Circulation Final Project

Circulation - Study Models

This was my first study model. On this model I tried to focus on the tension created by the height on the pathway. However, I realized that I can make it narrower in order to increase that tension. Furthermore, in order to emphasize the starting point, the cirlce, I need to have a level change following it. Moreover, in order to increase that tension, I think I should put another stationary area after the highest one. I think this could make my ideas stronger.

This is my second study model. In this model I made the circulation area narrower and added another stationary area. I believe that this helped to increase the tension in the model. In the first part of the model the person feels the tension throught the height and how narrow it is. Furthermore, the first set of stairs increase this tension since the person is able to go higher and closer to the final place but does not really get there but needs to go through another hallway even more narrow and through another set of stairs. However, the person is not able to see the final destination until he climbs some of those stairs. Then, the person get to the top of the pathway where he is able to see his next stationary point. However, to get there he needs to go down and up again, making a long pathway what it could be really short. Furthermore, the fact that the path stops there increases tension since the person has no where else to go.

Circulation - Entry, Path, Destination

Circulation is a very important issue when designing a building. In this third project, we are exploring it and the effect this different ideas have on it. The term I decided to explore is tension. As I researched this word I found out that it has a big impact on architecture and on the feeling the spectator has when he is faced to it. According to the Oxford Dictionary, tension refers to the mental or emotional strain, in this case cause by architectural components. I chose this term because I believe that I could create a strong and interesting piece with it.

Diagrams Study Models - Lets Salsa!

This model represent the organization diagram. Through the use of curved elements in order to represent the differnt motions of the feet, I try to show what kind of space do dancers form in the space. It can be said that the organization is clusted/radial. Clustered because different spaces are formed with different sizes and shapes; however, they are arranged around a central point. Moreover, this model also shows the relationship of the dancers. Even though the hava a common space in the middel, they also have their independence. By using this elements in order to create this motions and relationships, I was able to create some kind of space that somehow describes salsa a little bit.

This diagram represent the bodies' motions, all of them being subtle and "rounded". Even though the two bodies share a common space, they also have its independent one. The lower level of the model shows the leg's movement back and forth and side to side. Moreover, as the eye goes up the model, you can see the torso's movement and finally there is only one head movement. This last level was made to represent the unity of the dance without leaving aside its independence and fexibility.

This diagram was intended to be a vertical one; however, as we played with it we realize the potential it possesed when being layed horizontally. With this model I wanted to represent the flwxibility and subtleness of salsa within the frame. Because it is an structured dance, the dancers can be very flexible but depend on that structure set by the body position. Furthermore, through the curved elements, I want to transmit the sensuality of salsa dance.

This is a tempo diagram model. Usually, salsa songs start with an introductoru part that is not dance. This part is followed by 8 beats, which only 6 are danced. The way you dance those beats go as follows: quick-quick-slow-pause (or decoratie movement). This pattern is repeated in order to make up the 8 beats in each compass. Furthermore, I used curved shapes in order to support the sensulity, flexibility, and subtleness that characterize salsa.

With this diagram my intention was to show the relationship between the man and the woman. Here, I demonstrate the importante of the woman in realtion to tha man, who is only a support for her. This is why I used this main shape which embraces somehow this secondary figure, which is the man. Furthermore, my intention with this diagram was also to show the space they ocuppy. You can see that this figures do not use a big space; on the contrary, the proportion on dancer to space used is 1 to 1. Moreover, they share some space and that is why the elements belonging to the different figures overlap.

Lets Salsa!

Origins of salsa
· Conta-Danze of England, later called Danzon was brought to Cuba from the French that fled from Haiti, mixes itself with Rhumbas of African origin.
· Contra –Danze ---- Danzon---Danzonete----Son Oriental (30’s)---Mambo (40’s)----Chachacha (50’s)----Salsa (60’s) ----Pachanga (70’s)
· Cuba: melting pot of African and European harmonies, melodies, rhythms, and instruments. Therefore, it has a variety of instruments, dance steps, poetic forms, rhythms, and melodic phrases.
· Strong connection to numerous drumming styles since in Cuba enslaved African people brought their culrure with vthem They were able to maintain their secular and regious drumming tradictions.
· Consolidation of religious and secular African and European elements.
· African influence: African slaves recreated their instruments from four principal cultures: the Yoruba, the Dahomean, the Congolese, and the Abakua. These culture contributed with drums, bells, and shakers.
· Spanish influence:
o Spanish music itself: European, Arabic , and Gypsie influences.
o Sacred music tradictions were brought such as the medieval choral and the organ music.
o Music of Spain’s religious festivals arrived to Cuba.
o The introduction of Flamenco in the 16th century in Cuba helped to the development of Caribbean music.
· It mixed itself with the Son Cubano, which was itself the mixture of Spanish Troubadour and African drumbeats, together with the beat of the clave.
· Jazz and North American Influences:
o 1920: USA’s ballroom dances were introduced in Cuabn dance halls.
o Jazz and Caribbean music had a parallel development.
o 1930’s: Cuban a Puerto Rican music established itself in New York City and spread through the United States due to the radio and the phonograph industries.
· 30’s : Musician in the Caribbean incorporated their own style to the son and mambo, highly popular genres. This became known as “son Montuno”
· During the Cuban revolution in 1959, many musicians were exhiled from Cuba into the USA and brought with them their music.
· 3 new centers of salsa are created: New York City, Miami, and Colombia
o NY: Puerto Ricans introduced their music into Manhattan’s atmospheres.
o Miami: Cuban exiled musicians established there. Salsa becomes a symbol of desire, of desire of Cuba without Fidel Castro.
o Colombia: Contributed with its development due to its talents and rhythmic innovations.
· Some time during the 60’s, the term “salsa” is created in New York in order to refer to a variety of different music from several countries with Hispanic Influence like Rhumba, Son Montuno, Guaracha, Mambo, Cha cha cha, Danzon, Son, Guguanco, Cubop, Merengue, among others.
· Many practitioners did not agree because they thought it was a commercial name only use to promote Latin or Afro-Caribbean Music.
· 60’s : Cuban rhythms fuse with jazz.
· Term “salsa” circulated through the world to describe this unique genre born due to the many musical influences from many parts of the world.
· During the 70’s, the salsa gain popularity in the East Coast and evolved due to the fusion with other rhythms popular in USA.
· Salsa has many roots and many branches.
· By including bongos , congas, and timbales, salsa shows the evolution of the Afro-Cuban rhythms section.
· Son is the primary foundation of salsa.

Imporatnt Figures
· Tito Puetes: After being for some time in the U.S. Navy, he studied percussion at New York’s Julliard School of Music. After going back to Puerto Rico, he organized his own band- Puente’s Latin Jazz Ensemble. Critics said that his music sounded like if a big jazz band would meet African-Caribbean rhythms, the combination of fast Latin music with a jazz melody.
· Larry Harlow: an American salsa music performer, composer and producer. Contributed to the salsa music.
· Johnny Pacheco: a Dominican producer, musician, bandleader, and one of the most influential figures in the salsa music. He was the first Latin music producer to receive the National Academy of Recording Arts and Sciences awad.
· Ray Barretto: He was a Puerto Rican Jazz musician that received a Grammy Award. He is widely credited as the godfather of Latin jazz. He was also the first Hispanic to record a Latin song which became a "hit" in the American Billboard Charts.
· Willie Colon: He is a Puerto Rican salsa musician who was born in New York City. He is a trmbonist, singer, and writer of salsa music.
· Celia Cruz: Cuban singer, and one of the most famous Salsa performers on the 20th century. She was internationally renowned as the “Queen of the Salsa Music”.
· Eddie Torres: He is one of the most famous salsa dance instructores in the world.
· Frankie Martinez: Afro-Latin dancer, performer, instructor, and choreographer highly recognized in the salsa scene, specially in the United Sates and Europe.

The essence of Salsa
· Comprised of two sections: the body (the first part, pace is slower) and the montuno (the second part, rhythms more aggresive).
· Call- and – response vocals.
· Percussion: plays a very important role in salsa.
· Clave is the basis of all salsa music – African roots.
· 4 beats in two compases which make up a total of 8 beat (only 6 are danced)
· High speed.
· Like a walk, circular movements with slow motion turns.
· Fast-fast-slow-decorative movement
· Its simplicity makes it flexible
· Drums: central part, clave: unique rhythm
· Dance: side to side
· Highly danceable, salsa’s rhythms are hot, urbane, rhythmically sophisticated, and compelling
· Salsa is a vibrant and dynmic dance music that blends Africxan, Spanish, and Cuban sounds of antecedent musical genres, with some jazzy arrangements
· Salsa: rhythm made to dance.
· Dance in the Caribbean has a cultural festive reference.
· Salsa: destillation of many other Latin and Caribbean dances.
· The word “salsa” contains connotations of the spiciness common in Latin and Caribbean cuisine, a frenzied, "spicy" and wild dance.
· Similar to Mambo in that both have a pattern of six steps dance over eight beats of music.
· Turns are a very important feature in the dance
· Hip motion, relaxed, but not loose or sloppy
· Structured dance that has predetermined signs in order to change positions.
o “lead” and “follow” dance: usually guided by the man and followed by the woman, has changed in the last decades.

Basic steps for salsa dancing: http://www.youtube.com/watch?v=PfDVnX4j3-w

See te proffesionals dance salsa: http://www.youtube.com/watch?v=ci5bvSL7Ozo

Intruments
o Percussion: claves, cowbells, timbales, conga, maracas, guiro
o Air Instruments: trumpets, tombones, saxophone
o Strings: Guitar and piano

Conceptual ideas

Model 2 - Phase 5

We never know how high we are by Emily Dickinson delineates that we do not really understand what we are capable of doing until we meet a challenge that allows us to mature. Furthermore, if we are not afraid of reaching greatness we can get anywhere. However, most of the time we do not struggle for importance because we fear the responsibility that greatness comes with. We do not do what our potential is capable of because we are afraid of leadership and obligation. Through my architectural design, I am trying to convey to the viewer that there is something behind what we are capable of seeing.
I am very happy of how my project involved from a very simple, plane, and monotonous design into a design that conveys my interpretation of the poem. I figured out that I want to focus on the light more than anything. I want to create different openings in which light changes throughout the day. By creating this wall made out of elements, I can not only focus on the different lights produced but also on the different height of every element. Furthermore, in order to be consistent with this 'style', I created the openings with similar shapes in the opposite plane. Moreover, I did the sitting place like a 'box' in order to support's the poems idea that we do not look for greatness unless we are asked to. Also, I placed it on the thick plane as a symbol for protection. In this way, the reader realizes that he feels protected where he is now and that is moving from that save spot what he is afraid for. This supports the poem’s idea of our fear of responsibility and greatness. In this way, the reader can understand the poem through the architecture that surrounds him.