Building Santa’s Sustainable House at Expo City Dubai

Santa’s Sustainable House was created for Winter City 2023 at Expo City Dubai as a complete festive environment built around sustainable materials and immersive scenic construction. The original attraction combined Christmas storytelling with sustainability education inside a visually detailed interactive house.

Evolution Scenic designed, fabricated and installed the entire freestanding temporary structure.

The delivery extended beyond the visible front elevation. It included the primary house construction, multiple roof profiles, artificial-snow finishes, entrance architecture, windows, doors, fencing, access ramps, interior walls and ceilings, a fireplace environment, decorative timber beams, custom furniture, storage joinery, workshop tables, Christmas trees, wrapped presents, detailed props, flooring, lighting and electrical systems.

The result needed to feel like one coherent house, even though it was constructed as a temporary modular scenic installation.

Fabricating the Festive Exterior

The external façade combined a varied roofline with shaped gables, painted wall sections, framed openings and strong red and green detailing. Artificial-snow treatments were applied across the roof profiles to create the winter appearance. The snow finish also visually connected roof sections that differed in height and shape.

The entrance was developed as a principal scenic feature. Candy-cane columns framed the doorway, while the Santa’s Sustainable House sign established a clear focal point above the opening. Windows and doors were treated as architectural components within the façade rather than simply applied graphics. Contrasting surrounds, painted trims and adjacent decorative details gave the elevation additional depth.

Picket fencing enclosed the exterior areas and helped define the footprint of the attraction. Access ramps were incorporated into the installation, connecting the surrounding area to the raised temporary house.

The exterior needed to work at two scales. From a distance, the roof silhouette, entrance sign and colour palette established the identity of the building. At closer range, the layered trims, artificial snow, windows, doors, candy-cane columns and scenic decorations provided the detail expected from an immersive attraction.

Using Materials as Part of the Visual Language

The material palette included timber-based construction, OSB-style panels, painted sheet materials and applied scenic finishes. The OSB-style surfaces were not treated only as concealed structural material. Their visible texture supported the workshop character and contributed to the sustainability-led appearance of the interior.

This allowed the material choice to become part of the storytelling. Areas that required a cleaner architectural finish received painted surfaces, while selected textured panels retained a more practical fabricated appearance. Timber-based construction also provided flexibility across the complete scope. Similar workshop methods could be used for structural modules, shaped roof components, façade profiles, shelves, worktables, storage units and other custom joinery.

The project incorporated reused or recycled materials. Exact material percentages and product specifications have not been supplied, so the case study does not assign recycled content to specific components. Energy-efficient LED lighting formed the second confirmed sustainability measure. The lighting was integrated into the temporary house to support both the exterior identity and the internal scenic environment.

Creating a Complete Interior Workshop

The interior was constructed as a sequence of detailed scenic settings. Walls and ceilings enclosed the environment, while exposed timber-style beams and OSB-style surfaces established the architectural character. Painted areas, red window treatments and carefully positioned decorative elements introduced contrast across the rooms.

One of the principal spaces resembled a working office or workshop. A substantial timber worktable occupied the centre of the setting, supported by storage units, shelves, display surfaces and small scenic props. The furniture and joinery were proportioned to the room and positioned as part of the complete visual composition.

Wall-mounted materials, shelving and decorative objects created depth around the central table. Rather than leaving large areas of undecorated wall, the interior used multiple fabricated and dressed surfaces to create the appearance of an active working environment.

Evolution Furniture supported the furniture package, while Evolution Prop Shop contributed to the decorative content and detailed dressing. These specialist elements were coordinated with the scenic build rather than added without reference to the architecture. Shelves, counters and tables were positioned according to the room layout, sightlines and circulation requirements.

Constructing the Fireplace Setting

A separate interior area was organised around a brick-effect feature wall and decorative fireplace.

The brick-effect scenic treatment established a warmer domestic setting distinct from the workshop-style surfaces elsewhere in the house.

The fireplace surround provided the main fabricated focal point. Hanging stockings, framed details, wrapped presents and a decorated Christmas tree completed the setting. The surrounding window, curtain treatments, furniture and prop placement created multiple layers within the room. This ensured the area remained visually complete when viewed from different directions rather than functioning only as a front-facing photographic backdrop.

The use of scenic construction, furniture and props as one coordinated system was essential to the finished result. The fireplace wall provided the architectural context. The custom and supplied furniture established the usable room arrangement. The trees, stockings, presents and detailed props then developed the festive narrative within that structure.

Integrating Lighting and Electrical Systems

Evolution Technical supported the lighting and electrical components of the house. Energy-efficient LED lighting was used as part of the sustainability approach. The fixtures helped establish the warmth of the interior spaces and supported the visibility of the exterior sign, façade details and decorative features.

The lighting needed to work with the selected scenic finishes. Warm internal illumination enhanced the timber and OSB-style surfaces, while the Christmas trees, fireplace environment and decorated shelving required more focused lighting to retain their detail.

Because the house was assembled from modular wall and ceiling sections, electrical routes had to remain compatible with the temporary construction. Services needed to pass through or alongside the fabricated architecture without interrupting visible surfaces.

The exact lighting fixture schedule and electrical control arrangement have not been provided. The confirmed scope is limited to Evolution Scenic’s supply of the lighting and electrical systems with support from Evolution Technical.

Engineering for Temporary Public Use

Structural stability and fire-rated materials were confirmed technical requirements. The house needed to remain stable as a freestanding temporary structure throughout its operating period. The wall modules, roof sections, entrance features and internal construction therefore had to work as one connected scenic assembly.

The external ramps and fencing were also part of the installed environment. Their connections and positioning needed to be coordinated with the house footprint rather than treated as unrelated temporary accessories. Fire-rated materials formed part of the project requirements. The supplied information does not identify the individual material classifications or certification documents, and these have not been inferred.

Temporary environments intended for interactive use normally require careful control of structural connections, projecting details, decorative fixings, electrical components and access routes. These considerations reflect Evolution Scenic’s standard methodology. Only structural stability and the requirement for fire-rated materials are presented as confirmed project facts.

A Complete Sustainable Scenic Environment

Santa’s Sustainable House demonstrated how a temporary attraction could combine structural scenic construction with detailed interior production. The exterior established a complete festive building through its roof profiles, artificial snow, shaped gables, entrance sign, candy-cane columns, windows, doors, fencing and ramps.

The interior extended the environment through scenic walls, ceilings, exposed beams, custom joinery, a brick-effect fireplace setting, furniture, trees, presents and workshop props. Reused or recycled materials and energy-efficient LED lighting supported the sustainable brief. Modular workshop construction supported the one-week programme and the later dismantling of the temporary house.

The completed project depended on more than decorative finishing. It required the coordination of temporary architecture, structural stability, scenic fabrication, interior construction, technical systems, furniture and prop dressing. That integrated approach allowed Evolution Scenic to deliver Santa’s Sustainable House as a complete immersive environment at Expo City Dubai.

Building An Interactive Exhibition Environment For UNIDO In Abu Dhabi

The 18th session of the General Conference of the United Nations Industrial Development Organization took place at Emirates Palace in Abu Dhabi from 3–7 November 2019. The conference focused on “Industry 2030 – Innovate. Connect. Transform our Future”, with the exhibition environment providing a physical setting for the different areas of the programme. 

Evolution Scenic was tasked with constructing the exhibition space within the Emirates Palace atrium. The scope extended across seven themed hubs covering Gender, Youth & Entrepreneurship, Circular Economy, Industry 4.0, Industrial Parks, Sustainable Energy and Partnerships.

The challenge was not simply to create visual backdrops. The scenic construction needed to accommodate interactive technology, display content and dedicated exhibition areas while remaining integrated with the existing architecture of the atrium.

Creating Seven Distinct Scenic Hubs

The exhibition was organised around seven subject areas, each requiring a clearly defined physical environment. Evolution Scenic constructed custom scenic panels and interactive stations for the individual hubs, creating a consistent architectural language across the exhibition while allowing each subject to retain its own identity.

The fabricated panels provided the physical framework for the information and interactive content presented throughout the space. This approach allowed the exhibition to function as a connected environment rather than a series of unrelated graphic displays.

Integrating Technology Into Scenic Construction

Interactive technology formed a significant part of the installation. Touchscreens, large displays, AI stations and personal iPads with headsets were incorporated into the scenic environment. The technology therefore became part of the physical construction rather than being positioned independently around the exhibition.

Custom mounting systems were required to hold the different interfaces within the scenic elements, allowing the displays to remain integrated with the individual themed areas.

From a scenic fabrication perspective, this creates a different set of requirements from a conventional decorative wall. The fabricated structure has to provide the necessary physical support while also accommodating the technology and maintaining the intended visual composition.

Fabricating The Photo Gallery

Alongside the seven themed hubs, Evolution Scenic fabricated a dedicated gallery space for Elisabetta Lattanzio Illy’s photographic exhibition. The gallery incorporated custom display structures to present the photographic work within the wider exhibition environment. 

This extended the fabrication scope into a different form of exhibition construction, where the scenic elements needed to provide an appropriate framework for the displayed works while maintaining continuity with the surrounding installation.

Working Within The Emirates Palace Atrium

The installation was constructed within the existing Emirates Palace atrium, meaning the scenic environment had to work with the architecture and circulation of the venue. The source specifically confirms that the scenic elements were designed and installed while maintaining guest flow and functionality. 

This is an important aspect of exhibition fabrication. Large scenic structures need to create visual definition without unnecessarily obstructing movement or compromising the operation of the surrounding venue.

The installation therefore combined physical separation, display infrastructure and interactive technology while retaining functional circulation through the space.

Delivering Against A Tight Production Timeline

Evolution Scenic delivered the project against a tight production timeline, requiring the scenic components to be fabricated and installed efficiently while maintaining structural integrity.  The combination of seven themed hubs, interactive technology, a dedicated photo gallery and wider atrium fit-out created multiple interfaces that needed to work together as one completed exhibition. The supplied project information does not provide the detailed fabrication schedule, installation duration or crew structure, so those elements are not assumed here.

A Fabricated Environment For Interactive Exhibition Content

The completed UNIDO exhibition transformed the Emirates Palace atrium into a purpose-built scenic environment. Seven themed hubs provided the principal structure, while interactive technology and custom display systems were incorporated into the fabrication. A dedicated photo-gallery fit-out added another layer of custom exhibition construction. 

The project demonstrates Evolution Scenic's ability to take an exhibition concept and translate it into a fabricated physical environment, combining scenic panels, display structures and technical interfaces within an existing venue.

Fabricating the PLAN Capital Scenic Environment in Abu Dhabi

In 2019, the Department of Urban Planning and Municipalities held the PLAN Capital Plenary Session and Workshop in Abu Dhabi. The project occupied several venue areas, including a main presentation ballroom, an Innovation Hub and a secondary ballroom divided into 14 customised workshop environments.

Evolution Scenic was commissioned to provide scenic and technical solutions across these spaces. Rather than delivering a single backdrop or stage feature, the company produced an extensive temporary fit-out combining stage construction, architectural scenery, modular partitions, workshop furniture, branded graphics and technical interfaces.

Evolution Scenic also developed selected parts of the scenic environment, translating the required visual language into practical components suitable for workshop manufacture and a compressed installation programme.

Building the Main Presentation Environment & Innovation Hub

The main ballroom was organised around a custom stage installation. Evolution Scenic fabricated the stage deck and access steps together with scenic backdrop walls, LED screen surrounds, lecterns and an architectural skyline feature. The stage needed to provide a clear presentation platform while also establishing the principal architectural identity of the project.

The venue supplied the screens, so Evolution Scenic’s responsibility centred on the fabricated scenery surrounding them. The screen surrounds had to align accurately with the existing technical equipment while preserving the dimensional composition of the backdrop.

The skyline feature introduced a recognisable urban reference above the larger scenic surfaces. Rather than relying entirely on printed branding, this element used physical shape and profile to reinforce the planning and city-development theme through scenic construction. PU-painted surfaces, printed panels and vinyl graphics completed the visual treatment. The result combined large-format branded areas with dimensional scenery and functional stage infrastructure.

The Innovation Hub formed a separate functional environment within the wider venue installation. Evolution Scenic fabricated the scenic structures required to define the area, together with counters, plinths and signage. These components gave the Hub a distinct physical boundary and supported its use as a collaborative working space. The area needed to remain visually connected to the main presentation environment without simply repeating the stage construction. This required a controlled use of materials, graphics and architectural forms across components with different operational purposes.

Counters and plinths provided usable horizontal surfaces while also acting as branded scenic elements. Signage helped identify the environment, and the surrounding scenic construction established a more focused zone within the ballroom.

Constructing Fourteen Workshop Environments

A secondary ballroom was converted into 14 customised workshop setups. Evolution Scenic constructed modular partitions to organise the open ballroom into individual working areas. Graphic walls then gave each workshop a defined visual identity, while tables, writable surfaces, monitor units and counters provided the functional infrastructure required within each zone. The quantity of workshop spaces made efficient scenic manufacturing essential. Repeated partition and furniture principles could be used across the complete package, but each workshop still required an appropriate arrangement of walls, graphics, writing areas, displays and work surfaces. The modular approach supported this balance. Components could be manufactured using consistent construction methods while being assembled into different configurations according to the individual workshop requirements.

This also supported the installation programme. Larger partition elements could be positioned first to establish circulation routes and workshop boundaries. Graphic panels, furniture, monitor units and smaller scenic components could then be installed within the completed zones. The project included several interfaces between fabricated scenery and technical equipment.

In the main ballroom, scenic screen surrounds were constructed around venue-supplied displays. Within the workshop areas, monitor units had to be incorporated into the individual layouts.

These interfaces required accurate dimensional coordination. Scenic panels needed to frame the visible equipment cleanly without obstructing ventilation, cabling or technical access.

Delivering with Mixed Scenic Materials

The confirmed construction palette included MDF, plywood, timber framing, metal framing, acrylic, fabric, printed panels and vinyl graphics. This mixed-material approach allowed the scenic package to address structural support, shaped detailing, branded surfaces and functional furniture within a single production workflow.

Timber-based construction provided an adaptable method for producing decks, steps, walls, counters and shaped fascia components. Metal framing supported elements requiring increased rigidity or freestanding stability. Acrylic, fabric and graphic finishes added cleaner decorative layers and project-specific visual information.

PU paint provided a consistent finished surface across selected scenery. Printed panels and applied vinyl then introduced the detailed branding and graphic content required for the stage, Innovation Hub and workshop areas.

The source information does not contain a component-by-component material schedule. It would therefore be inaccurate to assign a specific substrate, frame type or finish to every individual element without the original fabrication drawings. Evolution Scenic installed the scenic package over approximately two to three days.

The programme required several installation teams or workstreams to progress through the venue in a controlled sequence. The stage deck and primary scenic walls established the main presentation environment, while the workshop ballroom required the positioning of multiple partitions and furniture components.

Accurate pre-production was important because extensive adjustment or refinishing within the venue would have placed pressure on the installation period. Workshop fabrication allowed much of the assembly, finishing and graphic preparation to be completed before delivery. Once the principal structures were positioned, the detailed elements—including lecterns, counters, plinths, writable surfaces, monitor units and signage—could be installed and aligned. The complete fit-out transformed the available ballroom spaces into one main scenic environment and 14 functional workshop areas within the required timeframe. The PLAN Capital project demonstrates how scenic fabrication can be used to organise a temporary venue at several different spatial scales.

At the largest scale, the stage backdrop and skyline feature established an architectural focal point. At the intermediate scale, scenic walls and partitions divided the venue into distinct environments. At the detailed scale, counters, lecterns, tables, plinths, writable surfaces and monitor units supported the practical operation of each area.

Delivering these elements as one coordinated package reduced visual inconsistencies between the different spaces. Materials, graphic applications and construction details could be managed through one scenic production process, while installation sequencing could be planned across the complete venue fit-out. The resulting environment combined stage scenery, temporary architecture and functional workshop construction within a tightly managed two-to-three-day delivery programme.

Fabricating a Multi-Space Conference and Gala Environment for Roche

On 3–4 February 2020, Roche held a two-day conference and gala dinner in Dubai. The programme included a main conference, workshop sessions and an awards environment. Evolution was appointed to deliver the scenic and technical solutions across these spaces, including the principal stages, integrated screens, workshop infrastructure and branded gala setting. Evolution Scenic fabricated all listed scenic elements, working from a design proposed by the client. Evolution Technical supplied the LED screens, audiovisual systems and lighting equipment.

The resulting project required more than the construction of a single conference backdrop. It involved the manufacture and installation of several related temporary environments, each with its own functional purpose but sharing a consistent visual identity.

Translating the Client Design into Buildable Scenery

A client-proposed visual design establishes the intended appearance of a project, but the individual features still need to be developed into components that can be manufactured, transported and installed.

For the Roche Conference, Evolution Scenic converted the supplied design into a modular scenic construction package. The main conference environment included a bespoke stage, screen surrounds and branded scenic elements. Workshop spaces required custom panels and modular partitions, while the gala dinner needed a separate stage and backdrop treatment. Each element had to be broken down into practical workshop sections. The size of those sections needed to account for material dimensions, structural framing, transport access and the available installation programme. The modular strategy allowed the majority of fabrication and finishing to be completed before site access began. This reduced dependence on venue-based construction and supported the two-day installation.

Constructing the Main Conference Stage

The conference stage formed the primary physical setting for presentations and corporate content.

Evolution Scenic fabricated the stage deck and the scenic elevation surrounding the LED displays. The screen surrounds gave the technical surfaces an architectural frame and integrated Roche branding into the physical environment.

The relationship between the screens and the scenery required accuracy. Openings needed to match the technical configuration, while the surrounding panels had to conceal supporting infrastructure and create clean edges around the displayed content. The stage also needed to accommodate presentation movement, furniture positions and sightlines. These practical requirements had to be considered alongside the appearance of the scenic structure.

MDF and plywood were used to create smooth finished faces, supported by timber and metal framing. Painted panels and vinyl graphics established the colour treatment and incorporated the required branding. Because the stage was assembled from modular sections, connections between units needed to remain controlled. Once joined, the elevation had to appear as one continuous scenic composition rather than a collection of separate transportable parts.

Integrating LED and Audiovisual Systems

The LED screens and audiovisual systems were supplied by Evolution Technical. The scenic and technical teams therefore worked within the same wider delivery structure. This supported direct coordination between the screen dimensions, scenic openings, stage layout and equipment access requirements. LED integration affects more than the visible aperture. Scenic construction also needs to account for the physical depth of the screen system, supporting structures, ventilation, signal distribution, power connections and technical maintenance access.

The supplied project information does not provide the exact screen sizes or technical configuration. These details should not be assumed. What is confirmed is that the LED screens were integrated into the bespoke conference stage and supported by a wider audiovisual package. The resulting environment allowed digital content and physical scenic branding to operate as parts of the same presentation setting.

Creating Modular Workshop Environments

The conference included workshop areas requiring custom scenic panels, modular partitions and audiovisual setups. These spaces had different functional demands from the main stage. Rather than creating one large focal elevation, the workshop construction needed to organise the venue into clearly defined session areas.

Evolution Scenic fabricated modular partitions and custom panels using the same wider material language as the main environment. Timber and metal framing provided structural support, while MDF, plywood, fabric, acrylic and painted panels formed the visible surfaces. Vinyl graphics carried branding and workshop-specific information.

The modular partitions allowed the venue to be divided without relying on permanent construction. Their workshop-built format also made installation more efficient and provided better control over the finished surfaces. Where audiovisual equipment was incorporated, the scenic panels and partitions had to remain compatible with screen positions, speakers, cables and other technical components supplied by Evolution Technical. The workshop areas therefore combined temporary architecture, branding and technical infrastructure in a compact format.

Building the Gala Dinner Setting

The gala dinner required a separate scenic response from the daytime conference environment. Evolution Scenic fabricated a dedicated stage with scenic backdrops and branded elements for the awards presentation. Evolution Technical provided the associated lighting. The gala setting maintained the Roche identity but used the physical depth, colour and finish of the scenery to create a more formal environment. Painted panels and vinyl graphics provided a controlled branded finish. Fabric and acrylic were available within the confirmed material palette for selected surfaces and detailed elements.

Lighting influenced how these materials appeared in the completed room. Even where lighting is delivered as a technical discipline, its placement and output affect the visual reading of painted surfaces, graphic panels and scenic depth. The coordination between Evolution Scenic and Evolution Technical allowed the backdrop, stage and lighting to operate as one finished awards environment.

Manufacturing with Mixed Scenic Materials

The scenic construction combined MDF, plywood, timber framing, metal framing, acrylic, fabric, painted panels and vinyl graphics. Each material served a different practical purpose. Timber framing created lightweight structural support behind many of the scenic walls and fascia panels. Plywood provided strength in areas requiring reliable fixing, while MDF created smooth surfaces suitable for paint and vinyl application. Metal framing provided increased rigidity for selected scenic elements, particularly larger or freestanding components.

Acrylic allowed refined decorative and branded details to be incorporated where appropriate. Fabric offered a lightweight covering solution for larger surfaces or areas requiring a different visual texture. Painted panels established consistent colour across the conference and gala spaces. Vinyl graphics provided a controlled method of applying logos, messaging and brand elements to the finished scenery.

Using several material systems within one project required attention to transitions and junctions. The visible differences between painted sheet material, fabric, acrylic and graphic finishes needed to appear intentional. The workshop fabrication process allowed these interfaces to be prepared under controlled conditions before installation.

Preparing Modular Workshop-Built Sections

The scenery was manufactured as modular workshop-built sections. This approach concentrated cutting, framing, assembly, painting and graphic preparation within the fabrication facility. Site work could then focus on installing the completed units. For a project containing a main stage, workshop areas and gala environment, modular construction also helped organise the manufacturing sequence. Components could be grouped by area, labelled and prepared for transport in their required installation order.

Large scenic elevations were divided into manageable sections without losing the overall visual composition. Junctions were located where they could be concealed or finished efficiently after assembly. Modularity also supported coordination with the technical package. Screen openings, equipment interfaces and access positions could be prepared before delivery.

Delivering the Two-Day Installation

Evolution Scenic installed the project over two days. Before assembly began, floor protection was placed across relevant working areas to safeguard the existing venue finish. The stage sections, scenic walls, workshop panels, partitions and gala components were then brought into position and connected.

The main conference scenery needed to be installed in coordination with Evolution Technical so that the LED screens aligned correctly within their scenic surrounds. Workshop partitions and panels required careful setting-out to maintain the intended room layouts and circulation routes.

The gala stage and backdrops formed another separate installation workstream, adding to the amount of scenery that needed to be completed within the programme. Because the scenic units arrived substantially completed, the installation team could prioritise alignment, joint finishing, graphic continuity and technical integration rather than carrying out primary fabrication at the venue. The internal coordination between scenic, technical and furniture departments helped organise the delivery of several overlapping packages. The original project page confirms that the wider Evolution team supplied audiovisual systems, staging and bespoke furniture support.

Floor protection and fire-rated materials were confirmed project requirements. Floor protection reduced the risk of damage while heavy scenic units, tools and technical equipment were moved through the venue. Fire-rated materials were used within the scenic package to meet the requirements of the indoor event environment. These measures formed part of the practical delivery of temporary scenery within an existing venue. The quality of an installation depends not only on the final visual appearance but also on how the building, working areas and other production systems are managed throughout the process.

Completing the Conference and Gala Delivery

The completed installation provided Roche with a coordinated series of branded temporary environments. The main stage combined scenic construction with integrated LED displays. Workshop panels and modular partitions created functional session areas. The gala stage and backdrops provided a distinct setting for the awards programme.

Evolution Scenic’s modular fabrication approach supported the two-day installation, while the involvement of Evolution Technical allowed the screens, audiovisual equipment and lighting to be coordinated with the scenery. The confirmed project outcome was the successful delivery of both the conference and gala environments.

The project demonstrates how scenic fabrication can support multiple formats within one corporate programme, combining presentation architecture, technical integration, workshop infrastructure and formal event scenery through one coordinated manufacturing and installation process.

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.

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.