CAST Software is the maker of two popular software suites in the entertainment and event industries - Vivien-Virtual Event Designer and wysiwyg. These tools were used to create the design for the show.
Three key designers worked on the project, lighting designer Mats Andreasson, production manager Ola Melzig and set designer Åse Persson, sharing wysiwygand Vivien files with each other to meet the demands of a challenging layout, creating a striking design while saving time and money.
The venue presented a few obstacles for the team, as Grand Hotel, which opened in 1874, was never designed for the range of events to be held within its walls. Automated lights, strobe lighting, electric guitars and mirror catwalks were just not foreseen in 1874. It required advance planning and a deliberate strategy to create the illusion of an ultra hip set design showcasing the latest in fashion inside a 135-year-old building.
"Actually one of my biggest challenges was a very strict chair count that had to be aesthetically pleasing as an overall design that integrated seamlessly with the catwalk and stage," said Melzig, "This event caters to a long list of VIPs, and we had to have exactly 855 chairs, all with good views of the catwalk. I also didn't have a choice of chairs - I had to use the ones the hotel had. So it was extremely helpful to be able to use Vivien and its triangular wizard tool. I had the exact chair size and catwalk dimensions, so I was able to plot layouts, ultimately selecting just one, and knew it all would fit perfectly and look great. I was also able to manoeuvre my point of view and confirm a good sightline for every seat."
With seating and catwalk in position, Melzig gave the Vivien file back to Andreasson, who imported the updated layout back into wysiwyg and designed the lighting and rigging. The lighting required very focused conventional catwalk lighting, but Andreasson went a step beyond by adding moving lights for a live show feel.
Åse Persson of Prosit Design was responsible for the catwalk and stage design, decorated with 146 multi-sized mirror balls. Peter Andersson, creative director for the show, shared his creative concept with Persson.
(Jim Evans)
