Brought to you with support fromNow in its fourth consecutive year, the Architectural Ceramic Assemblies Workshop (ACAW) has reached a new level of maturity. The annual conference, hosted in Buffalo, New York, counted a total of nine teams hailing from leading architectural and engineering firms across the country. For attendees, the gathering is an opportunity to part the veil behind the architectural terra-cotta manufacturing process, experiment with new concepts, and physically transform them into full-scale prototypes. The collaborative project is the product of an ongoing partnership between manufacturer Boston Valley Terra Cotta (BVTC) and the University at Buffalo School of Architecture and Planning (UB/a+p); engineering firm Walter P Moore served as an additional sponsor for the event. Buffalo, New York is home to a broad range of 20th-century architectural heritage. It should then come, perhaps, as no surprise that BVTC made its bones in the field of architectural preservation. The company, originally founded in 1889 as Boston Valley Pottery, was purchased by the Krouse family in 1981 who converted the operation into a manufacturer of architectural components. Beginning with local restoration projects such as Louis Sullivan's Guaranty Building, BVTC has since partnered with UB/a+p in the use of digital documentation to mass-produce historic architectural pieces. The use of digital design has facilitated BVTC's ascent in the field of custom terra-cotta assemblies; current projects range from Kohn Pedersen Fox's (KPF) supertall One Vanderbilt to Morphosis's Orange County Museum of Art. The teams were made up of new attendees and familiar faces who had developed their prototype concepts in the months leading up to the conference. The prototypes largely followed the ACAW statement of intent, which encouraged an exploration of the intersection between ceramic furniture and cladding. Projects ranged from SHoP Architects' self-supporting structure formed of interlocking terra-cotta units to KPF's manipulation of geometry and glaze embedded atop a concrete panel. There was also a significant alteration to the overall procedure of the conference. Andy Brayman, founder of the Kansas City ceramics collaborative Matter Factory and past ACAW attendee, recently partnered with BVTC to develop the company's first off-site Research & Development Lab within his own facility. "This strategy is helpful when taking on the ACAW projects which by their very nature contain at least one element (and often several) that could be considered experimental," said Brayman. "The bulk of the technical know-how comes from BVTC and it is augmented by research that has been done at the Matter Factory. Taking the projects out of the main factory that is focused on the production of existing jobs allows a different dynamic to take place." The conditions present at the BVTC are effectively replicated at the Kansas City collaborative as the gas-fired kilns are produced and calibrated by the same Italian manufacturer. Keynote speakers, many of them also workshop attendees, included Andy Brayman; Dr. William M. Carty, a ceramics professor at Alfred University; Billie Faircloth, partner at KieranTimberlake; Sara Lopergolo, partner at Selldorf Architects; Sameer Kumar, director of enclosure design at SHoP Architects; Jason Vollen, vice president High Performance Buildings AECOM. What is the overarching goal of this annual earthenware gathering? According to UB/a+p associate professor and conference organizer Omar Khan, "ACAW’s ambition is to make Western New York a recognized center for architectural ceramic research. It is the only one of its kind and we feel that it will influence design and innovation in terracotta usage. From this year’s success, we are already receiving many inquiries to participate next year but our intention will be to internationalize the participants to some extent. This will put other issues and traditions in the mix, which we feel will help us better address more global concerns." Let's see what the future has in store for this corner of the Empire State.
Posts tagged with "Buffalo School of Architecture & Planning":
For the third year in a row, manufacturer Boston Valley Terra Cotta (BVTC) and the University at Buffalo School of Architecture and Planning (UB/a+p) in upstate New York hosted the Architectural Ceramics Assemblies Workshop (ACAW). The weeklong event is a gathering of architects, engineers, and artists and offers a fast-paced opportunity for attendees to get their hands dirty physically testing the capabilities of terra-cotta design. Other sponsors of the gathering include Western New York’s Alfred University, an institution with expertise in glass and ceramics, and Rigidized Metals Corporation, a producer of deep-textured metal for exterior and interior cladding, among other products. “Architects designing with industrially produced ceramic components may have little material understanding of clay for large-scale production, while most artists trained in ceramics may have few opportunities to explore the medium at a scale beyond the individual object,” said Bill Pottle, BVTC’s Director of Business Development and organizer of the gathering. “At ACAW, architects, engineers, and educators collaborate with designers and manufacturers in order to deepen their understanding of designing with architectural terra-cotta.” BVTC was founded in 1889 as Boston Valley Pottery, a brick and clay pot manufacturing facility located on the outskirts of Buffalo, New York. The Krouse family purchased the facility in 1981 and transformed it into a cutting-edge architectural terra-cotta factory with a global footprint. Currently, projects range from the restoration of New York’s Woolworth Building to the cladding of Morris Adjmi Architect’s 363 Broadway and Kohn Peterson Fox’s One Vanderbilt. Keynote speakers, many of them workshop attendees, included Anne Currier, a clay sculptor and professor; Dr. William M. Carty, a ceramics professor at Alfred University; Christine Jetten, a ceramics and glazing consultant; Gerd Hoenicke, Director of Pre-Construction Services at Schüco; Matthew Krissel, partner at KieranTimberlake; Craig Copeland, associate partner at Pelli Clarke Pelli Architects; and Christopher Sharples, principal at SHoP Architects. This year, over 60 attendees participated in the workshop, which emphasized the role of pre-design and research at the early stages of a design project. Both the number of attendees and the overarching objectives of the workshop have evolved since its 2016 inauguration. The first event was largely a sandbox tutorial, featuring 20 attendees learning the basics of terra-cotta production. In its second year, ACAW and its 40 attendees focused on the bioclimatic function of terra-cotta in contemporary design and the retrofitting of structures. This year, building upon their experience at previous workshops, the attendees, divided into six teams, began researching and developing their prototypes in March. Designs were submitted to BVTC prior to the conference for prefabrication. Throughout the week, the teams received technical support from both BVTC and UB/a+p.
The Architectural League of New York’s Emerging Voices award and lecture series highlights individuals and firms with distinct design “voices,” singling out those with the potential to go on to even greater heights. 2018 saw two rounds of judging; first by a panel of past Emerging Voices winners, and a second to pick the winners. The first-round jury included Virginia San Fratello, Sebastian Schmaling, Wonne Ickx, Lola Sheppard, Marcelo Spina, Carlos Jimenez, and Marlon Blackwell, as well as members of the second-round jury, Sunil Bald, Lisa Gray, Stella Betts, Jing Liu, Paul Makovsky, Tom Phifer, Chris Reed, and Billie Tsien. AN profiled all of the emerging voices firms in our February print issue. Davidson Rafailidis founders Stephanie Davidson and Georg Rafailidis will deliver their lecture on March 15, 2018, at the SVA Theatre in Manhattan. Spatial planning is king at Davidson Rafailidis. It has to be, because the small husband-and wife-run studio is focused on designing tight projects with equally tight budgets that can be adapted for long-term use. Both founding partners, Stephanie Davidson and Georg Rafailidis, teach in the nearby State University of New York at Buffalo’s architecture department and frequently integrate more academic theory into their built projects than a traditional studio. It’s a natural progression, as the couple originally met while they were students at the Architectural Association School of Architecture, in London. “In the end, the realized projects are very similar to essays,” explained Davidson. “When the project is inhabited and really comes alive, we always try to keep tabs, even on private projects, to see how they’re used and what changes and what needs to be adapted. We see that as ongoing research, to see how people respond to our ongoing spatial interventions.” Nowhere is this approach more evident than in the studio’s 2015 transformation of a formerly vacant corner store in Buffalo into the vibrant Cafe Fargo (now under the name, Tipico Coffee). The coffee shop strips the monolithic brick building back to its raw materials and introduces colored tiles throughout to delineate the new space from the old. Working under serious budget constraints, Davidson Rafailidis was forced to “make machinery itself the architecture,” according to Rafailidis. Instead of using a bulky HVAC system, the studio installed large operable windows and a skylight, for passive cooling, and a wood-burning "kachelofen" hearth, clad in tile, that provides ambient heat. Most tellingly, Rafailidis said that guests often don’t realize that the heater is a new addition to the space. The cafe has grown to host pop-up events and public gatherings, reinforcing the building’s continually evolving relationship with its users. The 2016 project He, She & It, a tripartite studio space in Buffalo for a creative couple, unifies a painter’s studio (He), ceramic and silver-working area (She), and greenhouse (It) under one umbrella. While each space has a vastly different use, all of them use a mono-pitched roof with a long overhang to funnel rainwater into a garden at the building’s base. Each space relies on passive heating and cooling, as well as natural overhead lighting, and the greenhouse can be opened up to share its solar gain with the working spaces in colder months. He, She & It has won its fair share of acclaim in the last year—though if this recognition has made Davidson and Rafailidis’s lives more hectic, they can’t tell. “It’s really a challenge with our small size. Even to go to see a building someone wants to show us can take half of our workday,” said Davidson. “Both of us are on AutoCAD, and on Rhino, and making models, and also going to meetings; it’s a big challenge. It doesn’t feel like it’s more work, because we’ve become accustomed to this crazy schedule.”
The 22-foot Elevator B honeybee habitat was the winning proposal in a design competition sponsored by Rigidized Metals and the University at Buffalo.The disquieting phenomenon of colony collapse disorder is seeing global bee populations vanish before our eyes, threatening the pollination of much of the world’s food crops. So when Buffalo, New York, metal fabricator Rigidized Metals discovered a colony of bees in an abandoned grain silo that its owner purchased, the company sponsored the Hive City competition. Students at the University at Buffalo (UB) were invited to design a viable bee habitat that would spark interest in the Silo City area and demonstrate the strengths of various building materials suppliers in Buffalo’s First Ward. As the first, permanent new construction on the Silo City site, Rigidized Metals wanted something that would be visible from nearby Ohio Street, stand out in the industrial landscape, and be reverent to neighboring silos. The winning design, known as Elevator B, is a 22-foot tower of 18-gauge sheet metal panels, with strategic perforations for natural ventilation, light, and heat management. An operable bee "cab" in the interior supports the actual hive on a pulley system, allowing beekeepers to access the colony and return it to a level that keeps the population safe from predators. "We did lots of research on how bees build hives and colonies," said Courtney Creenan, a student at UB's School of Architecture and Planning, and one of the designers of Elevator B. "The structure also induces the motion of standing inside of and looking up through a grain silo, where you have no where to look but up." However, instead of a perfectly rounded oculus at the tower’s summit, Elevator B viewers see the outline of a honeycomb. The student design team mocked up the tower with plywood cutouts in UB's School of Architecture workshops and Rigidized Metals fabricated the panels, but the design was completed in Grasshopper. The software helped determine a workable pattern of perforations, particularly along the top of the elevator where winds could compromise stability. In the team’s initial design, all of the 70 metal panels received an 80 percent perforation, though each had a unique number of cuts in a unique array. Grasshopper brought out the commonalities from these disparate patterns, and allowed the team to scale back to six types of panels with maximum perforations of 60 percent. "You can barely see a difference," Creenan commented. Once the design was simplified in Grasshopper, the Elevator B team devised a matrix to deliver to Rigidized Metals that indicated the number of panels to be fabricated and which had to be folded around the corners of the tower's steel frame. To ensure accurate installation on-site, each panel was numbered. Since the grain silos are unoccupied most of the time, with the exception of special events and tours, the tower had to be vandal resistant. The students fastened the panels to the frame with self-tapping screws, which required no predrilling. The steel frame was hand-made and the panels were machine-formed, but Creenan said there was little error and the pieces came together easily onsite. Beekeeper Phillip Barr successfully relocated the bee colony in the spring of 2012 and it has survived its first Buffalo winter. With the warmer weather, the colony's member numbers are on the rise. And though Elevator B was designed specifically for bees, Creenan said that other animals have taken a shine to the tower. “Before [the bees] moved in we noticed robins had nested there," she said. Though the design team hasn't been approached about adapting its design for other animals throughout Buffalo's Olmsted-designed park system, Creenan likes the idea. "It'd be interesting to test this somewhere else in the city," she said.
For most architecture students, a model malfunction won't land you in the middle of a river, but one group of Buffalonian risk takers at the University of Buffalo School of Architecture and Planning, under the direction of Associate Professor Jean La Marche were up for the challenge. Students Troy Barnes, Stephen Olson, Scott Selin, and Adrian Solecki designed and installed half of a bridge—made of cardboard—cantilevered over the Buffalo River, and invited people to step out over the water. The frightening experiment worked, challenging conventional notions of material constraints. The small structure was built from locally-produced cardboard tubes and is held up using rollers, pulleys, and ropes tied back to disused rails on the site. A supporting frame on a boat used to position the structure "lent the whole operation a nautical feel, fitting with the site," a spokesman for the team said in a statement. "With one of us on the raft, one manning the ropes, two were left to do the heavy work of pushing the cantilever out six inches at a time. After forty-five minutes, the structure dropped over the edge into place." The Buffalo Rising blog visited the installation, even venturing out onto the cardboard cantilever, and has more photos and observations.