The Armor Primary Function: Dharka Tiyaatarka oo uu sameeyey Samantha Chijona Garcia and Vladimir Cuenca

Naqshadda The Armor Primary Function: Dharka Tiyaatarka oo uu sameeyey Samantha Chijona Garcia and Vladimir Cuenca waa mid aad u sharaf badan oo ku guulaysatay tartanka qaybta Naqshadeynta Farshaxanka Bandhiga, Masraxa, Qaabka iyo Muuqaalka ee 2020 Abaalmarinta Lacagta ah ee A' Design Award.

LacagFarshaxanka Bandhiga· 2020

The Armor Primary Function: Dharka Tiyaatarka

Samantha Chijona Garcia and Vladimir Cuenca uu sameeyay

Macmiilka: Jazz Martinez Gamboa

Ku Guuleystaha Abaalmarinta Lacagta ah ee A' Design Award ee Qaybta Farshaxanka Bandhiga

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Ku Guuleystaha Abaalmarinta La Xaqiijiyey

Xaqiiji Xaaladda Abaalmarinta #102743

Booqo Bogga Ka Eeg A' Design Award War-saxaafadeed Calaamadda Abaalmarinta

Midabada

Naqshadeynta

Wax ku saabsan The Armor Primary Function: Dharka Tiyaatarka

The Armor waa dhar tiyaatar loo sameeyay jilaaga Richard III oo lagu bandhigayo masraxa riwaayad Shakespeare ah. Dharka waxaa laga sameeyay qalab la dib u warshadeeyay iyo mid la iska daayay. Xariiqyo bir ah ayaa lagu tolay jaakad twill ah, halka gaiters harag ah oo isku dul saaran ay samaystaan qaab-dhismeed kale oo ay isku xidhaan suumman harag iyo buqleyaal. Galoof silsilad-birmid ah ayaa xidha gacanta jaakada, iyo koofiyad velvet ah oo lagu daboolay xariiqyo bir ah ayaa u shaqeysa sida koofiyad dagaal. Lixda qaybood waa la ku dari karaa ama laga saari karaa marka jilaagu isbeddelo inta riwaayadda socoto. Naqshaddu waxay ka tarjumaysaa boqorka iyo ninka nugul ee ku dhex jira labadaba.

Aqoonsiga

Wax ku saabsan Abaalmarinta Lacagta ah ee A' Design Award

The Armor Primary Function: Dharka Tiyaatarka waa guuleystaha Abaalmarinta Lacagta ah ee A' Design Award, aqoonsi sharaf aad u sarreeya oo la siiyo naqshado heerka ugu sarreeya oo quruxsan oo soo jiidasho leh. Guuleystayaasha Lacagta waa shaqooyin aad u dhalaalaya iyo hal-abuur sare leh oo muujiya khibrad, hibo iyo hufnaan naqshadeeyayaashooda. The Armor Primary Function: Dharka Tiyaatarka waa shaqo la filayo inay noqoto shaqo quruxsan oo tusaale ah, xirfad cad leh oo hal-abuur qoto dheer leh. Naqshadahan ku guuleystay Abaalmarinta Lacagta ah ee A' Design Award waa hal-abuur aad loo dareemo oo la ammaano, waxtar leh oo hormariya xuduudaha farshaxanka, sayniska, naqshadaynta iyo tignoolajiyada. The Armor Primary Function: Dharka Tiyaatarka waa hal-abuur dad badan ay doonayaan, kicisa rabitaanno, keena dareenno wanaagsan oo abuura yaab.

Gadaasha Naqshadeynta

Xirmada Warbaahinta

Shahaadooyinka, xubnaha kooxda iyo faahfaahinta farsamada ee uu bixiyay naqshadeeluhu.

Sifooyinka Gaarka ah: This armor, made with fully recycled materials, mixes metallic corset nerves referring to the classic western armor, topped by a butcher's chainmail glove that evokes the bloodthirsty of the character with leather leggings overlapping layers denoting the various faces assumed by the character during the plot. From a modernist vision in terms of fabric, overlapping and weaving of pieces the structure refers to the vulnerability of the King and the man who lives at the same time in Richard III.
Cabbirka & Qaabaynta: Armor- 45cmx30cmx55cm
Helmet- diameter:57cm High: 23cm
Summado: Costume design, Shakespeare, Richard III, Armor, theater, cuban designer, Samantha Chijona Design, schijonag.
Tiknoloojiyada Soo Saarka: The armor is compound by 6 pieces. 1: The metal structure, it is metal lines sewn on a twill weave jerkin jacket, 2: the leather armor, leather gaiters overlapping forms an independent structure that joins the rest of the set with leather straps closed by buckles, 3: The metal glove, a chainmail glove closes the cuff to give the sleeve a shot, 4: The helmet,
a velvet hat lined with metal strips works as an armor helmet 5: The pants, a black twill pants and finally 6: Black leather boots to the knees.
Caqabadda Naqshadda: The development of the piece became a challenge, I wanted to do something great for the character but working in Cuba is always difficult due to the lack of resources, so while researching, I also located materials. Looking in an antique warehouse I found these old pieces of unused corsets bones and leather leggings and decided to use them. With only one month to prepare the entire theater play with more than 16 characters we were detained in this armor for a week, assembling, testing and sewing piece by piece in search of achieving an attractive but useful result.
Cilmi-baadhis: My research flew over two essential aspects, the historical and the technical. After having studied for years Western and Japanese armors, the challenge of creating one was wonderful. I had to solve how I should use the historical engineering structures in those garments with the modern materials I had in hand. I read and compiled images and information, of the western armor, I appropriated the metal and the order of the parts while from the Japanese I took overlays of leather pieces sewn with cord. The result was a very visual and modern armor that keeps its basic function, protection.
Dhiirrigelinta: Having studied for years structures that we use when dressing and that have protected and distancing ourselves from the real world I choose one of my favorite, the armor. I took advantage of the study of Western and Japanese war pieces and modernized it with the use of materials and disused pieces. The text of Shakespeare's play emphasizes the two faces and the physical problem of the character I used it as inspiration to separate and show the two parts of Richard III.
Muddada Mashruuca: The project started in June 2018 in Havana, Cuba and ended in September 2018 in Havana, Cuba.
Socodka Hawlgalka: The piece is compound by 6 small parts, the main three, armor jacket, pant and boots are easy to put, also it has another leather structure which should be placed with buckles while the hat and the glove are closed by an elastic piece. the interaction between the actor and the piece is determined for the modular form of the main piece, the person can take off the leather part, the helmet, the glove and keep only the base jacket, pants and boots, in the same way he can add more pieces throught the evolution of the character inside the theater play.
Shatiyada: Copyrights belong to Chijona, Samantha, 2018
Xubnaha Kooxda: Designer and Creative Director: Samantha Chijona
Designer: Vladimir Cuenca
Amaanta Sawirrada: Image 1,2,3,4,5: Samantha Chijona Photographer/ Samantha Chijona Designer /Richard III/ The Armor /Model: Maria Gabriela Sanchez, 2018