Theatre Design & Technology - Spring 2013 - 67

set designs known as
the New Stagecraft, he
saw the emotional value that design could
have on improving
peoples' lives. The immersive environments
that he created with
his scenic designs,
such as his design of
The Miracle, where he
transformed the Century Theatre in 1924
into a Gothic cathedral, made audience
members active participants in the production rather than merely passive onlookers. Through this, Geddes realized the connection between
theatre and architecture and the impact it could have on an audience,
and it wasn't long after that he broadened his philosophies into other
areas of design.
Although not formally trained in the field, Geddes changed his focus to the little-known industrial design movement, where he became
a pioneer by bringing it to the national consciousness. Through designing everyday objects, art became more personable, and the viewer
became the user. Art was no longer relegated to a special venue but
was now accessible as part of the home. Geddes designed a series of
shop windows that were a starting point to bridging the gap between
art, as he saw it, and the audience of the everyday American. He played
upon the country's growing consumer culture and was able to make art
"more to do with the people and their life." The detailed chapters of
this book make it clear how all of us have been affected in some way
by Geddes's work.
Toward the latter part of Geddes's career his ideas had become
so grand and visionary that they were no longer confined to the present. Geddes spent a great deal of time considering the future. His most
comprehensive project encompassing his utopian visions was the Futurama exhibit for the 1939 New York World's Fair. The exhibit's Building of Tomorrow was an idealist vision of what the future could bring.
With us now living in the "future," do we see any of Geddes's ideals existing today? The answer is a resounding, "Yes!" Geddes noticed
the increasing dependency on automobiles and foresaw how it would
soon reshape America. Futurama inspired urban planners to look at
how cities were designed around transportation and accessibility and
resulted in the Federal-Aid Highway Act, which eased the increasingly
car-reliant urban sprawl. After seeing the exhibit, spectators were given
pins that read, "I have seen the future." I would think that after reading
this book, the pins would now read, "I have lived the future."
Geddes is a true master. His work covers such diverse fields but
retains one common thread: good design makes you believe. There
is no doubt that Geddes believed, and now there is no question that I
believe too.

David Rockwell is the founder of Rockwell Group, a New Yorkbased architecture and design firm. His projects include the
Dolby Theatre; scenic designs for Kinky Boots, Lucky Guy, Legally
Blonde, and Hairspray (Tony, Drama Desk, Outer Critics Circle
nominations); Imagination Playground; and Culture Shed, in
collaboration with Diller Scofidio + Renfro. He was honored
with the Smithsonian's Cooper-Hewitt National Design Award for
Interior Design in 2008.

Hollywood Sketchbook

A Century of Costume Illustration
By Deborah Nadoolman Landis;
New York, Harper Design,
2012. 600 pp. Cloth, $75.
Reviewed by Bobbi Owen

Hollywood Sketchbook: A Century of Costume Illustration is
the perfect title for Deborah Nadoolman Landis's most recent
book recording the history of
costume design and illustration
for movies. It contains nary a
production photograph (unless
you count the picture of the author inside the back dust jacket). Instead, it is filled with drawings, paintings,
renderings, and illustrations, some of which were created before the movies were completed and some long after (occasionally in multiple versions).
It celebrates the art-emphasis on art-of costume design and the artistry
of costume design illustration. If the book had been published as a folder of
looseleaf pages, it would be a 600+-page designer's portfolio.
Deborah Nadoolman Landis is not only a successful costume designer
(Coming to America, An American Werewolf in London, Raiders of the
Lost Ark, The Blues Brothers, 1941, and Animal House, among twenty-five
titles), she has become a prolific chronicler of the history and process of
Hollywood costume design, with seven books, a Ph.D dissertation, and a
major exhibition (see p. 52 of this issue). She has worked steadily to fill a
void that has long existed by telling the story of the collaboration between
costume designers and costume design illustrators in Hollywood.

Hollywood career
She uses her own career as an effective way to tell that story. "I was imaginative and my work was intelligent and witty," she says in Hollywood
Sketchbook, "but my drawings were not. I tried not to be consumed by
self-doubt." Even with training in art and design, she feared she might not
be successful and should pursue a different career. "As my professional
life evolved, I discovered that the beautifully rendered drawings that had
eluded me were not what ultimately matter in costume design. I witnessed
indifferent drawings become fabulous costumes, and inspired sketches give

s p r i n g 2013

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Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 2013

Contents
Theatre Design & Technology - Spring 2013 - 1
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http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Feb
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Dec
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Oct
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967May
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Feb
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
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