Design Archives - Roger Dean
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Design

Retreat Pods

The design of the Retreat Pods was a collaborative design venture with his brother Martyn Dean. Originally intended to accommodate two or three people as a self-contained audio-visual unit.

It briefly made an appearance in Stanley Kubrics film, A Clockwork Orange, based upon Anthony Burgess’s novel of the same name.

Stage Sets

Roger’s collaboration with the UK band Yes, included designing some of their most memorable stage sets. Venues in the U.S. can be huge and accommodate audiences in the tens of thousands.

In 1974 Yes played at The Spectrum in Philadelphia with a capacity of over eighteen thousand, twice in one day to full houses both times. In that same year Yes also played at Madison Square Gardens that has a similarly large auditorium. Yes, with Peter Frampton as support in the 1976 bi-centennial concert at the John F. Kennedy Stadium in Philadelphia, to 130,000 fans in each of two back to back concerts.

So stage sets became indispensable to allow those who are viewing from a distance in massive venues to share the theatrical experience more effectively.

The design sets illustrated in this section are from the Yes 35th. Anniversary Tour, 2003-2004. Roger was asked to design the sets to be light, easy to dismantle, but dramatic and colourful.

The look and shape of the set was influenced by sea creatures and coral formations and was built as group of inflatable structures.

The Sea Urchin Chair

Designed in 1966 whilst still a student at the Royal College of Art. This chair was designed to be approachable from any direction and to provide comfortable, stable and supportive seating for the occupant. It is a simple, beautiful and functional object.

A prototype of this chair is in the Mak Museum, Vienna (https://www.mak.at/en)

Home For Life

Roger Dean has designed a house for the new millennium, it is beautiful, environmentally kind, but cheap and quick to build.

It began as a college project to design a child’s bed and grew into a radically new form of architecture. The curvilinear buildings that appear in Dean’s paintings and album covers are known around the globe, and his organic style has been much imitated.

Clarity of light and colour are his trademark, but at the heart of much of his work are buildings that appear to have become part of the landscape.

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