MECHANICAL DESIGN AND FABRICATION OF A LIFT SYSTEM

A Thesis

Presented to the

Faculty of

San Diego State University

In Partial Fulfillment

of the Requirements for the Degree

Master of Fine Arts in Theatre Arts

with a Concentration in

Design and Technical Theatre

by

Justin R. Kidwell

Fall 2012
 SAN DIEGO STATE UNIVERSITY

The Undersigned Faculty Committee Approves the

Thesis of Justin R. Kidwell:

Mechanical Design and Fabrication of a Lift System

Loren Schreiber, C ·
School of Theatre, Television & m

/- / Peter Cirino
1 of Theatre, Televis ·

fApprov�l Date
 3

Copyright © 2012

by

Justin R. Kidwell

All Rights Reserved

 4

DEDICATION

I dedicate this work to my mentor, Professor Loren Schreiber in recognition of his

inspirational guidance and instruction throughout my graduate school career. It was he who

gave me the initial impetus and opportunity to take part in such a tremendous endeavor.

Loren’s attentive counseling has fostered in me a deep appreciation and affinity for the

unique brand of technology and workmanship that he passes down. I will always be grateful

for his invariable support and concern which has enabled me to attain goals I never thought

possible.
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ABSTRACT OF THE THESIS

Mechanical Design and Fabrication of a Lift System

by
Justin R. Kidwell
Master of Fine Arts in Theatre Arts with a Concentration in Design
and Technical Theatre
San Diego State University, 2012

This project based thesis is a thorough accounting from instigation through

completion of the mechanical design and manufacturing of a motor powered, chain driven,
cantilevered lift system intended for future use by the San Diego State University School of
Theatre, Television, and Film.
 6

TABLE OF CONTENTS

PAGE

ABSTRACT...............................................................................................................................v

LIST OF TABLES .................................................................................................................. vii

LIST OF FIGURES ............................................................................................................... viii

ACKNOWLEDGEMENTS .......................................................................................................x

CHAPTER

1 INTRODUCTION .........................................................................................................1

2 CONCEPTION ..............................................................................................................4

3 DESIGN .........................................................................................................................8

System Profile ........................................................................................................11

Power .....................................................................................................................11

Transmission ..........................................................................................................16

Guidance ................................................................................................................18

Variable Height ......................................................................................................23

Safety Cage ............................................................................................................25

Additional Systems ................................................................................................29

4 FABRICATION...........................................................................................................32

APPENDICES

A MECHANICAL DESIGN DRAWINGS.....................................................................36

B PROJECT PHOTOGRAPHS ......................................................................................44

 vii

LIST OF TABLES

PAGE

Table 1. Power Transmission Chart.........................................................................................15

Table 2. Total Beam Deflection Spreadsheet ..........................................................................21

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LIST OF FIGURES

PAGE

Figure 1. Point loaded beam deflection diagram. ....................................................................20

Figure 2. Realistic load situations. ...........................................................................................28

Figure 3. Possible motion profile.............................................................................................31

Figure 4. Designs water jet cut from steel plates. ....................................................................37

Figure 5. Framing – side view. ................................................................................................38

Figure 6. Framing – front view. ...............................................................................................39

Figure 7. Framing – horizontal cross section...........................................................................40

Figure 8. Complete assembly – side view. ..............................................................................41

Figure 9. Complete assembly – front view. .............................................................................42

Figure 10. Complete assembly – horizontal cross sections. ....................................................43

Figure 11. Partial completion of welding on side walls...........................................................45

Figure 12. Dominic displaying how the moving platform frame will sit once
completed. ....................................................................................................................45

Figure 13. Steel plates cut by water jet. ...................................................................................46

Figure 14. Schreiber demonstrating proper welding of the bearings. ......................................46

Figure 15. Framing and bracing of mast section......................................................................47

Figure 16. Use of jigs during gusset welding. .........................................................................47

Figure 17. Rolling carriage in Hevi-rail tracks. .......................................................................48

Figure 18. Traveling pneumatic brake mounting.....................................................................48

Figure 19. Electromagnetic base drill press. ............................................................................49

Figure 20. June and Dom drilling Hevi-rail.............................................................................49

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Figure 21. Flange mounted drive shaft bearings......................................................................49

Figure 22. Preparing and painting frames. ...............................................................................50

Figure 23. Glued and T-nailed panels......................................................................................50

Figure 24. Full frame assembly. ..............................................................................................50

Figure 25. Welding limit switch barriers. ................................................................................51

Figure 26. Limit switch assembly. ...........................................................................................51

Figure 27. Motor and drive box installation. ...........................................................................52

Figure 28. Waiting for load-in at the Civic Theatre.................................................................52

Figure 29. The A-Team (Justin Kidwell, June Higginbotham & Dominic Abbenante). .........53
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ACKNOWLEDGEMENTS

I would like to acknowledge the remarkable efforts of all those who helped me with

this project along the way. The work was never easy and the hours were always long but my

friends helped me none the less. You all have my sincerest gratitude. In particular I would

like to give the biggest thanks to Dominic Abbenante and June Higginbotham. Without their

tireless support and dedication, this venture would simply not have been possible. I consider

myself blessed to have the love and attentions of two such remarkable friends. Additionally, I

must express appreciation to Justin Salbato who guided my learning throughout this process

and kept me from drowning in a sea of complex math.

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CHAPTER 1

INTRODUCTION

What is the difference between a standard elevator and a 5 horsepower, chain driven,

cantilevered lift system with programmable operations and additional pneumatic safety? In a

general way, they are both conveyance systems capable of vertical transportation of people or

goods between levels of a building or structure. They are also similar in that both require a

massive amount of research and development to operate successfully and without harm to

those who ride inside them. In a more precise way however, they differ greatly in that I have

never designed and fabricated an elevator yet have successfully done just that with a lift

system.

In the world of theatre, creative ideas run rampant. Even in the technical side of this

artistic field, imagination can’t be kept from spilling over into everyday tasks. While this

usually makes for an incredibly enjoyable workplace, there can also be an unfortunate lack of

accountability where safety is concerned. Many theatre technicians are gifted with inspired

minds for creation, but as an arts education is more often than not devoid of any formalized

training in engineering, severe danger can be much closer than expected. Given the current

trend of engineering and technology in theatre, productions are only going to get bigger and

more complex. The demand for technicians with working knowledge in more advanced

arenas is rising exponentially.

Pushing one’s intellectual bounds is always a great opportunity for learning. It is

when this foray into the unknown involves the ability to harm one’s self and others, however,
 2

that caution is required and steps taken to prevent accidents from occurring. I am reminded of

the old adage “A little knowledge is a dangerous thing”. One must be very honest with one’s

self to know one’s limitations and take head not to overstep one’s own ability without first

ensuring a safe work space. It is when you reach the extent of your own experiences and by

pushing further that scholarship can be attained. These are rules that I clung to tightly as I

delved into regions of design and fabrication previously unknown to me.

Why a lift system? What makes this project so significant that it merits a volume to

document it? To answer this question context is key. It may not be so remarkable to see such

a project originate from say, a mechanical engineering or even automotive department where

such intricate examples of work may be more commonplace but in the theatre, projects of

this caliber are anything but common. Multifaceted systems created specifically for flexible

use in a theatrical environment are produce by a very small list of specialized companies,

making such systems very expensive and quite rare outside of major city theatres. By

comparison, the notion that such a system could be designed and manufactured at a fraction

of the cost, and by students no less, out of a state college arts department, would seem

farfetched.

This text documents the monumental effort made by a small team of students who

wanted to challenge their capabilities. Assisted by a handful of advisors who desired little

more than to help us succeed, my partners and I successfully brought to life an automated

system far exceeding our combined capabilities. This was achieved by immersing ourselves

completely in the topics necessary to become proficient in all aspects of the system. Learning

at an accelerated rate was required by all to ensure that the maiden voyage of the lift was

accomplished before a scheduled deadline and nothing less than excellence would be
 3

acceptable. Directing us every step of the way was a stern standard for safety and a ticking

clock. It is this trial by fire, from conception through completion, which is described in the

chapters that follow.

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CHAPTER 2

CONCEPTION

No matter how grand the scale, sophisticated the design or intricate the planning, all

great undertakings are born from diminutive origins--a core concept or ideal from which all

subsequent ideas and actions radiate. Whether it is a solution to a commonly encountered

problem, an easier way to complete a task or even a challenge to what is considered possible

by current technology, a concept is born simple. Ideas aspire to be great. They are useless on

their own but given the right environment and support, ideas can help foster immense

possibilities.

Once a concept is founded the possibilities of how to proceed abound. From a stream

of ideas and theories, a natural progression of events and list of necessities will become

apparent to the inventor. These will become steps along the way that must be completed

before the final goal may be attained. Think of the great minds of the past, sitting on the

earth, gazing at the heavens, longing to touch the stars. Astrophysics and space shuttles

where certainly not created overnight but guided by the list of necessities along the way,

scientists put these great contributions into existence and thus made the distance separating

man from his skyward endeavor that much shorter. Of course few goals are as lofty as space

travel but the central idea of invention, from concept through completion is no different and

the elation felt after a project is complete is no less great.

While no astronauts were created in the undertaking of this project, I pushed many

boundaries and explored new areas of understanding. In keeping with the previously
 5

mentioned structure of invention, this project’s concept was created with only one goal in

mind. The project, which even in its infancy was referred to simply as ”the lift”, was called to

life in response to a single question from my mentor Loren Schreiber (Faculty Professor and

Director of Technology at San Diego State University’s Department of Theatre), “Why don’t

we make our own [lift system] and rent it out?” Little did I know at the time how large an

impact such a simple proposition would have on my graduate school career.

For better understanding of the project’s creation, it is necessary to pause and give

context to the Department of Theatre at San Diego State University and their use of

technology in a theatre environment. While the department boasts a large scenic construction

shop, with access to an impressive amount of tools and advanced equipment, it is what is

hiding in the basement that truly defines its level of technical sophistication. Managed by

Loren Schreiber, The San Diego Theatre Arts Research Laboratory, or S.T.A.R. Lab, is

housed in the lower level of the Don Powell Theatre Building. It is here that technical theatre

magic happens. The lab is a facility dedicated to the creation and refinement of machinery

and effects, specialized for use in not only the school’s theatrical productions, but

professional theatres across the country. Often aligned under the single category of

“automation,” technology used by students in the lab includes, but is certainly not limited to,

the areas of pneumatics, hydraulics, programmable logic controllers, radio controlled

electronics, and motorized winch systems. Add in the access to fully operational wood and

metalworking shops, also housed in the theatre, and students can produce almost anything the

mind can envision. While, when left in disarray, the lab can resemble a mad scientist’s

workshop, this is a space where amazing inventions in theatre technology come into being; a

place where students are limited only by their own imaginations and desire to learn.
 6

It is in this breeding ground for creativity that I spent the majority of my time as a

graduate student. Whether working as an assistant building an effect system for a show or

going to class, the STAR Lab quickly became my home away from home. Given the nature

of the lab, it should be no surprise that this is where the idea of the lift project first came

about. It was during an informal conversation between Schreiber and me that he revealed the

San Diego Opera was in need of a lift system for their production of Faust in the coming

season and they were inquiring around town for possible rental of such a system. This is

when Schreiber posed what seemed at that time, to be a simple proposition, “Why don’t we

make our own [lift system] and rent it out?” What followed was a series of back and forth

discussion of hypothetical scenarios and systems, which could be manufactured in the

Department’s metal shop, rented to the San Diego Opera and then returned for the

Department’s own use.

It was at some point during this free exchange of ideas that the project began to

become more concrete. The possibilities seemed limitless and our conversations were

exciting. Over the course of the following weeks, meetings between Schreiber and me

became more detailed, focusing on specific components and operations of the theoretical lift

system. Ideas were proposed, dismissed, tweaked and then dismissed again. This pattern

continued until the day that Schreiber approached me in theatre’s metal working area with

word that he had corresponded with the Opera’s Technical Director John David Peters

regarding the lift. Not only was Peters interested in our lift idea, he had already approved

payment of half of the agreed upon rental fee up front to get our proposed contraption out of

the concept phase and into design and fabrication. This was the day that my lift ceased to be
 7

an idea and became a project. The following months would prove to be very productive, yet

challenging, times.
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CHAPTER 3

DESIGN

While concepts typically remain fixed, the tactics employed in to fulfill them are

often in flux early in the life of a project. These initial steps in the design process are exciting

but can also become frustrating as large amounts of work and planning can go into a design

scheme, only to have it shot down because any number of logistical or technical conflicts

makes it impossible. This is a prime example of how artistic and mechanical designs differ.

In artistic design, your work can be allowed to evolve and become whatever you wish to

allow. In the mechanical realm however, constraints are plentiful and your design may be

forced to fit within a very precise set of parameters to be even considered feasible. It is vital

to outline your design process in broad strokes with requirements in mind and not make any

assumptions on what will or will not work. Instead of seeing these constraints as a limitation

to one’s artistic vision, one should look to them as guidelines--markers that will push one’s

work in the appropriate direction when one may not know where to go next.

The establishment of the parameters for my system was the first step in the design

process. During this phase I generated as many questions as I could pertaining to the lift’s

necessary attributes. How and where will it be used specifically? How large does it need to

be? How much weight must it carry? How fast is it required to move? Are all of these

specifications possible to combine and be fulfilled safely? Basic questions such as these

shaped my initial understanding of the system’s require capabilities. Only after having the

answers to these queries would I then be free to let my imagination wander and begin putting
 9

possible components together in my mind. Once I determined the general outline of how the

lift must perform, it was time to move on to the far more specific challenges of how to meet

and/or exceed all the requirements.

Armed with a barrage of questions that would shape the future of my mechanical

design, I was now ready to have a meeting with the technical director of the San Diego

Opera, John David Peters, the man who would be renting our lift, once completed. Schreiber

had made an appointment with Peters so that we would be able to talk specifics with him as

well as tour the San Diego Civic Theatre where the lift was to be installed. This allowed us to

take much needed measurements of the theatre as well as discuss with Peters the specific

uses of the system in their upcoming production of Faust. We did not have much time with

Peters since he was in the midst of overseeing a union crew loading out a large scale set, but

he took the time to answer our questions. Peters’ responses along with the help of a camera,

tape measure and a finely calibrated laser distance meter, gave me much of the information I

would need for planning the lift. All in all, it was a very successful first meeting.

During our meeting, Peters explained to us that the lift would function in the opera as

a gateway to hell. One of the principal characters in the tragedy is a devil named

Mephistopheles who appears multiple times to the title character, Faust. For the purposes of

this production, the set design called for Mephistopheles to enter the stage from the basement

through a trap door in the floor. The missing panel in the floor would be concealed by a set

piece designed to look like a well. Mephistopheles would rise from below in a cloud of

sulphur, as if arriving from Hell. Peters’ insisted that the system must be absolutely safe for

the actors and technicians working around it. And it needed to be very quite so it would not

be heard by the audience or disrupt the orchestra musicians who would be in very close
 10

proximity. And finally, it needed to be consistent. It simply had to work every time without

fail or the whole show could come to a screeching halt. Failure is not an acceptable scenario

in the professional theatre business.

With Peters’ parameters in mind, the measurements that I paid the closest attention to,

and made sure to triple check, were those pertaining to the stage trap door and the basement

area under and around it. Using a laser distance meter I verified measurements down to one

thirty-second of an inch from multiple spots on the floor of the basement up to the structural

beams of the stage and steel bracing of the trap door sections. Additionally, since I knew it

would be difficult to return for measurements again in the future, I used a tape measure to

plot nearby obstructions and important elements of the space. These included walkways,

structural pillars, air ducting, and access to electrical panels. Finally, I documented our tour

of the space with a small handheld video camera, taking note of the dimensions of entryways

and elevators so that I could decide how to get such a large contraption into the basement.

The video also served well as a review in cases where any of the notes that I took during my

time there were unclear when I returned to them for vital information.

Having collected multiple pages of notes and measurements pertaining to the venue, I

began drafting the space into AutoCAD. Entering all of these essential figures into one base

drawing file would provide me with a scaled, visual representation of the theatre that could

be referenced in the future and would be much easier to decipher than pages of seemingly

random numbers. I took the time to generate separate section views from the sides and front

as well as a plan view from above which included all nearby obstructions. Having multiple

views and sections of the area the lift would occupy allowed me to project a three

dimensional view of the theatre’s basement and the lift’s spatial constraints. The drawing of
 11

the Civic Theatre’s trap room would serve as the foundation for all the system’s design

drawings to follow.

SYSTEM PROFILE
Having completed the drawing, which outlined the dimensions within which the

system must fit, it was time to decide what type of lift system should be designed. With an

array of compelling possibilities from which to choose, it was far more than a question of

what the lift should look like. My head was again swarming with questions demanding

answers before I could progress further in the design. What type of power source should be

used? How will the power be transmitted? What will hold the carriage solidly but also allow

for its free translation? More and more questions pushed forward, begging to shape the

framework of the project’s future. Unfortunately, none had clear cut, right or wrong answers.

Every option required more than a cursory glance. Time and research was poured into each

choice in order to weigh their relative, overall compatibility with our requirements. Price,

lead time, complexity as well as flexibility of use would all be defining factors in judging

whether or not I went in one direction or another. The following sections in this chapter

provide a brief glance into the process I followed for selecting each major component of the

lift system and why I made that choice over other viable alternatives.

POWER
Wanting to get the broad aspects of the system ironed out before moving to finer

details, it only made sense for me to begin with choosing the power source of the lift. What

would be used to propel the vertical translation of the lift’s carriage? Like the other areas of

the design, this question revealed an even larger number of unknowns. Additional parameters

would need to be determined before an assessment of the options could be made: how much
 12

weight should the lift be able to carry; how fast should it move? All decision made at this

point would affect many future options down the line, so it was critical that the repercussions

of any decisions be considered and examined before moving further. While some of the

significant questions could be answered by simply looking at the drawing of the empty

theatre space, others could only be answered by taking into account many different factors.

After much contemplation, three characteristics of the system stood out to me as most

affecting the choice of power supply: force needed, speed required and distance to be

traveled. I arranged a meeting of my team and we set upon making the necessary decisions.

After much back and forth discussion of the options we thought best, we established rules for

the lift’s capabilities.

The jury was in. The lift would now be designed to elevate and lower a load of 1,000

pounds over a distance of approximately 14 feet at speeds up to a maximum of 2 feet per

second. Since the lift would need a relatively small footprint in order to fit within the spatial

constraints of the installation and would carry only actors, the somewhat low weight capacity

was deemed acceptable and within the scope of use. In the interest of safety however, the lift,

while having a stated load limit of 1,000 pounds, would actually be capable of safely

sustaining 2,000 pounds of weight in the event it was accidently overloaded while at stage

level. I considered this an essential factor due to the possibility that the lift, while at stage

level, could be easily mistaken for an ordinary section of flooring and treated as such. This

would not be a problem for a few cast members walking across the weaker structure but

terrifying for a technician in a 1,500 pound, drivable Genie Lift. With these specifications

determined, I could now tackle the issue of power selection.

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While a number of power options and set-ups were put on the table, the final decision

was among three competitors. The first of the trio to be removed from contention was

hydraulic pressure. While hydraulics are capable of immense force, far exceeding the amount

we required, there were some large drawbacks which removed it from the list. Among the

major downsides was the large number of accessory parts and components needed simply to

run the motor. A reservoir, hoses, filter, control valves--not to mention the indispensable and

often very loud fluid pump. Also there was the fact that hydraulic systems can become

extremely messy, even when well maintained. I decided that this option was too large, messy,

and loud for our purpose. Next to be knocked off the list of contenders was pneumatics. An

air pressure system offered many of the same positive points as the hydraulic fluid system

but had almost none of its drawbacks. Pneumatic systems can run clean, quiet and compact.

It almost appeared as though the winner had been found. Unfortunately though, air driven

pistons are not readily accessible at the scale that would be needed for our length of travel.

Even if such large scale pistons could be found and implemented, their estimated cost was

staggering. Ideas of using a series of pulleys to extend the run of shorter pneumatic cylinders

was briefly considered but soon abandoned in favor of the final option, which ultimately

became the power behind the lift system. Pneumatics were such a great option, though, that a

use was found for them elsewhere in the system as a secondary brake system.

So our winner was found. Ultimately, the responsibility for powering the lift was

given to an alternating current, electrical, gear motor. While there would still be much

calculating to do in order to find the appropriate strength and specifications of the exact

motor for us, the choice was declared. Availability, flexibility of use, size and price were all

points that made this the best choice. Motors in the projected horsepower range we needed
 14

were not only smaller and less complex than the other systems, but there were almost

limitless options available from numerous suppliers, with lead times as short as a couple of

weeks. Better still, in addition to being able to choose details as specific as what color I

wanted the body to be, the majority of my options were hundreds and some even thousands

of dollars less than what might have been spent on the alternatives.

In order to outfit the lift with the proper strength motor, calculations would have to be

made to ensure that the amount of power available would match or exceed the amount that

would be needed. With the help of Justin Salbato, an adjunct professor for the theatre

department, we developed a power transmission flow chart. This chart allowed me to take

any motor’s specific output capabilities and work backward mathematically through the

system’s parts to arrive at the actual amount of power attained. It could also be used to

determine the exact amount of power needed to meet the system’s minimum requirements for

speed, power and torque of additional components. Due to inefficiencies within the system,

the amount of power at the beginning is seldom the same at the end of the line. This is why

the power transmission charts were worked multiple times in both directions to ascertain the

correct requirements of the motor.

After running the power transmission charts (Table 1) a few times, I found the system

required a 5 horsepower motor in the desired gear reduction range. Although this was a huge

step in the right direction, we were still not ready to purchase the motor. Because there are so

many variable options with motors of this type, I thought it best to appoint someone else on

the team to be in charge of motor selection from this point on. For this task, I enlisted the aid

of teammate and longtime friend, Dominic Abbenante. Having Dom head up this area would

ensure that he was able to concentrate fully on this vital component of the system and
 15

Table 1. Power Transmission Chart

Lift Power - Needed

Motor Gear Box Load
T= 227.3 in-lbs T= 2,000 in-lb F= 1000 lbs
w= 120 rad/s w= 12 rad/s V= 2 ft/s
n= 1,400 RPM n= 114 RPM P= 3.64 HP
P= 24,000 in-
P= 4 HP P= 3.64 HP lb/s
P= 22,080 in- P= 24,000 in-
lb/s lb/s

eff. = .92 r = 2 in.

ratio = 10:1

Lift Power - Available

Motor Gear Box Chain Load
T= 179.2 in-lbs T= 1,649 in-lbs T= 1,649 in-lbs F= 843 lbs
w= 184.2 rad/s w= 18.4 rad/s w= 18.4 rad/s V= 3 ft/s
n= 1750 RPM n= 175 RPM n= 175 RPM P= 4.46 HP
P= 5 HP P= 4.6 HP P= 4.46 HP P= 30,360 in-lbs/s
P= 33,000 in-lbs/s P= 30,360 in-lbs/s P= 30,360 in-lbs/s

eff.= .92 r = 2 in.

ratio = 10:1
eff.= 1
ratio = 1:1

Lift Power - Available

Motor Gear Box Chain Load
T= 179.2 in-lbs T= 2473 in-lbs T= 2473 in-lbs F= 1234 lbs
w= 184.2 rad/s w= 12.3 rad/s w= 12.3 rad/s V= 2.05 ft/s
n= 1750 RPM n= 117 RPM n= 117 RPM P= 4.46 HP
P= 5 HP P= 4.6 HP P= 4.46 HP P= 30,360 in-lbs/s
P= 33,000 in-lbs/s P= 30,360 in-lbs/s P= 30,360 in-lbs/s

eff.= .92 r = 2 in.

ratio = 15:1
eff.= 1
ratio = 1:1
 16

become my trusted advisor on how the motor would fit in with other parts of the lift. With

the system’s power in his capable hands, I was now free to continue to design the remainder

of the system. He and I met on a weekly basis from this point on so that we could discuss

updates to my design and make changes to his selection criteria if any were necessary. This

process continued until we agreed upon enough of the components and Dominic could be

certain that his selections were correct. When a single misplaced numeral or letter in a

lengthy order code could mean twenty-five hundred dollars being misspent, making a hasty

decision was not in anyone’s favor. After all was said and done, Dominic came through with

the perfect motor selection, thus ensuring that my mechanical beast would have the power it

was going to need in order to operate at peak performance.

TRANSMISSION
In much the same way that an electrical transformer can adjust the relationship

between voltage and current, mechanical power can also be variable. With power being

transmitted directly from a motor source through a solid structure like a driveshaft, torque,

speed, and force can all be regulated using gears of differing ratios. A simple change in size

of the components will alter how much and in what way the raw motor power is passed on to

the rest of the system. In addition to transmission of power, it is possible with the proper

placement of gears to translate the rotary motion of the motor into linear motion--something

that had to be accomplished in order for the lift’s carriage to be able to raise and lower on a

vertical plane.

Now that I knew what power source would be driving the lift up and down, it became

a matter of assembling possible pieces in my mind in order to find how exactly I wanted to

physically make it happen. Thoughts turned into quick sketches on scrap paper. Sketches
 17

were elaborated upon and turned into viable design options. Designs were weighed against

each other. Not only did I want the lift to be functional but I also wanted it to be aesthetically

pleasing. I did not settle on the first design that would simply make the system function. I

strove to have the artistic and mechanical designs for the structure to become one and the

same, a goal that certainly helped shape the final appearance of the support frame of the lift.

With multiple outlines for how the system could operate, I chose one that I believed

would not only be innovative in its support structure but also be the most physically rigid of

the choices. Many lift systems have a problem in which the lift platform vacillates

noticeably. This leads to a very unsteady feeling from the rider, regardless of whether the

carriage is secure or not. While this can sometimes be a symptom of unbalanced loads in a

multiple mast design, it could also be anything ranging from a structural frame which is too

weak, to a lack of proper tension in steel lifting cables. With these issues in mind, I discarded

the idea of a four-post support system in favor of a more compact and, if done correctly,

more solid feeling cantilevered carriage design. Reducing the number of lift points in the

system would not only reduce the amount of hardware needed but also remove unnecessary

complexity. Fewer parts mean fewer problems.

To continue with a cantilevered platform design, I would need to find a good way of

transferring the rotary motion of the motor into the vertical travel of the carriage. This meant

that with the motor mounted at the base of the mast, it would have to not only lift the carriage

up a guiding track of some sort but also assist in the platform’s descent. A winch system with

a milled drum spooled with steel aircraft cable was a possibility. The rotation of the drum

would translate into linear motion along the length of the cable and would be strong enough

for the job. I avoided the use of a cable drive system, however, due to the fact that it would
 18

call for the fabrication of many expensive custom parts, and because there is an inherent

amount of stretch in cable when loaded with lots of weight. I wanted something a bit more

rigid, and parts that would be more readily accessible for easy purchase. This would not only

expedite ordering for fabrication, but also make any unforeseen future repairs all the more

easy. After reviewing many options, roller chain was my final decision for power

transmission to the vertical plane.

The organization of the drive system started to fall in place. Solid, keyed shafts would

be mounted to both shafts of a double-output shaft motor using specialized, load-rated

couplers and received into flexible flange bearings on the outside walls of the masts. Drive

sprockets of the appropriate diameter and tooth size to receive the roller chain would be fitted

near the outside end of the shafts. At the top of the lift mast, above each drive sprocket would

be an idler sprocket. Correctly sized roller chain would loop and be fastened around each

drive sprocket and idler pair, creating a large continuous circle on both sides of the system.

As the motor spins, the chain loops would be driven up or down accordingly. Having two

drive chains would enable the system to stay balanced when loaded, as well as create a safe

redundancy in the unlikely case of a catastrophic hardware failure. Now that vertical drive

was more or less figured out, it came down to figuring out how to have the carriage safely

travel up to the top of the mast and back down again.

GUIDANCE
After the vertical drive issues had been worked out, what was needed next was a

strong guide rail system that could also resist the force created by the cantilevered platform.

The live and dead loads in this area would act in a downward direction on the carriage which

would then act in a horizontal direction on the guide rails. Not only did I want the guide rails
 19

to be able to withstand the moments of force created by the carriage but I also wished them to

aid in the translating of the lift. After quite a bit of research and reviewing other lift

applications, I chose a similar vein to some commercial elevator systems. A product called

Hevi-rail would be perfect for my vertical mast members.

Basically a very thick, wide-mouthed C-channel, Hevi-rail comes ready to receive

heavy duty roller bearings to travel its inside dimensions. Again, the pieces to the puzzle

started to fall into place. It was possible to mount four of these roller bearings to a carriage

which could be fitted between two vertical masts of Hevi-rail with their open channels facing

each other. A platform could then be attached to this carriage, which is able to roll up and

down the length of the Hevi-rail mast columns. Multiple points of contact would be desirable

in order to transfer the weight of the platform to the mast structure without overloading the

masts or roller bearings.

With a variety of sizing options available for the Hevi-rail it was time to do some

calculations in order to determine proper member selection (Figure 1). Given that I also

wanted the Hevi-rail to act as the major support beams for the rear mast section of the lift, a

Hevi-rail with a thick cross-section would no doubt be necessary. After contacting the

company and receiving a detail sheet on their products, I was able to put the proposed

railings through a variety of theoretical load tests. This was done first by drawing basic beam

deflection diagrams using the properties of each specific member and observing how they

would respond under a worst-case load scenario. Once I found a member that could

withstand all the forces that the system would exert on it, I created a beam deflection

spreadsheet (Table 2), which would demonstrate how it responded to the applied weight

along its entire length while the carriage was traveling. Thankfully, because these Hevi-rail
 20

Figure 1. Point loaded beam deflection diagram.

Table 2. Total Beam Deflection Spreadsheet
Length
I Value E Value Force Beam Fr Spacing
6.57 29000000 600 168 24

d1 d2 D Aa D Ab D Total A D Ba D Bb D Total B Q
0 24 0.0000 0.0000 0.0000 0.0000 -0.0746 -0.0746 -0.0031
6 30 0.0059 -0.0237 -0.0178 0.0237 -0.1071 -0.0834 -0.0027
12 36 0.0219 -0.0527 -0.0308 0.0527 -0.1411 -0.0884 -0.0024
18 42 0.0455 -0.0852 -0.0396 0.0852 -0.1750 -0.0898 -0.0021
24 48 0.0746 -0.1192 -0.0446 0.1192 -0.2073 -0.0881 -0.0018
30 54 0.1071 -0.1531 -0.0460 0.1531 -0.2368 -0.0837 -0.0016
36 60 0.1411 -0.1854 -0.0443 0.1854 -0.2624 -0.0770 -0.0014
42 66 0.1750 -0.2149 -0.0399 0.2149 -0.2832 -0.0683 -0.0012
48 72 0.2073 -0.2405 -0.0332 0.2405 -0.2985 -0.0580 -0.0010
54 78 0.2368 -0.2613 -0.0245 0.2613 -0.3079 -0.0466 -0.0009
60 84 0.2624 -0.2766 -0.0143 0.2766 -0.3111 -0.0345 -0.0008
66 90 0.2832 -0.2860 -0.0029 0.2860 -0.3079 -0.0219 -0.0008
72 96 0.2985 -0.2892 0.0093 0.2892 -0.2985 -0.0093 -0.0008
78 102 0.3079 -0.2860 0.0219 0.2860 -0.2832 0.0029 -0.0008
84 108 0.3111 -0.2766 0.0345 0.2766 -0.2624 0.0143 -0.0008
90 114 0.3079 -0.2613 0.0466 0.2613 -0.2368 0.0245 -0.0009
96 120 0.2985 -0.2405 0.0580 0.2405 -0.2073 0.0332 -0.0010
102 126 0.2832 -0.2149 0.0683 0.2149 -0.1750 0.0399 -0.0012
108 132 0.2624 -0.1854 0.0770 0.1854 -0.1411 0.0443 -0.0014
114 138 0.2368 -0.1531 0.0837 0.1531 -0.1071 0.0460 -0.0016
(table continues)

21
Table 2 (continued)
d1 d2 D Aa D Ab D Total A D Ba D Bb D Total B Q
120 144 0.2073 -0.1192 0.0881 0.1192 -0.0746 0.0446 -0.0018
126 150 0.1750 -0.0852 0.0898 0.0852 -0.0455 0.0396 -0.0021
132 156 0.1411 -0.0527 0.0884 0.0527 -0.0219 0.0308 -0.0024
138 162 0.1071 -0.0237 0.0834 0.0237 -0.0059 0.0178 -0.0027
144 168 0.0746 0.0000 0.0746 0.0000 0.0000 0.0000 -0.0031

22
 23

members are most typically used in industrial settings, finding beams strong enough was no

problem.

VARIABLE HEIGHT
The first opportunity for a creative solution in the design came shortly after the

decision to make the system a cantilevered platform with dual lift points on a single upright

mast. How tall should it be? The simple response is to make it just large enough to fit into the

Civic Theatre’s trap room and also be able to get to the full height of 16 feet off the basement

floor. However, the answer was not so simple. As Schreiber suggested, we wanted the lift to

be usable in our own theatre as well. Great opportunities would be afforded to the designers

and technicians at the school if they had free access to a lift system which could be relocated

at will. Add to this the financial implications of being able to rent the lift to other production

companies for future profit, it would serve us well to make the height variable. This meant

that the mast could be no taller than 13’-9” in order to fit into our own theatre’s trap room.

How could I make up for the difference in almost 3 feet of travel distance?

After brainstorming with my team, we came up with a variety of ideas for ways to

change the lift’s maximum distance of travel. Many of these possibilities were discarded very

early in the discussion due to their over-complicated nature, or because they would increase

the level of danger for the actor riding on the platform. Among those ideas thrown out were

methods for disconnecting sections of mast, which could be lengthened or shortened by

swapping out different lengths of Hevi-rail. All were in agreement that this would weaken

the overall structure as well as introduce unnecessary complications into the system. The goal

was to keep the system as safe and simple as possible. Also abandoned was the thought of

having a short system to fit into the smaller spaces but allow the carriage to extend past the
 24

top of the mast by making the platform on the carriage extra tall. Essentially this would be

the equivalent of stacking boxes on the platform in order to stand on them and reach greater

heights. While this satisfied the goal of being simple, it certainly would not be safe. Such a

scheme would put the rider of the lift in an exposed position outside and above the safety

cage that was to be installed around the system.

Finally we decided that a pedestal of sorts for the lift to rest on would be the best

option for extending the height that the lift could reach. Basically the lift would be tailored to

fit the height of our own theatre’s trap room and a secondary, custom base would be designed

to add the appropriate length to fit in the Civic Theatre’s space. After this, all that would be

needed is a small set of steps to let the actor get from the ground level up to the lift. We all

agreed that this was a great plan of action, since it did not change the way the system worked,

was very simple, and made no unfortunate changes to the safety of the rider. The problem

was that the base must be strong enough to support the entire weight of the lift, and we would

need a way of raising the system in order to place it atop the new foundation.

Because the base platform could be considered a component completely separate

from the lift itself and I did not wish to have my attention diverted, I again turned to a trusted

teammate for help. June Higginbotham, an undergraduate technical direction student in the

department had already been assisting me on various aspects of the design. I saw this new

element of the lift as a perfect chance to let her work as a leader in her own area of the

project. June readily accepted responsibility not only for the design of the new pedestal base,

but also took charge of doing all the calculations necessary to ensure that the steel she chose

would be strong enough to support the entire structure. Allowing June to head her own

section of the project enabled her to take the things she was learning as an assistant in other
 25

areas and put them into practice as a mechanical designer in her own right. While she worked

on the foundation for the lift, we met periodically to ensure that the two pieces would join

properly, and that when assembled they appeared to be from the same aesthetic.

SAFETY CAGE
Now that there was a basic design for all the moving pieces and parts it became

another job entirely to find a clever and elegant way of eliminating all the potential dangers.

All the components are now a sophisticated system where many parts are sharing a small

space and acting in a variety of different and dynamic ways. The motor and its drive shafts

are spinning at the rear of the base. Rotating drive and idler sprockets are fitting snuggly into

each link of the roller chain, which moves along each side of the mast. Multiple large

bearings roll the entire inside length of the Hevi-rail tracks and the carriage with its platform

traverses from floor to ceiling. Add a healthy dose of electric wires and power cables to this

highly choreographed system and the opportunity for actors and technicians to become

entangled tragically is tremendous.

The purpose of the safety cage was simple. I wanted a barricade of some sort to

separate persons near the lift from the potential dangers of interacting with the moving parts

of the system. This was an essential part of the design, because many parts of the completed

machine could quickly and easily mutilate a person’s body parts if they were to interact with

the machine improperly. While the best solution would be to wall everything off completely,

this was not possible due to spatial constraints and interference caused by moving

components. Protection was needed in any place that was deemed potentially dangerous, as

well as areas where it would be more likely for accidents to take place.
 26

In addition to blocking areas which could potentially cause harm, we agreed that a cordon

should be created in the vicinity of the mechanical structure. Entry would be given only to

those who needed access and who were informed of the machine’s potential dangers.

Because the majority of the actual working components of the lift system were

located in the rear of the structure, nearly creating a wall themselves, the next step in the

design was to create side and front walls. Having four walls to create a closed system would

complement the safety factor in a number of ways: it would create a boundary which could

not be crossed by anyone near the lift. This would eliminate the risk of a person or object

being hit or crushed by the moving platform. The walls would also produce an internal shaft

for the platform. A shaft would give the rider a similar experience to being in an elevator

and, more importantly, protect them from a possible fall. Having panels cover the large open

surfaces created by the cross-bracing would give additional strength to the framing by

creating shear walls, as well as give the structure a more finished appearance once painted.

Some areas required gaps between panels because of moving components, but these

were kept to a maximum of half an inch to prevent fingers or small objects from reaching

through them. Possible pinch points were avoided at all costs, sometimes requiring portions

of the design to be moved or rethought. The front wall, which would have a set of barrel

hinged, double doors would be the point of entry for the rider. For flexibility, the two

swinging doors would be removable. If the cost of the lift were not a factor in the design, it

would have been my wish that all of the walls were covered with a transparent material like

Lexan® or Plexiglass®. Having transparent safety walls would allow technicians to have a

view of the rider, which would be great for safety and visual communication in a possibly

loud environment. Sadly this was impossible due to the high cost of materials like
 27

Plexiglass® and Lexan®, but I did install the wooden panels in such a way that they could be

retrofitted in the future, if money for a system upgrade became available.

Aside from the safety afforded by the walls, they had other, even more important

purposes in the system’s design. The most important of these were weight distribution and

stability. In a cantilevered design, some part of the structure must bear the immense amount

of weight forced upon it. If left unsupported, the weight of the platform moving up and down

the mast would topple the entire system. The side walls were linked to the mast in such a way

that they would not only receive compressive forces when the carriage was elevated but also

translate forces into the ground via large footplates under a series of appropriate directional

bracing (Figure 2). These two footplates, in addition to the two already located on the mast

would give the structure a very robust foundation and consistent weight distribution. The two

side walls would then be linked together using the multiple sections of the front wall. Four

separate sections were used for the front wall to keep assembly manageable. The front

sections would not only allow passengers into the system but also lock the four walls into a

square properly spaced around the platform.

It was necessary that the lift be loaded into the Civic Theatre’s basement through a

number of openings that were, indeed, much too small for the free passage of the assembled

machine. These passage restrictions were foremost in my mind when designing the walls and

the ways in which they connect to one another. Of course there was always the option of

disassembling the now monstrously sized machine into its component parts and putting them

back together once in the trap room, but this would be an ineffective use of our time,

especially when we would have so little of it at load-in. Each section of the lift, support

walls, mast, and platform were therefore designed to easily come apart into smaller and more
 28

Figure 2. Realistic load situations.

 29

compact units and then be reassembled with simple bolt connections. In addition to being

able to detach entirely, the side walls were also capable of hinging into the mast when the

front wall sections and platform were removed. This would allow the system to travel

through larger sized openings with a minimum of disassembly. All adjustments necessary

can be done with a simple socket and box wrench--no specialty tools needed. With practice

and the use of an overhead chain hoist, my team and I were able to take down these main

sections and replace them in under an hour; no small task when dealing with hundreds of

pounds per section.

ADDITIONAL SYSTEMS
In addition to those already mentioned, there were a number of secondary systems

which were added to the total assembly in order to make it safer and more secure. It was less

difficult to design these add-on systems because they were only for one purpose and not

integral to the total package. All that was necessary was to look for areas in the design that

could readily allow for their installation without interfering with any of the primary

components and their movement. There was a bit of give and take in the overall design as

minor adjustments were made for these additions. It was far easier to make changes now than

during the fabrication phase however, where possible augmentations to the design could

cause lost hours of building as opposed to simply moving some lines around in the CAD

program.

One area that I found needed a separate support system was the maximum travel

limitations. I designed thick steel blocks welded into the Hevi-rail tracks at the maximum

height, as well as large bumper pads sitting on steel columns at the base of the mast. These

‘hard stops’ created a solid mechanical obstruction, which would not allow the platform to
 30

pass under any circumstances. They would keep the platform from hitting the ground, raising

itself beyond its own height, or parts contacting unintentionally. Added at this point were

‘soft stop’ locations using electrical limit switches. These devices would allow us to set

specific locations we did not wish the platform to go beyond. They would act in the

programming like stop signs, telling the lift where to halt. If a programming error were to be

made at this point and a “stop sign” run, the hard stops would still keep the lift within safe

bounds, but the stop would be much more abrupt and much less gentle for the rider.

Another area that called for more stringent safety was the braking system. As

originally designed, the machine would be slowed and stopped by a disk brake integrated

into the 5 horsepower motor. Because the future users of the lift would no doubt wish for the

platform to be capable of more complex motion profiles (Figure 3), this lone brake would

scarcely be enough to handle the system’s possible forces. Two modular pneumatic brakes

were added to the underside of the traveling platform and traveled along thin steel blades

running the entire length of the masts. Constant air pressure would keep the jaws of the break

modules open but when programmed to stop, the air would be cut using an electronically

controlled pneumatic valve. Once activated, the valve would divert air from the brakes and

the jaws would close in an instant on the brake blades. Pressurized carbon dioxide was

delivered to the necessary components through small diameter air tube, rated for the

pressures of the system. All air came from a large CO2 tank tethered to the structure’s base.

The final component added to the design of the system was computer control. An

electronic drive box was mounted to the rear of the frame and allowed for complete control

of the machine from a nearby laptop computer. A complex configuration of wiring and

programming was required to adequately control all of the separate systems of the lift and to
 31

Figure 3. Possible motion profile.

get them to work in concert. This was done by a combination of learned programming,

commercially available automation hardware and software, and a healthy dose of mentoring

from Professor Schreiber, an expert in the field of automation. Every aspect of the lift’s

control system ran though the drive box before ultimately being fed to the computer

command center. Also added at this point was an emergency brake system. The command

computer would allow a single person to have complete control of the lift system as well as

the ability to stop the machine with the push of a single, large red button should the need

arise.
 32

CHAPTER 4

FABRICATION

Prior to beginning this enormous project, I was not aware that I would take such

pleasure in becoming a mechanical designer. Sure, I knew that I liked playing with all sorts

of contraptions and seeing how they work, but actually being the person that calls that item

into existence from the grey space between the two halves of the brain was another question

entirely. Fortunately, I discovered that not only did I find the whole process and its necessary

revisions fascinating, but I genuinely enjoyed losing myself in the work and research. This

new discovery aside, the design phase of the project had now reached its completion. The

time had finally come to begin the stage of this undertaking that I found the most exciting:

fabrication. While I had designed and built a number of metalwork projects up to this point in

my career, I had never participated in one of such a large scale and with so much complexity.

After spending months designing and planning however, it was not nerves that I felt but pure

adrenaline. I could not wait to start building it!

The task at hand seemed daunting. Among four people, Dominic Abbenante, June

Higginbotham, Loren Schreiber and me, there was a monumental amount of work to be done

in a relatively short period of time. I did dismay, however. I was confident that, over the

course of the previous months, my team and I had acquired much more than the requisite

amount of knowledge to be successful. Thanks to planning during the design phase, the vast

amount of materials, hardware, tools, and components called for by the design had already

been delivered to our shop or were on their way to us from their respective warehouses and

factories. Looking at the mounds of metal and boxes of bolts piled on the work tables filled
 33

me with excitement for the task at hand, and also reminded me how much I trusted my team.

I knew that without their hard work and devotion to my project, it simply could not get done.

In the time between finalized designs (Appendix A) and beginning the actual

fabrication of the lift, it was crucial to come up with a game plan for the order in which

things would get built and added to the system. It would be very possible during the process

of building to go too far into one area and hinder progress in others. Likewise, some parts of

the system could be developed separately from the main structure and progress could be

made on multiple fronts if labor was scheduled accordingly. Once an overall strategy was

devised, it was really as simple as following the timeline as closely as possible in order to get

things done on time. One of the more difficult issues was scheduling my team so that our

hours overlapped and we could work together. Because we all had class and other department

obligations, our availability did not always line up conveniently. This hurdle was overcome

with the surrender of many free nights and weekends over the passing months in order to

keep work ahead of schedule.

As the remainder of the work to be done at this point was less in planning and far

more in sheer man hours and physical labor, substantial progress was visible from day to day.

First it was simply a few rectangular members made of steel tubing. Next came the massive

rear wall–the backbone of the entire system. Later, a number of small members were

assembled to create larger sections. Before anyone could have guessed, we were already

wheeling portions of the huge structure outside to be cleaned, prepped, and painted.

Throughout this manufacturing stage, all pieces were tested for compatibility with those they

would interact with when everything was completed. Once all of the pieces had been

checked, cut, milled, welded, ordered, or whatever other process was needed to make them
 34

available, it came time to assemble the whole mass of parts to see if the overall objective had

been achieved.

Now I finally succumbed to nervousness and worry. The entire system was complete

for the very first time. All planning was in the past. Alterations to the design could not be

made without dire repercussions in other areas. All that could help me now was having

confidence that the hundreds of hours poured diligently into this endeavor by my team and I

would be fruitful. That and maybe a little luck from crossing my fingers behind my back. The

moment of truth was nearly upon us and it would unsympathetically judge whether the last

nine months of effort had resulted in my ultimate success or frustration. Schreiber was

behind the controls and I wanted to be the very first person elevated to new heights by this

contraption that I had somehow managed to call into existence though time spent designing,

drafting, planning and working.

Power was engaged. The drive box and computer controls were switched on.

Pneumatics were engaged and I was in position on the platform, ready to respond to whatever

resulted. There was a moment of silence as Professor Schreiber prepared and fellow students

gathered around to watch. There was nothing left to do but see what happened. Schreiber hit

the buttons and I was propelled upward! Saying that I was ecstatic would be an

understatement. Sheer joy filled me as I was taken up and down the length of the system’s

travel. Dominic and June joined me for multiple celebratory trips up and down the lift at this

time. Not everything in the operation was quite perfect yet but with minor adjustments to

programming and other small details, it would certainly be completed and at maximum

performance within the next few days; well in time for its debut with the San Diego Opera at

the Civic Theatre.

 35

I find it very difficult to put into words the great strides that were made on this project

during the fabrication and assembly phase. While many tasks were repeated day to day on

multiple elements of the system, others were unique to the single time and place they were

completed. There is something very ephemeral and hard to define about time shared with

trusted friends in pursuit of a common objective. It is for this very reason that I documented

the entire building process with photographs (Appendix B). These pictures show not only the

progress of my lift system as it evolved from drawings into a grand, complex machine, but

also how my friends were willing to help me achieve something great no matter how much

hard work we faced. Over the course of this project I witnessed as my efforts brought into

existence something that I would have previously thought impossible. I am amazed with the

work that we did and grateful to everyone that helped.

 36

APPENDIX A

MECHANICAL DESIGN DRAWINGS

 37

Figure 4. Designs water jet cut from steel plates.

 38

Figure 5. Framing – side view.

 39

Figure 6. Framing – front view.

 40

Figure 7. Framing – horizontal cross section.

 41

Figure 8. Complete assembly – side view.

 42

Figure 9. Complete assembly – front view.

 43

Figure 10. Complete assembly – horizontal cross sections.

 44

APPENDIX B

PROJECT PHOTOGRAPHS
 45

Figure 11. Partial completion of welding on side walls.

Figure 12. Dominic displaying how the moving

platform frame will sit once completed.
 46

Figure 13. Steel plates cut by water jet.

Figure 14. Schreiber demonstrating proper welding of the bearings.

 47

Figure 15. Framing and bracing of mast section.

Figure 16. Use of jigs during gusset welding.

 48

Figure 17. Rolling carriage in Hevi-rail tracks.

Figure 18. Traveling pneumatic brake mounting.

 49

Figure 19. Electromagnetic base drill press.

Figure 20. June and Dom drilling Hevi-rail.

Figure 21. Flange mounted drive shaft bearings.

 50

Figure 22. Preparing and painting frames.

Figure 23. Glued and T-nailed panels.

Figure 24. Full frame assembly.

 51

Figure 25. Welding limit switch barriers.

Figure 26. Limit switch assembly.

 52

Figure 27. Motor and drive box installation.

Figure 28. Waiting for load-in at the Civic Theatre.

 53

Figure 29. The A-Team (Justin Kidwell, June Higginbotham & Dominic Abbenante).