Dance School Part 2 Dissertation 2003 Laure Torres University of Mendoza | Argentina It seems that the search for the essence of architecture is no longer the work of architects alone, but of psychologists as well, due to the physical and psychical instability among change and permanency that postmodern man presents. Currently, man is undergoing a deep value crisis, very difficult for him to overcome. Being man so immerse in this critical times he cannot find an exit to the crisis. It seems man is so absorbed by this that he does not realize its existence and thus does not look for strength to fight against it.Constantly chased by the time factor, man cannot take a minute to reflect on his choices or simple to dedicate himself to his family, social life or personal wants. In these times of constant contradictions, urge leads to nowhere, only to a life of lineal ways, without any moments to value. This frenzy only leads to an empty page, a life with no content.Obligations and schedules drown man, turning him into a slave of his own choices and decisions.This situation led me to a series of questions which form the basis of my argument: Is it the architect’s duty to generate areas where postmodern man can fulfill his needs? Or should we, architects of architects to be, try to generate a change in man through our proposals or projects? Is it the goal of architecture to produce a change or to satisfy superfluous needs brought about by the consumerist tendencies that rule society today?As an answer to these questions I propose art, dance, as a way to get over these postmodern fashions. Art conceived not only as an indulgence of the individual or an encounter between the spirit and art forms, but also as a discipline which revolves around education, constancy and sacrifice. Dance teaches that fulfillment is not an overnight process; dreams do not come true without effort, dedication and sacrifice. Above all, dance teaches to dream… This dissertation has a great interest because it goes deep into the essence of architecture. It compares Dance with Architecture taking some aspects that they have in common, with the objective to attain a project that reflects this integration, that have inspired spaces, with a formal resolution in relationship to the discipline in which it is contained.Architecture and Dance are parts of the culture of all peoples since their origins, like an answer to the vital necessity of safeguard or like an elemental pattern to invoke protection in front of natural phenomena, both manifestations of Art had a fundamental role in humanity's evolution, having common aspects that are shown by Laura Torres' investigation with great clarity.Dance, like Architecture, needs to adapt themselves to their ephemeral changes and harmonious movements, that it is possible to appreciate in this work, the comparison between the creative volumetric solutions in Gehry's Guggenheim Museum or even in Jorn Utzon's Sydney Opera House.Dance becomes materialised, like Architecture, through a strict management of technique, like Calatrava's work. Each jump, each dance's step competes with the gravity's physics, like Coop Himmelblaus deconstructions proposals. The detail has a singular value emphasised by the effects of light, like the minimalism of Tadao Ando.This research offers new meaning to the Art's comprehension, that has a common objective in its different expressions - 'to shock who is going to live in'.