Domestic Tectonic: Translations Across Scales

Posted on May 22nd, 2017 by Lisa LaCharité

Posted under: Installations + Exhibitions, Lectures, Press

Nader Tehrani and Katie Faulkner presented the 2017 RISD Shoemaker Lecture on April 24, 2017 after the opening of the RISD Shoemaker Exhibit by NADAAA, Domestic Tectonic: Translations Across Scales, at the RISD BEB Gallery. Below is a summary and guide to the exhibit.

Domestic Tectonic occurs at a moment in our trajectory when the dialogue between research and practice has intertwined, not only in confluence, but in moments of friction when our design ambitions have not aligned with the possibilities of patronage, construction norms, or the fluctuations of the economy. The Rock Creek House, as such, does not so much represent the culmination of a form of thinking, but strategic compromise, reconciliation, and opportunism. The seeds for current thinking can be found in history, and many of the early works of both Office dA and NADAAA were houses. Taken together, the houses reveal not only speculation on the domestic realm, but also ways in which a small project may become an ‘amuse bouche’ for a larger construction.

Thus, we link the design and craft usually reserved for the scale of a home to the architecture of the very institutions that train the designers. Below are a few examples of these links as themes that stand out in our work: The first theme deals with the basic proposition of architectural composition in the context of typology, organization and configuration: each of these houses have explored the tensions between received conventions on the one hand –whether from history or the construction industry– and the idea of transformation and invention on the other. A second theme has transported each project into a research about the relationship between material units, their methods of assembly and the way in which means and methods might become transformative –formally, spatially, and technologically– as the basis for the production of new forms of knowledge. Thirdly, each project establishes some relationship with its site, if only as a reminder that architecture does not only operate in a vacuum, but also in a deeply entrenched relationship with its context, and hence a social, political and collective environment.

Below is an outline of the work included in the exhibit to provide a tour of the exhibition. The exhibition was organized around five episodes; each episode title is a link that provides additional information and context:

1 The Rock Creek House

As the centerpiece of the exhibit, the Rock Creek House represents the challenges of working with the infrastructure of an existing building, and how its history and embodied energy serves to advance an idea about resilience and preservation. At the same time, the project tests the limits of such a logic, radically transforming the southern side of the building to open it up to the landscape, framing broader views, letting in the sun, and consequently transforming the otherwise load-bearing brick wall into a curtain wall. The sectional excavations of the project are maybe its most transformative, effectively mining space out of an existing basement and attic to double the size of the house. Significant portions of existing brick were removed on the southern façade to make way for larger window sizes, and then subsequently recycled to expand the façade of the attic space: a conceptual cut and fill.


The mock-ups in this exhibit are a key part of the research undertaken by NADAAA in collaboration with C.W. Keller & Associates to advance some of the material thinking of the project. Much of that thinking was aimed at organizing the house on the north-south grain of its structural walls and –with the insertion of diverse plywood elements– reinforcing that grain with the orientation of plywood laminations. These laminations then translate into butcher block stairs, picket railing, blank panel interior facades on the east-west grain, and a medium through which to organize all mechanical and electronic elements.

3- Tectonic Domestic Grid**

The grid of projects on the north-west corner of the gallery places this project in the context of other residential projects through which some of the key ideas have been iterated.

4 The Animations 

The projection wall brings the various projects into dialogue with each other through added images, and more importantly through animations that advance both the conceptual and experiential aims of each project.

5 The preface to the May 2016 issue of The Plan 

The preface to the May 2016 issue of The Plan is included as an introduction to the exhibit. It outlines some of our architectural preoccupations over the past years and how they have impacted the relationship between practice and pedagogy.

** Residences from left to right, top to bottom: Tongxian Art Center, Weston House, Newton House, Phoenix Residence, New Hampshire Retreat, Mill Road Residence, Villa Varoise (Dortoir Familial), Casa La Roca, House in New England

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Tanderrum Bridge: Railings

Posted on September 9th, 2016 by achang

Posted under: _Tanderrum Bridge, construction

The Tanderrum Bridge (formerly called Batman Avenue Bridge) construction is well underway. The new bridge project is the second design collaboration between NADAAA and John Wardle Architects and will link Birrarung Marr with the Melbourne Park sports precinct which hosts the annual Australian Open. Learn more about the design and construction process of the railings below with more on the steel structure and the concrete pillars to follow.


exploded panel

Above:  A filigree of steel pipes wraps the bridge section in three segments. The sides are repeatable while each middle belly is unique.  

options grid 2

Above: Early tests on the density of filigree pipes and attachment configurations.   


The bridge’s unique geometry that follows the topography, spurs to a lookout point, and rises over the highway creating many unique conditions that made standardization a challenge.  It was essential to break the filigree into zones of repeating elements to minimize fabrication time and cost.  Orange represents fully customized sections and the remaining colors represent sections of repeating units.



Above: each section of filigree is composed of 5 different bend geometries.  Mixed and matched to create the illusion of a random pattern. 



Above:  each filigree segment is integrated with the guard rail mounted to the edge of the bridge structure and wraps the underside. 


Shop mock-ups were critical to finalize the minimum radius of the filigree pipe bends and the detail of attachment hardware.

151015 Prototype Progress Page 001-bw

Above:  Unfinished mock-up of filigree guardrail segment. (photo by JWA)

151015 Prototype Progress Page 003-bw

Above:  Unfinished mock-up gets a thumbs up. (photo by JWA)


Construction photos of the railings from July 28, 2016 by Kristoffer Paulsen


_DSC6198-bw-no jug







Above: view with lamps

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Person of Interest: Nader Tehrani

Posted on August 1st, 2016 by Nicole Sakr

Posted under: Academic, Press

Nader is interviewed by Stephen Hopkins in the Metropolitan Society’s first issue of Persons of Interest. They discuss NADAAA’s approach to designing spaces for education, the “debundling” of systems, the power of the mock-up, and crowdfunding. Order your copy here.


“What we are trying to create, whether through the digital process or not, is a situation where a certain ethic of control comes into being by gaining an insight about smart ways of using materials, effective ways of assembling them, and a more optimal way of impacting the use of labor on site. This control that you regain over the built artifact is not control for power’s sake, and nor is it a way of gaining efficiency, optimization, or intelligence per se, but it is a way of thinking of the designed environment as part of a dialogue between cultural, economic and social priorities all at once.”


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Architecture for Biodiversity at Tokyo Tech

Posted on July 28th, 2016 by Nicole Sakr

Posted under: Academic

Last Spring Nader was Visiting Studio Professor at Tokyo Tech’s Midorigaoka Campus with Yoshiharu Tsukamoto. The six-week design studio researched historical architectures for animals and explored animal habitation patterns and parametric design. Below are snapshots of the resulting projects as published recently by Tokyo Institute of Technology. Photography of projects by Tomo Ishiwatari.



Light Path by Eva-Lotta Holby, Soma Nii, Hikari Hirano, Shifan Liu, Ziyue Ding, and Zimu Wang

“The aim was to create a food chain, rather than a habitat, utilizing wax… In the daytime, the whole structure looks like a landscape. At night, with the special night-light, each wax egg appears to glow, attracting insects as well as leading the path for other creatures like geckos.”



Swallow House by Alexey Golitsyn, Yibo Fu, Hanyi Liu, Yangzom Wujohktsang, Xueqi Wu, Rika Koyachi, and Shota Nemoto

“The main concept is to use recycled umbrellas as the main material for building a structure or providing a space for swallows to build their own nest. Based on the lifestyle of swallows, a dwelling should be up to three meters in height and covered by a roof… In making the best use of the original strength of each umbrella… our structure attains a geometric relationship that supports itself.”   More on Swallow House HERE.



Bat Balance by Tomasini Claudio, Tomoki Shoda, Keizo Nishi, Sayako Urayama, Sinan Kolip, and Dayu Liu

“The concept of balance is inspired by the animal’s behavior and the interplay of foces from roots to leaves that can be found in trees… The joints have not only a structural function but are also the matrix of the spaces that bats need.”



Pigeon Tower by Shota Iwata, Jelmer Buurma, Wenjing Xie, Kotchanot Tiencinvara, Hiroo Ito, Chaoyen Wu, and Anna Kawai

“The basic measurement of one unit and opening is determined by the behavior of plywood and spatial needs of pigeons. The inner wooden [rotating] boxes act as individual houses for the pigeon and help to support the surface structure.”



House for Geckos by Jingwen He, Yuto Makishima, Masunami Shimoda, Sebastian Enevoldsen, Saki Yamaguchi, Linjun Luo, and Yahan Zeng

“Geckos are nocturnal and cold-blooded. They prey on insects that have gathered around light. With this in mind, we decided to design a concrete tower with cracks to admit light… Through mock-up tests, we realized the weight of concrete… We understood that layers placed on higher positions should be much lighter than those of the second mock-up”



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Posted on May 9th, 2016 by Nader Tehrani

Posted under: Things We Like


Entering the work of Adam Silverman

Nader Tehrani, 2016

It is always comforting to be able to enter into someone’s work –to make it legible, available, and accessible. And yet, much of the substance of art is to resist easy entry, if only to defer consumption on the one hand, or at least to delay it in the service of the many forms of cognition that art can release. In this delay, one can see a form of redemption, something that can challenge, produce new forms of knowledge, or even just tweak our subjectivity. Coming from the architectural realm, I will invariably slip into interpretations that are biased by my disciplinary predispositions; it may not hurt that Adam Silverman comes from a common background, but that would also limit the reading in the context of his panoramic capacity. The work of Silverman denies the immediacy of access, deferring meaning in any strict sense to capture the attention of its audience in a state of anticipation, beckoning readings of his artifacts in a delicate suspense between objects and the processes that make them come to life.

Silverman emerged from the arts into architecture, but then took a turn towards the world of apparel, and not without significant success. His eventual departure from XLARGE, the clothing company he co-founded, to the realm of pottery and ceramics would seem like a complete reversal of direction. However, if all these disciplines suggest media that are substantially different, they all come together in an investment in “making” as an intellectual enterprise. Maybe the one difference that pottery offered Silverman was the element of personal control: the power to calibrate the content of his work, while patiently building its audience as part of the act of making. If the biographical is not a convincing route from which to map this trajectory, then what it demonstrates, at least, is a protean sensibility that is able to navigate questions of materiality, fabrication and the means and methods that each chapter in his life has brought to him. Though the varied media in which he has worked have their own instrumentality, one can also see the way in which certain themes may be translated from one to the other: namely, the way in which the idea of structure and surface establish a dialogue through each art form. While each medium will offer a radically different set of technical constraints, they come together in an intellectual dialogue that Silverman weaves together across time.



If the discipline of architecture has always required a mediated relationship to the things we build –by way of models, drawings, and mockups, the realm of apparel bridges the gap between the meticulous control of the tailor on the one hand, and the advent of mass production on the other. In his transition to pottery, the entire relation to industry, collaboration and external constraints are somehow reframed, as he, himself focuses on guiding the challenges of building through the internalities of the medium itself—by way of the hand, the kiln, and the material composition of clay as foundation. Effectively, the trajectory brings him back to the irreducible aspects of a medium: spinning, firing, and the post-production aspects of surface manipulation, all elements of production that can become the basis of a patient inquiry.

In pottery, spinning offers the centrifugal inevitability of a figure in the round; it also produces constraints that guide proportion, shape and reach. However, maybe more importantly, it defines the certainty of an objet-type around which Silverman can experiment; it’s platonic clarity and archetypical qualities are, at once, pure, recognizable and incontestable. They neither offer resistance, nor need for elaboration, at least as a point of departure. From there on, it is pure warfare and uncertainty; with mallets, baseballs bats and fists, Silverman unleashes his own force onto the orbs he has handled with such care, pushing them just short of their yield point. Then, added layers of clay, varied in thickness and color are applied onto the bruised foundational shell, melding into its constitution. Silverman produces a tension between the configuration of the surface and the figure of the vessel such that the qualities of the former begin to challenge the structure of the latter.


It is here that his platonic geometries are confronted with the advent of nature, by way of artifice: through a layered process of glazing and firing, Silverman dissimulates the effects of perfection that are an innate part of his craft. Each glaze and chemical admixture has different results, some more or less desirable, and yet they all play a critical part in the game of improvisation, systemic play, and an outcome that has as much to do with the identification of an uncanny artifact as its stealth presence –camouflaged as a geological mass. That nature should serve as an inspiration for art is nothing new, since many eras have grappled with seeing the world through varied lenses, groping with vision through mimesis, perspective, color, and figuration. But if each process involves its own techniques, then they also are in service of a representational aim. Instead, Silverman takes nature as geological substance, and the systemic pulverization of his surfaces, the crafting of sedimentation, and the erosion of the geographic terrain on which he works is not so much in conversation with representational goals (even if that is it’s delightful by-product), but rather a recreation of natural phenomena through an alchemic process. The tension between artifice and nature, then, is one of the curious and productive aspects of his process; in turn, each object can be seen as an index of the experimental protocols that they undergo. In a medium that is, more often than not, part of a “kind and gentle” culture of craft, it is also a refreshing advent to witness the punishment and brutality of a process that can yield aesthetic reappraisal –tipping it into critical discourse.


Adam Silverman’s investment is in the process of working his process. He shows no anxiety of getting ‘there’, as his pleasure is precisely in the incertitude of the working path. Though the results may vary and even fail, his greatest moments come at the threshold of collapse. He is neither married to medium, nor to the singularity of discipline; however, he is adopting and internalizing the constraints of each to its maximum potential. As he travels from one art form to another, his ceramic orbs are akin to rolling stones, but with the luxury of gathering the moss of the varied disciplines he carries as part of his kit of intellectual tools.

Read more about Silverman’s current exhibit below.


Catenary Compression: the Tensile Vault, reconsidered

Posted on July 8th, 2015 by Nicole Sakr

Posted under: Installations + Exhibitions, NADLAB

Catenary Compression was developed as a research project, pairing up unlikely structural properties to work together for extraordinary circumstances. Working with light block construction that conventionally operates in compression; we set out to build a structural catenary that relieves the ground from any physical contact. A prototype was developed for the BSA-sponsored exhibit “Bigger than a Breadbox, Smaller than a Building” as both a provocation and experiment.

final installation photos for blog 2

The aggregation is comprised of sixty individual carved and interlocking blocks that are CNC routed from polyurethane foam board to achieve the minimally required tolerances for tensile continuity. Numerous computer models analyzed the anticipated forces, and mockups were tested for loading and integrity.  Ultimately the puzzle-like pieces were conjoined by inverted ‘keystones’, working against gravity to deflect the tensile forces.

final installation photos for blog 3

Contrary to a dome construction, where the keystone serves as a crowning moment, here, a field of keystones connects the entire surface, each interlocked into its neighbors and all working in tandem to produce a single monolithic tensile surface.  In turn, the terminus of the catenary, its nadir, is characterized by an ocular void acting as a tensile ring. The underbelly of the vault displays the continuity of the tensile surface, while the top surface remains articulated, as its carvings help to offset the necessary tolerances needed to overcome misalignments between blocks, a rustication of sorts.

final installation photos for blog 4

The installation will be on view at the BSA Space through September.

final installation photos for blog 5


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New Age Old Town

Posted on April 30th, 2015 by Katie Faulkner

Posted under: Things We Like, Urban Design

Since March 1, I have read Casey Ross’ A New Age for an Old Town dozens of times.  The Boston Globe feature is interesting on a number of fronts; Mr. Ross describes our current “golden age of building” within the context of earlier waves of the 19th and 20th centuries that produced some of the city’s most beloved landmarks.  He takes us back to the 1964 construction site of the Prudential Tower, and even quotes John Hynes referring to Boston as the “Athens of America.”  The best thing about the article however, is the link to the sidebar graphic – a collection of articles chronicling 52 buildings that have either been provisionally approved or have actually started construction.  There is remarkable similarity among the images, and it is tempting to sort the buildings into piles: the plane-slippers, the wrapper-shifters, and the skirt-lifters.  In short, most are variations on the theme of maximizing a floor plate.

According to Casey Ross, and generally backed up by the BRA website, there is 34 million square feet of new building in the near-term Boston pipeline – this is Boston alone.  Imagine if we could add in Cambridge and Somerville. Within that number are other interesting stats.  At least 7 of the proposals are legitimate skyscrapers; 63% of the projects have a significant residential component, and most often the housing is paired with a hotel.  There are 29 development teams financing these projects, although there are recombinations and LLC’s that make it hard to count the players.  In a subsequent letter to the editor, architects Mark Pasnik and Michael Murphy note that Ross’ list of projects illustrates that development is an “insider’s game.”  They point out that two architecture firms are producing nearly a third of the 52 projects but stop short of revealing that Elkus Manfredi is involved with 25% of them.  In total there are about a dozen firms in the mix, with Miami’s Arquitectonica winning the “traveled the farthest” award.

If it hasn’t happened already, the City will soon designate a development team for the Winthrop Street Garage.  Ten years ago we would have called this Trans National Place.  At that time, developer Steve Belkin had engaged Renzo Piano to design a 1,000 foot tower.  The details of that project are the stuff of legend, and the upshot is that one cannot build a super-tower so close to Logan Airport.  Nonetheless, Belkin gets points for raising the architectural bar.  The original proposal had elegant proportions and tectonic heft that somehow gave unity to the eclectic volumes of Downtown. The reincarnation of the project promises to be both shorter and less inspired, but it will nonetheless take its place on Boston’s skyline as a marker of this our 21st century “golden age of building.”

Trans National Place designed by Renzo Piano

Trans National Place designed by Renzo Piano


Harvard professor Edward Glaeser wrote that “(r)eally tall buildings provide something of an index of irrational exuberance,” and he points to the iconic Empire State and Chrysler Buildings as examples.  To his point, towers generally go up in economic boom times, and emerging economies continue to show their might by sponsoring increasingly stunning and tall buildings.  In contrast, Boston towers do not tend to be particularly tall, and the City seems not to see them as icons of our urban greatness, which is a shame because once it is up, a tower becomes an indelible part of our identity.  Much as we might like to erase One International Place, it’s not going anywhere.

Construction of the Empire State Building

Construction of the Empire State Building


As I was penning this blog, Rachel Slade published her scathing “Why is Boston so Ugly?” piece in Boston Magazine.  This is the article many of us have wanted to write but could not articulate.  She called out the visual affront of 111 Huntington, and the lost opportunities of the Seaport District.  The conventional wisdom that it is hard to get anything built in Boston is called a bluff.  It is actually ridiculously easy to build just about anything if you know the right people.   Ms. Slade takes on the BRA and exposed the long tenure of the BCDC members.  Most endearing was that she listed NADAAA among the “most vigorous design firms,” although I did not appreciate her assessment that firms like ours lack the capacity for big buildings.  Capacity is not the issue.  Jonathan Levi Architects won the Harleston Parker medal with an 84,000 square foot public school and the firm has designed millions of square feet of institutional, residential, and educational buildings.  Anmahian Winton Architects have a high-rise under construction in Ankara.  David Hacin has mid-rise residential buildings all over town, and is in fact one of the prospective design teams for Winthrop Square.  NADAAA just completed the 250,000 square foot Melbourne School of Design, the result of an open international competition, and has larger projects in design and construction. What binds the work of these firms together is not their relatively small size. The common thread is architectural intent, which unfortunately has become separated from the merely functional as if to say that the added value of design is luxurious excess.  Undaunted, Rachel Slade looks for bigger fish out of town and references significant buildings in New York and Chicago, cities with a legacy of great architectural ambition and civic pride.  In her assessment, Boston comes up short and she is right. With notable exceptions, Boston developers are generally indifferent to design. At a ULI meeting last year, a prominent Boston developer admitted that ultimately he does not care what his buildings look like.  There are complex negotiations, oversight agencies, fickle markets, and prescribed profit margins to be dealt with — this is perhaps why few locals hang out in the Seaport District.  Ultimately one does need to care.


Ankara Office Building designed by Cambirdge-based Anmahian Winton Architects

Melbourne School of Design by Boston-based NADAAA

Melbourne School of Design by Boston-based NADAAA


The combination of the current gilded age with a new administration has provided an opportunity to correct the trajectory of the current building boom, and there are guiding principles to light the way.  First, Boston’s built environment should reflect the region’s rich culture, and the ambition of what we’d like to be.  Architecture carries the weight of history as well as the demonstration of invention, technology and civilization.  Related to this is the obligation to be respectful of the historical layers of our urbanism without being imitative or mocking.  Second, it is incumbent upon all constructors – designers, policy makers, and builders – to respect a kind of Hippocratic oath.  Do no harm, and when possible advance social well-being.  Architecture has the power to mediate certain landscape and urban challenges in ways no other medium can.  Consider the legacy of Mecanoo/Sasaki’s Bolling Municipal Building.  Surely it deserves some credit for the fact that for the second quarter in a row (according to Boston Business Journal), Roxbury’s Dudley Square neighborhood ranked as the Commonwealth’s hottest real estate market. Finally, one should not separate the functional from the courageous; a well-designed building is not a luxury, it is a basic right like clean water, functional infrastructure and access to the Internet.  By separating the practical from the beautiful, we are all but guaranteeing bad design, undermining our potential as a progressive city. When our own mayor joins the chorus by calling Boston’s latest bumper crop of buildings “merely functional”, it is time to expect more.

Mayor Marty Walsh  Photo from Bostoninno

Mayor Marty Walsh, photo from Bostoninno

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Final Opportunity to See Urban Timber at BSA

Posted on September 28th, 2014 by Nader Tehrani

Posted under: Events, Installations + Exhibitions, Things We Like

A final opportunity to view Urban Timber, in what is the final week of the exhibition at the BSA Space. Curated and organized by Yugon Kim, the exhibit was the result of a competition, resulting in dozens of submissions. Targeting innovative ways of building with wood, the agenda of the competition was to assemble four design teams to develop their proposal with the guidance of architectural mentors —Alan Organschi, Alex Anmahian, Andrew Waugh, and me, Nader Tehrani– towards full scale mock-ups that demonstrate through making. With the four projects, also an expansive overview of the uses of wood in history, new means and methods developed in recent times and the range of products that are the result of the wood industry. Not to be missed!

I helped mentor Christina Nguyen and Sean Gaffney, two brilliant young designers who took on the structural challenge of fabricating laminated plywood slabs –post-tensioned– that could take on variable geometries to construct a landscape: a new ground. Also participant to their project, C W Keller Associates, who have done amazing work with us in the past, with Steven Holl and Mark Goulthorpe.



Duck-Work: Sean Gaffney, Christina Nguyen



Coopered Column: Timothy Olson



Four Corners: Yasmin Vobis, Aaron Forest, Ultramoderne



M2X3: Christopher Taurasi, Lexi White, Jeffrey Lee


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Nader lectures at UCLA

Posted on August 11th, 2014 by Lisa LaCharité

Posted under: _Daniels Building, construction, Lectures

Nader gives his lecture ‘Pedagogical Constructs’  at UCLA Architecture & Urban Design on October 27, 2014 at 6:30pm.



The above image is a rendering and mock-up for the Daniels Faculty of Architecture, Landscape and Design. See our NADLAB post on the mock-up for further details. 

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Posted on January 8th, 2014 by pmacdowell

Posted under: construction, Installations + Exhibitions, NADLAB

The architectural explorations of NADAAA are launched with a bias towards material behavior—tapping into a material’s predisposition, whether it is malleability, translucency, structural rigidity or another property. These properties, in turn, offer geometric opportunities, freeing up the architectural figure from the constraints of the orthogonal box, while also enabling a more reciprocal relationship between form and program, figure and organization, or function and envelope.

Our in-house fabrication capabilities allow us to interrogate our conceptual inclinations toward material in immediate and physical ways.  Our interest in flexible, shingled cladding systems has spurred several trajectories of material exploration, shared below. These preliminary exercises inform our design process, catalyzing the dialogue between ideas, materials, tools, and making.

This work is currently exhibited at the SCIN Gallery in London.


1Flexible composite panel: Cherry veneer bonded to a rubber substrate


Flexible composite panel: Silicone rubber, cast in a digitally fabricated mold, reinforced with steel wire mesh.


3Flexible composite panel: Translucent urethane rubber, directionally-reinforced with stainless steel wire.


4The flexible composite panel pairs the malleability of silicone rubber with the strength of stainless steel.  The panel’s translucency reveals the architecture of its directional-reinforcement.


NADAAA_021:4 scale rainscreen mock-up.  The flexible shingle displayed in this system is a wood veneer laminated to a recycled rubber substrate with marine epoxy.  The veneer is sealed with satin exterior-grade polyurethane.  Dims: 45″ x 30″ x 15″


NADAAA_03Full-scale flexible shingle made of translucent silicone rubber, directionally-reinforced with stainless steel rods.  The panel is hung from a steel frame with integral lighting.  Dims: 45″ x 30″ x 5″


Geometry emerges as negotiation between material and fabrication processes, while also proving to be a figurative device that is larger than the sum of constructive parts. As such, as the research develops from the scale of the installation to the scope of buildings, the complexity of wall and assembly systems assume broader responsibilities, synthesizing environmental aspects of the building with programmatic goals while also addressing the civic presence of the building within its context.

THU_REN_019aOur concept proposal for Thunder Stadium features flexible-shingled cladding similar to the prototypes shared here.  The project employs this versatile  envelope toward the reconciliation of various forces: materials, tectonic systems, programmatic pressure as well as the urban presence of the stadium within the historic core of St. Paul.