EISENSTEIN'S FILM THEORY OF MONTAGE AND ARCHITECTURE

A THESIS

Presented to

The Faculty of the D i v i s i o n of Graduate S t u d i e s

By

J e f f r e y M. Todd

In P a r t i a l Fulfillment

of the Requirements f o r the Degree

Master of Architecture

Georgia I n s t i t u t e of Technology

November, 1989
EISENSTEIN'S FILM THEORY OF MONTAGE ANLT ARCHITECTURE

'Doug A l l e r L A d v i s o r

^ard Dagenhart, Reader

—// 'SV—
M e r r i l l El am, Reader

Date Approved by Cha irmantf^Ai

 ACKNOWLEDGMENTS

I wish to express my sincere g r a t i t u d e to a l l those who have

supported me in the accomplishment of t h i s g o a l , thank you f o r not

g i v i n g up, you know who you are. A special note of a p p r e c i a t i o n must

be extended to my f i n a l a d v i s o r , Doug A l l e n , who gave me the needed

understanding and i n c e n t i v e to bring the t h e s i s to f r u i t i o n . I must

a l s o g i v e thanks to my parents f o r t h e i r r e l e n t l e s s support through

t h i s t r y i n g time; M e r r i l l El am the s o l e s u r v i v o r of my o r i g i n a l thesis

committee and S h e r r i e Ward f o r t r a n s c r i b i n g my s c r i b b l e s into t e x t .

 IV

TABLE OF CONTENTS

Page

Acknowledgments i i i

Chapter

I. Introduction 1
II. Eisenstein's Esthetics 5

The D i a l e c t i c a l Mo4e o
Moje of Thought

P r i n c i p l e s of Montage

The Methods of Montage and t h e i r

use in the f i l m B a t t l e s h i p Potemkin

Metric Montage

Rhythmic Montage

Tonal Montage

Overtonal Montage

I n t e l l e c t u a l Montage

III. Film Theory and A r c h i t e c t u r a l Concept 22

Programmatic Structure

Grid

Frame

Border
 V

Operative Structures
Movement
Notation
Fragmentat i on/Combi nati on
Formal Structures
Objects/Spaces
Sequence
Event
IV. Design: Northeast Corner, Central Park, N.Y.C 26
V. Conclusion 32
Footnotes 36
Bibliography 39
 1

CHAPTER I

INTRODUCTION

The modern urban environment is composed of numerous s e r i e s of

complex sequences which determine an i n d i v i d u a l ' s experiences. These
sequences do not follow any logical pattern for they are as
discontinuous, as fragmented as modern society i s . Experiences are
assembled in the mind of the individual in order to e s t a b l i s h a
personal sense of memory and meaning. This assemblage of individual
experience is the essence of montage.
The word montage has i t s roots in the French verb "monter" which
1
means to assemble. It is characterized by the combination of
heterogeneous elements in an a r t i s t i c composition. In filmmaking,
montage is a s t y l e of editing in which contrasting shots or sequences
are juxtaposed for the purpose of suggesting a t o t a l idea or
impression.^ Montage, then, deals d i r e c t l y with the combination
of several d i s s i m i l a r elements which, through t h e i r assemblage,
e s t a b l i s h new meaning. However, these juxtapositions are not purely
a r b i t r a r y , they are carefully selected by the filmmaker in order to
e s t a b l i s h a specific meaning or to have a specific effect on the
viewer. The overall image i s planned and concretized in separate
representational elements which are ultimately assembled in the
s p e c t a t o r s ' mind.^
 2

For example:

A l o n e l y crow

On l e a f l e s s bough

One Autumn eve

Each sentence in t h i s poem can be seen as a separate element

with a s p e c i f i c meaning. When the separate elements are brought

together, l i n e to l i n e , a new meaning i s e s t a b l i s h e d which i s g r e a t e r

than the meaning of each separate element. It is this unified

p s y c h o l o g i c a l e f f e c t which i s the hallmark of montage.^ I t i s the

u n i f i c a t i o n of i n d i v i d u a l elements into a new compositional

whole which i s the c r i t i c a l c h a r a c t e r i s t i c of montage. The

composition i s not only the sum of i t s i n d i v i d u a l elements, i t is

the u n i f i c a t i o n of the elements into a new whole.

Through this compositional unification, empirically

d i s s i m i l a r images are l i n k e d together s y n t h e t i c a l l y to produce

metaphors.5 These metaphors suggest a new meaning which i s d i f f e r e n t

from and g r e a t e r than the i n d i v i d u a l elements a l o n e . ^ The l i t e r a l

meaning inherent in the i n d i v i d u a l elements has been subordinated to

the r e s u l t a n t metaphors of the montage c o m p o s i t i o n .

 3

The Thesis

The purpose of the t h e s i s i s to explore how the theory of

montage as developed by Russian filmmaker Sergei Eisenstein (1898 -
1948) can be used to develop architectural concepts. The text shall
define E i s e n s t e i n ' s basic principles of montage by examining how they
are demonstrated in the s t r u c t u r e of his 1925 film Battleship
Potemkin. These principals shall be presented as independent ideas
separated from the s o c i o - p o l i t i c a l condition by which they were
g r e a t l y influenced, s p e c i f i c a l l y the p o l i t i c a l theories of Karl Marx
and the atmosphere which prevailed throughout Russia following the
1917 Bolshevik Revolution. These montage p r i n c i p l e s shall be
elaborated via t h e i r r e l a t i o n s h i p to the a r c h i t e c t u r a l theories of
Bernard Tschumi to produce specific architectural concepts which
will be exercised in an urban redesign of the northeast corner of
Central Park in New York City.
 4

Sergei Mikhailovich Eisenstein (1898-1948)

 5

CHAPTER I I

EISENSTEIN'S ESTHETICS

The D i a l e c t i c Mode of Thought

E i s e n s t e i n believed that montage was a theory which operated

d i a l e c t i c a l l y . ^ The d i a l e c t i c i s a mode o f t h i n k i n g in which the

e n t i r e realm of human experience i s perceived as being in perpetual

c o n f l i c t whereby a force ( t h e s i s ) c o l l i d e s with a counterforce

( a n t i t h e s i s ) the r e s u l t a n t being an e n t i r e l y new phenomenon

(synthesis). The s y n t h e s i s i s not the sum o f the two f o r c e s but

something d i f f e r e n t from and g r e a t e r than them both. The S y n t h e s i s ,

in t u r n , becomes the t h e s i s in the establishment of a new

d i a l e c t i c . * * For example:

Synthesis

Synthesis Thesis Antithesis

Thesis Antithesis
 6

Eisenstein believed that within the realm of a r t , the d i a l e c t i c

p r i n c i p l e is embodied in conflict as the fundamental p r i n c i p l e for the
existence of every a r t work and every a r t form.**

Principals of Montage

E i s e n s t e i n ' s theory of montage is characterized by conflict and

a belief that a concept a r i s e s from the c o l l i s i o n of two given factors
in opposition to one a n o t h e r . ^ Montage can be seen as the creation
of a central or narrative theme from the juxtaposition of s p e c i f i c ,
1 1
and often unrelated d e t a i l s . In t h i s sense, each spectator in
correspondence with t h e i r own experience is obligated to an image in
accordance with the representational guidance suggested by the
author, leading the spectator to an understanding and experience of
the a u t h o r ' s theme. In t h i s way, the author and the spectator are
co-creators of the films narrative s t r u c t u r e . U n d e r s t o o d as a
dynamic process the actual work of a r t comes into being through the
arrangement of images in the mind's eye of the spectator. This
c o n s t i t u t e s the p e r c u l i a r i t y of a t r u l y v i t a l work of a r t and
distinguishes i t from a l i f e l e s s one, in which the spectator receives
the represented r e s u l t of a given consummated process of c r e a t i o n ,
1
instead of being drawn into the process as i t occurs. **
The strength of montage resides in the c r e a t i v e process which
includes the emotions and i n t e l l e c t of the spectator, who is
compelled to proceed along that selfsame creative road traveled by
the author in creating the image. The spectator not only sees the
represented elements of the finished work, but also experiences the
 7

dynamic process of the emergence and assembly of the image j u s t as i t

was experienced by the author.*^ The r e a l i s t i c significance of
montage i s found in the synthesis of an image through the
1
juxtaposition of separate thematic p i e c e s . ^ Therefore, in the
actual method of creating images, a work of a r t must reproduce that
process whereby, as in l i f e i t s e l f , new images are b u i l t up in the
1 c
1 0
human consciousness and f e e l i n g s .

Suddenly...

Film Sequence Battleship Potemkin

The Methods of Montage and Their Use in the Film "Battleship
Potemkin"
Having developed the theory of montage, which is characterized
as a process of assembling words and images in order to e s t a b l i s h
specific meanings, Eisenstein was now confronted with the problem of
precisely conveying these new c o n c e p t s . ^ Five specific categorized
levels of montage were developed by Eisenstein; four of which
(metric, rhythmic, tonal, and overtonal) could be described as purely
physiological, while the fifth ( i n t e l l e c t u a l ) was to d i r e c t not
1
only emotions but the whole thought process. ** These five categorized
levels of montage e s t a b l i s h r e l a t i o n s h i p s between separate film
fragments which, through t h e i r j u x t a p o s i t i o n , create meaning in the
mind of the viewer. However, meaning is also established by the
composition within the frame of each film fragment as well. Through
t h i s composition of the individual elements within the frame, the
dominant meaning of each film fragment is established. In order to
convey the nature by which these methods of montage and cinematographic
c o n f l i c t s within the frame are used, the s t r u c t u r e of a p a r t i c u l a r
film, by Eisenstein, Battleship Potemkin. will be examined.
 9

B a t t l e s h i p Potemkin. was a 1925 f i l m commemorating the twentieth

anniversary of the abortive 1905 Revolution a g a i n s t t s a r i s m .

O r i g i n a l l y intended to be a segment in the f i l m , Year 1905, which was

to provide a complete overview of the h i s t o r i c events of the e n t i r e

u p r i s i n g , E i s e n s t e i n decided to l i m i t h i s treatment of the Revolution

to a s i n g l e r e p r e s e n t a t i v e episode concerning the events of the

Potemkin mutiny and the massacre of c i t i z e n s supporting the mutineers

by t s a r i s t troops and C o s s a c k s . ^ The f i l m and i t s c o n c i s e s t r u c t u r e

c l e a r l y convey E i s e n s t e i n s ' t h e o r i e s of montage as an e d i t i n g

technique based upon p s y c h o l o g i c a l s t i m u l a t i o n which communicated

p h y s i c a l and emotional sensations directly to the audience rather

than by a n a r r a t i v e logic.^

Potemkin i s d i v i d e d into f i v e s t r u c t u r a l l y symmetrical movements

or a c t s , each o f which was broken into two halves by a strong medial

pause in a c t i o n . Operating d i a l e c t i c a l l y each act i s characterized

by mounting tension followed by a r e s o l u t i o n or exploding t e n s i o n

which together produces a s y n t h e s i s that becomes the t h e s i s of the

1
next a c t .
 10

This can be summarized diagrammatically:

I. "Men and Maggots"

The rotten meat smashing plates
II "Drama on the Quarter Deck"
Scene with the tarpaulin Mutiny
III "An Appeal from the Dead"
Mourning for Vakulinchuk angry demonstration
IV "The Odessa Steps"
Lyrical f r a t e r n i z a t i o n shooting
V "Meeting the Squadron"
Anxiously awaiting the f l e e t — t r i u m p h ^

These five acts e s t a b l i s h the autonomous s t r u c t u r e of the film

in which the various methods of montage operate independently. The
following is a description of each method of montage (metric,
rhythmic, t o n a l , overtonal and i n t e l l e c t u a l ) and an example of i t ' s
use in the film Battleship Potemkin.

1. Metric Montage

Metric Montage is characterized by the juxtaposition of film

fragments in which the fundamental c r i t e r i o n for construction is the
absolute lengths of the film f r a g m e n t s . ^ The fragments are joined
together by t h e i r actual length corresponding to the mathematically
calculated length of the fragment according to a metric f o r m u l a . ^
Varying the specific length of fragments, while s t i l l maintaining the
 11

original proportions of the formula, can obtain varying degrees of

tension from serene to chaotic. "In t h i s type of metric montage the
content within the frame of the (film fragment) i s subordinated to
the absolute length of the (film f r a g m e n t ) . " ^ Within the s t r u c t u r e of
Potemkin t h i s method of metric montage i s p a r t i c u l a r l y evident in the
final act "Meeting the squadron." Here, at an ever increasing tempo,
shots of r o t a t i n g cam shafts and the plunging pistons of the ships
engines are i n t e r c u t with shots of orders being given from the bridge,
smoke billowing from the s h i p s ' stacks and the bow of the Potemkin
s l i c i n g through the waves. By accelerating t h i s cutting r a t e to a
feverish p i t c h , Eisenstein increases tension as the Potemkin moves
closer and closer to the squadron
 12

METRIC MONTAGE The Potemkin meets the squadron

Battleship Potemkin
 13

2. Rhythmic Montage

The content within the frame of the film fragment is a factor

which possess equal importance in the determination of the actual
length of the fragment with the technique of rhythmic montage. The
length of the film fragment is not determined by an absolute formula,
rather " . . . ( t h e fragments') practical length derives from the
specifics of the piece, and from i t s planned length according to the
s t r u c t u r e of the sequence.
Tension can be obtained by the conflict between the length of
the film fragment and the movement within the frame. The introduction
of a conflicting tempo within the frames themselves impels the montage
movement from frame to frame. "Such movements within the frame may be
of objects in motion, or of the s p e c t a t o r ' s eye directed along the l i n e s
of some immobile object." ^8
In the "Odessa Steps" sequence the steady rhythm of the
jackbooted s o l d i e r s feet as they descend the s t a i r s acts as a
counterpoint to the metric tempo of the actual film c u t t i n g . ^ As the
scene progresses the troops continue t h e i r orderly march down the
steps f i r i n g t h e i r r i f l e s into the crowd, which in complete c o n t r a s t ,
chaotically d i s p e r s e .
 14

RHYTHMIC MONTAGE Attack on the Odessa Steps

B a t t l e s h i p Potemkin
 15

3. Tonal Montage

The overall tone in which the concept of movement embraces all

affects of the montage piece; the c h a r a c t e r i s t i c "emotional sound" of
the film fragment is the basis of tonal montage.^ The term
"emotional sound" is not to imply a solely impressionistic q u a l i t y , as
the film fragments' c h a r a c t e r i s t i c s can be measured. "But the units
of measurement d i f f e r . And the amounts to be measured are
1
different."^ The use of varying degrees of illumination to effect
the overall mood of a p a r t i c u l a r film fragment would be an example of
" l i g h t t o n a l i t y . " Similarly a film fragment characterized by many
acutely angled elements in juxtaposition within the frame could
c o n s t i t u t e a " s h r i l l sound" which would exemplify "graphic
2 8
tonality."
The fog sequence at the beginning of the t h i r d act "An Appeal
from the Dead" characterizes tonal montage. Here, the dominant
quality of "haze" and "luminosity" of various aspects of the harbor
before daylight, (Vessels at anchor, dockside cranes; the tent in
which the corpse of the martyred leader of the mutiny l i e s ) grow
progressively l i g h t e r as the sun r i s e s and gradually eradicates the
3 3
thick Odessa f o g .
TONAL MONTAGE " . . . e r a d i c a t e s the t h i c k Odessa f o g .

B a t t l e s h i p Potemkin
 17

4. Overtonal Montage

Overtonal montage i s distinguished by the c o l l e c t i v e

c h a r a c t e r i s t i c s of metric, rhythmic and tonal montage when they are
brought together within the film fragment. Overtonal montage does not
" . . . c o n c e n t r a t e on the dominant in each (film fragment) but on the
o v e r t o n e s . " ^ The bringing together of the various methods of montage
creates a level of c o n f l i c t , each method developing from the other.
Thus the t r a n s i t i o n from metrics to rhythmics
came about in the conflict between the length
of the shot and the movement within the frame.
Tonal montage grows out of the conflict between
the rhythmic and tonal p r i n c i p l e s of the piece.
And f i n a l l y - overtonal montage, from the conflict
between the principal tone of the piece ( i t s
R

dominant) and the overtone. ^

Overtonal montage is not an editing technique but rather emerges

through the d i a l e c t i c a l process of the projection of the f i l m . ^ The
overtone of the fog sequence would be somberness, that of the Odessa
steps t e r r o r and the final scene when the Potemkin passes by the
7
squadron carrying i t s crew to freedom and safety brings a sense of
cathartic victory.
OVERTONAL MONTAGE Terror on the Odessa steps

B a t t l e s h i p Potemkin
 19

Battleship Potemkin
 20

5. I n t e l l e c t u a l Montage

The f i n a l level of montage, i n t e l l e c t u a l , does not involve a

g e n e r a l l y p h y s i o l o g i c a l e f f e c t , but rather a p s y c h o l o g i c a l e f f e c t upon

the viewer. I t would be characterized by the c o n f l i c t and

j u x t a p o s i t i o n of the accompanying i n t e l l e c t u a l a f f e c t s of the

g e n e r a l l y p h y s i o l o g i c a l o v e r t o n e s . ^ In t h i s sense, intellectual

montage can be characterized as an a c t i v i t y of mental f u s i o n or

s y n t h e s i s , through which p a r t i c u l a r d e t a i l s are united at a higher

level of thought. The emphasis i s not upon p a r t i c u l a r

c h a r a c t e r i s t i c s w i t h i n the f i l m fragment, but the i n t e l l e c t u a l process

which occurs w i t h i n the mind and thought process of the viewer.

Therefore, the meaning of the f i l m fragment i s dependent upon the

viewers p a r t i c u l a r experiences.

This i n t e l l e c t u a l s y n t h e s i s i s found throughout the s t r u c t u r e of

Potemkin and i s perhaps best exemplified at the c o n c l u s i o n of the

"Odessa Steps" segment. Here, as the headquarters of the t s a r i s t s

g e n e r a l s i s destroyed by the huge t u r r e t guns of the Potemkin,

E i s e n s t e i n uses a three shot montage sequence in which a sculptured

stone l i o n r i s e s from h i s sleep and r o a r s . This i s a symbolic

metaphor of the outrage of the Russian people over the a t r o c i t y which

had j u s t been committed on the steps as well as t h e i r collective

awakening anger a g a i n s t the regime which perpertrated the m a s s a c r e . ^

INTELLECTUAL MONTAGE The l i o n awakens

Battleship Potemkin
 22

CHAPTER III

FILM THEORY AND ARCHITECTURAL CONCEPT

Having examined the f i v e l e v e l s of montage developed by

E i s e n s t e i n and t h e i r use in the f i l m B a t t l e s h i p Potemkin, i t is

necessary to apply these f i l m a t i c p r i n c i p l e s in the determination of

s p e c i f i c architectural concepts. To accomplish t h i s t a s k , the

t h e o r e t i c a l work of a r c h i t e c t Bernard Tschumi s h a l l serve as the

a n t i t h e s i s to f i l m theory and d i a l e c t i c a l l y establish specific

architectural concepts as the s y n t h e s i s . These concepts w i l l be

documented and presented as a s e r i e s of s t r u c t u r e s which w i l l build

upon and r e i n f o r c e one another.

Architectural Concept

Film Theory Architectural Theory

The examination of the t h e o r e t i c a l w r i t i n g s of Bernard Tschumi

r e v e a l s several d i s t i n c t concepts which r e l a t e to the montage t h e o r i e s

developed by E i s e n s t e i n . These concepts were organized into a s e r i e s

of three i d e n t i f i a b l e s t r u c t u r e s (Programmatic, Operative, Formal)

each s t r u c t u r e r e l a t i n g to one, or more, of the f i v e methods of

montage. The f o l l o w i n g i s a d e s c r i p t i o n of those s t r u c t u r e s , each

with i t s p a r t i c u l a r set of conceptual elements.

 23

Programmatic S t r u c t u r e s (Metric D e v i c e s ) :

Quantifiable elements or devices which

establish s p e c i f i c c r i t e r i a for architectural

design.

1. Grid The use of a c a r t e s i a n coordinate system as a

device of o r g a n i z a t i o n and reference. The

g r i d by i t s nature, implies a neutral

non-directional field. In o p p o s i t i o n to the

g r i d , axial r e l a t i o n s h i p s between s p e c i f i c p o i n t s

function d i r e c t i o n a l l y both horizontally

(plan) and v e r t i c a l l y (section).

2. Frame The frame i s not characterized s o l e l y by

the framing d e v i c e ; that which a c t s to regulate

or c o n t a i n ; f o r the frame i s a l s o d i s t i n g u i s h e d

by the framed material which i t d i s t o r t s and

3
b r i n g s into q u e s t i o n s . * *

3. Border Borders e s t a b l i s h l i m i t s , d e f i n i t i v e boundaries

w i t h i n which events occur. The s i g n i f i c a n c e of

a border i s f u r t h e r e s t a b l i s h e d by i t s

t r a n s g r e s s i o n at a s p e c i f i c point (gate) which

d e f i n e s the journey.^

Operative S t r u c t u r e s (Rhythmic; Tonal Devices)

The means by which programmatic s t r u c t u r e s can

be l o g i c a l l y t r a n s l a t e d into form.
 24

1. Movement The violation of architectural space by the

disruptive action of the body. Bodies which,
through t h e i r movement, not only react to
(conditioned) but also generate (dynamic)
s p a c e . ^ The intrusion of one order into the
established architectural order.
2. Notation Notation refers to a p a r t i c u l a r s e r i e s of
specific modes of demarcation or representation
which convey meaning. Words are the notational
device of the written t e x t , while t r a d i t i o n a l
architectural notation includes; but i s not
limited t o ; plan, elevation, section and
axonometric.^
3. Fragmentation/Combination
Fragmentation infers the reduction of a theory
or object to a set of p a r t i c u l a r formal
elements (De-construction). Combination, in
turn, implies the i n t e r r e l a t i o n s h i p of those
formal elements which may be conflicting
(oppose) reciprocating (reinforce) or
indifferent ( n e u t r a l ) ^ in t h e i r juxtaposition
(Construction).
Formal Structures (Overtonal; I n t e l l e c t u a l devices)
Those q u a l i t i e s which determine the nature
of architecture and i t s r e l a t i o n s h i p to the
individual.
 25

1. Objects/Spaces
The three dimensional r e a l i t y of a r c h i t e c t u r e
which both defines and occupies space. The
m a t e r i a l i t y of a r c h i t e c t u r e which can be
discovered in i t s solids and voids, spatial
44
sequences, c o l l i s i o n s and a r t i c u l a t i o n s .
Space which q u a l i f i e s action as well as those
4
actions which qualify s p a c e . ^
2. Sequence A sequence is the composite succession of
juxtaposed frames which determine meaning and
memory. The confrontational nature of the
sequence can repeat, d i s t o r t , disjunct or i n s e r t
formal s t r u c t u r e s within the frame in the
4
establishment of successive wholes. ** These
confrontations can be internal or external
r e l a t i o n s h i p s inferring the temporality of
both film and a r c h i t e c t u r e .
3. Events Those actions which are determined by the
violation of space (movement) and time. The
r e l a t i o n s h i p of a r c h i t e c t u r e and the organized
r e p e t i t i o n of predetermined events and t h e i r
duration (use) determine the nature of space.
Space and event effect one another transgressing
each others r u l e s .
 26

CHAPTER IV

REDESIGN OF THE NORTHEAST CORNER

CENTRAL PARK

NEW YORK CITY, NY

Fragment of Zoning Map

New York C i t y , NY
 PARK

SOt 3HVdd

1"i \
901 BnVUd

31V9 /
901 BNVUd

601 3WVHd

CITY
CLOSE-UP CLOSE-UP
1

[ _ GATE jgORhfR j P^HCl" "—

r
I
L_ J L

GO
O
3J |
D
m
3J

CLOSE-UP AXIS
109th. ST.

GATE
00

L J

FRAME 109
OPERATIVE S Y S T E M S FRAME 109
PROGRAMATIC S Y S T E M S

OPERATIVE S Y S T E M S FRAME 109

 32

CHAPTER V
CONCLUSION

The redesign of the Northeast corner of Central Park

demonstrates the use of conceptual architectural s t r u c t u r e s at two
distinctive levels. The primary level is defined in terms of the
overall urban context in which the Northeast corner e s t a b l i s h e s the
d i a l e c t i c a l r e l a t i o n s h i p between the Park and the City. The secondary
level is found in the d i s t i n c t physical architectural object of the
gate which operates within the redefined l i m i t s of the urban frame.
The analysis of the redesign will focus on both levels as well as
identify the means in which they effect one another.
I. Programmatic Structures
1. Grid The existing urban fabric of New York City
i s established through the use of a grid iron
of s t r e e t s and blocks. A separate axis e x i s t s
at each s t r e e t c e n t e r l i n e which e s t a b l i s h e s the
r e l a t i o n s h i p between blocks. A strong axial
r e l a t i o n s h i p occurs at the c e n t e r l i n e of the
existing conservatory garden.
2. Frame The frame is used to i s o l a t e 105th, 106th,
107th, 108th and 109th s t r e e t s which i n t e r s e c t
perpendicular to fifth avenue between the
corner of 110th s t r e e t and the existing
conservatory garden at the park entrance at
 33

105th s t r e e t . Each frame l i m i t s a d i s t i n c t

area as well as overlapping the adjacent frame,
the existing urban fabric of the c i t y and the
axial r e l a t i o n s h i p of the conservatory garden.
3. Border A strong border e x i s t s at the edge of the park
where i t meets the c i t y . To emphasize the
conflict between park and c i t y the border
becomes a physical b a r r i e r through a change
in elevation. This shift in elevation separates
the pedestrian promenade along the waters edge
at the park level from the vehicular s t r e e t
t r a f f i c at the c i t y l e v e l .
II. Operative Structures
1. Movement Movement includes but is not r e s t r i c t e d to the
movement of bodies from the c i t y to the park,
within the park and from the park to the c i t y .
Horizontal movement along the pedestrian
promenade and vertical movement between the
s t r e e t level and the park l e v e l .
2. Notation Notation defines the demarcation which
establishes specific points of experiential
reference. These points are located along
the border of the park at the i n t e r s e c t i o n of
the shifted axis of the s t r e e t c e n t e r l i n e s and
the axis of the existing conservatory garden.
The r e l a t i o n s h i p between park, c i t y and s t r e e t
establishes these notational s t r u c t u r e s as the
 34

gate from c i t y to park.

3. Fragmentation/Combination
The northeast corner of the park is a fragment
of the overall c i t y . This portion of the urban
fabric has been further fragmented into
separate s t r e e t frames, each with i t ' s own
i d e n t i f i a b l e borders and g a t e s . The combination
of the notational elements of border and frame
allows for a reading of the e n t i r e corner, j u s t
as the northeast corner accommodates the
perception of the e n t i r e c i t y .
Formal Structures
1. Objects/Spaces
Three dimensional architectural objects are
located at the notational gates in order to
demarcate entry and define space. Each object
is identifiably unique, yet as part of a
s e r i e s , they each exhibit common
characteristics.
S p a t i a l l y , the open horizontally oriented
space of the pedestrian promenade c o n f l i c t s
with the multi-directional space of the
entry gates and the confined regulated space
of the framed niches along the border wall.
2. Sequence Pedestrian movement along the promenade i s
sequenced by the r e l a t i o n s h i p to the notational
gates. Similarly, the border crossing from park
 35

to c i t y and c i t y to park i s sequenced by the

r e l a t i o n of the individual's body to the
architectural objects which define the space.
3. Events The design offers a p l u r a l i t y of neutral
spaces in which events can occur. Events
will determine the use of space j u s t as the
space will determine the types of events. The
wide promenade offers a large open space to be
defined by those large public actions which i t
witnesses. In c o n t r a s t , the confined spaces
of the framed promenade niches, by the nature
of t h e i r r e s t r i c t e d s i z e , could accommodate
a few individuals.
 36

FOOTNOTES
1
David A. Cook, A H i s t o r y of Narrative F i l m , (New York, 1981)
p. 140.
2
P h i l l i p Babcock Grove P h d . , E d i t o r in C h i e f , Websters Third
New I n t e r n a t i o n a l D i c t i o n a r y , ( S p r i n g f i e l d , M a s s . , 1966), p. 1465.
3
Sergei M. E i s e n s t e i n , The Film Sense, (New York, 1947), p. 3 1 .
4
J . Dudley Andrew, The Ma.ior Film T h e o r i e s : An I n t r o d u c t i o n ,
(London, 1976), p. 52.

5 Cook, A H i s t o r y of Narrative F i l m , p. 140.

6
I b i d , p. 147.
7
Ibid, P. 171.
8
Ibid

^ Sergei M. E i s e n s t e i n , Film Form, (New York, 1949), pp. 45-46.

1 0
I b i d , p. 47.
1 1
I M d , p. 37.
1 2
I M d , p. 49.
1 3
Sergei E i s e n s t e i n , The Film Sense, (New York, 1942) p. 44.
14
I b i d , p. 35.
15
I b i d , p. 33.
16 I b i d , p. 17.
1 7
I M d , p. 32.
1 8
I M d , p. 30.
*9 Cook, A H i s t o r y of Narrative F i l m , p. 144.
2 0
Ibid.
21 I b i d , p. 173.
2 2
Ibid.
 37

2 3
E i s e n s t e i n , Film Form, P. 72.
2 4
I M 4 , p. 74.
2 5
I B I D , P. 73.
26 cook, A H i s t o r y nf Narrative F i l m , P. 168.
2 7
E i s e n s t e i n , Film Form, P. 74.
2 8
I B I D , P. 75.
2 9
Cook, A H i s t o r y of Narrative F i l m , P. 175.
3 0
E i s e n s t e i n , Film Form, P. 75.
31 Ibid.
32 Ibid., p. 76.
3 3
Cook, A H i s t o r y of N a r r a t i v e F i l m , p. 154.
3 4
Peter Wollen, S i g n s and Meaning in the Cinema, (London, 1969)
p. 53.
3 5
E i s e n s t e i n , Film Form, p. 79.
3 6
Cook, A H i s t o r y of Narrative F i l m , p. 176.
3 7
E i s e n s t e i n , Film Form, p. 82.
3 8
Cook, A H i s t o r y of Narrative F i l m , p 168.
3 9
Bernard Tschumi, " I l l u s t r a t e d Index: Themes from the
Manhattan T r a n s c r i p t s , " AA F i l e s , #4, ( J u l y , 1983), p. 69.
4 0
Bernard Tschumi, "Architecture and T r a n s g r e s s i o n " ,
O p p o s i t i o n s , #7, (1976), p. 59.
4 1
Bernard Tschumi, "Violence of A r c h i t e c t u r e " , Art Forum,
( S e p t . 1981), p. 44.
4 2
Bernard Tschumi, The Manhattan T r a n s c r i p t s , (New York, 1981),
p. 9.
4 3
Tschumi, " I l l u s t r a t e d Index", p. 68.
4 4
Bernard Tschumi, "Architecture and L i m i t s I I " , Art Forum,
(March 1981), p.45.
4 5
Tschumi, "Violence of A r c h i t e c t u r e " , p. 44.
 38

4
^ Tschumi, Manhattan T r a n s c r i p t s , p. 1 1 .
4 7
Tschumi, " I l l u s t r a t e d Index", p. 67.
 39

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