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  • la riviera. bistro bakery.

    la riviera. bistro bakery.
    bryan TEXAS

    suckerPUNCH: describe your project.

    gabriel ESQUIVEL: The premise was to renovate the entry space of the restaurant; the scope included a new bar space, wall ornament and a ceiling installation. Due to an extremely tight budget, the team developed innovative processes to reduce costs while achieving the desired atmosphere.

    photo by marcel ERMINY



    photos by marcel ERMINY

    It is an ambitious project that includes several fabrication techniques. The idea emerged from the bistro owner to create collaboration with Texas A&M University and donate the materials necessary for the project. The concept behind the project was to produce a new atmosphere more sensual and suitable for the type of food. Some of the sensibilities explored were pastries techniques like fondant, frosting and cake ornamentation. The reason behind the research was to produce a series of sensations using materialism and form or specific perceptions, sensations and actions, basically interpreting wall, furniture and ceiling surfaces as frosting and fondant with ornament on it.

    The delicate nature of the ornament that drips like frosting from the horizontal surfaces and the robust nature of the decoration that protrudes from and oozes across the vertical surface. The material qualities also contribute to the spatial affect. The glossy reflective surfaces provoke an ethereal sensation; at the same time the matte diffusion of other surfaces elicit a corporeal consciousness.

    The importance of the project is its publicity, which supersedes the vast majority of digitally fabricated work; that is to say, the project exists not within a population that understands the aspirations of that type of work (like an installation in an architecture college) but within the public realm. The orientation of the project toward the public, digitally fabricated built work (something somewhat unique to
    the La Riviera renovation) makes the first compelling argument.

    The second trait is that of economy. In a difficult economic moment we have found a way to fund the majority (if not all) of a project that is typically prohibitive even in good economies. The ability to merge public funds with academic research in a non-grant like scenario without serious problems within conflict-of-interests is ingenious and starts to align you with other architects who exist between both
    spheres and get work done. Though the project be a small act (in comparison to building-scale work) the project itself was no little task.

    The fabrication techniques were several using CNC as a main resource from flip milling for the counter after a layout script, to Z axis cutting for all the foam use on the walls finally the ceiling combined two techniques. To fabricate the skeleton, the ceiling was split into seven smaller sections (A-G), and decomposed further using the software Lamina. The decision to use a wire mesh served two purposes: first, it allowed the maximum amount of light to permeate its skin and second, the mesh provided a surface for the 4,000 flowers to be attached. The design began by folding pieces of pliable felt fabric into flower-like forms. After several iterations, the team digitized the form and further refined the design on the computer. The finished model was exported as an .STL file and sent to a lab in Mexico City that specializes in plastic-injection molding.

    The project is to be opened the first week of September 2010 with great excitement from the community.

    La Riviera. Restaurant and Bakery. Bryan, Texas.
    Design Team:
    Gabriel Esquivel
    Ky Coffman
    Jeff Quantz
    Dustin Mattiza
    Heather Davis
    Matt Miller
    Michael Tomaso

    Lighting Design:
    Megan Casey

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