The Narratjve of Dance and Space: The intersectjon between dance movement and architecture to create spatjal temporal experiences. Rejectjng Architecture as Pure Form: Looking at a New Medium of Exploratjon “…Architecture is never autonomous, never pure form, and similarly…is not a matuer of style and cannot be reduced to a language.” Bernard Tschumi, Architecture and Disjunctjon, 1. “…Contemporary culture has a tendency to objectjfy a vast quantjty of systems…by depriving them of their temporal dimension. As a result, we have grown accustomed to regarding objects as tjmeless and our conceptjon of space has been formalized.” Olafur Eliasson, “Your Engagement has Consequences”, 2. “Today we can almost envision a new type of design…where the main principal is the clearing away of the willful and hubristjc obstructjons, the viscositjes, the residues, and the confusions that historically have been place in the way of design actjon by for - malisms of traditjon and simple prejudice.” Sanford Kwinter, “African Genesis (A Presentatjon)”, 36.
Dance and Movement: New Medium for Spatjal Exploratjon “… the emphasis given to movement found in dance the elemental means for the real- izatjon of space-creatjve impulses for dance to order space.” Bernard Tschumi, Architecture and Disjunctjon, 40. …if people are given tools and made to understand the importance of a fundamentally fmexible space…we could call our relatjonships with space one of co-productjon.” Olafur Eliasson, “Your Engagement has Consequences”, 3. “The billowing of the canopies has the efgect of extending the surface forms into tjme, laying down memory trails and antjcipated movements while registering the irregular tensions and relaxatjons that, during a period of rotatjon, have been traversed.” Sanford Kwinter, “African Genesis (A Presentatjon)”, 30.
Timeline: Sources and Precedents Tino Sehgal, “The Kiss” Ronit Eisenbach, “Placing Space”
Frame 1A: Dance Movements v. Everyday Movements
Frame 1B: The Interface Between a Dancer and Space The fjrst column is difgerent forms of dance from mod - ern to ballet. The second column is mapping the point of intersectjon between the dancer or dance space. The third column is a 3-D mapping of either the space creat - ed by the dancer or the dancer itself to show the point of co-productjon.
Frame 2: Program Study Through Emotjon Mapping of a Dancer and Audience
Bibliography Bronet, Frances. “Design in Movement: The Prospects of Interdisciplinary Design”, Journal of Architectural Educatjon 53 (1999): 97-109. Eisenbach, Ronit. “Placing Space: Architecture, Actjon, Dimension”, Journal of Architectural Educatjon 61 (2008): 76-83. Eliasson, Olafur. Your Engagement Has Consequences: On the Relatjvity of Your Reality. Berlin: Lars Muller Publishers, 2006. Kwinter, Sanford. “African Genesis (A Presentatjon).” Assemblage. No. 36 (Aug., 1998), MIT Press, 21-41. Lavin, Sylvia. Kissing Architecture. Princeton, NJ: Princeton UP, 2011. Tschumi, Bernard. Architecture and Disjunctjon. Boston, MA: MIT Press, 1998.
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