THE ORIGINAL ANNOTATED BIBLIOGRAPHY
This blog is dedicated to the future of my research. The bibliography will also be a helpful reminder of why each source is important to my process, as well as giving my readers an idea of why each source is important to me. This annotated bibliography will progressively be added to between each week.
ANNOTATED BILBIOGRAPHY 03.27.2022
Copeland, Roger. "Postmodern Dance Postmodern Architecture Postmodernism." Performing Arts Journal, vol. 7, no. 1, Performing Arts Journal, Inc., 1983, pp. 27–43.
Through this journal, a discussion of postmodernism leads to an understanding of
how dance and architecture are most associated with the term. They alone are not the
only topics associated with postmodernism, but they grasped the idea of it long before
others. They contrasted and compared throughout. A conversation of well-renown
architects and choreographers and their processes is described.
Gavrilou, Evelyn. "Inscribing structures of dance into architecture." Proceedings: 4th International Space Syntax Symposium. 2003.
The author utilizes the comparison of two choreographers famous for their differences.
Balanchine's work looks towards creating pictures, and Cunningham's dancers work
alongside space and time. After an understanding of the types of choreography is
established, comparing and contrasting these two with architecture and design occurs.
The readers can understand how learning two disciplines and mixing them can
effectively help the design process.
Gray, Wayne D. "Cognitive Architectures: Choreographing the Dance of Mental Operations With the Task Environment." Human Factors, vol. 50, no. 3, June 2008, pp. 497–505.
This article discusses cognitive science and how its relations to humans can assist
architecture. Later on, it states that cognitive architecture is just that. To grasp this idea,
it goes step by step through how a dancer perceives a stage before use and how the
space and the brain work together to understand the environment. The article places
heavy emphasis on human factors in the built world and how you must utilize different
disciplines to succeed in design.
Hasgül, Esin & Gümüştaş, Saime. (2016). The Choreography of Space with Body. 10.1163/9781848884373_011.
For this read, space means to be defined as ‘multi-dimensional behavioral layers, and it
appears dynamic flexible imaginable structure.’ Our bodies can be described this way
as well. The Movement-Body-Space Relation analyzes the choreography style and way
of Laban. Laban is the written way to understand dance, the process created by Rudolf
Laban. He views choreography in four ways: body, effort, shape, and space.
Lim, Wesley. "The Specter of Pina Bausch: Enhancing the Possibilities of Tanztheater through Film in Wim Wenders's Pina (2011)." Studies in European Cinema, vol. 17, no. 1, 2018, pp. 4–19.
This article works towards explaining how the choreography of Pina Bausch can be
continued and celebrated through an act of breaking the barrier between the film
screen and the viewer. Bausch's dance life was described allowing one to see
connections to other well-known choreographers as well as set designers. This article
shows how though architecture and the dance connection are not outright spoken of,
different view points can be used to ask new questions.
Merriman, Peter. "Architecture/dance: Choreographing and Inhabiting Spaces with Anna and Lawrence Halprin." Cultural Geographies, vol. 17, no. 4, 2010, pp. 427-449. ProQuest.
Through the eyes of a geographer, this article introduces us to how the body can be
influenced by the way it perceives space. A discussion of understanding how avant-
garde architects and dancers aided one another in fields and helped create a positive
influence on the body. With this in mind, Anna and Lawrence Haplin's studies of using
the body to understand space in the landscape and dance world were explained.
Nikolić, Sanela. “The Bauhaus Theater: Oskar Schlemmer's 'Design in Motion' Concept.” SAJ - Serbian Architectural Journal, vol. 6, no. 1, 2014, pp. 43–62.
With the topic of discussion in The Bauhaus Theater – Oskar Schlemmer’s Design-In
Motion Concept, being the Bauhaus Theater, Schlemmer looks at how color, shapes,
form, costuming, and lighting come to play an essential role in theater design in
connection with the human body.
"Noguchi and Graham: Selected Works for Dance." The Noguchi Museum, 6 Apr. 2020, pp 39-48.
The first essay in this book discusses how Isamu Noguchi grew in his practice by
creating design sets and sculptures for Martha Graham's dancers. Ideas stemming
from the challenging aspects of stage design-led Noguchi to be interested in easy
assembly methods in art and furniture, as discussed in the last part of the essay.
Parcells, Claudia at el Manfred Stommel, Robert P Hubbard. "Mismatch of classroom furniture and student body dimensions: Empirical findings and health implications." Journal of Adolescent Health, Volume 24, Issue 4, 1999, Pages 265-273.
This journal discusses the negative impacts of manufactured school furnishings. A study
is conducted on students to see how their bodies worked and did not work with their
daily seating options. The journal also looks closely at how the exterior parts of the
human anatomy work in a well-designed chair, which aids in the study discussed.
Spurr, Sam. “Chance Encounters between Body and Buildings: New Technologies in Architecture and Dance.” Association of Architecture Schools in Australasia, 2007.
The author discusses how dance and architecture are situated in gravity. Gravity seems
to be a heavy word, but choreography and design create lightness rather than
heaviness. William Forsythe takes the idea of applying architectural drawings to
choreography, bringing it to life in the present. He takes Daniel Libeskind’s ‘Endspace’
drawings and develops movements and geometries for the dancers.
Weinstein, Beth. “Merce Cunningham's Legacy: Architecture and Dance.” Places Journal, 1 Mar. 2011.
Merce Cunningham was a contemporary choreographer during the 20th century and
worked with Martha Graham. He was an artist that was constantly surrounded by other
disciplinary artists. He saw other choreographers begin to work interdisciplinary.
Cunningham did otherwise. He sought to keep his artistic process within himself rather
than work alongside other art forms. He recognized their importance and appreciated
it, but he thought it best to keep the works separated.
Winters, Edward. "A Dance to the Music of Architecture." The Journal of Aesthetics and Art Criticism, Volume 69, no. 1, [Wiley, American Society for Aesthetics], 2011, pp. 61–67.
A significant factor of this journal is the topic of paper architecture. It leads to points
such as, is paper architecture authentic architecture, are sculptures architecture or art?
An in-depth comparison to a photo, as presented by an architecture instructor, is
described in length to help better understand the questions addressed.
Yelavich, Susan. "Beings: Unruly Things, Golems, Cyborgs." Thinking Design Through Literature, 2019, pp. 108–143.
Seen from the view point of cybernetics, one begins to see how human connection to a
physical thing can be important. Isamu Noguchi's set designs were the topic of
discussion to see how Noguchi worked to create sculptures for the Martha Graham
performances. Conversation of examples of how these sculptures were utilized was
discussed.
Zong, Jonathan. “ Unruly Cyborgs: The Relational Set Designs of Isamu Noguchi” Liminalities: A Journal of Performance Studies, 2019, Vol. 15, No. 1.
With how Noguchi created his sets, the author suggests that Noguchi was under the
influence of cybernetics. Cybernetics is the communication of how control systems of
living and machinic things work and respond to each other and was emerging
simultaneously as the popularity of Noguchi and Graham.
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