Tom’s Round-Up of 2011
This has been an exciting year for Studio 10A, and an absolutely amazing year for Atomic Design in general.
It started somewhat strangely with a job in Japan, for a client that I’ve worked with a lot over the years. The given theme was something vaguely around “Whales”, and we came up with what I thought was a great answer – here’s a few pics of that design… And everything was set to go forward when I got an email right at the time we started Tree Lighting in DC last year – another more famous Japanese act had just announced their new album and video featuring guess what…? Whales, that’s what.
So we began again from ground zero, ideas ranging wide and far, but none really connecting, and then it agglomerated around the idea of “Piano”, and we had really good ideas for that too… But by the time we got to that, I was in Japan drawing furiously during the day, and Charlie was rendering overnight during his day back in Lititz, and time was fast running out on making anything work in time. Eventually it went nowhere, and the artist went on tour with the something else that time would allow. It’s tough when so much work doesn’t connect with something physical to show for it. But I felt we’d explored some really cool ideas along the way, and even if it was all dreams, at least they were good ones. By this time it was early February and I was heading home, somewhat frustrated as you can imagine.
A month later, and my wife and I took a short break – a visit to Savannah and Tybee Island. We woke up on that morning of March 11 in our B&B, and couldn’t believe the pictures we watched with horror coming from Japan, it was so unbelievably devastating. I started emailing all my friends there, and luckily just about everyone began to respond over the next few days as communications were restored. Even to the far west of Tokyo everyone had stories of breakages and destruction, but as unpleasant as it had been, (and the constant aftershocks were making it even worse), nobody had been hurt. We’d just got our fee paid from the earlier job and it seemed right to turn a portion of it over to the Red Cross. So I trust something physical did come out of that job in the end – something I hope helped out.
Meanwhile Mike had been busy with the Turner Upfront, the build was starting in the shop, and it was all looking good. There had been one of those moments in the office when I’d looked over his shoulder, and seen the beginning of the idea, “Stay with that – try not to let it get away, that’s just amazing!” I’d said, and somehow he’d succeeded, and now it was coming together and it was clear that he really had done something really special. You can see from the pictures how special it was, it’s one of the greatest sets I’ve ever seen, the overall vision of the set and the dynamic way it expands and contains the space of the Hammerstein Ballroom. Yes, as you might have heard there were some video glitches, but that can’t diminish the fact Mike hit it completely out of the park and off into another galaxy!
Whilst all this was happening Charlie and I were deep into prototyping a lot of new stuff for Rental, we’d started the year with the Web, a module with what we think is a truly cool connection system, and our plan was to not only develop an entire range of modules based on the system, but also to have it form the basis of a freestanding support structure that we were busily developing. By the end of this year we’ll have four modules ready to rent, the original Web, the Pippa, the Chiclet and the Pyramid. Soon we’ll also have the support systems available, and a lot more accessories including plain panels that can be printed or used as screens, frost panels for backlit looks, corner panels to finish off a wall and some alternative connectors to answer any on-site situation. Plus there’s a bunch more concepts on the drawing board, most especially a column system as well as some great new ideas for soft goods.
After the earthquake and tsunami, we didn’t expect that Summer Sonic, the show that takes place in Tokyo and Osaka every August would even happen in 2011 – in fact the news we got from the promoter soon after the disaster was that it was fairly unlikely, and even if the event were to take place, it would be as a benefit, taking a very stripped-down approach. So when they called in June to say not only was it going to happen but that it was going to be a regular Summer Sonic event, we were really surprised – normally I’d go over for a production meeting to discuss the ideas and implementation, but this time they said “No time for that – just go for it!”
Which of course we did, and Charlie started putting together a bunch of looks based on re-casting the pieces we built for 2010, as well as coming up with a few additions to augment those looks. August found us once more in a Tokyo not quite as humid as it had been in previous years, but a tough pace to work outside in full sun nonetheless. As usual we spent the first day outdoors assembling and placing our pinwheels which we had entirely redesigned, and while we tried to sneak as much of the process into the shade as we could, we had to admire the three guys who went ahead of us doggedly hammering in the posts, in the full glare of the sun at oven temperature.
Once we moved indoor it got a lot easier, our friend Tak Hara, who is now the production manager in charge of the whole indoor install, which is a huge undertaking, had completely overhauled the build and the schedule, so this was the easiest year ever, we actually finished a day early, and the whole install went together like clockwork – Amazing job Tak!
The festival is in Makuhari Messe, a huge stadium and convention hall complex near the top of Tokyo Bay. It’s over 250 miles from the epicenter of the original earthquake, and yet as we walked around the town we saw rows of curbstones lifted out of the ground alongside the roadways, and the footbridge over to the stadium standing twelve inches above ground level, where the bridge foundation had “floated” and the surrounding ground had sunk. Normally pristine paved precincts around the station were messy with hundreds of tarmac patches, and over towards the beach whole areas were cordoned off where the ground had become unstable. But amidst all of this, the festival was completely sold-out and was one of the most successful in its twelve-year history. Incredible! It seemed like only months later their world had already begun to bounce back.
Back home in the US we geared up for another Soul Train Awards, and a TV show for Celtic Woman, shows that you would never connect were it not for the amazing coincidence that both had their venue at the Fox Theatre in Atlanta. Celtic Woman was a job that came together quickly, and was a beautiful show to work on. The ladies were lovely, the lighting was sumptuous the theatre looked gorgeous on-camera, with a set that seemed perfect for the occasion. A very pleasant experience indeed!
That was September and when we returned in November to the Fox, it was like coming back to visit an old friend. Soul Train was an extremely special show for us, not just because we designed the set and the screen content, but also because it turned out so brilliantly. It’s a show we’re very proud of, and I hope it will lead to more shows where we do both set and screens. Working with Ryan Mast and Andy Babin at Meteor Tower was simply the best experience, and to see Charlie Cook completely in his element producing endless 3D animations was fabulous. Charlie started with Cinema 4D just under two years ago, and while both he and Mike have become adept, Charlie is the acknowledged expert, just have a look at his Christmas card this year, it is stunning what he can achieve in this program.
We rounded off the year again in DC, with the stage for the National Christmas Tree Lighting on the Ellipse in front of the White House – it gave us the chance to make the whole set out of our Rental modules and it was indeed very cool to see Mr Obama backed by our new Pyramid Wall, yep, we can definitely say “We Back Obama!” Even better, instead of the sub-zero weather we endured last year, apart from a day of rain, the weather this year was extremely co-operative.
As well as all our own design work, one of the cool things about 2011 was our work on other designer’s jobs; in September we assisted Julie Jo Ferhle with her design for the Anderson Cooper daily show, which is based out of Jazz at Lincoln Center. It was a great pleasure to work with the talented Julie Jo and under her direction, visualize the show environment for the producers and come up with a set that could load in and out in a few hours on a daily basis. It was a hugely enjoyable process, and a good example of the visualization work we can do at Studio 10A.
Often these days, with corporate jobs there are several agencies involved. In addition to the client and the designer, which is normal, there might also be several other agencies in the mix, all needing to ensure that marketing and brand identity are also taken care of and all of them needing to see their input making it into the final picture. Plus we’re often going onto venues that have to be repurposed and there’s construction to be done, so our visualization helps everyone to understand the scope of the project and by giving the ideas dimension ensure that there are no surprises along the way. I think it’s something that the talents and capabilities we’ve grown over the years serve our clients really well in this area. It seems like there’s more jobs that are like that these days, and Studio 10A has the means to pull it off. Plus we do lots of rendering for our Rental clients all year round so it seems like it never stops here!
Meanwhile Mike’s been busy on several corporate projects which we’ll be able to tell you more about in the New Year, and is already hatching plans for next year’s Upfront season. So luckily, it’s been a busy and eventful year, and it looks like we’re busy into the next, I’ve designed a touring show for Celtic Woman which starts in February, there’s a couple more tours on the horizon, and we have a whole bunch of Atomic Rental things to prototype, products which will need to be launched as soon as we’re able to in the new year.
Atomic Design has also had an outstanding year, and it’s a thrill to see so much great work on such a variety of cool projects, and seeing us extend and expand our capabilities and our various specializations over there as well.
A very Happy Holiday to all of you, and have a great and prosperous New Year! We hope to see all of you soon in 2012!
From Tom, Mike and Charlie at Studio 10A.
And of course from everyone else at Atomic Rental, Scenic and Lighting as well!
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