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materializingthedisembodied · 1 year

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What would be your ideal 3rd gate for Anaheim Disney, if they somehow found the space?

The Shadow Kingdom, my ideal Disney villains/horror park. Here is the old description I had of such:

What I was imagining would be a park similar in structure to Disneyland, or Universal's Islands of Adventure: separate "ports of call" or areas with a overarching theme, with movie properties sprinkled throughout largely realistic realms and placed aside attractions not based on any established film property.

It was my goal to conceive a park that could mirror the attraction mix of DisneySea: large scale E-tickets, smaller dark rides, a handful of more traditional amusement park type rides that still fit the style of the realms, and walk through exhibits. This would create a variety of experiences matched with exquisitely detailed settings and waterways winding throughout the various realms. My theoretical third-gate, darker themed Disney park would be entitled The Shadow Kingdom, and have eight themed sections within united by the idea of an "alternate universe" version of Disneyland, accessed by walking through a slightly sinister traveling circus (inspired by the Disney live action film "Something Wicked This Way Comes"). This would be an old fashioned style-traveling show, and serve the function of Main Street: nothing too threatening at this juncture, just slightly vintage and offbeat, with shops, entertainment, food, and presenting a vintage archetype guests would be as familiar with as they are an old-fashioned town square. It would serve as a "portal" to wooded paths and waterways leading to the other themed lands.

Once entering the park past main ticket booths (in the form of a semi-circle of aged but clean looking gypsy/circus wagons with themed detailing items attached), guests would pass under a banner for Pandemonium and Darke's Shadow Show. On either side of a "country dirt road" (actually painted and detailed concrete) would be lines of well-kept, black, red and white striped vintage circus tents and temporary wooden structures. One would offer British "hand food" of the period: meat and portable shepherd's pies, a few sandwiches, and desserts like funnel cake along with beverages. Another would sell hand crafted wooden toys and mementoes of the carnival done in period style, a third, park-specific merchandise and Disney brand goods limited to this one location. The usual services and sundries would be offered, but hidden inside a aged wooden building marked "Amenities" on one side, and a large tent on the other: an ATM, phones, wheelchair rentals, restrooms, etc. Along the road, at one point, would be the boarded up, closed "Mirror Maze" from the film of Something Wicked This Way Comes, with a hand painted sign out front explaining the closure due to visitors being "lost" inside. If guests were to stand and watch, they might glimpse spectral forms of period-dressed tourists inside, trapped in the mirrors, but vanishing quickly and appearing only subtly and infrequently. The barker outside would invite guests in to the funhouse that shared the building, for a 3-4 minute walkthrough designed after classic walk-through attractions found in places like Coney Island and San Francisco’s Playland at the Beach.

The main attraction in this area would be Professor Darke's Odditorium Sideshow. Guests would sit on benches surrounding an indoor stage, and be entertained by a mixture of live performers on the main stage (acrobats, fire eaters, a magician/illusionist, etc) and AA performers on either side, in smaller little circular stages, as used in County Bear Jamboree (Spidora the spider woman, a two-headed jazz-singer/flapper type woman, a pale, thin, skeletal looking fellow who would summon spirits to interact with the stage and theater, etc).

In addition to this main show, there would be a few classic carnival type rides done in a more lush, period style with slightly aged and morbid designs in spots: a Himalaya type spinner ride, a Ferris wheel, surrounded by woods on either side in both cases.

When ready to leave the main entrance, guests would find a single pathway with an old-fashioned parchment map on a signboard at the edge of a dark wood, wooden gates standing open on either side of the lane. The text would read thusly, on a plank affixed to the map: "Beware, traveler, for those who venture beyond these boundaries are no longer under the protection of the management of Pandemonium and Darke's Shadow Show. Strange realms await beyond our encampment, and many wonders as well. But beware, for those who pass this way may experience many dark enchantments merely hinted at by our humble amusements, and few who do are ever truly the same after."

The map would lay out the rest of the park, illustrated in a rough, sketchy style, with stylized representations of each of the realms (starting from nearest the entrance and working counter-clockwise): Hollow Bastion in the center, ringed by The Black Forest, Voodoo Bayou, Dead Man's Cove, The Underworld, Halloweentown, and Vulture Flats.

In the center (as Sleeping Beauty Castle is for Disneyland) would be Hollow Bastion, based on designs from the Kingdom Hearts games. Waterways and moats would surround it, with seemingly decayed bridges over them to enter the fortress. Many of these would connect to the other realms, and dark, swan-shaped boats carrying about twenty guests would depart from a dock outside the walls of Hollow Bastion to take a 10 minute trip to the other dock at Dead Man’s Cove.

Guests would be able to walk through the castle structure and an interior set of paths, seeing scenes featuring the Horned King from the Black Cauldron, aided by the Heartless from Kingdom Hearts. These scenes would feature a story of the King attempting to open portals to other realms in order to gain new power and increase his strength by tapping into evil energies from other planes of existence. These portals would be used to explain the different realms of the park, and how guests crossed into Hollow Bastion from Pandemonium and Darke's. The final scene would feature the Horned King triumphant, standing behind the black cauldron, smoke rising and flashes of light coming from within. Crackling energy would line the walls, and as guests exited to proceed into the rest of the realms, they'd walk out of the castle through a cloud of mist, energy bolts sizzling along the wall, headed outwards, leading them to understand the King had been successful in opening gateways to other dark realms that guests could now visit. Below the castle, a dragon's lair similar to that in Paris would lie, with smoking volcanic vents, a giant slumbering dragon AA, and a series of dungeons with skeletons shackled inside leading to the main cavern.

Behind the castle, in a courtyard, would be a carousel with steeds modeled after famous and infamous supernatural creatures: thestrals, the giant spectral dogs of England, werewolves, griffons, sea monsters, and the like. Beyond the carousel, the main bulk of the park would begin, the realms lining a counter-clockwise circle, each bordered by strange, magically glowing symbols on the ground, like etchings, in red and purple light that would glow and wane eerily. A secret “escape tunnel” would be found through a unmarked crack in the fortress walls, and lead past some scenes of a long abandoned dungeon: open cells, skeletal remains, and the like. Guests taking this tunnel would wind up near the skiff boarding dock outside the walls.

The first realm accessed if exiting to the right would be the Black Forest, heralded by stylized "spooky trees" like in the Snow White animated film, and the sound of wings and ravens cawing deep in the woods. In this area would be a small wooden cart offering "Poison Apples", in reality, apples dipped in caramel or chocolate then with a skull imprinted on front using a stencil which sugar would be sprinkled over, leaving the design. A rough wooden hut would offer the chance for guests to meet and be photographed either with the Wicked Queen or Old Hag from the classic Disney film. The main attraction in the Black Forest, looming behind the wooden cottage, would be Bald Mountain, styled after the classic sequence from Fantasia..

This would be a 10-12 minute flume ride, where guests would board hollowed out, twisted logs in a forest clearing, traveling along a rocky mountain stream. A few minutes would be spent floating in wooded settings, owls and AA wildlife glimpsed, the sounds of nature and slightly ominous, low scale music heard. A small drop down a minor hill would take guests to a densely forested setting, then quickly into the enclosed portion of the ride disguised by trees and rockwork matched with a disguising wall featuring a painting of the forest continuing and a village in the distance. Once inside the mountain's show building, there would be scenes of the village in the shadow of the mountain as dusk set: candles in windows, a lone shutter banging in the breeze. As guests floated past the old cemetery at he base of the mountain, tombstones would be seen to shake, mist rising from the ground, and then the logs would speed up, propelling guests into a close, dark thicket of trees, the strains of "Night on Bald Mountain" and eerie, strange cries echoing in the dark. Spectral forms, using the original ghostly designs from Fantasia, would be glimpsed on either side, the logs catching the bottom of a lift hill and starting upwards in a dark tunnel, shrieking spectres projected all around them on mist screens. Once at the top, the logs would pause, as a giant pair of yellow eyes opened, then a gigantic AA of Chernabog the demon would lean forward, music swelling, hands reaching out for the guests as if to grab the log. As the boat got nearer, hands closing in, it would plunge suddenly downwards, in a dark, enclosed drop tunnel filled with fog, in the pitch black. Once at the bottom, the logs would float slowly past the gates of the town, a rooster crowing in the distance as in the segment of Fantasia, a few whispy spirits visible headed back down to the ground to flee the dawn. Guests would exit near a large, dead tree stump, with glowing owl eyes visible and soft hooting occurring occasionally from within, and walk a path back to exit by the apple cart.

At this point, a covered bridge would lead guests to the second ride in the area: the Legend of Sleepy Hollow dark ride, where small wooden carts would set off on a moonlit eve for the party at the Van Tassel residence. A brief scene with Brom Bones and the party guests would follow, featuring the Headless Horseman song, and then back out into the fields and woods with the moon overhead. The ride of course would climax with being confronted by the Headless Horseman at several points, ending up with a combined projection and AA of the flaming pumpkin shrieking towards them, followed by a small dip underneath the wooden bridge, the carts moving along past the whipporwills and croaking toads to unload at the edge of the woods, in the shadow of an abandoned windmill.

The third attraction would lead away from these areas, via a small path with a sign nailed up at the entrance, painted with the words “Beware the Tulgey Wood”. A twisting series of paths would eventually lead to a maze themed to Alice in Wonderland’s Red Queen from the recent Tim Burton film, with still statuary and some interactive effects and illusions, both indoors and outside. A dark ride located inside the façade of the Queen’s fortress would take guests for a fast-paced adventure through the castle, dodging the presence of the decapitation-obsessed Queen, her animal footservants, and the dreaded Jabberwocky. The path at the exit would once more lead to the central area by the apple cart and Bald Mountain queue.

Guests hungry and thirsty after these adventures could have a sit-down meal at Gaston's, a restaurant styled after the pub in Beauty and the Beast, with deer trophy heads and the like for decor, as well as a oil painting of the namesake of the restaurant over the main fireplace. Seated at wooden tables in one of two dining rooms, guests would enjoy hearty steaks or seafood and pasta dishes, as well as specific European dishes like haggis and roasted pheasants.

The next realm encountered would be Voodoo Bayou, the trees thinning out and becoming more realistic, guests walking on wooden walkways over "swampland" with cypress-like trees growing around the path. Splashing and the noises of reptiles would be heard from the water, a few AA crocodiles occasionally surfacing, eyeing the guests. At night, eerie green lights could be glimpsed far back in the trees, and the lightning bug effect from Pirates could be used as well, with the main lighting provided by antique lanterns hanging from the walkway railings. This area would feature three attractions: a boat ride through the swamp, a sit down show, and a walk through "exhibit".

The show would be entitled "Dr. Facilier's Other-Side Revue", and naturally feature the title character from Princess and The Frog. It would take place in a rustic shack with hand painted sign like in the film, and a live actor would play Facilier: explaining to guests after he got ran out of the city and "perished", his friends from the other side decided to give him one more chance to redeem himself. In order to prove himself, he has to convince one of the guests present to let him take their energy (via a planted actor in the audience, like the Indy stunt show in Florida) to revive his "friends". The chosen actor would come onstage, only to be vanished and reappear as a AA frog, before disappearing once again in a cloud of smoke. At this point, the masks and voodoo dolls around the stage would "come alive" with the gained energy, chanting ominously at first, chairs and items moving on their own, the lights dimming, strange noises occurring around the whole theater and lighting effects. At this point, a few of the shadow creatures from the film would appear onstage, and interact with Facilier: knocking off his hat, tripping him, etc. After the Dr. and his shadow calm the "friends" down, there would be a musical reprise of "Friends on The Other Side", with punctuation provided by the masks chanting along, statuary and artifacts coming to life. As the music reached the finale and crescendo, a bolt of purple light would hit the stage from above, and the live Facilier performer vanish, all the masks and objects go still, and when the lights came back up, all would be normal except for the lingering shadow of Dr. Facilier, which would remove it's hat, bow, and gesture for guests to rise and exit before vanishing itself. This would be a combo between Disneyland's Enchanted Tiki Room and the "Spirit Lodge" attraction at Knott's, which features live performers vanishing and interacting with Pepper's Ghost type illusions.

The second attraction, the walk through, would be a realization of Rolly Crump's Museum of The Weird. This would be housed in a area of small shops and a few casual food places, a slightly more run down sort of community on the edge of the swamps. Inside the Museum would be an eccentric collection of artifacts, many said to be cursed or "haunted", from around the world. These would be explained to have been collected over the lifetime of one Dr. Phineas Crump, a noted collector of the arcane and unusual who traveled the world looking for items for his collection. The items might include "possessed" paintings of medieval people from castles in England, cursed tribal artifacts from Africa, items stolen from the tombs of Egypt, unusual carvings from Asia and India, shrunken heads, artifacts from the witch trials of Salem, a man-eating plant, etc. The exhibit would be housed in a rather decrepit building, outside painted with odd languages and phrases in red and gold paint. Several of the items would appear to move on their own, the eyes of the paintings sometimes follow guests, or odd knocking sounds to echo through the building at times. On hand would be a few Cast Members, well trained in the significance of certain items (or being good enough at improvisation to make up stories behind the artifacts on the spot) to share with guests who had questions, or point out "special" exhibits. This would be on scale, room size wise, with the One Man's Dream exhibit at Disney Studios, guests being allowed to linger with CM's positioned along the way, and take up perhaps 3 rooms total.

The boat ride, Crocodile River Expedition, would have a queue among gnarled cypress trees, through a seeming crocodile trapper’s shack decorated with rusty implements and odd drawings from old books depicting strange voodoo-esque rituals . Once on the dock and loaded onto a boat, guests would take a ten-minute or so Jungle Cruise type tour with a live guide, who would tell rather lightly-handled tales of the swamp and wildlife, and voodoo legends and ghost stories of the area. Sights would include a pit of quicksand with remains of some unlucky local trappers, the burned down remains of a once regal plantation house said to be haunted, a simulated attack by large angry crocodile animatronic, and to escape: a trip through a dark, moss filled cave where eerie lights would appear and prompt the guide to tell tales of the “will-o-whisps” of legend.

Leaving the Voodoo Bayou behind, the swamp would slowly become more rocky ground, with a curving path around a lagoon of black, still water, waves lapping slowly at the shore. This would be the "back" of the park: Dead Man's Cove. Looking under the water as they walked along, guests might spy items such as sunken gold coins and treasure, animatronic crabs and moray eels, human bones, and stray pieces of wrecked ships. The first attraction here would be the Flying Dutchman from the Pirates film series, created full scale and moored along the walkway. Guests could climb the gangplank and walk both above and belowdecks, to view the organ chamber (eerie music playing by itself from Tia Dalma's locket), the brig, the mess hall, and through a cut out window, might glimpse the Kraken swimming by underneath the waves. A few AA crew members would be scattered throughout, those that have become part of the ship and covered in moss and sea life. On the main deck, guests could find either Captain Hector Barbossa or Davy Jones himself to pose for photos. Back on the mainland, a smaller meet and greet space set up to look like a backdrop of stolen treasure and ship parts would house Jack Sparrow and Tia Dalma characters for photos. Nearby, there would be a rough-looking building constructed out of wrecked ship parts (similar to the ‘town’ of Shipwreck in At World’s End) which would house a meal and pirate show featuring stunts, musical performances by the Bootstrappers, and saucy pirate wenches displaying feats of derring-do while guests were served items such as whole roasted chicken, stew, or beef ribs along with large flagons of soda or specially brewed "rum".

From the mainland, guests could either cross a swaying rope bridge or take a underground tunnel to an island set in the waterway towards the center of the park. This “cursed treasure isle” would be analogous to Tom Sawyer’s Island at Disneyland, with forest settings, a ruined church, treasure caves, footpaths to explore, and the like suggesting the world of the live action Pirates films.

The showstopper attraction for Dead Man’s Cove would be a water ride/coaster hybrid taking place inside a large fortress on the side of a mountain. Titled Phantom Fortress, it would feature a trip through a under-siege East India Company headquarters and battalion center. Starting out as a slow moving coaster seating about 8 people in 2 rows, it would journey past scenes of battle between pirates and the military/shipping forces and then speed up into the water-based section. Boats would be “hit” by cannon fire and sink, dropping down into a dark show building with more ghostly and eerie effects of deep-sea inspired monsters, half-human sirens/mermaids and ghostly cursed pirates ‘underneath’ the water via a dry-for-wet effect environment similar to The Little Mermaid upcoming dark ride and Tokyo’s 20,000 Leagues Under The Sea. The boats would gradually rise again and ‘surface’ at an unload station looking like a rocky beach.

The next realm, The Underworld, would be entered through a rocky cave along the water's edge. Down into the darkness guests would walk, the path lit by ornate, Greek-style torch holders on the walls, until they reached a larger cavern. Along the way, small alcove would hold a simple, golden lamp familiar to any who enjoy the Disney animated films. If venturing close enough to touch the lamp, guests would activate either maniacal laughter from within, or Jafar pleading to be let free from his prison.

Further on, at the entrance to a lake framed by jagged rockwork, the queue would form for the area's signature attraction: The River Styx. Guests would queue up and enter a stone chamber, lit by more torches, carvings of events from the film Hercules on the walls: Hades on his throne, the three-headed serpent, various other monstrosities. Once in their boats (PoTC style flat boats), guests would embark past a skeletal boatman in a small skiff, supporting himself on a staff. He would warn them to go no further, the realms of the dead and beyond are no place for the living, especially now that Hades has sworn revenge on the mortal world for harboring his enemy, Hercules. Of course, the boats proceed apace regardless, through a series of scenes including a plunge down a waterfall into a cavern with glowing blue waters, eerie faces swirling and vanishing underneath the surface; the sudden eruption of a giant cartoon-styled sea monster feet away from the boat on one side; Pain and Panic, Hades' henchmen, trying to crush the boat with a swaying support pillar; a scene of Megara imprisoned by the Sirens (haglike monstrous creatures); and finally, a showdown with Hades engulfing the ceiling with fire as he tries to destroy guests, who are saved at the last minute by Hercules holding a falling wall up so the boats can escape back to the load area.

To round out the land would be a indoor Coliseum style theater where a group of live actors would perform musical and improv skits based on classic Greek legends and myths, and a walk-through “Labyrinth” to view both the beastly minotaur in his lair, and a small pool with AA stylized fauns, winged horses, and water sprites inspired by Fantasia in the center.

Next up, the second-to-last realm would be Halloweentown, accessed by leaving the caverns of The Underworld, and arriving on the outskirts of the town. The surfaces and textures would all resemble those in the movie: hatchwork and lines on ‘natural’ features like hills and trees. A main street would lead into the town square, complete with City Hall, the central fountain, and a large graveyard and Jack‘s tower home, all as shown in the Burton/Sellick film Nightmare Before Christmas.

The main attraction here would be a Fantasyland style Nightmare dark ride taking place in a 2-story show building hidden behind Town Hall. Inside, the Mayor would be represented as a human-sized AA, inviting visitors from the "human world" to tour his town, entire head swiveling with worry that Oogie Boogie has been sighted lurking about, then turning back to his "cheery face" to assure guests everything will be fine. Inside would be about 10 separate show scenes, including a mid-point large scene for "This is Halloween" with 15-20 AA's, and a "descent"/falling scene down into Oogie's blacklit lair near the end. After riding, guests could visit Jack and Sally along with other Halloweentown residents (the vampires, the wolfman, the Behemoth) on a rotation in a small gazebo in the cemetery.

A few smaller rides would complete the area, located in patches of woods on the outskirts: a tea-cup spinner themed to Lock, Shock and Barrel with the ride vehicles resembling cauldrons and AA figures of the characters in the center of the platform, bickering and singing snatches of song from the film from inside their over-sized, monster/sentient bathtub. The second attraction would be an indoor, tame, Wild Mouse style coaster themed to the sled ride at the film’s finale with projected clouds and effects inside the building along with a synched up audio track of the chase music used in the section.

Last of the realms, but not least, is likely my most ambitious idea for the park: Vulture Flats. A decrepit ghost town in the style more of the current section at Knott’s than Frontierland, it would house three main attractions. A saloon/eating establishment would sit along the main road, and a vaudeville style theater delivering Old West melodramas with a slightly morbid/quirky edge. The landscape around the town would be like Arizona, roughly: orange colored buttes and scraggly desert trees, rocky features.

The first attraction in the section would be titled Redemption Armored Wagons, and play out like a hybrid of Indiana Jones, Universal’s Men in Black and the film based Spider-Man at Islands of Adventure. After walking to a more prosperous looking area of town, guests would be drafted by the local sheriff to pursue a gang of bank robbers into the wild, trying to disable the stolen armored stagecoach they are dragging and taking aim at specific targets along the way to slow the robbers up. The ride would feature moving vehicles and 3-D sets combined with film elements for a ride through the wild west featuring a cave full of bats, a steep canyon descent, the desert at night, and a chase across a rickety train trestle. Some elements and scenes would be re-used and updated from Marc Davis’ Western River Expedition along the way.

At the edge of the town atop a rocky butte would sit Ravenswood Manor, a western-inspired (but less romantic/film inspired a la Phantom Manor) variation on the Haunted Mansion archetype. Effects and gags inside would include some Mansion stalwarts (Pepper’s ghost, the ballroom party) along with new technology in portions such as AA figures recognizing and inviting guests to join them, followed by the cars starting to drift off the track and down dark hallways, or a sudden ‘earthquake’ causing vehicles to veer off the established ride path and into a set of scenes only sometimes visited, most guests receiving an alternate set of scenes and continuing through a different experience. The main story, as Disneyland Paris’s version does, would deal with a gold baron who went bankrupt and vanished after a large earthquake along with his wife and the household staff.

The final, and most lengthy and ambitious ride of the section, would be accessed through a "Western History Museum" front alongside a dusty path that dead ends at it, with a few other inaccessible buildings nearby: a horse stables, a hotel, a house of ill repute: all seemingly abandoned. Inside, the museum would have warped wood floors and display cases of items left behind in the ghost town of Vulture Flats, that had been mysteriously abandoned in the 1870's. These items would include old bottles, spoons, cutlery, plates, clothing, dolls, spurs…all things of a domestic nature, and keeping in what you'll find in any number of western history museums across the Western U.S. A town history would be on a wooden plaque on a wall, recalling the boom days of the Gold Rush, the waning of new pioneers, and finally, the day a group of miners arrived to find the town deserted of every living soul: women, children, laborers, cooks, saloon-keepers…all vanished without a trace. After pursuing the exhibits, and a final stop in a darkened room to view strange, glowing rocks mined during the town's heydey under blacklight, guests would exit the back of the building through a supposed "exhibit" faux rock mining tunnel only to find themselves outside, at night, on the abandoned streets of Vulture Flats.

This entire section of the area would be enclosed in a show building, like the entrance to Paris's Hollywood Studios park, entered through the Museum structure without guests knowing or seeing the enclosed building taking over. Projections of a ghostly full moon and clouds would move across the blackened sky/domed roof, and the walls would be obscured by trees or buildings, with matte paintings in places hinting at the desert beyond. Moving past the silent buildings, guests might think they glimpse movements or odd lights behind some windows, or hear whispering in alleyways, only to find nothing when they look back. Signposts would point the way to the Silver Dollar mine, and these would clearly be newer in style. Upon reaching a rock wall with mine tunnel entrances dotting it, most blocked off, guests would queue up in a horse barn, then a series of switchbacks through the mining company's equipment room. Cast Members at the front would explain the owners of the museum have opened the mine again for tours, so guests can see working conditions of the day, and assure guests that everything has been made safe for visitors and that they will be accompanied by a trained guide who knows the caves.

Groups of 16 would board open cars chained together similar to those at the Calico Mine Ride at Knott's, made of hammered steel like they'd been constructed out of old ore carts, with a headlamp on front. Then, the cars would slowly proceed into the mine, the guide telling a brief history of the Silver Dollar and it's owners, and how its' employees had vanished along with everyone else in town during the late 1800‘s, never to be seen again. Once into the mine shaft, the guide would start pointing out the bands of precious metals along and inside the walls, only to be interrupted by a strange, cold wind, and knocking sounds from either side. This would be followed by voices, murmuring and whispering, and faint blasting sounds off in the distance. The guide would express some concern at this, saying he has never experienced anything like this before in the mine, but he would take guests onwards into the original caves below the mine tunnels and that there was nothing to worry about, surely it was just imagination running away with them in the dark.

Inside the caves, weird, strangely glowing rock formations would be seen, and eerily glowing waterfalls here and there, making strange shapes. At one point, underneath the trestle supporting the cars, the guide would point out odd, sightless fish underneath the water (a mixture of AA's and projections) on either side. Entering a darkened cavern beyond the water-filled room, the headlamp would suddenly flicker and go out, the only light an odd blue one reflected by the rock walls. As the guide reassured guests everything was fine, off to the side there would be a sudden noise like rocks falling slowly, a misty shape slowly appearing: what appeared to be the form of a miner, eyes like blank holes, skeletal grin, wavering and flickering in and out slowly and oddly like a lightbulb. This frightful apparition would vanish slowly, into the darkness, and next the moans, low, and eerie, of many voices would be heard: men, women, and children. The cars would speed up, and the headlamp come back on, revealing a large pile of rocks dead ahead, scattered all across the cavern, a few bones poking out here and there. Then a loud rumbling would be heard, the cars shaking slightly, and the guide asking guests to remain calm and stating the exit was nearby, and they'd be out before any potential cave ins.

Quickly, the car would zip through a few nondescript caverns, catching sight of a opening ahead into the night, trees visible and the full moon. As the cart neared it, a apparition would suddenly appear, blocking the entrance: a fully formed, blue, ghostly image of a woman holding her hands above her head, as if in fear, the rumbling getting louder. No time to stop, the vehicles would simply pass through the ghost like mist, a loud roar of rocks falling behind them as the vehicle went back to the unload area. The cave guide, visibly shaken, would say he guessed now they might know what happened to the townsfolk: a serious cave in took the lives of some of the miners and women, and the rest just up and left, not that he could blame them for that. He'd go on to say the restless spirits must be re-living the events of what happened to them, and maybe now they could find peace. Guests would unload and walk back the main street of town, having the opportunity to look around the boarded up buildings or visit a small "Undertaker's Office" selling a limited selection of merchandise of a Western nature. They would exit through another cave to the outskirts of the traveling circus/entry area, or take a one way shortcut back to the rest of the park via a door hidden behind one of the outdoors Western fronts.

This concludes the basic tour of the potential park. Some elements are not included, such as more specific smaller stores, fast food type establishments, and bathrooms in the themed realms. Overall, this is designed to be something Disney does not currently have stateside: an even mix of original properties and movie-based attractions all in service of a larger theme of a “darker”/slightly horror based concept. If done correctly, the balance of menace, thrill, E-ticket and experimental rides and more familiar properties and ride systems for younger guests could truly be something unique. In addition, such a park would allow Disney to expand into the market of after-hours Halloween events for a more adult crowd while not stooping to the level of gore or pure gross-out elements in order to do so. Some might disagree with the suitability of a project so vast and ambitious, yet based on “horrific” elements or darker themes. Nothing truly grotesque, however, would be presented, and no cheap scares or content beyond the level of things which could conceivably be rated PG-13 were this a motion picture.

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manhattanfashionblog · 1 year

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Crafted: Fashion Design AAS Exhibition

Crafted: Fashion Design AAS Exhibition at FIT; Crafted by Nature, Contaminated by Negligence

From April 12th to the 19th, at the Pomerantz Center at FIT, the Fashion Design AAS students will be showcasing their talents and skills, innovations, and techniques with their muslin designs. For Spring 2023, they were tasked to create designs solely utilizing muslin fabrication as a blank canvas to display their artistry. During the designing and sewing process, industry mentors worked with the Fashion Design AAS students throughout the semester. Before sewing and construction, students and Critic Award winners put together mood boards with inspiration pictures, a color palette, fabric swatches, and their sketches for the project. Mood boards varied from student to student as they drew from different inspirations and themes to create a story.

For example, for one AAS student, they drew from horses and their movements and hair while using horse hair as swatches and as a trim in their sketches for their mood board. Another student in particular was inspired by matrimony with their mood board being titled "Till Death Do Us Apart." Their story was a dark romantic one with a moss green, black, brown, and ivory color palette and many different fabrics including lace, silk, and fishnet. Their mood board clearly had a theme, with cross signs and detailing, floral detailing, grunge inspiration, bridal dresses, and long mysterious capes with hoods or veils. Lastly, in particular, another student created a visual drawn from inspiration from Little Red Riding Hood for Fall/ Winter and another student drew inspo from the use of shrouding as a death ritual and used pearls and crystals in their final muslin design to represent the naturality of earth and "reposing" which is returning to Earth in a natural and pure way.

Zuleica Prado

FIT

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madinasdaily · 1 year

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This new exhibition was based on students in the spring 2023 Fashion Design AAS program, who were asked to produce their capstone projects entirely from muslin cloth. As a result, the show emphasizes simple forms and processes while fostering originality and expertise. Students, for example, might select from a range of weights, and the muslin could be draped, pleated, embroidered, colored, or hand-painted. Two works in fashion illustration and three in garment design were chosen for Critic Awards by industry mentors who worked alongside students throughout the semester.

This exhibition was eye-opening to imagine students my age coming up with these amazing and creative silhouettes and thinking outside the box. One of my favorite ones was the gown made by Srushti Patil which consisted of this beautiful corset top, accompanied by this flowy, almost pleated skirt. Attached to the skirt is this beautiful floating petticoat that made out circular shapes of different sizes and flowers also made from muslin.

Another favorite of mine was this dress made by Athena Papanastassiou. This dress resembled a wedding gown with its sleep off the shoulder and A-Line silhouette. The kaye’s of muslin on top of one another accentuates the simplicity of it. Every piece of garment presented also showed a piece of who each designer is and what they represent no matter cultural or ethnic background. Some designers using inspiration from their own culture in this project representing what they are proud to be.

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fashioninstitute-fbm · 1 year

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Crafted at F.IT

When i first entered the exhibition it read “The Fashion Design AS Spring 2023 exhibition focuses on skill, technique, and innovation.Students were tasked with creating their designs solely utilizing muslin fabrication as a blank canvas to showcase their artistry. Included are works selected for Critic Awards by industry mentors who have worked alongside students throughout the semester”.

Fashion Design AAS Exhibition, "CRAFTED."

As a first year I was blown away by the talent in this exhibition. I love the concept of only using muslin; I feel like it really made the students focus more on the silhouette of the garment instead of designing an outfit to display a certain printed fabric. The art specialization pieces were also just as beautiful! I enjoyed seeing all the different ways students interpreted this theme with only muslin, this exhibition is a 10/10 for me. Congratulations to the graduating students of the AAS 2023.

#2023 #grads #designs #art #gifted

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yasmeenshad · 1 year

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My Visit to the Crafted Exhibit

The Crafted: Fashion Design AAS Exhibition displayed the capstone projects of graduating AAS Fashion Design students in the Art & Design Gallery of FIT. The students were tasked with creating complex garments using only muslin. The purpose of this project was to encourage student artistry, including skill, technique, and innovation, using a blank fabrication. I was extremely impressed by all of the students' extravagant, beautiful pieces. Along with their garments, some students also displayed their moodboards which explained the vision behind their collection. These moodboards were very impressive with prints, sketches, swatches, and debriefs to represent the intention of the collection. I included my favorite pieces and moodboards below.

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ava-tomford · 1 year

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At The Fashion Institute of Technology in New York City from April 12-19, 2023 The Fashion Design AAS exhibition was available for viewing. This year's exhibition focuses on skill, technique and innovation. To do this students were tasked with creating their designs solely utilizing muslin fabrication as a blank canvas to showcase their artistry. The exhibition was filled with works selected for critics awards by industry mentors who worked alongside the students all semester long. Above are six of my favorites works out of the whole exhibition. Above in the top left we have our first work by Allison Perigny. Her work is a critic award winner for this year. I chose this piece because of the hundreds of little details, all of the individually crafted pieces coming together to make the whole dress is impressive and I can only imagine how time consuming it would be. In the top right we have our next piece by Samantha Rosario which was also a critic award winner. I choose this work because of the silhouette it has. The thousand ruffles on the train of the dress are executed beautifully. In the middle left we have a piece by Peleg Assulin who was a critic award winner. The choice of this piece to be sheer and showcase the muslin’s natural texture is what impressed me the most. I absolutely love the draping on the neckline. The middle right picture is a work by Hannah Yoo. I loved this work because I could truly imagine it being worn to a high profile event. It is a stunning dress and the body cut outs pull the whole work together. The bottom left picture is my favorite by Peshi Kendall. There is something so charming about this work with the silhouette and details. Lastly in the bottom right we have a work by Peter Walsh. This work just blows me away. There is so much to unpack in this piece as I feel it was crafted with such intent. The headpiece along with the sleeves, silhouette, skirt, and details strikes up so much conversation for this work. Not shown above there were mood boards in the exhibit, and they perfectly conveyed the designers thought processes through these works. I can only imagine the amount of hours spent on these pieces.

#city life #college life #fashion #nyc #haute couture

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a-look-into-life · 1 year

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Crafted: The Fashion Design Exhibition 2023

A recent FIT exhibition that took place was called Crafted. It was an exhibition that displayed works of those who are in the Fashion Design AAS major. All students participating were asked to create their garments entirely of muslin, with their own twist on the details and trims.

Some of the amazing works of art in this exhibition:

by: Peleg Austin

by: Paris Liu

by: Vivi Yun

Utilizing just one plain, cream-colored fabric was probably not the easiest task these students had to overcome. However, focusing much on innovative fabric manipulation and pure craftsmanship, these students have excelled tremendously with their garments.

My initial thought while browsing the exhibition was:

"Wow."

Simply because every single piece on display caught my eye and brought a different thought to my mind. It was extremely fascinating to see how each individual garment had its own personality and style. Some garments really spoke to me and made me stop in my tracks to just appreciate what was there in front of me.

I strongly believe that it was a shame that I was not able to meet each individual designer who created these breathtaking pieces. As much as the pieces speak for itself, it would not match the thought process and the stories each designer had behind their piece.

by: Mouse Rodriguez

This piece stood out exponentially. In a room full or extravagant dresses, this piece was like the black sheep, but in the best way possible. The simple, yet extremely detailed garments on this mannequin had encapsulated me with its different style amongst others.

Additionally, other garments that were wonderfully displayed:

by: Athena Papanastassiou

by: Nicole Trillos

by: Andrew Sherburne

This specific dress also stood out to me a lot, as it has feminine, child-like details all over. I envision a little girl wearing this dress in the fields, holding an embroidery circle that her mother had crafted. To me, this dress brings out my inner child and my longing for what life used to be like. It was extremely touching, yet playful.

Crafted: an amazing exhibition that really blew me, and everyone who stepped foot into the room, away. Words cannot express how wonderful it was to see all these breathtaking pieces and having the opportunity to observe the art from such a close distance. All of the designers that took part in this exhibition relayed such strong messages with their designs and have worked extremely hard to have their work displayed to the public. It was an amazing experience to have and I have learned so much just by observing these pieces. I hope to see even more pieces by these designers so I have the opportunity to appreciate the artwork, once again.

Crafted : April 12 - April 19

#fitnyc #exhibition #designers #fashion design #muslin #creativity #fashion #crafted

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laylamorosesblog · 1 year

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BLOG #4 FIT Art & Design Exhibit

The amazing "Crafted: Fashion Design AAS Exhibition" was on display at the FIT Art and Design Gallery, we took a quick field trip here with our class today. For this exhibition, fashion design AAS students developed designs exclusively using muslin fabrication as a blank slate to display their creativity. The exhibit was very well-liked and open to everyone in the community. These incredible muslin designs made by my other students left me speechless. The methods and craftsmanship utilized were flawless. It was fascinating to learn more about the designers' creative processes by viewing some of their mood boards in addition to their actual works in a separate gallery space.

Industry mentors assisted the Fashion Design AAS students throughout the semester with the designing and sewing processes. Students and Critic Award winners assembled mood boards containing inspiration images, a color scheme, fabric swatches, and their sketches for the project before sewing and construction. Each student created a different mood board for their story, drawing on various themes and sources of inspiration.

Now I'll enter some photos I took from the exhibit!

The display, fabrics, sketches, creations were all truly amazing to see. It is so great students work can be put on display here for all to see.

(Side Note: My sister and her best friends from CA were here in the city, I told them about the exhibit and they were able to see it, the LOVED it!!!!!)

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ashleylangholtz · 1 year

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Blog #4 FIT Art & Design Exhibit

From April 12-19th, the FIT Art and Design Gallery showcased an incredible exhibit called “Crafted: Fashion Design AAS Exhibition.” For this exhibit, fashion design AAS students created designs solely utilizing muslin fabrication as a blank canvas to showcase their artistry. This exhibit was open to the public and was definitely a popular one. I was in awe of these amazing muslin designs created by fellow students. The techniques and craftsmanship used are impeccable. In a separate room in the gallery, some of the designers’ mood boards were displayed in addition to their physical designs which was great to see more into their creative process. Below in the pictures are six of my favorite pieces from the exhibit. My favorite piece from this exhibit is the mini dress which has a ruffle skirt, flower, bow, and heart appliques, and a poem written and placed on a circular “frame-looking” piece of muslin. The second ensemble is designed by student Srushti Patil and is a two piece skirt set with an extravagant circular hoop-like portion with floral appliques. The third design is also a two piece skirt set designed by student Peleg Assulin. The top portion of this ensemble looks like it has loose fibers of the muslin and the skirt looks very thin and almost sheer which is so interesting. The fourth ensemble is a mini dress with ruffles and circular swirls all over. The swirls look like they may be made out of shoelaces or rope so I am interested in if they are made out of muslin too. The fifth piece is a mermaid-like dress by student Xiurong Chen which has a skirt crafted to look like a mermaid tail. The final piece is a dress with an insane ruffled train. I didn’t catch which student made this design but it looks like a perfect wedding or gala dress. The rest of the pictures I am sharing are of some of the moodboards made by the student designers. There was a wall of watercolor sketches with the designs in color which was interesting to see what colors the muslin designs will become. Finally, I really enjoyed the “little red” moodboard and sketches by student Sophia Dolmanisth because I think they are great outfits to get inspired from. Overall, this was an incredible exhibit and I am very impressed by my peers.

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zoerainnn · 1 year

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Blog #4 FIT Art & Design Exhibit

On Wednesday April 12th my class took a field trip to the FIT Art & Design Exhibit. Our class is called FM 223 or Creative Fashion Presentations and for our next project we are making mood/trend boards. This field trip to the Art & Design Exhibit was very helpful for figuring out how a design student creates a mood/trend board for their product line. I really enjoyed visiting this exhibit and seeing some of the AAS fashion design students work in muslin. It was really cool to see the mood boards and then the garment that was created from the board. The design students were told to create a garment made strictly using muslin, and I think it is really cool seeing how each student used the same materials but designed different pieces. This exhibition focuses on the simple forms and techniques, encouraging innovation and skill. Below I included ten images I took during the exhibition visit. I included photos of the student's work as well as pictures of their mood boards for their work.

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rachelgwillaman · 1 year

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Study Tour - Blog 11

Last Thursday, my study tour class and I had the pleasure of visiting the Art and Design Gallery at the Fashion Institute of Technology (F.I.T.) in New York City. The gallery was showcasing the Fashion Design AAS Exhibition, a captivating display of muslin fabric garments created by the students in the spring 2023 Fashion Design AAS program's capstone projects.

As we stepped into the exhibition, we were immediately struck by the level of creativity and innovation on display. The exhibition showcased a variety of simple forms and techniques that demonstrated the skill and ingenuity of the students. It was evident that each piece had been crafted with a great deal of care and attention to detail.

One of the most exciting aspects of the exhibition was the use of muslin fabric. The students had been challenged to create their garments using this versatile material, which allowed them to explore a range of techniques and styles. We saw everything from draped and pleated muslin to embroidered, dyed, and hand-painted pieces. It was fascinating to see how each student had interpreted the challenge in their own unique way.

The exhibition also highlighted the collaboration between the students and their industry mentors. Industry professionals had worked closely with the students throughout the semester, providing guidance and feedback as they developed their designs. The images down below are of some of the pieces that received an apparel design Critic's Award.

There were also boards that received fashion illustration Critic Awards:

Our visit to the Art and Design Gallery at F.I.T. was a fun experience. The Fashion Design AAS Exhibition was an inspiring showcase of creativity, skill, and innovation. It was exciting to see the next generation of fashion designers pushing the boundaries and exploring new techniques and materials. We left the exhibition feeling inspired and energized, eager to continue exploring our own passions and creativity.

Thanks for reading!

xoxo,

Rachel Willaman

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kairi-chan · 4 years

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Muse - SasuSaku

Pairing: SasuSaku

AU: Designer/Model AU

Rating: T

Genre: fluffy fluff fluff!

A/N: happy birthday, @borusawa / @idlusm this is really late, but I hope you like it!

…

Ino stood outside the building, wearing an impeccably white jumpsuit with a halter strap. Her long, blond hair flowed freely down her back, with a pair of dangling gold and diamond earring on each ear. She looked as fabulous as always, and Sakura immediately regretted coming to this art gallery. She felt so underdressed.

“Forehead, over here!” Ino waved, a large smile on her face. Sakura made it up the steps and waved back. “Oh my god, I thought you were going to flake on me!”

The pinkette laughed nervously. “It’s hard to when you kept calling every ten minutes. Hard to get any studying done like that, you know?”

“You can study later!” Ino grinned. “Besides, I would have picked you up myself to help you get ready but,” her blue eyes scanned Sakura from head to toe. Her pink hair was up in a loose bun, and she wore a silky black spaghetti strap top and matching square pants with high heels. Her ears dripped with a string of diamonds. Simple, but sophisticated. “I guess I didn’t need to. I love that we unconsciously matched, too!”

Sakura’s eyes widened and took in their outfits again. She was right, they did match. And it made Sakura relax a bit, easing her worry of being underdressed. This wasn’t the first art exhibition that she attended, but it was definitely her first with all these big names going.

Ino’s boyfriend, Sai, was in the running for becoming a national artist, and he arranged an art exhibit with various artists from different fields to create art pieces with the theme “Muse” to celebrate unity amongst artists and to show off various multimedia and mixed media art. But that wasn’t even what made Sakura nervous. It was the fact that Sasuke Uchiha would be part of the exhibit and presenting his art, as well.

She had spoken to the designer before, at a gala wherein Ino made Sakura her plus one. The pinkette was a new face in the fashion and modeling scene. Everything amazed and overwhelmed Sakura. Her best friend had been in the industry since she was a child, practically at home with this crowd and scene, but it was all different for Sakura.

She was studying medicine when Ino called her to accompany her to a go-see nearby. Little did she know, Ino signed her up, too. And the agency loved her. It took a little more convincing but the pay was good, and Sakura told herself she would only accept projects if it fits in with her schedule.

Everything was going well, everyone she met was nice, fabulous, and downright rich and famous. Everyone was a somebody, and she often had to stop herself from fangirling whenever she would meet someone she followed on Ninstagram.

That included Sasuke Uchiha.

Sakura followed him because other than posting photos of his clothes on models, he also posted photos of his sketches and concept pieces from time to time, and Sakura adored his style. He was also really handsome—that was more than a plus. She thought she would faint once she met him, but his aura was really calm yet strong. He was a man of little words, but every conversation they’d had so far, she found herself more and more interested in him.

To say she had developed a crush was a bit of an understatement, but in the course of a few months, they would occasionally text and send each other photos, bump into each other during events and runway shows, and she even met his brother during a charity gala.

But never did they go out alone, or him as her out on a date. It saddened her, but she understood. They were both busy people, and Sasuke lives on a whole other world, as did Sakura.

He was still nice to look at, though. And fun to be with. Thinking about him made Sakura smile, and excited her to see what pieces he made for the exhibit. This had been in the works for six months, giving the artists roughly four months to create.

The two girls walked into the building and were greeted by staff who ushered them into the main hall as they offered them champagne and wine. Sakura took a flute filled with champagne and walked into the gallery arm in arm with Ino. They chatted as they looked around and bumped into people.

It wasn’t long until they found Sai. Ino immediately let go of Sakura and ran to him, engulfing him in a big hug, and giving him a quick kiss on the lips. Sakura stood there, feeling a little awkward but was also happy to see them together again.

“It’s been so long,” Ino gushed. “Everything looks amazing!”

Sai slipped an arm around her waist and thanked her. He then turned his gaze towards Sakura. “Glad you could make it. Have you looked around already?”

“Just a bit,” Sakura smiled. “I haven’t seen all the pieces yet.”

Sai’s smile widened. It was a little creepy, but Sakura learned to get used to it. “You have to see the East Wing. The pieces there are… interesting.”

“Oh really?” Ino asked. “Then maybe we should have a look. Wait, where’s your area?”

“It’s over on the North Side, beautiful. Do you want to see it?”

“Of course!” Ino’s eyes were practically sparkling.

Once Sakura saw Sai’s exhibit, she wanted to cringe. To say his sketch, oil painting, and pastel work were… explicit was an understatement. No one needed to guess who his muse was. Sakura thought Ino would be embarrassed but oh no, quite the opposite. She was ecstatic. Despite the erotic looks on her faces, on in bed, the other by a dresser, and the sketches showed various… positions. It left very little to the imagination.

Once the guests noticed Ino and Sai’s presence, they were swarmed, and Sakura took steps back until she slipped away from the crowd. She was thankful for the escape, looking at art, she thought, was better alone.

For now, at least.

Chatting was seldom, and she wandered into another hall, taking a sip from her champagne from time to time until it was only half full.

The next ball was a little livelier, and She noticed it was because there were a handful of well-known artists and a group of reporters had just left the scene. There was one particular set of sketches that caught her eye from afar, and she gravitated to it. It looked so… familiar.

The three sketches were of the same outfit. A woman wearing a short, white dress with a simple cut. The movement was dynamic and Sakura could feel the model’s delight wearing the dress, despite having no face drawn on.

The next piece was of a mannequin, dressed in a beautiful, long, moss-colored gown. The details were intricate, filled with flowers and lace that dripped down the skirt.

“Sakura. Nice to see you here.”

She whipped around and grinned. “Itachi!”

He leaned in to kiss both her cheeks and he gave her a soft smile. “I didn’t think I would see you here.” Itachi turned, and called out, “Sasuke, look who it is.”

A tall man with jet-black hair stopped mid-conversation with someone and excused himself before approaching the two of them. Unlike Itachi, he didn’t kiss both of Sakura’s cheeks.

“Sakura.” He gave her a slight bow and gave his brother a nervous look. “Itachi, could you—“

Itachi pretended not to hear him. “Sakura, have you seen all the art in this hall yet?”

“Oh, no,” Sakura felt quite embarrassed having to admit. “I’ve been taking my time.”

Itachi nodded. “They have such a lovely collection. I’m so glad I came to support my little brother.”

Sasuke glared at him, his lower lip jutting out.

“Yeah, I agree.” Sakura grinned. “Sasuke, your sketches and this dress are beautiful.”

“Ah. You already saw?” His eyes slightly widened, and his cheeks colored by the slightest bit.

“How can I not?” She laughed. “Your sketches caught my eye and this dress is remarkable.”

Sasuke looked behind her, and then at his brother, but refused to meet her eye. “Aa. Thank you…”

Itachi’s dark eyes glittered. “This invitation is probably the best thing to happen to him,” he turned to face Sasuke. “Don’t you think so?”

“... Hn.”

Sakura tilted her head, observing Sasuke a little more. He never said much to begin with, but he was so reserved this time and looked a little… shy. The shit-eating grin on Itachi’s face made her realize that Itachi was teasing his little brother, and decided to steer the conversation elsewhere. “I heard each exhibitor gets to showcase three pieces, where’s your third on, Sasuke-kun?”

“Right behind you,” Itachi smirked, taking the flute of champagne from her hand.

Her brows scrunched together but when she turned around and came face to face with Sasuke’s final piece, both of her hands came up to her mouth, to muffle a gasp. It was a large portrait of her, sitting by a window with a cherry blossom tree outside. Her hand cheek was resting on her hand, a soft smile on her face.

She recognized it, it was the time she had coffee with Sasuke back in Japan, when she was showing him around the city after a shoot. It had only been a brief encounter, but thinking about how much it might have meant to him made her cheeks redden. The detail on the canvas was amazing, as well as the strong and precise strokes. Sakura was completely at a loss for words.

“Sasuke hasn’t picked up a paintbrush in years,” Sakura could hear Itachi’s grin, as well as Sasuke’s strangled protests. “I’m just glad he found the inspiration to do so again.”

Finally, she turned around to face them, Itachi excused himself and left her with his brother. Sakura suddenly felt so shy but also honored that Sasuke would pick her, out of all of the models, to paint. “It’s beautiful, Sasuke-kun,” Sakura blushed and tucked a stray lock of hair behind her ear. “The best one I’ve seen so far.”

Sasuke gave her a warm smile. “Thank you.”

For a moment, they just stood there, looking at each other’s eyes, and small smiles on their faces, until Sasuke offered his arm to her. “Would you care to join me to see the other exhibits?”

Her green eyes glittered, and she eagerly took his arm. “Yes, of course. I would love to.”

Just as Sasuke was leading her out of the hall, Sakura took one more look at the portrait, and the sketches and the dress, and noticed the cohesiveness of the look. Her eyes darted to the name of the exhibit, MUSE, before turning her gaze back ahead, heart pounding at the realization why Sasuke chose spring and earthy colors, why he painted a portrait of her…

Her heart was pounding and her hold on him tightened by a little bit.

“Have you figured it out yet, Sakura?” Sasuke asked quietly, a smug smile on his face. When she didn’t speak, he leaned down and whispered close to her ear. “Because you’re my muse.”

---

A/N: I hope you liked this, bb!

Thank you for reading my fic, darling. If you like my stories, please check out my profile and check out the link to my masterpost. I also have links to my FFnet, Ao3, Twitter and Ko-Fi.

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royallypsychotic · 6 years

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architectnews · 3 years

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Ten projects from the Royal Danish Academy of Fine Arts propose solutions for a sustainable future

A project that explores what the British Museum would look like after returning its artefacts to their countries of origin and a carbon-neutral school made from rammed earth are included in our latest school show by students at the Royal Danish Academy of Fine Arts.

The projects aim to create a more sustainable, environmentally friendly and democratic society by focusing on the United Nation's sustainable development goals.

Royal Danish Academy of Fine Arts

School: Royal Danish Academy of Fine Arts Course: Architecture and Design

School statement:

"Students at the Royal Danish Academy of Fine Arts address the most significant challenges we face as a global community today. The curriculum is rooted in research, practice and artistic development. For the past five years, the academy has added a strategic focus on the 17 UN sustainable development goals (SDGs).

"We believe that the SDGs can inspire our students to consider how we should design and build in the future, using a holistic perspective to provide new, original and necessary global solutions to these pressing concerns.

"The work of our students demonstrates how architecture and design can create visions, new knowledge and solutions to complex problems in compelling and attractive designs. Future generations of architects and designers, like those we educate at the Royal Danish Academy, must be capable of releasing this vast potential."

The Silo Island by Mia Baltzer Nielsen and Vitus Karsten Bjerre

"Silos are tall towers that are used to store grain. This project is based on an old industrial area in the Port of Odense, known as the Silo Island. The buildings here are scheduled to be demolished to make room for the construction of new blocks of flats.

"By involving the buildings' distinctive character, the graduates create spaces that utilise the silos' potential in terms of material usage, space allocation and scale.

"The students have developed a master plan for the area and base their project on transforming a specific silo, which they convert into spaces for the city's citizens and The Royal Danish Theatre Ballet School."

Students: Mia Baltzer Nielsen and Vitus Karsten Bjerre Course: MA Architecture, Cultural Heritage, Transformation and Restoration Tutors: Christoffer Harlang Email: mia_baltzer[at]hotmail.com and vituskarsten[at]gmail.com

The Collector by Therese Sirenius

"The Collector is a personal, artistic project that materialises time through the art of weaving. Using the experiences and topics that have filled the recent months of Sirenius' life, she philosophises about the concept of time in her textile tapestries. This includes the time in which we exist, the time that passes and the time spent performing the craft.

"The depictions rendered in this tapestry include excerpts from a newspaper and illustrate the contrast of our time between nature and human indolence."

Students: Therese Sirenius Course: MA Design, Textile Design Tutors: Kjetil Aas Email: sireniustherese[at]gmail.com

NeoAtlantis by Mikkel Møller Rosendal

"Through his project, Rosendal explores the interface between the digital and physical worlds. He examines how we can understand and cope with the simultaneous presence of two spatial entities.

"How do digital spaces affect the way we perceive the world, and how do we translate conditions from the digital space into the physical: weightlessness, space without gravity, surfaces without a body?

"Rosendal examines these questions through his artistic models and drawings that arise where the two worlds converge, which he entitles NeoAtlantis."

Student: Mikkel Møller Rosendal Course: MA Architecture, Architecture, Space and Time Tutors: Kristine Annabell Torp Email: m.m.roesdahl[at]gmail.com

The Empty Museum by Rotem Yitzhak Soaye

"What would the decolonised British Museum look like after returning all the objects in its collection to their countries of origin?

"This project speculates on a future scenario, where the exhibition halls contain only black holes on yellow backgrounds.

"Each black hole represents a void in the heart of a looted culture, as well as the museum's missing artefacts. Instead of physical objects, the visitor experiences the cultural artefacts in augmented reality when scanning the black holes. This scenario is a far cry from today: the British Museum has around eight million objects, of which only one per cent are on display."

Student: Rotem Yitzhak Soaye Course: MA Design, Graphic Communication Design Tutors: Nikolaj Knop Email: rotem.soaye[at]gmail.com

On Civic Grounds by Daniel Rea Kragskov

"The project uses an old industrial zone in Herlev – a suburb in Copenhagen suburb – as its point of departure where industrial buildings are to be demolished to make room for new housing development.

"Kragskov proposes a new creative programme that transforms an old asphalt factory into a civic space with open areas and whose architecture can support civic activities. He aims to create a captivating environment in which to build social meeting spaces.

"Kragskov seeks to depart from academic austerity by developing a personal style that goes well with the multicoloured diversity and imperfection found in civic activities where the colour red depicts the social community."

Student: Daniel Rea Kragskov Course: MA Architecture, Urbanism and Societal Change Tutors: Tamara Kalantajevska Email: danielkragskov[at]gmail.com

Community by Julie Hendel Hunter Astrup

"What do you carry in your everyday bag? What is your favourite colour combinations? Which of these materials do you prefer?

"All of Astrup's designs emanate from her democratic way of working. She uses her community – family, friends, business partners – as sources of inspiration in developing her work.

"Her bags are made of second-hand, surplus materials. Recycled materials often produce a rough expression which she combines with a sophisticated design. For instance, she has made a bag from used lorry covers, inspired by the woven pattern of French bistro chairs."

Student: Julie Hendel Hunter Astrup Course: MA Design, Fashion Design Tutors: Ann Merete Ohrt Email:julie_hendel[at]hotmail.com

School of Ecological Crafts by Jonatan Møller Larsen, Christoffer Bo Haaning and Simon McNair

"This project proposes a School of Ecological Crafts where it is possible to study eco-friendly building techniques. The building in the Nordhavn district of Copenhagen embodies ecological building solutions. The graduates have developed a carbon-neutral building that uses nothing but rammed earth and wood for its walls and structural components.

"The soil they use is taken from the vast earthworks found in the local Nordhavn harbour area, deposited there from the excavation works for the construction of Copenhagen's metro system. The school showcases experiments exploring building techniques and how to bridge the gap between the tradition and the potential."

Student: Jonatan Møller Larsen, Christoffer Bo Haaning and Simon McNair Course:MA Architecture, Settlement, Ecology and Tectonics Tutors: Anne Beim Email: jonatanmoellerlarsen[at]gmail.com, c.haaning[at]hotmail.com and barton.mcnair[at]gmail.com

Energy Islands as Hybrid Landscapes by Christian Kamp Iversen

"This project asks: how can power production infrastructure become natural environments? This project proposes constructing an 'energy island' – a power substation to convert and distribute energy from offshore wind farms.

"A natural environment is established on the 'skin' of the island, inspired by the surrounding typologies of coastal dunes and cliffs: the island has flat areas on which sand and vegetation can be deposited, growing into shrubs, plants and trees and enabling the areas to be used for recreational purposes. It also has steep walls suitable for birdlife. New offshore wind farms are a crucial element in Denmark's current climate act."

Student: Christian Kamp Iversen Course: MA Architecture, Landscape Tutors: Kristine Jensen Email: ckampiversen[at]gmail.com

Remote Futures by Elena Bauer and Lunia D'Ambrosio

"The pandemic has accelerated remote working worldwide and blurred the lines between the home and office. The question now is: how will remote work shape our work life in the near future?

"This design project envisions four personas in different work-life scenarios in 2030. Their workers' rights, level of competitiveness and work-life balance vary greatly from one to the next. Each persona is accompanied by speculative artefacts of the future that make their lives and conditions easier to imagine.

"The project is based on extensive research and interviews with professionals who are already working remotely today."

Student: Elena Bauer and Lunia D'Ambrosio Course: MA Design, Graphic Communication Design Tutors: Rasmus Spanggaard Troelsen and Nikolaj Knop Email: hej[at]elenabauer.de and luniadambrosio[at]gmail.com

Copenhagen Light Rail by Stefan Perriard

"Copenhagen Light Rail is a retake of Copenhagen's future light rail system.

"The project presents proposals for how an electric light rail system can be integrated into the car-free streets, enhance the aesthetic qualities of local areas and make train interiors feel inclusive for all passengers.

"The design creates a new type of social and cultural infrastructure. The individual carriages can be converted into mobile healthcare clinics and libraries travelling between the districts. The carriages can also be used as pop-up shops or exhibition spaces. The train is designed as a modular system, with a rough yet local urban look."

Student: Stefan Perriard Course: MA Design, Industrial Design Tutors: Karina Mose Email: stefan.perriard[at]gmail.com

Partnership content

This school show is a partnership between Dezeen and the Royal Danish Academy of Fine Arts. Find out more about Dezeen partnership content here.

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