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Furniture fabrication for our downtown Los Angeles Lobby project

We’re working with Machine Histories to fabricate the furniture that we have designed for our lobby renovation project in downtown LA. In these photos the Machine Histories guys are applying PVC edge banding to our benches. By painting each piece then applying edge banding, we get a two-tone color scheme with a durable plastic edge to protect the faces that people will eventually be sitting on. The holes in each profile are designed to accept the custom spacer that was described here

We like seeing the profiles before assembly because they’re a good document of our design intent. The piece was designed both as a monolithic form and as a set of profile curves so that each profile has a very particular, plucky kind of curvature. Each curve in the array is thought of as a springy band that we’ve attempted to coil into a loop with overlapping ends. The geometry has its own limits of plasticity and spring, a tendency to return to a set of primitive shapes in opposition to our attempts to bend it. This is a slightly different way of working than slicing up a surface model and accepting the sections, no matter what the resulting kind curvature at the scale of single slice. Here the design has as much to do with the parts as it does to do with the entire assembly.

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DavidClovers Exhibition

A while back the Hong Kong firm Davidclovers showed some recent work at the Sci-Arch Gallery, most of it fabrication studies in concrete and corian. Even though the installation is long gone, we think the photographs are worth another look. Call it one of our 10 Best picks for 2010, although we can’t possibly be bothered to come up with the other nine.

Most recent installation work by architects hangs limply on one of a few crutches: heavy repetition with the hope it will achieve escape velocity beyond the relentless and into the fantastic; or cozy visual associations with biological monstosities that end up looking like second rate horror effects (with none of that genre’s sense of humor or squirmy self-conciousness [or radical politics or soft-core sexuality]). Immuring, instead, rolls around in the dirt with architectural convention — windows, doors, walls, thickness, mass — and emerges with something original and provactive. Typical of Davidclover’s work, the craft is imppecable. It’s, you know, fresh old school.

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Downtown Los Angeles Lobby Renovation: Fabrication Studies

Serial sectioning is an easy way to fabricate complex form using flat cuts stacked together to imply the continuity of a surface. The technique is easy and cheap, but like lots of other things that are easy and cheap, it’s also lazy and problematic. The intense, repetitive visual order of the sections frequently overwhelms the object being fabricated. It is difficult to meet the following criteria using this technique:

- Cut sections non-uniformly (not all sections cut in a straight line)
- Amplify desirable qualities of the form using sections instead of allowing the cuts to suppress them
- Distribute ribs and spacers in non-linear arrays to assemble the sections (find an assembly technique that is constrained by the properties of the form instead of constrained by some arbitrary system, like a grid)
- Work only in sheet material so that all cuts are flat 2D profiles
We’ve been working on this problem and have arrived at a solution for some lobby furniture we are designing. The method is shown here with a bench.

Front and back views of the bench surface model. The form is conceived as a thick sheet of material, pliant in the way that thick foam can be rolled in a loose tube while retaining some of the willful resistance of that material’s stiffness. Lines embedded on the surface follow the tucks and overlaps of the tube form.

Sections are cut perpendicular to the direction of the tube. There is a “wobble zone” where the sections not only turn a corner but “shake” slightly in orientation at the end of the turn. This wobble and shake in the surface normals corresponds to the willfulness of the material idea: it is impossible to achieve turns and radii without a “recovery period” of adjustment in the form immediately before and after the turn.

Spacers are arrayed along the form so that they follow the curved trajectory of the rolled tube.

The spaces are designed so that there is a rigid lock between adjacent profiles, while allowing: 1) flat custom cuts to vary the angle between sections; 2) drift between the placement of the spaces so they can follow a curve instead of straight line.

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Greatly encouraged

Hidden behind the Mona Lisa’s smile is a mysterious code made of letters and numbers, according to a controversial claim by members of Italy’s High Council of Painting, Sculpture, and Sorcery.  Members of the council found that magnifying high-resolution images of the world’s most famous painting revealed hidden letters and numbers added by Leonardo.  Da Vinci, said Silvio Silvusconi, chairman and Grand Wizard of the High Council.  “To the untrained eye, the symbols are hard to discern, however, with a microscope, you can see the letters”.  Silvusconi speculated the symbols (somewhat hard to make out) could be a number of things, including Leonardo’s initials, the phrase B-I-N-G-O, or a recipe for brownies.

A more likely theory is that in an effort to thumb his nose at the Pope, the Renaissance master was actually embedding a code revealing ancient eastern techniques of Tantra.  Known as “Monato” from the Italian word “Monare” (meaning to moan), the technique created subtle sensory effects effects that confuse the central nervous system and promote an explosive reaction of great pleasure.

Obviously this discovery sheds new light on the mystery of the Mona Lisa Smile. While previous theories have speculated the woman was happily pregnant, suffering from emphysema, or awash in the intoxication of chemical inhalants, the High Council now finds it more likely that the Master’s subject was painted after a decent roll in the hay.

Dan Brown fans everywhere are said to be “greatly encouraged” by these new technical advances.

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An expedient fig leaf

Alison Gregor’s article on re-purposed building materials works hard to see innovation where there is none to be found. Yes, sustainability and recycling are virtues in construction, but the shipping container projects of which the author is so enamored are nostalgic, kitsch architectures. They provide at best, the images of innovation and fiscal chastity without the substance.

Shipping containers, it turns out, are poor substitutes for other construction methods. Steel is a terrible insulator. Toxic chemicals abound in the painted walls and quarantine chemicals applied to the flooring (including arsenic and chromium). An entire generation of architectural students learned this lesson in the 1990′s when containers were briefly in vogue as a subject of design study.

The Real Estate Industry, embarrassed by its excesses of the last decade, has predictably gone shopping for the most expedient fig leaf. We should ignore it.

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