Performative architecture: inspiring the performance of architecture through the movement of dance

How does movement influence architecture and, in turn, how does architecture influence
\nmovement? It is through the design of the Sudbury Movement Centre where this architectural approach
\nis demonstrated. The Sudbury Movement Centre (SMC) will be a building devoted entirely to movement,
\ninspiring and provoking the movement of people in the space. Situated in Sudbury’s downtown core, the
\nbuilding will be conceived as a compliment to the existing Sudbury Theatre Centre (STC). Through the
\narchitectural gestures in designing the SMC, an architectural relationship will be developed between the
\ntwo buildings, enhancing, adjusting and modifying the experience of the existing theatre into an entire
\ncomplex dedicated to movement. As a choreographer, my experience with movement finds itself seeking
\nto influence my architectural expression. There are indeed studied parallels between dance and
\narchitecture. The theories of performance developed by Marvin Carlson, Richard Schechner, Erving
\nGoffman and A.L Austin for example, have led to a critical understanding of 'performative’ architecture.
\nFrom a choreographic perspective, the work of Rudolf Laban, Oskar Schlemmer and Cilliam Forsythe
\nhave become imperative to my research and design development. Each choreographer has developed an
\nunderstanding of the movement by exploring and analyzing dance through three-dimensional and two dimensional methods. In an architectural sense, three case studies were researched, each addressing the
\nparallels between dance and architecture in three unique ways; provoking movement, representing
\nmovement and the process of movement in two disciplines. Where these studies have successfully
\ndeveloped the connection between the two disciplines, my interpretation takes a different approach to
\nthe discipline and its potential as an architectural process. Chile these studies have become the grounding
\nto my research-creation, my own work seeks to take this beyond a metaphorical interpretation. In order
\nto understand architecture through a choreographic lens, the act of generating choreography was key to
\ndeveloping an architecture of movement. I then captured the choreography in a method that abstracted
\nthe movement of the dancers as a movement through space, a notational exploration which worked to
\ntranslate the complexity of three-dimensional movement into a two-dimensional space. This process
\nexpanded my understanding of performed movement and a new perspective of my choreography
\nbecame evident. A perspective that analyzes movement through a choreographic and architectural lens
\nmaking clear the nuances in the movement gestures. It is these nuances that translate to a movement
\ninspired architecture. The gestures of the choreography become the gestures of the architecture where
\neach shapes the building form and informs the tectonic details of architectural design.

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