The art of stage construction: 2,300 individual parts for the 2025 show experience
LED walls at Art on Ice stage 2025
The Art on Ice stage has constantly evolved. They were small and modest almost 30 years ago, but today they have become an essential part of the overall show experience. They emphasise each section of the show. But how is such a backdrop created and what are the particular challenges?
A lot of time and manpower – the process leading up to the show
Planning begins in the summer. From August 2024, around 1,000 hours were invested in technical planning for the 2025 shows. The biggest time factor, however, is the setup and dismantling of the stage at the Hallenstadion Zurich, which begins six days before the first show. 3,500 hours of labour were invested on this. After the shows in Fribourg and Davos, the working hours totalled an incredible 7,500. Fun fact: the record for dismantling the stage in 2025 is six hours in Fribourg.
The setup always begins with the show’s centrepiece, the ice. In Zurich, the ice has to be rebuilt since the ZSC’s move to the Swiss Live Arena. In Davos and Fribourg, sponsor advertising and rink markings must be covered with a layer of white. This first step is time consuming, but necessary, as it lays the foundation for the spectacle. As soon as the ice is ready, the team starts installing the roof anchors, which takes about ten hours.
Stage construction Art on Ice 2025 time laps
Now stage construction begins. Twenty-four fitters work on it for at least ten hours. Stage construction requires precise coordination as a lot of equipment has to be transported in and out of the hall in a very short time. This is relatively easy in the Hallenstadion because the infrastructural conditions are ideal. In Fribourg, and especially in Davos, conditions are cramped. As an example, this year in Davos, we had to transport components that could only fit through goods inward with 10 mm clearance. Stage construction therefore requires a team of experts from 15 different professions working together.
Once the stage is in place, actual tour production can begin with installation and testing of the show’s technology. There are 45 technicians from Habegger, Widmersound, Audiorent and AVMS who take care of the installation and adjustment of the technical equipment and work together to ensure that everything runs smoothly. Finally, 18 fitters were kept busy with dismantling work.
Stage construction Art on Ice 2024 in Fribourg
160 tonnes and 2,300 individual parts
The equipment needed for the entire Art on Ice tour weighs 160 tonnes. The stage alone weighs around 20 tonnes and consists of around 2,300 individual parts. 120 loudspeakers provide the right sound and 930 individual spotlights create a spectacular light show. Around 100 motorised chain hoists are used to securely hold the 26 tonnes of equipment suspended from the roof. Around 400 square metres of LED video equipment are used on the stage, the central cube and on the light strips to create the visual effects.
When the cold becomes a challenge during transportation and assembly
Sixteen lorries with all the stage equipment travel through the Swiss streets to transport all the equipment to the various show locations, from Zurich to Fribourg and Davos. The biggest challenges are night-time shipments and weekend travel, as these require special authorisation. The trip to Davos always entails a certain risk with the weather, which is why we are in close contact with the meteorological service and the police in Davos days before arrival. In heavy snowfall, special all-wheel-drive tractors are used to minimise potential risks.
The temperature in the halls is also an issue, especially when working on open ice. Components, especially those made of wood, react greatly to temperature differences and moisture, and metal on ice freezes immediately. Care and concentration are essential, including to avoid accidents.
Memories and review with André Strebel from Habegger AG
Our partner Habegger AG plays a key role in the technology and logistics, and is responsible for everything from planning and realisation of the event technology to design and implementation of the stage set. During the events, the Habegger team ensures that everything runs smoothly – from controlling the technical equipment to monitoring the broadcast direction. They look after our artists and help production management ensure that everything is perfectly coordinated. André Strebel from Habegger has been our technical manager for many years and we asked him a couple of questions:
André, you’ve been part of Art on Ice since 2014 and have now given us a glimpse behind the scenes. Are there any special memories or stories from past tours that have remained in your memory?
After so many years and such a special show, you could probably fill evenings with stories. I think it was in 2015 that there was so much snow in Davos the lorries were not allowed to drive. But we had to go on to Helsinki and Stockholm, so somehow we still managed to get our lorries on the motorway to Landquart using a lot of horsepower and tyre chains.
And your absolute favourite memory?
James Blunt in 2019, when we spent ages discussing as a team who would somehow explain to him that we wanted him to fly over the ice at around eight metres in an airship made of scrap metal, while he sat on a bike so that the wings moved and he performed his song at the same time. In the end, Cedric, the music agent, told him and James just said “Okay, all right. Let’s do it.” It was an incredible moment in the show.
What is your verdict on Art on Ice 2025?
For me, it was the most emotional Art On Ice show I have ever had the honour of being part of. Oliver Höner and Marcella Camenzind’s team produced an absolute masterpiece. A show that I will always be proud of.
André Strebel, technical Manager art on ice
André Strebel has been part of Art on Ice since 2014, initially as the technical manager of the Davos site and as a technician. Since 2019, he has been Habegger’s overall project manager and technical director for the entire Art on Ice production. He is also jointly responsible for the safety of the acrobats, artists and musicians, coordinates all the interfaces with the other suppliers, takes care of the ice quality and cleaning it, and is a bit of a “Jack of all trades”. In his role at Habegger, in conjunction with technical manager Steffen Schmid, he is responsible for all the trades that Habegger supplies.
Margrith Scherrer is Marketing Manager and makes sure the world knows when it’s time for Art on Ice! She is an outdoor sports enthusiast in the summer and thanks to Art on Ice she has the perfect excuse not to go skiing in the winter.