Production designer Kalina Ivanov has provided detailed insights into how she transformed New York City and its surrounding areas into the fictional Gotham City for HBO's television series "The Penguin." In an interview with Architectural Digest, Ivanov explained her creative process and the specific locations that brought the dark world of Gotham to life on screen.
Ivanov's passion for New York City made it the perfect choice for representing Gotham in the series. "Because New York City is the love of my life. I love it decayed. I love it shiny. I love every look of New York City. It has everything," she explained. "It has the streets, it has the history, and the crooked politicians. It has everything. That is why New York City had to be Gotham."
Drawing from personal experience, Ivanov incorporated her memories of Hurricane Sandy into the show's design. Having lived through the devastating storm, she witnessed firsthand how the flooding transformed the city's landscape. "I lived through Sandy. As a matter of fact, the water breached where I live, and Avenue C was entirely covered in dirt. I took that memory and experience, and I transferred it to the set, in a sense," Ivanov recalled.
For the flooded neighborhood of Crown Point in the series, Ivanov chose a street in Yonkers, drawing inspiration from historic Manhattan neighborhoods. She specifically looked to the Five Points area in lower Manhattan, particularly the Mulberry Bend, for authenticity. "This is a real street in Yonkers... So Crown Point is based on the Five Points in Manhattan, particularly the Mulberry Bend. It gave us this wonderful curve to slowly reveal the Crown Point," she explained.
The curved street design served a specific cinematic purpose, allowing for dynamic camera movement and storytelling. "It allowed for a flowing shot to go through this street and ends up right where you need to end up. But you don't see it from the beginning. If the street was straight, you'd see where your end point is," Ivanov noted, highlighting how the physical layout enhanced the visual narrative.
For the Falcone mansion sequences, Ivanov selected Oyster Bay on Long Island, drawing inspiration from historical migration patterns of New York's wealthy elite. "In the 70s and the 80s, the rich fled the city. So we took that as a cue. The rich lived in Bristol township in our story, which is, of course, 30 miles outside of the city. I thought of it as Oyster Bay," she explained.
The vision for Carmine's residence drew from classic American literature and architecture. "I envisioned Carmine's residence as an Italian villa. In a sense, I was thinking of The Great Gatsby. And we went to Oyster Bay and we found this location, which is a real Italian villa from 1925. And all we did was bring the fountain in and the greens," Ivanov revealed, showing how minimal additions to authentic locations created the desired atmosphere.
The production also featured elaborate trolley scenes and various other New York locations, each carefully selected to contribute to the overall Gotham aesthetic. Ivanov's approach demonstrates how real urban environments can be transformed through thoughtful design choices and historical research, creating a believable fictional world that resonates with audiences familiar with New York City's diverse neighborhoods and architectural heritage.
