Search results for "shop architects"

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Porter House: Hoboken Edition
Say "Hoboken" to a New Yorker and Irish Bars (and rowdy ex-frat boys), quaint row houses, and the Path Train might spring to mind. Thanks to the recently completed Garden Street Lofts (on sale now!), you can add high-end green condos designed by name brand architects to that list. Designed by SHoP, the project incorporates new construction into an old coconut processing plant, and is expected to receive LEED silver certification. Garden Street Lofts gets lots of merit badges: adaptive reuse, urban infill, green features, good design in Jersey, etc. But it also bears a striking resemblance to an earlier SHoP project, the Porter House, at 15th Street at Ninth Avenue in Manhattan. Hoboken! It's like the Meatpacking district, only farther west, and green, and with less expensive cocktails nearby. And the view from the green roof is better (at least until the High Line opens)!
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Best In Show
Santa Monica Parking Garage by Moore Ruble Yudell with Woodbridge Glass & Werner Systems

Once again, we’ve prodded West Coast architects to divulge their favorite sources for us, from contractors and consultants to suppliers and top fabrication shops. The results are illuminating and useful, revealing industry leaders as well as hidden gems. And in these tough times, no one can afford to waste time or money with anything but the best.

So here it is: our second annual California Favorite Sources feature. 

Produced by Sam Lubell, Alissa Walker, Jennifer Krichels, and Danielle Rago

All images courtesy cited firms, unless otherwise indicated.








After the Gold Rush

When banks in Iceland filed for bankruptcy in October and credit lines dried up, Iceland’s building industry went into a tailspin: Contractors halted construction, developers cancelled new projects, and thousands of foreign construction workers left the country almost immediately.

Next to fall victim were architects. As construction ceased, architecture firms saw an almost complete drop-off in new projects. By the beginning of November, architecture firms across the country announced massive layoffs. As of February 1 of this year after a three-month grace period, an estimated 90 percent of Icelandic architects became unemployed.

The past ten years in Iceland have seen unprecedented residential and commercial real estate development. Inflated interest rates in Icelandic banks attracted large sums of foreign investment, and as money poured into the country, Icelanders began to invest in real estate. Housing prices skyrocketed, inciting a manic building boom that architectural critic Guja Dögg likens to the Wild West. “People were just building and building, with no consideration for what anyone else was doing. It’s like they were all cowboys shooting into the air, and now the bullets are raining down on them.”

Now, as Icelanders sift through the fallout of a decade of frenzied real estate speculation, much of the detritus is new construction. Large swaths of suburbs surrounding the Reykjavik metropolitan area stand empty, many of the houses only partially built. In downtown Reykjavik, construction is halted on the 1.07-million-square-foot Icelandic National Concert & Conference Center, a 30 billion ISK (approximately $500 million) joint venture between Portus and the Reykjavik city government.

The current state of the real estate sector stems from the fact that despite its old history, Iceland is essentially a young country—it declared independence from Denmark only 64 years ago—and lacks an established urban development practice. The Reykjavik city planning authorities were largely unequipped to oversee the sharp increase in construction, leading to embarrassing city planning missteps.

Olafur Mathiesen, an architect at the firm Glama/Kim who now finds himself unemployed after 12 years, explained that the lack of coordination between local communities and zoning and planning practices led to a form of ad-hoc urban development, resulting in a suburban sprawl of shoddily built multi-family housing, out-of-place highrise apartments, little green space, and a road structure so complex that it makes public transportation slow and inconvenient. Past precedent suggests that this kind of development can lead to a serious decrease in standard of living, a cultural reality foreign to a country that has always prided itself on its progressive social policy and fluid class structure.

Sigrun Birgisdottir, director of the architecture department at the Icelandic Arts Academy, explained how the lack of urban organization is symptomatic of the Reykjavik planning authority’s difficulty administering such large-scale development. “The regulation system—both financial and political—was accustomed to a small-scale sense of the town,” she said. The authority literally was unable to control or account for most of the construction happening in the past few years.

The overwhelming feeling among Icelandic architects is that the architects themselves, as well as developers and city planners, should have known better. “There really has been no organized Icelandic architecture community,” said Birgisdottir, a situation that contributed to the current state of affairs. Until 2001, when the art school opened its undergraduate architecture program, there was no institution to foster conversation among architects. “Icelandic architects would return from studying abroad in their late 20s and then meet each other for the first time as professionals in competition with one another,” Birgisdottir explained.

Guja Dögg agreed, adding, “That doesn’t exist among my generation of architects.” Birgisdottir, Dögg, and Mathiesen are all hopeful that the current state of the architectural industry will allow the country’s architects the time and space to have these long-overdue conversations.

Bjorn Martensen, an architect and civil engineer, is organizing a team to create a review of quality control and assessment processes, while another group is planning a workshop where architects, industrial designers, and other creative professionals can come together to foster innovative design. Some firms are considering an arrangement with the government whereby architects would continue to work while receiving unemployment benefits if the firm could provide ten percent of the salary.

KRADS, a firm established by a group of young Danish and Icelandic architects with offices in both countries, is probably best poised to navigate the ongoing recession. Since opening the office in 2006, the group has been pioneering a new, collaborative type of architectural practice. “We do a little bit of everything,” said member Mads Bay Moller, “architecture, prototyping, conceptual design, and graphic design. And we like to bring people from outside of architecture into the conversation.” When they were recently asked to design a church, they brought on a priest as consultant. “Reykjavik is a super-interesting place,” Moller continued. He said the creative energy and abundant natural resources make it “a great atmosphere to generate new approaches to architecture.”

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Hutchison & Maul Architecture

Skylights for the metal shop and cantilever office addition in seattle.

Hutchison & Maul Architecture
Seattle, Washington

The tiny, Seattle-based firm Hutchison & Maul Architecture has kept a pretty low profile, especially considering their prolific output. The principals have been more preoccupied with their projects than with self- promotion. “What’s our marketing plan? We don’t have one,” said Robert Hutchison, one of the plainspoken principals of the eponymous firm, along with Thomas Maul. The firm, currently just the two and never more than five, has built a remarkable number of projects, ranging from installations to houses to what they call “background public buildings.”

Both principals have undergraduate experience in engineering, but their work doesn’t necessarily put structure front and center. Through careful site and program analysis, they often uncover unexpected design opportunities, which they exploit with an artful sensibility. One such opportunity came in the form of a hundred-year-old frame house slated for demolition on the site of one of their projects. In one day, Hutchison and Maul, with the help of friends and associates, pierced the structure with thousands of holes, turning the house into an eerie lantern. That night, they threw a party in the transformed space, giving the house a last act before the wrecking ball the next day. “Hole House 1 was about exploring light and structure, and a way to celebrate the life of the building,” Hutchison said. The two replicated the experiment with a more humble structure, not surprisingly called Hole House 2, and inserted colored acrylic rods to heighten the beautiful and haunting effect.

For a below-grade metal shop, the architects took a code-required parking screen and turned it into a thin, sawtooth skylight clad in Cor-ten. In profile, it looks like sculpture. Inside, light washes the concrete walls, elevating the quality of the space, while meeting its programmatic requirements. “We don’t just grab the latest, coolest thing. We try and have self-control,” Maul said. “We like what is tested, what is tried-and-true.” This sense of finding unexpected possibilities in the pragmatic spaces of everyday life will be put to the test in their largest project to date, a 16,000-square-foot public works operations center in Bothell, Washington, clad in wooden planks with a broad entrance overhang projecting into the tree-dotted site. The center will break ground in the next few months.


The Courtyard House in Mercer Island, Washington.
Alan Abramowitz
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Gray Organschi Architecture

A cottage in Guilford, Connecticut.
all photos by bo crockett

Gray Organschi Architecture
New Haven, CT

The husband-and-wife team behind Gray Organschi Architecture aims to instill the robust traditions of design-build with a lighter but no less hands-on approach. Using expressions such as “pre-staged,” “lightly pinned,” and “on the site as little as possible,” Elizabeth Gray explained the firm’s philosophy of developing low-impact building practices in tandem with innovative technologies in the service of an architecture of elegant simplicity. A near state-of-the-art fabrication shop at their New Haven studio has helped them undertake ambitious prefabrication efforts, from a 75-foot footbridge in a hilly forest to the glue-laminated arches for an acoustical plywood shell within a brick firehouse turned recording space and auditorium.

interior of guilford cottage.

Gray and her husband Alan met at the Yale School of Architecture (where the barn-raising approach to design-build has a long history), graduating in 1994. Following a grand tour of sorts with stints in Indonesia, London, and Berlin, they returned to New Haven in 2000 and set up their practice in the Ninth Square, a notoriously seedy quarter but also home to many sturdy 19th-century brick warehouses ideal for an expanding design practice with a need for heavy machinery.

More than half of the firm’s built work so far has been residential, including a guest cottage in Guilford completed in 2008 for a couple with expanding space needs but a desire not to disturb their gardens. Gray Organschi responded with a discreet structure (it had to pass zoning as an “accessory building”) that combines the camouflaging effects of a sedum green roof with the bursting energy of dematerialized glass seams and bamboo-clad folding planes. A storage barn for a landscape contractor turns a simple shed into a thing of beauty by simply stacking materials—with dimensions derived from the size of a pallet—around a void determined by the turnaround space needed for a loading tractor. Ground-source heat pumps and electricity are powered by rooftop photovoltaic panels, with surplus energy to spare.

Moving on to a larger scale, the architects are now working on a residence and chapel for a community of Jesuits at Fairfield University. The 20,000-square-foot center, which includes an administrative wing and student dining room, needs to be both publicly active as well as a serene place of meditation and privacy. The architects tucked the building into the shoulder of a sloping hill, with a garden green roof and a public porch facing east and the Jesuits’ own rooms gathered around a courtyard facing south. “Our goal is to first analyze the program as honestly and as in-depth as possible, and then honor it,” said Gray.

Julie V. Iovine

A storage barn in rural connecticut.
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Detroit Pick Me Up
The collapse of Detroit has been a subject of fascination for artists, architects, and urbanists. In the current economic environment, the symbolism of the city's decline threatens to overshadow the human and physical realities of the place. And while few would argue that the city will ever return to its height, it is nice to be able to show a project that disrupts the city-in-free-fall narrative, such as the new Mercury Coffee Bar, designed by Andrew Zago. No architect has been more closely associated with working on and thinking about contemporary Detroit's plight than Zago. In his latest project, he's created a bright, cheerful refuge in the city's desolate landscape. Zago characterizes Mercury Coffee as a "third wave" coffee shop, with diners representing "first wave" and Starbucks as "second wave." Mercury specializes in fine, gourmet coffee, with each cup treated with the care of a glass of fine wine (think Intelligentsia Coffee in Chicago). The shop was opened by Todd Wickstrom, a veteran of the Slow Food Movement. "Knowing that the second wave typically used the coffee-shop-as-living-room model for its design (vestiges of which still inform Starbucks) we sought a different atmosphere. It would be difficult to give a single phrase explaining our model, but I suppose a coffee shop as showroom is the closest. Our approach resulted in a sharp contrast to the exterior and certainly the surrounding area, but the intention was more to avoid reflecting on Detroit's troubled physical state," Zago wrote in an email. The vivid interior eschews the coziness of favored by Starbucks in favor of something much more contemporary, and unique in Detroit. "The colors, taken from CMYK printing, make entering the space a palpably different experience from the rest of the city," he wrote. Zago doesn't think the bar will cause anyone to forget Detroit's condition--it's hard to ignore the scenes out the window, after all--but he hopes to offer something other than nostalgia and the romance of ruins. According to Wickstrom and Zago, the place has proven wildly popular. A wine bar is planned in the lower level. Detroit residents, like the rest of us, could use some cheer and a good cup of coffee.
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Marvin Rand, 1924-2009
Courtesy the Rand family

Photographer Marvin Rand spent his life devoted to architecture. Starting in the 1950s, he stood at the shoulders of some of the most influential architectural figures of the twentieth century, leaving a record in images that still teaches us today.

Esther McCoy, Charles and Ray Eames, Louis Kahn, Welton Becket, Craig Ellwood, Cesar Pelli, John Lautner, Ray Kappe, Frank Gehry, Thom Mayne—a body of work that could have left any one satisfied. Not Marvin. Close to eighty years in age, he crossed over to the 21st century and started working with a new generation including such individuals as Michele Saee and Greg Lynn.

Never mind that heart problems continued to dog him, and that he almost always left one essential piece of photographic equipment back in the office, he continued to record important work by both young architects and established ones. He would not stop. He did not cede to the frailties of his body, even as his wife, Mary Ann Danin, in support of his determination, quietly eased his path. In his mid-70s, an age where many chose not to learn the new, he dropped his lifelong habit of developing his own film and went digital—forcing himself to engulf a whole new technology for bringing work to light.

Craig Ellwood's Case Study House 16.
Marvin Rand

His approach was not simply about images. He advocated on behalf of excellence in our field, and was a champion of great work. He recorded the works of Greene & Greene and meticulously scoured every inch of the Watts Towers.

Through McCoy, he discovered the work of Irving Gill, photographing it for an exhibition at the Los Angeles County Museum of Art in 1958. Almost forty years later, he returned to the architect, spending a decade researching and traveling across the country to shoot images that documented not only Gill’s greatest work, but lesser known projects that were equally important. For the book that derived from this effort, Marvin often re-shot Gill homes at his own expense, which he had previously photographed. When I asked him why, he told me he felt that his original photographs did not adequately capture the spirit of the architect’s work.

“His photography transcends the mere documentation of the built environment,” said Michael Hricak in a letter to the AIA nominating Marvin for his Honorary AIA in 2003. “In a single thoughtful image, he is able to explain the intentions behind the work." Marvin liked to walk a structure with the architects he worked with because, he said, “I can bring [the architect’s] thinking and my thinking together. And then we have a philosophy that can work for that structure.”

We had many such walks.

The Salk Institute, designed by Louis Kahn.
Marvin Rand

I met him almost twenty years ago to this day; it was a shotgun marriage. Marvin was assigned by Angeles magazine to photograph one of my early houses. After the shoot, when I finally met him at a party at the owner’s house, he came right up to me and proceeded to tell me what I should have and should not have done to make my design better.  One might think I would have been shocked and angry with him, but his deep interest in architecture and in my work was rather infectious. Instead of being put off I thought to myself, “I could like this little fireball of enthusiasm.” We became instant friends and worked together ever since. Marvin refused to hire staff, so for two decades I am proud to say: I was Marvin Rand’s assistant.

I picked up many cigarette butts, wrappers, and all kinds of small (sometimes barley visible to the naked eye) trash to clear the way for Marvin’s photos. I was finally relieved from trash detail when Marvin went digital.  I became so accustomed to my clean up duties that I continued to do so even when it was not required.  Marvin would yell out to me his new favorite saying, “Larry don’t worry about that trash, just leave it alone.  I will take it out in Photoshop!”

Marvin was living history. When he began, Charles Eames offered him work—he would be invited to dinner along with several young colleagues to show slides at Eames’ home—and Esther McCoy, who he called his greatest influence, placed his first photographs in Living for Young Homemakers. He worked with Craig Ellwood and shot the Salk Institute for Kahn. But, as a youth, Marvin had no intention of being a photographer. He thought he would be a musician. He played the clarinet and the oboe in recognized youth orchestras. World War II changed that. He was drafted. “I wouldn’t carry a gun,” he said, “but I would carry a camera instead.”

For more than half a century, he used that camera to fight on behalf of our profession.

Ray Kappe shares his memories on the A/N Blog.

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Recession Special
Courtesy P.S.1

Party’s over, kids: In a real sign of the times, the annual MoMA/P.S.1 summertime installation is no longer known as an “urban beach,” but an “urban shelter.” Admittedly, it did become a farm last year, but the trend is a sober one: The New Haven and Cambridge– based firm MOS named their winning proposal Afterparty. The project comprises a series of aluminum-framed conical structures whose dark, thatched skin will provide shade. The tent-like shapes, which will range in height from about 15 to 40 feet, are open at the top to create a chimney effect by drawing hot air up through the aperture by induction, to be replaced by air cooled at the ground level by the thermal mass of the courtyard’s concrete walls. Concrete water troughs at the center of each tent will further cool the air.

Each summer for the last 11 years, the museum has sponsored a competition to design a shade-and-water structure for its wildly popular summer DJ series, Warm-Up. Five teams are asked to submit proposals for the structure, and the winner is given a budget of $70,000 and four months in which to build it. MOS, which also just won a Progressive Architecture Award for a drive-in in Marfa, Texas, beat out the proposals of four other teams: !ndie architecture of Denver, Colorado; and L.E.F.T. architects, Bade Stageberg Cox, and PARA-project, all of New York. The commission is a valuable one, and prior winners have included SHoP Architects, Work AC, and Los Angeles–based Ball Nogues Studio.

For their submission, MOS’s Michael Meredith and Hilary Sample wanted to get away from the baroque excess that has characterized much of high-end architecture over the last few years (see under: installations in the Venice Biennale’s Arsenale). “With the Afterparty, we weren’t just thinking about it in terms of the economy, but as architecture, too. We felt the need to look for new methods of design, after the party of a sort of high-formalism that has dominated academic discourse,” said Meredith. The pair also sees the installation (which is in part inspired by the forms and functionality of Bedouin tents) as a respite from the often-frenetic nature of the Saturday evening parties at P.S.1.

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If Architects Ruled the World
In the wake of the recent presidential election, more people, including architects, have become interested and involved in local and national government. As part of the AIA’s efforts to encourage members to run for or be appointed to political offices or commissions, they recently conducted a survey tallying up the number of active members involved in politics, running the gamut from mayors to city council members and planning commissioners. The results of the survey revealed that there are at least 850 architects, making up more than one percent of total AIA membership, currently holding such posts. According to Scott Frank, Director of Media Relations at the AIA, “the survey aims to get more architects involved in the debate about the role the built environment has within the larger society as well as the smaller community.” Giving architects the opportunity to “have a seat at the table,” Frank told AN, “architects can use their design building and problem solving skills to help enlighten policy-makers on the importance of good design in planning.” The AIA is taking several measures to prod other members to follow in the footsteps of the already 850 active politicos. At the AIA’s Grassroots Leadership and Legislative Conference (currently taking place now in Washington D.C.) and at the National Convention in San Francisco in April, there will be workshops devoted to the importance of civic engagement for the architectural profession. If architects don’t yet rule the world, they may soon!
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Their Heart Will Go On (in Times Square)
Correction: Apparently, we can't keep our Marc/ks straight. In a previous version of this post, quotes attributed to Bailly were incorrectly attributed to Gage. Apologies all around. UPDATE: We've added some shop photos Mark (not Marc) kindly sent over. While not quite a standalone building, digitally-driven firm (and 2006 New Practices winners) Gage/Clemceau Architects will celebrate its coming out on February 11, when Marc Clemenceau Bailly and Mark Foster Gage deliver their "Valentine to Times Square." As Bailly told AN, "This is our first big thing that we've built, outside of a few exhition pieces and some interiors work." The 10-foot tall, two-ton heart is made up of some rather high tech components, including two stainless-steel ventricles precision-cut with water jets by Milgo Bufkin and then layered with "Strawberry Ice" translucent Corian that was CNC-milled and then embedded with purple LEDs by Evans & Paul. "We wanted to make something to showcase some of the technologies we're up to," Bailly said. (The project, which will be up for about two weeks, is not only a promotional for the Times Square Alliance, but also Zales, which will be hosting some sort of "Profess Your Love" competition with the heart as a back drop.) As with all the firm's work, this one began with some pretty heavy-duty computer modelling. "The software is really freeing us from platonic geometries," Bailly said. "We're getting to the point where we can make the surfaces do all the work." He said he hopes this project will serve as a showcase of what the firm's approach can bring to a project, and thus attract interest for more ground-up work, perhaps even some buildings. "With the steel skin and the Corian plates--floor plates, if you will--it's almost like a small building," Bailly said. But not only is computer modelling helping Gage/Clemenceau push the boundaries of their designs, but also their production. Bailly said it's took just over a month--and during the busy holiday season no less--to design, mock-up, and fabricate the heart, which is currently being assembled in Long Island City. Given that the client ran short on time to produce a Christmas tree, the original idea presented by the Times Square Alliance, speed was especially important on the second go-round.. Bailly said he's psyched on the results thus far, though he can't wait to see the project installed in Times Square. "The shapes are right on, which is nice because it means everything worked," Bailly said. "But it'll still be interesting to see how everything goes, especially in Times Square, with all those lights, and all that intensity. The stainless steel will hopefully capture all that, but we won't know what that's like until it's up." "The name, 'Valentine to Times Square,' is really what it's all about," Bailly added. "It's really a gift to the city."
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Going Postal
Courtesy SPF:A

Almost a decade after they first submitted a proposal to renovate the Beverly Hills Post Office, Culver City-based SPF:architects on January 22 received EIR approval from the Beverly Hills City Council to begin work on transforming the building as the centerpiece of a new cultural center. The Wallis Annenberg Center for the Performing Arts will use the original 1933 post office for administrative, exhibition, and workshop spaces, while a separate building will contain a contemporary performance center. The firm is midway through schematic design and hopes to start construction on the estimated $35 million project within a year.

The Italian Renaissance Revival building, originally designed by Ralph C. Flewelling with Allison & Allison Architects, was built as a Works Progress Administration project on a trapezoidal lot facing Beverly Hills City Hall. It was in danger of being demolished after the U.S. Postal Service vacated the building in 1993. But eventually it received landmark status and was sold to the City of Beverly Hills, which in turn leased the building to the Beverly Hills Cultural Center Foundation, with the intent to preserve and restore it.

SPF:architects has entered a total of three proposals for renovating the post office as the anchor of a new performing arts center: one in 2001 when they were not shortlisted, and a year later when they were, although their proposal was not selected. In 2006 a third competition selected SPF:architect's concept. The proposals selected previously—by Barton Myers and Pfeiffer Partners—focused on gutting the post office to make room for a 400-seat theater, and designing a separate building for education and administration, according to SPF:architects principal Zoltan Pali.

"I just reversed that," he said. "I put all the little pieces—the little offices and classrooms—that fit into the building very perfectly, without having to do any structural renovation, and then we built a brand new state-of-the-art theater."

The new building, which will be called the Goldsmith Theater, will be rectilinear in form and fronted with a patterned and textured facade. It will have 500 more seats than those of the two other proposals. A three-story glass bridge will connect the theater to the post office, which will house the box office, rehearsal rooms, classrooms and other offices. A courtyard and sculpture garden will provide landscaped public spaces around the buildings. To include enough parking for events, the plan calls for removing the lawn of City Hall to add submerged parking, then restoring the lawn.

SPF:architects' design will also play on many elements of the post office's former use. The Grand Hall includes two WPA-era fresco murals depicting the birth of the U.S. mail service and life during the (now a little familiar) Depression, both of which will remain. The cages where stamps were once sold will, appropriately, be the box office, and the old mail sorting room is due to become a rehearsal space and studio theater. "I never really saw this building," said Pali. "It's a great example of that period of architecture and is a very respectable building, but I don't think it responded to the site as well as it could have." Pali sees it as a chance to invigorate this busy corner in Beverly Hills in a way that will allow it to interact with City Hall across the street as well as with the bustling business district nearby.

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Ghenet by Rickenbacker & Leung with Monk Design
Amy Barkow/Barkow Photo

A-Val Architectural Metal Corporation
240 Washington St.
Mount Vernon, NY

Airflex Industries
937 Conklin St.
Farmingdale, NY

Astec Architectural Bronze
Via dell’Artigianato, 30
Dosson di Casier
Treviso, Italy

B.J. McGlone
40 Brunswick Ave.
Edison, NJ

30 Baekeland Ave.
Middlesex, NJ

Berlin Steel Construction
76 Depot Rd.
Berlin, CT

Centria Architectural Systems
1005 Beaver Grade Rd.
Moon Township, PA

Chef Restaurant Supply
294-296 Bowery, New York

David Shuldiner
35 Irving Ave., Brooklyn

Empire Architectural Metal
14–50 118th St., Queens

Gratz Industries
1306 Queens Plaza South
Long Island City

J. Frederick Construction
71 Commerce Drive
Brookfield, CT

KD Ironworks
60 Saint Casmir Ave.
Yonkers, NY

Maloya Laser
65A Mall Drive
Comack, NY

5, Rue de la Roche Grolleau
Lusignan, France

Metropan Systems
85–06 89th Ave.
Woodhaven, NY

68 Lombardy St., Brooklyn

Monk Design
338 Berry St., Brooklyn 

Quality Metal Craft
135 Old Colony Ave.
Quincy, MA

738 Grand St., Brooklyn

Skyline Steel
8 Woodhollow Rd.
Parsippany, NJ

Super Steel
7900 West Tower Ave.
Milwaukee, WI

UAD Group
299 Vandervoort Ave., Brooklyn

216 Fairmount Ave.
Philadelphia, PA

Wilson Conservation
100 East 5th St., Brooklyn


landmarc by clodagh design with j. frederick
eric laignel

“We’ve used Paul Yam of Chef Restaurant Supply for all kinds of custom stainless steel projects, and each time, he’s delivered a well-crafted piece regardless of the constraints. He’s even been flexible enough to tolerate a Saturday morning delivery, where he and his crew had to tango with a 500-pound wet terrazzo polisher.”
John Hartmann

Empire Architectural Metal had a huge scope for the Sheila C. Johnson Design Center. They manufactured all the custom aluminum window frames, and canopies that double as signage with aluminum letters, which they water-jet-cut and welded together. They re-did several things that we had some issues with. They are very accommodating and committed to making it right.”
Lyn Rice
Lyn Rice Architects

Gratz Industries is legendary. They fabricated Mies’ Barcelona Chair, and they are as good as it gets.”
Ed Rawlings
Rawlings Architects

Maloya Laser’s bread and butter is building heaters for de-icing airplanes before they take off, so they have really high-end laser cutters and CNC milling equipment. On the Columbia University Graduate School of Journalism project, they sat down with their knowledge of how steel bends and the properties of various alloys, etc., and worked out the details with a high level of precision. Honestly, it’s hard to find people like this.”
Scott Marble
Marble Fairbanks

toni stabile student center at columbia university by marble fairbanks with maloya laser
COURTESY marble fairbanks

“We used Metropan’s custom zinc panels to clad two walls that flank the back porch of our West Village townhouse. I’ve seen these go in very sloppy on other projects, and this was just a jewel-box-like installation. It’s very clean and beautifully detailed.”
Jeffrey Murphy
Murphy Burnham & Buttrick Architects 

J. Frederick can fabricate just about anything out of metal; they’re amazing. We spent time in their shop with their blowtorches and chemicals to get some incredible patinated surfaces. Kevin really knows what he’s talking about.”
John Henderson
Clodagh Design 

“Mark Chagnon of Quality Metal Craft is a true problem-solver and a craftsman at an affordable price. He did the custom metal folding and fabrication for our Fin’s restaurant in Boston. All the laser-cut steel bends were really complex. We basically brought him a paper model, and it didn’t scare him away.”
Hansy Better Barraza
Studio Luz Architects