The Armor Primary Function: Isembatho Somdlalo Weshashalazi ngu-Samantha Chijona Garcia and Vladimir Cuenca

Umdwebo The Armor Primary Function: Isembatho Somdlalo Weshashalazi ngu-Samantha Chijona Garcia and Vladimir Cuenca ungumnqobi ohlonishwa kakhulu womklomelo odumile we-2020 Umklomelo Wesiliva we-A' Design Award Esigabeni Somncintiswano se-Ubuciko Bokwenza.

IsilivaUbuciko Bokwenza· 2020

The Armor Primary Function: Isembatho Somdlalo Weshashalazi

ngu Samantha Chijona Garcia and Vladimir Cuenca

Iklayenti: Jazz Martinez Gamboa

Umnqobi we-Umklomelo Wesiliva we-A' Design Award Esigabeni se-Ubuciko Bokwenza

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Umnqobi Womklomelo Oqinisekisiwe

Qinisekisa Isimo Somklomelo se-#102743

Vakashela Isayithi Buka ku-A' Design Award Isitatimende Sabezindaba Ibheji Yomklomelo

Imibala

Ukuklama

Mayelana ne-The Armor Primary Function: Isembatho Somdlalo Weshashalazi

Book Text: I-Armor iyisembatho somdlalo weshashalazi esidalelwe umlingiswa uRichard III emdlalweni weshashalazi wombhalo kaShakespeare. Lesi sembatho senziwe ngezinto ezisetshenziswe kabusha nezingasasetshenziswa. Imigqa yensimbi ithungelwe ebhantshini le-twill, kanti amagaiter esikhumba agqagelanayo akha isakhiwo esehlukene esixhunywe ngamabhande esikhumba nezikhwama zokuqinisa. Iglavu ye-chainmail ivala umkhono, kanti isigqoko sevelvet esineziqephu zensimbi ngaphakathi sisebenza njengesigqoko sokuvikela ikhanda. Izingxenye eziyisithupha zingafakwa noma zisuswe njengoba umlingiswa eshintsha ngesikhathi somdlalo. Lo mklamo ubonisa kokubili inkosi kanye nendoda ebuthakathaka engaphakathi kuyo.

Ukuqashelwa

Mayelana ne-Umklomelo Wesiliva we-A' Design Award

The Armor Primary Function: Isembatho Somdlalo Weshashalazi iwinile uMklomelo Wesiliva we-A' Design Award, ukwaziswa okuhloniphekile ngokungajwayelekile okunikezwa imiklamo esezingeni eliphezulu, ebukekayo nethinta kakhulu. Abawinile beSiliva yimisebenzi egqamile kakhulu nedala kakhulu ebonisa ubungcweti obuphawulekayo, italente nobuhlakani babaklami babo. The Armor Primary Function: Isembatho Somdlalo Weshashalazi ilindeleke ukuba ibe ngumsebenzi omuhle wesibonelo, onobungcweti obuphawulekayo nezinto ezintsha ezijulile. Lo mklamo owinile uMklomelo Wesiliva we-A' Design Award uyinto entsha ebonakala kakhulu nethakazelisayo esiza futhi isunduza imingcele yobuciko, isayensi, ukuklama nobuchwepheshe. The Armor Primary Function: Isembatho Somdlalo Weshashalazi iyinto enomhawu omkhulu kuyo evusa izifiso, ilethe imizwa emihle futhi ivuse ukumangala nokuxakeka.

Ngemuva Kokuklama

Iphakheji Yabezindaba

Ama-credit, amalungu eqembu nemininingwane yobuchwepheshe ehlinzekwe ngumklami.

Izici Ezihlukile: 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.
Izilinganiso Nokupakisha: Armor- 45cmx30cmx55cm
Helmet- diameter:57cm High: 23cm
Amathegi: Costume design, Shakespeare, Richard III, Armor, theater, cuban designer, Samantha Chijona Design, schijonag.
Ubuchwepheshe Bokukhiqiza: 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.
Inselele Yokudweba: 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.
Ucwaningo: 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.
Ugqozi: 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.
Ubude Bephrojekthi: The project started in June 2018 in Havana, Cuba and ended in September 2018 in Havana, Cuba.
Ukuhamba Kokusebenza: 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.
Amapathenti: Copyrights belong to Chijona, Samantha, 2018
Amalungu Eqembu: Designer and Creative Director: Samantha Chijona
Designer: Vladimir Cuenca
Amakhredithi Ezithombe: Image 1,2,3,4,5: Samantha Chijona Photographer/ Samantha Chijona Designer /Richard III/ The Armor /Model: Maria Gabriela Sanchez, 2018