will kipping perkins
509-5221 Cornwallis Street Halifax, NS Canada B3K 0B6 +1 902 402-4297 | email@example.com
Academic Projects: Dalhousie Architecture School Pavilion - Term 1 Design Shifting Grounds - Term 2 Representation Light and Form - Term 2 Design Seasonal Dwelling - Term 2 Design
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Lighting Design Homage East of Berlin A Rescue Demonstration
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Technical Production: National Theatre School of Canada
academic projects dalhousie architecture terms 1 & 2
Pavi lio n Located on the Halifax waterfront, this project was inspired by the experience of waiting alone at the end of a pier. This reminds us of local history and connects us to the horizon between earth and sky. The pavilion consists of two axes: an “earth” axis and a “sky” axis in two intersecting boxes. The earth box contains the public aspects of the programme, while the sky box provides space for privacy and contemplation. This project was a collaboration with Amber Kilborn.
term 1 design
Models were used to study the quality and texture of natural light in the interior space as it passed through the brise-soleil facade. The facade was equally important at night, acting as a beacon for the night passengers on the harbour ferry, which docks nearby.
plan & elevation, CAD rendered with charcoal
S HI FTING G R O U N D S
This assignment encouraged us to explore vertical and horizontal relationships between three spaces through the use of stairs. The objective was to resolve complex spatial sequences on an imaginary site through perspective drawing and modeling. This project explores themes of expansion and contraction, opacity and transparency and procession. Roughly based on the three stages of Buddhist practice, the user moves from a very narrow corridor through gradually expanding spaces. Finally they are led to the edge of a narrow precipice and an expansive view.
term 2 repres entation
plan, graphite on paper
measured perspective, graphite on paper
Lig hT a nd f o r m
This project explored the relationship between space, form and light - both natural and artificial. We were asked to use empirical data gathered on site as a tool to develop the design. Tall, slender vertical elements that swayed in the wind provided the outdoor performance space with highly textured, dynamic light during the day and a dramatic environment for evening performances.
term 2 design
Scale models were again used to study the natural and artificial lighting conditions. The results were photographed for the final presentation. Empirical data regarding sun-paths and views to the street informed various aspects of the design, including openings in the facade, and placement of the stage. 14
plan, rendered with charcoal on paper.
seas o n a l d well i n g
This cabin for a summer camp on a lake outside of Halifax was designed to encourage connection to the surrounding environment. The building bends slightly around a porch, which is the focus of the daily activities of meal preparation and dining. The building form was abstracted from cracks in the rocks on site that had become filled with fallen pine needles.
term 2 design
Simple models were used to generate and explore the initial form of the dwelling based on my impressions of the site. As the project progressed different iterations of the design were investigated primarily through the creation of paper models.
This production was presented in the round, with audience members on all sides. Lighting in the round poses many challenges for the lighting designer, as the composition must be considered from all sides as opposed to one controlled vantage point. It was my task to sculpt and transform the space according to time, place and atmosphere. This was achieved by using slight colour variations and subtle shifts in intensity. By manipulating the light, the set elements appeared at one moment solid and imposing and in the next luminous and ephemeral.
2b theatre, March 2009 & June 2010 Written by Anthony Black Directed by Christian Barry Set design by Peter Blackie image courtesy Peter Blackie
images courtesy Nick Rudnicki
E as t o f B er l i n
The lighting equipment available for this project was very limited, however this worked with the dark atmosphere of the production. Many moments remained intimate and mysterious with highly textured light at low levels that cast dramatic shadows on the performers. Memories played out onstage were brighter and more expansive, in warm sepia tones. Texture was achieved with carefully placed set elements like grates and window panes. Timing of transitions was crucial: the placement of a long, subtle shift or an abrupt blackout were essential story telling devices.
all images courtesy Nick Rudnicki
2b theatre, November 2009 Written by Hannah Moscovitch Directed by Christian Barry Set design by Andrew Cull
An extremely limited number of conventional lighting fixtures allowed us the opportunity to explore unconventional sources of light in the production. There was a strong desire for light to take on a larger role, almost as another character, so I designed a simple system of four 60w bulbs that could be raised or lowered by the performers or by a technician off-stage. The stark, naked quality of the bulbs reflected the atmosphere of the production.
A Re s c u e D em o n st rat i on
The Safety Position, May 2010 Created by Ann-Marie Kerr, Stewart Leger & Katie Swift
all images courtesy Nick Rudnicki
technical production national theatre school of canada
The Honest Whore
Crime & Punishment
Role: Construction, Running Crew
Role: Head Carpenter, Running Crew Chief
Director: Peter Hinton Set: Pierre-Etienne Locas Lights: Alexandre Bourdon The Honest Whore is a multi-location Jacobian tragedy which is rarely produced. The running of the show required a number of very specific and precise movements of scenery which I was responsible for. The set consisted of six twenty-foot-tall walls and a hydraulic table spanning twenty feet.
Director: Sascha Marine Set: Miriam Braunstein Lights: Davida Tkach This production was an adaptation of Dostoyevskyâ€™s classic work. The production was extremely complex involving moving lights, confetti cannons, flying scenery and a set made almost entirely of steel. As head carpenter I managed a construction crew of six, directed the safe and efficient installation of the scenery and ran the flying scenery during the performances.
Angels In America: Pt. 2
The Cherry Orchard
Role: Construction, Head Electrician
Role: Production Manager
Director: David Storch Set: Katherine Lubienski Lights: Aaron Newbert
Director: Jason Byrne Set: Audrey Roy Lights: Jesse Peter Ash
Angels is a surreal and fantastical two-part production, usually run in repertory. The complex set consisted of highly distressed walls and a large number of found objects. Construction required a substantial amount of skill as the available labour was quite limited. I also assumed the role of head electrician, running and managing the lighting design as per the designerâ€™s specifications.
This production of the Cherry Orchard was performed on a bare stage with a huge number of props and furniture. I was the production manager for this project, overseeing every aspect of the production including construction, technical, scheduling, budgets, health and safety and personnel.
All images courtesy Maxime Cote
resume education Bachelor of Environmental Design Studies candidate 2011 - present Bachelor of Arts (Environment, Sustainability & Society) candidate 2010 - 2011 Technical Production Program 2004 - 2007
Dalhousie University, Halifax, NS Dalhousie University, Halifax, NS National Theatre School of Canada, Montreal, QC
2011 - present
Imagine Bloomfield Society Board Member
2010 - present
Freelance Lighting Designer 2008 - 2011 Selected projects Played - Xara Young Women’s Choir Top Girls - LunaSea Theatre Company Jonny Belinda & Pygmalion - Montgomery Theatre The Woman in Black - Valley Summer Theatre A Rescue Demonstration - The Safety Position Vimy - Eastern Front Theatre
Resident Lighting Designer & Technical Director 2009 - 2011 Projects
Imagine Bloomfield is a non-profit society whose mission is to realize the preservation and redevelopment of the Bloomfield Centre into a dynamic neighbourhood hub.
Zuppa Theatre Company Board Member
Dalhousie Architecture Student’s Association Treasurer School of Architecture committee, student representative Lecture series organizing committee Undergraduate admissions committee
2009 - 2011
professional & academic awards Recipient of the Shaw Group Design Scholarship Dalhousie Faculty of Architecture and Planning
Homage (Touring Production) East of Berlin Homage
Dean’s List Dalhousie Faculty of Architecture and Planning
Dean’s List Dalhousie Faculty of Arts and Social Sciences
Outstanding Lighting Design (Nomination) - The Woman in Black, Valley Summer Theatre Theatre Nova Scotia Robert Merritt Awards
Outstanding Lighting Design - Homage, 2b theatre Theatre Nova Scotia Robert Merritt Awards
Outstanding Lighting Design (Nomination) - East of Berlin, 2b theatre Theatre Nova Scotia Robert Merritt Awards
Assistant Special Events Producer 2008, 2009 & 2010
Atlantic Film Festival
International Programs Assistant 2008 - 2010
Shambhala Office of Practice & Education
Assistant Production Manager 2007 - 2008
Manitoba Theatre Centre
skills Adobe Creative Suite Vectorworks Rhinoceros 3D AutoCAD Microsoft Office
Hand drafting Model making Theatrical lighting design Set construction
Team work Organization Problem solving Time management