Kugelplan
sprache englisch deutsch
hintergrundbild

KUGELPLAN

Kugelplan is all about the technical implementation of stage designs and decorations.

With over 20 years of experience at various houses in different positions at home and abroad and numerous realized projects, I have extensive knowledge when it comes to the implementation of stage design designs.

For me every project is an adventure from exploring the problem to developing creative solutions. I also know the processes and internal conditions in the theater well, so that I can deal adequately with the hurdles that arise in the course of the production process.

I like to communicate directly and openly, especially with regard to critical points, and identify possible problems in a timely and solution-oriented manner.

I mainly design in 3D and create complete virtual models of the decorative elements. I see the plans that are derived from this as a central means of communication. Precision, comprehensive information content and a clear and concise design are very important to me.

The software Megacad is compatible with all systems and data formats on the market. It allows me to work very quickly and offers all the means for creating plans and exchanging them with CNC, 3D printing and laser processing.

The insight into all the trades involved in set construction and the experience on the stage has taught me that the technical implementation must always work for the interaction of all departments, and that aspects that are not related to the actual events on the stage are particularly relevant.

Due to my independence, I can follow the artistic design and focus on its best possible implementation. If financial conditions, schedules and stage-related aspects need to be weighed up, I can do this without affecting internal dependencies or involvement in existing structures.

For the design of drive technology, hydraulics, lighting and the creation of statics, I rely on cooperation with experts from the respective field. By working with experienced specialists, both in-house and with specialist companies, I have expanded my knowledge in these areas and developed mostly satisfactory and functioning constructions.

However, I was able to learn the most when I was allowed to build from my own plans from time to time and noticed what it takes to convey a designer's ideas in an understandable way with the help of a drawing.

As a service provider in the field of decoration planning, I speak to theaters and production companies of all sizes and sectors. I take on the development of parts of a project, construct individual parts or special buildings, offer the constructive elaboration of complete theater projects, from the building test to the handover of the workshop, and I am open to other tasks.

If you need short-term support, project-related relief for your own employees, or as a permanent addition to the design department, I would be happy to answer your questions.

I look forward to exciting new challenges.

ABOUT ME

During my graphic design studies, I experienced my first encounters with the world of stage design at the children's theater. There I built, painted and sculpted decorations, puppets, props, masks and special effects for several years with no budget and infinite improvisation.

In 2000 I started as a stage design assistant at the Staatstheater Nürnberg. There was still no construction department, the master carpenter had milled the stage portals into the floor in his workshop, and construction was carried out directly according to the models and drawings of the stage designers.

Together with the workshop manager , we took care of the introduction of CAD. The choice fell on Megacad, which has remained my planning software to this day.

A phase of general upheaval in the technical management arose due to increasing time pressure, shorter cycles of premieres and ambitious additional projects, such as the shift to guest stage designers, and my attention also moved more and more towards production preparation and planning on the computer.

It was projects like the "Ring" and complex stage designs in the play that showed the importance and power of CAD construction in 3D, even though one or the other old master tradesman only wanted to touched the plans that came out of the plotter with pliers.

In 2004, the Nuremberg State Theater planned a guest performance of the “Ring” in Beijing. I did a feasibility study for it. The guest performance was held in 2005 with great success.

Following an enployment as an assistant in the studio rosalie, I began a dual course of study at the Berufsakademie in Karlsruhe and the Zurich Opera House to become an event technology engineer, which I completed in 2008.

During this time several collaborations with the Shanghai Opera House took place. The decorations for Zurich were built according to my plans in the workshops on the outskirts of Shanghai.

In 2008, as a student research project, I wrote about the newly opened National Center for the Performing Arts in Beijing, which was considered the largest theater complex in the world at the time.

After my studies I started as a designer and deputy. technical Director at the Bayreuth Festival. I was allowed to conceive and plan the productions Lohengrin, Holländer, Tannhäuser and the Castorf-Ring. In addition, the children's theater was created in the rehearsal stage 7, where I accompanied a few productions.

In 2013there was the call to the Komische Oper Berlin as deputy. technical Director and production manager. From 2016 as an interim technical director, I worked again as production manager after 2017. The guest performances of The Magic Flute and other collaborations have brought me into contact with opera houses around the world.

I endet my employment in 2022, and have now set up my own engineering office 'Kugelplan'


I'm also a father, and my son really loves marble runs.