the presence of a person or activity changes the spatial dynamic without alteration to physical environment HERTZIAN SPACE ...DANCING...
ANALYSING BODY TEMPERATURE
HISTORY OF CHA CHA CHA … In 1951, Cuban composer and violinist Enrique Jorrín introduced the cha-cha-cha to Cuban dance floors while playing with Orquesta América . According to Jorrín, the sound made by the shoes of the dancers on the floor sounded like "cha-cha-cha", while they tried to follow the new rhythm that, at the beginning, was simply called "mambo-rumba"…
Cha cha cha footsteps movie
“ Dancing” buildings… (or buildings that resemble dancing movements…) Extension to the Denver Art Museum The Eye and the Wing by Architect Daniel Libeskind “… The new building for the Denver Art Museum will be an icon whose character and form will attract a wide public to the museum complex. The project is not designed as a stand alone building but as part of a composition of public spaces, monuments and gateways in this developing part of the city, . The materials of the building and plaza will be those closely relating to the existing context (local stone) as well as innovative new materials (titanium) which together will form spaces that connect local Denver tradition to the 21st Century. … The spatial spectrum of the museum will choreograph public experience for the visitors greater than the sum of its parts. The visitor experience will begin before actually entering the building proper because the building is conceived as a spectacular urban form within the center of the horizon of the city. The flow of public circulation will therefore be a full three dimensional exploration of the topography of place, time and the unexpected. … The new building is not based on an idea of style or the rehashing of ready-made ideas or external shape because its architecture does not separate the inside from the outside or provide a pretty facade behind which a typical experience exists, rather this architecture has an organic connection to the public at large and to those aspects of experience that are also intellectual, emotional, and sensual. The integration of these dimensions for the enjoyment and edification of the public is achieved in a building that respects the hand-crafted nature of architecture and its immediate communication from the hand to the eye to the mind. After all, the language of architecture beyond words themselves are the laughter of light, proportion and materiality. “ Daniel Libeskind
“ Dancing” buildings… (or buildings that resemble dancing movements…) Dancing House , Prague , Czech Republic By Frank Gehry . 1996 The site of Gehry's Dancing House was originally occupied by a house in the Neo-renaissance style from the end of the 1 9th century. T hat house was destroyed during bombing in 1945, its remains finally removed in 1960. The neighboring house (with a small globe on the roof) was co-owned by Czech ex-president Vaclav Havel , who lived there from his childhood until the mid -1990s. He ordered the first architectural study from Vlado Milunic ( who has been involved in re-building Havel ' s appartment in the neighboring house). Afterwards the Dutch bank ING agreed to build a house there , and asked Milunic to invite a world-renowned architect. Milunic first asked Jean Nouvel , who rejected the invitation because of the small size of the site (491 square meters ) ; he then asked Frank Gehry , who accepted the challenge. Gehry had an almost unlimited budget, because ING wanted to create an icon in Prague. The construction started in 1994 and the house was finished in 1996.
“ Dancing” buildings… (or buildings that resemble dancing movements…) Sydney Opera House By Jørn Utzon. 1957/73 … It is one of the most distinctive and famous 20th century buildings, and one of the most famous performing arts venues in the world. The Sydney Opera House is an expressionist modern design, with a series of large pre-cast concrete 'shells', each taken from the same hemisphere, forming the roofs of the structure. The Concert Hall and Opera Theatre are each contained in the two largest groups of shells, and the other theatres are located on the sides of the shell groupings. The form of the shells is chosen to reflect the internal height requirements, rising from the low entrance spaces, over the seating areas and up to the high stage towers. A much smaller group of shells set to one side of the Monumental steps and houses the Bennelong Restaurant.