Posts tagged with "Situ Studio":
From the glass-encased lobby of One John Street, residents will be able to take in some incredible views: The 12-story, 42-unit condominium is located on the eastern end of Brooklyn Bridge Park, and the Manhattan Bridge soars over the East River just a stone’s throw away. In fact, Alloy, the building’s architects and co-developers with Monadnock Development, scaled up the windows and the floors to combat the increased noise pollution and solar exposure. But Alloy wanted more than just a glass box on the East River, so it tapped Brooklyn-based SITU Studio. “They came to us to create these sculptural panels that wrap around the structural core of the building,” said SITU Studio partner Wes Rozen.
SITU Studio, the firm behind the new Brooklyn Museum entrance, the NYSCI Design Lab, and the Heartwalk in Times Square, has a heavy emphasis on fabrication and material experimentation in their practice. For this project, the creative process began with a building being torn down: The Tod Williams and Billie Tsien–designed American Folk Art Museum. “We [SITU and Alloy] both were sad to see [the museum] go,” said Rozen. “So that was an inspiration for what we were trying to achieve, just in terms of the texture in the concrete. From there, we began by looking at various things we could cast to get texture: different types of plastics, fabrics, things that we could put underneath or on top of the fabric, to create different patterns and textures. We wanted something organic.”
SITU Studio undertook several months of experimentation in a rented space in the Brooklyn Navy Yard (its other fabrication spaces were at capacity). Early on, the firm challenged itself to create panels where the artists’ hands weren’t too visible: “We wanted a texture that seemed like it could’ve been just found in nature,” said Rosen. “We wanted to author the process, but the materials themselves would be given the freedom to do what they wanted.” Eric Weil of Oso Industries, a Brooklyn-based studio whose specialties include concrete installations, consulted and assisted during the fabrication process.
The team found their wabi sabi sweet spot with a mixture of salt and beeswax. For each panel, SITU Studio stretched acetate over a sheet of crumpled paper on a table; this surface created a gently irregular topography to cast against. After encasing the acetate on four sides with a one-inch-deep casting formwork, they poured pools of melted beeswax on the acetate, along with pellets of beeswax and salt granules to achieve a fine texture. SITU Studio then poured on concrete (colored with black pigment) that was further reinforced by mixed in loose fiberglass, and a carbon-fiber mesh overlay.
Once dried for three days, the panels were heated inside a custom-made oven that could angle upward. “The reason why the oven lifts is so that, as the wax is heated and melts out of the panels, it stains these vertical lines, little drip lines, into the concrete, which is something we were excited about as a subtle feature,” said Rozen. After that, the wax and salt could be easily dissolved or washed out.
The end result looks like it’s been pulled from a blast furnace or a foundry wall: “In the right light, the panels look almost metallic where the concrete has cured against the acetate,” Rosen said. Other parts of the surface are cratered and pockmarked like a lunar surface. In total, 63 panels from 17 to 11.5 feet tall (all two feet wide) stand in the lobby facing John Street and within the stairs around the core. They will also be visible from the street when the building opens this summer.
RESOURCES Concrete Services OSO Industries
General Contracting and Construction Management Monadnock Construction
Structural Engineers De Nardis Engineering, LLC
If these five architecture teams get their way, the library of the future will look a lot different than today
“Context, materials research, economies of construction, building performance, and client-based collaboration” all shape the design approach of Williamson Chong Architects. Their work ranges in scale from furniture to master planning, including the House in Frogs Hollow and the Abby Gardens Food Community master plan.David Benjamin The Living New York According to the League:
New Yorkʼs The Living explores – through installations such as Mussel Choir, exhibited at the Venice Biennale, and the NYCEDC project EcoPark – “how new technologies come to life in the built environment.” The Living was just named as the winner of the MoMA/PS1 Young Architects Program.Geoff di Girolamo, James Lord, and Roderick Wyllie Surfacedesign San Francisco According to the League:
The landscape architecture and urban design practice Surface Design, Inc. focuses on creating landscapes that emphasize “personal histories and connections between culture and natural environment” with projects ranging in scale from domestic projects, to San Franciscoʼs Golden Gate Bridge Plaza, to Stonesfields Quarry Park in Auckland, New Zealand.Basar Girit, Aleksey Lukyanov-Cherny, Wes Rozen, and Bradley Samuels SITU Studio Brooklyn According to the League:
The firmʼs Brooklyn-based studio, divided between design and fabrication spaces, enables their goal to “leverage fabrication efficiencies, material re-use, flexible assemblies, and community involvement to create spaces that engage in living relationships with the urban context.” Projects have included the ReOrder installation in the Brooklyn Museum Great Hall; Heartwalk, installed in Times Square; and mapping and analysis projects.Joyce Hwang Ants of the Prairie Buffalo, NY According to the League:
Ants of the Prairie is an arts and research practice “dedicated to developing creative approaches in confronting the pleasures and horrors of our contemporary ecologies,” as seen in work such as Bat Cave and Bat Cloud and the currently under construction bird and bat Habitat Wall.Salvador Macías Corona and Magui Peredo Arenas Estudio Macías Peredo Guadalajara, Mexico According to the League:
Estudio Macías Peredo, acknowledging “the understanding of our regional situation (geographically and socio-culturally), where [a] craftsman is part of the building process,” embraces ideas of critical regionalism, as explored in the residences Casa Atlas and Casa Arenas.Ronald Rael and Virginia San Fratello Rael San Fratello Oakland, CA According to the League:
Rael San Fratello shies away from working within a set philosophy, trying rather “not to define, but rather to constantly redefine ourselves” with projects, ranging from the art installation Prada Marfa to their winning entry in the Sukkah City competition, “Sukkah of the Signs, aka the Homeless House,” that “try to do the most with the least.”Mauricio Rocha Iturbide and Gabriela Carrillo Valadez TALLER |MauricioRocha+GabrielaCarrillo| Mexico City According to the League:
TALLER IMauricioRocha+GabrielaCarrilloI focuses on “the importance of the vernacular, craftsmanship, sustainability, and socially-responsible design” in projects such as Plastic Arts School, Universidad Autónoma Benito Juárez de Oaxaca and the Hall for the Visually Impaired, Ciudadela.The League's Emerging Voices lecture series will take place at the Scholastic Auditorium located at 557 Broadway, New York. For exact dates and ticket information, visit the League's website. The 2014 jury included Fred Bernstein, Paul Lewis, Kate Orff, Thomas Phifer, Annabelle Selldorf, and Adam Yarinsky. Previous Emerging Voices winners include Jeanne Gang, Morphosis, Steven Holl, Tod Williams, Deborah Berke, Brad Cloepfil, Michael Maltzan, and many others.
A social enterprise’s first mobile food entity uses design, mechanics, and hospitality to benefit incarcerated youths.As the food truck craze continues to gain speed, it was only a matter of time before Brooklyn-based Situ Studio—one of the country’s premier design/build outfits—was tasked with creating a kitchen on wheels. But their opportunity to design and fabricate was not for just another rolling burger joint or mobile ice cream stand. The recently completed Snowday is the first food truck from Drive Change, a social enterprise that trains previously incarcerated youths to operate and manage roving restaurants. Situ Studio and Fabrication’s co-founder and partner Aleksey Lukyanov-Cherny said client Jordyn Lexton, Drive Change’s founder, had a strong vision for the program. Her business model calls for locally sourced ingredient themed menus. Snowday’s ingredient is Grade A maple syrup harvested in upstate New York. To relay the image of a cabin in the woods where one might refine the tree sap, she envisioned a raw, natural facade that was both organic and industrial. Lukyanov-Cherny said designing a skin for a moving unit—in this case a former Con Edison vehicle—was challenging new territory. “When we started thinking of the project, we thought of a three dimensional, articulated facade,” he said. However, instead of complying with building codes the Situ team learned Transit Authority regulations, and how they could customize the appearance while fitting in the required envelope, in addition to practical matters like height restrictions, wear, and repair issues. In other words, an extended cantilever would not be reasonable for zipping through the Brooklyn Battery Tunnel. The facade also had to accommodate food service needs. The truck’s interior was gutted and retrofitted with an industrial, stainless steel kitchen by Shanghai Mobile Kitchen Solution, and a service component that extends to the truck’s exterior. So in addition to ease of repairs, the modular facade system had to adapt to both punctuated and continuous surfaces. “We wanted a flexible construction system that let you develop the facade for one application or another, that could be transformed for a building, or more architectural structure,” explained Lukyanov-Cherny. Situ Studio used Rhino to design a bespoke snowflake pattern for the truck, which supported Lexton’s brand visualization. The team chose reclaimed lumber as a material, both for its down-home aesthetic as well as its lightness. Planks of redwood and cedar with naturally worn patinas achieved variances in color without any additional treatment and a natural seal. Each plank was planed to 1 inch in thickness, so three layers made up a 3-inch additional depth on either side of the truck. To drive home the branding message, the truck’s name was laser cut from 1/4-inch stainless steel and backlit with LEDs. Each board was applied with stainless steel anchor points. Though it was not Situ Fabricataion’s first project for a non-profit organization, it was their first food truck and Lukyanov-Cherny said he looks forward to building more mobile units in the future. “We like to work with non profits because they’re open to new ideas, design, and approaches, which is so important to those companies,” he told AN. “A visionary client like this is inspiring to us.”
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HLW’s binary design for Google’s New York office supports the company’s product offerings.Google is renowned in design circles for its unique offices around the globe, and the main lobby of the Internet search giant’s New York City office is no exception. Architecture firm HLW took its inspiration for the design of the space from Google’s Code of Conduct. The architects rendered the document’s stipulations in binary code, and applied those perforations on a series of 27, 12-foot-tall triangulated aluminum wall panels. This digital-age design feature is a nod to Google’s domain as well as to the process by which the panels themselves were created. Brooklyn-based Situ Fabrication, the newly established fabrication arm of Situ Studio, worked with HLW to achieve a monolithic appearance across each of the 27 panels. Since the design called for “folded-looking planes,” Situ Fabrication opted to work with 1/8-inch-thick aluminum composite material (ACM) for ease of manipulation and the clean edges that the material would produce when processed on wood working machines. To reinforce the ACM sheets, Situ designed and fabricated a triangulated frame from welded aluminum tubing, resulting in a 2-inch-thick panel section. The design and fabrication process involved substantial file sharing as Situ tweaked the geometry of HLW’s designs in Rhino. Then, a rendered view of an adjusted thickness would be sent back to HLW in SketchUp to support the designers’ parameters. “There was a lot of back and forth between our design engineering and fabrication and what the architect provided to us,” attested Basar Girit, a partner at Situ Studio. “We speak the language of the architect, as well as the contractor, and it makes for a smooth process because the architect doesn’t have to fully resolve the design and translate to the contractors.” Situ calculated optimal distances between perforations so as not to compromise the integrity of the 1/8-inch ACM. Working from an image file, the pattern of perforations was laid out on each panel to avoid the interior frame. A 3-axis CNC router punched out mirror images of the pattern on each of the ACM sheets, which were then bent around the frames. This method quickly produced a panel with an identical pattern on the front and back, and seamless corners. Situ coated the interior of each panel with black paint. Backlit by linear lighting along the lobby’s wall, the panels produce a glittering effect as visitors walk through the space. Situ also helped flesh out installation methods with a custom mounting detail on the ceiling and floor, received in a wall niche. A welded aluminum tab runs the length of each panel, like a vertical fin, that bolts in at an angle at two locations. Flat head screws secure the system in place, and the attachments are concealed with aluminum strips, much like traditional trim.