This page contains a Flash digital edition of a book.
102


PROJECT / BOFFO BUILDING FASHION SERIES, NEW YORK CITY, USA


facet is attached to the adjacent facet using a system of precisely bent aluminum clips.


#2: Fibulae Marc Fornes :: THEVERYMANY + Irene Neuwirth


September 29 – October 12, 2011 The 1,800 sqft pop-up shop displayed the work of Los Angeles-based jewelry designer, Irene Neuwirth. As a “leading figure in the development of computational protocols ap- plied to the field of design and fabrication”. Marc Fornes :: THEVERYMANY was selected by Irene Neuwirth, Boffo and a team of judges to create an environment that melds structural designs with Neuwirth’s elegant, one-of-a-kind jewelry. Marc Fornes :: THEVERYMANY designed Fibulae to be an “embroidered symbolic brooch, showcas- ing the vibrant multicolour collection of Irene Neuwirth”. 7,000 brushed aluminum parts were pre-cut and then assembled into 28 sculptural modules using thousands of rivets. The complex system of intertwin- ing tubes showcase Neuwirth’s jewelry in 19 glass cases located at the branches’ endpoints. Andersen imagined Fibulae as a “hidden jewel in a forest – glistening in the sunlight during the day and illuminated by a warm internal glow in the evening.” During the day, the room’s perimeter walls are lit, which is then reflected by the sculpture’s golden metal surface. At night, on the other hand, light from fixtures mounted within the sculpture filters through the flower-like cut-outs on the metal, projecting patterned light on all of the perimeter walls and ceiling. In both scenes, Neuwirth’s jewelry - displayed in individual glass cases - takes centre stage through the use of ceiling mounted pin-spots, and small LED accents mounted to the actual sculpture.


#3: Patrick Ervell + Graham Hudson October 20 – November 2, 2011 Focus Lighting worked closely with Graham Hudson to design the lighting for the third pop-up shop in the Boffo Building Series. The space morphed into a decaying shell to house Ervell’s products, which are known for their “innovative materials and uncon- ventional application”. From this destruc- tion is a literal and figurative transforma- tion into art and design. The lighting design was inspired by both the environment’s beauty as a crumbling shell and its rugged- ness as a space in the midst of transforma- tion. Focus Lighting created what appears to be the existing lighting that has since deteriorated and been partially destroyed along with the rest of the space. Decorative fixtures that have been broken and painted to display wear and tear are mounted on the disintegrating ceiling, and flickering fluorescents usher in guests at the entry. To correspond to the shop’s transformative ele- ment, flood lights and string lights, which are typically used as temporary lighting in construction, are worked into the scaffold- ing. The design of the space goes beyond the typical retail storefront. Instead the intent is for the function of the store to disappear to leave visitors immersed in an integrated environment with garments in it. The objective was to light the space and the garments as an integrated whole. Floodlights project patterns on the wall, the play with patterns and grids mimicking the structure of Graham’s design.


#4: SOFTlab + The Lake & Stars November 10 - 23, 2011


The SOFTlab-designed pop-up shop for The Lake & Stars plays with the concept of viewing cones to provide visitors with two entirely different shopping experiences. Focus Lighting used these cones both as a


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54  |  Page 55  |  Page 56  |  Page 57  |  Page 58  |  Page 59  |  Page 60  |  Page 61  |  Page 62  |  Page 63  |  Page 64  |  Page 65  |  Page 66  |  Page 67  |  Page 68  |  Page 69  |  Page 70  |  Page 71  |  Page 72  |  Page 73  |  Page 74  |  Page 75  |  Page 76  |  Page 77  |  Page 78  |  Page 79  |  Page 80  |  Page 81  |  Page 82  |  Page 83  |  Page 84  |  Page 85  |  Page 86  |  Page 87  |  Page 88  |  Page 89  |  Page 90  |  Page 91  |  Page 92  |  Page 93  |  Page 94  |  Page 95  |  Page 96  |  Page 97  |  Page 98  |  Page 99  |  Page 100  |  Page 101  |  Page 102  |  Page 103  |  Page 104  |  Page 105  |  Page 106  |  Page 107  |  Page 108  |  Page 109  |  Page 110  |  Page 111  |  Page 112  |  Page 113  |  Page 114  |  Page 115  |  Page 116  |  Page 117  |  Page 118  |  Page 119  |  Page 120  |  Page 121  |  Page 122  |  Page 123  |  Page 124  |  Page 125  |  Page 126  |  Page 127  |  Page 128  |  Page 129  |  Page 130  |  Page 131  |  Page 132  |  Page 133  |  Page 134  |  Page 135  |  Page 136  |  Page 137  |  Page 138  |  Page 139  |  Page 140  |  Page 141  |  Page 142  |  Page 143  |  Page 144  |  Page 145  |  Page 146  |  Page 147  |  Page 148  |  Page 149  |  Page 150  |  Page 151  |  Page 152  |  Page 153  |  Page 154  |  Page 155  |  Page 156  |  Page 157  |  Page 158  |  Page 159  |  Page 160  |  Page 161  |  Page 162  |  Page 163  |  Page 164  |  Page 165  |  Page 166  |  Page 167  |  Page 168  |  Page 169  |  Page 170  |  Page 171  |  Page 172  |  Page 173  |  Page 174  |  Page 175  |  Page 176  |  Page 177  |  Page 178  |  Page 179  |  Page 180  |  Page 181  |  Page 182  |  Page 183  |  Page 184  |  Page 185  |  Page 186  |  Page 187  |  Page 188  |  Page 189  |  Page 190  |  Page 191  |  Page 192  |  Page 193  |  Page 194  |  Page 195  |  Page 196  |  Page 197  |  Page 198  |  Page 199  |  Page 200  |  Page 201  |  Page 202  |  Page 203  |  Page 204  |  Page 205  |  Page 206  |  Page 207  |  Page 208  |  Page 209  |  Page 210  |  Page 211  |  Page 212  |  Page 213  |  Page 214  |  Page 215  |  Page 216  |  Page 217  |  Page 218  |  Page 219  |  Page 220  |  Page 221  |  Page 222  |  Page 223  |  Page 224  |  Page 225  |  Page 226  |  Page 227  |  Page 228