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看似杂乱,实则有序丨塔林双年展Steampunk展馆第1张图片


Steampunk Pavilion / Gwyllm Jahn & Cameron Newnham + Soomeen Hahm Design + Igor Pantic

由专筑网小R,王雪纯编译

Steampunk是一座由通过蒸汽而弯曲的硬质木材建造而成的景观装置,其建造过程中应用了以智能全息策略来提高精度的传统的手工工具。该项目由Gwyllim Jahn、Cameron Newnham (Fologram)、Soomeen Hahm Design、Igor Pantic、Format Engineers联合设计,该装置专为2019年在爱沙尼亚举办的第五届塔林建筑双年展设计,并将会被一直保留至2021年的下一届双年展。

Steampunk is a pavilion constructed from steam-bent hardwood using primitive hand tools augmented with the precision of intelligent holographic guides. Designed by Gwyllim Jahn, Cameron Newnham (Fologram), Soomeen Hahm Design and Igor Pantic with Format Engineers, the installation was built for the 5th edition of Tallinn Architecture Biennale (TAB 2019) in Estonia, and will remain in place until the Biennale’s next edition in 2021.

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Steampunk展馆的建筑师们并没有通过切割、打印、组装的方式来设计出图纸或是代码行来建造建筑,而是开发了一种在机器化生产与制造的背景下的的争议性的实验性策略。虽然计算机辅助设计和机器技术给建筑师带来了前所未有的控制感受,但是传统手工艺制品中的精妙之处却无法在机器制品中展现出来,因为机器无法表达某个项目的质量水准和设计内涵。

As the designers of Steampunk we have not produced drawings or lines of CNC code from which parts of our design might be cut, printed or assembled and instead have developed an experimental approach to materialising architecture that serves as a deliberate polemic in the context of robotic production and automation. While computer aided manufacturing and robotics have given architects unprecedented control over the materialization of their designs, the nuance and subtlety commonly found in traditional craft practices is absent from the artefacts of robotic production because the intuition and understanding of the qualitative aspects of a project as well as the quantitative is difficult to describe in the deterministic and explicit language of these machines.

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看似杂乱,实则有序丨塔林双年展Steampunk展馆第4张图片


建筑师所使用的策略结合了数字模型的精确性和灵活性。首先,需要将渲染的数字模型放置在建筑环境之中,然后制造人员就可以通过自身的专业性和创造性,应用原始模拟工具,从而打造出高度复杂的对象个体。这种方式减少了数字模型之中材料各个方面的必要性,同时也能够在施工过程中发现、明确、强调材料各个方面的不确定因素。这样的数字表达能够释放数字制造的各种限制,并且了解材料工艺的细微差别,提升了建筑的整体效果。

We are interested in approaches to making that hybridize analogue construction with the precision and flexibility of digital models. By rendering digital models as holographic overlays directly within construction environments, fabricators can use their own expertise and inventiveness to produce highly intricate and complex objects entirely by following these holographic guides using relatively primitive analogue tools. This approach removes the necessity of anticipating every aspect of material behaviour in digital models and in so doing leaves open a certain degree of indeterminacy as material affects are discovered, desired and amplified during construction. It is this liberation of digital expression from the constraints of digital fabrication, together with the opportunity for nuance and material affects derived from material craft, that drive the architectural effects of the pavilion.

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景观装置通过其十字交叉的形态将双年展的场地分成4个不同的部分,并为塔林古城和建筑博物馆的起到框景的作用。展馆的灵活表面效果来源于各个部分的协调,100x10毫米的木板沿着长边经过了三维的弯曲,这种材质标准化弯曲的手法有点类似于编织,而不是一般的拼装,弯曲的木材给整体表面带来了刚度和抗压强度。来源于传统正交表面的编织木材线条能够进行熟悉地拓扑分解,这构成了建筑形式、内部、外部、表面、体量的各种形式。为了通过轻盈的材料而构成坚实的外壳,建筑师充分地利用了建筑的积极与消极空间,在巨大的体量中构成了具有亲切感的内部效果。

The plan of the pavilion is a cross that divides the grassy mound of the Biennial site into four distinct spaces that frame views towards the old city of Tallinn and the Architecture Museum. The variable surface effects in the pavilion are a product of expediency, as bending three dimensional curves from straight 100x10mm boards forces the timber profile to twist along its length. This attempt to produce an architecture from standardised lengths of material is more akin to weaving than assembling, and twisting timber sections contribute stiffness and compression strength to a composite timber and steel shell. Tracing the lines of the woven timber leads from conventional orthogonal surfaces to the complete break down of familiar topology, toying with the ambiguity of the form of the knot, inside and outside, surface and volume. In order to create a strong enough shell structure from light weight materials the pavilion also plays with positive and negative space, defining an intimate interior from a massive poche.

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看似杂乱,实则有序丨塔林双年展Steampunk展馆第9张图片


结构的木材元素参考了蒸汽弯曲工艺。每一条弯曲的构件都构成具有适应性的元素,它们适用于各种部分,这样的方式则是参考了预期的成果。制作过程利用了两种反馈形式,全息模型在形式构成的精准性方面给制造商带来了清晰的视觉效果,同时使得他们能够直观地对制造技术和构件的定位进行调整,从而让实物能完美地重现数字模型。物理部分同样也能够通过数字化的方式反馈到模型之中,同样也是在设计的过程中进行适当地调整。不论何种情况,实时的反馈都能够促使制造商进行微调,这也是建筑师与制造商之间构成观察的共同成果。项目的美学理念则存在于这种调整关系之中,例如何时应该以设计为主,亦或是何时应该牺牲设计策略而进行美学或是结构上的微调。

The timber elements in the structure are fabricated following the somewhat arcane and notoriously difficult process of steam bending. Each strip is bagged, steamed, and bent over an adaptable, moldless formwork using a holographic model as a reference to the desired result. This fabrication process utilizes two forms of feedback: holographic models provide fabricators with clear visual feedback on the accuracy of the forming process and allow them to intuitively adapt fabrication techniques or formwork positions until parts match digital models within accepted tolerances. Physical parts can also be digitized and fed back into the digital model, allowing the design to accomodate and adapt where necessary. In each case the feedback is a direct collaboration between designer and maker, between expected behaviour and observed results. The beauty of the project lies in this tension, in deciding when to give and take, when to adhere to preconceived design intent and when to abandon precision and begin to react.

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看似杂乱,实则有序丨塔林双年展Steampunk展馆第15张图片


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建筑设计:Gwyllm Jahn & Cameron Newnham + Soomeen Hahm Design + Igor Pantic
面积:25.0平方米
摄影:Tõnu Tunnel
制造商:Robert McNeel & Associates
客户:2019塔林双年展
工程设计:Format Engineers
主创建筑师:Gwyllm Jahn, Cameron Newnham, Soomeen Hahm, Igor Pantic
项目团队:Sean Guy, Xavier Madden, Nick van den Berg, Hanjun Kim, Aishe Kokoshi, Triin Juhanson, Karim Rouabah, Szymon Padlewski, Thorlak Solberg, Christopher Ferris, Jack Mansfield-Hung, James Morton, Muhammad Ejle, Taivo Lints, Hugo Loydell, Mathilde Grodem, Trine Jarsto, Bodil Eiterstraum, Gerda Levin, Simon Greil, Linn Johansson, Filip Nyborg, Anne Frydenlund, Arissara Reed, Haya Termanini, Mikkel Sorenson, Katrin-Maria Terras, Liis Aleksejeva, Annika ülejõe, Kertu Jõeste, AnnaLiisa Saavaste, Helena Ojabstein, Lukas Winter, Philippe Hannequart, Tristan Krevald, Finbar Charleson, Ben Norris and Tom Morgan.


Area: 25.0 m2
Year: 2019
Photographs: Tõnu Tunnel
Manufacturers: Robert McNeel & Associates
Client: Tallinn Architecture Biennale 2019
Engineering: Format Engineers
Lead Architects: Gwyllm Jahn, Cameron Newnham, Soomeen Hahm, Igor Pantic
Project Team: Sean Guy, Xavier Madden, Nick van den Berg, Hanjun Kim, Aishe Kokoshi, Triin Juhanson, Karim Rouabah, Szymon Padlewski, Thorlak Solberg, Christopher Ferris, Jack Mansfield-Hung, James Morton, Muhammad Ejle, Taivo Lints, Hugo Loydell, Mathilde Grodem, Trine Jarsto, Bodil Eiterstraum, Gerda Levin, Simon Greil, Linn Johansson, Filip Nyborg, Anne Frydenlund, Arissara Reed, Haya Termanini, Mikkel Sorenson, Katrin-Maria Terras, Liis Aleksejeva, Annika ülejõe, Kertu Jõeste, AnnaLiisa Saavaste, Helena Ojabstein, Lukas Winter, Philippe Hannequart, Tristan Krevald, Finbar Charleson, Ben Norris and Tom Morgan.

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