架构师提供的文本描述。通常，时尚环境的定义是一种相当克制的极简主义，它只关注服装-原因很明显就是只卖衣服。在我们和Nicola Formichetti的合作下，我们重写了这个等式，创造了一种新的实验空间类型，它不仅展示了，而且放大了他的时装设计的影响，形成了一种融合了建筑和时尚的基因的新的沉浸环境。这种艺术学科的组合有着19世纪德国术语Gesamtkunstwerk的历史渊源，Gesamtkunstwerk描述了音乐、雕塑、绘画等更为传统的“艺术”的混合。我们用新的材料、新的技术和新的视觉效果更新了这一雄心，并将它们与当代艺术中最受欢迎和日益重要的当代艺术-时尚-结合起来。在纽约市备受尊敬的大都会艺术博物馆举办的亚历山大·麦昆展览“野人美人”等展览中，高级艺术与时尚之间的联系从未像现在这样强大过。

Text description provided by the architects. Typically, fashion environments are defined by a rather restrained minimalism that focuses the attention only on the clothing– for the obvious reason of only selling clothes. In our collaboration with Nicola Formichetti, we rewrote this equation and produced a new genre of experimental space that not only showcased, but magnified the impact of his fashion designs into a new form of immersive environment that fused the very genetics of architecture and fashion. Such combinations of artistic disciplines have historic roots in the 19th century German term Gesamtkunstwerk, which describes mixing the more traditional “arts” of music, sculpture, painting, etc. We updated this ambition with new materials, new technologies, and new visual effects that have only recently become available and combined them with what is perhaps the most popular and increasingly important of the contemporary arts today– fashion. With shows such as the Alexander McQueen exhibition, Savage Beauty, at the venerable Metropolitan Museum of Art in New York City, the associations between high art and fashion have never been stronger.

 Courtesy of Gage Clemenceau Architects

盖奇·克莱蒙梭建筑师的礼遇

尼古拉·福米切蒂项目将这一发展与有关建筑的新想法结合起来，以达到创新和进步的新目的。安装由数百个机器人切割和镜面组成，安装在轻量级复合结构支架上。这些单独的反射面悬挂在天花板和墙壁上，然后固定在地板上。每个面都是用一个精确弯曲的铝制夹子连接到它的邻居身上的。巨大的反光镜耐磨塑料覆盖地板，这有助于产生一个无休止的反光环境，允许衣服被折射在各种意想不到的角度。在此安装中，时尚不再是一个位于最小架构框内的对象。相反，它成为一种新环境的积极参与者，这种环境将建筑设计的空间和光学方面与只有在高级时尚世界中才能找到的临时、短暂和流畅的美丽形式结合起来。

The Nicola Formichetti project paired this development with new ideas about architecture towards innovative and progressive new ends. The installation was comprised of hundreds of robotically cut and mirrored facets mounted to lightweight composite structural backing. These individual reflective facets were hung from the ceilings and walls then secured to the flooring. Each facet was attached to its neighbors using a system of precisely bent aluminum clips. Large sheets of mirrored abrasion-resistant plastic covered the floor which helped to produce an endlessly reflective environment, allowing the clothing to be refracted in a variety of unexpected perspectives. In this installation, fashion was no longer an object that sits within a minimal architectural box. Instead, it became an active participant in a new type of environment that combined the spatial and optical aspects of architectural design with the temporary, ephemeral, and fluidly beautiful forms found only in the worlds of high fashion.

 First Floor Plan

一层平面图