BALLET CHURCH
More often a ballet studio than place of worship, the Old Cambridge Baptist Church operates simultaneously in service of faith and performance.
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Though the structure’s original facade was lost to a fire, its reconstruction saw the addition of an original 1890’s Tiffany & Company 20’ stained glass window. It fills the largest ballet studio with a myriad of scattered dancing lights, not unlike those on a performer’s stage. Flanked with clerestory windows and capped with a mirror placed at the opposing end, the room allows dancers to watch their own movement. The black vinyl flooring shines under the windows and allows one to read the patina of the scuffs produced by pointe-shoes.
Ultimately, the perceptual quality of light, and thus the resultant spatial quality, is irrevocably tied to both its ecclesiastical and performative programme.
BALLET CHURCH
More often a ballet studio than place of worship, the Old Cambridge Baptist Church operates simultaneously in service of faith and performance.
Though the structure’s original facade was lost to a fire, its reconstruction saw the addition of an original 1890’s Tiffany & Company 20’ stained glass window. It fills the largest ballet studio with a myriad of scattered dancing lights, not unlike those on a performer’s stage. Flanked with clerestory windows and capped with a mirror placed at the opposing end, the room allows dancers to watch their own movement. The black vinyl flooring shines under the windows and allows one to read the patina of the scuffs produced by pointe-shoes.
Ultimately, the perceptual quality of light, and thus the resultant spatial quality, is irrevocably tied to both its ecclesiastical and performative programme.
