Our initial idea for the counter was for it to be layered horizontally. There were practical reasons for this, because we wanted the undulating elevation of the counter to reflect differing usages – ranging from a normal counter to a full-height wall. Our design sought to ensure that the varying sections would transition one to the other seamlessly and in the most natural way. Our plan was to construct it using layers of multiplex boards.
We had seen examples of how nature creates random, but very beautiful forms, where water carves its way into soft stone over millions of years, producing rockfaces made of layers of different kinds of stone, some undulating softly, others with more marked wave-like and fold formations. The Antelope Canyon in Arizona is a wonderful example of this.
We made a model in clay to try and find a potential form for our counter, specifically experimenting to see whether we could create the wave-like projections and recesses we needed for it to function as required.
We simulated the full-height wall in layers of wood and introduced two irregular holes into it that would serve variously as an aperture for the counter and as somewhere to display the menu.
In order to manufacture the counter, we had to produce a digital version of the clay model. Instead of having it 3D-scanned by a professional, we experimented with a series of photographs representing views of the model from all possible angles, so that we could produce our own 3D-scan.
After one or two failed attempts, we finally had a complicated point cloud on the computer screen, which was still pretty far from representing a fully worked-up 3D-model. When we enlarged it, it was evident that the clay model we had scanned in was shown on a scale of 1:50. Every tiny irregularity in the model would have been magnified 50 times over had it gone straight into production. So, we had to clean the scan of these anomalies.
To clean up the 3D-model, we worked with a specialised modelling software, which allows one to knead, smooth and alter the form. Normally, we are used to drawing with geometric precision as architects, so this stage was very challenging for us. However, gradually the virtual modelled mass was transformed into a precise 3D-model with only a few anomalies still evident.
With the help of a self-programmed process, the finished, smoothed 3D-model was finally cut into 364 horizontal layers, allowing for each layer to be altered until it was manufacture-ready. Then we were able to return to our usual CAD-program and produce the first 3D-prints on a scale of 1:50, which we could then compare with the original model. At last, we could see what our layered counter would look like in reality.
Once we had made the last corrections in detail to the layer model, we cut a hole in it to accommodate the range hood over the grill plate. We then used the layer model to generate the two-dimensional cutting lines that the joinery company needed for production. These were divided into approximately 2-metre-long sections to fit onto the multiplex panels. Finally, the sections were assigned to panels in a cut-optimised way so that as many parts as possible could be milled from each 1.25 x 2.50 metre panel. In the end, we required 107 multiplex panels for the counter.
This optimisation caused the order of the sections to get mixed up, so each was given a milled code specifying its height and position within the design. Fortunately, we knew some carpentry companies that were up to this complex logistical task.
The floor of the carpentry workshop slowly filled with CNC-milled layers. The carpenters came up with the idea of dividing the design into modules, so that they could assemble the counter in the workshop, treat the surfaces, and then dismantle the modules again for transport.
As a consequence, the installation on site went pretty quickly. The counter top was fitted in place and electrical appliances and base units were installed behind the wooden front.