jennifer mueller
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john defazio
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redbank gorge, Alice springs, N.t, Australia
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T RPOR L AI S IN IONA
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sites ular te p o o ess p rem the l ing it a site, f o e e k ce t h r t is on s, ma This tourist n to pla x4 expe . to catio ya4 area gh lo ended b om the u o en fr m com as re
DANCE IS AN ARTFORM. “ART CAN GO PASS THROUGH WHERE OTHER THINGS CANT... YOU CANT HAVE BARRIERS BECAUSE It Breaks Through Your Prejudices; BREAKS THROUGH
EVERYTHING THAT YOU HAVE AS YOUR MASK.”
- MALLIKA SARABHAI
healin
g proc ess
m a r g pro
t c a r abst
ace a sp g n i at we y cre porate, e B . l fu to eva e onc auti y be judices of thos ith. l e u w e ents uniq ork d pr s are orms an e movem ies to w e r u Cult cietal n with th ent bod r o ft diffe for s only le e r a
3
HumaAnftser arr can aiv p ing the is jo it usrondeiffi y via 4pxrecaiat te aratirfoport, c s btheea tr u lt site 2.5 fo4 ca van in r it hours a r ursato accepotrdther utya,vseolerww hyill w osto a y. R e dre accessib le with fromedubs aanskbeGaourtig iffacehretnhte all whe e l to on o?ly el drive fuis vehicle s.
case studies: anna halprin pedagogy & outdoor dance deck
concepts:
igned as detos force w e n o e ing st t angnl d enjoy stepp ifferenw a “Eachslightly dlo do n Brack at a user to s w -Mark the garden.” the
Japanese stroll gardens
VARIED WALKWAYS
WALKABOUTT JJOURNEYS OURNEYS
CONTROLLED ONTROLLED VANTAGE
ARCHITECTURE & DANCE COLLABORATIONS: TESSARACTS OF TIME BY STEPHEN HOLL & JESSICA LANGE
‘Tessera c as the s ts of Time’ ex p hared p assion b lored light realms telling t of architectur etween the e he stor y in fou and dance, r pa the typ es of ar rts using chitectu re
process drawings
400 l 300 l 200 l 100 l
.y
.y
.y
.y
5
movement study
Than Dance k you to the m Ensemb e le that t mbers of the D ook tim rexel e schedu les to m out of their Coralie ove wit Franc Alexand ra Balla ois, McCarry P h me: a nce & P auline M pula, aiura
Merm Special thanks to vely photos for taking such lo
MODELS
Specia Aubrie l thanks to my Lincks for help friends Deann ing me a Garrid with m y final m o and You tw odel. o are th e best!
7
NECK (ACCESSORIES) WAIST (APRON)
S
|| || ||
R
A MSCAP
fall quarter
HEAD (CROWN/SCARF)
KNEE (SKIRT)
FEET (SHOES)
NAGYKUN
MOLDVAI
KALOCSA
THE MIRROR
LONAI KOLOZSVAR (VARIATIONS)
e c c i n a g d a k m l faos
n ye,ssigo neadudt asned a b r s corliot ityh,o rairatl,fo egaicocneaplt poion?g e a t cia nduers, tro ert.isfutelpt n epsr,em m a p u m gefor t a eau s agceu,lt e upserafsobr dopting a. lknscocang odfiffi o f a a n h n t n o m eans I Humreviesailti soitioen pers n offro old e hy poiffs er t tume m arw al d os soci a folk c o t in
e c n a d
The God of Truth is in my upright spine. The God of Love is in the Heart's rhythmic beating. The God of Wisdom lives in my conceiving mind. . . . The God of Beauty is revealed in my harmonious body.”
status
control
-ruth st. denis2
||
religion
E C c N i A g D a L A m C I s S a S A e L daCnc
itos f afonrce o g t r e l a r euts thaetee tporef ci ancudltcafom radss u p o a usa rceawn ndceiffi tow lleatngs couisrtitdsao cnttiofnro, m voe?.” “HBuam e nwhy pifferefre utisftuslttroi ) a e p o e au (1996 Eurtyo, s imoaste d nbeem beausencet putltthh everyo nowitz i e c reptro a whic -Rab
eferences
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9
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E C c N i Ag D a N m R E s D a O e M nc
itos f kfoinr g , a t e r r a eb unse secthiaet uthltefospr i e a r w p giffiocf w urasnags nceap nnsdcaan enitabsolind afrnoem r e a d on?d s o M , thhye i daiffnecreerns t etsifsuivl etoa l. Humrsoetw r u a o s s p he cty, givoese e ebxea motion bteauwhceicpht thion to b e c t to a of mo
“There is an inhere nt connection that we all
have to dance and I try to h peo
ple reconnect to tha -Anna Halprin (Int t.” erview with Jen & Parker 2017)
ancien
t Gr
pt t egy
n
ancie
“D “Dance doesn’t relate elate to nature, wwe ARE nature.” -Anna -A AAnna Halprin (Interv (Interview, view, 2017)
roman empire
today
san bushmen ca
“We first begin to see the shaping of spaces through da prehistoric times, nce as early as through cave drawi ngs that depict cer emonial dances and rituals (Mott, OL) of our predecessor s.”
M c R i O F g T a R A m E s V a I T I e c M I n R a d P HE
ve drawings
<tim
e
T
itthse t oforyr asn s r i a h t e hcoiaut ounlthfourmu opupgre ffi r sc lsly h a a t h i tursaa ssecean datnscoed irtonm a n n a e c a thhyatis i rtehnat f olutogho?a W Hum enocew e dwiaffye e. suthifru ianufltuy, sngst-h-othse cultubreea releas e b bceei pt ss all c to aurs acro c oc
11
technical review
900
900
800
x
800
x 700
1000
1100
technical review: platform construction
decking wood beam
cmu structural support
wood beam
heavy timber framing wood saddle pile cap
screw pile concrete slab? deck pile detail
13
final site plan & section through spine
15
zone 1 - arrival
zone 2 - gather
17
zone 3 - perform
zone 4 - meditate
19
overview of journey
thank you to everyone that collaborated with me and made this project possible
john defazio
marty whalen
for believing in me every step of the way
john & judit mueller for making this all possible
for giving me the structure i needed
margueritte hollander
for supporting me constantly this year
alexandra, pauline, coralie, mccarry for volunteering to dance with me
aubrie & deanna
for helping me with my model and keeping me sane at times
jackie Niemiec
anna halprin
merenda graixinha
for being my movement study photographer
for meeting with me in san francisco
for being a wizard
jennie himler
for all the scheming & shenanigans
miriam giguere
for being my dance consultant and connecting me with my dance squad
the defazio following
for providing amamzing critique and feedback throughout the year