Montage in Design

Henry Chuang
Sergei Eisensteins analysis of montage as narrative and an element of expression provides
insight on architectural representation and narrative. Through the study of Eisensteins
techniques and theory and examining how Bernard Tschumi takes from them in The Manhattan
Transcripts, I wish to extract the core of these techniques and reason how these can be merged
into conventional architectural design.
Eisenstein defines two terms: Representation and Image. We turn to an example for
demonstration. Take a white circular disc of average size and smooth surface, its circumference
divided into, sixty equal parts. At every fifth division is set a figure in the order of succession of
1 to 12. At the center of the disc are fixed two metal rods, moving freely on their fixed ends,
pointed at their free ends, one being equal to the radius of the disc, the other rather shorter. Let
the longer pointed rod have its free end resting at the figure 12, and the shorter, in succession,
have its free end pointing toward the figures I, 2, 3, and so on up to I 2. This will comprise a
series of geometrical; representations of successive relations of the two metal rods to one another
expressed in the dimensions 30, 60, 90 degrees, and so on up to 360 degrees.1 He continues: if
further adding a device to move the metal rods, the figure generated by the numbers and rods are
not just a representation, but rather an image of time.
The full picture of the whole, as determined both by the shot and by montage, also emerges,.
vivifying and distinguishing both the content of the shot and the content of the montage. It is
cases of this kind that are typical for cinematography.2
The placing of two images, events, or even sentences side by side will automatically trigger an
association between them. This is the basis of montage. Seen clearly in The Manhattan
Transcripts, Bernard Tschumi very specifically and deliberately frames, coordinates, times,
presents each frame. Thus the narrative is told not only through the drawings/images/text, but
also the space between the frames. The insertion of movement or program into the oerall
architectural scheme implied breaking down some of the traditional components of architecture.
It soon became clear that such decomposition permitted the independent manipulation of each
new part according to narrative or formal considerations.3 Through still images, Tschumi has
created a both a spatial and temporal narrative in such a rich density.
Studying aspects of Eisensteins use of montage and influences it has had since is very valuable
in design of architecture. Narrative is what makes buildings significant. As seen in Eisensteins
depiction of the Acropolis, the use of architecture and montage is prevalent.4 The incorporation
of narrative into a single document is something invaluable.

Notes on Text:
1. Eisenstein, Sergei. 1942. The Film Sense. Translated by Jay Leyda. (New York: Harcourt.), 12.
2. Eisenstein, Film Sense, 10
3. Tschumi, Bernard. 1994. The Manhattan Transcripts. (New York: Wiley.), 9
4. Eisenstein, Sergei. Montage and Architecture. Introduction by Yve-Alain Bois. Assemblage 10
(1989): 117-121.

Bordwell, David, and Kristen Thompson. Film Art: An Introduction 8th ed. 2008. New York: McGraw
Hill.
In the opening chapter of the book, Bordwell analyzes a scene from Hitchcocks Shadow of Doubt,
bringing to light a sequence of shots, or perhaps better referred to as montages, that give great meaning in
how they are put together. The slight cues present in the shots (and the shots themselves) are perhaps
what Eisenstein would refer to as the Image. This image is a use of temporal, spatial, and conventional
means to illustrate the situation at hand. Looking at modern and contemporary films can begin to reveal
Eisensteins almost subconscious effect on film as a form of narrative and art.
Eisenstein, Sergei. 1942. The Film Sense. Translated by Jay Leyda. New York: Harcourt.
In this work, Eisenstein begins by introducing his views and analysis of film as art. He begins by talking
about how juxtaposition is so strong and innate in human nature that two objects placed beside each other,
or two subjects placed in a sentence will automatically be related and a connection drawn. In this text, I
am interested in how he uses montage as a means to communicate the narrative.
Eisenstein, Sergei. 1949. Film Form: Essays in Film Theory. Translated by Jay Leyda. New York:
Harcourt.
In the third essay of the collection, Eisenstein begins to introduce montage and how it is seen in haikus
and even language itself. Further on, he examines the concept of montage and how it can be used in the
form of (multiple types of) conflicts. Conflict of graphic directions. Conflict of Scales. Etc. Of
particular interest is the conflict between the frame and the object. In relation to Tschumis Manhattan
Transcripts, this use of representation can be further explored.
Eisenstein, Sergei. Montage and Architecture. Introduction by Yve-Alain Bois. Assemblage 10 (1989):
111-130.
Eisenstein goes back to antiquity and gives us the apparent narrative of the acropolis. The use of
architecture as a narrative is old, though apparently lost until Le Corbusier. Eisenstein also examines
Berninis Baldacchino in St. Peters. The use of montage is clear yet placed in such a way that evades
notice. These examples relate in temporality, how the viewer has to move, experientially, in order to piece
together the narrative.
Tschumi, Bernard. 1994. The Manhattan Transcripts. New York: Wiley.
Tschumis use of narrative, organized very methodically in relation to the frame, context, and content
derives from Eisensteins use of montage. Further investigation of the images can yield a further
understanding of Tschumis intentions. Specifically, in the third and fourth parts which are laid out not
with a temporal organization, but rather an organizational method based on the relation of the subjects.