THE SYMBIOTIC

RELATIONSHIP BETWEEN
ARCHITECTURE AND CINEMA:
THE CONNECTION BETWEEN CONTEXT AND SUBTEXT
IN ARCANE SERIES

UNDERGRADUATE DRP
NISARG PATEL | UG180415
GUIDED BY PROF. NEEL NAIK

I
 Approval and declaration

II III
Aknowledgements
To begin, I'd like to express my heartfelt gratitude
to my guide, Prof. Neel Naik, , for being so
understanding and patient with me and guiding
my jumbled thoughts. I might not have been able
to complete this research without his constant
advice and support. I am grateful to Meghal
ma'am and all of the external reviewers who
provided thoughtful and insightful feedback. My
supportive friends have also been a major driving
force in my improvement. Special thanks go to
my friends and seniors, Jaya Khurana, Pavneet
Kalra, Vishwesh Pathak, Aftab and Jay Odhariya
is a constant source of constructive criticism and
encouragement. I am grateful to my family and
friends who have been supporting me and ensuring
that my learning process continues uninterrupted.
Last but not least, I thank all the forces of nature
for making this possible.
IV
Contents
ApprovalII
declarationIII
AknowledgementsIV
1. Introduction 1
2. Premise 2
2.1 Case study: Arcane series�������������������������������������������������������������������������������������������������������������������������2
2.2 World-Building:�������������������������������������������������������������������������������������������������������������������������������������������3
2.3 Subtext and Cinematic Context: �����������������������������������������������������������������������������������������������������������4
2.4 Duality in the real-world and cinematic architecture:�������������������������������������������������������������������������5
2.5 Theoritical background:���������������������������������������������������������������������������������������������������������������������������7
3. Context 10
3.1 The history of the cities in the game: ���������������������������������������������������������������������������������������������������10
3.2 The history of the cities in the arcane:���������������������������������������������������������������������������������������������������11
3.3 Piltover: ����������������������������������������������������������������������������������������������������������������������������������������������������12
3.3.1. The architecture style of Piltover: �����������������������������������������������������������������������������������������������������14
3.4 Zaun: ��������������������������������������������������������������������������������������������������������������������������������������������������������16
3.4.1 The architecture style of Zaun ������������������������������������������������������������������������������������������������������������18
Zaun’s Important locations in the narrative: ���������������������������������������������������������������������������������������������20
Piltover’s Important location in the narrative: �������������������������������������������������������������������������������������������21
2.5 Why dystopia/ utopia (fiction) and not real-world? ���������������������������������������������������������������������������22
Jayce:�������������������������������������������������������������������������������������������������������������������������������������������������������������23
Jinx: �����������������������������������������������������������������������������������������������������������������������������������������������������������������23
4. Analysis:  24
4.1.1 Places associated with the Jayce’s past: ����������������������������������������������������������������������������������������24
4.1.2 Jayce’s personal place, his old workshop ���������������������������������������������������������������������������������������27
4.1.3 Jayce’s position in Council hall. ��������������������������������������������������������������������������������������������������������33
4.1.4 Jayce’s creation of artistic space, Hexgate Tower: �����������������������������������������������������������������������36
4.2.1 Places associated with the Jinx’s past: ��������������������������������������������������������������������������������������������40
4.2.2 Jinx’s personal place, her Playing area.�������������������������������������������������������������������������������������������43
4.2.3 Jinx’s place in the ‘ Last Drop’: ��������������������������������������������������������������������������������������������������������49
4.2.4 Jinx’s creation of artistic space, hideout. �����������������������������������������������������������������������������������������53
5. Comparative Analysis:  56
6. Conclusion:  58
Figure Credits: �����������������������������������������������������������������������������������������������������������������������������������������������60
Bibliography: �������������������������������������������������������������������������������������������������������������������������������������������������64
V
 1. Introduction
When you see a movie with a city as one of its
characters, even if you haven't been there yet,
you realize that some of the images were taken
in that city at a significant event, which makes
the story of that movie more relevant however
comprehensible.
There are many ways of making a movie
meaningful. One of them is adding ‘subtext’ to
the story of the film. Many filmmakers have used
this technique to achieve complexity through
ambiguity in visual storytelling. Where the story’s
depth (clues, meanings) is primarily dependent on
the cinematic context.
1.3 Scope:
1. Many architectural spaces in the real world,such
as war memorials, monuments, and historical
buildings, convey many hidden meanings that are
intentionally added by the Architect. This research
will help the viewer in comprehending the hidden
meanings that the director purposefully included
in the cinematic construction.
2.The case study reflects the duality that exists in
the contemporary world. Which can be compared
with the many real-life cities.
1.4 Limitations:
1.Limitations in terms of context of dystopian/
utopian cities in the research. Selected
worldbuilding is close to the existential
contemporary world, which does not include
ancient, mythical or futuristic architecture.
2.This research will only follow the architecture as
a moving image(visual medium) and not the other
sensorial elements such as background score and
sound effects.
3.The study only examines existential implications
associated with places and how architecture can
help to concretize them.
VI
1.1Aim:
1.To understand the cinematic construction that
compliments the subtext of the narrative in relation
to the theme.
1.2 Objectives:
1.To decode the architectural elements,
characteristics, and order of the space that
compliments subtext in cinematic construction.
2.To demonstrate and discuss the subtext in the
cinematic construction related to the theme.
1.5 Methodology:
The premise: The premise will explain the
worldbuilding and subtext first, followed by the
theme of the case study in relation to architecture.
it will explore the architectural theory that can
align with the visual structure of the cinema to
investigate the cinematic construction that is
present with the subtext and theme.
The context: the context will explain the cinematic
construction of the case study.
The analysis: For the collection of data, concept
art and stills of the selected cinematic locations will
be used for the study. The analytical framework
is meant to be used for the identification of the
signifiers (architectural elements, order and
characteristics of the space) of the narrative
(events). After identifying the signifiers, the
purpose of this study is to discuss the immediate
perception in relation to the narrative that helps
the development of the character.
Comparative analysis: By comparing sequences of
characters from both cities, comparative analysis
will compare the duality of cinematic construction.
1
2. Premise
2.1 Case study: Arcane series
Genre: Action, adventure, drama, science fiction,
steampunk.
Direction: Pascal Charrue, Arnaud Delord
Producers: Marc Merill, Brandon Beck, Jane
Chung, Thomas Vu
Production: Fortiche studios, Riot games
Release date: November 6,2021
Rating: 9.0
Platform: Netflix
Based on: League of Legends by Riot Games
The ‘Arcane’ is based on the popular game ‘League
of Legends,’ which has massive worldbuilding and
contains many regions rich in history and culture.
However, the series revolves around the tension
between two port cities that are near each other.
1. The Piltover: the progressive city with the
technological revolution (Hextech); and 2. Zaun:
the oppressed underworld with the drug called
shimmer, which gives instant power opposed to
natural law, and turns humans into monsters.
The storyline takes place in different locations
in both cities, where tension is generated when
inventors, crimelords, hooligans, and politicians
are fed up with the constraints of society. It takes
us through the journey of popular champions from
the game, including Vi and Jinx (powder), Joyce,
Viktor, Ekko and Caitlyn, who struggle to achieve
their intention or desire in the midst of technological
advancement and power (IMDb, 2021).
The story has two arcs, The first arc details the
main characters’ histories and establishes an
earlier version of the two cities. It begins with
the conflict between the cities and ends with the
tension between the citizens of the cities and the
main characters increasing. In Zaun, the main
character Powder is separated from his sister Vi
and other friends, and she seeks refuge with the
villain Silco, who murdered and separated her
friends. In The Piltover, the main character Jayce
creates tension with the noble society of Zaun,
which despises magic. But with the aid of his
newly made friend Viktor, he stabilizes the magic
with the help of science.
In the second arc, both cities showcase extreme
versions of themselves. Under villain Silco’s
takeover, the Zaun became more chaotic and
vivid. While the invention of magic science makes
Fig. 1 ‘Arcane’ series netflix poster.
Piltover more wealthy and sophisticated. According
to the character Zaun’s narrative focused on Jinx,
whose activity, erratic behaviour, and reunion with
her friends drove her insane and uncertain. She
chooses certain routes at the conclusion, thereby
reigniting the conflict with Piltover City. The Piltover,
on the other hand, follows Jayce, who became
a city symbol and councillor. As an inventor and
a responsible councillor, he takes numerous
actions. This motivates him to restrain the city of
Zuan. However, he eventually comprehends the
Zaun after invading it and attempts to establish
peace with it.
2 3
2.2 World-Building:
According to Collins, the term "world-building"
is about the process of developing a coherent
imaginary environment to act as the setting for a
work of science fiction ( Collins, n.d.).
Although the word became popular in the mid-
19th century, its root can be seen from ancient
times. The great folklore, stories of fairies and
angels, Panchatantra, Gulliver’s travels and so on.
Those works clearly state that authors attempted
to create something significant out of their real-
world experiences which reflects the exaggerated
version of their desires, ideals, morals and ethics.
Its popularity has grown after the 1960s as a
result of Books by J.R.R. Tolkien and George R.R.
Martin as well as films like DUNE ad Star Wars.
Because their imaginative world is so sophisticated
and intriguing that it entices you to enter and
think about them. Consider the architecture in
these imaginative settings, which occasionally
transcends natural laws, such as gravity. Eg.
Through their transitional areas, Harry Potter and
Inception break the rules of the real world. While
some of them give us the experience of a utopian
or mythical experience, which adds amusement
that is never felt in real life. However, one thing is
certain, these imaginative worlds are works of art
that question real-world problems creatively and
absurdly. Which was earlier limited by the written
médium. But after the technical progress of movies Fig. 2 Illustration of Gulliver’s Travels, Viktor Shantunov
and games, they became more intricate and close
to the real world thanks to the immersive visual
experience.
2.3 Subtext and Cinematic Context: 2.4 Duality in the real-world and cinematic
architecture:
The subtext is a part of creative work and is closely There is no exception in the real world and movies
related to literature. According to Oxford, it is an with duality. It comes from existence, and we see
‘underlying and often distinct meaning or theme it in both of them. But what made them different or
in a piece of writing or conversation.’ It is used similar? It depends on how the imaginative world
implicitly between two texts to convey something is identical to our world or exaggerated.
explicit, often on society or morals (Oxford, n.d.). In The architectural theorist Robert Venturi talks
movies and writing, it's used to conceal something about this duality in his book complexity and
behind a context that is explicit to the audience). contradiction,
There is, however, more than that. There are One of the oldest symbols of humankind is
generally three types of subtexts that serve duality" whether encased around the principles
different purposes. of good or bad, light and darkness or yin-yang,
Privilege subtext: Privilege subtext builds these symbols are present in numerous forms Fig. 4 Mumbai Urban Fabric, developed vs developing.
tension in a story by letting a reader know crucial and virtually all situations or places". Duality, in
information about the plot before a character does. its various instances, tends to always generate a
(MasterClass, 2021). contradiction and or even conflict. The question of
right and wrong and intellectual turmoil arises from
Revelation subtext: slowly builds toward an
the constant battle between coexisting antitheses,
underlying message throughout the narrative until
this very discrepancy suggesting “a Kind of truth”.
it is finally revealed (MasterClass, 2021).
This very principle Gravitates around architecture
Subtext through questioning: It is used to add
also, where duality and contradiction solve more
ambiguity into the context of the story, which
problems than they generate" Opposites fuse
encourages the spectator to explore it in lateral
together creating equilibrium while instigating
thinking. (Renée, 2018) A book called ambiguity
tension between contradiction and uncertainty".
and film criticism says that “ Ambiguity is what
(Venturi, 2019)
presses us to inquire into our puzzlement over a
movie, to persistently ask “why is it as it is?” (Law, This is evident in the urban fabric, where order and
2021). Which states the existential or identical chaos generate various types of contradictions and
question of a thing, character or context. conflict. This results in more layers and variations,
which are simply reflections of different societies. Fig. 5 Duality Pavelion, Degree of Enclosure
These subtexts add depth to the writing and
connect with cinematic context when the
character’s intentions, desires or feelings about
the context are revealed. It consists of narrative
and interaction with environment. The lateral
thinking here, mostly about making associations
with the real world, that’s makes the cinema
more meaningful.

Fig. 3 Alienation in ‘Arrival’ Film.

Fig. 6 Inside vs Outside.

4 5

In Cinema the duality of architecture is used as
a backdrop to demonstrate the conflict that goes
on in the story. It uses it in various methods that
consciously or subconsciously affect the viewer's
perception of space.
One of them is movies with utopian and dystopian
world-building. Which represents the ideal
conditions of the cities in terms of optimism and
pessimism. If we look into history, Thomas More’s
1516 book called ‘Utopia’, gave this concept a
name. Following that, the writer begins to question
the utopian vision, and thus the city of dystopia,
which has the opposite characteristics of utopia,
was born. Jonathan Swift’s ‘Gulliver's Travels’ is
one of the first ones that used this concept, which
includes such a world that seems utopian but is
later on found dystopian.
Later on, these two terms expanded and
fascinated the world of cinema, comics, and
games (TEDEducation, 2016). which uses this
approach to make the narrative more complex
and unpredictable for the audience.
From the history of these two concepts, one can
say that the idea of duality in cities has changed
over the world scenario of that respective time.
(Green, 2021)
1. Films produced after the 1980s tended to
emphasise the sophisticated urban lifestyle. E.g.
Back to the future.
2. In Divergent society is divided based on five
human personalities, which resulted in conflict.
3. With the invention of the computer and screen
in the near 1990s, films questioned the progress
of the symbiotic relationship between the digital
world and real life. E.g. Total Recall
4. While films like Black Panther depicted isolation
which resulted in harmony between culture and
technological advancement.
Fig.7 Sophisticated lifestyle in Back to the future 2.
Fig.8 Community of Intelligent( blue) and the brave (black).
Fig.9 Life on Mars, Total Recall (1989).
Fig.10 Isolated city of Wakanda.
6 7
2.5 Theoritical background:
According to Norberg-Schulz, architectural space
is defined as a concretization of existential space.
Where Existential space is a psychological
concept, denoting the schemata man develops,
interacting with the environment, in order to get
along satisfactorily. For example, belonging to a
certain place (Norberg-Schulz,1971). Such as, A
farmer should be a part of the farm or a depiction
in the drawing of Buddha, in which he is always
seated underneath the tree. It is based on the
immediate perception and cognitive understanding
Fig.11 Old Asgard, view from the first thor movie.
of the man. (Norberg-Schulz,1971)
This phenomenon, which contradicts man’s sense
of place, is quite visible in the real world. A gamer,
for example, feels more active and creative in
an artificially lit, dark interior with no windows.
While his personality and natural understanding
as an office worker gradually changes. He feels
more active in natural light, a bright interior, and
many windows. This familiarity is associated with
comfort and pleasure.
Using this technique, filmmakers can link various
settings with characters who have strong emotional
connections with the audience. For instance, in
the first Thor, Thor is associated with the majestic Fig.12 New Asgard, view from the Thor: The Love and
and heavenly Asgard. But in Thor: The Ragnarok, Thunder movie.
his father’s explanation that Asgard is all about the
people alters his perception of the realm, leading
him to create a new, more restrained Asgard on
Earth.
This type of relationship is mentioned in the book
Public Places–Urban Spaces: The Dimensions of
Urban Design, which talks about the identity and its
relationship with the public space. Which consists
of personal place within a public place, resulting in
various associational meanings for a location at a
specific event. (Norberg-Schulz,1971)
Here, Noberg Schulz is talking about the many
personal places whithin the larger context that
affects the man’ s perception of the space, his
identity and personality.
That’s what the cinema showcase inside its every
frame, where different spaces is used for the event
that affects character’s behaviour and intention.
2.6.Connection between the Sense of place
theory with the cinema:
Activity In cinema : In cinema, the activity is
about character’s interaction with his environment.
It is known as staging, which is used to set up
the mood inside the place. Staging is all about
the organization of props inside the scene that
interact with the character during a perticular
event. (Rocchio, n.d.)
Physical Environment: In cinema, the physical
environment is known as the setting, which
includes props, costumes and scenery for a
particular time period. The costumes reveal the
culture, personality and identity of the character.
The prop includes all types of objects such as
guns, gauntlets, weapons, interiors and so on that
are associated with the character’s persona. While
the scene includes other spatial qualities such as
the type of enclosure and natural elements that
reveals the public or larger context. (Rocchio,
n.d.).
Image: The cinematic image is a carefully crafted
work of art that conveys a variety of interpretations
for the theme and narrative. The sequence is
composed of many perfectly arranged cinematic
images depicting a specific event. The image’s
emphasis is on the specific subject that the director
intends to show the audience.
Fig.13 Parameters that creates sense of Place.
8 9
2.6.1.Framework and parameters
Sequence: The sequence includes the
character’s interaction with the environment and
showing his intention and emotion.
Space as prop/scene: In cinema, the prop/
scene is inspired by the real world, which is
exaggerated according to the story and theme.
This parameter will examine the form, materiality,
elements, ornamentation, architectural style and
type of construction.
Organization and order: This parameter will
study the order and organization of space inside
the sequence. The order is specific to the axis,
symmetry and balance inside the space, which is
widely used in any cinematic image that is easily
perceived by the audience.
Proportion and scale: It will examine the
proportion and scale of the scene/prop inside the
sequence.
Colour: Colour palette used in the frame generates
specific symbolic meaning and context specific
meaning. This parameter examine through colour-
cognitive theory.
Light: Types of natural and artificial lights are
shown in the sequence that sets the atmosphere
and gives meanings according to event.
Subtext: Meaning of a place in relation to the
character, event and theme as a whole.
Fig.14 Framework of analysis.
3. Context
3.1 The history of the cities in the game:
According to the lore of the League of Legends, during ancient times a port was established on the isthmus
connecting the Valoran and Southern continents. It later grew into the mercantile city of Kha’ Zaun and
became a part of the ancient Shurima empire. Later on, it transformed into only ‘Zaun’. At the time, the
people of the city desired a safe passage connecting two oceans for trading. They intended to demolish
a portion of the isthmus in order to construct a cavern. Instead, it generated a series of earthquakes that
entirely demolished the isthmus and sank a huge portion of Zaun, along with thousands of people. It also
submerged the industrial area, leaking poisonous gas into the remaining areas. They were saved, after
the arrival of the wind spirit, who blew away all the toxic gas. After that, the city was rebuilt. The destroyed
isthmus was converted into sun gates with canals. Which brings immense wealth through trade with other
empires, resulting in the establishment of the upper city, Piltover (Riot games, 2009.
Fig.15 and 16 shows Piltover and Zaun city in the game.
10
3.2 The history of the cities in the arcane:
The series’ chronology differs from the game’s, which takes place prior to Piltover’s bicentennial anniversary.
There is no mention of the Shurima empire and the Sun-gates, instead, the Hexgate tower takes centre
stage in the city and represents its trading supremacy. Which became the main feature in the second act
of the series. The canal separates the city into the eastern and southern parts of Piltover and serves as a
route for maritime trade. That seems different from the game and close to the real world.
According to the makers of the series, the cinematic construction has taken inspiration from Paris,
and the geography of both cities strengthens that thought. Which makes the cinematic construction of the
series more grounded in reality, and that’s why it is more comprehensive and meaningful than ever.
Fig.17(upper image) The Piltover city is represented by brown, while the
underground Zaun city is represented by black. The colours red and violet
represent the city centres. It is similar to Fig. 18 (below Image) which depicts
the map of Paris city in after 12th century.
11
3.3 Piltover: Urban fabric of the city and inspiration from the real world.

The Piltover is a progressive city where art, craftsmanship, and innovation coexist. It is a trading empire on
the rise, surrounded by the sea with extensive global commerce, giving the impression of 1930s New York
or Paris. The city depicts a utopian way of life where inhabitants live affluent lifestyles. It is more apparent
on its northern side which is elevated compared to nearby areas and includes numerous important buildings
and economic hubs. Joyce, Mel, Heimerdinger and Caitlyn along with the wealthier clans who have control
over the trading routes live on this side. The industrial area and the older part of Piltover are located in the
southern part.
Here in the image, you can see the architecture of Piltover in different timelines. In the first act, the
architecture gives the sense of an early version of the industrial era (left). The second act of architecture
gives the sense of a more late industrial era that is developed and technologically advanced.(right)
Piltover’s urban fabric is made of many radial connections, giving the impression that it is based on
Euclidean geometry. Its fabric is a reflection of Paris, which has similar city squares and centers. Here, the
city’s radial connection denotes the centralization of art, commerce, technology, and so on. It strengthens
the city by being multifunctional, similar to its inspiration, Paris, which had established itself as France’s
political, economic, religious, and cultural capital by the end of the 12th century (Fella, 2013). It is very
well organised and gradually levels out toward the city center. The order here strengthens a sophisticated
lifestyle and an advanced society. The city is divided into three layers: first, the city dwellings; second, the
city center, which contains important buildings; and third, the commercial zone. The facades of buildings
and city streets are heavily articulated and ornamented according to the Art-Deco style, which became
popular in Paris during the late industrial era. It’s clean, more open, well-crafted, and well-ventilated.
Similar to Paris the city is divided into two parts by canals connected by bridges that are used for maritime
trade.

Fig.19 and 20 shows the earlier version of Piltover.
It includes the city center and rooftop of residential
area of the Piltover.
Fig. 27 City fabric of the Paris city. Fig. 28 shows the building style of Paris that is largely used
Fig.21 and 22 shows the Piltover after Hex- in the series.
tech invention. The images shows the important
commercial buildings as well as new city center,
Hex-gate tower.

Fig. 23,24, 25 shows the city streets of Piltover city. Fig. 30 shows the layers of the city including residential,
Fig. 29 shows the public square, radial connected paths as commercial and city center. That is connected with bridges
Fig. 26 shows the separation of the Piltover city by canal.
well as city center, The Eiffel tower. similar to the Arcane series.

12 13
3.3.1. The architecture style of Piltover:

The city follows the Art Deco style that represents

the wealthy community of Piltover, where
everything is extravagant.
The style originally originated in the 1920s and
soon became popular among the upper class in
European countries and America. Its intention
was to create a modern, anti-classical elegance
that would convey wealth and sophistication. It
features a more clean and more refined version
of a classical design that promotes geometric
order such as simplicity, planarity, symmetry, and
unvaried repetition of elements. This comes from
the admiration towards the modernity of machines Fig. 33 Interior lighting and geometry according to art Fig. 36 Art deco style dwellings facade,Rue de Rivoli,
deco style. Paris.
and the inherent design qualities of machine- Fig. 31: Art deco patterns created with the marble
made objects (Catrine, 2021). Its ornamentation stone
included manmade materials such as plastic,vita-
glass, and ferroconcrete along with expensive
natural materials such as jade, silver, ivory,
obsidian, chrome and rock crystal. While the
architecture included stucco, smooth-faced stone
and terra-cotta as material, steel and aluminium
are often used with glass blocks and decorative
opaque glass (Thomann, 2022). After the 1930s it
has taken inspiration from modern art movements
such as Cubism, Constructivism, and Futurism.
(Happyfrogtravels, 2022)

Fig. 34 Eagle motif at the Corner, Chrysler Building.

Fig. 32: Metal Sheet cladding on the roof of Fig. 35 Art deco style modern interior Fig. 37 Form of Art deco style skyscrapers, New York.
Chrysler Building, New York.

14 15
3.4 Zaun: Urban fabric of the city and inspiration from the real world.

The premise of Zaun is inspired by the early industrial revolution that took place in many European
countries and kowloon city, where many working classes were oppressed by the industrialists and
authorities. It is located inside the fissures in the southern part of the Piltover, where the environment
is dark and polluted, with hardly any sunshine penetrating the bottom. It includes industrial areas and
Zaun's market (Alcobe district), which thrives on smuggled goods coming from Piltover, destructive
weaponry, and reckless technology. The people here are more aggressive and self-centred, living more
unrestrained and risky lifestyles. This underground city is home to the series' main characters, Vi and
Powder (Jinx), Vander, Ekko, and Silco.
Here in the image, you can see the architecture of Piltover and Zaun in different timelines. In the first act,
the architecture gives the sense that both cities have grown under different industrial and commercial
circumstances. In the second act, both cities have developed under differing circumstances. 1. Piltover
After Hextech invention and 2. Zaun under Silco’s takeover.
Zaun’s city fabric is inspired by Kowloon city which is known as a real dystopian city. It was a real
social experiment that became the inspiration for many artists. It started when the site of a dismantled
Chinese fortress in Hong Kong, refugee squatters began building makeshift homes in the 1940s. In that,
2,000 refugees in huts became 50,000 people in unregulated skyscrapers supporting each other. The
community built the 14-story structures without architects or engineers. It miraculously formed a castle-
like structure. KWC scooped water and electricity from wells and the city but was an unregulated mess of
ad-hoc infrastructure mostly unsupported by the government. Postmen were forced to deliver mail there,
but police were afraid to enter. It was filled with criminals, drug dealers and prostitutes, as well as honest
families, schoolchildren and one-man manufacturing shops (Noe, 2015).
Tiny, cramped spaces did double duty, they served as classrooms during the day and were converted into
strip clubs during the evening. There were restaurants and gambling dens, hair salons and convenience
stores, and unlicensed doctors and dentists. Fluorescents were hung at street level because sunlight was
rare due to the buildings' proximity. Rooftops, meanwhile, became social spaces (Noe, 2015).

Fig. 44 shows the density of Kowloon Walled City. Fig. 45 shows the density of Kowloon Walled City.

Similarly to that Zaun has most of

the same functional, associational
characteristics. It has a similar
cultural background as Kowloon
city. That’s why Piltover’s enforcers
hardly go there. Its urban density is
also similar, where hardly sunlight
touches the ground. We can also
see the architectural elements such
as fluorescent lights and cramped
and subdued elements in the city
streets. But there is the addition of
the Art Nouveau style, which reflects
the asymmetrical and primitive style,
which the study will explain in the
later part.

Fig. 38, 39, and 40 show Zaun city, at the beginning of
the series under the leadership of Vander. the streets
have certain subdued characteristics as well as lights that
represent the warmth.
Fig. 41, 42, and 43 shows the Zaun city after Silco’s
takeover. The city became more uncertain and Vivid. The
crimelords have taken control over the people represented
by the materiality and lights. Fig. 46 shows the lifestyle inside congested
environment of Kowloon Walled City.

16 17
3.4.1 The architecture style of Zaun

The architecture of Zaun follows the Art Nouveau

style of Paris, where the production studio is
located. This style started around 1850 during
the Industrial Revolution. It represents cheap
mechanization, where quality is no longer
important. This comes in opposition to luxurious
products, which are not affordable to everyone.
Its main feature is the flowing lines, which can be Fig. 49: Tiles pattens made of natural motifs.
found in any design. It has a Japanese influence,
following the asymmetrical design and flat
perspective that includes nature and everyday life.
Its motifs included flora and fauna such as lilies,
callas, irises, poppies, and rosebuds; swans,
peacocks, dragonflies, egg shapes, clouds, water
Fig. 47: Flowing lines as structure.
and slender female figures with long hair and long
flowing dresses ( Harmsen, 2020 ).
After the introduction of new materials such as
glass and cast iron, it became more popular. It
started a new construction technique that included
cast iron columns and enabled builders to
construct taller structures without requiring thicker
brick walls. This flexibility allowed buildings to have
larger openings, which were particularly apparent
in warehouses. Additionally, it made it possible to
use stylized framing made from wrought iron for
fenestrations, interiors and railings.
At the same time, the tile industry also went through
a major revival. The style modified this medium to
create beautiful handmade tiles, which were easy
Fig. 50: Construction method of Art Nouveau style. Fig. 52: Flowing lines as a railing.
to install at the time. They were waterproof, fire-
resistant and relatively cheap compared to the
other types of flooring ( Harmsen, 2020 ).

Fig. 48: Entrance door with curved lines. Fig. 51: Flowing lines as a railing. Fig. 53: Exterior facade made of subdued materials.

18 19
Zaun’s Important locations in the narrative:
5.The Last Drop (bar): Under the leadership of Vander, it is an important gathering place for the people.
During Vander’s ownership, it is more subdued, but it changes after Silco’s takeover, making it more flashy
and chaotic. Its located inside fissures.
5.Chem-baron tower: The tower is the continuation of the last drop, where the highest place serves as an
important gathering point for the Chem-barons (crime lords) during Silco’s dominance.
6.Shimmer-factory: Silco’s source of income. It is a factory deep within the fissures that produces large
amounts of toxic shimmer which can be used for war against the Piltover.
7.Powder's new hideout: It is actually an old airship perched perilously on a cliff after Silco's takeover. She
uses this space to create various types of explosive creations and test them on the environment.
8.Firelight hideout: This hideout was built inside a massive sewage treatment plant in the southern part of
the island, near the western seashore. The plant has no roof, which allows natural light to enter and was a
big factor in the growth of the big tree that is in the centre. The tree includes small houses built to provide
shelter for the children of Zaun.
Southern Piltover
Fig.54. Different levels of the city. Fissures containing Industrial area
Firelight
hideout
20
Piltover’s Important location in the narrative:
1.Hex Gate Tower: set aside on the western seashore, represents the city's new identity as an advanced
trading centre. It uses a Hextech device to teleport the airships to the desired destination across the world
of the arcane.
2.Council Building: Located in the city centre, the Council Building is the second-highest building in the city,
where the councillors organise important debates to resolve problems.
3.Joyce’s workshop: It is a apartment near the city centre where Joyce started his research on magic. It is
important for the storyline where Jinx steals the magical stones from Joyce and the conflict begins.
3.University of Piltover: Along with the Council Building, it is located in the centre of the city. It includes
Heimerginger's laboratory, where Joyce and Viktor discover how to utilise magical stones.
4.The Bridge of Progress: It is the main bridge connecting the Southern and Northern Piltover.
It also contains all the commercial hubs that have expanded at the global level.
Commercial
zone
City center
Residential area
21
2.5 Why dystopia/ utopia (fiction) and not Jayce:
real-world?
Humans have long contemplated the two extremes, Jayce is a Piltover resident and an idealistic inventor.
connecting Earth with heaven and hell. Which He is intelligent, but his behaviour is self-centred and
they have experienced in the natural environment straightforward. His goal is to help people through
and have developed certain qualities based on. inventions created with the help of magical stones (hex
Then they tried to materialise that quality in three- gems). Throughout the season, the environment modifies
dimensional space, the architectural space. Which this intention in different places. At the beginning of the
is typically connected to a variety of narratives. story, he is just a regular boy who needs help. In the
second part, he is shown to be an inventor and in the
Similarly, the space associated with 'Arcane' has
end, a member of the council.
established a quality based on their environment
and used it to build an architectural space. Here, Associated places:
the connected narrative describes character’s
1. Natural places associated with his history.
journeys through various places, which reflects
their identity and personality through space. As a 2. His old workshop. Fig. 55 Jayce with hex gem.
result, this study decided to examine two characters 3. His position in the Council building.
from both cities in terms of their personalities and
identities, as well as how they change in response 4. His artistic space, Hexgate tower.
to differing environments. With the help of the
powerful tool of narrative, this provides me with
a deeper knowledge of architectural space that Jinx:
concretizes existential space.
Jinx’s actual name is Powder. She was born in Zaun.
At the start of the series, she has a sweet, innocent
Selection of places: personality, but it slowly turns into something horrible
and psychotic. She is very good at making scientific
“ Human identity is largely established through tools and explosives. At a young age, her main goal is to
the individual’s personal history and human get her sister Vi to notice her by making scientific tools
relationships, as well as the collection of places and explosives. This is changed in the second act of the
and objects associated with his/ her persona series when Silco takes control of the Jinx and exploits
(Pallasmaa, 2007, p-127).” her to create destructive weapons.
According to the makers of the series, the main Associated places:
characters portray the same feeling associated
with both cities. Which was mentioned in the 1. Manmade places associated with his history.
League of Legends channel’s youtube video about 2. Her old play area.
the making of the series. Therefore, the analysis Fig. 56 Jinx with her revolver.
3. Her position in in the ‘ Last drop’ bar.
part will look at these two main characters and
their interactions with different locations in the 4. Her artistic space, hideout.
series, which showcase different aspects of the
both cities.
1. Locations associated with the character’s past,
which in some way reveals the city’s history.
2. The personal spaces of the characters reflect
their varied dwellings.
3. The character’s position in a public space ( city
centre).
4. The character’s creation of an artistic space
that reflects the city’s extreme version.

22 23
4. Analysis:

4.1.1 Places associated with the Jayce’s past:

Sequence: The sequence starts with Jayce and his mother trapped in the snowstorm with no one around. Axis Mundi
Due to the cold temperature, his mother collapses on the ground. He tries, but unable to move his mother,
Jayce starts screaming for help. A mysterious man came out of nowhere and started chanting the magical
stone. After some time, it creates a portal that controls time and space. With the help of the portal, the
mysterious man and Jayce with his mother teleport into a different place. A place with characteristics of
natural space. Then he witnesses his mother regaining consciousness and looks at the mysterious man.
He gives the stone to Jayce which spurs Jayce to ask how. And with that, the sequence ends.

Fig. 58 sequence showing Axis Mundi,

represented by the natural elements.
Place 1:

Fig. 59 sequence showing Jayce’s past.

Fig. 57 sequence showing Jayce’s past. Place 2:

Fig. 60 sequence showing Jayce’s past.

24 25
Space as prop/scene: The cinematic construction here is inspired by the Roman philosophy of Euclidian
geometry that Paris follows; it’s about the Axis Mundi, the axis of the earth that connects heaven and hell.
It is a philosophhy about the very first two different existential spaces. The natural elements of chaos and
order and cosmic path towards the sky that create a sense of place for this event (Norberg-Schulz,1971).
In the place 1, the surface is covered with snow, while the surrounding environment is covered in snowstorms
and harsh winds. It represents the natural chaos and uncertainity.
The path here gives the symbolic representation of Axis Mundi, that is controlled by the mysterious men.
In the Place 2, The scene contains natural elements such as a green landscape covered in bloomed
flowers and trees, surrounded by mountains with freezing summits and a blue shiny sky. It represents the
natural purity and sacredness.
Organization and order: In the place 1, there is no clear indication of organization but a small reference
to a stone and snow, which are clustered on the surface. The blurred stone in the background unbalances
the space.
In the place 2, The natural elements are clustered according to nature. The axis here is suggesting the
metaphorical meaning, suggested by the path made of Axis Mundi. While the balance in the image is
achieved through the positioning of natural elements.
4.1.2 Jayce’s personal place, his old workshop
Sequence 1: The sequence starts with the youngsters, including Jinx and Vi, trying to break into Jayce’s
apartment. Here, Vi is leading all the youngsters and her intention here is to avenge her parents. After
some attempts, they shatter the door of the balcony and enter the common area, which is well-lit and full
of scientific tools, innovative objects, and research papers. After that, they start picking objects that seem
expensive and important to them. The Jinx, who is curious about the tools, decides to go into Jayce’s
private place on his own. This private place is similar to the common area, but it includes more private and
important objects. One of them is a box full of magical stones. After observing the whole room Jinx finds it
and starts observing the stone. At the time, Jayce came back with more scientific tools and starts unlocking
the door. Vi notices the sound of the door being unlocked and alerts everyone. This sudden change makes
Jinx drop the magical stone, which is unstable and after some bumping on the surface it explodes. It
completely destroys the outer wall that provides privacy in the penthouse. All of the youngsters manage to
escape the apartment before that happens.

Proportion and scale: The proportion and scale are unclear and enigmatic in the first space due to the
snowstorm, and in the second space due to the white fog, which is very noticeable. A snowstorm suggests
darkness, while white fog suggests peace and serenity.
Colour: In the first place, the monochromatic colour palette including tints of blue and white gives us
the impression of cold. While dark shades of blue and black add mysticism to the frame. According to
colour psychology, the palette represents sadness and aloofness, but it is also associated with feelings
of calmness and serenity, which is described as peaceful, tranquil, secure and orderly (Cherry, 2020). In
the second place the quadratic colour palate consists the shades of yellow, blue, green and white. It has
been used but at normal saturation. Other than that, lighter shades of green and blue are used to add
depth. The white colour of fog has been used for purity and cleanliness. Which all, gives us the feeling of
a natural place.
Light: Magical blue light emanates from the magic stone, overpowering the subdued light of a snowstorm.
That suggests that here magical light is protecting Jayce and mother from depressing atmosphere. In the
second place the light s clear and shiny. Which is natural and associated with healing and liveliness.
Subtext: The context here explains how Jayce developed an environmental image of two different places.
He went to the first place where he had to deal with the extreme nature of nature (the weather), which is
chaotic, restrained, dark, and unbalanced. He felt alone, insecure there. The second place, on the other
hand, is more open, bright, and naturally balanced (balance between order and chaos), where he felt more
open and alive. This allows him to think without constraint. The subtext of place here gradually builds and
prompts viewers to consider Jayce’s places, which activates his personality as a curious boy and which
makes him insecure. The Axis mundi and characteristics natural spaces strenghens this thinking very well.
Fig. 61 Jayce’s personal place.

26 27
 Space as prop/scene: The detail here is inspired by the expensive construction method during the
industrial revolution. It has an influence on the Victorian and Art Deco style. That’s why the fenestrations
have been heavily articulated and ornamented. The monolithic wall has been built of concrete and a mild-
steel structure. While the flooring has been made of different marble stones creating patterns in the art
deco style. The interior is full of research material, books and scientific tools. This space is similar to a
researcher from the 18th or 19th century, but it is heavily articulated for more familiarization.
Organization and order: The Organization of the apartment is in a grid formation. The interior is properly
organized and ordered according to symmetry, but the research papers and scientific tools seem poorly
arranged.
Common Private room
Proportion and scale: The space is very comfortable because it is well-designed in terms of proportion.
area This makes it very easy for the characters to move around. Its scale is also appropriate for human height.
Colour: The frame consists of shades of brown, yellow, grey and tonal values of blue. Here, the colour
brown represents earthiness and strength, the colour yellow symbolises hope, joy, and danger, and the
colour blue symbolises wisdom, hope, and peace (Cherry, 2022).
Light: The space is naturally well-lit, bright and fresh which is the perfect environment for the productive
work as scientific research.
Subtext: The space here strengthens the idea about Jayce’s space which was initially developed, which
Fig. 62 Jayce’s old workshop, Plan
reflects his developed personality as an inventor and a resident of Piltover. But the space here is not strictly
ordered, there is some presence of chaos. The public character of the space reflects the city’s identity
as well-organized, balanced, sophisticated, and naturally well-lit, but the certain private character that
is implied by the Jayce, such as the scientific objects and research papers, gives the impression of that
chaos. That means he has to follow certain orders given to him by space, which he does but finds freedom
within. At the end of the sequence, that chaos generates conflict inside the place.

Fig. 66 Inventor’s Victorian private room, 19th century.

Fig. 67 shows facade of Art deco hotel, Paris

Fig. 63,64 and Fig.65: shows the outer facade of the place,
common area and private space.

28 29
This sequence starts in Jayce’s apartment after he is stripped of his academic degree by a councillor in the
Council building. This sequence is set in the second episode of the series.
Sequence 2: The scene starts with Jayce at the edge of his apartment. He seems sad and looks at the
city because he knows nobody agrees with his intentions. Then the camera angle changed showing a
different view of him including his academy certificates and the stone. He tries to suicide but is unable to
do because he senses the presence of Viktor. Viktor came outside from the shadow with Jayce’s research
books and the stone. He asks Jayce, what is it? Then Jayce reveals his intention again and tells him that
it can change the world. He gives the stone to Jayce and tells him that he is also an outsider at first and
relates with him. He also says that he is interested in his study of magic and helping people. At last, the
camera moves toward Viktor, behind Jayce looking at the city. Common Rrivate
area room.

Fig. 69.Plan of Jayce’s old workshop after explosion.

Fig. 68 Jayce’s personal place restricted by the authority.

Fig. 70 and Fig. 71 Highlighting props inside the common area during the nighttime.

30 31
Scene as prop/scene: The space inside is covered in darkness, and only a few details are revealed. only
a few details, Magic stone embedded in clothes and Jayce’s academy paper and Viktor with a research
book. It emphasises what Jayce is looking for outside which reveals the city skyline with night lifestyle.
Organization and order: After the explosion, the space inside is disorganised, chaotic and unbalanced.
The space outside gives indications that it has radial organization.
Proportion and scale: The space inside is cramped due to the explosion. The outside skyline is enormous
and dominating compared to the human scale.
Colour: The interior is pitch black, consisting of only a few objects revealing his emptiness after the lost
centre. The outside has dark shades of blue. The black and dark shades blue here associated with the
sadeness and mysteriousness ( Cherry, 2022).
Light: On the inside very diffuse light is coming from the outside, revealing small details. However, the
outside has lambent light coming from all different places. It suggests sadeness that reach
Subtext: The interior is cramped and dark, while the space outside has diffused lighting. Whereas Jayce’s
position inside the place suggests that he is disoriented. This implies that despite being in Piltover which
has many networks Jayce is feeling lonely and isolated because the city denied his request to change the
world through magic. That’s why he focused more on the skyline and left the stone-embedded cloth and
paper inside.
Here the lambent light of places gives the sense that it is limited only to those places. Only diffused light
reaching to Jayce. The appearance of Viktor from the darkness suggests that he didn’t expect him to be
there. While at the end Viktor giving him the cloth embedded with the stone means that he giving him a
new place the Piltover in the end, and that’s why Jayce feels more self-assured.
32
4.1.3 Jayce’s position in Council hall.
This sequence starts in the council building after Jayce’s illegal research has been exposed.
Sequence: The sequence starts with a view depicting the facade of the building, Then it shows Jayce
and the sheriff inside the lift. After that, it shifts inside the hall where councillors mentally prepare for the
meeting. Then it changes the view to Jayce being presented as guilty, with the Sheriff in the council. The
camera then moves toward the interior, where the fenestrations and roof gradually shut down. Because
of that, when Jayce walks towards the centre, darkness spreads inside the council, covering Viktor along
with other citizens. For a moment, the whole council was shrouded in darkness. Suddenly a small window
opens up on the roof, allowing a natural beam inside and onto Jayce. which gives him a hint to prove
his innocence. Jayce hesitates at first, but eventually accepts his mistake and declares his desire to the
council. The council members disagree with his desire and begin arguing with one another. With that,
Jayce’s mother knows his bluntness comes inside the circle. She defends him by saying he is mentally
ill. Mel and Heimerdinger (council members) agree with what his mother is stating. They understand the
predicament and, as a result, announce a mild punishment. They strip him of his academic degree and
instruct him not to do anything illegal in the future. The council then collectively agreed by raising their
hands. As a result, the natural beams fall on top of each council member and the beam over Jayce
disappears. The verdict concludes with the fenestrations reopening.
Fig.72 shows the sequence of Jayce being presented as
guilty in the council.
33

Fig. 73 Structure of the Council hall.
Fig. 74 Circular dome of the Council hall.
Fig. 75 Fenestration and flooring details.
34
Fig. 76 Mumbai high court, Art Deco with Victorian gothic Fig. 77 Metal Sheet cladding on the roof of Chrysler
style. Building, New York.
Space as prop/scene: This place has authority at the level of Piltover and it can be considered the centre
of the city. It is strategically built according to function and cultural value which is presented very well from
the inside and outside. The outside facade gives the impression similar to the Mumbai high court. Which
is made according to Victorian gothic and Art deco styles. But the materiality is different, which is similar
to the architecture of Paris and New York. It is made of concrete and painted white and yellow, it has a
motif associated with craftsmanship and art. The roof is clad with metal sheeting and painted blue. The
surrounding structures and fenestration convey artistic freedom and advanced craftwork while displaying
various art deco geometry. The form here is extroverted. On the inside, the flooring has intricate marble
details. The rounded table and seats at the centre are appropriately ornamented and give the impression
of royalty and authority.
Organisation and order: The space is strictly ordered according to the axis, symmetry and balance.
The structure, fenestrations, and ornamentation of the council hall’s interior are all strictly centralised. It
suggests the centralization of the different networks outside such as art, science, commerce and politics.
Every pillar that is directed towards the sky suggests each network.
Proportion and scale: Comparison to its human scale, the form, structure and fenestration of space are
enormous revealing its public authority at a higher level.
Colour: An analogous colour palette has been used, depicting gold, brown, darker magenta, tranquil
grey and blue. Gold expresses authority as a royal while the relationship between brown and magenta
expresses strength ( Cherry, 2022).
Light: Two types of natural light harsh and spiritual has been used strategically for function. During the
sequence, it effectively emphasises each character and gives us different poetic meanings.
Subtext: This location is open to the public and reveals many of Jayce’s intentions in various qualities. The
scale represents Jayce’s identity in relation to authority. The organisation, order and ornamentation reveal
the place’s own identity. While the degree of the enclosure is changed according to the condition revealing
its manipulative two sides. In the first condition, the fenestrations were closed and everyone around him
is enveloped in darkness. While he standing at the centre and the natural beam from the top makes him
nervous and being dominated at the same time. In the second condition And when councillors give orders,
the natural beam appears on top of them, making them notable. And that is the truth, which overwhelms
Jayce, as shown in the final frame when all of the fenestration re-opens dominating his silhouette.
35
4.1.4 Jayce’s creation of artistic space, Hexgate Tower:

This event take place after the Joyce became the council member and man of progress.
Sequence: The sequence begins with the shipping plane being teleported by the Hexgate tower. Then
it cuts to Jayce discussing the corruption in the shipment to Viktor. Viktor then questioned him about his
original purpose of helping many people, including those in the undercity, which he had clearly forgotten.
At the time, when Viktor is talking with Jayce, the camera shows the people putting hex gems inside the
inner frame. The camera then switches to a high-angle shot when the sheriff enters the tower. Jayce, still
thinking like a councillor, shows him the corrupt files in the good transportation and orders him to conduct
an investigation against corruption without consulting any other council members. member. At last, Viktor
feels dizzy due to his body; Jayce notices this and quickly moves towards him, asking if he is okay.

Fig. 80 Inside the Hex- gate tower.

Fig. 81 Diagramtic plan of Hex-gate

tower.

Fig.78 Jayce discussing with Viktor and giving orders to the

sheriff as a council member.
Fig. 79 Facade and immidiate interaction of the Hex-gate tower.

Fig.82 Eiffel Tower, 19th century, Paris.

36 37
Space as prop/scene: This place is one part of Jayce’s desire to make life easier. It stands at a higher
position, even higher than the council. which is reflected in the first sequence, comparing it with the heavenly
sky. This gives the sense that it is portraying the same role as the Eiffel Tower does for Paris, which is the
symbol of industrialization, technology and art. But the difference here is related to form and architectural
style. Here the form is more related to the theme of duality. That’s why its uppermost dome expresses the
meaning of time and space. While the facade gives the impression of futurism, constructivism as well as
cubism. The uppermost series of doors in every direction gives that impression clearly.
Its materiality outside complements the sky and expresses the meaning of something divine. It reveals
various interaction levels at different heights that are used for the parking of flying ships. The lower-
level interaction is more chaotic, whereas it becomes well-organised and ornate at the upper level. The
inside, on the other hand, conveys entirely different meanings. The materiality inside has an industrial
vibe. Its foundation (structure) is deeper, darker, and filled with various gemstones. It suggests the various
commercial networks benefiting from this structure.
Organisation and order: It has a radial organisation consisting of many networks such as art, commerce,
science and politics. The space inside is ordered according to the axis, and symmetry and it has a balance,
but outside the only uppermost part is well organized. The bottom part is chaotic and congested.
Proportion and scale: The scale of space is enormous in comparison to the human scale. Its basic
spatial elements are gigantic.
Colour: The first frame’s colour scheme of gold, sky blue, and white depicts something divine. The copper
and metallic colours in the second frame provide the impression of industry, whereas the black reflects
mysticism ( Cherry, 2022).
Light: Outside the centre, the light is bright and clean, which contrasts with the inside’s dark and artificial
light coming from the gemstones. It reflects the duality of the space from different perspectives.
Subtext: The first sequence gives us the impression of Jayce’s new sense of place as a councillor, from the
world’s point of view (outside space), which is bright, clean, creative, innovative, and enormous.This public
characteristics can be applied for the city as well. It has many levels, organised according to the radial
organization, denoting that this structure is the collective work of many economical, artistic, and scientific
networks. But this interaction of Jayce at a higher level gives the meaning that he is in the uppermost
position. Where he only understands what is right for him. The space inside reflects how it’s manipulated
under strict orders and an industrial approach that uses gemstones to achieve personal goals. Jayce, who
is unaware of it, thinks of himself as higher than others and bluntly gives his orders to the sheriff.

38 39
4.2.1 Places associated with the Jinx’s past:

Sequence: The sequence begins with the bridge’s details and structure, which are covered in the conflict It is a movable bridge; it can accommodate the passing of any boat or ship. It serves an important role in
between the two cities. The camera then pans to the deck, where it shows the enforcers with rifles. The both cities, connecting north and south Piltover as well as Zaun. But in this event, the bridge is divided into
stage then shifts to Vi and Powder, with her toy heading towards Zaun. On their journey, the two sisters two parts, which are colliding with each other.
come across dead bodies, ash, and shattered objects. Because of that, Powder feels afraid and clings to
her sister. Then, the two sisters look at Wander as he fights the enforcer with the gauntlet. After defeating
the enforcer, the Wander approaches them and shows them their deceased parents. Because of that,
the sisters begin to cry. Moved by compassion, Wander carries them on his shoulders and walks towards
Zaun. At the end of the sequence, Vi stares at the skyline of Piltover without any red fog and enforcers on
the bridge.

Fig. 84 condition of deck during the event Fig. 85 Bridge of progress, two parts.

Fig. 86 Bridge of progress, concept art and framing.

Fig. 83 Childhood memory of Powder and Vi

Fig. 87 Bridge of progress, concept art and framing.

40 41
Part 1: Part 2: 4.2.2 Jinx’s personal place, her Playing area.

Fig. 88 Bridge towards the Zaun side.
The place here originally belonged to Benzo, who is Wander’s partner in business. He occupied this place
for all the youngsters.
Sequence 1: The sequence begins with Vi, who is practising martial arts with the punching machine.
The action then shifts to their friends Mylo and Clagger, where Mylo insults the powder about his reckless
behaviour in Jayce’s apartment. Powder responds by lighting up his personal playground with artificial
neon lights and demonstrating her shooting abilities with a rifle toy. She then looks at Vi, who is still busy
with the punching machine and does not respond to his shooting abilities. Powder became agitated and
walked over to the arcade machine, where she began playing.
Fig. 89 Bridge towards the Piltover side.

Space as prop/scene: In the part 1, the structure of the bridge is the primary focus, made in art deco style
with two juxtaposing golden human faces on the top. It is supported by strong steel cables. The deck is
decorated with square art deco designs made of blue, red, and yellow marble and a series of street maps
at the edges of both sides. During the sequence the prop includes Powder’s toy, while Vander’s gauntlet,
dead bodies, broken items, ash, and fire.
In the part 2, the council building, the Piltover landmark, and other significant buildings comprise Piltover’s
skyline with the bright but pale sky. While on the bridge, enforcers have been shown with a revolver.
Organisation and order: In the part 1, the bridge is linear and side lamps are aligned with the bridge. The
entire space, including the axis, structure, and patterns symmetry is reflected. while the Dutch angle alters
the image’s spatial balance. The vertical axis is represented here by the Bridge tower near Zaun. While
horizonatal axis as a deck is covered in dead bodies and broken things, where the Vander and two sisters
are standing. In the part 2, While the Piltover city has a radial organisation, which is briefly mentioned.
This part of bridge is similarly strictly ordered, including the axis, symmetry. The vertical axis here is shown
through Piltover Landmark and the Council building. While the horizontal axis is shown through the bridge,
where the enforcers are standing.
The organisation of the tangible aspects of space is similar to references from the real world. However, in
keeping with the theme, the bridge has been divided into two parts, and vertical elements with theme-
related ornamentation have been added to make the event more meaningful.
Proportion and scale: The sequence the part 1, emphasis more on the vertical tower, which is grand
and dominating. In the part 2, the images reveal the piltover’s authoritative buildings. In comparison to the
human scale, their scale and proportion are enormous and grand.
Colour: The first colour palette consists of red and black tones expressing the violence and conflict in the
frame. While the colour palette part 2, consists of pale yellowish brown, white, blue, and red expressing
the illness as a conflict between two cities.
Light: The illumination within the frame is diffused expressing the illness and disoreintation. Wheares The Fig. 90 Playing area of Jinx and Vi
Piltover buildings are shown in pale natural light, implying that they are not in conflict.

Subtext: The entire sequence associates Powder with Part 1 of the bridge, where she feels familiar
with Vander and her sister in the physically constrained, chaotic, dark and oppressive environment. Vi’s
interaction with Part 2 reveals his rebellious nature against bright, strictly ordered, organised spaces and
enforcer. It is also reflected in the Jinx, who strives for recognition from her sister in the series. Here, the
subtext is trying to associate Zaun with Vander and Piltover with the enforcer’s personality. In addition,
these structures express the symbolic meaning that the vertical members dominate the horizontal
members, causing tension between the two cities represented by the cables.

42 43
 Space as a prop/scene: The main attraction of this place is Vi’s punching machine, which has a slightly
higher-level plinth. The second attraction is Powder’s shooting place when it lightens up with the neon
lights. It shows her skills as a creative person. This is similar to the history of the Industrial Revolution
when making junk playgrounds became popular among children. They made use of industrial materials
such as pipes, tubes, towers, and wood, among others. But the difference here is that the characteristics
of the powder’s place are more similar to those of the postmodern world. The enclosure presents a cheap
Art Nouveau construction method used during the Industrial Era. It is made of cast iron and stained glass,
which creates an asymmetrical pattern.
Organisation and order: The space here is clustered, including its interior. The entire space including
ornamentation is disordered according to its axis, symmetry, and balance.
Punching
Banzo’s Mahcine Jinx’s play area Proportion and scale: The space here is made according to normal human scale, but the distribution of
shop
the interior makes it a cozy as well as congested space.
Colour: The colour palette consists of vivid colours including red, pink, blue and green expressing pleasure,
Arcade machine. contentment and passion (Cherry, 2022).
Light: Artificial neon lights including red, blue, green and pink have been used inside the frame. It expresses
the unnatural nature of the space similar to gaming for familiarization.
Subtext: The space here is more common, unorganised, primitive and artificially lit strengthen by the
enclosure’s characteristics. There is no perfect private space for Jinx. Instead, it is compact, vivid and
exposed to her friends. Her space revealed her identity as a creative person who is physically constrained.
Fig. 91 Plan of the Banco’s hop including Arcade. That’s why she generates rebellion against compact spaces. This is evident in her upcoming event, which
takes place in a confined space and escapes from that place to save her friends.

Fig. 92 Powder interacting with Vi.

Fig. 93 Junk Playground during Industrial Era.

44 45
Sequence 2:
This scene happens after several years of enforcer raids. It starts with the Jinx going back to her old home
and looking around. Then She moved towards Vi's punching machine and came across the plate on the
ground. This plate, which used to be in a punching machine, has Mylo's face carved on it which makes
her think about her difficulties. The camera then moves to her old play area, where the crow is now seated
in his old personal play area. She notices it and quickly shoots it with the real gun. Then she climbs the
plinth, inserts the plate into the punching machine, and begins to reflect on the past difficulties, releasing
her rage onto the punching machine. After punching like a lunatic, she looks at the scoreboard, where
she sees that Vi still has a better score than her. which makes her very angry and she shoots towards the
punching machine.

Punching
Mahcine Jinx’s play area
Banzo’s
shop

Arcade machine.

Fig. 95 Plan of the Banzo’s shop after raid.

Fig. 96 Powder killing crow in her former personal place.

Fig. 94 Jinx visiting her old place.

46 47
Space as prop/scene: Although the elements in the room are the same as before, their state has changed. 4.2.3 Jinx’s place in the ‘ Last Drop’:
The entire area is in disrepair. Furniture made of wood and cast iron is rotting. Whereas dust, cobwebs,
and graffiti are all present in every enclosure. The stained glass is broken, allowing light to enter the space. Sequence:
The condition of Vi’s and Jinx’s place is the same as the enclosure. The sequence begins with a view of the Last Drop Bar surrounded by the neighborhood. The camera
Organisation and order: The space here is clustered, including its interior. The space is disordered in then shifts inside, where Vander happily provides a bear to one citizen of Zaun. Then it moves with that
terms of its symmetry, and balance, including ornamentation. citizen, who later runs into trouble with the thugs. Vander notices this and solves the problem by asking
the thugs where they are standing. The scene then shifts to an extensive view of other citizens supporting
Scale and proportion: The space here is made according to normal human scale, but it has lost its Vander and staring at the Thugs. Behind all this clash, Vander notices that all the kids, including Jinx, have
comfortness. returned. The camera then pans to the underground base of the bar, which is illuminated by the candle. All
Colour: At the sequence’s start, the space had shades of green and dark. Which is changed when the the kids sit on the sofas and talk about their mistakes during the apartment theft. Powder defends herself
powder starts punching the machine, turning the space into shades of red, which denotes the activeness by claiming to be small. The camera moves towards the base’s entrance, where the children notice the
of that space, the memory of Vi is still there. Here the shades of green and black are associated with Vander and remain silent. Vander enters, knowing that the kids blew up the Piltover City apartment. He
uncertainty and the growth of natural chaos. While red expresses love and attachment (Cherry, 2022). begins to question what they were thinking and makes comments about Vi’s leadership and Powder’s
safety.
Light: The combination of direct and diffused natural light coming in through the broken stained glass.
while Vi’s punching machine provides artificial light that has shades of red. It expresses a similar meaning
to colour, where red is associated with love and diffused light is associated with sadness.
Subtext: The Jinx’s Play Area here is dilapidated, rotten, chaotic, and has devolved into darkness, which
is inaccessible to natural light. However, some toys are still present that are no longer important to her. This
reveals that her attachment to this old space has died. Whereas Vi’s place is mostly the same as before.
She reacts with the punching machine to demonstrate her newly gained strength and independence. At
last, she also destroys that place, which means she no longer needed that attachment to her sister.

Fig. 97 Activity inside the Last Drop.

48 49
 Fig. 101 The Exterior view of Last Drop.

Fig. 98 The Last Drop Plan, Ground level. Fig. 99 The Last Drop Plan, underground level.

Fig. 102 View of underground place in the Last Drop.

Fig. 100 The interior of the Last Drop.

Fig. 103 the theme of Kowloon city.

50 51
Space as prop/scene: 4.2.4 Jinx’s creation of artistic space, hideout.
The Space outside gives us the expression of steampunk blended with the Art Nouveau style. Which has
some similar characteristics to the Kowloon walled city. The facade is made of various salvaged cast iron Sequence:
plates and wooden boards. Which is painted orange, yellow and light green. The circular brown nameplate The sequence begins with the Jinx dropping the explosive inside the cliff, shaking the nearby area. At that
has yellow light and the door has an asymmetrical pattern made with cast iron. Inside the bar indicates moment, the camera captures a bottom-up view of the area as it is lit up by the explosive. After that, the
a subdued version of a nightclub. It has an introverted volume where the structure is directed towards camera shifts to show an abandoned airship in all its decaying glory. Multiple Jinx-related objects have
the ground. Which has a limited number of casino tables and furniture made of wood and cast iron. The been added to it. Candles and neon lights light up sentimental objects like Jinx's old toys and Mylo's old
bartender area is made of wood with cheaper gold plating on top. While the underground area is made of couch. Jinx is lying on a tangled propeller at the edge of the cliff. This whole time, she reassured herself
a wood structure which is also used for the garage. The furniture includes salvaged beds, tables, sofas that she had not done anything improper.
and seats.
Organisation and order: The space here is axially clustered and it’s made of two volumes: 1. common
area containing bar and 2. underground. The space is disordered in terms of its symmetry, and balance,
including ornamentation. But there is a presence of axiality which is reflected in the common space.
Scale and proportion: The public area is large and the distribution of the interior makes it somewhat
congested. Whereas the underground area is compact and narrow.
Colour: The space has two types of colour palettes. One is subdued analogues and the other is Vivid
according to the lighting condition. The subdued palette contains more earthy colours such as shades of
brown, yellow ochre and dark green which expresses growth, nature, warmth and simplicity. While a vivid
colour palette contains the relationship of vibrant cyan and magenta colour expresses pleasure, youth and
boldness.
Light: The space has two types of artificial lighting, one from candles and the other from Vivid lights.
Candlelight adds warmth to the space, while bright lights keep the bar’s character.
Subtext: The subdued characteristics of common space, which are more noticeable than vibrant ones
suggest that it handles the explicitness and a community that has learned to live in an oppressive
environment. While the underground is made entirely of subdued materials and illuminated by a candle,
providing warmth inside. which is reflected in the Jinx’s interaction with the space. The event showcases
that she spends more time inside the underground with her friends than with outsiders, which is very
normal at her age. The subtext here conveys that although the space is compact, grounded and introverted
it gives warmth to the character as well as the people of the city.
It foreshadows future events in which the warmth inside transforms into a dark, alienated space and the
entire interior transforms into a flashy one.

Fig. 104 Sequence revealing Jinx’s hideout.

52 53
 Space as prop/scene: :The place itself is an old airship that is perched perilously on a cliff. Here, the propeller
gives the impression of an airship known as Zeppelins, the Hiddenberg that crashed during the Nazi Germany era.
Whether it is similar or not, the form conveys the meaning that it is meant for flying. But has been broken down, and
its metal has been rusted and tainted by graffiti conveying poetic meanings. The private characteristics of Jinx such
as Old toys, Mylo’s couch, and other items that belonged to Jinx are all contained within its three propellers, which are
illuminated by neon tubes and candles. While the majority of the tools in the centre, which were taken from Piltover,
are used to make explosives. The natural topography here can be associated with hell, where natural light is not
available.
Organisation and order: This space has a radial organization, which is revealed through its huge propellers. The
area is ordered in terms of its axis. However, its balance and symmetry are slightly tilted on the cliff, which is uncertain
as well.
Scale and proportion: Compared to the character, the space inside has limited space. One mistake can lead any
user to fall into an outer volume (cliff) which is huge and its depth is ambiguous.
Colour: The colour palette includes dark and vivid violet colours indicating the pleasure, violence and mysticism
inside the place (Cherry, 2022).
Light: This place is highlighted by the neon lights tubes that are overpowering the candle lights expressing that
pleasure and autonomy overpower the warmth.
Subtext: The surrounding cliff area here is dark and appears to be far from the reach of natural light, which suggests
that it is out of the reach of Piltover authority. The place inside suggests that it has a completely artificial and turbulent
character, similar to its inspiration of form. The space here is radial, where its elementary interaction as a propeller
is unstable. It indicates the mental condition of Jinx at the time as well as the city, that is uncertain under the control
of Silco.

Fig. 105 the details of Jinx’s hideout.

Fig. 106 shows the airship known as Zeppelins.

54 55
5. Comparative Analysis:

Places associated with the character’s history:
Both characters’ backstories reveal their early familiarity with various aspects of the place. In Jayce’s
case, the sense of familiarity is achieved through the representation of the European Axis Mundi and its
natural elements associated with the real world. The first natural place is chaotic, restrained, dark, and
unbalanced. The second natural place, on the other hand, is more open, bright, and naturally balanced.
The subtext of place here gradually builds and prompts viewers to consider Jayce’s places according to
his interaction with the spaces, which activates his personality as a curious boy and makes him insecure.
In Powder’s case, familiarity is achieved through the horizontal and vertical axes in the two parts of the
bridge. In Part 1, the vertical axis is represented by a bridge tower, which has a dominating scale with
motifs of juxtaposed humans. While Vander and the two sisters stand on the horizontal axis, which is a
deck covered in dead bodies and broken things, Part 2 depicts the vertical axis through Piltover Landmark
and the Council Building, which has power and authority. The horizontal axis is represented by the bridge,
where the enforcers are standing. It clearly denotes the bridge’s oppressiveness and dominance, which
are associated with the two cities. Her interaction in this event with the orderly, dominating space creates
a negative image of those characteristics. But she comforts herself in a dark, disorderly, or physically
confining environment, making the audience associate her with that type of environment.
Character’s personal space:
In Jayce’s case, familiarity is created by the Victorian Art Deco design and the early
19th-century–inspired props of scientific equipment. It prompts viewers to consider
how his interactions at a young age influenced his development of more imaginative
and idealistic thinking, which is blended with the public characteristics of Piltover.
In the case of Powder, familiarity is achieved through the use of props that evoke both a contemporary
video game arcade and a junk playground from the industrial era. It makes the audience think about his
personality, which has not yet developed but comes from familiar places. such as the more disorganised,
unbalanced, dark, and constrained architectural style of Zaun. That is similar to her rebellious and narrow
play area.
Character’s creation of artistic space:
Both cases in this section demonstrated the character's naturally developed understanding of the location,
emphasising their basic interaction and network of places within their artistic space. As a result, both
spaces were designed using radial organisation, which conveys different meanings to the two characters,
as well as space.
In Jayce's case, the uppermost form expresses the meaning of time and space. While the facade gives the
impression of futurism, constructivism as well as cubism. The uppermost series of doors in every direction
gives that impression clearly. This gives us the impression of a new sense of place from the world’s
point of view (outside space), which is bright, clean, creative, innovative, and enormous. While the space
inside reflects how it’s manipulated under strict orders and an industrial approach that uses gemstones
to achieve personal goals. This is Similar to the historical context of the Eiffel tower which inspired this
cinematic space.
Jinx's form is an airship perched precariously on the edge of a cliff. In this instance, the propeller
resembles a Zeppelin. Its shape suggests that it is designed for flight. However, it has deteriorated and
its metal has rusted and been tainted by graffiti, indicating that it has a completely artificial and controlled
turbulent character. Here, the space is radial, and its basic interaction as a propeller is unstable. The
private characteristics of Jinx such as Old toys, Mylo’s couch, and other items that belonged to Jinx are all
contained within its three propellers, which are illuminated by neon tubes and candles. It indicates Jinx's
mental state at the time as well as the uncertainty of the city under Silco's control. The surrounding cliff
area is dark and appears to be beyond the reach of natural light, indicating that it is beyond the authority
of Piltover.

Character’s position in the public place:

In both cases, the public character of the space sets a different kind of mood. Jayce’s space reveals
the public function and cultural value, both of which are well-presented on the inside and outside. The
extroverted form here resembles The Victorian Gothic and Art Deco facade of the Mumbai High Court.
However, the materiality resembles Paris and New York architecture. The facade has various Art deco
characteristics that are associated with craftsmanship, art, innovation, economics and politics. While the
enclosure’s degree changes depending on the situation, revealing its manipulative two sides. It became
too strict and overwhelming for Jayce in the event, indicating its authoritative power in the space.
While in the case of Powder, the space reveals two types of characteristics: vivid and subdued, which
are inspired by Kowloon City. The more subdued characteristics of the common space here, as opposed
to the more vibrant ones, imply that it deals with explicitness and a community that has learned to live in
an oppressive environment. The underground is made entirely of subdued materials and illuminated by
a candle, providing warmth inside, which is reflected in the Jinx’s interaction with the space. The event
showcases that she spends more time inside the underground with her friends than with outsiders, which
is very normal at her age. The subtext here conveys that although the space is compact, grounded, and
introverted, it gives warmth to the character as well as the people of the city.

56 57
6. Conclusion:

The subtext of the space in the series excels at using the

private and public characteristics, order and elements of
the place at a specific event in this series. It employs
a variety of methods that are similar to those used in
the real world the make the sense of place inside the
cinematic images. For example, using the various
phenomena, formation of the cities and architectural
styles associated with the industrial era conveys many
social and poetical meanings. It engages the audience
with the familiar real-world context that has a wider
historical background.
It also strengthens the character’s early development,
which connects to the character’s stronger identity at
the conclusion, which is strongly connected to the city
to which they belong. Where It reveals the character’s
immediate perception of space at a young age, which
later developed through cognitive ability and at last led
to the establishment of creative space. For example, it
began with the physical constraints of natural space, as
in the case of Jayce, and grew into the invention of the
hex gem and the establishment of the Hex gate tower.
Which represents man’s rebellion against the natural
environment. This type of natural thinking can be found
in every human. where the client, as a human, has
developed certain natural thinking and uses his power
of ownership to create something meaningful for him
rather than the architects.
The research helped me understand the various way of
seeing the cinematic image, according to perception as
well as cognition. Like how the director utilises it both to
make the story comprehensive and connected with the
personal level. Such as remembering specific locations
associated with the character and how this influences the
user’s behaviour and personality. The advantage here
is that it allows me to fully comprehend two characters
who appear to be similar at first. However, this varies
depending on the surrounding environment. That gave
me many hints that they are similar to each other at
certain events, according to their behaviour, but they
are in different environments. As a result, the outcome
in the space varied depending on the environment.
Powder and Jayce, for example, are both innovative
and creative individuals. However, the way they express
that in the architecture is very different. Jayce’s creative
thinking has established order, whereas Powder’s is
more free and rebellious. Which later grew to a more
extreme level.

58 59
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Fig. 66 Fig. 94- Fig. 97

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Fig. 67 Fig. 100

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Fig. 75 SBS PopAsia HQ. (2016, May 29). Video: Take A walk inside the Kowloon Walled City themed arcade in Japan. SBS
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Fig. 77 Lee, C. (2021). Artstation.com. Fortiche Production, Riot games. Retrieved November 25, 2022, from https://www.
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