I
Bartow
HIGH-RISE page 67
something which is spatially
interesting, well-detailed
and well put together while
fighting the extreme limita-
tions of the real world.
"When you design for the
camera, the speed with
which things are executed
can be very exciting, and
you're just evoking what is
most spectacular or most es-
sential about an environ-
ment.
"You can do things which
would be physically impos-
sible in the real world, and
it can be truly liberating."
Although set production
starts with traditional ar-
chitectural sketches, the job
requires using found objects,
things the studio already
owns or existing spaces. As
designer, Mr. Lasher must
plan so the camera can be
positioned properly and so
that colors can react with
the lighting to make the im-
age look convincing.
"It's sort of a trial by fire,"
he said. "Fortunately I'm
surrounded by a lot of peo-
ple who understand the re-
lationship between a filming
environment and the tech-
nical aspects of how things
are put together."
Mr. Lasher works with an
art director and production
designer, who decide what
look each set should have.
One of the first planned for
the series was Al Capone's
hotel suite.
"My early impression was
that the set would look
rather slipshod in person
but would probably look fine
on film," he said.
"When I actually watched
the set going up, the quali-
ty of construction was ex-
traordinary. Spatially, it's
very beautiful.
"All you'd have to do is put
a ceiling on it, and it would
be as legitimately architec-
tural as anything else I've
worked on."
Although most of his work
is done in an office, he visits
outside locations that have
to be transformed for the
scenes in which they will be
used.
Mr. Lasher verifies condi-
tions and makes decisions
such as where a wall is
needed to conceal distrac-
"You can do things
which would be
physically
impossible in the
real world."
tions or where moldings
should be added for partic-
ular effects. Research assis-
tants trace historical
information.
When tracing his career
history, Mr. Lasher refers to
his years in Michigan.
"I think growing up in De-
troit had a lot to do with my
interest in the built envi-
ronment," said the son of
Mary Aim and Gerald Lash-
er. "I'm particularly inter-
ested in urban architecture.
"I learned a great deal
from spending time at Cran-
brook, which is one of the
superior architectural en-
sembles in the United
States. Ultimately, when I
did my thesis for my degree,
I completed what Eliel
Saarinen left incomplete at
Cranbrook."
Mr Lasher has studied
and designed architecture
outside the country. He won
a fellowship that took him
to Denmark, Sweden and
Finland, and he recently
planned a multi-use build-
ing in Korea.
Wherever he goes, he tries
to experience the effects of
the built environment on
people and the effects of
people on the built environ-
ment, remaining particu-
larly impressed with Tel
Aviv, where he recently vis-
ited his sister.
"I found a remarkable city(
built on the architectural
principles of the early mod-
ern movement," he said.
While Mr. Lasher appr6 n
ciates the built environment
as "the stage for the drama
of our lives," he looks for -4
ward to applying his artis-
tic talents to the staged
environments of filmed dra7J
mas.
"What is expressed in ar-
chitecture is, for the most
part, limited to the medium
itself," he explained. "It will
be an architectural idea, and
without a great stretch o)
the imagination, it won't be
an idea about society or pol-
itics, justice or injustice. The;
ideas expressed have to do
with modulation, rhythm,
texture, materials, light
shadows, space. ❑
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