"Citizenfour," in fact, enlarges and underlines ideas about architecture, privacy and culture that run more subtly through a number of Oscar nominees. Several [...] movies exploit the dramatic appeal of the constricted, labyrinthine, tightly packed, claustrophobic or paranoid space: the crowded backstage corridors of "Birdman" by Alejandro G. Iñárritu; the tunnels, hallways and dollhouse-like spaces of Wes Anderson's "The Grand Budapest Hotel"; the Edmund Pettus Bridge in Ava DuVernay's "Selma." — latimes.com
Silicon Valley is a meticulously researched show [...] and the work spaces that appear on screen are no exception. Production designer Richard Toyon, the man responsible for the visual storytelling, called up friends all over Silicon Valley to get a peek inside the offices of Facebook, Google, Zynga, and others. Security often prevented Toyon from taking pictures inside the buildings, so he made due with mental notes. — fastcodesign.com
Apartment 17-B, right, set decorator Claudette Didul said, is "in a high-rise that feels like it was built in 1960 with a white-carpeted sunken living room and a fascinating fireplace and a Case Study-style kitchen with two pass through windows."
It also sports walnut cabinetry with a built-in television set and one of those new-fangled-for-the-time push-button phones. — latimesblogs.latimes.com
It sparked a thousand childhood nightmares – now the original workhouse from Oliver Twist has been discovered. But a row has erupted over what to do with the building. — telegraph.co.uk
Leonardo da Vinci was an architect, painter, musician, and more. Corb was an architect and watchmaker. Recently, we've seen celebrity designers David Rockwell, Santiago Calatrava, and Jacques Herzog and Pierre de Meuron take an interest in set design for theater. And most recently, Rafael Viñoly, one of the world's most renowned architects today, takes center stage, yet again, at Bard SummerScape for the Festival's first fully-staged production of Richard Strauss's opera, Die Liebe der Danae. — huffingtonpost.com
Based upon the woman's story and Moulin's research, Mabon and Hayes constructed a film-style set for the chronic déjà vu sufferer, complete with marks on the floors, visual instructions and specially-designed objects.
They also created a very detailed schedule to give a feeling of continuity and help the woman go through the day with as few surprises (hence risks of déjà vu) as possible. — we-make-money-not-art.com
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