Karl Lagerfeld’s recreation of the Verdon Gorge (a river canyon in southeast France) for Chanel SS2018. Photography Olivier Saillant
The Tattoo parlor where Hawk got the eagle tattoo was actually the set of Robby Keene’s apartment! As well as the kitchen where Eli was with his mom was also Daniel LaRusso’s Bedroom. The set designer was the same one for Kirby Buckets, the show Jacob Bertrand used to worked on. Finally, in that day they did what was called “Double Up Days.” Meaning while they were doing that scene, someone else was filming a totally different episode. So Jacob had his blue hair for one scene, then went to dye his hair red for another then got a WIG for Season 2 episode 5, All In.
There was no mirror ball at Studio 54, but set pieces like the iconic “Moon and Spoon” designed by Aerographics (Richie Williamson and Dean Janoff), as well as kinetic lighting by Jules Fisher and Paul Marantz, set it apart from other discotheques. Because it was located in a renovated theater building, changes of scenery could be frequent, seamless, and magical, with set pieces flying in and out above the stage-turned-dancefloor. Owners Ian Schrager and Steve Rubel also hired Experience Space—a team of interior designers known for their work in boutiques and restaurants—to elevate the entryway, bar area, and dancefloor surroundings. A balcony and other seating areas made Studio 54 a place to see and be seen. The combination of high-end design, original theater architecture, and dynamic sets, lighting, and sound created an exhilarating environment described as “lightning in a bottle.”
Posted by Forrest Pelsue
Photos (1-6): Adam Scull (American). Michael Overington Renovation, 1981. ⇨ Steve Rubell and Tom Snyder, September 21, 1978. ⇨ Entrance Hall at Studio 54, 1978. ⇨ Bar at Studio 54, 1977. ⇨ Dance Floor at Studio 54, 1977. ⇨ Dance Floor at Studio 54, 1977. Photos by Adam Scull/PHOTOlink.net. © Adam Scull; and ⇨ Last Photo: Dustin Pittman (American). New Year’s Eve, 1979. Courtesy of the artist. © Dustin Pittman
Intentional or not, I do feel the RAH 25th anniversary concert picked up a clue or two from the non-replica Hungarian production
BNHA Dorm-tober Day 1: WIP’s
I dont think you can understand the knot I have on the back of my neck because of forking perspectives
Reason why Im having this week challenge, to combat perspective lines
Anywho, this week is designing my BNHA OCs’ dorm rooms. Yesterday on my accidental poketober free day I made some research and the culmination is seen on the sketchy sketches (Makoto top, Haru bottom). And while I also had a cutaway skeleton I wasnt satisfied and redid it until it fit. Still the mutherforking thing is too wide but you know what? Fork it it’s staying in those dimensions.
At this point Im deadly afraid of rewatching the Dorm Contest episode like I had planned so yeah I’ll be working with my memory and a small reference template. (The little “room” at the bottom is suppose to be a restroom and the closet.)
I wont be able to update tomorrow so I hope I can get the cutaway skeleton finished with it’s other view by saturday night, sunday at the latest. Depending on how I do with 1 cutaway I may have to cancel the last little project of the month and just focus on these monsters instead. Either way, while I still need to comprehend perspective focal points; these are a good exercise and wouldnt mind spending the last 2 weeks on them.
A summer getaway 🌅
if Moulin Rouge doesn’t win best set design i’ll lose it
WARNING: FLASHING IMAGES
wow- set design goes much faster when you have all the assets ready to go lol
Dans l’émission Spécial Cinéma,
Christian Defaye et Claudette
avec Jacques Demy à propos d’Une Chambre en ville, 1982
Eddy Mitchell, âme solitaire, chante Tu peux préparer le café noir, 1980
Tove Jansson in her studio / Alma Pöysti in Tove (2020)
Vintage linen-backed keybook photograph of the famous nightclub set in the 1929 film ‘Broadway.’
The photograph highlights not only the spectacular production design, but the camera crane developed by director Paul Fejos, which enabled the cumbersome cameras at the time to fluidly move at nearly every conceivable angle, and at the speed of 600 feet per minute.