One of the most exciting and perplexing aspects of the animation and visual effects industry is its potential to present an audience with a comprehensive reality based on the impossible, the unachievable, on what might have been and what could yet be. Yet in the realm of architectural visualisations, the potential of animation is often unrealised.
After comparing uninspiring architectural visualisations such as that of the Dundee Waterfront with architectural contexts in award winning animation films such as Roman's 'The Third and the Seventh', it is arguable that this frequent disappointment is due, not to constraints of available budget, time or talent, but to the mechanical approach taken by architects towards visualisations.
I am aiming to create a short film that combines CAD and live-action footage to portray the Futurist architect Sant’Elia’s vision at Waverley Station, Edinburgh. By doing so I am experimenting with narrative’s role in the commercial field of architectural visualisation, using the Futurist model as a framework for theoretical debate to illicit an emotional response from the audience. The narrative utilises site research and extensive 3D techniques, whilst drawing inspiration from the strong architectural elements in successful films such as ‘The Third and The Seventh’. This study also discusses the conflicts that arise when attempting to use a storytelling approach to re-establish creativity in a generally unimaginative environment. As Venturi argued: “Architecture is the most fragile of all the media – it has a practical application as well as an artistic application”[Venturi 1984: 121].
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