1. 1
This is the first stage of the process
– planning our ideas. We created a
moodboard that included all of our
individual ideas based on our
research of New York City and
Washington Heights and knowledge
of the script.
2
The next stage is designing a collective sketch of all our ideas put together.
We considered the reasons behind our ideas such as historical and
geographical context. For example, we thought wrapping ivy around the
drain pipe would add to the rough feel of the set and make the scenery look
aged.

2. 3
Material? Where can we get it from? Why are we using it?
Trash can Already got After the interval the street gets trashed. So in act 1 there will not be a trash can but in
act 2 there will and with litter scattered across the set. We have chosen this to give the
effect of the aftermathof a riot.
Bin liners Asda After the interval the street gets trashed. So in act 1 there will not be a bin liners but in
act 2 there will and with litter scattered across the set. We have chosen this to give the
effect of the aftermathof a riot.
Pipe B&Q / Homebase Purely to give character to the set.
Ivy Outside Purely to give character to the set.
Paint – black, brown,“Cocoa Bean”,
“Wholemeal”, “Sand”
B&Q / Homebase /
Hobbycraft
In act 1, scene 1 GraffitiPete is painting graffiti. From looking at the designs we have
learnt that they are very colourful. This will contrast with the dark colours of the rest of
the set.
Spray cans Hobbycraft We need paint spray cans because in act 1, scene 1 GraffitiPete is painting graffiti.
"GRAFFITI PETE is revealed painting various walls."
Flowers Florist / outside When analysing the characters we found that they have South American backgrounds
and in South America they grow lots of fruit. So we thought that flowers/ plants in a
window box would support the characters’ background.
Window box (plywood) When analysing the characters we found that they have South American backgrounds
and in South America they grow lots of fruit. So we thought that flowers/ plants in a
window box would support the characters’ background.
Door numbers Lasercutter / Poundshop /
Timpsons
Flats are above the salon. Purely to distinguish between the two.
Sand paper Already got We need sandpaper to give the door numbers a worn down look because the
neighbourhood is quite poor and the street gets trashed at the end of act 1.
Moss Outside In our research previous sets have been dirtied down to give the effect of a “run
down” area. Our design has taken this into account.
Washingline Asda / borrow We need clothes because in act 1, scene 8 it says “Women are folding clothes”.
Pegs Asda / borrow We need clothes because in act 1, scene 8 it says “Women are folding clothes”.
Sugar paper Asda We need sugar paper so we can create a smashed window. The street gets trashed at
the end of act 1 and it’s visible at the start of act 2. [Act 2, scene 1]
Clothes Already got We need clothes because in act 1, scene 8 it says “Women are folding clothes”.
Fire escape (Wood) B&Q We are using the wood to make a fire escape as it would be too time consuming to
make out of metal. Also it would be too flimsy to make out of card. Act 2 scene 2 is
called the Rosario fire escape.
This is the materials list I created. I
wrote down what I needed and
where to get it from so that I could
tick it off when I sourced it, allowing
me to keep track of my materials
with ease.

3. 4
Building the set comes next. It took time to figure out the measurements of
the windows that needed to be jigsawed into the MDF wood, and
consequently we took our time doing it in case anything went wrong. The
flats measured 1.22m in width and 1.9m in height. I used a spirit level when
drawing out the window on the wood to make sure the lines were straight,
otherwise it wouldn’t be professional and it wouldn’t look good on the set. I
took extra care when it came to using the jigsaw machine because precision
and a steady hand is the key to getting a good result. Fortunately I did a
good job and the lines were straight.

4. 5
The next task was to begin painting the flats to look
as realistic as possible. To do this, we added
polystyrene “bricks” along the sides of the flats to
distinguish apartments from other parts of the
building. We sponge painted the bricks dark
colours to make them look aged and crumbly,
although the texture of the polystyrene already took
care of this. To stay in keeping with the rough and
dishevelled theme, we continued this technique on
the actual flat itself and on the rest of the set.
Continuity is very important in order for the set to
look aesthetically pleasing and professional, and
also historically, socially and geographically correct.

5. 6
This is the finished product. We added
little props and bits of scenery such as
potted plants and the balcony to
create a sense of realism for both the
actors and the audience. My specific
flat fits in well with the rest of the set
because continuity was kept in mind
and achieved throughout the
designing and building stages. The
flats were attached onto wooden
braces with nuts and bolts for support.
My product didn’t have any issues
during the performance evenings so I
consider it a success. The staging was
stable and safe enough to allow the
actors to move around freely and use
the stage space however they
required.