Issue link: https://digital.copcomm.com/i/1449234
We did find a unique mesa, however, located outside the town of Drumheller, where we decided to construct a condemned headframe and mineshaft. his aorded a 20degree view of the surrounding badlands, with the sun setting ust behind the set. For the story's heroes to descent down the mineshaft, a foottall vertical set was built on stage on Studio . his, in turn, was connected to a larger set in Studio 2, where we built the interior of a large pyramidal temple, designed to echo the same architectural style of Ivo Shandor. As part of the design process for the temple, a visual form language was defined that echoed Ivo Shandor's background as an architect, his stylistic inuences, and his divine inspiration and worship of Sumerian deity. I imagined this place as an underground acropolis where the most devout Goerian worshipers were granted the holiest of resting places while awaiting Goer's inevitable return. For the temple, I found inspiration in Communistic architecture, Babylonian and iggurat art deco, as well as the works of Louis Sullivan, who greatly inuenced John DeCuir Sr. A colossal relief of Goer grounded the space, designed and modeled by concept illustrator irsten Franson. We wanted it to be vaguely recogniable as Goer, but also feel authentically part of the surrounding architecturesculpted by someone who was enamored with that visualiation of a god. We were heavily inspired by the powerful work of Polish sculptor Stanisław Sukalski's unique style. his sculpture and all the other decorative elements were fabricated with a fiveaccess mill A. SHANDOR MINING CO. GATE. ILLUSTRATION BY WAYNE HAAG B. GOZER'S TEMPLE BUILT ON STAGE. SET PHOTO. C. GOZER'S TEMPLE BUILT ON STAGE. PRODUCTION STILL BY KIMBERLY FRENCH. D. STUDY MODEL OF THE CANYON SET. E. 40-FOOT-TALL CANYON SET AND TEMPLE ENTRANCE, BUILT ON STAGE. SET PHOTO. F. STAIRS TO GOZER'S TEMPLE. ILLUSTRATION BY WAYNE HAAG. A B C