感谢 加减智库 予gooood分享以下内容。更多关于他们：PMT Partners on gooood
Appreciation towards PMT Partners for providing the following description:

协锐岩板2023广州设计展厅，通过人造的石材模拟再现开采后自然石矿峡谷的空间氛围，形成了人工与自然之间有趣的比照关系。空间、场景、结构的系统设计不仅呈现形与力的统一、行为与空间的关联，更为展场构筑可回收利用提供可能，是一场关于可持续展会搭建的探讨。

▼空间视频，video © 重启创意

The SHEERIN Pavilion for 2023 Guangzhou Design Week provides an exhibition space for sintered stones. Artificial stones are employed to simulate the natural ones, aiming to present a spatial ambiance of a mined artificial stone canyon. This simulation and representation create a captivating juxtaposition. The systematic design of space, scene, and structure not only presents the unity of form and force, and the connection between behavior and space, but also provides the possibility of recyclability of the exhibition venue. It is a exploration of sustainable exhibition construction.

▼空间概览，overview of the space © 覃昭量

比照
Preface: Contrast

“岩板”，SINTERED STONE，直译为“烧结的石头”，一种大尺寸耐候耐磨的人造材料，它的出现填补了建筑与装饰行业对大规格石材的旺盛需求，尤其在商业快速轮转的时期，大大降低开采石矿所带来的环境资源损失。这里的材料属性与空间氛围之中，“人工”与“自然”的概念彼此互换、杂糅, 造就一处有趣的空间。

The SHEERIN Guangzhou Design Week Exhibition Hall provides an exhibition space for sintered stones. Artificial stones are employed to simulate the natural ones, aiming to present a spatial ambiance of a mined artificial stone canyon. This simulation and representation create a captivating juxtaposition. The concepts of “artificial” and “natural” interchange and blend within the material properties and spatial atmosphere, giving rise to an intriguing space. The concepts of “artificial” and “natural” interchange and blend within the material properties and spatial atmosphere, giving rise to an intriguing space.

▼Henraux采石场/ 意大利 / Cava di marmo Henraux (左)，Lumières废弃采石场/ 法国 / Carrières de Lumières (右) © 网络图片

行为
Chapter I: Behavior

整个展厅以“游”这一动作作为空间行为的核心。穿行在三个不同体量之间的栈道组织起了参观者的游览路线，并将这三个分别代表“声”“光”“水”的静谧空间串联了起来。

The entire exhibition hall revolves around the core spatial behavior of “wandering”. Pathways weaving through three distinct volumes guide the visitor’s tour and connect the serene spaces representing “sound”, “light”, and “water”.

▼“游侠”空间，the space of canyon wandering © 覃昭量

▼外表皮与内部实体间的游廊，The corridor between the outer skin and the inner solid © 覃昭量

三个体量以正反金字塔形错落组成了“外廊内谷”的空间结构，向外悬挑的空间在内侧造就“声之谷”剧场与“水之谷”空间。互为内外的关系保证了空间与形式的真实性。

The three volumes, arranged in a staggered manner in the shape of normal and inverted pyramids, form an “outer corridor and inner canyon” spatial structure. The space that overhangs outwards creates the “Sound Valley” theater and the “Water Valley” space on the inside. This mutual internal and external relationship ensures the authenticity of space and form.

▼声之谷剧场与峡谷，The Canyon and the Sound Valley Theater © 覃昭量

▼正立面，Front façade © 覃昭量

外立面是以木结构搭建的岩板表皮，这些向外悬挑的木构通过钢索与地梁拉接。整个设计的空间与力学关系的构建都是以剖面作为切入点的，我们希望通过另外一个角度，构建形与力统一的美。

▼空间结构分析，spatial structure analysis © 加减智库设计事务所

The exterior facade showcases the sintered stone surface supported by a wooden structure, which protrudes outwards and connects with the beam-on-foundation via steel cables. The spatial and mechanical relationship in the entire design is built upon cross-sections. Our goal is to attain unity between form and force from another perspective.

▼入口外观，the façade & entrance © 覃昭量

形与力
Chapter II: Force & Form

我们热衷于那些显而易见的形式，却时常忽略了那些看不见的事物，比如那无形的力，事实上，如果每件事物都跟表面上看起来的一样，我们就不需要科学了

We are passionate about the visible forms but frequently disregard the unseen, like invisible forces. In fact, if everything were as it appears on the surface, science wouldn’t be essential.

▼“倾覆的峡谷”，Structural calculation © 覃昭量

倾覆与聚拢
Overturning & Gathering

我们希望在设计中所呈现的丰富形式是空间（Space）、结构（Structure）、场景（Scenario）的统一体。因此，考虑受力与形式之间的关系，是空间生产中不得不面对的问题。因此，从断面开始思考之下产生的“空间”与“场景”，顺理也成为结构的形成逻辑。向外“倾覆”的每一个空间面通过顶部“拉梁”聚拢，形成倒金字塔体量下稳定的关系。“看得见”的“形”与“看不见”的“力”在这里展开有趣的比照。

The rich form we aspire to present in the design is the unity of space, structure, and scene. Therefore, addressing the relationship between force and form becomes an inevitable consideration in space creation. Consequently, the “space” and “scenario” generated from considerations of cross-sections naturally become the logical foundation for structure formation. Each outwardly extending space surface is pulled together by tie beams at the top, creating a volumetrically stable inverted pyramid. Here, the visible “form” and the invisible “force” produce an intriguing juxtaposition.

▼声之谷剧场体量与表皮之间的廊道，The corridor between the volume and surface of the Sound Valley Theater © 覃昭量

构件与结构
Components & Structures

在建立空间、结构与场景统一系统后，我们希望构造也切实回应结构的“大系统”，减少冗余装饰，并在数控加工技术的条件下，降低造价成本。

After establishing a unified system of space, structure, and scenario, we hope that the construction will also respond to the “macro system” of the structure, seeking to minimize unnecessary embellishments and slash construction costs through CNC machining technology.

▼构件与结构，Components and structures © 覃昭量

因此，数控机床切割的木构件、常规批量的金属零件以及定制批量的金属件等“小构件”作为构成要素拼构成外立面，它们同时可能演变成更多的形态。小构件、批量化、高机械化的生产过程作为设计导向之一，系统地化零为整，降本高效而且可回收，是作为可持续设计的一次尝试。

▼木构大样图，wood structure details drawing © 加减智库设计事务所

▼木构配件图，Wood fittings drawing © 加减智库设计事务所

Therefore, small components such as wooden parts generated from CNC machines, conventional batches of metal parts, and customized batches of metal parts that are pieced together to form the exterior facade, may evolve into various forms. Intended as a sustainable design endeavor, the guiding design approach, featuring small components, mass production, and highly mechanized production processes, can systematically form an entirety using scattered parts, decrease costs, and achieve efficiency and recyclability.

▼不同区域表皮的不同构造方式，Different structures of facade in different spaces © 覃昭量

▼木构表皮局部内侧与外侧，the inner and outer sides of wood facade © 覃昭量

为了使岩板得到最大限度的展现，整个木构表皮采用了双层皮的方式，外侧是工字拼序列的大规格岩板，内侧则是小尺寸板材。

To maximize the display of sintered stones, the surface of the entire wooden structure adopts a double-layered approach, with the outer layer consisting of an “Ⅰ”-resembling large sintered stone arrangement, and the inner layer comprising small panels.

▼正立面表皮局部，Structural calculation © 覃昭量

断面
Chapter III: Sections

从断面开始
Start from Sections

设计之初，我们是以空间的断面作为思考的出发点，而非传统的平面功能，这种思考模式正如詹姆斯.斯特林（James Frazer Stirling）从断面开始构想的逻辑，是为了摆脱平面功能的束缚。

At the beginning of the design, we took spatial cross-sections as the focal point of our consideration, rather than the traditional flat functionality. This thinking model aligns with the logic envisioned by James Frazer Stirling, who started from cross-sections to liberate design from the confines of flat functionality.

▼断面手稿，manuscript © 赵炜昊（加减智库设计事务所 · 主持建筑师）

▼声之谷剧场断面，section of Sound Valley © 加减智库设计事务所

不稳定与稳定
Instability and stability

在完整的受力体系构建后造就了通过向四周外悬挑的空间关系雏形，使人在内与外不同的空间片段中感受到犹如行走于“峡谷”的紧迫感受，构成了片段感受上的“不稳定”与全局体系中的“稳定”之间的矛盾感，这是另外一组有趣的比照。

The construction of the complete force system results in the embryonic form of outwardly cantilevered spatial relationships, evoking a sense of urgency akin to traversing a “canyon” across diverse spatial segments inside and outside. This gives rise to the sense of contradiction between the “instability” in the segment and the “stability” in the overall system, offering yet another captivating juxtaposition.

▼水之谷与光之谷断面图，section of Water Valley & Light Valley © 加减智库设计事务所

确切说，从断面出发，一开始是需要在内部营造一处阶梯剧场，而“内”与“外”的空间关系上又希望统一且反应真实。

To be precise, looking from the perspective of cross-sections, crafting an internal stepped theater was initially essential to achieve unity and authenticity in the relationship between the “inside” and “outside”.

▼内外空间并置/ 岩壁与阶梯，Juxtaposition of internal and external spaces/rock wall and stairs © 覃昭量

所以才有了这么一个类似“碗”形的空间和向外倾覆的“岩壁”。而体量的适中又使中间通过拉梁聚力的结构成为可能，于是一层包裹一层向外的空间关系便有了雏形。

Hence, a space resembling a “bowl” and outwardly inclined “rock walls”. The moderate volume allows for the establishment of a structure pulled together by tie beams in the middle, leading to the initial spatial relationship characterized by layers enveloping outwardly.

▼内外空间并置/ 水之谷与岩壁，Juxtaposition of internal and external spaces/Water Vallery and Rock Walls © 覃昭量

峡与谷
Canyons & Valleys

“碗”外边缘与表皮所形成的压迫感受尤其类似石场峡谷的意象，而内部则是顺应“峡”的负型所展开的正型的“谷”空间。这可使空间使用者在不同的尺度与场景下，产生多样的空间体验。

The imposing sense created by the outer rim and surface of the “bowl” echoes the imagery of a mined canyon. The interior reveals a hollow space, resonating with the exterior shape of the “canyon”. This enables users to encounter varied spatial experiences across different scales and scenarios.

▼峡与谷，Canyons & Valleys © 覃昭量

场景
Chapter IV: Scenario

场景(Scenario)营造，基于人的行为，反馈于人的体验。如何做出符合人根本感受的，有创造性的空间，是我们思考空间生产中，重要的课题之一

Scenarios are produced based on human behavior and mirrored through human experience. Constructing creative spaces that align with fundamental human sensations stands as a pivotal topic in our reflection on space creation.

作为代表“声”“光”“水”这些基础要素的三个符号，设计中的装置或如雕塑，基于正六边形这种基础几何符号演变出来的。它们分别呈现了“声喇叭”、“流水碑”与“切光锥”三个装置，回应了不同的场景，希望能在基础形式下，带给观者以宁静。

The three symbols signifying the fundamental elements of “sound”, “light”, and “water”, in addition to the installations or sculptures in the design, are generated from the basic geometric symbol of a regular hexagon. The three installations- the “Sound Horn”, the “Flowing Monument”, and the “Cut Light Cone”, correlate with diverse scenarios, intending to instill tranquility in viewers utilizing the basic forms.

▼空间场景分析图，Spatial scenes analysis diagram © 加减智库设计事务所

声之谷
Sound Valley

声喇叭，一个通过岩板制作而成的大型扩音器，造型结合了声学的考量，使端部的声源能几何倍增音量，同时它还作为表演者的背景光，与地面的表演台形成造型呼应。

▼声之谷装置“声喇叭” 构造图，The “Sound Horn” installation diagram © 加减智库设计事务所

The “Sound Horn”, a sizable speaker crafted from sintered stones, fuses acoustics into its shape, capable of geometrically magnifying the sound at the end. It can also function as background lighting for performers, establishing a harmonious design with the performance stage on the ground.

▼声之谷装置“声喇叭”，The “Sound Horn” in Sound Valley © 覃昭量

▼声之谷内部，inside of Sound Valley © 覃昭量

同样呈正六边形的表演台是由六个可移动的等边三角形矮凳所组成，通过楔形金属铆件连接，可分可合的设计满足了不同场景下在声之谷剧场中的使用需求。作为空间的主材，岩板被铺设在整个“声之谷”剧场的内部空间之中，有赖于“大规格”与“阳角密缝”的属性与工艺的保证，整个剧场犹如整体开凿而成的石坛。

The stage, also hexagonal, comprises six movable equilateral triangular stools connected by wedge-shaped metal rivets. The separable and combinable design satisfies the functional requirements in various scenarios within the “Sound Valley” theater. Sintered stones, the predominant materials for the space, blanket the interior of the “Sound Valley” theater. The craftsmanship, “tight joint of external corners”, and the “large size” property make the theater akin to a hewn stone altar.

▼声之谷内部，inside of Sound Valley © 覃昭量

▼声之谷剧场表演，performance in Sound Valley © 覃昭量

▼声之谷剧场局部，space of Sound Valley © 覃昭量

水之谷
Water Valley

流水碑，被三股水流自上而下“切割”开的尖碑，接近垂直的碑体斜率与空间内向倾斜以及门洞造型吻合，依靠着轻微的斜率与液体张力，水流顺势而下。

▼水之谷剖面与流水碑构造图，Water valley section and “Flowing Monument” structure diagram © 加减智库设计事务所

The “Flowing Monument” is a pointed monument cut open by three cascading water streams. Its nearly vertical slope aligns with the slope of the interior space and the arch-shaped doorway. Depending on a slight slope and liquid tension, the water naturally flows downward.

▼流水碑与水之谷门洞，The “Flowing Monument” and the cave door © 覃昭量

脱离的塔尖事实上是一盏吊灯，灯光向下照射在位于碑体顶部的水盆，使波光能反射在天花之上。

The detached tower tip is actually a pendant lamp. The light shines downward onto the water basin at the top of the monument, reflecting ripples onto the ceiling.

▼水之谷内部空间与流水碑细部，Inside of the Water Valley and the detai of The “Flowing Monument” © 覃昭量

▼水之谷外部，outside of the Water Valley © 覃昭量

光之谷
Light Valley

“光锥”，是一个物理学上描述光在时空中传播的几何模型，有着严谨的科学定义。在这里提到的“切光锥”，只是借此由头偷换概念的一种艺术化表达，并无任何关联与玄机。

▼光之谷剖面与“切光锥”构造大样图，Light Valley section and the “Cut Light Cone” structure diagram © 加减智库设计事务所

“Light Cone” is a geometric model in physics describing the propagation of light in time and space, with a rigorous scientific definition. The “Cut Light Cone” mentioned here is merely a playful artistic expression inspired by the concept, devoid of any mysterious connections.

▼“切光锥”与光之谷，”Cut Light Cone” and the Light Valley © 重启创意

“切光锥”也是由正六边形演变而成，开裂的狭缝中射出激光，与充盈于空间中的烟气产生了丁达尔效应，生成一个切开柱体的“光的平面”，给人以神秘之感。也是我们一以贯之的，在设计中探索“未知领域”的一点表达。

The “Cut Light Cone”, also originating from regular hexagons, gives off laser beams from narrow, cracked openings. The laser interacts with the smoke filling the space and produces the Tyndall Effect and a “plane of light” from a cut cylinder, evoking a mysterious ambiance and representing our continual exploration of the “unknown territory” in design.

▼光之谷外部与展厅表皮，outside of the Light Valley © 覃昭量

▼光之谷外部，outside of the Light Valley © 覃昭量

持续
Chapter IV: Sustainable

“一亿立方米废料”
“100 million cubic meters of waste”

2019年中国线下展会总计：11033场
直接参加人次累计：86000000人次（8600万）
展览场地建造面积累计：148770000㎡（1.48亿㎡）
展览场地拆除所产生废料：119016000 m³（1.19亿m³），相当于7座鸟巢的空间体积。

Total count of offline exhibitions in China in 2019: 11,033.
Cumulative direct attendance: 86,000,000 visits (86 million).
Cumulative exhibition venue construction area: 148,770,000 ㎡ (14.8 billion ㎡).
Waste generated from exhibition venue demolition: 119,016,000 m3 (119 million m3), equivalent to the spatial volume of seven Bird’s Nest stadiums.

数据来源：《2019中国会展经济研究会统计报告（紫皮书）》
Data source: Statistical Report of China Convention /Exhibition Event Society in 2019 (Purple Book).

▼某展会后被遗弃的废料，Scraps abandoned after an exhibition © 刘毅

景观拜物教
Commodity fetishism

我们所处的图像时代，人们越来越陷入到景观拜物教的囚笼之中（居伊.德波），布景式设计无处不在，这就是从商品拜物教发展而成的景观拜物教。每一场短暂盛会下琳琅满目的视觉体验之后，除了依附在企业与设计者头顶的光环未尽消退，所有的光鲜都化作尘土被全然推到。

In such an era so ubiquitous with images as today, people find themselves increasingly ensnared in the prison of spectacle fetishism (Guy Debord). Scene-set design is highly commonplace and is transforming commodity fetishism into spectacle fetishism. After the brief dazzling visual experience of each magnificent exhibition, except for the fading glamour associated with the enterprise and designer, all the brilliant structures crumble into dust, thoroughly destroyed.

▼《景观社会》，《La Société du Spectacle》 – Guy Ernest Dobord,1931-1994

虽然这是一个放在会展中心里的展示空间，一个空间里的空间，习惯会被设计成一次性的场景，理论上也不需要考虑耐候性与结构问题。但在设计初始，我们将它作为一个独立建筑考虑，也是为了保证后续回收利用的拓展可能。

▼结构关系分析图，Structure analysis diagram © 加减智库设计事务所

▼结构计算过程，Structural calculation procedure © 广州博厦建筑设计研究院有限公司

While this is a display space placed in the exhibition center, it is customary to design a space within another space into a one-time scene. In theory, considerations for weather resistance and structural issues may be unnecessary. However, at the beginning of the design, we regarded it as an independent building to leave some room to maneuver for subsequent recycling and expansion.

▼木构表皮大样制作过程，Timber facade sample production process © 加减智库设计事务所

所以，我们完整考量了建筑结构的完整性以及建筑耐候性（虽然场馆内所有构筑不能超过50%天面覆盖以保证喷淋灭火面，但如果将它放在室外，屋面结构与防水隔热的需求是可做设计变更拓展的）。

Thus, we extensively deliberated on the integrity of the building structure and its weather resistance (While all structures inside the venue cannot exceed 50% ceiling coverage to ensure water sprinkling and fire extinguishment, the roof structure and requirements for waterproofing and thermal insulation can be modified and expanded in design if the structure is placed outdoors.)

▼外表皮搭建过程，The process of building the facade © 加减智库设计事务所

回收与重构
Recycling and Reconstruction

在展会结束后，表皮会被改造为书架、亭子、建筑表皮，可能成为某个午后阳光沐浴下的社区小书亭、一个乡村小学角落里放满各地而至捐赠图书的书架、或是某个老建筑有待修缮的脱落墙体的维护立面。

After the exhibition, the surface will be transformed into bookshelves, pavilions, or architectural surfaces, potentially turning into a community book kiosk bathed in afternoon sunlight, a bookshelf filled with donated books in a corner of a rural school, or a maintenance facade for a deteriorating wall of an old building to be renovated.

▼展厅表皮回收过程，The process of recycling the facade © 加减智库设计事务所

大.中.小
L . M . S

大尺度重构—外立面
Large-scale reconstruction-exterior facade

作为建筑外表皮系统，回收后的骨架可利用于任何需要表皮维护的老旧建筑之上，形成通风耐候的双层皮体系。

As part of the building’s exterior surface system, the recycled framework can be applied to any old building requiring surface maintenance, thus forming a ventilated and weather-resistant double-surface system.

▼重构-建筑表皮，Reconstruction – architectural façade © 加减智库设计事务所

中尺度重构—书亭
Medium-scale reconstruction-book kiosk

通过20组斜拉立柱重组的5×5米方亭，外部加上滴水构件与阳光板屋面保证防水，内部加装金属横托与玻璃层板，形成书架。

The exterior of the 5×5-meter book kiosk, created using 20 sets of inclined columns, is outfitted with drip components and a sunlight panel roof for waterproofing. Internally, metal crossbars and glass layer panels are incorporated to fashion a bookshelf.

▼重构-5X5米书亭，Reconstruction – 5×5-meter book kiosk © 加减智库设计事务所

▼书亭构造局部大样图，Detais drawing of book kiosk structure © 加减智库设计事务所

小尺度重构-书架
Small-scale reconstruction-bookshelf

设计之初，新增的书架金属托已结合斜拉杆螺丝的锁孔预留位置，可与原有金属件配合锁紧。

At the beginning of the design, the newly added metal support, coupled with the pre-drilled holes for the screws of the diagonal bar, could be tightly locked with the original metal parts.

▼重构-书架，Reconstruction – bookshelf © 加减智库设计事务所

▼书架构造局部大样图，Detais drawing of bookshelf structure © 加减智库设计事务所

项目名称：SHEERIN协锐岩板2023广州设计周展厅
建筑面积：198㎡
委托机构：SHEERIN协锐岩板
设计公司：加减智库设计事务所
主持建筑师：赵炜昊，胡彦，曾喆，
项目负责人：顾振琳
设计团队：顾振琳、关灏正、郭晓红、温耀朋、陈威、张博凯
结构计算：广州博厦建筑设计研究院有限公司
大样制作：广州智尚道具陈列
品牌顾问：重启创意
空间摄影：覃昭量
施工单位：刘毅执行团队:刘毅，沈斌
特别鸣谢：吴宙，周亮，曾带，沈广，沈灿，胡铁，陈奇辉，陈强，戢亮，肖生根，张兴辉，谭建辉，吴驰宇，胡立华，付华军，陈浩，梁水林，王涛

Project Name: SHEERIN Pavilion for 2023 Guangzhou Design Week
Client: SHEERIN
Design Company: PMT Partners Ltd.
Principal Architects: Weihao Zhao, Yan Hu, Zhe Zeng
Project Manager: Zhenlin Gu
Design Team: Zhenlin Gu, Haozheng Guan, Xiaohong Guo, Yaopeng Wen, Wei Chen, Bokai Zhang
Structural Consultant: Guangzhou Bosha Architectural Design Institute Co. Ltd.
Sample Production: Guangzhou ZHISHANG
Branding Consultant: RESSSET CREATIVE
Video: RESSSET CREATIVE
Photographs: Zhaoliang Qin
Construction Unit: Liu Yi Executive Team, Bin Shen
Special Acknowledgments: Zhou Wu, Liang Zhou, Dai Zeng, Guang Shen, Can Shen, Tie Hu, Qihui Chen, Qiang Chen, Liang Ji, shengen Xiao, Xinghui Zhang, Jianhui Tan, Chiyu Wu, Lihua Hu, Huajun Fu, Hao Chen, Shuilin Liang, Tao Wang

More: 加减智库。更多关于他们：PMT Partners on gooood

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