Steal in OT Cities Gui by Nanning (photo: Jeff Pan)

In this nightclub, Live Legends has opted for the lighting of Steal, with the installation of 270 mobile teams.

The live experience design studio, Live Legends, based in Amsterdam (Netherlands), has made the design and implementation AV of the nightclub OT Cities Gui. The project has included lighting, video/visual, laser, scenography and the interior elements of 360 related degrees, in addition to the equipment specification, programming and start-up.

This is the last draft submitted by the Noa Group in Nanning, capital and most populous city of Guangxi Zhuang Autonomous Region, in Southern China.

The Creative Team at Live Legends, headed by designer and show director Daan Oomen, set designer Stefan Peters and senior lighting director Serge Patist, Specified 270 Robe moving lights to be the star devices of this innovative and elegant local, with the capacity to 1.200 people.

Steal in OT Cities Gui by Nanning (photo: Jeff Pan)

At the heart of OT Cities Gui's ambitious visual concept is the history and culture of the locality and the ancient Zhuang ethnic tribe in particular.. The Intricate Geometry of Chinese Xiuqiu (silk balls), the bronze drums of the Zhuang and other ancient ritual objects are underlined with several contemporary twists of a new era of entertainment.

"Our goal was to bring the culture of this minority to a new audience and mix it with modern technology to connect the history of the Zhuang, through the OT Cities brand, with a connected millennial generation and Z public”, explains Daan Oomen.

Visual content starts the moment customers get out of their cars, enter through the door and enter the elevators of OT Nanning. That's where the story begins, augmented with soundscapes and other auditory and visual stimuli, as well as connections with the brand.

While the shape of the Xiuqiu permeates multiple aspects of OT Cities Gui's design, the Zhuang bronze drum is a contrast, another powerful symbol -traditionally associated with power and strength and, more recently, with music- right in the middle of the definition of the aesthetics of the main room of 90 OT Cities Gui VIP tables.

Steal in OT Cities Gui by Nanning (photo: Jeff Pan)

The shape of the drum and the Xiuqiu -which is also related to the ideas of happiness- they constantly resonate in the space of 1.600 square meters, starting with the prominent circular stage.

The striking curvature of the bronze drum is also the inspiration for the eight roof sheains, filled with segmented scenic sheets, that resemble the iris of a luminaire, and lighting devices. Six of the pods extend and move on multiple axes through an automation system that can change the architecture of the room.

From the main stage, columns and staggered spiral staircases go down the room that allow access to two levels, including VIP areas on balconies. The arches and windows with backlit blinds with Led create the magical library atmosphere that Daan and the team wanted, as if space were a book that can be opened on any page and reveal a different story. These various visual threads are related to expectation and imagination.

Steal in OT Cities Gui by Nanning (photo: Jeff Pan)

During the opening hours a concept of 'show' develops as the night goes on, with schedules that trigger pre-selected lighting sequences, video, laser and automation, fused with dance and visualization shows. A structural approach connected with choreographed music and rhythm to maintain atmosphere and energy.

Certain key visual elements were in the 'no commitment' category, including lighting fixtures 'héro’ of Robe, that are joined to approximately 1.430 light sources, including architectures and lighting, in addition to several customized products such as RGBW strobe tubes.

This deployment of robe components around the club is intrinsic to the impact of the show's history.

Steal in OT Cities Gui by Nanning (photo: Jeff Pan)

Robe Solutions

the 34 MegaPoints are mounted on the back of the stage, in the small arches that run through the center of the room and one in each circular center of the cabin. They were chosen for their power, clarity and quality, and for the multiple options they bring to any environment. other 94 Pointe are installed in the arches, as well as above the different dance stages that dot the hall and along the sides, covering the largest areas in beam effects.

“Its brightness, versatility and high impact are perfect for the job. In addition. beams are currently very fashionable in China, and they are essential for any club space", declares Daan.

these 128 Robe teams, optimally positions, illuminate the room 40 meters long by 26 dramatically wide from multiple angles.

On the other hand, 60 Robe Viva CMY they are mounted on the great arch, around the stage, a strategically important visual door between the stage and the audience areas, and one of the most important lighting positions in the entire design.

Here another versatile luminaire was needed, that contrasted with the beam-oriented Pointe and MegaPointe, so the Viva CMY was chosen for its good zoom and solid gobo options, as well as for its compact size.

the 76 LEDBeam 150s they are mounted vertically on the pillars of the room and on the spiral stairs. The small size and incredible dynamics of this equipment make it usable virtually anywhere.

All Robe appliances were provided for the project by Live Culture Transmission based in Shanghai, which is also a distributor of Robe in China.

The lighting of OT Cities Gui has been programmed through a control system MA Lighting grandMA3. this is also used to activate other visual elements such as video, lasers and automation. Everything runs during timecode shows that tell the story of the orb in combination with dancers and other artists.

The local operator has access to the touch screen - through the Disguise video server- to play time-coded shows.

Media servers Disguise 4×4, running video content is controlled remotely from Live Legends headquarters in Amsterdam. Much of the lighting programming was also visualized here in advance, as the musical tracks of the show were composed by Joos van Leeuwen and the video content was created under the supervision of Ad de Haan.

You liked this article?

Subscribe to our RSS feed And you won't miss anything.

Other articles on , , , , ,
by • 25 May, 2021
• section: Case studies, control, lighting