M | Zahner

Ball State Artworks

Ball State University Student Artworks

Ball State University students created a series of custom artworks which were each manufactured by Zahner in Kansas City. Professor Kevin Klinger’s immersive design studio at Ball State University in Indiana gives students first-hand experience in translating digital designs into permanent installations. The students worked directly with A. Zahner Company, learning about the collaborative process used by architecture firms working with custom manufacturers.

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reBarn

As part of the designer's intent, Zahner developed a series of etched patterns into the aluminum plate. In all, five water-jet aluminum plates were cut for the outer shell and over 350 aluminum joints were cut which align the sculptures form underneath the surface.

The students used generative processes to design perforation and folding patterns, which were applied to a sculptural ribbons of weathering steel and stainless steel. The sculptures were installed in two locations: one at the Minnetrista Cultural Center in Muncie, Indiana; and the other at the Indianapolis Art Center campus. In addition to these two projects, which are pictured below, a third project was completed with the students at Ball State: the reBarn project made in wood and aluminum.

Ball State artwork at the Minnetrista Cultural Center in Muncie, Indiana.

Minnetrista Cultural Center in Muncie, Indiana

Design students were able to observe the weathering steel patina develop into the protective layer of oxidation, preventing the steel from further corrosion. The second installation, at the Indianapolis Art Center, used black interference stainless steel in addition to the weather steel forms:

Diagram of the installation at Indianapolis Art Center.

Installation at the Indianapolis Art Center.

Hendrix Private Residences

December 30, 2016/in Art & Sculpture Private Art, Residential New York City Hendrix + Studio Jan Hendrix White M, S 2010 /by cmorris

Jan Hendrix Residential Art Installations

In 2010, Zahner worked with artist Jan Hendrix to craft a series of white painted aluminum screens for private residences. These aluminum screens typify Hendrix’s artistry, which can now be seen around the world. This work provides an early example of the collaborative work done with the two firms.

Multiple plates with custom tracery are cut into the aluminum. Jan Hendrix’s studio provided drawings to the Zahner team, and the aluminum artworks were then water-jet cut and fabricated with simple mounting systems. The artworks were then shipped and installed by local teams in Manhattan. These artworks represent a few of the many Hendrix Studio collaborations with Zahner. These include: Art Wall at Doha, the Hendrix Mexico Sculpture, and Patio de las Jacarandas, and many more.

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Patio de las Jacarandas

Patio de Las Jacarandas is a Jan Hendrix and Hendrix Studio-designed work of public art in Aguascalientes, Mexico. The project's metal canopy was developed and fabricated by Zahner in water-jet cut aluminum.

Installers place the large aluminum artwork by Jan Hendrix.

Detail of the waterjet-cut plate aluminum by Jan Hendrix.

Jan Hendrix designed artwork and feature wall.

Interior installation of the metal feature wall, completed in New York City.

Side detail shows the dramatic thickness of the aluminum plates.

Two layers of water-jet cut and painted aluminum plates.

Aluminum perforated plates are photographed before being shipped to New York City.

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

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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.

Gaines Residence

December 26, 2016/in Exterior Architecture, Interior Architecture Renovation, Residential, Urban Design Columbia--Missouri J.E. Cundiff Black, Silver M 2001 /by cmorris

Gaines Residence in Columbia, Missouri

The Gaines Residence is a unique home design and renovation in Columbia Missouri which features Zahner metalwork throughout its interior and exterior. Designed by architect J.E. Cundiff, the residence uses two custom stainless steel surfaces: a hand-polished abrasive polish on stainless steel, and a black interference stainless steel with mirror polish. The mirror polish on the stainless steel is the highest polish available for stainless steel, a #9 polish.

Each of these custom surfaces are used sparingly and in alteration to provide elegant accents the the residence. Zahner was hired to provide each of these stainless steel fabricated elements, as well as the custom railing, tree grates, and interior metalwork and various metal scopes within the residence.

Rear porch of the Gaines Residence in Columbia, Missouri.

Black mirror interference stainless steel clads both the interior and exterior of the Gaines Residence

The residence is framed through stainless steel buttresses of each of thew two finishes. These views which frame the north and east profiles of the home.

The building started off as a renovation, but the design transformation was fairly radical. The living and dining rooms open up to the front terrace with redbud trees which rise through custom, stainless-steel tree grates.

“By the time we were done, there was one wall of the original main floor left… At first glance the structure appears to give a nod to Phillip Johnson, while experiencing the home suggests possibly more influence from Arthur C. Clarke,”
— Architect J.E. Cundiff discussing the Gaines Residence

Although technically a renovation, much of the original building was replaced. The project is majority new construction in innovative materials and custom fabrication. Expansive views of the surrounding forestry were created by using large glass, butt-glazed corners in many areas of the house.

Details of the Handrails for Gaines Residence

Custom tree gate planter for the tree surrounds at Gaines Residence

Architect's drawings of the Gaines Residence show north and east elevation

Detail of the custom guardrails for Gaines Residence

Custom metal and glass table for the Gaines Residence

NMSU Theatre

December 26, 2016/in Exterior Architecture, Interior Architecture Education, LEED, Performance Center Las Cruces--New Mexico Holzman Moss Bottino Architecture Silver M 2014 /by cmorris

Center for the Arts at New Mexico State University THEATRE

The Center for the Arts at NMSU Theatre is a design by Malcolm Holzman which includes a series of Zahner-manufactured custom railings. The new building is located at the corner of University Avenue and Espina Street.

The project, lead by Malcolm Holzman of Holzman Moss Bottino Architecture includes an earth-toned aesthetic with custom guardrail designs developed and manufactured by Zahner for the new performance and rehearsal center.

The three-story state of the art academic building is 59,000 gross square feet with a large performance space for theater and dance, which has an orchestra pit and trap room, orchestra level, two balconies and fly tower. The building also features a large rehearsal room, classrooms, office and back-of-the-house supporting areas.

Detail of the custom undulated steel curtains used on the Center for the Arts at NMSU.

Interior of the theater at NMSU Center for the Arts.

THE MARK AND STEPHANIE MEDOFF THEATRE

The building’s main auditorium, The Mark and Stephanie Medoff Theatre, is a 466-seat theater lined by 4 levels of balcony seating. These balconies were outfitted by Zahner using a metal curtain system developed for creating billowing aesthetics on a small scale.

INTERIOR BALCONY CUSTOM RAILINGS

Lining each of the theater’s balconies are a series of artistic guardrails developed with Zahner. These artistic guardrails served as a creative solution referencing the theater curtain. The design was developed with Zahner using the custom zinc-plated mesh, which was formed by hand and then stiffened using a galvanic cladding process.

EXTERIOR TERRACES CUSTOM RAILINGS

The building’s three exterior terraces are lined with the same custom guardrail design used for the interior balconies.

The building received a LEED Gold Certification. The New Mexico State University Center for the Arts was completed in 2012 for the New Mexico State Centennial.

120 North LaSalle

December 14, 2016/in Exterior Architecture, Interior Architecture Highrise, LEED Chicago--Illinois Murphy-Jahn Architects Gold M 1992 /by cmorris

muntz metal details in Chicago, Illinois

The high-rise at 120 North LaSalle was designed by Murphy/Jahn Architects and is LEED Gold® certified. Zahner provided exterior signage with an integrated lighting sconce in muntz metal to highlight the building’s address, entryway, and mosaic mural by Roger Brown.

Additional ceiling system elements, also created in muntz, were installed within the building interior. Paul Gapp of the Chicago Tribune, profiled the project, lauding the building’s unique design solutions:

“Helmut Jahn`s newest Chicago building at 120 N. LaSalle St. is a robust example of how good architecture can spring from the solution of difficult if prosaic problems.”

Muntz Metal signage at the entrance of 120 North LaSalle

Detail of the entry Muntz Metal architectural features

View upward of the mural and Muntz Metal architectural features

1 3 5 7 9 11

December 14, 2016/in Art & Sculpture Public Art, Sculpture Kansas City Sol LeWitt White M 1994 /by cmorris

Sol Lewitt sculpture, 1 3 5 7 9 11

The Sol LeWitt sculpture 1 3 5 7 9 11 is a commission by the Nelson-Atkins Museum of Art which was engineered and manufactured by Zahner in Kansas City. The artwork is a painted aluminum form which measures 16′ x 8′ x 8′ and was fabricated in 1996. The artist conceived of the work in 1994.

Zahner engineered and fabricated an interlocking system where each corner connects seamlessly. Instead of requiring a weld at the joint’s seam, the pieces are connected with an interior locking mechanism.

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One Sun / 34 Moons

In addition to the architectural features, a large scale site-specific artwork by Walter de Maria was commissioned by the Museum. Zahner was brought on as fabricator for the installation by the famed land artist. The work, entitled One Sun / 34 Moons, is made up of thirty-four 'Moons' which are realized as illuminated glass fixtures scattered throughout the installation.

1 3 5 7 9 11 at the Nelson-Atkins Museum of Art in Kansas City, Missouri.

Process photo during the art fabrication at Zahner in Kansas City.

1 3 5 7 9 11 at the Nelson-Atkins Museum.

Detail of the aluminum joint prior to painting during the art fabrication process.

Above, a detail of the seamless engineered connection, a result of careful engineering and high-quality craftsmanship. This is the last sculpture of its kind fabricated during the artist’s lifetime.

A Great Place to Land

December 14, 2016/in Art & Sculpture Public Art Overland Park--Kansas Gary Kahle Silver M /by cmorris

A Great Place to Land in Downtown Overland Park

A Great Place to Land is an artwork by Gary Kahle located in Overland Park which was made using Zahner art fabrication services. Completed in 2006, the sculpture projects into the sky at the intersection of Conser and Santa Fe Drive. The permanent outdoor public artwork depicts two birds flying upwards in unison, and the work was provided by the Arts and Recreation Foundation of Overland Park in Overland Park, Kansas.

Zahner worked closely with Kahle to manufacture A Great Place to Land. Kahle came to the company’s headquarters in Kansas City, Missouri with a small maquette and worked directly with Zahner engineers and craftsmen to translate the maquette’s form into a 17-foot polished stainless steel form. The accomplished sculptor has worked with Zahner on a number of sculptural projects over the years.

Pro Patria Mori

December 14, 2016/in Art & Sculpture, Landscape Architecture Memorial, Passive Security, Public Art Kansas City Ellen Driscoll M 2006 /by cmorris

Pro Patria Moria: Security gates for WW1 Memorial

Pro Patria Moria is a permanent artwork by Ellen Driscoll made using Zahner art fabrication services. Completed in 2006, the public work consists of two panoramic gates that form the entrance to the Liberty Memorial Mall and The National World War I Museum and Memorial in Kansas City, Missouri.

Driscoll worked collaboratively with team at A. Zahner Company to design, engineer, and fabricate the gates. Each of the massive gates have a frieze inlaid with mosaic tiles. Beneath the frieze, laser cut steel panels depict soldiers marching, creating a panorama viewable from inside and outside Liberty Memorial Mall. The museum archives inspired the gates’ imagery while a line in Wilfred Owen’s poem “Dulce et Decorum Est” inspired the name for the work.

When the gates are open, they create an 80’ long panorama; when closed, they form two separate panoramas, visible from both the approach to the site, and when leaving. The archives of the museum provide the main source for the glass mosaic imagery, along with images of the artist’s two grandfathers who fought in World War 1, and trench maps from their scrapbooks.

Detail of the metal gate system with ceramic inlay by the artist Ellen Driscoll.

Detail of the metal gate system with ceramic inlay.

Detail of the laser-cut stainless steel gate system.

Detail of the photomosaic and perforated metal.

Concept drawing from the artist Ellen Driscoll.

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911 Memorial Overland Park

Gehry Horse Head

December 14, 2016/in Art & Sculpture, Interior Architecture Education, Sculpture, Workplace Northeastern United States, Princeton--New Jersey Frank Gehry Partners Blue-grey, Grey M, S 1997 /by cmorris

Frank Gehry Horse Head Conference Room at Princeton University

Zahner worked for long-time partner Frank Gehry to construct the original “horse head” sculpture and conference room, which now is on display at Princeton University.

Sheets of lead were hammer-formed over a plywood structure which encases a semi-private meeting space for students at Princeton University, pictured below. This was the first use of the horse motif by Frank Gehry. He would later produce a nearly identical form for the DG Bank building in Berlin nearly twice the size.

World-Architects’ John Hill profiled the sculpture at Princeton University in 2015, and discussed some of the history of the project.

“Yet Gehry did not design the sculptural “horse’s head” piece for Princeton, or as a conference room. It was to be a small part of a huge 22,000-square-foot (2,044-sm) residence for Peter B. Lewis in Lyndhurst, Ohio, but after ten years of numerous iterations the project was cancelled. Luckily a mockup, framed in wood and covered in lead, found a second life in the Icahn Lab, providing a suitable contrast to Rafael Viñoly’s curved glass wall and two-story atrium.”

— John Hill, World Architects

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Weatherhead School

The 22 ga stainless steel surface resembles an undulating, unbroken ribbon. Finished in #4 satin, the surface is more reflective than Angel Hair or GB-60 but less diffuse than a mirror-finish.