By Marcia Feuerstein, Gray Read
How do constructions act with humans and between humans within the performances of existence? This selection of essays finds a deep alliance among structure and the appearing arts, uncovering its roots in old tales, and tracing a continuing culture of inspiration that emerges in modern perform. With clean perception, the authors ask how structures practice with humans as companions, instead of how they appear as formal compositions. They specialise in activities: the door that gives the opportunity of creating a dramatic front, the window that frames a scene, and the town road that's remodeled in carnival. The essays additionally ponder the layout procedure as a functionality improvised between many gamers and provide examples of contemporary perform that integrates theater and dance. This assortment advances architectural concept, heritage, and feedback through offering the lens of functionality so one can interact the a number of roles that structures can play, with no lowering them to useful different types. through casting structure as spatial motion instead of as static shape, those essays open a promising road for destiny research. For architects, the essays suggest integrating functionality into layout via playful explorations which may demonstrate severe relationships among humans and position, and between humans in position. Such practices enhance an architectural mind's eye that intuitively asks, 'How could humans play out their tales during this place?' and 'How may perhaps this position spark new stories?' Questions equivalent to those stay within the middle of all the essays offered right here. jointly, they open a place within the intersection among lifestyle and staged functionality to reconsider the function of architectural layout.
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Extra info for Architecture as a Performing Art (Ashgate Studies in Architecture)
To cast buildings as players in urban life suggests that their primary value is not in what they are but in what they do, as acts of imagination in and of the world. This shift from identity toward action turns away from treating buildings as autonomous objects to be seen or experienced by well-behaved viewers. The thing-ness of buildings seems to fade into the flow of events that subsumes them with people, systems, and phenomena. Consider a street market, for instance, which changes from week to week and season to season.
In the first, “Designing Performance,” authors consider the act of making architecture. They focus on how architects work behind the scenes in the process of design to create entities that perform effectively either on stage or in daily life. This process reveals a rich negotiation between many actors, both human and non-human, that continues in the performance of the finished work. The second group of essays, “Performing Design” explores how buildings perform in the city with and among people.
This interweaving of lived time and space, together with its bearing on significant experience and the construction of meanings, tends to be ignored by conceptual and objectifying design practices. I will endeavor to unearth alternative possibilities by following the analogy between architecture and the performing arts that happens to be present in the depths of our Western architectural traditions. Since performance is by definition a temporal event, whose meanings are therefore impossible to paraphrase beyond their experience, this framework offers a fertile ground to meditate upon architecture.