These posts are out of order today, but just give your scroll wheel a workout and you’ll be up to speed in no time.

I’d previously documented three different urban sites (Target Field Plaza, Peavey Plaza and the Church Street & Scholars Walk intersection), but none of them was really grabbing my attention as I began thinking about moving my process/experiments into a real context. Thankfully a suitable site was close at hand.

The site with a full-scale fabric test.

The north courtyard of Rapson Hall caught my eye for it’s clean backdrop of copper cladding and its multiple audience vantage points (the steps along the west side of the site as well as the frontal view from the sidewalk). The fact that the site backs into a corner give it a “backstage,” which is helpful in its elimination of a performance in-the-round. I don’t have a background in this type of performance set-up so having a back makes this site more familiar in a way. Interestingly, though, is that the side adjacent to the back allows for views into the performance space beyond what is afforded viewers in a traditional theatre setting; they can see into the side of the fabric structure and look across time (this is assuming that time runs generally outward from the inner corner out toward the sidewalk).

I can never resist the chance to build physical models. Here are some photos of the site context experiments in physical form. It amazes me anew each time I work in tandem with digital and physical models how they complement each other. Some ideas begin better digitally and far apart physically while for other ideas it takes a physical model to help me figure out the best approach to digitally model and further test forms.



The site-based investigations have all maintained a neutral surface. It’s in keeping with the minimal character of the dances that have inspired it (Serif and Flow).

Here are two full-scale tests of how to make a minimal opening that maintains the surface quality of the fabric as much as possible.

This test overlapped two pieces of fabric by 12″. Fail.

Here’s the second test that overlapping the fabric by 24″. Success!

In order for dancers to pass through they must part the two layers independently – body interacts with fabric very closely to pass through.

This semester has been focused on the process of learning to represent and visualize movement/dance in ways that can be architecturally meaningful. Nearly all of my studies have been done without a context. I’ve decided that the last step of the process that I’d like to complete before presenting my work is to look at a real context in which to look at the application of the lessons I’ve drawn from my prior work (archibabble alert!). How can I take the work I’ve done and use it to drive/shape a full scale test in a real site (less archispeaky, I think)?

Here are some ideas I’m currently looking at that place this fabric construction in a site outside of Rapson Hall. (click to enlarge)

Please let me know what you like/dislike about any or all of these proposals.

This project is astounding! Go look at it and then come back here. Go on, go.

Amazing, right? My colleague, Lindy thought this might interest me and boy was she right! Compared with my work in analyzing two dances with 2-3 dancers, the sheer scope of this project humbles me.

The rigor of the analysis and excellent explanatory graphics and audio commentary combined with video of the dance itself…wow. I could easily get lost for an entire day in this site, taking advantage of the many options for seeing the day, visualization, cues, commentary with or without audio.

A very brief comparison between this project and the analysis I’ve done of Flow and Serif…it’s interesting the Synchronous Objects has captured the dance from multiple viewpoints and uses them all in their analysis. The work I’ve done with Flow and Serif only takes into account the perspective of an audience member. So what’s privileged in each study is dramatically different. Synchronous Objects seems to be a tool for the dancers/choreographer(s) while my analysis is attuned only to the visual presentation/response the dance creates for the audience.

Sometimes it just takes a while for me to get a post together. Blaine Brownell referred me to the work of Gabi Schillig weeks ago and it’s been open in my browser since then waiting to get posted. Anyway, it’s an interesting study of single plane volumes in textiles.

Ms. Schillig’s site uses flash, so these images are actually from different projects, but just as visually engaging. Here’s a link to the Choreographed Geometry project.

Oh Flickr, I have no idea how to get you to link photos adequately in here. Or how to format these crazy posts once I get them here. Sigh. Anyway, these photos by

VisioLuxus Photography’s Elisa Lazo de Valdez are simply stunning. The way the body is highlighted through the interaction with fabric has been a key driver of my sketches in the last few days. And then these images were waiting for me in my RSS feed this morning. Serendipity, yes.

I’d highly recommend checking out VisioLuxus’ work. It’s achingly beautiful. Some images are artfully NSFW, just as a warning. The three images that are particularly applicable to my work right now are Membrane II, Membrane III, and Drape.
Membrane III

Originally uploaded by VisioLuxus