Author Archives: Alison Fraser, Science Museum Marketing Team

Win a walk-on-part in The Energy Show + a weekend break in London

Stand back and cover your ears – a trip to the theatre just got explosively exciting! The Energy Show is on tour around the country until July 22, when it returns to London for a spectacular final two weeks at the Science Museum.

To mark the launch of this fun-filled show, we’ve teamed up with The Sunday Mirror to give one lucky child (aged 7 – 12) the opportunity of a lifetime – a walk-on part in The Energy Show in London. This great prize includes three tickets for family or friends and an overnight stay at the four-star Cavendish Hotel.

Three runners-up will also win four tickets each to the show at their chosen tour venues. Visit sciencemuseum.org.uk/energyshow for details on dates and venues.

The Energy Show

How to enter
Q) Which of these is NOT a famous scientist?
1) Marie Curie
2) Albert Einstein
3) Simon Cowell

CALL 0900 586 4613 and follow the instructions (61p/min). Or TEXT SMHOL followed by a space then your answer (1, 2 or 3), your name, full address, postcode and email address to 85858 (£1/text).

Terms & Conditions

1. Lines close 11.59 pm on Saturday April 12, 2014. Landline calls cost 61p/min plus network extras max 2.5 mins. Payphones and mobiles will be higher. Texts cost £1 each plus one standard network rate message. Entries received after this date may not be counted but will still be charged. To decline marketing messages add NOINFO to the end of your text.
2. Employees of Trinity Mirror plc, Science Museum Group, associated companies, agents or anyone involved in the running of the competition are excluded from entering.
3. ONE winner (aged 18/over) drawn at random after lines close from all correct entries. Winner must be child’s parent/legal guardian, contactable by 17:00 April 21, 2014 and available August 2-3, 2014.
4. PRIZE: walk-on part for one child aged 7–12 in one performance of The Energy Show at London’s Science Museum, 12.00 on winner’s choice of either Saturday August 2,  2014 or Sunday August 3, 2014. Includes performance tickets for 3 family members, overnight stay for 4 the night before the show, plus 4 Science Museum tickets to Red Arrows 3D experience. Winner and parent/guardian required to attend rehearsals and health & safety briefing at 09.00 on the day of the show. By entering Winner agreed to take part in any media activity carried out as part of this competition including any post-competition publicity if required. The Science Museum will seek the necessary consents for filming.
5. THREE Runners-up: each 4 standard tickets giving one admittance to The Energy Show at any tour venue of winner’s choice (subject to availability).
6. Travel, any other costs/expenses not included with any tickets (winner’s cost & responsibility)
7. Trinity Mirror Plc accepts no liability whatsoever for winner’s subsequent participation in this prize.
8. Prizes non-transferable, no whole/part cash alternatives.
9. Standard Trinity Mirror plc Rules apply, see www.mirror.co.uk/rules
10. SP: JMedia UK Ltd, SW4 7BX Helpline: 0844 800 1188

X&Y at MOSI’s 1830 Warehouse for the Manchester Science Festival

X&Y, a new show from mathematician Marcus du Sautoy and Complicite actress Victoria Gould, starts at the Manchester Science Festival next week.

Blending maths with theatre, it explores big questions about our universe – is it infinite? Does it have an edge? With a stark and simple set, X&Y creates its own little ‘universe’ inside a brightly lit cube, making it perfect for unconventional ‘pop-up’ theatre spaces.  For its London run at the Science Museum earlier this month, it was performed in a converted empty exhibition gallery.

X&Y at the Science Museum. Photo: Benjamin Ealovega

X&Y at the Science Museum. Photo: Benjamin Ealovega

The Manchester Science Festival takes place in venues across Greater Manchester from 24 October – 3 November and X&Y is taking up residence for 5 days at MOSI’s stunning Grade 1 listed 1830 Warehouse at Liverpool Road Station.

1830 Warehouse

Liverpool Road Station was the Manchester terminus of the Liverpool and Manchester Railway, the world’s first purpose-built passenger and goods railway. The original coach offices (passenger station), warehouse and intervening viaduct survive, making this the world’s oldest railway station. All four buildings and the two viaducts are listed in recognition of their historic and architectural importance. When British Rail closed the station in 1975, the two oldest buildings were in a very poor state of repair. Since then the whole site has been carefully restored.

The aptly named ‘1830 Warehouse’ was built in 1830 and it was the world’s first railway warehouse. Earlier railways, which mainly carried coal, did not need warehousing but the success of the Railway’s goods services created an immediate need for more storage.

1830 Warehouse

On 3 April 1830, the Liverpool & Manchester Railway Company placed a notice in the Manchester Guardian inviting tenders for the construction of five brick warehouses. This description is misleading as the resulting building was actually one warehouse divided into five bays. Five firms submitted tenders ranging in cost from £12,000 to £14,000 (approx. £1.16 million to £1.35 million today). 

The second lowest bidder, David Bellhouse Jnr, gained the contract. He had taken over his father’s building and contracting business in about 1820. His father, David Bellhouse Snr., was also a leading local timber merchant. These family business connections were valuable because the appointed contractor was responsible for procuring the necessary building materials, other than bricks, which were supplied by the L&MR Company. The stated completion date was 15 August 1830, giving less than four months for construction. The schedule was tough, but Bellhouse managed it. The demanding schedule was doubtless one of the reasons why the 1830 Warehouse has a timber frame rather than a fireproof frame of brick and iron. A timber frame was faster to fabricate and assemble.

The 1830 Warehouse was used for the storage of a variety of goods. Cotton, one of the L&MR’s most important cargoes, was only stored there until two Cotton Stores were completed in 1831.

Two stock books found in the warehouse in 1991 reveal the type of goods stored there in 1885 and 1905. They list a wide range of goods including various meats, bananas, chemicals such as caustic soda and bleach, clog blocks and bottles. Oyster shells and cockleshells were found in the building, suggesting that it was also used for storing shellfish.

As the Manchester Science Festival takes over MOSI and other venues for 10 days, the 1830 Warehouse will be the home of Marcus du Sautoy and Victoria Gould and the creative team for X&Y. 

Find out more about the 1830 Warehouse at MOSI here.

Find out more about X&Y at the Manchester Science Festival from 30 October – 3 November here.

Take a look at some of the production shots from London

Extracts from this blog from The Museum of Science and Industry in Manchester

X&Y’s Dermot Keaney – from Director to hammerhead shark-man

X&Y, a new play that asks big questions about the universe, opens next week at the Science Museum before transferring to the Manchester Science Festival later this month. We spoke to Dermot Keaney, X&Y’s Co-Creator and Director.

I am a co-creator and the director of X&Y. My role is to help Marcus du Sautoy and Victoria Gould, the actors in the show, tell their amazing story and create a play that will be enjoyed by audience of all ages and backgrounds. You don’t have to be a ‘maths geek’ to enjoy this, you just have to be a ‘story geek’ and I believe that we are all one of those.

Dermot Keaney

I’ve been acting professionally for 20 years but I’m doing more and more directing these days. I love to tell stories and hope that X&Y will be the first of many collaborations with the Science Museum. It’s great to get to work with incredibly bright people every day and be part of a team that is creating something, truly unique and magical.

Working at the Science Museum is incredibly inspiring because everywhere you look you see the evidence of genius, creativity and discovery. One feels the presence of giants all around.

My favourite object at the Museum has to be Stephenson’s Rocket. I remember seeing it for the first time as a 9-year-old and understanding how important this object was in the history of invention. I say hello to it every time I walk past. The Apollo 10 Command Module runs a close second.

Stephenson's Rocket locomotive, 1829.

Stephenson’s Rocket locomotive, 1829

The most memorable show I have worked on would have to be as an actor when I played Maccus, the hammerhead shark-man in Pirates of the Caribbean. The sheer scale of the production was breath-taking and to be part of animation history is very satisfying. I also had my character made into an action figure, which was cool!

Maccus

Dermot Keaney as Maccus in Pirates of the Caribbean. Credit: Disney.

Follow Dermot on Twitter @dermot110

X&Y starring Marcus du Sautoy and Victoria Gould runs at the Science Museum from 10 – 16 October and Manchester Science Festival, MOSI, from 30 October – 3 November 2013. 

Win tickets to X&Y

Next week the Science Museum welcomes mathematics professor Marcus du Sautoy and actress-mathematician Victoria Gould for X&Y – playful new theatre that explores some of the biggest questions about our universe using maths.

To celebrate, we’ve teamed up with HegartyMaths.com to run a competition to win a pair of tickets to the show. It runs from 10 – 16 October at the Science Museum.

To enter, simply retweet this. Good luck!

Marcus du Sautoy

A word from HegartyMaths

HegartyMaths is set up and created by Colin Hegarty and Brian Arnold, two full time London Maths teachers.  We love maths and the creativity and joy that comes from solving maths problems.  At the same time we understand that skill in Maths is also, in effect, a life differentiator and we want to help students raise their standards in the discipline in order to open up their life chances.  Our mission is to provide free, high quality maths tuition via the website to students who need a bit of extra suport in Maths.  All our work is free so that pupils from the most disadvantaged backgrounds can, in effect, benefit from what is like free personal maths tuition.  We have made over 700 videos covering Key Stage 3 Maths, GCSE Maths and A-Level Maths.

Steampunk in the Science Museum

Our summer spectacular, The Energy Show, is staged in a steampunk world which blends the past and the future. Much inspiration for the show was taken from the Science Museum’s collection, especially the machines of The Energy Hall. Ben Russell, Curator of Mechanical Engineering, talks here about some of our ‘steampunk’ objects in the Museum. 

Beam engine by Benjamin Hick, 1840. Inv 1935-513

Beam engine by Benjamin Hick, 1840. Photo: Science Museum / SSPL

Photo: Science Museum / SSPL

Modern technology values function over anything else. Things are stripped down and smooth in appearance. Steampunk is a welcome kickback against this minimalist modern world we live in, reasserting the importance of form against function – and we can find this delicate balancing act played out in our collections.

Take this beam engine, for example. It’s a model of a full-size engine built in 1840 by Benjamin Hick of Bolton for a Leeds flax mill. It was an immense building, possibly the largest single room in the world. To animate the machines inside, Hick’s engine was certainly powerful, but in building it he gave full reign to his imagination. The result was  an Egyptian engine: It has columns with papyrus-headed capitals, a mighty entablature inspired by a temple overlooking the River Nile, and the ‘chronometric’ governor to control the engine’s speed takes the form of a scarab beetle.

Photo: Science Museum / SSPL

Photo: Science Museum / SSPL

Later Victorian design became rather bulbous, even grotesque, in appearance. But Hick’s engine is a sinuous masterpiece of epic design and brute strength. It reminds us not only of our creative debt to bewhiskered, roaring, big-jawed machine-makers like Hick, but also the significance of amazing nineteenth century machines, not just as a means to the end of production, but as symbolising national affluence and virility. In our present situation, it’s a lesson worth remembering: if you mean business, build machines that shout it out to the world.

Cooke and Wheatstone two-needle telegraph, 1851, Inv 1884-95

Photo: Science Museum / SSPL

Photo: Science Museum / SSPL

A recurring theme in Steampunk is the application of nineteenth-century design ideas to modern digital technology: laptops, PCs, even memory sticks can be made antique with brass gearwheels, dials and mahogany cases.

Colliding state of the art technology with the Gothic isn’t just a recent thing, though. In 1837, William Cooke and Charles Wheatstone patented the world’s first successful telegraph system. It was mainly used on Britain’s evolving railway system, conveying messages via wires running alongside the tracks. A slightly lesser-known use of this pioneering system was to convey messages and reports across London, from the Houses of Parliament at Westminster to clubs in St James’s.

The Electric Telegraph Company was formed in 1846 and this instrument was installed at the Houses of Parliament in 1851. As a ‘black box’ of purely functional appearance, it would have jarred badly against the Gothic Revival style adopted in the newly rebuilt Palace of Westminster. So, the telegraph was fitted with its admirable Gothic casing, complete with pointed arch, finial, and delicately-realised columns. It must surely have lent a feeling of permanence and robustness to the room that it graced, reflecting the standing of Parliament – and also pre-empting one of the major pillars of steampunk.

Model of the side-lever engines of the Paddle Ship ‘Dee’, 1832. Inv 1900-41

Photo: Science Museum / SSPL

Photo: Science Museum / SSPL

The problem with modern technology is that so much of it is intangible, digital, virtual, ephemeral. This point of view certainly underpins many Steampunk projects.

It wasn’t always like this, of course: introducing steam power to ships during the nineteenth was the cutting edge of serious heavy metal technology, and was a highly demanding field to design machines for: engines couldn’t be too heavy, they had to have a low centre of gravity, they couldn’t take up too much space.

These prerequisites offered valuable motivation to innovate in engineering design styles. Rather than big, heavy, monolithic construction and great slab-sided machines, engineers evolved lighter cast-iron structures, with lots of space, openings, and details which could be embellished without adding too much weight. Gothic engines? Check.

This model was built in 1832 for the Paddle Ship ‘Dee’ by the London company Maudslay, Sons and Field. Maudslay was a prolific model-maker, trying out new ideas before committing to them full-size, and this model is one of the finest surviving. The delicate cast iron Gothic tracery of its framing would not look out of place in a cathedral – a very tangible record of the creative impulses afforded to engineering, and perhaps inspiration for those Steampunkers looking for something a little out of the ordinary.

Take a look at our own Steampunk set Science Museum Live: The Energy Show which runs until 31 August. Book tickets and find more information here.

How we created ‘i-nstein’, the animated character in The Energy Show

One of the main characters in The Energy Show is lab assistant i-nstein. Nina Dunn, responsible for Video Design and Animation Direction, and Mike Wyatt from Attack Animation were the masterminds behind bringing i-nstein to life. Take a look at their process here.

Design:
We started off with a few rough pencil sketches. Then some orthographic representations of the sketches were created in Photoshop. Extra detail was added into the basic form to add interest.

1

3D Model:
Using a 3D computer program such as ‘Maya’, the orthographic illustrations are used as reference to build i-nstein as a 3D polygonal model. The pink dots in the middle image are the vertices of the model. A ‘vertex’ is a point in 3D space. The blue lines are the ‘edges’ of the polygons, they are drawn between two vertices. A ‘face’ can be rendered between at least three vertices.  It is best to use 4 vertices for each face, so the polygon which is drawn has 4 vertices and 4 edges draw between these vertices. We call these polygons ‘quads.’

2

Rigging:
The next stage is called ‘rigging.’ This is where the puppet strings are built into the geometric model. The individual elements such as the eyebrows, the moustache, and the goggles are ‘skinned’ to curves and joints, before being placed under the influence of ‘controller curves.’ It is then possible to ‘pose’ each element of the model, and to achieve different emotions in the way in which each controller is positioned.

4

Texturing:
The ‘texturing’ process is where we add colour and shading to the model.  The geometry is ‘mapped’, as if you were skinning an animal, so that the surface is laid out on a flat, 2D image. This is called ‘UV Mapping’. Using Photoshop, colour information can be painted onto these flat images, which the computer then wraps back around the model.

Texturing

Animation:
i-nstein is animated by posing him in different positions over time. The animator sets ‘keys’ on the time-line, and the computer fills in the spaces between the key frames. Once the animation is complete, a low quality ‘playblast’ movie is created so that the director can sign off the animation before the character is lit and rendered.

Animation

Lighting:
Once the animation of a shot is complete, the model is replaced with a higher resolution ‘mesh.’ This Mesh has a much higher ‘poly-count’ than the low quality ‘proxy mesh’ used for animation. The more polygons the software has to display, the slower the feedback, so this is why make the substitution at this stage. Once the lighter is happy with the general mood and look of this view a render can be made.

6

Rendering:
A ‘render’ is a high quality, full resolution image of a particular frame of the animation. It brings all of the underlying elements together and outputs them as one single file. It can take a very long time for the computer to calculate. It took 60 seconds per frame to render i-nstein. There are 25 frames per second. To render 1 second of animation took 25 minutes. We produced about 9 minutes of animation, which took 225 hours to render. That’s almost 9 and a half days of rendering!

7

i-nstein is starring in Science Museum Live: The Energy Show at the Science Museum until 31 August. Read more information and book tickets here. 

Win tickets to The Energy Show plus a stack of DK science books for kids

To celebrate the launch of our summer family show for the summer, The Energy Show, we’ve teamed up with DK Books. You have the chance to win 4 tickets to the show and a stack of DK science books for kids – perfect to keep the family entertained throughout the holidays. See live experiments and explosions at the Science Museum and then learn more at home with this fantastic selection of books guaranteed to inspire curious minds. To enter, simply retweet our tweet on Twitter today before 16.30.

DK Science Books

Here’s a sneak peek of the show!

A winner will be chosen at random and we’ll get in touch via Twitter. Good luck!

The Energy Show is running at the Science Museum until 31 August 2013. More information and tickets here.

Find out more about DK’s science books for children on the DK website.