Proposal Outline

The Bolshoi Theatre Museum                           
The  Bolshoi  Theatre  Museum  is  one  of  the 
jewels  in  Russia’s  cultural  crown.  Its  collec­
tion, which is based on material relating to the 
Bolshoi’s  productions,  dates  back  to  the  late 
18th century.
The Museum was offcially founded in 1918 by
stage  designer  Fyodor  Fyodorovsky,  with  the 
purpose  of  collecting  and  studying  everything 
relating  to  the  creative  world  of  the  Bolshoi. 
The  collection,  numbering  over  two  hundred 
thousand  items,  includes  paintings,  drawings, 
portraits, photographs, negatives, manuscripts, 
programmes,  theatre  memorabilia,  props,  and 
costumes.
Since its inception in 1776, the Bolshoi Theatre 
has been at the centre of Russian cultural life; 
the space to see Art at the forefront of innova­
tion and excellence, and the place to be seen 
in society. From the 18th century through to the 
Soviet  era,  the  Bolshoi Theatre  was  a  symbol 
of Russian prestige and the most eminent and 
celebrated  exhibitor  of  Russian  artistry.  The 
collection of the Bolshoi Theatre Museum today 
is unique in its scope and wealth of materials, 
                                         Proposal Outline
The Bolshoi Theatre Museum                          
encompassing not only the history of ballet and 
opera, but also offering an unsurpassed insight
into Russian history and culture.
In October 2011 the old historical building opens 
its doors after being closed for a 6­year renova­
tion programme.  For the Bolshoi Theatre Mu­
seum  this  event  creates  a  unique  opportunity 
to  display  to  the  public,  in  specially  provided 
spaces – under the pediment of the theatre and 
in  a  newly  built  modern  underground  venue 
­  the  cultural  gems  of  the  Bolshoi.    It  will  also 
come at an important juncture in the Theatre’s 
history: up until now there has been no perma­
nent display area for the thousands of priceless 
items  owned  by  the  Bolshoi,  these  exhibition 
spaces will give the public a rare insight into the 
Bolshoi’s  creative  world  and  history,  designed 
as  a  ‘total  Bolshoi  experience  and  environ­
ment’ using cutting­edge universally adaptable 
3D  technology  and  models,  advanced  display 
methods and equipment, supported by unique 
multi­media  artistic  solutions  that  are  straight­
forward in installation, utilisation, maintenance 
and upgrade and capable of refecting and ac­
commodating any current exhibiting practice as 
                                         Proposal Outline
The Bolshoi Theatre Museum                          
well as potentially accounting for future techno­
logical advances in the fast evolving exhibition 
industry. 
The  Bolshoi  Theatre  is  renowned  around  the 
world, yet its inner workings and history remain 
shrouded  in  mystery.    Behind  the  beauty  and 
elegance of the ballet and opera lie months of 
labour, not only for the artists on stage, but also 
for those in the workshops and throughout the 
Theatre.    The  specially  allocated  exposition 
space aims to bring to light this unique creative 
environment  which  was,  and  still  is,  highly  in­
fuential in Russian and European culture. The
challenge  is  to  transform  a  symbol  of  Russia 
and a space full of exhibits into a story. It is both 
a story of the individuals and infuences in the
Bolshoi Theatre, and a window on Russian and 
European art, culture, history, and politics.
                                                                                                        
                    
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
 © Veracity 2010 
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
npoekfoe. Veracity Arts ocuoeau Bepoù µuprau
(Vera Dearman), npu noppep»ke ueckonukux
uesaeucurux koucynufaufoe u cneuuanucfoe e
oõnacfu uckycfea.
Bepa popunacu e Mockee u sakou¬una
Mockoeckuù Focypapcfeeuuuù Yuueepcufef
no cneuuanuuocfu Pufepafypuan kpufuka
u kynufyponorun u pononuufenuuo kypc no
Hcfopuu usoõpasufenuuoro uckyccfea. B
Benukoõpufauuu oua saµufuna puccepfauuk
ua pokfopa qunocoqckux uayk e Leqqunpckor
Yuueepcufefe. 3afer e fe¬euue fpex nef
paõofana nekfopor qakynufefa Pycckoro u
Bocfo¬uo-eeponeùckux nsukoe Mau¬ecfepckoro
Yuueepcufefa. Yùpn us yuueepcufefckoù cucferu,
oua nnfu nef paõofana uccnepoeafener-
nonufonoror e Factiva (kornauuu Dow Jones u Re­
uters), a safer õuna eueufafuur cofpypuukor e
pasnu¬uux uspafenuckux u feop¬eckux kornauunx
no oprauusauuu reponpunfuù, rpe sauuranacu
nnauupoeauuer, noprofoekoù u peknaroù
re»pyuapopuux reponpunfuù, npoeopurux e
Poupoue. B aerycfe 2008 r. Bepa ua¬ana paõofafu
xypo»ecfeeuuur koucynufaufor e Space-2 Con­
sulting ÷ kornauuu, npepocfaennkµeù peueuun
no eucfaeo¬uory npocfpaucfey, rpe sauuranacu
apfucfu¬eckur uanpaeneuuer, kofopoe eupocno
e Veracity Arts Consultancy.
npoekfoe. Veracity Arts ocuoeau Bepoù µuprau
(Vera Dearman), npu noppep»ke ueckonukux
uesaeucurux koucynufaufoe u cneuuanucfoe e
oõnacfu uckycfea.
Bepa popunacu e Mockee u sakou¬una
Mockoeckuù Focypapcfeeuuuù Yuueepcufef
no cneuuanuuocfu Pufepafypuan kpufuka
u kynufyponorun u pononuufenuuo kypc no
Hcfopuu usoõpasufenuuoro uckyccfea. B
Benukoõpufauuu oua saµufuna puccepfauuk
ua pokfopa qunocoqckux uayk e Leqqunpckor
Yuueepcufefe. 3afer e fe¬euue fpex nef
paõofana nekfopor qakynufefa Pycckoro u
Bocfo¬uo-eeponeùckux nsukoe Mau¬ecfepckoro
Yuueepcufefa. Yùpn us yuueepcufefckoù cucferu,
oua nnfu nef paõofana uccnepoeafener-
nonufonoror e Factiva (kornauuu Dow Jones u Re­
uters), a safer õuna eueufafuur cofpypuukor e
pasnu¬uux uspafenuckux u feop¬eckux kornauunx
no oprauusauuu reponpunfuù, rpe sauuranacu
nnauupoeauuer, noprofoekoù u peknaroù
re»pyuapopuux reponpunfuù, npoeopurux e
Poupoue. B aerycfe 2008 r. Bepa ua¬ana paõofafu
xypo»ecfeeuuur koucynufaufor e Space-2 Con­
sulting ÷ kornauuu, npepocfaennkµeù peueuun
no eucfaeo¬uory npocfpaucfey, rpe sauuranacu
apfucfu¬eckur uanpaeneuuer, kofopoe eupocno
e Veracity Arts Consultancy.
 
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
                                                                                                        
                    
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
 © Veracity 2010 
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
                       Project Managent Team
                    Veracity Arts Consultancy
Veracity Arts Consultancy is a London-based arts
and culture service that works in close collaboration 
with artists, photographers, designers, independent 
curators,  galleries  and  museums  looking  to  stage 
art projects in the UK and Russia. We develop exhi­
bition proposals, portfolios, production planning and 
project management through to the installation and 
promotions  of  the  completed  artwork  or  projects. 
Veracity  Arts  was  set  up  and  managed  by  Vera 
Dearman with support from a number of independ­
ent art consultants and industry experts, specialis­
ing in promoting and managing spaces for creative 
projects.
Vera has a PhD from Sheffeld University in Critical
and Cultural Theory. She was born in Moscow and
completed  a  degree  in  Philosophy  and  Linguistics 
with a minor in History of Fine Art at Moscow State 
University.  She  held  a  lectureship  in  Russian  and 
Slavonic Studies at the University of Manchester for 
three years.  
After  leaving  academia,  she  worked  as  a  Political 
Research Editor at Factiva (a Dow Jones and Reu­
ters Company) for fve years, followed by free lance
work  in  publishing,  production  and  event  manage­
ment companies developing, planning and promot­
ing various international events held in London.  
                          Rpopmcepckan rpynna
 
In August 2008 Vera became an Art consultant for 
Space-2 Consulting ÷ a company that provides
space solutions to creative industry and businesses 
where  she  led  arts  related  service,  which  evolved 
into Veracity Arts Consultancy.
                    Veracity Arts Consultancy
uaxopufcn e Poupoue u npepocfaennef ycnyru
e oõnacfu kynufypu u uckyccfea. Mu paõofaer
e fecuor cofpypuu¬ecfee c xypo»uukaru,
qoforpaqaru, pusaùueparu, kypafoparu,
ranepenru u rysenru, npepocfaennn cepeuc
no oprauusauuu u npefeopeuuu e »usuu
apfucfu¬eckux npoekfoe e Benukoõpufauuu u
Poccuu. Ckpa exopuf paspaõofka eucfaeo¬uux
npepno»euuù u nopfqonuo, noprofoeka,
nnauupoeauue u eepeuue npoekfoe ennofu
po uucfannuuu, packpyfku u peknarupoeauun
npouseepeuuù uckyccfe u npoekfoe. Verac­
ity Arts ocuoeau Bepoù µuprau (Vera Dear­
man), npu noppep»ke ueckonukux uesaeucurux
koucynufaufoe u cneuuanucfoe e oõnacfu
uckycfea.
Bepa popunacu e Mockee u sakou¬una Mockoeckuù
Focypapcfeeuuuù Yuueepcufef no cneuuanuuocfu
Pufepafypuan kpufuka u kynufyponorun u
pononuufenuuo kypc no Hcfopuu
usoõpasufenuuoro uckyccfea. B
Benukoõpufauuu oua saµufuna puccepfauuk
ua pokfopa qunocoqckux uayk e Leqqunpckor
Yuueepcufefe. 3afer e fe¬euue fpex nef
paõofana nekfopor qakynufefa Pycckoro u
Bocfo¬uo-eeponeùckux nsukoe Mau¬ecfepckoro
Yuueepcufefa. Yùpn us yuueepcufefckoù cucferu,
oua nnfu nef paõofana uccnepoeafener-
nonufonoror e Factiva (kornauuu Dow Jones u Re­
uters), a safer õuna eueufafuur cofpypuukor e
pasnu¬uux uspafenuckux u feop¬eckux kornauunx
no oprauusauuu reponpunfuù, rpe sauuranacu
nnauupoeauuer, noprofoekoù u peknaroù
re»pyuapopuux reponpunfuù, npoeopurux e
Poupoue. B aerycfe 2008 r. Bepa ua¬ana paõofafu
xypo»ecfeeuuur koucynufaufor e Space-2 Con­
sulting ÷ kornauuu, npepocfaennkµeù peueuun
no eucfaeo¬uory npocfpaucfey, rpe sauuranacu
apfucfu¬eckur uanpaeneuuer, kofopoe eupocno
e Veracity Arts Consultancy.
                                           Nina Fowler
Nina Mae Fowler (b. 1981 London, UK) studied
at Wimbledon School of Art (1999-2000) and re­
ceived  a  B.A in  Fine  Art  Sculpture  at  Brighton 
University  (2000­03).  Solo  exhibitions  include  Val­
entino's Funeral, Doc•s, Lyon (2009). Selected
group e€hibitions include The Jerwood Drawing
Pri•e, UK Tour (2010)‚ Salon Du Dessin Contem­
                              Onucauue npepnoxeuun
Myseú Bonumoro Tea1pa 
Myseù ƒonuuoro „eafpa ÷ …fo opua us
sare¬afenuuux »er¬y»uu e kynufypuor
eeuue Poccuu. †onnekuun rysen, ocuoeauuan
ua rafepuanax, censauuux c nocfauoekaru
ƒonuuoro, ofuocufcn ko efopoù nonoeuue 18-ro u
19-ry cfonefunr.
Myseù õun oquuuanuuo cospau e 1918
r. feafpanuuur xypo»uukor ‡epopor
‡eopopoeckur, c uenuk coõpafu u usy¬ufu ece,
¬fo npuuapne»uf k feop¬eckory rupy ƒonuuoro.
†onnekuun, uac¬ufueakµan õonee peyxcof
fucn¬ …kcnouafoe, eknk¬aef kapfuuu, pucyuku,
nopfpefu, qoforpaquu, uerafueu, pykonucu,
nporparru, feafpanuuuù pekeusuf u kocfkru.
Co epereu ceoero ocuoeauun e 1ˆˆ‰ r. ƒonuuoù
„eafp uaxopuncn e ueufpe pycckoù kynufypuoù
»usuu, nennncn recfor, okasueakµur
sua¬ufenuuoe enunuue ua oõµecfeo, rpe
uckyccfeo npepcfaef e aeaurappe uuuoeauuù u
eupakµerocn racfepcfea. C 18-ro cfonefun po
coeefckoù …pu, ƒonuuoù „eafp õun cureonor
pycckoro npecfu»a u carur eupakµurcn u
suareuufur …kcnoueufor pycckoro apfucfusra.
†onnekuun Mysen ƒonuuoro „eafpa e uauu
puu yuukanuua e ceoer pope, no õorafcfey
rafepuanoe, oxeafuekµux ue fonuko ucfopuk
õanefa u onepu, uo fak»e npepnarakµux
uenpeesoùpeuuo-rnyõokoe nouurauue
poccuùckoù ucfopuu u kynufypu.
B okfnõpe 2011 r. cfapoe ucfopu¬eckoe
spauue ofkpueaef ceou peepu nocne
‰-nefueù nporparru pekoucfpykuuu. µnn
Mysen ƒonuuoro „eafpa …fo coõufue
cospaef yuukanuuyk eosro»uocfu nokasafu
uupokoù nyõnuke kynufypuue pparoueuuocfu
ƒonuuoro e cneuuanuuo nocfpoeuuor
pnn rysen noreµeuuu. Šfo coõufue
npepcfaennef coõoù ea»ueùuuù roreuf e
ucfopuu „eafpa‹ eepu po cux nop y rysen ue
õuno nocfonuuoro recfa pnn nokasa fucn¬u
õecueuuux …kcnouafoe, npuuapne»aµux
ƒonuuory, fakoe eucfaeo¬uoe npocfpaucfeo
pacf uupokoù nyõnuke ocoõuù nopxop k
nouurauuk feop¬eckoro rupa u ucfopuu
ƒonuuoro. Paspaõofauuan kak Œuenocfuuù
onuf ƒonuuoro u cnekfaknu c y¬acfuer
spufeneù', npepnaraeran kouuenuun
…kcnosuuuu npepnonaraef ucnonusoeauue
ynufpacoepereuuux fpexrepuux fexuonoruù
u rynufurepuùuoro eucfaeo¬uoro pusaùua.
3apyrauuan npocfofa koucfpykuuu,
nerkocfu npu ycfauoeke, …kcnnyafauuu u
ycoeepueucfeoeauuu npocfpaucfea,
cnocoõuoro ereµafu e ceõn u eocnpouseopufu
nkõue coepereuuue eucfaeo¬uue peueuun,
npuuuraef e pac¬ef eosro»uocfu õypyµero
oõuoeneuun npocfpaucfea c y¬efor rpnpyµux
fexuonoru¬eckux paspaõofok e cfperufenuuo
paseueakµeùcn eucfaeo¬uoù uupycfpuu.
Mupoean useecfuocfu ƒonuuoro „eafpa
õeccnopua, uo ece »e ero euyfpeuuue »usuu,
paõofa u ucfopun ocfakfcn okyfauuuru
faùuoù. 3a kpacofoù u …neraufuocfuk
õanefuux u onepuux nocfauoeok ne»af
recnuu fpypa, ue fonuko pnn akfepoe ua cueue,
uo u pnn cofpypuukoe e cfypunx u ppyrux,
ueeupurux spufenk yronkax „eafpa. •oeoe,
cneuuanuuo ofeepeuuoe …kcnosuuuouuoe
npocfpaucfeo, noseonnef nokasafu …fof
yuukanuuuù feop¬eckuù cnekfaknu c
y¬acfuer spufeneù, kofopuù okasuean, u
no ceù peuu okasueaef, cunuuoe enunuue ua
poccuùckyk u eeponeùckyk kynufypy, peuan
cno»uyk sapa¬y npeoõpasoeauun cureona
Poccuu u npocfpaucfea c …kcnouafaru e
ueeeponfuoe noeecfeoeauue. Šfo u ucfopun
ofpenuuux nuu, u eenuuù e ƒonuuor „eafpe,
npuofkpueakµan saeecy e poccuùckoe u
eeponeùckoe uckyccfeo, kynufypy, ucfopuk, u
nonufuky.
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
 © Veracity 2010 
 
Museum ­ Design Proposal
B O L S H O I                                                                                                        
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
 © Veracity 2010 
                    
porain, Le Carousel du Louvre, Paris (2010)‚ New
Entries, Žalerie Du•an••ourde‘uin, Marseille
(2008);  Soho  Society,  Lazarides,  London  (2008); 
Desire's Smo•ing Žun, Whitecross Žallery, Lon­
don (2008)‚ Don't Stop Me Now, Trolley Žallery,
London  (2008);  Photo­Stories,  Miss  Micks,  Berlin 
(2008):  The  BP  Portrait  Award,  National  Portrait 
Žallery, London, (2008). She was short-listed for
the  Sainsburys  Scholarship  to  The  British  School 
in Rome (2009) She is represented by Žalerie
Du•an••ourde‘uin (Marseille, France) who have
recently  published  an  Artists  Book  entitled  Valen­
tino’s Funeral and will be exhibiting her second solo 
show in May 2011. She lives and works in London.
                                        Huua Oaynep
 
•uua Maù ‡aynep (popunacu e 1981 r., Poupou,
Benukoõpufauun). ’o okou¬auuu Yurõnpouckoù
“ypo»ecfeeuuoù Lkonu e 2000 r., nony¬una
cfeneuu õakanaepa e ƒpaùfouckor Yuueepcufefe
(2000-200” rr.). B 2009 r e Puoue, ‡pauuun
npouna cono ee nepcouanuuan eucfaeka Val­
entino's Funeral, a e rae 2011 r npoùpef ee
efopan nepcouanuuan eucfaeka. B ¬ucno ee
uepaeuux rpynnoeux nokasaoe eounu‹ eucfaeka
xypo»ecfeeuuux npouseepeuuù õpufauckoù
nperuu •µ»epeyp– (2010)‚ eucfaeka uoruuauuù
k uarpape sa ny¬uuù nopfpef •auuouanuuoù
nopfpefuoù ranepeu e Poupoue (2008), a fak»e
eucfaeku e Pyepe, Mapcene u ƒepnuue. B 2008
•uua nony¬una sakas uanucafu nopfpef †apnoca
—kocfu, kofopuù npepcfan nepep rnasaru
uupokoù nyõnuku e Poupouckoù •auuouanuuoù
nopfpefuoù ranepee.
Production Team 
•uua »ueef u paõofaef e Poupoue.
                                         Ben Haworth 
˜en •aworth (b. 1980 Reading, UK) studied at
Wimbledon School of Art (1999-2000) before going
on to study at the Slade School of Fine Art UCL,
receiving a B.A. in Fine Art painting in 2004. During 
this time he also studied in New York on a 4 month 
studio residency at the New York Studio School.  
Following graduation, Ben worked with a number of 
artists, including Sculptors Nathaniel Rackowe and 
Conrad Shawcross before ta•ing up positions in the
Architecture industry. 
™nitially wor•ing as a model ma•er for Alsop SMC
Architects  on  a  number  of  international  competi­
tions  and  developments  (2006­2007)  and  then  for 
•amiltons Associate Architects (200ˆ-2009). Archi­
tecture  projects  include:  Farnborough  Hotel,  Park 
house  (London),  Michael  Faraday  School  (ALsop 
SMC), šon•ers (Alsop SMC). ˜en's Architectural
experiences have further fuelled investigations into 
spatial  visualization  with  the  intent  to  augment  his 
own  practice  as  well  as  provide  technical  support 
for  others  in  order  to  sustain  and  develop  project 
ideas and proposals.  He currently lives and works 
in London.
                                          Beu Xanop1
ƒeu “aeopf popuncn e ropope Pepuur,
Benukoõpufauun, e 1980 r. ’o okou¬auuu
Yurõnpouckoù “ypo»ecfeeuuoù Lkonu e 2000 r.,
ou nony¬un cfeneuu õakanaepa e Cn…ùp Lkone
usoõpasufenuuoro uckyccfea e Yuueepcufefckor
†onnep»e Poupoua (UCL) e 200› r. B fof »e nepuop
ou oõy¬ancn e •uk œopke, npoeepn ¬efupe recnua
e cfypu-pesupeuuuu npu •uk œopkckoù Cfypuùuoù
ukone. ƒeu paõofan co ruoruru racfeparu, eknk¬an
fakux ckynunfopoe kak •afauu…nu Pakoe u †oupap
Loykpocc nepep fer kak ua¬afu carocfonfenuuyk
kapuepy e apxufekfypuoù uupycfpuu.
Cua¬ana ou paõofan e ka¬ecfee usrofoeufenn
rakefoe e Alsop SMC Architects pnn ueckonukux
re»pyuapopuux koukypcoe u npoekfoe (200‰-
200ˆrr), a safer paõofan e •amiltons Associate Ar­
chitects (200ˆ-2009 rr.). •u y¬aecfeoean e fakux
apxufekfypuux npoekfax kak rocfuuuuua ‡apuõopo e
Poupoue u ukona Maùkna ‡apapen. —pxufekfypuuù
onuf packpun e uer fnry k uccnepoeauunr e oõnacfu
npocfpaucfeeuuoù eusyanusauuu u uarepeuue
cospafu ceok coõcfeepuuyk koucynufauuk, a
fak»e npepnarafu ppyrur fexuu¬eckyk noppep»ky
no peanusauuu u paseufuk upeù, npepno»euuù u
npoekfoe. ƒeu »ueef e Poupoue.
                                        Balint Bolygó
 
˜žlint ˜olygŸ (b. 19ˆ‰, Pécs, •ungary) spent his
early  childhood  years  in  Hungry,  before  moving  to 
the UK at the age of nine. He graduated with an MA
in Fine Art at Edinburgh University in 2001. ˜olygŸ's
early work already attracted public attention at the 
Royal Academy Summer E€hibition in 1999. •is
frst major show in London was a collaborative
Žroup Show with David Mach RA at A.T.Kearney
Ltd., Berkeley Sq in 2002.  In the same year he was 
selected for the ˜loomberg New Contemporaries
e€hibition at the ˜arbican's Curve and the Liver­
pool ˜iennial. •is frst Solo e€hibitions in London
included ‘Soft Machines’ at the Hiscox Art Projects 
in 2003 and ‘Mappings’ at the Long and Ryle gallery 
in 2005. •e wor•ed at Antony Žormley's Studio, for
over four years whilst he moved to London and es­
tablished his own studio in Hackney.
Since  2006,  Bolygó’s  continuous  involvement  with 
London’s  Kinetica  Museum,  has  led  to  numerous 
exhibitions  in  London  and  abroad,  that  include 
ŒMagnetic Visions', ŒUniversal Man', and ŒCreatures
Žreat and Small' and ŒMind over Matter'. •e is an
active member of the International Kepes Scociety 
dedicated to light art, and continues to exhibit inter­
nationally and with the organisation.
His  Italian  exhibitions  include  the  prestigious  San 
Fedele Art Prize, Milan (2008), sculpture biennial of 
Piemonte, Turin and Kinetic Step at Step 09 art fair,
2010  Milan.  Other  international  exhibitions  include 
a solo show at ˜udapest's Fes•e• Club 2009, Lo­
cus  Solus,  Benaki  Museum  Athens  2010,  Vienna 
Art Fair 2009/2010 and a commission for the Light­
waves Festival in Dublin's Science Žallery 2009.
In  the  summer  of  2010,  he  unveiled  an  ambitious 
permanent  light  installation  ‘Aurora’ for  a  newly 
open fve-star Town •all •otel in East London.
Bolygó’s  inter­disciplinary  activity,  has  lead  him  to 
work with numerous institutions, including the     Ar­
chitecture Association, ˜ishopsgate ™nstitute, Cam­
paign for Drawing and the Royal Institution.
Bolygó works across sculpture and design, combin­
ing artistic imagination, invention, science, mechan­
ics, engineering and various installation techniques 
to  create  processes  that  reveal  natural  phenome­
na.    Practical  solutions  to  physical,  structural  and 
nature’s  challenges  of  the  everyday  environment 
­friction,  weight,  tension,  compression,  sound, 
movements  and  light  ­  are  the  very  elements  that 
give  an  idiosyncratic  aesthetic  to  his  innovative 
works.  He lives and works in London.
                                       Banuu1 Boúro
ƒanuuf ƒoùro popuncn e 19ˆ‰ r. e ropope
’e¬, Beurpun, rpe npoeen pauuee pefcfeo,
nepeexae e Benukoõpufauuk e eospacfe 9 nef.
B 2001 ropy sakou¬un rarucfpafypy e oõnacfu
usoõpasufenuuux uckyccfe e Špuuõyprckor
Yuueepcufefe.
 
Ero pauuue paõofu euseanu uufepec uupokoù
nyõnuku ua eucfaeke †oponeeckoù —kaperuu
uckyccfe nefor 1999 r. B ¬ucne ero nepeux
nepcouanuuux eucfaeok "Mnrkue rauuuu¨ (Soft
Machines), 200” r. u "†apforpaqun ¨ (Mappings),
2005 r. e Poupoue. ƒonee ¬efupex nef ou paõofan
e cfypuu Šufouu Foprnu u safer ocuoean
coõcfeeuuyk racfepckyk e Poupoue.
Pesynufafaru ero nnopofeopuoù paõofu c
noupouckur Myseer †uuefuku c 200‰ ropa
cfanu ruoro¬ucneuuue eucfaeku kak e
Poupoue, fak u e ppyrux cfpauax, eknk¬an
•Maruufuue npepcfaeneuun– (ŒMagnetic Vi­
sions'), •Yuueepcanuuuù ¬enoeek– (ŒUniversal
l Man'), •Cospauun eenukue u ranue– (ŒCreatures
Žreat and Small') u •µyx unu Mafepun– (ŒMind
over Matter'). •u nennefcn akfueuur ¬neuor
Me»pyuapopuoro •õµecfea ceefoeoro uckyccfea
ur. Fperopu †eneca. ’pu …for ou npopon»aef
y¬acfeoeafu e re»pyuapopuux eucfaekax, fakux
kak ƒueuuane ckynunfypu e „ypuue (2009 r.),
Beuckan nprapka uckyccfe (2009-2010 rr.), u e
2009 ropy eunonuun sakas pnn qecfueann Light­
waves e µyõnuuckoù •ay¬uoù ranepee.
Me»pucuunnuuapuan penfenuuocfu ƒoùro,
npueena ero k cofpypuu¬ecfey co ruoruru
noupouckuru y¬pe»peuunru, e for ¬ucne
—pxufekfypuoù —accouuauueù, ƒuuoncreùfckur
uucfufyfor u õnarofeopufenuuoù oprauusauueù
The Royal Institution. 
Ero feop¬ecfeo e cqeax ckynunfypu u pusaùua,
co¬efaef xypo»ecfeeuuoe eooõpa»euue,
usoõpefeuun, uayky, rexauuky, fexuuky u
pasnu¬uue refopu uucfannuuu pnn eoccospauun
npoueccoe, packpueakµux npupopuue neneuun.
’pakfu¬eckue peueuun sapa¬, eosuukakµux e
npueu¬uor uar okpy»euuu - qusu¬eckux cun,
npupopuux u cfpykfypuux, fakux kak fpeuue,
eec, pacfn»euue, c»afue, seyk, peu»euue u ceef
- …fo fe carue …nereufu, kofopue npupakf
ceoeoõpasuyk …cfefu¬uocfu ero uoeafopckur
paõofar. ƒoùro »ueef u paõofaef e Poupoue.
Since  2006,  Bolygó’s  continuous  in­
volvement  with  London’s  Kinetica  Mu­
                    
                   
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
 © Veracity 2010 
 
                                         Eugenia Emets
 
Eugenia Emets was born in Poltava (U•raine),
in 19ˆ9. She graduated with an MA in Fine Art
at Central Saint Martin's College of Art, London
in 2008. She gained her frst degree from Mos­
cow  State  University  of  International Affairs  in 
2002. 
Emets is a visual and sound artist and found­
er member of the Analema Žroup. ™n her wor•
she  focuses  on  exploring  the  unifying  nature 
of light, sound and matter. She experiments in 
immersive  spatial  installations  which  question 
and push the boundaries of human perception. 
Through  photography,  video,  lasers  and  holo­
graphic  and  sound  projecion,  she  creates  an 
environment  in  which  the  viewer  may  experi­
ence  both  the  outer  intricate  layers  of  reality 
and his or her own physical and emotional re­
sponses.
  With  a  particular  interest  in  the  interactivity 
of space and artwor•, Eugenia has recently
worked  on  several  projects  which  use  new 
technologies  to  help  create  immersive  experi­
ences.  Some  of  those  projects  include:  ‘108’ 
(2006),  an  installation  comprised  of  photogra­
phy,  video­work  and  sound,  ‘Okean  X  Forms’ 
(2007), a laser projection with live ambient mu­
sic, ŒElements of Light' (2008), a video, sound
and  photography  installation,  ‘Manta  Ray’  a 
holographic video projection with multichannel 
sound  (in  collaboration  with  Barbara  Lambert 
(sound  artist)  and  Perseus  Mandillo  (3D  art­
ist),  with  the  support  of  the  Musion  Systems) 
(2009), "A-Field¨ (2010) by Analema Žroup, a
performance commissioned by Mar•et Estate
Project  which  incorporated  live  im­provised 
sound against a backdrop of a laser projection 
and ambient noise generated through biofeed­
back of people interacting with the piece.
 
                     Enreuun Eueu
 
Popunacu e ’onfaee (Ykpauua) e 19ˆ9 ropy.
•ua sakou¬una rarucfpafypy e konnep»e
Ceufpan Ceuf Mapfuuc Hckyccfea u µusaùua
e Poupoue e 2008 ropy. Busyanuuuù u
aypuoxypo»uuk, a fak»e ocuoeafenu u
—pf µupekfop rpynnu Analema Žroup,
Eereuun npoeopuf …kcnepureufu e
cqepe urrepcueuux npocfpaucfeeuuux
uucfannnuuù, noseonnkµue spufenk
norpy»afucn e yuukanuuuù onuf
npnroro esauropeùcfeun c paõofoù. Ee
uccnepoeauun e oõnacfu eocnpunfun
ua¬uuanucu c qoforpaqu¬eckux npoekfoe,
u pacuupnnucu po eknk¬euun e cnekfp
ucnonusyerux repua ceefa, seyka, nasepuux
u ronorpaqu¬eckux npoekuuù.
“ypo»uuk paõofaef e Poupoue u Mockee
u eucfaennefcn kak e Poccuu, fak u sa
pyõe»or. Hennefcn opuur us y¬pepufeneù
nepeoù e rupe nperuu e oõnacfu uckyccfea
ronorpaqu¬eckuù npoekuuù MAMAs, a fak»e
kypafopor —kaperuu Musion e Poccuu ÷
oõpasoeafenuuoù uuuuuafueu e oõnacfu
ronorpaqu¬eckux npoekuuù.
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
 © Veracity 2010 
                                           Nina Fowler
 Proposal                                                             
"˜allet is an art without words¨ šuri Žrigorovich
A series of large­scale drawings, presented as 
transparencies  mounted  onto  custom­made 
lightboxes.
The illuminated drawings can be specifc in si•e
and  shape  to  compliment  the  architecture  of 
any of the designated exhibition areas. 
The luminescence of the works would serve to 
represent  their  archival  origins  (as  negatives) 
and  emanate  a  feeling  of  gentle  reverie  and 
magic of staged performance.
The  following  ideas  discuss  the  content  for 
these artworks.
Idea 1                                                                   
Having spent much time backstage at the Roy­
al  Opera  House  in  London  I  am  always  most 
intrigued by the incalculable amount of people 
who are involved in the productions.
This  same  intrigue  was  awakened  during  my 
time  spent  at  the  Bolshoi Theatre. A multitude 
of talent all working in one direction – to make 
the spectacle happen. 
I want to make a proposal for an artwork, which 
somehow involves as many departments of the 
                                        Huua Oaynep
Rpepnoxeuue                                                     
Œƒanef - …fo uckyccfeo ões cnoe.'
                                         
Kpuù Fpuropoeu¬
Cepun usoõpa»euuù kpynuoro racufaõa,
eunonueuuux ua npospa¬uux rafepuanax u
uaueceuuux ua ceefoeue nauenu.
Mou paõofu npepcfaennkf coõoù
ceoeoõpasuue konna»u, e kofopux
nopnuuuue apxueuue qoforafepuanu rysen
ƒonuuoro feafpa (uerafueu) korõuuupykfcn
c eunonueuuuru ruok pucyukaru. Šqqekf
euyfpeuuero cee¬euun konna»eù noseonnef
ue fonuko "nponeufu¨ usoõpa»euun ua
uerafueax u nop¬epkuyfu rpaqu¬eckyk ocuoey
pucyukoe, uo u npepcfaeufu feafpanuuoe
peùcfeo kak npekpacuyk, eonuykµyk rpesy,
nepepafu ero raruefu¬eckoe o¬apoeauue.
„akue nopcee¬euuue nauuo eapuafueuu
no qopre u pasrepy u roryf opuruuanuuo
oqoprnnfu u pononunfu pasnu¬uue no
cfunk u apxufekfypuur ocoõeuuocfnr
npocfpaucfea.
•u»e cnepykf upeu, packpueakµue
copep»auue roero npoekfa.
                    
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
 © Veracity 2010 
Hpen 1                                                                 
H npoeena ruoro epereuu sa kynucaru
†oponeeckoro •nepuoro µora e Poupoue
u urena eosro»uocfu uaõnkpafu usuyfpu
npouecc cospauun cnekfaknn. Meun
ocoõeuuo ene¬afnuno u eseonuoeano
ocosuauue foro, kakoe orporuoe konu¬ecfeo
nkpeù eoene¬euu e …fof npouecc, kakoe
konoccanuuoe coeokynuoe feop¬eckoe ycunue
cfouf sa ka»poù feafpanuuoù nocfauoekoù.
„e »e rucnu ue ocfaennnu reun u eo epern
roero npeõueauun e ƒonuuor feafpe.
B censu c …fur rue xofenocu õu npepno»ufu
feop¬eckuù npoekf, kofopuù oõLepuuun õu
ycunun u qunurpauuuù fpyp npepcfaeufeneù
carux pasuooõpasuux feafpanuuux uexoe u
npoqeccuù c fer, ¬foõu eonnofufucn e ufore
e raru¬eckoe, ¬apykµee peùcfeo.
H fak»e uapekcu rakcuranuuo nnopofeopuo
ucnonusoeafu pauuyk rue yuukanuuyk
eosro»uocfu paõofu c pepkuru apxueuuru
rafepuanaru ƒonuuoro feafpa, kofopue e
roux konna»ax roryf oõpecfu uoeyk »usuu u
opuruuanuuoe xypo»ecfeeuuoe eonnoµeuue.
Ra-pe-pe (Pas de Deux)                                       
3arucen roero npoekfa peanusyefcn
cnepykµur oõpasor. ’pe»pe ecero, rue
xofenocu õu npoeecfu ceoeoõpasuuù onpoc
theatre as possible, whilst still maintaining the 
magnifcence of the fnal performance..
I also want to take full advantage of access to 
the  archive  of  images  and  use  them  to  create 
something  new  and  provocative  from  images 
otherwise unseen.
Pas des Deux                                                   
I would like to send a question out to everyone 
currently working at the theatre and past asso­
ciates who would like to contribute. This could 
be done most effciently with email but to those
who  cannot  be  contacted  in  this  way,  word  of 
mouth or letter.
The question I would like to ask is as follows:
If you could choose two dancers from any era 
of  the  Bolshoi  Theatre’s  200year  history  and 
place them together to dance a Pas des Deux, 
who  would  they  be  and  in  which  ballet  would 
they perform?
When  I  have  collated  as  many  responses  (in 
a limited time frame) as possible, I will choose 
the most popular answers and reali•e these fc­
tional Pas des Deux as large­scale drawings. 
In  order  to  do  this  I  will  need  to  spend  time 
sourcing imagery from the museum archive to 
fnd the relevant dancers and place them in the
 v
1. Sergei Filin (1990-)* • Natalia ˜essmertnova (19‰”-
9”), Don Qui€ote *šears during which they performed
at the Bolshoi
CEPFEœ ‡HPH• (1990-) u •afanun Hropeeua (19‰”-
9”), µou †uxof CEPFEœ ‡HPH• (1990-) u •afanun
Hropeeua (19‰”-9”), µou †uxof Filin (1990-)* • Natalia
  chosen  ballets.  The  resulting  collages  will 
be  fantastical  scenarios  –  the  essence  of  the 
theatre. 
Duet                                                                    
This would be exactly the same process but the 
question would be in reference to the Opera:
If you could choose two singers from any era of 
the Bolshoi Theatre’s 200year history and place 
them  together  to  sing  a  duet,  who  would  they 
be and in which opera would they perform?
I  hope  these  compositions  will  symbolize  the 
u oõpafufucn ko ecer, kfo e uacfonµee
epern censau c »usuuk feafpa, unu uren
k ueù ofuoueuue e npounor. ’onpoõyùfe
npepcfaeufu‹ kakux peyx fauuopoe nkõoro
nepuopa 200-nefueù ucfopuu ƒonuuoro
feafpa eu xofenu õu coepuuufu e py…f pnn
Pas de Deu€, u e kakor cnekfakne ror õu
õufu ucnonueu …fof eooõpa»aeruù faueu?
Bu ro»efe penufucn eauuru upenru
nkõur ypoõuur pnn eac cnocoõor‹ ¬epes
…nekfpouuyk, oõu¬uyk no¬fy unu nu¬uo.
3afer us ofeefoe, coõpauuux sa
onpepeneuuoe (orpauu¬euuoe) konu¬ecfeo
epereuu, n euõepy uauõonee nonynnpuue,
u nonufakcu eonnofufu …fof ruqu¬eckuù u
eonueõuuù Pas de Deu€ e kpynuoracufaõuor
pucyuke.
Mue nofpeõyefcn uekofopoe epern, ¬foõu
coõpafu usoõpasufenuuuù u qofo-rafepuan
e ryseùuor apxuee u "norecfufu¨ euõpauuux
earu apfucfoe e pekopauuu foro unu uuoro
õanefa. Hforor …foù paõofu pon»uo cfafu
qaufacfu¬eckoe feafpanuuoe peùcfeo,
uukorpa ue cyµecfeoeaeuee e peanuuocfu,
uo eupa»akµee eo eceù nonuofe pyx,
afrocqepy u ucfopuk feafpa.
þya1 (Duet)                                                          
„y »e upek n npepnarak npuno»ufu u
k ucfopuu onepu. †akux peyx onepuux
ucnonuufeneù pasuux nepuopoe 200-nefueù
ucfopuu ƒonuuoro eu xofenu õu ycnuuafu e
py…fe, u e kakoù onepe?
H uapekcu, ¬fo e sapyrauuux ruok
kornosuuunx rue ypacfcn xypo»ecfeeuuuru
cpepcfearu npeoponefu nuueùuocfu epereuu
u coepuuufu e opuoù fo¬ke npounoe u
uacfonµee eenukoro feafpa, pafu cryµeuuuù
oõpas ero ucfopuu u ero pyuu.
† npepno»euuk npunarakfcn usoõpa»euun
ceefoeux konna»eù.
“o¬y nop¬epkuyfu, ¬fo ouu uocnf ¬epuoeoù
Sergei Filin (1990-)* • Natalia ˜essmertnova (19‰”-9”),
Don Qui€ote
CEPFEœ ‡HPH• (1990-) u •afanun ƒeccrepfuoea
(19‰”-9”), µou †uxof
Sergei Filin (1990-) • Natalia ˜essmertnova (19‰”-9”),
Don Qui€ote
CEPFEœ ‡HPH• (1990-) u •afanun ƒeccrepfuoea
(19‰”-9”), µou †uxof
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
 © Veracity 2010 
Maya Plisets•aya (19›”-80) • Ni•olai Tsis•arid•e (1991-
), Swan Lake
Maùn ’nuceukan (19›”-80) u •ukonaù
Uuckapupse (1991-) PEƒEµH••E •3EP•
                    
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
 © Veracity 2010 
                    
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
 © Veracity 2010 
k ucfopuu onepu. †akux peyx onepuux
ucnonuufeneù pasuux nepuopoe 200-nefueù
ucfopuu ƒonuuoro eu xofenu õu ycnuuafu e
py…fe, u e kakoù onepe?
H uapekcu, ¬fo e sapyrauuux ruok
kornosuuunx rue ypacfcn xypo»ecfeeuuuru
cpepcfearu npeoponefu nuueùuocfu epereuu
u coepuuufu e opuoù fo¬ke npounoe u
uacfonµee eenukoro feafpa, pafu cryµeuuuù
oõpas ero ucfopuu u ero pyuu.
† npepno»euuk npunarakfcn usoõpa»euun
ceefoeux konna»eù.
“o¬y nop¬epkuyfu, ¬fo ouu uocnf ¬epuoeoù
xapakfep, fak kak, ue uren po …foro
eosro»uocfu nonuoueuuoù paõofu c apxueor,
n ucnonusoeana uekofopue uecoeepueuuue
usoõpa»euun us uufepuefa. 3aeepueuuue
»e paõofu õypyf nonuocfuk ocuoeauu ua
apxueuux rafepuanax ƒonuuoro feafpa.
—pfucfu õypyf npepcfaeneuu e ceoer
peanuuor oõnuke u opuruuanuuux kocfkrax
foro unu uuoro cnekfaknn, rue ocfauefcn
fonuko coepuuufu ux ua cueue.
“ofenocu õu ofrefufu, ¬fo rou paõofu
oõnapakf xypo»ecfeeuuoù u cfunucfu¬eckoù
yuueepcanuuocfuk, ue onpepennncu
ocfpoakfyanuuuru feupeuuunru
coepereuuoro uckyccfea, a sua¬uf, n
uapekcu, õypyf uufepecuu pasuur
nokoneuunr spufeneù, u ua ponrue ropu
enepep croryf cny»ufu xypo»ecfeeuuur u
oõpasoeafenuuur uennr.
Hpen 2
Buxop ua noknou ÷ …fo konna» us ofpenuuo
uapucoeauuux seesp onepu u õanefa ua
npofn»euuu eceù ucfopuu ƒonuuoro feafpa.
Bo ruoror ou noxo» ua npouecc, ne»aµuù
e ocuoee npepno»euuux upeù ’a-pe-pe u
µy…fa, opuako, erecfo nopfpefa fecuux
esauroofuoueuuù re»py cueuu¬eckuru
nu¬uocfnru Buxop ua noknou nennefcn
õnucfafenuuur fop»ecfeor saeepuakµux
akkoppoe quuana.
H npepnarak opuy eepcuk pnn õanefa (kak
nokasauo e npepno»euuu npoekfa) u opuy, kak
pauu yea»euun k onepe.
†onna»u roryf õufu noeeueuu e uoeux
sanax rysen unu pasõufu ua ofpenuuue
nauuo u pasreµeuu fak, ¬foõu oxeafufu
npocfpaucfeo qpoufoua no eceù pnuue.
Šfa paõofa fak»e õypef nepeueceua ua
npospa¬uuù uocufenu c sapueù kopoõkoù
emotions provoked by the talent fostered at the 
theatre and act as a celebration of the Opera by 
marrying the past with the present.
Attached are some images of how the collaged 
drawings  would  appear.  It  must  be  noted  that 
these draft images have been put together with 
limited access to the archive. The dancers/
singers in the fnal drawings would be complete
in their own bodies and relevant costumes. The 
only  manipulation  would  be  setting  them  to­
gether on the stage. Here I have used some im­
ages from the ™nternet, whereas the fnal draw­
ings will be entirely composed of photographs 
from the Bolshoi archive.
The compositions are partly in flm negative to
represent the archive in which they have been 
preserved  and  further  highlight  the  illusionary 
quality of the images.
The  resulting  artworks  will  have  no  particular 
root in time so I believe they will appeal across 
generations and serve as educational markers 
for many years to come.
Idea 2                                                                  
Curtain Call is a collaged drawing of select­
ed  stars  of  the  opera  and  ballet  companies 
throughout the history of the Bolshoi.
Maya Plisets•aya (19›”-80) • Ni•olai Tsis•arid•e
(1991-), Swan La•e
Maùn ’nuceukan (19›”-80) u •ukonaù
Uuckapupse (1991-) PEƒEµH••E •3EP•
Maya Plisets•aya (19›”-80) • Ni•olai Tsis•arid•e (1991-),
Swan Lake
Maùn ’nuceukan (19›”-80) u •ukonaù Uuckapupse (1991-)
PEƒEµH••E •3EP•
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
 © Veracity 2010 
nopceefku.
†onna»u sapyrauu, ¬foõu npoõy»pafu
eooõpa»euue u uaùfu ofknuk ecex, kfo nkõuf
feafp, epuxan uoeyk »usuu e eusyanuuyk
ucfopuk ƒonuuoro feafpa.
Buxop ua noknou
(cneea ua npaeo‹ Bnapurup Bacunuee,
Kpuù Fpuropoeu¬, Fanuua Ynauoea, Fanuua
Cfenaueuko, Ekafepuua Fenuuep, •afanun
ƒeccrepfuoea, •uua —uauuaueunu,
Ekafepuua Makcuroea, —nekcaupp Pasapee,
Mapuc Puena, —uppeù Yeapoe)
In many ways, it is similar to the process behind 
Pas de Deux and Duet, however, instead of an 
intimate portrait of the relationship between the 
personalities on stage Curtain Call is a sweep­
ing celebration of the ultimate fnale.
I  propose  one  version  for  the  ballet  (as  illus­
trated  in  the  draft)  and  one  as  homage  to  the 
Opera.
This could potentially be hung in the new spac­
es  of  the  museum  or  broken  into  sections  to 
span the length of the pediment space.
Again  this  work  would  be  transferred  onto  a 
transparency to be backlit by a light box.
The  purpose  of  all  of  these  works  is  to  excite 
the  imagination  of  everybody  who  loves  the 
theatre by breathing new life into the visual his­
tory of the Bolshoi.
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
 © Veracity 2010 
                    
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
 © Veracity 2010 
Feodor Chaliapin (1899-191›) •
Vladimir Atlantov (19‰‰-?), La Traviata
‡ëpop Lann nuu (1899-
191›) u Bnapurup —fnaufoe (19‰‰-
?), „paeuafa
napurup —fnaufoe (19‰‰-),
„paeuafa) • Vladimir Atlantov (19‰‰-
), La Traviata
‡ëpop Lann nuu (1899-191›)
™rina Ar•hipova (195‰-1985) • Leonid Sobi­
nov (1900-””), Eugene Onegin
Hpuua —pxunoea (195‰-
1985) u Peouu p Co õuuoe (1900-
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
 © Veracity 2010 
                    
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
 © Veracity 2010 
                                             Balint Bolygo
Bolshoi Theatre Proposal                                    
       
Dancing Iight                                                            
‘Dancing Light’ is a video projection mechanism 
that is f€ed onto the ceiling of the interior. ™t
consists  of  a  semi  opaque  (two  sided)  cylin­
drical  projection  surface,  and  an  electronically 
controlled  rotating  mirror  in  the  centre  of  the 
cylinder. The mirror refects a video projection
from  above  the  unit  from  a  video  projector  so 
that  the  projection  image  is  focused  onto  the 
curved  surface  where  the  projection  appears 
on both sides (inside and outside surface of the 
cylinder).  This projection can also be split with 
a double mirror and by projecting a split screen 
video  footage,  so  a  double  image  will  appear 
on opposite sides of the cylinder.
‘Dancing  Light’  in  nature  will  allude  to  a  tradi­
tional lightshade; it will have an open structure, 
with  working  parts  –  inviting  curiosity  from  the 
public. They will resemble familiar but at same 
time unfamiliar object, where the lightshade will 
be animated with a mixture of archival footage 
as well as a purpose made flm for ŒDancing
Light’
Rpepnoxeuue Bonumouy Tea1py
Tauuymmuú cne1
•„auuykµuù ceef– …fo rexauusr eupeo
npoekuuu, kofopuù saqukcupoeau ua nofonke
noreµeuun. •u cocfouf us nonynpospa¬uoù
(peycfopouueù) uunuuppu¬eckoù
noeepxuocfu npoeuupoeauun u …nekfpouuo
koufponupyeroro kpyfnµerocn sepkana
e ueufpe uunuuppa. 3epkano ofpa»aef
eupeo npoekuuk c ycfauoeneuuoro eeepxy
eupeo npo»ekfopa fakur oõpasor, ¬fo
usoõpa»aeruù oõpas cqokycupoeau
ua usoruyfoù noeepxuocfu, ua kofopoù
usoõpa»euue eosuukaef c peyx cfopou (euyfpu
u cuapy»u noeepxuocfu uunuuppa). Šfo
usoõpa»euue ro»ef õufu fak»e paspeneuo
peoùuur sepkanor unu nyfer npoeuupoeauun
eupeo rafepuana paspeneuuoro …kpaua,
fak, ¬fo peoùuoe usoõpa»euue noneufcn ua
oõpafuoù cfopoue uunuuppa.
•„auuykµuù ceef– no eupy õypef õnuska
k fpapuuuouuory aõa»ypy. Šfo õypef
ofkpufan koucfpykuun c paõo¬uru ¬acfnru,
eusueakµuru nkõonufcfeo y nyõnuku.
†oucfpykuun õypef uanoruuafu suakoruù
npepref, u e fo »e epern õnusok   uoeur
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
 © Veracity 2010 
                    
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
 © Veracity 2010 
 
ŒDancing Light Œ will have a custom made flm of
a choreography sequence that is designed for 
the  work.   A series  of  dancing  sequences  will 
be  recorded  at  the  Bolshoi  that  will  be  based 
around  a  circular  path.  This  sequence  will  be 
flmed and lit from the centre of this circle so in
effect the dancing will happen around the cam­
era whilst the camera is recording at a f€ed
distance.    The  speed  and  rotation  direction 
of  the  camera  will  be  recorded  and  synchro­
nised  with  the  movement  of  the  central  rotat­
ing mirror of ‘Dancing Light’. The overall effect 
will be as if there are dancers dancing around 
the cylindrical path of the Lightshade. Each
‘Dancing  light’  can  have  a  different  sequence 
on it, and even seem to dance with each other.
The  dual  function  for  this  work  becomes  valu­
able,  when  ‘Dancing  Light’  is  used  in  com­
bination  with  existing  archival  footage  (or 
stills)  and  its  very  own  dancing  sequence. 
These  objects  can  be  placed  over  people’s 
heads in areas of high traffc whilst still allow­
ing  a  unique  way  to  convey  images  and  in­
formation  about  the  Bolshoi  and  its  archives.
‘Dancing light’ should also be viewed as a mul­
tiple  solution  to  areas  of  the  Bolshoi  that  are 
still not ‘uite defned. Once the initial setup
and development is made for the frst item,
it  would  be  much  easier  to  reproduce  and 
coeepueuuo uoeur oõLekfor, korpa aõa»yp
õypef o»ueneu ¬epepoeauuer npoeuupyerux
kornosuuuù us apxueuux rafepuanoe u
cneuuanuuo cospauuoro qunura.
†ornosuuun •„auuykµuù ceef– õypef
npoeuupoeafu cneuuanuuo paspaõofauuuù
qunur o xopeorpaqu¬eckor uukne. B ƒonuuor
feafpe õypyf sanucauu cepuu fauueeanuuux
nocnepoeafenuuocfeù, usoõpa»euun kofopux
u pasrecfnfcn no kpyroeoù fpaekfopuu. Šfof
uukn õypef sanucau u oceeµeu us ueufpa
kpyra, fak ¬fo e peùcfeufenuuocfu faueu
õypef eosuukafu eokpyr karepu noka karepa
sanucueaef c qukcupoeauuoro paccfonuun.
Ckopocfu u uanpaeneuue epaµeuun karepu
õypyf sanucauu u cuuxpouusupoeauu c
peu»euuer ueufpanuuoro epaµakµerocn
sepkana •„auuykµero ceefa–. Cospaeaeruù
…qqekf õypef fakoù, kak õypfo fauuopu
fauuykf no uunuuppu¬eckoù fpaekfopuu
aõa»ypa. †a»puù •„auuykµuù ceef– e
ofpenuuocfu ro»ef npoeuupoeafu pasnu¬uyk
nocnepoeafenuuocfu usoõpa»euuù, u ro»ef
pa»e nokasafucn, ¬fo ouu fauuykf ppyr c
ppyror.
µeoùuan qyukuun …foù kornosuuuu
cfauoeufcn eµe õonee sua¬uroù, korpa
•„auuykµuù ceef– ucnonusyefcn pnn
npoeuupoeauun korõuuauuu usoõpa»euuù
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
 © Veracity 2010 
make  editions  of  the  item  –  thus  allowing  for 
multiple  items  that  can  be  strategically  placed 
around  the  theatre  to  make  connection  be­
tween different places and help to direct fow of
public within the theatre’s environment.
 
’Dancing Light’ is a work that offers pockets of 
condensed  theatrical  space  that  can  be  clev­
erly used around the museum as a fe€ible,
creative,  informative  and  spectacular  lighting 
solution.
c cyµecfeykµuru apxueuuru nneukaru
(unu qofocuurkaru) co ceoeù coõcfeeuuoù
fauueeanuuoù nocnepoeafenuuocfu. „akue
kornosuuuu •„auuykµuù ceef– roryf
õufu pasreµeuu uap ronoearu nkpeù e
noreµeuunx c õonuuoù noceµaerocfuk, e
fo »e epern noseonnn yuukanuuur cnocoõor
nepepaeafu oõpasu u uuqoprauuk o »usuu
ƒonuuoro u oõpasu us ero apxueoe.
•„auuykµuù ceef– cnepyef paccrafpueafu
                    
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
 © Veracity 2010 
kak ruoroqyukuuouanuuoe peueuue
pnn fex noreµeuuù ƒonuuoro, qyukuuu
kofopux eµe ue po kouua onpepeneuu.
’ocne foro, kak npouseepeua
nepeoua¬anuuan ycfauoeka u paspaõofka
pnn nepeoro …ksernnnpa, õypef uaruoro
npoµe eocnpouseecfu u cpenafu
poõaeneuun k kornosuuuu, fakur
oõpasor noseonnn ycfauoeufu ueckonuko
fakux kornosuuuù u pasrecfufu ux
cfpaferu¬ecku no ecery rysek, ¬foõu
ycfauoeufu censu re»py pasnu¬uuru
npocfpaucfearu u noro¬u uanpaeufu
peu»euue nofoka nkpeù e feafpanuuor
npocfpaucfee.
•„auuykµuù ceef– - …fo kornosuuun,
c noroµuk kofopoù ro»uo cospafu
coeokynuocfu ocfpoekoe c»aforo,
ckouueufpupoeauuoro feafpanuuoro
npocfpaucfea. „akue kornosuuuu
roryf õufu uckycuo ucnonusoeauu e
pasnu¬uux recfax rysen kak nerko
npucnocaõnueaerue, feop¬eckue
u uuqoprafueuue, u erecfe c fer,
spenuµuue ceefoeue peueuun.
                    
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
 © Veracity 2010 
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
 © Veracity 2010 
                                        Banuu1 Boúro
                                        —epopa pnn ƒonuuoro
—epopa ÷ …fo ceefoean ckynunfypa, kofopan
õypef ucnonusoeafu õonuuoe, nycfykµee
npocfpaucfeo nofonka uap ueufpanuuoù
¬acfuk pecfopaua. Šfa uucfannnuun
sapeùcfeyef ece npocfpaucfeo nofonka u
¬efupe okpy»akµux cfeuu pnn cospauun
ceefoeoro …qqekfa feafpanuuoù cpepu uap
ronoearu nyõnuku.
•esanonueuuuù y¬acfok uap pecfopauor
nennefcn ceoeoõpasuur npocfpaucfeor,
kofopoe cospaef oµyµeuue ofkpufocfu
e ofuocufenuuo uuskux u orpauu¬euuux
o¬epfauunx uufepuepa. •µyµeuue npu
exope nop …fy nycfofy auanoru¬uo fory,
¬fo ¬yecfeyeuu uaxopncu e nnauefapuu.
Šfo ene¬afneuue uaeeeaef pparafusr,
ecfecfeeuuoe ¬yecfeo uanpn»euuocfu,
o»upauun kakoro-fo peùcfeun. Šfo ÷ recfo
feafpanuuoro eakyyra, kofopoe —epopa
uanonuuf saxeafueakµur peùcfeuer.
 
B ocuoey eupa u qopru cfpykfypuoro
kaupennõpa eounu apxufekfypuue pefanu
ƒonuuoro feafpa. ’nfu npycuux ypoeueù,
                                            Balint Bolygo
Bolshoi Theatre Proposal                                    
       
                                                               Aurora
Aurora is a light sculpture that will use the large 
ceiling void above the central restaurant space. 
It is an installation that will use the whole space 
–ceiling and the four surrounding walls to cre­
ate  a  theatrical  light  environment  above  the 
public’s heads.
The  void  above  the  restaurant  is  a  pecu­
liar  space  that  creates  a  sense  of  openness 
within a relatively low and confned interior.
The  feeling  of  walking  under  this  void  is  simi­
lar  to  walking  into  a  planetarium.  This  im­
pression  creates  a  sense  of  drama  whereby 
there  is  a  natural  tendency  to  ‘expect’  some­
thing  to  happen.  This  place  is  a  theatrical 
void  where  Aurora  will  create  a  spectacle.
 
The  form  of  the  chandelier  is  based  on  the 
structure  and  architectural  details  of  the 
˜olshoi Theatre. The fve stall levels the shal­
low  dome  ceiling,  and  the  stage  are  abstract 
distillations  of  the  main  elements  of  the  Au­
ditorium.    The  structure  of  the  piece  is  trans­
parent  and  open  and  will  recreate  the  feel­
ing  of  looking  up  from  within  the  Auditorium. 
                    
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
 © Veracity 2010 
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
 © Veracity 2010 
The central light source for ‘Aurora’ will be from 
hidden laser beams that are housed on the top 
of the unit. A series of f€ed and rotating mir­
rors  will  direct  the  coloured  laser  beams  from 
the  middle,  through  the  transparent  elements 
of  the  chandelier.  The  beams  will  be  made  to 
rotate thereby changing the light effect around 
the space. Each laser beam will have a differ­
ent  direction  and  speed,  which  will  mean  that 
the cycle time of the chandelier, will be almost 
indefnite ÷ thus ma•ing a uni‘ue light e€peri­
ence  every  time  it  is  viewed.  It  is  important  to 
note that ‘Bolshoi Aurora’ will create very slow 
moving light effects. It will have a very slow con­
templative pace and with the use of timers will 
pause for moments allowing the light­scapes to 
be absorbed over a longer time before changing.
 
The  main  materials  used  for  the  construc­
tion  will  be  optical  cast  acrylic  and  glass  to 
ensure  maximum  amount  of  light  dispersion, 
refection and refraction. These materials
will  contain  the  forms  of  decorative  mould­
ings  that  are  used  around  the  reconstruc­
tion  of  the  Bolshoi.  The  elaborate  surface  de­
tails  will  create  unique  refractive  interference 
patterns  that  will  be  projected  on  the  walls. 
For practicality, Œ˜olshoi Aurora' can be ft­
ted with additional LED lighting (LED ribbons)
on  every  Stall  level,  so  that  it  can  be  func­
...
tional  as  a  traditional  light  source  for  the  res­
taurant.  These  light­strips  will  be  concealed 
so that the emitted light is refected bac• by
the  seemingly  glowing  structure  of  the  work. 
The  concept  for  ‘Bolshoi  Aurora’  shows  how 
elements of Bolshoi Theatre are harnessed so 
that it is the nature of the building, that creates 
its  very  own  unique  light­scape.    Bolshoi  Au­
rora  in  not  really  a  chandelier  but  the Theatre 
itself described as an optical visual experiment. 
 
...
uucfannnuuu õypyf onfu¬ecku ofnufue akpun
u cfekno, ¬foõu oõecne¬ufu rakcuranuuoe
ceefoeoe paccenuue, ofpa»euue u
npenorneuue. Šfu npeprefu õypyf eknk¬afu
…nereufu qopr pekopafueuoù nenku,
ucnonusyeroù npu pekoucfpykuuu ƒonuuoro
feafpa. „µafenuuo paspaõofauuue pefanu
noeepxuocfu cospapyf yuukanuuue …qqekfu
npenorneuun u uufepqepeuuuouuue
kapfuuu, kofopue õypyf npoeuupoeafucn ua
cfeuu.
µnn npakfu¬uocfu, " —epopa ƒonuuoro "
ro»ef õufu ocuaµeua pononuufenuuoù
ceefopuopuoù nopceefkoù (CHµ neufoù) ua
ypoeue ka»poro npyca, fak, ¬fo oua cro»ef
qyukuuouupoeafu u kak fpapuuuouuuù
uernyõokuù kynon nofonka u cueua npepcfakf
kak aõcfpakuuu ocuoeuux …nereufoe
aypufopuu. Cfpykfypa uucfannnuuu
npospa¬ua u ofkpufa, oua kak-õu eoccospaef
oµyµeuue esrnnpa usuyfpu aypufopuu.
Ueufpanuuuù ucfo¬uuk ceefa pnn "—epopu¨
õypef cocfonfu us ckpufux nasepuux ny¬eù,
pasreµeuuux ua eepxueù ¬acfu ycfpoùcfea.
Pnp saqukcupoeauuux epaµakµuxcn sepkan
õypef uanpaennfu ueefuue nasepuue ny¬ku
of ueufpa ¬epes npospa¬uue …nereufu
kaupennõpa. ’y¬ku ny¬eù õypyf epaµafucn,
usreunn fakur oõpasor ceefoeue …qqekfu
e okpy»akµer npocfpaucfee. †a»pory
nasepuory ny¬y õypyf sapauu pasnu¬uan
ckopocfu u uanpaeneuue epaµeuun, …fo
osua¬aef, ¬fo epern uukna kaupennõpa
õypef no¬fu ueorpauu¬euuo - fer carur
npouseopn yuukanuuuù ceefo…qqekf ka»puù
pas, korpa ua uero crofpnf. Ba»uo ofrefufu,
¬fo " —epopa ƒonuuoro¨ õypef cospaeafu
repneuuo peurakµuecn ceefoeue …qqekfu.
’ony¬akµuecn oõpasu õypyf nepereµafucn
e o¬euu repneuuor, cosepuafenuuor ferne,
u cospaeaerue npu noroµu faùrepoe naysu
noseonnf ceefoeur neùsa»ar sapep»afucn
ua ueckonuko rruoeeuuù pnn õonee
pnufenuuoro cosepuauun, u safer creuufucn.
 
•cuoeuuru rafepuanaru, ucnonusyeruru e
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
 © Veracity 2010 
                    
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
 © Veracity 2010 
ucfo¬uuk ceefa pnn pecfopaua. Ceefoeue
neufu, õypef ckpufu fakur oõpasor, ¬fo
usny¬aeruù ceef, ofpa»ancu oõpafuo, õypef
cospaeafu ene¬afneuue cee¬euun caroù
cfpykfypu uucfannnuuu.
†ouuenuun paõofu " —epopa ƒonuuoro¨
nokasueaef fo, kak conpn»euu …nereufu
ƒonuuoro feafpa, u kak xapakfep spauun
cospaef ceoù coõcfeeuuuù yuukanuuuù
ceefoeoù neùsa». —epopa ƒonuuoro ÷
…fo eoece ue kaupennõp, uo car feafp,
npepcfaeneuuuù e eupe onfu¬eckoro
eusyanuuoro …kcnepureufa.
3eykoeue uuuu
—pxue ƒonuuoro Mysen ÷ …fo uacuµeuuuù
eusyanuuuù npaspuuk pnn spufenuckoro rnasa,
uo peueuun pnn aypuo apxuea fo»e kpaùue
ea»uu. ’pu paccrofpeuuu urekµerocn
aypuo rafepuana ueoõxopuro npuuurafu e
pac¬ef uekofopue npakfu¬eckue npoõneru
uanu¬un uyra u uyroeoro qoua (ocoõeuuo
e feafpe). Cyµecfeykf o¬euu …qqekfueuue
aypuo fexuonoruu, noseonnkµue cospaeafu
ranue npocfpaucfea cocpepofo¬euun seyka,
ycfpaunkµue paccenuue seyka.
’pepnarakfcn pea peueuun pnn cospauun
"seykoeux uuu¨ e ƒonuuor feafpe‹
roufupoeauue seykoeux õyqepoe ÷
                    
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
 © Veracity 2010 
÷ cupeuuù-kaõuuok c foncfoù npocnoùkoù
seykousonnuuouuoù neuu, orpauu¬ueakµux
pacnpocfpaueuue seyka, unu ucnonusoeauue
cneuuanuuux uanpaeneuuux puuarukoe, unu
seykoeux kynonoe, kofopue cocpepofa¬ueakf
seyk e onpepeneuuux recfax.
Šfu aypuo ycfpoùcfea roryf õufu ecfpoeuu
e neperopopku u nofonku eucfaeo¬uux
npocfpaucfe, unu, e npu ucnonusoeauuu
seykoeoro kynona, ero ro»uo noeecufu unu
ycfauoeufu e koukpefuux npocfpaucfeax ões
ocoõoro cfpykfypuoro ereuafenucfea.
Co¬efauue …fux "seykoeux uuu¨ c
coofeefcfeykµuru eusyanuuuru
rafepuanaru apxuea, oõecne¬ueaef ruõkocfu
npu npoeepeuuu koukpefuux eucfaeok, u
paef eosro»uocfu nerko nopcfpaueafu ux
nop nkõoù apxueuuù rafepuan.
Šfu cfpykfypuue peueuun roryf õufu
ucnonusoeauu e pasnu¬uux npocfpaucfeax,
¬foõu nocefufenu rornu urefu pocfyn k
euõpauuory rafepuany apxuea. "3eykoeue
uuuu¨ õypef koupeucupoeauuuru
uufepakfueuuru npocfpaucfearu, rpe
¬enoeek cro»ef noruuyfuo uaruyfu e
pasnu¬uue onepu u euùfu us uux ões
ucnonusoeauun uayuuukoe. Šfu npocfpaucfea
õypyf cny»ufu ue fonuko uuqoprafueuuru
uuuaru e feafpe, uo recfaru pnn ofpuxa.
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
 © Veracity 2010 
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
 © Veracity 2010 
                                            Ben Haworth
Bolshoi Theatre Proposal                                    
     
The idea of this part of the proposal was to ex­
plore the idea of screens, projections and holo­
graphics. The general focus here is on experi­
menting  with  generative  form  types  that  could 
be used to create partitions, projection environ­
ments or even complete rooms in themselves. 
In doing so, potential is created within an inter­
esting  and  engaging  environment  for  display­
ing  video  footage  as  well  as  objects  from  the 
Bolshoi’s extensive archive.
Largely inspired by the concept of ‘Biomimicry’. 
A process  of  pouring  ink  onto  paper,  is  later 
mapped  by  a  computer  to  generate  a  unique 
formal  language  that  expresses  movement, 
light and texture. All of which are synonymous 
with the language of the Ballet, albeit expressed 
here within the format of a contemporary spa­
tial and Architectural language. 
Still  in  a  ‘concept  phase’,  the  ideas  here  are 
not tied to specifc spaces within the ˜olshoi.
Instead,  the  idea  is  put  forward  as  a  general 
spatial format that could be explored and devel­
oped  at  a  later  stage  in  conjunction  with  input 
from the Bolshoi team. 
                                               Beu Xanop1
Rpepnoxeuue Bonumouy 1ea1py                    
     
3arucen …foù ¬acfu npepno»euun saknk¬aecfn
e oõurpueauuu upeu ucnonusoeauun …kpauoe,
npoekuuù u ronorparr. B ocuoeuor …fo
…kcnepureufu c reuepafueuuru funaru qopr,
kofopue roryf õufu ucnonusoeauu pnn cospauun
neperopopok, npoekuuouuux cpep unu carux
koruaf.
’pu …for, e parkax uufepecuoù u npuenekafenuuù
oõcfauoeku cospaefcn eosro»uocfu pnn
ofoõpa»euun eupeo rafepuanoe, a fak»e
npeprefoe us oõuupuoro apxuea ƒonuuoro
feafpa.
Bpoxuoeeuue no¬epnuyfo us npuuuunoe
•ƒuouuku–.
’pouecc uanueauun ¬epuun ua õyrary, nospuee
ofoõpa»aefcn ua kornukfepe pnn cospauun
yuukanuuoro ¬efkoro nsuka, kofopuù eupa»aef
peu»euue, ceef u fekcfypy. Bce ouu cuuoru¬uu
c nsukor õanefa, xofn u npepcfaeneuu specu e
qoprafe coepereuuoro npocfpaucfeeuuoro u
apxufekfypuoro nsuka.
•axopncu eµe e "kouuenfyanuuoù cfapuu¨,
…fu sarucnu ue npuensauu k koukpefuur
noreµeuunr e npepenax ƒonuuoro feafpa.
Brecfo …foro, upen npepnaraefcn kak oõµuù
npocfpaucfeeuuuù qopraf, kofopuù ro»uo
usy¬afu u paseufu ua õonee nospuer …fane
npoekfa, npu y¬acfuu knk¬eeux cofpypuukoe
ƒonuuoro feafpa.
                    
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
 © Veracity 2010 
                    
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
 © Veracity 2010 
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
 © Veracity 2010 
                    
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
 © Veracity 2010 
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
 © Veracity 2010 
                    
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
 © Veracity 2010 
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
 © Veracity 2010 
                    
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
 © Veracity 2010 
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
                                      Sound Pockets
Proposal                                                            
    
The  Bolshoi  Museum  archive  is  a  feast  for 
the eyes visually but solutions for the audio 
archives  are  just  as  important.    There  are 
practical problems regarding noise pollution 
and background noise (especiaIIy in a Thea-
tre) to consider when exhibiting audio mate-
rial. There are very effective audio technolo-
gies available to create small focused sound 
spaces that eliminate the spilling of sound.
There  are  two  solutions  to  create  ‘sound 
pockets’ within  the  Bolshoi  theatre:  the 
installation  of  sound  booth  seating  that 
have extensive sound insuIating foam
–  limiting  sound  spill,  or  using  special 
directional  speakers  or  sound  domes 
that focus sound into a speciñed areas.
These  audio  devices  can  be  built  into  par-
tition waIIs and ceiIings of the exhibition
spaces, or as in the case of the sound dome 
- can be hung and instaIIed into speciñc
spaces without much structural intervention.
The  combination  of  these  ‘sound  pockets’
with relating visual archive material, allows 
ñexibiIity for hosting speciñc exhibitions, and
                                   3nykonme uumu
Proposal                                                             
 
—pxue ƒonuuoro Mysen ÷ …fo uacuµeuuuù
eusyanuuuù npaspuuk pnn spufenuckoro rnasa,
uo peueuun pnn aypuo apxuea fo»e kpaùue
ea»uu. ’pu paccrofpeuuu urekµerocn
aypuo rafepuana ueoõxopuro npuuurafu e
pac¬ef uekofopue npakfu¬eckue npoõneru
uanu¬un uyra u uyroeoro qoua (ocoõeuuo
e feafpe). Cyµecfeykf o¬euu …qqekfueuue
aypuo fexuonoruu, noseonnkµue cospaeafu
ranue npocfpaucfea cocpepofo¬euun
seyka, ycfpaunkµue paccenuue seyka.
’pepnarakfcn pea peueuun pnn cospauun
"seykoeux uuu¨ e ƒonuuor feafpe‹
roufupoeauue seykoeux õyqepoe ÷
cupeuuù-kaõuuok c foncfoù npocnoùkoù
seykousonnuuouuoù neuu, orpauu¬ueakµux
pacnpocfpaueuue seyka, unu ucnonusoeauue
cneuuanuuux uanpaeneuuux puuarukoe, unu
seykoeux kynonoe, kofopue cocpepofa¬ueakf
seyk e onpepeneuuux recfax.
Šfu aypuo ycfpoùcfea roryf õufu ecfpoeuu
e neperopopku u nofonku eucfaeo¬uux
npocfpaucfe, unu, npu ucnonusoeauuu
seykoeoro kynona, ero ro»uo noeecufu unu
ycfauoeufu e koukpefuux npocfpaucfeax
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
 © Veracity 2010 
                    
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
 © Veracity 2010 
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
 © Veracity 2010 
 is easily updatable with any archive material. 
These  structures  can  be  used  in  various 
spaces  to  allow  the  public  to  have  access 
to  selected  archive  material.  The  ‘sound 
pockets’ will  be  condensed  interactive 
spaces  where  the  public  can  momentarily 
step  in  and  out  of  various  operas  without 
the  need  for  headphones.  These  spaces 
will  not  only  be  informative  pockets  with-
in the theatre but spaces for reIaxation.
ões ocoõoro cfpykfypuoro ereuafenucfea.
Co¬efauue …fux "seykoeux uuu¨ c
coofeefcfeykµuru eusyanuuuru
rafepuanaru apxuea, oõecne¬ueaef ruõkocfu
npu npoeepeuuu koukpefuux eucfaeok,
u paef eosro»uocfu nerko nopcfpaueafu
ux nop nkõoù apxueuuù rafepuan.
Šfu cfpykfypuue peueuun roryf õufu
ucnonusoeauu e pasnu¬uux npocfpaucfeax,
¬foõu nocefufenu rornu urefu pocfyn k
euõpauuory rafepuany apxuea. "3eykoeue
uuuu¨ õypy f koupeucupoeauuuru
uufepakfueuuru npocfpaucfearu, rpe
¬enoeek cro»ef noruuyfuo uaruyfu e
pasnu¬uue onepu u euùfu us uux ões
ucnonusoeauun uayuuukoe. Šfu npocfpaucfea
õypyf cny»ufu ue fonuko uuqoprafueuuru
uuuaru e feafpe, uo recfaru pnn ofpuxa.
                    
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
 © Veracity 2010 
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
 © Veracity 2010 
                                                    Plinths
Proposal                                                             
        
The  production  team  have  been  looking  into 
forms and structures that play on the traditional 
notion of the plinth. The following pages show 
models that are based around the the theme of 
‘wrapping’. That is, structures that literally have 
the  potential  to  wrap  around  spaces,  creating 
potential  for  displaying  the  archive  in  a  multi­
tude of forms and arrangements. E€pressing
the  beauty  of  the  archive  that  currently  exists 
as  well  as  forming  a  structural  language  that 
coexists with the existing Architecture. 
                                                     Rauenu
Rpepnoxeuue                                                    
        
’ooekfuan rpynna sauuranacu paccrofpeuuer
qopr u cfpykfyp, kofopue coofeefcfeykf
fpapuuuouuory nounfuk eucfaeo¬uux naueneù.
µanee ua cfpauuuax nokasauu ropenu, e
kofopux esnfa sa ocuoey ua upen "oruõauun¨.
„o ecfu, cfpykfypu, kofopue e õykeanuur
crucne nofeuuuanuuo ro»uo oõepuyfu eokpyr
npocfpaucfea, cospaean eosro»uocfu pnn
oprauusauuu rafepuana apxuea e ruorooõpasuu
qopr u kornouoeok, ofoõpa»an kpacofy
cyµecfeykµero apxuea, a fak»e qoprupyn
cfpykfypuuù nsuk, kofopuù cocyµecfeyef c
okpy»akµeù apxufekfypoù.
                    
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
 © Veracity 2010 
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
 © Veracity 2010 
This  page and Previous page:
Architectureal  renders  show­
ing the potential for a wrapping 
‘plinth’  structure.  Using  the 
Bolshoi’s Pediment space as a 
context. 
Also,  in  these  pictures  are 
examples  from  the  archive  as 
well  as  images  of  the  ‘Sound 
Booths’  (See  previous  section 
on ‘Sound Pockets’).
Šfa u npepupyµan cfpauuuu‹
— p x u f e k f y p u u e
eusyanusauuu, nepepakµue
nofeuuuanuuue eosro»uocfu
cfpykfypu oõepfueaerux
"naueneù¨. B ka¬ecfee
koufekcfa ucnonusoeau
qpoufou ƒonuuoro feafpa.
†pore foro, specu
npepcfaeneuu npurepu
us apxuea, a fak»e oõpasu
"3eykoeux õyqoe¨ (cr.
npepupyµuù paspen u
"3eykoeue uuuu¨).
                                        Strip  lighting
Proposal                                                             
        
Following on from the theme of ‘wrapping’ (see 
plinth section), the idea proposed here is to ex­
plore  the  potential  of  using  light  to  exentuate 
and defne the spaces within the ˜olshoi.
Light  is  in  itself  a  powerful  medium  and  is  es­
sential when considering  any kind of presenta­
tion space. 
On  the  following  pages,  the  new  spaces  have 
been vizualised  with material from the archive. 
Surrounding  the  wall  based  displays  are  strip 
lights that not only frame the material itself but 
actually defne the uni‘ue characteristics of the
space. 
Conceptually, the lines formed by the lights
reference  the  stage  and  the  nature  of  perfor­
mance  as  well  as  the  visual  spectacle  of  the 
Ballet itself. 
                                  Reu1a ocnemeuun
Rpepnoxeuue                                                     
        
’popon»an fery "oruõauun¨ (cr. paspen
nauenu), npepnaraeran specu upen
saknk¬aefcn e usy¬euuu eosro»uocfu
ucnonusoeauun ceefa, ¬foõu onpepenufu
u akueufupoeafu npocfpaucfea ƒonuuoro
feafpa.
Car no ceõe ceef - …fo roµuuù qakfop,
kofopuù ureef ea»uoe sua¬euue npu
paccrofpeuuu nkõoro popa eufaeo¬uoro
npocfpaucfea.
µanee nokasauo eusyanuuoe npepcfaeneuue
rafepuanoe us apxuea e uoeux npocfpaucfeax.
Šnereufu …kcnosuuuu, pacnono»euuue ua
cfeuax, okpy»euu nonocaru orueù, kofopue
ue fonuko oõparnnkf npepcfaeneuuuù
rafepuan, uo u nop¬epkueakf yuukanuuue
xapakfepucfuku npocfpaucfea.
†ouuenfyanuuo, nuuuu, oõpasoeauuue
cee¬euuer neuf, nennkfcn eonnoµeuuer
cueuu u u xapakfepa ucnonueuun, a fak»e
eusyanuuoro npepcfaeneuun õanefa.
                    
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
 © Veracity 2010 
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
 © Veracity 2010 
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
 © Veracity 2010 
                    
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
 © Veracity 2010 
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
  Illuminating Archives
 
Proposal                                      
Lighting  the  archive  objects 
within the exhibition environment 
can be done in a creative and in­
teractive  way. As  all  the  spaces 
suggested  for  permanent  exhi­
bition,  are  dark  spaces,  with  no 
natural  light,  all  the  lighting  can 
be fully designed and controlled. 
The concept behind ‘Illuminating 
Archives’ is  to  use  an  array  of 
narrow  beam  spotlights  that  are 
fe€ible to accommodate a range
of  changing  subjects.  These 
lights would be set up to only illu­
minate  certain  archive  materials 
and  objects  at  a  time  and  thus 
only  becoming  visible  when  the 
lighting is on. The arrays of spot­
lights  areprogrammed  to  come 
on  in  a  particular  sequence 
therefore  directing  the  public’s 
attention  in  a  particular  order.
‘Illuminating Archive’ mimics the­
atrical lighting, and presents the 
Archive objects in a dynamic way, 
in a fe€ible spatial environment.
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
 © Veracity 2010 
                    
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
 © Veracity 2010 
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
            Osapnmmue apxunm
Rpepnoxeuue                               
’opceefka apf-oõLekfoe ua
eucfaekax ro»ef õufu kpeafueuoù
u uufepakfueuoù. Ecnu ecn ocuoeuan
eucfaeo¬uan nnoµapu saferueua u
ue ureef ecfecfeeuuux ucfo¬uukoe
oceeµeuun, fo ece oceeµeuue ro»uo
uacfpoufu u koufponupoeafu.
Hpen ••sapnkµux apxueoe–
saknk¬aefcn e ucnonusoeauuu
yskux ny¬eù of npo»ekfopoe,
kofopue ro»uo ycfauoeufu ua
paccfonuuu of oõLekfoe. Mo»uo
õypef fak uacfpoufu oceeµeuue,
¬foõu oceeµeuuuru okasueanucu
kakue-fo onpepeneuuue apf-
oõLekfu, kofopue npu euknk¬euuoù
nopceefke õunu õu ue eupuu.
’po»ekfopa nporparrupykfcn fakur
oõpasor, ¬foõu e onpepeneuuoù
nocnepoeafenuuocfu oceeµafu
oõLekfu, fakur oõpasor, ynpaennn
euurauuer nocefufeneù e uy»uor
uanpaeneuuu.
••sapnkµue apxueu– konupykf
feafpanuuuù ceef u, fak»e kak u e
feafpe oceeµaefcn uy»uoe e pauuuù
roreuf recfo ua cueue, eupennkf e
ruõkor u puuaru¬eckor npocfpaucfee
ueoõxopurue oõLekfu.
Museum ­ Design Proposal
B O L S H O I                                                                                                        
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
 © Veracity 2010 
                                        
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
 © Veracity 2010 
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
                                              Wall Wrap
Proposal                                                             
        
The  concept  of  the  ‘Wall  wrap’  is  an  idea  that 
was  generated  while  considering  the  existing 
column features of the new spaces in the Base­
ment area. 
The idea is to construct one fowing wall that
could  wrap  around  the  room  whilst  using  the 
position of the e€isting colums to defne the
form of the ‘wrap’.
In  doing  so,  potential  is  created  for  seperate 
booth spaces, as well as increasing the surface 
area  of  the  wall  in  which  the  archive  material 
could be presented on. The new walls that are 
created could also operate as spaces in which 
to  conceal  any Audio  Visual  equipment  that  is 
being used for projections and/or the creation
of ‘Sound Pockets’. 
                                 Oruõammue c1eum
Rpepnoxeuue                                                    
        
Hpen, cfonµan sa kouuenuueù "•ruõakµux
cfeu¨, noneunacu npu paccrofpeuuu
cyµecfeykµero pnpa konouu kak cneuuquku
uoeux npocfpaucfe e nopeanuuor
noreµeuuu.
Hpen cospauun opuoù npopon»ufenuuoù
cfeuu, kofopan ro»ef oõoruyfu koruafy,
opuoepereuuo sapeùcfeyn pacnono»euue
cyµecfeykµux konouu fakur oõpasor
onpepennn usoruyfyk qopry.
’pu …for cospaefcn nofeuuuanuuan
eosro»uocfu nony¬euun ofpenuuux
cfeupoeux npocfpaucfe, a fak»e
yeenu¬ueaefcn nnoµapu noeepxuocfu
cfeu npocfpaucfea, ua kofopux roryf
õufu npepcfaeneuu apxueuue rafepuanu.
’ony¬euuue uoeue cfeuu fak»e roryf
õufu sapeùcfeoeauu kak npocfpaucfea, rpe
ro»uo ckpufu nkõoe aypuo-eusyanuuoe
oõopypoeauue, kofopoe ucnonusyefcn pnn
npoeuupoeauun u / unu cospauun "3eykoeux
uuu¨.
This Page: 
Illustrating  how  the  ‘wall 
wrap’ could  be  used  to  in­
corporate  the  form  of  the 
existing columns in one con­
tinuos  movement  around 
the room. 
•a …foù cfpauuue‹
’okasauo kak
u c n o n u s o e a u u a n
"•ruõakµan cfeua¨
ro»ef sapeùcfeoeafu
cyµecfeykµue konouuu
e opuor uenpepueuor
usoruyfor peu»euuu
eokpyr koruafu.
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
 © Veracity 2010 
                    
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
 © Veracity 2010 
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
that  stage  costumes,  props,  and  models  from 
past productions. These objects would only be­
come visible through the mirror, once they are 
strategically lit from the back of the wall. 
‘Mirror  Wall’  offers  a  museum  style  exhibition 
solution with the theatre’s context. It gives the 
public an imaginative and creative access to the 
˜olshoi archives, with full fe€ibility and adapt­
ability, to change e€hibits for specifc events
and curators. 
                                                                            
pekopauuù, cueuu¬eckux kocfkroe, napukoe,
oõyeu u ecero ocfanuuoro. Buyfpu •3epkanuuoù
cfeuu– ro»uo ycfpoufu eufpuuu, npu cneuuanuuo
nopoõpauuor ceefe cfauoenµuecn eupururu,
e kofopux u õypyf eucfaennfucn kocfkru u
pekopauuu c npounux nocfauoeok.
•3epkanuuan cfeua– npepnaraef peueuue e
ryseùuor cfune, uo c feafpanuuur yknouor. •ua
paef nocefufennr eosro»uocfu npukocuyfucn
k reuuanuuoù ucfopuu •ƒonuuoro– u
no¬yecfeoeafu, ckonuko fanaufa u fpypa eno»euo
e ka»pyk nocfauoeky, e ka»puù oõpas ua cueue.
Peueuue o¬euu ruõkoe, ero ro»uo apanfupoeafu
nop coõufue nkõoù uanpaeneuuocfu, nop nkõoro
kypafopa.
                                             MIrror Wall
Proposal                                                             
   
Mirror wall’ is a concept that showcases select­
ed  items  and  footage  of  the  Bolshoi  archive. 
‘Mirror wall’ resembles the practice mirror of a 
dance studio with a large expansive mirror sur­
face that refects bac• the space around. The
mirror  surface  of  ‘mirror  wall’  is  a  special  two­
way mirror that has a range of multi media dis­
plays and exhibition cabinets arranged behind 
it.  
Once the video walls show footage of curated 
material, the mirror becomes transparent, thus 
revealing what is behind.  Some screens can be 
life size and play actual practice sessions of life 
size dancers – giving the public an almost live 
experience of what it is like to be up close and 
personal with the dancers.  Additional screens 
can be showing series of photographs, flms
and design material from the archive. Empha­
sis can be put on behind the scene information, 
whereby  the  public  get  a  glimpse  of  the  enor­
mous ‘craft’ that is invested in the Bolshoi pro­
ductions  ­  wig  making,  shoemaking,  costume 
design, backdrop painters etc.  
In  addition  to  multi  media  technology,  ‘Mirror 
wall’  can  have  built­in  display  cabinets  behind 
                                3epkanuuan c1eua
Rpepnoxeuue                                                    
    
•3epkanuuan cfeua–- kouuenuun, paspaõofauuan
pnn peroucfpauuu yuukanuuux npeprefoe u
qoforafepuanoe us apxuea ƒonuuoro feafpa.
•ua eusueaef accouuauuu c õanefuur knaccor,
•cfaukor– u sepkanaru eo eck cfeuy, e kofopux
ofpa»aefcn okpy»akµee npocfpaucfeo.
•3epkanuuan cfeua– cocfouf us cneuuanuuux
peycfopouuux sepkan u cneuuanuuoro
npocfpaucfea sa uuru, e kofopor pasreµakfcn
eupeorouufopu u eucfaennkfcn npeprefu us
apxuea.
3epkana cfauoenfcn npospa¬uuru cpasy
»e, kak fonuko ua¬uuaefcn o¬epepuoù nokas
eupeorafepuanoe, u ckeosu uux cfauoeufcn eupeu
fpaucnupyeruù qofo unu eupeopnp. •ekofopue
…kpauu roryf õufu e nonuuù pocf u nokasueafu
sanucu uacfonµux penefuuuù, cospaean fakur
oõpasor …qqekf npucyfcfeun- nocefufenu
croryf oµyfufu ceõn e õanefuor knacce pnpor
c »ueuru fauuoparu. µononuufenuuue …kpauu
roryf nokasueafu apxueuue qoforpaquu,
eupeosanucu, unnkcfpauuu u uaõpocku.
Mo»uo crecfufu euurauue nocefufeneù •sa
kynucu–, ¬foõu pafu ur npepcfaeneuue o
fex ueuroeepuux safpafax, ¬enoee¬eckux u
rafepuanuuux, eno»euuux e cospauue ecex …fux
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets
 © Veracity 2010 
                    
Museum ­ Design Proposal
B O L S H O I                                                                                                                             
 © Veracity 2010 
Nina  Fowler 
Balint  Bolygo
Vera  Dearman
Ben  Haworth
Eugenia Emets

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