This was a hard design to arrive at. My director wanted an ambiguous, flexible space that could still support both the time period and the constraints of our studio. It was also a technically ambitious show, built on a very small budget and an extremely tight timeline. The entire set was installed, built, and painted within four days.

I drew inspiration from 1960s magazines that imagined the future of office spaces. I was struck by their use of geometric shapes and undefined patterns, and I leaned into that aesthetic for the floor and the television studio environment.

I also incorporated a symbolic crosshair motif, referencing a sniper’s scope, which serves to foreshadow the death of humanity.