Steampunk Pavilion / Gwyllm Jahn & Cameron Newnham + Soomeen Hahm Design + Igor Pantic
由專築網小R，王雪純編譯
Steampunk是一座由通過蒸汽而彎曲的硬質木材建造而成的景觀裝置，其建造過程中應用了以智能全息策略來提高精度的傳統的手工工具。該項目由Gwyllim Jahn、Cameron Newnham (Fologram)、Soomeen Hahm Design、Igor Pantic、Format Engineers聯合設計，該裝置專為2019年在愛沙尼亞舉辦的第五屆塔林建築雙年展設計，並將會被一直保留至2021年的下一屆雙年展。
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.
Steampunk展館的建築師們並沒有通過切割、打印、組裝的方式來設計出圖紙或是代碼行來建造建築，而是開發了一種在機器化生產與製造的背景下的的爭議性的實驗性策略。雖然計算機輔助設計和機器技術給建築師帶來了前所未有的控制感受，但是傳統手工藝製品中的精妙之處卻無法在機器製品中展現出來，因為機器無法表達某個項目的質量水準和設計內涵。
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.
建築師所使用的策略結合了數字模型的精確性和靈活性。首先，需要將渲染的數字模型放置在建築環境之中，然後製造人員就可以通過自身的專業性和創造性，應用原始模擬工具，從而打造出高度複雜的對象個體。這種方式減少了數字模型之中材料各個方面的必要性，同時也能夠在施工過程中發現、明確、強調材料各個方面的不確定因素。這樣的數字表達能夠釋放數字製造的各種限制，並且瞭解材料工藝的細微差別，提升了建築的整體效果。
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.
景觀裝置通過其十字交叉的形態將雙年展的場地分成4個不同的部分，併為塔林古城和建築博物館的起到框景的作用。展館的靈活表面效果來源於各個部分的協調，100x10毫米的木板沿著長邊經過了三維的彎曲，這種材質標準化彎曲的手法有點類似於編織，而不是一般的拼裝，彎曲的木材給整體表面帶來了剛度和抗壓強度。來源於傳統正交表面的編織木材線條能夠進行熟悉地拓撲分解，這構成了建築形式、內部、外部、表面、體量的各種形式。為了通過輕盈的材料而構成堅實的外殼，建築師充分地利用了建築的積極與消極空間，在巨大的體量中構成了具有親切感的內部效果。
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.
結構的木材元素參考了蒸汽彎曲工藝。每一條彎曲的構件都構成具有適應性的元素，它們適用於各種部分，這樣的方式則是參考了預期的成果。製作過程利用了兩種反饋形式，全息模型在形式構成的精準性方面給製造商帶來了清晰的視覺效果，同時使得他們能夠直觀地對製造技術和構件的定位進行調整，從而讓實物能完美地重現數字模型。物理部分同樣也能夠通過數字化的方式反饋到模型之中，同樣也是在設計的過程中進行適當地調整。不論何種情況，實時的反饋都能夠促使製造商進行微調，這也是建築師與製造商之間構成觀察的共同成果。項目的美學理念則存在於這種調整關係之中，例如何時應該以設計為主，亦或是何時應該犧牲設計策略而進行美學或是結構上的微調。
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.
建築設計：Gwyllm Jahn & Cameron Newnham + Soomeen Hahm Design + Igor Pantic
面積：25.0平方米
攝影：Tõnu Tunnel
製造商：Robert McNeel & Associates
客戶：2019塔林雙年展
工程設計：Format Engineers
主創建築師：Gwyllm Jahn, Cameron Newnham, Soomeen Hahm, Igor Pantic
項目團隊：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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