l’Ombre de Venceslao
Montpellier, France
Scenography Workshop
Opéra National de Montpellier
l’Ombre de Venceslao was a 6th semester project I developed within a scenography workshop in the National Opera of Montpellier in France.

The project is a stage design proposal for a contemporary opera that was developed working together with screenwriter Jorge Lavelli and director Martin Matalon, as well as actors and opera technicians.
The main task/challenge of the project was to create a stage design that could be adjustable to a number of diverse settings for an opera that has no intermission, taking into account the scale and limitations of a stage.
Conceptually, my idea was to create a stage design that could easily transform the setting from outdoors to indoors, creating different levels of depth in the stage.

Technically, I set out to create a proposal that could be easily constructed and deconstructed and could be adjustable to different stage sizes.
I studied carefully both the text and the music of the opera and consulted with the actors involved in the production to better understand the experience of performing on stage, its advantages and disadvantages.

Afterwards, I studied the plans and sections of the opera to better understand the technical and spatial limitations of a theatre stage.

My design involved panels of fabric that can function both as an atmospheric backdrop and a as firm limits of a closed room, depending on how loosely they are suspended/tightened/constricted. The two wooden panels have openable(?) sections and a seat. All three units can formed in a single wall. The circular positioning of the panels allow them to move easily between scenes.
I created a stage design and a technical solution that adapts to the different settings of the opera and to the artistic needs of the actors and musicians. I worked closely with artists, musicians and opera technicians and my final proposal was taken into account in creating the existing scenography of the opera.
Creating a quality living environment in an existing urban environment is a challenge in itself. This is due to the struggle between historical heritage, public functions of the city, as well as the privacy of the living environment. This is very much apparent on the banks of the Zunda Canal, where industrial inheritance, intensive educational and business developments, as well as an increasing need for housing can be observed together.

One of the key elements that makes a living environment desirable is the presence of a healthy and happy community. The inhabitants of the Zunda Canal area vary from local fishermen to international students. My main goal was to create an environment that would respect this diverse community and allow it to evolve and grow, as well as creating a desirable environment for potential residents and visitors. Therefore, my proposed designs involve creating both luxury and co-living residences, small scale fisherman docks and private workshops and extensive public promenades. My vision proposes the Canal as the connecting link between these diverse inhabitants.

In order to maintain a human-friendly scale, I designed the residential area at a maximum height of 4 stories (12m), while also positioning the buildings in a way that allows the waterfront to be seen at all times. In order to ensure easy access and to keep the inner housing area as private as possible, I situated the public functions on the boundaries of the site. Student and senior housing is situated next to the main traffic street, which helps create an acoustical and visual shield from the street, while also rendering the buildings easily accessible by foot and public transport.

Affordability was also a key goal of mine. Because the residential area includes residences mainly for small households and families, I wanted to make sure that they are available to a wide spectrum of people. And so in order to avoid the area simply becoming financially unobtainable for the neighboring communities, I propose a considerable number of living units as co-living residences that would include shared amenities reserved for students and the elderly.

The Waterfront
I chose to design the waterfront as a public promenade consisting of various public and commercial functions that would face the canal, such as shops, cafes, and water sport rentals. I also wanted to create a social link between the two neighboring universities, and so the three pedestrian bridges are designed to serve not only as a physical connection to Ķīpsala, but to also connect RISEBA and RTU Universities. The floating cafe and sauna is an example of this link, promoting the exchange of knowledge between the students of the two universities.

The Unfinished Bridge
I repurposed the unfinished bridge—which currently lingers above the main traffic road—as a pedestrian and cycling path, which now also serves as an observation deck overlooking the area. The descent from the bridge is designed to be intertwined with various commercial functions, and ultimately leads pedestrians and cyclists towards the waterfront. In addition, the residential area and waterfront are finally accessible from Pārdaugava as well. The Factory
I propose to develop the industrial area and its adjacent waterfront to cater to the interests and habits of the local fishermen. In order to maintain its rural vibe, I located the private docks and sheds to be alongside the canal. As for the abandoned industrial territory, I proposed reusing it as a workshop area where students and locals can exchange tools and services.

I was happy to create a proposal that is based on my research which explores issues in contemporary urban development. As a result, the project prioritizes the needs of the surrounding community, and considers factors in urban mobility and environmental sustainability. It was also a valuable opportunity to explore regulatory enactments, as well as to design a proposal that takes in account the planned development of its surrounding territories.