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ProposalOutline

TheBolshoiTheatreMuseum
The Bolshoi Theatre Museum is one of the
jewels in Russias cultural crown. Its collec
tion,whichisbasedonmaterialrelatingtothe
Bolshois productions, dates back to the late
18thcentury.
The Museum was offcially founded in 1918 by
stage designer Fyodor Fyodorovsky, with the
purpose of collecting and studying everything
relating to the creative world of the Bolshoi.
The collection, numbering over two hundred
thousand items, includes paintings, drawings,
portraits,photographs,negatives,manuscripts,
programmes, theatre memorabilia, props, and
costumes.
Sinceitsinceptionin1776,theBolshoiTheatre
hasbeenatthecentreofRussianculturallife
thespacetoseeArtattheforefrontofinnova
tionandexcellence,andtheplacetobeseen
insociety.Fromthe18thcenturythroughtothe
Soviet era, the BolshoiTheatre was a symbol
ofRussianprestigeandthemosteminentand
celebrated exhibitor of Russian artistry. The
collectionoftheBolshoiTheatreMuseumtoday
isuniqueinitsscopeandwealthofmaterials,
ProposalOutline
TheBolshoiTheatreMuseum
encompassingnotonlythehistoryofballetand
opera,butalsoofferinganunsurpassedinsight
intoRussianhistoryandculture.
InOctober2011theoldhistoricalbuildingopens
itsdoorsafterbeingclosedfora6yearrenova
tionprogramme.FortheBolshoiTheatreMu
seum this event creates a unique opportunity
to display to the public, in specially provided
spacesunderthepedimentofthetheatreand
in a newly built modern underground venue
the cultural gems of the Bolshoi. It will also
comeatanimportantjunctureintheTheatres
history:upuntilnowtherehasbeennoperma
nentdisplayareaforthethousandsofpriceless
items owned by the Bolshoi, these exhibition
spaceswillgivethepublicarareinsightintothe
Bolshois creative world and history, designed
as a total Bolshoi experience and environ
mentusingcuttingedgeuniversallyadaptable
3D technology and models, advanced display
methodsandequipment,supportedbyunique
multimedia artistic solutions that are straight
forwardininstallation,utilisation,maintenance
and upgrade and capable of refecting and ac
commodatinganycurrentexhibitingpracticeas
ProposalOutline
TheBolshoiTheatreMuseum
wellaspotentiallyaccountingforfuturetechno
logicaladvancesinthefastevolvingexhibition
industry.
The Bolshoi Theatre is renowned around the
world,yetitsinnerworkingsandhistoryremain
shrouded in mystery. Behind the beauty and
eleganceoftheballetandoperaliemonthsof
labour,notonlyfortheartistsonstage,butalso
forthoseintheworkshopsandthroughoutthe
Theatre. The specially allocated exposition
spaceaimstobringtolightthisuniquecreative
environment which was, and still is, highly in
fuential in Russian and European culture. The
challenge is to transform a symbol of Russia
andaspacefullofexhibitsintoastory.Itisboth
a story of the individuals and infuences in the
BolshoiTheatre,andawindowonRussianand
European art, culture, history, and politics.

MuseumDesignProposal
BOLSHOI
Veracity2010
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
npoekfoe. Veracity Arts ocuoeau Bepo uprau
(Vera Dearman), npu noppepke ueckonukux
uesaeucurux koucynufaufoe u cneuuanucfoe e
onacfu uckycfea.
Bepa popunacu e Mockee u sakouuna
Mockoecku Focypapcfeeuuu Yuueepcufef
no cneuuanuuocfu Pufepafypuan kpufuka
u kynufyponorun u pononuufenuuo kypc no
Hcfopuu usopasufenuuoro uckyccfea. B
Benukopufauuu oua saufuna puccepfauuk
ua pokfopa qunocoqckux uayk e Leqqunpckor
Yuueepcufefe. 3afer e feeuue fpex nef
paofana nekfopor qakynufefa Pycckoro u
Bocfouo-eeponeckux nsukoe Mauecfepckoro
Yuueepcufefa. Ypn us yuueepcufefcko cucferu,
oua nnfu nef paofana uccnepoeafener-
nonufonoror e Factiva (kornauuu Dow Jones u Re
uters), a safer una eueufafuur cofpypuukor e
pasnuuux uspafenuckux u feopeckux kornauunx
no oprauusauuu reponpunfu, rpe sauuranacu
nnauupoeauuer, noprofoeko u peknaro
repyuapopuux reponpunfu, npoeopurux e
Poupoue. B aerycfe 2008 r. Bepa uaana paofafu
xypoecfeeuuur koucynufaufor e Space-2 Con
sulting kornauuu, npepocfaennke peueuun
no eucfaeouory npocfpaucfey, rpe sauuranacu
apfucfueckur uanpaeneuuer, kofopoe eupocno
e Veracity Arts Consultancy.
npoekfoe. Veracity Arts ocuoeau Bepo uprau
(Vera Dearman), npu noppepke ueckonukux
uesaeucurux koucynufaufoe u cneuuanucfoe e
onacfu uckycfea.
Bepa popunacu e Mockee u sakouuna
Mockoecku Focypapcfeeuuu Yuueepcufef
no cneuuanuuocfu Pufepafypuan kpufuka
u kynufyponorun u pononuufenuuo kypc no
Hcfopuu usopasufenuuoro uckyccfea. B
Benukopufauuu oua saufuna puccepfauuk
ua pokfopa qunocoqckux uayk e Leqqunpckor
Yuueepcufefe. 3afer e feeuue fpex nef
paofana nekfopor qakynufefa Pycckoro u
Bocfouo-eeponeckux nsukoe Mauecfepckoro
Yuueepcufefa. Ypn us yuueepcufefcko cucferu,
oua nnfu nef paofana uccnepoeafener-
nonufonoror e Factiva (kornauuu Dow Jones u Re
uters), a safer una eueufafuur cofpypuukor e
pasnuuux uspafenuckux u feopeckux kornauunx
no oprauusauuu reponpunfu, rpe sauuranacu
nnauupoeauuer, noprofoeko u peknaro
repyuapopuux reponpunfu, npoeopurux e
Poupoue. B aerycfe 2008 r. Bepa uaana paofafu
xypoecfeeuuur koucynufaufor e Space-2 Con
sulting kornauuu, npepocfaennke peueuun
no eucfaeouory npocfpaucfey, rpe sauuranacu
apfucfueckur uanpaeneuuer, kofopoe eupocno
e Veracity Arts Consultancy.

MuseumDesignProposal
BOLSHOI

MuseumDesignProposal
BOLSHOI
Veracity2010
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
ProjectManagentTeam
VeracityArtsConsultancy
Veracity Arts Consultancy is a London-based arts
andcultureservicethatworksinclosecollaboration
withartists,photographers,designers,independent
curators, galleries and museums looking to stage
artprojectsintheUKandRussia.Wedevelopexhi
bitionproposals,portfolios,productionplanningand
projectmanagementthroughtotheinstallationand
promotions of the completed artwork or projects.
Veracity Arts was set up and managed by Vera
Dearmanwithsupportfromanumberofindepend
entartconsultantsandindustryexperts,specialis
inginpromotingandmanagingspacesforcreative
projects.
Vera has a PhD from Sheffeld University in Critical
and Cultural Theory. She was born in Moscow and
completed a degree in Philosophy and Linguistics
withaminorinHistoryofFineArtatMoscowState
University. She held a lectureship in Russian and
SlavonicStudiesattheUniversityofManchesterfor
threeyears.
After leaving academia, she worked as a Political
Research Editor at Factiva (a Dow Jones and Reu
ters Company) for fve years, followed by free lance
work in publishing, production and event manage
mentcompaniesdeveloping,planningandpromot
ingvariousinternationaleventsheldinLondon.
Rpopmcepckan rpynna

InAugust2008VerabecameanArtconsultantfor
Space-2 Consulting a company that provides
spacesolutionstocreativeindustryandbusinesses
where she led arts related service, which evolved
into Veracity Arts Consultancy.
VeracityArtsConsultancy
uaxopufcn e Poupoue u npepocfaennef ycnyru
e onacfu kynufypu u uckyccfea. Mu paofaer
e fecuor cofpypuuecfee c xypouukaru,
qoforpaqaru, pusaueparu, kypafoparu,
ranepenru u rysenru, npepocfaennn cepeuc
no oprauusauuu u npefeopeuuu e usuu
apfucfueckux npoekfoe e Benukopufauuu u
Poccuu. Ckpa exopuf paspaofka eucfaeouux
npepnoeuu u nopfqonuo, noprofoeka,
nnauupoeauue u eepeuue npoekfoe ennofu
po uucfannuuu, packpyfku u peknarupoeauun
npouseepeuu uckyccfe u npoekfoe. Verac
ity Arts ocuoeau Bepo uprau (Vera Dear
man), npu noppepke ueckonukux uesaeucurux
koucynufaufoe u cneuuanucfoe e onacfu
uckycfea.
Bepa popunacu e Mockee u sakouuna Mockoecku
Focypapcfeeuuu Yuueepcufef no cneuuanuuocfu
Pufepafypuan kpufuka u kynufyponorun u
pononuufenuuo kypc no Hcfopuu
usopasufenuuoro uckyccfea. B
Benukopufauuu oua saufuna puccepfauuk
ua pokfopa qunocoqckux uayk e Leqqunpckor
Yuueepcufefe. 3afer e feeuue fpex nef
paofana nekfopor qakynufefa Pycckoro u
Bocfouo-eeponeckux nsukoe Mauecfepckoro
Yuueepcufefa. Ypn us yuueepcufefcko cucferu,
oua nnfu nef paofana uccnepoeafener-
nonufonoror e Factiva (kornauuu Dow Jones u Re
uters), a safer una eueufafuur cofpypuukor e
pasnuuux uspafenuckux u feopeckux kornauunx
no oprauusauuu reponpunfu, rpe sauuranacu
nnauupoeauuer, noprofoeko u peknaro
repyuapopuux reponpunfu, npoeopurux e
Poupoue. B aerycfe 2008 r. Bepa uaana paofafu
xypoecfeeuuur koucynufaufor e Space-2 Con
sulting kornauuu, npepocfaennke peueuun
no eucfaeouory npocfpaucfey, rpe sauuranacu
apfucfueckur uanpaeneuuer, kofopoe eupocno
e Veracity Arts Consultancy.
NinaFowler
Nina Mae Fowler (b. 1981 London, UK) studied
at Wimbledon School of Art (1999-2000) and re
ceived a B.A in Fine Art Sculpture at Brighton
University (200003). Solo exhibitions include Val
entino's Funeral, Docs, Lyon (2009). Selected
group ehibitions include The Jerwood Drawing
Prie, UK Tour (2010) Salon Du Dessin Contem
Onucauue npepnoxeuun
Myse Bonumoro Tea1pa
Myse onuuoro eafpa fo opua us
sareafenuuux eryuu e kynufypuor
eeuue Poccuu. onnekuun rysen, ocuoeauuan
ua rafepuanax, censauuux c nocfauoekaru
onuuoro, ofuocufcn ko efopo nonoeuue 18-ro u
19-ry cfonefunr.
Myse un oquuuanuuo cospau e 1918
r. feafpanuuur xypouukor epopor
eopopoeckur, c uenuk copafu u usyufu ece,
fo npuuapneuf k feopeckory rupy onuuoro.
onnekuun, uacufueakan onee peyxcof
fucn kcnouafoe, eknkaef kapfuuu, pucyuku,
nopfpefu, qoforpaquu, uerafueu, pykonucu,
nporparru, feafpanuuu pekeusuf u kocfkru.
Co epereu ceoero ocuoeauun e 1 r. onuuo
eafp uaxopuncn e ueufpe pyccko kynufypuo
usuu, nennncn recfor, okasueakur
suaufenuuoe enunuue ua oecfeo, rpe
uckyccfeo npepcfaef e aeaurappe uuuoeauu u
eupakerocn racfepcfea. C 18-ro cfonefun po
coeefcko pu, onuuo eafp un cureonor
pycckoro npecfua u carur eupakurcn u
suareuufur kcnoueufor pycckoro apfucfusra.
onnekuun Mysen onuuoro eafpa e uauu
puu yuukanuua e ceoer pope, no orafcfey
rafepuanoe, oxeafuekux ue fonuko ucfopuk
anefa u onepu, uo fake npepnarakux
uenpeesopeuuo-rnyokoe nouurauue
poccucko ucfopuu u kynufypu.
B okfnpe 2011 r. cfapoe ucfopueckoe
spauue ofkpueaef ceou peepu nocne
-nefue nporparru pekoucfpykuuu. nn
Mysen onuuoro eafpa fo coufue
cospaef yuukanuuyk eosrouocfu nokasafu
uupoko nynuke kynufypuue pparoueuuocfu
onuuoro e cneuuanuuo nocfpoeuuor
pnn rysen noreeuuu. fo coufue
npepcfaennef coo eaueuu roreuf e
ucfopuu eafpa eepu po cux nop y rysen ue
uno nocfonuuoro recfa pnn nokasa fucnu
ecueuuux kcnouafoe, npuuapneaux
onuuory, fakoe eucfaeouoe npocfpaucfeo
pacf uupoko nynuke ocou nopxop k
nouurauuk feopeckoro rupa u ucfopuu
onuuoro. Paspaofauuan kak uenocfuu
onuf onuuoro u cnekfaknu c yacfuer
spufene', npepnaraeran kouuenuun
kcnosuuuu npepnonaraef ucnonusoeauue
ynufpacoepereuuux fpexrepuux fexuonoru
u rynufurepuuoro eucfaeouoro pusaua.
3apyrauuan npocfofa koucfpykuuu,
nerkocfu npu ycfauoeke, kcnnyafauuu u
ycoeepueucfeoeauuu npocfpaucfea,
cnocouoro ereafu e cen u eocnpouseopufu
nkue coepereuuue eucfaeouue peueuun,
npuuuraef e pacef eosrouocfu ypyero
ouoeneuun npocfpaucfea c yefor rpnpyux
fexuonorueckux paspaofok e cfperufenuuo
paseueakecn eucfaeouo uupycfpuu.
Mupoean useecfuocfu onuuoro eafpa
eccnopua, uo ece e ero euyfpeuuue usuu,
paofa u ucfopun ocfakfcn okyfauuuru
fauo. 3a kpacofo u neraufuocfuk
anefuux u onepuux nocfauoeok neaf
recnuu fpypa, ue fonuko pnn akfepoe ua cueue,
uo u pnn cofpypuukoe e cfypunx u ppyrux,
ueeupurux spufenk yronkax eafpa. oeoe,
cneuuanuuo ofeepeuuoe kcnosuuuouuoe
npocfpaucfeo, noseonnef nokasafu fof
yuukanuuu feopecku cnekfaknu c
yacfuer spufene, kofopu okasuean, u
no ce peuu okasueaef, cunuuoe enunuue ua
poccuckyk u eeponeckyk kynufypy, peuan
cnouyk sapay npeopasoeauun cureona
Poccuu u npocfpaucfea c kcnouafaru e
ueeeponfuoe noeecfeoeauue. fo u ucfopun
ofpenuuux nuu, u eenuu e onuuor eafpe,
npuofkpueakan saeecy e poccuckoe u
eeponeckoe uckyccfeo, kynufypy, ucfopuk, u
nonufuky.
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
Veracity2010

MuseumDesignProposal
BOLSHOI
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
Veracity2010

porain, Le Carousel du Louvre, Paris (2010) New


Entries, alerie Duanourdeuin, Marseille
(2008) Soho Society, Lazarides, London (2008)
Desire's Smoing un, Whitecross allery, Lon
don (2008) Don't Stop Me Now, Trolley allery,
London (2008) PhotoStories, Miss Micks, Berlin
(2008): The BP Portrait Award, National Portrait
allery, London, (2008). She was short-listed for
the Sainsburys Scholarship to The British School
in Rome (2009) She is represented by alerie
Duanourdeuin (Marseille, France) who have
recently published an Artists Book entitled Valen
tinosFuneralandwillbeexhibitinghersecondsolo
showinMay2011.ShelivesandworksinLondon.
Huua Oaynep

uua Ma aynep (popunacu e 1981 r., Poupou,


Benukopufauun). o okouauuu Yurnpoucko
ypoecfeeuuo Lkonu e 2000 r., nonyuna
cfeneuu akanaepa e pafouckor Yuueepcufefe
(2000-200 rr.). B 2009 r e Puoue, pauuun
npouna cono ee nepcouanuuan eucfaeka Val
entino's Funeral, a e rae 2011 r npopef ee
efopan nepcouanuuan eucfaeka. B ucno ee
uepaeuux rpynnoeux nokasaoe eounu eucfaeka
xypoecfeeuuux npouseepeuu pufaucko
nperuu epeyp (2010) eucfaeka uoruuauu
k uarpape sa nyuu nopfpef auuouanuuo
nopfpefuo ranepeu e Poupoue (2008), a fake
eucfaeku e Pyepe, Mapcene u epnuue. B 2008
uua nonyuna sakas uanucafu nopfpef apnoca
kocfu, kofopu npepcfan nepep rnasaru
uupoko nynuku e Poupoucko auuouanuuo
nopfpefuo ranepee.
ProductionTeam
uua ueef u paofaef e Poupoue.
BenHaworth
en aworth (b. 1980 Reading, UK) studied at
Wimbledon School of Art (1999-2000) before going
on to study at the Slade School of Fine Art UCL,
receivingaB.A.inFineArtpaintingin2004.During
thistimehealsostudiedinNewYorkona4month
studioresidencyattheNewYorkStudioSchool.
Followinggraduation,Benworkedwithanumberof
artists,includingSculptorsNathanielRackoweand
Conrad Shawcross before taing up positions in the
Architectureindustry.
nitially woring as a model maer for Alsop SMC
Architects on a number of international competi
tions and developments (20062007) and then for
amiltons Associate Architects (200-2009). Archi
tecture projects include: Farnborough Hotel, Park
house (London), Michael Faraday School (ALsop
SMC), oners (Alsop SMC). en's Architectural
experienceshavefurtherfuelledinvestigationsinto
spatial visualization with the intent to augment his
own practice as well as provide technical support
for others in order to sustain and develop project
ideasandproposals.Hecurrentlylivesandworks
inLondon.
Beu Xanop1
eu aeopf popuncn e ropope Pepuur,
Benukopufauun, e 1980 r. o okouauuu
Yurnpoucko ypoecfeeuuo Lkonu e 2000 r.,
ou nonyun cfeneuu akanaepa e Cnp Lkone
usopasufenuuoro uckyccfea e Yuueepcufefckor
onnepe Poupoua (UCL) e 200 r. B fof e nepuop
ou oyancn e uk opke, npoeepn efupe recnua
e cfypu-pesupeuuuu npu uk opkcko Cfypuuo
ukone. eu paofan co ruoruru racfeparu, eknkan
fakux ckynunfopoe kak afauunu Pakoe u oupap
Loykpocc nepep fer kak uaafu carocfonfenuuyk
kapuepy e apxufekfypuo uupycfpuu.
Cuaana ou paofan e kaecfee usrofoeufenn
rakefoe e Alsop SMC Architects pnn ueckonukux
repyuapopuux koukypcoe u npoekfoe (200-
200rr), a safer paofan e amiltons Associate Ar
chitects (200-2009 rr.). u yaecfeoean e fakux
apxufekfypuux npoekfax kak rocfuuuuua apuopo e
Poupoue u ukona Makna apapen. pxufekfypuu
onuf packpun e uer fnry k uccnepoeauunr e onacfu
npocfpaucfeeuuo eusyanusauuu u uarepeuue
cospafu ceok cocfeepuuyk koucynufauuk, a
fake npepnarafu ppyrur fexuueckyk noppepky
no peanusauuu u paseufuk upe, npepnoeuu u
npoekfoe. eu ueef e Poupoue.
BalintBolyg

lint olyg (b. 19, Pcs, ungary) spent his


early childhood years in Hungry, before moving to
theUKattheageofnine.HegraduatedwithanMA
in Fine Art at Edinburgh University in 2001. olyg's
earlyworkalreadyattractedpublicattentionatthe
Royal Academy Summer Ehibition in 1999. is
frst major show in London was a collaborative
roup Show with David Mach RA at A.T.Kearney
Ltd.,BerkeleySqin2002.Inthesameyearhewas
selected for the loomberg New Contemporaries
ehibition at the arbican's Curve and the Liver
pool iennial. is frst Solo ehibitions in London
includedSoftMachines attheHiscoxArtProjects
in2003andMappings attheLongandRylegallery
in 2005. e wored at Antony ormley's Studio, for
overfouryearswhilsthemovedtoLondonandes
tablishedhisownstudioinHackney.
Since 2006, Bolygs continuous involvement with
Londons Kinetica Museum, has led to numerous
exhibitions in London and abroad, that include
Magnetic Visions', Universal Man', and Creatures
reat and Small' and Mind over Matter'. e is an
activememberoftheInternationalKepesScociety
dedicatedtolightart,andcontinuestoexhibitinter
nationallyandwiththeorganisation.
His Italian exhibitions include the prestigious San
FedeleArtPrize,Milan(2008),sculpturebiennialof
Piemonte, Turin and Kinetic Step at Step 09 art fair,
2010 Milan. Other international exhibitions include
a solo show at udapest's Fese Club 2009, Lo
cus Solus, Benaki Museum Athens 2010, Vienna
Art Fair 2009/2010 and a commission for the Light
waves Festival in Dublin's Science allery 2009.
In the summer of 2010, he unveiled an ambitious
permanent light installation Aurora for a newly
open fve-star Town all otel in East London.
Bolygs interdisciplinary activity, has lead him to
workwithnumerousinstitutions,includingtheAr
chitecture Association, ishopsgate nstitute, Cam
paignforDrawingandtheRoyalInstitution.
Bolygworksacrosssculptureanddesign,combin
ingartisticimagination,invention,science,mechan
ics,engineeringandvariousinstallationtechniques
to create processes that reveal natural phenome
na. Practical solutions to physical, structural and
natures challenges of the everyday environment
friction, weight, tension, compression, sound,
movements and light are the very elements that
give an idiosyncratic aesthetic to his innovative
works.HelivesandworksinLondon.
Banuu1 Boro
anuuf oro popuncn e 19 r. e ropope
e, Beurpun, rpe npoeen pauuee pefcfeo,
nepeexae e Benukopufauuk e eospacfe 9 nef.
B 2001 ropy sakouun rarucfpafypy e onacfu
usopasufenuuux uckyccfe e puuyprckor
Yuueepcufefe.

Ero pauuue paofu euseanu uufepec uupoko


nynuku ua eucfaeke oponeecko kaperuu
uckyccfe nefor 1999 r. B ucne ero nepeux
nepcouanuuux eucfaeok "Mnrkue rauuuu (Soft
Machines), 200 r. u "apforpaqun (Mappings),
2005 r. e Poupoue. onee efupex nef ou paofan
e cfypuu ufouu Foprnu u safer ocuoean
cocfeeuuyk racfepckyk e Poupoue.
Pesynufafaru ero nnopofeopuo paofu c
noupouckur Myseer uuefuku c 200 ropa
cfanu ruoroucneuuue eucfaeku kak e
Poupoue, fak u e ppyrux cfpauax, eknkan
Maruufuue npepcfaeneuun (Magnetic Vi
sions'), Yuueepcanuuu enoeek (Universal
l Man'), Cospauun eenukue u ranue (Creatures
reat and Small') u yx unu Mafepun (Mind
over Matter'). u nennefcn akfueuur neuor
Mepyuapopuoro ecfea ceefoeoro uckyccfea
ur. Fperopu eneca. pu for ou npoponaef
yacfeoeafu e repyuapopuux eucfaekax, fakux
kak ueuuane ckynunfypu e ypuue (2009 r.),
Beuckan nprapka uckyccfe (2009-2010 rr.), u e
2009 ropy eunonuun sakas pnn qecfueann Light
waves e ynuucko ayuo ranepee.
Mepucuunnuuapuan penfenuuocfu oro,
npueena ero k cofpypuuecfey co ruoruru
noupouckuru ypepeuunru, e for ucne
pxufekfypuo accouuauue, uuoncrefckur
uucfufyfor u narofeopufenuuo oprauusauue
TheRoyalInstitution.
Ero feopecfeo e cqeax ckynunfypu u pusaua,
coefaef xypoecfeeuuoe eoopaeuue,
usopefeuun, uayky, rexauuky, fexuuky u
pasnuuue refopu uucfannuuu pnn eoccospauun
npoueccoe, packpueakux npupopuue neneuun.
pakfueckue peueuun sapa, eosuukakux e
npueuuor uar okpyeuuu - qusueckux cun,
npupopuux u cfpykfypuux, fakux kak fpeuue,
eec, pacfneuue, cafue, seyk, peueuue u ceef
- fo fe carue nereufu, kofopue npupakf
ceoeopasuyk cfefuuocfu ero uoeafopckur
paofar. oro ueef u paofaef e Poupoue.
Since 2006, Bolygs continuous in
volvement with Londons Kinetica Mu

MuseumDesignProposal
BOLSHOI
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
Veracity2010

EugeniaEmets

Eugenia Emets was born in Poltava (Uraine),


in 199. She graduated with an MA in Fine Art
at Central Saint Martin's College of Art, London
in 2008. She gained her frst degree from Mos
cow State University of InternationalAffairs in
2002.
Emets is a visual and sound artist and found
er member of the Analema roup. n her wor
she focuses on exploring the unifying nature
oflight,soundandmatter.Sheexperimentsin
immersive spatial installations which question
andpushtheboundariesofhumanperception.
Through photography, video, lasers and holo
graphic and sound projecion, she creates an
environment in which the viewer may experi
ence both the outer intricate layers of reality
andhisorherownphysicalandemotionalre
sponses.
With a particular interest in the interactivity
of space and artwor, Eugenia has recently
worked on several projects which use new
technologies to help create immersive experi
ences. Some of those projects include: 108
(2006), an installation comprised of photogra
phy, videowork and sound, Okean X Forms
(2007),alaserprojectionwithliveambientmu
sic, Elements of Light' (2008), a video, sound
and photography installation, Manta Ray a
holographicvideoprojectionwithmultichannel
sound (in collaboration with Barbara Lambert
(sound artist) and Perseus Mandillo (3D art
ist), with the support of the Musion Systems)
(2009), "A-Field (2010) by Analema roup, a
performance commissioned by Maret Estate
Project which incorporated live improvised
soundagainstabackdropofalaserprojection
andambientnoisegeneratedthroughbiofeed
backofpeopleinteractingwiththepiece.

Enreuun Eueu

Popunacu e onfaee (Ykpauua) e 199 ropy.


ua sakouuna rarucfpafypy e konnepe
Ceufpan Ceuf Mapfuuc Hckyccfea u usaua
e Poupoue e 2008 ropy. Busyanuuu u
aypuoxypouuk, a fake ocuoeafenu u
pf upekfop rpynnu Analema roup,
Eereuun npoeopuf kcnepureufu e
cqepe urrepcueuux npocfpaucfeeuuux
uucfannnuu, noseonnkue spufenk
norpyafucn e yuukanuuu onuf
npnroro esauropecfeun c paofo. Ee
uccnepoeauun e onacfu eocnpunfun
uauuanucu c qoforpaqueckux npoekfoe,
u pacuupnnucu po eknkeuun e cnekfp
ucnonusyerux repua ceefa, seyka, nasepuux
u ronorpaqueckux npoekuu.
ypouuk paofaef e Poupoue u Mockee
u eucfaennefcn kak e Poccuu, fak u sa
pyeor. Hennefcn opuur us ypepufene
nepeo e rupe nperuu e onacfu uckyccfea
ronorpaquecku npoekuu MAMAs, a fake
kypafopor kaperuu Musion e Poccuu
opasoeafenuuo uuuuuafueu e onacfu
ronorpaqueckux npoekuu.
MuseumDesignProposal
BOLSHOI
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
Veracity2010
NinaFowler
Proposal
"allet is an art without words uri rigorovich
A seriesoflargescaledrawings,presentedas
transparencies mounted onto custommade
lightboxes.
The illuminated drawings can be specifc in sie
and shape to compliment the architecture of
anyofthedesignatedexhibitionareas.
Theluminescenceoftheworkswouldserveto
represent their archival origins (as negatives)
and emanate a feeling of gentle reverie and
magicofstagedperformance.
The following ideas discuss the content for
theseartworks.
Idea1
HavingspentmuchtimebackstageattheRoy
al Opera House in London I am always most
intriguedbytheincalculableamountofpeople
whoareinvolvedintheproductions.
This same intrigue was awakened during my
time spent at the BolshoiTheatre.A multitude
oftalentallworkinginonedirectiontomake
thespectaclehappen.
Iwanttomakeaproposalforanartwork,which
somehowinvolvesasmanydepartmentsofthe
Huua Oaynep
Rpepnoxeuue
anef - fo uckyccfeo es cnoe.'

Kpu Fpuropoeu
Cepun usopaeuu kpynuoro racufaa,
eunonueuuux ua npospauux rafepuanax u
uaueceuuux ua ceefoeue nauenu.
Mou paofu npepcfaennkf coo
ceoeopasuue konnau, e kofopux
nopnuuuue apxueuue qoforafepuanu rysen
onuuoro feafpa (uerafueu) koruuupykfcn
c eunonueuuuru ruok pucyukaru. qqekf
euyfpeuuero ceeeuun konnae noseonnef
ue fonuko "nponeufu usopaeuun ua
uerafueax u nopepkuyfu rpaqueckyk ocuoey
pucyukoe, uo u npepcfaeufu feafpanuuoe
pecfeo kak npekpacuyk, eonuykyk rpesy,
nepepafu ero raruefueckoe oapoeauue.
akue nopceeeuuue nauuo eapuafueuu
no qopre u pasrepy u roryf opuruuanuuo
oqoprnnfu u pononunfu pasnuuue no
cfunk u apxufekfypuur ocoeuuocfnr
npocfpaucfea.
ue cnepykf upeu, packpueakue
copepauue roero npoekfa.

MuseumDesignProposal
BOLSHOI
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
Veracity2010
Hpen 1
H npoeena ruoro epereuu sa kynucaru
oponeeckoro nepuoro ora e Poupoue
u urena eosrouocfu uankpafu usuyfpu
npouecc cospauun cnekfaknn. Meun
ocoeuuo eneafnuno u eseonuoeano
ocosuauue foro, kakoe orporuoe konuecfeo
nkpe eoeneeuu e fof npouecc, kakoe
konoccanuuoe coeokynuoe feopeckoe ycunue
cfouf sa kapo feafpanuuo nocfauoeko.
e e rucnu ue ocfaennnu reun u eo epern
roero npeueauun e onuuor feafpe.
B censu c fur rue xofenocu u npepnoufu
feopecku npoekf, kofopu oLepuuun u
ycunun u qunurpauuu fpyp npepcfaeufene
carux pasuoopasuux feafpanuuux uexoe u
npoqeccu c fer, fou eonnofufucn e ufore
e rarueckoe, apykee pecfeo.
H fake uapekcu rakcuranuuo nnopofeopuo
ucnonusoeafu pauuyk rue yuukanuuyk
eosrouocfu paofu c pepkuru apxueuuru
rafepuanaru onuuoro feafpa, kofopue e
roux konnaax roryf opecfu uoeyk usuu u
opuruuanuuoe xypoecfeeuuoe eonnoeuue.
Ra-pe-pe (Pas de Deux)
3arucen roero npoekfa peanusyefcn
cnepykur opasor. pepe ecero, rue
xofenocu u npoeecfu ceoeopasuu onpoc
theatreaspossible,whilststillmaintainingthe
magnifcence of the fnal performance..
Ialsowanttotakefulladvantageofaccessto
the archive of images and use them to create
something new and provocative from images
otherwiseunseen.
Pas des Deux
Iwouldliketosendaquestionouttoeveryone
currentlyworkingatthetheatreandpastasso
ciateswhowouldliketocontribute.Thiscould
be done most effciently with email but to those
who cannot be contacted in this way, word of
mouthorletter.
ThequestionIwouldliketoaskisasfollows:
Ifyoucouldchoosetwodancersfromanyera
of the Bolshoi Theatres 200year history and
placethemtogethertodanceaPasdesDeux,
who would they be and in which ballet would
theyperform?
When I have collated as many responses (in
alimitedtimeframe)aspossible,Iwillchoose
the most popular answers and realie these fc
tionalPasdesDeuxaslargescaledrawings.
In order to do this I will need to spend time
sourcingimageryfromthemuseumarchiveto
fnd the relevant dancers and place them in the
v
1. Sergei Filin (1990-)* Natalia essmertnova (19-
9), Don Quiote *ears during which they performed
attheBolshoi
CEPFE HPH (1990-) u afanun Hropeeua (19-
9), ou uxof CEPFE HPH (1990-) u afanun
Hropeeua (19-9), ou uxof Filin (1990-)* Natalia
chosen ballets. The resulting collages will
be fantastical scenarios the essence of the
theatre.
Duet
Thiswouldbeexactlythesameprocessbutthe
questionwouldbeinreferencetotheOpera:
Ifyoucouldchoosetwosingersfromanyeraof
theBolshoiTheatres200yearhistoryandplace
them together to sing a duet, who would they
beandinwhichoperawouldtheyperform?
I hope these compositions will symbolize the
u opafufucn ko ecer, kfo e uacfonee
epern censau c usuuk feafpa, unu uren
k ue ofuoueuue e npounor. onpoyfe
npepcfaeufu kakux peyx fauuopoe nkoro
nepuopa 200-nefue ucfopuu onuuoro
feafpa eu xofenu u coepuuufu e pyf pnn
Pas de Deu, u e kakor cnekfakne ror u
ufu ucnonueu fof eoopaaeru faueu?
Bu roefe penufucn eauuru upenru
nkur ypouur pnn eac cnocoor epes
nekfpouuyk, ouuyk nofy unu nuuo.
3afer us ofeefoe, copauuux sa
onpepeneuuoe (orpauueuuoe) konuecfeo
epereuu, n euepy uauonee nonynnpuue,
u nonufakcu eonnofufu fof ruquecku u
eonueuu Pas de Deu e kpynuoracufauor
pucyuke.
Mue nofpeyefcn uekofopoe epern, fou
copafu usopasufenuuu u qofo-rafepuan
e ryseuor apxuee u "norecfufu eupauuux
earu apfucfoe e pekopauuu foro unu uuoro
anefa. Hforor fo paofu ponuo cfafu
qaufacfueckoe feafpanuuoe pecfeo,
uukorpa ue cyecfeoeaeuee e peanuuocfu,
uo eupaakee eo ece nonuofe pyx,
afrocqepy u ucfopuk feafpa.
ya1 (Duet)
y e upek n npepnarak npunoufu u
k ucfopuu onepu. akux peyx onepuux
ucnonuufene pasuux nepuopoe 200-nefue
ucfopuu onuuoro eu xofenu u ycnuuafu e
pyfe, u e kako onepe?
H uapekcu, fo e sapyrauuux ruok
kornosuuunx rue ypacfcn xypoecfeeuuuru
cpepcfearu npeoponefu nuueuocfu epereuu
u coepuuufu e opuo foke npounoe u
uacfonee eenukoro feafpa, pafu cryeuuu
opas ero ucfopuu u ero pyuu.
npepnoeuuk npunarakfcn usopaeuun
ceefoeux konnae.
oy nopepkuyfu, fo ouu uocnf epuoeo
Sergei Filin (1990-)* Natalia essmertnova (19-9),
Don Quiote
CEPFE HPH (1990-) u afanun eccrepfuoea
(19-9), ou uxof
Sergei Filin (1990-) Natalia essmertnova (19-9),
Don Quiote
CEPFE HPH (1990-) u afanun eccrepfuoea
(19-9), ou uxof
MuseumDesignProposal
BOLSHOI
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
Veracity2010
Maya Plisetsaya (19-80) Niolai Tsisaride (1991-
),SwanLake
Man nuceukan (19-80) u ukona
Uuckapupse (1991-) PEEHE 3EP

MuseumDesignProposal
BOLSHOI
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
Veracity2010

MuseumDesignProposal
BOLSHOI
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
Veracity2010
k ucfopuu onepu. akux peyx onepuux
ucnonuufene pasuux nepuopoe 200-nefue
ucfopuu onuuoro eu xofenu u ycnuuafu e
pyfe, u e kako onepe?
H uapekcu, fo e sapyrauuux ruok
kornosuuunx rue ypacfcn xypoecfeeuuuru
cpepcfearu npeoponefu nuueuocfu epereuu
u coepuuufu e opuo foke npounoe u
uacfonee eenukoro feafpa, pafu cryeuuu
opas ero ucfopuu u ero pyuu.
npepnoeuuk npunarakfcn usopaeuun
ceefoeux konnae.
oy nopepkuyfu, fo ouu uocnf epuoeo
xapakfep, fak kak, ue uren po foro
eosrouocfu nonuoueuuo paofu c apxueor,
n ucnonusoeana uekofopue uecoeepueuuue
usopaeuun us uufepuefa. 3aeepueuuue
e paofu ypyf nonuocfuk ocuoeauu ua
apxueuux rafepuanax onuuoro feafpa.
pfucfu ypyf npepcfaeneuu e ceoer
peanuuor onuke u opuruuanuuux kocfkrax
foro unu uuoro cnekfaknn, rue ocfauefcn
fonuko coepuuufu ux ua cueue.
ofenocu u ofrefufu, fo rou paofu
onapakf xypoecfeeuuo u cfunucfuecko
yuueepcanuuocfuk, ue onpepennncu
ocfpoakfyanuuuru feupeuuunru
coepereuuoro uckyccfea, a suauf, n
uapekcu, ypyf uufepecuu pasuur
nokoneuunr spufene, u ua ponrue ropu
enepep croryf cnyufu xypoecfeeuuur u
opasoeafenuuur uennr.
Hpen 2
Buxop ua noknou fo konna us ofpenuuo
uapucoeauuux seesp onepu u anefa ua
npofneuuu ece ucfopuu onuuoro feafpa.
Bo ruoror ou noxo ua npouecc, neau
e ocuoee npepnoeuuux upe a-pe-pe u
yfa, opuako, erecfo nopfpefa fecuux
esauroofuoueuu repy cueuueckuru
nuuocfnru Buxop ua noknou nennefcn
nucfafenuuur fopecfeor saeepuakux
akkoppoe quuana.
H npepnarak opuy eepcuk pnn anefa (kak
nokasauo e npepnoeuuu npoekfa) u opuy, kak
pauu yeaeuun k onepe.
onnau roryf ufu noeeueuu e uoeux
sanax rysen unu pasufu ua ofpenuuue
nauuo u pasreeuu fak, fou oxeafufu
npocfpaucfeo qpoufoua no ece pnuue.
fa paofa fake ypef nepeueceua ua
npospauu uocufenu c sapue kopoko
emotionsprovokedbythetalentfosteredatthe
theatreandactasacelebrationoftheOperaby
marryingthepastwiththepresent.
Attachedaresomeimagesofhowthecollaged
drawings would appear. It must be noted that
thesedraftimageshavebeenputtogetherwith
limited access to the archive. The dancers/
singers in the fnal drawings would be complete
intheirownbodiesandrelevantcostumes.The
only manipulation would be setting them to
getheronthestage.HereIhaveusedsomeim
ages from the nternet, whereas the fnal draw
ingswillbeentirelycomposedofphotographs
fromtheBolshoiarchive.
The compositions are partly in flm negative to
representthearchiveinwhichtheyhavebeen
preserved and further highlight the illusionary
qualityoftheimages.
The resulting artworks will have no particular
rootintimesoIbelievetheywillappealacross
generationsandserveaseducationalmarkers
formanyyearstocome.
Idea2
Curtain Call is a collaged drawing of select
ed stars of the opera and ballet companies
throughoutthehistoryoftheBolshoi.
Maya Plisetsaya (19-80) Niolai Tsisaride
(1991-), Swan Lae
Man nuceukan (19-80) u ukona
Uuckapupse (1991-) PEEHE 3EP
Maya Plisetsaya (19-80) Niolai Tsisaride (1991-),
SwanLake
Man nuceukan (19-80) u ukona Uuckapupse (1991-)
PEEHE 3EP
MuseumDesignProposal
BOLSHOI
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
Veracity2010
nopceefku.
onnau sapyrauu, fou npoypafu
eoopaeuue u uafu ofknuk ecex, kfo nkuf
feafp, epuxan uoeyk usuu e eusyanuuyk
ucfopuk onuuoro feafpa.
Buxop ua noknou
(cneea ua npaeo Bnapurup Bacunuee,
Kpu Fpuropoeu, Fanuua Ynauoea, Fanuua
Cfenaueuko, Ekafepuua Fenuuep, afanun
eccrepfuoea, uua uauuaueunu,
Ekafepuua Makcuroea, nekcaupp Pasapee,
Mapuc Puena, uppe Yeapoe)
Inmanyways,itissimilartotheprocessbehind
PasdeDeuxandDuet,however,insteadofan
intimateportraitoftherelationshipbetweenthe
personalities on stage Curtain Call is a sweep
ing celebration of the ultimate fnale.
I propose one version for the ballet (as illus
trated in the draft) and one as homage to the
Opera.
Thiscouldpotentiallybehunginthenewspac
es of the museum or broken into sections to
spanthelengthofthepedimentspace.
Again this work would be transferred onto a
transparencytobebacklitbyalightbox.
The purpose of all of these works is to excite
the imagination of everybody who loves the
theatrebybreathingnewlifeintothevisualhis
toryoftheBolshoi.
MuseumDesignProposal
BOLSHOI
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
Veracity2010

MuseumDesignProposal
BOLSHOI
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
Veracity2010
Feodor Chaliapin (1899-191)
Vladimir Atlantov (19-?), La Traviata
pop Lann nuu (1899-
191) u Bnapurup fnaufoe (19-
?), paeuafa
napurup fnaufoe (19-),
paeuafa) Vladimir Atlantov (19-
),LaTraviata
pop Lann nuu (1899-191)
rina Arhipova (195-1985) Leonid Sobi
nov (1900-), Eugene Onegin
Hpuua pxunoea (195-
1985) u Peouu p Co uuoe (1900-
MuseumDesignProposal
BOLSHOI
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
Veracity2010

MuseumDesignProposal
BOLSHOI
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
Veracity2010
BalintBolygo
BolshoiTheatreProposal

Dancing Iight
DancingLightisavideoprojectionmechanism
that is fed onto the ceiling of the interior. t
consists of a semi opaque (two sided) cylin
drical projection surface, and an electronically
controlled rotating mirror in the centre of the
cylinder. The mirror refects a video projection
from above the unit from a video projector so
that the projection image is focused onto the
curved surface where the projection appears
onbothsides(insideandoutsidesurfaceofthe
cylinder).Thisprojectioncanalsobesplitwith
adoublemirrorandbyprojectingasplitscreen
video footage, so a double image will appear
onoppositesidesofthecylinder.
Dancing Light in nature will allude to a tradi
tionallightshadeitwillhaveanopenstructure,
with working parts inviting curiosity from the
public.Theywillresemblefamiliarbutatsame
timeunfamiliarobject,wherethelightshadewill
beanimatedwithamixtureofarchivalfootage
as well as a purpose made flm for Dancing
Light
Rpepnoxeuue Bonumouy Tea1py
Tauuymmu cne1
auuyku ceef fo rexauusr eupeo
npoekuuu, kofopu saqukcupoeau ua nofonke
noreeuun. u cocfouf us nonynpospauo
(peycfopouue) uunuuppuecko
noeepxuocfu npoeuupoeauun u nekfpouuo
koufponupyeroro kpyfnerocn sepkana
e ueufpe uunuuppa. 3epkano ofpaaef
eupeo npoekuuk c ycfauoeneuuoro eeepxy
eupeo npoekfopa fakur opasor, fo
usopaaeru opas cqokycupoeau
ua usoruyfo noeepxuocfu, ua kofopo
usopaeuue eosuukaef c peyx cfopou (euyfpu
u cuapyu noeepxuocfu uunuuppa). fo
usopaeuue roef ufu fake paspeneuo
peouur sepkanor unu nyfer npoeuupoeauun
eupeo rafepuana paspeneuuoro kpaua,
fak, fo peouoe usopaeuue noneufcn ua
opafuo cfopoue uunuuppa.
auuyku ceef no eupy ypef nuska
k fpapuuuouuory aaypy. fo ypef
ofkpufan koucfpykuun c paouru acfnru,
eusueakuru nkonufcfeo y nynuku.
oucfpykuun ypef uanoruuafu suakoru
npepref, u e fo e epern nusok uoeur
MuseumDesignProposal
BOLSHOI
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
Veracity2010

MuseumDesignProposal
BOLSHOI
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
Veracity2010

Dancing Light will have a custom made flm of


achoreographysequencethatisdesignedfor
the work. A series of dancing sequences will
be recorded at the Bolshoi that will be based
around a circular path. This sequence will be
flmed and lit from the centre of this circle so in
effectthedancingwillhappenaroundthecam
era whilst the camera is recording at a fed
distance. The speed and rotation direction
of the camera will be recorded and synchro
nised with the movement of the central rotat
ingmirrorofDancingLight.Theoveralleffect
willbeasiftherearedancersdancingaround
the cylindrical path of the Lightshade. Each
Dancing light can have a different sequence
onit,andevenseemtodancewitheachother.
The dual function for this work becomes valu
able, when Dancing Light is used in com
bination with existing archival footage (or
stills) and its very own dancing sequence.
These objects can be placed over peoples
heads in areas of high traffc whilst still allow
ing a unique way to convey images and in
formation about the Bolshoi and its archives.
Dancinglightshouldalsobeviewedasamul
tiple solution to areas of the Bolshoi that are
still not uite defned. Once the initial setup
and development is made for the frst item,
it would be much easier to reproduce and
coeepueuuo uoeur oLekfor, korpa aayp
ypef oueneu epepoeauuer npoeuupyerux
kornosuuu us apxueuux rafepuanoe u
cneuuanuuo cospauuoro qunura.
ornosuuun auuyku ceef ypef
npoeuupoeafu cneuuanuuo paspaofauuu
qunur o xopeorpaqueckor uukne. B onuuor
feafpe ypyf sanucauu cepuu fauueeanuuux
nocnepoeafenuuocfe, usopaeuun kofopux
u pasrecfnfcn no kpyroeo fpaekfopuu. fof
uukn ypef sanucau u oceeeu us ueufpa
kpyra, fak fo e pecfeufenuuocfu faueu
ypef eosuukafu eokpyr karepu noka karepa
sanucueaef c qukcupoeauuoro paccfonuun.
Ckopocfu u uanpaeneuue epaeuun karepu
ypyf sanucauu u cuuxpouusupoeauu c
peueuuer ueufpanuuoro epaakerocn
sepkana auuykero ceefa. Cospaeaeru
qqekf ypef fako, kak ypfo fauuopu
fauuykf no uunuuppuecko fpaekfopuu
aaypa. apu auuyku ceef e
ofpenuuocfu roef npoeuupoeafu pasnuuyk
nocnepoeafenuuocfu usopaeuu, u roef
pae nokasafucn, fo ouu fauuykf ppyr c
ppyror.
eouan qyukuun fo kornosuuuu
cfauoeufcn ee onee suauro, korpa
auuyku ceef ucnonusyefcn pnn
npoeuupoeauun koruuauuu usopaeuu
MuseumDesignProposal
BOLSHOI
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
Veracity2010
make editions of the item thus allowing for
multiple items that can be strategically placed
around the theatre to make connection be
tween different places and help to direct fow of
publicwithinthetheatresenvironment.

DancingLightisaworkthatofferspocketsof
condensed theatrical space that can be clev
erly used around the museum as a feible,
creative, informative and spectacular lighting
solution.
c cyecfeykuru apxueuuru nneukaru
(unu qofocuurkaru) co ceoe cocfeeuuo
fauueeanuuo nocnepoeafenuuocfu. akue
kornosuuuu auuyku ceef roryf
ufu pasreeuu uap ronoearu nkpe e
noreeuunx c onuuo noceaerocfuk, e
fo e epern noseonnn yuukanuuur cnocoor
nepepaeafu opasu u uuqoprauuk o usuu
onuuoro u opasu us ero apxueoe.
auuyku ceef cnepyef paccrafpueafu

MuseumDesignProposal
BOLSHOI
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
Veracity2010
kak ruoroqyukuuouanuuoe peueuue
pnn fex noreeuu onuuoro, qyukuuu
kofopux ee ue po kouua onpepeneuu.
ocne foro, kak npouseepeua
nepeouaanuuan ycfauoeka u paspaofka
pnn nepeoro ksernnnpa, ypef uaruoro
npoe eocnpouseecfu u cpenafu
poaeneuun k kornosuuuu, fakur
opasor noseonnn ycfauoeufu ueckonuko
fakux kornosuuu u pasrecfufu ux
cfpaferuecku no ecery rysek, fou
ycfauoeufu censu repy pasnuuuru
npocfpaucfearu u norou uanpaeufu
peueuue nofoka nkpe e feafpanuuor
npocfpaucfee.
auuyku ceef - fo kornosuuun,
c norouk kofopo rouo cospafu
coeokynuocfu ocfpoekoe caforo,
ckouueufpupoeauuoro feafpanuuoro
npocfpaucfea. akue kornosuuuu
roryf ufu uckycuo ucnonusoeauu e
pasnuuux recfax rysen kak nerko
npucnocanueaerue, feopeckue
u uuqoprafueuue, u erecfe c fer,
spenuuue ceefoeue peueuun.

MuseumDesignProposal
BOLSHOI
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
Veracity2010
MuseumDesignProposal
BOLSHOI
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
Veracity2010
Banuu1 Boro
epopa pnn onuuoro
epopa fo ceefoean ckynunfypa, kofopan
ypef ucnonusoeafu onuuoe, nycfykee
npocfpaucfeo nofonka uap ueufpanuuo
acfuk pecfopaua. fa uucfannnuun
sapecfeyef ece npocfpaucfeo nofonka u
efupe okpyakux cfeuu pnn cospauun
ceefoeoro qqekfa feafpanuuo cpepu uap
ronoearu nynuku.
esanonueuuu yacfok uap pecfopauor
nennefcn ceoeopasuur npocfpaucfeor,
kofopoe cospaef oyeuue ofkpufocfu
e ofuocufenuuo uuskux u orpauueuuux
oepfauunx uufepuepa. yeuue npu
exope nop fy nycfofy auanoruuo fory,
fo yecfeyeuu uaxopncu e nnauefapuu.
fo eneafneuue uaeeeaef pparafusr,
ecfecfeeuuoe yecfeo uanpneuuocfu,
oupauun kakoro-fo pecfeun. fo recfo
feafpanuuoro eakyyra, kofopoe epopa
uanonuuf saxeafueakur pecfeuer.

B ocuoey eupa u qopru cfpykfypuoro


kaupennpa eounu apxufekfypuue pefanu
onuuoro feafpa. nfu npycuux ypoeue,
BalintBolygo
BolshoiTheatreProposal

Aurora
Auroraisalightsculpturethatwillusethelarge
ceilingvoidabovethecentralrestaurantspace.
Itisaninstallationthatwillusethewholespace
ceilingandthefoursurroundingwallstocre
ate a theatrical light environment above the
publicsheads.
The void above the restaurant is a pecu
liar space that creates a sense of openness
within a relatively low and confned interior.
The feeling of walking under this void is simi
lar to walking into a planetarium. This im
pression creates a sense of drama whereby
there is a natural tendency to expect some
thing to happen. This place is a theatrical
void where Aurora will create a spectacle.

The form of the chandelier is based on the


structure and architectural details of the
olshoi Theatre. The fve stall levels the shal
low dome ceiling, and the stage are abstract
distillations of the main elements of the Au
ditorium. The structure of the piece is trans
parent and open and will recreate the feel
ing of looking up from within the Auditorium.

MuseumDesignProposal
BOLSHOI
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
Veracity2010
MuseumDesignProposal
BOLSHOI
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
Veracity2010
ThecentrallightsourceforAurorawillbefrom
hiddenlaserbeamsthatarehousedonthetop
of the unit. A series of fed and rotating mir
rors will direct the coloured laser beams from
the middle, through the transparent elements
of the chandelier. The beams will be made to
rotatetherebychangingthelighteffectaround
the space. Each laser beam will have a differ
ent direction and speed, which will mean that
thecycletimeofthechandelier,willbealmost
indefnite thus maing a uniue light eperi
ence every time it is viewed. It is important to
notethatBolshoiAurorawillcreateveryslow
movinglighteffects.Itwillhaveaveryslowcon
templativepaceandwiththeuseoftimerswill
pauseformomentsallowingthelightscapesto
beabsorbedoveralongertimebeforechanging.

The main materials used for the construc


tion will be optical cast acrylic and glass to
ensure maximum amount of light dispersion,
refection and refraction. These materials
will contain the forms of decorative mould
ings that are used around the reconstruc
tion of the Bolshoi. The elaborate surface de
tails will create unique refractive interference
patterns that will be projected on the walls.
For practicality, olshoi Aurora' can be ft
ted with additional LED lighting (LED ribbons)
on every Stall level, so that it can be func
...
tional as a traditional light source for the res
taurant. These lightstrips will be concealed
so that the emitted light is refected bac by
the seemingly glowing structure of the work.
The concept for Bolshoi Aurora shows how
elementsofBolshoiTheatreareharnessedso
thatitisthenatureofthebuilding,thatcreates
its very own unique lightscape. Bolshoi Au
rora in not really a chandelier but theTheatre
itselfdescribedasanopticalvisualexperiment.

...
uucfannnuuu ypyf onfuecku ofnufue akpun
u cfekno, fou oecneufu rakcuranuuoe
ceefoeoe paccenuue, ofpaeuue u
npenorneuue. fu npeprefu ypyf eknkafu
nereufu qopr pekopafueuo nenku,
ucnonusyero npu pekoucfpykuuu onuuoro
feafpa. afenuuo paspaofauuue pefanu
noeepxuocfu cospapyf yuukanuuue qqekfu
npenorneuun u uufepqepeuuuouuue
kapfuuu, kofopue ypyf npoeuupoeafucn ua
cfeuu.
nn npakfuuocfu, " epopa onuuoro "
roef ufu ocuaeua pononuufenuuo
ceefopuopuo nopceefko (CH neufo) ua
ypoeue kaporo npyca, fak, fo oua croef
qyukuuouupoeafu u kak fpapuuuouuu
uernyoku kynon nofonka u cueua npepcfakf
kak acfpakuuu ocuoeuux nereufoe
aypufopuu. Cfpykfypa uucfannnuuu
npospaua u ofkpufa, oua kak-u eoccospaef
oyeuue esrnnpa usuyfpu aypufopuu.
Ueufpanuuu ucfouuk ceefa pnn "epopu
ypef cocfonfu us ckpufux nasepuux nye,
pasreeuuux ua eepxue acfu ycfpocfea.
Pnp saqukcupoeauuux epaakuxcn sepkan
ypef uanpaennfu ueefuue nasepuue nyku
of ueufpa epes npospauue nereufu
kaupennpa. yku nye ypyf epaafucn,
usreunn fakur opasor ceefoeue qqekfu
e okpyaker npocfpaucfee. apory
nasepuory nyy ypyf sapauu pasnuuan
ckopocfu u uanpaeneuue epaeuun, fo
osuaaef, fo epern uukna kaupennpa
ypef nofu ueorpauueuuo - fer carur
npouseopn yuukanuuu ceefoqqekf kapu
pas, korpa ua uero crofpnf. Bauo ofrefufu,
fo " epopa onuuoro ypef cospaeafu
repneuuo peurakuecn ceefoeue qqekfu.
onyakuecn opasu ypyf nepereafucn
e oeuu repneuuor, cosepuafenuuor ferne,
u cospaeaerue npu norou farepoe naysu
noseonnf ceefoeur nesaar sapepafucn
ua ueckonuko rruoeeuu pnn onee
pnufenuuoro cosepuauun, u safer creuufucn.

cuoeuuru rafepuanaru, ucnonusyeruru e


MuseumDesignProposal
BOLSHOI
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
Veracity2010

MuseumDesignProposal
BOLSHOI
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
Veracity2010
ucfouuk ceefa pnn pecfopaua. Ceefoeue
neufu, ypef ckpufu fakur opasor, fo
usnyaeru ceef, ofpaancu opafuo, ypef
cospaeafu eneafneuue ceeeuun caro
cfpykfypu uucfannnuuu.
ouuenuun paofu " epopa onuuoro
nokasueaef fo, kak conpneuu nereufu
onuuoro feafpa, u kak xapakfep spauun
cospaef ceo cocfeeuuu yuukanuuu
ceefoeo nesa. epopa onuuoro
fo eoece ue kaupennp, uo car feafp,
npepcfaeneuuu e eupe onfueckoro
eusyanuuoro kcnepureufa.
3eykoeue uuuu
pxue onuuoro Mysen fo uacueuuu
eusyanuuu npaspuuk pnn spufenuckoro rnasa,
uo peueuun pnn aypuo apxuea foe kpaue
eauu. pu paccrofpeuuu urekerocn
aypuo rafepuana ueoxopuro npuuurafu e
pacef uekofopue npakfueckue nponeru
uanuun uyra u uyroeoro qoua (ocoeuuo
e feafpe). Cyecfeykf oeuu qqekfueuue
aypuo fexuonoruu, noseonnkue cospaeafu
ranue npocfpaucfea cocpepofoeuun seyka,
ycfpaunkue paccenuue seyka.
pepnarakfcn pea peueuun pnn cospauun
"seykoeux uuu e onuuor feafpe
roufupoeauue seykoeux yqepoe

MuseumDesignProposal
BOLSHOI
Veracity2010
cupeuu-kauuok c foncfo npocnoko
seykousonnuuouuo neuu, orpauuueakux
pacnpocfpaueuue seyka, unu ucnonusoeauue
cneuuanuuux uanpaeneuuux puuarukoe, unu
seykoeux kynonoe, kofopue cocpepofaueakf
seyk e onpepeneuuux recfax.
fu aypuo ycfpocfea roryf ufu ecfpoeuu
e neperopopku u nofonku eucfaeouux
npocfpaucfe, unu, e npu ucnonusoeauuu
seykoeoro kynona, ero rouo noeecufu unu
ycfauoeufu e koukpefuux npocfpaucfeax es
ocooro cfpykfypuoro ereuafenucfea.
Coefauue fux "seykoeux uuu c
coofeefcfeykuru eusyanuuuru
rafepuanaru apxuea, oecneueaef rukocfu
npu npoeepeuuu koukpefuux eucfaeok, u
paef eosrouocfu nerko nopcfpaueafu ux
nop nko apxueuu rafepuan.
fu cfpykfypuue peueuun roryf ufu
ucnonusoeauu e pasnuuux npocfpaucfeax,
fou nocefufenu rornu urefu pocfyn k
eupauuory rafepuany apxuea. "3eykoeue
uuuu ypef koupeucupoeauuuru
uufepakfueuuru npocfpaucfearu, rpe
enoeek croef noruuyfuo uaruyfu e
pasnuuue onepu u eufu us uux es
ucnonusoeauun uayuuukoe. fu npocfpaucfea
ypyf cnyufu ue fonuko uuqoprafueuuru
uuuaru e feafpe, uo recfaru pnn ofpuxa.
MuseumDesignProposal
BOLSHOI
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
Veracity2010
MuseumDesignProposal
BOLSHOI
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
Veracity2010
BenHaworth
BolshoiTheatreProposal

Theideaofthispartoftheproposalwastoex
ploretheideaofscreens,projectionsandholo
graphics.Thegeneralfocushereisonexperi
menting with generative form types that could
beusedtocreatepartitions,projectionenviron
mentsorevencompleteroomsinthemselves.
Indoingso,potentialiscreatedwithinaninter
esting and engaging environment for display
ing video footage as well as objects from the
Bolshoisextensivearchive.
LargelyinspiredbytheconceptofBiomimicry.
A process of pouring ink onto paper, is later
mapped by a computer to generate a unique
formal language that expresses movement,
lightandtexture.Allofwhicharesynonymous
withthelanguageoftheBallet,albeitexpressed
herewithintheformatofacontemporaryspa
tialandArchitecturallanguage.
Still in a concept phase, the ideas here are
not tied to specifc spaces within the olshoi.
Instead, the idea is put forward as a general
spatialformatthatcouldbeexploredanddevel
oped at a later stage in conjunction with input
fromtheBolshoiteam.
Beu Xanop1
Rpepnoxeuue Bonumouy 1ea1py

3arucen fo acfu npepnoeuun saknkaecfn


e ourpueauuu upeu ucnonusoeauun kpauoe,
npoekuu u ronorparr. B ocuoeuor fo
kcnepureufu c reuepafueuuru funaru qopr,
kofopue roryf ufu ucnonusoeauu pnn cospauun
neperopopok, npoekuuouuux cpep unu carux
koruaf.
pu for, e parkax uufepecuo u npuenekafenuu
ocfauoeku cospaefcn eosrouocfu pnn
ofopaeuun eupeo rafepuanoe, a fake
npeprefoe us ouupuoro apxuea onuuoro
feafpa.
Bpoxuoeeuue noepnuyfo us npuuuunoe
uouuku.
pouecc uanueauun epuun ua yrary, nospuee
ofopaaefcn ua kornukfepe pnn cospauun
yuukanuuoro efkoro nsuka, kofopu eupaaef
peueuue, ceef u fekcfypy. Bce ouu cuuoruuu
c nsukor anefa, xofn u npepcfaeneuu specu e
qoprafe coepereuuoro npocfpaucfeeuuoro u
apxufekfypuoro nsuka.
axopncu ee e "kouuenfyanuuo cfapuu,
fu sarucnu ue npuensauu k koukpefuur
noreeuunr e npepenax onuuoro feafpa.
Brecfo foro, upen npepnaraefcn kak ou
npocfpaucfeeuuu qopraf, kofopu rouo
usyafu u paseufu ua onee nospuer fane
npoekfa, npu yacfuu knkeeux cofpypuukoe
onuuoro feafpa.

MuseumDesignProposal
BOLSHOI
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
Veracity2010

MuseumDesignProposal
BOLSHOI
Veracity2010
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
MuseumDesignProposal
BOLSHOI
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
Veracity2010

MuseumDesignProposal
BOLSHOI
Veracity2010
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
MuseumDesignProposal
BOLSHOI
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
Veracity2010

MuseumDesignProposal
BOLSHOI
Veracity2010
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
MuseumDesignProposal
BOLSHOI
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
Veracity2010

MuseumDesignProposal
BOLSHOI
Veracity2010
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
SoundPockets
Proposal

The Bolshoi Museum archive is a feast for


theeyesvisuallybutsolutionsfortheaudio
archives are just as important. There are
practicalproblemsregardingnoisepollution
and background noise (especiaIIy in a Thea-
tre) to consider when exhibiting audio mate-
rial.Thereareveryeffectiveaudiotechnolo-
giesavailabletocreatesmallfocusedsound
spacesthateliminatethespillingofsound.
There are two solutions to create sound
pockets within the Bolshoi theatre: the
installation of sound booth seating that
have extensive sound insuIating foam
limiting sound spill, or using special
directional speakers or sound domes
that focus sound into a specied areas.
These audio devices can be built into par-
tition waIIs and ceiIings of the exhibition
spaces,orasinthecaseofthesounddome
- can be hung and instaIIed into specic
spaceswithoutmuchstructuralintervention.
The combination of these sound pockets
withrelatingvisualarchivematerial,allows
exibiIity for hosting specic exhibitions, and
3nykonme uumu
Proposal

pxue onuuoro Mysen fo uacueuuu


eusyanuuu npaspuuk pnn spufenuckoro rnasa,
uo peueuun pnn aypuo apxuea foe kpaue
eauu. pu paccrofpeuuu urekerocn
aypuo rafepuana ueoxopuro npuuurafu e
pacef uekofopue npakfueckue nponeru
uanuun uyra u uyroeoro qoua (ocoeuuo
e feafpe). Cyecfeykf oeuu qqekfueuue
aypuo fexuonoruu, noseonnkue cospaeafu
ranue npocfpaucfea cocpepofoeuun
seyka, ycfpaunkue paccenuue seyka.
pepnarakfcn pea peueuun pnn cospauun
"seykoeux uuu e onuuor feafpe
roufupoeauue seykoeux yqepoe
cupeuu-kauuok c foncfo npocnoko
seykousonnuuouuo neuu, orpauuueakux
pacnpocfpaueuue seyka, unu ucnonusoeauue
cneuuanuuux uanpaeneuuux puuarukoe, unu
seykoeux kynonoe, kofopue cocpepofaueakf
seyk e onpepeneuuux recfax.
fu aypuo ycfpocfea roryf ufu ecfpoeuu
e neperopopku u nofonku eucfaeouux
npocfpaucfe, unu, npu ucnonusoeauuu
seykoeoro kynona, ero rouo noeecufu unu
ycfauoeufu e koukpefuux npocfpaucfeax
MuseumDesignProposal
BOLSHOI
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
Veracity2010

MuseumDesignProposal
BOLSHOI
Veracity2010
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
MuseumDesignProposal
BOLSHOI
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
Veracity2010
iseasilyupdatablewithanyarchivematerial.
These structures can be used in various
spaces to allow the public to have access
to selected archive material. The sound
pockets will be condensed interactive
spaces where the public can momentarily
step in and out of various operas without
the need for headphones. These spaces
will not only be informative pockets with-
in the theatre but spaces for reIaxation.
es ocooro cfpykfypuoro ereuafenucfea.
Coefauue fux "seykoeux uuu c
coofeefcfeykuru eusyanuuuru
rafepuanaru apxuea, oecneueaef rukocfu
npu npoeepeuuu koukpefuux eucfaeok,
u paef eosrouocfu nerko nopcfpaueafu
ux nop nko apxueuu rafepuan.
fu cfpykfypuue peueuun roryf ufu
ucnonusoeauu e pasnuuux npocfpaucfeax,
fou nocefufenu rornu urefu pocfyn k
eupauuory rafepuany apxuea. "3eykoeue
uuuu ypy f koupeucupoeauuuru
uufepakfueuuru npocfpaucfearu, rpe
enoeek croef noruuyfuo uaruyfu e
pasnuuue onepu u eufu us uux es
ucnonusoeauun uayuuukoe. fu npocfpaucfea
ypyf cnyufu ue fonuko uuqoprafueuuru
uuuaru e feafpe, uo recfaru pnn ofpuxa.

MuseumDesignProposal
BOLSHOI
Veracity2010
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
MuseumDesignProposal
BOLSHOI
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
Veracity2010
Plinths
Proposal

The production team have been looking into


formsandstructuresthatplayonthetraditional
notionoftheplinth.Thefollowingpagesshow
modelsthatarebasedaroundthethethemeof
wrapping.Thatis,structuresthatliterallyhave
the potential to wrap around spaces, creating
potential for displaying the archive in a multi
tude of forms and arrangements. Epressing
the beauty of the archive that currently exists
as well as forming a structural language that
coexistswiththeexistingArchitecture.
Rauenu
Rpepnoxeuue

ooekfuan rpynna sauuranacu paccrofpeuuer


qopr u cfpykfyp, kofopue coofeefcfeykf
fpapuuuouuory nounfuk eucfaeouux nauene.
anee ua cfpauuuax nokasauu ropenu, e
kofopux esnfa sa ocuoey ua upen "oruauun.
o ecfu, cfpykfypu, kofopue e ykeanuur
crucne nofeuuuanuuo rouo oepuyfu eokpyr
npocfpaucfea, cospaean eosrouocfu pnn
oprauusauuu rafepuana apxuea e ruoroopasuu
qopr u kornouoeok, ofopaan kpacofy
cyecfeykero apxuea, a fake qoprupyn
cfpykfypuu nsuk, kofopu cocyecfeyef c
okpyake apxufekfypo.

MuseumDesignProposal
BOLSHOI
Veracity2010
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
MuseumDesignProposal
BOLSHOI
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
Veracity2010
ThispageandPreviouspage:
Architectureal renders show
ingthepotentialforawrapping
plinth structure. Using the
BolshoisPedimentspaceasa
context.
Also, in these pictures are
examples from the archive as
well as images of the Sound
Booths (See previous section
onSoundPockets).
fa u npepupyan cfpauuuu
p x u f e k f y p u u e
eusyanusauuu, nepepakue
nofeuuuanuuue eosrouocfu
cfpykfypu oepfueaerux
"nauene. B kaecfee
koufekcfa ucnonusoeau
qpoufou onuuoro feafpa.
pore foro, specu
npepcfaeneuu npurepu
us apxuea, a fake opasu
"3eykoeux yqoe (cr.
npepupyu paspen u
"3eykoeue uuuu).
Striplighting
Proposal

Followingonfromthethemeofwrapping(see
plinthsection),theideaproposedhereistoex
plore the potential of using light to exentuate
and defne the spaces within the olshoi.
Light is in itself a powerful medium and is es
sentialwhenconsideringanykindofpresenta
tionspace.
On the following pages, the new spaces have
beenvizualisedwithmaterialfromthearchive.
Surrounding the wall based displays are strip
lightsthatnotonlyframethematerialitselfbut
actually defne the uniue characteristics of the
space.
Conceptually, the lines formed by the lights
reference the stage and the nature of perfor
mance as well as the visual spectacle of the
Balletitself.
Reu1a ocnemeuun
Rpepnoxeuue

poponan fery "oruauun (cr. paspen


nauenu), npepnaraeran specu upen
saknkaefcn e usyeuuu eosrouocfu
ucnonusoeauun ceefa, fou onpepenufu
u akueufupoeafu npocfpaucfea onuuoro
feafpa.
Car no cee ceef - fo rouu qakfop,
kofopu ureef eauoe suaeuue npu
paccrofpeuuu nkoro popa eufaeouoro
npocfpaucfea.
anee nokasauo eusyanuuoe npepcfaeneuue
rafepuanoe us apxuea e uoeux npocfpaucfeax.
nereufu kcnosuuuu, pacnonoeuuue ua
cfeuax, okpyeuu nonocaru orue, kofopue
ue fonuko oparnnkf npepcfaeneuuu
rafepuan, uo u nopepkueakf yuukanuuue
xapakfepucfuku npocfpaucfea.
ouuenfyanuuo, nuuuu, opasoeauuue
ceeeuuer neuf, nennkfcn eonnoeuuer
cueuu u u xapakfepa ucnonueuun, a fake
eusyanuuoro npepcfaeneuun anefa.

MuseumDesignProposal
BOLSHOI
Veracity2010
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
MuseumDesignProposal
BOLSHOI
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
Veracity2010
MuseumDesignProposal
BOLSHOI
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
Veracity2010

MuseumDesignProposal
BOLSHOI
Veracity2010
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
IlluminatingArchives

Proposal
Lighting the archive objects
withintheexhibitionenvironment
canbedoneinacreativeandin
teractive way.As all the spaces
suggested for permanent exhi
bition, are dark spaces, with no
natural light, all the lighting can
befullydesignedandcontrolled.
TheconceptbehindIlluminating
Archives is to use an array of
narrow beam spotlights that are
feible to accommodate a range
of changing subjects. These
lightswouldbesetuptoonlyillu
minate certain archive materials
and objects at a time and thus
only becoming visible when the
lightingison.Thearraysofspot
lights areprogrammed to come
on in a particular sequence
therefore directing the publics
attention in a particular order.
IlluminatingArchive mimicsthe
atricallighting,andpresentsthe
Archiveobjectsinadynamicway,
in a feible spatial environment.
MuseumDesignProposal
BOLSHOI
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
Veracity2010

MuseumDesignProposal
BOLSHOI
Veracity2010
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
Osapnmmue apxunm
Rpepnoxeuue
opceefka apf-oLekfoe ua
eucfaekax roef ufu kpeafueuo
u uufepakfueuo. Ecnu ecn ocuoeuan
eucfaeouan nnoapu saferueua u
ue ureef ecfecfeeuuux ucfouukoe
oceeeuun, fo ece oceeeuue rouo
uacfpoufu u koufponupoeafu.
Hpen sapnkux apxueoe
saknkaefcn e ucnonusoeauuu
yskux nye of npoekfopoe,
kofopue rouo ycfauoeufu ua
paccfonuuu of oLekfoe. Mouo
ypef fak uacfpoufu oceeeuue,
fou oceeeuuuru okasueanucu
kakue-fo onpepeneuuue apf-
oLekfu, kofopue npu euknkeuuo
nopceefke unu u ue eupuu.
poekfopa nporparrupykfcn fakur
opasor, fou e onpepeneuuo
nocnepoeafenuuocfu oceeafu
oLekfu, fakur opasor, ynpaennn
euurauuer nocefufene e uyuor
uanpaeneuuu.
sapnkue apxueu konupykf
feafpanuuu ceef u, fake kak u e
feafpe oceeaefcn uyuoe e pauuu
roreuf recfo ua cueue, eupennkf e
rukor u puuarueckor npocfpaucfee
ueoxopurue oLekfu.
MuseumDesignProposal
BOLSHOI
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
Veracity2010

MuseumDesignProposal
BOLSHOI
Veracity2010
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
WallWrap
Proposal

The concept of the Wall wrap is an idea that


was generated while considering the existing
columnfeaturesofthenewspacesintheBase
mentarea.
The idea is to construct one fowing wall that
could wrap around the room whilst using the
position of the eisting colums to defne the
formofthewrap.
In doing so, potential is created for seperate
boothspaces,aswellasincreasingthesurface
area of the wall in which the archive material
couldbepresentedon.Thenewwallsthatare
createdcouldalsooperateasspacesinwhich
to conceal anyAudio Visual equipment that is
being used for projections and/or the creation
ofSoundPockets.
Oruammue c1eum
Rpepnoxeuue

Hpen, cfonan sa kouuenuue "ruakux


cfeu, noneunacu npu paccrofpeuuu
cyecfeykero pnpa konouu kak cneuuquku
uoeux npocfpaucfe e nopeanuuor
noreeuuu.
Hpen cospauun opuo npoponufenuuo
cfeuu, kofopan roef ooruyfu koruafy,
opuoepereuuo sapecfeyn pacnonoeuue
cyecfeykux konouu fakur opasor
onpepennn usoruyfyk qopry.
pu for cospaefcn nofeuuuanuuan
eosrouocfu nonyeuun ofpenuuux
cfeupoeux npocfpaucfe, a fake
yeenuueaefcn nnoapu noeepxuocfu
cfeu npocfpaucfea, ua kofopux roryf
ufu npepcfaeneuu apxueuue rafepuanu.
onyeuuue uoeue cfeuu fake roryf
ufu sapecfeoeauu kak npocfpaucfea, rpe
rouo ckpufu nkoe aypuo-eusyanuuoe
oopypoeauue, kofopoe ucnonusyefcn pnn
npoeuupoeauun u / unu cospauun "3eykoeux
uuu.
ThisPage:
Illustrating how the wall
wrap could be used to in
corporate the form of the
existingcolumnsinonecon
tinuos movement around
theroom.
a fo cfpauuue
okasauo kak
u c n o n u s o e a u u a n
"ruakan cfeua
roef sapecfeoeafu
cyecfeykue konouuu
e opuor uenpepueuor
usoruyfor peueuuu
eokpyr koruafu.
MuseumDesignProposal
BOLSHOI
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
Veracity2010

MuseumDesignProposal
BOLSHOI
Veracity2010
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
that stage costumes, props, and models from
pastproductions.Theseobjectswouldonlybe
comevisiblethroughthemirror,oncetheyare
strategicallylitfromthebackofthewall.
Mirror Wall offers a museum style exhibition
solutionwiththetheatrescontext.Itgivesthe
publicanimaginativeandcreativeaccesstothe
olshoi archives, with full feibility and adapt
ability, to change ehibits for specifc events
andcurators.

pekopauu, cueuueckux kocfkroe, napukoe,


oyeu u ecero ocfanuuoro. Buyfpu 3epkanuuo
cfeuu rouo ycfpoufu eufpuuu, npu cneuuanuuo
nopopauuor ceefe cfauoenuecn eupururu,
e kofopux u ypyf eucfaennfucn kocfkru u
pekopauuu c npounux nocfauoeok.
3epkanuuan cfeua npepnaraef peueuue e
ryseuor cfune, uo c feafpanuuur yknouor. ua
paef nocefufennr eosrouocfu npukocuyfucn
k reuuanuuo ucfopuu onuuoro u
noyecfeoeafu, ckonuko fanaufa u fpypa enoeuo
e kapyk nocfauoeky, e kapu opas ua cueue.
Peueuue oeuu rukoe, ero rouo apanfupoeafu
nop coufue nko uanpaeneuuocfu, nop nkoro
kypafopa.
MIrrorWall
Proposal

Mirrorwallisaconceptthatshowcasesselect
ed items and footage of the Bolshoi archive.
Mirrorwallresemblesthepracticemirrorofa
dancestudiowithalargeexpansivemirrorsur
face that refects bac the space around. The
mirror surface of mirror wall is a special two
waymirrorthathasarangeofmultimediadis
playsandexhibitioncabinetsarrangedbehind
it.
Oncethevideowallsshowfootageofcurated
material,themirrorbecomestransparent,thus
revealingwhatisbehind. Somescreenscanbe
lifesizeandplayactualpracticesessionsoflife
sizedancersgivingthepublicanalmostlive
experienceofwhatitisliketobeupcloseand
personalwiththedancers.Additionalscreens
can be showing series of photographs, flms
and design material from the archive. Empha
siscanbeputonbehindthesceneinformation,
whereby the public get a glimpse of the enor
mouscraftthatisinvestedintheBolshoipro
ductions wig making, shoemaking, costume
design,backdroppaintersetc.
In addition to multi media technology, Mirror
wall can have builtin display cabinets behind
3epkanuuan c1eua
Rpepnoxeuue

3epkanuuan cfeua- kouuenuun, paspaofauuan


pnn peroucfpauuu yuukanuuux npeprefoe u
qoforafepuanoe us apxuea onuuoro feafpa.
ua eusueaef accouuauuu c anefuur knaccor,
cfaukor u sepkanaru eo eck cfeuy, e kofopux
ofpaaefcn okpyakee npocfpaucfeo.
3epkanuuan cfeua cocfouf us cneuuanuuux
peycfopouuux sepkan u cneuuanuuoro
npocfpaucfea sa uuru, e kofopor pasreakfcn
eupeorouufopu u eucfaennkfcn npeprefu us
apxuea.
3epkana cfauoenfcn npospauuru cpasy
e, kak fonuko uauuaefcn oepepuo nokas
eupeorafepuanoe, u ckeosu uux cfauoeufcn eupeu
fpaucnupyeru qofo unu eupeopnp. ekofopue
kpauu roryf ufu e nonuu pocf u nokasueafu
sanucu uacfonux penefuuu, cospaean fakur
opasor qqekf npucyfcfeun- nocefufenu
croryf oyfufu cen e anefuor knacce pnpor
c ueuru fauuoparu. ononuufenuuue kpauu
roryf nokasueafu apxueuue qoforpaquu,
eupeosanucu, unnkcfpauuu u uapocku.
Mouo crecfufu euurauue nocefufene sa
kynucu, fou pafu ur npepcfaeneuue o
fex ueuroeepuux safpafax, enoeeeckux u
rafepuanuuux, enoeuuux e cospauue ecex fux
MuseumDesignProposal
BOLSHOI
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets
Veracity2010

MuseumDesignProposal
BOLSHOI
Veracity2010
Nina Fowler
Balint Bolygo
Vera Dearman
Ben Haworth
Eugenia Emets