Performance Design

An interdisciplinary design practice spanning the fields of spatial design, performance design and Indigenous studies, the work questions how Indigenous narratives sit in colonised spaces of theatre. As a theatrical design relating to the Aboriginal experiences of Country and contemporary Indigenous identities, it addresses themes such as Indigenous women’s worldviews, ongoing effects of colonisation, and intergenerational women’s business. Other influential practitioners in this field include Jacob Nash, head designer for Bangarra Dance Theatre.

The work includes set and costume design and construction for Winyanboga Yurringa, a play set in Yorta Yorta Country. Written and directed by Andrea James, it features six Aboriginal women camping on Country, reconnecting with the land and each other, and finding resilience and strength in doing so.

As a female Indigenous designer working with a primarily Indigenous cast and crew, the project challenges whether the enduring relationships Indigenous people have with Country can be designed into a colonised theatrical setting in both a culturally and aesthetically respectful way. Incorporating installation art and spatial design with Indigenous methodological approaches, the design features stylised shell shapes in abstracted sculptural forms, such as those that might be found in middens indicating thousands of years of Indigenous inhabitation to create the forest that surrounds the campground.

Staged at Carriageworks, 3-6 August 2016, travelling to Geelong Performing Arts Centre, 17-20 August 2016, the project was featured on ABC Radio and reviewed in Real Time Arts magazine. It was supported by Carriageworks, Arts NSW, Moogahlin Performing Art Inc, Australia Council, Australian Government.

Ecoscenography seeks to design temporary event spaces and
places, with a focus on positive contribution to social and
ecological function and evolution. This paper explores the
potential of ecoscenography to contribute to creative
placemaking, using a practice-led case study (The Living Stage
NYC) that examines how community-engaged performance
spaces can foster dialogue and build social-ecological capital. The
Living Stage is a global initiative which combines stage design,
horticulture and community engagement to create recyclable,
biodegradable, biodiverse and edible performance spaces. Part
theatre, part garden and part growing demonstration, the New
York project took place at Meltzer Park on the Lower East Side of
Manhattan in collaboration with a vibrant cohort of linguistically
and ethnically diverse seniors, fifth graders and neighbouring
residents. Over the course of six weeks, the asphalt lined park was
transformed into a space of lush greenery, along with vibrant art
installations and eclectic performances that celebrated the
community’s identity and potential. Drawing upon literature from
placemaking, expanded scenography and ecoscenography, this
paper explores the opportunities and challenges of creative
placemaking, as well as the changing role of the scenographer in
seeking out possibilities for political, social, cultural and ecological
revitalisation beyond the confines of the theatre building.

Acknowledging that media has always been a part of theatre, this chapter reflects on how the performative screen can scenographically operate as a spatial, social and politicized element for practicing artists, designers and performance-makers to critique and engage with the pervasive geo-cultural, geo-mythical and geo-political issues of our time. No longer the planar surface upon which light, still and moving images are ‘thrown’, the screen has become an extension of the body and lived space as well as a contemporary site for reiterating and/or challenging worldviews: inside and outside theatre’s proper sites

Event-Space radically re-evaluates the avant-garde’s championing of nonrepresentational spaces, drawing on the specific fields of performance studies and architectural studies to establish a theory of ‘performative architecture.’ ‘Event’ was of immense significance to theatre’s revolutionary agenda, resisting realism, naturalism and, simultaneously, the monumentality of architecture itself. This book analyzes a number of spatiotemporal models central to that revolution, in order to both illuminate the history of avant-garde performance and inspire contemporary approaches to performance space.

Arguing that the space housing an event, is an event itself, Dorita Hannah examines the notion of Space as Event and asks us to consider the frame of theatre architecture in our understanding of performance itself. She argues that we need to acknowledge the way that all spaces perform and that an awareness of the spatial context existing prior to the performance event is essential. This understanding of space not only provides a starting point which might then be adapted through scenographic intervention, but also provides a basis for the radical re-evaluation of performance practices by challenging accepted models of existing performance architectures.

Si pone in rilievo il ruolo di una rivista di disegno industriale, oggi design, nella storia dell'italiano contemporaneo. Fondata dall'architetto Alberto Rosselli nel 1954, la pubblicazione trimestrale e poi bimestrale, «Stile industria», accompagnerà per nove anni la crescita della società italiana del "boom" economico, dando una forma testuale e linguistica al dibattito intorno all’estetica della produzione in serie, e toccando nel contempo un insieme di fenomeni e processi riguardanti diversi strati della popolazione coinvolti nella produzione e nel consumo dei beni. La nuova realtà produttiva, che ha profondamente modificato la vita della società italiana condizionando a partire dagli anni Cinquanta gli usi e i costumi della quotidianità, ha trovato nella disciplina del design una delle manifestazioni più evidenti. Alla sua fisionomia di materia e tecnica e artistica corrispondeva appieno l’impostazione del periodico guidato da Rosselli. E così, nella scrittura "del" e "sul" design, le parole antiche, "forma" e "formale", "funzione", acquistano una nuova accezione circoscritta al lavoro del designer. All’epoca poco frequenti nella lingua d’uso, i termini che le affiancano, "funzionale" e "funzionalità", dal linguaggio tecnologico passeranno rapidamente in quello del commercio e della pubblicità, per fissarsi stabilmente nel lessico di settori diversi. A questi si aggiungono "efficienza" ed "estetica", l’antico "creativo" con il valore del tutto nuovo di ‘dotato di fantasia e inventiva’ e la neoformazione "creatività".

HOLD: Pop-Up Event-Space and Containerization in the Time of Contagion

The 2010s saw a proliferation of pop-up venues for performance, especially through the utilization of shipping containers. Born out of economic necessity, such flexible, fast and low-cost solutions repurposed vacant sites to temporarily accommodate nomadic theatres, restaurants, bars, clubs and shops: leading to innovative ways of gathering and participating in public space through anti-commercial urban regeneration. However, as a revitalizing phenomenon, the pop-up was quickly coopted by commerce to normalize insecure conditions, while operating as short-term gentrifying agents that glorify precarity for longer-term capitalist ends. This was most prevalent in shipping container architecture; constructed out of endlessly reproducible, aesthetically impoverished and globally ubiquitous elements designed for the efficient trafficking of commodities, including human beings. By the end of the 21st century’s second decade, the covid-19 pandemic both revealed and radically destabilized globalization, with the restless movement of goods and humans across borders indefinitely curtailed. What does this mean for spaces of (and as) events? Covid-19 has shown us that contaminants can be neither controlled nor easily contained: that they evade borders, invade bodies and propagate silently, quickly and without prejudice. What therefore pops-up in relation to dramatic architecture in-motion? Inquiring into the challenges and promises of such mobility, this paper critically presents and discusses the problematics of container architecture.

This book gathers together a group of international artists, architects, scenographers, performers, and theorists to establish Performance Design as a fluid and emerging field, which explores the speculative and projective acts of designing performance and performing design.

While we speak of going to the theatre, the etymological roots of venue lie in the French word venir as ‘to come’. So, what are we coming to and what is theatre itself becoming as both art form (action-in-space) and built form (space-in-action)? This article acknowledges a contemporary impulse to defy the limits of a globally ubiquitous Western-centric stage and auditorium; exploring instead the varying locales of cityscapes, landscapes and mindscapes, which lead to new spatial forms and relationships that integrate fabricated performance worlds with the material sites of the real. Such research was played out as performance practice in the 2011 Prague Quadrennial of Performance Design & Space (PQ) via the architecture section titled NOW/NEXT: Performance Space at the Crossroads. In my role as PQ’s Commissioner of Architecture, I conceived, curated and designed NOW/NEXT as a 10-day exhibition and durational event; inviting spatial artists, architects and visitors to present and witness varying scenarios that expand ‘theatre architecture’ into the more extensive realm of ‘performance space’ - as performative spacing -and to grasp a greater potential by engaging more broadly, radically and experimentally with what the forms and functions of theatre could be as cultural civic site.

“If there is still one hellish, truly accursed thing in our time, it is our artistic dallying with forms, instead of being like victims burnt at the stake, signalling through the flames.” (Antonin Artaud: Theatre & its Double)

These words of urgency from Antonin Artaud’s treatise on a Theatre of Cruelty (1938) conjure an affecting image indelibly linked to the silent film, La Passion de Jeanne d'Arc (1928), where he plays a young monk who, in the final smoke-filled scene, compassionately raises a crucifix towards Joan of Arc as her body begins to burn on the pyre. Embracing the cruel and tragic as a means of affirming life, Artaud’s theoretical and theatrical practice was in line with Renato Poggioli’s reference to the avant-garde adopting the role of tragic victim-hero; immolating themselves to an art of the future.  Drawing on Artaud’s call for artists and audiences to vividly communicate and experience the intensity of events, this chapter refers to Island Icarus (2016-7): an iterative and collaborative art project provoked by a more recent image of immolation; that of Omid Masoumali, a 23-year old Iranian refugee who set himself on fire in April 2016 on the Pacific island of Nauru. As a protest against detention by the Australian government, Masoumali’s fatal act was recorded on mobile phones by fellow detainees and posted on social media.  How do we deal with such confronting images, which are streamed 24/7 on our screens? How can we, as artists in a highly mediated world, speak out against the inhumanity of incarcerating those in exile who seek refuge from the war, persecution and famine of their homelands? In its three iterations – as landscape event, site-specific installation and intermedial exhibit – Island Icarus utilised bodies, video and the screen itself to enact a visceral engagement between image, space and action through what Artaud calls “an inspired shudder,” the reverberations of which outlive both political and aesthetic event.

As co-founder and Artistic Director of the Dallas Festival of Modern Music, I conducted Ars Nova Dallas. In three years of concerts, we received grants from TACA and the MetLife Foundation and premiered new works for chamber orchestra. As a Doctoral conducting student and Assistant Conductor at The Peabody Conservatory and Graduate Assistant Conductor Texas Tech University, I worked with my colleagues to develop transformative artistic performances, stimulating our community.

The ecological turn of the last decade has led to a renewed interest in exploring found objects and reclaimed materials in the performing arts. For many scenographers, inspiration for repurposing these ‘leftovers’ comes from the serendipitous relationships that arise from them – a way of rethinking our connection with materials and challenging preconceptions about that which we throw away. This paper investigates key conceptual thinking and theoretical ideas around contemporary notions of materialism, value and upcycling through the scenographer's relationship with material vestiges and societal debris. Using examples from my practice-led research, I explore my own serendipitous and often uncanny relationship with ‘leftover’ things, including how their unique materiality and context informs my work. From the journey of ‘the find’ (recycle centres, tip shops, car boot sales, dumpster diving and road side pickups) to processes of making and transformation, I reveal how these discarded objects or ‘leftovers’ have inspired intimate and thrilling performance spaces. Through the process of becoming alert to the material's capacities and sensitivities, I examine how the once deemed ‘mundane’ and ‘undesirable’ can be saved from obscurity and transformed into objects and experiences of ‘higher purpose’. The paper demonstrates that we can renew our notions of debris and waste, and argues that ingenuity and creativity are fundamental components of sustainability. The notion of ‘leftovers’ challenges us to embrace the potential of ecological practice; to think about what is possible in a world of increasingly limited resources, rather than what is not

In this article I consider a broad history of relations between theatre (architecture) and urban planning alongside what architectural theorist Anthony Vidler describes as ‘the double role’ of urban space and theatrical space, exploring performance design as a mnemonic device for critical engagement with the spatial politics
of urban change. Inspired by recent writings on contemporary performance design and scenographic practices that ask us to consider how the field has expanded or is moving ‘beyond scenography’, I take as a case study the ARCADE project. Conceived by Montreal based artists 2boys.tv, the ARCADE project is a retail outlet that holds a special collection of shoes and
shoeboxes that contain miniature theatrical scenes and fictional realities. The project takes its inspiration from the urban environment in which it is crafted. The scenes contained within the shoeboxes all together make up one larger urban imaginary, a fictional narrative of the city, or a particular urban location or neighbourhood. The miniature visions inside the shoeboxes are revealed using a variety of methods, from simple static maquettes or tableaux, to more technically involved stereographic 3D video and audio works, to participatory works (i.e. chapbooks or maps).

Accompanying the Prague Quadrennial's profound shift from previously describing itself as an ‘International Exhibition of Scenography and Architecture’ to the punchier and more ambitious ‘Prague Quadrennial of Performance Design and Space’, the 2011 edition witnessed the inclusion of an Open Spatial Lab as an addition to its Architecture Section. This was a ten-day workshop comprised of twenty-one invited practitioners and scholars from around the globe to discuss both the present and the future of theatre and performance architecture.

Scenography-a word that goes back as far as Aristotle, Vitruvius and Serlio-once provided the bridge between real and imagined worlds by utilizing the perspectival image to unify art, architecture and theatre. In the 16th century it was celebrated as a mimetic practice that integrated the science and craft of construction, scenery and painting into a combined stage and auditorium, which in turn influenced the planning of buildings, cities and landscapes. Moving beyond stage scenery scenography came to permeate a range of fields from urban and architectural design to fine arts and public spectacle. However, over the next four centuries, a unified world picture was philosophically called into doubt, challenging and destabilizing the role theatre played in architecture. Modernism's distrust of representation and its emphasis on authenticity demoted the role of the "theatrical", commonly defined as false or exaggerated in architectural discourse. However, with recent concepts such as "event-space" and "spatial scripting", "situated technologies" and "behavioral structures", architecture as a performative medium has returned to the discursive stage; allowing us to consider it an active and activating entity within our daily lives and creative constructions. This issue on contemporary scenographies returns to the broad and dynamic role performance can play in the built environment; from sites as active public events (performative architecture); to spaces specifically designed to house the event (performance architecture); to aesthetic events that integrate art and architecture (performing architecture).

While we speak of going to the theatre, the etymological roots of venue lie in the French word venir as ‘to come’. So, what are we coming to and what is theatre itself becoming as both art form (action-in-space) and built form (space-in-action)? This article acknowledges a contemporary impulse to defy the limits of a globally ubiquitous Western-centric stage and auditorium; exploring instead the varying locales of cityscapes, landscapes and mindscapes, which lead to new spatial forms and relationships that integrate fabricated performance worlds with the material sites of the real. Such research was played out as performance practice in the 2011 Prague Quadrennial of Performance Design & Space (PQ) via the architecture section titled NOW/NEXT: Performance Space at the Crossroads. In my role as PQ’s Commissioner of Architecture, I conceived, curated and designed NOW/NEXT as a 10-day exhibition and durational event; inviting spatial artists, architects and visitors to present and witness varying scenarios that expand ‘theatre architecture’ into the more extensive realm of ‘performance space’ - as performative spacing -and to grasp a greater potential by engaging more broadly, radically and experimentally with what the forms and functions of theatre could be as cultural civic site.

An archaeology of performance - documenting a work of performance art. This graphic work is an experiment in how to mediate place/event/performance/theater. Concept mapping, photography, text, graphics and layout are used in an eidetic map of a work of theater/archaeology by Brith Gof (Trip Bywyd, staged in 1995). Designer/scenographer - Cliff McLucas. Photography - Michael Shanks.

Resumen: Los beneficios potenciales que representa la aviación en los campos: económico, de seguridad y de desarrollo tecnológico de un país, han motivado a países como Ecuador a fomentar el crecimento de la aeronáutica en los últimos años. La manufactura de vehículos no tripulados y satélites, por ejemplo, han significado importantes pasos en la evolu-ción de esta rama. En este ámbito, la presente investigación contribuye al estudio de sistemas de propulsión innovadores de alta eficiencia, que permitan la disminución del consumo de combustible, emisiones y ruido. El efecto de estas variables en el medio ambiente ha sido estudiado de una manera extensa. Por tal razón, es conocido que el crecimiento de la aviación llevará consigo a una alteracion a nivel global del ecosistema. Debido a ésto, grandes esfuerzos en investiga-ción han sido enfocados a los sistemas de propulsión y fuselaje alternativos, que permitan el desarrollo sustentable de la aviación. El presente trabajo compila la investigación sobre nuevas arquitecturas de sistemas de propulsión, los cua-les exhiben potenciales beneficios en las anteriormente mencionadas métricas. Uno de estos novedosos conceptos es el avión NASA N3-X, el cual en éste estudio ha sido considerado como estructura base de propulsión sobre la cual diferen-tes diseños conceptuales fueron analizados. En éste concepto resaltan dos aspectos importantes en el mejoramiento del rendimiento de las aeronaves: la re-energización de la capa limite (BLI) y la propulsión distribuida. Desde el punto de vista aerodinámico, éstas tecnologias presentan como problemas principales, la distorsión tridimensional inducida por BLI y las pérdidas de presión producidas en los conductos de admisión de los propulsores. Referente a estos problemas, la metodología desarrollada permite la implementación de estos en el análisis del sistema, utilizando diferentes niveles de fidelidad y diseños de propulsión. En resumen, éste trabajo pretende dar una idea de la labor llevada a cabo en el ámbito de los diseños innovadores de propulsión para aviones. Lo cual ha sido considerado especialmente para brin-dar una idea global de la problemática y el enfoque seleccionado para estudiar este complejo sistema. En éste sentido, tambien se destacan los principales desafíos, que se deben abordar con el fin de hacer viables estos conceptos.

Abstract: The potential benefits of aviation in the economics, safety and technological development of a country, have motivated countries like Ecuador to create incentives that enable the development of the research in the aerospace field. Some examples are the built in house UAV's and satellites, which represented important steps in the development of the Ecuadorian aerospace research. In this context, the present work contributes with the study of innovative propulsion architectures, which present high overall efficiency and therefore contribute to the reduction of fuel burn and emissions. These metrics have been chosen because previous studies have shown that the growing of aviation in future years may dramatically increase their impact over the environment. For this reason, novel airframe and propulsion layouts as the N3-X concept has been developed in the recent years. Two special features highlight from this concept, which are boundary layer ingestion and distributed propulsion. Although the benfits produced by these features is large, they present numerous challenges. From the aerodynamic perspective, BLI induced distortion and intake losses have shown dramatically mitigate the benefits. Therefore, this aspects have been included in the method developed to assess the propulsion system performance. This method enables to broad the spectrum of concepts studied, whilst using different architectures and approaches with different levels of fidelity. To summarize, this paper intends to give an insight of the work carried out in the area of innovative propulsion designs for aircraft. This is to give a global idea of the framework utilized, whilst emphasize major issues which need to be addressed in order to make feasible these concepts.

Situating itself at the intersection of Media and Performance Studies, this thesis investigates the impact of a changing media landscape on both fandom and participatory culture, through the observation and analysis of performative interactions between fans and producers of the trans- medially narrated TV-series SHERLOCK (BBC), and SKAM (NRK).
By emphasizing how a shifting relationship between sender and receiver - i.e. between the TV- producer and the audience - affects both human and media components, this thesis frames four different performative contexts where audiences have been successfully transformed from CONsumer to PROsumer. With the aim of understanding how the producers of these series encouraged audience participation and thereby prosumption, the research focuses on the dramatic expressivity of characteristically everyday performances, and the occurrence of, so called, autopoietic feedback loops within the framework of a dynamic and shifting fan-producer relationship.
Based on the experiences of both individual and collective audiences, this thesis furthermore engages in the study of various approaches towards new media and post-television culture.
By highlighting the strategies and platform designs, with which the broadcasters intended to stage prosumption and thereby nourish fandom, this thesis concludes that aspects such as audience-loyalty and 360-degree-distribution-culture seem to be mutually determining for each other, but are not necessarily interdependent.
Given the distinction between transmedia and cross-media platform distribution, the innovative design of both TV-series and their widespread distribution of interactive content across multiple platforms, is proven as challenging for the ritual viewing habits of the audience, and thus can be argued to be both liminal and transformative in nature.

Scenography Expanded is a foundational text offering readers a thorough introduction to contemporary performance design, both in and beyond the theatre. It examines the potential of the visual, spatial, technological, material and environmental aspects of performance to shape performative encounters. It analyses examples of scenography as sites of imaginative exchange and transformative experience and it discusses the social, political and ethical dimensions of performance design. The international range of contributors and case studies provide clear perspectives on why scenographic design has become a central consideration for performance makers today.

The extended introduction defines the characteristics of 21st-century scenography and examines the scope and potentials of this new field. Across five sections, the volume provides examples and case studies which richly illustrate the scope of contemporary scenographic practice and which analyse the various ways in which it is used in global cultural contexts. These include mainstream theatre practice, experimental theatre, installation and live art, performance in the city, large-scale events and popular entertainments, and performances by and for specific communities.

Table of contents
Illustrations
Contributors
Acknowledgements

Foreword – Arnold Aronson

Introducing 'Expanded' Scenography - Joslin McKinney and Scott Palmer

Section 1: TECHNOLOGICAL SPACE
1 Devices of Wonder: globalizing technologies in the process of scenography - Christopher Baugh (University of Leeds, UK)
2 Screen Space: Bearing Witness & Performing Resistance - Dorita Hannah (University of Tasmania, Australia)

Section 2: ARCHITECTURAL SPACE
3 Between Symbolic Representation and New Critical Realism: Architecture as Scenography and Scenography as Architecture - Thea Brejzek (University of Technology, Sydney, Australia)
4 City as Site: Street Performance and Site Permeability during the Festival Internacional Teatro a Mil, Chile, 2012-2015 - Marcela Oteiza (Wesleyan University, CT, USA)

Section 3: AGENCY
5 Scenography Matters: Performing Romani Identities: Strategy and Critique - Jane Collins (University of the Arts, London, UK) and Ethel Brooks (Rutgers University, NJ, USA)
6 Scenographic Agency: A Showing-doing and a Responsibility for Showing-doing - Kathleen Irwin (University of Regina, Canada)
7 Thinking that Matters: Towards a Post-Anthropocentric Approach to Performance Design - Maaike Bleeker (Utrecht University, Netherlands)

Section 4: AUDIENCES
8 Audience Immersion, Mindfulness and the Experience of Scenography - David Shearing (University of Leeds, UK)
9 Cognitive Approaches to Performance Design, or How the Dead Materialize and Other Spectacular Design Solutions - Stephen Di Benedetto (University of Miami, FL, USA)


Section 5: MATERIALITY
10 The Matter of Water: Bodily Experience of Scenography in Contemporary Spectacle - Nebojša Tabacki (University of the Arts, Berlin, Germany)
11 Ecologies of Autism: Vibrant Space in Imagining Autism - Melissa Trimingham (University of Kent, UK)

Bibliography

Index
- See more at: http://www.bloomsbury.com/uk/scenography-expanded-9781474244398/

In this article I examine ways in which the scenographic can support a female performer portraying a disabled male character struggling for dominance and power. In Richard’s, an adaptation of Shakespeare’s Richard III by O Teatrão (Coimbra, Portugal), the actress playing the king used her costume and throne as signs of power, of military prowess. Yet the ill-suited scale of these scenographic components in relation to her small-frame body made her look out of place as head of state. The corset conditioned her movements, creating a side slant in her gait, making his disability apparent. Climbing on the throne was a feat and a challenge, while seating on it looked absurd and incongruous. Interaction between performer and scenography created a double gendered body, representing the king’s disability, always grimacing, always tense, always restricted. Richard III’s refusal to be vulnerable was what made him powerful. The visual distortion of his body made his ailment apparent on a stage and his rage in gesture and agility of movement in response to his opponents’ mercy made him fit for the throne. He used vulnerability as a recourse, as ammunition, for manipulating in his rise to power. This conflict between appearance and action was expanded by the scenographic components of the performance. The influence of costumes or props on the performer’s behaviour changed the actress’s interaction with the performance space, conditioning her bearing, trajectory and points of contact with the stage, and, visually and gesturally merging the performer’s body with the scenographic. This incorporation of movement and plasticity created a single body drawing from both the performer’s femininity and the character’s masculinity. In the first section I will discuss the dramaturgical context of the play and how it was developed by concepts of mise-en-scène and scenography including the decision to have female actors play male characters. These establish the background for the work of the performers. In the second and third sections I analyse how scenographic components, set and costume, enhanced the principal performer’s body, her relationship with the performance space. Finally, in the fourth section, I will look more closely at how the incorporation of scenography into the performer’s depiction of Richard III generated a specific type of performative dual-gender body.

The article focuses upon arts-based research in a dialogical unfolding of why art should be and can be integrated in academic work at present, and furthermore situates this development in broad context. The notion of scholartistry, hydrid scholarship-arts practice, is introduced by situating it in the academic literature on research methodology and through exemplification/demonstration - an imaginary exhibition of scholartistic artefacts. Several samples of arts-based research methods are discussed in terms of knowledge production and creative competencies. Connections are drawn with post-disciplinary agendas in the academy and beyond. The argument is made that a distinctive field of scholartistry offers an expansion of project and problem based learning in manifold cultural and organizational fields that are looking for open-ended creative modes of design and production.

Choreographers may exploit digital technologies to create augmented choreographies where the behavior of dancers determines the behavior of projections, lighting and other scenographic effects. The paper recalls our ongoing activity concerning the development of an end-user software framework for augmented choreography and it summarizes the state-ofthe-art of choreographer-oriented notation systems and tools. Finally the paper describes our strategy for building an end-user language for augmented choreography. Keywords-augmented choreography; interactive performance; choreographic notations; choreographic tools

English abstract: Choreographers may exploit digital technologies to create augmented choreographies where the behavior of dancers determines the behavior of projections, lighting and other scenographic effects. The paper recalls our ongoing activity concerning the development of an end-user software framework for augmented choreography and it summarizes the state-of-the-art of choreographer-oriented notation systems and tools. Finally the paper describes our strategy for building an end-user language for augmented ...

Choreographers may exploit digital technologies to create augmented choreographies where the behavior of dancers determines the behavior of projections, lighting and other scenographic effects. The paper recalls our ongoing activity concerning the development of an end-user software framework for augmented choreography and it summarizes the state-of-the-
art of choreographer-oriented notation systems and tools. Finally the paper describes our strategy for building an end-user language for augmented choreography.

"Sustainability concept, which was posed with environmental concerns in the ‘80s and referred to the development, was introduced to the discipline of architecture as a different design approach in the ‘90s. Buildings, which are responsible for large amounts of raw material and energy consumption as well as waste generation and greenhouse gas emissions in the world, have to be sustainable. In the context of environmental dimension of sustainability, buildings should also be sustainable in order to establish fine relations between built environments with natural environment. In this respect, sustainability can be defined as the optimization of building performance(s). In order to enhance performance of buildings, global- and nation-scale measures have been taken. Among these measures, the most effective one is legal arrangements. These regulations have a crucial role in achieving better/best results. This study inquires the role of global- and nation-scale measures: including directives, laws and regulations, in supporting sustainability; within the performance-based design upper framework, energy performance of buildings with applications from Turkey and around the world.

Keywords: Directives, energy performance, energy performance of buildings, laws and regulations, legislations.