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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.”
Just over four years ago, the Fox River spilled its banks, sending floodwaters into Mies van der Rohe’s Farnsworth House and causing significant damage. Built in 1951 and located outside Chicago, the river is again rising, now fully surrounding the stilted abode turned museum, and the house, operated by the National Trust for Historic Preservation, has shared watery photos on its Farnsworth blog, stating: “The house is fully surrounded by river water, but neither the lower deck nor the upper deck has yet to be breached.” Water is not expected to enter the house, but all precautions are being taken, including elevating interior furnishings on milk crates.When the site is not flooded, tours of the house are available to the public.
After a neighborhood church announced it would withdraw its bid to acquire the northwest side cinema, preservationists celebrated. But a September acquisition by Congress Theater owner Erineo “Eddie” Carranza left some of them with lingering doubts. WBEZ’s Jim DeRogatis reported theater owners Dennis Wolkowicz and Dave Dziedzic may have been served with a 60-day eviction notice, noting the Portage has no new bookings after mid-April.
We were glad to be included on the Studio Gang’s Archi-Salon panel on “outside research” at the Art Institute of Chicago on February 2. UIC’s Clare Lyster moderated a lively discussion that, true to its roots in academic theory, kicked off by questioning the premise in the first place. Are practice and research separated by anything more than semantics? Based on the turnout it seems the discussion series achieved its goal of public engagement—what can we say? We’re thrilled and a bit surprised that you all find architectural theory as stimulating as we do.
During the discussion, Paul Preissner detected a whiff of marketing in architects’ clambering to engage “outside” disciplines. You might have thought he accused them of artistic treason, based on the defensive tone that the discussion took whenever the topic popped back up.
The Wisconsin Department of Transportation is reportedly considering building a 40-foot high, double-decker highway through Milwaukee’s Story Hill neighborhood. At six or eight lanes, preliminary plans for the split-level freeway show a massive project intended to help relieve the I-94 bottleneck. As Urban Milwaukee reported, residents of the Story Hill Neighborhood Association are not happy about the plans:
“The political decision will be to sacrifice this neighborhood for the commuters,” predicted Ald. Michael J. Murphy, who both represents and lives in Story Hill.
Story Hill’s view of downtown would be blocked by the tall freeway as designed, but Wisconsin transportation officials say the high-set design is less expensive than building the freeway lower.
Casinos have landed in Ohio’s three largest cities, now that Cincinnati’s $400 million Horseshoe casino is open for business. Eric Douglas, a member of the Congress for New Urbanism, has an interesting post as a guest blogger for UrbanCincy on the casino’s supposedly urban character. While Horseshoe casinos in Cleveland and Cincinnati have been billed as “truly urban” establishments, he writes, “casinos are not known to be particularly friendly urban creatures.”
As Chicago gears up for an overhaul of the city’s Riverwalk, Mayor Rahm Emanuel has touted his architectural cause célèbre as a way for the city to reengage with its “second shoreline.” The renderings by Sasaki Associates show six new blocks of riverfront parks, effectively connecting the shore of Lake Michigan with a small park at the foot of the three massive towers planned for Wolf Point, at the confluence of the Chicago River’s three branches.
Victoria Sambunaris: Taxonomy of a Landscape
Museum of Contemporary Photography
600 South Michigan Avenue
Through March 31
Victoria Sambunaris has photographed the American landscape from coast to coast, investigating human interaction with and relationship to the natural environment. Over a decade’s worth of color photographs taken with a 5 by 7 field camera capture the multiple layers of America’s expansive landscapes that are interrupted by human development. Born to Greek immigrant parents driven by the American dream, Sambunaris has become fascinated and identifies with the unease of the Mexico/United States border. Her photographs of over 2,000 miles of these borderlands suggest an innate similarity between the two lands in spite of national boundaries. Taxonomy of a Landscape also includes a complete archive of Sambunaris’ travels with maps, journals, road logs, collected souvenirs, and sketches.
Over the past week, news of one allegedly-very-old tree cut down on the University of Louisville’s campus where a wHY Architecture-designed addition to the Speed Art Museum is being built has tree experts in Louisville counting rings on a stump. Students creating a map of all 2,500 trees on the University’s campus as part of Dr. Tommy Parker’s Urban Wildlife Research Lab had estimated the tree was over 300 years old, generating an impassioned oped in the student newspaper. The Speed and local news sources looked further into the mysterious tree, using the stump and historical photos of the museum (above) to determined that the tree was really only 60 years old. Steven Bowling, Director of Marketing and Communications at the Speed Art Museum, also wrote in with this statement about the tree’s removal:
As part of the Speed Art Museum’s long planned expansion, the Speed and its architect, wHY Architecture, carefully analyzed the site and its space constraints. The goals were threefold: to protect the Museum’s 1927 historic building to accommodate the Speed’s growing audience, to link the expanded green spaces of the Museum with the University of Louisville Campus and to seamlessly integrate art and nature on the 6-acre site. During the planning phase, the Speed, together with the architects, reviewed several possibilities in consultation with landscape architects and an arborist to expand the Museum’s footprint with minimal interruption to the historic building, the surrounding area, and trees within the Museum’s footprint. In the final plan, the tree needed to be removed. Removal of the tree, which the arborist determined was 60 years old, allows the site to be re-graded and expands accessibility for all visitors to the Museum and its grounds. While both the Museum and the architects regret the removal of that tree, the new Speed Art Museum which will re-open in 2016 will provide students and visitors with expanded green space that includes an art park and public piazza, as well as the planting of more than 40 new trees.