The Love Architects was performed 561, 8 – 10 year old children through singing, dance, instrumental performance, art and design.
Ondé created the projection mapping for the 9,997 piece organ pipe, designing the scenography for the performance.
The piece is composed of 9 original songs and 9 visuals scenes spanning 1-hour. It tells the story of the Love Architects who set out to create a blueprint to rebuild the fallen city of Arcadia. Destroyed by sin and greed, the Love Architects rebuild the city piece by piece, shaping the narrative progression of the show.
Artistic direction & composition – Laura Howe and Ross Power
Projection Scenography – Jacques-André Dupont & Natalia Sookias
Choreography – Natasha Khamjani
Production Design – Kathy Shenoy
Performed at the Royal Festival Hall on 24 June 2015 part of London Southbank’s Festival of Love.
Produced by It’s All About the Music!
In preparation for the performance, the creative team led workshops in their respective medium with the 500+ children spanning over 15 South-London schools. Workshops in ukulele, singing, dance, spoken word and projection mapping ran parallel through the duration of 2 months. In the workshops the students collaborated with the creative team in producing material and concepts for the show, meanwhile learning the content of the performance.
In collaboration with the Production Designer, Kathy Sheony, we conceptualized two projection workshops. The first focused on visual music, a cinematic form that embodies musical structures.
The students created prints inspired by Wassily Kandinsky’s studies on primitive forms. They then brought their work to life through projection and VJing tools, performing live with controllers to animate their forms to the show’s musical score.
From the material generated with the children, we then set to work to create the visual score. Our concept was derived from the architecture of the organ pipes. We traced the preexisting ‘line forces’ of the architecture as the base for our animations, thus creating compositional unity throughout the 9 scenes.
We worked with concepts of visual music to create a musicality and close connection with the music composition.
We developed modalities in we could work with the pipes, questioning how they can be revealed and animated. This developed our a narrative progression.
Once our animation work was completed, we began the technical preparation in the Hall.
Crucial adjustments to the projection mapping, colour & brightness were made to enhance the relationship between our work and the organ pipes.
After 3 days of technical preparation, we reached the performance day in which the first full rehearsal took place.
We worked closely with the Hall’s lighting designer to create visual unity between the organ pipes and the stage.
The children and their teachers learned 1-hour worth of material, composing a 401 person massed-choir, 80 dancers, 80 ukulele players, spoken word group, a full band and live beat boxer.
The projections worked to create a visual narrative and enhance the performance on stage. It took narrative concepts further to create an atmosphere and mood. Enhancing the architecture of the pipes, our work used lighting as a story telling device.