WEEK 8_Concept Design

Concept design showing my main precedent projects, my intervention in the site and main spatial ideas and moves. Initial Drawings to describe my planning and aesthetic concepts.

'Hero precedent project'

Massimo Bartolini

A Cup of Tea, 2000

Bed, drawing board, stove, chairs, carpet, book shelf, ladder, plaster, tiles, wood, neon, PVC, canvas box, sound system

(The official point of view, Milano Furniture Fair 2003)

Possible Performance Genre

Man Walking Down the Side of a Building (1970)

Walking on the Wall (1971)

Man Walking Down the Side of a Building Tate Modern

TRISHA BROWN

It is the signature work of Trisha Brown’s first artistic phase where she purposefully chose to have her work

performed outside of a conventional theatrical context: in lofts, galleries, rooftop spaces, parking lots and plazas.

Man Walking Down the Side of a Building’ has a similar impact on its audience, not just because of how unnatural it is to see someone walking towards you down the side of a building but also because of the manner of viewing: the

audience experiences discomfort and disorientation in having to look directly up towards their subject.‘Man Walking Down the Side of a Building’ is essentially about identifying and deconstructing dance as a spatial experience. Brown makes her audience see the world differently giving the impression that much of the dance is taking place in the wings, outside of the audience’s sight.

4am

dePaor Architects

Venice Biennale

Reduced continuity between inside and outside multiplies the encounter between here and there.

(www.archdaily.com)

My Concept Design Statement

Create a spatial labyrinth for spectators to explore as a means for viewing the performance held within the suspended “white box” which becomes enclosed by the structural labyrinth system.

By climbing up ladders and ramps to elevated viewing platforms, spectators can scan the fl

oating “white box” from varying levels, becoming an active agent, a participant producing and seeing unique aspects of the performance at every turn.

The ‘white box” becomes the blank space, the emptiness in between. The ground is no longer.

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