Diana Budds is an independent design journalist based in New York
’s Manhattan office, there is a room filled with dozens of models for the musical and theatre sets he has designed over the years. The shelves are lined with miniature worlds rendered at a half-inch scale: tiny cardboard cut-outs of the shoe factory in. In the centre of the room stands a long table for meetings with directors and choreographers, and toward the back are the desks of the designers busily at work on new productions.
, a guide to creative America), has created more than 50 sets for plays and musicals, but the role of theatre in his work runs much deeper than any individual project; it’s integral to the way he thinks about architecture.
‘Architects have a great visual and three-dimensional awareness of space, and not all theatrical designers work in that way,’ says Sladen. ‘They might work from a sketch of a visual picture or they might start with colour palettes. From the beginning, David is always thinking, “How is this going to work?”’, a realistic-looking factory floor was transformed into a fantasy world using a change in lighting and by converting a conveyor belt into multiple moving treadmills on which the actors danced.
Rockwell appreciates that more people will now be able to see and experience the models he has made following their acquisition by the V&A. ‘I’m intrigued and honoured and terrified all at the same time because they’re objects I love having,’ he says. ‘It’s sort of a step in letting go of the object, keeping the memory, and then being part of this collective memory.
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