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In addition to the larger upgrade of Lincoln Center, Diller Scofidio + Renfro expanded the School of American Ballet by floating all-glass studios above the existing ones, bringing the academy’s total number of classrooms to seven from five.

In creating two soaring new studios for the School of American Ballet, Elizabeth Diller discovered the connection between architecture and dance.By Belinda Lanks

Posted March 14, 2007

At first blush, it seems that the architect and the dancer have little in common. Deal*ing with structures and edifices, architects strive for permanence of form; dancers work with gestures and movements, resulting in fleeting moments of beauty. But when architect Elizabeth Diller began redesigning the School of American Ballet (SAB), in collaboration with its artistic director, Peter Martins, she was struck by the affinities between the two disciplines. “We kind of do the same thing,” she says. “We’re interested in bodies and space, and we’re interested in overcoming laws of gravity.”

A couple of years ago, Martins decided he wanted to halve one of SAB’s more spacious studios. Hav*ing another one running would mean more classes, more students, and more flexibility for his pupils, most of whom study dance part-time in addition to taking a full load of academic classes. The fifth-floor space of the Samuel B. and David Rose Building at Lincoln Center was double-height, so Martins hoped to divide it horizontally, stacking the volumes “like pancakes.” (...)

Fonte: MetropolisMag
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