Issue link: https://digital.copcomm.com/i/1277777
on the way a hallway is decorated, the use of carpets, the function of certain ags and why they are where they are, what would be on people's monitors, how many people would be in the hallways, or in the o cesliterally everything I could use to express real life and give purpose to the set. Once the exterior and the architectural style were decided, it was time to bring it to life. Set decorator Rachael Ferrara and her entire team were my right arm and a source of great joy and pride. We discussed what was the best direction to follow for the decor, and again the key phrase was "Enhanced Reality." In the real world, the government wouldn't pay for a brand-new branch and furnish it from scratch with state-of-the-art decor. Its major investment would be in technology and functional parts, beauty and design would defi nitely be at the bottom of the list of priorities. In this enhanced reality, aesthetics was moved up in the priority pyramid, to be in the top three. We created a mix of basic furniture decor from O ce Depot and similar stores, thrift store pieces, online purchases, custom-made desks, tables and such, and the design pieces came mostly from mid- century modern interior design stores in LA. The spaces were not meant to be extremely cluttered, but to have enough furniture to be functional and feel alive. We integrated simple lines and recognizable elements with design pops and state- of-the-art technology. The interior design for ark aird's o ce teve arell received special focus. eing the general and the main character in the show, I wanted to give him a larger space that would re ect his position, but also elements that would separate this character from previous ones he played who worked in an o ce. I always thought Steve Carell, on top of being an incredibly talented comedian and actor, has his handsome side overshadowed by his goofy characters, so I wanted to ensure the show would emphasize his powerful position by bringing out his masculine/alpha side not often seen. I wanted to create a space that would elevate these certain undertones. y biggest in uence for ark aird was the ean onnery version of ames ond, specifi cally from the movie ou n ie wie, a true masterpiece designed by Ken Adam, who F D E