Haoming Yuan portfolio

Thunderstorm I am a passionate and innovative creator in the fields of stage and performing arts. My portfolio showcases my projects in lighting design,stage design,prop making,and interactive installation design.

Equus

Hamlet

interactive installation

THUNDERSTORM “Thunderstorm” Introduction “Thunderstorm” presents a great tragedy of life. Although the characters’ fear of fate is real, those driven by cruel fate do not passively await their final judgement. Their tenacious will to survive and their instinct to persevere keep them fighting. In the end, however, no one escapes the verdict of fate. Through this play, I want to express and reflect that beyond the harsh reality that instils fear and demands resistance, one should still aspire to rewrite one’s destiny with hope and ideals. Despite the fear of fate, we must embrace the vitality that defies it and the idealism that transcends it.

As Cao Yu has said, “I want to express a complex and primitive emotion through the destruction of a family, depicting the brutality and coldness of cosmic struggles. There may be a master, or what we call fate, behind this struggle. What it really is, I cannot define clearly. It’s too vast, too complicated. I always feel a surge of emotion that compels me to vent the resentment long suppressed in my heart”.

Ⅰ. RESEARCH ON THE HISTORICAL BACKGROUND

Ⅱ. CHARACTER RELATIONSHIP DIAGRAM

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b la r tio la re ) ns

love rs

father and son

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se rv an t

Cowardice,Incom petence,Vitriol,Se lf-interest stepmother and stepson (lover)

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d

d

an er -so

mother-daughter

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"The universe is like a cruel well, if you fall in, you cannot escape from this dark pit no matter how much you scream".

Indomitable,Daring to struggle,Selfimprovement

Lu Gui:

Inner simplicity and beauty,with pure humanity

er

The first theme is the tragedy of the life of the Zhou family, represented by Zhou Puyuan, who embodies the characteristics of a feudal bourgeois family. The second theme revolves around the Lu family, embodied by Lu Shiping, who represent urban commoners who cannot control their own destiny and are manipulated by others. The complex blood ties between these two families vividly illustrate the contradictions between different social classes. The play reveals the various dark aspects of old China and the old society, including the tyranny, cruelty, and hypocrisy of the landlord and bourgeois classes, reflecting the brewing social upheaval in China in the 1930s. It illustrates the impact of social class contradictions on people and their desperate struggles against fate.

Lu Dahai:

Zhou Chong:

th fa

The plight of the urban commoners, represented by the Lu family, who cannot control their own destiny and are manipulated by others, is tragically portrayed.

The thematic essence of "Thunderstorm" is set against the backdrop of urban Chinese society in the 1920s, reflecting the social darkness and corruption of the time. It exposes the decay and obstinacy of feudal families and the tragedies of bourgeois families with feudal traits. The author portrays the intertwined tragic stories of the bourgeois Zhou family and the lower-class Lu family.

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It reflects the darkness and corruption of Chinese society in the 1920s, set against the backdrop of urban China.

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In traditional Chinese society, the bourgeois Zhou family, which owned the means of production and used hired labour, belonged to the wealthy class.

CHARACTER DESCRIPTION AND ANALYSIS

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THE CONTRADICTION AND CONFLICT BETWEEN FAMILY AND SOCIETY

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an sb

nd

a

fe wi

Fan Yi:

Freedomseeking and sensual,Crazy

Lu Shiping: Lu Sifeng:

simple,baivety and kind

Tought,sensible but stupid

Zhou Puyuan:

Haesh and oldfashioned,Inconstany in love and nedlecting justice disingenuous

Fan Yi:

A torn,Impulsive personality that defies human decency but longs for selfredemption

Ⅲ. ARTIST REFERENCE

CONDUCT RESEARCH ON ARTISTS’ WORKS TO SEEK INSPIRATION FOR ARTISTIC CREATION.

Artists:Anila Quayyum Agha Art Title:Sublime Light Medium:wooden cube, light bulb

Design statement:She uses light to explore the cycle of life and death Considering light as a sculptural material, the artist's work interacts with its intricate, interlocking decorations and spectacular light and shadow. Hidden shapes and patterns emerge from broken shadows to provoke a contemplation in the dramatic displays on the walls. They represent more than one space, embodying reincarnation. The white series references marble tombstones. The black drawings indicate surfaces and hidden layers that are usually unseen or unexplored.

I drew a sense of enclosed space in his work, which fits the concept of the "grave". In terms of lighting, I also projected the light through the crack, combining light and shadow to form a kind of imaginary image.

Ⅳ. DESIGN CONCEPT EXTRACTION OF DESIGN ELEMENTS

The visual theme concept and overall visual seed is expressed through the metaphor of a "tomb": "In the abyss, thousands of fathoms deep, lies the tomb from which everyone desperately tries to escape" (this tomb separates an era, two social classes and two generations).

It represents the idea of seeing "rebirth" and "cyclical recurrence" (the cycle of tragedy) through "death". The backward ideas of feudal society should be discarded. There are people with advanced ideas, but everyone lives within the confines of feudal society, and everyone tries to break free, whether it's Zhou Puyuan in his youth or the younger generation like Zhou Ping thirty years later. All fail, however, and their desires and aspirations can only be buried within the confines of the Zhou Mansion, which serves as a vessel for these unfulfilled dreams.

Ⅴ. DESIGN CONCEPT SKETCH STAGE DESIGN ITERATION PROCESS

FINAL SKETCH

First edition Zhou's home Space

Lu's home Space

space in general

Second edition Zhou's home space

Lu's home space

space in general

Zhou’s Family The stage design is divided into three main parts. Firstly, the concept of a 'tomb' is introduced. The space is confined by three high walls, which are grey in colour and material, creating a semi-underground, gloomy, and oppressive atmosphere. The lack of sunlight adds to this feeling. The only opening in the space is a sealed large window, symbolising the suffocation felt by everyone living in the Zhou household. The stage is divided by stairs, with the Zhou family positioned at the upper part of the stairs and the Lu family at the bottom. This represents the class division and oppression of the lower class by the upper class.

The overall spatial relationship between the Zhou and Lu families remains largely unchanged, with the main alteration being in the design of the Zhou family's setting, making it appear more luxurious and structurally complex. The opulence of Fanyi's small duplex loft is depicted more vividly, while the Lu family's style is portrayed as more simplistic, with distinct and specific furniture design.

Foam,Distressed, Shakespeare 错

European-style （foam） （Collage, sanding） Iron

Chinese Furniture （wood）

A projection screen in the front area

Lu’s Family

Third edition Zhou’s home Space

Lu’s home space

space in general

The performance area of the stage has been improved.

Previously, it was positioned too far back, so the entire space was moved forward. The Zhou family is now located in front of the main stage, while the Lu family has been relocated to the orchestra pit area. The orchestra pit has been lowered to maintain the distinction between social classes. The large window of the Zhou family still conveys a sense of enclosure, while the dilapidated wooden walls of the Lu family distinguish the front and back spaces.

Wooden wall design in front of Lu’s Family

Ⅵ. STAGE MODELLING PROPS MODELLING

Style Description: The Zhou family mainly combines European-style furniture with traditional Chinese redwood furniture. The Lu family, on the other hand, specializes in crafting simple and rudimentary furniture designed for the working class.

Zhoujia front View（Dimensional drawings）

Stage modelling

Attic window reference style Closed Window’s Reference Style

Lujia front view（Dimensional drawings）

The European staircase that leads to Fan Yi’s little loft

Zhou’s Family Chinese Furniture Style Lu’s Home Style Style

Zhou’s Family European Sofa

Overhead view of Zhou’s house（above） Overhead view of Rujia’s house（right figure）

Ⅶ. STAGE LIGHTING DESIGN

Ⅷ. LIGHTING DESIGN SKETCH Ⅸ. LIGHTING PLOT

LIGHTING ATMOSPHERE REFERENCE DIAGRAM

Lu Sifeng swear （Grave, eerie feeling）

HAND-RENDERED LIGHTING EFFECTS ILLUSTRATION

Telling about hauntings （Sand curtain effect） Lighting Design Concept:

Lugui clashed with Ludahai （The combination of light and shadow）

Meet again （Cutting light path effect）

The play 'Thunderstorm' creates an oppressive atmosphere, reinforced by the concept of a 'grave.' To reflect this sense of darkness and oppression, the lighting design primarily uses backlighting, top lighting, high-angle side lighting, floor lights, and other positions. Distinctions between different times and memory scenes can be made through variations in colour temperature or hue. Lighting can be combined with stage design to create various effects. For instance, lighting can be projected through windows at different angles, and the colour scheme can reflect the characters' emotions in different environments. The use of lighting, projection, smoke, and other techniques can achieve the desired visual effects.

Forced to drink medicine （Light and shadow effect on the main door）

Everything becomes clear） （Silhouette effect）

I drew a sense of enclosed space in his work, which fits the concept of the "grave". In terms of lighting, I also projected the light through the choreography, combining light and shadow to form a kind of imaginary image.

Ⅹ. LIGHTING ATMOSPHERE DIAGRAM SCENARIO 1:FATHER AND DAUGHTER NARRATE THE HAUNTING INCIDENT

SCENARIO 2:ZHOU PUYUAN FORCING FANYI TO TAKE MEDICINE

SCENARIO 5:LU SIFENG SWEARING Through the wooden boards of Lu's house, a thin beam of light seeps out like the feeling of whips, and under the shroud of Zhou Gongguan, Lu Gui's house is also filled with the feeling of darkness of the grave, so that these whips look like they are lashing on the coffin. The cutting blue light of the Zhou Gongguan in the back also shows Lu's house under the shroud of the Zhou Gongguan and pulling away from the space. Through the different colours on both Lu Gui's and Lu Hai's sides, it reflects the fact that the family seem to live under the same roof, but never really accept each other.

Through the cutting lamp to play a light road, invisible division of a boundary, not only to reveal the two people's inner activities of the very different and direct expression of the two people in different classes, through the upper and lower field door footlight, reflected in the wall of the shadow of the size of the different mutual suppression, alluding to the two people, although in the memory of the same past, but the inner thoughts of the different. The shadow of the closed window on the canopy alludes to the fact that Shi Ping is once again enclosed in this weird "tomb".

The light from the window through the narrow slit of the window shrouds the image of the window over the entire interior, over everyone, like a cold cage, a black time that the group, and more importantly, Fan Yi, cannot escape from. A faint red light is also added around the sofa at the dispatch of Fan Ri in the scene, in order to allude to Fan Ri's inner activity of wanting to rebel against Zhou Puyuan.

Creating two spaces, the overall atmosphere is based on the feeling of the dim middle of the night when the haunting occurs, coupled with the bluish-purple outlining of the object beauty and the faint more ethereal light of the chandelier to represent this tainted place; Fengyi and Zhou Ping hit a beam of high-colour temperature light corresponds to the unbelievable light in the image seed.

SCENARIO 4:LU GUI AND LU DAHAI CONFLICT

SCENARIO 3:REUNION

SCENARIO 5:THE TRUTH REVEALED Reflecting the sense of gravelike abyss, the overall colour tone is gloomy and the scene is darker. The dense thorns and the mottled feeling on the ground are projected to reflect the inner entanglement and pain of Sifeng and Shiping, and the contrast between the high and low colour temperatures of the wall reflects Sifeng's inner conflict of wanting to pursue love but not wanting to go against her mother's wishes.

The use of backlighting puts the people into an almost brief shadow form, lengthening the shadows to express the darkness and horror. The black clouds gathering in the air express the possibility that more darkness is hidden.

Lightning firstly punctuates the point, and then embodies all the conflicts and people's inner indignation in this moment of complete explosion, and the whole play reaches its climax.

EQUUS Exploration and Analysis of Equus The script ‘Equus’ tells the story of Alan, a 17-year-old troubled teenager who loves horses but has blinded six of them with a knife. He was sent to a mental hospital where he was treated by psychologist Dr. Dysart During the treatment, Dr. Dysart discovered that Alan was not an ordinary psychiatric patient. The people around him, including his parents, girlfriend, stable owner, and judge, had a profound impact on him. Dr. Dysart believed that he was influenced by Alan’s mental world, and felt trapped in the same psychological constraints.

The script ‘Equus’ primarily explores inner conflicts and intense emotions such as madness, faith, and jealousy. Dr. Dysart’s repressed yet patient questioning and analysis reveal the motives behind the young man’s erratic behavior. The reasons behind his pathological condition as a horse handler are gradually revealed, including the significant differences between his parents, violent communication, and more. These factors led to the young man’s shattered perception of the world and reality, ultimately resulting in a distorted psychological state.

Ⅰ. EVENT PROGRESSION

Ⅱ. STORYBOARD

EVOLUTION OF ALAN’S RELATIONSHIP WITH HORSES

Growing up But growing up, his father put a stop to Alan, and he couldn't do what he wanted to do under his father's constraints

HAND-DRAWN KEY STORY PLOT

Deterioration Alan deified "horses" as a tool against patriarchy and later developed a cult of horses.

First acquaintance (as a young child) Alan's first acquaintance with horses was at the beach at the age of 6, when he first felt the passion and exhilaration.

Dysart talks to Alan for the first time (Alan keeps singing)

Dysart visits Alan's home (couple's religious beliefs clash)

Alan's first horseback ride (stopped by his parents)

Dysart's not getting along with his wife

Alan and Keel had a fruitless fling Late in the treatment (agony) Alan completes his revolt against unreality and his hysterical outburst against all the cumulative bondage by stabbing six horses in the eyes.

Alan blinded six horses

Ⅲ. CHARACTER RELATIONSHIP CHART

Ⅳ. CHARACTER DESIGN

CHARACTER DESCRIPTION AND CHARACTER RELATIONSHIP ANALYSIS

Keir · Mason (teenage girl):

Lo vers

impulsive, enthusiastic

Patient and kind

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Em

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Harry Dalton (stable master):

Cap: Cotton (light brown) Lining: polyester fabric (grey)

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p hi

son

Jacket: Corduroy (black)

Heather Salomon (Magistrate):

Fa th

er

nd

t en

Alan·Strand Personality traits:introverted, tight-lipped Character identity: working class family

Sensitive, kind but emotionally unstable

Mo the r a

Martin Dysart (psychiatrist):

Alan Strand:

Lega l rel atio n

nt atie p hip tor Doc ations rel

io at l re

VISUAL APPEARANCE AND COSTUME DESIGN FOR MAIN CHARACTERS

Diligent and impartial

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Trousers: cotton fabric (grey-brown) Wearing in hospital for treatment

Martin Dysart.

Character traits: calm, enthusiastic Character identity: psychiatrist Cap: Cotton (light brown)

Jacket: Corduroy (black) Lining: polyester fabric (grey) Wear when you have a relapse

Keir Mason.

Character traits: passionate, cheerful and outgoing Character Identity: Working class (part-time horse farm worker) Cap: Cotton (light brown) Top: Cotton (blue)

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Trousers: cotton (red)

Helpful and responsible

Dora Strand (Alan's mother): Stubborn, kind

Frank Strand (Alan's father - printer):

Firey and forceful in nature

Heels: artificial leather (brown) everyday wear

Jacket: Corduroy (black) Lining: polyester fabric (grey) What to wear on a date with Alan

Jacket: suit Wool (brown) Shirt: Wool (dark blue) Trousers: wool (black) Shoes: Loafers (dark brown leather)

Wear it when you go out to visit

Doctor's coat: cotton (white) Tie: Wool (dark brown) Lining: wool (brown) Trousers: chemical fibre (brown) Shoes: leather (black) Dressing for hospital visits

Ⅴ. STAGE SKETCHE

Ⅵ. MODEL PRODUCTION PROCESS My stage design includes a low circular platform with textured flooring in the front performance area to depict the stable scene. A red horse lamp hangs from the backdrop.

MODEL SIZING

In the backstage area, the backdrop conveys a chaotic image with a red and grey background, adorned with irregularly placed tables, chairs, and benches, reflecting a sense of inner turmoil and psychological fragmentation. This backdrop also signifies the mental hospital setting. Additional lighting and shadows improve the threedimensional presentation of the severed props. This design captures the theme and performance settings of the entire play, and the varying heights contribute to the pacing of the performance and actor staging.

First edition sketches

STEP AND HIGH PLATFORM PRODUCTION: PVC, WOOD, PAPER, GLUE

Second Edition Sketch STAGE FLOOR PRODUCTION (SIMULATING STABLE FLOOR) : FOAM BOARD, LANDSCAPE CLAY, ACRYLIC PAINT, SMALL WOODEN SHOVEL Sketch of the third version

CURTAIN BACKGROUND PRODUCTION: IRON, RUSTING AGENT, ALL KINDS OF SMALL WOODEN FURNITURE, ACRYLIC PIGMENT

The middle to rear area features a raised platform connected to the ground by suspended steps. There are two sections with model horses on both the raised platform and the stable floor. The horses have been painted with red bloodstains, creating a gruesome and terrifying atmosphere that aligns with the story centred around them.

Ⅶ. LIGHTING PLOT

Ⅷ. CUE LIST

IX. LIGHTING ATMOSPHERE DIAGRAM

SCENARIO 1: DR. DYSART'S TREATMENT OF ALAN

SCENARIO 2: AMBIGUITY BETWEEN ALAN AND KEIR

SCENARIO 3:

SCENARIO 4: ALAN'S IDOLIZATION OF HORSES

SCENARIO 5: MOTHER'S CONVERSATION WITH ALAN

SCENARIO 6: DR. DYSART’S SOLITARY REFLECTION

The scene takes place in a mental hospital, where the high color temperature lighting creates a dim and quiet atmosphere. The stables in the front area of the stage serve as the primary lighting zone. The canopy is the secondary lighting area. Backlighting is used to enhance the overall style of the stables.

The overall color scheme is predominantly grayish-purple, combined with intense red, with the main lighting area located on the platform. Integrating the canopy, the position of the horse, and Alan, a well-lit area is formed, with higher brightness and purer color. Gobos are used to project onto the horse's head, creating a sense of sacredness.

High-angle sidelights are used to differentiate the lighting zones of the two individuals, employing varying high and low color temperatures to distinguish their different psychological states.

This is complemented by low color temperature footlights shining on the canopy, creating chaotic shadows that express the pathological state of his inner self.

The overall lighting is dark, with a tone of low color temperature.

Flowing light is used to illuminate Alan and his mother, with the mother's shadow covering Alan. The religious colored glass is projected, reflecting the influence of his mother on Alan's religious beliefs.

FATHER OPPRESSES ALAN

The overall tone uses a low color temperature, with sidelighting serving as the main illumination for the father, while high color temperature backlighting is used for Alan. The focused strong lighting on the horse's head casts a huge shadow in the background, suggesting that Alan is gradually looking to deify the horse.

The overall color palette is high color temperature, with Dysart reflecting on his family relationships after going through therapy with Alan, and the high color temperature reflecting his gradual calming down. A fixed point was added to reinforce Dysart.

SCENARIO 7: ALAN BLINDING THE EYES OF SIX HORSES

The actor's activity area is on a raised platform, where a large area of red is rendered in the front area of the stage and under the canopy. A fixed red spotlight is placed on the horse's head on the raised platform, and low color temperature sidelights outline Alan's murderous act of gouging the horse's eye with a hoof pick. Then, backlighting is used to illuminate the hanging broken glass and cast it onto the ground. The entire scene exudes an atmosphere of horror and violence.

Implementation of the Grounded Project

PROJECT - HAMLET Director’s Conclusion and My Thoughts

Director's Overview: We will not delve into the vast and intricate historical background lines but instead focus on exploring the inner emotional worlds and thoughts of the characters in the play.

What we present on stage is not kings and princes, but rather people around us, their pain, and their choices. Our emphasis is on portraying the tragic elements of the script and then expressing them through contemporary techniques. We aim to make people reflect on themselves after watching the entire play, to see their own reflections in the characters within the play.

Therefore, through this production, I hope to inspire people to maintain a resolute determination during times of profound agony and decision-making. I aim to encourage everyone to have a clear understanding of the current circumstances and to steadfastly uphold their own life principles and values.

Ⅰ. BACKGROUND RESEARCH ON THE TRAGEDY OF HAMLET HISTORICAL CONTEXT AND DEEPER THEMES OF HAMLET

Story Background: ‘The Tragedy of Hamlet, Prince of Denmark’ draws inspiration from the history of Denmark in the 8th century but primarily aims to reflect the social reality of late 16th and early 17th century England.

England during this time was a tumultuous era, and Hamlet serves as a microcosm of this period.

The conflict between Hamlet and Claudius in the play symbolizes the struggle between emerging bourgeoisie humanists and representatives of the reactionary feudal monarchy.

II. ‘THE TRAGEDY OF HAMLET’ STORYLINE Act1:

Claudius announces his marriage to Gertrude, his brother's widow.

Act5:

Polonius and Claudius use Ophelia to test Hamlet.

Act10:

Hamlet and Leotis are both stabbed with poisoned swords in a duel, and Groot dies after mistakenly drinking the poisoned wine that was meant for Hamlet.

Act6:

Hamlet arranges for the actors of the troupe to perform a play in which a king is murdered by his brother, stimulating Claudius to feel guilty.

Act2:

The ghost appears and Hamlet vows to avenge his father's murder.

Act9:

Ophelia suffers the tragedy of losing her love and her father to death.

Act8:

Polonius hides in Gertrude's room to eavesdrop on the conversation and is accidentally killed by Hamlet.

Act3:

Ophelia tells his father that Hamlet visited her in a state of grief.

Act4:

The two men, Rosencrantz and Guildenstern, are instructed by the King and Queen to secretly spy on Hamlet.

Act7:

Hamlet returns to Denmark and finds two gravediggers digging up the skull of Yorick the Clown, remembering his father's death.

Act11:

Hamlet stabs Claudius with a poisoned sword before he dies, ending in a tragedy where everyone dies.

III. DESIGN AND PRODUCTION OF MAIN STAGE ARTISTIC ELEMENTS CASE STUDY REFERENCES

Reference case 1 Tchaikovsky's opera "Francesca da Rimini Leslie Travers has created a giant sculpture of a woman that symbolises both a life of suffering and an expression of salvific inclusion.

Classical plaster statue modelling The tragic situation depicted in "Infinite Pity" CONSTRUCTION PROCESS OF THE STAGE SET

Reference case 2 Portrait of Ace Devlin Theme Stage She created a huge, cracked mask set. It creates changes with the atmosphere of the show.

SKETCHES OF THE MAIN ARTISTIC ELEMENT DESIGN PROCESS Main image design concept: The absence of eye part of the plaster figure implies that the king does not want to see what is happening The shape of the broken part resembles a mountain range

The main figure is connected to a mechanical device that can lift and rotate with the development of the plot When the spirit of Hamlet's father appears, the main figure drops, creating a sense of oppression.

Broken plaster is visually striking

IV. LIGHTING ATMOSPHERE SKETCHES

Lighting Description:The overall color scheme is primarily black and white, with variations in color temperature. There are minimal frontal projections, and most of the light sources are positioned relatively high. The lighting for character sculptural profiles often involves oblique angles, creating elongated shadows. Regarding the lighting for sculptural headshots, the aim is to enhance their three-dimensionality and highlight the main stage artistic elements. Cross-lighting is employed through side lighting from the upper and lower stage entrances to enhance character lighting and express emotions. Changes in color temperature are used to define different performance areas.

Backlighting is used to fill the stage, with flowing sidelights to emphasise the staging of the two men and the dramatic situation, and high angle sidelights to emphasise the three-dimensionality of the plaster head.

Backlighting is used to fill the stage, with flowing sidelights to emphasise the staging of the two men and the dramatic situation, and high angle sidelights to emphasise the three-dimensionality of the plaster head.

The use of sidelighting to lay light diagonally forward envelops the two men in long shadows, highlighting the dramatic conflict. The side light on the upper door shapes the head to show that what is happening is in the eyes of the old king watching

The use of sidelighting to lay light diagonally forward envelops the two men in long shadows, highlighting the dramatic conflict. The side light on the upper door shapes the head to show that what is happening is in the eyes of the old king watching

The use of sidelighting to lay light diagonally forward envelops the two men in long shadows, highlighting the dramatic conflict. The side light on the upper door shapes the head to show that what is happening is in the eyes of the old king watching

The use of sidelighting to lay light diagonally forward envelops the two men in long shadows, highlighting the dramatic conflict. The side light on the upper door shapes the head to show that what is happening is in the eyes of the old king watching

V. LIGHTING PLOT TEACHER’S DESIGNED LIGHTING PLOT

MY DESIGNED LIGHTING PLOT

First, I will increase frontal lighting, and secondly, I will add one floor light at each of the upper and lower stage entrances in the front part of the stage. Due to limitations posed by the hanging sculptural elements in the middle stage area, I intend to install five pattern lights on lighting poles and add three framing lights at each of the upper and lower stage entrance side lighting positions. In the rear-most stage area, ten beam lights will be added to accentuate dramatic conflicts as the storyline unfolds.

REHEARSALS

VI. STAGING PROCESS

STAGE SET CONSTRUCTION, LIGHTING FIXTURE INSTALLATION, AND FOCUS CHECK

VII. PERFORMANCE SCENES AND STAGE PHOTO Transformation of the Plaster during Ghost Appearances (Rising, Descending, Rotating)

Hamlet and Laertes Duel

Hamlet discovers the grave

The king wants to wash away his sins

Ophelia and Laertes Bid Farewell

The Sensory Garden - Artistic Experiential Installation Taste buds perceive flavours

light information The most important sensory channel Shape, colour

The pitch, volume and sound quality of the voice Language comprehension Social communication

Sweet Sour Bitter

Smell senses the environment Related to memory and emotion

TOUCH

Salty Sensing pressure, temperature and pain

Depth of surroundings

SYNESTHESIA

Basis for interacting with the physical world

ch

Ar es ea r

Processing sound information

SIGHT

nd role s

of th

HEARING

SMELL

sa

RASTE

Connection Cross-Sensory Connection Experience This work aims to create an immersive natural environment that guides the audience to deeply experience how the five senses interact, blend, and resonate with each other through multimedia and interactive installations. It is not only an exploration of sensory boundaries but also a profound insight into human cognition and perceptual abilities. In our daily lives, the five senses - sight, hearing, smell, taste, and touch - operate independently, each responsible for capturing and processing external information. However, synesthesia breaks down these boundaries. It is not merely the sum of sensory inputs but rather a unique, multisensory fusion experience. This experience goes beyond conventional sensory stimulation, challenging our conventional understanding of reality.

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on

n ctio n fu the

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Ⅰ. INSPIRATIONS CASE ANALYSIS

PLAN MIND MAP

Kengo Kuma — Architecture of the Five Senses Kengo Kuma introduces a new concept of "architecture of the five senses" that revolves around the sensory dimensions of sight, hearing, touch, smell, and intellect. The goal is to encourage viewers to understand the social value and essence of modern architecture from a multidimensional perspective, starting with perception.

In this concept, each level of different spaces possesses its own distinct aroma, such as wood or fresh grass, accompanied by various soundscapes as background. This approach allows viewers to fully perceive and experience the multiple facets of the architecture. The concept underscores that architecture is not solely a visual experience but engages all five senses.

He advocates a return to nature, moving away from materials like concrete and iron that have been commonly used for concentrated urban living, and instead, embracing natural materials like wood and paper.

Return to nature

Bamboo Ribs

RESEARCH ON VISUAL REPRESENTATION OF “TREE”

The widespread use of digital media blurs the boundaries between the virtual and the real, which can affect our sensory perception in certain situations.

Tree-hugging therapy enhances human perception and emotional experiences.

Through intimate interaction with nature, it enhances human perception and emotional experiences.

The relationship between humans and nature is inseparable, and I use the connection and linkage with nature to indirectly illustrate the interconnectedness of the human senses.

The support structure of the "tree" is made from transparent PVC, with light sources placed inside the tubes STEP 1: to create illumination. Latex (which becomes sturdy after drying) is used for the main body of the tree, along with various types of paper.

iron turn upside down,plastics

Acrylic paint is applied for coloring, with silver and blue shades to convey a futuristic STEP 2: feel, while bits of tree bark are glued onto the tree to create a sense of realism.

Special shapes

Bamboo Song

Bamboo Stream

The Weaver's Tea Room

Digital Space and Time for the Five Senses

My goal is to create a multi-sensory experience centered around a "tree" installation, which integrates and interconnects visual, tactile, auditory, olfactory, and gustatory sensations.

This immersive holistic perception emphasizes the interplay between the five senses.

Lushness and fullness

tree trunk Interactive synesthetic experience installation

After preliminary research into the style and form of trees, the final style STEP 3: is determined, and optical fibers are employed to depict the spread of branches and leaves.

II. DESIGN PROCESS SKETCHES AND MATERIALS

Conceptual Sketches

Final Concept This installation offers a comprehensive sensory exploration that allows you to deeply experience and feel the wonders and harmony of the natural world. Here, each sense is intertwined with the others, creating a multilayered, multidimensional sensory world.

Regarding the vision, since the volume is the largest, I wanted to utilize a representation of the sculpture's head, followed by a connection to the tree, so the head is tilted up and looking upwards.

Material Selection

Tree materials using tissue paper, latex, branches Using small monitors anchored to trees to display and convey information transfer, thus illustrating the interconnectedness of sensory experiences.

Visual Reference to Natural Elements

Fiber optics starting from the head and wrapping around the tree, extending all the way to each branch, thus suggesting synesthesia among the five senses.

Inspired by the scent of flowers, using the style of the flower to represent the olfactory image

Inspired by wave frequencies, using the imagery of ripples to represent auditory impressions.

Vision has the greatest impact among the senses, so it has the largest volume, is modeled, and is 3D printed for coloring.

smell touch

vision

hearing

Models of the senses of smell, hearing, taste, and touch made using 3D printing.

taste The base is primarily composed of various natural elements (such as aquascape clay, dried plants, greenery, stones, etc.) made from styrofoam.

Tactile image

Taste image

III. TECHNICAL TESTING AND PRACTICE INTERACTIVE TECHNOLOGY USING VISUAL PROGRAMMING SOFTWARE

IV. THE INSTALLATION PRODUCTION PROCESS Overall Set Design and Carving、Natural Groundscape Construction

Core Component Manufacturing

Projection Interacts through Sound, with changes in the visuals triggered by high-decibel sounds captured by the computer (e.g., when people clap hands).

Lighting Arrangement

Control the Degree of Image Movement in Response to Sound Image Effect Adjustment Color and Luminance Adjustment

Image Effect Adjustment

V. SPACE PLANNING

EXHIBITION SPACE DESIGN AND VISITOR ROUTE PLANNING

VI. INTRODUCTION TO INTERACTIVE METHODS VISITOR EXPERIENCE STORYBOARD

Tree-Mounted Display Screens:

Visual and Auditory: I combine background projection with sound reception by the computer to create an interactive experience. The audio-visual expression is particularly strong, especially in the sound-image installation, where the visuals change in response to the sounds generated by the audience. This audio-visual integration allows the viewers to perceive the connection between sight and sound.

Playing videos on display screens mounted on the tree, with a focus on conveying information and illustrating synesthesia between the five human senses.

Taste and Smell: Touch and Vision:

The installation creates a natural environment space for the audience to touch and explore natural landscape elements. As they touch, the natural landscape unfolds before their eyes, highlighting the connection between touch and vision.

Using aroma machines to release specific scents at certain times to evoke the audience's olfactory memories of natural elements, triggering a gustatory experience.

VII. ACTUAL EFFECTS AND DETAILS

OTHER WORKS Sculpture

Observation life practice (Model making) Live action shooting

Model detail

Woodcut

Model making process

Final outout

Scene atmosphere diagram (facsimile)

Animation production

https://www.dropbox.com/scl/fi/vj8fpydohp7n7saebm2oe/short-film.mp4?rlkey=69zlb29kaox1mx1h62gxai9wp&dl=0