Tietz-Baccon fabricated a 7-foot by 23-foot freestanding wall, and a 10-foot by 160-foot decorative wall for Enova’s Chicago offices.
As more and more companies embrace open workspaces that support collaborative and impromptu group work, acoustics are of utmost importance to employee productivity. To craft sound-absorbing feature walls for the Chicago offices of financial firm Enova, Brininstool + Lynch turned to fabrication studio Tietz-Baccon. Their six-person facility in Long Island City, New York, makes bespoke solutions for a variety of design-minded clients who appreciate—and ultimately benefit from—the founders’ architectural background: Erik Tietz and Andrew Baccon met as students at Harvard’s Graduate School of Design.
“On the fabrication end, we take nonstandard projects and make them achievable by relying heavily on our digital capabilities,” Baccon said. “Brininstool + Lynch had a concept that was worked out very well and was looking for someone who could execute on a tight budget in a short period of time.” According to Baccon, the architects came to the fabricators with a family of shapes and a way of aggregating them, which was then applied to different materials, helping Tietz-Baccon deliver finished projects very close to the firm’s original requests. “There was good collaborative discussion, and a back-and-forth to tweak and bring the concept to realization. They didn’t have to compromise their idea that much.”
Veyko’s custom metal screens are composed of 284 aluminum strips, each containing several varying 45-degree angles.
After 25 successful years, it was time to update the interior of Le Bernardin—a New York restaurant renowned for its constantly evolving menu. Owners Eric Ripert and Maguy Le Coze turned to New York-based architecture firm Bentel & Bentel Architects & Planners to design an interior that matched its trend-setting carte du jour. Part of the sophisticated new palette includes three metal screens that offer privacy and transparency in the main dining area, a new lounge, and the entry foyer. To craft the screens’ 284 undulating aluminum strips and frames, the architects turned to Veyko, an ornamental metal fabrication studio outside of Philadelphia.
Jumping off from a two dimensional drawing, Veyko owner Richard Goloveyko said the specific form of the screens developed organically through the design and fabrication process. “We spent a lot of time establishing our ability to bend each bar consistently,” he said. “One of the intricacies of the project was keeping the bends consistent to form a pattern; if a bend isn’t consistent it can start to read.”
MC/2* is composed of .04-thick laser-cut polypropylene and aluminum rivets. Each component is flexible, but when assembled the surface becomes rigid.
The triangular MC/2* is the latest iteration of London-based Romanian architect Vlad Tenu’s Minimal Complexities Series. With this prototype, he continues to explore the idea of creating minimal surface geometries from modular components—a thread that has been present throughout much of his work. This time, he has pushed the boundaries even further by whittling down the components.
The undulating structure, made of translucent laser-cut polypropylene and aluminum rivets, was first unveiled hanging from the ceiling of the Open House event for Digital Shoreditch Festival 2012. It was then exhibited months later, at the International Architecture and Design Showcase at the London Architecture Festival 2012. This prototype follows a natural progression in this ongoing series, which gained recognition when Tenu was named the winner of the second annual Tex-Fab Repeat Digital Fabrication Competition for his Minimal Complexity structure in 2011.
Topocast and Randy Twaddle used Rhino to produce a 3D version of a 2D pattern. The 3D model became a 3D print, which was used as a prototype for casting 65 sculptural tiles.
The entrance portal of Mirabeau B, a 14-unit residential complex in Houston’s Hyde Park neighborhood, is home to a 7-foot-high, 25-foot-long white wall of deeply textural tiles. Each tile is 20 inches square and features on its surface a three dimensional pattern that resembles nothing so much as the carapace of a Sci-Fi race of crab creatures. In fact, the pattern was derived from a photograph of a power transformer and its tangle of intersecting wires atop an electric light pole. It was worked into its current condition through a collaboration between print and textile artist Randy Twaddle and Dallas-based design and fabrication studio Topocast.
Twaddle had used this image to generate several of his designs for wall coverings and rugs and the like. In this instance, he manipulated the image until arriving at a pattern that could be repeated and assembled modularly in a system of tiles. Twaddle delivered the 2D pattern to Topocast, which began to develop a workable 3D version. “Most of the 3D was done in Rhino,” said Topocast founder Brad Bell. “We also used the Rhino plugin T-Splines to create the intricate curvature and geometries.”
CTC realized Piano’s design concept by designing and fabricating a cladding system of a structural steel tube framework covered by extensive FRP panels.
For his design of the Resnick Pavilion at the Los Angeles County Museum of Art (LACMA), Renzo Piano revived an idea he first explored with Richard Rogers in their design of the Centre George Pompidou in Paris: the idea of the building as an organic breathing machine. At Pompidou, the architects turned the museum’s mechanical systems into expressive elements, color coding the pipes, ducts, gantries, and escalators and pulling them to the exterior of the structure. At the Resnick Pavilion, Piano located the mechanical rooms and air handling units prominently outside the four corners of the 45,000-square-foot building, applying cladding to the ductwork in a bright red color used in circulation corridors throughout the LACMA campus.
Piano turned to Capastrano Beach, California-based design/build firm CTC (Creative Teknologies Corporation) to realize his design concept. “We took in data from three parties,” said CTC president Eric Adickes. “Piano gave us perspective sketches of how he wanted the air handling units to look, the air conditioning contractor, Acco, gave us Revit drawings, and the general contractor, MATT Construction, gave us 2D Autocad documents of the building and concrete foundation.” From those sources, CTC developed 3D models of a cladding system for the ventilation ducts using CATIA.