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Appreciation towards Outpost Office for providing the following description:

Outpost Office，由Ashley Bigham和Erik Herrmann创立并领导，设计了Color Block No. 2——一个临时的公共广场装置，激活了Wexner艺术中心内外的各种过渡空间。Color Block No. 2由四个大规模的模块化家具单元组成，采用夸张、笨重且色彩丰富的原型建筑元素，如柱子、基座和墙体。这些单元既具有渐进性，又具备移动性，构成了一个强烈的图形景观，概念上和物理上都挑战了制度性边界，同时为集会和休息提供了实用空间。

Outpost Office, an architectural practice founded and led by Ashley Bigham and Erik Herrmann, have created Color Block No. 2, a temporary public agora that activates various in-between spaces both inside and outside the Wexner Center for the Arts. Color Block No. 2 consists of four large-scale, modular furniture units composed of exaggerated, clunky, and colorful proto-architectural elements like columns, plinths and walls. Both incremental and mobile, this colorful installation forms an intense graphic landscape that conceptually and physically challenges institutional boundaries, while offering practical space for gathering and repose.

▼位于“耳语墙”外部的装置，the “whispering wall” and the installation ©︎ Leonid Furmansky

博物馆建筑常常在画廊空间和公共区域之间设置界限，但在由彼得·艾森曼（Peter Eisenman）设计的Wexner艺术中心，这一分隔已经被独特地模糊化，展览空间与建筑特征交织在一起。Color Block No. 2的四个单元通过在园区内四个不同地点的安置进一步扩展了这一特性：在主入口的户外、上下大厅的室内，以及略微倾斜的“耳语墙”外部，后者是一个弯曲的露天剧场墙。它们的布局让游客可以在参观的空间和时间中与这些单元互动，而它们既是雕塑又是座椅，鼓励休息、合作、社交和非正式学习。

Museum architecture often imposes divisions between gallery spaces and public areas, but this division is already uniquely blurred at the Peter-Eisenman-designed Wexner Center, where exhibition spaces and architectural features converge. The four units of Color Block No. 2 further extend these characteristics by carving out new spaces at four distinct sites on the campus: outdoors at the main entry, indoors in the upper and lower lobbies, and outdoors slightly askew to the “whispering wall”, a curved amphitheater wall. Their placement allows visitors to experience them across the space and time of a visit; and their nature as both sculpture and seating allows for interaction with the pieces, encouraging rest, collaboration, socializing, and informal learning.

▼装置与弯曲的露天剧场墙，the installation and the curved amphitheater wall ©︎ Leonid Furmansky

▼Color Block No. 2装置，Color Block No. 2 ©︎ Leonid Furmansky

▼装置细部，details of the device ©︎ Leonid Furmansky

每个鲜艳的单元主要由Duraply（来自快速生长的欧洲杨木的可持续生产胶合板）构建，并采用丙烯酸乳胶漆和乙烯基装饰。木材元素通过粉末涂层钢板和角度连接，且配有通常用于工业或重型商业应用的粉末涂层钢矩形条栅网。此材料经过加工后，提升为一个舒适的座位表面，经过一些简单的修饰和粉末涂层处理。

Each brightly-colored unit is constructed primarily from Duraply (a sustainably-produced plywood from fast-growing European poplar) and finished with acrylic latex paint and vinyl accents. The wood elements are connected internally and externally with powder-coated steel plates and angles, and feature screens that are fabricated from powder-coated steel rectangular bar grating typically used in industrial or heavy commercial applications. In this case, the material is elevated to a comfortable seating surface with some minor finishing and powder-coating.

▼中庭大厅中的装置，the installation in the atrium lobby ©︎ Leonid Furmansky

▼每个鲜艳的单元主要由Duraply，
each brightly-colored unit is constructed primarily from Duraply ©︎ Leonid Furmansky

▼使用场景，usage scenario ©︎ Leonid Furmansky

▼装置，the installation ©︎ Leonid Furmansky

▼俯瞰，overlooking ©︎ Leonid Furmansky

除了对我们与博物馆传统互动方式的批判，这个项目还探讨了颜色在建筑中的作用，颜色与每个单元的形式特性相辅相成，直接响应其特定的场地。外部单元使用了橙色、朱红色和粉色，这些色调与Wexner的砖墙外立面相呼应。上层大厅的单元位于一个视觉上繁忙且几何复杂的地点，自己被压缩进一个小壁龛，展现了最强烈的色彩不和谐感，底色为粉色，并搭配明亮的黄绿色、朱红色和电紫色。下层大厅的单元较大，拥有最多的座位，但颜色稍微更为柔和，以两种藕荷色为主，辅以黄绿色的点缀。

In addition to offering a critique of how we traditionally interact with the museum, the project also addresses the qualities of color in architecture, which work in tandem with the formal qualities of each unit to respond directly to its specific site. The exterior units contain orange, vermillion and pink tones that play off the Wexner ’s brick facade. The upper lobby unit, situated in a visually busy and geometrically complex location, itself compressed into a small niche, features the highest level of chromatic dissonance, with its pink base color and bright chartreuse, vermillion, and electric violet accents. The lower lobby unit is larger, containing the most seating, but is slightly more muted in two shades of mauve with chartreuse accents.

▼俯瞰，overlooking ©︎ Leonid Furmansky

▼装置以藕荷色为主，辅以黄绿色的点缀，
the installation is mainly in two shades of mauve with chartreuse accents ©︎ Leonid Furmansky

▼装置可作为座位使用，the device can be used as a seat ©︎ Leonid Furmansky

▼几何元素，geometric element ©︎ Leonid Furmansky

▼装置近景，closer views ©︎ Leonid Furmansky

▼细部，details ©︎ Leonid Furmansky

Erik Herrmann在谈到色彩与形式在建筑话语中的相对消失时表示：“历史上，围绕建筑色彩使用的神话、刻板印象、陈词滥调和惯例形成了复杂的框架，包括早期现代主义对色彩的偏见和对白色的坚持，这种观点至今仍在影响着建筑领域。与此相反，Color Block No. 2探索了色彩作为建筑中一个不可或缺且日益可变的特性，思考了如何在公共空间的构成和激活中使用色彩作为结构的意义。”

Says Erik Herrmann about the diminishment of color when compared to form in architectural discourse: “A perplexing scaffold of myths, tropes, cliches, and conventions have historically dictated the use of color in architecture, including the early modernist prejudice against color and insistence on whiteness that continues to influence the field. Color Block No. 2 instead explores color as an integral and increasingly mutable quality in architecture, and considers what it means to use color as structure in the composition and activation of public space.”

▼位于上层大厅中的装置，
the installations located in the upper lobby ©︎ Leonid Furmansky

▼装置以底色为粉色，并搭配明亮的黄绿色，
the installation is pink with a bright yellow-green color ©︎ Leonid Furmansky

该项目的另一实验维度是时间。Color Block是一个增量建筑的实验：随着时间演变的设计。这个项目将激活空间的表现，叠加了过程与产品、行动与遗物的概念。此外，从物理角度来看，这些单元也被设计为模块化和可移动的。Ashley Bigham表示：“模块化元素使我们能够设计出大规模的干预措施，这些设计可以在展览结束后轻松拆解并搬到其他地点。我们希望此次展览没有产生任何浪费。” Color Block No. 2代表了Outpost Office在Wexner艺术中心进行的一年期干预项目的第二阶段。第一阶段是大型项目Drawing Fields No. 7，该项目通过GPS控制机器人在Wexner广场的树木旁草坪上绘制了黄色和薰衣草色的曲线图案。

The other dimension of experimentation for this project is time. Color Block is an experiment in incremental architecture: designs that evolve over time. This project will enliven the performance of space-making, superimposing notions of process and product, action, and artifact. Furthermore, from a physical perspective, the units were also designed to be modular and transportable. Says Ashley Bigham , “Modular elements allowed us to design large-scale interventions that can be easily disassembled and moved to another location after the exhibition closes. We wanted zero waste produced by the exhibition.” Color Block No. 2 represents the second phase of Outpost Office’s year-long intervention at the Wexner. The first phase consisted of the large-scale project Drawing Fields No. 7, in which a GPS-controlled robot has painted yellow and lavender curvilinear patterns on the tree-lined lawn of the Wexner plaza.

▼使用场景，usage scenario ©︎ Leonid Furmansky

▼细部，details ©︎ Leonid Furmansky

Project Credits:
Design Team: Erik Herrmann, Ashley Bigham
Design Support: Zach Schumacher, Chris Wall
Fabricator: Edgework Creative, Columbus, OH
Consulting Engineer: Bernie Kooi
Photography: Leonid Furmansky

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