Missed some of our articles, tweets, or Facebook posts from the last few days? Don’t sweat it—we’ve gathered the week’s must-read stories right here. Enjoy! Gehry Partners to design Extreme Model Railroad Museum in Massachusetts The firm is replacing Gluckman Tang as architects of the Extreme Model Railroad Museum and Contemporary Architecture Museum in North Adams, Massachusetts. What happened to speculation in architecture? Architects are not really thinking about new ways of living and relating to the world outside of our own history and discourse. What happened? Gorge yourself on Burning Man's annual exhibition of weird and wonderful architecture The Architect's Newspaper takes a look at the best art and architecture at Burning Man. The 2017 edition of the desert gathering kicked off this week.. Thanks to big data, all architects will face a major professional crossroads bigger than CAD or BIM Should we architects cede our authority to algorithms, it’s likely we’ll lose all control and influence over the forces that reduce great design to mediocrity. Irishtown Bend in Cleveland could be in line for a massive transformation Cleveland non-profit LAND studio and CMG Landscape Architects are proposing radical changes to Irishtown Bend in Cleveland, Ohio. Jenny Sabin's selling furniture from her MoMA PS1 installation Well, we lied. There's actually six top news items today, because we just couldn't resist this: Jenny Sabin Studio's "spool stools," the seating for Sabin's MoMA PS1's Warm Up installation, are now available for purchase. Prices start at $150.
Posts tagged with "jenny sabin studio":
At MoMA PS1 this year, Jenny Sabin's Lumen gave many a reason to look up through the SolarActive and photo-luminescent thread knitted funnels. Look down, however, and you would have spotted an array of equally exquisite "spool stools" that complimented the installation. The last Warm Up—the last chance to see Lumen—is this weekend. The stools, however, are available to purchase through Jenny Sabin Studio's website. There you can own one (or more) of the 100 stools that were used during the installation's three-month run. Though three variations of the seat were produced, all were made in a similar fashion. To make the "spool stool," recycled plywood spools, carved into serrated pinwheels were placed at either end while a robot—named Sulla—spun woven micro-cord thread in a hyperbolic fashion around their perimeter. Each stool is also topped and bottomed by CNC cut caps, which, to Jenny Sabin Studio's own admission, may be a tad word from usage, but are in general in great condition. Three stool sizes are on sale. The smallest, priced at $150, is able to double-up as a side table, while the medium and large–sized stools, $200 and $250 respectively, can seat up to three people and be used as table as well. The stools are available to purchase at jennysabin.com but there's no delivery—they must be picked up from MoMA PS1.
This year marks a new direction for the MoMA/PS1 Young Architects Program (YAP), and it shows in Jenny Sabin Studio’s Lumen, the series’ 18th annual installation. After a few years focused on creating awareness of ecological and sustainability issues, the program has taken a slightly different course, as the brief has expanded to include a more rigorous engagement with the popular Warm Up summer music series, now in its 20th season of sweaty, raucous parties in the museum’s courtyard. Set to open on June 29, the project features a woven canopy that will subtly change color in the daytime, and will glow in the dark and be illuminated at night. The large fabric shade system will address several of the programmatic issues of YAP that have fallen by the wayside in years past, including an integrated lighting system to accompany the musical acts, a misting system to cool visitors, and over 100 seats scattered across the courtyard. These features follow the ethos of YAP much more closely, which, according to its mission statement, is to provide “shade, seating, and water,” in addition to meeting its sustainability goals. To address these newly reinvigorated concerns, the designer set out to create an immersive environment, not an object. For Sabin, cells provide an ecological model for architecture, because cellular networks respond to their environments by morphing their structures, volumes, and surfaces to produce form through geometry and material. Alongside her experimental design practice, she is an assistant professor at Cornell University where she leads the hybrid research and design network LabStudio with Peter Lloyd Jones. The collaborative—based at Cornell University, the University of Pennsylvania, Stanford University, and in Los Angeles—includes extra-disciplinary actors like material scientists, cell biologists, matrix biologists, and physicists. In working with these professionals, she has developed a specialty in applied research and architecture that results from what she calls “active datascapes,” such as those found in biology, mathematics, or cellular biology. Research into biological processes has led Sabin—alongside collaborators such as the textile designers at Nike Flyknit Collective—to develop new tools and methods for prototyping and making, especially in the realm of fabric architecture. While these might seem like disparate areas of interest, knitting’s performance and flexibility allow concepts taken from cellular research to come alive through digital models and simulations that can respond to particularities in physical contexts. This is the framework from which Lumen arises. “In the context of emerging technologies and digital and robotic fabrication, one of the biggest shifts in the profession right now is that architects are being repositioned as makers,” Sabin said. “Historians such as Mario Carpo say that this hasn’t been the case since Medieval times." She also cites weaving workshops at the Bauhaus and their early proto-parametric attempts to link computation, geometry, and materiality as precursors to her work. At the Bauhaus, it was women’s labor that made innovative strides in textile manufacturing. Similarly, for Lumen, this new type of making—and new workers—digital tools and robots—have made it possible to produce much larger and intricate output. Labor is always an issue at ambitious experimental installations like MoMA/PS1 due to budget constraints and anything that can increase the effectiveness of the end result without increasing the need for volunteers is much welcomed. Lumen is tied with SO-IL’s 2010 Pole Dance for largest ever YAP structure in square footage covered—and thus shaded from the intense sun— in the courtyard. “I was confident about the amount of research and development that went in to this,” Sabin told AN, “So I felt comfortable pushing it to this scale.” Lumen produces effects through new materials and construction methods, most notable the use of two different high-tech responsive fibers. Elements knitted with SolarActive thread—one that changes when exposed to UV—will bring the white structure to life in different subtle hues of blue, orange, purple, and green. At sunset, these will be slowly joined by other cells that are made from photoluminescent (glow-in-the-dark) threads. Neither effect is overwhelming, but they are augmented by a light show that is integrated into the structure and will be programmed to change throughout the evening. To create the structure, roughly 250 standardized fabric cells using one million yards of thread were produced on digital knitting machines at Shima Seiki, a garment manufacturer that specializes in seam-free knitting technology. These cells—in three sizes—had the same circumference until they were fitted into the canopy, where they stretched to conform to the structural stress diagrams derived from shade and heat analyses of the courtyard. The knitted cells were then sewn together with a secondary structural webbing, which was mapped on a 1:1 scale plan drawing of the entire canopy. For structural support, three steel tensegrity towers provide support in the middle of the structure. The mast is in compression, but the load is carried by a post-tensioned rope system that was fabricated by a custom fish-net maker. Visitors can hang out on the platforms under the ropes, and beer tickets will be sold from inside the tower in the smaller side courtyard. Warm Up–goers will also be able to find a set on one of 100 “spool stools,” which were produced by cutting old plywood spools into saw blade–like pinwheels, onto which a robot spun photoluminescent thread around the perimeter. Sitting will be an option again this year, and as users pass through Lumen, sensors in hanging cones (sometimes called stalactites) that will respond to their motion and emit clouds of mist that will cool people down as well as the change the microclimate of the courtyard. These organism-like features will allow the architecture to help to create multiple experiences and engagements that celebrates human interaction and change, as it will be different during daytime, sunset, and at night. This renewed focus on the programmatic opportunities of Warm Up will be fun, but the project also points to the continued evolution of advanced fabrication, as it starts to scales up, moves outside the gallery setting, and subsequently becomes more mainstream. As the generation of architects who pioneered these digital techniques over the last couple decades start to get really good at executing them at larger scales, we will see more of these projects living longer and in more influential settings. Additionally, the shift in the Young Architects Program from primarily ecological and sustainability issues to immersive qualities and experience is a welcome one. The courtyard provides a special context and programmatic challenge for elite architects to design for a world-class outdoor music event. Whether the discipline writ large will follow the same trend toward this type of engaging work is unclear, but due to its scale and immersive environment, Lumen serves as good starting point for understanding how physically present structures and environments can be leveraged to connect the public to architecture outside of the discipline or the gallery. PROJECT CREDITS A project by Jenny Sabin Studio Jenny E. Sabin, Principal and Lead Architectural Designer R&D + Digital Fabrication Sabin Design Lab, Cornell University Design Team Jenny E. Sabin, principal and lead architectural designer Dillon Pranger, project lead and manager Jordan Berta (content coordination), Diego Garcia Blanco, Elie Boutros, Daniel Villegas Cruz, Omar Dairi, Alejandro Garcia, Andres Gutierrez, Jingyang Liu Leo (senior research associate), Mark Lien, Jasmine Liu, Andrew Moorman, Christopher Morse, Bennett Norman, Marwan Omar, Sasson Rafailov, Steve Ren, David Rosenwasser, Danny Salamoun (production lead), Aishwarya Sreenivas, Raksarat Vorasucha Video Cole Skaggs Photography Yuriy Chernets Engineering design Clayton Binkley & Kristen Strobel, Arup Fabricators and installers Tom Carruthers, Bo Jacobsson, Erik Grinde, Mateo Baca, Jacobsson Carruthers, LLC Knit fabrication Tom Shintaku, Shima Seiki WHOLEGARMENT Lighting design Juan Pablo Lira and Hilary Manners, Focus Lighting Sewing and finishing Wade Wesson & Christine Garcia, Dazian Misting systems Sabin Design Lab & Mist Cooling Inc. The other finalists for this year’s MoMA PS1 Young Architects Program were Bureau Spectacular (Jimenez Lai and Joanna Grant), Ania Jaworska, Office of III (Sean Canty, Ryan Golenberg, and Stephanie Lin), and SCHAUM/SHIEH (Rosalyne Shieh and Troy Schaum). An exhibition of the five finalists' proposed projects will be on view at The Museum of Modern Art over the summer, organized by Sean Anderson, associate curator, with Arièle Dionne-Krosnick, curatorial assistant, Department of Architecture and Design, The Museum of Modern Art