窗帘呼叫亭/办公室
Curtain Call Pavilion / office office
创新设计与技术融合：Curtain Call项目巧妙地将数字技术与传统建筑工艺相结合，展现了人机协作建造（HRCC）技术的魅力。通过这种混合方法，项目不仅实现了设计上的高精度，还保留了物理工艺的独特性，创造出一个定制化且非重复的结构。这种创新的设计理念和建造方式，为未来的建筑设计和制造提供了新的思路和可能性，打破了传统设计和制造模式的局限，为建筑领域带来了一股清新的创新之风。
功能与形式的完美结合：该项目以其独特的形式和功能为伍德斯托克音乐节的历史场地增添了一抹亮色。露天甲板、不对称的柱子和网状屋顶结构的俏皮布置，不仅为各种有组织和即兴的活动提供了灵活的空间，还为游客提供了一个放松、野餐或阅读的场所。这种多功能的设计，使得Curtain Call不仅仅是一个艺术装置，更是一个充满活力的社区空间，满足了不同人群的需求，体现了建筑设计的人文关怀和实用性。
高效建造与可持续性：项目在建造过程中展现了高效的组织和实施能力。通过开发低成本的木材标记机器人，直接在木材构件上嵌入制造和装配信息，简化了施工文件和现场协调的复杂性，使得不同技能水平的人都能轻松参与建造过程。这种高效的建造方式不仅节省了时间和成本，还提高了建造的准确性和质量。同时，项目的可持续性也得到了体现，通过合理利用材料和资源，减少了浪费，为建筑行业的可持续发展树立了良好的榜样。
© Alon Koppel
© Alon Koppel
建筑师提供的文字描述Curtain Call是贝瑟尔森林艺术中心2024年BuildFest的获奖设计。每年，BuildFest都会挑选大学教师团队，在1969年伍德斯托克音乐节的历史场地上设计和建造大型艺术装置。今年的主题要求参与者探索数字和物理建筑方法的交叉点。通过采用人机协作建造（HRCC）技术，Curtain Call打破了传统的设计和制造模式，开发了一个参考伍德斯托克69年舞台构造的展馆。Curtain Call被设计为该场地的一种新型表演基础设施，创造了一个灵活的舞台，可以容纳各种有组织和即兴的活动。露天甲板、不对称的柱子和网状屋顶结构的俏皮布置为适应提供了一系列可能性。展馆可以容纳表演、电影之夜、临时活动，也可以作为游客休息、野餐或在树荫下看书的放松场所。
Text description provided by the architects. Curtain Call is a winning design for the 2024 edition of BuildFest at the Bethel Woods Center for the Arts. Each year, BuildFest selects teams of university faculty to design and construct large-scale art installations on the historic grounds of the 1969 Woodstock festival. This year's theme challenged participants to explore the intersection of digital and physical construction methods. By embracing Human-Robot Collaborative Construction (HRCC) techniques, Curtain Call breaks from conventional modes of design and fabrication to develop a pavilion that references the tectonics of the Woodstock '69 stage. Designed as a new type of performance infrastructure for the site, Curtain Call creates a flexible stage to accommodate a wide range of organized and impromptu activities. The playful arrangement of an open-air deck, asymmetrical columns, and a mesh-wrapped roof structure provides a range of possibilities for adaptation. The pavilion can accommodate performances, movie nights, pop-up events, or serve as a relaxing spot for visitors to lounge, picnic, or read a book under the shade.
Courtesy of office office
该项目借鉴了原始伍德斯托克舞台上的木桁架和织物雨棚，并对其进行了重新诠释，创造了一种新的表演结构。一系列十五个独特的桁架形成了一个动态的屋顶，屋顶被包裹在一个红色的轻质网格中，网格的形状和颜色会随着风和光的变化而变化。将屋顶连接到甲板，二十六根柱子不对称地组织起来，形成了一系列小、中、大空间，以支持不同的节目和舞台方向。Curtain Call集成了人机协作构建（HRCC）技术，实现了数字精度和物理工艺的平衡。杨说：“与全机器人过程相反，我们对这种混合方法感到兴奋和感兴趣——数字精度和物理工艺之间的空间允许新的材料、构造和形式表达。”。这种方法能够创建一个定制的、非重复的结构，可以快速有效地制造。开发了一种低成本的木材标记机器人，可以直接在每个木材构件上嵌入制造和装配信息。机器人使用标记将切割角度、钻孔位置、对齐和唯一识别标签等信息直接刻在材料上。
The project references the wood trusses and fabric canopy from the original Woodstock stage and reinterprets them to create a new performance structure. A series of fifteen unique trusses form a dynamic roof, which is wrapped in a red lightweight mesh that shifts in form and color throughout the day in response to wind and light conditions. Connecting the roof to the deck, twenty-six columns are asymmetrically organized to create a series of small, medium, and large spaces to support different programming and stage orientations.Curtain Call integrates Human-Robot Collaborative Construction (HRCC) techniques, allowing for a balance of digital precision and physical craft. "As opposed to fully robotic processes, we became excited and interested in this hybrid approach – the space in between where digital precision and physical craft allow for new material, tectonic, and formal expressions," said Young. This approach enabled the creation of a custom, non-repetitive structure that could be fabricated quickly and efficiently. A low-cost timber marking robot was developed to directly embed fabrication and assembly information on each wood member. The robot uses a marker to inscribe information such as cut angles, drill locations, alignments, and unique identification tags directly onto the material.
© Alon Koppel
这些说明使所有技能水平的人都能轻松理解、制造和组装每个零件。麦卡锡说：“我们开发的方法使材料既可以作为制造指南，也可以作为组装指南，从而消除了对复杂的施工文件和复杂的现场协调的需要。”。在节日前的四周里，所有材料在运往纽约州伯特利之前都进行了标记、加工和预组装。在为期五天的现场工作节期间，教师和学生团队努力组装和安装展馆。
These instructions allow people of all skill levels to easily understand, fabricate, and assemble each part. "The method we developed allowed materials to act as both a fabrication and assembly guide, eliminating the need for elaborate construction documents and complex on-site coordination," McCarthy said. Over the course of four weeks before the festival, all materials were marked, processed, and pre-assembled before being shipped to Bethel, NY. During the five-day live-work festival, faculty and student teams worked to assemble and install the pavilions.
Courtesy of office office
