Landmark national celebrations often demand scenic solutions that combine symbolism, spectacle and complex engineering. For the UAE’s 50th National Day at Hatta Dam, Evolution Scenic delivered one of the production’s most technically ambitious features: 100 telescopic replicas of iconic UAE buildings designed to rise from the stage in synchronised formation during the climax of the performance.

Designed by Es Devlin and produced by LarMac Live, the wider production used the dramatic mountain landscape and a floating stage within an artificial pool as part of the visual narrative. Evolution Scenic’s contribution focused on transforming architectural references into compact, illuminated scenic structures capable of concealed storage, controlled vertical movement and precise repeatability under challenging outdoor conditions.

The Challenge

The project required 100 individual building replicas to rise from the stage as part of a tightly choreographed performance sequence.

The scenic elements needed to represent different architectural forms and heights while remaining compact enough to disappear within the stage when not in use. Some structures exceeded 6 metres in their fully extended position but had to fit into concealed spaces as small as approximately 1.2 metres by 20 centimetres.

Movement also had to remain reliable in an exposed mountain environment affected by wind and humidity. With all 100 elements forming part of a single performance moment, consistency and synchronisation were critical.

The structures also had to integrate lighting without adding unnecessary visual or mechanical complexity, while maintaining enough structural integrity to operate repeatedly throughout rehearsals and live performance.

The Solution

Evolution Scenic designed and fabricated 100 telescopic lightbox buildings based on iconic UAE architecture.

Each structure was developed as a self-illuminated scenic element with individually controlled LED lighting, allowing the building forms to remain visually legible as three-dimensional objects when viewed from the audience.

The buildings were engineered with up to four telescopic tiers, allowing different overall heights to be achieved while preserving the compact storage requirements beneath the stage.

Telescopic tower machines and heavy-duty industrial tracks were used to create the required vertical movement. The mechanisms were selected and integrated to support repeated operation within the environmental conditions at Hatta Dam.

The internal lighting systems were coordinated so that all 100 scenic structures could be controlled as part of the wider performance sequence. This allowed lighting changes and movement to work together during the final reveal.

A major part of the engineering challenge was packaging. Structures extending beyond 6 metres in height had to retract into extremely limited concealed volumes without compromising alignment, movement or the final scenic appearance.

The resulting system combined scenic fabrication, mechanical movement, structural planning and integrated illumination within a highly compact footprint.

Delivery Highlights

• Scenic engineering for the UAE’s 50th National Day celebration.

• Event staged at Hatta Dam.

• Design by Es Devlin.

• Production by LarMac Live.

• 100 telescopic replicas of iconic UAE buildings.

• Fully illuminated scenic lightbox structures.

• Individually controlled LED lighting.

• Up to four telescopic tiers per structure.

• Building heights exceeding 6m when fully extended.

• Compact concealed storage conditions.

• Telescopic tower mechanisms.

• Heavy-duty industrial tracks.

• Synchronised vertical movement.

• Integrated lighting control across all 100 structures.

• Scenic fabrication developed for exposed outdoor conditions.

• Operation within high wind and humid conditions.

• Precision integration into the stage environment.

• Large-scale scenic engineering and installation.

Outcome

The telescopic buildings formed one of the defining visual moments of the 50th UAE National Day production.

As the 100 illuminated structures rose from the stage in synchronisation, they created a symbolic representation of the country’s architectural development, achievements and progress over five decades.

The project demonstrates Evolution Scenic’s ability to engineer large quantities of moving scenic elements where compact packaging, structural integrity, repeatable motion, integrated lighting and outdoor environmental conditions must all be resolved together.

It also highlights the role of scenic engineering in major live ceremonies, where complex mechanical systems must ultimately disappear behind a clear and powerful visual moment for the audience.

Project Ecosystem

Evolution Scenic – Scenic engineering, telescopic building fabrication, mechanical integration, lightbox construction, LED integration, compact scenic packaging, structural coordination, delivery and installation.

Es Devlin – Production design.

LarMac Live – Production.

Why We Build Mock-Ups Before We Build The Real Thing

A mock-up is not an unnecessary duplicate of the final build. It is a controlled test that allows materials, finishes, connections and installation methods to be checked before small issues become expensive site problems.

Clients sometimes see a mock-up in the workshop and ask a reasonable question: “Why are we building this twice?”

The straightforward answer is that a small mistake discovered early is almost always less expensive and less disruptive than a large mistake found once full production is underway. It is even more valuable when the alternative is discovering the problem during installation.

Scenic projects bring together materials, finishes, structures, lighting, graphics, technical systems and installation requirements. Drawings and renders are essential, but they cannot always show exactly how these elements will behave once they are physically combined.

A finish may appear correct on screen but look different when applied across a large surface.

A connection may look simple in a drawing but become difficult to access during assembly. Two materials may work individually but create an awkward junction when placed together.

A mock-up moves these questions into the controlled environment of the workshop, where they can be reviewed and resolved before they affect the wider build.

A Mock-Up Is A Targeted Test

A mock-up does not always mean manufacturing a complete second version of the project.

It should be designed to answer a specific question. Sometimes it is a small wall section used to approve colour, texture and sheen.

Sometimes it is a full-size connection detail that needs to be assembled and dismantled several times. It may be a scenic paint sample prepared on the intended substrate, using the proposed primer, texture system, paint layers and protective coating. For more complex projects, it may be a representative corner or section combining several disciplines, such as timber framing, metalwork, cladding, graphics, lighting and scenic finishing.

The scale and complexity of the mock-up should reflect the risk being tested. There is little value in building an elaborate sample if a simple material board will answer the question. Equally, a small colour swatch may not provide enough information where the finish depends on scale, lighting, texture or the relationship between several materials.

The objective is not to create additional work.

It is to test the part of the project where uncertainty remains.

Material Approvals Need Proper Samples

Material approvals are one of the clearest reasons for producing mock-ups. A material can look very different when viewed as a small sample, applied over a large area or placed under the final lighting conditions. Scenic paint finishes are particularly sensitive to this.

Colour, texture and sheen are affected by:

• The underlying substrate
• Surface preparation
• Primer and base coats
• Application technique
• Number of layers
• Protective coatings
• Lighting temperature and direction
• Viewing distance

A small printed colour reference cannot communicate all of these variables. A proper finish sample should, where possible, use the same substrate and process intended for the final work. This gives the client, designer and production team a shared reference point. They can see and feel the actual surface rather than approving a description or an unrepresentative swatch.

The same approach applies to specialist cladding, metal finishes, timber effects, laminates, coatings and graphic transitions. Approving the real build-up reduces ambiguity and creates a clearer standard for the production team to follow.

Mock-Ups Improve Joinery & Connections

Connections are another area where physical testing can prevent significant problems. Scenic structures may need to be divided into transportable sections and then reassembled within restricted site conditions.

The connections must be strong, accurately aligned and accessible to the installation team.

They may also need to remain hidden once the scenic finish is complete. 

A full-size connection mock-up allows the team to test:

• Alignment between sections
• Fixing access
• Assembly sequence
• Tolerance between components
• Strength and stability
• Visibility of joints
• Dismantling requirements
• Repair access
• Installation time

A detail that works well on the workshop floor may still need to be assessed against the actual installation method. Can the fixing be reached when the structure is upright?

Can the sections be aligned while suspended or positioned close to a wall?

Will the joint remain concealed after repeated assembly?

Can damaged parts be replaced without dismantling the entire structure?

Testing these questions early is particularly important where the site programme is restricted. An adjustment that takes an hour in the workshop may take significantly longer once the structure is installed around other contractors and technical systems.

Installation Sequences Can Be Rehearsed

Some mock-ups are built to test not only the final detail but the order in which the work must happen. Scenic installation often involves several interdependent steps. A structural frame may need to be fixed before lighting equipment is installed.

Cladding may need to remain open until cabling has been tested. A decorative finish may need to be completed only after two transport sections have been joined. If the sequence is wrong, access can be lost and finished work may need to be removed.

A representative mock-up allows the team to rehearse the sequence and identify where tools, lifting equipment or temporary supports will be needed. This can also improve communication between departments.

Carpenters, metalworkers, technicians, scenic painters and installers can review the same physical detail and understand how their work affects the next stage. The resulting method can then be reflected in drawings, section numbering, packing and site instructions.

Mock-Ups Create Clearer Approvals

Physical samples also support better client and design approvals. It is easier to make an informed decision when the proposed finish, material or detail can be viewed and handled directly.

The client can understand the texture.

The designer can assess whether the appearance matches the creative intent. The technical team can confirm the buildability of the detail. The workshop can establish the approved production method.

This creates a clearer record of what has been accepted. It also reduces the risk of different people interpreting a colour, texture or description in different ways. The approved mock-up can remain in the workshop as a benchmark for quality control during production.

Building Less To Avoid Rebuilding More

Mock-ups require time, material and workshop effort. That cost should be considered against the risk they are intended to control. 

The right question is not simply: “How much does the mock-up cost?”

It is: “What could it prevent?”

A controlled sample may avoid widespread repainting, remanufacturing, delayed approvals or difficult site modifications. It may also protect the installation programme by confirming the method before the team reaches site.

Not every project needs a large mock-up. The strongest approach is to identify the areas of genuine uncertainty and test them at the appropriate scale.

In scenic fabrication, mock-ups are not built because the team expects the design to fail. They are built because testing a critical detail early is one of the most practical ways to protect the design, programme, budget and finished result.