THIS WAS THE SECOND collaboration with Stephen Pollard on a Linkin Park arena design. This time, the rolling stage was turned 45 degrees so that it came to a point, increasing the “downstage edge” from forty to eighty feet, giving the performers more front row fans to play to. Risers for the drums and DJ were similarly turned on the “diamond” to match the stage with support structure left open and exposed allowing upstage floor lights to shine through.

Behind the band was a series of sixteen vertical panels, each four feet wide and hanging from a swivel that allowed them to rotate 180 degrees and all points in between. On one side the panels were black and their black aluminum structure was left exposed creating an architecturally interesting wall upstage. On the other side each panel was painted with reflective “screen” paint. When this side was exposed there was now a 64’ screen upon which video director Skip Twitchell would project the band’s video content mixed with glitchy, black and white I-mag images. When the panels were stopped partway between these extremes, the broken-up screen would alter the video image and allow lights from behind to shine through in different ways.