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Entrance lobby for AllezUp Montreal
Entrance lobby for AllezUp Montreal
1555, Saint-Patrick Street, Southwest, Montreal, Canada
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Entrance lobby for AllezUp Montreal
1555, Saint-Patrick Street, Southwest, Montreal, Canada
Within historic sugar silos that border the Lachine Canal, more than 30 meters high, an incredible climbing gym has taken shape. Our task: to create flexible elements that enhance and rethink this unusual space. We designed a series of moving walls from the formerly sugar-soaked wood interior (take a lick, they still taste like sugar) and a 12-meter long frontdesk composed of more than 10,000 pieces. We work in situ, engaged in a continuous dialogue with the space, drawing on ancient knowledge and new technologies, as we at Mammafotogramma like to do. We are sure you will love it.
In the Allez-Up lobby, we display a system. This system is composed of connections between components, like a circuit board, or a group of professionals working together on a project. From the beginning, we decided to pursue a system of connections over stand-alone components as this approach is evocative of Mammafotogramma mode of operation in the workshop. We are architects, animators, designers, sculptors and illustrators working together with different methods, tools and technologies.
In our day to day routines, we interact with objects such as tables, stools, and lamps. Each serves a function in a space, but these objects hold an endless potential to absorb ideas and possibilities that reflect the dynamics of the space they occupy. Recognizing this potential allows us to re-conceive and re-build. Inspired by the particulars of a given work environment, these objects will develop an internal character that is often difficult to predict and configure. The mechanized routes, sequences and activities (like reaching for the phone, or grabbing a pen) can best be understood by those who have a direct experience with the space in question.
Reworking our homes, offices or workshops is an essential aspect of the design practice aimed to solve practical and aesthetic problems through discrete, and at times involuntary, adjustments. This process occurs in response to obstacles as mundane as: I do not know where to put this, I cannot hold all of these things, or I have nothing to lock this to, etc. A series of needs and desires shape our built environment by addition and subtraction. The issue here is that our needs can be difficult to predict at the onset of design, and that these needs vary from person to person. In order to analyze the needs of our client and develop the best solution for them, we begin first with a full-scale, working prototype. In this way, we may test the strengths and weaknesses of an initial idea, and shape the final form and function with our hands, and with technology, as we at Mammafotogramma like to do.
The machine is fantastic. The idea of being able to produce furniture with the predominant use of the machines seemed essential to us from the beginning. Here we do not speak of form. The form is something that the machines does not assimilate, does not digest.The proposed project aimed to make full use of the machines potential, leaving man all that which is related to design. Not a manifesto, not a design that grips everyone, but rather a system that leaves the manipulation of the object to the user, the artisan or anyone else who wants to experiment.
Earlier we spoke of a connective system. Plainly speaking, the project envisions a new material made of a Woodskin©: a highly flexible surface created by a process of excavation with a CNC cutting machine. By dividing the rigid plain of wood into small triangles, the material is freed - able to be shaped as the maker desires. This approach renders a wooden surface malleable, not for decorative purposes, but for the purely functional purpose of distorting form to reflect the routine history of, and relationship with, the user.
This is a project that evolved in constant dialogue with its container and with the people who strongly desired it. Our job is to bring together creativity and design, production, craft and technology. We strive to engage in a creative process, using the best of our skills to create complex projects with a high quality.
- a unique piece, that houses a network of functions -
In the Allez-Up lobby, we display a system. This system is composed of connections between components, like a circuit board, or a group of professionals working together on a project. From the beginning, we decided to pursue a system of connections over stand-alone components as this approach is evocative of Mammafotogramma mode of operation in the workshop. We are architects, animators, designers, sculptors and illustrators working together with different methods, tools and technologies.
In our day to day routines, we interact with objects such as tables, stools, and lamps. Each serves a function in a space, but these objects hold an endless potential to absorb ideas and possibilities that reflect the dynamics of the space they occupy. Recognizing this potential allows us to re-conceive and re-build. Inspired by the particulars of a given work environment, these objects will develop an internal character that is often difficult to predict and configure. The mechanized routes, sequences and activities (like reaching for the phone, or grabbing a pen) can best be understood by those who have a direct experience with the space in question.
Reworking our homes, offices or workshops is an essential aspect of the design practice aimed to solve practical and aesthetic problems through discrete, and at times involuntary, adjustments. This process occurs in response to obstacles as mundane as: I do not know where to put this, I cannot hold all of these things, or I have nothing to lock this to, etc. A series of needs and desires shape our built environment by addition and subtraction. The issue here is that our needs can be difficult to predict at the onset of design, and that these needs vary from person to person. In order to analyze the needs of our client and develop the best solution for them, we begin first with a full-scale, working prototype. In this way, we may test the strengths and weaknesses of an initial idea, and shape the final form and function with our hands, and with technology, as we at Mammafotogramma like to do.
The machine is fantastic. The idea of being able to produce furniture with the predominant use of the machines seemed essential to us from the beginning. Here we do not speak of form. The form is something that the machines does not assimilate, does not digest.The proposed project aimed to make full use of the machines potential, leaving man all that which is related to design. Not a manifesto, not a design that grips everyone, but rather a system that leaves the manipulation of the object to the user, the artisan or anyone else who wants to experiment.
Earlier we spoke of a connective system. Plainly speaking, the project envisions a new material made of a Woodskin©: a highly flexible surface created by a process of excavation with a CNC cutting machine. By dividing the rigid plain of wood into small triangles, the material is freed - able to be shaped as the maker desires. This approach renders a wooden surface malleable, not for decorative purposes, but for the purely functional purpose of distorting form to reflect the routine history of, and relationship with, the user.
This is a project that evolved in constant dialogue with its container and with the people who strongly desired it. Our job is to bring together creativity and design, production, craft and technology. We strive to engage in a creative process, using the best of our skills to create complex projects with a high quality.
- a unique piece, that houses a network of functions -
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