumthor's Gugalun House invite users and visitors
to touch and explore the story, it is possible to create new architecture to enhance the sense of being
part of the story, and thus part of the past, present, and future.
Supporting
"Architecture is music in space, as it were a frozen music."

- Friedrich von Schelling

panoramic view of site

A building's site is a crucial element in the successful telling of stories. In regards to program, a
site dictates the types of activities that will aid in the telling of the story of the site. In this project,
an industrial site along the Knoxville South Waterfront has been selected. This area, which is soon
to be transformed into a high-end residential and multiple use area, is for now a quite humble
industrial zone. A number of factory buildings survive along the water's edge, several of them still
in operation but clearly needing care.
Locating a project in this zone means creating a program that will compliment existing conditions
but also serve the current and future needs of the area. In the past, factories along this water-
front acted as a hub for the area. They brought members of the community together to work
and produce a finished project to be sent along the river. Though some of the factories along the
waterfront still operate, the majority of the land and buildings are lacking use and upkeep. A
new function for the waterfront is needed. In order to capture the history of the place, however,
this new function must take inspiration from the past and adapt to a new setting, new needs, new
people.
The production of goods is related to the production of ideas. A new production center can be
created - one that reinterprets the concept of a factory and transforms it to fit current and future
needs and wants. This building becomes a new hub, or center, for the community - one that takes
its roots in the past but grows and changes. Thus, ideas can be created on the site, and, just like
the products before them, 'shipped' on the river to other places and people.
A cultural arts center with an emphasis on music is a program type deeply rooted in the pro-
duction of ideas. Such a center would encourage users to be immersed in the story of the
South Waterfront and in the story of music. This program type would foster a sense of com-
munity, a sense of place, and engage with existing building and landscape elements through
interior / exterior performance and display spaces.
A music center encourages the idea of storytelling. Music is something quite magical that is
produced and felt for a few moments in time, but can be remembered for a lifetime. It is ever-
changing, ever-evolving, ever-inspiring. With a cultural music center, spaces can be created that
tell this story of music, that capture the feeling and magic of music even when it is not being
produced. Vacant spaces should capture memory and excitement of music, so that visitors feel
like sound is always present and therefore feel and understand the story of the place. In this
sense, architecture acts as a vessel to 'hold' the story. New design does not compete with exist-
ing conditions, but instead enhances them. They should possess a humble, informal quality that
encourages a dialogue between old and new, between people and music.
"Now 'we're all looking for something which gives us not so much power - because I don't think
many people are nostalgic for pO'lver - and it's still a very dirty word - but perhaps a larger scope
of what architecture could do, or could say."

- Koolhaas

Spatial Storytelling Requirements

Outdoor Performance Space Indoor Performance Space
~~~-=~==~=-~

what happens here: gather what happens here: gathering of community, music
students, family, friends, t students, family, friends, teachers/ patrons of music
perform, listen, enjoy, and to perform, listen, enjoy, and celebrate music
time of day: this space sho time of day: this space should be available for use at
the morning, all througho all times of day and at night as "vell
well people involved: students and teachers, friends and
people involved: students family of all ages and V"'L"'_~'P~~,~~~~~~tftt7:1
family of all ages and back 'n- maintenance crew
tenance crew size: 3000 square feet
size: 3000 square feet juxtapositions: needs to
juxtapositions: needs to be adjacent to indoor lobby rooms, and lounge/ cafe
and restrooms; opportunity to relate to existing fac- type of light: predominan
tory buildings as well some natural light
type of light: natural during day, artificial at night
Group Practice Facility Recording Studio

what happens here: students, members of the commu- what happens here: students, m d teach-
nity, or visiting performers practice producing music ers retreat to this space to produEm~~
together music
time of day: this space should be available for use in the time of day: this space should be available for
morning, all throughout the day, and at night as well use in the morning, all throughout the day, and at
people involved: students and teachers, janitors and night as well
maintenance crew people involved: students and teachers, janitors
size: 1000 square feet and maintenance crew
juxtapositions: needs to be near indoor and outdoor size: 1000 square feet
performance spaces; potential to be those in juxtapositions: needs to be near practice facilities
lobby or outside type of light: artificial; opportunity to be buried in
type of light: natural and artificial earth
Artists'Residence Lounge/Cafe

'What happens here: musician porarily live in what happens here: students, teachers,
the -e spaces; this is their spac retreat when they friends, family, and members of the 1()~~~~~~~j~,~~j'~';;:ij
are not teaching or producing music reside in this space; it is a space of le~'~~1.~ISI)'~~
time of day: this space should be available for use in from work/ production; it is a space ~f::!~~~~~~
the mODling, all throughout the day, and at night as ing for a lesson to end or begin
well time of day: this space should be avaJl~~~~l~i~~~~::t;'\1
people involved: teach nd their guests jn the mOTIling, all throughout the da~mlJlLDIim~
size: 3 at 500 square fe h evening as well
juxtapositions: somewhat separate from public people involved: students, teachers, community
spaces members, family, friends, janitors and maintenance
type of light: natural and artificial crew
size: 2000 square feet
juxtapositions: needs to be adjacent to practice
facilities and performance spaces; opportunity for
outdoor eating as well
type of light: natural and artificial
Sales/ lnstntment Display Rooms for Private Lessons

what happens here: instruments and other musical what happens here: studev'~,\.;~J"'~
gear are displayed, tested, bought, and sold in this in daily and weekly lesso
space . time of day: this space should be available for use in
time of day: this space should be available for use in the morning, and a11 throughout the day and eve-
the morning, and all throughout the day rting
people involved: students, teachers, community people involved: ~ ts, either as individuals or
members, family, friends, store workers, janitors and smaJl groups, and ers, janitors and mainte-
maintenance crew nance crew
size: 1000 square feet size: 5 at 750 squ are feet each
juxtapositions: needs to be adjacent to practice juxtapositions: need to be adjacent to l~ cafe
facilities and instrument repair; provide storefront to and lounge spaces, as well as near the oms
outdoor spaces type of light: natur an.: artificial
ftJpe of light: natural and artificial
Service Center for Instruments Other Spaces to Include

what happens here: instruments ar ught in, repaired, restrooms

and returned to owners mechanical rooms
time of day: this space should be available for use in the office
morning, and all throughout the day and evening clerical spaces
people involved: repair people, instrument owners, inter- circulation (30% of total area)
ested passers-by, janitors and maintenance crew
size: 500 square feet
juxtapositions: needs to be near lobby and cafe/lounge
type of light: natural and artificial
Total Square Footage:

approximately 24000 square feet

P1'ecedent as Ston)
HThe result is provoking in its strength but also richly illuminating, as it sho'u.Js off the old
building not just as a monument but as a resource." I .:~.~.~
,,:; I -:-
/[[]
- Paul Spencer Byard ..

Maison Carree and the Caree Of Art

Norman Foster
Nimes, France
1991

The Caree D'Art tells the story of old informing new - of a series of ruins being just as applicable
to every day life as a new modern art museum and large expansive courtyard. The scale of the
Caree D'Art does not overtake the original Maison Carree, nor does it compete for importance on
the overall site.
Locating
II Every site is a unique intersection of land, climate, production, and circulation."

- Carol J. Burns
fast Tennessee has a st01y to tell.
It is an area rich in variety of scenery; one may venture short distances and see rolling, tree-cov-
ered hills, rocky cliffs jutting up from the glistening Tennessee River, the ever-active campus of
The University of Tennessee and the revitalized, historical blocks of downtown Knoxville.
South Knoxville has a story to tell.
Its relationship to the college campus, the river, and downtown Knoxville, as well as its
history of use makes it an inspiring area of study.
The South Waterfront has a story to tell.
Right now this zone, with its dilapidated factory buildings and humble homes, feels unappreci-
ated; however, one can imagine that this waterfront, at one time, served as the catalyst for industry
to prosper. One can feel the pressure of the surrounding hills pushing down towards the river-
front, creating a flat zone at the river edge for the production of goods to occur. One can imagine
a residential community that prospered from this industry on the river's edge. Current plans to
revitalize this area are promising insofar as re-activating the relationship between people and wa-
ter, but the history and feel of this area may be lost in the process.
A site has a story to tell.
Located between two rather old and distinguished factory buildings (and a third larger, less
distinguished factory building), this site currently serves as a make-shift parking lot for two of
the buildings. Its terraced topography and, in some places, eroded concrete foundations, conjure
up the ghost of a demolished building and use for the site. Its relationship to the waterfront has
been lost by the growth of underbrush, barbed wire fences, and discarded machine parts.
 South Waterfront Residential Plan

According to the Knoxville South Waterfront plan, the zone along the water's edge, including this
site, will be developed as high density residential in coming years. All industrial buildings are to
be removed. Though a few have lost some of their integrity due to poor upkeep or cheap design
solutions - such as painted over windows - these factories represent an element of the existing
character of the waterfront along Blount Avenue. Storytelling involves developing a language
to describe the past and present; this language itself becomes a fixed point in the ever-evolving
story and future of an area. In this proposal, the two older factory buildings are to be saved from
demolition and rehabilitated to fit future needs. In this way, the new cultural arts center, situated
between these buildings, has the ability to capture the 'spirit of production' already present on
the site, while at the same time relating to current and future needs of inhabitants.
view down The Tennessee River towards site

The Constancy of the River

The Tennessee River is an ever-present force on the site. It activates every aspect of life along the
water's edge, frOlTI commerce and culture to terrain and view. It separates campus activity from
activity in South Knoxville, while creating wonderful opportunities for man-made connections.
It is the force that transports ideas and products.
17u Barrier-Force
The natural topography of the hills south of the river's edge plays a distinct role in the feel of
the site. Acting as a visual and physical boundary, this beautiful landscape 'pushes' inhabitable,
buildable areas towards the water, where goods and ideas can be produced and then sent down
the river.
t.rain running parallel to Blount Avenue

Evocative SOllnd
The train is a force present on the site, both as a visual and a sound. The train reinforces the pres-
ence of industry and the transportation of goods and ideas. It serves as a link between edges of
the river. Hearing the whistles and sounds of locomotion reminds one of a time when the signifi-
cance of the train was felt and embraced by every inhabitant of the South Waterfront.
Buildings as Forces
Buildings act as visual forces on the site. In terms of the built environment, the north side of the
river is certainly more dominant. The south side of the waterfront possesses a humble quality
that inspires storytelling.
panoramic of site, including the l",,,,o factory buildings to be saved and rehabilitated

panoramic of buildings across slreet from site, from factory edge to factory edge

H ••• to obliterate this area forever, 'which is currently the fate of the 'wall zone, 'Would be to deny

for future generations that this part of the history of the city ever existed."

- Sir Norman Foster, on Checkpoint Charlie

homes across street, with hill beyond; all connecled by one-
story front porches that address the su'eetfront at a scale rela-
tive to the pedestrian

The Humble Force

The residential areas surrounding the site represent a humble yet important force. These homes
tell the story of the existing character along the waterfront. They speak of reverence to terrain
and communal, neighborhood living.
smokestack on north side of the goods produced, transported to water's edge, then move through water to
Te1Ulessee River destination

Industry as Inspiration
Locating a project along the Knoxville South Waterfront means exploring the ways that an indus-
trial zone and industrial concepts can be applied to current needs and desires of residents and
visitors to the area. It means activating the river's edge, of creating places and spaces for a new
kind of production that is then linked to the river and beyond. Just as the smokestack located on
the north side of the water tells a story of use and serves as a visual marker and reminder, a proj-
ect located in this industrial zone shall create a visual language, signaling to visitors and residents
that a story lies waiting to be discovered, interpreted, and appreciated.
Sanborn ~lapl 1903 Sanborn Map, 1917

Visual History
Sanborn Maps are storytelling devices, shoWing the cycle of development of roads, railroads, and
factory buildings along the South Waterfront. With the river as the constant element, industry was
developed on the river's edge and formed the hub for the future community of South Knoxville.
 aerial photograph with poched reus- potential for addition' to the site to
J

able factory buildings involve the overlap and cOlmection

between the past and present

IJIhe site as received is never cleared or empty; indeed it is not possible for the architect to clear
the site of its own constituent formal content. If

- Carol J. Burns
site section through river
 remnants from past uses

I'The site is a 'work, a human or social trace. It is comparable to a myth, temple, or city in that it
is open to archeological deciphering."

- Carol]. Burns
Precedent as Story
 Renovation and Expansion
of Morgan Library
RenzoPiano
New York City, New York
2000-2006

The modern addition to the Morgan Library is a successful attempt to reunify existing compo-
nents of a project. The new piece acts as an anchor point for the rest of the project, and the use of
materials and natural light provides a complimentary contrast with the existing, older buildings.
The addition tells the story of construction technology and ways to integrate new space with old
space when the timeless treasures of books, knowledge, and research are involved.
ful1.u·e use

At this time, the site is zoned as 1-4, or heavy industrial district. This zone is intended for manu-
facturing and is not compatible with commerciql, residential, or institutional uses. In the future,
however, this could be transformed to a mixed use, high density residential zone.

IfDensities should be limited to provide adequate daylight, sunlight, air, and usable open space
for dwellings and adequate space for all related facilities."

- Knoxville Codes, on High Density Residential

Forming
UForm follo'Ws function - that has been misunderstood. Form and function should be one, joined
in a spiritual union."

- Frank Lloyd Wright

 Murcia Town Hall Extension
Rafael Moneo
Murcia, Spain

architecture as a platform
Form as the Story
Translating the concept of storytelling into form involves a spatial language that reveres the past,
fits present needs, and is adaptable to future use. The story of the site is always evolving, always
growing, always changing. Likewise, the spaces that are created need to be able to grow and
change to relate to conditions of the area. The form of the building constantly mediates between
musician and music, between music and the community. Possible approaches to form include
the creation of an outdoor space that serves as the 'bridge' between new and old architecture,
between teacher and student, between visitor and music. In this sense, the outdoor performance
space becomes the platform for exploring the story of music and the site.
original sile of Benjamin Franklin's home Hooper House
Robert Ventmi Marcel Breuer
archi teclure as a frame Baltimore, Maryland
1954-1955
architectlUe as a system of layers
Layers of the Story
Another approach to form is the creation of layered spaces and planes - and thus the creation
of a layered story. In this way, users and visitors would catch glimpses of other activities and
functions relative to the production of music. The new architecture could also act as a frame for
viewing existing elements of the site. This form then becomes part of the new whole" described
II

by Peter Zumthor - one is aware of the space inhabited, as well as how that space intereacts with
others and thus other 1ayers of the story.
Current design strateties and studies
Ambasz, Emilio. Progressive Architecture. Scarpa Reinhold Publish.ing, May 1981. pp 117-123.
Burns, Carol J. "On Site: Architectural Preoccupations." New York: Princeton Architectural Press, Inc., 1991.
Byard, Paul Spencer. The Architecture of Additions. New York: W.W. Norton and Company, 1998. pp 57-60.
Fentress, Curtis W. Civic Builders. Great Britain: Wiley Academy, 2002. pp 155-159.
"Knoxville South Waterfront: Creating an Actionable and Inspirational Vision" (revised November 7, 2006)
Sanborn Maps - Knoxville, Tennessee, 1903 and 1917
Stuth, Tricia - Jecture
Trencher, Michael. The Alvat Aalto Guide. New York: Princeton Architectural Press, 1996. pp 152-154.
"Two Architects Ten Questions on Program" (answers by Rem Koolhaas and Bernard Tschumi; questions by
Amanda Reeser Lawrence, Ana Miljacki, and Ashley Schafer)
www.brainyquote.com
www.geocities.com
www.gettyimages.com
www.giga_usa.com
www.googlemaps.com
www.knoxvillesouthwaterfront.com
ww,v.languedocroussillon.ecologie.gouv.fr
w\vw.proho]z.at
www.rpbw.com
www.yochicago.com
Referencing
"Zoning Ordinance for Knoxville Tennessee" (revised October 24,2006)
Zumthor, Peter. Peter Zumthor Works. Lars Muller Publishers, 1979-1997.
Claire N. Wallace