Issue link: https://digital.copcomm.com/i/1480624
factory windows on all sides, and a lofted center area with matching clerestory windows. The old windows had seen many years, and the glass was a lovely mix of patterns, textures, ages and subtle colors; some panes offered clear glass, and some were thoroughly fogged by time. Built on an angled lot, the building itself offered quirky off-angle walls, random rooms, old-brick finishes mingled with worn concrete, and a sense of many lives previously lived. These attributes dovetailed nicely with discussions of the type of space that would house Bottom Dollar Productions for the run of the series. In contrast to the corporate world of high publishing that the character Joyce dreamed she would find herself in, Bottom Dollar is a down-and-dirty, thrown-together operation staffed with decidedly "marginal" types. As designed, there would be several rooms with a more carefully constructed look, but mostly the aesthetics would be "self-realized" by the assorted wayward characters who worked there and were encouraged to "bring things from home, if you want." This was an important decorating choice, as it meant that the period 1970s design for the space would actually range from the 1950s to the 1970s, with the chance for lots of found and mismatched items. Following the lead of the pilot set decorator Jennifer Gentile, series set decorator Doug Mowat would take this concept and run with it, producing a marvelous, chaotic look that was fun, a bit sad, and perfectly appropriate to our show. D D. WINDOW ELEVATIONS AND MODEL VIEWS USED TO VISUALIZE CONSTRUCTION. DRAWN BY ALANNA DEMPEWOLFF-BARRETT. E. BOTTOM DOLLAR CONFERENCE ROOM. SET PHOTO BY KATRINA MARCINOWSKI. F. BOTTOM DOLLAR EDITORIAL ROOM. SET PHOTO. G. BOTTOM DOLLAR PHOTO EDITING DESK, SET PHOTO. E F G