3 / thesis statement / explanation of concept 4 / research analysis
6 / zones7 / floor plans
8 / exterior skin9 / first floor - pedestrian walkway
10 / lobby / ramps12 / interior elevation
14 / floor three - studios15 / floor three - video gallery
16 / floor three - transitional bridge17 / floor three - performance space
18 / presentation banner
tab le of contents
This project was the recipient of the 2007 Harrington College of Design’s Dean’s List “Best in Show” Award
thes isThe broad spectrum of movement qualities ranging from pedestrian to professional, is expressed throughout the architectural and design components of this Contempo-rary Dance performance, and training center.
Historically, conventional performance spaces function to present the trained and refi ned movement of a performer to a static and observing audience. The movement of users in-between the various zones within the space - pedestrian, professional and interstitial - acknowledges, as well as de-constructs the hierarchy of movement qualities typically found in a performance center
3333333333333
Plate 1: The Theater of the Bauhaus: Oskar Schlemmer
The essays of Bauhaus Theater director, Oskar Schlemmer explored the human figure and its relationship to space. Several of his drawings (seen in the analysis to the right) illustrate the transformative potential of human movement. From here is where I began to hypothesize about movement in terms of a continuum
research analysis
Plate 1 Plate 2
Plate 3
Plate 2: Photographs of Muybridge
The work of English photographer Edward Muybridge illustrates various sequences of movement which I later use as tool to prove my hypothesis, as well as develop a visual vocabulary that is refer-enced throughout the space
Plate 3: Research Analysis
This document was created as a graphic representation of my research. The idea of pedestrian and performance movement has been established, and ideas about how to implement these concepts architecturally are beginning to formulate.
4
Multiple disciplines of performance and art are studied as a means to formulate the concept
In order to determine a visual distinction between pedestrian and performance style movement, photographs showing various movement series were compared, one demonstrating very simple, pedestrian movement (Plate 1), the other, a complex dance sequence (Plate 2). To distinguish the difference between the two, red lines were traced over the core and limbs of the subjects bod-ies, resulting in a clear, graphic representation of both movement styles. The result of the line pattern extracted from the pedestrian movement series in Plate 1, is quite regular, simple, and non-stylized. In contrast, the line pattern created by the dance movement sequence in Plate 2 is complex, dynamic, and stylized.
On the graphic below (Plate 3), both results are placed on either end of the movement con-tinuum with an interstitial or transformational zone in between. The continuum informs the placement of programmatic zones in the space, while the visual vocabulary created by the line patterns influence the design of architectural and design elements
visual vocabulary
pedestrian professional
simple
non-stylized
complex
stylized
qualities of movement continuum
( interstitial )
Plate 2
Plate 3
Plate 1
5
information gleaned from the research analysis informs the creation of a continuum
several programmatic zones are created to express the movement continuum.
zones
interior elevation
exterior elevation
plan
6
plans reflect programmatic zones established by diagram
floor plans
floorplan floorplan (w/zones color coded)
floor one
floor two
floor three
7
an architectural expression of the movement continuum, the exterior skin’s facade highlights the movement of its users
exterior skin
A translucent pedestrian walkway leading to the main entrance estab-lishes the fi rst fl oor as the pedestrian zone. Enveloped in a translucent “glass box”, those within have the opportu-nity to observe pedestrian movement on the outside while simultaneously be observed as the pedestrian com-ponent of the facades three zones.
A semi-translucent poly-car-bonate material along with strategic lighting on the walls of the second fl oor dance stu-dios allow the silhouettes of practicing students to be seen from the outside the building. Silhouettes, ephemeral by nature, capture movement that falls within the transfor-mational or interstitial range of the movement continuum
The third level, representing the most refi ned and sophisticated movement on the continuum is also the most technologically sophisticated of the three lev-els. Pixilated, abstract video (to avoid a commercial appearance) project a dancer’s movement across the length and width of the third fl oor. These streaming images contribute to one of the main design objectives; to use human movement as a means to create a facade that appears to be in constant motion
8
translucent on both elevations, the pedestrian walkway and provides both an “urban stage” as well as observation space for pedestrian movement.
first floor - pedestrian walkway
The purpose of the pedestrian walkway is both function-al as well as instrumental in the architectural expression of the movement continuum.
The existing building for this proposed space stands at the corner of Madison and State Street in downtown Chicago. A highly traveled block by both professionals and tourists, traffi c patterns show that many already cut through this existing space (currently retail) for shelter in extreme weather conditions. The pedestrian walkway as proposed, maintains this function.
Conceptually, this space establishes the “pedestrian zone” on the exterior and interior elevations of the building (see diagram above). Those inside the walkway, are able observe the everyday, pedestrian movement of people in an urban setting. and visa versa. In a sense, to be observed as a pedestrian repositions them into the role of the performer. This challenges the conventional notion that only trained, professional movement is de-serving of an audience in a performance setting
you are here >
9
the interior elevation expresses the typical hierarchy of movement types (pedestrian/intersti-tial/performance) however, a structural stair/ramp system allows users to move freely inbe-tween levels, deconstructing the segregation of movement types visually and programmatically
lobby/ramp
Left: Diagram illustrating placement of zones on the interior elevationBelow: Conceptual sketch of ramp/stair
10
The graphic extracted from the reference photographs (see page 5) inform the design of the sculptural stair/ramp. From the fi rst to second fl oor, the freqency of risers, standing areas, and depth of treads is repeti-tive and rhythmic. From the second to the third fl oor, steel components extending from the underside of each tread become increasingly obtuse, producing an angular and dynamic form. The result embodies the visual vocabulary of the movement continuum, while functionally, it allows users to travel freely throughout the space, and between zones.
Top: Conceptual sketch of stair with glass riserBelow: View of ramp/stair from fi rst fl oor
pedestriansimple / non-stylized / rhythmic / even
pedestriancomplex / stylized / dynamic / angular
11
view of interior skin and sculptural ramp; both expressions of movement continuum
interior elevation
12
The three level interior elevation expresses the hierarchy established by the movement continuum, however the stair/ramp breaks it down enabling users to move freely in between
13
Right: Conceptual rendering of studios and public observation space Far Right: Additional circula-tion space along the perimeter of the building promotes light penetration and encourages the use of public space
semi-transparent poly-carbonate walls in the practice studios allow the silhouettes of dancers in practice to be observed. The murky silhouettes embody the interstitial realm between seen and unseen, and pedestrian and performance movement
floor two - studios
you are here <
14
The full scope of the movement continuum is experienced by the physical journey us-ers take through each zone to reach the entrance of the main performance space
floor three - video gallery space
A great deal of celebrated Modern and Contemporary Dance performances have had the benefit of taking place after the development of the film. Projected onto a series of partitions (their shape influenced by the continuum), users now have the opportunity to view them. Not only does this provide a function for the space when a performance is not happening, but it also serves as an educational tool, giving histor-ical context to a current performance
you are here >
15
a glass bridge serves as the interstitial, or transitional space between the pedes-trian and performance zones (see plan view). Users can watch others make the transition from the realm of pedestrian movement to that of performance.
floor three - transitional bridge
Right: Subtle, streaming images of silhouettes displaying movement associated with performance are projected onto the glass; wrapping around, and across the glass bridge. Metaphorically, this intertwines both ends of the movement continuum. - the spectator (pedestrian), and performer (professional).
Above: View of bridge in balsawood model
Above Right: Diagram illustrates placement of zones in plan, specifically the convergence of all three at the transi-tional bridge
16
performance spacemirroring the movement continuum, ceiling components progressively
become more angular and dynamic as you move towards the stage
pedestrian professional
simple
non-stylized
complex
stylized
qualities of movement continuum
( interstitial )
Plate 1: movement continuum diagram Plate 2: visual vocabulary used throughout the space refl ects the transformation the human body makes in between the two ends of the movement spectrum. Pho-tographs of various movement sequences provided a way in which to illustrate this conceptPlate 3: diagram illustrating the placement and shape of ceiling components in the main performance space. Not only do the components gradually change in shape to refl ect the continuum, but also mirror the typical type of movement occurring below; pedestrian (spectators) and professional (performers)
Plate 3
Plate 2
Plate 1
17
presentation banner
18
performance
interstitial
pedestrian
interior progression parti - planprogramatic stacking plan interior progression parti - elevation
The wide spectrum of movement qualities including everyday pedestrian movement, the trained movement of the dancer, as well as the transfor-mation that takes place in between is expressed in the architecture and
design of this contemporary dance performance and training center
pedestrian professional
simple
non-stylized
complex
stylized
qualities of movement continuum
( interstitial )
iithesisthesisthesthhe
silhouettes of dancers in practice are seen through the exterior walls of the studios - The shadow of a body embodies the interstitial realm between seen and unseen, and pedestrian and performance movement
original presentation of content
19
performance screening gallery
glass walkway to main performance space
projected video of dance wraps around glass walkway lines of pedestrian and performance movement diagram expressed in ceiling
transparent tube transports users from pedestrian and interstitial zones into the main performance space
pedestrian and performance movement can be viewed simultaneously - graphics give visual cue as to what will be seen in main performance space
shape of ceiling modules becomes more dynamic and irregular as they progress towards the stage
The movement of individuals in between various zones - pedestrian, professional and interstitial - defines as well as deconstruct the hierarchy of
movement qualities typically found in a performance center
conccon
