Tuesday 8 October 2013

Architecture and Dance: A sensuous experience

Dance is movement that is physical, cultural, social and psychological. It has always been an essential part of human life that is used to express meaning or to communicate a message. It is a part of celebrations and ceremonies and is a non-verbal expression that communicates with people. Dance as a discipline shares similar creative aspects with architecture. They both use and define space. Dance is movement of the human body through space over time and architectural spatial qualities are experienced by the human body through movement over time (Huang, 1991).
“Time in dance establishes rhythm. Time in dance gives order to motion. Dance may be perceived as ephemeral at its time of performance, but it is through its making, conceptualization, process, medium, and product that it becomes temporal. Dance transcends time through experience and memory.” (Huang, 1991)

“Time in architecture reveals spatial qualities. Time in architecture allows for generosity and growth. Architecture transcends time through the collection of memories that deposits itself in archetypal spaces.” (Huang, 1991)

Although similar, dance and architecture seem to be in contrast with each other. Dance is about movement while architecture is more about being static. Dance has qualities of rhythm, dynamism, liveliness and can appeal to the emotional side of the observer. Both architecture and dance require movement, time and space (Huang, 1991). Both these disciplines have evolved over time and moved away from old concepts of space and form. Architecture now embraces dynamism and rhythm, while dance embraces the chaotic and the random (Christov-Bakargiev, 2013).


By exploring how people move through the site over time and linking each space to the qualities associated with dance and also providing opportunities for different kinds of experiences will give a link between the two disciplines. Observing the creation of dance, and importing choreography into architecture allows for the creation of programme that, like dance, uses chance and unpredictability (Huang, 1991). This will allow the architecture to in-cooperate energy, intent, suspense and direction.

‘Architecture designed via space frees the building of formal considerations; it is through the negative element, the space, that the architectonic form becomes meaningful and defined (Chang, 1981).

Dance can be private for the individual or can be done for an audience. Playing on the issues of transparency immerses the observer in the art of performance and these will be tested in the performing arts theatre and school. The project will explore informal performance spaces for the public. The performing arts theatre and school will provide an opportunity to employ spatial concepts used in dance to develop and design the architectural space. Through doing this, this can open a new dimension in architecture. This will in turn allow the performances to define the space. 

Elements of dance 

Rudolf von Laban was a very influential dance instructor and theorist of the twentieth century who believed that dance was not subordinate to music. He identified the principles inherent in movement which led to the development of a system known as the Laban Movement Analysis.
He classified the characteristics of choreography into elements that can lend themselves to the process of designing buildings within their context. Elements such as shape, space, timing and dynamics can be played upon to open up the dialogue and breaking through traditional design process to provide richer experiences that enhance the performance. 

Shape is connected with how the body is flexible and responsive. It can be about straight, curved, jagged or angular lines. Levels, symmetry, asymmetry and scale are key concepts that will be incorporated in the design of the theatre and school. Space deals with the geometric forms of the body and these include horizontal and vertical patterns. Timing will be used to determine the rate at which people move through the site and the key experiences they will go through. Dynamics in dance is the quality of movement, uniqueness, richness and power. It brings together all the elements such as weight, time, space and flow to achieve it. The quality of the spaces in the theatre will play an important role and the transition between these spaces creating a unique experience in each space. Capturing views of the site and aspects of the performance from official productions to private rehearsal. 

References 

Chang, A., 1981. The tao of architecture. 1 ed. New Jersey : Princeton .
Christov-Bakargiev, C., 2013. Dance and Architecture. [Accessed 29 September 2013]
Available at: http://thinking-in-practice.com/dance-and-architecture
[Accessed 12 September 2013].
Hanna, J., 1987. To dance is human. 2 ed. Austin : University of Texas press .
Huang, E., 1991. Body in space: The sensual experience of architecture and dance, Melbourne: Massachusetts Institute of technology.
Moeller, M., 2006-7. National building museum, the stories of architecture, engineering and design. [Accessed 2 October 2013]
Available at: http://www.nbm.org/about-us/publications/blueprints/architecture-dance.html
[Accessed 2 october 2013].
Morell-Perea, D., 2006. Architizer. [Accessed 2 October 2013]
Available at: http://stat2.architizer.com/en_us/projects/view/uiuc-graduate-dance-laboratory-i/24017/#.UlJLXYanofg
[Accessed 6 October 2013].
Springer, 2010. Architecture linked. [Accessed 2 October 2013]
Available at: http://architecturelinked.com/profiles/blogs/calatrava-and-the-nyc-ballet
[Accessed 6 October 2013].

Image References

01_ Image from http://apkconcepts.wordpress.com/category/architecture/ , accessed 01.10.2013
02_ Image from http://c-monster.net/2011/06/10/roof-piece//, accessed 01.10.2013



Monday 7 October 2013

Project precedents and inspirations

Santiago Calatrava at New York City Ballet
Architect Santiago Calatrava collaborated with a ballet choreographer to design the set of the 2010 spring festival called Architecture of dance. This project demonstrates the possibilities of overlaps in disciplines. The design takes shape in a massive arch that spans the stage. It responds to the vibrations made by the dancer’s feet hitting the floor. The arch opening allow the dancers to perform around, in front and behind it. The structure was inspired by the nature of ballet appearing to defy gravity. The structures do not sit on the ground but are suspended giving the appearance of dancing in the air (Springer, 2010).





Contemporary dance hall area interior design project by Maria Yasko 
This is a dance hall that was inspired by dancing figures designed by interior designer Maria Yasko.










The dance laboratory

 The dance Laboratory is a cross between architecture and dance that utilises an old abandoned space in a building at the University of Illinois at Urbana- Champaign. The installation is used as part of performances but is also used as a barrier between the dancers and exposed radiator in the space. The wall can be reshaped or moved for pedestrian and window access as well as a seating area (Morell-Perea, 2006).





References 

Moeller, M., 2006-7. National building museum, the stories of architecture, engineering and design. [Accessed 2 october 2013]
Available at: http://www.nbm.org/about-us/publications/blueprints/architecture-dance.html
[Accessed 2 october 2013].
Morell-Perea, D., 2006. Architizer. [Accessed 6 October 2013]
Available at: http://stat2.architizer.com/en_us/projects/view/uiuc-graduate-dance-laboratory-
Springer, 2010. Architecture linked. [Accessed 6 October 2013]
Available at: http://architecturelinked.com/profiles/blogs/calatrava-and-the-nyc-ballet
[Accessed 6 October 2013].

Image References

New York city ballet
02_ Image from http://www.yellowtrace.com.au/2010/09/14/architecture-of-dance-set-design-by-santiago-calatrava/, accessed 06.10.2013
03_ Image from http://www.yellowtrace.com.au/2010/09/14/architecture-of-dance-set-design-by-santiago-calatrava/, accessed 06.10.2013
04_ Image from http://www.yellowtrace.com.au/2010/09/14/architecture-of-dance-set-design-by-santiago-calatrava/, accessed 06.10.2013

Contemporary dance hall area interior design project by Maria Yasko
02_ Image from http://www.behance.net/gallery/Contemporary-dance-hall-area-design-project/459060/, accessed 06.10.2013
03_ Image from http://www.behance.net/gallery/Contemporary-dance-hall-area-design-project/459060/, accessed 06.10.2013
04_ Image from http://www.behance.net/gallery/Contemporary-dance-hall-area-design-project/459060/, accessed 06.10.2013
05_Image from http://www.behance.net/gallery/Contemporary-dance-hall-area-design-project/459060/, accessed 06.10.2013
06_ Image from http://www.behance.net/gallery/Contemporary-dance-hall-area-design-project/459060/, accessed 06.10.2013
07_ Image from http://www.behance.net/gallery/Contemporary-dance-hall-area-design-project/459060/, accessed 06.10.2013
08_ Image from http://www.behance.net/gallery/Contemporary-dance-hall-area-design-project/459060/, accessed 06.10.2013

The Dance Laboratory
01_Image from http://www.archello.com/en/project/dance-laboratory-1/954924/, accessed 06.10.2013
02_ Image from http://www.archello.com/en/project/dance-laboratory-1/954924/, accessed 06.10.2013
03_ Image from http://www.archello.com/en/project/dance-laboratory-1/954924/, accessed 06.10.2013

04_ Image from http://www.archello.com/en/project/dance-laboratory-1/954924/, accessed 06.10.2013




Saturday 5 October 2013

Bodies in space

Getrude kurath describes dance as rhythmic movement having as its aim the creation of visual designs by a series of poses and tracing of the patterns through space in the course of measured units of time, the two components, static and kinetic, receiving varying emphases (as in ballet) natya, and modern dance) and the being executed by different parts of the body in accordance with temperament, artistic precepts and purpose (Hanna, 1987, p. 21)


The selection of videos below shows the differences and the qualities of a solo dancer as compared to a group of dancers and how they interact with each other. Form, timing and definition of space are important aspects in all three of them. I am mostly interested in the idea of bringing rhythm, chance and unpredictability into architecture that develops as the choreographies develop and become complex. Viewing the three aspects of the performing arts theatre and school, learning and teaching, administration and performance as three bodies has the potential to create intersections and tensions in the built form.


The solo dancer
 


The solo dancer uses the whole stage. She is conscious of the space around her but she is the focus of the piece. The motion is energetic, yet soft. She has moments of inward reflection that are contrasted by the burst of expressive movement.

Three dancers

Similar to the solo dancer, the three are aware of the limits of their surroundings. Although they are synchronised there is a hierarchy with a leader who is more articulate and pronounced. The piece shows both direct and sustained motion with makes it both dramatic and bold. The piece shows elements of repetition and pattern making and symmetry. 

5 individual dancers

The third piece involves five dancers that use the same language yet they are not synchronised. It seems almost individualistic and unpredictable but it is evident that they are aware of their surrounding and each other. Space definition results from the way they interact with each other creating both a sense of tension and support. The final forms give the impression of consolidation, of togetherness.
Through borrowing these elements, the performing arts theatre will explore the unpredictable to immerse the theatre goer and the students in the art of performance in both the landscape and the built form and also seeks to answer the question: Can space be transformed by the way that people occupy it? 

References 
Hanna, J., 1987. To dance is human. 2 ed. Austin : University of Texas press .
Mywaydance, 2013, ‘James Blake- Limit to your love contemporary workshop by Galina Peha, video,
Youtube, 11August , viewed 28 August 2010, http://www.youtube.com/watch?v=FWCmEe0SlX8
Mywaydance, 2013, ‘Ayub Ogada (Kenya) - Kothbiro contemporary workshop by Jenya Karyakin, video, Youtube, 11August , viewed 28 August 2010, http://www.youtube.com/watch?v=c4USL6IVTBo
Mywaydance, 2013, ‘Rachael Yamagata - The Only Fault contemporary choreo by Anya yedynak- Dance centre Myway, video, Youtube, 11August , viewed 28 August 2010, http://www.youtube.com/watch?v=c4USL6IVTBo