From Donald Judd and the architecture of art last week, I bring another tangentially architectural enterprise today: set design. This work came about through viewing terribly underwhelming sets at the local opera. My thoughts began to race about how the story could have been more magnificently communicated through architectural form rather than a few gauzy curtains. This version positions a continuous brick jack arcade along the entire upstage, with four brick ‘el’s that could move about in the foreground, turning towards the audience for an ‘interior’ perspective, or away for the ‘exterior’, or alternated in-and-out, aligned into two open ‘rooms’, or one closed off cube. Allusions to the work of Edward Gordon Craig, Adolphe Appia, and Richard Peduzzi abound.