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The Dance of Soma and Psyche This thesis is submitted to the AUT ...

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Fig.68<br />

Although I wanted <strong>to</strong> use <strong>the</strong> basket structure <strong>to</strong> separate different areas, I also wanted <strong>to</strong><br />

unify <strong>the</strong> spaces <strong>to</strong>o. Each space must not work by itself, but must also work simultaneously<br />

with <strong>the</strong> o<strong>the</strong>r spaces. A similar relationship can be seen in <strong>the</strong> Sema dancers as <strong>the</strong>y<br />

spin individually, but also <strong>to</strong>ge<strong>the</strong>r in a larger circular space without d<strong>is</strong>turbing each o<strong>the</strong>rs’<br />

space. <strong>The</strong>y relate <strong>to</strong> each<br />

o<strong>the</strong>r but do not take any<br />

space from each o<strong>the</strong>r. In<br />

<strong>the</strong> geometric layout <strong>of</strong> <strong>the</strong><br />

apartment, <strong>the</strong> circularity<br />

<strong>and</strong> fluidity <strong>of</strong> <strong>the</strong> basket <strong>is</strong><br />

<strong>the</strong> most fundamental feature<br />

<strong>of</strong> <strong>the</strong> space. Without<br />

solid interior walls <strong>to</strong> separate<br />

<strong>the</strong> rooms, <strong>the</strong> design<br />

allows <strong>the</strong> resident <strong>and</strong> v<strong>is</strong>i<strong>to</strong>rs<br />

<strong>to</strong> see each o<strong>the</strong>r moving<br />

through <strong>the</strong> different<br />

spaces <strong>and</strong> also let <strong>the</strong>m interact<br />

with one ano<strong>the</strong>r, despite<br />

being in a completely<br />

different room.<br />

51

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