Dancers installation.

Bil’ak conceived of the dance performance Due a due, in which what appears to be a dancer’s shadow is in fact a projection of another dancer.

The School of Dance designed by Porro.

Reminiscent of a twirling skirt, the Dancing Pendant Light by Iskos-Berlin for Menu is a playful twist on sartorial details. Its oversized proportions make for an intimate setting or focal point in the dining room. The pleated, pyramidal shade is also made of polyester felt, which also absorbs sound.

Elizabeth Schmitt Jennerjahn and Robert Rauschenberg during a dance class.

Curtains separate the front—where kids dance and partake in carpentry—from the play area in the rear.

Here's the Partridge Dance Chandelier, surrounded by hounds. Photo by Claire Rosen.

Fancy a foxtrot? Relish a rumba? Keep dancing with this ballroom-inspired buckle.

Alaina and Geraldine love to hang by the pool, host dinners, and throw dance parties. Now that their ’50s family home has been refreshed by Studio Prineas, the fun can really begin.

"Man Dances on Salt" is also the cover image of Maira's book Principles of Uncertainty.

The Conga Room - colorful, energetic Latin-inspired ambiance for dancing and dining

Van Everbroeck’s home office occupies the end of one arm of the building. An industrial outdoor light fixture is mounted on a black-painted steel post. The orange of the back wall was chosen to work with the glowing rays of the sunset and the silhouetted, dancing shadows of leaves.

The Beau Geste dance troupe performs Exceptional Transport: duet for a dancer and an excavator. A building tool is transformed into a dangerous partner for a pas de deux in a performance by French dance troupe Beau Geste.

Bil’ak designed the NDT Choreography Workshop poster using dancers to spell out “workshop.”

Farnley Hey’s heart is a large, double-height living area, dubbed "the dance floor

The back corner of the former dance hall is now a library, with new built-in shelving inspired by designs found in the original family apartment. The natural contour of rocks varies along the hillside; Walter embraced this obstacle by designing this space to sit higher than the dance hall.

Lauren Strongin dances in front of the custom window designed by Shade House Development.

The performance started in this room, which right now is meant to be an office but could become another studio space. The dancer commenced by tracing a line on the ground, the first of many delineations of space. From there various combinations of dancers would create, come up against, and eventually break through spatial boundaries. Other repeated motions were those of building, carrying, moving, and cordoning off. Stylistically the movements were straight from the modern dance playbook, and the notion that the erection of the very building was being celebrated was clear and elating. Here you can see the structural trusses that run along the windows, adding a graphic and seismic filigree to the rectangular fenestration. Photo by Margo Moritz.

Dancing Living House by ALX, 2008, Yokohama, Kanagawa Prefecture. Photo by Koichi Torimura.

The living area—or “dance floor,” as the Womersley family called it—has an expansive feel, thanks to high ceilings and full-length windows.

Here's a view of the cafe space from the interior. Continuing the same vein as earlier in the performance, as the three dancers at right danced, the two crouching in the corner manipulated a string hung from another. It was a more physical ordering of space than we'd seen before, the semaphore of the dancers giving way to an actual, if tenuous, boundary. Photo by Margo Moritz.

The cords proved supple enough to support dancers leaning on them, but still affected a desired lightness. The collaboration with King was born of a relationship that started over a decade ago. Haas's wife had danced for King in the late 90s, but it wasn't until the mid-aughts when Haas did his first with King: abstracted furniture made from copper scraps from the skin of the de Young Museum. This project, Triangle of the Squinches, was the result of winning an Artist Collaboration Grant from the Wallace Alexander Gerbode Foundation & the William and Flora Hewlett Foundation. Photo by Angela Sterling.

Here Kalman speculates on whether Lincoln mighn't have liked the dancing of ballerina Laura Le Claire.

Here's another view of the dancers in the ground-floor studio. Cavagnero told me that he very much liked the performance, particularly seeing it less "at the scale of architecture, but at the scale of dancers. I liked seeing the building in use as it's meant to be, shot through with life, energy, dance, and movement." Photo by Margo Moritz.

The First Unitarian Church of Berkeley designed by Albert Schweinfurth is now on the UC Berkeley campus and houses the UC Dance Studio.

One of the owners' passions: dance music

Designer Barbara Hill (whose Marfa home we featured in February 2011) curated the minimalist interiors of this Atlanta residence originally built in the 1920s.

Despite the gravity of the sets, much of the dance still took place out in front, like this passage of floorwork. Other dancers did make use of the wall as a kind of resting place, though. At times they lolled on top almost like leopards, taking in what was going on down below. Photo by Angela Sterling.

Founded in 2004, Rac N Roll was created with the inherent purpose to make dance life a smooth ride. Rac N Roll is not just a brand; we're a solution born from a real dance mom's experience right in Ontario, Canada. Our founder, a passionate dance mom, knew the struggles of dealing with messy costumes all too well. That's when the idea for Rac N Roll was born: The Original Dressing Room on Wheels. Rac N Roll offers rolling dance bags with international shipping. Rac n Roll 800 Airpark Commerce Dr #808, Nashville, TN 37217, United States 1-866-545-9302 racnroll.com

Another particularly memorable moment came when two dancers suspended another to allow her to literally walk across the wall. Haas delivered the sets for the first rehearsal on February 1, ten weeks before the show opened. He described how the dancers took time to start playing with the set, to see what it was capable of and how to best interact with it. "They came up with so many things that impressed the hell out of me," he marveled.

A Cor-Ten steel planter running along one side is filled with Carex Ice Dance. “The plantings are minimalist, yet rich in color and texture,” says landscape architect H. Keith Wagner. The wood planters on the top level were custom designed by Kelton Woodwork.

The cords ended up serving all manner of functions in the choreography. Here you see a dancer pulling them back only to release them like the string of a bow. The cords made a perfect whipping sound when released. In another moment, a dancer had her wrists and ankles bound to the cords, giving her at once the illusion of a trapped bird or marionette. That sense of discovery, for the dancers and the audience, of what the set could do was one of the most engaging elements of the ballet. "I didn't want to give away a lot about what the set when the curtain went up," said Haas. Photo by Angela Sterling.

Dancer Gene Kelly as seen on the website Heck Yes Gene Kelly.

Tarantara Dance

The motto for the Panorama Glass Lodge states "Where the sky is," which works as a fitting descriptor for the design of this cozy 248-square-foot vacation cabin. Thanks to the glass panels that wrap around a strategically placed bed, the bright dancing lights of the aurora can be viewed from the most comfortable spot.

One of the best moments came when dancers climbed on top of the wall, or hung suspended from it. "Alonzo gave me very little direction," said Haas. "We needed something big, and something that the dancers aren't going to easily exhaust." Photo by Angela Sterling.