final objective of giving the Director of photography an
environment that could be shot in the style of 24 (a hand-
held camera to capture long walk-and-talk scenes) and in
any direction without having to continually re-light. Bold and
as my inspiration in the design of the ceiling in the Council
sharp wall fixtures were recessed and spaced to create a
rhythm of light and dark‚ while smaller fixtures were placed
at the intersection points of the ceiling grid as an accent.
Glass partitions for the workstations glowed softly within
their own environments‚ and task lights were mounted
Chamber set. All the components‚ details‚ finishes‚ furniture‚
colors and textures were drawn from the original complex
and reconfigured to serve the needs of our production.
With this set‚ it was important to cast a more formal tenor‚
which was appropriate for a building devoted to politics
on a perimeter track to punctuate the working surfaces
—i wanted everything to harmonize the overall
light envelope.
diplomats and dignitaries had roots in the same Mid-Century
Modern style of architecture. Upgraded elements were
added to provide a more contemporary look and to visually
set it apart from the rest of the complex.
if we look at niemeyer’s Congress Building in Brasilia‚ it is
obvious to see his influence in the conception of the Un
complex for the show. the “bowl” shaped element served
Creating an alternate reality‚ but one that exists in
an artificial world where there are no natural ambient
characteristics‚ is the essence of production design. A
metaphoric place of space‚ color and light—the combining
of these elements, for me, has been an extraordinary journey
through the art of production design n
