At the beginning of the 20th
century architectural theory (Wölfflin, Schmarsow)
was influenced by psychological approaches such as the
Gestalttheorie(Ehrenfels) and Einfühlungstheorie(Wundt, Vischer). Is
the affect of architectural space an effect of pure
imagination or bodily sensation? Does movement reveal general
affective qualities of architectural spaces? In which way does
the bodily -and improvisational techniques of a dancer(Joris Camelin)
on architectural prototypes based on the kinesphere (Rudolph von
Laban) integrated in differing contexts like laboratories or museums
evoque a new regard on architectonical space beyond it´s materially
fixed outlines. Hoe does
this space can be notated by classical drawing techniques and motion
capturing for the definition of a spacial category which alterates
design strategies of architectural spaces in todays design processes
ruled by
digital information technologies? To approach these questions eight
different settings between art, education and science where tested and
analysed in the context of a dissertation about spacial design processe
by dance and it´s kinesthetic perception at the TU Berlin landscape
architecture, chair
of Prof. Weidinger and FU Berlin, dance science, chair of Gabriele
Brandstetter. This website was created to give an impression of the
different conceptual and perceptual aproaches:
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