Posts tagged with "plywood":
SITU Studio crafts a uniquely flexible display system for a New York City vinyl record and audiophile store
Despite the recent resurgence in vinyl record sales, brick-and-mortar music retail remains a challenging business. New York City’s Turntable Lab—which sells vinyl, high-end audiophile equipment, and merchandise, catering to professional DJs and casual listeners alike—had successfully graduated from its small starting location near the Cooper Union to a larger, 1,200-square-foot space nearby. But Turntable’s owners knew their store needed to be nimble to survive. “Products always change…how you display things, where you might need to move things around. Maximum flexibility was what we were shooting for,” said Turntable Lab partner David Azzoni. The new store required that adaptability, but the owners didn’t want to lose the gritty basement feel of the old location.
They turned to Brooklyn-based interdisciplinary firm SITU Studio; the two teams had already collaborated to design a no-frills, flat-pack turntable stand that was successfully Kickstarted. Aleksey Lukyanov-Cherny, partner at SITU Studio, said the firm looked to DIY sources for inspiration for the store. “The brilliant detail: It’s a cleat. It’s actually something very straightforward, something your DIY handyman at home will build in his garage for tools,” he explained. The cleats run throughout the space, supporting around 10 different sets of brackets, hooks, and rails, all of which hold stands, shelves, and display inserts.
This system allows for extreme flexibility, but SITU Studio had to work hard to refine the cleat, ensuring that the racks would be secure without requiring tools or extensive force to change them around. Turntable Lab also visited SITU Studio’s workshop throughout the design process, bringing samples of products, to measure what dimensions and displays worked best. “We spent a lot of time just drawing and cutting these things out, playing with just the round-overs, the radiuses…there was a lot of massaging radiuses,” Lukyanov-Cherny recalled. One major decision was to cut out the center of the display brackets, thereby keeping the cases visually open. “It just flows,” said Azzoni.
SITU Studio selected clear finished and untreated Baltic birch plywood for the entire system, with high-pressure laminate for its heavily used surfaces. The plywood—CNC-milled into shape—retains the old shop’s raw, utilitarian feel but balances it with clean lines. And Turntable Lab’s owners couldn’t be happier with the result. Armed with a basic set of display units, they can easily swap out products and how they’re displayed. In the back of the store, each vinyl storage/display unit rolls on wheels and can be moved to make space for events.
Parked among the vinyl records and T-shirts is the old store’s timeworn turntable stand, still used by DJs for in-store concerts. Its plywood has weathered darkly with use, and it sharply contrasts with the fresh plywood around it. But it won’t be the only aged one for long.
“These things can take a beating; you don’t want to refine things that people will be touching. You want to think about materiality and how it ages over time,” Lukyanov-Cherny said. “Eventually,” he added, gesturing from the new plywood displays to the old turntable stand, “they’re all gonna look like this!”
This year’s Folly installation in New York City bends and twists spheres into an innovative plywood pavilion
Endless table materializes intra-office connectivity in plywood, MDF, and epoxy.When Culver City-based Clive Wilkinson Architects (CWA) sat down with representatives of the Barbarian Group to discuss renovating the advertising agency's new 20,000-square-foot office, one word kept coming up: connection. "Before, they were all in offices designed for one person, but crammed five in each, and scattered," recalled associate principal Chester Nielsen. "It was a pain. Bringing everyone into the open, and having them feel like they were all connected was super important." The architects elected to "surgically gut" the leased New York Garment District loft to create a central workspace for between 125-175 employees. To materialize the theme of connection, they zeroed in on the idea of a single work surface, an endless table later christened the Superdesk. With 4,400 square feet of epoxy-coated surface atop a support structure comprising 870 unique laser-cut plywood panels, the Superdesk is a triumph of programmatic creativity. "Building a big table was not an obvious solution," said Nielsen, "but it's a simple one." The Superdesk began as a series of sketches by president Clive Wilkinson. "Upon first impression we got to this squiggly table," said Nielsen. "It worked really well. Honestly, we've just been refining that." The table's undulating surface lifts and lowers, to indicate subtle divisions between departments, and to create arched overpasses above intra-office "cow paths." The grotto-like spaces under the archways double as intimate gathering areas for up to eight people. From the sketches, the architects built two physical models—the first rough, the second more refined—before taking the design into Revit and Rhino. There they further fine-tuned the form and prepared it for fabrication by Machineous LLC. "Machineous wanted the project very much; they were a good partner on this," said Nielsen. "We worked back and forth to tweak what we needed to make the table constructible." Machineous laser-cut the component parts, including the plywood ribs that shape the Superdesk's archways, using vintage automotive-industry robots. Machineous flat-packed the cut pieces and shipped them to New York, where the desk was assembled on site. The Superdesk's walls are framed in 2-by-4 lumber faced with plywood; plate steel brackets connect the various wood elements. Machineous bonded the MDF tabletop and painted it a shimmering white to give it the appearance of a single connected surface. The crowning achievement of the fabrication process—and the literal polish on the project—was a continuous epoxy pour, completed by rotating teams over a 24-hour period. Despite the complications inherent to prefabricating and installing a massive piece of furniture on opposite coasts, CWA and Machineous managed to deliver their innovative take on contemporary office culture both on time and within Barbarian Group's tight budget. "Something quite notable from the perspectives of both design and fabrication is that it's the same cost as going to Office Depot" for conventional desks, noted Nielsen. What is more, with plenty of surface area for laptops and the other, increasingly minimal, accoutrements of the modern workplace, and with a data and power track built into its walls, the Superdesk "is very, very flexible," he said. "Unlike a typical office [layout], it can change in a day."
Louisville installation elicits fabric-like behavior from wood.PART Studio designed and built their plywood Peek-a-boo Curtain in just four days, after a last-minute invitation from Louisville arts and business networking organization I.D.E.A.S. 40203. "We went to a meeting, talked about it, then drove to the plywood store," recalled principal Nathan Smith. Luckily, the architects were not starting from scratch. Rather, Smith and partner Mark Foxworth seized the opportunity to build a full-scale mock-up of an idea they had been tossing around for some time: a curtain that, though built of wood, would behave like fabric. Staged at FirstBuild, a design and fabrication studio run through a partnership between GE Appliances and Local Motors, the exhibition also gave the designers a chance to explore the space between art and commerce. "With our piece we were looking not only to span the specific interests of the groups involved, but also to consider the relationships between product design, art, and architectural design," said Smith. The imminent deadline meant that Smith and Foxworth had to use the tools at hand, namely their studio’s own small-format laser cutter. The choice placed certain limits on the design. "Laser-cutting is great, but it gives you a lot of constraints because there aren’t that many materials you can use," said Smith. The architects opted for 1/8-inch-thick plywood. The size of the cutting bed also informed the scale of the individual tiles. The upside was that "because the tiles were so small, we could get a certain amount of fabric behavior," explained Smith. PART Studio developed the tiles' perforation pattern in Grasshopper, using a twisting-triangle shape to simulate a human body passing through the curtain, and exploring multiple iterations until they found one they liked. The designers had earlier tested the curtain concept for an interior design project, a dressing room. "In that, the open and closed relationships were pretty specific to the pattern," said Smith. "In the context of an art exhibit, it was more important to take the openness and opacity to extremes because it was a compositional thing." With respect to assembly, said Smith, Peek-a-boo Curtain "is frankly not a very difficult project from a technical standpoint." The architects wanted to laser-cut or otherwise fabricate square metal rings to attach the tiles to one another. But with just a few days to build, and with zero budget, they opted for an easier solution: yellow zip ties. The tiles are arranged in vertical columns, then staggered horizontally. Each component has a total of six holes for vertical and lateral connections. "The original hole pattern didn't work out; the tie holes were a little close," said Smith. As for staggering the tiles, "that was a big discussion that actually ended up making it a little less fluid," he said. "We liked the pattern, but it would’ve been a little more graceful if we'd done it straight. We thought it would have a more fabric-like stitched-together visual, and it does, but it behaves more like fabric as an actual grid." Peek-a-Boo Curtain, which Smith and Foxworth hope to refine for specific interiors projects, is part of the firm's broader mission to change Louisville’s design culture, one small project at a time. "We prefer to do installations and micro design-builds to competitions," said Smith. "We're in a very small market. For our practice, it doesn't really help us to show our clients a museum in Helsinki." But what they can do is participate in the area's nascent art scene, from organizing a competition for the annual Festival of Riverboats to putting on design-based shows at the Kentucky Museum of Art & Craft. "We've been able to have a consistent practice in a way that wouldn’t have been possible two years ago," said Smith. "We're trying to do work, to do things like Peek-a-boo Curtain and whatever comes through the door, but at the same time we’re trying to improve the conditions, culturally, for where we are working."
MammaFotogramma designed a plywood and high-performance mesh composite that is scored on a CNC mill to facilitate textile-like movement.WoodSkin is a flexible wood surfacing material developed by interdisciplinary design studio MammaFotogramma. The concept is an exploration of movement developed for Autoprogettazione 2.0, an open-source design competition from 2012 that originated in the firm's work in stop motion animation. "We're still in animation production, but what we do is all about movement," said studio founder Giulio Masotti. MammaFotogramma’s current work includes architecture and design projects as well as a lab that evolved naturally as projects came in, where collaborators develop new techniques for hybridized exploration. "Project after project, we saw we were applying movement everywhere, not because it was a need but because it's how we work and what we explore," said Masotti. Later in 2012, after the competition, the composite wood material was first fabricated as an interior finish for the lobby of Allez Up, an indoor rock-climbing facility in Montreal. "When we figured out what we wanted to do, we knew we needed something different," said Masotti. "We needed a system, not just a project solution." The goal was to design a visually appealing material that could be used in a static way with the possibility for movement. To realize this, the studio devised a flexible wood composite by sandwiching Russian plywood sheets around a high-performance nylon and a polymer composite mesh, joined by a custom mix of adhesives. The mesh acts to free the plywood from its flat state and facilitate movement. The three-part compression process also strengthens the adhesive bonds and supports the skin's movements. For the Allez Up lobby desk, 15,000 triangular tiles were scored into the composite's surface via CNC mill to form a boulder-like organic shape. What began as an "analog process" of sketching and handcrafting has been adapted for parametric tools because of software’s capabilities to adapt to changes throughout the design development process. Though the design capabilities are quite extensive, fabrication methods can still be quite expensive. "The processes of computer aided design can bring you far, but when it comes time to build, the technology is behind and the process becomes complicated and expensive." To start bridging this gap, MammaFotogramma is developing a custom plugin for Rhino, with the hope that the process of fabricating WoodSkin could be replicated in multiple materials. "The skin is made of wood but the process allowed us to collaborate with other companies that can apply their solid materials," said Masotti. "These kinds of skins will hopefully be applied to existing materials for different finishes, such as fire and water proofing." WoodSkin prototypes were exhibited at Fuorisalone in Milan. A recent collaboration with Italian fabricator Biffi Carpentry has opened the WoodSkin process to the possibility of more commercial projects, as well as innovative indoor/outdoor structures like cover systems or flexible walls. "You can transform the shape you have in the skin and you can dictate the quality, thickness, and pattern for something totally unique," said Masotti.
Marlon Blackwell uses ribbed ceiling to evoke craft while mitigating contemporary challenges at Arkansas museum.The setting for the gift shop at the Crystal Bridges Museum of American Art seems idyllic—a vast glass wall opens onto a entry courtyard that gives way to a placid pond reflecting the Ozarks landscape. But to create a design for the 3,100 square-foot space in Bentonville, Arkansas, architect Marlon Blackwell had to overcome multiple hurdles. The first: a thicket of concrete columns supporting the green roof of the Moshe Safdie-designed building. Next: the west-facing glass wall, which made heat gain an issue. And finally: the very small budget (the total project cost was $644,000). Blackwell’s solution to all three problems was a concept inspired in part by local Arkansas basket weaver Leon Niehues, whose work is now sold in the museum shop. Niehues’ pieces are distinguished by their vertical “ribs.” The wrapper of rib-like forms devised by Blackwell begins at the top of the exterior glass wall, where it acts as a sunscreen, and extends across the ceiling and down the long eastern interior wall where shelving is integrated into the system. Made of locally sourced cherry plywood, the final effect is less wicker-work and more chanterelle—Blackwell’s ribs, which span roughly 30 feet, evoke the gills on the underside of a mushroom cap. But the arc-shaped plan of the building complicated matters. “It was a curved volume, so we couldn’t reference a radius,” said Blackwell. “We used straight lines, which looks great but demanded that each rib had to be slightly different.” Each of the 223 undulating ribs is composed of up to four segments of joined planks 8 inches wide and 3/4-inches thick. Using 3-D modeling and AlphaCAM CAD/CAM software, Blackwell’s team translated the design to CNC routers in the millwork shop of Adam Weaver at UDI Inc, in Rogers, Arkansas. Weaver deployed two routers at once to stay on deadline—an Onsrud CNC and a Northwood CNC—and an optimizer insured that there was as little wasted material as possible. From 480 sheets of plywood emerged the 700 cut pieces for the ribs, each inscribed with a number and with the screw holes and the overlapping joins pre-cut. Once the material was delivered to the site, the contractors used a plum line and a laser to align then suspend components from the ceiling. The ribs gradually took shape one piece at a time. “It was like stacking stone,” said Blackwell, noting that everything snapped into place in under six weeks during construction in 2011. The rib system filters out up to 40 percent of the daylight and not only finesses the existing concrete columns but also conceals sprinklers and the store’s lighting system. Blackwell use of cherry planks for the floor creates a unified and warm space that complements the wares on display for only $200 per square foot.