Set-Design Research

The architectural behaviour of Nazi Germany was known as stipped classicism; a contemporary imitation of Imperial Rome. Adolf Hitler's vision was to construct a totalitarian state to contend and exceed the likes of Caesar, illustrating this successfully with intimidating and exaggerated structures. His desire for vast, overwhelming space in unity with tightly regimented landscaping is most evident in his plan for the rebuilding of Berlin.

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Above: "The Albert Speer Plan" - Welthauptstadt ("World Capital") Germania [1938].

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The centrepiece of this design would be the Volkshalle ("People's Hall"). Had it been built, this dome would've been the largest enclosed space on the planet, bearing a capacity for 180,000 people. A particular painting of this buildings' interior was brought to my attention, which can be seen below.

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Above: Albert Speer's drawing for Volkshalle. [1939]

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The result of placing beings in a space so drastically large to themselves is overwhelming. The nature of these structures were designed to inflict a sense of insignificance amongst the people, but to simultaneously subsume them in this strive for a new world; an act of architectural propaganda. I hope to achieve the same effect with the opposite scale. My being will be unnaturally large, but cramped into a space in such a way that his size translates as inferior to another being. The overwhelming size of him in relation to the room will let us know that he is the insignificant part of the equation. When it comes to specific techniques within Nazi architecture, the use of brutalist colonnade around the dome structure shown above [and evident throughout this era] further establishes this ideology of order. I will definitely incorporate this for the ceiling of my own design.

In general, the use of stark concrete is a very apparent method in establishing power and an oppresive regime. My entire space will show no sign of warmth, just ageing cement and metal piping.

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Above: The New Reich Chancellery's work-study office/room for Hitler in 1939.

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‘Jan Švankmajer: The Complete Short Films’ (1964-1992)

I worked through this collection of 3 discs over the period of a week, but the one most relevant to my own ideas, and the project as a whole, has to be "The Fall of the House of Usher" [1980]. This short film presents itself under a Czech voiceover reading the original story by Edgar Allan Poe [with some mild adjustments], its main technique of communication being claymation and the suggestion of a presence with no physical embodiment of one.

"The Fall of the House of Usher" narrates the reuniting of two old companions. The unnamed voice-actor comes to visit Roderick Usher in his ghastly abode and the following accumulation of mental illness, mysterious disease, death, ressurection, murder and fleeing results in the The House of Usher splitting apart and collapsing.

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Above: A selection of useful frames from "The Fall of the House of Usher" [1980].

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As mentioned before, these sequences of events occur with no actor in sight, but the simple tracing of their movements and drastic uses of light, weather and the state of materials. This is a key factor for the "Transforming a Location" brief in which the character and set must remain separate. The set exists in 3-Dimensional form while the character ceases to leave paper; leaving the set-design to narrate the entire story. The second key feature I want to take from this film is the immense focus on texture. As seen above, the range of decaying and organic surfaces is something I will need as a reference for the construction of my own colour model. An idea that came to mind while watching this, was to add in a leak from a pipe or damp ceiling and, subsequently, a pool forming on the floor not far from the inhabitent. I think this will add a further dimension, rather than every element remaining static.

I have quite a clear vision of the textures, materials, states of matter and composition of my design at this point, however, something I haven't quite come to grips with is the correct collection of equipment to be placed in the viewing area. Update: In an attempt to research for equipment used in or before the year 1940, I discovered this would be a lot harder than I originally thought. Instead, I've created a gallery below of multiple items used in hospitals, laboratories and for general communication - all ranging from the 1930s to the 1970s. These will act as a reference for me to design my own fictitious equipment for this alternate world. The general idea is one main piece of machinary controlling the level of growth hormones being pumped through the pipework to the subject, surrounding by other monitors and other scientific apparatus/technology.

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Above: Technology and apparatus references.

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Furthermore, I have created an A3 moodboard seen below, along with a colour pallete, to illustrate my ideas. These images come from films, videogames, documentations of unethical human experimentation and the cells where they were kept, scientists at work and other references for materials.

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Above: Moodboard and colour pallette for set-design.

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Using these images, I have been working on a collection of more up-to-date design ideas and concept sketches for my set-design, all of which have been placed below. I've begun to incoporate more of the Nazi architecture, aforementioned films I've been watching and research carried out for the set-dressing into these latest sketches. The main idea is a huge contrast in interior design between the two sections; dictating that the scientists/inspectors are of a respectable status and the experiments' subject is subhuman. In the coming week, I hope to create a more detailed, collective final design to a high quality.

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Model Plan

Experiment Area

Two Sections

Two Sections [Rough]

Colonnade

Viewing Room

Viewing Window

Security Doors/Windows

Plan View

Isometric

Above: Rough Sketches illustrating ideas.

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Final Note: A particular scene I enjoyed in Tarkovsky's 'Stalker' can be seen below...

I'd like to echoe this atmospherically within my own narrative; suggesting the lifespan of this experiments' subject as unbareably infinite. Years of little-to-no movement, a waiting room for nothing. The effect on the viewer should be a sense of hollowness, the idea that there will be no progress or change and that the higher powers will continue to do what they please, while you must sit and watch this forgotten experiment rot away... very Tarkovsky!

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To Do List:

- Begin planning the logistics of building the colour model.

- Watch 'Avant Garde: Experimental Cinema of 1922 - 1954' DVD in the Library

- Carry out research into the model-making for both 'Bladerunner' & 'Bladeunner 2049'

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