A Study of Dynamic + Static Space

Bhavneet Kaur Birdi

The.sb submitted to the f&CUity of the Vtrglnla Polytechntc

Institute and State University In partial fulfillment of the

requirements for the degree of Master of Architecture 1n

Arc:hitecture

Ham C. Rott. <llalr

Heinr1ch Schnoedt

William U. Galloway

May 4th .2011

Blacksburg, VA

Keywords: dynamic, static, dance

A Study of Dynamic + Stattc Space

Bhavneet Kaur Bird!

Architecture and dance are both able to commWlicate through

a language of rhythm and choreography. The fluidity and

balance of a dancer as an artistic endeavor can be an

Inspiration, to develop analogous architectural forma as a kind

of transcribed motions of the dance.

A dancer's movements and pauses can be interpreted as

dynamic and static architectural moments. Dynamic space

:ruggests to be active, and continuous, while static atms to be

Jl&'!"iVe, tranquil and defined.

A proposal for an Art Center consiSting of theater and a studio

opace servos as a vehicle to explore formally the spatial

components inspired by dance. In the proposal, the theater

embodies the active expressiOn of motion. ThiS provides a

dynamic a:rchitectural opace through two concentrlc curved

enclosures that expand and contract horl>ontally and verttcally.

In contrast, the studios form a static she!~ promoting a serene

environment where the architecture frames the dancer's

actiVity.

The duallty of dynamic and static architectural space !n the

work ts a primary framework. The dynamic expresses the

kinetic nature of architectural elements in space; In contrast,

the static reveals the potential of a preciSely mea:rured room to

achieve a balanced harmony when jUXtaposed together.

abstract

Hi

I would to thank my conunittee, II= Heiner and Bill for their

guldanoe and motivation over the last year. You pushed me

further than I thought was po55ible.

To my famlly In London, Florida and New York, thank you

for your encouragement and support. Espectally Mataji- Even

though you are nat here today, thank you for believing In me

and teaching me to follow my dreams.

My frtends and peers for thetr support and friendship over the

years. The knowledge and laughter we have shared will never

be forgotten.

Jesse - 'Thank you for taking the time to liBten to my many

thesis dilemma"s, whatever it may have been that week.

Our architecture road trips and coffee breaks Inspired and

challenged me In more ways than you could have imagined.

Ramiro- for all your advice and memorable trips.

Deana- for the encouragement and unexpected jokes.

Zsolt- for your humor and dally conversations.

acknowledgements

iv

II

Ill

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26

29

38

55

66

table of contents

v

Entrance Sketch

Watercolor Collage 11

Side Entrance Sketch tv

Rhythm Sketch v

Interior Sketch of Theater space vu

Dancer 1

Rhythm Sketches 2, 3

Portal Entry Sketch 4

Initial Study Model Photographs - Dynamic Space 5, 6

Column Detatl - an Implied movement 7

Interior Perspective of Wine Bar ln Lobby 8

Exterior Perspective looking Into Wine Bar and Lobby- watercolor I 0

Perspective of Main Entrance

Exterior Perspective looking into Wine Bar

Perspective of Spiral Stairs In Main Lobby

Side Street Sketch

Initial Study Model Photograph - Static Space

Studios on West Call Street - sketch

Sketch of Dance Studios - light conditions

Corner Dance Studio Photographs

Perspective of Corner Dance Studio

Site Diagram

Sketch of Main Entrance on Tennessee Street

Site Map

Diagram of Intersecting Plans

Plan of Ground Floor - Set A

Plan of Ground Floor - Set B

Plan of First Level - Set A

12

14

16

17

18, 19

20

21

23

25

26

37

28

29

30

31

32

Diagram of Curtain Wall on First Level- Set A

Plan of First Level - Set B

Diagram of Curtain Wall on First Level- set B

Plan of Second Level - Set A

Diagram of Curtain Wall on Second Level- Set A

Plan of Second Level - Set B

Diagram of Curtain Wall on Second Level- Set B

Plan of Balcony Level - Set A

Diagram of Curtain Wall on Balcony Level- Set A

Plan of Balcony Level - Set B

Diagram of Curtain Wall on Balcony Level- Set B

Watercolor Elevation

32

33

33

34

34

35

35

36

36

37

37

38

Site Map Key - Set A

Tennessee Street Elevation - Set A

39, 41, 43, 45, 47, 49, 51, 53

39

Diagram of Roof Line for Tennessee Street Elevation- Set A 39

Site Map Key - Set B 40, 42, 44, 46, 48, 50, 52, 54

Tennessee Street Elevation - Set B 40

Diagram of Roof Line for Tennessee Street Elevation - Set B 40

Tennessee Street Sectlon - Set A

Tennessee Street Section - Set B

41

42

Diagram of Roof Line for North Bronaugh Street Elevation - Set A 43

North Bronaugh Street Elevation -Set A 43

Diagram of Roof Line for North Bronaugh Street Elevation - Set B 44

North Bronaugh Street Elevation -Set B 44

North Bronaugh Street Section- Set A 45

North Bronaugh Street Sectlon- Set B 46

All Images by Author

graphic index

vl

Diagram of Roof Line for West Call Street Elevation - Set A 47

W e.st Call Street Etevat!on - Set A 4 T

Diagram of Roof Line for West Call Street Elevation - Set B 48

W e..t Call Street Elevat!on - Set B 48

W eat Call Street Section - Set A 49

West Call Street Section - Set B 50

Diagram of Roof Line for M. L.K. Jr. Boulevard Eleva lion - Set A 51

M. L.K. Jr. Boulevard Elevation - Set A 51

Diagram of Roof Line for M. L.K. Jr. Boulevard Elevation- Set B 52

M. L.K. Jr. Boulevard Elevation - Set B 52

M. L.K. Jr. Boulevard Section- Set A 53

M. L.K. Jr. Boulevard Section - Set B 54

Flna 1 Model Photograph Montage 5S

Exterior Perspective of the Main Entrance 57

Exterior Perspective of Side Entrance 58

Exterior Perspective of Transitional Space 59

Exterior Perspective of Main Lobby+ Wine bar 60

Perspective looking Into Main Entrance + Spiral Staircase 61

Perspective from Balcony 62

Perspective of Balcony + Lobby 63

Photograph of Corner Dance: Studio 64

Photograph of Corner Dance Studio a I Sunset 65

Dancer 2 66

Sketch of ThYter Entrance on T~••e Stre<!l: 67

Alllmageo by Author

graphic index

vtl

DaDa! as lrulp1ratton.

.Ardlttec:t~n and clmce are both able to oammunlc:ale throu,ah

a ~of rhythm and choreosraphy. The dmce bchlDd the

lmplratlon 4!Xplm<!d lhrouglllhls the~ts Is Bblmgra.

Blwlara 11 a traditional form or mUSic and dance

or~ from the DOrth-west rqiOn of IDdla, In Punjab.

Initially, BbaDgra W&!! &et out to oelellrate the h.ar'Yelt of the

crops.lltld u ttme has pu:soed It bas become an lmport.lnt JWt

at'~ mel othct- fmtvm

The followln( skttcltes are almo!d at ~ bow the

mtlody md rhytbm at' Bbanira can be expre:ssed tbrough a

two-dlrn.cns1onal drawlzw. 'l'ranslallna dance Into an

ID8plnltlon for an arcllltcctural form.

__ \ I

inspiration

II I I

Dynamic: space suggests to be ocl!w, !nvtltng and conltnllllllS.

A 1lDe8r space •llow~ the eye to folklw a stratght line Into a

point In the dirtaru::e wlu:re \Ill end can be set:n.

A curvtlirl= space sunest& ID be more sensual and

perhaps more dttectly related to !be ltne of a dancers body,

aoptur1ng the aud1en<:e In """ sweeping motion. A curvtllDear

spa<:e auJC]es the ey1l to travel through the ap;we. The spattal

outllDe ~a dynamic exploration.

A curvl1lnear ~ form was chosen for the dynamiC

space of tlu: thoater. The follow!Dg sktchcs and draw1Dg5ore a

ltudy of how the space coold be ~od and pm:eived.

dynamic space

4

7

Column De1aJl - an tmplled moverrum

The c:olumn 18 a tnmlttonal elem=t that emOOd!el! both

1he statiC snd d}'Q81Jl1C. It IS made up of two parts, the

sl8tk: element; 1M lltrudunll circular coJunm wbk:h remains

stat10ilary wtthln the space and the dynamiC element; the

bcUaw fin atta<:bed tc 1he structural c:alumn on ball beartnBs whlch allow movement II!'OIJIId the W1lctural c:olumn.

Tcgether tbe3e two element:! create a c:omponenl of the

bulld!rlg that acta aa a t1anstt10nal elemeot betweeD the static

and djlllllllll:. Tho coJunm alae oerves muWp\o purpa!l! lbrougb

11:1 destan. It acts » a support structure for the roof; as a seat

and di!play space w!lhln the fin pcrt1on of the design and lastly,

u a shadlDa device.

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Splral staircase ln maln lobby. One

curvlllnear llne wrapplng around another.

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A Static space alms to be pa!Sive, ltaoqWI and def!Ded.

In order to acllleve a successful dynamic: and atatlc liJ8Clt a

balanced b.umooy baa to be «Ciill:d betwa:D the two. A3 the

dytwnlc: space Is repn!11!11ted through the c=vUtn- llne!l of

theth~. th.e~~spaceof the~stw.li.o,

suuest a lllOI't static architecture.

The studios ~a tranquil. pa!Sive ~ wbere the dancers

becxlme the fOOJS of the~ In this mere static envtomnent

the~ become the active part of the IJIII(:Ie.

~ cr~ space out of moverntt~t'- Siegfried Gledon

stattc space

17

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20

The dance multo:! become elevalecl, framed bo= With a

t1110Slua:ot. gl.w! curtain seperattng the dancers from thc roil:

or the public street.

The elevation demollstrates • sepm.tllm ..00 hieran:hy of space

between the studio ~ IIIIi lhe amenity ~ Dl!playln&

rbythm and strmgthcnlng the: purpooas of each space.

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The statlc spaces come to ltfe with the stlhouette of the

dancers. The architecture of the dance studios 1s an

expression of a quiet, removed opace. The silhouettes of the

dancers become an actiVe element of the bulldtng's facade.

The silhouettes engage people walking along the perimeter of

the studios by allowing glimpses of the dancers through framed,

tran8lucent paneh, without disrupting the solttude of dancers

studios

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The site for tills pmj!ct 1< lm:ated In To.llahaMee, Flortdo.

Tbe City 11 home to two majOr Wl1ven1tJe3, two COOIIIIUI11ty

c:ollogo6 and four hlgh scbooh wtth no r.al spa<:r tD appndate

and .,.,lcome the arts.

An .u center f« Tallahassee could 8M1SIIbe ctty In Its urban

development The art Clllller propaaes a space for educatJonal

programlland wekmne the pafonnlng artx Into the city.

The site Is lccatcd an T~ Sbeet, one of the: city's busiest

~a few bloclcs frQm downtown. 'Ilr1s provides easy aoom

tD rertaunmts, bars and J'B!"klnr ~for podcstrlans traffle

betwl!en the artx c:enl>!r am downtown.

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The red bulldiJ>j !ncllcatc! the position of the

arts a~nter.

Dark grey 'butldlngs Indicate the cultural

butldinp and current facruues tar the aru.

Rod line lnd.loatcltbe extoualoll of downtawn

towards the arts a:nter.

The green lines Indicate~ the promenade of

o= creating a path from the arts cmb:r ta

downtown.

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The f~ drawings are a sequentla1 study of two sets of

plans 011 how a dynamtl: and Italic sp;u:e can be achkvcd and

eDhancecl far the design of the Arts Center.

The -'lat.k: 5P11= In both studle.s are oompooed of the studio

opaa:s, wb1ch =rudn COillllltcnl 1ztw=l the two plan&

The dynamic: space, wb1ch C008IItl of the theater space

1J CXIIlJlder1!d the primary foo:us of study between tbe,e two

plans.

In both studies, the curta111 wall, columns and roof str\J.CtiJre

heoome the prtmary focus of how a dynamic sp;u:e Qlll be

achkved. 'I'he cJxn.agruphcd placement of th= ekmeni•

ccplon: how they can be altcrc:d and what kind of dynamic

.!P8Ce can he ~ from It as a result.

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dynamic aJXI static """"""' a 8CI1ea of ell:vaUooo aJXI 9CCIIam

were drawn.

'The main elemenlll of analy8tB between thl! drawlngl ~

of the cur1a1n wall. columns and roof mw:ture. A reflection

of the clcvat!om and seciJ<Jm from Set A prurrrpml a deeper

exploratiOn of how • dynamic space tan be ad>teved throuih th• movanent of the hortzontal and Vl:ftiCal planes. Through

the 1ruhtle alteraltollo of U.... pllmes, a ""'"' dynomlc opace

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l!eCUorul af Set B.

elevations + sections

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Martin Luther King Junior Boulevard Elevation - Set B 52

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An archllectural de:Jign proc:el!5 can thrive based on the

duallty of dynamic and stall<: an:b!tectun: apace. 'Ilu: dyoamlc

~ an IDtu1tlve, ~lve, and kinetic: direction of spatial

dew!iapmont. Whera8 ~ 9latk: tends to lead toward a precise,

meiDW'ed mi calm-of space.

The dynamic spaces here sought expresa1on through a luDet!c

rhythm of lmeli drawn mtuJttvely by band 'The mtiC .spaces

wee CIIIJCZ!ved through IJlCIIIUml, comlnlclcd drawtnp.

The duality of dynamic: am stall<: architec:tura\ "~"""'

comprbed as the primary framcwwk for the exploration of

this tlwis. A dynamic am 9latk: i!piiCI! can be od>Jeved till'ough

the Implementation of a vertical and horlzontal plant and a

curvi1meat and rec:ttllDe&r spa.ces As a result the dlsoowry

was made that with a all'd'ul jwclllpcs!tlon and dialog of

dynamiC and statiC spaces a harmoniC balance can be achJeved

as arcbltec:tura\ from prtndpal of an Art and Dance Center.

reflection

55

56

Perspective of main entry into theater from

Tenn......, Street.

Encountering the full height of the building at the

entry one goes through a compressed entry way,

which indicates a point of entry and males the

trarwtlon from exterior to interior more dramatic

once you enter the 11pace and lt the horizontal plane of

the ceiling begins to tncrea5e as lt curves around the

exterior shell of the theater.

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Castanhelra, Carlos. Alvaro Slza: The Function of Beautv. London: Phatdon Pren Limited. 2009

Doc•!, Gyorry. The Power of Limits. Proportional Harmonies in Nature, Art & Architecture. Boston: Shambhala

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Inc. 1979

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Spuybroek, Lars. The Arch !lecture of Con!lnutty- Essays aru:L Conyeuattoas. Netherlands: V2_i>ubltshtag, 1958.

Weston, Richard. Ma!ertals Form and Architecture. London: Laurence Ktn11 Publishing Ltd. 2008

Xenakis, Yannts. Substance & Accident - In conyersatton !Uib. Arullla.t !iJl.!tt.. Ph til tps P a vil ton, 1958.

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