Issue link: http://digital.copcomm.com/i/1260764
H U N T E R S | P E R S P E C T I V E 5 3 Second, if light can get in, how can it remain secure On top of fulfilling these reuirements, glass block is groovy as all hell. The ironwork was another layer of detail that helped define the space. Grosvenor Atterbury, the architect of the townhouse eventually chosen as the Meyer Offerman location, had studied in Paris at L'Ecole des eaux Arts, which brought me back to a vacation there, and my visit to the Grand Palais. hile this space was much much much smaller, this and other conservatories were studied as Assistant Art Director artin Fahrer developed the final designs of the ironwork that defined the space. etween the old-world ironwork and glass block, several of the primary visual and thematic dialogues were developed which I thought the show, and the subseuent design, explored Europe v. America, Old orld v. The New orld and igh v. Low. The design's foundation was getting built. ut on the roof of the building, not below ground. Blood, Not Red As with any episodic project, one of the Art Department's major responsibilities is to maintain the look established in the pilot. Hunters reuired a lot of maintenance in this regard as the show spanned a multitude of different, distinctive environments. These environments included eyer's monied pper East Side, hunter upstart onah's starkly contrasting world of a decrepit rooklyn, a traditional sterile ashington, DC, Nazi hideouts and workplaces, fourth wall-breaking game shows and PSA's, and the many flashbacks to wartime Europe. This varied palette of locales reuired a palette of colors that would provide continuity as it progressed through the ten episodes. Thankfully, our collaboration with the outstanding paint department helped cement the color rules that would unify all of this disparate scenography. The answer to the color palette came in the most offhand of uestions. I knew early on that the color red could have preeminent power in the show, but that it had to be handled carefully. The Nazis used it to great effect in their graphics and symbolism, but I didn't think we could restrict the color entirely to the Nazi flag, and I wasn't excited about the idea of giving them all of the power baked into the color. The answer was to rename red as blood,' and I began to ration it in different characters' environmentscharacters who had different amounts of blood on their hands. ope Ardizzone's offhand uestion was, "hat should we paint under onah's grandmother Ruth's wallpaper" A brown floral print with red berries on it, which was to be peeling up in spots. hat then did the dialogue between the wallpaper and the wall color mean Ruth was a olocaust survivor who was part of eyer's revenge mob, so the decision was made to underpaint with the yellow of the Star of David used on the patches of ews in the ghettos and concentration camps. Conceptually, she was a true innocent underneath, but through her association with eyer, had papered over that with something decidedly more sanguine. The rest of the color story fell into place uite organically, and wound up looking like this YELLO INNOCENCE, ORANGE ENERGY, GOLD RIS, RED LOOD, GREEN SECRECY, GREEN ILITANCY, LE STICE and some Pink. ecauseFlorida. A. SECRET ROOM. LOUNGE AREA. ART BY AMEDEO MODIGLIANI, ERNST LUDWIG KIRCHNER AND EGON SCHIELE. B. SECRET ROOM. LOUNGE SET DECORATION BOARD BY CATHY MARSHALL. C. SECRET ROOM. IRONWORK DETAILS. STEINER STUDIOS, BROOKLYN. DRAWN BY MARTIN FAHRER. D. RUTH HEIDELBAUM'S ROOM: WALLPAPER DETAIL. 1950S VINTAGE WALLPAPER. PHOTO BY CATHY MARSHALL. E. SHOW COLOR THEORY: STUDIO PRESENTATION BY CURT BEECH. D E