Peak-A-Boo by i/thee

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Appreciations towards i/thee for providing the following description:

项目位于历史悠久的举办过 1969 年Woodstock音乐艺术节的场地，Peak-A-Boo装置从艺术节的树林中探出头来，形成一系列连续的木质层压拱顶和甲板，构成一个凉亭和灵活的表演空间。该装置是自1969 年Woodstock音乐节以来，Bindy Bazaar树林中的第一个程序化控制的基础设施，标志着为期三年的试点项目第二阶段的开始，该项目旨在该场地发展一个标志性的艺术和建筑节。由Bethel 森林艺术中心策划，旨在通过设计 + 建造的教学方法重新激活充满历史的场地，由德克萨斯理工大学的学生制作安装，是Neal Lucas Hitch和 i/thee 领导的暑期课程 “建筑 IRL “的一部分。

Peeking out from among the trees on the historic grounds of the 1969 Woodstock Music and Art Fair, Peak-A-Boo takes shape as a continuous series of wood-laminate arches and decks which form a pavilion and flexible performance space. The installation stands as the first piece of programmable infrastructure in the Bindy Bazaar woods since the 1969 Woodstock festival and marks the beginning of the second phase of a three-year pilot program to develop a signature art and architecture festival at the site. Curated by Bethel Woods Center for the Arts, the project was meant to reengage the historic site with design-build pedagogies and was fabricated/installed by Texas Tech University students as part of the summer course, Architecture IRL, led by Neal Lucas Hitch and i/thee.

▼装置鸟瞰，Ariel view of the installation©Breyden Anderson

▼交流空间，space for communication©Breyden Anderson

设计过程在德克萨斯理工大学开始，学生们用多种尺寸的材料搭建了各种“接缝”的层压木设计模型。这些模型然后被转译为计算机算法来进行快速的原型开发和分析。最终的设计成果由六十多张四分之一英寸的胶合板组成，这些木板经过弹性变形并层压在一起，形成像素化的弯曲结构。这些弯曲木板形成的“波浪”再由数字技术建造的六个层压木拱形结构连接，以模仿木护板的自然弯曲。

▼数字设计迭代，Digital design iterations©i/thee

The design process started off-site at Texas Tech University, where students modeled various “quilted” wood-laminate design solutions by hand with scaled materials. These models were then translated into computational scripts that allowed for rapid prototyping and analysis. The final design consists of over sixty quarter-inch plywood sheets, elastically deformed and laminated together to form a pixelated bending-active structure. This “wave” of bent plates is then supplemented by six laminated timber arches digitally constructed to mimic the natural bending of the wood sheathing.

▼装置局部，installation©Breyden Anderson

整个结构是由Bethel森林艺术中心的学生在历史悠久的Bindy Bazaar现场制作的——Bindy Bazaar是 1969 年Woodstock音乐节的主要入口通道，自 2017 年以来一直处于修复过程中。建造工作从手工切割 180 多块独特的木板开始，然后用胶水将它们层压在一起，形成肋状的下层结构。然后用螺丝将胶合板沿层压拱形构件固定，并用铆钉将其绑在一起。从概念上讲，该项目旨在弥合模拟和数字生产模式之间的矛盾；结构的设计使用了计算数字工具和分析，但主要是在现场用手工工具建造的。

▼结构爆炸图，structure illustration©i/thee

The structure, in its entirety, was fabricated by students on-site at Bethel Woods Center for the Arts in the historic Bindy Bazaar—a craft bazaar and market place used as the main entry sequence for the 1969 Woodstock festival that has been in the process of restoration since 2017. Construction started with the hand-cutting of over 180 unique pieces, which were glue-laminated together to form the ribbed substructure. Plywood sheets were next secured along the laminated arched members with screws and tied together with rivets. Conceptually, the project aims to bridge fraught binaries between analog and digital production modes; the structure was designed using computational digital tools and analyses but was constructed primarily by hand tools in-situ.

▼用手工工具建造的结构，structure constructed primarily by hand tools in-situ©Breyden Anderson

▼塑造多元舒适的体验，shape diverse and comfortable experiences©Breyden Anderson

▼塑造多元舒适的体验，shape diverse and comfortable experiences©Breyden Anderson

设计成果是一个昂扬起伏的结构，像羽毛一样轻盈又像木板一样坚固，像木制瀑布或魔毯一样在森林中飞流直下。虽然只花了两周来建造，结构和景观融为一体，被树林中的植物包裹着，就像自1969年以来就一直在这里等待被发现。最终，这种结构的合理性在于它可以塑造多元舒适的体验：拱顶为表演者提供了遮蔽的空间，平台是观众的分层座位；像素化的表面为透过森林天窗渗入的影子提供了起伏的画布。

▼模型，model©i/thee

The result is a soaring structure, light as a feather but stiff as a board, cascading through the tree canopy like a wooden waterfall or magic carpet. Though it was built over the course of two weeks, the structure is embedded within the landscape—shrouded and punctured by forest flora—as if it has been there since 1969, awaiting rediscovery. Ultimately, the justification for the structure lies in its ability to shape diverse and comfortable experiences: its arches creating the bandshells for performers to play under; its decks becoming the tiered seating for audience members; the pixelated surface providing an undulating canvas for dancing shadows seeping through the forest clerestory.

▼和植物的结合，combination with flora©Breyden Anderson

▼结构细部，structure detail©Breyden Anderson

▼模型，model©i/thee

▼场地区位，site map©i/thee

▼场地轴测，site axonometric©i/thee

▼一层平面，floor plan©i/thee

▼屋顶平面，roof plan©i/thee

▼立面，elevation©i/thee

▼剖面，section©i/thee

▼概念图，concept diagram©i/thee

Project Name: Peak-A-Boo
Office Name: i/thee
Office Website: https://ithee.design/
Social Media Accounts: https://www.instagram.com/i____thee/
Contact email: info@ithee.design
Firm Location: Oakland, California and New York, New York
Lead Design/Fabrication: Neal Lucas Hitch, Martin Hitch
Student team: Toryn Allen, Kevin Carreon, Alexander Garza, Alexis Hunsucker, Peizhao Li, Edwin Montoya-Cruz, Jacqueline Nguyen, Somayeh Ramezani, Lily Sanders, Caleb Scott, Anabelle Rice, Georgia Thomas
Completion Year: 2022
Gross Built Area (m2/ ft2): 2,140 ft2
Project Location: Bethel Woods Center for the Arts
Program / Use / Building Function: Pavilion/Performance Space
Photo Credits: Breyden Anderson
Photographer’s e-mail: breyden.anderson@gmail.com

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