jacob t. middleton, assoc. aia




work

architectural
  1. breaking character
  2. cruising rhyolite
  3. performitory
  4. purple plushy catwalk
  5. holly haus
  6. chronicles out west
  7. at journey’s end
  8. made in asherton
  9. intakes/outtakes
  10. a sanctuary
theatrical
  1. the vanya project
  2. topdog/underdog
  3. drowning
  4. the tempest



about

  1. jacob t. middleton is a Texas native currently based in New York City. he holds a Bachelor of Architecture from The University of Texas at Austin School of Architecture and has studied at New York University Tisch School of the Arts in the Graduate Department of Design for Stage & Film. his work has been featured by Texas Architect Magazine, ISSUE by UTSOA, and Archisource.
  2. professionally, jacob is an architectural and broadcast set designer at Clickspring Design. previously he has collaborated with dots, Overlay Office, Magic Architecture, and Hannah Levy, among others.
  3. he is interested in creating work at a variety of scales that investigates performance, explores bad taste, embraces low culture, and questions existing typologies.



contact

  1. jtmidd2021(at)gmail.com
  2. instagram
  3. linkedin
  4. academic portfolio

the vanya project

an adaptation of Anton Chekhov’s Uncle Vanya by Yibin Wang and Tayler Everts

The Vanya Project follows “an eclectic group of people who meet to perform a production of Chekhov’s Uncle Vanya, wherein voyueristic footage intercedes. In this play within a play, a film student plays the Professor; a K-Pop addict plays Vanya; a YouTube doll collector plays Yelena... as they perform Uncle Vanya onstage, prerecorded content following their daily lives interrupts the Chekhovian narrative. Interruptions become intercuts become conversations. Soon: neither reality will be clear.”

The Vanya Project’s scenery draws inspiration from the two disparate narratives (that of Chekhov’s and of the adaptation) and highlights the tension between them. The stage begins pristine: furniture pieces are arranged onstage in an orthogonal grid, feeling rigid and in-place. As the play unfurls, and the audience’s perception of reality becomes less clear, the furnitures drift from their original locations, slowly becoming messier and messier. Ending with a cacophony of elements onstage, the players feel disconnected from their Chekhovian characters and from one another by final curtain. An oversized muslin projection screen hangs upstage, anchoring the piece and allowing for video projections of important plot points to be featured behind the action onstage.
project information
location: The Theatre at Schapiro, Columbia University
date: 2022
type: scenic design, prop design, set dressing, produced


credits
project team: jacob t. middleton

director: yibin wang
costume design: nuzzi li
lighting design: adrienne miikellesound design: yuexing (star) sun
cinematography: yejia sun photos: tayler everts













behind-the-scenes; filming video elements for onstage projections


conceptual massing; set pieces break from orthogonal grid as play progresses
ground plan


front elevation


SR section

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