May The Fourth Be With You

Hopefully this digest of our process is helpful if you’re looking to undertake such an effort – and if so, May The Fourth Be With You!

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In order to undertake a ceiling installation that takes inspiration from arguably the most popular film franchise in history, one must get in the proper spirit of the project. Just as the theme of hope runs rampant in the Star Wars movie saga, it was our own hope of achieving a convincing result that drove us during this meticulous albeit fun process. Our clients’ requested a room tailored to their young Star Wars fan, and so we conjured a star field ceiling in coordination with the design of the overall bedroom.

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Our initial steps for the installation involved identifying the materials of the backdrop for the star field as well as the stars themselves. We started with a sea of optical fibers or fiber optic “fibers” (that’s how the Department of the Redundancy Department refers to them) to represent the stars.

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Fiber optics lit and ready to roll

After debating heavy materials and cans of paint, we settled on a lighter touch. The black backdrop of “space” is made of two ¾” thick Gator Boards custom cut and carefully placed side by side.

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Looks sparse, but wait…

We proceeded to divide up the boards into 28 panels each, in order to properly spread the optical fibers. Using a silver Sharpie, we clustered the stars to provide a more authentic-looking night sky – gravity does exist in space after all.

 

Once the star locations were marked, we proceeded to drill a tiny hole in each mark to accommodate the fibers. In total there were close to 280 optical fibers (or “stars” – though some are probably actually planets in truth) that we had to individually feed through the boards. That takes some patience. Once we had all fibers in place, the assembly was ready to be hung.

We need to take care to ensure the cables were not tangled and that the thicker and thinner fibers were spaced naturally. We also had to be extremely careful during installation as Gator Board, while rigid, is still easily damaged.  The boards needed to be drilled onto wood members in order to allow space for the sea of optic cables to run to and from their source.

Once the boards were in place, the fiber optic cables were then trimmed flush with the boards.

The final step of the installation came with the addition of the custom designed and CNC milled white frame that completed the appearance of looking out the window of a Star Wars spacecraft.

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Custom frame in 2 pieces before installation

It was our hope that the ceiling installation would tie together the Star Wars theme of the bedroom and transport the young Jedi out of this world. Happy to report that he was indeed thrilled!

Hopefully this digest of our process is helpful if you’re looking to undertake such an effort – and if so, May The Fourth Be With You!

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May the Fourth Be With You!

Things Are Looking Up With Stile Liberty!

Two years ago, E and I had the great fortune of spending a month in northern Italy taking in the Stile Liberty masterpieces there, as well as many of the anonymous-but-still-magnificent fabric buildings that fill the cities we visited. Our primary method of transportation was the original one: walking. In doing so, not only did we attempt to destroy ligaments and tendons, and in the case of E, discover old-but-previously-unknown sports injuries, but we also had an opportunity to observe architecture from all distances and at nearly every scale.

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What became more and more apparent  to us was the disappointing lack of scale and depth that contemporary architecture utilizes. Or more accurately, ignores. As we power-viewed block after block, mile after mile, in complete agony and ecstasy, we were shocked and appalled at how mundane and banal contemporary architecture has become. Mind you, this shock was not because of what we were seeing, but rather, we were comparing architecture seen here to what we know and experience in other environs. (More on that “knowing” in another post).

The Stile Liberty, Stile Floreale, or Italian Art Nouveau is an extension of the Classical Tradition and as such we were viewing the progression of the “humanist” architecture, frozen in that moment in time. And the details were so sumptuous, so supple, that the only way to describe it really is through metaphor: what we saw and experienced in artistic detail on buildings 100+ years old, is the functional equivalent of finding a computer in an archeological dig.

Let me explain that a little better: Given what we know now about how architecture and urbanism affect our daily existence, THIS kind of architecture and detail might as well be from the future. By that I mean, IF buildings are designed to maximize the human experience and promote health and welfare (AS THEY SHOULD BE), and given what we now know about the way our built environment impacts us, architecture going forward from this knowledge, that is to say architecture of the FUTURE, would be designed following the details seen here, from the PAST. And so finding these buildings in neighborhoods over 100 years old, is the equivalent of finding something futuristic, or more accurately, designed to help humans in the future, in an archeological dig.

I have always been aware of the lack of detail, the lack of depth, the lack of scale in contemporary architecture. Hell, I think everyone is to a certain extent, while not always able to put a finger on it. But these beauties made it all more depressingly conspicuous – what with how they all contribute to the built environment, all work to celebrate their place, and all add visual delight to users and passers-by. All replete with architectural ornament.

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After marking the “must see” buildings, we would take a cab or public transit to the most remote mark on the map (at least remote from our hotel) and begin walking back. What happened though, which wasn’t expected, was that we were continually drawn down streets and around corners by a glimpse of something great. Before long, it became a game between us to find the most interesting architecture first, but part of the fun was that it seemed impossible. We were constantly finding something new and interesting. CONSTANTLY.

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More to the point (of this article at least), it wasn’t just a matter of being drawn down the street and then doing the dance of trying to capture as much of the building’s facade as possible in a single photo while negotiating traffic, locals, parked cars, dog shit, and street poles or lamps. After getting the “overall” shot, I was continually and inevitably testing the patience of E drawn across the street right up to the face of the building by some element or another, and what I discovered in those moments is what you see in these photos. It gave me the chance, or perhaps the eyes, to contemplate the elements that make the difference between good architecture and bad architecture so discernible.

That difference comes in the delight of interacting with architecture not just from multiple distances and observing its multiple scales, but also its multiple angles. So many different ways to view a single building, not the least of which was looking directly up! To be fair, contemporary architecture tries to do this on occasion, but generally only as what I call, a “single move.” In other words, if the building engages from multiple angles, and encourages the viewer to walk around it, it fails miserably on the other measurements: multiple scales, details, proportion, ornament, texture, materials, etc. It is a single move, and to use an analogy from figure drawing, it is akin to simply portraying the shadow of the model. Compelling from one perspective or two, but ultimately banal.

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So this is my demand for the world and our goal at MGLM: Architecture which operates at all scales, speaks (nay, sings!) across all distances, employs ornament and detail, draws the viewer closer in wonder and delight, and contributes beauty to the fabric of its environment.  Can you dig it?

Post Script:

The AIA has a current social media campaign that is identified by #ilookup and attempts to elevate the profession by talking up the lofty ideals and efforts of architects. But how is the general public supposed to be inspired or encouraged when the contemporary tripe that is constantly built is nothing worth looking up at, much less looking up to?

Art Deco? Yes. Art Freakin Deco.

Here at MGLM we are extremely passionate about Art Deco and practice it whenever we have the chance. One of the more interesting aspects about Art Deco is that it wasn’t a consistent style, with each country, each region having their own variation of, and in some cases even their own name for, the aesthetic which spanned generally from inter-war periods of 1919-1939. Many items are considered deco that were created before and after that timeframe. Plenty of experts point to the 1925 Paris Exhibition as the introduction of high Art Deco but more research has revealed that a lot of designers were simplifying their forms and adding elements that previewed the style even as far back as 1900, especially here in Chicago. Even though at the time it was considered quite “modern” with the main tenets of modernity, movement, angularity, and luxury of materials, we now look back on Deco and its design language as a logical extension of traditional classicism with its emphasis on proportion, hierarchy, and use of architectural ornament. Deco above all was concerned with the beauty of design, something that Modernists of the same era, especially those involved in the Bauhaus movement and the International Style, considered abhorrent and superfluous. Thus, during the heyday of Modernism (1940’s-1970’s), many Deco gems were destroyed due to lack of appreciation. Fortunately, many people now, including us, consider Deco as the last great flourishing of traditional vernacular language before the advent of the stripped down monotonous steel and glass structures. And it is our intention to pick up the mantle and restore the place of art in architecture! Submitted by MG

Traditional Khmer Art

Now that the Mayans were proven incorrect and the world hasn’t actually ended, we thought a post on some architectural art we commissioned might be nice. Coincidentally it is of the mythical Hindu god Kala, who, according to legend, consumes all living things during the advent of winter. If you subscribe to the myth, Kala is currently consuming the northern hemisphere. Southern hemisphere – you’re next!

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Above is a sketch one of MGLM’s principals generated during a trip to Cambodia in 2011. Two MGLM principals were there to discover construction techniques and develop relationships with artisans and contractors to execute designs we completed pro bono for the Charitable Education Organization and NGO, PEPY. They are a great organization that is doing essential work in Cambodia. If you know anything about Pol Pot or the history of the country, you know how important their cause is.
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Carved onto a significant number of lintels in many of the Cambodian Temple Complexes around Siem Reap, Kala represents change. In a way, it is the Cambodian version of the Latin maxim: Carpe Diem. It is a reminder that all things come to an end, so we should appreciate and make the most of the time we have. The sketch is an interpretation of a couple different lintels, and draws heavily from the most intricately carved temple buildings at Banteay Srei. The pink/red sandstone allows for incredible detail. In the sketch, the stylized curls going into Kala’s mouth represent the world. They are covered with the traditional Pnhee Plueng – the Fire Flower. The rest of the carving also utilizes the fire flower motif.
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While in Cambodia, our fantastic guide introduced us to an artisan school which is hard at work keeping alive the traditional Khmer arts. It is located at a Buddhist Temple and run by a very well respected monk, with whom, and his head artisan, we had the honor and pleasure of an audience. The story of the meeting we’ll save for another post. We gave them the sketch and, through our guide who translated everything, described how we would like it carved in wood, and what its dimensions should be. We left there assured of how highly skilled the artisans are but not sure how the carving would turn out.
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You can imagine our delight when this arrived 6 months later! The piece is perfect. The shipping cost was not exorbitant, making this something we are pursuing further.
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The detail and depth is amazing as is the care for its overall quality. We have plans to commission a number of other carvings, and we are also accepting requests. Please feel free to contact us if you would like to take advantage of this amazing resource, but more importantly, help keep traditional arts alive.
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