Scenic Construction

The Task at Hand:

Here is a Photo of the Concept drawing I received:

As you'll see later on the design based off of this concept drawing is a slightly slimmer and taller than this current version. This is because the measurements of the boxes wouldn't match the required height on the brief, Considering I am 6" and the boxes are a lot shorter, I had to adapt and make a more form fitting frame for a console that I would be able to use.

Meeting Minutes & The Design Brief:

The Meeting Minutes were quintessential meetings that took place to discuss the progress of our building and if they matched up with the Brief we were given:

Here is what was assigned to me regarding my scenic construction project:

Meeting 1, 19.01.24:

Agenda:

Present design brief 1 and discuss
Present design brief 2 and discuss
Present design brief 3 and discuss
AOB

Present: SF, JJ, SG, MC

SF presented the design idea that is needed for a forthcoming Musical Production:

Josh, can you please design from this guidance and build the following:

1x large theatre flat (Traditional rectangular style, with canvas cover- fireproof material)
This is needed for multi-use in a musical theatre performance (Our House).
Between 7 and 8 foot tall
Between 5 and 6 foot wide
Needs to be able to fly, or stand if required.
Suitable for painting for back-drops and for use as additional wing space in the Black Box Taylor Theatre
Sustainable prop than can be used in future productions and uses recycled materials where appropriate.
Needs to be stored effectively in the theatre space.

2. SG presented the design idea that is needed for a forthcoming filming project, which will then be a live show:

Misty, could you design and build from the following guidance:

A rectangular structure, similar to a British red telephone-box, which will represent the external façade of a spacecraft (think very similar to the Tardis, Dr Who)
Must be usable for filming and for a future stage production version of the story
Needs to be able to be handled by actors and be easily movable by a small team or individual (on wheels preferred)
Needs to be able to take the weight of one main actor
Between 6-7 feet in height
Height to be linked to the main actor measurements.
Wooden structure for main body and suitable for painting – Keep structure light by using alternative materials for walls
Think sustainability, use recycled materials where able.
Gadgets and attachments that represent controls and includes lighting

3. MC presented the design idea that is needed for a forthcoming filming project, which will then be a live show:

Sam, could you design and build from the following guidance:

A control consul for a sci-fi film set spacecraft (think very similar to the Tardis, Dr Who)
It needs to look like early prototype, slightly rustic design and style
Must be usable for filming and for a future stage production version of the story
Needs to be able to be handled by actors and be easily movable by a small team or individual.
Between 4 and 6 foot wide
Height to be linked to the main actor measurements.
Wooden structure for main body and suitable for painting
Gadgets and attachments that represent controls and includes lighting and be interactive

A general discussion followed to clarify points of detail

4. JJ asked about a possible trip to the scrap store and other DIY shops for materials. This will be agreed through teams arrangement

Next meetings with designers to be carried during process informally

The Budget:

I was given a budget of £100. However the overall cost of the console was fairly cheap. I know I wanted to use as little budget as possible to be sustainable and good for the environment. In doing this, I re-used materials already provided by the college, Majority of the £100 pound budget went to the Scrap Store. A community resource where possible artists and set designers can find donated materials and tools to use for art projects and set pieces. For £12 we could fill a trolley with random materials and objects. This is where I got a photo frame which I used for the stand. Alongside the random cables I picked up along the way. I also managed to pick up a plunger and handle which both added an overall extra £5 to the cost. Therefore making the overall budget for me approximately £17

Click Here to go to the Scrap Store that we visited to get a lot of the resources!

When I was researching for my Doctor Who themed project I knew I wanted my very own TARDIS from the getgo, In Sci-Fi almost every famous franchise has their own recognisable spaceship or spacecraft that one of the characters will utilise. All of these Ships also have specific details which make them stand out. Like memorable set pieces or overall Shapes and designs. A few examples include:

The Millenium Falcon - Star Wars

The Millennium Falcon:

The Millennium Falcon is one of the most recognisable and famous Ships from Sci-fi and film history. It stood out from other spaceships due to it's Asymmetrical design and different shape, The Interior as well as the exterior was a new and unique endeavour for what would usually be classed as a Spaceship. Due to this the falcon has become a symbol in both Star Wars and Sci-fi as a whole.

The Inspiration:

The one key detail I picked up from the Millenium Falcon was all the clutter in the flight deck. All of the switches and buttons all over the place to me made it feel like the Millenium Falcon was more Sci-Fi and rustic in design. This is also a technique used by alot of designers. If you look at the Enterprise to the millenium falcon the Enterprise is alot more Sterile in the way it looks. Alot of designers use the characters stature towards their designs. Han Solo was a smuggler, so he has a darker more rustic palate with dimmer lights. While The Starship Enterprise is a Ship made for Discovering new life, which means its cleaner. Naturally Brighter and more Organised. Which is something I wanted to emulate in my own work. As you can see the drawn concept of my console has buttons and switches alongside speakers or air ducts. This is to add to the more rustic look. My character Schmirnoff is on the lower end of class where he's from which describes the look of the console.

The Starship Enterprise - Star Trek

The Starship Enterprise:

The Starship Enterprise is a staple in classic Space-Ships and Pop Culture. The unique exterior designs gave the ships their own personality. Which in turn influenced certain companies to name things after said Space-Ship. This ship became a staple in Pop Culture.

The Inspiration:

The Starship Enterprise is a classic part of Sci-Fi history. More importantly design-wise. The console room has a bordered look on it's consoles and desks. For the time (the 1960's) this was a common design choice in furniture. The way they made their designs unique however is the shape, The shape of a lot of furniture in the 1960's were very rounded like Sofa's, Televisions and Drawers. But in Star Trek they decided to give them straight edges instead. A small but very effective method. Its a familiar look but also different too. Similarly it can be said with colour. The 1960's were very Pastel in the palate of colours. But in Star Trek however they used deeper colours like deep red, Black and Blood Orange. I want to Emulate this kind of style. As you can see in the drawing I've got the border and straight edges to try and give a more classic Sci-Fi effect.

The TARDIS - Doctor Who

The TARDIS:

The TARDIS has a very unique spin on the classic spaceships. It the size of a phone box with an infinite interior. The Blue Box has been around for over Sixty years and has been a staple in Pop Culture and more specifically. British Culture to boot. As someone who grew up watching Doctor Who It always stuck in my mind how cool the concept of the TARDIS was. On the outside it doesn't have this Sci-Fi design, It's just a Police Box. But on the constantly changing interior it's always managed to keep the Sci-Fi Alien concept.

The Inspiration:

The TARDIS is one of Sci-Fi's most recognisable pieces of history, The TARDIS in the photo above is a replica of one of the original consoles. Similarily to the Enterprise the classic 1960's TARDIS was very sterile with the bright white walls and round-things. It was impressive considering that Doctor Who was in Black & White for Seven years and fans could still recognise the colours that were used for the set piece. Something that I will aspire too when it comes to building my console.

11.03.24:

Progress Meeting

Present: Sam Gwilliam, Josh Jarvis, Charlotte Rich, Misty Coates, Sonia Friend

Agenda:

1.Apologies

2. Designers briefs clarification and updates/ Actions

3. Progress check and updates/ Actions

4. A.O.B

No apologies received
General discussion on the design briefs and progress so far. MC reported that her design had been finalised and agreed (with designer Sam) with a variation from original brief. the walls have now become fabric based for weight and balance . SG mentioned that he had redeveloped the shape of the structure (agreed with designer Misty), and is making it taller and more narrow than original drawing for balance and design purposes. JJ is keeping to original stage flat design.
SG has completed lower wheel base and framing and plans to add flourishes using recycled electricals on Friday of this week. MC has completed full frame and undercoat and is awaiting a second delivery of paint to complete painting. The topper piece should be completed by Friday. JJ has completed construction of his flat, canvas is attached and primed. He is planning to do a first test paint of Our House logo today and send a copy to the directors for input.
JJ raised the Risk assessment, which needs to be updated by all 3 constructors. This will be arranged for this afternoon and for Thursday of this week: He suggested they remember to include fire risk (curtain material, wood, paint etc.), dust inhalation, power tools and tripping) MC needs a trip to the scrap store for a few pieces of cardboard and foam and tiles (Action: Spike Hart , technician)

Next meeting will be Monday 18th March

Below are Photo's of the progress around time of meeting:

Here was my design idea for the console which aligned with the criteria.

Here I am propping up the frame I used onto a ladder to make sure it is secure to screw into the base.

Here is the top part of the desk drilled in. The only addition I have to make is the wooden supports to put it at an angle.

Here are the wooden chunks I have re-used to make sure the desk is at the correct and aligned angle so it can be easily accesible to actors.

Here is the attached frame making the shape of the Console desk. All I need to do is put on a cover and then I can slowly put the props on.

18.03.24:

Meeting Minutes

Present: Sam Gwilliam, Josh Jarvis, Misty Coates, Sonia Friend

Agenda:

1.Apologies

2. Designers briefs updates/ Actions

3. AOB

No apologies received
General discussion on the design briefs and progress so far. MC reported that her build of the phone box had been completed and was ready for use. SG has signed off on the project and approved if for use in the production. SG has completed his build of the consul and MC has signed off on the project and approved if for use in the production. JJ has completed Flat structure and has done some test painting designs . It will need to be painted over in white to act as a back wall in the sci-fi filming production.
College format risk assessment to be finalized by 19th March. Filming to be scheduled after lunch today.

Personal Thoughts:

By this point I had finished the console and it is safe to say I am very impressed with the overall result of what I have made. With all of the resources I had supplied I could safely say that a console made to match my current brief was an overall success, with Misty's help with painting it really made the console feel like it had come to life. With the way it had been built it felt like a prototype console (To match with the brief I had). All of the bits and bobs I attached to the console desk fit really well especially the old lighting board Spike had lent to me for this piece. As I was assured that I could borrow it I came up with the concept to work around the board so I wouldn't have to cause any damage to it. I did this by making a hole in the console where the board could be easily slotted in and out of the console for extra ease. Overall when it comes to my build even though it was a mildly different take on the concept drawing I was provided. It still fits the criteria and in my opinion is a good example of an interpreted design!

Below are Photo's of the finished product gone by the brief:

Here is a redesigned concept that aligns with the criteria, replacing the monitor for another desk piece, all made by sustainable materials. I scrapped the monitor idea as the modifications i'd have to make to the monitor would damage it and make it no longer sustainable for the future.

Here is the Old board I was aiming to insert into one side of the console, I cut the board to accomodate for its rather large height.

Here is the other side of the desk with a keyboard and doorknob both provided by the college, therefore also making it a more sustainable product.

Here is the Overall console, I delegated the painting to Misty as she had more experience than I have in that area.

Here is a Short Video Showing the console!

Measurements:

Length (Side Angle): 1.33 Metres, 4.3 feet

Length (Front Angle): 0.69 Metres, 2.3 feet

Height (Without Top Piece): 1.05 Metres, 3.4 feet

Height (With Top Piece): 2.04 Metres, 6.6 feet

Used Tools:

Work-Bench - This was used to cut the wood to make the main frame.
Electric Saw - I used this only once and it was to make the frame that supports the console
Saw - The Most used tool. I used this to cut almost all of the wooden components into the correct length.
Hot Glue - The hot glue gun was mainly used to for the little accessories onto the console such as cables and the fiddly parts
Wood Glue - The wood glue was mainly used as a way to secure the wood onto the frame alongside the screws I used
Drill - The drill was used to attach all of the wooden components together. Making it a sturdy build that should last for a long while.

Used Fixings:

The Butt Joint - The Most used joint. The most simple and effective way of making a wooden frame if done correctly. I put two pieces of wood together and used a drill and screw to connect them. I also implemented wood glue inbetween the wood pieces to double down on the sturdiness.
The Mitered Butt - While I didn't put this together, This joint came with one of the frames I found at the Scrap Store. This is when they cut the ends of the wood into two diagonal shapes and attach them. A very effective method.
Shelving Brackets - The Shelving brackets were put on to make the console feel more sturdy and stable. They were mainly put onto the legs of the console to keep them secure into the bottom panel that held it all together.
Corner Brackets - These were used on the desk part of the console. It was a way of making sure the wooden parts that extended out of the legs, were properly secured into the frames I used for the desk. Alongside a screw a nail I also implemented.

Corner Brackets

Shelving Brackets

The Performance:

For the performance it was the first time we got to used the set piece in any form of media, we came up with some intuitive ideas that made the prop feel more alive, This mainly coming from the light that we managed to put in the middle of the console. In more recent Doctor Who the centre-piece for the console has a light to usually give atmosphere and to show that the TARDIS is functioning properly, something which I didnt think would be possible until the idea was given to me to put the LED's in the plastic centrepiece, Once I managed to get the lights in the centre I was so happy that we managed to replicate a similar concept into the project. With the help of the haze machine as well it really added to the whole prototype design. I say this because while the TARDIS set I interpreted is supposed to be this big white and clean room. I made a more home-made looking one due to the console being surrounded in more of a haze atmosphere. Moving this set piece was a breeze also. While using the desk parts as a form of handle. Alongside the wheels that I put on the bottom. Moving this to the part of the set where it needed to be was simple. With the way the whole video came together with the lighting and haze. I am very happy how the console set piece looks and feels. It really has its own character with all the lights and bits and bobs.

The Evaluation:

The effectiveness that this console had in the piece was surprisingly immaculate. With all the materials that have been put on, they are very sustainable considering the majority can come off with little to no effort whatsoever. It really makes for a multipurpose set piece. Considering there are no breaks on the wheels the console stands really well on its own. Wheeling it around the set also was a breeze. For all the items that have been attached to the base, it ended up being very light and manouverable which made for an easy set up for the console room and a smooth performance throughout. My fellow cast and crew also happened to agree. They found the set very intruiging with all the buttons and keys to press adding a sense of business to the console I had made. During the filming both Elijah and Misty had enough to keep in character with on the console and they used this as a way to signify their characters relationship as fairly strained but also a work in progress. I believe this set-piece could be re-used in the future (given the right genre), as i also believe it could be very sustainable too. With the many features and also the very lightweight and manouverable piece I believe this set could be used for many projects to come.

An example of the Dr Who TARDIS console

The Performance Piece we performed with the set

The Do's & Don'ts Of Theatre Safety:

Using Tools - Whenever your working on any construction project one of the main things you'll need is equipment for example, Saw's, Drill's, Hammers etc. When your using these tools you always have to focus, Especially with saws. Always look at the task at hand and if you need to ask a question make sure to stop using the equipment and make sure it is placed somewhere safe to avoid physical injury. Leaving the sharp ends of certain equipment exposed could lead to someone accidentally falling into it or walking past it and getting caught on it.

When it comes to power tools, specifically a Drill. Make sure the attached Drill-Bit is at a straight angle and more importantly tightly secured in the drill itself. This is to avoid any loose Drill-Bit's flying out and possibly injuring someone, as a flying Drill-Bit could possibly blind someone who isn't wearing any forms of eye-protection.

With Hammers. You have to make sure you have a tight grip on the hammer, to avoid it slipping out of your hand when your trying to hammer a nail. This could lead to the hammer hitting someone and causing extreme damage to them.

Sorting Cables - When your using power tools you'll need to plug them in, either directly into the wall or through an extension cable. Which have thier own risks and hazards that come with it. Cables lying around especially in a black box theatre are more dangerous. I say this because of possible black cables blending in with the floor. This could lead to tripping and especially because you are near power tools you could trip into a blade or even fall onto the floor and pull the tool towards you due to the cable. Similarily to this also having cables wrapping around objects in the theatre could lead to objects falling and either distracting you (Which could cause physical injury) or people getting their limbs caught in the tangled cable.

When it comes to cables you need to make sure they are safely away from tools such as saws. I say this because cables have a protective case that keep dangerous exposed wires out of harms way. If you don't move the cables away you risk possibly cutting the protective case of the cable and sawing into the cable itself which could lead to a shock or at worst electrocution.

FIRE RISK ASSESSMENT FOR FILMING IN STUDIOS:

Fire precautions in studios are especially important. A Fire Risk Assessment (FRA) carried out under the Regulatory Reform (Fire Safety) Order will normally be in place for the building in which the studio is situated. This FRA will take into account the fire safety and escape provisions for the studio as a shell unit and will ensure that any onward escape routes are in place and appropriately managed.

The specific risks within the studio itself will be subject to change as new sets, scenes, layouts etc are introduced. The fire safety and means of escape provisions within the studio layout must be suitable and sufficient for members of the production crew, for actors, for talent and for audiences where applicable to be able to make their way out of the set safely so that they can then go on to make use of the escape routes for the building as a whole.

What Can Go Wrong?

Fires Caused by:

Overheated electrical cables due to overloading circuits or coiled reels
Incorrect installation or use of electrical equipment
Damaged, faulty or misused electrical equipment
Lighting equipment
Combustible materials too close to heat generating equipment
Smoking materials, candles and other naked flames
Special effects
Production cooking
Motor vehicles that are brought inside buildings can create the potential for rapid fire development

Persons at risk due to:

Fire can spread rapidly in untreated set materials
Fire starting and growing undetected
Not enough fire exits
Blocked or restricted exits
Not knowing how to escape
Lighting failure in a fire

Legal Requirements

In England and Wales fire safety legislation is centred on the Regulatory Reform (Fire Safety) Order. In Scotland it is the Fire (Scotland Act) and in Northern Ireland it is the Fire Safety Regulations (NI).
All sets within the studio must be constructed and managed to ensure the safety in case of fire for all occupants of the studio, whether they be audience members, talent or production crew members. The safety of personnel within the studio is the responsibility of the Production.

Studio and Set Materials

Timber

Any timber used in construction must be fire retardant. Any materials used as part of the set, scenery and stage must be:

Non-combustible material such as metal, masonry etc.
Timber, hardboard or plywood treated by a process of impregnation which meets the ‘surface spread of flame’ rating of Class 1 (BS 476-7) or Class C-s3.d2 (BS EN 13501-1)
Timber framing of minimum 22mm nominal thickness
MDF, plywood or chipboard not less than 18mm thick.

Any plywood, hardboard, chipboard or MDF that does not meet the above dimensions must be branded with a recognised stamp to certify the standard of flame retardancy achieved. Where the stamp is not visible, certificates must be obtained by the set designer / set construction company and retained in the production safety file.

Furniture and Bedding

All furniture and bedding used in must be treated and tested to ensure that it is fire retardant in accordance with BS 7176.
Notwithstanding the above, if items were purchased after the introduction of the Furniture and Furnishings Regulations in 1988 and are appropriately labelled then it would be reasonable to use these items for the short durations in which they are put to use even though this is a non-domestic setting.
Any furniture constructed between 1950 and 1988 will contain highly combustible and toxic polyurethane foam and must not be used under any circumstances unless it is treated to a suitable fire retardant standard.
Any furniture that pre-dates 1950 will not contain polyurethane foam and may be used without additional treatment to the upholstery or covering.

Curtains, Drapes and wall-hangings

All curtains and drapes used within sets must be fire retardant. Any materials used as part of the set, scenery and stage must be:

Non-combustible material
Inherently flame retardant fabric
Durably treated flame retardant fabric
Fabrics rendered and maintained flame retardant by a non-durable process provided that it is re-applied as appropriate in accordance with the manufacturer’s instructions
Appropriate certificates must be obtained by the set designer and retained in the production safety file
Some flame retardant treatments may cause dermatitis or irritation to sensitive skins. It may therefore be permissible for sheets in contact with naked skin not to be treated provided that the sheets are kept clear of all potential ignition sources throughout the production
Wallpaper and any synthetic substitute must be pasted to a flame-resistant surface in a manner which excludes any air space between the material and the surface to which it adheres
All carpets must conform to BS 4790 (Hot Nut Test)
Carpets may only be attached to a substrate which conforms with BS 476 Part 7 Class 1 and must be firmly fixed. They should not be used in the vertical plane (other than standard stair risers) unless fire tests have shown that they can be safely used in this way
Floor paints must be, and (as far as practicable) other paints should be, water based.

Polystyrene

The use of polystyrene block scenery should be avoided whenever possible. Decorative items and props made of expanded polystyrene must be enclosed by a non-combustible skin of, for example, plastered scrim, Artex or Rosco Foamcoat and care taken that this skin is maintained undamaged.
The specification for polystyrene light reflecting boards used during filming and stored within the set should be consulted to confirm that the items conform to Class 1 fire retardancy. Where light reflection panels do not meet this standard they should be kept sufficiently away from light units with a high temperature and should not be left unattended when in use.

CLICK HERE TO VIEW THE PUBLISHED RISK ASSESSMENT

HEALTH AND SAFETY IN AN EDUCATIONAL SETTING:

Conduct a risk assessment to identify any potential hazards in your drama studio or theatre. The inspection should include items such as:
- the suitability of staging
- floor surfaces
- space
- portable appliances
- equipment
- lighting, props and storage of items
- suitability of areas for special effects, particularly pyrotechnics or smoke machines
- assessment of any accessibility issues
Any incidents or near misses must be reported and recorded by relevant staff members.

Code of Conduct

Ensure that all students and members of staff are wearing suitable footwear and clothing.
At the end of a lesson or rehearsal, ensure that all equipment has been rendered safe, any appliances, props, or other items have been stored safely, and all electrical equipment used has been switched off.

Back Stage

Back stage areas must be kept clear of obstructions. Where this is unavoidable they should be clearly marked and brought to the attention of the staff and students.
Ensure that all items are put away after use.
Provide safe storage for costumes, make-up and similar items.
Restrict access to the back stage areas at all times – especially when the stage is set for a production – and dissuade other students and family members from crowding in.

Electrical

All electrical and mechanical equipment should be operated by a qualified and/or experienced operative.
Electrical equipment should be checked regularly and checks should be recorded.
Any portable equipment should be given a visual check by the user before use.
Cables should be kept tidy, securely tied, and properly routed.

Stage Lighting

Stage lighting must be inspected regularly and must meet the conditions set out in the current regulations.
Any electrical work must be carried out by a qualified electrician.

Fire

Make sure that staff, students and the audience are aware of emergency evacuation procedures.
All exit routes must be clearly signed, and any emergency lighting should be operative.
Any stage curtaining must be flame resistant, or treated with flame proofing solution.

Special Effects

Carry out a risk assessment for any special effects such as, for example, lasers, smoke machines and dry ice.
Risk assessment should also ensure that the environment, size of stage or room and proximity to audience is taken into consideration when planning any special effects.
Make sure that your performers know about any special effects in advance of using them, and that they are aware of where to stand to keep themselves safe.
Check whether any smoke generated on stage will cause fire alarms to activate automatically where smoke detectors are fitted in the building.

Will strobes or lasers affect any member of your audience who may be sensitive to such effects?

Stage Platforms and Rostra

Ensure that any stage platforms or rostra are clipped or fastened together securely.
Make sure that all scenery, including flats, movable scenery, platforms and free-standing scenery is stable and secure at all times. Check this between each rehearsal and performance.

Working at Height

Any activity that involves working at height must be assessed carefully
Anyone working at height should use appropriate equipment, positioned safely and correctly, and should be aware of people below – possibly by creating an exclusion zone beneath any work taking place.

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