The models of Scenic design are usually affected by the form of the space. In experimental theatre spaces, the scale is usually simplified because of the smaller space used. Contrasting to the Proscenium stage, the overall effect is weakened by the greater distance between the audience and the performers, so it would tend to strengthen the visual effect to remedy the loss.

This discourse uses ‘‘The Attic’’ as an example where the venue transfers from a default experimental theatre venue by the author to a proscenium stage. I observed two proscenium stage models (successional and simultaneous stage) and the performance itself, compared the interactive influence in between. In this production, instead of using only one attic as the main visual subject of the stage, the performance had a plural form of the attics and assembled them into one summation on the stage. By utilizing the concept of collective form, that emerged between 1950s to 1960s, applied it to the scenic design to create a platform that could carry multiple attics. The design referred to ‘‘The Image of the City’’ by Kevin Lynch, 1960, created an imagery of Tokyo city and presented the entity on the stage.