塔林建筑双年展2019安装方案竞赛第一名：Steampunk

项目使用了弯曲的硬木建造了该景观装置，项目组使用原始的工具，辅以精确的智能全息投影建造而成。设计此项目没有绘画图纸，因为会的削减我们的设计感，项目组开发了一个实验性的方法，使用全息投影转化为现实架构，利用计算机以及机器人辅助制造，这无疑让项目组拥有前所未有的精确度，仅仅依靠直觉与图纸很难达到的。

Steampunk is a pavilion constructed from steam-bent hardwood using primitive hand tools augmented with the precision of intelligent holographic guides. 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. 

▼戴着全息模型眼镜安装的项目组成员

▼全息模型

我们对使模拟结构与全息模型的精确性和灵活性相结合的方法很感兴趣，在建造过程中直接将数字模型渲染成全息投影，制作者可以利用自己的专业知识和发明创造能力，完全按照这些全息指南使用相对原始的模拟工具，制作出高度复杂和复杂的物体。这种方法消除了在电脑模型中的材料贴图过程中的不确定性，因为在建造过程中发现、期望和放大了材料的影响每一个方面。数字表达从数字制造的约束中解放出来，避免了从材料工艺衍生出的细微差别和材料影响的机会。

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.

项目的平面图是一个十字，现已成为塔林古城和建筑博物馆前的一道风景线。项目中多变的表面效果是经过精细考虑之后的结果，100x10mm的直板弯曲三维曲线迫使木材剖面沿着其长度扭曲，因为木材长度是一致的，因此要达到表面变化的丰富，建造时更像是编织而不是组装。扭曲的木材部分为复合木材和钢壳提供了刚度和抗压强度，沿着编织木材的线条从传统的正交表面延伸到熟悉的拓扑结构的完全分解，使得即使用轻质材料也能创造足够坚固的外壳结构。

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. 

木材是在十分困难的过程中制造的，每条钢带都是用全息模型作为参考，在一个可适应的、无模的模板上装袋、蒸制和弯曲，以达到预期的效果。这种制造过程利用了全息模型的优势:全息模型为制造商提供了关于成形过程精度的清晰的视觉反馈，并允许他们直观地调整制造技术或模板位置，直到零件在可接受的公差范围内与数字模型匹配。物理部件也可以数字化并反馈到数字模型中，从而使设计适应并适应于需要。在每种情况下，反馈都是设计师与制造商之间、预期行为与观察结果之间的直接协作。这个项目的美就在于这种张力，在于决定什么时候取舍，什么时候坚持预想的设计意图，什么时候放弃精确性，开始做出反应。

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.

设计公司:Gwyllim Jahn, Cameron Newnham ，SoomeenHahm Design(英国)，Igor Pantic(英国)

SoomeenHahm Design官网：https://soomeenhahm.com/

施工团队: Format Engineering, UK

项目团队: Sean Guy, Xavier Madden, Nick van den Berg, Hanjun Kim, AisheKokoshi, TriinJuhanson, Karim Rouabah, Szymon Padlewski, Thorlak Solberg, Christopher Ferris, Jack Mansfield-Hung, James Morton, Muhammad Ejle, TaivoLints, Hugo Loydell, Mathilde Grodem, Trine Jarsto, BodilEiterstraum, Gerda Levin, Simon Greil, Linn Johansson, Filip Nyborg, Anne Frydenlund, Arissara Reed, Haya Termanini, Mikkel Sorenson, Katrin-Maria Terras, LiisAleksejeva, Annika ülej?e, Kertu J?este, AnnaLiisaSaavaste, Helena Ojabstein, Lukas Winter, Philippe Hannequart, Tristan Krevald and Tom Morgan.

地点:Ahtri 2，塔林，爱沙尼亚

尺寸:8.0米* 8.0米* 4.6米(w * d * h)

面积:25㎡

完成日期:2019年9月11日

Design: Gwyllim Jahn, Cameron Newnham (Fologram, AU), SoomeenHahm Design (UK), Igor Pantic (UK)

SoomeenHahm Design web：https://soomeenhahm.com/

Engineering:Format Engineering, UK

Project Team:Sean Guy, Xavier Madden, Nick van den Berg, Hanjun Kim, AisheKokoshi, TriinJuhanson, Karim Rouabah, Szymon Padlewski, Thorlak Solberg, Christopher Ferris, Jack Mansfield-Hung, James Morton, Muhammad Ejle, TaivoLints, Hugo Loydell, Mathilde Grodem, Trine Jarsto, BodilEiterstraum, Gerda Levin, Simon Greil, Linn Johansson, Filip Nyborg, Anne Frydenlund, Arissara Reed, Haya Termanini, Mikkel Sorenson, Katrin-Maria Terras, LiisAleksejeva, Annika ülej?e, Kertu J?este, AnnaLiisaSaavaste, Helena Ojabstein, Lukas Winter, Philippe Hannequart, Tristan Krevald and Tom Morgan.

Location :Ahtri 2, Tallin, Estonia

Size : 8.0m*8.0m*4.6m(w*d*h)

Area : 25m2

Completed : 11th September 2019