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
A
B
C
D
E
A
B
C
D
E
1
7
2
8
3
9
4
10
5
11
6
12
A
B
C
D
E
A
B
C
D
E
1
7
2
8
3
9
4
10
5
11
6
12