Production mechanics · Bangalore, Goa & Kerala

Wedding decor production: setup time, loading access, power, rigging, rain, wind and moving between states

Decor is designed on paper and decided in production. The things that actually determine whether a design can be built are the hours the venue gives you, how far the truck is from the stage, how much power the property can hold, whether anything may be hung from the ceiling, and what happens when it rains or blows. Settle those before the drawings are approved, because a design the venue cannot accommodate becomes a compromise on the morning of the wedding.

This page sets out what to ask, what to confirm in writing and how each constraint changes cost and time. It names no venue's access hours, power capacity, rigging load or vendor fee — those are property-specific and must be confirmed with the property in writing. Where a question is really 'how much', the answer here is the mechanics; the published bands live on our decor cost pages.

Updated 20 September 2026

How much setup and dismantling time to ask the venue for

Ask for time in the venue contract the way you would ask for the lawn: named hours, named spaces, in writing. The right answer depends entirely on what is being built, and a single sentence in a contract — 'access from 8 am on the day' — can make a design impossible without anyone noticing until the week of the wedding.

What different builds need from the access clause
What is being built	What the access has to allow	What goes wrong on same-day access
A single stage or mandap in an indoor hall	A working day before the function, with the room cleared and cleaned first	Achievable, but nothing can go wrong and the finishing suffers
A full-venue build: entrance, walkways, lawn, stage and lighting	Multiple days, with overnight working permitted on at least one night	Not deliverable. Either the scope is cut or the wedding starts around a half-built set
A rigged floral or lighting installation overhead	Access before the floor is dressed, plus separate time for the rigging crew and a safety check	Rigging over a dressed room is slow, risky and often refused on the day
Two functions in the same space on consecutive days	A named turnover window between them, usually overnight	A crew striking one set while guests are still in the room, then building through the night before a morning muhurtham
An outdoor build with an indoor alternative	Time and space to hold both, or a named decision hour	The switch cannot physically happen, whatever the contract says about a backup space

What to get named in the contract

The hour access starts for each space, and the hour everything must be out.
Whether overnight working is allowed, in which spaces, and whether there is a charge or a noise limit attached.
Who clears and cleans the room before the build starts, and by when.
The turnover window between functions, per space.
Whether the venue takes another event in an adjoining space during your build.
The dismantle window. Strike is not free time — it needs the same access, lift and loading arrangements as the build, and a crew that has already worked a long day.

When a venue offers only same-day access, the honest response is to change the design, not to promise the same design faster. We will say which elements can be prefabricated off site, what has to be simplified, and what a second day would buy you — and if the second day is expensive, whether it is cheaper than the scope you would otherwise lose.

Loading access: the distance between the truck and the stage

Every piece of decor is carried by a person from a vehicle to a position. That journey is the single most underestimated line in a decor build. It does not change what the design looks like; it changes how many crew hours it takes, and crew hours are cost.

The loading questions that move the number

Where can the truck actually stop, and how far is that from each event space? Measure it in walking minutes, not metres.
Is there a service lift, and what are its internal dimensions and weight limit? A 10-foot frame does not fit in most guest lifts and it will be carried up the stairs.
Are there stairs on the route, a gradient, a lawn edge, gravel, sand or a jetty? Each one slows every trip.
Are there restricted loading hours — early morning only, or not while guests are checking in? A restricted window turns a continuous build into two shifts.
Must crew use a service entrance and a separate route, and is there a pass, an ID or a security process for each person?
Is there anywhere on site to store crates, tools and spares, or does everything go back to the truck between trips?
Is there a second event loading at the same time, sharing the same bay?

Each of these adds crew hours, and sometimes additional crew, which is how a design that costs one figure at an accessible venue costs more at a beautiful, difficult one. It is not a hidden charge; it is the reason the same drawing is quoted differently at two properties. Ask any decorator to show loading assumptions in the quote, and ask what changes if the bay is moved or the hours shorten.

Power: what to verify before the lighting and sound are designed

Lighting design, LED screens, sound, kitchens, fans, coolers and the property's own load all draw on the same supply. Power is the constraint most often assumed rather than checked, and the failure is spectacular and public. Establish the supply position in writing before anybody specifies a fixture.

What to confirm with the property and the suppliers

What supply is available at each event space, and how much of it is already committed to the venue's own systems.
Who is responsible for sizing the generator: the venue, the lighting supplier, the AV supplier or the decorator. This is the question that most often has no owner.
Whether the generator is supplied by the venue or brought in, who pays for fuel, and whether fuel for the full run time is included or billed after.
Where the distribution boards sit, who is certified to work on them, and who holds the keys at 2 am.
Cabling routes: where cables cross guest paths, how they are matted or covered, and what the venue requires there.
Whether silent or acoustically housed generators are required if the unit sits anywhere near guests, and where the exhaust will vent.
The backup position: what happens to the ceremony lighting, the sound and the screens if the main supply drops, and how long the changeover takes.
Who is on site through the event to operate and switch, by name, with a phone number.

Budget lighting beyond fairy lights as its own line. Decorative strings make a space pretty; they do not light faces, a mandap, a stage, a walkway or a buffet. A wedding usually needs at least four separate lighting jobs — the ceremony and the couple, the guest areas and paths, the stage and performance, and the food and service areas — each with its own fixtures, positions, control and power.

Ceiling and rigging: approvals and checks before anything is hung

Hanging floral installations, chandeliers, drapes or lighting overhead is a structural act, and it is the one part of decor where the consequence of getting it wrong is not aesthetic. Nothing goes up until a competent person has said what the structure can hold and the venue has said yes in writing.

The sequence we follow before an overhead installation

Ask the venue what its ceiling or canopy is: a false ceiling, a slab, a steel structure, a pandal frame or a tensile roof. A false ceiling holds almost nothing.
Ask for the venue's rigging policy in writing: which points may be used, what load each permits, and who signs off.
Get the venue's engineer, or an engineer the venue accepts, to confirm the load points for your specific installation rather than in general.
Where the venue has no usable points, price a free-standing truss or ground-supported structure instead, and check the floor loading and the footprint it needs.
Give the venue the actual dry and wet weights. Fresh flowers and foam gain significant weight with water, and the wet weight is the number that matters.
Apply a safety factor rather than working to the stated limit, and rig with rated hardware and secondary safeties on every suspended element.
Confirm who is insured for the rigging, and check that the certificate covers the venue and the dates.
Agree a sign-off: rigging complete, checked, and by whom, before the room is dressed and before guests enter.
Agree the de-rig plan at the same time, including who is on site to release the points and when.

Some venues can safely support overhead work and some cannot, and the difference is not how the ceiling looks. Ask at the site visit whether other weddings have rigged there, what was hung, and who approved it — and ask to see the rigging points rather than being told they exist.

Rain: which elements need protecting, and which need replacing

An outdoor wedding that moves indoors is not the same wedding with a roof. Some elements move, some need protection, and some simply do not exist in the indoor version. The way to keep this calm is to design the indoor version in advance, with the same care, rather than improvising it under pressure at noon.

What happens to each element when the wedding moves inside
Element	Rain behaviour	What we plan
Fresh flowers and foliage	Survive rain but not wind-driven rain or standing water; they wilt in a hot, closed room	Build late, keep the arrangements liftable, and plan a smaller indoor placement rather than moving everything
Fabric, drapes and ceiling swags	Water-marks, sags, stains and takes hours to dry; almost never reusable the same day	Keep outdoor fabric minimal, or duplicate the key panels so the indoor version has its own
Electricals, control desks and cabling	The first real safety issue, and the reason a switch has to be decided early	Weatherproof connectors and covers outdoors, and an indoor rig that does not depend on re-cabling in the rain
Stage, platforms and laid flooring	Heavy, slow to move, and dangerous when wet	Size the indoor stage separately and accept it will be smaller
Candles and open flame	Gone in wind and rain, and often restricted indoors too	Have the lit alternative decided rather than discovered
Printed paper: menus, signage, seating charts	Ruined quickly	Keep spares in a dry box; it costs little and saves the arrival

How we set the decision up

A named decision hour for each outdoor function, agreed with the family and the venue in advance, with one person who makes the call.
An indoor layout drawn to scale for the same guest count, with the stage, the mandap and the food stations placed — not a hall name in a contract.
A written statement from the venue that the backup space is held for you and not sellable to another event.
A separate small crew and kit for the switch, so the main build is not stripped to make it happen.
The photographer, AV and catering told what the indoor version is, because their positions change too.

The monsoon calendar matters here. The south-west monsoon runs roughly June to September across all three destinations, Bangalore's wettest months are typically September and October with north-east monsoon showers into November, and Kerala takes the north-east monsoon from October to December. None of that makes a date impossible — it makes an indoor version compulsory.

Source: India Meteorological Department — checked 20 September 2026.

Wind: assessing exposure before building a tall mandap or entrance

Wind, not rain, is what brings a structure down. It is also easier to assess, because it is fairly predictable at a given site at a given hour. Anything tall, anything with a solid face and anything with fabric on it is a sail, and the assessment has to happen before the design is fixed, not after the frame is welded.

How our team assesses a site for wind

Visit at the hour of the function, not at a convenient hour. A lawn that is still at 10 am can be moving steadily by 5 pm, and coastal sites almost always build through the afternoon.
Read the exposure: open sea front, a lawn on a ridge, an estate on a plateau, a rooftop and a backwater edge are all exposed. A courtyard, a walled garden or a space with tree cover on the windward side is not.
Ask the venue's own team what happens there in the evening. Staff who set up that lawn every week know more about its wind than any drawing does.
Set a height limit for the site, and design within it rather than designing tall and hoping.
Reduce the solid area: mesh, open frames, slatted or perforated faces and gaps between panels let wind through instead of pushing.
Ballast and anchor properly — weighted bases, ground anchors where the surface permits, guy lines on anything tall, and sand or water ballast sized for the structure rather than for appearance.
Never rely on fabric being tied down tightly. Tight fabric in wind pulls the structure, and a loose panel that can be dropped is safer than a taut one that cannot.
Agree abort criteria in advance: the wind condition at which fabric comes off, the condition at which a tall element is lowered, and who decides. Write the names down.

On the Goa coast we design the tall elements to be de-riggable in minutes, because a sea breeze on a west-facing beach in the late afternoon is normal, not exceptional. The published Goa decor pages note that beach setups typically add ₹1.5–3 lakh over a comparable hotel setup for flooring, weighting and wind-proofing — that is what this section is describing in money.

Fairy lights: power, installation, waterproofing and permission

Fairy lights look like the simplest thing on a decor plan and they carry more questions than most installations. They cover long distances, they hang over guests, they are usually outdoors, and they are often installed by the people with the least supervision on site.

What to ask the venue and the supplier

Total power draw for the full run, and which circuit it sits on. Long runs of older strings draw far more than people assume, and the load is continuous through the evening.
How they are installed: on trees, on poles, across a structure, or spanning open space. Spanning needs a catenary or a support wire, not the string itself taking the load.
What may be attached to what. Many properties forbid nails, screws, staples and cable ties on trees and stonework and require soft ties or free-standing supports instead.
Whether the fittings and every connector are rated for outdoor use, and whether joins are in waterproof enclosures rather than taped.
How they behave in rain and whether there is an isolation plan if water gets in.
Whether anything hangs over a walking route or a dining area, and at what height, with the fixing checked rather than assumed.
Who de-rigs them and when, because strings in trees take far longer to take down than to put up.
Whether the venue permits the installation at all, in writing, and whether its own electrician must supervise the connection.

Then budget for the lighting that fairy lights do not do. Face light for the ceremony, a wash and key light for the stage, path and step lighting for guests, light on the buffet and service areas, and a control position with someone at it are all separate items with their own power and their own cost.

Bringing your own decorator: what to check before you sign

Venues vary enormously in what they allow an outside decor team to do, and the restrictions are rarely volunteered during a sales conversation. Ask these as questions and get the answers in the contract; we cannot tell you any property's policy, because policies change with management and with the event.

Ask every venue, in writing

Is there an approved-vendor list, and is it mandatory or advisory? If an outside decorator is permitted, is there a royalty, an access fee or a percentage?
What may be fixed to the structure — nails, screws, tape, adhesive, cable ties, hooks — and what is forbidden on walls, floors, trees and ceilings?
Is open flame permitted, indoors and outdoors? Are fireworks, sparklers, cold sparks, fog or haze permitted, and do they set off the fire system?
What is the damage deposit, how is damage assessed, who assesses it and when is the deposit returned?
What are the access hours for an outside crew, and is overnight working permitted?
Does the venue hold an AV, lighting or sound monopoly? An in-house AV requirement can quietly change the shape of a sangeet budget.
Are there restrictions on the ceremony or fire ritual — a homam, a havan, an agni kund — indoors, and what ventilation or protection is required?
What insurance, crew lists, ID and safety documentation does the venue require, and by when?
Who is the venue's operations contact on the day, and is that person named in the contract?

We take zero vendor commission and clients pay vendors and properties directly, so we have no interest in which way a venue's vendor policy falls. What matters is knowing it before the date is booked, because a venue that forbids what your design needs is a venue decision, not a decor decision.

Producing in another state: trucks, crew, sourcing and what must be in writing

Our studio is in Bangalore, and a large share of what we build is built in Goa and Kerala. Moving a production across a state line adds a set of costs that are real, predictable and frequently left out of comparisons between an in-city wedding and a destination one.

What has to be costed and confirmed in writing

Truck days, not truck trips: loading day, travel, unloading, the return, and the days the vehicle sits on site because it cannot be released.
Crew travel, accommodation and food for the full period, including the night after strike. Crew rooms are a real line and often need to be counted inside a venue's room block.
Which elements are fabricated in Bangalore and transported, and which are sourced or built locally. Heavy structures usually travel; flowers, foliage, tentage and labour are usually local.
The local partner or workforce, named, with what they are responsible for.
Permits and paperwork for vehicles and goods moving between states, and any local permissions the venue or the location requires.
Contingency stock, because nothing can be fetched from the studio in an afternoon.
Who pays for a delay: a truck held at the venue, a crew waiting for access, or a build that starts late because the room was not cleared.

Setting also changes cost drivers, qualitatively and consistently. A hotel ballroom is the cheapest to produce in: level floors, lifts, power, shelter and a loading bay. A garden or estate adds tentage, flooring, power, lighting and weather cover. A beach adds laid flooring, weighting, wind-proofing, salt and sand damage, and often a longer carry from the nearest vehicle access. A backwater property may add boat transfers for every crate and a schedule that cannot be compressed. None of those are premiums for being scenic; they are the cost of building a room where there is not one.

The practical consequence is that the same drawing is a different price in three places, and any comparison between quotes has to state the setting. Our Goa and Kerala decor pages carry the published bands; this page carries the reasons.

Bangalore: hotel rules, traffic windows and the pre-dawn muhurtham

Bangalore production is mostly about time-of-day and institutional rules rather than the elements. City hotels have loading bays, service lifts, house electricians and documented rigging policies — and also approved-vendor lists, fixed access hours, security processes for crew and another wedding in the next ballroom.

What we plan around

Traffic windows for every vehicle movement. A truck crossing the city at the wrong hour loses the morning, and venues beyond Kempegowda International at Devanahalli and up towards Nandi Hills sit past a route that stalls.
Early muhurthams, which can require a mandap complete and lit before dawn. That means an overnight build, which means an overnight access clause.
Kalyana mantapas, which often come with a fixed hall, a fixed mandap position, a fixed decorator panel and tight back-to-back bookings. Ask what is changeable before designing.
Estates and farmhouse venues beyond the city, where power, tentage and lighting come in with you and the generator plan is the whole plan.
September and October showers, which make an indoor version necessary for outdoor functions even outside the south-west monsoon.

The compensation is that Bangalore is our home base. The workshop, the stock, the crew and the suppliers are in the city, so a replacement can reach a venue the same day — which is exactly the safety net that does not exist in the other two destinations.

Goa: two airports, two coasts, sea breeze and permissions

Goa production is dominated by exposure and distance. The coast faces west, the breeze builds through the afternoon, salt attacks fittings and fixings, and sand is a poor foundation for anything tall. Every outdoor build there is really a temporary structure problem.

What is specific to Goa

Beach and shoreline setups need property permission and coastal-zone clearance, which is a separate process from the venue booking and has to start early.
Laid flooring on sand is not decoration; it is the base for the structure and the walking surface for guests, and it is a significant part of a beach build.
Wind-proofing, ballast and de-riggable tall elements, with an agreed abort plan for the afternoon breeze.
Two airports — Dabolim in the south-central belt and Manohar International at Mopa in the far north — with transfers of an hour and more between the coasts, for guests and for crew.
Sound cut-offs are actively enforced in Goa. Confirm the venue's own limit in writing and plan the strike noise around it too.
Peak December demand, when crew accommodation, vehicles and local labour are all scarce and priced accordingly.

Goa also runs on a tight local supplier base that is fully booked in season. Fabrication we can control travels from Bangalore; flowers, tentage, labour and vehicles are local and have to be locked early. We have produced 80+ weddings in Goa, and the pattern that holds is simple: the properties that are easy to load are easy to build in, and the ones with the best view are usually the hardest.

Kerala: humidity, boat access and two ceremonies in one day

Kerala production is defined by access and by moisture. Humidity shortens the life of fresh flowers and affects fabric, paper and adhesives; the greenery around most venues means the decor job is smaller but the logistics job is larger.

What is specific to Kerala

Boat access at some backwater resorts: every crate, frame, light and flower arrives by boat, on a schedule, with a weight limit and no way to fetch anything quickly.
Narrow approach roads at many properties, which decide the size of vehicle that can reach the site and often force transfer to smaller vehicles.
A temple or church ceremony in one place and a reception in another, sometimes on the same day — two builds, two crews or one crew moving under time pressure.
Sadya service, which sets the table and service-lane layout before any decor is placed.
Four airports in play — Kochi, Trivandrum, Kozhikode and Kannur, with Bekal usually reached from Mangaluru or Kannur — so crew and guests land at different points.
A longer wet calendar: the south-west monsoon from around June and the north-east monsoon from October to December, which makes an indoor version standard rather than optional.

Kerala rewards building later and lighter. We fabricate structure in Bangalore, source flowers and foliage locally and as late as the schedule allows, keep cold storage in the plan, and budget a top-up on the morning of the function rather than pretending the first delivery will hold.

The production checklist to take to the venue

Take this as a list and ask for written answers before the venue contract is signed. How quickly a property answers it tells you as much as the answers do.

Ask for all of this in writing

Access hours per space for build, and the hour everything must be out after strike.
Whether overnight working is permitted, where, at what charge and under what noise limit.
The turnover window between consecutive functions in the same space.
Where the truck stops, the distance to each space, service lift dimensions and weight limit, and any restricted loading hours.
The crew access route, the security process, and whether crew passes or ID lists are required in advance.
Available power per space, what is already committed, and who sizes the generator.
Generator supply, fuel, silencing, exhaust position and who is on site to operate it.
The rigging policy: what may be hung, from which points, at what load, approved by whom, and whether an engineer's sign-off is needed.
What may be fixed to walls, floors, trees and ceilings, and what is forbidden.
Open flame, fireworks, cold sparks, fog and haze rules, and the fire system's response to them.
Whether an outside decorator is permitted, and any royalty, access fee or approved-vendor requirement.
Whether the venue holds an AV, lighting or sound monopoly.
The sound cut-off time, in writing, for each space.
The damage deposit, how damage is assessed and when the deposit is returned.
The backup space, its held status, and a scale layout of your setup inside it.
The named operations contact on the day and their phone number.

Panigrahana designs and builds decor in-house, so the crew on site is briefed by the people who drew the set. Our planning fee is quoted for the agreed scope; venue, hospitality and vendor costs are separate, and design and decor are quoted separately for their own scope.

Questions couples ask

How much setup and dismantling time should we request from our venue for custom wedding decor?

Ask for named hours per space rather than a general access clause. A single indoor stage or mandap usually needs a working day before the function with the room cleared first. A full-venue build with entrance, walkways, lawn, stage and lighting needs several days and overnight working on at least one night. A rigged overhead installation needs access before the floor is dressed, plus a safety check. Two functions in one space need a named turnover window. If the venue offers only same-day access, change the design rather than promising the same design faster, and price what a second day would buy.

How can loading restrictions affect decor cost and installation time?

Every item is carried by a person from a vehicle to a position, so the distance and the obstacles decide crew hours, and crew hours are cost. Ask where the truck can stop and how far that is in walking minutes, whether there is a service lift and its internal dimensions and weight limit, whether stairs, gravel, sand, a lawn edge or a jetty sit on the route, and whether loading hours are restricted. A restricted window turns a continuous build into two shifts. This is why the same drawing is quoted differently at an accessible venue and a beautiful but difficult one.

What power capacity and backup arrangements should we verify?

Confirm in writing what supply each event space has and how much is already committed to the venue's own systems, then establish who is responsible for sizing the generator — venue, lighting supplier, AV supplier or decorator. That question most often has no owner. Confirm who supplies the generator, who pays for fuel and whether the full run time is included, where distribution boards sit and who is certified to work on them, how cables cross guest paths, whether silent units are required near guests, and what happens to ceremony lighting, sound and screens if the main supply drops. Name the person on site who switches.

What lighting should we budget for beyond decorative fairy lights?

Fairy lights make a space pretty; they do not light anything. Budget at least four separate lighting jobs: face and ceremony light for the couple and the mandap so photographs and video work, guest-area and path lighting including steps and washroom routes, stage and performance lighting with its own control for the sangeet, and light on the buffet, bars and service areas. Each needs fixtures, positions, cabling, a control position and someone operating it. Add a generator and backup plan covering all of it, and agree who is on site to run the desk through the evening.

What power, installation and rain-protection questions should we ask about fairy lights at a venue?

Ask for the total power draw of the full run and which circuit it sits on, because long strings draw more than people assume and run continuously. Ask how they are installed: spanning open space needs a support wire, not the string carrying the load. Ask what may be attached to trees and stonework, since many properties forbid nails, screws, staples and cable ties. Confirm every fitting and connector is rated for outdoor use with joins in waterproof enclosures rather than tape, confirm the rain isolation plan, check the height over walking and dining areas, and get the venue's written permission.

What approvals and structural checks are needed before hanging floral installations?

Establish what the ceiling actually is — a false ceiling holds almost nothing — then get the venue's rigging policy in writing: which points may be used, what load each permits and who signs off. Have the venue's engineer, or one the venue accepts, confirm load points for your specific installation rather than in general, and give them the wet weight, since flowers and foam gain significant weight with water. Work to a safety factor rather than the stated limit, use rated hardware with secondary safeties, confirm insurance covering the venue and dates, and get a written sign-off before the room is dressed.

How do we identify venues that can safely support overhead floral installations?

Ask at the site visit, not at the design stage. Ask what the structure over each space is, whether other weddings have rigged there, what was hung and who approved it, then ask to be shown the rigging points rather than told they exist. A property that has a written rigging policy, named load points and an engineer who signs off is one that can support the work. Where there are no usable points, the answer is a free-standing truss or ground-supported structure, which needs floor loading checked and a footprint that the layout has to make room for.

Which decor elements need protection or replacement when an outdoor wedding moves indoors?

Electricals come first — connectors, desks and cabling are the real safety issue and the reason the call has to be made early. Fabric and ceiling swags water-mark and sag and are rarely reusable the same day, so duplicate key panels rather than planning to move them. Fresh flowers survive rain but not wind-driven rain, and wilt in a hot closed room, so keep arrangements liftable and plan a smaller indoor placement. Stage and laid flooring are too heavy to move, so size the indoor stage separately. Candles and printed paper need decided alternatives and dry spares.

How should our decorator assess wind exposure before building a tall mandap or entrance?

By visiting the site at the hour of the function rather than at a convenient hour, because a still morning lawn can be moving steadily by five in the afternoon. Read the exposure — sea front, ridge, plateau, rooftop and backwater edge are exposed; walled gardens and courtyards are not — and ask the venue's own staff what the space does in the evening. Then set a height limit for the site, reduce solid area with mesh and open frames, ballast and anchor properly, avoid relying on taut fabric, and agree written abort criteria naming who lowers what, and when.

When planning a wedding in Goa or Kerala with a Bangalore team, which transport and production costs need written confirmation?

Get truck days rather than trips — loading, travel, unloading, return and days the vehicle is held on site — plus crew travel, accommodation and food through strike, with crew rooms counted against the venue's room block where the property requires it. Confirm which elements are fabricated in Bangalore and transported and which are sourced locally, name the local partner and their responsibilities, and confirm permits for vehicles and goods moving between states. Add contingency stock, since nothing can be fetched from the studio the same afternoon, and state who pays if access is late.

Sources

The sources above are the pages this guide relies on; where a source publishes no figure, this page prints none. Access hours, power capacity, rigging loads, vendor policies, sound cut-offs and damage terms are property-specific and must be confirmed in writing with the venue.

Decor production

Send us the venue and we will tell you what it can actually hold.

Tell us the property, the dates and roughly what you want built. We will come back with the access, loading, power and rigging questions to put to the venue in writing, and say plainly which parts of the design the venue will support and which need rethinking.

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