Issue link: https://digital.copcomm.com/i/1485934
of many mystery stories: how can anything be hidden in plain sight? And incidentally, what sort of pompous, self-congratulating ass builds such a monument to his own ego? The Glass Onion was really an expensive office built for a very wealthy dilettante, which is already some kind of an oxymoron—how does one put that irony across? It needed to walk a fine line between brilliant and risible. I gently peeled apart a real onion to study its layered structure and came up with a design to crown the property with, wanting to assure myself that it would feel intentional and coherent to the original villa. It felt right. Supervising Art Director Andrew Bennett in London and then Belgrade, oversaw the creation of a 3D model from my drawing and concept artist Rodolfo Damaggio began to incorporate the model within the context of the Villa. Rodolfo further helped me explore finishes and set dressing concepts within it which inspired Elli Griff, the set decorator, to bring her talents to bear fleshing out the concept. In keeping with the steel and glass aesthetic of the Onion, the Miles' Atrium was designed to integrate the indoors with the out, and to display his D. "B.B. BEHIND" - PENCIL SKETCH BY RICK HEINRICHS. BENOIT BLANC LURKS AMONGST THE OUTDOOR ART. E. GLASS ONION INTERIOR. CONCEPT ILLUSTRATION BY RODOLFO DAMAGGIO DONE IN MAYA/PHOTOSHOP. MILES KEEPS HIS BABY BLUE PORSCHE ON TOP OF THE ATRIUM BECAUSE "THERE ARE NO ROADS ON THE ISLAND." C D E