Issue link: https://digital.copcomm.com/i/1485934
5'-8 1 4 " [173] 5'-8 1 4 " [173] 57'-2 1 2 " [1744] 6'-4" [193] 45'-11 1 2 " [1401] 10'-5 1 2 " [319] R4'-0" [122] �14'-4" [437] R19'-9" [602] R7'-2" [219] 7 3 4 " [ 2 0 ] �14'-4" [437]Ø 10'-4 3 4 " [317] R7'-2" [219] R1'-10" [56] R1'-10" [56] 1'-0 1 8 " [31] 10'-1 1 4 " [308] 1'-0 1 8 " [31] 8 5 ° 7'-1" [216] 4 5 ° 2'-9" [84] R1'-4" [41] R1'-4" [41] 10'-5 1 2 " [319] R221'-8" [6756] R1'-1" [33] 20'-3 1 2 " [618] R1'-1" [33] 12'-0" [366] R1'-1" [33] 12'-0" [366] 8 7 ° 1 5 ' - 3 1 2 " [ 4 6 6 ] 8 ' - 1 0 " [ 2 6 9 ] R4'-0" [122] R17'-6" [533] R18'-5 1 2 " [563] R7'-6" [229] R46'-11" [1430] R17'-6" [533] 5'-0" [152] R7'-6" [229] R18'-5 1 2 " [563] 1 5 ' - 3 1 2 " [46 6 ] 1 0 ' - 4 " [3 1 5 ] 90 ° 1'-9 1 4 " [ 5 4 ] 8" [20] 1'-2" [36] 77'-5" [2359] F L O O R O P E N I N G 3 8 ' - 2 3 4 " [ 1 1 6 6 ] 6'-11 1 4 " [211] 15'-2 3 4 " [464] 1'-7" [48] 53'-1 1 2 " [1619] 11'-2 1 4 " [341] 4'-7 1 2 " [141] 3'-0" [91] 12'-5" [379] 10'-0" [305] 53'-1" [1618] 40'-1 1 2 " [1223] F L O O R O P E N I N G 3 4 ' - 2 " [ 1 0 4 1 ] 4'-9" [145] 18'-7 1 2 " [568] 10'-0" [305] 40'-0 3 4 " [1221] F L O O R O P E N I N G 2 9 ' - 7 3 4 " [ 9 0 3 ] 11'-1 3 8 " [339] 3'-3 1 2 " [100] 11'-1 3 8 " [339] 2" [5] 2" [5] 4" [10] 11'-3" [343] 11'-3" [343] 40'-0 3 4 " [1221] 13'-0" [396] 13'-0" [396] 10'-5 1 4 " [318] 9'-5 1 8 " [287] 22'-0" [671] 5'-6" [168] 1'-0 3 4 " [32] 36'-0" [1097] 1'-4" [41] 18'-2" [554] 9 ' - 0 " [2 7 4 ] 11'-1 3 8 " [339] 1'-4" [41] 1'-4" [41] 9'-0" [274] 17'-1" [521] 1'-0" [30] 10'-6" [320] 11'-1 3 8 " [339] 1'-0" [30] 1'-4" [41] S E E R U I N D E TA I L R223'-2" [6802] 20'-0" [610] 12'-5 3 8 " [379] 9 0 . 0 0 ° 18'-2" [554] 1'-4" [41] 1'-4" [41] 1'-0" [30] 9'-0" [274] 6'-7 3 8 " [202] R1'-1" [33] 5'-6" [168] 11'-1 3 8 " [339] 1'-0" [30] 20'-3 1 2 " [618] 1'-0" [31] 17'-9" [541] 8'-0 7 8 " [246] 2'-6" [76] 6'-0 7 8 " [185] 12'-7 1 8 " [384] 2'-3 1 2 " [70] 38'-8 1 2 " [1180] 38'-8 1 2 " [1180] 7'-4 7 8 " [226] 3 ' - 4 1 2 " [1 0 3 ] 6'-0 7 8 " [185] 2'-3 1 2 " [70] 5'-7 7 8 " [173] 2'-5 1 2 " [75] 13'-0 5 8 " [398] 8'-1 1 8 " [247] 7 3 4 " [ 2 0 ] 22'-2 5 8 " [677] 8 5 ° 50'-7 3 8 " [1543] 8 7 ° 5'-7 1 4 " [171] 13'-0 5 8 " [398] 17'-9" [541] 18'-1 7 8 " [553] 61'-4 3 4 " [1871] 17'-0" [518] 56'-8 3 4 " [1729] 18'-1 7 8 " [553] R9'-0" [274] B D E C C C C L L L DET SPIRAL STAIRS U P U P U P U P U P POCKET DOORS BLINDS CURTAINS DET U P TYP COLUMN DET DET HORIZON ELEMENT DET DET GLASS CURTAIN WALL +0'-0" DET FIREPIT DET D O W N D O W N DET CHANDELIER CHANDELIER DET 21 04 05 11 12 13 14 17 18 02 BALCONY/ REFL CLNG DET 03 FLOORING 07 RUINS DET MOSAIC WALL DET 08 DET MOSAIC FLOOR 08 +4'-0" +2'-10" +5'-3" +1'-6" GLASS ONION BACKING DET 16 EXTRACTOR DET 19 PARAPET WALL PLATFORM PLATFORM PLATFORM PLATFORM 10 DET FIREPLACE PLATFORM D O W N +0'-0" U P + 7'-9" +4'-10" +4'-0" DET NICHE WALL SECT DE T WA L L S E C T 0 1 B 01C 22 ATRUIM HALLWAYS SEE SET #768/770 WALL SECT 01A DET KEEP OPEN FOR LIGHTING W I L D F O R C R E W A C C E S S DET 15 PAINTING ENCLOSURE 20 STONE LIONS DET BLACK BACKING 24'H X 36'W B L ACK B ACK IN G 24 'H X 2 2'W DET GLASS BLOCK WALLS/ HALLS 06 BLACK BACKING 24'H X 9'-10"W PLATFORM 200'W X 33' H BLACK DUVETYNE HUNG ON PIPE SEAMS EVERY 10' OA HEIGHT 35' FROM STG FLR D O W N +0'-0" D O W N PLATFORM +0'-0" OC 76'-7 1 8 " [2335] 3'-3 1 2 " [100] 8'-7 1 4 " [2 62 ] 2 0'-1 1 4 " [612] 3'-6 3 4 " [108] A CONVERSATION PIT 34'-4" [1047] U P TRANSLIGHT 24'H X 34'-4"W 11'-1 3 8 " [339] 74'-3 5 8 " [2265] 6 '-0 " [18 3 ] 3 '-11" [12 0 ] 3 '-11" [119 ] 3 ' - 4 1 2 " [1 0 3 ] 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 TYP WALL SECTIONS BALCONY/ REFL CLNG FLOORING LAYOUT GLASS CURTIAN WALL GLASS CURTAIN WALL -POCKET DOORS/ BLINDS/CURTAINS GLASS BLOCK WALL/ HALLS RUINS RUINS MOSAIC FLOOR RUINS MOSAIC WALL RUINS FIREPLACE CONVERSATION PIT CONVERSATION PIT- FIREPIT SPIRAL STAIR TYP COLUMNS PAINTING ENCLOSURE (PROPS) EXTRACTOR (VFX) CHANDELIER AT RUINS CHANDELIER AT CONVO PIT PARAPET STONE LIONS HORIZON ELEMENT STATUE NICHE DETAIL LIST 05.07.21 - WALL POCKET/ STEEL COLUMN PLACEMENT 05.07.21 - BACKING CHANGES 3 2 2 2 2 1 5 05.12.21 - ADJUSTMENT TO STEPS TO TERRACE 5 5 4 4 05.11.21 - sSPIRAL STAIR DIAMETER CHANGE 4 2 3 6 9 6 6 6 7 6 6 6 6 05.17.21 - CHANGES DUE TO UPDATED EXISTING COLUMN LOCATIONS 6 6 6 6 05.25.21 - BACKING CHANGE & OMIT BLUESCREEN 8 6 6 6 6 6 1 6 6 6 5 6 05.25.21 - SIDE HALLWAY ADJUSTMENTS 6 8 6 6 6 2 9 6 05.19.21 - NICHE ADJUSTMENT 3 6 6 7 05.07.21 - TREE ADDITIONS 6 05.25.2021 1:50 FEET 6 5 3 2 1 0 20 10 9 8 7 6 4 5 4 3 2 1 0 METRES 05.25.2021 05.25.2021 SER WAREHOUSE B 761- 765 01 05.04.2021 1:50 PLAN ATRUIM SCALE 1:50 ATRIUM VERIFY ALL EXISTING WAREHOUSE CONDITIONS NOTE Nothing becomes a billionaire like conspicuous consumption, and there's nothing as conspicuously consumptive as fine art, particularly when it's clearly displayed to promote the aesthetic bona fides and purchasing prowess of its owner/patron. It was always clear to me that Miles' intent with his art collection was that it confers upon him the most brilliant artistic taste that money could buy. It is hardly surprising then that the work of some of the 20th-century's most renowned artists hang cheek by jowl with the Mona Lisa (on special COVID-era loan from The Louvre). The Art Department spent time carefully recreating physical paintings of important artworks we cleared, as well as working with concept artist James Carson to create original paintings "in the style of." Meanwhile, Los Angeles Supervising Art Director John Dexter oversaw the production of the disruptor environs, from Connecticut governor to sweat shop fashionista to YouTube influencer to aerospace scientist to former business partner of Miles Bron. Finally, the production got to imagine a bit of where Blanc calls home—during the pandemic, it is apparently in his bathtub. Miles' collection of glass art was particularly challenging to produce—I sketched out forty different sculptural designs to be modeled and C. ATRIUM PLAN. DRAWN BY SHARI RATLIFF. D. MILES' PORTRAIT. PAINTING BY JAMES CARSON. C D