THEATER DESIGN & ARCHITECTURE
AGLAIA LITO PAPAGEORGIOU
Summerfolks
Maxim’s Gorky theatrical play Summerfolks (1904) is a performance with a large format. It contains 26 parts and four acts. Its total duration is estimated to be from seven to eight hours, when you perform it as it is written without any cuts. For that reason Summerfolks always played with some differentiation. It has been seen as the inheritor of Adon Chekhov’s”The Cherry Orchard” because these are the very summer homes that are envisaged being built when the orchard is cut down. A group of more or less rich, educated members of Intelligentsia gather during their summer vacation at their dachas. During their vacation they discuss and argued about various concepts, how to build a better future. They are the children of peasants, the new bourgeoisie, educated and now with the luxury of being able to philosophize at their unhappiness, to indulge in the stifling ennui as oppressive as the heat, rather than wondering where the next crust was coming from. In Gorky’s terms, this is a world of “false hopes and unfulfilled promises”. The dachas have been subdivided into summer colonies, where the newly idle rich pass time in unhappy romantic alliances. However,they still dream about a better life.
WORKBOOK Set design studyInfluences and prop experimentation
WORKBOOK Costume design studyInfluences and prop experimentation
Final costume illustrations Images for the 18 characters of the play Textile swatches presented on the right
Set: This project allowed me to link elements such as architecture, clothing, materials, of ‘now and then’. Most of the four acts of the play take place in the porch of the house or in the courtyard. However, we have some acts inside the house at an office room as well as in a forest. The main set includes the front of the house with its porch and yard between a series of birch logs on the left and right. On the forest scene more logs will appear in the middle of the stage and the front of the house will disappear. For the the office room scene, there will be an interior office similar to the ones in 1900-1905, with the side stage wagon. When night falls a red moon will appear with a projection on the back (on PVC). Red is used for two main reasons. Fistly because of the writers political views and secondly because of the humid climate. Steam has also been used in several acts. The floor in all scenes is covered by a white sheet with plenty of dried leaves on it.
Blue print: scale 1/50
on the left: Lighting design proposal render demonstration on 3D Studio Max software
on the right: Mixed media scaled 1/25 maquette of the set including proposed lighting
The Glass Menagerie
The Glass Menagerie is a four-character memory play by Tennessee Williams which premiered in 1944. Both the characters and the story have strong autobiographical elements. Williams (whose real name was Thomas) would be Tom, his mother, Amanda. His mentally unstable older sister Rose provides the basis for the fragile Laura (whose nickname in the play is “Blue Roses”). Williams, who was close to Rose, learnt to his horror that in 1943 in his absence his sister had been subjected to a botched lobotomy. Rose was left incapacitated (and institutionalized) until the end of her life. Mr. Wingfield, Amanda’s 16 years absentee husband and Laura’s and Tom’s father. This unseen character appears to incorporate elements of Williams’s own father. The whole scene, I suggest, is reminiscent of the old factory with a strong sense of grey that emits a melancholic and somewhat cut off from the vivid, lively outside world. Whoever enters this house feels like they are losing all contact with fun, joy and vitality of life. There is misery, a musty atmosphere and a powerful feeling of mental disorder. Around the stage there are old factory windows which, depending on the lighting, give the feeling of gloss. The scene inside the house is hypothetically divide into two areas. On the left there is an old wooden kitchen table, with some chairs and on the right there is the lounge. Lounge includes a chair, a table with phone bumped beside old sofa with three cushions thrown next to a piece of furniture where the collection of glass animals is standing. From the ceiling a picture of the absent father, a mirror and some of the glass animals, are hunging. The floor is cement as in old factories. On the side, out of the house there are two steps that one enters the house. On the front of the stage falls a curtain which is slightly see-throug, which is used in some scenes. The costumes were designed by the exact text description. The colors and designs are mainly circulated in the decade 1940-1950.
Final costume illustrations Examples of costume for 4 characters of the play Inspiration and influences also presented
on the left: final set illustrations blue print : scale 1/50
on the right: Mixed media scaled 1/20 maquette of the set icluding proposed lighting
Tv studio music show
In a 10x15x6m television plateau, I designed a studio for a music show program. The ground floor as well as the roof top of the studio are constructed from 22pounds of Plexiglas with a black and white chess pattern. The plexiglas is supported on a base of a 10pounds wood. I designed that both the ground and the roof floor to have behind them lights which flash during the show. All three walls have stripped silver and black wallpaper. On the right and left walls above the wallpaper music disk covers are glued, whereas in the central wall there is an extremely big screen. Four red stools from plexiglass with pillows are placed on the chess floor. In the studio I have included cameras, microphones, special lights, headlamps, screen video for the visual response from the shop floor control (PCR), micro system with announcements for communication, glass window between PCR and studios for optimal viewing.
on the left: final set illustrations with inspiration images presented blue print : scale 1/50
on the right: Mixed media scaled 1/50 maquette of the set icluding proposed lighting
Alexander Mc Queen store
During the Commercial Space-architectural course focusing on composition and layout, I was asked to study a pilot shop of an area of 122 sq.m and create its new corporate identity for a fashion designer’s shop. I chose the famous British fashion designer Alexander McQueen (1969-2010) because he is a designer who appeals to the modern public, without tedious repetition. It is magnificent that his personal exceptionally innovative style is recognisable in all his creations, thanks to several features in his design (bumps on his shoes, skulls, sharp lines, etc.). Furthermore, I love the way he uses large contrasts when designing, marrying tradition with modern, romantic in which we find challenging to apply in designing clothes, as well as in an interior space.This shopping area itself was a challenge for me. I studied attentively the presentations of his various collections which could be part of a theatrical scene with brutal action and vitality that he develops on the catwalk. The psychedelic character displayed through his creations, the bumps used on his shoes, is relevant to the technique of the Spanish architect Antonio Gaudi (1852-1926). All this curvature and bumps reminds me of the curves of a simple everyday woman’s body, which wants to be free from criticism. In addition to this, I studied the existing stores of the designer. In each shop (London, Milan, New York, Las Vegas, Los Angeles, etc.) Mc Queen uses a certain way of design in which products are projected. The main elements of this design are the use of dynamic lines and forms (mainly influenced by nature) but they give a ‘metaphysical’ sense, several recesses (for shelves and hangers), so window shopers will be drawn to enter his shop. I was greatly impressed by the curves generated in the shop ceiling, giving the feeling of a dome. The total area I designed is divided into two conceivable corridors. By this I achieve the sense of depth and also removed the straight line, although they are different places, each one suspended inside the other. The prevailing color is white because it creates the appropriate atmosphere and sensuality aimed to highlight only the clothes. Depending on the lighting in every store, it becames grey-white, yellowish or blue shades. After all, the most crucial element of McQueen stores is the lighting. The lighting is like being on two levels. One on the floor, where are the exhibits (clothes - accessories) and one on the top-roof. By doing this, everything seems to have a calm tendency of going into flight.
In conclusion, all the above mentioned are the characteristics I used for designing the pilot store ÂŤAlexander McQueenÂť.I used the game of lighting that emphasizes the exhibits and gives the building blocks the sensation of swinging. Even using curved-arches in the ceiling giving a metaphysical status in space and separation in conspicuous runways-axes. The floor is industrial white in contrasts to the polycarbonate graphite color material that I use on walls. The fitting rooms will be covered with a special hand-glass mirror, allowing a strong sense of light and the swinging space. on the left: final blue print ground plan scaled 1/20 with inspiration images presented
on the right: final blue prints scaled 1/20 and sketches
The most striking feature of the store is the iron entry door with embossed skulls. The same iron pattern is placed behind the store’s cashier. I choose a small store front with an illuminated neon sign writing only the name «Alexander McQueen», on a narrow frontage sufficient for two reasons. Firstly because consumers are attracted more by the name ‘Alexander McQueen’ and secondly because the meaning of both our narrow area and depth refer to the element of surprise.
On the left and the right: Render demonstration on Rihnoceros 3D software
Imaginarium city
Imaginarium city is a perspective study of different and strange geometrical shapes of buildings. There are two ‘starting’ points which run the city. Then I drew one of the imaginarium building on a 3d program and took photos of the renders. For this project I was inspired a lot from the star wars series.
left: Imaginarium city, pencil on paper size 35x50cm
right: Imaginarium building render demonstration on Rhinoceros 3D software
Loft
Here is a study and my interior design proposal. After carefully studying the layout of the space (from the ground plan), I drew the isometric and then made some 3d renders with the most efficient and space-saving interior ideas (bathroom , bedroom , kitchen, the entrance door, a corridor with a washing machine)
On the left page: isometric blue print scaled 1/50 render demonstration on Rhinoceros 3D software
On the right page: ground plan blue print scaled 1/50 render demonstration on Rhinoceros 3D software
Bar Study
In this project I made an interior proposal of two different bars. One is influenced by Berlin’s cabaret of 1930-1940. The other is a more modern bar. For both bars I researched some main places and some special needs they may have. First bar: I was asked to design a bar on a ground floor with loft in the center of Athens . The bar should include a special space in which music bands can play. This space consists of 295m2. Second bar: I was asked to design the interior of a bar with a loft. I could make this bar as I wanted since no special needs were required. For this proposal I used a variety of visual methods for the prints. In some I used the technique of collage, other are painted with pen, colored pencils and markers. Also, a maquette showing the layout was made.
A key influence on this bar were old cabarets .I decided to give a theatrical concept which comes in harmony with the sense of a Berlin cabaret of 1930 – 1940. My suggestion included low and ruddy lightning, with vintage, golden chandeliers reflecting their low lighting in deep red, velvet curtains, and equally appealing Baroque furniture (a space kinky & chic -irresistible combination). The music scene consists of a theatrical stage with red velvet curtain and wooden floor. The remaining floor is covered with colorful tiles legacy with patterns as if they were stolen from Parisian mansion 30’s. The walls have white bricks. As for the entrance, it is decorated with colorful stained glass over the door.
Blue print scale: 1/50 Renders demonstration on Rhinoceros 3D software ΞΥΛΙΝΗ ΚΑΤΑΣΚΕΥΗ /ΣΚΕΛΕΤΟΣ ΑΠΟ ΚΑΔΡΟΝΙΑ / ΕΠΕΝΔΥΣΗ ΑΠΟ ΚΟΝΤΡΑ ΠΛΑΚΕ \ ΚΡΥΦΟΣ ΦΩΤΙΣΜΟΣ / ΒΑΦΗ ΣΕ ΧΡΩΜΑ ΤΣΙΜΕΝΤΟ ΕΤΑΙΡΙΑ: "KOURASANIT"
MEΤΑΛΛΙΚΗ ΚΑΤΑΣΚΕΥΗ: ΚΑΡΑΒΙΣΙΑΣ ΣΚΑΛΑΣ
1
+3.86 +0.00
13 10
K-5
2.66 1.08
ΛΕΠΤΟΜΕΡΙΑ Ν': MEΤΑΛΛΙΚΗ ΚΑΤΑΣΚΕΥΗ / ΚΟΥΠΑΣΤΗ.
9
KΦ-3
+3.15 +0.00
K-5
12
+3.28 +0.00
WC ΓΥΝAIΚΩΝ
ΥΑΛΟΤΟΥΒΛΑ 19 Χ19 X 8 ΕΚΤ.
17 +3.28 +0.00 ΣΤΟ ΤΜΗΜΑ ΤΟΙΧΟΥ ΕΠΙΧΡΙΣΜΑ.
K-6
2.69 1.08
ΥΑΛΟΤΟΥΒΛΑ 19 Χ19 X 8 ΕΚΤ.
KΦ-4
WC ΑΝΔΡΩΝ ΥΔΡΟΡΟΗ
K-5 K-5
2.69 1.08
ΜΕΤΑΛΛΙΚΗ ΚΑΤΑΣΚΕΥΗ: ΣΤΕΓΑΣΤΡΟ ΑΠΟ ΣΤΡΑΝΤΖΑΡΙΣΤΟ ΓΑΛΒΑΝΙΖΕ ΠΑΧΟΥΣ 150 Χ 40 ΧΙΛ
KΦ-5
+3.28 +0.00
Δ
K-7
ΓΡΑΦEΙΟ
Δ'
ΣΤΟ ΤΜΗΜΑ ΤΟΙΧΟΥ ΕΠΕΝΔΥΣΗ ΤΟΥΒΛΟΥ 29.14 M2
ΛΕΠΤΟΜΕΡΙΑ ΑΡ. ΣΧ: Λ-03 & Λ-3α ΞΥΛΙΝΗ ΚΑΤΑΣΚΕΥΗ /ΧΩΡΙΖΜΑ: ΣΚΕΛΕΤΟΣ ΑΠΟ ΚΑΔΡΟΝΙΑ/ ΕΠΕΝΔΥΣΗ ΑΠΟ ΚΟΝΤΡΑ ΠΛΑΚΕ ΒΑΦΗ ΣΕ ΧΡΩΜΑ ΤΣΙΜΕΝΤΟ/ ΕΤΑΙΡΙΑ: "KOURASANIT" + ΚΡΥΦΟΣ ΦΩΤΙΣΜΟΣ RGB
ΞΥΛΙΝΗ ΚΑΤΑΣΚΕΥΗ ΑΠΟ ΚΟΝΤΡΑ ΠΛΑΚΕ & ΕΠΕΝΔΥΣΗ ΜΕ ΨΗΦΙΔΑ.
ΚΛΙΜΑΚΑ :1/100
+8.00 +7.50
ΜΕΤΑΛΛΙΚΗ ΚΑΤΑΣΚΕΥΗ / ΣΚΕΛΕΤΟΣ ΑΠΟ ΣΤΡΑΝΤΖΑΡΙΣΤΟ ΓΑΛΒΑΝΙΖΕ 20 Χ 20 ΧΙΛ
ΜΑΡΚIΖΑ
ΜΕΤΑΛΛΙΚΗ ΚΑΤΑΣΚΕΥΗ /ΣΤΕΓΑΣΤΡΟ
ΜΕΤΑΛΛΙΚΗ ΚΑΤΑΣΚΕΥΗ /ΣΤΕΓΑΣΤΡΟ
+3.87
+2.85
+0.00
+0.18
+0.36 +0.00
+0.18
On the ground floor I placed a bar with some seats. In front of the bar in the middle of the room there is a piece of furniture made from laquer ,same material with the bar furniture. The way it is made allows the people sitting on the inside of the salon to be more private. There are sofas, seats and stands left and right. Upstairs, the place is designed for less people with fewer seats than the ground floor. The two levels have different entrances, which is very useful. Materials suggested to use in this bar are cement carbon floor, furniture made with white laquer, a wall made of glass bottles and a suspended ceiling. Mixed media blue print scale: 1/50 Mixed media technique maquette scale:1/20
Betrayal
In this Betrayal is a play written by Harold Pinter in 1978. What made me work on this play is that it starts from what appears to be an innocent situation which develops into a threatening and paradoxical triangular relationship. This is due to the way the characters interact which phenomenally appear to be peaceful and detached, whereas in reality they are hiding very deep emotions, their self-absorbed competitive one-upmanship, face-saving, dishonesty and (self)-deceptions. It is a situation which everyone has experienced whether they are in the position of being the prey or the hunter.
Set:
I created a very simple set using simple and clear lines, with little furniture in it because I believe that the main objective of the play is simplicity. There is a square house, which is going to open-separately during the play and comes together again, made from Plexiglas. The separation of the house helps the audience to visualize the different places of the play. My choice of transparency is that in the play and in real life everybody betrays everyone and everything is revealed to each other. The back side of the Plexiglas is covered with voile fabric, which is good for projecting things. In the play projections are used. Inside the house, which is on a rotating stage, there are some furniture such as a bed, a living room, etc. for the bar scene a piece of Plexiglas lift up. With projection each scene is different from the other (the change of time and place will be shown). For example, in the bar scene the projection shows people standing around. In Venice, at the hotel the projection reflects a hotel background.
left: Blue print scale 1/20 right: Set colored sketches with pen and colored pencils
Mixed media maquette scale 1/50
Jerry 1977
Costume illustrations Images for the 4 characters of the play Textile swatches presented On the left actors rehearsing the role
Jerry 1973
Jerry 1975
Jerry 1971
Jerry 1974
Jerry 1968
Costumes:
The costume design for this play is inspired from the 19701980 fashion. For the three main character’s costumes the main feature is a piece of phosphorescent fabric in a very obvious place, so as to point out that they are marked. This mark represents that they have betrayed each other. Costume illustrations Images for the 4 characters of the play Textile swatches presented At the far right actors rehearsing the role
Emma 1973
Emma 1975
Emma 1977
Emma 1973
Emma 1974
Emma 1968
Robert 1977
Robert 1974
Robert 1973 Robert 1968
Robert 1973
Costume illustrations Images for the 4characters of the play Textile swatches presented At the far right actors rehearsing the role
A waiter
Macbeth
Macbeth (full title The Tragedy of Macbeth) is a tragedy written by William Shakespeare, and is considered one of his darkest and most powerful works. The play is believed to have been written between 1599 and 1606, and is most commonly dated 1606. I chose Macbeth because I found it especially interesting , always relevant and timeless Shakespeare’s motive about power, how much each individual desires power. The way they use power and how they get it (they kill, they lie, etc.). Also, power after all is something that easily comes and goes. No person can keep it forever. Although it is set in Scotland, the play dramatizes the corrosive psychological and political effects produced when evil is chosen as a way to fulfill the ambition for power, an action that is taking place worldwide.
From left to right: Set colored sketches with colored pencils and pen Blue print scale 1/20
Set: Using a blood- red and white (abstract set), I stir together Macbeth’s dramatic modes and settings until one floats into a purely theatrical imaginary space suspended in time and place. The colors of the whole play are affected by the lighting. Red for the bloody deaths and white for the ignorance of the characters (in the beginning) and justice comes in the end. Rather than creating a different space at each scene (as the play suggests), I decided to use a circular construction with laquer, which shows how the throne (standing at the top of the construction) can easily be wheeled to the ‘theatrical’ ground level. I use a vintage bathtub as the throne and a street light, which is always on during the whole play, like an observer that always observes what is happening and enlightens the audience. Under the circular construction, there is a base of transparent plastic, so that no one standing there can be hidden. The iron wall construction gives us a taste of the baroque way they used to build their palaces. For the witches scene, the scene will be separated with a curtain, half transparent and half non-transparent. I chose it to be half transparent so that the audience always has in mind the play’s two different worlds (the real and the supernatural), that the one combines the other. For trees I use street lights (familiar to the one next to the throne, but larger), that dimly light the stage,as I want to show that everything in this play that is said and done will be revealed, judged and punished at the end. Nothing remains hidden, as eventually Macbeth’s actions are revealed.
Renders demonstration on Archicad 3D software
Costumes:
The costumes are not designed in the same way as they were in the Shakespearian period. Maybe they resemble clothes on a catwalk, inspired by some evidence of the past. All costumes have details related to Shakespeare’s time ( Elizabethan era). What really influenced me to draw each costume was the characteristic analysis of each character. I tried to depict their personalities through their costume design, the fabric and the hair style.
King Duncan
Malcolm
Macbeth
Macbeth
Donalbain
Lady Macbeth
Lady Macbeth
Macduff
Lady Macbeth
Costume illustrations Images for the 25 characters of the play Textile swatches presented
Macduff’s son
Macduff
Banquo
Lady Macduff
Banquo’s ghost
Fleance
Siward
Ross & Lennox
Seyton
Hecate
The three whitches
Young Siward
Costume illustrations Images for the 25 characters of the play Textile swatches presented
The killers
Messenger
Scottish doctor
Scottish gentelwoman