i+D - November/December 2021 - 45

Designed by Roman and Williams,
the NoMad hotel in London
melds Victorian-era design cues
with notes of New York circa the
Roaring Twenties.
(Image: Simon Upton)
Robin Standefer
& Stephen Alesch
(Image: Sebastian Kim)
Layers of rich detail lend
an enveloping drama
to a bar designed by
Roman and Williams.
(Image: Press Fotografi ska)
Of note for the design duo was their work on Zoolander.
" We always loved Hansel's loft [from that movie]. We can see
that space in a variety of interiors we've created including
our own loft-although we never managed a skate ramp in our
apartment. And Maury's offi ce has a connection to elements
of The Standard, High Line hotel, " Standefer says. " You can
fi nd elements in our sets where we were working through a
design idea that reappears years later. " Those elements give
audiences strong clues about the people who inhabit the home.
" A set positively supports the story, enhances the character,
and completes the narrative, " she says. " We always see it
as a character either way. "
In addition to embodying the characters and portraying its
own role, a set (and the refl ection of current trends) also connotes
time and place, providing, as Pavarini says, insight into the
economic level of the play and the story itself. " Art, accessories,
color, and form all play a role in how one perceives the space
and those living there, " Pavarini says. And costumes do the same,
giving insight into the character and building their story. " It has
always amazed me how, when an actor is in costume, they change
personalities, " he offers. " This can even be seen in the way they
move and speak. "
When designing a set from a particular period, " It is important
not only to know the period styles but also why they were
designed in the manner they were, " says Pavarini, with his
costume design knowledge coming back into focus. " In order
to understand the furnishings of any era, one needs to know
how people dressed in that period. Chairs, for instance, are of
different forms that fi t the way people were dressed. Imagine the
chairs and sofas of the 17th and 18th centuries when women
wore large hoops, mantuas, and bustles. They were also corseted
to have incredibly small waists and could hardly move let alone
breathe because of the bones within the corset. The fainting sofa,
or recamier, was designed for them as a place to pass out from
the bindings of their torso. They were forced to sit upright due
to the clothing, so furniture of that period refl ected this in how
they sat and moved. Some of the hoops were so large they had to
enter a doorway sideways. "
i+D - November/December 2021
45

i+D - November/December 2021

Table of Contents for the Digital Edition of i+D - November/December 2021

i+D - November/December 2021 - Cover1
i+D - November/December 2021 - Cover2
i+D - November/December 2021 - 3
i+D - November/December 2021 - 4
i+D - November/December 2021 - 5
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i+D - November/December 2021 - Cover3
i+D - November/December 2021 - Cover4
https://www.nxtbook.com/emerald/id/20211112
https://www.nxtbook.com/emerald/id/20210910
https://www.nxtbook.com/emerald/id/20210708
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https://www.nxtbook.com/nxtbooks/id/20200910
https://www.nxtbook.com/nxtbooks/asid/design_product_guide
https://www.nxtbook.com/nxtbooks/id/20200708_french
https://www.nxtbook.com/nxtbooks/id/20200708
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https://www.nxtbook.com/nxtbooks/id/20190910
https://www.nxtbook.com/nxtbooks/id/20190910_french
https://www.nxtbook.com/nxtbooks/id/20190708
https://www.nxtbook.com/nxtbooks/id/20190708_french
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