Issue link: http://digital.copcomm.com/i/1241865
Economy Class Cabin The nice thing about designing sets using 3D software is that everything shifts and bends and warps over a period of time while making changes to the set before presentation and construction. Each time I introduced a pinch or a swirl within the structure of the wall, all the neighbouring geometry skewed, creating a more and more complex result. Multifaith Prayer Room Armando had written in a multifaith prayer room to the first episode. I relished designing this as I grew up in the medieval city of Wells in Somerset, England, which has a very grand ancient cathedral at its heart. I have many childhood memories exploring its vast nave and climbing the tight spiral staircase up to the Chapter House. I used these 13th century monastic structures as inspiration for the Avenue 5 prayer room, stripping back the details of the gothic architecture to bare sinews, then creating them from white synthetic materials. In the first episode, there are four "burials" in space. The first is the ship's engineer oe, who is jettisoned in Herman Judd's personal Mayan- inspired gold coffin, the other three are sent out less ceremonially in reused Judd plastic food containers. Engineering I wanted to ood the engineer's part of the ship with colour and texture, layering repairs and decay with personal character dressing. In a stark contrast to the clean futuristic technology of the D. & E. ECONOMY CABIN BATHROOM AND CABIN. A STUDY IN COMPOUND CURVES IN THE WALLS WITH PINCHED FORMS RUNNING ALONG THEM. COLOUR-CHANGING ARCHITECTURAL LIGHTING, INCLUDING BACK-LIT LETTER J'S CNC CARVED INTO THE CEILING. ILLUSTRATIONS BY JORT VAN WELBERGEN AND PETER DAY. F. MULTIFAITH PRAYER ROOM. ILLUSTRATION BY JORT VAN WELBERGEN AND PETER DAY. D E F