舞线 - 编舞中心建筑
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年份： 2021
学校： Kazan State University of Architecture and Engineering
课题： LoD / Line of Dance. Choreographic center's architecture
设计师： Diana Kalimullina
指导老师： Ilnar Akhtiamov, Rezeda Akhtiamova
基地地址： 俄罗斯｜喀山
类别： 文化、大型
有一种说法，建筑和舞蹈是相似的艺术形式，与空间和光线有着千丝万缕的联系，但随着时间的推移它们的发展却相反。 建筑是在很长一段时间内创造出来的，舞蹈在表演时就消失了。 任何舞蹈的核心都是明确定义的构图和可塑性，动作的几何和数学精度。 所有这些特征也是建筑的特征。 编舞不会随着一个人而停止发展和变化。 在技术飞速发展的时代，重要的是不要失去人类的精神成分，并强调文化和艺术的审美重要性。 编舞艺术中心是舞蹈与建筑融合的典范。 在这里，新一代的舞者和编舞者将以最伟大的舞者和编舞者为榜样成长。 该建筑群包括一所大学和舞蹈学校、一个大型文化中心、一个可容纳 1000 人的礼堂、温室、学生和客人的住所。 公园建在文化中心的台基上，给人的印象是大学、舞蹈学校和礼堂从中成长为一个不可分割的单一景观。 就像舞者一样，中心的每个设施都试图克服吸引力法则。 舞蹈线成为实验空间的基础。 我的灵感来自最伟大的舞者的动作技巧，他们的可塑性是制定计划、游客流动方向和他们在物体空间内发展的场景的基础。 因此，舞蹈体现在建筑中，并激发未来的舞者进行实验、发现和即兴创作。
There is a saying that architecture and dance are similar art forms, inextricably linked to space and light, but opposite in their development over time. Architecture is created over a long period of time and dance disappears as it is performed. At the heart of any dance is a clearly defined composition and plasticity, geometry and mathematical precision of movements. All these characteristics are also characteristic of architecture. Choreography does not cease to develop and change with a person. In an age of rapid technological growth, it is important not to lose the spiritual component of the human being and to emphasise the aesthetic importance of culture and the arts. The Centre for Choreographic Art is an example of the fusion of dance and architecture. It is a place where new generations of dancers and choreographers will be brought up with the example of the greatest dancers and choreographers. The complex consists of a university and choreography school, a large cultural centre, an auditorium for 1000 people, greenhouses, accommodation for students and guests. The park, organised on the stylobate of the cultural centre, gives the impression of a single inseparable landscape from which the university, choreography school and auditorium grow. Just like dancers, every facility at the centre seeks to overcome the law of attraction. The dance line becomes the basis of the experimental space. I was inspired by the technique of movements of the greatest dancers, whose plasticity was the basis for forming plans, the direction of visitor flows and scenarios for their development within the space of the object. Thus, dance is embodied in architecture and inspires future dancers to experiment, discover and improvise.