Issue link: http://digital.copcomm.com/i/1260764
architectural idiomthat of New York townhouse construction, the other option was to move upstairs from the basement. ut there was already another attic space The Ark, later expertly done by the incomparable Set Designer Lisa erik reuired in a later episode. So I went even further upstairs, and started to consider what might exist on the theoretical roof of the townhouse. A water tower, ubiuitous yes, might have served for a small piece of the action, but could not contain everything needed for the scripted action. Instead, research led me to a rooftop conservatoryand straight into another series of design challenges. ow to reconceive of a space typically made of glass into a secure environment Additionally, if this space is fortifi ed, how to still allow for the audience to understand time of day, and for the environment to have many diff erent lighting looks for the cinematographers to lean into For me, designs sometimes start with a furniture layout as I think directorially about a scene, a rudimentary groundplan, or a shape or a specifi c piece of reference, but in this case, a smaller period detail in the set created the space. hile scouting the city looking for streets and buildings that would pass for the s, I was always on the lookout for glass block. This material became a touchstone throughout the series and was something I was seeking from the initial pitch, which included the idea of using the auhaus-inspired Lescaze Townhouse as eyer's residence. This was initially discarded in favor of something bigger and more traditional, hiding eyer's operation in an pper East Side townhouse more in plain sight. ut glass block never went away, and became the way to solve the two major issues in the conservatory secret room. First, how to light into a space that has theoretically been fi lled in with reinforced concrete A C B