Ken Adam

 Ken Adam, a well known production designer was most famous for working for Motion Picture and creating the set designs for the James Bond films of the 1960's and 1970's. Adam first entered the film industry as a draughtsman for This was a Woman in 1948, since then, Ken has created many more stage productions including Ben Hurr and Around the world in 80 Days. With his artistic passion ahead of him, this enabled  Adam to make his name with his innovative, semi-futuristic sets for the James Bond films. The Supertanker set for The Spy Who Loved Me which was created in 1977, was the largest sound stage in the world at the time it was built. He also designed the sets for: 
 Dr. No (1962)Goldfinger (1964)Thunderball (1965)You Only LiveTwice (1967)Diamonds are Forever (1971)Moonraker (1979)

Adam Designed all of the interior sets for this''tongue-in-cheek  spectacular'', Dr No, including the casino in the opening scene, Bond's apartments, M's office and the sprawling, futuristic lair of the villainous doctor himself. Adam designed the sets based on his life experiences and unique visual sense. He doesn't believe you can get a sense of reality by copying, and everything that is designed or created must have a reason to it. I think these designs perfectly capture a futuristic view for the Bond films, using big high-tech models like the rocket in scenes, subconsciously expressing wealth, power and the future. the design above looks rather simplistic and minimal with features, but the big open spaces allows you to focus on what is there and being shown, defying it's beauty and detail, and again expressing the wealth and power which is what the Bond movies capture brilliantly.

Stefanos Lazaridis

Stefanos Lazaridis (28 July 1942 – 8 May 2010) was a stage designer, best known for his work in opera. Originally intended for a business career, he studied stage design in London, and was quickly in demand in theaters and opera houses, working with other directors. Originally his style was lavish and naturalistic, but he changed to a less traditional style, after working in the ENO and elsewhere. He occasionally directed operas, and was for a short time director of the Greek National Opera.

The Mikado

This is the stage that Lazaridis designed for Gilbert and Sullivan’s most popular operetta, The Mikado. Everything is set at a white scale which shows how simple one colour can be, yet so elegant and appealing at the same time. Perhaps the focus is more so towards the characters and the costume designs, rather than the stage and scenery, however, it being white like a canvas lets the music and drama display the colours on the stage for you. The quality of a set designed like this is that it is very well lit up and expresses a clear positivity. This production was first performed in 1885, so when trying to relate to something that occurred in the past, a common technique to portray this is the absence of colour. Using black, white and grey shades symbolize something to be aged in the past, as that's how television and photographs were first viewed. I think this is a really effective set because the white scale lets your imagination get to work and visualize your own colours for the stage, the audience make their  own interpretation of the scenery and can allow them to change with each scene or mood change.

Working at the English National 

Opera

Lazaridis's early designs were naturalistic and lavish, but when he started working at the ENO, his design style moved away from naturalism, and embraced a non-naturalistic approach which David Pountney introduced to him as they worked together a great deal of time. With his amazing understanding of scale, colour and imaginative scenery, Stefanos Lizaridis eventually designed more than 30 outstanding productions for the ENO.