Issue link: http://digital.copcomm.com/i/765720
P E R S P E C T I V E | J A N UA RY / F E B R UA RY 2 0 1 7 43 and a lot of consideration was given to different built-in lighting opportunities. On the ground floor, a continuous light trough was built into the perimeter of the floor to uplight the walls, along with separate feature walls that were lit from within and light soffits built into the ceiling to give the space an other-worldly glow. The staircase was designed as a series of ribbon-like curved shapes that were modeled in SketchUp ® , then water-jet cut out of steel to create the intricate profiles for each step. The main feature of the loft is the large canopy bed that has a mattress that appears to float above a lighted glass floor and continuous light ribbons that accentuate the shape of the bed. The bed also has a built-in motorized drapery track for privacy. Also upstairs is a space-saving closet that pulls out from the wall on tracks. The closet is made mostly of bent acrylic so it can be up lit from the built-in light boxes below it. At one end of the loft is a wall with a large rear-projection screen built in that allows for ever-changing moods, weather or climates to be projected through the different scenes in the movie. THE VIENNA SUITE by Josh Lusby, Set Designer On board the ship is a luxury suite like no other, known as the Vienna Suite. This is where the main character, James Preston (played by Chris Pratt), decides to take up residence for his long journey. The initial concepts for this set were stylistically more of a classical take on a Viennese Suite, but as the rest of the ship evolved into a more modernist vision, so too did the Vienna Suite. The single story, classically detailed space with the tall proportions of a typical Vienna Suite became a grand two-story space with a floating staircase up to a sleeping loft. The full set consists of a main living space, a sleeping loft, a bathroom and a corridor which leads up to the suite from other parts of the ship. The shape of the main space is angled on one side with a large window out to space. This angled wall was intentional to give the sense that the 1800-square-foot residence is built into the hull of the ship. The walls are covered with a series of raised soffits that have continuous light ribbons inside them so the whole space glows. Lighting and choices of finishes were key to the look of the set, Top: A digital illustration of Aurora (Jennifer Lawrence) in the Vienna Suite by Josh Nizzi, based on a SketchUp ® model by Set Designer Josh Lusby. Center, left to right: The Suite is a lavish two-level accommodation for wealthy passengers waiting to disembark. It boasts an enormous window into space that can be viewed both from the lower living room and the loft bedroom above. Sections of the wall for the Suite were made to project large- scale imagery from outside the set. When these interactive walls were not activated, the Pantone color of the paint was projected to disguise the screen's naturally white surface.