Stylized architecture in 3D animated films: Aesthetic and narrative perspectives
Keywords:
Stylized architecture, 3D animated films, Narrative design, Aesthetic perspectives, Digital spatial storytellingAbstract
This study explores the stylization of architectural elements in 3D animated films, emphasizing their crucial role in visual storytelling. Using qualitative research methods, 10 films were analyzed, showcasing diverse periods, cultural themes, and aesthetic styles. The findings reveal that architectural elements are not just passive backgrounds but active narrative components that shape emotional and visual dynamics. Real-world architectural references are reinterpreted through historical or futuristic stylizations, manipulating form, texture, material, and lighting to create immersive atmospheres. By exaggerating proportions, simplifying structures, or using abstract forms, stylization visually reflects characters’ psychological states and enhances the dramatic flow of the story. The research highlights that stylized architecture enriches the visual experience while reinforcing the narrative structure, drawing viewers more deeply into the animated world. The concept of “hyperreality” helps explain how animated films use stylization to transcend physical realism, unlocking greater creative freedom. This process allows architecture to shape the film’s atmosphere, guide audience perception, and establish a cohesive visual language that amplifies storytelling. Ultimately, the study demonstrates that architectural stylization is not merely an aesthetic choice but a powerful narrative device. The findings propose narrative-driven design as a new approach for creating emotionally resonant spaces in both animation and architectural practice.
References
Allers, R., Culton, J., Stacchi A. (Directors). (2006). Open Season [Film]. Sony Pictures Animation.
Alvarado, R., Flores, C., & Moreira, R. (2024). Working for the Miracle: A critical, visual analysis of Disney’s Encanto. International Journal of Communication, 18, 19.
Animation Mentor. (2021). Behind the animation of The Mitchells vs. The Machines. Animation Mentor Blog. https://www.animationmentor.com/blog/behind-the-animation-of-the-mitchells-vs-the-machines/ (23.10.2025).
Arı, H., & Bingöl Öz, T. (2023). “Soul” filminin kabul ve kararlılık terapisi bağlamında incelenmesi. Journal of Sustainable Education Studies, 4(3), 224-231.
Baran, H. (2023). Sanal gerçeklik ve animasyon kurgusuna dair yeni bir perspektif. TRT Akademi, 8(17), 368-395. https://doi.org/10.37679/trta.1206586
Barba, E., & Savarese, N. (2003). A dictionary of theatre anthropology: The secret art of the performer. Routledge.
Baxter, W., Wendt, J. & Lin, M. C. (2004). IMPaSTo: A realistic, interactive model for paint. Proceedings of the 3rd International Symposium on Non-Photorealistic Animation and Rendering, 45-148.
Baytar, İ. (2019). Osmanlı’da Art Nouveau üslubu ve mobilya örnekleri ile Emile Gallé. Sanat Tarihi Dergisi, 28(2), 455-471.
Beiman, N. (2013). Prepare to board! Creating story and characters for animated features and shorts: 2nd Edition (2nd ed.). CRC Press. https://doi.org/10.4324/9780240818993
Bénard, P., Cole, F., Kass, M., Mordatch, I., Hegarty, J., Senn, M. S., Fleischer, K., Pesare, D. & Breeden, K. (2013). Stylizing animation by example. ACM Transactions on Graphics, 32(4), 1-12. https://doi.org/10.1145/2461912.2461929
Bendazzi, G. (2016). Animation: A world history: Volume III: Contemporary times. CRC Press.
Bramesco, C. (2019, January 24). How Spider-Man: Into the Spider-Verse changed the animation game. Vulture. https://www.vulture.com/2019/01/how-spider-man-into-the-spider-verse-changed-animation.html (23.10.2025).
Bridges, A., & Charitos, D. (1997). On architectural design in virtual environments. Design Studies, 18(2), 143-154.
Burnak, T. (2021). 1900’lü yıllarda Doğu’nun Art Nouveau üslubu: İstanbul ve Bakü mimari örnekleri. Karadeniz Uluslararası Bilimsel Dergi, (49), 1-30.
Çakmak, S., & Karoğlu, A. (2020). Dijital sanat bağlamında animasyon film karakter tasarımları üzerine bir inceleme. İdil Sanat ve Dil Dergisi, 9(67), 515-527. https://doi.org/10.7816/idil-09-67-10
Ching, F. D. K. (2007). Architecture: Form, space, and order. John Wiley & Sons.
Crawford, J. (Director). (2022). Puss in Boots: The Last Wish [Film]. DreamWorks Animation.
Croll, B. (2022, June 14). ‘Puss in Boots: The last wish’ sneak peek in annecy reveals darker tone, new look for spaghetti Western fairytale. Variety. https://variety.com/2022/film/news/puss-in-boots-last-wish-annecy-1235293493/ (23.10.2025).
De Wit, A. D. (2021, May 14). Lindsey Olivares on her bold production design debut: The Mitchells vs. The Machines [Interview]. Cartoon Brew. https://www.cartoonbrew.com/interviews/lindsey-olivares-on-her-bold-production-design-debut-the-mitchells-vs-the-machines-interview-204644.html (23.10.2025).
DeCarlo, D., & Santella, A. (2002). Stylization and abstraction of photographs. ACM Transactions on Graphics, 21(3), 769-776. https://doi.org/10.1145/566654.566650
Deniz, K., & Öztürk, İ. Y. (2022). Görsel bir kodlama sistemi olarak grafik simge kavramı. RumeliDE Dil ve Edebiyat Araştırmaları Dergisi, (26), 24-38. https://doi.org/10.29000/rumelide.1073837
Desowitz, B. (2005). ‘Chicken Little’ & beyond: Disney rediscovers its legacy through 3D animation. Animation World Network. https://www.awn.com/animationworld/chicken-little-beyond-disney-rediscovers-its-legacy-through-3d-animation (23.10.2025).
Dindal, M. (Director). (2005). Chicken Little [Film]. Walt Disney Animation Studios.
Docter, P. (Director). (2001). Monsters, Inc. [Film]. Pixar Animation Studios.
Docter, P., & Powers, K. (Directors). (2020). Soul [Film]. Pixar Animation Studios.
Doğru, H. Ç. (2020). Canlandırma sinemada çizgi roman estetiği: Spider-Man: Into the Spider-Verse örneği. Journal of Arts, 3(3), 189-204.
Fikriyat. (2019, October 15). Osmanlı sanatına yansıyan 5 bitki motifi. Fikriyat. https://www.fikriyat.com/galeri/geleneksel-sanatlar/osmanli-sanatina-yansiyan-5-bitki-motifi (23.10.2025).
Fleming, R. (2022, December 27). Puss in Boots: The last wish’ Director Joel Crawford on going “To A Darker Place” than the previous films “In Order to Feel the Bright”. Deadline. https://deadline.com/2022/12/puss-in-boots-the-last-wish-director-joel-crawford-dreamworks-animation-1235207246/ (23.10.2025).
Furniss, M. (2007). Art in motion: Animation aesthetics. Indiana University Press.
Furniss, M. (2008). The animation bible: A practical guide to the art of animating, from flipbooks to Flash. Thames & Hudson.
Gombrich, E. H. (1995). The story of art (16th ed.). Phaidon Press.
Göründü, S. (2023). Dijital çağda sinema ve mimarlık etkileşimi. Sinecine: Sinema Araştırmaları Dergisi, 13(2), 389-424. https://doi.org/10.32001/sinecine.1016534
Grabar, O. (1987). The formation of Islamic art. Yale University Press.Grønn, B., & Svenhard, B. W. (2022). Magic realism and the feminine in Encanto: Genre and narrative mode as paratext. Tidskrift för litteraturvetenskap, 52(4).
Howard, B., & Bush, J. (Directors). (2021). Encanto [Film]. Walt Disney Animation Studios.
Kawamura, Y. (2018). Fashion-ology: An introduction to fashion studies. Bloomsbury Publishing.
Kenan, G. (Director). (2006). Monster House [Film]. Columbia Pictures.
Köymen, E. (2008). 3B animasyon filmlerde mimarlık [Unpublished master’s thesis]. Trakya University.
Köymen, E. (2023). An architectural-based study of the animated film: The Incredibles. Ege 9th International Conference on Applied Sciences, 77-94.
Kürşad, D. (2020). Mimari sunum paftalarında görsel tasarım ilkelerinin uygulanması üzerine öneriler. Güzel Sanatlar Enstitüsü Dergisi, 26(44), 211-221.
Lasseter, J. (Director). (2006). Cars [Film]. Pixar Animation Studios.
Laughlin, K. (1988). The field of drama: How the signs of drama create meaning on stage and screen by Martin Esslin. Modern Drama, 31(4), 588-589.
Lum, T. (2019, April). Designing stories: A narrative-driven design process for architecture [Master’s thesis, University of British Columbia]. http://dx.doi.org/10.14288/1.0378599
Maraffi, C. (2003). Maya character creation: Modeling and animation controls. New Riders.
McDonnell, J. (2011). Impositions of order: A comparison between design and fine art practices. Design Studies, 32(6), 557-572.
Paik, K. (2006). The art of Cars. Chronicle Books.
Pilling, J. (Ed.). (2012). A reader in animation studies. Indiana University Press.
Persichetti, B., Ramsey, P., Rothman, R. (Directors). (2018). Spider-Man: Into the Spider-Verse [Film]. Sony Pictures Animation.
Pixar Animation Studios. (2020). Soul [Official film page]. https://www.pixar.com/soul (23.10.2025).
Rianda, M. (2021). Mike Rianda talks The Mitchells vs. The Machines. Animation World Network. https://www.awn.com/animationworld/mike-rianda-talks-mitchells-vs-machines(23.10.2025).
Rianda, M. (Director). (2021). The Mitchells vs. The Machines [Film]. Sony Pictures Animation.
Robertson, B. (2018, December 11). Spider-Man: Into the Spider-Verse’s art style: We go behind the scenes. Polygon. https://www.polygon.com/2018/12/11/18136056/spider-man-into-the-spider-verse-movie-art-animation-style-visual-effects (23.10.2025).
Solomon, C. (2006, May 28). With Cars, Pixar revs up to outpace Walt Disney himself. The New York Times. https://www.nytimes.com/2006/05/28/movies/28solo.html (23.10.2025).
Spry, J. (2022, December 3). How Puss in Boots: The Last Wish Filmmakers Put the Cavalier Cat Back in Action. Animation Magazine. https://www.animationmagazine.net/2022/12/how-puss-in-boots-the-last-wish-filmmakers-put-the-cavalier-cat-back-in-action/ (23.10.2025).
Sunshine, L. (2006). The art of Open Season. Insight Editions.
Tecir, E. T. (2024). Çift başlı kartal motifinin sembolik anlamları ve tekstillerde kullanımı. Motif Akademi Halkbilimi Dergisi, 17(46), 951-969. https://doi.org/10.12981/mahder.1465432
Thomas, B. (1991). Disney’s art of animation: From Mickey Mouse to Beauty and the Beast. Hyperion.
Thomas, F., & Johnston, O. (1995). The illusion of life: Disney animation. Hyperion.
Tulum Okur, H., & Gezer Çatalbaş, Z. C. (2022). 1960 yılından günümüze animasyon filmlerde mimarlık, kent ve mekân: Gelecek göründü. sinecine: Sinema Araştırmaları Dergisi, 13(2), 389-424. https://doi.org/10.32001/sinecine.1016534
Üçer, K. (2019). Kültürel mirasımızda geleneksel Türk sanatları bağlamında “Motif” okumaları. Art-E Sanat Dergisi, 12, 76-85. https://doi.org/10.21602/sduarte.627696
Wallis, M., & Associates. (2006). The art of Cars. Chronicle Books.
Wells, P. (2002). Animation and America. Rutgers University Press.
Wells, P. (2013). Understanding animation. Routledge.
The Mitchells vs. the Machines. (2021). In Wikipedia. https://en.wikipedia.org/wiki/The_Mitchells_vs._the_Machines (23.10.2025).
Winkenbach, G., & Salesin, D. H. (1994). Computer-generated pen-and-ink illustration. Proceedings of the 21st Annual Conference on Computer Graphics and Interactive Techniques, 91-100.
Yariş, S. (2024). Diyarbakır surlarında yeni figürlü kompozisyonun ikonografik yorumları. Sanat ve Yorum, (43), 84-93.
Zornosa, L. (2022, March 16). ‘Encanto’ may be accurate, but can it carry a whole country? The New York Times. https://www.nytimes.com/2006/05/28/movies/28solo.html (23.10.2025).
Downloads
Published
Issue
Section
License
Copyright (c) 2025 IDA: International Design and Art Journal
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
IDA: International Design and Art Journal is an open-access academic journal. All publishing rights of the accepted articles are deemed to assign to IDA: International Design and Art Journal. Articles can not be published and copied anywhere, and can not be used without reference.
IDA: International Design and Art Journal is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
