Issue link: http://digital.copcomm.com/i/1043753
5 4 P E R S P E C T I V E | N O V E M B E R / D E C E M B E R 2 0 1 8 LOCATION: PRODUCTION DESIGNER: CARLOS MENENZEZ ART DIRECTOR: AMELIA BATTAGLIO DRAWING BY: DRAWING: SHOOT DATE: SCALE: SET NUMBER: SHEET #: DATE DRAWN: REVISED: SEASON 1 DIETLAND TCW As indicated DP 004 12/14/17 INT. DAISYCHAIN Broadway Stages, Glendale Director's Plan (Carpet: cut in) (Carpet: cut in) (Carpet: cut in) KITCHEN KITTY'S OFFICE CONFERENCE ROOM TERRACE P a r a p e t w a l l Reception Desk ELEVATOR LOBBY Elevator On Dietland, four main standing sets were built; Plum's apartment, the basement of Calliope House (with a porn room), the Beauty Closet and Daisy Chain offices, which included elevator cab interiors, an elevator lobby, reception, hallway to Kitty's office, a conference room, kitchen and bathrooms. At the time production began, there were few stages available in New York City that could accommodate the scale of the sets desired. The production ended up with two stages that were long, narrow and had low ceiling heights. These restrictions made the sets on Dietland challenging to design and build. The Daisy Chain offices needed to be chic, along the lines of Condé Nast's new corporate headquarters in One World Trade Center in Manhattan. To achieve this, it was necessary to maximize every C THEORETICAL LOCATION OF KITTY'S OFFICE TERRACE becomes GREEN LAWN on STAGE A inch of the stage depth for windows and lighting, and every inch of height to create airiness and drama. From day one, it was all a game of inches with form always following function. There were three main spaces that needed to have views of New York City, Kitty's office, the conference room and the lobby-reception area. Kitty's office and the conference room were placed at one end of the stage and the lobby-reception and elevators placed at the other end. A central hallway would connect the two. At the lobby end, there was not the required depth to build windows or light another backdrop. To solve this, a floor-to-ceiling wall of vertical adjustable louvers were designed that could be lit from behind without seeing through. This fin wall allowed illumination for the seating area, the reception desk and a beautiful copper leaf wall featuring the magazine's masthead—Daisy Chain. The next issue was the low ceiling grid at the stage. For the exterior establishing shot of Austen Media, the American Copper buildings by Shop Architects were chosen. They are two copper towers bent toward each other with a gravity defying two-story skybridge linking the towers together. Early in the design process, I visited the buildings to see if a photo backing could be shot to use as a backdrop outside Kitty's office on stage. The views were not as interesting as I had imagined because the towers, located on the East River, are away from the dense building clusters of midtown Manhattan that make photo-backings A. 3D DIAGRAM SHOWING KITTY'S OFFICE RELATIVE TO THE OVERALL GEOGRAPHY OF THE ACTUAL AMERICAN COPPER TOWERS. B. AMERICAN COPPER BUILDINGS. NYC, NY, BY SHOP ARCHITECTS. C. DAISY CHAIN OFFICES. DIRECTOR'S PLAN DRAWN BY TOM WARREN IN VECTORWORKS. B