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Dancitecture in its truest form

In a totally unconstrained world, I would be able to completely transfer my thoughts to paper, to production in any form I choose. My guess is, most of the time, the form of which I would transfer my thoughts would be through dance and choreography. I am easily inspired by the visual appearance of choreography, however; there are fewer buildings which inspire ideas for choreography. And dance moves come much easier to me; they are easier to change and manipulate. I wouldn’t need to make models or drawings to understand the building. I would simply be able to choreograph the building into my memory through movement.
I would make music happen through motion and through stillness. I understand that I have the possibility of doing this now; however I have not learned to foster this into a capability. The ability to do such a thing is in our world, yet I’m not sure how my particular process can play out realistically. It is something I plan to explore for the rest of my days. Putting movement to paper, and paper to movement, and movement to structure, and vice versa? It is my dream! All of it, combined. Whatever it turns out to be…
I think that, though the architecture school format would be abandoned, I would still do massive amounts of my research within a studio, a dance studio. I feel like that is the easiest place to think of ideas. A wide open space just waiting to be filled with movement, shapes, tension, release—all these things are possible within such a space. Walking into a dance studio is freeing. Walking into an architecture studio is frightening.
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In an architecture studio, there is an intensity which scares me…sometimes it makes me question why people keep on chuggin’ through it. Though it is sometimes filtered with natural light, the architecture studio feels like a place of darkness and sometimes, suffering. I don’t completely hate this place; undoubtedly wonderful and amazing creations have sprung out of architecture studios. I just want to make it known that they have, at first, an unapproachable, impersonal atmosphere. Of course, these are my own fears. Some people wouldn’t know the first thing about how to go about interpreting a piece of choreography and transforming it into another work of art, and at the moment, I have little experience in the transformation part. However, I understand how to interpret a piece of work. And that’s the half of it, right? Some people walk into an architecture studio and think, “alright, let’s do this.?
I shouldn’t slam the architecture studio program, because I have no actual experience making models in the studio. I really don’t know how to start a foundation, or how to help a client meet his/her needs through sustainable design. Not as of today, anyways.

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“Dance first. Think later.? I think this is an extremely powerful idea that I would apply, and will apply to both the design and dance process. So often we critique our own work and ourselves about things we think of. But in the dance studio, I can’t think the movement is stupid, because it’s coming from a place that I have no control over. Once I recognize that, the true design process is allowed to take place. I think there are so many things holding us back from getting to the true genius of our designs, and for me, dancing is the easiest way to let go of those things which I put into my head as roadblocks. Taking chances and messing around are so important to the early stages of the design process. We need to do it more.
I think this practice of transforming choreographic works into buildings and structures would be influential for my environment, because the effects of the ideas would be two-fold. People work in different ways. Not everyone would see the idea played out in the building, though they might understand it through a dance performance. The opposite is also true for others; they might find the building speaks more directly than the choreographic qualities. The venues of which the ideas are put into choreography could be different from the area where the transformation into a building occurs. At the same time, it would be amazing to perform a work about the same idea in the very space that conceived the idea for the choreography.
In this thought, maybe people would be enabled to better understand the things which surround them if they were to experience them in different arenas of life: walking downtown and noticing an interesting structure vs. watching someone tell that same story the structure did, just through a different venue.

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This is the exciting thing: these possibilities are possible within reality! You and I have the chance to attempt all these endeavors, choosing to use our own constraints while staying within the laws of the universe. Defying gravity is possible; it just takes a certain amount of force and balance. If you can defy gravity, you can defy a lot of other things…like what other people think is a good way to approach architecture. As we’ve all seen, there seems to be a whole world of systems that attempt to find the perfect path to architecture. Let’s face it, there isn’t one. That’s why I’m boldly, yet with appreciation, forging forward into architecture…never forgetting to bring my best tools---my mind and body. With those things, gravity is defied. For me, it’s not through playing around with how far I can get a cantilever to go in the design studio, but understanding how to counterbalance my legs and arms so that I can sustain a movement for any given amount of time. These things inform me about architecture, about the laws of the universe; they allow me to take the knowledge I’ve acquired from the dance studio into the design studio. Maybe this way, architecture won’t be so scary.
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The idea that architecture comes from the mind to paper to model is not an idea I support. Ideally, I would go from body to mind to body again, and perhaps back to the mind. At one point, I would eventually come around to the building part. My process would not be a linear one, much like the world. The world is not linear, and as I’ve mentioned before, it is all connected. So in an unconstrained world, I would try to connect what I hold closest to my heart (dance and architecture) together, and somehow try to find a way to understand how both creative processes can uphold each other, and how they can feed into each other and into the world.

"Dance is the mother of arts. Music and poetry exist in time; painting and architecture exist in space. But dance lives in time and space at once."
-Unknown