August 25, 2014



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 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." 

August 22, 2014



In 2008, RCR Arquitectes teamed up with the firm Passelac & Roques architects to take part in the Greater Rodez Authority’s design competition for the Soulages Museum. Chosen among 98 applicants, their project placed the museum on the north side of the entirely renovated Foirail garden. They grasped the significance of the site, considering it as a link between the historic centre and the new quarters.
Respectful of its surroundings, the building is organised in a succession of cubes. The intervals remind the passerby of the ''fenestras'' in the Aveyron and gives way to contemplation. Orientated towards the garden, the southern wall does not exceed three meters whilst on the the northern side of the site, the ‘'boxes’' overlook a pathway.
The cladding is made of Corten steel also known as weathering steel. When exposed to bad weather (i.e. to corrosion), this material creates a protective layer of rust.
''The Corten steel ages with time and perfectly suits the park’s natural surroundings. It is not a lifeless and sanitized material. Furthermore, its colour-range echoes Rodez’s pink -rey colours.'' (RCR Arquitectes). The shades of this steel also reflect Pierre Soulages’ work.
The Soulages Museum is located in the heart of Rodez town, in Foirail Garden, a stone's thrown from the cathedral. Designed and conceived by Catalan RCR Arquitectes– Passelac & Roques Architects, the musem is spread on the north side of the entirely renovated Foirail garden. It fits its surroundings perfectly. Well-known for the attention they pay to the geographical location and surrounding scenery, Ramon Vilalta, Carme Pigem et Rafael Aranda immediately understood the value of that unique place.
The museum will take the fragility of the collections into account. Arranged in practical volumes around a monitored light, it will provide obscured and protected areas for papers (Walnut Stains, printed works), whereas the five high ''boxes''
will harbour the paintings and the cardboards of Conques' stained-glass windows under a zenithal light.
Four levels. From top to 1st floor:
-The storehouses (safety standard)
-The documentary centre and a workshop for children
- The permanent exhibitions' rooms with the works from Soulages' donations
- The temporary exhibition room dedicated to contemporary artists
All the information had taken by Musee Soulages which have  about architectural information of museum, architects information and Benoît Decron’s essay who is the  Chief Curator & Director of the Greater Rodez museums. Some photographs had taken by Musee Soulages and photographer Vincent Boutin.
You may visit Pierre Soulages' information and paintings from my blog archive to click below link.

Neither a mausoleum nor a monographic chore, the Soulages Museum will be a place for meetings and new experiences. While being a genuine modern and contemporary art museum, it will favour exchanges with similar institutions or foundations, with great freedom in its choices from promising to seasoned artists, through different
themes and links from one historical era to another (the Middle Ages, for instance, whom Soulages holds dear).
The museum fits into the European gathering of museums. The Soulages Museum will be ‘' unusual ‘ according to the painter's words,: '' It will highligt the process of artistic creation, the role of the unexpected that lies in it, and without using banal teaching methods, I hope it will open the eyes of the public and awake their spirit to understand what art stands for. ''
Visitor services will particularly strive to explain the meaning of the artist's know-how and gestures. The audience will explore Pierre Soulages' works in the museum by following an itinerary that combines the painter's history– his biography–with other expressions of his creativity, such as oil paintings, paintings on paper, printed works or stained-glass windows.
The bright rooms with high ceilings will alternate with the darkened rooms with low ceilings to tackle specific topics, including the very first figurative works Soulages made in Rodez, the inspiration he found in the Aveyron, the hanging of artworks, the Walnut Stains, the different techniques of engraving, or the works he did at Conques.
Each aspect of the donation will be associated with its constituent technique. That is why Conques stained-glass windows are a link between monumental medieval heritage and contemporary creation, and act as a catharsis: they are the accurate portrait of the artist. In Conques abbey, Soulages thought of a new light. In Rodez, we must show clearly how we can approach that form of light thanks to experimental witnesses. From matter to thought, with tools and hands.
Benoît Decron,
Chief Curator & Director of the Greater Rodez museums

Rafael Aranda, Carme Pigem and Ramon Vilalta, under the name of “RCR Arquitectes”, have been working together since 1988 in Olot, Catalonia. They pay careful attention to the geographical location and surrounding scenery. A quality , for which their work was awarded consultant status for Garrotxa Volcanic Natural Park (Catalonia). Their work has been praised all over the World.
The agency won several national and international competitions:
Punta de la Aldea Lighthouse in Gran Canaria in 1988, new Barcelona provincial courts in 2010,
in Belgium (Hofheide crematorium, 2006–Gand media library), in Dubai (The Edge Business Bay, 2007), and in France (The Soulages Museum, in Rodez, 2008–''La
Cuisine'' Arts Centre, Nègrepelisse, 2009–Font-Romeu's school, 2010).
RCR Arquitectes has been awarded all around the world.
2005: Prix national de la culture, Prix d’Architecture de la Generalitat de Catalunya.
2008: Chevalier de l’ordre des Arts et des Lettres in France.
2010: Honorary member of the American Institute of Architects (AIA).
2012: Honorary member of the Royal Institute of British Architects (RIBA).
Finalists of the Mies Van der Rohe's European Union Prize.
Best eco-friendly construction Quatrium Prize.
First LEED certification in Catalonia.
They also won four international prizes:
Contractworld, seven FAD prizes, IV European Rosa Barba prize (ex aequo).

Respectively born in 1977 and 1978, François Roques and Romain Passelac both graduated from Toulouse's National School of Architecture in 2002, having studied previously in France and Spain. Before joining forces, the first one completed a higher educational course in Canada, the second in Catalonia. Thanks to these diverse, mutual and complementary experiences, a strong and stable professional partnership grew naturally between the two architects. It led to the creation of the
Passelac & Roques Architects agency in 2004 in Narbonne. The agency had the chance to work on diverse projects on different scales, which allowed it to gain knowledge in varied areas such as architecture, city planning, reorganisation,
scenic design, furniture and so forth. They recently delivered the Soulages in Rodez and a wine cellar in Narbonne.

Heritage architect–Museum design (MAW ARCHITECTE)
Philippe Maffre has been a licensed architect since 1987. Since 2005, he's been managing MAW (Maffre Architecture Workshop), an architecture agency dedicated to develop heritage sites. He completed the Ecole de Chaillot's Heritage Architecture DSA from 2011 to 2013, which allowed him to work on listed historical monuments.