October is upon us, which means that the Chicago edition of Facades+ PERFORMANCE is only a few weeks away! Be there as leading innovators from across the AEC industry converge on Chicago from October 24th and 25th at AN and Enclos' highly anticipated event to discuss the cutting-edge processes and technologies behind the facades of today’s most exciting built projects. Don't miss your chance to take part in our groundbreaking lineup of symposia, keynotes, and workshops, and work side-by-side with the design and construction visionaries who are redefining performance for the next generation of building envelopes. Our Early Bird special has been extended until Wednesday, so register today to save on this unbeatable opportunity! Join Neil Meredith of Gehry Technolgies as he examine the relationship between digital design methodologies and real-world construction and fabrication constraints in the complex, wooden ceiling of the Burj Khalifa’s lobby. With representatives from Thornton Tomasetti and Imperial Woodworking, Meredith will lead an intimate, interdisciplinary discussion of the innovative, on-site solutions that his team developed in order to deliver one of the most visible features of the world’s tallest building, so don’t miss out on this rare opportunity! With the deadline fast approaching, Mederith and his team at Gehry Technoligies worked with SOM, Imperial Woodworking, and Icon Integrated Construction to develop new systems, mid-construction, for the design and fabrication of the large, double-curved, wooden ceiling of the Burj Khalifa. Coordinating the work of architects, fabricators, and construction professionals through complex, shared parametric models, Meredith redesigned the ceiling system from the ground up using pre-fabricated, unitized panels to create its astounding, wooden forms. Join in the discussion to hear the rest of this dramatic AEC industry saga in the not-to-be-missed dialog workshop, “Designing for Wood Fabrication in Complex Geometries: The Burh Khalifa Ceiling,” and learn the technologies and techniques behind the creation of this historic project. After earning his Masters in Architecture from Univeristy of Michigan Taubman College of Architecture and Urban Planning, Neil Meredith taught and ran the Digital Fabrication Lab at his alma mater. Meredith earned hands-on experience with cutting edge design technologies and real-world construction challenges with Detroit-based design/build firm M1, the European Ceramic Workcentere in Holland, façade consulting office Front, and as founding partner of design and fabrication studio Sheet. In 2007 Meredith joined up with Gehry Technologies, the go-to design technology and consulting company for the industry’s leading architects. Through the pioneering use of the latest digital tools and processes, Gehry Technolgies has worked with world-class, visionary architects, like Zaha Hadid, David Childs, Jean Nouvel, and of course Mr. Gehry himself, to triumph in the realization of the truly innovative forms of some of the era’s most ground-breaking projects. Register for Facades+ PERFORMANCE today to take part in this and other exciting workshops and symposia. Featuring representatives from SOM, Morphosis, Thornton Tomasetti, and other industry-leading firms, this is one event that is not to be missed. Check out the full Facades+ PERFORMANCE site for the schedule of events and book your tickets now to start the next chapter in your professional career!
Posts tagged with "University of Michigan Taubman College of Architecture and Urban Planning":
Two students in the University of Michigan's Taubman College of Architecture + Urban Planning designed a textural, horizontal installation with complete transparency.When Harold-Sprague Solie and Geoffrey Salvatore developed their decorative 12- by 5-foot ceiling installation Stalactites for a graduate course with Tsz Yan Ng at the University of Michigan's Taubman College of Architecture + Urban Planning, the goal was to produce a design and fabrication process with an accompanying detailed set of documents. "We wanted to take the focus away from just the object at the end and go through a set of drawings to help [the viewer] understand the installation and bring him or her into it," said Salvatore. He expressed the desire for complete transparency, since architecture tends to conceal the labor details, and explained that this process helps expose some of the hidden logic of the project. So while the drawings began as aids for viewing and understanding the project, they became useful as Solie and Salvatore went through the design process. "[As we worked] we'd have these drawing to fall back on; to rediscover ideas, to catch mistakes and reveal things we'd have missed," Solie said. "It was important to work back and forth between the physical process and the [digital] drawing process," Salvatore added. The overall project was modeled in Rhino, while the drawings were produced and tweaked in Adobe Illustrator. The piece itself is composed of four truncated pyramidal units made from Bristol board, the largest of which measures 12 inches on each side at a height of 9 3/4 inches, while the smallest measures 6 inches on each side at a height of 2 5/8 inches. Each shape was drawn to include fastening tablature that eliminates fastening materials. "Each piece has a male and female tab and each tab on each side allows it to aggregate with other pieces," Solie said. "They're organized around the largest piece that has six connections, as opposed to three on the others, and are arranged in a way that supports a universal connector." Starting with the originating piece, Solie and Salvatore worked their way out from the center. "That allowed later orientation of individual pieces for the form we wanted," Salvatore said. "We had seven of the big main pieces and the other pieces radiated out from that." Part of the advantage of working with a firm paper like Bristol board was the flexibility it afforded for mock ups, of which there were plenty. "We went from fabrication to drawing, then back to the fabrication, back to drawing," Solie said of the process. "There's a logic to the aggregation to avoid dead ends. We'd mock up a set of 10 or 15 and once we'd hit a dead end we'd go back and solve the problem." Each of the four patterns were laser-cut onto the Bristol paper, which maximized efficiency. In addition to reducing manufacturing waste, each element can be nested when unfolded. Originally, the team experimented with Yuppo, a thin gauge plastic, but had to abandon the material because the tabbing was problematic and did not support their desire to refrain from introducing other materials. The paper's lightweight made it easy to hang Stalactites 10 feet off the ground, though the designers predict alternative materials like light plastics or aluminum could be suitable.
Detroit’s stark unemployment and population loss have spurred plenty of ideas for redevelopment, from new manufacturing to urban agriculture. A recently unveiled piece of public art meditates on one thing the city has in excess: empty space. Once the country’s 5th largest city, Detroit is now 18th after decades of depopulation and disinvestment stemming from an eroding industrial base. Just when it seemed like population loss might finally bottom out, the city lost another 25 percent of its residents between 2000 and 2010. Empty Pavilion is a purposefully sparse figure made from bent steel tubing, foam and rubber—a formally inventive jungle gym that invites passers-by to traverse the gravel lot it occupies off 14th Street. Yet it is the pavilion, set in a painted profile of an absent house, that plays with the city. Recalling architectural elements in its weaves and makeshift chairs, Empty Pavilion is both an apparition of homes long gone and a canvas for expression among the city’s remaining urbanites. The pavilion was built by McLain Clutter, assistant professor at the University of Michigan Taubman College of Architecture; Kyle Reynolds, assistant professor at the University of Wisconsin at Milwaukee; and University of Michigan graduate students Ariel Poliner, Michael Sanderson, and Nathan Van Wylan.