EMECO TUYOMYO BENCH DESIGN BY FRANK GEHRY
EMECO TUYOMYO BENCH DESIGN BY FRANK GEHRY 2009
Emeco with Gehry: A Collaboration in Support of Hereditary Disease Research
“Tuyomyo” Yours and Mine: One-of-a-Kind
Hanover, Pennsylvania, USA- Emeco, the premier manufacturer of aluminum chairs, and renowned architect Frank Gehry have collaborated once again, this time in the development a one-of-a-kind large scale bench. Named Tuyomyo (Spanish for “Yours and Mine”), this is the second time Emeco and Gehry have cooperated on a project, the first being the creation of the all-aluminum Superlight chair launched at the Salone in 2004 and recently accepted into the Museum of Modern Art’s permanent design collection. The new bench will be auctioned in May, proceeds of which will fund the Leslie Gehry Brenner Award of the Hereditary Disease Foundation (HDF). Frank Gehry’s mandate was simple, “The form has to be free and light. It must be structural, and at the same time poetic. And a little dangerous.”
Using 80% recycled aluminum components and aircraft manufacturing technology, as well as hand craftsmanship - this exclusive Tuyomyo bench further reinforces Gehry’s intuitive design vision and Emeco’s expertise in crafting aluminum. Gehry developed ideas for the bench during the time he worked on the Superlight chair for Emeco in 2004. What started as a sketching of ideas has become a conceptual project for the company and one that will raise funds and awareness for HDF.
Frank and Berta Gehry were founding trustees of the Hereditary Disease Foundation in 1968. They are deeply passionate about and committed to its mission – to cure brain diseases. Proceeds from the sale of Tuyomyo will benefit a research fund established in 2008 in honor of Frank’s late daughter - The Leslie Gehry Brenner Award for Innovation in Science.
“We didn’t start with the intention of making a product – we wanted to explore the possibility of using huge pieces of aluminum to make a large scale project. Once we really got into it, we found we were onto something amazing and Frank suggested we use it to support his Foundation,” said Gregg Buchbinder, Emeco’s Chairman. “Combining CNC equipment with traditional hand craft, we were able to make a three meter long wing of polished aluminum. The trouble was making the wing strong enough to cantilever over the truss and remain stable. That’s when we found an aircraft part manufacturer with huge solution tempering furnaces that made it super strong. But it took many trials and failures to get it right. Each time the result was unpredictable – like Raku ceramic firing – the aluminum took its own, unique organic form. When we saw the final bench though, we knew we had fulfilled Frank’s directive and we thought maybe we could use even these ideas for a future product”
The project for the new Emeco bench fulfilled Gehry’s desire to design something unique that will benefit the Leslie Gehry Brenner Award of the Hereditary Disease Foundation (HDF), a cause that he is deeply passionate about. HDF aims to cure genetic illness by supporting basic biomedical research and uses Huntington’s Disease as its model. Buchbinder used the opportunity to find a way to manipulate and temper large pieces of aluminum for use in future product designs. The result is sculptural bench, a wholly new form – and an attempt to use design for the common good.
The special Tuyomyo Bench has gone through many changes during various stages of development since the team began working on the project last summer. The final all-aluminum bench features a three meter hand polished “wing” of offset trapezoids supported by a brushed “truss”. It weighs only 55.3 Kg .
You may reach Frank Gehry’ another design Vitra Wiggle Chair from my blog archive to click below link.
Gehry Partners, LLP is a full service firm with broad international experience in academic, commercial, museum, performance, and residential projects.
Frank Gehry established his practice in Los Angeles, California in 1962. The Gehry partnership, Gehry Partners, LLP, was formed in 2001. Gehry Partners employs a large number of senior architects who have extensive experience in the technical development of building systems and construction documents, and who are highly qualified in the management of complex projects.
Every project undertaken by Gehry Partners is designed personally and directly by Frank Gehry. All of the resources of the firm and the extensive experience of the firm’s partners are available to assist in the design effort and to carry this effort forward through technical development and construction administration. The firm relies on the use of Digital Project, a sophisticated 3D computer modeling program originally created for use by the aerospace industry, to thoroughly document designs and to rationalize the bidding, fabrication, and construction processes.
The partners in Gehry Partners, LLP are: Frank Gehry, Brian Aamoth, John Bowers, Anand Devarajan, Jennifer Ehrman, Berta Gehry, Meaghan Lloyd, David Nam, Tensho Takemori, Laurence Tighe & Craig Webb.
FRANK O. GEHRY
Frank Gehry considers the recently commissioned Walt Disney Concert Hall in Los Angeles to be his first major project in his hometown. No stranger to music, he has a long association with the Los Angeles Philharmonic Orchestra, having worked to improve the acoustics of the Hollywood Bowl. He also designed the Concord Amphitheatre in northern California, and yet another much earlier in his career in Columbia, Maryland, the Merriweather Post Pavilion of Music.
The Museum of Contemporary Art selected him to convert an old warehouse into its Temporary Contemporary (1983) exhibition space while the permanent museum was being built. It has received high praise, and remains in use today. On a much smaller scale, but equally as effective, Gehry remodeled what was once an ice warehouse in Santa Monica, adding some other buildings to the site, into a combination art museum / retail and office complex.
The belief that "architecture is art" has been a part of Frank Gehry's being for as long as he can remember. In fact, when asked if he had any mentors or idols in the history of architecture, his reply was to pick up a Brancusi photograph on his desk, saying, "Actually, I tend to think more in terms of artists like this. He has had more influence on my work than most architects. In fact, someone suggested that my skyscraper that won a New York competition looked like a Brancusi sculpture. I could name Alvar Aalto from the architecture world as someone for whom I have great respect, and of course, Philip Johnson."
Born in Canada in 1929, Gehry is today a naturalized U.S. citizen. In 1954, he graduated from the University of Southern California and began working full time with Victor Gruen Associates, where he had been apprenticing part-time while still in school. After a year in the army, he was admitted to Harvard Graduate School of Design to study urban planning. When he returned to Los Angeles, he briefly worked for Pereira and Luckman, and then rejoined Gruen where he stayed until 1960.
In 1961, Gehry and family, which by now included two daughters, moved to Paris where he worked in the office of Andre Remondet. His French education in Canada was an enormous help. During that year of living in Europe, he studied works by LeCorbusier, Balthasar Neumann, and was attracted to the French Roman churches. In 1962, he returned to Los Angeles and set up his own firm.
A project in 1979 illustrates his use of chain-link fencing in the construction of the Cabrillo Marine Museum, a 20,000 square foot compound of buildings that he "laced together" with chain-link fencing. These "shadow structures" as Gehry calls them, bind together the parts of the museum.
Santa Monica Place, begun in 1973, has one outside wall that is nearly 300 feet long, six stories tall and hung with a curtain of chain link; a second layer over it in a different color spells out the name of the mall.
For a time, Gehry's work used "unfinished" qualities as a part of the design. As Paul Goldberger, New York Times Architecture Critic described it, "Mr. Gehry's architecture is known for its reliance on harsh, unfinished materials and its juxtaposition of simple, almost primal, geometric forms...(His) work is vastly more intelligent and controlled than it sounds to the uninitiated; he is an architect of immense gifts who dances on the line separating architecture from art but who manages never to let himself fall."
A guesthouse he designed in 1983 for a home in Wayzata, Minnesota that had been designed by Philip Johnson in 1952 proved a challenge that critics agree Gehry met and conquered. The guesthouse is actually a grouping of one-room buildings that appear as a collection of sculptural pieces.
In 1988, he did a monument to mark the centennial of the Sheet Metal Workers' International Association. It was built by 600 volunteers from the union in the cavernous central hall of the National Building Museum (formerly known as the Pension Building) in Washington, D.C. The 65-foot high construction was galvanized stainless steel, anodized aluminum, brass and copper.
There is an interesting note regarding a statement Gehry prepared for the 1980 edition of Contemporary Architects , Gehry states, "I approach each building as a sculptural object, a spatial container, a space with light and air, a response to context and appropriateness of feeling and spirit. To this container, this sculpture, the user brings his baggage, his program, and interacts with it to accommodate his needs. If he can't do that, I've failed."