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Sliding blackened steel walls create functional space in an art collector’s loft.
When Philadelphia-based Amuneal Manufacturing Corp. won a bid to fabricate a set of large movable residential walls designed by New York-based Elmslie Osler Architect (EOA), they had a lot of experience to draw on. As experts in the field of magnetic shielding, they work routinely for aerospace and scientific research industries, while the company’s custom fabrication branch handles everything from retail fixtures to large-scale public art installations. For EOA’s project, a gut renovation of a 2,200-square-foot Soho loft, Amuneal began with the architects’ drawings of large sliding doors needed to reveal or conceal parts of the apartment.
Microsol Resources’ Tuesday night presentation of Z Printers at Cooper Union was notable for scale of output, both small and large (very large). The 3-D printers produce a powder-based model where all unused excess material gets recycled within the machine. The copier makes tiny models with extraordinary precision. The prices run from $15,000 to $65,000. But a panel of four presenters said the printer’s primary advantage is speed, allowing for new models to be created within 24 hours.
Two firms made notable presentations. Xavier De Kestelier, an associate partner at Foster + Partners, veered from the script a bit when he showed a video of a cement printer being developed at Loughborough University in the UK. That hanger sized 3-D printer makes modular units that can be adapted as building components. Then, Wesley Wright, a designer with Pelli Clarke Pelli, brought the conversation back to the Z Printer, which he said has become an integral part of the firm’s design process.
The firm has four machines operating round the clock. Sketching right onto the models during the review process is not uncommon. In a video, no less than the maestro himself, César Pelli, intones on the importance of model making in general and on 3-D printers in particular. Wright has graciously, and exclusively, shared his video with AN. We nabbed the Foster/Loughborough video from YouTube.
The Gowanus Canal has been in the news a lot lately, with its superfund designation and sunken schooner. The canal and surrounding neighborhood have long fascinated architects and urbanists, and has been the subject of numerous architecture school design studios. A new ideas competition looks to develop that fascination into a series of proposals for the site, which would improve connectivity across and around the polluted waterway and take better advantage of the area’s unique history, character, and economic potential.
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A combination banquette and shelving system gives a young family a new way to live in a 620-square-foot apartment.
Corian has become a darling of the digital fabrication set, its reputation as a dowdy countertop material giving way to explorations of the acrylic as a shape-shifting wonder with practical applications, from healthcare environments to art installations. For a couple that had nearly outgrown a 620-square-foot Murray Hill apartment, Corian served handily in the form of a new banquette and shelving unit that allowed the family to grow into the space, rather than move out of it. The project’s designer, su11 architecture + design, hired Brooklyn-based Associated Fabrication to create its vision of a functional sculpture that morphs from bench to windowsill to storage space.
AIA/LA has just announced the winners of its second annual “Arch Is” competition, open to California designers who have graduated from architecture school in the past five to twelve years. The victors are two of our favorites: FreelandBuck, headed by David Freeland and Brennan Buck, and P-A-T-T-E-R-N-S, led by Georgina Huljich and Marcelo Spina. Both are on the cutting edge of digital fabrication and complex, layered (not to mention curvy) design. See some of their work, below. And stop drooling. And check out a public forum featuring the winners at LA’s A+D Museum on March 24 a 7pm. Read More
Architect Frank Lloyd Wright is the single subject of the Milwaukee Art Museum’s new exhibit. Organic Architecture for the 21st Century, which celebrates the 100th anniversary of Taliesen, Wright’s Spring Green home and studio, also marks the debut of 33 never before seen drawings by the Wisconsin native. The show implores visitors to take a fresh look at Wright and his works, both built and unrealized, and how he envisioned architecture as something that had an essential relationship to context, time, and the people who lived or worked there. Sustainability, which we often think of as a 21st century innovation, is in keeping with many of Wright’s designs, especially those for a newly suburban America, including the outdoor arcade for the proposed Arizona State Capitol, Phoenix (above).
Organic Architecture for the 21st Century explores the idea that the famously outspoken architect was a visionary who foresaw trends including the use of mass produced materials, utilization of natural light, and attention to the surrounding environment. In addition to covering his major works, like Fallingwater, the Johnson Wax factory, and the Unity Temple, the exhibit also showcases plans for Living City, a culmination of Wright’s work and his utopian vision for suburbia.
With over 270,000 square feet and costs projected at $50 million, the Botswana Information Hub is ambitious on many levels, both literally and figuratively. The winner of an international competition, the SHoP-designed research campus brings green technology to the Gaborone, Botswana.
The sinuous structure merges into the landscape, with various levels seeming to kinetically lift from the earth. An “energy blanket” roofscape blends solar and water re-use systems into the sweeping composition. Gregg Pasquarelli tells AN all about it.