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An exterior, birds-eye view of the Parr’s new house shows more clearly the unsettling specter of conflict that story artists wanted to layer over the home. “We used a lot of triangles in the Parr house, overlapping or intersecting them in a sort of Gehry-inspired way, but doing it so that it always felt a little bit uncomfortable in a way that was hard to put your finger on. Round tables would not fit well in a space, or angles were just enough off to give you these vanishing points that were going in weird directions and interacting with one another in strange ways,” Philip Metchan, the lead of the previsualization team notes. “The idea was that over the course of the story, the family would realize, ‘This house is everything we aren’t.'”