AIMAG ASHGABAT 2017

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We were commissioned by Balich Worldwide Shows to deliver a flying system, six perimeter stage lifts and a huge scenic centrepiece for the opening ceremony of the 5th Asian Indoor Martial Arts Games hosted in the Turkmenistan capital, Ashgabat.

Ashgabat’s location between mountain range and desert makes for exceptionally hot, dry summers. The enclosed environment of a stadium amplified these conditions and at times, temperatures reached an intense 50°C, presenting difficult working conditions for our crew. Managing the impact of heat on the steelwork, kit and scenic items became an additional day-to-day necessity, practicalities such as handling steelwork and tools made hot from the sun requiring extra consideration and patience. Our crew’s wealth of experience, adaptability and practical approach, however, maintained good progress on-site.

Multi-disciplinary expertise: we delivered show flying, stage automation and a stunning sculptural centrepiece

www.stageone.co.ukCase Study © Stage One Creative Services Limited

Flying system & perimeter liftsThe flying system comprised a radial catenary with a 30m wide central truss grid suspended above the field of play. The grid ring housed both winch farm and lighting rig and also provided access for a team of aerial performers. Crew and performers accessed the grid via a specially designed 100m-long gantry. Together, the truss grid and gantry weighed in at fifty tonnes.

Various key effects were facilitated from the grid, including the deployment of the projection cylinder and the aerial ‘weaving’ effect. The vast projection cylinder had a circumference of 96m and unfurled to a drop of 40m to create a towering 360° screen. The cylinder was also used to conceal and reveal giant scenic items, such as the Oguz Han sculpture.

Creating the weaving effect involved a giant, open mesh of seven 26m wide hoops, each with a 2m drop of gold fabric being lowered from the inside perimeter of the central truss ring. A total of sixteen aerial performers descended from the grid, passing in and out of the hoops, drawing 2m wide swathes of gold fabric behind them to create a huge woven cylinder.

We also manufactured a series of six electric perimeter lifts, each approximately 4m by 4m. These were made with docks to three sides, allowing for the loading and unloading of multiple scenic items underneath the stage during the ceremony. The largest and most notable items raised were a series of golden scenic statues that emerged dramatically from beneath the stage as the giant Oguz Han sculpture was revealed. Twelve tracking points above each lift delivered flying for various effects including flying bikes and giant arrows.

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Oguz HanThis large-scale sculpture formed a key reveal for the opening ceremony. Oguz Han is a much-revered legendary figure in Turkmen culture and the 20m high figure created for the ceremony was a faithful and detailed rendering of a well-known statue.

The piece presented some unique challenges. At full height the figure reached 20m yet it was to emerge from a subterranean chamber with a clearance of just 10m. The design incorporated various elements that could lift, expand, articulate, unfurl and inflate, allowing the entire figure to emerge from under the stage to be revealed in its entirety by a dramatic 20m kabuki drop. A combination of steel support structure, carved polystyrene, articulated props, lightweight fabric robes and inflatable elements created a stunning, fully robed and seamless Oguz Han.

His hands grasped a vast bow and arrows and huge inflatable horns flanked the emblematic base. The arrow heads were particularly vulnerable to damage during positioning and 3D printing these elements delivered the right combination of detail and strength. With such a wide range of different materials and textures, it was also important that the chosen finishes helped create the impression of a single, uniform sculpture.

MethodologyOur experience of creating large-scale sculptural centre pieces has given rise to a thorough and detailed methodology, both during production and on site. Before production begins, we know exactly how we will make all elements of an item, how it will be broken apart for shipping and how it will be put back together again on site. All of this is considered in the context of ensuring the correct aesthetic and functionality are delivered.

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Production ProcessAlthough the client presented us with a well-formed design, the timeframe was still tight. Having developed a detailed and integrated CAD package that covered CNC sculpting, metal shop, wood shop, technical department, 3D printing, inflatables and drapes; we were able to run all components through our different workshops concurrently.

The head, hands and bow were machined from sections of polystyrene substrate using our large volume 5 axis CNC facilities. This allowed us to start production of these elements straight away, machining sections from the base up, carving head, face and hands in detail while allowing for the precise integration of steel armatures and the lifting ram that raised the sculpture to its full height.

With a maximum workshop height clearance of just under 9.5m and the completed head reaching 10.5m, upper and lower test builds were carried out, ensuring full knowledge of how the Oguz Han would be rebuilt on site. Likewise, a finish was chosen that not only allowed us to replicate the textural finish of the original statue, but to make good the various joins as the sculpture was re-configured on site. Various gold paint finishes were tested, the selected tone achieving an overall colour that worked best in the live show context.

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The RevealThe two-stage reveal of this sculptural centrepiece formed a key moment of the Opening Ceremony. Once manoeuvred from under the stage and onto the huge central stage lift, the Oguz Han was raised into position. Initially, the entire sculpture was concealed by the 30m diameter projection cylinder. This slowly lifted to reveal a giant representation of the emblem on the Oguz Han’s headdress: upright horns flanking a large golden ‘sun’ disc.

The second stage of the reveal came as the kabuki mechanism on the disc was deployed, the 20m curtain dropping dramatically to the stage floor. The flown sun disc then rose, the horns lowered and the Oguz Han statue was revealed in its entirety, resplendent in golden robes, vast sword at his side, grasping huge bow and arrows.

This project drew on our unique multidisciplinary expertise, developed over the last two decades of ceremony experience. We delivered a show flying system, stage automation and a giant, highly detailed scenic centrepiece for a key moment of the show’s narrative. All was installed and operated in the intense heat, a true testament to the quality and tenacity of our crew and a perfect demonstration of our diverse capabilities.