A to Z of Waiting

MArch Architectural Design 2002-2003 Hiromi Fujii tutor : Barbara-Ann Campbell-Lange Tea Lim

I declare that, expect that where I have clearly indicated otherwise in the work itself, all the work I am submitting for the March degree is my own and has been done for no other examination or purpose.

A 2 Z

Liaisons wafted up…

I sometimes think about somebody who I cannot see again.

Liaisons,,, this word is often found in human relations by the way.

About a person who I cannot see because of losing love, broken friendships,

Maybe especially in love between man and woman.

Liaisons,,, it relates with the things to eat.

I recall them not by trying to remember,

Probably it is the feeling that we don’t have when we’ve got involved in.

But only a little thing make past and present be connected.

The feelings that we have when somebody has disappeared

The time spend with them had already stopped long ago.

or that we have when that fact has become nothing more than a shock.

However I get confused when I notice that memories left alive altering its form secretly in my body.

It is similar to the taste,

When the feelings which I have never had in front of that person surged up,

while accepting satisfaction for becoming adult and resignation that a part of myself has aged.

that is, let’s say,

Liaison is also a key word of taste, bitter but sweet,,, But it always needs a time lag for corking a bottle,

The reason why I started to deal with this project is

And the time lag brewed a taste.

Hold on second...

I try to insert in many place.

Hiromi

It might not be necessary to open it.

A word for the key always gives us a soft spot of surprise.

Well,,, when the keyhole of our heart is opened, we unconsciously forget our action for a second.

then stories began...

There is a language which can describe all the relationships with only 26 words.

While I have relation with somebody, I am in utter amazement sometimes.

How should I call what I feel this moment, the place where I stand there, things which wrapped me, and the only one point which intertwined them.

It is similar to the moment in the past.

But it is clearly different, Maybe I will feel the same thing in near future.

I know this feeling‌ But I will be different from that time.

For what?

For making sure about it.

The feeling which now I have.

That is just the things which can describe only with 26 words. only 26 word. ,,,,I just want to breathe a sigh like that.

A to Z.

1

contents Introduction 1.Waiting 2.Distorted Theatre 3.Time-Scape as a Script 4.Parallax in Multiple Time Conclusion (suspect device)

2

Introduction

convenience.

Faster

situation.

1.

2 4

The Castle

The Trial

Faster: The Acceleration of Just About Everything, Pantheon Books,1999 introduction 5

time spent waiting.

and nomadic mind.

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introduction 7

including various emotional states and accidental issue to “theatre”. The dramas consist as a relationship

Opera Bastille Theatre de l’Opera

Opera Bastille

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introduction9

we can however its scale

(staircase)

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introduction 11

What is hidden behind big expectation, is it reward or disappointment?

Or disappointment causes next expectation?

. Also we should consider .

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introduction 13

1. Waiting What is ‘waiting’?

Waiting is an investigation into our temporal relationship with our cities.

Most of urban dwellers wait many times each day. This time-gap tends to be ignored quickly by another density of time. However when we are trapped in this enforced situation, our mentality is totaly a slave of around the city.

In this section, to pick up fragment of experimental scene for the theatrical piece, I tried to be an audience of the city phenomenon, assuming that direct conversation for the city may reveal the extent waiting affect how we percieve.

I was waiting the person who started to wait,,, actually.

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1.Waiting15

*observation -physical movement in waiting To investigate physical movement in waiting, I used direct observation for my research. I watched people waiting, and how they interacted with their environment. However for picking up pure condition of waiting [Figure3,4] shows the movement in-between beginning of waiting and the time when expected event has come. As these images illustrate, people move around in their space to seek out temporal information.

Compared to the situation which we can speculate our turn of expected event as a physical states like of the bus, it can be said that our movement is governed by visual information such as a display board and feelings from the atmosphere.

while waiting : we move around to seek out information we are slaves of visual information 16

1.Waiting17

Figure4 : at a bus stop on Tottenham Court RD

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*conversation-theatricality of waiting From these observations, I surveyed in some spot with a questionnaire to extract more specific description of waiting. Example of questionnaire below aims to obtain the idea of the element to reconstruct the theatrical scenario coexisting a regular time in the city.

Questionnaire has conducted at random asking people to make general judgements of their experiences of waiting and definition of waiting, and has done several area (Heathrow airport, Saint assistant such as new agent) where represents different character of waiting such as appointment in tourist point, temporal wait in transportation, long term wait (daily routine) of the shop assistant, relax or

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contents of questionnaire 1. What (or who) are you waiting for now most?

2. Where were you waiting?

4. How do you feel while waiting?

5. How many times do you usually wait per day?

6. How long does your waiting time last on average?

7. How long can you stand for waiting? How long are you prepared to wait?

8. When do you feel that time seems to drag, while you’re waiting?

9. Do you feel that time-passing seems to be slower than before, if an expected event(e.g. a train) comes later than the timetable?

10.What kind of situation do you enjoy waiting?

11.Which kind of situation do you feel bored the most?

12.Where did you wait, the last time you arranged to meet your friend?

13.When you make an appointment, do you direct yourself(e.g. position and so on)?

14.What kind of place do you like for waiting?

15.What do you choose to do while waiting?

16.Do you believe the information on the boards, when you are waiting for a transportation?

17.Are you interested in the things or movement (e.g. the other’s behavior, advertisement)?

18.Do you think your sense (e.g. for sound, for visual stimulus) becomes sharper while waiting?

19.Can you color on this picture?

20.personal comment 22

1.Waiting23

1-1. word of waiting

‘ Boredom’, ‘Time doing nothing constructive’, ‘Waste of time’, ‘passing time between different condition’, the time between cause and effect’,‘time between two event’, ‘the time in-between the present and something I want to happen’, ‘the period of uncertainty’, ‘period of time before an expected event’, ‘the time until situation that makes us wait will happen ‘, ‘the time in-between the present and something you want to happen’, ‘time of chance’, ‘being possessed by an event’,‘Time in which we cannot do nothing more until something’, ‘not physically being able to get where I want’,

their subjective view, this could be a key issue of further discussion. From the view of adjective in phrase, waiting is discribed as negative experience such as boredom and frustrations. Then looking at preposition in phrase, which means exsistance, waiting is situating short-lived term in-between purposes which implies unexpected and unescapable period behind the regular time. Thirdly, in terms of verb, which suggests action, waiting time let person stay longer.

[waiting]: I am enforced in the intervals with frustration ???

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1-2. uncertainty in waiting Waiting is unintended interruption. According to the questionnaire almost 70% of people described feeling of waiting as frustrating and anxious. Where does this negative expression come from? Here is a expectation and uncertainty. Although majority of response from people think that waiting time will continue around 5~8minutes on average, some think 1 hours, weeks, years, and so on. This question has a variety of answers even though in the same place. Also in transportation situation, the question of whether people can believe the information on the display board or not is divided into almost equal halves. This shows that how much people have a clue to recognize the time when expected event comes is quite doubtful.

Therefore notion of time-passing or length of time can be depend on their expectation. In addition, according to the analysis of the place of transportation, comparing the premise of airport with bus stop, underground station and train station, unevenness of the result for the notion of time-passing can be seen remarkably in the airport. This might be revealed the identity of the place. For example, we are not so familiar with the situation in the airport, so that we rarely speculate what will happen or what should we do. However majority of answer in the airport says ‘bored’. That is because once we are in the airport, we cannot easily change our purpose, which means situation itself has heavy pressure and importance. For this reason, expectation might be connected to how proper the situation around people for the next and how much, that is the identity of the place.

identity of the place gives different notion of time-passing 26

1.Waiting27

1-3. speed in waiting How do we perceive time passing? As I mentioned in previous section, it can be said that our notion of time-passing is quite problematic and depends on the context. However there can be found a common answer in the question about the situation when we feel time drags. Most of them feels that time seems to continue longer in bored situation or in quite busy situation. In this sense, unpleasantness might make our notion of time longer. Furthermore, over 90% of responses show that we feel that time-passing seems to be slower than before, if an expected event comes later than timetable. Of course, it is depend on individual mood, however there could be a close connection between unpleasantness, slow speed of time and interruption of unexpected event. Also this implies that the starting point of our attention for timepassing could be only the time when timed events drop out.

Then considering a possibility to design a space in terms of speed, such as ‘slow’ or ‘fast’, we can categorize waiting situation based on the idea of pleasantness and unpleasantness. According to Jonathan Bell [3], there are four forms of waiting, that is, frustrating wait, anxious wait, excited wait, resigned wait.

3.

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Frustrating wait ; such as waiting for delayed transportation, or jammed queue, could be described as the most pernicious experience which characterized by endemic modern life caused by a blip in the system.

Anxious wait ; such as waiting for loved one or waiting for test result, might give us not only rising panic and wild supposition but also rich creativity.

Excited wait ; such as the minutes before show starts, or the announcement of the winner, could serve us a mild interest to frenzied anticipation and suspense.

Resigned wait

as the best kind of wait caused by the

chunk of time that has to be set aside.

Longer resigned wait

there’s no rush of aggravated mental processes and

nothing we can do except surrender.

Speed of waiting can be divided into four forms, which is depend on our pleasantness of the context where the event interrupt and is depend on how proper the situation is or quantity of information of speculative future event.

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1-4. place in waiting

these speed is mostly caused by unpleasantness, relevance and familiarity of the context. It is The fact that speed of waiting suggests identity of the space could be equal to the idea that site potentially has a taste for waiting as well as density in terms of time-notion in opposite way.

According to the questionnaire, the place where people are fond of is divided into two kind of space, which suggests relaxation and stimulation. For example, what people describe for relaxation : quiet (comfortable in sounds), dry and hot (comfortable in air condition), sofa (comfortable in tactility). And most of people describe for stimulation : something keep them occupied such as book shop what people choose to do while waiting, such as reading books, playing with mobile phone, and looking at passing people, people tend to make their eye occupied with something.

waiting in transportation, waiting in service

appointment, waiting in

daily-living (for example waiting for the washing machine) and the others. Checking against the four forms of emotional status and question of enjoyable situation and bored situation, four situation above suggest a dynamics of the space. Each status of place needs some extent of relaxation and stimulation.

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Waiting status represents a character of space. However, is what space actually exist same as what people perceive? The question about color in waiting [Figure5] shows how subjective people sees their surrounding is, and how fragmentary their memory is. As I mentioned above, people want to be occupied their time by something, visually and so on. What they remember could be depends on what occupied their needs. In this sense, visual perception for the place might be quite problematic. Or something can manipulate our visual sense.

Is it possible to use this changeable image of waiting as a theatre?

People need relax and stimuli for waiting place.

What is able to manipulate waiting scene?

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1-5. object in waiting

the place where the bus always delays, city has already had a potential capacity to let people wait in. If this potentiality could be called static waiting condition, what makes this condition kinetically transportation situation with service or appointment situation, it could be said that transportation situation is more kinetic condition than the others because of its complexity which is consist of various object. Object might be similarly described as a stage settings which changes condition of the scene.

In terms of intervention, what kind of object is able to move our time-passing? In the result of question whether our sense becomes sharper while waiting, answers were divided into halves. However, more than 80% of people said that they are interested in things around them, and especially visual stimuli and movement such as advertisement, beautiful woman, and so on. Comparing to the general experimental result in timepsychology since the nineteen century, such as Auditory stimuli appear to last longer than visual one. / Moving stimuli will cause to longer duration for judgement than static ones [4], temporal sounds or visual stimuli

might be a element of the temporal waiting trap. Intervened object might work for changing human notion of time on purpose.

object of temporal waiting have something sutimulate our audiovisual sense 4 36

The Psycology of Time 1.Waiting37

2.Distorted theatre As I mentioned in section1, there are two key elements that govern how frustrating or pleasant a waiting situation. They might be expectation and uncertainty. It can be said that it is a very part of what consists theatricality. When theatre is described as a place to manipulate these temporal experiences, researching about modern theatre to avoid a notion of safe availability for unspecified number of the general public and substantial controlling function might be a reference for close relationship of waiting in city context.

In this section, to begin with I looked back a historical background of modern theatre to pick up the paradoxical element and considered how movement intervened between the place and the city dwellers when theatrical elements are found in the city condition.

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2.Distorted Theatre39

2-1. Background of modern theatre The general type of theatre which is called proscenium arch type was born in the baroque age, representing by Theatre Falneze [Figure6] which developed the idea of perspective for the illusional effect in Theatre Olympico [Figure7]. This was for the reason of restricting audience’s eyes which causes homogenized seat space and putting stage technologies in the back which causes progress of the technique of changing scenery.

Figure7 : Theatre Olympico

Figure6 : Theatre Falneze

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After that, this type was completed as a form of Batroit Theatre [Figure8] by Wagner in 19C for idealizing the stage performing by enlarged boundary between stage and seat space and sinking orchestra pit which is from the idea that orchestra is supporting tool for the arts. In the musical of Wagner, every performing element which consists it was relied on only one commander and which can characterized ‘Pyramid’ structure. It can be said most of current performing arts has more or less such character. On this strong tendency of performing arts, audience only allowed to be involved in the arts through the act of ‘contemplating’ the world which is showed in advance. That is to say performing function and watching function have started to separate. This idea of what performance arts should be carried on is considered as a necessary step in modern time, on the other hand audience was deprived of their individuality and homogenized as passive existence in stead. Performing side have treated audience as a nameless ‘mass’ and the most important thing to decide theatrical form was the condition that audience can see stage ‘equally’ from every seat, and can hear voice ‘equally’. Modern proscenium stage theatre was realized by these idea and context.

Figure8 : Batroit Theatre 42

2.Distorted Theatre43

Modern theatre has directivity for the homogenized space which premised with separation of performer and audience, but there was another separative phenomenon in the spectator’s seats. In these theatre, audience was allowed to participate in its performing only by the action of watching which has already served from the others. As a result, each audience was linked to the piece of work individually, and the theatre had lost unity of mutual audience. That is, audience just happened to be present for the same play, and the active communication of mutual audience have cut off. “The Hidden Dimension� [5] by Edward Hall indicates that audience has changed its form from assembled social group to separative social group. This was the second separative phenomenon. This phenomenon remarkably has proceeded of a nuisance who interrupt concentration for the screen than a companion who watches the same thing, has occurred even.

To conclude, modern theatre hang a pradoxical problem between idealization for the play as a setting and the human relationship in the theatre.

5.Edward Hall, The Hidden Dimension, New York, Doubleday & co, 1966 44

2.Distorted Theatre45

modern theatre everything is for ideal performing to sink orchestra pit

to enlarge boundary btw stage and seat

to hide stage technologies back stage

side stage

main stage

to create homogenaized seat space

side stage orchestra pit

audience seat

perspective for strong view line

to restrict audience eye (standerized intensive eye line) 46

2.Distorted Theatre47

2-2. Dismantling of modern theatre & Polymerized theatrical-space I can take any empty space and call it a bare stage. A man walks across this empty space whilst someone else is watching him, and this is all that needed for an act of theatre to be engaged.

(Peter Brook “The Empty Space� [6]) This represent the very idea of the theatrical space at the time when new way of directing and technique of making drama was developed for the criticism of modern theatre. It is obvious from this statement that naked space which removed various decoration is the place where is most suitable for the genuine performing. Around this times, there happened to arise small experimental theatre and underground theatre at various places. These spaces such as a basement and deserted house were not built as a theatre originally, and those low ceiling and deformed shape has an inconvenience for the performance. Therefore performing had to take a different method from the one at the modern theatre which was prepared for stage equipment surrounded by proscenium arch. And these movement leaded new performing method and technique for making drama was developed gradually.

These small theatre movement had reached a peak in the latter half of 1960, and showed an violent attitude which denied a system or organization of the modern theatre. Happenings and street theatre which are separated

6. Peter Brook, The Empty Space, Penguin, London, 1968 48

2.Distorted Theatre49

transferred theatre which used temporary material such as a tent, is one of them. Activity of Black Tent by Shin Sato [Figure9] and Red Tent by Jyuro Kara in Japan is under a category. Also renovation Ariane Mnouchkine of Theatre du Soleil was strengthen. Every space in the theatre, such as spectator’s seat, backstage, lobby has converted adjusting a contents of the play.

In the direction of Peter Stein in Germany, he also denied the facing relationship between stage and spectator’s seat of modern theatre, and created a form which aimed to wrap both actors and audience in one theatrical environment. As we can see in the plan and the section of “Peer Gynt” in 1971 [Figure10], there is a hill as a stage laid on the whole theatre, and seats are naturally inserted in it. This settings let audience feel as if they are in the performing space.

Figure9 : Black Tent

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There can be found a big difference from usual way of stage setting in Mnouchkine and Peter Stein. That is as an environmental device set up for whole scene of the play. In Peer Gynt, the hill plays a role for it, and conversion of the scene has done on the basic device, for example moving the place of performance, changing small tools. Background of these stage setting can be read from a changing of the technique

of making drama and direction. In modern plays which represented by realism plays, it is demanded that disused element such as device and tool for one scene has to be disappeared from spectator’s view for the reason of pursuing a pure structure of the scenario. Also it is considered that the idea of converting the scene on the stage should be perfect and each scene is needed to replace as it is. In this sense, modern proscenium arch type which equipped setting technology such as wagon stage and revolving stage provided a convenient space.

Figure10 : deirection of "Peer Gynt” by Peter Stein in 1971 Re; L’ Architecture D’aujourd’hui’ October, 1978 1. section, 2. section, 3. plan

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However these ideal method of modern theatre has a serious problem which hung a internal contradiction when the piece of work heighten its pure condition of completion. As we could see in the movement of dismantling modern theatre, such as denying logical plot, defamiliarization , all these attempt was a refreshment from common sense of the stage, a setting for the situation which heterogeneous element can mix each other, a measuring tool for reconsidering a distance each other. Also in parallel with these movement, new way of making drama and technique of direction by polymerization of heterogeneous element was created along the development of the cinematic technique, such as montage and collage.

These theatrical attempt might be summerized as an attempt of agreement between subjective view and objective view. For example, FLXUS, a group of artists influenced by Situationnist, done guerrilla into the ‘city’ by a method of art aiming directive interaction between ‘individuals' and 'city'. Seeing another example of pavilion work is not able to buried between inside and outside. With this industrial material, he tried to enlighten the fact of division between 'see' and 'be

Figure11 : FLUXUS, street theatre, 1964

seen'. For this reason, however its scale is, the object which intervene in the city causing our bodily sense embosses new reality against our daily 54

sense.

2.Distorted Theatre55

Figure12 : Dan Graham, Public Space / Two Audience, 1976

Reconstructing a theatrical experience in the city into one piece of work, what it could be like?

Probably it is not necessary for the stage to convert whole space from one scene to the next while taking these attitudes which accept heterogeneous element. These attitude regard whole theatre as one universe which various accident can be happened, and take synthetic and bodily experience as a main matter. It could be referred from the baroque theatrical space which both actors and audiences participated in the space while playing some role each other. It could be refered from the intervention by modern artist.

After box-like theatre was scattered in the city.

Some found many objects which could be a material for the theatre.

Theatre of waiting is coexisting heterogeneous condition.

Will these fragment be collected???

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3.Time-scape as a script We wait several times per day both consciously or unconsciously. However, we couldn’t imagine, where we will wait and when we will wait. Even though we describe our route to destination before departure, it might be a blind alley, roundabout way, or returning. We have a A to Z map in our hand.

Yet we sometimes think there is nothing unusable than this map. Unexpected event can make our route different, or we can make a new map by our trick.

If person-A delayed event for person-B, person-B might delay event for event for person-C. Because of delay of person-B, person-C might delay event for person-D. (continues..) One accident possibly draws invisible network in the city.

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3-1. language of the script In parallel with the movement of dismantling modern theatre from the aspect of form which I mentioned in second section, critical movement has occurred against the contradiction which modern theatre had. As one of the example of this movement, there is a dissolution of the drama. The idea which values artistic character of the piece of work in the modern theatre deeply connected to the idea which gives superiority to the literary element of the play. That is, the way which develops the play centered on language, and the way which demand the basis of expression in the plot written in letters. The movement for the restoration of non-linguistic performing expression has occurred against this idea. There had a early example in the expressionism play by Max Reinhardt, and after that Piscator and Meyerhold have shown similar idea.

Antonin Artaud is the person who suggested the idea in the most radical way. He published a The Theatre and Its Double [7] in 1938, and stated ‘Theatre of Cruelty’. That invaded deeply into the mentality of the audience like the plague and tried to approach deeply into contradiction of human lives. He wanted to separate plays from the concept that texts should be for stage, and tried to create am expression with every non-linguistic performing language as a method. With these various expressions, he added sharp criticism to the safe passive audience’s attitude. These extremely offensive plays intended to break the inviolable safe rules which is exchanged between audiences and actors and are strongly conscious of dismantling modern theatre in this sense. Regretfully the thought of Antonin Artaud continued to be 7. Antonin Artaud, translated by Victor Corti, The Theatre and Its Double, Calder & Boyars Limited, London, 1970 60

3.Time-Scape as a script 61

ignored during his lifetime, however it played a big role based on the movement which stimulated by the student movement in the latter half of 60s. As a example of Shuji Terayama in Japan shows strong use centripetal character of the space which occurred by enclosing active circle.

Dissolution of the drama take up the matter of formation of the plot of the story itself. Modern drama And it is regarded as the things which is proceeded by meaningful conversations between the characters.

In the blockade situations of the modern society, straight plot line itself was a critical object. Absurd plays centered in France proceeded this idea in positive way.

It is represented by the Waiting for Godot [8], a masterpiece of Samuel Beckett. In this play, while waiting for the man named Godot, incoherent conversations are exchanging by the characters, however Godot had never turned up forever at last. ‘No conversation’ and ‘nothing happens’ through whole plot.

As ‘silence’ or ‘pause’ is written in the senario, vanity of waiting is main theme of this play. Also negative words such as nothing, not, I’don’t know is used repeatedly.He wanted audience to experience agony of waiting with the characters together. This play is the event for experience. Everybody is waiting, however nothing happens. When Beckett compose this play in French, the title was ‘en attendant Godot’, which means literally ‘while waiting’.

8. Maxnotes; Samuel Beckett’s Waiting for Godot, Reseach & Education Association, 1996 62

3.Time-Scape as a script 63

“Defamiliarization effect� suggested by Bertolt Brecht also played a role for the dissolution of the drama. He aimed to recognize anew the unusualness of the ordinal society through the plays, and intended to let the audience have a consciousness which they watch the plays not by the passive way. of the play. It can be said a challenge for the passive audience in the modern theatre from the different aspect of what Antonin Artaud did.

Is the unordinary script causes unexpected event??

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city. However could we possibly call this uneven perception of time in the city as a script of the play?

As Beckett aimed to make silence of waiting in his piece of work positive interaction between ‘see’ and ‘seen’, waiting phenomena which occurred in the city could be a clue to create a script which causes unexpected action or multiple choice of city dwellers. For example, here is a daily schedule which one person (can be a actor) has set up, however accidental waiting time which operated by natural character of city causes additional unexpected event of him or her. In this sense, waiting situation of the city plays a similar role on what Beckett intended to activate theatrical pieces. I can summarize this idea with the word

by Norihiko Fukui[9], City could be city only through the human activity which performed various role in the space as a stage. City make these activity start up and make them mixed each other and put together. These movement which hang unpredictability from various condition can be said as liveliness and dynamism of the city.

9. Norihiko Fukui, Sociology of the City and Urbanizetion, Iwanami Publisher,Tokyo,1996 66

3.Time-Scape as a script 67

3-3. composition of the script How to visualize experience of these dynamism of the city? Probablly to have a stance of how to . In Image of the city [10]as Kevin Lynch analyzed the image of the city which people have in common based on five elements such as landmark, path, district, edge, and node, he had already stepped into psychological aspect. However this field work was mainly based on hardware of the city such as buildings, monument, road and so on, the image of the city which individuals have has become more fragmentary and overcrowding in current city which has a complex networks both reality and virtuality like information technology and transportation.

Waiting time in the city reveals what city hang in terms of society, culture, software and so on. Also mentality relates with each situation. Then here there are some example of conversion into the map as a description of experience in the city from artist and architects.

10. Kevin Lynch, The Image of the City, Cambridge, Mass and London, MIT Press,1960.

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As a first example of psychological conversion of the city, Guy Debord, a leader of Situationnist movement centered in Paris in 1950, suggested psycho-geography which seeks psychological geography. This attempted to describe not only the space which is made by architecture, but also the psychological situation which is made by city dwellers. He aimed to visualize unconsciousness behind the ordinary action by a method of drifting such as wandering underground passage or hitchhiking in Paris.

On his psychographical map [Figure13], he overlapped his bodily sense through drifting on the aerial view and expressed direction and each relationship by adding a vector.

Figure13 : Guy Debord, psycho-geography / The Naked Cuty

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Secondly there is some example of conversion into three dimensional object from direct data through one’s own interpretation from the approach of phenomenology. Direct data has cut from various context of the city and includes many meanings. And it is important to extract a part of its meaning which needs to express and cut most of part. As a example of ‘touchstone’ by Peter Salter [Figure14], his project was developed from the experience in the natural environment through the tactic communication with a material.

Figure14 : Maureen Blossfeld, Intution&Process Themes. / Peter Salter, Kamiichi Pavilion,

Thirdly there is a lively way of conversion which expresses situation of the city using pictures and notation drawing [Figure15] which expresses the situation which investigates truth at scene of the crime in the city while taking a detective’s stance. In this drawing, time is taken along X-axis, and

it correctly

describes the situation which crime has been examined from the time crime has occurred. We can see

a time line has a journalistic view and is opposite stance of the architect who analyze cities in the world statistically such as Rem Koolhaus and MVRDV. 72

3.Time-Scape as a script 73

Figure15 : Case No.00-17163 / exhbition 'Parasite'(MoMA 1989)Representation Drawing

Figure16 : Bernard Tscumi The Manhattan Transcripts, 1981 / 1978

As we can see in “Space and Events� [Figure16] by Bernard Tscumi, literature which is superimposed on the city could have a possibility to indicate structure of the city and its manipulation.

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4.Parallax in Multiple time Waiting in a queue, or timetable, these visible situation represent that time-element might strongly related to line like form. In the situation that emphasize time-passing perception, how people perceived space around them? In this section, I am going to start from analyzing the space which we can feel time-passing sensitively such as passage by the idea of eye axis, then argue about the possibility of how modern theatre was established on the idea of perspective effect, how to take fragments of view apart from time-notion which has strong character whose experience is similar to the long-perspective space, and how to reconstruct these plural fragment into one plane,, are main theme of this section.

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against it actually does. Could it indicate unpleasantness of uniformity and confusion of space?

Jacques Tati could be the one who attempted to deal with spatial ambiguity of modernity. He used an I want to make people participate a little more, to let them change gear themselves; not to do their work for them. a 70mm wide-screen format with long-taking-shot and less narratives which intended to let spectator’ s eyes track across the whole screen very much as in real life. He used simple narrative and non-color announce,, and so on) are used as an object for complementing visual information on the screen. Glass is used as an ultimate symbol of modernism.

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transparency and reflection of glass contribute to describe a relationship

can prepare new perception as a spectator, and it reminds us a finder and lens of camera. Glass is, to look over the glass unconsciously. Show window has played a role for showing things simply and image and time. However, human cannot escape from restriction of a view point originally, but can change the way of looking.

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4.Parallax in Multiple Time

It is generally said that the idea of fixed-eye has established by the perspective method since

is only for the person who is positioning at a certain view line. However as Cubist did, it is possible to

Picasso

image while waiting also might reconstruct after dismantling simple perspective view.

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4-2. passage in theatre In Existence

Space

Architecture

the middle is added by tension which is caused by facing between destination which should be reached from now and departure point which has already been behind, a passage has a positive power for recollecting goal and starting point in terms of strong axis which organize various elements with it. This character of passage can be applied to the character of path-going type performing. Line-like transitional the very main body of its performing.

Homage to the prisoner passages, Homage to Walter Benjamin 11 76

Existence, Space, Architecture 4.Parallax in Multiple Time85

doubtful for as it actually exist. One reason of this is because in frustrating wait such as transportation wait our bodily sense become sharp for the visual information from the boredom, therefore our eyes look around restlessly. The other reason is because in the exciting situation vision tends to be paralyzed situation we are in, waiting

going to give two example of line-formed performing. One is going-way-form which is represented as

discription about analysis of transional view point here is relying on

mirror room hashigakari

stage

rudder

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4.Parallax in Multiple Time87

starting point and the end of performing is not perceived for the spectators who stay at one point in the middle. It is just recollected in their mind, and only elapse of action is right before their eyes. In terms corresponding to the length of the path. That is, audience have to experience the movement of the of time. Eye line of the performer spread at an angle of 360 degrees against audience, however there the audience’s view only against forward and backward. That is to say, this peculiar relieved point make space symbolic for the time-movement and make audience perceive transition of performance from past to future.

a bit ristricted angle going -way form

76

4.Parallax in Multiple Time89

which take starting point and ending point into a spectator’s view. In this space, the movement of eye line is similar to the former example. However because movement is limited with in a line, notion of facing causes not only kinetic relationship but also static view attention is paid for continuation and transition of the movement. On the other hand, the audience being in the extension of the line perceive the movement as a vertical line such as approaching towards them or retreating from them, that emphasis the contrast between the beginning and the end.

broad view line

ending point

broad view line

starting point

limited-going -way form

180°

76

4.Parallax in Multiple Time

of the idea of horizontal and vertical, western performing which based on the dialog consists of horizontal relationship between audience and actor, but Japanese passage consists of vertical relationship which aims to visual and physical advance for the audience. Comparing to the script of Waiting for Godot, waiting situation which based on silent dialog could be similar to the experience of passage represented plural view point in one restricted space.

12 76

Aesthetic of Kabuk 4.Parallax in Multiple Time93

is contained although it is in reality or in our mind, I’m going to reconsider about anamorphosis which is Anamorphosis ou Perspectives Curieuses anamorphosis as, Anamorphsis is opposite theory to its perspective element. In stead that they are going above itself.

largely distorted.

Ambassadors Ambassadors’ with perspective eyes, we can see two men’s images, but at the same time we recognize that floating ellipse was drawn on the floor. This is not belong to perspective technique of portraits, and is skeleton drawn distortedly. In short, this includes two points of view. perspective as a deviation on theoretical extension in the discovery of perspective, that is to say oblique technique of anamorposis, can be captured as playful ironic and resistant style against predominant idea of former perspective technique which converge on viewer’s eye.

76

Ambassadors 4.Parallax in Multiple Time95

necessarily doesn’t demand one space or point of view. Perspective is originally only a mathematic operation for conversion two dimensions into three dimensions based on projective geometrical ordered plane, and to represent itself all’ Ambassadors’, two kinds of space are folded up. One is the realistic perspective space for eye from the front, and most of objects in the painting belongs to this space. The other is projective geometric and This ellipse is, that is, place that different type of space and view point have returned In the perspective method that premised eye from front.

Holbein contained projective geometrical distorted image in perspective method. In other words,

13 76

Anamorphosis ou Perspectives Curieuses 4.Parallax in Multiple Time97

an omen of collapse of perspective drawing perspective which occupied dominant position in the streams of drawing until the Impressionists, has by distorting perspective rules intentionally. We can see multiple time in painting by especially Surreal

76

4.Parallax in Multiple Time99

and separation from expression in two dimensions.

76

4.Parallax in Multiple Time

76

4.Parallax in Multiple Time

It is considerable that perspective rules that promote independence of drawing as tabrow had fate that to borrow a help from perspective rules, drawing-space within it went on to the speculation that considers perspective rules as a simple background-composer to be a nuisance. This is also clear that Leonardo da new way to deal with world was the speed that new time acquired and appearance of photograph which

76

4.Parallax in Multiple Time

In Large Glass (The Bride Stripped Bare by her Bachelors, Even) to reproduce precise perspective rules. However, finished work was completely an opposite thing of perspective in the past. In the drawing, perspective rules used to be technique for background-drawing, there

meaning of perspective itself by precise application its rules. It was a symbolic work which shows an aspect of the time whose idea was that whole was collapsed and consist of collection of the fragment. It doesn’t have whole any longer, but only have fragment.

Large Glass (The Bride Stripped Bare by her Bachelors, Even) 76

4.Parallax in Multiple Time

‘posthumous work (1.dropping Water

2.Gas for lighting)’

wooden branches which spread all over in the opposite side of the door and naked-woman-doll lied on peculiar scene, spectator has to peered into the opposite side from the peephole on the immovable door. posthumous work’ of of the system physical matter and made it visual at the same time. Condition is theoretical accordance between viewpoint and vanishing point, and it tacitly premises that image is projected on the retina like a mirror and that image correspond to space.

camera obscure ‘posthumous work (1.dropping Water 76

2.Gas for lighting)’ 4.Parallax in Multiple Time

posthumous work’ and ‘Large Glass’ might be his top of the lifework for

.

traditional one. Provided that traditional perspective incorporated three dimensional space into two dimensions, this is a devise to express four dimensional space and time in a three dimensional world.

76

4.Parallax in Multiple Time

Waiting is akin to the experience of being lost. Therefore our mental sense becoming much more physical perception. Waiting is akin to the situation in black box. Therefore bodily sense is searching the

don’t have a window, that is why it can be said the border between stage and spectator’s seat only plays a role in reverse in terms of concentration and bringing us to different world.

When we are in ambiguous situation like waiting states, how are we going to move? In this section,

the choreographic body movement which established by connecting our mental status and dismantle the strong boundary between stage and audience in the modern theatre. In parallel with analyzing body movement as a boundary between multiple scenery, also reference to the light installation art which causes our body movement for investigate temporal phenomena.

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boundary113

5-1. window as a boundary As Robert Venturi mentioned about the lighting effect in his book, Learning from Las Vegas [14], there is no window and in gambling hall. The hall and its accompanying rooms are kept dark and exclusive for the good condition of privacy, protection and concentration. No daylight and it is strictly separated from outside in this low and labyrinth like space, therefore people lost the sense of place or time. They gradually start to loose the idea of where they are and what time since they entered in. Also there are no end of time because of same length of day and night. Also partition of the space is also unclear because

Figure35 : Shopping Mall in Las Vegas 14. Robert Venturi, Denise Scott Brown and Steven Izenour, Learning from Las Vegas, MIT Press,1972 114

boundary115

As J.J. Gibson [15] mentioned about visual sense in terms of ‘surface’, living things move and behave while capturing the environment wrapped them. And perception of environment possible. Yet in general building in Las Vegas treats surface in opposite way.

The edge of the wall is dark so that boundary is not clear although space is closed. It can be said that the way of lighting is extremely anti-architectural. However in Las Vegas, it plays many roles such as a sense of unity for making unexpected happenings among the unfamiliar visitors, creating a timeless space for consuming, and keeping people admiring for the ‘Las Vegas’ image.

Window is a place where illusory scenery appeared thorough.

15. James. J. Gibson, The Ecological Approach to Visual Perception, Lawrence Erlbaum Assoc, 1987 116

boundary117

Then to minimize the scale of the space and simplify object in the space, there is an example of light installation artist, James Turrel. Projection of intense lights is causing viewer’s psychological and perceptual attitude. For example, in Afrum [Figure36] it make us perceive as a three-dimensional solidity Wdgework [Figure37], which is transparent plane of pink and blue and lavender angled across a room on a shimmering diagonal, time seems to have disappeared. He creates an make viewers consciously or unconsciously feel as if there is an invisible boundary or non-boundary like a pool.

Figure36 : James Turrell, Afrum, 1967,

118

Figure37 : James Turrell, Wedgework3, 1967,

Xenon-light projection Piece,

Fluorescent-light installation,

installation, Stedelijk Meuseum, Amsterdam, 1976

Whitney Meuseum of American Art, New York, 1980-81

boundary119

Lights can reveals a continuity between architecture and the human metabolism, and disappearance of physicality in architectural space. Probably it offers an interior public space rather like a swimming pool or church, the place where climatically determined by light and temperature and air quality and which presuppose bodies, but where certain functions remain indeterminate. It is also a place where our body performance can be potentially transformed.

’appear through’(15c) something that is transparent allow light to‌ Window is a place where illusory scenery appeared thorough.

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boundary121

5-2. bodily sense in theatricality towards visual sense As the effect of the light induce human motion in illusory space such as Las Vegas, boundary existing Adolf Loos, when he saw his building in architectural magazine, 'The fact that the interior which I designed, photographs bad, is theatrical effect in his plan?

Against the effect which reveals inner quality by the media of photography in modernism, we can accept from this phrase the fact that there are invisible quality in architectural space itself. This suggested that ‘real sensation’ given not only by visual sense but whole body notion should not be interpreted by photography. In his ‘Raumplan’ [Figure38], experimental participation is premised and eye line is inserted to inner part by curtain and frosted glass in the interior which is sheltered from outside visually. Flaming of interior which corresponds to the eye-line and scattered juxtaposition of sense. That is, theatrical experience which bares relationship between see

Figure38 : Adolf Loos,

and be seen or subject and object. He broke the boundary between outside

Muller House

and inside by bringing a bodily experience. On the other hand, he operated a theatrical device which reproduces subjectivity by making bodily sense and visual sense relatively.

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boundary123

5-3. choreography in production

space or mentality tries to move out from the enforced situation. Movement, that is, living architecture.

Imagining the situation of pregnancy, given birth is unexpected event for both mother and embryo. body. By contrast, fetal movements-kicks, turns, even hiccups are now pronounced enough to be felt by the expectant mother, who may be able to identify an elbow, or a head, nudging against her abdominal wall.

In this sense, it can be said that the architecture is created by human movement, and it is consist of path tracing forms in space. To tracing a human movement , such as hand movement, it could be a production way of window which heterogeneous view, connection of hybrid spaces, comes through.

In the beginning of twentieth century, Rudolf von Laban, one of the pioneer of modern dance, had established a dance notation, ‘Labanotation’, to record movement requires drawing a plan like that of an architect. He analyze space which is created by human regular movement as 20 surfaces, which called kinesphere, the spherical space around the body delineated by extended limbs. According to Laban [16], the

it.

16. John Hodgeson, Mastering Movement: the life and work of Rudolf Laban, London, Methusn Publishing Ltd, 2001 124

boundary125

Relationship to the body of kinesphere can be similar to the condition of the womb surrounding the baby. However, how could we find a responsible relationship, such as mother’s body and baby in the womb, in choreographic movement? This responsible relationship between human body and its surroundings would be developed by a choreography of William Forsythe.

Figure39 : Rudolf von Laban, Choreutics

With Waiting for Godot, Samuel Beckett warned us that, spectators are all too secure in our expectations of dramatic event. Beckett managed us to stage what would not happen and to keep us waiting for it. As William Forsythe, a choreographer, stages what we don’t think happens, but does by deceptive unity of movement. Difference between his achievement and Laban’s system can be found in the idea of taking an axis in human movement. As Laban described in Choreutics, “a multilateral description of movement which views it from many angles is the only one which comes close to the ”, he suggested the stability of a single central point in the body from which all movement emanates and through which all axes pass. By contrast, Forsythe suggested the body or in space can become the kinespheric center of a paticular movement while accepting Laban’ of origin which can appear simultaneously in multiple points in the body. This multiple point of the body 126

causes randomness of the movement or interaction.

boundary127

Figure40 : Forsythe, Member of the Frankfurt Ballet in a 1988 performance of Forsythe's Skinny (1986).

As Decontructivist architect Daniel Libeskind describe [17], the rational ,orderly grid actually turns out to be made up of a series of decentered spaces,,,, linearity is lost when the architectural model is exploded. There are close connection between Libsekind and Forsythe on their idea. When we Libeskind mention non-lineality and fragment of exploded architectural model, these fragments are compared to body part or body axis for Forsythe. Therefore both body part and fragment of architectural model is treated as a language. This can be seen in Forsythe's practice as 'universal writing' which is “a continual reassignment of effort and shape; a loss of strict categorization in which desired randomness, with residual aesthetic logic, allows any form-like the

Figure41 : Daniel Libeskind, cut out from "Vertical Horizon", 1980

17. Daniel Libeskind, The Space of Encounter, London, Thames&Hudson, 2001 128

boundary129

linear components of a letter of the alphabet, for example, to be written potentially in, on, with any part of the body.” He also describes universal writing as having “a refractory quality; the object is to scatter the ” With all these his analysis of body part and axial point of the body, he is traying to maintain a state of vibration and moment of trembling. He purposely keeps everyone, dancers, audience, himself, always geard to expect the unexpected.

Above all, to create a window to let in a lively space including vibration and fragile state which possible fall into the unexpected, analysis of human movement such as choreography could potentially be a production method.

Figure42 : William Forsythe, The loss of a small detail, Frankfurt Bullet, 1991

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boundary131

5-4. tactile window - touch beyond desire John Locke used an expression “intellect is similar to eyes“ twice in his book [18]. He described human knowledge as a thing which is totally shut out from lights, and is similar to a small room to contain the idea from outside. This metaphor gives us two images; cave ( as a image of small room which shut from light) and eye or camera obscure (as a image of small crack for containing image from outside).

In philosophical background, several people such as platon

Francis Bacon, Rene Descartes uses a

metaphor of cave for the relationship between visual sense and light. For example, Descartes compared mechanism of visual sense to the experience of walking in the dark with stick or that of the blinds. This can be said that visual sense is explained by one sort of ‘sense of touch’ with stick. As Jonathan Crary described in his book, Techniques of the Observer [19], sense of touch occupied most part of theory about visual sense from seventeenth century to eighteenth century and it is centered on camera obscure.

Furthermore these argument between visual sense and sense of touch can be see in physical proof. As a given example by Herbert Read in his The Art of Sculpture [20], sculpture by the blind only [Figure38] with his sense of touch shows the fact that emphasized part in movement of the body is distorted largely. And this could be because he could not recreate the world relying on his visual sense so that its expression had to rely on its inner sense, that is sense of touch, the sense when we eat, and 18. Johon Locke, The Works of John Locke, Thomas Tegg, 1823 29. Jonathan Crary, 132

20. Herbert Read, The Art of Sculpture, London, 1956.

, MIT Press, 1990. boundary133

sense of movement. Yet all these sense relate to human activities. This proof can be connected the way which Cubist contained plural view point into two-dimensions not by describing things be seen but by describing things be known or moving.

The core of vision, which is seeing and knowing what one sees, is a kind of logic of look. Through the hand - touch- there appears that human peeceives reality as incarnatgion. To investigating what is the most unknown about us, to go deeper into this great personal world that is nothing more than the darkness that feeds out irrational side, to establish a parallel world such as waiting which usual form of the city hung beside, can establish a physical and emotional contact with the space between dream and desire.

Figure43 : clay sculpture by 17-years-old blind boy parts under the waist become remarkably small, rising hand is created extremely largely

where we resister in our secondary scenery between the look and the hand 134

boundary135

When we are waiting, our behavior remarkably tries to interact our surroundings. However, we can raise waiting time as an enjoyable experiment. Waiting sometimes had to be recognized while waiting.

How we can coexist with unexpected experience? How we can raise it?

Waiting is non-institutional. It is an open-ended situation. Experience itself could be similar to pregnancy. As woman’s representation and self-representation often involves her body as an inner topos, female sexuality itself is expressed as bodily topography. That is the space between mother and baby.

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There is one description about internal architecture ‘womb’ by woman artist Rebecca Horn in 1976, These walls enclosing the room so lovingly, isolating it from the world, standing so close in front of you, intermingling with you‌opening simulateously into the furthest depth of the room, for not far from there they are so tiny, these chambers, that you retain the feeling, continually, that you have never really left the other (main) room-the one from which you most want to separate yourself- and from which you will never

Once the door leading out of the main room has closed behind you-the door which closes itself,

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boundary139

In this inner space, having tapped into the material blood supply and established primitive blood cells and blood vessels of its own, the embryo gluts itself, growing at an astonishing rate. As baby does, nutrition of blood alters its form from fluid into physical states.

: the major

fluids are cellular fluids, intercellular fluids, bloods, amniotic fluids, and so on.

They underlie presence and transformation and play a major role in the overall counterbalancing of tension and relaxation, rest and action. The characteristics of

Figure45: KLEIN DYTHAM ARCHITECTURE,

state, represent foundation of vitality. Blood which is red, represent communication

Gumi Bath

and life. These relationships can be approached from the aspects of movement, mind states, or from the anatomical and psychological functioning.

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Baby starts to grow up from cells as a capsule, however its boundary plays a role as a permeation through tissue. As we currently see the effect of Intelligent Gel, which is not only for a medical use but industrial furniture, we feel as if we are involved in its material when we touch also we can get relaxation from it.

Nearly solid, nearly liquid.

Relationship between these physical states is kept by quite sensitive tension. It could be compared to the experience of eating sweet jelly, such as a time lug in the process of melting, saccharifying or emulsifying in the mouth. Emulsified window, this process might have a capacity to grow waiting experience in cooperation with expectation.

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Conclusion Can waiting-time be a creative tool of the architectural language? Is it possible to reconstruct an experience of waiting in the city as a theatre? And how it could be created?

In this thesis, while admitting a contradiction between what theatre serves us now and what we expect for the theatre, there can be found a theatrical phenomena which caused by dynamics of the city. That is, what city has naturally. No one pays for the time before show starts and no one willingly choose waiting in city situation, however when this accident happens, sometimes this situation only allowed to have a ‘reasonable’ relaxation.

Assuming that waiting situation has a positive power such as relaxation, rising expectation, communication among unknown people, conversion of idea and so on, it might be possible to make up a daily diary in a city as a script. When the movement of modern theatre can be summarized on the idea of intertwined relationship between ‘see’ and ‘be seen’, this thesis project itself started to be a transformer from the result of direct observation to one theatrical piece.

boundary between stage and seat, hiding stage technologies and orchestra pit, there revealed a problematic sense of place causing not only by modernity but also by accelerating standardized culture. conclusion145

For example, sense of color in a tourist place or sense of time-passing as a result of questionnaire. It could be said, in our current context, place is not a physical, objective space. Sometimes place is in the mind, it is the images and sounds of the space passed through our memories. Suggestive events or forms could be generated by establishing a new contract with an architecture.

Start from overhaul three-dimensional box-like theatre, where can be found the scattered pieces of the box?

First of all, while referencing dismantling modern theatre, there are several key persons who dealt with theatre in direct way, such as Sumuel Beckett and William Forsythe. They incorporated silence (waiting) to make close contact between ‘see’ and ‘be seen’ as a method of their script. Their attempt could be summarized as reconstruction of the person-to-person relationships by uncertainty. Then as an architect draw arranging a building in site plan, a map of relationship that leads observer sensing a complex weave might be described as a secondary layer on the actual map. What situationnists drew through their own experience and what Bernard Tschumi drew overlaying his story might have a possibility of description of script on two-dimensions. we possibly can acquire experience at each scattered part of place, as if disentangling complicated knot which includes invisible lines such as density of time, luminous, heat,,,.

conclusion147

Secondary, looking through one scene of set-up daily diary while undoing intricate relationship between scenes and its layer of time, how each scene can be described including plural scenery under the multiple times?

The idea that it is unable to capture form of whole architecture by one point of view, such as architectural workings by Brunelleschi, paintings which use technique of anamorphosis or thinking of space. Anamorphosis is, as it were, a technique which is interweaved different “plural space” , inconceivable to be compatible in one picture at the same time. ‘Ambassadors’ by Holbein is only express two view point and space, however it seems to have a power to make viewer more active than a picture drawn with one view point. By contrast, ‘Large Glass’ by Duchamp is also jumbled up plural images drawn from various view point in one space together. Therefore I think manipulation which scatter “plural space” is condition that be make expanse possible than space which express one concentrated thing.

Human cannot escape from restriction of a view point originally, but can change the way of looking.

Therefore it is possible to design temporal building type which is inherent ‘parallax’ like an experience that can look one by one each time. And view-point. a system arrange one body while designing as if individual were in the different space, not had a central somewhere.

conclusion149

Thirdly, description from above all reference in paintings have been based on the idea of quite mathematical perspective method, however how each scene could possibly be connected in lively way?

As I intervene myself into the city to capture waiting condition, here revealed the fact that a bodily sense toward surroundings is the key issue to let space have a kinetic condition. In this section, to make more sensitive space for time-passing, I referenced a tactic condition of the space from choreography.

However how these kinetic condition can be recollected as a theatrical experience? Now again looking back a element of modern theatre, there is one element I didn’t mention about, that is an orchestra pit and mechanical setting which had been hidden for emphasizing a ideal stage play. Space for the music is now getting smaller and smaller, as we can see a development of reproduction tool such as MP3 player which Large Glass from the collection of the words in the box which is called “green box” and through the “trunk box” [Figure46] posthumous work, every fragment of waiting could be put together again.

Music box could be a small discovery by accident.

And when the feeling which we want to stay at the place longer starts, waiting time could be an important tool for reconsidering the identity of the place.

Figure46 : Marcel Duchamp, trunk box,1941 conclusion151

*anatomy

*cinema

Alexander Tsiaras, text by Barry Werth44, from Conception to Birth: a Life Unfolds, Random House, 2002

Francois Penz, Architecture in the Films of Jacques Tati; Cinema & Architecture, Francois Penz and Maureen

Dr Tony Smith, The Human Body, Dorling Kindersley,1995

Thomas, 1997.

Giuliana Bruno, Rebecca Horn : Interiors : Anatomies of the Bride Machine, Guggenheim Museum Publications, New York, 1994

*body movement Daniel Libeskind, The Space of Encounter, London, Thames&Hudson, 2001.

*event Bernard Tschumi, Architecture and Disjunction, MIT Press, 1994.

Bernard Tschumi, The Manhattan Transcripts, Academy Editions, 1994.

Revised and Expanded, ed., Architectural manifestoes [of] Bernard Tschumi, Architectural Assciation, 1979.

Bernard Tschumi, Question of Space: Lectures on Architecture, Architectural Association, 1990.

John Hodgeson, Mastering Movement: the life and work of Rudolf Laban, London, Methusn Publishing Ltd,

Bernard Tschumi, Event-Cities, MIT Press, 1994.

2001.

Bernard Tschumi, Architecture in/of Motion, Nai Publishers,1997.

Roslyn Sulcas, “Desire to Dance”; Dance Magazine September 1995.

DIDALOS No.44, DiDALOS, 1992.

*Las Vegas

Rebecca Horn, “Rooms, Kangaroos,” in Rebecca Horn: Zeichnungen, Objekte, Video, Filme,17. Marz-24.

Robert Venturi, Denise Scott Brown and Steven Izenour, Learning from Las Vegas, MIT Press,1972

April 1977 (exhibition catalogue), Cologne : Kolnischer Kunstverein, 1977, p.11.

Selma Jeanne Cohen, International Encyclopedia of Dance, Oxford University Press, New York, 1998.

*light

Shiro Imatsu, ARCHITECT’S WORKS FILE2 KLEIN DYTHAM ARCHITECTURE November 2002, xknowledge publisher, 2002.

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Leon Battista Alberti, Della Pittura, ed. L. Malle’, Sansoni, 1950 ; On Painting and On Sculpture. The Latin Text

Richard Hamilton, The Bride Stripped Bare by Her Bachelor’s Even, Marcel Duchamp, Edition Hansjorg

of De Pittura and De Statura, ed. C. Grayson, Phaidon, 1972.

Mayer, 1960.

M.Fried, Absorption and Theatricality. Painting and Beholder in the Age of Diderot, University of California

Situationists Art, Politics, Urbanism, Museum d’Art Contemporani de Barcelona, ACTAR, 1996.

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N. Bryson, Vision and Painting. The Logic of the Gaze

Jonathan Crary and Sanford Kwinter, ZONE 6 Incorporations, ZONE, 1992.

AA Files 27, 1994 Flesh: Architectual Probes, Triangle Architectural Publishing, 1994

S. Alpers, The Art of Describing. Dutch Art in the Seventeenth Century *psychogiography Kevin Lynch, The Image of the City, Cambridge, Mass and London, MIT Press,1960 Guy Debord, Introduction to a Critique of Urban Geography, in Les Levres Neus #6, 1995

*modernity Beatriz Colomina, Privacy and Publicity: Modern Architecture as Mass Media, MIT Press, 1994 Franz Kafka, The Castle, Harmondsworth, Penguin, 1926 Franz Kafka, The Trial, Harmondsworth, Penguin, 1925 *perspective Ann Holly, M., Panofsky and the Foundations of Art History, Cornell University Press, 1984.

Erwin Panofsky, Die Perspective als “Symbolische Form”, Vortrage der Bibliothek Warburg, 1924-25.

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*sociology Norihiko Fukui, Sociology of the City and Urbanizetion, Iwanami Publisher,Tokyo,1996 *theatre Peter Brook, The Empty Space, Penguin, London, 1968 Antonin Artaud, translated by Victor Corti, The Theatre and Its Double, Calder & Boyars Limited, London, 1970

Jurgis Baltrusaitis, Anamorphosis ou Perspectives Curieuses,1955.

Frances A. Yates, Theatre of the world, 1969

Kubovy,M., The Psychology of perspective and Renaissance art, Cambridge University Press,1986.

Edward Hall, The Hidden Dimension, New York, Doubleday & co, 1966 Bibliography 157

N. Shults, Norio Kato translates, Existence, Space, Architecture Toshio Kawatake, Aesthetic of Kabuki, Tokyo University Press, Tokyo,1989 *websites *time Ben Highmore, Everyday Life and Cultural Theory An Introduction, Routledge, 2002 Gaston Bachelard, The Dialectic of Duration, Clinamen Press, Manchester, 2000 James Gleick, Faster: The Acceleration of Just About Everything, Pantheon Books,1999

Baudoin Patricia and Gilpin Heidi, Proliferation and Perfect Disorder : William Forsythe and the Architecture Disappearance, www.frankfurt-ballett.de/artic1.html PALATINE Directory, William Forsythe : http://www.palatine.org.uk/directory/index.php/Dance/dprc/fw/

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*waiting Jonathan Bell, The waiting game, BLUEPRINT

*Visual sense and sense of touch

*video Paxton Steve, Forsythe William and de Mey Michele Anne, I think the body likes to move, Den Haag, National Dans Theatre, 1999

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James. J. Gibson, The Ecological Approach to Visual Perception, Lawrence Erlbaum Assoc; (January 1987) Jonathan Crary, Technique of the Observer. On Vision and Modernity in the Nineteenth Century, MIT Press, 1990.

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I used to feel relaxed thinking about the language which can describe all the existing relationships with 26 letters.

Yet now I feel that it is not so meaningful about the fact.

Probably it is the human relationships that cannot describe by combining the language all over the world.

When I start to handle things as if I give up to describe them, I feel language become stick to my tongue like candies melt away.

161