By Marcia Feuerstein, Gray Read
How do structures act with humans and between humans within the performances of existence? This choice of essays finds a deep alliance among structure and the acting arts, uncovering its roots in old tales, and tracing a continuing culture of proposal that emerges in modern perform. With clean perception, the authors ask how constructions practice with humans as companions, instead of how they give the impression of being as formal compositions. They specialize in activities: the door that gives the opportunity of creating a dramatic front, the window that frames a scene, and town highway that's reworked in carnival. The essays additionally ponder the layout method as a functionality improvised between many avid gamers and provide examples of modern perform that integrates theater and dance. This assortment advances architectural idea, heritage, and feedback via featuring the lens of functionality so that it will interact the a number of roles that structures can play, with out decreasing them to useful different types. by means of casting structure as spatial motion instead of as static shape, those essays open a promising street for destiny investigation.For architects, the essays suggest integrating functionality into layout via playful explorations which can display severe relationships among humans and position, and between humans in position. Such practices enhance an architectural mind's eye that intuitively asks, "How may possibly humans play out their tales during this place?" and "How may this position spark new stories?" Questions reminiscent of those stay within the center of all the essays awarded right here. jointly, they open a place within the intersection among daily life and staged functionality to reconsider the position of architectural layout.
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Extra resources for Architecture as a Performing Art
7 The call “to architect” appears in works such as Cyclops by Euripides and Peace by Aristophanes, plays that reveal the cultural roots, connotations, and expectations associated with the person of the architect and his actions, a term that would eventually (a few centuries later) give its name to the Latin discipline of Architectura. This understanding adds a new dimension to the more conventional understanding of the architect as “master craftsman,” which has been taken for granted in most histories of architecture.
It plays a significant part in events that make measurable changes in the world and reflect on them simultaneously, often in the same move. This collection of chapters on architecture, the most “real” of the arts, explores its intersection with the most “unreal” of the arts, theater, to find them wrapped around each other. The chapters are presented in two groups. In the first, “Designing Performance,” authors consider the act of making architecture. They focus on how architects work behind the scenes in the process of design to create entities that perform effectively either on stage or in daily life.
Mikhail Bakhtin notably called medieval festival “the world upside down,” when peasants rule the unruly streets in an orderly disorder that somehow returns to normal right on time. Playing an urban scene as revel and satire surely turns the serious architecture of the city into a landscape of adventure. 23 Carnival’s annual reversal of city and theater is a community event that has survived from medieval holy days to contemporary urban raucousness. Everyone is both actor and spectator. In view of this lineage, Louise Pelletier considers the architectural action of Oscar Niemeyer’s Sambodromo in Rio de Janeiro, a street stadium which presents festival parades as spectacles for tourist entertainment, turning Bacchanalia to profit and banishing satire to the margins.