Issue link: http://digital.copcomm.com/i/1260764
I always approach my designs based on reality. One can design whatever they want, but if it is unaffordable or has limitations that can't be met on a TV schedule or budget, then they have put themselves into a corner from the beginning. I knew it would be necessary to go in and out of a practical building, and that would really set the tone. Several weeks were spent looking at possible venues but nothing was found that really worked. Then one night I was driving past Roy Thomson Hall, all lit up and I knew that was our spot. It had been crossed off the list early because of its association to X-Men, but I thought it deserved a second look. For me, the logic worked perfectly. Of course, the audience would believe that superheroes could work in this building. They had ALREADY seen superheroes here and accepted it. All of the show's heroes were a satirical version of other heroes, so its locations could be too. I worked with Concept Artist Henry Fong who created an epic phallus that spiraled to the heavens and turned into a giant "7" at the top to symbolize the seven superheroes. Once I had landed on the starting point for the architecture, I knew that the building could be twisted and changed. The penthouse area would house the boardroom of The Seven. They are the seven top superheroes in the world, brought together to protect America. I wanted their space to be bold. It wanted to play to their egos. I looked to Hollywood and Washington for inspiration. What do the homes of the rich and famous look like, and what do they have in connection with the White House? The idea was that sycophants catering to their every whim would surround these heroes. Stroking their egos. There would be statues and murals to celebrate their godlike abilities. E Working with Henry Fong, a round colonnade with a massive floor to ceiling vista of New York City was created. I would like to say that the Doric columns were a stunning design choice, but they were a simple necessity. The set would be built in an old warehouse with support beams every twenty feet, so something was needed. Rather than running from it the issue was embraced. The view of the city would be an issue as well as two of the structural columns would end up right outside the windows. Henry came up with this wonderful swooping column detail that not only hid the posts but also added a beautiful foreground element to break up the massive backdrop. B A. THE PENTHOUSE AREA VOUGHT TOWER. CONCEPT ART BY HENRY FONG. THE APEX OF THE TOWER FORMS A GIANT ILLUMATED "7" FOR THE VOUGHT 7. B. VOUGHT TOWER SHOWING THE VFX EXTENSION OF THE PRACTICAL SET SHOT AT ROY THOMPSON HALL, ALL THE WAY UP TO THE PENTHOUSE BOARDROOM FOR THE "VOUGHT 7." THE WIDE SHOT SHOWS THE SWOOPING GOLD "7" THAT IS ILLUMINATED AT NIGHT. CONCEPT ART BY HENRY FONG. A