设计：Anna Dobek + Mateusz Wojcicki
地点：波兰，华沙，金阶购物中心（Zlote Tarasy）
客户：Circus Digitalis
面积：19.8平方米
项目年份/施工：2012/2013
•        由Alison Furuto发布
•        波兰，华沙，Anna Dobek Mateusz Wojcicki，小型文化展馆
Design: Anna Dobek + Mateusz Wojcicki
Location: Zlote Tarasy shopping centre , Warsaw, Poland
Client: Circus Digitalis
Area: 19.8 m2
Year of Project/Construction: 2012/2013
•        by Alison Furuto
•        Cultural mini Pavilion Anna Dobek Mateusz WojcickiPoland Warsaw

实验项目，Custore，为一个用于商业市场的参数化建筑的展馆。该设计由Anna Dobek + Mateusz Wojcicki完成，他们不仅要处理计算机生成的雕塑形式的审美问题，还要处理在商业大厦内的项目执行的相关实际问题——此外最重要的 ——要处理艺术形式和商业市场指导的真实冲突。本段后有更多图片和建筑师描述。
设计过程起始于建筑材料的选取，这是与波兰最大的胶合板生产商PAGED Sklejka S.A. Plywood合作选取的。PAGED Sklejka S.A. Plywood的产品独具审美性和耐用性，被用来作为Custor e展馆主要的也是唯一的材料（除了安装的螺丝和可延展的榉木锚）。
Custore, an experimental project, is a pavilion that explores the areas of parametric architecture used for the commercial market. Designed by Anna Dobek + Mateusz Wojcicki, they had to deal not only with the aesthetic issues of computer-generated sculptural forms, but also with practical problems associated with the execution of the project inside a commercial building, and – most importantly – with the real clash of artistic forms and commercial market guidelines. More images and architects’ description after the break.
The design process began with the choice of material driven by the cooperation with the largest plywood producer in Poland – PAGED Sklejka S.A. Plywood, valued for its aesthetic and endurance properties, was used as the main and only substance (with the exception of confirm at mounting screws and beech wood expandable anchor sleeves) for the construction of the Custore pavilion.

Custore概念店（“定制”+“存储”）的创始人要创造一个可以同时结合一家商店和一个艺术画廊的空间。这是一种创新的方式展示一系列触摸屏上的产品，鼓励创造力，有利于客户制定自己的家具。此种方式需要非凡的外包。
The originators of Custore concept store (“customize” + “store”) wanted to create a space which would be the combination of a store and an art gallery. An innovative way of presenting the range of products on touch screens, encouraging creativity and giving customers the opportunity to contribute to making their own furniture, needed an extraordinary package.

客户的主要规范——Circus Digitalis团队——就是希望该展馆应提供部分的视觉隔离，同时还向周围空间开放。按照这一方针，我们创建了一个主题展馆 ——棱角分明的建筑外观和柔软舒适的室内空间之间设有半透明隔断。该项目所使用的材料给人以安逸的印象，这突出了小面积的展馆。
The key guideline from the client – the Circus Digitalis group – was the assumption that the pavilion should provide a partial visual isolation while still being open to the surrounding space. By following this guideline we created a theme for the pavilion – a translucent barrier between a strongly geometrically defined exterior and a soft interior. The material used in this project also gave the impression of cosiness, which was highlighted by the small area of the pavilion.

展馆内，我们安装了一个信息点和带有触摸屏显示器的四个展台。该结构与“金阶购物中心”（ “Zlote tarasy”）的室内十分搭配。“金阶购物中心”由三角形窗格玻璃嵌入钢结构构成，这是在波兰使用参数化的第一个例建筑。
Inside the pavilion we located an information point and four stands with touchscreen monitors. The structure fits in with the interior of “Zlote tarasy” shopping centre which is sheltered by triangular panes of glass embedded in a steel structure – the first example of the use of parametric architecture in Poland.

技术
设计过程需要在项目的任何阶段均可进行修改。由于建筑准则的变化，选择参数的方法是至关重要的。这是由技术、尺寸、物流和功能等问题所控制的。我们将展馆分成两部分——室内柔软外观的雕塑和室外棱角分明的外观。这可以保证该建筑根据建筑准则的变化，灵活调整展馆的最终外形。
Technology
The design process required such an arrangement of work to make modifications possible at any stage. The choice of the parametric method was crucial because of the changing guidelines, which were conditioned by the technological, dimensional, logistic and functional issues. We have divided the form of the pavilion into two parts – soft and sculptural interior and straight geometrical exterior. This enabled a much more flexible shaping of the final form of the pavilion, depending on the changing guidelines.

展馆的初始参数包括其大小、选用的材料类型及其应用的密度。该展馆唯一的手工绘制元素为界定室内的八个部分，加工后可以处理最后的曲线造型，构建明确的室内形状。这些部分均连接到展厅结构中，对其的修改则体现在室内造型的变化中。
The initial parameters of the pavilion included its size, type of material to be used and the density of its application. The only hand-drawn elements of the pavilion were 8 sections of the shell defining the interior, which after processing enabled the modelling of the final curve that gave the definite shape of the interior. These sections were dynamically linked to the structure of the pavilion and their modification has its representation in real time in the form of the changing shape of the interior.

采用算法来为展馆造型，可不断地实验展馆的连接处、设计及成本和材料消耗的预算。展馆室内外各部分的区分也可试验与室内形状无关的整个建筑体的外观。
The use of algorithms to shape the pavilion led to continuous experimenting with the properties of pavilion joints, the design and calculation of costs and material consumption. The division into modules that defined the pavilion interior and exterior also gave the opportunity to experiment with the look of the whole body, regardless of the shape of its interior.

为了界定建造展厅所采用的算法，我们使用草蜢犀牛软件（Grasshopper and Rhinoceros software）。数字干预的准备文件需要清理和改善利用应用算法无法解决的问题。在AutoCAD中，我们增加了遗漏的钻孔以连接套筒，形成了建筑结构的垂直连接。我们切割型材、调整切割垫以切合PAGED Sklejka制造的胶合板尺寸。而剖面图则通过数控机床（CNC machine）转换成可读的格式，这为各部分的组装做了准备。
To define an algorithm which generated the pavilion we used the Grasshopper and Rhinoceros software. Preparation of the files for digital fabrication required cleaning and improving the issues that were not possible to be solved with the applied algorithm. In AutoCAD, we added the missing drill holes to connect the thimbles, providing vertical joining of the structure, and we cut profiles, adjusting cutting mats to the size of plywood sheets manufactured by PAGED Sklejka. The profiles were then converted into a format readable by a CNC machine, which milled the parts ready for assembly.

组装
该项目的主要目标之一是将其重新组装，并用一辆面包车运输。因此，初装（装诸如由机器切割的套筒等独立部件）后的展厅必须拆卸回基本模块，然后再重新组装——建成目标模块。在此过程中可以检测结构稳定性并完成潜在的修正，还对展厅的最终形式存在巨大的影响。
Assembly
One of the key objectives of the project was the possibility of re-assembling and transporting it by a van. Therefore, the pavilion after the initial prototype installation (with individual components such as sleeves and sections cut by the machine) had to be dismantled back to basic modules that could then be re-assembled again – with target modules. During this process it was possible to test the structural stability and make potential corrections. This process also had a big impact on the final form of the pavilion.

由于需要适应各种不同的敏感环境，商业结构与纯实验和学术建筑结构有所不同。影响该展厅建筑外形和形式的另一个重要因素是由消防部门制定的相关规定。规定中，建筑要具有开放的屋顶结构，并安装建筑元素（梁）以确保适当的转移力量，从而防止建筑结构向中心坍塌。
Commercial structures differ from the pure-experimental and academic ones due to the need to adapt the structures to be used in a variety of sensitive environments. Another important factor influencing the shape and form of the pavilion were the guidelines issued by the fire department, which forced the opening of the roof structure and the installation of a construction element (beam) to ensure the proper transfer of forces to prevent the collapsing of the structure towards its center.

Custore展厅是一个有趣的项目，其开拓性的计算机生成的结构与真正的商业市场指引相关。该结构旨在通过广告和向普通消费者展示产品的过程检验它们可以发挥的作用。奇怪的是，在波兰市场上这种类型的建筑结构，一方面激发观众的好奇心，但另一方面也被认为有一种距离感，而此种距离感会随着用户习惯交互的目的而逐渐消失。
Custore Pavilion was an interesting project, in which the still trailblazing computer-generated forms are correlated with real commercial market guidelines. The structure is designed to test such solutions in terms of the role they can play in the process of advertising and showing the product to an ordinary consumer. Curiously enough, on the Polish market this type of architecture on one hand sparks the audience’s curiosity, but on the other hand it is also perceived with a kind of distance, which fades over time as the user gets used to the object of interaction.

在此种情况下，很重要的一个方面就是年轻的客户。在初次接触展馆时，他们并没有感到任何的距离，这形成了一种更有趣的互动形式。这种互动形式在陪同年轻观众的成年人和展馆的现代结构之间形成一种类似但更内敛的沟通，这是至关重要的，至少是必要的。
A very important aspect in this case were the younger customers. During the first contact with the pavilion they did not feel any distance, which resulted in a much more interesting form of interaction. Such an interaction is critical to at least initiate a similar yet more restrained “communication” between the adults accompanying the younger audience and the modern structure of the pavilion.

总之，实现了激起客户对展厅形式的兴趣，而在检查客户对展厅长远开发的反应后，还将进一步指导并指明商业市场中此种形式的内涵。
All in all, the effect of sparking the customers’ interest in the very form of the pavilion  has been achieved, and further guidance and direction of implications of such forms in commercial markets will be defined after examining the customers’ response to the exploitation of the pavilion in the long run.

floor plan 楼层平面图

Section 截面图

scheme diagrams 方案草图

         特别鸣谢翻译一组10号 张晓丽 提供的翻译，译稿版权归译者所有，转载请注出明处。