The woman who studied in Argentina turned to ephemeral architecture and arrived at the mecca of entertainment

The woman who studied in Argentina turned to ephemeral architecture and arrived at the mecca of entertainment
The woman who studied in Argentina turned to ephemeral architecture and arrived at the mecca of entertainment

Corinne Merolla and Sooner Routhier

When he began his architecture studies, Corinne Merolla did not imagine the turn her profession would take. Since she was a child she was very interested in drawing and music, which made her explore different creative disciplines. Without leaving them aside, she began studying her degree at the University of Rosario, a city where she arrived when she was very young after being born in the United States.

In the first years she was a little hesitant about whether or not to pursue the degree because every time she did the practical work that was asked of her, she did not see herself renovating kitchens or constructing a building. However, an internal voice of hers told her to continue. She also did it thanks to the insistence of one of her teachers, who let her give free rein to her imagination. Without even realizing it, with the unconventional works that she presented in class she began to integrate her first passions with the design of the space in a single place and over the years she became an ephemeral architect specializing in art direction and show design. In that creative approach he directs shows and shows, and conceptualizes installations and immersive experiences.

From his city, he speaks with Infobae in the present tense, reviews his career and confides his desires: “I would love to work with artists like Rammstein, because I am fascinated by what they do, and I also really, really like the work that artists are doing. from here. I have been watching them and I feel that today the Argentines are impressive. The entire urban movement has no roof. Artists like María Becerra, Wos and Duki They are reaching all places and with great speed. I would love to work with them”.

Corinne is part of the team led by Sooner Routhier at The Playground Creative, who has worked for artists such as Coldplay, Muse, Paramore and The Weekend

Currently, Corinne is part of the team led by Sooner Routhier in The Playground Creative, who has worked for artists such as Coldplay, Muse, Paramore and The Weekend. Together, they form a creative team in The Playgroundwhere they bring to life exciting projects they carry out around the world.

Corinne was born in the United States and was raised in Rosario, a city she adopted as her base of life, and from which she does not move. “Here are my dog ​​and my plants”he says about why he doesn’t settle in another country to be closer to where he does much of his work.

She was always a girl with an innate curiosity and a restless spirit, which led her to investigate the professions of her musician and architect father. Her great influence. That desire to discover all the edges of the world made her begin to study fine arts, but she also sang.

Corinne Merolla (Ligia Majul)

In 2018, everything changed when his first big project arrived: the Zarzuela de Madrid, where he collaborated with the opera set designer Nicolas Boni. This experience catapulted her onto the path of new opportunities and she went on to work on productions in Italy, Spain, Chile and Uruguay.

Since he started in the world of entertainment, his activity is in other countries so he travels constantly. “I work remotely, I travel for rehearsals and premieres, but I always return because, as I always say: my plants and my dog ​​are in Rosario so this is where the base of everything is. I never settled in another country, except during work time. Although I was born in the United States, when I was 7 years old I came to Argentina with me, I trained and grew up here. “I am Argentine,” she asserts.

At the age of 18 he began studying architecture at the National University of Rosario. “I am an architect, but well, I found a rather untraditional way to approach this training. I was always very in contact with art, with music. I am a singer and I was vocal coach for a long time and I am also a visual artist. It was difficult for me to fit into traditional architecture. I think that It was near the end of my training that I found this niche of ephemeral architecture, That’s what you can call it, because it encompasses the three disciplines that I like so much: art, music and space. I continued studying Art Direction, Scenography, Lighting, I continued training as I could, and I also began to work on staging, installations, urban installations or more immersive things. That’s how I started and Today I feel that the three disciplines that I love are always latent in my toolbox”, he assures.

Corinne Merolla in front of one of the stage screens (Martin García)

Every time she faces a project she bases it on what nourishes her. “Sometimes I appeal to architecture, sometimes to art, sometimes to music. Somehow, one or another of the three things is always there and appears. I consider them to be the three legs, without one of them I don’t know if I could,” he says.

In that first job in the opera, he got a little into that stage world. “I began to fall more in love with everything that staging does, and I began to incorporate traditional scenography into my work, which is something more tangible, especially today, when everything is so digitalized, with so many screens and so much technology. For this reason, I like to return a little to the roots, to the materiality of things,” she says.

From her first steps, when she painted curtains on the terrace of her parents’ house, in Rosario, and murals, to the present that excites her, she says: “For a year and a half, more or less, I have been working on The Playground, with Sooner Routhier, who is a genius, it’s the best! I contacted her almost two years ago and from minute zero we hit super cool, we started working together and today we have a beautiful team, made up of a lot of people from different parts of the world. We are all very different and we bring different projects, different experiences to the team,” she says.

Green Day Saviors World Tour 2024 (Greg Schneider)

Talking about her current life and remembering herself as a child, when curiosity was latent, excites her. “I always had a lot of ease with drawing and I was interested in art from a young age and my father sent me to study in art workshops because I was super restless and I loved what they did there.”

The race was not entirely in her, but she got there “by chance.” Since I wasn’t very bad with numbers and didn’t know what to study, I got into architecture. At first I luckily had teachers who were incredibly patient with me because I was not a very traditional student because I approached projects in a fairly abstract way. So, perhaps, for an orthodox architect, my work would not have been good while I continued with all my delusions, but my professors saw before me that I was going to end up doing this and they were patient with me. I remember one teacher in particular, Juan German Guardati, who was my thesis tutor and a great teacher, who always told me to approach traditional architecture projects like a blank painting canvas. Furthermore, he accompanied me a lot when I wanted to leave my degree because I didn’t want to build houses or demolish bathrooms… “

Despite so much support, learning came alone. “Practicing, I began to realize that architecture is an impressive profession, which provides tools that apply to everything because you can make everything from stained glass windows to stages for a rock band. It is not something so pigeonholed and, luckily, today many spectrums are opening up and I find that fascinating to give visibility to the different aspects of this profession,” she admits.

Corinne Merolla’s work with Sooner Routhier on the Green Day Saviors World Tour 2024 (Greg Schneider)

Corinne Merolla embarks on new challenges with each project she undertakes and ensures that She is inspired by every story she tells and which is nourished by the unique essence that each project carries with it. Since he started it, he immerses himself in development, from an innovative and unique look at each work he touches. That makes her today one of the strongest artists in the world of entertainment internationally.

When she began her work with Sooner Routhier, the American performance designer, she worked on the singer’s performance Noah Kahanon Saturday Night Live SNL, and on their US tour “We’ll All Be Here Forever Tour”which had luxury guests such as Olivia Rodrigo, Shawn Mendes, among other artists.

Recently, he premiered the world tour of Green Day “The Saviors World Tour 2024”which commemorates 30 years of the album “Dookie“, 20 years of the album “American Idiot” and the release of new material, “Saviors”. The magnificent show (more than 2 and a half hours long) is a tribute to the career of the legendary trio.

“We worked on the project with Sooner. The idea was to generate something that would have a lot of impact, we wanted to achieve a great wall of sound, with a lot of fire, a lot of pyrotechnics. When that project came, we went back and forth a lot because she was just traveling in Italy, where she saw the lighting elements and we thought about making a big sound panel. With that we began to chew on the idea because we knew that it was a tour that would be promoting a new album and remembering two others. So, we took as a premise a three-part show and each one applied to each album. The set is highly inspired by the art of each album and the story behind each album. There is a lot of information within that show that is inspired down to the smallest detail because it is either part of the lyrics of a song, part of the cover art, part of the video clips. Obviously the band also contributed their ideas.”

During Noah Kahan Tour 2024 (Jim Trocchio)

In addition, Corinne worked simultaneously, co-directing the promotion of the new album by Zayn Malik on “The Tonight Show Starring Jimmy Fallon” and his recent debut solo show on Shepherd’s Bush Empire, in London after being part of the band One Direction.

“Doing this type of work is not very different from when a person tells you that they bought land and asks you for the design of their house. He tells you what his life is like, his routine and you know how that person lives, what spaces he needs. When designing a show it is very similar because you start to get to know the artist, what he wants to communicate, how he wants to inhabit that space. In the case of Green Day we are talking about three albums. We see what those discs are like, what colors they have, what type of lighting they can have, what type of visuals these screens can tell, what art they have and based on that we also begin to design and write the script for each of them. every show. It’s very similar. I feel it with a dynamic very similar to what it is to face an architectural project,” he concludes.

*Corinne shares her entire journey and work on her account

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