On Dancing with a Building:
An exercise in spatial activation and generative play
Can we dance with a building?
How do objects become prompts for movement?
Where is the hand of the designer in the choreography of the constructed environment?
How do objects become prompts for movement?
Where is the hand of the designer in the choreography of the constructed environment?
As a designer and mover I am interested in questioning ...
In this case study, I am interested in questioning relationships.
I utilize the framework of industrial design to explore movement and performance.
Who [and what, and when] are we connected to? Who [and what, and when] do we wish to connect with?
I aim to imagine new futures full of new relations.
As a designer , I acknowledge that I have a certain power to shape our constructed environment.
This same constructed environment directs our movement; At large scales it manifests in how we circulate through cities, across borders... and at small scales, in the ways that our chairs may allow our bodies to position itself on them.
I understand that the constructed environment choreographs us.
As a mover, I search for the ways that my body craves to move. I understand the importance of connecting with the world in an embodied manner.
As a designer and mover, I see the transitive possbilities of design.
Through this exploration, design becomes a fluid practice and a source of noursihment for the mind, body, and spirit.
In this case study, I am interested in questioning relationships.
I utilize the framework of industrial design to explore movement and performance.
Who [and what, and when] are we connected to? Who [and what, and when] do we wish to connect with?
I aim to imagine new futures full of new relations.
As a designer , I acknowledge that I have a certain power to shape our constructed environment.
This same constructed environment directs our movement; At large scales it manifests in how we circulate through cities, across borders... and at small scales, in the ways that our chairs may allow our bodies to position itself on them.
I understand that the constructed environment choreographs us.
As a mover, I search for the ways that my body craves to move. I understand the importance of connecting with the world in an embodied manner.
As a designer and mover, I see the transitive possbilities of design.
Through this exploration, design becomes a fluid practice and a source of noursihment for the mind, body, and spirit.
As pictured:
1. Topography Bench and Disc
2. Fluid Wall, Fluid Floor
3. Sockets
4. Crossing Planes Lamp Prototype
Process: Embodiment
Film
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nataliafstudio@gmail.com
New York, New York