GRAND HOTEL

 

Columns of metal and cement with a deliciously elaborate crown molding, a scattered floor, and a wooden collection of people's identity. I looked toward the artwork of the Weimar Artists. Where walls should be solid, we highlight the architecture and utilize only cast iron shapes  seen between and through. Between the colonnade we have hanging orb lamps almost larger than life. The lighting quality  suggests hotel, prison, train station, bank, skeletal, caged birds,  religion - it is vast yet also very intimate.  The coldness of steel is overtone to the war & class crimes  driving its moral narrative.  .

 

Above will be solid cement support beams. The foundation structure that looms over the space, making them feel lowly. Foundation is important as these workers are the life support systems to our players. The cement above reminds me greatly of the bars and underground ghettos of East Berlin. Where metal can be perceived as a warm interior, there is a brutality to cement. Having it dominate  the space could create a very surreal dynamic  and fluidity.   We can create rooms using scattered furniture, luggage bellhop trolleys, etc without needing much justification. However it ties into the narrative - this is a transient space, with baggage and luggage left behind as memory. Upstage, encasing the band, is a grid of filing cubbies. Letters, papers, trinkets,  and dangling keys will fill each of the some hundred cubes. 

Drafting Archived Notes 2015.