Issue link: https://digital.copcomm.com/i/1535796
inspiration from the Japanese Imperial Palace, Chicago's Midway Gardens and his prairie period— clean lines, natural materials and architectural breathing room. We wanted something both cinematic and deeply rooted in Hollywood history. Building the Executive Offices The series had nine weeks of preproduction before filming the executive office set on Day One. At first, I worked alone with Concept Artist Henry Fong and 3D artist Travis Kerr, but the scope quickly expanded. The layout needed to accommodate the long, continuous takes Seth and Evan wanted. A one-story office didn't fit within our stage footprint, so we went with two stories. That decision also gave us dynamic camera movement—tracking shots up the stairs and crane moves in the lobby—turning architecture into cinematography. Travis was joined by Set Designers Nealy Orillion and Mike Stassi. In total, we released one hundred and eleven sheets of drafting for the exterior and interior executive office set. There were so many details that we developed our own language of abbreviations. Perforated textile blocks became PTBs; lit column panels became LCPs. The design approach stuck to Wright's philosophy: materials from the earth. Plaster, but with glass mixed in for a subtle sparkle. Emerald-green ceramic tiles. Copper desks instead of gold. Natural tones with rich textures. The entire construction department made the impossible possible. Construction Coordinator Jeff Goyer used every fabrication method he could think of to get our thousands of custom textile blocks completed in time: CNC, laser cutting and foam castings. Plaster foreperson Josh Soles ran 24-hour crews. The crew had the heaters on stage at full blast, trying to dry the plaster before the shooting company moved in. Lead painter Kay Kropp was 1'-5" 1'-7 1/2" molding to receive wall 1'-5" 1'-7 1/2" 1'-1 1/2" 1'-2 3/4" Depth needed at top for light trough 8 1/2" 9 3/4" 8 1/4" 9 1/2" Recess back for light trough Office ceiling height Panels receive window walls Gap receives office walls 1'-1 1/2" 1'-2 3/4" Depth needed at top for light trough 5 3/4" 7" 13'-0" 11'-6" Truncated moldings Window Walls butt up against panels Truncated moldings Column receives office walls Gap receives window walls base Gap receives window walls base Office ceiling height Front Rear Rear Front I suggest adding this panel after wall/trough is in place. 9 1/2" 9 1/2" Partial 1/2" Thick Panel I suggest adding this panel after the wall is in place. Partial 1/2" Thick Panel I suggest adding this panel after the wall is in place. Partial 1/2" Thick Panel I suggest adding this panel after the wall is in place. Partial 1/2" Thick Panel Flat Blocks with seam to header 19 5 Column 5 Scale 3/4" = 1'-0" 19 6 Column 6 Scale 3/4" = 1'-0" 19 7 Column 7 Scale 3/4" = 1'-0" BUILD 2 Pilaster BUILD 2 Corner Pilasters BUILD 10 1'-5" 1'-7 1/2" 2'-2" Truncated molding to receive wall 1'-5" 1'-7 1/2" 1'-1 1/2" 1'-2 3/4" Depth needed at top for light trough 8 1/2" 9 3/4" 8 1/4" 9 1/2" Recess back for light trough Office ceiling height Panels receive window walls Gap receives 1'-1 1/2" 1'-2 3/4" Depth needed at top for light trough 5 3/4" 7" 13'-0" 11'-6" Truncated moldings Window Walls butt up against panels Truncated moldings Column receives office walls Gap receives window walls Gap receives window walls base Office ceiling height Front Rear Rear Front I suggest adding this panel after wall/trough is in place. 9 1/2" 9 1/2" Partial 1/2" Thick Panel I suggest adding this panel after the wall is in place. Partial 1/2" Thick Panel I suggest adding this panel after the wall is in place. Partial 1/2" Thick Panel I suggest adding this panel after the wall is in place. Partial 1/2" Thick Panel Flat Blocks with seam to header 19 5 Column 5 Scale 3/4" = 1'-0" 19 6 Column 6 Scale 3/4" = 1'-0" 19 7 Column 7 Scale 3/4" = 1'-0" BUILD 2 Pilaster BUILD 2 Corner Pilasters BUILD 10 A. SECOND-FLOOR HALLWAY. SKETCHUP DIGITAL MODEL VIEW BY TRAVIS KERR. B. INTERIOR STEINBERG BUILDING LOBBY, CONCEPT ILLUSTRATION BY HENRY FONG. C. COLUMN CONSTRUCTION DETAILS. SKETCHUP/LAYOUT DRAWING BY TRAVIS KERR. D. TEXTILE BLOCK SAMPLES. SAMPLES WERE CRUCIAL IN DEVELOPING THE FINISHED COLOR, PLASTER AND AGING PROCESSES USED. E. FLOOR PAINT SAMPLES. WORKING FROM REAL CERAMIC TILE SAMPLES, LEAD PAINTER KAY KROPP DEVELOPED A PROCESS THAT USED LAYERS OF GLAZES. A B C D E