News

Spacemaking - 2004 / 5

26 May 2005

Byline:	Felicity Molloy
Source:	Humanities Research Network

A report on a cross-disciplinary dance, technology and architecture research project, allowing students to engage with the experiences and perspectives of another discipline.

Spacemaking is an innovative architecture, dance and technology project guided by the combined cross disciplinary experience of three academic staff from Unitec, New Zealand. In 2004, a six week project investigating the generation of form through dance movement responses was conducted between the Schools of Architecture and Dance at Unitec Institute of Technology, Auckland, New Zealand. Debora Laub, Phillippe Campays (Architecture) and Felicity Molloy (Dance) share a philosophy that the essence of aesthetics education resides in the diversity of such co-creative explorations. Spacemaking has been developed as an interdisciplinary workshop model to expand the idea of comparative explorations of human response and to the occupation of urban space. It contains an interdisciplinary research trajectory into educational methods for architectural design.

The workshops have been developed as time bound studio seminars for over a period of six weeks (2004) and more recently as a ten day intensive (2005). Both were initially designed to provide opportunities for architect students to engage with another discipline's experience of location and space. To traverse the domains of the two traditional arts realms of architecture and dance, a series of innovative exercises were designed to explore multiple interpretations of perception, inhibition and construction that would reveal and coordinate new structures. Through technology and the distillation of somatic responses to a series of constructed sculptures and installations the architects were to propose an individual architectural proposition for a landscape intervention or dance performance pavilion.

The first discussion, for both sets of participants, was based around physiology and imagery of the layering and substance of the physical body tissues, bony scaffolding and corporeality. The architects commenced their first structure (a sculpture) by analysing body as literal or geometrical construction. The architects were also introduced to somatic awareness practices by a practical exercise in mapping their body through sensing. The medium of computer generated analysis and design was used as a tool to map the dancer's movement session. Pixels were utilized to code the body, reducing identity to data. The digital coding process resulted in the tracing (sequencing) of the body in action and its definition as location.

The seminars sought to obtain tangible resolutions; including the generation of innovative design concepts expressed in the medium of visual presentation, maquettes, multi-media installations as well as recorded live performances within the context of these designed pieces. The range of outputs revealed an interesting question about whether architecture is simply a setting for human behaviour and not unlike a theatrical set for living. The progression of ideas was partially evident in the physical models but more fully contained within the continuum of absorption of ideas and their expression.

One question that remains after the two workshop experiences is, do somatic dance practices actually influence architecture or in the first stages of collaborative practice does it simply inform the process of design. Cross disciplinary exchanges became evident throughout the project via the spontaneous dance responses, both physical and verbal, that were being used to interpret spatial definitions of the structures. That is, the exercises were accessing an enhanced understanding of the other. By the end of the second workshop we had also revealed that at this level of collaborative experimentation, the language and thinking of dance practitioners was being endorsed through their interpretive delivery. In turn, they were able to allocate an expanded understanding of spatial perception through the medium of another creative culture to their dance practice.

The demand for cross cultural understanding is evident in both bicultural and multicultural contemporary New Zealand. The Spacemaking project inherently includes an emphasis on human response and the occupation of space within the context of cross cultural environments simply in this case by the disparate range of cultural backgrounds of the students as well as the tutors. Future workshop development is being sought to include opportunities for architects, design oriented and dance practitioners to develop skills, experience and knowledge that would network within New Zealand and overseas. By touring and presenting these workshops Spacemaking promotes and increases the range and diversity of artistic innovative concepts and also fosters debate on the efficacy of cross disciplinary educational and cultural issues.

The Unitec project, through its interrogation of the boundaries between architecture and dance, opens up the possibility of new ways not only of space-making but of space-perceiving. This is achieved through the medium of 'performance', which explodes preconceived notions of each discipline, and refuses to settle into the no-man's land between their borders but rather leaks into and drifts between the two. As cross-disciplinary fallout it permeates the crevices of both body and building, disturbing temporal and spatial modalities. Building-performance (with its emphasis on technical efficacy) and dance-performance (with its focus on corporeal expression) need to be realigned.

Through this interdisciplinary encounter marvellous things occur. The slow performance of architecture resists the ever-fluctuating body to reveal space itself is in-flux. Unyielding angularity collides with soft tissue, surface becomes vulnerable skin, structure exposes brittle bone and elements sweat and seep as bodies and buildings flex at differing speeds. Whilst this may open up the possibilities for buildings to become more anthropomorphic and bodies more architectonic, it is more valuable in challenging how each discipline holds fast to its historic precedents, rather than questioning these. An encounter with dance can reveal and celebrate the fleeting, resistant, mutating qualities of architecture that are all too often concealed. (Associate Professor Dorita Hannah on 'Spacemaking'crits, November 2004)

The Spacemaking project is to be presented at the UIA 2005 XXII World Congress, Grandbazaar of Architecture, Istanbul, Turkey, the Society of Dance History Scholars Conference 2005, Dancing from the Centre, Chicago, USA and to the Tertiary Dance Festival, Tuanui Whakamaru, 2005, Auckland.

PROFILES OF THE SPACEMAKING TUTORS - DANCE AND ARCHITECTURE

Debora Laub is an architect and urbanist. She studied dance and architecture in Porto Alegre, Brazil and in 2002 earned her Masters degree in the Design Research Laboratory at the Architectural Association School of Architecture, London, UK. Her thesis was titled 'Net-Work Living: A New Prototype for Urban Dwelling'
Collaborator in architectural offices in Brazil and London such as Zaha Hadid Architects, Foster and Partners and CZWG Architects, Debora is now lecturer at Unitec, School of Architecture & Landscape Architecture (ScALA), Auckland, New Zealand. She has initiated the interdisciplinary project, 'pacemaking'and in collaboration with Felicity Molloy and Philippe Campays developed the investigation of the generation of architectural form through dance movement responses.
Co-founder of NZ/Brazil-based office [Mob30ï‚°].
dlaub@unitec.ac.nz

Felicity Molloy has been involved in the programme development of contemporary dance and Remedial Therapies practices for over 25 years. She has recently completed a term as (Acting) Head of Discipline - Dance and Senior Academic Member of Staff, lecturing in Dance Science areas of Somatics, applied anatomy, yoga, interdisciplinarity and integrated ballet at Unitec, School of Performing & Screen Arts, New Zealand. She has been mentor to technical and choreographic development of dance students there for 13 years and more recently engaged in cross and inter /disciplinary workshops with the Schools of Osteopathy and Architecture. At present, senior tutor for the Dance Studies programme at the National Institute of Creative Arts & Industries, University of Auckland.
Graduate Diploma in Higher Education and Diploma in Remedial Therapies, currently completing a Masters of Education.
Research: Postural awareness and preventative mechanisms for children in schools.
Member of Executive: TDENNZA: Member: HERDSA
molllyf@yahoo.co.nz

Philippe Campays graduated as architect from Ecole Speciale d'rchitecture, Paris, France, 1982. He has since obtained Master of Architecture, by thesis: The Sacred and the Abode, the place of the Sacred in contemporary dwelling in 2002 from the School of Architecture, University of Auckland, New Zealand.

Philippe has long-term tertiary teaching experience in architecture, design and Fine Arts and currently holds a position of lecturer at the Unitec, School of Architecture & Landscape Architecture (ScALA), New Zealand. He has been recognised in 'Who'se Who of Interior Design' and his work has been published in architectural magazines.

His individual research investigates the role of design as mode of expression of self-sacralisation and on the interaction between spirituality and design. His collaborative research examines cross-disciplinary aspects of design. He has developed a deep understanding of cross cultural interpretation of space and design by living and working in Europe, Africa, and the Pacific. Philippe is also an exhibiting artist (painting)
Member: New Zealand Institute of Architects.
sol2@xtra.co.nz