Dissertation by Silviya Ninova

New Steps in Dance Design The development of a new typology of dance buildings as a result of the transformation of dance during the 20th century

Silviya Ninova Department of Architecture Faculty of Engineering University of Strathclyde 17.03.2015

Declaration Department of Architecture University of Strathclyde -

Department of Architecture University of Strathclyde AB 420 Dissertation BSc Architectural Studies BSc Architectural Studies with European Studies MArch/Pg Diploma Advanced Architectural Design MArch Advanced Architectural Design International

Declaration: â&#x20AC;&#x153;I hereby declare that this dissertation submission is my own work and has been composed by myself. It contains no unacknowledged text and has not been submitted in any previous context. All quotations have been distinguished by quotation marks and all sources of information, text, illustration, tables, images etc. have been specifically acknowledged. I accept that if having signed this Declaration my work should be found at Examination to show evidence of academic dishonesty the work will fail and I will be liable to face the University Senate Discipline Committee.â&#x20AC;? NAME: Silviya Ninova

SIGNED:__________________

DATE: 17.03.2015

Acknowledgements I would like to extend my gratitude to the supervisors of this dissertation â&#x20AC;&#x201C; Prof. Gordon Murray and Mr Michael Angus. I would also like to take this opportunity to thank Mr David MacRitchie for his immense help throughout the last three years. Also, thanks to my mother Zdravka Petrova and to Filip Angelov.

Contents 1. Abstract 2. Introduction 3. Chapter 1 – The Transformation of Dance during the 20th Century 3.1 The Definition of Dance 3.2 The Restrictive Nature of Classical Ballet explored through the paintings of Edgard Degas 3.3 The Transformative Power of Rudolf Laban’s Dance Theory

4. Chapter 2 – The Connection between Dance and Architecture 4.1 Performances that Connect Dance and Architecture 4.2 Architectural Methods for Exploring the Connection

5. Chapter 3 – The New Typology of Dance Buildings Developed in the UK 5.1 Laban Dance Centre 5.2 Dance Base 5.3 Scottish Ballet 5.4 Dance City 5.5 Siobhan Davies Studios

6. Conclusion 7. List of Figures 8. Bibliography

1. Abstract Significant changes occurred at realms of both dance and architecture during the last century as they both parted with the established perceptions of shape and form. As the constraining frames of the past were destroyed, the two returned to their original purpose of defining the interconnection between the body and the surrounding space and thus became closer to each other. The aim of this study is to explore the relationship of dance and architecture by examining the new typology of dance buildings that emerged in the recent years in the UK. Analysing the relationship between the two subjects allows the opportunity to see the built environment through the perspective of the human body and its movement within the space. The paper begins with a study of the development of dance in recent history, which is followed by an exploration of how the direction of development influenced and increased the points of overlapping between the art of movement and architecture. After the boundaries of the connection of the two disciplines are established, the dissertation focuses on analysing a few case studies of the dance buildings, constructed during the last two decades and the ways in which they reflected the alignment between dance and architecture. The relationship between the two subjects resulted in the development of a new building type. As a result of the research and analysis, it is evident that recently constructed dance buildings are beneficial for the development of both dance and architecture.

2. Introduction Architecture is traditionally perceived as static - an exact opposite of dance, which is about movement at its core. However, this stereotypical notion relates more to what architecture used to be and is not as applicable for its current development. The present paper opposes the perception about the fixed nature of the built environment and focuses on the aspects of architecture that can be influenced by dance. Looking at the fundamental characteristics of the two, architecture is closely related to dance as it provides an envelope for the human movement. The two disciplines are related in their nature as they both deal with space trough the perspective of the movement of the human body. Architecture provides the context for the human movement and thus is an inseparable part of it because it defines it and frames it. Both are not artificially invented as they relate to basic needs of the human being - the need for a shelter and the intrinsic desire for moving. Because of this connection to the fundamental nature of life, they have always been part of it. The first chapter will provide a background for the rest of the study by focussing on the development of dance with an emphasis on the recent history. Like architecture, dance reflects the development of societies and changes with them. As it evolved, it became more and more sophisticated, refined and constraining. This pattern of development changed entirely during the 20th century in accordance with the social and technological changes which happened. Changes in the social structure in the 20th century reduced them to their basics and brought them closer together. There was a tendency of utilising a minimalist approach and allowing more freedom rather than overcomplicating and restrictive methodology that was used before. Choreographers strived to escape from the strict frame of traditional ballet and established contemporary dance â&#x20AC;&#x201C; an art form in which there are no restrictions. While in ballet there are a lot of compulsory components, in contemporary dance there are none. This freedom of expression was also experienced in architecture as building forms became less restricted with the development of technology. The second chapter concentrates on the connection between dance and architecture. Initially, examples of performances in which dance and architecture establish a relationship are examined. The relationship between dance and architecture has been the subject of many studies and performance experiments that were looking at the connection between movement and the environment and explored the ways in which they interact, influence and change each other. These performances use the context of the stage not only as a blank space in which dancing is happening but as an important part of the art. After that the alignment between the two subjects is looked at through the perspective of architecture. The ways in which the design of buildings relates to the art of dancing are explored. The characteristics of building design that are related to dancing include the relationship between the built environment and the outside world, the provision of light in the studios and the supporting spaces, and the movement which takes place within the building. The third chapter of this dissertation examines the connection between dance and architecture and discusses how it is expressed in the design of dance buildings. Traditionally, the performance spaces are the ones which are given more importance since that is where the

dance is presented to an audience. The studios are often neglected when it comes to architectural design. The recently built dance buildings do not conform to this stereotype and treat the studios as a very important part of the developments as it is there where the dance is created. While the performance spaces are used a few nights a month, the studios are occupied on a daily basis. The studios are essential part of the life of the dancers. A beautifully designed space can be inspiring and motivating and it can contribute to the art of dancing. The methods of architecture have been used to produce a new building type that helps the development of dance by attracting more people to participate. The study will be developed in the context of the recently built dance studios in the UK – Herzog and de Meuron’s Laban Dance Centre in London, Malcolm Fraser’s Dance Studios – Dance Base in Edinburgh, Scottish Ballet in Glasgow and Dance City in Newcastle and Sarah Wigglesworth’s Siobhan Davies School in London. It compares the solutions the different architects used in order to deal with the complex task of creating inspirational spaces for the dancers. The new type of dance buildings helped in breaking the traditional constraints of dance. They serve as an example of how connecting an art with architecture has the potential to produce outstanding results, which are of benefit for the society and for the art and architecture themselves. There are some features, which require a degree of synergy between the two subjects to be formed for the successful design of a dance studio. Such synergy must exist between the main elements, which are essential for creating an inspiring atmosphere in a place specifically tailored to the needs of dance as a form of art. The buildings that are studied all provide meaningful responses to the given briefs and serve as good examples for the design of dance buildings. The studied subject provides a thought-provoking perspective for exploring the psychology of spaces and studying the aspects of architecture that relate it to art. There is a lot more to architecture than the obvious arrangement of spaces in a practical manner or the sculptural visually attractive appearance of the outside form. The recently developed dance buildings produce an inspiring and stimulating atmosphere to work in, and at the same time improve the built environment.

3. The Transformation of Dance during the 20th century (How does movement define and alter space?) 3.1

The Definition of Dance

Dance has played a significant role in all societies. In the ancient communities it used to be part of all human activities â&#x20AC;&#x201C; war, work, love, etc. As time passed, it evolved into a theatrical art where people were divided into performers and audience. Although it has constantly been changing to reflect the characteristics of time and society, its main features have stayed the same. Dance is the the rhythmic movement of the human body within a given space, usually accompanied by music. The reasons for dancing often include the expression of the inner self, the creation of beauty or taking pleasure from movement.

3.2 The Restrictive Nature of Classical Ballet explored trough the paintings of Edgard Degas

By the beginning of the 20th century the aim for visual perfection overshadowed the expressive nature of dance. In western culture professional dance had become an elitist discipline with constraining rules. The people who reached professional level needed to satisfy specific strict requirements. In classical ballet beauty of the movement of the body is expressed in the creation of harmonious lines. Classical ballet is a formalised form of art. Everything from the position of the hands to the costumes is designed carefully. It is intended to appear natural and effortless at first glance. But this initial deception cannot be further from reality. This form of art requires a lot of efforts and a careful choreography of every detail. An accurate depiction of ballet prior to the 20th century can be observed in the paintings of Edgar Degas. The painter rarely depicted the actual performance. He preferred to portray the formalized movement of classical ballet through the everyday reality of the dance studios. Degas expressed the idea that what happens on the stage is an illusion, a mask. The true face of ballet is different and hidden in the production. The works of Edgar Degas depict the industrialised process behind the beautiful product, the side of the art which is behind the image created for the stage. The ballet studio is like a factory in the aspect that the aim is the end product. The process behind the final image is laborious and repetitive. In â&#x20AC;&#x2DC;The Rehearsalâ&#x20AC;&#x2122; 1876 the observer perceives the space as though as he is inside the picture because of the viewpoint of the painting. The part of a spiral staircase, the tall windows in the background and the floor set a repetitive rhythm for the rest of the composition. The floorboards organise the pictorial space with the dancers and the positions of their feet being aligned with them which illustrates the extent to which details are considered. Just like in ballet choreography every single detail is carefully thought of. Light, which comes from the large windows and leaves light splotches on the floor also has a role in 16

Fig.1 ‘The Rehearsal’, Edgar Degas

shaping space. Although the choice of viewpoint is unusual and a lot of the background objects are cut out at unexpected places, a clear idea about the atmosphere of the space can be shaped in viewer’s mind’s eye. In ‘Before the Ballet’ the dancers are arranged around the empty space, making it again the centre of the composition. The attire says a lot about the nature of ballet. Tutus change the proportions of the human body, emphasising femininity. Pointe shoes distort the natural movement of the body. As a result of the careful design, an idealised image is achieved. In both paintings the centre of the composition is an empty space. Along with the blurriness of the works, this demonstrates that it is not a specific person or an object but the atmosphere of the studio that is being portrayed. The dancers frame the space instead of being the centre of the composition. One of the other works of Degas – ‘The Ballet Examination’- illustrates the harshness of dance education in a very powerful way. The ballet master holds a heavy stick, the end of which was banged aggressively on the wooden floor to drive the dancer’s rhythm, while he berated and bullied the dancers. The floor is used as a teaching instrument, while the stick is an intimidating accessory to the rather brutal process. In the art of Degas there is a lot of evidence of careful planning. Dance organises space by defining it by the movements of their bodies.

Fig.2 ‘Before the Ballet’, Edgar Degas

Fig.3 ‘The Dance Class’, Edgar Degas 18

3.3

The Transformative Power of Rudolf Laban’s Dance Theory

In the 20th century the new era of dance began as an opposition to the old constraining rules that shaped the art. There was an outburst of innovation which led to the development of modern dance by several separate individuals within the same time frame. Mary Wigman, Francois Delsarte, Émile Jaques-Dalcroze and Rudolf von Laban started exploring theories about the human movement and expression, which led to the development of modern dance in Europe. This new type of dance was developed as an opposition to the restrictive nature of classical ballet. Despite the drastic changes which occurred, the basic elements of dance remained the same. However, the movements became unobstructed and thus less refined. The new generation of people who practised dance saw the art from an entirely new perspective – one that was closer to what dance is fundamentally. The performance was not solely focussed on the creation of a visually aesthetic image and thus a lot more freedom of expression was allowed.

Fig.4 Laban’s Sketch - ‘Spatial Inclinations with Tetrahedral and Cubic Tensions’

Rudolf Laban was one of the first people to introduce a new approach to dance in Europe. His contribution to dance theory is invaluable and a lot of his work is kept in an archive in the Trinity Laban Conservatoire of Music and Dance in London. Laban abandoned the traditional constraints of form and movement that had been the norm in dance for centuries. He saw beyond what was usual for the art and studied the internal motives behind movement rather than the external form. Laban perceived dance as a combination of different shapes, which are created by the dancer’s body, and their change with time: ‘We must remember that the form of a movement is not one line only; it is not an arabesque or a curve, and also not a single broken or curved surface as we may see on a crystallized mineral, but a cataract of forms, as if a heap of jewels or precious stones had been poured out vehemently, glistening, jumping, breaking. And more than this: it is as if the single forms would grow and shrink, swallow each other or give birth to new ones, changing their shape in a continuous transformation.’ (Laban, 1984:16) This more abstract approach of understanding movement allows greater freedom of expression and entirely shifts the direction of development of dance.

Fig.5 Laban’s Sketch – ‘Man Envisaging Dynamic Power’

It is evident that Rudolf Laban did his work because he was striving to reach deeper understanding of movement: ‘In trying to catch the principal directions and curves of such a cataract, we are able to come nearer to grasping its general form and its structural meaning. Connecting qualities emanate from the understanding of the structural value which lead to the understanding of the expressive value, and finally to awareness of the language of movement and dance.’ (Laban, 1984:16) Studying the structure of the movement is seen as a method of exploring the pattern of communication of dance. Dance is a physical expression of something metaphysical and as such it is a way of sensing things that are not present in the real world and cannot be reached by the methods of reason. ‘Solo dance is a duet between dancer and his environment, or dancer and his inner world.’ (Laban, 1986:52) In this statement Laban sees the environment as a main participant in the act of dance. Space is altered by the movement, which happens within it. As the dancer’s body moves it frames and defines the space. Laban’s work is studying the invisible world of the mind rather than the physical world. It is not focused on the seeking of external perfection but about expressing the intrinsic nature of the human being on the outside. Laban explores how the space around the dancer is altered trough movement. Studying the scientific discoveries had recently been made at the time, he explores dance trough the movement of energy: ‘We can, perhaps, assume that human beings when dancing have always had an intuitive notion of the dynamic structure of material existence as discovered by science today; for the astonishing similarity between this vision of existence and the actual spatial feeling of a dancer is undeniable…’ (Laban, 1986:38); ‘Real space is not merely the interval between terrestrial bodies and objects but is, what scientists called “empty space”. It is full of mysterious paths of motions and provides an inexhaustible field for research into motor activities such as dancing and doing.’ (Laban, 1986:4) By the beginning of 20th century dance had become too complex and distanced from its expressive nature. Modern dance made an attempt to return to ‘the roots’ of movement. As a result of the modern movement, dance is now seen from an entirely different angle. It became more open to different types of people as the idea of pursuing perfection was not the reason for dancing anymore. Similar changes can be traced in architecture. The constrictions of traditional construction were set aside. The development of new engineering methods in construction led to limitless opportunities for architectural expression. The recent changes in both dancing and architecture have led to their ‘liberation’ from the previously existing norms and as a result both subjects provide more freedom of expression. The movement of the human body is the force that defines space, as in architecture the floors, wall and ceilings do. When it comes to dance the movement defies the boundaries of the usual walking, and thus architecture can explore new territories. Architecture becomes closer to art through its connection to dance.

Fig.6 Laban’s Sketches – ‘Rough Sketches of a Dancing Figure in Typical Attitudes of Tetrahedral Tension’

Fig.7 Laban’s Sketches – ‘Erecting’

The Connection between Dance and Architecture (How does the body sense space?)

4.1

Performances that Connect Dance and Architecture

Dance and architecture are related by the changes which took place in both subjects during the last century. The ideas that shaped dance theory during the 20th century are expressed by the art nowadays. Just like dance, there was a return to the fundamental principles that define architecture in its core. The established traditions were broken to give way to the new way of perceiving the world. So far this study has been focused on dance and the ways in which it alters space. However, the opposite is also true – space can alter and define dance. This chapter will study the different ways in which the connection between dance and architecture can be conveyed.

Fig.8 Her Topia - a Dance-Architecture Event The most freeing of them is through the act of performance – as the artistic expression on stage is almost unlimited. The relationship between dance and architecture is explored by the designer Dorita Hannah, the choreographer Carol Brown and the composer Russel Scoones. The team explores the ‘intersection between performance and space’ through works, which they describe as dance-architecture. ‘Her Topia’ is one of the dance-architecture-events that were organised by the team. It took place in October 2005 in Athens, Greece in the Duncan Dance Research Centre. The performance was influenced by the work of Isadora Duncan, who 25

perceived dance as an expression of freedom. The question which inspired it was ‘what is it to dance freedom at a time when wars are being waged in its name?’(Dorita Hannah, 2005). The performance took place in a stone building, which was built in 1903 as a memorial to Isadora Duncan’s dance art. Stone is one of the sturdiest materials, and as such symbolises history and longevity: ‘Stones became linking elements across time, holding memory in their inscrutable objectality.’ (Hannah, 2005) There is an opposition between the solidity and stability of stones, and metaphorically of architecture, and the transient art of dance. The movement of the audience between interior and exterior spaces was a significant part of the performance. As well as allowing the viewers to participate, this decision defies the traditional norms in theatrical art: ‘The audience moved between interior and exterior spaces as the dancers’ bodies were fragmented, multiplied and dematerialized in an orchestration of sound, light, video, mirrors and movement that eventually projected the performance out into the cityscape of Athens with dancers on the rooftops of surrounding apartments.’ (Hannah, 2005) The mentioned visual effects exceed the traditional notions of performance and transfer the dancing into the realm of the imaginary.

Fig.9 Her Topia - a Dance-Architecture Event

Fig.10 Tongues of Stone â&#x20AC;&#x201C; a Dance-Architecture Event

Fig.11, Fig.12 Tongues of Stone â&#x20AC;&#x201C; a Dance-Architecture Event

‘Tongues of Stone’, another dance-architecture event, was performed in Perth in April 2011. It is a project in which the story architecture tells is enliven by movement. Perth is transformed, as the mundane reality is turned into an exciting performance, which tells stories of the past. The urban space is reimagined: ‘As a site-sensitive dance project, Tongues of Stone transforms Perth into a network of stories experienced through movement, sound and imagery. Led from underground to riverview, the mobile audience maps the city and its invisible histories, through a soundscape of multiple voices …Tongues of Stone re-imagines Perth as a place of many stories streaming through its streets, laneways and civic sites.’ (Hannah, 2011)

4.2

Architectural Drawings that Express Movement

In ‘The Manhattan Transcripts’ Bernard Tschumi constructs the narratives through the language of the architecture. At first it seems like a contradiction to establish a connection between the freeing act of movement and the constraining nature of the architectural drawings. However, as movement is an inseparable part of experiencing architecture in reality, it is logical to include it in the architectural representations. The Manhattan Transcripts were developed as an alternative type of architectural notation – a mode of expression that was not solely about describing the space through plans, sections and elevations. In this new type of notation the movement of the human body is also included. Although the Transcripts are sited in existing locations, they were not developed as real architectural projects. They are on the borderline between reality and fiction: ‘Three disjointed levels of ‘reality’ are presented simultaneously in the Transcripts: the world of objects, composed of buildings abstracted from maps, plans, photographs; the world of movements, which can be abstracted from choreography, sport or other movement diagrams; the world of events, which is abstracted from news photographs.’ (Tschumi, 1981:9) The traditional representation of the relationship between space and form in architectural drawings, is enhanced with the addition of movement and events. The Transcripts are a representation of the ways, in which the built environment interacts with the living world. The intertwining between the static environment and the movement that happens within illustrates ‘the complex relationship between spaces and how they are used’ (Tschumi, 1981:7). The project is an example of a work of art where movement and architecture are linked. The work establishes an unexpected relationship between architectural forms of expression and the way people experience space. Showcasing that architecture is a lot more than the conventional arrangement of spaces.

Fig.13 The Manhattan Transcripts – Part 1

Fig.14 The Manhattan Transcripts – Part 4

4.3

Architectural Methods for Exploring the Connection

A third way of expressing the alignment between the two disciplines is through the design of dance buildings – the most restrictive of the three methods for connecting dance and architecture. Although architecture can come very close to art in some occasions it still remains engaged to the real world for the most part. The perspective of practicality is very important for the nature of the architectural design as it is fundamental to create spaces that are comfortable and beneficial for the users. Although architecture is usually seen as static, there is a number of ways in which it can be perceived as dynamic. From the research of dance so far, it is evident that dance alters space and space alters dance. This part of the chapter will concentrate on the architectural methods with which dancer’s experience can be influenced. There are conventional methods, in which architecture can influence dance. Peter Zumthor describes the methods in which architecture defines space in ‘Atmospheres’. Those methods can be applied in relation to the design of dance buildings. This study will concentrate on the aspects of architecture which are connected to movement and appearance, and thus to dance. The most important similarity between the two lies in their foundations – they both are creative disciplines which deal with the relationship between people and spaces. They simply differ in their focus points. While dance organises space trough the movement of the human body, architecture reshapes the space itself with the intention to define the human movement within it. Space is the medium they both use for creative interpretation. Physical spaces become meaningful only when they are inhabited. They can be perceived only by the perspective of human beings occupying them. Architecture, too, is about translating mental images into the material world. The most obvious way those similarities are expressed are the dance buildings. The main aspects in which dance and architecture relate in those buildings are connected to the similarities in the nature of the two. The visual nature is expressed by the presentation of the building to the outside world – the façade. The relationship between time, space and the human body will be discussed through the aspects of lighting and circulation. The first point of comparison is the visual nature of both dance and architecture. The appearance is important as the first impression of a building is created by the way it is seen from the outside. The way a dance building is presented by its façade is usually telling a lot about the building and its purpose. The problems related to presenting a visual art establishment to the general public and translating the language of dance into the language of architecture are important. In ‘Atmospheres’ Peter Zumthor emphasises the importance of the visual aspects of architecture: ‘And whenever I’m doing a building I always imagine it in those terms: what do I want to see – me or someone else using the building later – when I am inside? And what do I want other people to see of me. And what sort of statement do I want to make publicly. Buildings always say something to a street or square.’ (Zumthor, 2006:49) There are many aspects which need to be considered when designing a façade is approached. The façade can reveal a lot about the activities, which take place on the inside or it can keep them entirely hidden from the sight of the passer by and rely on the curiosity of the viewer. The solutions which architects handle this task differ significantly – from Dance Base where the building is hidden behind an old façade and the only clue that gives out its purpose is the signage to the 31

Laban Dance Centre’s translucent glass cladding where the bodies of the dancers are meant to be the main focus at night. Designing a beautiful façade often is not the most desired effect as in most of the cases expression and provoking interest in the purpose of the building are mainly sought after. The second part of the comparison will focus on lighting, the qualities it adds to a space and its influence on the users of the building. In this part the threshold is passed and the study goes inside the building. Light is the component that adds the concept of time and movement to a space. It transforms both the inside and the outside of a building depending on the time of the day and season. The provision of natural light and inspiring, non-distracting views in the studios can have a positive influence on the dancers. There usually is a sharp difference between the atmosphere of the well-lit studios and the performance spaces, where natural light is absent. The main difference that is traditionally seen between dance and architecture is that the first is an active art, based on the idea of movement, while the latter is perceived as static. Although the movement in architecture is not that evident, depending on the way we look at architecture, it can also be seen as transitional. Light is an element which brings the concepts of time and temporality to architecture. It changes a room according to the time of the day and the season. Natural light has a special quality for changing the atmosphere in a space: ‘Thinking about daylight and artificial light I have to admit that daylight, the light on things, is so moving to me that I feel it almost has a spiritual quality.’ (Zumthor, 2006:61) Adding natural light is like adding another dimension: ‘So the first of my favourite ideas is this – to plan the building as a pure mass of shadow, then, afterwards, to put in light as if you were hollowing out the darkness, as if the light were a new mass seeping in.’ (Zumthor, 2006:58). In all of the studied studio spaces the way the light enters a building is a main focal point of the composition. The presence of natural light is one of the most important components of an inspiring space that provokes creativity and encourages the desire for movement. Finally, this paper will analyse how the movement within the circulation of the building relates to dancing in the studios/performance spaces. The third part will be about the movement within the building. It will look at the circulation as a means for ‘choreographing’ the walk pattern of the building users, as a prelude to the actual dancing. Carefully designed circulation spaces can influence and inspire the dancing process. The studied buildings have different approaches to solving the circulation, but they are all meaningful and respond to the specific problems posed by the brief and nature of the site. For example, Dance Base creates a promenade which leads to a diverse range of studios, while Scottish Ballet has a large multistorey atrium space. Circulation is one of the most obvious ways in which movement is introduced to architecture. It is especially important for dance buildings to have circulation which is not just a way of getting from one space to another. Since dance is a celebration of the act movement in the first place, the circulation should be a part of this celebration, it should inspire the dancers: ‘That means thinking about the way people move in a building, and there are poles between which I like to place my work. Let me give you an example, in connection with some thermal baths we built. It was incredibly important for us to induce a sense of freedom of movement, a milieu for strolling, a mood that had less to do with directing people than seducing them. Hospital corridors are all about directing people, but there is also a gentler art of 32

seduction, of getting people let go, to saunter, and that lies within the powers of an architect. The ability I am speaking of is rather akin to designing a stage setting, directing a play.â&#x20AC;&#x2122; (Zumthor, 2006:42) The circulation provides a connection between the separate spaces in a building. It is the joining element which is responsible for the integrity and completeness of the building. The way the circulation is treated can change the way the entire building is perceived. There are a number of ways in which the connection between dance and architecture has been expressed. The different artist, architects and designers, who have tried to express this correlation have seen if through a different perspective. Each of the studied examples manages to capture it differently, but in all of them it is evident that both dance and architecture have been transformed and enhanced in the process of connection.

5. The New Typology of Dance Buildings Developed in the UK The truth of theory cannot be proved without examining it in practice. Although drawings, essays and performances can be made demonstrating the connection between dance and architecture, there is no better and obvious way of examining this relationship by looking at dance buildings. This dissertation focuses on the dance studios seen as places where the inspiring process of creating the dance happens. The third chapter of the dissertation studies the dance buildings that were recently constructed in the UK. The study so far explores the question of why a dancer needs a specifically designed space. In order to make the dissertation more specific and connected to reality this chapter will illustrate the ideas from the previous work. The many dance studios and performance spaces developed during the recent years are a sign that dance is still a very important part of western culture. They are a new type of buildings which is entirely dedicated to dance – unlike an opera house or theatre.

5.1

Laban Dance Centre

Laban Dance Centre was the first of the dance buildings which were constructed in recent years. The design of the centre is bold and innovative, just like Rudolf Laban’s work. The translucent glass façade is one of the unusual decisions. The building contrasts with the industrial neighbourhood. The façade is all about the play of the visual effects of colour, transparency and reflection. The texture of the cladding is uniform, and thus allows colour to set the rhythm of the exterior. When designing the polycarbonate façade Herzog and de Meuron collaborated with the artist Michael Craig-Martin. Craig Martin explains that he was focused on two questions - ‘How can color work? How can it make you do something?’ (RIBA Awards 2014:130) The building stays the same but our perception of it changes with the time of the day. It is constant and moving at the same time. The façade is slightly raised above the ground, creating another illusion – that the building itself is floating in the air. This effect, along with the curvy shape of the exterior, suggests movement and escapes the traditional notion that architecture is static. The special organisations in plan follows the curve of the façade, continuing the idea of flow of movement. It creates some unusually shaped spaces, which is especially evident in circulation. These areas transition between narrower and wider points and thus create exciting course of movement, which acts as a prelude to the dancing in the other spaces. The circulation is organised by three circular staircases and pools of water, which further impose the notion of fluidity. There are small internal courtyards, which effectively deal with the need of provision of light along the large area of the building. The translucent façade provides an interesting relationship between the outside and the inside. Light penetrates the studios from the floor to ceiling windows but because of the texture of the glass, it has a dim quality. The silhouettes of 35

the dancers are a spectacle in itself: ‘The shadow images of the dancers, which fall onto the mat glass surfaces of the interior walls and facades, have a magical effect and are part and parcel of the unmistakeable identity of this architecture’ (El Croquis, 2006:82). This design approach provides an abstract background, which fits the nature of modern dance.

Fig.15 Laban Dance Centre – Exterior

Fig. Laban Dance Centre - Sections

Fig.16 Laban Dance Centre â&#x20AC;&#x201C; Interior

Fig.17 Laban Dance Centre - Floor Plans

5.2

Dance Base

About the same time the Laban Dance Centre was developed, another dance building was ready to be built – Dance Base. Unlike Laban Dance centre, it wasn’t made for professional dancers. Its purpose is to welcome everybody to the world of dance – no matter what their age, physical abilities or style preference is. The National Centre for Dance is situated in one of the busiest parts of the old town of Edinburgh – Grassmarket. This site provides a lot of opportunities, as well as many challenges, which add to the complexity and the beauty of the building. It is not easy for a piece of modern architecture to get built in a historical city like Edinburgh. The solution that Malcolm Fraser architects found for meeting the street front is to hide the building under an existing façade. In this way nothing except the signage reveals the nature of the building. This is an unusual solution for the entrance of a public building, but it is well suited to the nature of the old town of Edinburgh – a place full of closes and short cuts. It makes the experience of entering the building a very exciting and full of expectations: ‘The strength of the centre derives from its understanding of the urban fabric and its demand for status in the city. It edges down to Grassmarket but is concealed from it behind the façade of an old dairy building that accommodates one of the studios.’ (RIBA Journal, January 2002:30). The rest of the building is hidden from the street view and can only be seen from the neighbouring buildings or the roof terraces of Dance Base. There is a sharp contrast between the lightweight structure of the dance studios and the sturdy rigid castle wall above.

Fig.18 Dance Base – Exterior

Fig.19 Dance Base - View from Roof Terrace Dance Base is a good example of a building where the circulation is a special space. To a large extent, the approach to the circulation is a response to the challenges posed by the steeply sloped nature of the site. Ramps and lifts make the building accessible. As the way of moving around the building is not straightforward, the process of going to the studios is transformed into a journey. In her article about Dance Base Irina Davidivici describes light as the moving force that inspires the movement in this journey: ‘Rooms range from the darkness of the reception, corridors and ancillaries to the brightness of the dance studios. This strongly suggested hierarchy of light accelerated the user’s steps towards the well lit spaces.’ (2002:30). Light is seen as an invisible choreographer of the movement in the building. It impacts the movement in the circulation like music influences the dance. The contrast between the artificial light in the reception and circulation and natural light in the studios is smoothly directing people. The four studios are the main focus of the building. They are so different from each other that according to Phaidon Atlas ‘Malcolm Fraser’s Dance Base is more a collection of internal and external rooms than a single building.’ The studios are as diverse as the activities that happen in them and the people who visit. Dance Base offers a large variety of options – from classical ballet to contemporary, from classes for professional dancers to activities for disabled people. The building responds well to the brief, providing flexible spaces for the variety of activities that take place in it. Each of the studios is special and inspiring in its own 39

Fig.20 Dance Base - Studio 1 way. All of them have an almost spiritual atmosphere, which is achieved mainly by the befitting use roof windows. The studio that is enclosed within the borders of the existing building looks at Grassmarket. The existing windows of the tenement have been preserved. This studio has a light and airy atmosphere. The main studio has a fully glazed roof, revealing an amazing view to the Edinburgh castle. It is almost as if dancing in the open air. The atmosphere of the space is very uplifting. The glass and steel roof structure is in a sharp contrast with the warmth of the wood cladding of the walls and the floor. Light penetrates the room unobstructed, making it the lightest studio in Dance Base.

Fig.21 Dance Base - Studio 2

The third studio has a very powerful atmosphere which is mainly accomplished by the means of the dramatic concrete roof and the roof lights in it. Light seeps in from the very top of the roof creating almost spiritual atmosphere. The height of the roof adds to the powerful atmosphere of the space. The lack of view creates a sense of enclosure and allows more concentration on the act of dance itself.

Fig.22 Dance Base - Studio 3

Contrasting to the third studio, the fourth one is very bright as a result of the large amount of glazing and the use of light colours in the interior. The walls and the roof reflect the light and the windows provide a beautiful view over the rooftops of the neighbouring buildings.

Fig.23 Dance Base - Studio 4 Dance Base has a range of studios that are unified in the desire to provide exciting and inspiring spaces for the dancers but different in the approaches in which this is accomplished: ‘In fact so much attention has been given to particulars and so many decisions stem to a response to site conditions it is hard to identify a single will or desire for unity. Instead, the visitor is taken through a whirlwind of ideas, a multitude of characters that dazzle as much as they disorient’ (RIBA Journal, January 2002:30). Light is the main element which organises and defines the studios. It plays a principal role in setting the tone of the atmosphere – whether it is powerful and dark or bright and airy. ‘Dance can be interpreted as an attempt to free the body from the forces of gravity. It is a negotiation with one’s weight, based on the certainty that, once the leap has been made, the body will return to the reassuring ground. The National Centre for Dance has also been successful in its acts of negotiation: with the planning authorities, the site, the topography and the city.’ (Davidivici, 2002:30) The National Centre for Dance has been accepted very well by the architectural critics. However, the most important indication that it has been successful in its objectives is the liveliness of the building, its continuous use for various classes and events and the satisfaction of the people who use it.

Fig.24 Dance Base â&#x20AC;&#x201C; Perspective Section

Fig.25 Dance Base - Section

Fig.26 Dance Base - Plan

5.3 Scottish Ballet

Scottish Ballet refuses to conform to this stereotype of a traditional ballet company and unlike many ballet studios, the emphasis is not on making the façade polished and beautiful. The building is developed as a response to the industrial location as well as the nature of the work happening inside with the strict rules of ballet. It replaces sections of an 1893 derelict tramway building. The project architect Clive Albert stated that although the building is not a public venue it is a national institution ‘with a very public face’ (Building Design 2009:1). The intention was to avoid the image of the typical ballet company. The robust concrete and metal cladding shows this. The treatment of the façade is chosen to avoid graffiti and flyposting as vandalism is a persistent problem in the area. The plain, unornamented cladding and the robust exterior of the building are in line with the idea that Scottish ballet is not the stereotypical ballet company.

Fig.27 Scottish Ballet – Exterior

The studios and the additional spaces, such as workshops, wardrobe and music department, are arranged around a central core, which serves as a natural focal point for the dancers. ‘All the different routes around the building converge on this area, Clive Albert said. One of the key issues in the design of the building was to bring the different component parts of the company together.’ (Building Design 2009:1). The circulation is treated like a space, which unifies all the other spaces. It is not only a means of moving around the building, but also acts as a reception and a resting space for the dancers. The rough façade is in a sharp contrast with the interior of the building. The timber cladding of this central core brings softness and warmth to the interior and contrasts with the grittier exterior cladding. Wood is chosen as it is a material which creates the sense of warmth, which helps the dancers to keep their muscles supple.

Fig.28 Scottish Ballet – Atrium Space

Like in Dance Base, in Scottish Ballet there is a transition from darker to lighter spaces. Although natural light is present in the atrium space, the size of the roof window as well as the choice of cladding materials that absorb light make the space appear softer and dimmer. In comparison the studios look clean and bright, which allows freedom. They provide a blank canvas for artistic expression. The roof windows are the only architectural statement in those spaces. The light coming from the ceiling is reflected by the pristine white walls and the mirrors.

Fig.29 Scottish Ballet - Studio

Fig.30 Scottish Ballet â&#x20AC;&#x201C; Plan and Section

Fig.31 Dance City

5.4 Dance City Dance City is another one of Malcolm Fraser’s buildings that aim to provide better environment for the dancers. The composition of the façade clearly distinguishes different parts of the building through the use of different materials: ‘Dance City sits in the tough context of a busy main road. Two elements interlock: a masonry box, containing the dance studios and theatre that faces the road; and a lighter steel frame, to house administration, that opens to a square at the rear.’ (RIBA Awards 2007:133) The materials correspond to the hectic urban 50

environment. The solid brick walls provide a protection from the noisy busy road, framing quiet internal spaces for the dancers. The administration is more open to engaging with the external environment. The building is organised around a circulation core, which appears to work quite a well as a strategy for designing dance buildings: â&#x20AC;&#x2DC;The plan is simple: the atrium acts as a blank canvas for its users and as the organising element. The accommodation wraps around it, offering clarity for circulation yet giving many unfolding and glimpsed views. The building sits well in its context and brings cohesion to this piece of the city.â&#x20AC;&#x2122; (RIBA Awards 2007:133) In this case the atrium is the most well-lit space as it is the core of the whole building. Because of the qualities of natural light, the visitors are invited to stay for longer and enjoy the space, rather than just pass by quickly. In the dance studios the roof windows are smaller, but brick is painted white to increase reflectance. These bright spaces are contrasting to the darkness of the performance space.

Fig.32 Dance City â&#x20AC;&#x201C; Perspective Sections

5.5

Siobhan Davies Studios

The studio refurbished and extended a three-storey high old Victorian school building. There is nothing out of ordinary or daring that was present on the site and it was probably its blandness that provoked the bold architectural response. The main portion of the old building remains untouched and keeps its original design and ornamentation from when it was built – in 1889. The dramatic statement comes with the new additions, which were essential as the building was originally too small. The extensions make it obvious that the building has changed its original purpose. The end result is a piece of modern architecture that preserves some of the qualities of the old and reaches for new heights. ‘The deliberately uneasy outcome of the relationship between the new and the old avoids the image of institution fixed in time. The conclusion of this collaboration between architect and client looks as if it is ever ready to be added or changed.’ (RIBA Awards 2006:174) The abrupt relationship between the new and the old causes tension. This tension is an element which can provide motivation to the dancers. This feeling of change and uneasiness is inspiring as it provokes creativity by encouraging the idea that the possibilities are endless.

Fig.33 Siobhan Davies Studios - South Elevation

Fig.34 S. Davies Studios - Site Plan

Fig.35 Siobhan Davies Studios - Section

The multi-coloured patchwork glass box that is added to the south façade and contains the steel and glass floating staircase is the first part of the circulation. A central void at the heart of the building organises the main part of path of movement: ‘The central core of the building is stripped out at ground and first floor level to create a double-height space. The west block is given over to office space at ground level and changing rooms on the first floor. The east wing accommodates entertaining and meeting spaces on the ground floor, with a smaller rehearsal space on the first floor.’ The boldest new addition is the complex ribbon like structure of the roof which contains the most exciting space in the building – the main studio. The original pitched roof was demolished to allow the addition of the steel framed structure coated in sky blue resin. The shape of the roof consists of five ribbon-like elements. This studio acts both as a studio and a flexible performance space, which provides the experience of ‘dancing on the roof within the ruins of the existing building’. (Blackler, Architectural Journal, 2003:8) The most exciting feature of this space is the shape of the roof. Light and the views from the roof windows create an atmosphere of a stimulating and productive environment. The irregular freeform shapes that form the roof inspire a sense of liberty. The location of the studio on the top floor emphasises its importance as the most special space in the building and enhances the experience within it.

Fig.36 Siobhan Davies Studios - Internal Perspective The building is made up of contrasting elements that, when combined, provide an inspiring envelope for dancing: ‘The making of the building may sometimes seem haphazard, but the outcome, being far from precious, leaves plenty of room in which its occupants may think as well as dance.’ (RIBA awards 2006:174). The most significant goal of a good dance studio is to provide a space, which is comfortable to work in and provokes a creative response from the dancers: ‘Dancers are encouraged to respond to the place in which they are dancing. It is important to them to be able to perceive the parameters of the space, so that they are always aware of their own position in connection with the size and nature of the room.’ (Brooker and Stone, 2010:82) The success of the building is a result of the productive communication between the architect and the client. It is important to recognise that Siobhan Davies recognised the connection between dance and architecture as she said for RIBA Journal that: ‘dance is unbuilt architecture’ (2006:9). The dance buildings built in the UK in the recent years form a new building typology in which the architectural decisions are not based on mere practicality. In this case dance influences architecture and makes it more dynamic and art-like.

Conclusion Dance underwent many changes in the beginning of the 20th century. These changes marked the transition from the sophisticated and elaborate gestures and postures of classical ballet to the rough and unrefined movements of the modern dance. Similar changes occurred in other fields under the influence of the modern movement. In architecture the traditional constraints were replaced by freedom of form that characterised modernism. The transformation that occurred during the last century brought dance and architecture closer to their original purpose, and thus drew them together. The changes in the two subjects were significant as many of their aspects, which were considered to be fixed and permanent, were entirely redefined. As a consequence nowadays there are not strict rules and defined frames to which architects and dancers need to adhere. The opportunities for them are almost limitless. The similar trajectory of development is not the only similarity between dance and architecture. The two have a lot in common as both define and alter space. They both deal with the connection between the human body and its surrounding environment. The difference is that dance is focused on the ways in which the movement of the body changes the surrounding space and architecture is interested in the ways the space alters movement. The relationship between dance and architecture has been examined in various ways since both became more open to innovation and experimentation. The dance_architecture of Dorita Hannah and her team exemplify that architecture can add context and meaning to the art of dance while movement enlivens the built environment and make the mundane seem unusually beautiful. The relationship between dance and architecture in this case serves as an example that arts can influence and inspire each other. The Manhattan Transcripts add another dimension to the architectural drawings and transform them into means of telling a story. This use is very far away from the traditional purpose of the dimensioned drawings. The last example of alignment between dance and architecture, that this dissertation studies, is the new typology of dance buildings that were developed in the United Kingdom recently. The changes in the two areas led to changes in dance architecture. The ideas and dance theories from the 20th century influenced the design of dance buildings in the beginning of the 21st century resulting into a lot of benefits for the dancers. The recently built dance studios redefined the dance architecture, providing an example of the overlapping of arts. The newly constructed dance buildings allow freedom of expression and invite a variety of people to participate in dancing and offer a diverse range of styles to choose from. The various types of activities that these buildings offer promote the idea that dance can be for everybody. The new dance buildings in the United Kingdom are some of the best examples of recently built architecture. The way people move around the building is carefully considered and the circulation spaces are designed to fulfil multiple purposes. The provision of light, especially in the studios, is one of the main features that were considered during the design process. Natural light inspires movement and has a main role in shaping the atmosphere. The new typology of dance buildings is a result of the recent development in dance and architecture. They reflect the ethos of freedom of expression and equal opportunities for everyone. They would not exist if the direction of development of the two disciplines had not 56

shifted during the last century. There are a lot of great theoretical ideas but they do not often come to reality. The cases which are successful in the implementation of theory deserve appreciation. The new typology of dance buildings is such an example which has benefits for the society and for the development of dance and architecture. The design of dance buildings brings creative freedom to architecture as the purpose of the spaces is more than the practical. The intention of the new typology of buildings is to bring the enjoyment of dance to spaces. The creating of such a type emphasizes the importance of the production process in the modern art. Dance is no longer meant to be about striving to achieve strictly defined formal beauty. The new dance needs a new type of studios as educational facilities for the new type of dancers. Now that architectural spaces are reimagined, it is easier to forget and abandon the restrictions of the past.

List of figures: Cover Urban Yoga by Anja Humljan (http://www.ignant.de/2015/02/04/urban-yoga-by-anja-humljan/) Fig.1 ‘The Rehearsal’, Edgar Degas (from Gardner’s art through the Ages: The western perspective, Volume 2 2012:660) Fig.2 ‘Before the Ballet’, Edgar Degas (from Degas [exposition] -1988:510) Fig.3 ‘The Dance Class’, Edgar Degas (from ‘Degas’ by Robert Gordon and Andrew Forge 2002:65) Fig.4 Laban’s Sketch - ‘Spatial Inclinations with Tetrahedral and Cubic Tensions’ (from ‘A Vision of Dynamic Space’ by Rudolf Laban and Lisa Ullmann – 1984:18) Fig.5 Laban’s Sketch - ‘Man Envisaging Dynamic Power’ (from ‘A Vision of Dynamic Space’ by Rudolf Laban and Lisa Ullmann – 1984:16) Fig.6 Laban’s Sketch - ‘Rough Sketches of a Dancing Figure in Typical Attitudes of Tetrahedral Tension’ (from ‘A Vision of Dynamic Space’ by Rudolf Laban and Lisa Ullmann – 1984:30) Fig.7 Laban’s Sketches – ‘Erecting’ (from ‘A Vision of Dynamic Space’ by Rudolf Laban and Lisa Ullmann – 1984:38) Fig.8-9 Her Topia - a Dance-Architecture Event (http://www.doritahannah.com/#!commercial/ctzx) Fig.10-12 Tongues of Stone – a Dance-Architecture Event (http://www.doritahannah.com/#!commercial/ctzx) Fig.13 The Manhattan Transcripts – Part 1 (from ‘The Manhattan Transcripts’ – 1994:16) Fig.14 The Manhattan Transcripts – Part 4 (from ‘The Manhattan Transcripts’ – 1994:IX) Fig.15 Laban Dance Centre - Exterior (from Architectural Review 2003:132) Fig.16 Laban Dance Centre - Sections (from Architectural Review (2003:133) Fig.17 Laban Dance Centre - Interior (from Architectural Review (2003:134) Fig.18 Laban Dance Centre - Floor Plans (from Architectural Review (2003:135) Fig.19 Dance Base - Exterior Fig.20 Dance Base - View from Roof Terrace (from Phaidon Atlas 2004:265) Fig.21 Dance Base - Studio 1 (from RIBA Journal 2002:33) Fig.22 Dance Base - Studio 2 (from RIBA Journal 2002:31) Fig.23 Dance Base - Studio 3 (from RIBA Journal 2002:32) Fig.24 Dance Base - Studio 4 (from RIBA Journal 2002:28-29) Fig.25 Dance Base - Perspective Section (from Phaidon Atlas 2004:265) Fig.26 Dance Base - Floor Plan (from Phaidon Atlas 2004:265) 59

Fig.27 Scottish Ballet – Exterior (http://www.malcolmfraser.co.uk/projects/public-civic/scottishballet/) Fig.28 Scottish Ballet – Atrium Space (http://www.malcolmfraser.co.uk/projects/public-civic/scottishballet/) Fig.29 Scottish Ballet – Studio (http://www.malcolmfraser.co.uk/projects/public-civic/scottish-ballet/) Fig.30 Scottish Ballet – Plan and Section (http://www.malcolmfraser.co.uk/projects/publiccivic/scottish-ballet/) Fig.31 Dance City (from RIBA Journal 2006:10) Fig.31 Dance City – Perspective Section (http://www.malcolmfraser.co.uk/projects/public-civic/dancecity/) Fig.33 Siobhan Davies Studios - South Elevation (from Architects' Journal 2003:8) Fig.34 Siobhan Davies Studios - Site Plan (from Architects' Journal 2003:8) Fig.35 Siobhan Davies Studios - Section (from Architects' Journal 2003:8) Fig.36 Siobhan Davies - Internal Perspective (from Architects' Journal 2003:8)

Bibliography: Books:

Kleiner, F. 2012. Gardner’s art through the Ages: The western perspective. Volume 2. Wadsworth: Wadsworth Publishing Boggs, J S. 1988. Degas [exposition]. New York: Metropolitan Museum of Art Gordon, R. 2002. Degas. New York: Abradale Press/H.N. Abrams

Smith, K. 2010. Popular Dance: From Ballroom to Hip-Hop. Brainerd: Bang Printing Laban, R. 1984. A Vision of Dynamic Space. Thame: Laban Archives. Laban, R. 1975. A Life for Dance. Bristol: Macdonald and Evans Ltd. Tschumi, B. 1994. The Manhattan Transcripts. Edition 2. Hoboken: Wiley Zumthor, Peter. 2006. Atmospheres. Basel: Birkhӓuser. Zumthor, Peter. 1999. Thinking Architecture. Basel: Birkhӓuser. Chapman, Tony. 2006. The Stirling Prize. Ten years of Architecture and Innovation. London: Merrell. Bizley, Graham. 2010. Architecture in Detail II. London: Architectural Press. Brooker, G. and Stone, S. 2010. Basic Interior Architecture 04: Elements/Objects. Hannah, D. and Harlof, O. 2008. Performance Design. Copenhagen: Museum Tusculanum Press Adria, M., Campkin, B. and Condorelli, C. 2004. The Phaidon Atlas of Contemporary World Architecture. Comprehensive Edition. London: Phaidon Press Limited. Powell, Kenneth.2006. New Architecture in Britain. London: Merrel

Journals:

Architectural Journal (2002:61, 4.2003:8, 11.2006:9) Building Design (Aug 14, 2009:1) RIBA Journal. (2002:30, 01.2002:32, 5.2006:9, 11.2006:10-11) RIBA Awards (2006:174, 2007:133, 2007:174, 2007:175, 2014:130) El Croquis (2006:82) 62

Dissertations:

Lorenzen-Schmidt, Timo. 2004. On Dancing with Architecture. Masterâ&#x20AC;&#x2122;s Thesis, Virginia Polytechnic Institute and State University. Gavrilou, Evelyn. 2003. Inscribing structures of dance into architecture. 4th International Space Syntax Symposium: University College London.

Web Pages:

Hannah, D. (2005) Her Topia :: A Dance-architecture event.[Online] Available from: http://www.doritahannah.com/#!commercial/ctzx [Accessed: 3th March 2015] Hannah, D. (2011) Tongues of Stone. [Online] Available from: http://www.doritahannah.com/#!commercial/ctzx [Accessed: 3th March 2015] Fraser, M. Scottish Ballet [Online] Available from: http://www.malcolmfraser.co.uk/projects/public-civic/scottish-ballet/ [accessed: 1 March 2015] Fraser, M. Dance City [Online] Available from: http://www.malcolmfraser.co.uk/projects/public-civic/dance-city/ [accessed: 1 March 2015]