The stage has no scale until the actor arrives. Much like each of the plinths in Yamasaki’s gridded city. Ever wondered what Yamasaki’s gridded city would have looked like if each of the plinths had been drawn to the same scale?
Perhaps this plan can be used somehow to inform the plan of the stage…
Yamasaki sits on his own white marble plinth (he clad a lot of his buildings in white marble). He is immersed in his drawing board which obscures his view of Pruitt-Igoe. There is no longer a plinth in the drawing dedicated to The Architect as we are on The Architect’s plinth. There are 2 different sized plinths in the drawing, one square, and one half-square width so that square and rectangular plans may both fit. The grid survives, but is slightly more chaotic. In the bin is the bad press from Pruitt-Igoe. Projects which have been destroyed to be located nearer the bottom, where they are forgotten about and trampled on on the floor. Newer projects, or projects that have so far survived to be located at the top.
The Architect’s plinth is this time suspended in space, with items such as his monograph, degree certificates, AIA Award, and money (his airport in Saudi Arabia has been featured on their currency) floating past.