Posts tagged with "Water Jet":

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Tiled Topography from e+i studio

Fabrikator

e+i studio of New York won a design competition for their concept of a trade show pavilion made entirely from Italian tile.

Crafting a memorable and intimate environment within voluminous convention halls can be a daunting challenge. To establish a meaningful presence in such environs, Ceramics of Italy tapped into the A&D community with a competition in 2012 for unique booth designs to showcase the products of its manufacturers. Piazza Ceramica, designed by e+i Studio and fabricated by A&M Production, won the competition. Its proposal was installed at the Coverings Tile and Stone trade show in 2012 and 2013. Inspired by Italy’s social culture, architects Ian Gordon and Eva Perez de Vega used the idea of a public space to showcase tiles produced in Italy for a bespoke, modular pavilion that houses a multi-function program of a café, information kiosk, and restaurant. The design utilizes a topographical approach to build up the pavilion’s perimeter with seating and display installed product. “From the beginning, we started to look at the topography in a series of parametric studies to determine the optimal stair/riser ratio to integrate the substructure of the two mounds,” said Perez de Vega. “From there, we wanted color to be an important component to showcase the qualities of the tile to transition smoothly from intense greens to reds to whites.”
  • Fabricators A&M Production
  • Designers e+i Studio
  • Location Orlando, Florida; Atlanta
  • Date of Completion March 2012
  • Material tile, grout, wood, raised flooring system
  • Process CNC mill, water jet cutting, Rhino, Grasshopper, AutoCAD, Photoshop
While parametric tools played a large part in developing the piazza, the designers say the use of Grasshopper was more instrumental than generative. “The digital tools were used where it was useful, but there was also a lot of hand tuning and fine crafting,” Gordon said. “Modeling the project digitally streamlined the initial process. We were able to study more variations in less time to rule out options that didn’t look right.” The digital processes was also essential to the off-site fabricators who are located in Reggio, Italy. From New York, e+i Studio was able to communicate with their Italian team in a short period of time, with exact specifications for each element of the piazza. “The thickness of the mortar, the sizing, had to be as precise as possible and digital fabrication was critical to this,” explained Perez de Vega. “We produced construction documents but the most reliable source was our 3D documents, and the fabricators understood exactly what we were trying to do,” added Gordon. The pavilion was designed as a three-dimensional puzzle, as the temporary installation would be reconfigured for three years in various exhibition halls. A CNC-milled wooden grid forms a shell to support tiled surfaces that grow upwards as seating risers, ultimately cantilevering over the base. Both mounds are mirrored copies so they can be reconfigured for any environment. With the end result, the designers were struck by the juxtaposition of centuries-old materials and new technologies, such as water-jet cutting and digital modeling. “At the beginning, we felt unconstrained about tile being rectilinear, knowing that digital fabrication would let us create what we wanted,” Gordon said. “Infusing the project with curves was possible with digital drawings and communication.”
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Manhattan Street Map by FLATCUT_ Ties Together Experiments In Motion

Fabrikator

Audi and GSAPP teamed with FLATCUT_ to create a 1:1500 scale model of Manhattan's street grid from 3/16-inch-thick aluminum sheets

This September at the preview of the Lowline Park in Manhattan’s Lower East Side, visitors had the opportunity to absorb nine visions by students from Columbia University Graduate School of Architecture Planning and Preservation (GSAPP) about the future of urban living and mobility. Conducted as the culmination of a yearlong research program in partnership with Audi of America, the exhibition, Experiments in Motion, was tied together and contextualized by a hanging, 50-foot-long, 1:1500 scale model of Manhattan’s street grid. Audi and GSAPP called on New York and New Jersey-based fabrication studio FLATCUT_ to create the model, which also calls out every subway station on the island. The job required the studio to pull off a high wire balancing act: the fabrication of an object both intricate and sturdy, modular yet monolithic.
  • Fabricator FLATCUT_
  • Designer Therrien-Barley
  • Location New York City
  • Date of Completion  September 2012
  • Materials 3/16-inch aluminum sheets
  • Process Rhino, CNC water jet cutting, welding
The Manhattan street grid had to float amid a sea of colorful projections emanating from the student’s exhibits, which were presented in digital format. Light from the screens had to be able to dance across the model. Equally important to the exhibit, the model had to work with a projection by Nuite Blanch New York that created the appearance of a heavy shadow. Silhouetting the street grid upon the digital displays, the model placed the projections in context. “That was pretty unique,” said FLATCUT_’s Tomer Ben-Gal. “The model had to be both reflective and have the ability to cast a shadow.” In close collaboration with the Therrien-Barley design team, FLATCUT_ studied several materials to find the right one to render the complex line work of Manhattan’s street grid. “It was critical that we identify an alloy that was both strong enough to hold the piece up, but not too thick that it would become difficult to cut the fine pattern they were looking to achieve,” added FLATCUT_’s Daniel Ramirez. FLATCUT_ went with 3/16-inch aluminum sheets. The studio revised the detail of the design team’s line drawings in Rhino, refining the grid so it could be cut using a water jet cutter. They also broke the overall model down into modular parts that could fit through the CNC cutting machine. After consulting with the designers on a variety of reflective finishes, the team decided to leave the raw look of the aluminum’s mill finish. Once cut, the modular pieces of the model were welded together in FLATCUT_'s New Jersey fabrication shop with flanges, creating a smooth, unbroken appearance to the finished product. Once assembled, Art Domantay  hoisted the unit in place with aircraft cables connected to the flanges. FLATCUT_’s attention to detail throughout the process is evident in just how seamlessly their ghostly Manhattan melded with the digital projections that comprise the rest of the exhibit. “It was interesting,” Ramirez said, “to apply our skills as fabricators of physical pieces to digital interactions.”