During the presentation of the model, the remark was made that one cannot see the upper end of the stage set because the portal is too low. But that's exactly how it should be, and it quickly became clear that the choir would sing in beds at a height of 11m.

A building with 18m x 18m, the first floor at 5m height, and on the second floor bunk beds for the Bayreuth choir under the crane rails at 12m above ground, designed for a traffic load of 500kg/sqm and two 9m long bridges with load capacity for each 20 people.

Four staircases are attached to the outside, which form the access to the floors. These support the construction, which is also braced across the stage building.

In order to be able to offer a situation during the rehearsals that reflects the original situation as well as possible, the stage design was divided in such a way that the floors were placed on 5m high columns. In this way, the upper parts could remain together, and all the decorative elements and the beds could also be transported (the railings of which were designed to be foldable). This significantly reduced the assembly effort.

The building is filled with objects from the design canon of the set designer Joop van Lieshout. Alcoholator, fraction distiller, biogas generator...and hoses...all of this forms a cycle of bio-recycling, which is the subject of various topics in the production and in the intermissions.

Then there is the Venus cage from the lower stage, the audience sits on the stage, screens are unrolled with crane hooks, there are further projections on the floors, there are tables and crates of celery.

The necessary mass production of steel lattice girders led to a special form of work organization in the workshops. Rotisseries were built to properly weld the fillet welds. The assembly of the elements to form the later cubes that would form the floors required special finesse in operating the forklift and welding in all situations.

An external office was commissioned to check the statics, but I also repeatedly analyzed the construction myself during the planning process using the Dlubal statics software. The cantilevered bridges and railings that ensured the safety of the performers required special attention. The professional competence and craftsmanship of the locksmiths have particularly contributed to the success here.

The construction of the ceiling and the integration of the hooks and trolleys on the crane rails into the existing overhead machinery was challenging. However, this offered the enormous advantage that the movements and also the lifting of an actor with the crane functioned via the stage controls, and no further safety-related inspections were necessary.

Basically, the MDF surfaces are absolutely not suitable for theatres, but they were desired. Appropriate substructure and surface treatment made the pressboard somewhat more durable and repairs were easier to carry out.

The support columns had to be placed in the positions with special transport trolleys where the previously raised cubes could then be used. The stage design fills the stage to the last corner, and almost all the point hoists of the Festspielhaus were used, but after some training, the stage technicians were able to set up the floor building in less than 2 hours.