Boeing, Boeing

For Boeing, Boeing, I leaned fully into midcentury modernism to evoke the stylish, high-stakes world of Marc Camoletti’s French farce. A sleek 1960s Paris apartment, defined by clean geometry, rich wood, warm neutrals, and bold accents, became an active comic partner rather than a passive backdrop.

Bernard’s entry vestibule, framed by blonde brick and anchored by a cobalt-blue front door, served as a visual and rhythmic focal point as lives spiraled into farce. Above, an orange Sputnik chandelier pushed the period language further while heightening the visual tempo of the room. Every furnishing and every angle had to reinforce the image of curated control.

The apartment was designed around six doors, each positioned to support the timing and choreography essential to farce. Furniture, décor, and circulation patterns had to look elegant while also functioning like a machine. The world projected polish and illusion, but that order was always meant to feel precarious.

As the comedy escalated, subtle visual clues, mismatched details, creeping plants, and the increasing pressure of the architecture, suggested the chaos gathering beneath Bernard’s carefully managed life. The set was never just background; it drove pace, stakes, and absurdity.