ENGINEERING PERFORMANCE SCENERY FOR TERHAL BY DRAGONE

In 2023, Evolution Scenic was selected by Dragone to fabricate custom scenic elements for Terhal in Diriyah, Riyadh. The commission required visually authentic scenery that could also perform reliably within a demanding live-production environment.

The creative concepts were supplied by the client, with Evolution Scenic responsible for translating them into practical, production-ready scenic pieces. This involved developing the construction, structural approach and operational details needed for repeated use during rehearsals and performances.

The scope included six Saudi street-market carts and a traditional Arabian land-abra. The market carts were designed to function as parkour obstacles, requiring sufficient strength, stability and mobility for direct performer interaction.

The land-abra was engineered to move under its own power while maintaining the appearance of a traditional Arabian boat. Across the scope, structural engineering, mobility, performer interaction and scenic authenticity were central to the fabrication process.

BUILDING SIX STEEL-FRAMED PARKOUR CARTS

The six market carts were developed to preserve the visual character and traditional appearance of Saudi street-market furniture while also providing the structural strength required for demanding live performance use. Their construction needed to support repeated performer interaction and physical movement without affecting the overall scenic look of the finished pieces.

Evolution Scenic fabricated the primary internal frameworks using 48 mm diameter mild-steel pipe, creating a strong and reliable structural core for each cart. This steel framework carried the required performance loads while allowing the decorative scenic surfaces to be developed independently around the supporting structure.

Plywood, MDF and timber were applied over the steel framework to establish the external profiles, panels and recognisable market-cart forms. Fibreglass, foam, fabric and acrylic were also incorporated where appropriate to create shaped details, lightweight decorative components and additional scenic features required by the supplied concepts.

This combination of metalwork, carpentry, composite materials and scenic fabrication allowed each material to serve a specific structural or visual purpose. The completed carts retained the appearance of traditional timber-built market objects while incorporating a substantially reinforced internal construction suitable for parkour performance and repeated use within the production environment.

DESIGNING FOR PERFORMER LOADS

The distinctive feature of the market carts was their role as active parkour obstacles within the performance. Performers were expected to climb, jump, land and interact directly with the structures, creating significantly different demands compared with conventional decorative scenic furniture.

To support this level of physical interaction, the carts required a strong and stable internal construction capable of handling the intended performance loads. At the same time, they needed to remain mobile and practical for movement within the production environment without losing their traditional scenic appearance.

Evolution Scenic used 48 mm diameter mild-steel pipe as the main structural framework, providing the reinforced core required for the carts' performance function. Load limits formed part of the technical considerations, ensuring that the scenic elements were approached as functional performance structures rather than lightweight decorative props.

This combination of scenic appearance and engineered strength demonstrates the difference between conventional scenic fabrication and performance-focused scenic engineering. What appeared on stage as a traditional market cart incorporated a more substantial internal structure, allowing it to function reliably as part of the performers' physical environment.

DEVELOPING THE SCENIC SURFACES

With the structural framework completed, Evolution Scenic developed the visible forms of the scenic elements using plywood, MDF and timber. These materials were shaped and applied around the engineered structures to establish the required profiles, panels and traditional visual character of the finished pieces.

Fibreglass, foam, fabric and acrylic were incorporated where the scenic design required more detailed, lightweight or shaped decorative components. Combining these materials allowed the fabrication team to create varied forms and textures while maintaining a consistent overall appearance across the scenic elements.

Scenic painting, distressing, textured coatings and timber staining were then used to visually unify the different construction materials. These finishing techniques helped create depth, variation and a more authentic aged appearance rather than allowing the newly fabricated surfaces to appear overly clean or factory-produced.

Careful variations in colour, timber tone, texture and surface treatment helped reinforce the traditional character required by the supplied creative concepts. The completed scenic surfaces therefore combined a strong engineered construction beneath with a detailed, deliberately aged exterior suitable for close performer interaction and live theatrical presentation.

TURNING A GOLF BUGGY INTO AN ARABIAN BOAT

The second major fabrication challenge was the creation of the land-abra, which needed to operate as a moving scenic element rather than a static boat prop. Evolution Scenic transformed an existing golf buggy into a traditional Arabian boat capable of travelling through the performance environment under its own power.

The golf buggy provided the underlying vehicle platform, including the basic propulsion, steering and braking functions required for controlled movement. Around this operational base, Evolution Scenic fabricated the boat structure using a combination of mild-steel framing, timber, plywood and fibreglass.

A key part of the fabrication process was integrating the vehicle and the scenic boat body as one functional assembly. The finished scenic shell needed to conceal the recognisable golf-buggy form while maintaining access to the operating components and allowing the steering and braking systems to function effectively.

Once completed, the transformed vehicle could move through the performance area as a convincing Arabian land-abra while retaining the practical control of the golf buggy beneath it. This approach combined scenic fabrication, structural integration and vehicle functionality to create a self-powered theatrical boat suitable for live performance.

INTEGRATING STRUCTURE, MOVEMENT AND FINISH

The land-abra demonstrated how the functional requirements of a moving scenic element directly influenced its construction. Unlike a static boat prop designed mainly around shape and appearance, the golf-buggy-based land-abra required careful coordination between its scenic form and its operational vehicle components.

The supporting structure was developed using mild-steel framing, while timber and plywood formed much of the visible scenic body. Fibreglass was incorporated to create additional boat profiles and shaped details without depending entirely on heavier timber construction.

Because the land-abra needed to move through the performance environment, the construction also required consideration of weight distribution, structural interfaces and access around the existing golf buggy. The supporting framework and scenic body therefore had to work together without restricting steering, braking or general vehicle operation.

Scenic paint, textured coatings, timber staining and distressing were applied to visually unify the different construction materials into one convincing traditional boat form. The final result brought structure, movement and scenic finishing together as a single functional assembly, allowing the land-abra to maintain its theatrical appearance while operating reliably during the performance.

ADAPTING THE PROPS DURING REHEARSALS

Rehearsals became an important stage in refining the performance behaviour of the scenic pieces under actual show conditions. The uneven, sand-like performance surface affected how the wheeled market carts moved, responded and stopped during repeated use within the production environment.

Evolution Scenic adjusted the carts by modifying and refining the caster wheels and manual braking arrangements. These changes improved control and allowed the carts to move more predictably across the textured floor while remaining suitable for performer interaction and carefully coordinated stage movement.

The land-abra also required adjustments to its braking behaviour during rehearsals. Because the golf buggy was being used as a theatrical stage vehicle, its stopping and manoeuvring characteristics needed to work accurately with the movement patterns and timing required by the production.

These rehearsal-based refinements helped ensure that the moving scenic elements performed reliably within the actual venue rather than only under workshop conditions. The process demonstrated the importance of testing mobility, braking and control on the final performance surface, where textured flooring, performer movement and precise stage cues could directly influence the behaviour of each scenic element.

DELIVERING WITHIN A TWENTY-DAY PROGRAMME

The Evolution Scenic scope was delivered within a confirmed 20-day programme, requiring close coordination across fabrication, finishing and production activities. Within this limited timeframe, multiple technical disciplines had to progress efficiently while maintaining the structural and scenic requirements of the Terhal performance elements.

The six market carts required the fabrication of reinforced mild-steel frameworks, followed by the construction of timber-based scenic bodies and the application of specialist scenic finishes. Metal fabrication, carpentry, composite work and surface treatment therefore had to be carefully coordinated to keep each cart progressing through the workshop without unnecessary delays.

The land-abra introduced an additional technical challenge because an operational golf buggy had to be integrated within a custom-built scenic boat structure. Steel framing, timber, plywood and fibreglass construction needed to be developed around the vehicle while maintaining its movement, steering and braking functions before the completed piece could enter rehearsals.

Once completed, the scenic elements were delivered into the production environment for movement checks, rehearsal use and final operational adjustments. Floor protection formed part of the site requirements while moving and testing the substantial steel-framed pieces, helping ensure that installation and rehearsal activities could proceed efficiently throughout the 20-day delivery programme.

PERFORMANCE SCENIC FABRICATION IN PRACTICE

The Terhal project demonstrates the technical depth required to transform traditional-looking scenic objects into fully functional performance elements. What appeared on stage as familiar market carts and an Arabian boat incorporated engineered structures, moving systems and carefully developed scenic finishes beneath their visible surfaces.

The six market carts combined mild-steel framing with plywood, MDF, timber and additional scenic materials to create strong performance structures suitable for direct physical interaction. Fibreglass, foam, fabric and acrylic were incorporated where required to develop shaped details while maintaining the intended visual character of the client-supplied concepts.

The land-abra followed a similar approach by combining a functioning golf buggy with a custom scenic boat structure. Its construction needed to support steering, braking and controlled movement while the scenic body concealed the vehicle beneath and maintained the appearance of a traditional Arabian boat during the performance.

Scenic painting, distressing, textured coatings and timber staining completed the visual transformation of the engineered assemblies. The finished result brought together custom scenic fabrication, structural engineering, mobility and specialist finishing, allowing the scenery to operate as an active and reliable part of the Terhal production rather than simply serving as a static background.

Custom Scenic Fabrication For The Montenegro Pavilion

The Montenegro Pavilion at Expo 2020 Dubai marked Montenegro’s National Day with a bespoke exhibit designed and installed by Evolution Scenic. The project combined custom scenic fabrication with traditional joinery, specialist finishing and contemporary acrylic lighting. The fabricated elements were designed to integrate with the existing pavilion while introducing a distinctive physical feature to the environment.

Evolution Scenic delivered a custom scenic table constructed from a timber structure with MDF cladding and a PU paint finish, together with a clear acrylic lighting installation. The combination of painted scenic construction and transparent illuminated fabrication created a multi-material installation that brought together several different areas of scenic manufacturing.

Turning A Pavilion Design Into Fabricated Scenery

The exhibit needed to integrate with the existing Montenegro Pavilion while maintaining a modern and refined appearance. The main scenic table therefore needed to function as a purpose-built fabricated element rather than standard exhibition furniture.

Its timber structure provided the underlying support, while MDF cladding established the finished external surfaces. The MDF was subsequently finished with PU paint, creating a smooth and controlled surface treatment across the visible scenic construction. The project also introduced a clear acrylic lighting feature. This required a separate fabrication approach in which the acrylic itself formed part of the visible illuminated installation. The result was an exhibit that combined solid fabricated forms with a transparent lighting element.

The original Evolution Scenic project description confirms that the exhibit was intended to enhance the existing pavilion and combined traditional joinery methods with contemporary lighting and acrylic fabrication.

Fabricating The Scenic Table

The main scenic table was constructed using a timber structural framework. Timber provided the supporting structure required to establish the overall form of the fabricated table. MDF cladding was then applied to create the visible scenic surfaces.

This construction method allowed the structural framework and finished scenic surface to perform different roles within the same component. The MDF provided a clean surface that could be prepared for the final PU paint treatment. The finished paintwork gave the fabricated table the controlled appearance required within the pavilion.

The construction demonstrates a typical scenic approach in which a structural framework supports a fabricated outer skin that can then be prepared and finished to a higher visual standard. The table was therefore developed as a complete scenic object, combining structural joinery, cladding and decorative finishing rather than relying on off-the-shelf furniture construction.

Fabricating The Acrylic Lighting Feature

Alongside the scenic table, Evolution Scenic delivered a lighting installation fabricated using clear acrylic. The acrylic provided a transparent physical element for the lighting feature, allowing the illumination to become part of the scenic construction. This introduced a contrasting material to the timber and MDF table.

Where the table relied on solid scenic construction and painted surfaces, the acrylic feature used transparency and illumination to produce a lighter visual treatment. Clear acrylic can also provide a clean edge and controlled visual appearance when used within illuminated scenic fabrication, making it appropriate for contemporary exhibition and pavilion environments.

The original project source specifically confirms the use of specialised acrylic lighting elements and identifies acrylic fabrication and contemporary lighting as part of the fabrication approach.

Combining Joinery, Scenic Finishing And Acrylic Fabrication

The Montenegro Pavilion installation brought several fabrication disciplines together. The timber structure formed the foundation of the custom table. MDF cladding established the visible scenic surfaces, while the PU paint finish completed the external appearance. The acrylic lighting installation introduced a separate fabrication technique, using clear acrylic to create a transparent illuminated element. Each material therefore had a distinct role within the completed installation.

The timber provided structure. The MDF provided the scenic skin. The PU paint created the finished surface. The clear acrylic provided the physical basis for the illuminated feature. Bringing these different materials together required the fabrication to be considered as a complete scenic installation rather than a collection of unrelated components.

The original project description similarly identifies the combination of traditional joinery, contemporary lighting and acrylic fabrication as a defining feature of the work.

Working Within The Existing Pavilion Environment

The completed exhibit was installed within the Montenegro Pavilion at Expo 2020 Dubai. The fabricated elements therefore needed to work within an existing pavilion environment rather than being developed as a standalone scenic installation. The original project source describes the exhibit as integrating with the existing pavilion and aligning with its overall design language.

This made the finished quality of the fabrication particularly important. The painted MDF surfaces of the table needed to read as finished architectural scenic elements, while the clear acrylic lighting installation needed to sit comfortably alongside the solid fabricated construction.

The combination of materials created visual contrast while maintaining a coherent overall installation. The supplied information does not confirm specific site restrictions, installation duration, access arrangements, crew numbers or transportation methodology, so these details have not been added.

Delivering A Finished Pavilion Installation

The completed scenic elements were delivered and installed for Montenegro’s National Day celebration at Expo 2020 Dubai. The final installation brought together the custom scenic table and clear acrylic lighting feature within the pavilion environment. The table provided the principal solid fabricated element, combining timber construction, MDF cladding and PU paint finishing.

The acrylic installation provided a contrasting transparent and illuminated element. The completed exhibit therefore demonstrated Evolution Scenic’s ability to move from scenic construction and joinery through to specialist surface finishing and acrylic fabrication within a single project.

A Multi-Material Scenic Installation

The Montenegro Pavilion project demonstrates how a relatively focused exhibit can involve several distinct areas of scenic manufacture. The timber structure established the supporting construction of the main table. MDF cladding created the visible scenic form, while the PU paint finish established the final surface treatment.

Clear acrylic introduced another fabrication discipline through the illuminated installation. Together, these components created a cohesive temporary scenic environment that combined solid architectural fabrication with transparent illuminated scenery.

The project demonstrates Evolution Scenic’s capability in custom scenic construction, joinery, scenic finishing and specialist acrylic fabrication, while maintaining a consistent finished standard across different materials. The completed installation provided the Montenegro Pavilion with a bespoke fabricated exhibit that combined practical scenic construction with contemporary lighting and material treatment.

Building a Complete Exhibition Interior for the Slovenia Pavilion

In 2023, Evolution Scenic developed and delivered a complete exhibition fitout for the Slovenia Pavilion at Expo City Dubai. The project transformed the existing interior into a sequence of interpretive and gallery environments designed to accommodate wall graphics, cultural objects, framed artworks and three-dimensional displays.

Rather than relying on a single repeated display system, the fitout combined several forms of scenic and interior construction. Curved black walls carried the principal timeline and interpretive content. White gallery partitions created a contrasting setting for artworks and textile displays. Black plinths and glazed cases provided protected presentation areas for objects and artefacts.

Custom ceiling elements, lighting, flooring, skirting and planting connected these components into one coherent environment. Evolution Scenic developed the exhibition design and delivered the principal scenic construction within a confirmed 20-day programme.

The finished installation was intended to remain inside the Slovenia Pavilion for an extended period. This required a balance between workshop-efficient scenic fabrication and the durability, alignment and finish quality associated with a longer-term exhibition interior.

Developing the Exhibition Layout

The interior was organised through a deliberate contrast between dark interpretive spaces and white gallery environments. The curved black timeline walls created broad surfaces for photographic material, text and historical content. Their geometry guided movement through the exhibition while avoiding the visual rigidity of a conventional sequence of straight display panels.

The black walls also provided a controlled background for the exhibited objects. Dark plinths and display bases continued the wall language across the floor, creating visual continuity between the interpretive graphics and the three-dimensional displays. The white gallery areas used a different spatial character. Workshop-built partitions formed restrained, neutral surfaces for framed artworks, masks, textile pieces and other wall-mounted exhibits. The pale gallery walls allowed the material, colour and form of the displayed works to remain visually prominent.

The transition between the two zones was resolved through curved entrance and feature-wall elements, consistent flooring and coordinated ceiling treatment. Decorative planting was integrated at selected points within the layout, introducing softer natural forms between the constructed gallery surfaces.

Fabricating the Curved Timeline Walls

The curved black walls were produced as timber-framed scenic structures clad in MDF. The timber framework established the required radius and provided support for the finished wall faces. MDF was then applied to create a smooth and continuous surface capable of receiving paint, printed wallpaper and vinyl graphic material.

Curved walls introduce a different set of fabrication considerations from conventional flat partitions. The framework must maintain a consistent radius across its full length. Sheet materials need to follow that geometry without creating visible faceting, abrupt joints or changes in surface level.

The completed faces also need to remain suitable for graphic application. Any variation in curvature, joint alignment or surface preparation can become visible once large-format printed imagery and horizontal text lines are installed. Evolution Scenic’s construction therefore needed to provide both the physical geometry of the wall and the accurate finishing surface required by the outsourced graphics supplier. The black finish unified the wall assemblies and allowed the graphics, objects and display lighting to stand forward visually.

Producing Modular Gallery Partitions

The white exhibition walls and partitions were fabricated as modular workshop-built sections. Workshop fabrication allowed the wall components to be assembled, checked and finished before delivery to Expo City Dubai. It also reduced the amount of direct construction required inside the completed pavilion. Each partition needed to perform several functions.

The walls defined the gallery layout, supported framed works and created the finished background visible around every exhibit. They also needed to coordinate with skirting, flooring, ceiling elements, lighting positions and adjoining wall sections. Plywood and timber framing provided internal support where required, while MDF and painted surfaces formed the visible faces. Gypsum wall construction was also incorporated within the wider interior package.

Once installed, the modular sections were aligned and joined so that they read as continuous architectural walls rather than temporary panels. Joint treatment, edge alignment and consistent paintwork were particularly important in the white gallery areas because shadows and surface variations are more visible against light finishes. The result was a clean exhibition setting capable of supporting different artwork formats without visually competing with the displayed material.

Manufacturing Display Plinths and Case Bases

Three-dimensional objects were presented using custom black plinths and glazed display cases. Evolution Scenic fabricated the plinths and display bases. The glazed cases themselves were supplied by another contractor. This division of responsibility required accurate coordination between separate packages. The scenic bases needed to match the dimensions and support requirements of the glass enclosures. Their finished surfaces also needed to align cleanly with the case edges so that the separate components appeared as one complete display unit.

MDF, plywood, timber framing and selected metal components provided the body and internal support of the plinths. Black laminate and painted finishes created a consistent external appearance across the exhibition. The dark bases visually grounded the displays while allowing the glass cases and illuminated objects to remain the main focus.

The fitout also included wall-mounted artefact shelves and supports for framed artworks. These elements required suitable internal backing and accurate setting-out so that the final exhibits could be positioned consistently across the modular walls. Acrylic and glass were incorporated where required within the wider display package, although the available information does not identify the exact application of every transparent component.

Integrating Graphics Without Claiming Their Manufacture

Printed wallpaper, timeline imagery, interpretive text and vinyl graphics formed a major part of the exhibition’s visible surface treatment. The graphic production and installation package was carried out by an outsourced specialist supplier rather than Evolution Scenic. Evolution Scenic’s role was to create the physical scenic surfaces and spatial framework into which those graphics were incorporated.

This distinction is important because exhibition graphics depend heavily on the quality of the underlying construction. Large printed panels and wallpapers require walls that are smooth, accurately aligned and free from abrupt surface changes. Curved graphics require especially careful dimensional control because text, image grids and horizontal lines can reveal inconsistencies in the wall radius.

By producing stable timber-framed and MDF-clad walls, Evolution Scenic established the physical base required for the final graphic installation. The completed environment therefore depended on coordination between scenic fabrication and specialist graphic production without incorrectly attributing the outsourced graphics to Evolution Scenic.

Constructing the Ceiling and Lighting Environment

The exhibition fitout extended above the wall and display systems through custom suspended and perimeter ceiling structures. These elements helped define the exhibition spatially and provided a coordinated framework for the lighting. Evolution Scenic supplied the ceiling lighting. Fixture positions were developed in relation to the timeline walls, gallery partitions, display cases and circulation areas.

Lighting needed to perform more than a general illumination function. The black interpretive zones required focused light on objects, cases and graphic content. The white gallery areas required even presentation of framed works without allowing the surrounding architecture to become visually dominant. The ceiling treatment helped connect these requirements by creating a consistent overhead structure across the different exhibition areas.

The project also included battery-operated display lights supported by a 48-hour backup system. This allowed exhibit lighting to remain operational while limiting the need for visually intrusive power connections around the glazed cases. The integration of lighting into the scenic and ceiling construction helped the finished exhibition read as one designed environment rather than a collection of independently lit objects.

Delivering the Fitout Within Twenty Days

The confirmed project programme was 20 days. The supplied information does not identify how the period was divided between workshop fabrication and site installation. It should therefore be described as the overall project programme rather than separate confirmed fabrication and installation durations.

Workshop production allowed the modular wall sections, curved structures, plinths, bases, shelves, artwork supports and ceiling elements to be prepared before delivery. On site, installation needed to follow a coordinated sequence. The principal walls established the spatial layout. The modular gallery sections were aligned and joined. Display bases were positioned to receive the glazed cases. Ceiling structures and lighting were installed in relation to the final exhibit locations.

The outsourced graphics package was then incorporated onto the completed scenic wall surfaces.

Flooring, skirting, wall-mounted elements and decorative planting resolved the remaining junctions and completed the visual environment. The modular methodology reduced dependence on extensive direct construction inside the pavilion while still allowing the finished fitout to read as a continuous interior.

Creating an Extended-Duration Scenic Installation

The exhibition was intended to remain inside the Slovenia Pavilion for an extended period. This separated the project from short-duration event scenery, where components may only need to perform across a limited installation and operating window.

The Slovenia Pavilion fitout required the speed and adaptability of scenic fabrication while maintaining a consistent finished appearance over a longer display period. Wall sections needed to remain aligned. Plinth finishes needed to withstand continued use and cleaning. Artwork supports and shelving needed to remain stable. Lighting had to function as an integrated part of the exhibition rather than as a temporary technical overlay.

The project therefore occupied a useful space between scenic fabrication, exhibition construction and interior fitout. Evolution Scenic’s workshop capabilities allowed the complex components to be manufactured efficiently, while the installation process converted those modular elements into a refined and cohesive gallery environment.

Completing the Slovenia Pavilion Exhibition

The finished interior brought together several distinct fabrication disciplines. Timber-framed curved walls established the interpretive route. Modular white partitions created the gallery areas. Gypsum construction helped complete the architectural envelope.

Black display plinths and bases supported the exhibit cases, while shelves and framed artwork supports accommodated wall-mounted material. Custom ceiling structures, integrated lighting, flooring, skirting and planting connected the separate elements into a complete environment.

The outcome demonstrates how scenic fabrication can be used beyond temporary event production. Through modular construction, controlled workshop manufacture and accurate supplier coordination, Evolution Scenic delivered an exhibition interior capable of remaining in place for an extended period while retaining the precision and visual clarity required from a cultural display environment.

Designing a Circular Scenic Environment for ADSW Youth Circle

The ADSW Youth Circle was held in Abu Dhabi during Abu Dhabi Sustainability Week 2018. Hosted at the ADSW VIP Majlis in ICC Hall in collaboration with ADSW and the Ministry of Youth Affairs, the project required an environment suitable for an open discussion format while maintaining a clear and recognisable visual identity.

Evolution Scenic was responsible for the design and fabrication of the scenic environment. The delivered package centred on a custom circular stage, supported by freestanding branding, scenic backdrop elements, event furniture and AV coordination. Together, these components created a complete event setting rather than a conventional stage placed in front of a separate audience area.

Translating the Youth Circles Identity into Scenic Form

The Youth Circles identity was based on a strong circular graphic device. Evolution Scenic carried this geometry through the physical environment. The principal stage featured a large orange branded centre surrounded by a clean white scenic perimeter. This created a clearly defined central area while retaining the low visual profile required by the surrounding arrangement.

A freestanding circular Youth Circles logo feature was positioned beside the platform. Mounted on a shaped white scenic support, it transformed the event identity from a flat graphic into a physical branded object. The project imagery also shows a secondary white branding wall within the venue. Its restrained finish provided a neutral scenic surface for event identities and supporting information without competing with the stronger orange stage treatment.

The repetition of circular geometry across the floor treatment, stage perimeter and upright logo feature gave the environment consistency. Each component could be read separately, but together they formed a single scenic language.

Designing for a Radial Layout

The Youth Circle did not use a conventional frontal stage arrangement. The photographs show seating distributed around the central platform, making the stage an object within the room rather than an elevated surface viewed from only one direction.

This configuration placed greater emphasis on all-round presentation. Scenic edges, joints, graphic alignment and rear surfaces could potentially remain visible from different positions. The low-profile construction helped preserve visual relationships across the environment. The central stage remained distinct without creating a substantial physical barrier through the space.

The upright Youth Circles logo feature provided a stronger vertical marker. Its height and position gave the installation a recognisable branded focal point while the central platform remained comparatively low. Exact sightline studies and stage dimensions have not been supplied. The discussion above is based on the visible arrangement rather than project-specific technical drawings.

Developing the Scenic Components

The confirmed scope included scenic design and fabrication. Developing a circular stage package requires careful control of geometry. The perimeter must read as a consistent curve, while floor graphics and applied branding must align with the physical centre of the platform.

The freestanding circular logo feature introduced a separate fabrication requirement. Its visible disc, supporting scenic body and floor interface needed to form a stable, cleanly finished object suitable for an indoor temporary environment.

The supporting branding wall required a different scenic treatment. Its larger rectangular surface created a counterpoint to the circular centrepiece and provided a practical location for supporting visual information. Although the materials are not recorded, the visible scenic treatment relied on clean white surfaces and precisely positioned orange graphics. The quality of the completed environment therefore depended on accurate fabrication as well as controlled graphic production and application. No substrate, framing, jointing, fixing or paint specifications have been inferred.

Coordinating Scenic Branding and AV Requirements

The published project scope confirms that scenic backdrops were integrated with AV elements to support presentations and video coverage. This interface is significant because scenic and technical systems cannot be developed independently when they occupy the same visual environment.Screen positions, camera views, equipment footprints, cable routes and access for technical adjustments can all influence scenic dimensions and component placement.

For an environment intended to be viewed from several directions, technical equipment also needs to be incorporated without weakening the overall composition.The available information does not confirm which AV components were physically integrated into the scenic construction or which were positioned independently by the technical team. The case study therefore records the confirmed coordination requirement without assigning unverified construction details.

Combining Stage, Branding and Furniture

The event furniture formed part of the overall Evolution delivery. White chairs were arranged around the circular platform, reinforcing the all-round format while maintaining the visual simplicity of the scenic environment.

The furniture was not treated as scenery, but its placement was important to the finished spatial composition. The relationship between the central platform, freestanding logo feature, secondary backdrop and seating established the usable event environment.

This coordination helped prevent the stage from appearing as an isolated scenic object. Instead, it became the centre of a planned system containing physical scenery, branding, furniture and production technology. Evolution Scenic’s role in designing and fabricating the stage environment provided the visual structure around which those additional elements could be organised.

Installing the Environment at ICC Hall

The installation took place within the ADSW VIP Majlis at ICC Hall in Abu Dhabi. 

Accurate on-site set-out would have been central to the finished appearance. The platform, central graphics and freestanding circular feature needed to relate correctly to one another, while sufficient space had to remain for furniture, technical equipment and circulation.

Temporary scenic components are normally developed so that they can be transported, assembled and finished within the available venue programme. Curved platforms may be divided into manageable sections, while larger freestanding features may use separate supporting and visible components.

These construction approaches describe standard scenic methodology only. The exact segmentation and installation sequence used for the Youth Circle are not documented in the supplied information. No confirmed details are available for transportation, access, lifting equipment, installation hours or site staffing.

Delivering a Complete Event Environment

The completed Youth Circle installation combined a custom stage, branded scenic structures, supporting backdrop elements, furniture and technical coordination. The strong orange and white treatment gave the setting a recognisable identity, while the circular composition provided a clear spatial centre.

The stage remained integrated with the surrounding environment rather than functioning as a separate elevated platform. Repeated curves and consistent scenic finishes helped establish continuity across the different physical components.

The confirmed project outcome was the delivery of a complete event environment. For Evolution Scenic, the project demonstrates the value of treating design, fabrication, branding and technical interfaces as one connected scenic package. The final installation was not defined by a single large scenic structure. Its effectiveness came from the controlled relationship between several smaller elements, each contributing to the overall environment.

CREATING A UNIFIED SCENIC ENVIRONMENT FOR EMIRATI CHILDREN’S DAY

Emirati Children’s Day 2018 took place at Umm Al Emarat Park in Abu Dhabi, with a programme that extended across educational workshops, outdoor activity areas, a dedicated media setting and a formal awards presentation inside the conference centre. Each area had a different practical purpose, but the physical environment still needed to feel connected.

Evolution Creative developed the overall scenic design, using paper aeroplanes, illustration, bright fields of colour and simplified architectural forms to establish a recognisable visual language. Evolution Scenic then translated that design into the temporary structures, backdrops, signage and three-dimensional features required across the site.

This distinction between design and fabrication is important. A graphic identity can work very effectively on a screen or printed page, but it has to be reconsidered once it becomes a wall, a suspended prop or a freestanding scenic structure. Shapes need thickness. Graphics need edges and joints. Large elements need internal support, transportable proportions and practical fixing points.

The project therefore depended on more than reproducing a set of approved visuals. The scenic team had to understand how the design should behave in several different spaces and then develop a family of fabricated elements that could perform separate functions without losing their shared identity.

TRANSLATING GRAPHIC DESIGN INTO PHYSICAL SCENERY

The principal construction materials were MDF and plywood. These provided a practical and adaptable base for the project’s workshop walls, branded backdrops, stage scenery, photo features and freestanding structures.

Sheet materials are particularly useful when a scenic project depends on clear graphic shapes and controlled architectural lines. They can form conventional wall panels, but they can also be cut into profiles, layered details, framed openings and more distinctive silhouettes. The same basic material system can therefore support several different environments without forcing every component to look identical.

Because the scenic concept was developed within Evolution Creative, the transition into fabrication could be managed as an internal design-development process. The scenic team could review the original visual intent while resolving the dimensions, joints, material edges and support requirements needed for production.

One of the questions we often ask at this stage is which parts of the design must remain exact and which can be adjusted to make the structure more practical. A graphic line may need to continue cleanly across several panels, while a shaped edge may need a slight change to strengthen the construction or make the component easier to transport. These adjustments should not alter the character of the design, but they can make a significant difference to the quality and reliability of the finished build.

The project also crossed both indoor and outdoor areas. A workshop wall installed inside a tent faced different conditions from a freestanding media backdrop positioned in the park, while the awards-stage scenery needed to coordinate with screens, presentation furniture and the more formal setting of the conference centre.

This meant the scenery could not be developed as one repeated wall system with different graphics applied to it. The visual language remained consistent, but the construction and proportions had to respond to the function and location of each area.

BUILDING THE WORKSHOP AND ACTIVITY ENVIRONMENTS

The workshop areas were treated as purpose-built scenic environments rather than generic spaces divided by drape or rental screens. Custom walls introduced illustrated backgrounds, framed openings, colour fields and graphic details around the different activities.

This approach allowed the scenic construction to perform several roles at once. The walls created backgrounds, separated activity zones and introduced enough architecture to make each workshop feel established within the larger temporary venue. They also provided a consistent surface for the illustrations and project identity.

In practice, graphic coordination becomes more demanding when artwork extends across large fabricated structures. Titles, illustrated elements and feature shapes cannot be positioned without reference to panel breaks, corners and assembly joints. A character or line that appears correctly placed on a flat artwork file may be divided awkwardly once the structure is separated into transportable sections.

The physical fabrication and artwork therefore needed to be considered together. Panel dimensions influenced graphic layouts, and the graphics influenced where joints could be positioned without interrupting important elements.

The workshop environment also needed to remain practical. Openings and wall positions had to support the use of the space rather than reduce it to a decorative backdrop. Temporary scenic construction is most successful when it improves the organisation of the area as well as its appearance.

This becomes particularly important on projects containing several related environments. Each workshop needed enough individuality to support its own function, but a completely different construction approach in every area would have weakened the overall continuity and made production less efficient. Using a shared family of forms and materials allowed variation without losing coherence.

CREATING THE MEDIA AND PHOTO ENVIRONMENTS

Evolution Scenic also fabricated a dedicated outdoor media set. The structure combined a pale blue branded backdrop, illustrated camera graphics, bilingual event identity and a coordinated scenic floor.

Treating the area as a proper scenic set rather than relying on portable signage created a much more controlled physical composition. The backdrop defined the frame, while the floor extended the design into the foreground and reduced the visual interruption created by the surrounding park environment.

Outdoor media settings require particular attention to proportion. A backdrop that appears large in a workshop can feel comparatively small once installed in an open landscape. The structure needs enough width and height to contain the intended views, while the foreground treatment helps establish a complete visual zone rather than leaving the set as a single isolated wall.

The scenic floor was therefore an important part of the media environment. It visually connected the backdrop to the area in front of it and allowed the graphic treatment to occupy more than one plane. This gave the set greater depth and helped it read as a temporary studio rather than a branded board standing on the ground.

Elsewhere within the festival, Evolution Scenic fabricated a large freestanding photo environment based around an oversized illustrated paper aeroplane. Layered wall planes, a prominent speech-bubble graphic and a large aeroplane-shaped foreground element transformed the project identity into a three-dimensional scenic composition.

This is a good example of the difference between displaying a graphic and building from it. The paper aeroplane had already been established as part of the visual language, but increasing its scale and turning it into a physical element gave it a different role. It became something people could stand beside or within, rather than an image viewed at a distance.

The structure still needed to retain the clean, simplified quality of the original illustration. Overcomplicating the construction or introducing excessive visible framing would have weakened that connection. The MDF and plywood construction therefore had to provide sufficient stability while allowing the finished form to remain visually light and graphic.

Large photo features also need to be considered from the expected viewing position. Layered planes and foreground objects can create a convincing composition when aligned correctly, but the effect may disappear if the depth and spacing are not controlled. The scenic team therefore had to develop the feature as a complete view rather than a collection of separate cut shapes.

ADAPTING THE DESIGN FOR THE AWARDS STAGE

The awards ceremony inside the conference centre required a more formal scenic treatment. Evolution Scenic fabricated a custom backdrop incorporating a large screen area, a shaped shield-like scenic feature with an illuminated outline and a branded presentation lectern.

Although the tone changed, the stage still needed to belong to the same wider project. The visual identity could not simply be abandoned when the programme moved indoors. Instead, it was adapted into a more architectural composition suitable for a formal presentation environment.

Stage backdrops often appear simple once completed, but the relationship between scenic construction and technical equipment needs careful control. A screen has fixed dimensions and viewing requirements, while the surrounding scenic elements must frame it without interfering with sightlines or appearing as unrelated additions.

The shield-like feature and screen needed to read as parts of one composition. Their positions, heights and visual weight had to be balanced so that neither appeared secondary or disconnected. The illuminated outline introduced another layer, requiring the lighting effect to follow the shaped profile accurately while remaining integrated into the scenery.

The lectern also needed to correspond with the backdrop. Although physically smaller, it occupied a prominent position and had to use the same graphic and material language. Details that appear minor in the workshop can become much more noticeable when placed alone at the front of a formal stage.

The awards environment included seating for 200 people, supplied from Evolution Furniture’s rental inventory rather than fabricated by the Scenic department. Keeping this distinction clear reflects how projects of this type are actually delivered. Custom scenery establishes the architecture and visual identity, while rental furniture and operational infrastructure complete the functional environment.

The two scopes still required coordination. Seating positions, circulation and the stage layout all influenced how the scenic backdrop was viewed and accessed, even though the chairs themselves were not part of the fabrication package.

FABRICATING AND SUSPENDING THE PAPER AEROPLANE

One of the project’s most distinctive individual elements was the giant suspended paper aeroplane. Evolution Scenic fabricated the prop from plywood and completed it with a vinyl sticker finish.

The form needed to appear crisp and graphic, retaining the folded geometry associated with a paper aeroplane while being large enough to function as an overhead scenic feature. Plywood provided a rigid base for the shape, while the vinyl finish created a controlled surface that could reproduce the intended graphic treatment.

Suspended scenery introduces different considerations from freestanding walls and backdrops. The object must retain its shape while hanging, and the suspension points must connect securely without distorting the visible form.

The aeroplane was suspended using eyebolts and metal ropes. These created the physical interface between the scenic object and the overhead suspension system. Their positions would have influenced how the prop sat in the air, because even a relatively small imbalance can cause a suspended feature to tilt or rotate away from its intended orientation.

What often surprises people is that the visible centre of an object is not always the same as its physical centre of gravity. An irregular shape such as a paper aeroplane may require careful suspension-point positioning to achieve the correct final angle.

The prop also needed to remain visually clean despite the necessary suspension hardware. Eyebolts and ropes perform an essential function, but the finished result should still read first as a large paper aeroplane rather than as a plywood object hanging from several connections.

This is where scenic design, fabrication and installation have to remain connected. The workshop can manufacture the form and establish the intended suspension points, but the final position only becomes clear once the feature is installed within the event space.

DELIVERING ONE SCENIC LANGUAGE ACROSS SEVERAL SPACES

Installation extended across the outdoor festival environment at Umm Al Emarat Park and the separate awards venue inside the conference centre. Workshop walls, media scenery, signage and photo features had to be distributed across the park, while the stage backdrop and lectern formed a distinct indoor package.

The suspended aeroplane required overhead installation using the confirmed eyebolts and metal ropes. The remaining scenic elements were installed as freestanding walls, backdrops and feature structures.

Delivering across several locations creates a logistical challenge even when the individual components are relatively straightforward. Parts need to be labelled and grouped according to their destination, installation drawings must correspond with each area and the loading sequence should allow the correct structures to be accessed when required.

The project was completed on schedule despite the tight timeline. That outcome depended on treating the work as one coordinated scenic package rather than allowing the media set, workshop areas, photo feature and awards stage to progress as unrelated builds.

The completed environment showed how one design language could be adapted without becoming repetitive. MDF and plywood construction moved from colourful workshop walls to an outdoor media set, a large photo feature and a formal stage backdrop. Graphics created continuity, while changes in form, scale and composition allowed each area to serve its own purpose.

Evolution Scenic’s contribution lay in turning the creative direction into a practical family of temporary structures. The strongest connection between the spaces was not that every element looked the same, but that each one appeared to have been developed from the same visual idea and resolved with the same level of fabrication care.

That is often the more useful way to think about consistency in scenic projects. It does not require repeating one structure everywhere. It requires understanding the principles behind the design well enough to translate them into several different physical environments.

Restoring Expo Winter City’s Festive Scenic Collection

Expo Winter City in Dubai required an extensive collection of Christmas scenery and oversized decorative props to be restored for continued seasonal use. The original project record identifies decorative islands and oversized baubles as principal elements within the refurbishment scope. Decorative islands were repainted and re-flocked, while damaged baubles were repaired and given paint touch-ups.

Evolution Scenic and Evolution Prop Shop delivered the work together. The project photography shows a much broader collection of festive scenery. This included a gingerbread village installation, illuminated reindeer, clustered baubles, a giant bauble seating pod, a realistic reindeer prop, stacked gift structures, an illuminated snowflake and a conical Christmas tree framework.

All of the photographed elements formed part of the refurbishment programme. Most received repainting, while individual pieces required different levels of structural and decorative repair.

Some new scenic elements were also fabricated.

Assessing a Mixed Collection of Scenic Assets

Seasonal scenic collections rarely deteriorate uniformly. A painted bauble may have impact damage or chipped coatings. A flocked scenic island may remain structurally sound but require the decorative finish to be completely replaced. A sculpted prop may need local repair around vulnerable projecting details, while a large illuminated structure may require careful handling to avoid damage to its frame or decorative lighting. The Expo Winter City collection combined all of these requirements.

The workshop team assessed the pieces individually and selected an appropriate repair sequence for each one. This was necessary because the scenery was constructed from mixed materials and no single treatment could be applied across the complete collection. The confirmed process included cleaning, removing damaged finishes, completing structural repairs, filling, sanding, priming, repainting, removing worn flock and applying new flocking. This sequence ensured that the new decorative finish was supported by a repaired and correctly prepared substrate.

Repairing Before Repainting

Surface preparation was a central part of the refurbishment.Applying fresh paint directly over cracked, loose or uneven coatings would not have produced the required finish. Damaged material was therefore removed before repairs were made to the underlying forms.Filling compounds restored chips, dents and repair joints. Sanding blended these areas into the original surfaces and recreated the smooth profiles required by the oversized ornaments. Primer then created a consistent base for the new paint layers.

This was particularly important for the baubles. Their curved forms and reflective finishes could reveal even minor imperfections once placed under external and decorative lighting. The repaired surfaces were repainted in the collection’s established festive palette. Reds, greens, whites and metallic golds were used across the baubles, gift structures and gingerbread installations.

Reconstructing the Gingerbread Environment

The gingerbread scenic island was one of the most compositionally detailed pieces within the collection. The installation brought together a large gingerbread house, stylised trees, candy-cane structures, gingerbread characters, present props and a decorative perimeter fence. Each element used its own profile and graphic treatment, but all needed to read as one workshop-built environment.

The house combined gingerbread-coloured walls with white icing lines, green window details and red decorative features. The surrounding trees used matching biscuit tones and snow-like edges, while striped candy props introduced stronger red-and-white contrast. Wrapped presents added blocks of red and green to the centre of the installation. The perimeter fence repeated the gingerbread and icing treatment, visually containing the entire scene. Refurbishment required careful colour control across these individual elements. The work needed to restore the definition of the details without losing the handmade scenic quality of the original design.

Restoring Oversized Baubles

The bauble collection included ornaments of different sizes and finishes. Some were installed as individual features. Others were arranged in clusters, while the largest red ornament incorporated an open side and internal seating area. Broken pieces were repaired before repainting or localised touch-ups were completed. This restored the continuous curved form of each ornament and reduced the visibility of previous impact damage.

Decorative motifs included snowflakes, trees, stripes and solid metallic treatments. Caps and hanging-loop details reinforced the scale of the ornaments, allowing the pieces to read clearly as enlarged Christmas decorations. The large bauble seating pod required particular attention because it combined scenic appearance with a functional interior. The opening edge, curved shell and internal surfaces could all be inspected from close range. Grouped baubles were returned as complete compositions. Colour and graphic variation were retained while the overall finish was brought to a consistent standard.

Illuminated Reindeer and Snowflake Features

Several scenic elements used illumination as part of their visible construction. The reindeer silhouettes consisted of open sculptural forms filled with warm-white decorative lights. Individual bases provided the visual and physical connection between the figures and the paved installation area. The illuminated snowflake used a similar open-frame method. Its broad geometric arms created a recognisable outline while the internal lighting defined the structure after dark.

These pieces required controlled workshop handling because the scenic frames and lighting components were visually interdependent. The electrical refurbishment scope has not been confirmed. No claim is therefore made regarding replacement lights, rewiring, testing or control systems. From a scenic perspective, the work focused on maintaining the shape, surface condition and complete visual presentation of the illuminated structures before they were returned to site.

Refurbishing Sculpted and Freestanding Props

The collection included a realistic freestanding reindeer prop. Unlike the graphic silhouettes, this element used a fully sculpted body, head and antlers. Painted tonal variation defined the coat, face and hooves, while the red harness, metallic details and bells completed the seasonal character. Projecting antlers and legs are naturally more vulnerable during storage and transportation than broad scenic panels. Any damaged areas therefore required repair that preserved both the strength and the original sculpted profile.

The workshop setting allowed the prop to be inspected and repaired before its decorative finish was reinstated. Other freestanding pieces required the same relationship between structure and finish. Repairs first restored the form; scenic paintwork then concealed the intervention.

Gift Structures and the Conical Tree

A large illuminated gift tower was assembled from stacked present forms. The boxes varied in size and were arranged into a tapered vertical structure. Warm internal lighting created the primary visual effect, while red ribbons and bows defined the individual gifts. The project also included large freestanding gift-box props finished in patterned red, green, white and gold treatments.

Dimensional ribbon forms and bows gave the otherwise geometric boxes a stronger scenic profile. A tall conical Christmas tree framework provided another large-scale installation. The open structure incorporated multiple star forms and terminated in a prominent star topper. The transparent construction allowed the outline and internal geometry of the tree to remain visible. The precise framing and mesh materials have not been supplied.

Combining Refurbishment with New Fabrication

The project was not solely a restoration programme. Some new scenic elements were fabricated to support the required festive collection. This allowed existing assets to be retained while additional pieces were introduced where repair alone could not satisfy the scope.

Specific records identifying the newly built items were not supplied. It would therefore be inaccurate to describe any one photographed installation as new rather than refurbished. The combined approach is nevertheless significant. Refurbishment and new fabrication use related workshop skills, but they begin from different conditions. A new element can be developed around a controlled construction sequence. A refurbished element requires the team to understand and work with an existing structure, including previous finishes, wear and historical repairs. Delivering both within one package required consistent scenic finishing so that newly fabricated and restored items could operate as one collection.

Workshop Delivery and Installation Planning

The refurbishment and fabrication were completed within the Evolution workshop. The controlled workshop environment supported cleaning, repair, sanding, priming, painting and flocking without relying on public installation areas for production work. Once completed, the props were protected and prepared for transport.

Large ornaments, sculpted features and open illuminated structures each required suitable handling. The route from workshop to final position had to account for the dimensions and vulnerability of the pieces as well as the preservation of the new finishes. Delivery took place through phased access.

Lifting equipment was used where required to move and position the larger scenic structures. The exact lifting equipment and individual prop weights are not recorded in the information supplied.

Floor protection was installed during placement. Public-area controls were also used so that the installation activities remained separated from surrounding venue operations.