Disheveled Geometry

Fabrikator
Friday, August 30, 2013
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Brought to you with support from:
Fabrikator
Brought to you with support from:
Fabrikator

 
Students of Mark Foster Gage's Disheveled Geometries seminar fabricated a 20-by-40-foot panel of Obomodulan. (Mary Burr)

Students of Mark Foster Gage’s Disheveled Geometries seminar fabricated a 20-by-40-inch panel of Obomodulan.  (Burr/Stranix)

Students use parametric design to fashion a porous architectural screen that draws from contemporary marble sculpture.

In the third edition of Mark Foster Gage’s Disheveled Geometries seminar at the Yale School of Architecture, students Mary Burr and Katie Stranix began their exploration of extreme surface textures with marble. Inspired by the sculptural work of Tara Donovan and Elizabeth Turk, the student duo set out to design a delicate yet porous screen that transformed a two dimensional panel into a rhythmic and dynamic 3D structure.

According to Stranix, the first design emerged as an aggregation of several different parts and wasn’t intended for parametric processes. “We wanted to maintain delicacy in our design but add porosity,” she told AN, referencing Herzog & de Meuron’s ground level screen at 40 Bond Street in Manhattan. Working in Maya, the students added elliptical apertures in varying diameters to transform the two-dimensional form in a wavy, 3D screen that departed significantly from a standard panel format. Read More

Fallen Angels Rescued Parametrically

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Friday, July 12, 2013
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Boston Valley Terra Cotta restored four original 20-foot decorative angels in New York. (courtesy Boston Valley Terra Cotta)

Boston Valley Terra Cotta restored four decorative angels from the 23rd floor of a Beaux Arts building in New York. (courtesy Boston Valley Terra Cotta)

Classically trained sculptors breath new life into four 20-foot angels with the help of Rhino.

When Old Structures Engineering engaged Boston Valley Terra Cotta in the restoration of the 1896 vintage Beaux-Arts building at 150 Nassau Street in New York—one of the city’s original steel frame structures—the four decorative angelic figures, or seraphs, that adorned the corners of the uppermost story were in serious decay. “Up close, they were in an appalling state,” said Andrew Evans, engineering project manager. “The biggest issue we had with the angels was understanding what happened with the originals.”

The seraphs were carved from stone by Spanish immigrant Ferdinand Miranda in 1895 and had suffered years of exposure and improper maintenance. By the time the facade was up for rehabilitation, the angels were haphazardly strapped to the building with steel bands and supported with bricks. Their state was such that repairs would not suffice and Boston Valley’s artisans began the task of recreating the 20-foot-tall Amazonian figures.

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