Learn Parametric Design From the Pros at Facades+PERFORMANCE On April 11+12

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Tuesday, April 2, 2013
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We know you’ve seen those sleek parametric designs that are all the rage in cutting-edge architecture, but have you ever wanted to make your own? Venturing into the software zoo of Grasshopper and Rhino can be daunting on your own, and understanding algorithms and computational geometry can sound like Greek to the uninitiated. Luckily, parametric expert Ronnie Parsons of Mode Collective has joined the upcoming facades+PERFORMANCE Conference taking place in New York City next week, April 11 and 12, and will help guide beginners into the exciting world of Parametric Design.

With a focus on fundamental concepts and workflows for creating performance-based design models with the parametric design tool  Grasshopper for Rhino3D. Parsons’ Technical Workshop, Introduction to Parametric Design, will guide participants through a series of exercises designed to emphasize the relevant applications of parametric design for professional practice.

Register today for the Introduction to Parametric Design workshop and the facades+PERFORMANCE before space fills up. There are 8 LU AIA CE credits up for grabs, so head on over to the facades+PERFORMANCE homepage for more information.

Pyramid Scheming with Michigan Architecture Students

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Friday, March 29, 2013
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Four truncated pyramidal units make up Stalactites. (Harold-Sprague Solie and Geoffrey Salvatore)

Four truncated pyramidal units made from Bristol board make up Stalactites. (Harold-Sprague Solie and Geoffrey Salvatore)

Two students in the University of Michigan’s Taubman College of Architecture + Urban Planning designed a textural, horizontal installation with complete transparency.

When Harold-Sprague Solie and Geoffrey Salvatore developed their decorative 12- by 5-foot ceiling installation Stalactites for a graduate course with Tsz Yan Ng at the University of Michigan’s Taubman College of Architecture + Urban Planning, the goal was to produce a design and fabrication process with an accompanying detailed set of documents. “We wanted to take the focus away from just the object at the end and go through a set of drawings to help [the viewer] understand the installation and bring him or her into it,” said Salvatore. He expressed the desire for complete transparency, since architecture tends to conceal the labor details, and explained that this process helps expose some of the hidden logic of the project.

So while the drawings began as aids for viewing and understanding the project, they became useful as Solie and Salvatore went through the design process. “[As we worked] we’d have these drawing to fall back on; to rediscover ideas, to catch mistakes and reveal things we’d have missed,” Solie said. Read More

Aidlin Darling’s Ribbed Canopy

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Friday, March 22, 2013
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Aidlin Darling Design's 46-foot-long canopy evokes plumes of smoke.

A 46-foot-long canopy of painted MDF evokes plumes of smoke in a San Francisco barbecue restaurant. (Matthew Millman Photography)

With the help of Laser Alliance and Chris French Metal, Aidlin Darling Design crafted a hanging ceiling canopy composed of 180 wooden ribs.

Wexler’s refined spin on farm-to-table barbecue in San Francisco’s financial district offers guests an authentically char-grilled dining experience, minus the smoldering cinders. Inspired by its progressive grill menu, local multidisciplinary firm Aidlin Darling Design dreamed up a 46-foot-long billowing ceiling canopy that hovers over the dining room like a plume of smoke. The feature also extends to the exterior, doubling as an awning over the main entrance that beckons passersby.

“The original design, based on an undulating plane of smoke, was designed in both AutoCad and Rhino, [using the] lofting feature that extrapolates geometry between two curves,” said Adrienne Swiatocha, project architect for Aidlin Darling Design. The canopy’s softly curving profiles at the exterior and at the end of the wall were hand-drawn. The architects used Rhino to amplify and adjust these curves throughout the center portion of the canopy. This varying amplitude echoes the way smoke dissipates across a room. “[Then], we sliced the three dimensional plane every few inches to generate a bunch of curved line profiles, and offset it by 5 inches to create a second, curving, thickened line.” Read More

Tietz-Baccon Dials Down The Volume in a Textural Chicago Office

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Friday, March 15, 2013
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The "fin" feature wall measures 10 feet by 160 feet. (Christopher Barrett)

Raw material was juxtaposed against lacquered MDF at the bottom that alternates for textural variation as well as durability. (Christopher Barrett)

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.”

Continue reading after the jump.

Veyko’s Four Star Installation for Le Bernardin

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Friday, March 8, 2013
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The main metal screen in the dining room of Le Bernardin measures 32 1/2 by 11 1/2 feet. (Eduard Hueber)

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.”

Continue reading after the jump.

TED Fellow Skylar Tibbits Leads April 12 Workshop

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Friday, March 1, 2013
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Did you miss 3-D printing guru Skylar Tibbits at this year’s TED conference? Never fear, there’s an opportunity to hear Tibbits in New York City on April 12. And not just hear but participate in a hands-on workshop that Tibbits will lead as part of Facades + PERFORMANCE, a two-day conference on high-performance building enclosures sponsored by The Architect’s Newspaper.

Earlier this week at TED, Tibbits gave 3-D printing another dimension, quite literally, when he presented the possibility of “4-D printing,” or programming materials to self-reassemble into new structures over time. Tibbits unveiled a 4-D printer concept developed with MIT that he argues could have far-reaching implications for not just manufacturing but also for architecture. Will architects one day be able to design structures that build and mend themselves? Here’s the idea, as Tibbits told TED:

“If we combine the processes that natural systems offer intrinsically—genetic instructions, energy production, error correction—with those artificial or synthetic—programmability for design and scaffold, structure, mechanisms—we can potentially have extremely large-scale quasi-biological and quasi-synthetic architectural organisms.”

Continue reading after the jump.

Twaddle and Topocast Make Houston Textural

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Friday, February 22, 2013
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The tiles’ intricately curving geometry was derived from a photo of a power transformer. (Courtesy Topocast)

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.”

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INABA Creates a Cylindrical Beacon For A Norwegian Concert Hall

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Friday, February 8, 2013
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Cutaways in the cylinder reveal the LED lighting scheme. (Courtesy Ivan Brodey)

INABA’s inverted chandelier comprises a steel frame clad with aluminum tubes and activated by LEDs.

Both simple in its geometry and intriguing in its illumination, a massive new lighting installation in Stavanger, Norway, aims to activate the lobby of a concert hall and create a welcoming civic gesture. Designed by New York-based INABA, the cylindrical structure responds to its setting in a variety of ways. Cutaways in the cylinder reveal views out for visitors inside the concert hall and also reveal slices of the dynamic LED lighting inside the structure to people outside the concert hall on the plaza.

Jeffrey Inaba, principal of INABA, calls the installation Skylight, and refers to it as an “inverted chandelier.” The light is reflected within the rings, rather than out. The outside is coated in glossy white to reflect the warmer daylight and ambient light in the building. The design of Skylight is meant to function as a recognizable figure for the building, which was designed by Oslo-based Ratio Arkitekter.

Continue reading after the jump.

Ellipses Collide in Mathematically-Inspired Installation at the University of Oregon

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Friday, January 25, 2013
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Derived from geometries created between several floating ellipses, SubDivided makes a nod to the mathematics department it occupies. (Courtesy Brooks Dierdorff)

Derived from geometries created between several floating ellipses, SubDivided makes a nod to the mathematics department it occupies. (Courtesy Brooks Dierdorff)

SubDivided provides a unifying element in Fenton Hall’s three-story atrium, tying each level together visually.

In December 2012, the University of Oregon completed a renovation of Fenton Hall (1904), which has been home to the mathematics department for the past 35 years. In addition to sprucing up the interior and upgrading the mechanical systems, the institution hosted an open competition for the design of an installation to hang in the building’s atrium. Out of roughly 200 initial applicants three were shortlisted, and of those the university selected a design by Atlanta-based architect Vokan Alkanoglu. Composed of 550 uniquely shaped aluminum sheets, the 14-foot-high by 10-foot-long by 4 ½-foot-wide sculptural form is derived from the curving geometry created by several opposed ellipses—a nod to the discipline that calls Fenton Hall home.

“We wanted to create something that would be visible on all three floors of the atrium to connect the levels and create flow in the space,” said Alkanoglu. “We also wanted to have an interior to the piece, so that you could see inside and outside, to give it a real sense of three dimensionality.”

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Utile Makes a Splash With Digitally Fabricated Pavilion in Boston

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Friday, January 18, 2013
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Boston Harbor Islands Pavilion. (Chuck Choi)

Boston Harbor Islands Pavilion. (Chuck Choi)

The Boston Harbor Islands Pavilion roof channels rainwater for irrigation on the Rose Kennedy Greenway.

Jump on a ferry in Downtown Boston and in twenty minutes, you’ll arrive at the Boston Harbor Islands, an archipelago of 34 islands dotting Boston Harbor managed by the National Park Service. To entice city-dwellers to make the trip, Boston-based Utile Architecture + Planning has designed a composite steel and concrete pavilion with a digitally fabricated roof for the National Park Service and the Boston Harbor Island Alliance to provide travel information and history about the Islands and a shady respite atop the highway-capping Rose Kennedy Greenway.

Two thin overlapping concrete canopy slabs supported by delicate steel beams provide a sculptural shelter. Utile digitally designed the $4.2 million Boston Harbor Islands Pavilion using Rhino to respond to the surrounding cityscape and serve as a playful rainwater-harvesting system to irrigate the Greenway’s landscape.

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SITU Fabrication Produces a Dev Harlan-designed Projection Wall for Y-3’s 10th Anniversary

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Friday, December 21, 2012
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Dev Harlan’s installation for Y-3′s 10th anniversary greeted revelers with a prismatic display of light and geometry. (Courtesy SITU Fabrication)

SITU Fabrication produces and installs a Dev Harlan-designed projection wall in three weeks flat

For Adidas street fashion line Y-3’s 10th anniversary, the company commissioned New York City-based artist Dev Harlan to produce one of his distinctive 3D light installations. Y-3 wanted the installation to serve as a backdrop for a runway show at this September’s New York Fashion Week. Harlan designed a 170-foot-long wall with a deeply textural pattern of 656 skewed pyramids made prismatic by projected colored light and geometric shapes. He called on Brooklyn-based SITU Fabrication to produce and install the work in three weeks flat.

“We had worked with Harlan before on ‘Astral Fissure,’ a sculpture of folded aluminum plates that he projected light on,” said SITU partner Wes Rozen. “This time the budget and timeframe were much less, so we worked with foam core instead of aluminum.”

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In Miami, A Lounge Shows FXFOWLE’s Handiwork

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Friday, December 7, 2012
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FXFOWLE's installation at the Miami Project Fair. (Moris Moreno)

FXFOWLE’s installation at the Miami Project Fair. (Moris Moreno)

At Miami Basel, a digitally fabricated pavilion marries classic origami techniques with advanced technology

For this year’s inaugural Miami Project Fair, the design team at FXFOWLE Architects, led by Sarah Gerber, created a temporary architectural pavilion, the FXFOWLE Lounge, from both cutting-edge technology and good-old-fashioned manual labor. The 24-foot-long pavilion embodies the “duality of this very high-tech and sophisticated fabrication and this very low-tech material and assembly process,” said designer Lucio Santos. Over the next few days, the sculpture will be housed in a lounge and bar area outfitted with beanbag chairs and a carbon fiber bar that FXFOWLE also designed for the event.

In past years, architects such as David Adjaye, Marc Fornes & THEVERYMANY, and Rachely Rotem and Phu Hoang (now of Modu), have designed temporary pavilions for Miami Basel—introducing their work to a wider audience. This project is “a first” Santos said, but this might be changing for FXFOWLE, which is trying to branch out on the digital side of architecture.

Continue reading after the jump.

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