There are many aspects to stage design, but in this entry we will talk to you about everything that is not told about the design and construction of stage sets for events.
The scenography of an event is, in most cases, the most important piece. As professionals in the fairs, congresses and conferences sector we are clear about it. This is the space where much, if not all, of the action will take place, and visual communication has to be clear, direct, and the more powerful, the better.
Numerous event planning and marketing companies talk about the importance of transmit the message, the concept, the colors… As designers, we couldn’t agree more, but as a construction company we believe that there are other key aspects “less popular” who are able to score The difference (for better or worse).
Before starting to think about colors, textures and logos, we must do a logistical analysis of the possibilities and problems of the space and the project in general.
These are some examples of important considerations that we must take into account and how they can influence the final package of our event.
Both in the construction and assembly of an event, all elements must be executed to perfection, from the smallest to the largest. But in the case of scenography this statement takes on a much broader meaning.
The scenography of an event is the piece that will have the most eyes, lights, projections, cameras, etc. on. What does this mean? That absolutely no error will go unnoticed; every fold, wrinkle, or screw is magnified and multiplies its appearance.
Hasn’t it happened to you that when you spend a lot of time in a waiting room, you suddenly begin to realize that there is a painting that is a little crooked, a small stain on the seat in front of you, a piece of paint that has chipped off…? They seem like trifles, but if this same thing happens on stage, a spot that shouldn’t be there is capable of attracting your attention more than a backlit logo, creating distraction and loss of audience attention.
But our scenography must not only be executed perfectly, but we will have to go further and take into account aspects such as the reflectivity of the materials, the transparency of the fabrics, the power of the lights, the viewing angle of the audience, among others.
Our extensive experience in the sector makes us experts in all these aspects so that the margin of error is excessively reduced and everything goes as planned.
Before thinking about staging we must think: How much time do we have to put it together? Do we have to bring pre-assembled parts? Among other issues.
In complex assemblies it is crucial that there is good team planning, since some depend on the work of others to complete theirs. That is why, as specialists in stage design for events, we take into account the assembly time that we have been assigned to do our job as a key factor when starting a project, since it will directly influence the design possibilities, as well as the choice of materials and structures.
Take advantage of the space
The choice of location will greatly influence the scenographic possibilities. Having designed countless sets for events, we are clear that the most intelligent and beneficial thing for everyone is to know how to make the most of the characteristics of the space and make use of them.
In symbolic spaces such as La Llotja de Mar, a very common practice is to take advantage of the columns inside the room so that they form part of the scenography. In this case, covering them would mean poor design planning, since we would be wasting an element that is already given to us by the space and that offers us enormous added value without having to build anything.
On other occasions the opposite happens. We come across messy areas, warehouse doors or areas that we simply are not interested in letting the public notice too much. Good prior planning takes these factors into account and will manage them intelligently in the stage design and its distribution, covering up what we do not like or diverting the attention of the public and circulation towards the direction that interests us most.
Entries and exits
It seems obvious to measure the doors through which the material should enter, but in many cases it is not done until the project is already very advanced, and that is a mistake. We tell you why.
When an element has been planned and budgeted in one piece, for example in the case of a backdrop or a corporeal, if the accesses turn out to be insufficient Later, a change in measurements or having to separate it into pieces can mean a staff increase assembly, material, create union structures that were not planned and all kinds of additions (and costs) which would be unnecessary if the design had been planned in accordance with the limitations of the space from the beginning.
Result: The same design that previously cost X, now costs 20% more than budgeted, just for lack of a first analysis.
The lighting in the room
As we talked about in the post room dividers for events “we will not always have at our disposal an actual event room, adapted and equipped with everything we need.“, hence lighting doesn’t have to be ideal either, especially in those cases where too much outside light enters and it is not so easy to cover it.
For the design of the scenery we must take this aspect into account, since we may find ourselves in the situation of having an event in the summer at 8:00 p.m., (even during the day with plenty of light), and that certain backlit elements lose their visual impact due to lack of darkness in the premises.
If you want to know more about stage design for events, contact us and we will advise you on everything you need to turn your idea into a reality.