The project explores how narratives sculpt interior spaces, whilst also understanding the importance of settings in narratives, which establishes a correlative relationship between the two. It also seeks to answer the imperativeness of the setting, and if it can thus, help propel the narrative forward. Whilst exploring the relationship between setting and plot, an almost reflex reaction was to analyse examples of set and production design.

Trying to localise the context, I started to look into our own productions, and analyse how the narratives were the catalyst for design in dramas that are aired in the country. A scene in Episode 8 of Tanhaiyan is studied, where there are little to no dialogues and Zara the protagonist walks about her previous “home” reminiscing the past. The narrative of how she lost her parents, and of the unfortunate circumstance that will befall her in the future is what majorly dictates the setting, as the mood through little to no light, and the cloaked furniture are almost symbolic of the shroud of her parents’ whilst also foreshadowing her accident.

The function of the space is an immersive theatre, which will host sets designed for a narrative. The narrative selection criteria was thus determined, as it had to be one that had not been visualised before. The intent was eventually to curate an immersive theatre, by designing sets for a censored script, which was “Mr. Shaitan Ki Wapsi” written by an institutional writer, Kamal Ahmed Rizvi, in 1988.

The site is the PTV centre, Karachi located on National Stadium Road. PTV had the monopoly of production till the 2000s, and so to find a script that was censored by the PTV censor board, it felt befitting to create the sets of the script at PTV itself.

Video link for storyboard

Alan Ka Boseeda Kamra

“Mahal Jaisa Ghar”

Thana

Shaitan Ka Daftar

CCIE Daftar

Drawing Room

Airplane

Restaurant

Entrance Ticket and ID Card

Animation