ADG Perspective

doorways. It would need to be fully redesigned for the stage. Also needed would be a long, ominous hallway, a fully practical bathroom, a home o ce for Terry, and a hidden staircase that would lead to a hidden basement locked in time as a 1950s tiki bar/rec room. Finally, we would need a full front yard for a number of frontdoor scenes Je had planned. At only about fi ve weeks out, the show had three stages to fi ll at Warner Bros. Four oors of the Phelps' house attic, second oor, main oor and basement; a psychologist's o ce; and a number of swing sets scheduled to play in the fi rst episode. O and running Fortunately, the attic set had been designed and built for the pilot, so it was quickly spotted on the stage and construction got to work unfolding it. he heavy lift was designing the new rooms for the Phelps' house so that they would integrate seamlessly into the established layout of the pilot location, and quickly enough to get drawings to construction, ASAP, to recreate the story's amazing eight thousand square foot house. Beyond the typical detail surveys of millwork, wallpaper, stained glass, ironwork, etc., the most fortunate step we took at the close of the pilot was to have a photogrammetry scan of the entire house, inside and out, with Matterport software. Armed with an instant existing oor plan from this scan, I was able to start pushing things around, incorporate all the upgrades that the show runner needed, and generate a WIP stage spotting plan that was tight enough to comfortably move into construction drawings and allow construction to lay out the stages. DOWN OPEN DO DOWN +6'-8" TOATTIC GAYNOR'SROOM MASTERBEDROOM MASTERBATHROOM 2NDFLOOR FRONT/MAINLANDING HALLWAY HALLWAY BACKSTAIRS LANDING BACKSTAIRS +4'-0" +2'-4 1/2" 0'-0" ASBUILTIN +4'-6" UP +4'-0" 0'-0" 0'-0" FLYWALL STA TA T GE 17 PHELPS HOUSE PLAN - 2ND FLOOR SCALE: 1/4" = 1'-0" WAGON CORBELS SUPPORT ARCH 18'-0" 2'-0" 4'-0" 12'-0" 13'-6" 1'-9" 3'-6" 3'-0" 3'-6" 1'-9" 13'-6" 5'-0" 1'-0" 3'-0" 1'-0" 1'-4" 3'-0" 1'-4" 3'-4" 3'-0" 21'-4" 3'-6" 3'-0" 6'-6" 3'-0" 2'-0" 1'-1 1/4" 2'-3" 3'-0" 4'-9 3/4" 1'-9" 13'-0" 3'-0" 12'-0" 3'-0" 7'-6 1/2" 3'-9" 13'-7" 3'-9" 8" 3'-9" 8" 15'-8" 8'-7" 5'-0" 22'-6" 38'-2" 18'-11 1/2" 8'-7 1/4" 1'-0" 4'-0" 9'-0" 4'-0" 4'-0" 22'-0" 11'-6" 8'-0" 4'-0" 4'-0" 8'-6 1/2" 4'-0" 1'-2" 20'-0" 3'-0" 1'-9" 3'-9" 4'-0" 12'-10" 33'-3 1/2" 3'-9" 7'-10" 11'-11" 4'-0" 7'-10" 8" 2'-8" 1'-2" 7'-0" 1'-2" 4'-8" 1'-2" 2'-1" 10 1/2" 39'-6 1/2" 12'-3" 9'-2" 2'-2 1/4" 3'-0" 4'-7" 4'-7" 3'-6" 2'-3" 7'-5" 1'-8" 2'-5" 2'-1 1/2" 4'-2" 3'-8 1/2" 9" 3'-0" 4'-10" 1'-4 1/2" 13'-9 1/2" 5" 5" 7'-0" 5" 1'-6" 1'-8 1/2" 5'-0" 2'-3" 4'-0" 11'-3" 15'-1" 75'-11 1/2" 3'-0" 1'-9 1/2" 2'-0 3/4" 3'-6" 7'-8" 24'-3" 15'-0" 11'-0" 1'-10" R 9'-2" 10" 19'-5" 7'-10 1/4" 1'-2" 6 3/4" 7" 7" 8'-1 1/4" 1'-9 1/2" 5'-0" 1'-0" 9'-7 1/4" 1'-9 1/2" 2'-0" 5'-2" 3'-0" 4" 8'-6" 4'-4" R 6'-7 1/2" 6" 1'-6" 6" 22'-4" 1'-10 1/2" 6" 16'-0" 33'-5" 5'-8" 2'-3" 12'-7 1/4" 10'-0 3/4" 9'-3" 14'-7 1/4" 20'-1" 6" 6'-6" 1 1/2" 8 1/2" 11'-9" 16'-3" 4'-6" 6'-10" 11'-1" 2'-2 1/4" 4'-7" 16'-7" 4'-0" 3'-4" 3'-5 1/2" 7'-5 1/4" 5 1/2" 4'-6 3/4" 7'-8 1/2" 9" 4'-6 1/2" 9" 6" 7'-2 1/4" 3'-6" 16'-0" 9" 6" 4'-7" 6" 6" 10 3/8" 14'-0 1/2" 4" 6 3/4" 15'-0 3/4" 12'-10 1/4" 53'-10 1/4" 5 1/2" 1'-4" 9" 6" 6" 38'-9 1/2" 14'-9 3/4" 43'-9 1/2" 6 1/2" 6 1/2" 21'-0" 9" REVISED 6 Season One A. PHELPS' HOUSE SECOND- FLOOR PLAN DRAWN BY AMY HEINZ-BARNETT. B. PHELPS' HOUSE MASTER BATHROOM. SET PHOTO BY KAT MARCINOWSKI. C. PHELPS' HOUSE MASTER BEDROOM. SET PHOTO BY KAT MARCINOWSKI. D. PHELPS' HOUSE SECOND FLOOR. MASTER BEDROOM AND BATH IN CLASSIC 50/50 SHOT DONE IN CAMERA.PRODUCTION STILL E. PHELPS' HOUSE SECOND- FLOOR MASTER BEDROOM AND HALLWAY. DESIGNED TO MATCH DANNY COMING TO SEE JACK IN THE SHINING. SET PHOTO. A B C D E

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