DEATH AND THE POWERS
PROP AND TECH DEVELOPMENT
NOTES
Color Coded Notes
BLACK and RED – original notes
please note JUNE IS GREEN
please note JULY IS BLUE
please note AUGUST IS RUST
PROPS
WALLS
Walls:
Six walls divided 3/3 in function:
.three main stage walls (#.1,#.2, #3) – ‘intelligent’
. will have abstract elements embedded/translucent objects/part of the casting.
.receptors of video feeds/memory download
.? points of lights embedded in wall. (?replaced by robots)
.mechanism to hold artifacts
.scaffolding system(footholds) build into the walls so that could then be scaled with speed and dexterity. This is to accommodate Nicholas’ action of robot placement on walls.
.each wall needs to split in the middle/person come through.
three additional walls(#4,#5,#6) – ‘structural, and collapsable’
.gag walls/ break apart (like sculpture of ice shards-paintings of Caspar Frederick)
.projection screens.
.Evvyn walks on top
. extras crawl over wall rubble on stage floor / would also like to explore skilled extras being able to scale the walls as the parade of miseries takes over the stage, like storming the Bastille; ideal image is for the parade of miseries to look like they are pushing over these walls
-also want to explore using interactive shadow play to manifest Simon on the walls in Scene 5
Mechanics:
Truss System
.Rock and Roll Truss
.Mechanics for walls integrated into truss system.
.mechanics are exposed to audience,
Hard connection from the truss to the walls for rigidity and structure
Alex: question on proportions of wall to stage size/maybe close the iris, review the 16 foot wall height.
Walls as Digital Screens:
.Embed shelves with LED lighting so walls capable of being digital screens.
.This would achieve the following:
.helpcontrolin thelighting ofthe walls.
.help to create shadow and effects
.minimize the "figurative" imagery
.achieveenhanced ofmotion of the wall surfaces
Issue:
.reduces resolution
Wall as Instrument: Concept
Walls becomes pit musician's instrument.
.coordinate wall movement and music simultaneously
.orchestra performs/ controlsthe wall.
"accompanied" puppeteered by musicians.
.becomes an intimate connection to Simon's(Jim) performance
.perhaps use keyboards/percussionists.
Additional Wall Design Concepts -Elements:
. walls need to remain abstract
. need to understand scale with humans
.need to understand range of motion, fluidity
.wall as musical instrument- are there new design elements to consider.
September 06
Engineering Elements
.Weight/Counter weight of the walls is of concern. The raising and lowering of the truss and walls is an issue. The walls need to be aligned to counter weight with one another… all three walls on one side of the circle will cause the opposite of the truss tilt. If we fly balanced, walls at 12, 4, 8, o’clock, then walls can land and move as we please.
September
Cantilever Issue: There are several off-balance permutations that seem necessary. Perhaps by lowering the track relative to the truss may compensate
September
Weight Budget / Motion
Issue of weight budget for each wall, defining actual range of motion and speed will define the raise/lowering of the set.
September:
Priorities for the truss and walls
- full motion of the walls - all 3 walls can move simultaneously,
all 3 walls can line up in a row, the walls can move independently of
one another, each wall can rotate continuously in either direction,
each wall can slide out from the center
2. that the walls are stable, do not swing when they stop etc
3. that we can start with empty stage and bring (lower) the walls
onto stage on cue
4. that the walls can be lit independently of the truss, therefore
that we have enough visual separation between wall and truss
5. that the walls can act as front and rear projection and lighting
surfaces
6. that the truss allows for the chandelier to be raised and lowered
and open to full extent within it - this determines the final size of
the truss and the position of the walls, and for example prevent us
having the walls meet at the center
7. that the truss is a designed object, if it is has to be visible,
and that the design needs to connect to the other elements, like the
chandelier
8. that if we could have the walls visible without seeing the truss
that would be preferable
Issues to integrate into the above:
1. Easy installation
2. Cost
September
Issues
Speed and rotation and motion of walls-maximum, minimum
Can we avoid lowering and raising the set
Ideas for projection- ‘roller blind’ versus fog
Options for portal- T2 technology
Options for the destroyed set
Options for the destroyed set-projection, etc.
Supporting the set from the ground on-off-set legs
Track for walls to ravel off stage
Rollers on the bottom the walls
Projection Surface
Mother fogger/haze/ mist.
September;
Proposal The Wheel Thing Inc.
- Contract for feasibility study for assistance with selection of materials, building techniques, system integration, 4X safety, fired code adherence, and permitting etc.
- Agree upon a list of elements for further engineering study
- Make recommendations regarding the most cost-effective methods for achieving the creative vision (e.g., supporting the truss from the fly loft vs. building a bridge and supporting from the floor). This would be done iteratively with the team as the show design evolves.
- Perform preliminary engineering on specific high-risk parts of the set. This would include:
- Packaging study of a bookcase module with its actuation mechanisms
- Packaging study of a robot
- Preliminary sizing and packaging studies of the drive systems for the orbit, radial and spin motions
- Preliminary design of the trusses and support structures including first-pass finite element analysis to establish feasibility and assess member sizes for aesthetic approval
- Preliminary design of the chandelier, assuming it is a functional instrument with a man-rated lift in it
- Development of criteria for the safety control systems
- Prototype a portion of the bookcase module
- Budgetary estimates to design and fabricate the bookcases, truss, robots and chandelier
- Document all results in a report showing the proposed design, risk areas, and recommendations. The report will be suitable for sharing with potential funding agencies or venue representatives.
Not included in this file, but included in-design file are notes from:
July 06
September 06
October 06
November 06 abstract of empty shelves maybe black is enough (last sentence)
Below: continuation of notes for Late November / December
WALLS
Laird: December 08
Walls:
1) Walls remain the same size 15'w x 20'h
2) 3 walls create a triangular column (aka periaktoi)
3) 3 of these identical, but autonomous, columns/periaktoi will move and
rotate about the stage
4) One wall of each column will have a door ~ 8'hx3'w
5) A "return wall"~6' w x12'h with display surface, will sit 2' inside each
doorway, parallel to the doorway wall --to hide the inside of the column
from the audience.
6) When the three columns configure to create a flat wall, sr to sl, they
will create a 45'w x 20'h integrated display surface. The trick here is that
the corners need to meet with as narrow a seam as possible. (this is
illustrated in photos of the 1/2 scale model in Alex's most recent notes
which I have attached)
Meeting; December 13
Design:
.update: Eliminated truss structure/ truss interfered with the chandelier's movement to the front of the stage.Driven by: Mostimportant that there be no loss of the audience capturing theinteraction between Evvy and the chandelier.
.Single wall has two additional walls attached,takes triangular form.
.There are now three triangular structures as opposed to three single walls.
.Still remains: to be constructed in modular form for shipping.
. To explore the end conditions of walls.
.Sliding castors on bottom/ to be human powered- person within this structure as choreographer.
. Bottom to have velvet base.
.Open for human movement
. A single door on one side - a static opening,( 5' X 8' 6" ) with a screen app. 3' from the openingto hide the inner workings, and thehuman operator. Continuous shelf above door opening.
- create and edge of light at door entrance.
- wrap LED around the reveal.
-issue: explore the site line issues with thisdesign.
Tech
.update: Wallsare attached above with an umbilical cored for power.
.: choreograph movement of wallswhile addressing the issues of this attachment.
.Wall formations still need to descendonto stage, asdid the single walls.
.All three initially come down ina flat screen formation.
.An image will rise as the walls descend at a specific line of sight.
Notes: Meeting January 9 2007
Sc. 2/3 Wall movement like a shell game, with characters movement disguised as they move in and out of the columns, hidden from the audience, and magically appear on opposite side of the stage.
TRUSS
Reference: Discuss Varitruss Capabilities.
pdf:Powers_Truss Axon_070806
Issues:
span and tolerances of Varitruss.
Jim suggested that the Varitruss be configured into a circle, mirroring the shape of the circular track below the Varitruss. This would ensure maximum tolerance and strength of the Varitruss rigging, and as Jim stated, "could take the weight of a house. Your only concern at this point would be the ceiling tolerance". The issue then before Alex is whether the change in this shape works as a design element, since all is exposed to the audience. It was suggested that you could add elements, not needed for strength,for visual complexity. This design issue will be further explored between Alex and RJ.
.Varitruss tolerates 200 lbs over 20 feet.
.Available in both 1 1/4 inchand 1 1/2 inch indiameter.
-Jim thought the 1 1/4 may appear a tad scrawny
.Available in both Aluminum and steel
-Laird leaning toward steel construction
.Track is designed to take both 3 inch and 5 inch bolts
. Three way intersections not a problem
.Elements can articulate, with cable and motors. Operated by radio frequency.
-elements can have independent movements.
.Picks can be placed anywhere
.Certified
.Manufactured by Tom Cat Global
.8-10 week lead time for delivery
. Up to 1000 feet available
.360 feet calculated in the POWERS' design
.Rental fee- $20 a foot per week
.Web page ( VariTruss.com) is updated with picture of shippable version
.
Advantages:
.High tech look
.shipping ease - compact size
.one third shipping cost than standardbox truss
Disadvantages
.Rental price more expensive that standard box truss
Truss:
Alex reviewed the overall design and size of the circle truss, and thought it should be diminished in size, by bringing the outer ring fromapp. 58' 9" to app. 44', and the inner ring size to correspond, however, the inner ring and chandelier movement will need to be explored. If the diminishedtruss circleswere to impede the movementof the outstretched armsof the chandelier, thethought was to perhaps coordinate movement of walls and chandelier.
Alex was pleased with the circle truss, as far as a design element, and there was some discussion of three additionalsmaller truss circles, positioned between the walls and the upper truss, however, this appeared to impede the movement of the walls when positioning them in a linear plane.
RJ has added an additional lineartruss piece attached to the pivot point directly above the wall tostiffen the suspension cable connection.
30' from top of truss to stage floor.
September 06
Concept- Lighting of the Truss
Truss can be lit the same way as the chandelier- work to get close to the language of the chandelier using the “naum gabo” strands will give the truss a more organic form when lit. Consider- most of the stage lighting being carried by the truss, so the whole set, walls, chandelier, truss become a glowing single form.
October 06
Articulating Appendages:
Look at possibility of addingarticulating appendages to the truss frame
Below: continuation of notes for Late November / December
TRUSS
Notes: December 13 meeting
Truss eliminated from Design Concept
.Update :Eliminated truss structure/ truss interfered with the chandelier's movement to the front of the stage.Driven by: Mostimportant that there be no loss of the audience capturing theinteraction between Evvy and the chandelier.
BOOK
Book Movement:
The movement ofthe books was reexamined for an animation series.Movements discussed were:
1.Sliding In and Out - like adrawer - with books stacked flat.
2. Up and Down - like a wave on a pivot.
3. Telescoping out - app. one foot
4. Compression on shelf - leaving a gap between books
5. Wiggling - back spineof the book animated.
In Addition:
6. View of stripped bookcase - post Miseries
Question:POV of the audience. Which would give the biggest visual punch. Lighting and sound were discussed as additional elementsthat would help produce thedesired effect.
September.
Need working 1:1 model to test:
Materials, mechanization, projection and lighting and noise.
September.
Discussion- Movement of books.
.In n’ out, Left’ right, rotation tilt, spine shimmer
.Randomized
. Translucent
.Shimmering like invertebrate marine creatures
Discussion:
.Pattern of books on Shelf
. Dimensions/thickness of each book- 2 inch? 4 inch?
John- please include RJ’s varied drawing of the books/shelves.
October:
Shelf Study:
Continue withdesign elements/movementsof a shelf study
three heights/three widths. Repeat pattern in the wall.
.Movement:
discussion of possibility of spinning books
Mirror refection discussion
.Shelf spin 90 degrees reveal a mirror plane
.RJ to explore a reflection study
.Book Stacking.
Photos of different configurations
looking at the geometry/random patterns/design of spines
library/Dewey decimal system
.layering mother board design element
Below: continuation of notes for Late November / December
BOOKS
Laird; December 08
Books/Shelf:
1) All books are vertical, no leaners
2) Each book is a sliding mechanism
3) Books slide in and out (on the z-axis) 10" on only one side of the shelf
4) Each spine will be a display surface
5) Shelves are filled horizontally and vertically with books - to create a
uniform/cohesive display surface
6) Spines should revert to the 4" width (please change to 2”- see Dec. 13 notes)
7) Books are not removed from shelf
8) I imagine the books to be 17.9"x13"x4"
9) the shelf dims. remain unchanged
Notes: December 13 meeting
Concept
.still remains: repository of memory.
Design
.update: No space/gapbetween books-crammed
. Book width 2"- please note
. Height 13" - 15" - 17"
.Look at: slight bow to spine
.Determine telescopic movement of each book. What is the reach off of the shelf.
Tech
.update: Spine of the books now to become a LED display.
.-visual language infinite with each individual books capability of color, tone and shade, and individual movement.
- issue with this tech display, a loss of transparency.
.Determine telescopic movement of each book. How far is the reach of off the shelf.
Notes: Meeting January 9 2007
Book Formations: In blocks of threes and fours. LED tech to be determined within these blocks.
Each column of walls is estimated to contain 3000 books.
CHANDELIER
Compilation of the following notes:
Chandelier
Evvy Interaction:
Question:How to achieve interaction betweenEvvy and the Chandelier
What parts does she need to reach, touch, play.
How does Evvy's interaction effect design.
Issue:Chandelier wires in conjunction with Evvy's fly wires.
Resolve: Keep Evvy on the ground- chandelier lowers to surround Evvy.
Interaction:
.chandelier lowers to the ground to surround Evvy, as it gets closer Evvy reaches tothestrings and activates the theramin
.theramin attached to lighting, subtle increasing and decreasing light based on the theramin measurements
.Evvy gets closer to the strings and finally touches them, changing the nature of the sound - climax
.possible platform built into chandelier so Evvy can step on, and chandelier can raise, but not far
Design Elements:
.Steve to add 4 or 5 more strings, all different lengths for proposed lengths of longest and shortest stings on current chandelier design.
.strings to be spaced to reflect the closest spacing of the chandelier
.prototyping to stay in line with final intent, both in practicality of the soundmakers, and in the engineering.
Question: What size stings will come from this experimentation for the final design
Where they can be positioned.
What will they look like
Issue:Need to get to a manufacturer asap.
Time limit to continued experimentation- suggested 2 week limit.
Need to achieve out-of-school prototyping of full scale wing.
Balance experimentation with restraints and questions of real world capabilities.
Need to test the musical potential of the chandelier.
Manufacture:
. Laird has Mystic prepped for the first buildphase of the chandelier.
September 06
Position of Chandelier to Audience
Audience needs to read the mechanics and the Evvy performance.
Can the design be altered to allow downstage movement of the chandelier? Is this necessary? Need a model to accurately reflect the new set and dimensions.
September
Issues still to be resolved:
Down stage, closer to audience
Inverted
Wheel/pedestal
Evvy inside
Below: continuation of notes for Late November / December
CHANDELIER
Notes: December 13 meeting
Design
update: Reverse. top to become bottom/bottom top -so the wings open as a bird's wings., with four degrees of motion.
.Bird head on top aspart of design
Tech
.To move as far downstage as possible and partially open over the orchestra pit.
.Still to look as the possibilities of the chandelier's full range of motion on the whole stage..