Cincinnati--Ohio

Cincinnati Tower

December 30, 2016/in Art & Sculpture Education, Monument, Sculpture Cincinnati--Ohio Machado & Silvetti Silver M 1997 /by cmorris

The Ronald F. Walker Tower at the University of Cincinnati

University of Cincinnati features an iconic tower designed by Machado Silvetti with Zahner-manufactured stainless steel. The monument acknowledges the contributions of the Sigma Sigma Fraternity. Machado Silvetti’s design provides an apex which represents both the University and the Sigma Sigma fraternity.

The tower has a number of symbolic aspects in its design. Its square base forms the letters U and C on alternating sides. Above these letters, the main wooden shafts rise in the form of hammers. These motifs reflect the fraternity’s motto, “The torch burns; the hammers ring.” At the top, a beam of light shines through a stylized stainless steel torch and changes colors through the use of a computer program.

Zahner was involved in various metal components, and the stainless steel perforated “flame” at the sculpture’s top. The fifty foot high permanent artwork was commissioned by The University of Cincinnati in 1998.

The tower establishes a formal entrance to the new Commons from University Avenue. As a placemark on the school’s campus, it marks a memorable place for the university community. To this end, employing a design technique of totemic origins, the design stacks varied elements that legibly symbolize the university and the fraternity. Firmly set on its cast in situ concrete base, the tower forms the university’s monogram, representing the institution’s foundational role.

Above, a shaft of dark wood, polished metal, and precast concrete convey the fraternity’s symbols, the hammer and the Greek letters — or labor and the culture of Occident. On top, a lantern of perforated stainless steel construction stands for enlightenment and knowledge, the ultimate goal of the school and its people.

Artists model of the Sigma Tower Sculpture

Related Project

Bowdoin Museum of Art

The new building entrance resembles a glass box on three sides, with the remaining portion clad in a Zahner fabricated naval brass with a custom bronze patina. The patinated metal panels continue from the exterior to the interior angled soffit, completing a dramatic entry for the museum’s 19th Century collection.

While the legibility of these symbols by those who belong to this community is important, the arcane opacity the tower produces in those who do not know or belong is equally important to us. The tower produces an effect in those who witness it — an enigmatic, strange, and perhaps even seductive effect. The shear result of form and materials and light longing to attain beauty is equally memorable.

Rosenthal Museum

August 15, 2016/in Exterior Architecture, Interior Architecture Museum Cincinnati--Ohio KZF Design, Zaha Hadid Architects Black L 2003 /by cmorris

Lois & Richard Rosenthal Center for Contemporary Art

The Center for Contemporary Art opened in 2003 and is the first Museum in the United States designed by Zaha Hadid. Located in Cincinnati, Ohio, the project uses blackened aluminum, an uncommon patina which was produced with great difficulty, and sealed to decrease the need for maintenance. This custom dark aluminum surface was desired by Zaha Hadid to provide contrast against the light concrete above and below, giving the sturcture an almost anthropomorphic resemblance.

These plates of blackened aluminum use a siding system which repels moisture. These were engineered to interlock in such a manner to control thermal movement without compromising the moisture deterrence requirements. This was important due to the installation on concrete, which breathes. The aluminum plate panel system features custom extruded hardware fastened using matching aluminum studs for a visually seamless system. This hardware is attached to the horizontal aluminum hat channel.

Several years after the initial install, streaks were running down it’s surface, and the owners contacted Zahner to provide repair. Upon closer inspection of the material, Zahner discovered that it was moisture from the concrete which was draining across the surface. The aluminum was cleaned without any problem back to its original finish.

Zahner also completed interior metalwork including a blackened aluminum plaque on the museum’s interior, laser-etched with the names of all the donors.

The Lois & Richard Rosenthal Center for Contemporary Art.

Southwest view of the Rosenthal Center for Contemporary Art.

Interior photograph of the Lois & Richard Rosenthal Center for Contemporary Art.

Interior detail of the donor list at Rosenthal Center.

Southeast view of the Rosenthal Center for Contemporary Art.

Freedom Center

August 15, 2016/in Exterior Architecture Museum Cincinnati--Ohio Blackburn Architects, Bora Architects Brown L 2004 /by cmorris

National Underground Railroad Freedom Center

A new copper and stone building rises in downtown Cincinnati, an icon in its own right in the midst of other grand architectural works such as Libeskind’s Ascent at Roebling’s Bridge and Zaha Hadid’s Rosenthal Center.

The Freedom Center features copper flat seam wall panels and associated flashings. The material was installed as raw copper panels and allowed to age naturally. This authentic process meant that the bright red copper quickly developed a dark reddish-brown patina, which will mature into its final form of light blues and greens. The museum is an affiliate of the Smithsonian Museum, which means that the Freedom Center has access to the immense stored collection of The Smithsonian.

The architectural team for the Freedom Center was designed by BORA with Blackburn Architects. Design of the new building began in 1998, broke ground in 2002, and was completed in 2004.

Related Surface

Freedom Center

Upward view of the Freedom Center copper panels which have patinated to a dark red-brown.

Detail of the National Underground Railroad Freedom Center.

Photograph of the curving paths which cut through Freedom Center.

The location of the project is just north of the Ohio river, a significant location noted by Brian Libby in the Metropolis Mag:

‘When escaped slaves made their way north to freedom along the Underground Railroad, the Ohio River was a place to celebrate a bit before continuing on. Ohio law banned slavery, but superseding federal law allowed whites to re-capture slaves that had crossed the river and return them to Southern slave owners. As a result, most slaves using the Railroad continued further north.’

The notion of continuing on can be seen in the design of the building, as curving paths cut through the north/south axis of the building, further emphasizing the continued movement for freedom and social rights.

Copper panels will continue to weather at Freedom Center.

installation of raw copper panels at Freedom Center.

Resources and Press

“It takes courage to place a monument to racial harmony and diversity at the doorstep to your city. We had the nerve to do that.” — New York Times, Bruce Webber, August 01, 2004.

“One of my big concerns was that we’d be overshadowed by the stadiums,” says Freedom Center CEO Ed Rigaut. “But the museum really stands tall. I’ve even heard a few people comment that, in a way, we dwarf the stadiums.” — Metropolis Magazine, October 1, 2004.

”I see a museum not as a place that limits our vision, but one that enhances our vision. Museums have traditionally not taken a transformative role, but that’s changing. The Freedom Center, like our museum, can ask itself, ‘Why did we build this?’ Not just to look back, but to shape a different present and future.” — Cincinnati Enquirer, Krista Ramsey, August 1, 2004.

”It’s a learning center whose high-tech, interactive displays allow visitors to witness ongoing struggles for freedom worldwide.” — Town & Country, Annette Weisman, November, 2004.