Since architect Chris Genik left Daly Genik (now called Kevin Daly Architects) and became dean at the NewSchool of Architecture and Design in San Diego in 2010, we have lost touch with him. He’s no longer the dean, and we haven’t heard a peep about what he’s up to. If you know of his whereabouts please contact eavesdrop immediately. And speaking of Chrises, we hear that our friend Christopher Mount, who curated MOCA’s New Sculpturalism exhibition before things with Jeffrey Deitch went haywire, is opening up a gallery inside the Pacific Design Center dedicated to architectural prints and related art.
Posts tagged with "Daly Genik Architects":
What's in a name? It seems that every time we get used to an architect's name they go ahead and change it. We're still confused by the name Ennead Architects (formerly Polshek Partnership), and we can't get our heads around monikers like Rogers Stirk Harbour (formerly Richard Rogers Partnership) and Populous (formerly HOK Sport). Not to mention the headaches when firms like AECOM swallow the likes of Ellerbe Becket and EDAW. The latest on the new name train are some of LA's brightest firms. Daly Genik Architects is now Kevin Daly Architects. And wHY Architecture is now why design. The former came as a result of shuffled leadership—partners Kevin Daly and Chris Genik parted ways amicably. The latter is a branding change to broaden the firm's scope beyond architecture. Both have completely new web sites. And both, no doubt, will puzzle us all until we finally come to terms with the inevitability of change.
The fabrication team cut, folded, and welded 264 aluminum panels into 66 uniquely shaped sun shades.One of the challenges of designing affordable housing, points out Kevin Daly, principal at LA firm Daly Genik Architects, is “managing a balance between the economic forces that demand repeatability and the risk that monotony comes with that repetitiveness.” Daly Genik and LA fabricators Machineous came up with a great solution for Broadway Apartments, an affordable project at the corner of Broadway and 26th Street in Santa Monica, developed by Community Corporation of Santa Monica. The project is made up of four nearly identical building blocks, arranged in a pinwheel plan around the site. Each has a facade primarily facing the sun, so to allow for large windows on these flanks the firm chose to install large, angular aluminum shades, projecting around the windows. The shades also animate the facades, forming a 3-dimensional tapestry along the building’s edge. To provide the efficiency that Daly describes, the shades are all made using the same material—1/4 inch thick aluminum, coated with urethane paint—and the same technique—CNC milling. But in order to avoid the monotony that Daly also refers to, each one of the shades' 264 aluminum panels are slightly different in size and shape. The 66 hoods range in size from 48 inches by 72 inches to 120 inches by 72 inches. The walls containing the hoods are also slightly curved, creating even more variety. Machineous cut each panel using its massive in-house robotic CNC mills, which have six-axis arms that can work in three dimensions. The mills were originally designed to produce cars in assembly plants. Each shade was "unfolded" into four parts from the Rhino documents and the 3D surveying data (to make sure the shades met the curving walls plum) that Daly Genik provided, post-scripted in Excel, and "nested," as Machineous principal Andreas Froech puts it, onto 48-inch-by-144-inch aluminum sheets. Each of the shades' four pieces were continuously welded at the corners to produce a continuous look. Machineous had to make several mockups to try out this technique. A stiffening 2-inch-wide bar of the same material was folded down along the horizontal front edges to avoid any sagging of the up to 120-inch span of the shades. The shades’ immense variety required careful communication. Each sheet had to be labeled with a sharpie after being cut out to keep track of it all since they weren’t built according to location. “Every part is one of a kind and cannot be replaced by another one," said Froech. “That’s always the challenge of designing with multiples and variation. It’s a little nerve wracking. It’s a huge puzzle.” But the puzzle worked, mostly on the first try. “It’s so complex, but also simple,” said Froech. “It’s really just cutting out shapes. But there’s no room for error. If something’s not right it gets complicated very quickly. What you see is what you get.”