ST. ROBO and GLP create immersive world for Wincent Weiss’s arena tour

juliana6232
Sep 8
1 min read

For Wincent Weiss’s arena tour, the renowned design studio ST. ROBO developed a fully integrated show design – including set, lighting and content, as well as IMAG and creative direction. The design concept and implementation were developed in close collaboration within an interdisciplinary team dedicated to developing a new visual language for the artist. The focus was on emotional impact, technical finesse and a deliberate departure from traditional stage conventions.

The ST. ROBO team – consisting of Nik Evers, Philipp Hillers, Markus Eibl, Hannes Geers and Andy Machals,

among others – pursued a bold design approach: moving away from the classic set stage and towards an open spatial concept with great emotional and visual depth. The stage completely dispensed with visible overhead show lighting.

Instead, it was fully integrated into the set design.

To create the visual dynamics of the stage, ST. ROBO turned to 108 GLP JDC2 IP and 20 impression X5 IP Bars – fully integrated into the moving set. These two fixture types were specifically chosen because of their exceptional versatility and the ability to be elegantly integrated into the overall architecture. “It was important to us that the light not only accompanied, but also told a story,” explains Nik Evers. “The JDC2 IP oﬀered an enormous range for this¬ – from animated colour fields to powerful strobes, without visually standing out.”

The JDC2 IPs were primarily operated in pixel mode – not as a traditional eﬀect, but as animatable colour surfaces that seamlessly blended with the content and stage design. The key factor was the JDC2 IP's ability to create large-scale, atmospheric light images – sometimes impulsively strobe-like, sometimes subtly luminous. A central JDC2 IP equipped pod was also integrated into the centre of the design as part of the C1 CyberHoist system.

The team also had specific requirements for the linear elements: “The X5 IP Bars were perfect for our ten-metre-long sections – powerful, precise and easily integrated into the movement,” Evers continues. “Their linear shape enabled seamless integration into the tilting C1 light lines. The combination of both – powerful light and form-fitting integration – was essential for the aesthetics of the show. We didn’t want an overly staged eﬀects show, but rather an atmospheric lighting dramaturgy that subordinates itself to the artist without appearing arbitrary,” Evers summarises.

A further strong design motif was the integration of linear fog systems – specially developed by Hauke Husemann – into the C1 elements.