Building Dancing: 123

Dance within the Context

of Architectural Design
Pedagogy
Zehra Ersoy

Abstract

Recent theoretical and technological develop-

ments redefine the discipline of architecture
substantially. Current day approaches in design
pedagogy focus on personal and bodily experi-
ences of the subject and the need for investigat-
ing new ways and methods to enhance aware-
ness of spatial experiences is inevitable. In order
to establish a heuristic understanding of embod-
iment in space within design pedagogy, collabo-
rative studies of dance and architecture are
important supports. This article introduces Build-
ing Dancing, which is an approach to embodied
learning. The project is specifically designed and
developed for students of architectural design
and aims to integrate the existing body of knowl-
edge and hands-on exercises under a holistic
framework. Within this study, the issue of
embodiment is regarded not solely as a theoreti-
cal concept but a transforming method for
achieving a conception of a reality and an under-
standing of architectural design processes.

iJADE 30.1 (2011)

2011 The Author. iJADE 2011 NSEAD/Blackwell Publishing Ltd
124 The conceptions of architecture in theoretical
Zehra Ersoy discourse have been changing radically over the
past few decades and are also evident in struc-
tures of design education. Current pervasive
discourses refrain from defining the concept
solely by its physicality and oppose downgrading
architecture to a consideration of a building as a
fixed object assessed solely by its tectonic and
formal qualities. As described by Tschumi (1998),
architectural space is a spatio-temporal form,
interweaved of time, space and successive events
within. Such a description indicates the phenom-
enal roots of architecture and its complex associa-
tions with human subjectivity and temporal reality.
Within this conception, the problem of architec-
tural space can barely be understood without
recognising the issue of embodiment. Likewise,
internalisation of embodiment theories to architec-
tural discourse can be assessed as a turning point
that changed the ongoing comprehensions of
architecture, the critical assessments about an
architectural product, the approaches to design
problems and, finally, the structures of design
pedagogy. This article attempts to highlight these
current discussions in education, search practical
methods for gaining an embodied understanding
in design pedagogy, and further suggests a new a
practical framework called Building Dancing a
series of exercises designed to cultivate aware-
ness of corporal experiences of space by using
dance as a tool.
Embodied learning: a prospect for design
pedagogy
Within this study, the issue of embodiment is
regarded not solely as a theoretical concept but a
transforming method for achieving a conception
of a reality. One of the closest descriptions of
embodiment is offered by Varela et al. (1992)
where the authors depict the concept as integra-
tion of the physical or biological body and the
phenomenal or experiential body, suggesting a
seamless though often elusive matrix of body/
mind worlds, a web that integrates thinking,
being doing and interacting within worlds
(Bresler 2004, viii). Thus, an embodied under-
standing of space suggests an integration of the
two worlds body and mind. The nature of the
2011 The Author. iJADE 2011 NSEAD/Blackwell Publishing Ltd
human mind is largely determined by the form of
the human body and all aspects of cognition (i.e.
ideas, thoughts, concepts and categories) are
shaped by the aspects of the corpus.
The kernels of body/mind integration and the
emphasis on the primacy of corporal facts in
perception substantially stem back to phenome-
nological scholars and philosophers (Heidegger
1962; Gadamer 1964) with more extensive treat-
ments in the works of Maurice Merleau-Ponty
(1962, 1968). Merleau-Ponty explicitly pointed out
the critical division of mind and body that perme-
ated Western thinking and he turned to the body
as a ground of all sense-making. Other thinkers
and scholars have discussed human embodi-
ment (Bourdieu 1990; Dewey 1928, 1934, 1938;
Foucault 1977; Sartre 1966) and scrutinised the
central position of body in cognition (for recent
works see Abrams 1996; Csordas 1994, 1999;
Grosz 1994; Jaggar & Bordo 1992; Lakoff & John-
son 1999; Levin 1985; Peters 2004).
In considering the same problem of the mind/
body division, the North American theorist John
Dewey pointed out the premises of embodied
teaching and learning where he suggested a
connected mind and body operation. A persis-
tent theme in educational discourse and practice
and the subject of a talk by Dewey in 1928
focused on the problem of mind/body division. In
this manner, embodied teaching and learning
connects mind and body. Bresler also sees that
embodiment holds radical implications for preoc-
cupation with connected knowledge. It is neces-
sary to develop a place for the body in teaching
and learning that acknowledges this relational
intermingling and flux (Bresler 2004, 7). Dewey
claimed that
the evils which we suffer in education, and the
aloofness of the intellectuals from life, in the
whole separation of knowledge and practice all
testify the necessity of seeing mind and body as
an integral whole. (Dewey, in Bresler 2004, 8)
Embodied teaching and learning which stresses
the bodys role in cognition, is being scrutinised
and implemented by researchers and practition-
ers (Bresler 2004; Grumet 1991; Van Manen
iJADE 30.1 (2011)
1990). In this sense, embodied learning can and
should be considered in relation to art and design
education. As Bresler (2004, 9) indicates:
The arts unlike traditional academic areas are
arenas in which body is central to the process of
inquiry and constitutes a mode of knowing. This
makes dance, drama, music and visual arts
education a particularly rich place to explore what
embodiment means for educational researchers
and practitioners.
Parallel to Breslers point, one can observe that
the recent predispositions in architectural educa-
tion have been towards embodied learning such
as in the problems given in design studios; there
is an observable tendency for conceiving space
through multi-sensory engagement; an urge for
developing awareness on the production of
effects and a bias to focus more on the users
experiences in space. The design student is
coached to improve his or her sensuous aware-
ness, to acquire greater consciousness of the
possibilities of architectural space and as a
subject experientially expected to become a
part of the complex process of architecture.
Searching for new ways and techniques in design
pedagogy for the sake of developing mind/body
integration and bodily awareness of space
become essential and indispensable.
Collaborative studies are of significant support
for enhancing such a heuristic understanding of
architecture and the apprehension of spatial
behaviour. Interdisciplinary studies of architec-
ture with cinema, photography and literature are
most widely known whereas those with dance
are less frequent, yet dance is one of the most
creative channels for understanding human body
and the nature of kinesics. Existing implementa-
tions have been realised mostly within the field of
dance, while practical experiments developed
specifically within the field of architecture are
rather scarce.
Dance: a tool for embodied learning
From the sphere of interest of architectural
design pedagogy, dance can be a resource of
phenomenology and a practical tool for embod-
iJADE 30.1 (2011)
2011 The Author. iJADE 2011 NSEAD/Blackwell Publishing Ltd
ied learning. If the aim is to enhance a subjective 125
consciousness, both architecture and dance Zehra Ersoy
focus on subjects in space, one focuses on the
embodiments of the perceiver/user whereas the
other on the dancer. We can all be dancers as
long as we can develop an exquisite conscious-
ness of our bodily experiences and movements
in space.
The issues of movement and the meaning or
nature of kinesics, which are the kernels of dance-
architecture studies, were first tackled by non-
verbal communication researchers (Birdwhistell
1970; Henly 1977; Lamb & Watson 1969; Schech-
ner 1973; Scheflen 1974; Scheflen & Scheflen
1972; Stebbins 1977) and dance theorists
(Bartenieff & Lewis 1980; Daly 1988; Laban 1971,
1975, 1980). From the vessel of architecture, the
issue of body in space was first proclaimed by
Oskar Schlemmer in the late 1920s by means of
his representational figure of Man as Dancer
(Tanzermensch). Schlemmers thoughts brought
up the notion of the merging of human body with
the space it occupied: a conception of a self who
obeys the laws of the body as well as the laws of
space; and follows his sense of himself as well as
his sense of embracing space (Schlemmer
1996). Later on, Tschumi, referring to Schlemmer,
argued that the current understanding of space is
both a medium of experience and a materialisa-
tion of theory. He further noted that:
the emphasis given to movement found in dance
that is the elemental means for the realization of
space-creative impulses, for dance could articu-
late and order space. The parallel made between
the dancers movements and the more traditional
means of defining and articulating space, such as
walls or columns, is important. (Tschumi, 1998)
Thus, the kernels of dance and architecture corre-
lations lie under the evolving notion of question
of space. As architecture was conceived as a
world of lived experiences, lebenswelt, studies
on notation of movement in space have
increased. With time, collaborative studies on
dance and architecture evolved around the core
issues of subject (body), event (time, movement,
happenings) and experience (embodiment).
126 Experiential studies have expanded, starting
Zehra Ersoy from late 1990s (i.e. Bronet & Schumacher 1999;
Eisenbach 2008; Gavrilou 2003; Sara & Sara
2003; Spier 2005; Spurr 2007).
Building Dancing a practical framework
Building Dancing is a heuristic model/framework
composed of a set of dance-movement tasks
based on the theories and discourse of embodi-
ment. In the first stage of Building Dancing, the
main intention is to develop a notion of corporal
thinking. Hence the first group of exercises
called Building Self-conscious Bodies are
designed explore Merleau-Pontys (1962, 1968)
and Deweys (1928, 1934, 1938) critiques of the
conventional division of body and mind. Regard-
ing the vitality of conceiving body as a ground of
all sense-making, the tasks were designed to
scrutinise the central position of body in cogni-
tion and contribute to a connected mind and
body operation.
The second stage of the Building Dancing
framework establishes the initial collaborations
of dance and architecture. This group of exer-
cises are designed to evoke the theory of
Schlemmers Man as Dancer (Tanzermensch)
where the idea of conceiving the human body as
a source of form and recognising that merging
with the space it occupies is a form of embodi-
ment. Founded on this thought, the second body
of exercises are called Dance Constructions, in
which each student is expected to sense and be
a Tanzermensch who obeys the laws of his or her
body as well as the laws of an architectural object
and/or space.
Finally, the third stage of the Building Dancing
experiment is named Building Dance Perfor-
mances. This stage challenges design students
to experience the concept of spatio-temporality
by problematising an architectural choreography.
Embarking from Tschumis discourse on explora-
tions on the possibility of movements found in
dance and that dance could spark space-creative
impulses, performance exercises are created to
challenge the spatio-temporal design work, to
plan and perform an architectural choreography.
Building Dancing was a three-day workshop
carried out among a group of first- and second-
2011 The Author. iJADE 2011 NSEAD/Blackwell Publishing Ltd
year architectural design students. The work-
shop was realised in a dance studio in Izmir,
Turkey with 20 students, conducted by a profes-
sor of architectural design (the author) and a
dance instructor. The responses given by the
students (behavioural or oral) constitute the data
of the research. To remark the immediate occa-
sions, notes were taken during the executions
and after each task a verbal evaluation was
carried out with the group. Following the work-
shop, the records of execution of the tasks were
re-analysed and re-evaluated.
Building Dancing the execution of the tasks
First stage: Building self-conscious bodies
Task 1. Body architecture
The aim of this first warm-up task was to display
the elementary associations of body and build-
ing. It started with an introductory brief on Archi-
tecture of the Body, touching upon the correla-
tions between the structure of a building and the
mechanics of the human body. Students were
asked to fully concentrate on their bodies and to
view them as containers of space. They were
requested to mime the parts of a building the
door, roof, chimney etc.
The responses to the questions addressed
varied with each student. For example, one corre-
lated the window to his eye whereas the other
to his arm, accompanied by a gesture of opening
up or making a pivoting turn. In the discussions
each participant explained the idea lying beneath
their correlation and what they felt about it. Just
as they made correlations of the feeling and an
idea, they forged a link between body and mind.
It was perceptible that anthropomorphic correla-
tions happened to be gripping for students who
were developing their first thoughts on the
phenomenology of body and space.
Task 2. Space-making
The space-making exercise focused on the idea
of the body being the source of movement. In
order to acquire an understanding of bodily
movement and the bodys role in perception, the
students were introduced with the concept of
iJADE 30.1 (2011)

space-in-the making referring to the work of
Bronet & Schumacher (1999). They were asked to
conceptualise their bodies as space-makers by
accomplishing certain kinesic tasks; such as
jumping, sliding etc. (Figure 1).
In the movement task, the students were asked
to animate an architectural element, considering
acts related to it. For example, students were chal-
lenged to express a door by dredging up the
verbs related to it like opening, creeping and
entering and so on. The performances on the
opening of the heavy, worn out, timber wing of a
konak (specific name given to traditional Turkish
mansion) or opening of a photo celled door of a
shopping mall exposed to a heavy pedestrian traf-
fic were mini performances on building bodily
thinking (Figure 2). At this stage, it was perceptible
that students had started to elaborate their
gestures and add to their performances.
Task 3. Speaking about experience
In the after-task group discussions, it was
observed that the students who were more
comfortable in expressing their experiences
verbally were those who were more aware of their
bodily sensations and performances. In order to
encourage students to open themselves up more
iJADE 30.1 (2011)
2011 The Author. iJADE 2011 NSEAD/Blackwell Publishing Ltd
comfortably, an exercise on verbal expression was 127
spontaneously added to the process. Zehra Ersoy
The students were divided into four groups,
each representing a geometrical form such as a
cube, a sphere, a pyramid or a cylinder. As all the
lights were turned off, the students, lying down,
were asked to take the shape of each form for one
minute and to try to concentrate on the contours
and boundary feelings of that shape. When the
lights were turned on, each student was asked to
express his/her experience of the form verbally:
When you are coned [in a conical position] you
feel the pole and try to reach to that only point. It is
as though every part of your body is directed to
your brain your pole and wants to get there.
(student)
The descriptions demonstrated that the chal-
lenge of achieving a corporal thinking was start-
ing to bear fruit.
Second stage: Dance constructions
Task 4. Dance constructions: an object
This exercise was the initial step to dance-archi-
tecture performance. In this task, the students
were divided into groups of six, where each
group was asked to dance about an object. The
first step was to investigate the object, bring forth
the constructional, formal qualities and recon-
struct them. The first group of objects were a
tableau on the wall, a portable shoe case and a
cheval glass that were already present in the
dance studio. Students, after viewing the objects
from different perspectives, touching, smelling
etc. were challenged to reconstruct them. The
erection and dismantling of this new construc-
tion were also part of the choreography problem
and the same steps were taken in the second
round but objects with kinetic qualities such as an Figure 1
A jump: awareness
alarm clock, a sand glass and a time bomb
body movement and
were the given themes. the form created by
While students were using their bodies to that movement
construct the object they were also discovering Figure 2
their essential or latent qualities. Some bodily repre- Space-making:
bodies as space-
sentations were direct imitations whereas some makers the act of
were quite successful abstractions (Figure 3). opening of a door
128
Zehra Ersoy

Task 5. Dance constructions: a building and deconstruction of the architectural object.

Akin to the previous exercise, this task was to
dance about a building. Buildings of strong
expressive features were selected as the themes
of the dance such as the Sydney Opera House of
Utson, LHemisfric of Calatrava and the lean- support, balance and expression (Figures 4 and
ing Tower of Pisa. After an analysis of the visual
and constructional characteristics of selected
pieces of architecture, the groups worked to
construct and perform the buildings. A piece of
dance choreography naturally came into being
during the time elapsed in the erection, formation
In both of the exercises it was observed that
while the students tried to use their bodies as
instruments of form, they also had the opportu-
nity to realise other bodies in space in terms of
5). A comment from one of the students was:
While I was trying to take control over my body, I
also had to check the others and was getting the
sense of a third-eye watching all of us from
outside. It was quite a mixed feeling.

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Third stage: Building dance performances
Task 6. Choreographies: DanceHagiaSophia
and DanceBabel
With an improved consciousness that architec-
tural design and dance choreography both deal
with creation of a spatio-temporal form, the
students were asked to design and perform a 56
minute dance piece on an architectural theme.
HagiaSophia (Turkish: AyaSofya, a former
Byzantine basilica, later a mosque, now a museum
in Istanbul, Turkey) and the legendary Tower of
Babel (the structure featured in chapter 11 of the
book of Genesis) were chosen as the architectural
themes since they embrace rich sources of mean-
ings and purvey material diversity.
The exercise started with a discussion on simi-
larities of the processes of architectural design
and dance choreography i.e. both having a text/a
program, a theme/a concept, notations/drawings
etc. Thus, it appeared to the students that struc-
tures of dance choreography and architectural
design could be treated analogously. Depending
on the theme of the choreography, the materials
ranged from the visual (architectural drawings,
technical representations, photographs) to writ-
ten documents in the form of narratives, tales
and myths that represented and expressed the
history and construction stories as well as the
atmosphere and the life of the buildings. Besides
such documents, the subjective and lived experi-
ences of the students were also taken into
account. Hagia Sophia was visited by most of the
students whereas the Tower of Babel was expe-
rienced only through texts.
The students worked together for one full day
on the composition of their choreography,
iJADE 30.1 (2011)
2011 The Author. iJADE 2011 NSEAD/Blackwell Publishing Ltd
129
Zehra Ersoy
discussing and exchanging ideas with each other
as well as their design and dance instructors. The
story of the choreographies had to be accompa-
nied with coherent dance movements. They also
had to think of how to use the stage and the
sequences of their actions. While composing the
choreography, the students made use of the
plan-view drawings to note the traces of their
movements and made sketches of snapshots of
their body forms on stage (Figure 6).
Task 7. Performances: DanceHagiaSophia and
DanceBabel
Two professional dancers one being the dance
instructor, the other being a professional ballet-
dancer coached students on performance tech-
niques where improvisation was advocated. It
was observed that the students showed an ines-
capable tendency to favour the formal aspects
and visual qualities. At the end of the day the two
architectural choreographies DanceHagiaSofia
and DanceBabel were performed to a small
audience (Figures 7 and 8). Re-watching the Opposite page:
recorded data with students was an important Figure 3
part of the process. In that time frame, it was Construction of an
observable that the majority of the participants object: abstraction
of form
had a much clearer idea of the scope of the tasks
Figure 4
and their responses to them. Learning through
Constructing the
their bodies, the students experientially created a Tower of Pisa
distinct way of regarding architecture. Figure 5
Constructing Sydney
Conclusions Opera House a
small choreography
Building Dancing started by proposing an initia-
This page:
tive to support experienced-based learning in
architectural design education. Holding on to the Figure 6
Working on the
notion of favouring experience over knowledge- choreography of
based learning, the Building Dancing experiment DanceHagiaSophia
130
Zehra Ersoy
demonstrates that such an approach is promis-
ing and can/should be developed further.
The issues of embodiment, bodymind unifi-
cation and spatio-temporality which were usually
tackled in theoretical courses or in design studios
were the core issue of interest in this study. The
amount of time spent on the workshop was far
less than that usually allocated to such theoretical
aspects of the course. This shows the intensity
and effect of embodied learning processes.
Following this experiential study, the participants
declared that they had acquired a stronger under-
standing of the embodied issues and topics. The
importance assigned to subjective experiences
in developing concepts was also expressed in
students evaluations. During the general assess-
ments, the most common comment from partic-
ipants related to the permanency and memory of
their experiences.
This was an intensive programme and the aim
was to use a wide range of material in order to
establish a heuristic approach. As is common in
experiential learning, spontaneous interventions
to the programme were common and a natural
part of this model of learning. This initial experi-
ment, considering the existing and ongoing body
of knowledge on the issue of embodiment, is
open to further development. Future studies, with
2011 The Author. iJADE 2011 NSEAD/Blackwell Publishing Ltd
differing age groups, varying class levels and diver-
sifications on new themes would offer the poten-
tial for further investigations of this approach. Also,
in future work, the framework can be the struc-
tured to parallel the design studio curriculum more
effectively. As the work develops, the dance-
movement tasks may find a place in the curricu-
lum of architectural design education.
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