Ziming Guo_Portfolio_Design for Performance and Interaction

Portfolio xZiming Guo

INTEREST EXPLORATION PATH

This portfolio includes 5 projects ranging from theatrical design, architectural design to interactive design. It is, as Winston Churchill said, not the beginning of the end but the end of the beginning. It is not a result of my bachelor study but an opening to my future life.

Bio: https://gzm703.wixsite.com/inno

01 02 THE CANOPY

ESCAPE FROM THAT BUILDING LAST TOUCH

Based

This project explores the inter-transformation of False Self and Authentic Self, and construct a narrative public space of experience, exploration and healing.

04 BLACK MEDEA

This project reinterprets the play Black Medea by Wesley Enoch in a contemporary Australian setting, focusing on the relationship between the space and the performance.

Inspired by dying flowers in daily life, a interactive installation is used to increase the acceptance of ageing, decay and to redefine beauty to be more than just gorgeous.

05 ORLANDO

This project is to focus on the theme of identity and transformation, creates an epic surreal world by integrating naturalistic elements with the architectural structure, providing a sense of place for multiple locations over the centuries.

ESCAPE FROM THAT BUILDING

This project is based on the discussion of institutionalisation and counterattitudinal behaviour in modern society. After interating with the stick figure in a immersive space, I hope players to rethink our relationship with society.

Type Interactive and Space Design

RETHINKING

Kinect, Processing, Lighting, Kt-board, Aluminium Alloy Medium

ESCAPE FROM THAT BUILDING

OBSESSION WITH SKYSCRAPERS

Humans have a special predilection and obsession for skyscrapers. For a city that we have never visited, there is nothing more impressive than the skyline that remains in every image. Not only are they highly recognisable, but they are also an unmistakable demonstration of man’s technical ability: after all, pushing the limits of height in architecture is a fairly recent trend that requires a full range of technical foundations in terms of building materials, structural engineering and lift transport. The quest to build more and more tall buildings thus seems to be an undertaking in which a city wishing to integrate itself into the modern world must actively engage.

THE HISTORY OF HIGH-RISE BUILDING

The first high-rise buildings were constructed in the United States in the 1880s. They arose in urban areas where increased land prices and great population densities created a demand for buildings that rose vertically rather than spread horizontally, thus occupying less precious land area. By the mid-20th century, such buildings had become a standard feature of the architectural landscape in most countries in the world.

FOOD FOR THOUGHT

FOUR TYPES OF HIGH-RISES BUILDING

•

1885 1896

1913 1931 1998 1958

2008

2010

•

COUNTRIES BY NUMBER OF 200M+ BUILDINGS, 2022 •

WHY ARE PEOPLE ALWAYS OBSESSED WITH SKYSCRAPERS?

THE IMPACT OF SKYSCRAPER?

WHO IS IN THE HIGH-RISE BUILDING?

SKYSCRAPER AND HUMAN RISING HEIGHT: SKYLINE SOCIAL AND ECONOMIC IMPACT OF SKYSCRAPER

By the turn of the century the lower

WHO

and

At the end of the nineteenth century, a devastating fire in Chicago led architects to re-examine building materials and techniques. Plans to rebuild the city and the invention of lift technology led to the creation of high-rise buildings.

“The complex, interwoven social and economic patterns of this densely planned urban community are reflected in its architecture. ”

Skyscrapers were seen as an excellent means of addressing population concentrations and urban land constraints in 20th century.

CONTEMPORARY SOCIAL ISSUES

Tall buildings have always been a symbol of capitalist exuberance, displaying wealth as well as ego, and as a result, critics have looked to them as multi-storey barometers of economic boom and bust.

996 WORKING HOUR SYSTEM

The 996 working hour system is a work schedule, which derives its name from its requirement that employees work from 9:00 am to 9:00 pm, 6 days per week; i.e.72 hours per week. Critics argue that the 996 working hour system is a violation of Chinese Labour Law and have called it “modern slavery”.

NEW “INVOLUTED” GENERATION

Technological developments have led to an increase in the height of high-rise buildings and, at the same time, to creativity and performance in the construction industry.

Instead, 内卷, the Chinese term for involution, neijuan, which is made up of the characters for “inside” and “rolling,” suggests a process that curls inward, ensnaring its participants within what the anthropologist Xiang Biao has described as an “endless cycle of self-flagellation.”

OPPRESSIVENESS OF HIGH-DENSITY URBAN ENVIRONMENTS

More and more migrant chose to work in CBD and live in high-rise apartments in citys.

THE BURNOUT SOCIETY

The “active life” attitude leads to anxiety and hysteria, and people not only fail to achieve freedom, but lose the happiness of contemplation.

THE EDIFICE COMPLEX

From the physical point of view, architecture fulfils the real functional needs of human beings. On a mental level, architecture creates specific spaces that influence man’s instinctive psychological feelings.

Skyscraper Height = Sign of Power

Constructed in 1971 and 1973, the Twin Towers of the World Trade Center were the tallest skyscrapers in the world, at 1,368ft and 1,362ft.

The 9/11 terror attack leaves a haunting gap on the Manhattan skyline.

The rise of the ‘pencil-thin’ skyscrapers and luxury apartment buildings will crowd the Manhattan skyline in the future.

Manhattan’s skyline is the most famous in the world. It shows the development of high-rise buildings as a good example.

Manhattan skyline had filled in

grown much taller.

Landlord Tenant

Employee Tourist

SKETCH

Transform from 2D to 3D, am inspired by vertical constructions which helps to create an immersive space. As the height of buildings can partly block spectators’ views, these vertical elements can not only resonate with surrounding high-rise buildings, but also attract pedestrian’s attention and force a focus to spectacle before them.

GENIUS LOCI

In the context of modern architectural theory, genius loci has profound implications for place-making. it shows a novel approach to interaction in a reality environment.

SMALL SCALE EXPERIMENT

Visual Design Elements

• According to Eric Jaffe, our brains have evolved to perceive potential threat in sharp edges.

• Regular rectangular mirror-like windows are mainly used in contemporary architecture.

• The use of lighting highlighted seperate windows on each panel.

Modern Window vs. Classical Windows

Reflection

oppressive feeling connectivity aloneness, isolation

• In case to show a cruel world with a attractive appearance, design elements could be more sharp, instead of soft warm tone. Also, with a focus of “institutionalizing“, these small figures should be simple and the same.

The spacial design is supposed to be more accessible to viewers. People are allowed to come close and walk in.

“the spirit of place”

INSPIRATION INTERACTIVE FLOW

SPACIAL DESIGN PLACE

earthbound atmosphere construction sensors architectural culture

spiritual homeland

Institutionalize: a process intended to regulate societal behaviour within organizations or entire societies.

Counter-attitudinal behaviour: behaviour that is inconsistent with an attitude. With the increasingly fine division of labor in modern society, we have long been accustomed to mechanical activities all day long according to a predetermined program, repeating, monotonous notes in life again and again.

PLAY WITH STICKMAN

CODING

import kinect4WinSDK.Kinect; import kinect4WinSDK.SkeletonData; import processing.video.*; Movie myMovie; Kinect kinect; ArrayList <SkeletonData> bodies; //kinect float handLX, handLY, handRX, handRY,

elbowLX = bodies.get(i).skeletonPositions[Kinect.NUI_SKELETON_POSITION_ELBOW_LEFT].x*width; elbowLY = bodies.get(i).skeletonPositions[Kinect.NUI_SKELETON_POSITION_ELBOW_LEFT].y*height; kneeLX = bodies.get(i).skeletonPositions[Kinect.NUI_SKELETON_POSITION_KNEE_LEFT].x*width; kneeLY = bodies.get(i).skeletonPositions[Kinect.NUI_SKELETON_POSITION_KNEE_LEFT].y*height; kneeRX bodies.get(i).skeletonPositions[Kinect.NUI_SKELETON_POSITION_KNEE_RIGHT].x*width; kneeRY = bodies.get(i).skeletonPositions[Kinect.NUI_SKELETON_POSITION_KNEE_RIGHT].y*height; ankleRX = bodies.get(i).skeletonPositions[Kinect.NUI_SKELETON_POSITION_ANKLE_RIGHT].x*width; ankleRY bodies.get(i).skeletonPositions[Kinect.NUI_SKELETON_POSITION_ANKLE_RIGHT].y*height; ankleLX bodies.get(i).skeletonPositions[Kinect.NUI_SKELETON_POSITION_ANKLE_LEFT].x*width; ankleLY bodies.get(i).skeletonPositions[Kinect.NUI_SKELETON_POSITION_ANKLE_LEFT].y*height;

(mytime>1300)

headX width/2; headY 180; stroke(255); strokeWeight(50); point(headX, headY);

if (mytime>1360)

SpineX width/2; SpineY 400; HIP_CENTERX = width/2; HIP_CENTERY 500; SHOULDER_CENTERX width/2; SHOULDER_CENTERY 250; stroke(255); strokeWeight(30);

if (mytime>1420) handRX width/2-200; handRY 570; handLX width/2+200; handLY = 570; SHOULDER_RX =width/2-130; SHOULDER_RY 350; SHOULDER_LX =width/2+130; SHOULDER_LY 350; line(SHOULDER_CENTERX, SHOULDER_CENTERY, SHOULDER_RX, SHOULDER_RY); line(SHOULDER_CENTERX, SHOULDER_CENTERY, SHOULDER_LX, SHOULDER_LY); line(handRX, handRY, SHOULDER_RX, SHOULDER_RY); line(handLX, handLY, SHOULDER_LX, SHOULDER_LY); stroke(255); strokeWeight(30);

if (mytime>1500)

Preset Animation

PERIOD EMOTION STORYLINE SCENE

First Day at Work

STICKMAN

float

PVector

ps1.addParticle();

ps2.applyForce(wind); ps2.run(); for (int 0; i++)

ps2.addParticle();

ps3.applyForce(wind);

ps3.run(); for (int 0; i++)

ps3.addParticle();

ps4.applyForce(wind);

ps4.run(); for (int 0; i++)

ps4.addParticle();

ps5.applyForce(wind);

ps5.run(); for (int 0; i++)

ps5.addParticle();

// Draw an arrow representing the wind force

//drawVector(wind, new PVector(width/2, 50, 0), 500);

float d1 = dist(handLX, handLY, ankleLX, ankleLY);

SET UP

Positive, Energetic

In order to better integrate into the company, Joe actively participate in activities

First Month at Work Reluctant, Resignedly

First Year at Work Numb

Third Year at work Despair, Compromised

Joe and other colleagues dance together

When Joe Bloggs first started working, he feel hopeful about life and future Red: Boss/Superior White: New Staff The boss beckoned the employees to dance together Active

While workload suddenly increased, Joe have to continue to work to live Sit down after being hit by an office chair that suddenly entered For unreasonable requirements and tasks, Joe can only compromise Keep working after computers and desk falling from the sky

He gradually lost hope for the present and the future and just kept on working. blackout leaving only the sound of constantly tapping the keyboard

Suddenly, one day, he found himself completely lost in his personal life. Gradually swallowed by the desk and chair

This storyboard shows how different people react and interact differently with stickman.

255, 255, 255);

ankleRX =width/2-80; ankleRY 1100; ankleLX =width/2+80; ankleLY 1100; kneeRX =width/2-80; kneeRY = 750; kneeLX =width/2+80; kneeLY = 750; line(HIP_CENTERX, HIP_CENTERY, kneeRX, kneeRY); line(HIP_CENTERX, HIP_CENTERY, kneeLX, kneeLY); line(kneeRX, kneeRY, ankleRX, ankleRY); line(kneeLX, kneeLY, ankleLX, ankleLY); stroke(255); strokeWeight(30);}

SHOULDER_CENTERY, HIP_CENTERX, HIP_CENTERY); drawSkeleton(bodies.get(i)); //drawPosition(bodies.get(i)); (mytime<1400) handRX bodies.get(i).skeletonPositions[Kinect.NUI_SKELETON_POSITION_HAND_RIGHT].x*width; handRY = bodies.get(i).skeletonPositions[Kinect.NUI_SKELETON_POSITION_HAND_RIGHT].y*height; handLX = bodies.get(i).skeletonPositions[Kinect.NUI_SKELETON_POSITION_HAND_LEFT].x*width; handLY = bodies.get(i).skeletonPositions[Kinect.NUI_SKELETON_POSITION_HAND_LEFT].y*height; headX bodies.get(i).skeletonPositions[Kinect.NUI_SKELETON_POSITION_HEAD].x*width; headY bodies.get(i).skeletonPositions[Kinect.NUI_SKELETON_POSITION_HEAD].y*height;

SpineX = bodies.get(i).skeletonPositions[Kinect.NUI_SKELETON_POSITION_SPINE].x*width; SpineY = bodies.get(i).skeletonPositions[Kinect.NUI_SKELETON_POSITION_SPINE].y*height; HIP_CENTERX bodies.get(i).skeletonPositions[Kinect.NUI_SKELETON_POSITION_HIP_CENTER].x*width; HIP_CENTERY bodies.get(i).skeletonPositions[Kinect.NUI_SKELETON_POSITION_HIP_CENTER].y*height;

SHOULDER_CENTERX bodies.get(i).skeletonPositions[Kinect.NUI_SKELETON_POSITION_SHOULDER_CENTER].x*width; SHOULDER_CENTERY = bodies.get(i).skeletonPositions[Kinect.NUI_SKELETON_POSITION_SHOULDER_CENTER].y*height;

SHOULDER_RX bodies.get(i).skeletonPositions[Kinect.NUI_SKELETON_POSITION_SHOULDER_RIGHT].x*width; SHOULDER_RY bodies.get(i).skeletonPositions[Kinect.NUI_SKELETON_POSITION_SHOULDER_RIGHT].y*height; SHOULDER_LX = bodies.get(i).skeletonPositions[Kinect.NUI_SKELETON_POSITION_SHOULDER_LEFT].x*width; SHOULDER_LY = bodies.get(i).skeletonPositions[Kinect.NUI_SKELETON_POSITION_SHOULDER_LEFT].y*height;

elbowRX = bodies.get(i).skeletonPositions[Kinect.NUI_SKELETON_POSITION_ELBOW_RIGHT].x*width; elbowRY = bodies.get(i).skeletonPositions[Kinect.NUI_SKELETON_POSITION_ELBOW_RIGHT].y*height;

(d1<diam1)

fill(255, 165, 0);

ellipse(handLX, handLY, 100, 100);

float d2 = dist(handRX, handRY, ankleRX, ankleRY); (d2<diam1)

fill(255, 165, 0);

ellipse(handRX, handRY, 100, 100);

float d3 = dist(handRX, handRY, handLX, handLY);

float d4 = dist(ankleRX, ankleRY, ankleLX, ankleLY);

((d3< diam3)&&(d4< diam2))

fill(0, 0, 255);

strokeWeight(40);

ellipse(headX, headY, 200, 200);

(handLY < elbowLY)

fill(255, 0, 0);

ellipse(handLX, handLY, 100, 100);

(handRY elbowRY)

fill(255, 0, 0);

ellipse(handRX, handRY, 100, 100);

((handRY < headY)&&(handLY<headY))

fill(255, 255, 0);

ellipse(handLX, handLY, 100, 100);

handRY, 100, 100); (ankleRY<SpineY) fill(255, 0, 255); ellipse(ankleRX, ankleRY, 200, 200); //println(handRX, handRY); //textSize(64); //String s1 str(handRX); //text(s1, 50, 50, 200, 200); (mytime>1600) tint(255); image(myMovie, width/2, height/2); myMovie.play();

Stick figures can easily bring viewers back to the very first drawing everyone did as a kid. This small part aims to let viewers forget work or heavy tasks for a little while.

Under the developed system of social indoctrination, our edges have been smoothed, the spark of our ideas doused, and we have become accustomed to being subservient in the “institutionalised” world. In other words, all of us in modern society are living in a larger “prison”.

Video Link: https://www. youtube.com/@ nonoiiguo8907/ videos

LAST TOUCH 02

DECAYING

Type Interactive Installation

Introduction

Medium

This project is inspired by dying flowers in daily life through a interactive installation. A simple gesture can say a lot of words. Participants use the act of TOUCH to express various emotions and recall a particular bouquet of flowers that is meaningful to them. Also, it is used to increase the acceptance of ageing, decay and to redefine beauty to be more than just gorgeous. Arduino, Light Sensor, Acrylic Plate, Acrylic Paint, Vinegar, Cornstarch, Glycerine, Gelatine Powder, Fishing Line

Last Touch

The pursuit of beauty is a lifestyle. Humans are naturally attracted to things that look good. In general, bouquets are the most direct and simple way to express one’s aesthetic, with a variety of colors, types, packaging and combinations. Also, bouquets are often used at social events, where the giver attaches different meanings to the flower.

Inspiration

Have you ever bought a bouquet of flowers? For what and whom? Did you throw them away later? But less well known is that millions of fresh flowers are destroyed every year, even before ever being sold. This project focuses on dying flowers through a distance sensing installation. It aims to tell a story that seeming sapless things can extend goodness and beauty if only we can better accept the so-called withered.

Flowers take several months to grow and be picked, but only last for about two weeks after being turned into a bouquet. Even if the picked flowers are kept in a vase, they will eventually be thrown away when they start to wilt, as most people would consider wilted flowers to be no longer “beautiful”.

From ancient times till now, flowers have also been used to shows people’s attitudes, feelings and hopes on life, such as many literary works.

Take a closer look at flowers, but not only its appearance

1-day flowers

1-week flowers

1-month flowers

Flower therapy

According to Dr. Indroneil Mukerjee, who is a

Bach flower therapist and psychotherapist, flowers can be helpful in healing mental and emotional conditions. Because flowers work as a kind of catalyst that reinstarting the inner harmony in an individual and reconnecting people with nature for inner peace.

Flower and sense

Last Touch

People aware and be attracted by the decaying flowers, then spontaneously touch it. Like every last touch before you throw the a bouquet of dead flowers away.

Last Visual

Increase acceptance of ageing flowers and all the minor defect in our life

Waste

Many events use large quantities of flowers, such as weddings or graduation ceremonies, but the events are usually short, ending in a few hours or a day or so, so many of the fresh flowers are simply disposed of as rubbish.

Oblivion

Because of the desire for quantity and vanity, people also buy oversized bouquets to satisfy their needs.

“Shallow” Aesthetic

With the emergence of social platforms and various aesthetic bloggers, many modern people are stuck with a very superficial aesthetic and lack the spirit to discover beauty for themselves.

The Assimilation of Aesthetics

Photo spot, trending style, instagram filter... Everything is becoming the same, and everyone’s aesthetic preferences are becoming more and more similar as presented by the mobile phone “Guess what you like”.

human life cycle

In fact, the life cycle of human is very similar to that of flowers, which also undergoes ageing. More broadly, this is actually the law of the everything, from new to old, from young to old. I hope to raise people’s acceptance of ageing, of decaying, and to redefine beauty as something that doesn’t just about gorgeous appearance.

FERTILISED FOETUS BABY CHILD

Find out the most suitable material for making planet surface

Planet

Biological Material Test

1. Material: Vinegar, Cornstarch, Glycerine, Gelatine Powder, Dried Plant

2. Heat 250ml water to 90 degree. Add a few drops of glycerine, gelatine powder and cornstarch. Then stir to dissolve the starch and reduce the heat to low. Adding some vinegar. Simmer until the liquid reduces slightly and thickens to a light syrup. Now pour out all the mixture and wait for freezing.

The planet is used to place and hold the interactive flowers. Its surface is expected to simulate plant, which is composed of little round cells. It also looks like diseased human skin.

The planet surface imitates the flower rot and bloody diseased skin that is about to form some spots or scab. Also, both flower and skin have rough texture and even cracks, but still have some softness and moisture. This planet box is where creature birth, grow up, wither and die, so its state shows the living conditions which is affected by living things.

The planet is used to place and hold the interactive flowers. Its surface is expected to simulate plant, which is composed of little round cells. It also looks like diseased human skin.

Creature Interaction

Hand get close

Hand away from it

TOUCH UNTOUCH

The brightness of the light shined on light sensor decrease

The brightness of the light shined on light sensor increase

Stretch Loose

Flower becomes erect Flower bows

I used kt board to make a rectangular box as a base, create some small pits irregularly on it, then cover with extremely thin tissues layer by layer. These little bubbles imitate projections on skin or diseased plant, which is soft, small like deflated balloons.

These dried up ginkgo leaves were reused and turned into a flower by fixing them with wire and hot melt glue. I hope viewers could find different forms of vigour, hope and beauty in them.

On the second day of colouring, some irregular white or green mycelium is found growing on the planet surface.

A set of servo motors is used to control the direction of the flower by stretching the fishing line. The rotation of the control horn is controlled by a light sensor hidden inside the flower.

I have used two thicknesses of wire to imitate the stems of the plants, while the softness of the wire is better controlled artificially. Light Sensor

Acrylic Flower

Planet Box Fishing Line

Servo Motor

1.Coloring

2.Adding details

3.Dried flower

4.Test Petal HAPPY ACCIDENT!

5.Petal Making

7.Plant Stem Making

6.Arduino Test and Set up

Stretched Loose

Uno R3 Servo Motor

THE CANOPY 03

NARRATIVE SPACE

Type Space and Interactive Design

Introduction

This project explores the inter-transformation of False Self and Authentic Self, and construct a narrative public space of experience, exploration and healing. Based on Carl Jung’s 8 personality types, eight boxes are designed for different groups of people. Every passer-by can enter the site, meditate in the moment, find themselves, separate from their False Self and accept their Authentic Self in this space. Rhino, Photoshop, Illustrator, Topographic Analysis Medium

DRAMA: The Sorrow of Comedy

In December 2021, the play I directed, The Comedy of Sorrow was released in Melbourne. This play is adapted from Japanese author Kôki Mitani’s Laugh Institute and tells the story of a screenwriter and censor. During this time, I met many of the actors and the stories behind them. Then I discovered the differences between each person when performing on stage and in their lives off stage Some people are vastly different from each other, while others are not much different.

CASTING

Personality ON stage

Personality REHEARSING

OFF stage

Experienced Trustworthy Inflexible Flippant Positive Arrogant

People from north-west area mostly live with families in local terrace or semi-detached house Neighbour residents can enter through the nest west entrance,

Self-starter Proactive Humble

Exuberant People-pleasing

Flagstaff Gardens is the oldest park in Melbourne, Victoria, Australia, first established in 1862. Today it is one of the most visited and widely used parks in the city by residents, nearby office workers and tourists

On the south west side of the site are Marvel Stadium, Monash College and shopping centres. Also, most of buildings on this side are for commercial such as hotel and restaurant.

To the east of the site are the Hellenic Museum and a brunch of high-rise buildings over La Trobe street which is the CBD of Melbourne City. People from southeast entry might live in apartments or work at offices.

On the north east side of the site is the famous Queen Victoria Market with a large parking lot, people in this area are mostly visitors or residents living in both urban or suburb area.

Based on inter-transformation of False Self and Authentic Self, a theatrical stage-setting like arrangement is used to create a narrative public space of experience, exploration and healing.

Every spectators can enter the site, meditate in the moment, find themselves, separate from their False Self and accept their Authentic Self in this space.

PUBLIC SEMI-PRIVATE

NARRATIVE SPACE VERSUS SURROUNDING BUILDINGS

SPIRAL STAIR

CANOPY ROOM

PUBLIC BOX

SEMI-PUBLIC BOX

People enter the Canopy Room stay inside the blossoming branches of the nature canopy.

The curved partition wall is the threshold of this space, is also where the viewer’s experience starts.

SEMI-PRIVATE BOX PRIVATE BOX

CURVED PARTITION WALL

STRUCTURE EXPLODED VIEW

The Canopy Room locates in the centre of the space, which guides to the last step of exploration.

From public to private space, there is a sense of transition that allow different people meet needs.

BLACK MEDEA 04

IMMERSIVE

Type Performance Design - Set, Costume and Light

Introduction

Responding to the play Black Medea by Wesley Enoch, which is an adaptation of the classical Greek drama Medea, this project reinterprets the story in a contemporary Australian setting. The main concept is to integrate Medea and Jason’s “marital domestic house” with their opposing landscapes represented by a physical setting in a sharp contrast, focusing on the relationship between the space and the performance. Also, as the play responds to a contemporary audience, it create a unique space to submerge the viewers into the innovative setting and create a immersive and visceral experience.

Medium

Model Making, Rhino, Enscape, Lighting, Sketch, Collage,

Photograph

Wesley Enoch subtly blend the cultures of Ancient Greek and indigenous storytelling. Black Medea had been described as “A visceral impact and lasting, disturbing imagery”. Therefore, explore to depict the iconography of landscape, instead of performing on traditional theatre stage, the whole theatre space become a ‘Real Space’. Therefore, in this version, choose a larger space which even could be outdoor environment, to provide a more bewitching scenery.

STORYBOARD SET DESIGN VER.1

In this riveting reworking of Euripides’ play, she is a young indigenous woman who after leaving her family and desert country behind, finds herself in a loveless partnership with the drunken and violent Jason. Medea attempts to flee home with their young son, but Jason is violently opposed. In a breathtaking act of revenge and sacrifice, Medea kills her young child.

Black Box Theatre

FRAGMENTATION and BROKENNESS

Inspired by patterns and texture in nature, such as cracked ice and takir, the theatre space is divided into pieces depending on demands.

TRANSFORMATION 2 2

In 2021, this play was designed for Grant Street Theatre in Melbourne, which is a purpose-built box theatre. The set designed to evoke the landscape of characters, which is Medea’s desert and Jason’s ocean. initiated a rolling landscape made out of gauze with curved edges to structure the space and transform between sandhills and water ripples through shifts especially in the colour of lighting.

STAGE ANALYSIS Stage #10

It allows a small group or a couple of audience to be seated, which could be a semi-private space.

5 5

4 4

6 6 7 7 8 8 9 9

#1, 2, 3 -- Small area only for performers

3 3 10 10

#4, 5, 10 -- Immersive setting for both performers and audience

#9 -- Medea walks through and finishes the last part of the play

#6, 8 -- Background setting and entrances, the audience may be blocked from view if they sit here.

Changing Space

The cactus and scrubs are positioned to form a public area, where allows a large group of audience to be seated.

Circulation

This drawing shows possible paths through the largest auditorium. Audience can walk through the realistic, immersive and impressive landscape, and step in a world where Medea and Jackson live, love and die.

DESERT ANALYSIS

It could be a small semi-private space.

Another public space for audience to be seated.

This small space is located at the end of the entire auditorium, and the audience can choose to sit or stand according to their needs.

The desert vegetation in Australia consists of two large environmental units, while allocasuarina decaisneana or desert oak is one of the most common plant. Also, besides bonedry desert, Australian desert also covered by a range of hardy low shrub species.

MOOD BOARD

According to Elizabeth Sakellaridou, a professor of drama and theatre studies, real space is one of the major space to make audience feel more integrated into theatre performance. It means if the play is set in desert, audience would sit on the desert landscape and have people watch it there to feel more immersed in the performance.

Also, to emphasize Medea’s broken world, both mentally and physically, the performance space is divided into pieces. It means the storytelling is to be cut up into chunks, as different parts of the story are to appear in different places.

DESIGN ELEMENTS

Props can be simply divided into two groups, architectural elements and natural elements. All the furniture veneer and floor covering with wooden surface aims to corresponding to desert setting.

A group of image on the right is lighting references, which shows wavy, golden, shimmering light.

ROUGH MODEL

Section 1 Section 2 Section 3 Section 4-1 Section 4-2

Starting with Medea walking in desert, this production uses a series of tableaus for storytelling. In section 1, Medea strolls through the desert, then walks into house and brings audience into their daily life.

In this section, there are two scenes. One happens in their house, another happens outside, whereas both of them are in realistic set.

In section 2, I design two small stages which are supposed to create a fantasy world for specific moments, such as Medea’s monologue.

Medea feels trapped both by her physical surroundings and her destiny and the destiny of her child. Finally, in this section of revenge and sacrifice Medea kills her son. Therefore, I split this section into two parts to tell the story well.

TABLEAU

ORLANDO 05

Type Performance Design - Set, Costume and Light

Introduction

My design visualisation of Orlando aims to focus on the connection between illusions and the core truth of identity. Our illusions, like imaginations, are affected by numerous external factors, such as the fluidity of gender, the elasticity of time or any transformations that happened during our lifetime. However, amidst a thousand jumbled identities and labels defined by society, we will all find the most necessary, the most important, the dominant ‘self’.

Model Making, Rhino, Lighting, Sketch, Collage, Photograph Medium

Orlando starts off life very much a boy. As a young servant in the court of Queen Elizabeth many women fall in love with him, including the great Queen herself.

But soon all his affairs start spinning out of control.

After a particularly wild night out in Constantinople, he wakes up to find himself a woman. Orlando now has to find her way home, as time spins ever faster through the 18th, 19th and 20th centuries, as she tries to work out what it really means to be a woman and a human being alive here and now, in this present moment.

2 Plot Research

Two Versions of Orlando

- Sarah Ruhl’s adaption of Virginia Woolf’s Orlando comes directly from the novel with all the luscious lyricism and playfulness of the original.

-Woolf’s Orlando is structured as part biography, part fabulation, part poetry inspired by his affair with Vita Sackville West.

-Sarah Ruhl’s adaptations shift constantly between first-person narration and third-person narration, following the life adventure in a fantastical, description-rich and dialogue-light way.

Wittiness, boldness, eternity, stream of consciousness. Every rhythm, every phrase, every imagery is irresistible and of immense power.

- Furniture or architectural elements barely appear on stage

- Natural landscape or elements have been used as the crucial part of setting, especially the huge oak tree which has been mentioned several times in text.

-Costume changes in various style to reflect apparent characteristics of different periods

-The structure tends to be tall and extended, offering dramatic views to the boundary beyond.

- One thing in common between theatrical version and film is gorgeous costume added to the brilliance and elegance of the aristocracy.

- All the props and lighting and the atmosphere shows a sense of power, and keep character Orlando signalled.

Orlando [Berlin, 1989 and Lausanne, 1993] by American director Robert Wilson

These analysis cards are based on technical breakdown which is too long to show, and text description about figure, sound, space and light.

Color Intensity Angle Quality

- Warm tone natural light

- Representing Orlando’s garden/house

- Using starkly chiaroscuro style, which tended toward violence and conflict

- Emotional response to specific traumatic events

- Mostly using sidelight from one direction

- The quality of light is like the sky coloured old yellow by the stories of centuries past, eventually reaching the present

- The beam of light, which enters the picture from the direction of a real window, expresses in the blink of an eye the conversion of characters

- Following seasonal changes

- Winter white bright sunlight, giving a sense of coldness

- Low-intensity light through the window

SOUND SPACE

Ambient Music Realistic Sound Background Music Oak Tree

Elizabethan fashion was incredibly elaborate and feminine which 0bscures Orlando’s gender.

This act happens in the 17th century. After Sasha’s betrayal, Orlando’s costume becomes more androgynous.

In Act 3, Orlando wears a dress, which means she is perceived by others as a woman.

The silhouette of 19th century defined by the rigidly structured bustle and an abundance of decoration.

In the twentieth century, Orlando embraces the fashion of the age which became more streamlined.

RESPONSE

- As the representation of Orlando, as a poet and his—later, her—growth as a writer and a person throughout the novel.

- As a metaphor of the theme of consistency, immortality and identity

- As physical existence of spirituality

Spiral Staircase

- As a symbolisation of Orlando’s life as a journey, linking with ascent, descent, climb, step, levels.

- Visualising his or her progress, and growth, and not just physical acts, but also in terms of the emotional and spiritual connotations of journeying.

- As a guide for shifting to a different scene or world

It adapts a metaphorical large oak tree to represent the consistent core of the character Orlando, and spiral stairs to symbolize the spiritual connotations and fictional transformation throughout the journey that transcends time, space and gender.

Instead of wearing naturalistic or historically accurate costumes, prefer to feature more theatrical and symbolic costumes focusing on the silhouette and some exaggerated period elements.

To immerse audience into an evoked world with the fusion of realistic sound and ambient music

Such as church bell or bird-call, these pieces resonates with the audience and provides some hints of the play

Music from different centuries has been mentioned in text, such as Turkey music in Act 2-2

“The Oak Tree” goes from “gloomy” and “in love with death” to “sprightly and satirical” in Woolf’s Orlando

- About sturdiness, strength, and longevity

“He let himself in at a wicket gate. He tore up the winding staircase. He tripped.”

-A strong sign of transition or a change

At a very personal level.

Lighting is aimed to emphasize the emotional expression and aesthetic atmosphere, providing the audience with an immersive experience.

5Design Process

Very first design idea - using a double-layer structure, focusing on the oak tree as a metaphor presenting the identity of Orlando

RHINO MODEL

ROTATABLE PLATFORM

Two extruding rotatable platform would be lifted up by steel structure. it helps choreograph circulation, while whose functions could also range from quite abstract to naturalistic, such as from Sasha’s ship to Orlando’s table.

----------TECHNICAL ISSUE SOLVED----------

- Fly system changes to steel structure

- Shorten the length of the extruding platforms

FINAL MODEL

- two platforms that can be moved up and down

- central oak tree

WHITE CARD MODEL

CONCEPT

- entrances from both sides of the stage allowing fixed circulation

The main concept of the set is to focus on the theme of identity and transformation, creates an epic surreal world by integrating naturalistic elements with the architectural structure, providing a sense of place for multiple locations over the centuries.

MODEL IN WORKLIGHT (FRONT VIEW)

MODEL IN WORKLIGHT (PLAN VIEW)

3D MODEL ROUGH RENDERING

ACT 1-1

ACT 1-2

Act 1-1 Orlando Cue Synopsis

CUE SET FIGURE

The age was Elizabethan

Atmosphere: a surreal world The three chorus stand on left side of the extruding platform

Orlando sits on the middle of the staircase

Orlando jumps on a chair. Orlando then stands up and ascends Orlando flings himself down in front of an oak tree.

Orlando looks at the chorus. They disperse.

Orlando dashed downhill.

Afternoon/ Dreamy and Naturalistic

One chorus walk to the right-side platform, one exit. The two chorus seems like floating.

Interior spiral staircase Orlando dashes down the stairs

The chorus follow Orlando

ACT 1-5

In Act 1-5 the stage right platform rotates to stage left and transform into a table.

Followed the sculptural set design, the LIGHTING is aimed to emphasize the emotional expression and aesthetic atmosphere, presenting the audience with a journey through time and space spanning five hundred years.

Orlando saw that his great house— in the valley— was pierced with lights. Pensive mood

Great Queen herself. Queen appears suddenly on the highest stair

Based on Ruhl’s text, I list out all the key cue points of each act. However, the whole sheet is too long to put in this page. For example, in figure Act 1-1, the dappled light helps the tree to cast its shadow on the wall, creating a naturalistic and melancholy mood.

ACT 2-1

ACT 2-2

In Act 1-7, the higher platform gradually rotates as if a ship sails smoothly, when Orlando stays and watches Sasha’s retreating figure.

COSTUME focuses on personality of each role gender-oriented clothing with period elements, especially for Orlando and the Queen.

CONCEPT

4

ACT 3-3

ORLANDO (HE)

ROSINA PEPITA

SASHA ACT TWO

Presentation

CAPTAIN ORLANDO (SHE)

ACT FIVE

ORLANDO (SHE)

MARMADUKE

ACT ONE

ORLANDO (SHE) THE DEAD

QUEEN

ACT THREE

Other Work

To Be Continued