Performers and Spectators

PERFORMERS & S P E C TAT O R S

JOSE LUIS CRUZ

SPRING ‘14

PERFORMANCE CENTER

IN REALITY, THE SPECTATOR IS AS MUCH OF A SHOW AS THE PERFORMER

NARRATIVE Everyday is a performance. Every day

CONCEPT The concept is first to understand the

when we wake - and night when we rest - we per-

scales at which people perform and spectate. This,

form, for ourselves and for others. No matter how

in turn, suggests relationships between the two. The

dull or mundane the activity, we are at all times our

intention then is to catalog a series of these rela-

own spectacle and at all times subject to judgement

tionships in order to understand a range of densities

- whether positive or negative - from the spectator,

from which I can conceptualize the organization and

who, unsurprisingly, also performs.

sequence of the building. This exercise, for me, is an attempt to discover a new method of designing

Buildings are like this as well. The question, to whom

spaces that begins, not necessarily with a geometric

does a building perform for?

intent, but rather a social one - combining diverse groups of people with each other.

NEW YORK, NEW YORK

THE PERFORMER LOOKS OUT ONTO THE SPECTATORS AS THEY FORM A CIRCULAR ENCLOSURE AROUND HIM

PERFORMANCE AND SPECTATOR

PROGRAM TYPES OF PERFORMANCE & SPECTATOR

SPRING ‘14

PERFORMANCE CENTER

NEW YORK, NEW YORK

SPRING ‘14

PERFORMANCE CENTER

NEW YORK, NEW YORK

RECIPRICAL RELATIONSHIP BETWEEN GROUPS OF PERFORMERS AND SPECTATORS

RECIPRICAL RELATIONSHIPS

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