Senior Thesis Project, Winner of the Dean\'s List "Best in Show" Award

1. ta bl e of c ont ent s
3 / thesis statement / explanation of concept
4 / research analysis
6 / zones
7 / floor plans
8 / exterior skin
9 / first floor - pedestrian walkway
10 / lobby / ramps
12 / interior elevation
14 / floor three - studios
15 / floor three - video gallery
16 / floor three - transitional bridge
17 / floor three - performance space
18 / presentation banner

2. This project was the recipient of the 2007
Harrington College of Design’s Dean’s List
“Best in Show” Award

3. t h e si s
The broad spectrum of movement qualities ranging from pedestrian to professional,
is expressed throughout the architectural and design components of this Contempo-
rary Dance performance, and training center.
Historically, conventional performance spaces function to present the trained and
refined movement of a performer to a static and observing audience. The movement
of users in-between the various zones within the space - pedestrian, professional
and interstitial - acknowledges, as well as de-constructs the hierarchy of movement
qualities typically found in a performance center
3

4. research analysis
Multiple disciplines of performance and art are studied as a means to formulate the concept
Plate 1 Plate 2
Plate 1: The Theater of the Bauhaus: Oskar Schlemmer
The essays of Bauhaus Theater director, Oskar Schlemmer
explored the human figure and its relationship to space. Several
of his drawings (seen in the analysis to the right) illustrate the
transformative potential of human movement. From here is where
I began to hypothesize about movement in terms of a continuum
Plate 2: Photographs of Muybridge
The work of English photographer Edward Muybridge illustrates
various sequences of movement which I later use as tool to prove
my hypothesis, as well as develop a visual vocabulary that is refer-
enced throughout the space
Plate 3: Research Analysis
This document was created as a graphic representation of my
research. The idea of pedestrian and performance movement
has been established, and ideas about how to implement these
concepts architecturally are beginning to formulate. Plate 3
4

5. visual vocabulary
information gleaned from the research analysis informs the creation of a continuum
In order to determine a visual distinction between pedestrian and performance style movement,
photographs showing various movement series were compared, one demonstrating very simple,
pedestrian movement (Plate 1), the other, a complex dance sequence (Plate 2). To distinguish the
difference between the two, red lines were traced over the core and limbs of the subjects bod-
ies, resulting in a clear, graphic representation of both movement styles. The result of the line
pattern extracted from the pedestrian movement series in Plate 1, is quite regular, simple, and Plate 1
non-stylized. In contrast, the line pattern created by the dance movement sequence in Plate 2 is
complex, dynamic, and stylized.
On the graphic below (Plate 3), both results are placed on either end of the movement con-
tinuum with an interstitial or transformational zone in between. The continuum informs the
placement of programmatic zones in the space, while the visual vocabulary created by the line
patterns influence the design of architectural and design elements Plate 2
qualities of movement continuum
pedestrian ( interstitial ) professional
simple complex
non-stylized stylized
Plate 3
5

6. zones
several programmatic zones are created to express the movement continuum.
interior elevation
exterior elevation
plan
6

7. floor plans
plans reflect programmatic zones established by diagram
floorplan floorplan
(w/zones color coded)
floor one
floor two
floor three
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8. exterior skin
an architectural expression of the movement continuum, the exterior skin’s facade highlights
the movement of its users
The third level, representing the
most refined and sophisticated
movement on the continuum
A semi-translucent poly-car- is also the most technologically
bonate material along with sophisticated of the three lev-
strategic lighting on the walls els. Pixilated, abstract video (to
of the second floor dance stu- avoid a commercial appearance)
dios allow the silhouettes of project a dancer’s movement
practicing students to be seen across the length and width of
from the outside the building. the third floor. These streaming
Silhouettes, ephemeral by images contribute to one of the
nature, capture movement main design objectives; to use
that falls within the transfor- human movement as a means to
mational or interstitial range create a facade that appears to
of the movement continuum be in constant motion
A translucent pedestrian walkway
leading to the main entrance estab-
lishes the first floor as the pedestrian
zone. Enveloped in a translucent “glass
box”, those within have the opportu-
nity to observe pedestrian movement
on the outside while simultaneously
be observed as the pedestrian com-
ponent of the facades three zones.
8

9. first floor - pedestrian walkway
translucent on both elevations, the pedestrian walkway and provides both an “urban stage” as
well as observation space for pedestrian movement.
you are here >
The purpose of the pedestrian walkway is both function-
al as well as instrumental in the architectural expression
of the movement continuum.
The existing building for this proposed space stands at
the corner of Madison and State Street in downtown
Chicago. A highly traveled block by both professionals
and tourists, traffic patterns show that many already cut
through this existing space (currently retail) for shelter
in extreme weather conditions. The pedestrian walkway
as proposed, maintains this function.
Conceptually, this space establishes the “pedestrian
zone” on the exterior and interior elevations of the
building (see diagram above). Those inside the walkway,
are able observe the everyday, pedestrian movement of
people in an urban setting. and visa versa. In a sense, to
be observed as a pedestrian repositions them into the
role of the performer. This challenges the conventional
notion that only trained, professional movement is de-
serving of an audience in a performance setting
9

10. lobby/ramp
the interior elevation expresses the typical hierarchy of movement types (pedestrian/intersti-
tial/performance) however, a structural stair/ramp system allows users to move freely inbe-
tween levels, deconstructing the segregation of movement types visually and programmatically
Left: Diagram illustrating placement of zones
on the interior elevation
Below: Conceptual sketch of ramp/stair
10

11. pedestrian pedestrian
simple / non-stylized / rhythmic / even complex / stylized / dynamic / angular
The graphic extracted from the reference photographs
(see page 5) inform the design of the sculptural stair/
ramp. From the first to second floor, the freqency of
risers, standing areas, and depth of treads is repeti-
tive and rhythmic. From the second to the third floor,
steel components extending from the underside of
each tread become increasingly obtuse, producing an
angular and dynamic form. The result embodies the Top: Conceptual sketch
visual vocabulary of the movement continuum, while of stair with glass riser
functionally, it allows users to travel freely throughout Below: View of ramp/
the space, and between zones. stair from first floor
11

12. interior elevation
view of interior skin and sculptural ramp; both expressions of movement continuum
12

13. The three level interior elevation
expresses the hierarchy established
by the movement continuum, however
the stair/ramp breaks it down enabling
users to move freely in between
13

14. floor two - studios
semi-transparent poly-carbonate walls in the practice studios allow the silhouettes
of dancers in practice to be observed. The murky silhouettes embody the interstitial
realm between seen and unseen, and pedestrian and performance movement
< you are here
Right: Conceptual rendering of
studios and public observation
space
Far Right: Additional circula-
tion space along the perimeter
of the building promotes light
penetration and encourages the
use of public space
14

15. floor three - video gallery space
The full scope of the movement continuum is experienced by the physical journey us-
ers take through each zone to reach the entrance of the main performance space
you are here >
A great deal of celebrated Modern and
Contemporary Dance performances have
had the benefit of taking place after the
development of the film. Projected onto a
series of partitions (their shape influenced
by the continuum), users now have the
opportunity to view them. Not only does
this provide a function for the space when
a performance is not happening, but it also
serves as an educational tool, giving histor-
ical context to a current performance
15

16. floor three - transitional bridge
a glass bridge serves as the interstitial, or transitional space between the pedes-
trian and performance zones (see plan view). Users can watch others make the
transition from the realm of pedestrian movement to that of performance.
Above: View of bridge in balsawood model
Above Right: Diagram illustrates placement of zones in
plan, specifically the convergence of all three at the transi-
tional bridge
Right: Subtle, streaming images of silhouettes
displaying movement associated with performance are
projected onto the glass; wrapping around, and across the
glass bridge. Metaphorically, this intertwines both ends
of the movement continuum. - the spectator (pedestrian),
and performer (professional).
16

17. performance space
mirroring the movement continuum, ceiling components progressively
become more angular and dynamic as you move towards the stage
Plate 1: movement continuum diagram
qualities of movement continuum
Plate 2: visual vocabulary used throughout the space reflects the transformation
pedestrian ( interstitial ) professional the human body makes in between the two ends of the movement spectrum. Pho-
simple complex tographs of various movement sequences provided a way in which to illustrate this
concept
Plate 3: diagram illustrating the placement and shape of ceiling components in the
non-stylized stylized main performance space. Not only do the components gradually change in shape
to reflect the continuum, but also mirror the typical type of movement occurring
Plate 1 below; pedestrian (spectators) and professional (performers)
Plate 2
Plate 3
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18. presentation banner
original presentation of content
th e
thes i
thesis
h The wide spectrum of movement qualities including everyday pedestrian
movement, the trained movement of the dancer, as well as the transfor-
performance
interstitial
pedestrian
mation that takes place in between is expressed in the architecture and
design of this contemporary dance performance and training center
qualities of movement continuum
pedestrian ( interstitial ) professional
simple complex
non-stylized stylized
silhouettes of dancers in practice are seen through the exterior walls of the
studios - The shadow of a body embodies the interstitial realm between seen
and unseen, and pedestrian and performance movement
programatic stacking plan interior progression parti - elevation interior progression parti - plan
18

19. con
con The movement of individuals in between various
zones - pedestrian, professional and interstitial -
defines as well as deconstruct the hierarchy of
movement qualities typically found in a
performance center
glass walkway to main performance space
transparent tube transports users from pedestrian and interstitial zones into
performance screening gallery the main performance space
projected video of dance wraps around glass walkway lines of pedestrian and performance movement diagram expressed in ceiling
pedestrian and performance movement can be viewed simultaneously - graphics give visual cue as to what will be seen in main shape of ceiling modules becomes more dynamic and irregular as they progress towards the stage
performance space
19