感谢 Artbuild 予gooood分享以下内容。更多关于他们，请至：Artbuild on gooood
Appreciations towards Artbuild for providing the following description:

ArtBuild, 特立独行的建筑事务所
ArtBuild, an architecture studio with a singular approach

“工匠用他的双手、他的头脑和他的心来工作。” ——Steven Ware, ArtBuild建筑师。

“The craftsman works with his hands, his head and his heart.” Steven Ware, ArtBuild Architect.

ArtBuild Architects 与经典建筑事务所的不同之处在于其组织内部集成了研发实验室 AB.Lab。这体现了工作室对重塑和创新的承诺，用新的视角来进行建筑实践。

实验室和工作室的结合证明了团队的雄心壮志，即为建筑行业制定更符合道德和可持续发展的愿景。

在CLT（交叉层压木材）面板的弯曲研究工作中尤其如此，通过在回收利用材料的背景下提供美学和功能替代方案。

ArtBuild Architects stands out from a traditional architectural firm through its organization, which includes a research and development laboratory, AB.Lab. The lab embodies the studio’s commitment to reinvent and innovate, generating new perspectives on architectural practices.

The fusion of the laboratory and the studio testifies to the ambition of the teams to develop a more ethical and sustainable vision of the construction sector.

This is particularly the case for research work on the bending of CLT (cross laminated timber) panels, proposing an aesthetic and functional alternative for their recycling.

▼项目概览，General view © Tristan Deschamps

I.引言：一种技术的多维度
Introduction: The multiple dimensions of a technique

CLT面板在建筑中的使用使木材工业越来越多地融入建筑设计。在ArtBuild Architects Lab中新成立的研究方向也因此展开：通过去批判和反思它们的使用，从而挑战并超越其常用的技术方式。 OSA工艺（源自拉丁语词源“osaven”，意为“鸟的骨头”）进一步推动了CLT板的建造性和美学限制，通过探索一种更可持续的方法，将建筑废物再利用为新资源。（替代协同作用）。为了满足项目情况的结构和几何需求，标准对象使用晶格铰链技术（不连续纵向槽）进行减材加工，并使用数字工具进行参数化加工。

一方面，参数化设计与工业工具相结合，使得晶格铰链在更大规模和新材料上的应用成为可能。这项研究需要开发一个完整的生态的工具和方法，使得根据输入参数的限制来研究和预测CLT弯曲度成为可能。

The use of CLT panels in construction has allowed the wood industry to be increasingly integrated into architectural design. The launch of new research avenues within the ArtBuild Architects Lab was an opportunity, first, to question their use, and finally, to go beyond their current technical scope. The OSA process (from the Latin etymology “osaven” meaning “bird bone”) extends the undeniable constructive and aesthetic limits of CLT panels, exploring a more sustainable approach by reusing a construction waste product as a new resource (substitution synergy ). To satisfy the structural and geometrical needs of a project situation, the standard object undergoes subtractive machining using the lattice hinge (discontinuous longitudinal slots) technique, and parametric machining using digital tools.

The convergence of parametric design perspectives and industrial tools has made it possible to apply the lattice hinge technique on a larger scale and to new materials. This research required the development of a whole ecosystem of tools and methods to study and predict the behavior of curved CLT according to the constraints of the implementation context.

▼立面，Facade © Tristan Deschamps

II. OSA : 技术进程的历史和一次人类的历险
OSA: The story of a technical process and a human adventure

Nautile Silvestre (2019) ，是为2019年 Foire de Libramont（比利时）的林业示范而建造的第一个样品，它使得冷弯CLT结构实现的观景台能够承载二十余人成为可能。

在 Nautile Sylvestre给予的推动力下，本项目The Temporary Auditorium展示了使用冷弯CLT的相关性并开辟了探索整个领域的可能性的道路。鉴于传统林业部门与数字工具（参数 CAD）的结合，该操作不仅代表了现代木材使用的具体化，而且展示了良性循环经济的可能性。

The Temporary Auditorium是一项更具创造性和反思性的的项目，它展现了Artbuild近年来对弯曲CLT的潜在应用进行的研究的演变。与 Nautile Sylvestre 不同，The Temporary Auditorium凭借其组件允许的不同组合形式来应对不断变化的挑战。

A first full-scale prototype, the Nautile Silvestre, built for the Forestry Demonstrations at the Libramont Fair (Belgium) in 2019, demonstrated for the first time the structural capabilities of cold-bent CLT panels, supporting about 20 people up to a lookout point.

Following on from the impetus provided by the Nautile Sylvestre (2019) , the Ephemeral Auditorium manifests the relevance of the use of curved CLT and opens the way to exploring a whole field of possibilities. This operation not only represents the concretization of a modern use of wood, but demonstrates the possibility of a virtuous circle in the circular economy , thanks to the meeting between the traditional forestry sector and digital tools (parametric CAD).

The Ephemeral Auditorium is an application of a much more substantial creative and reflective work: an evolution resulting from the agency’s research in recent years on the potential applications of curved CLT. Unlike the Nautile Sylvestre, the Ephemeral Auditorium responds to evolving challenges through the different combinations of forms that its components allow.

▼本项目展示了使用冷弯CLT的相关性 © Tristan Deschamps
The Ephemeral Auditorium manifests the relevance of the use of curved CLT

A. 晶格铰链技术
The lattice hinge method

弯曲CLT的减材技术直接受到晶格铰链（设计和家具中使用的减材技术）和乐器制造中使用的切口的启发。这种技术赋予了材料灵活性。它由一系列不连续的纵向凹槽组成，这些凹槽在木材的深处交错排列，将其切割成可以旋转而不会断裂的 “关节”。

减材图案是为了尊重结构需求和曲率半径之间的平衡而建立的。具体来说，“关节”越长，该部件沿其纵轴扭转的能力就越大，从而提高面板的柔韧性和更小的曲率半径。

The ArtBuild team and their engineers set about designing the structure – dubbed ‘Osa’ – which fully expresses the potential of the lattice hinge technique applied to CLT panels. The technique proffers flexibility to the rigid panels through the material subtraction of a series of discontinuous, longitudinal incisions in parallel, staggered rows. The incisions cut right through the panels’ entire thickness and the wood’s mechanical properties are subsequently characterised by the new status of the material as a series of ‘torsion legs’ that can pivot or twist without rupture.

The expression of the pattern is established to respect the balance between structural needs and the radius of curvature. Specifically, the longer the area of torsion, the more this part will be able to twist along its longitudinal axis, leading to increased flexibility of the panel and a smaller bending radius.

▼设计示意，Concept © ArtBuild

B. 技术的涌现
The emergence of a technique

晶格铰链技术诞生于以刚性材料和激光切割制造弯曲物体的工作室。2011年，在研究表明木材上的切口可以赋予其灵活性后，Christian Kuhn与Serge Lunin一起开发了“Dukta”，一种弯曲木材的声学材料。

2015年，建筑师设计师Arthur Mamou Mani公布了他的声学天花板项目，该项目由薄中板组成，使用晶格铰链技术弯曲。他成功地获得了曲面的双曲率。

2016年，巴黎-马拉盖国立高等建筑学院的学生Louise Deguine、Sacha Bitoun和Tristan Barth创建了“Webentwood”，并使用参数化和开源方法传播了他们的研究。这些代码文件可以将晶格铰链应用于所有类型的可展开曲面。

2016年底，ArtBuild建筑事务所对这项研究的成果很感兴趣，决定在建筑尺度上探索这种方法，建议Elioth和Lineazen联手开发由木框架组成的60毫米弯曲CLT中的两个弯曲墙壁。

制作这个原型需要使用工业工具来满足与面板厚度相关的限制以及与木板完美变形有关的精加工限制。

The lattice hinge technique originated in fablabs based on the fabrication of curved objects from a rigid material and a lasercut. In 2011, after research demonstrating that incisions in wood can give it flexibility, Christian Kuhn developed with Serge Lunin: “Dukta”, an acoustic material made of bent wood.

In 2015, Arthur Mamou Mani, architect-designer, unveiled his acoustic false ceiling project composed of thin medium sheets, curved using the lattice hinge technique. He succeeded in obtaining a double curvature of the surfaces.

In 2016, Louise Deguine, Sacha Bitoun and Tristan Barth, students at the Ecole Nationale Supérieure d’Architecture de Paris-Malaquais, created “Webentwood” and disseminated their research under a parametric and open-source approach. These code files allow you to apply the lattice hinge to all types of developable surfaces.

At the end of 2016, the architectural firm ArtBuild, interested in the results of this research, decided to pursue the exploration of this method at the construction scale by proposing to Elioth and Lineazen to join forces to develop a wood-frame wall composed of two curved walls made of 60-millimeter curved CLT.

The production of this prototype required the use of industrial tools to meet the constraints related to the thickness of the panels and the finishing requirements regarding the perfect shaping of the wood panel.

▼Nautile Sylvestre观景台（欢迎展馆）（点此查看更多）
The Nautile Sylvestre Welcome Pavilion © Jean-Pierre Ruelle

Valentin Puech对科学内容的深化，使得确定CLT在变形中的机械特性成为可能：承载能力、抗屈曲性、允许评估扭转的剪切定义、减少内力导致裂缝的出现等等。将已知和记录在案的晶格铰链技术转移到较厚的承重元件上，使得必须重新考虑该技术领域，其中涉及弯曲的挑战和面板的结构、它们的形状和它们的实施工艺。

2019 年，ArtBuild建筑事务所汇集了设计机构Saïse、结构设计部门Ney & Partners/WOW和工业层压木材解决方案，用于制造Nautile Sylvestre观景台。这个木制图腾在比利时第85届Foire Agricole de Libramont开幕之际，其灵感来自香蕉树干的非凡结构效率。这个圆柱形的预制结构由16个面板组成，代表两个由台阶连接的互锁螺旋。这座接待亭跨度超过8米，高度为5.60米，从加工地点平铺到组装地点。由于冷弯板曲率的可逆性，对展馆的处理方式产生了优化从而节省了能源。

A deeper study of the scientific content, carried out by Valentin Puech, identified the mechanical characteristics of CLT in deformation: load-bearing capacity, resistance to buckling, definition of shear to assess torsion, reduction of internal forces leading to the appearance of cracks, etc. Transposing the known and documented lattice hinge techniques on thicker load-bearing elements requires reconsidering the scope of this technology, with regard to the challenges of bending and structure of the panels, their shaping and their implementation.

In 2019, ArtBuild Architects brought together design firm Saïse, structural engineering firm Ney & Partners/WOW and manufacturer Laminated Timber Solutions to fabricate the Nautile Sylvestre Welcome Pavilion. Inaugurated on the occasion of the 85th Agricultural Fair in Libramont, Belgium, this wooden totem is inspired by the extraordinary structural efficiency of the banana tree trunk. This prefabricated structure of cylindrical appearance is composed of 16 panels representing two interlocking spirals linked by steps. With a span of more than 8 meters and a height of 5.60 meters, this reception pavilion was transported flat from the factory to the installation site. The energy saving resulting from the optimized handling of the pavilion was made possible by the reversibility of the curvature of the cold-bent panels.

▼加工过程，Usinage © ArtBuild

III. 木建造论坛上的临时礼堂 The Temporary Auditorium
The Ephemeral Auditorium of the Forum Bois Construction

A.背景
The context (a commission from the FBC)

在2021年7月（2021年7月16日至17日）第10届国际木建造论坛上，在为2024年巴黎奥运会设计的蜉蝣大皇宫，公众首次见到了The Temporary Auditorium。这次论坛的主题专注于致力碳中和的生态责任和方法。 ArtBuild Architects与Ney&partners/WOW、Piveteau bois、Rothoblaas、Laminated Timber Solutions、Bouquerod Industrie、、Wall’up Prefa、Apave、Aida acoustique 和 CBS Lifteam协同创造了这种新型临时礼堂。

The temporary auditorium, a stunning wooden centrepiece for the 10th edition of the Forum Bois Construction, was deployed for a few days only under the vaulted roof of the Grand Palais. A rigid, timber ‘curtain’ housing the plenary amphitheatre, the OSA structure was designed to be rapidly mountable and demountable, self-standing, and acoustically adapted to the unique demands of events being held within the prestigious walls of the Grand Palais.

▼木建造论坛上的临时礼堂，The Ephemeral Auditorium of the Forum Bois Construction © Tristan Deschamps

凭借在其系统先前版本的框架内吸收的技术成果，AB.Lab团队积极响应了这一要求，并提出了冷弯CLT面板所提供的挑战和潜力的相关性和收敛性，以及其实施的限制，例如快速和经济地部署结构的可持续性，具体包括缺乏需要自稳定的地面锚固以及保证会议可理解性的声学保障等等。

With significant technical feedback already acquired through prototypes and pavilions, the AB.Lab team put its technical mastery of cold-bending CLT panels to new use, and the team immediately saw the benefits and overall relevance of their ideas when shown the FBC’s brief. With an emphasis on overall sustainability, digital innovation, cost, and rapid deployment, the technique seemed a good fit from the outset. Other constraints were added, from the impossibility of fixed foundations within the Grand Palais to the acoustic and visual intimacy required for the comfort plenary lectures and events within the hubbub of the three-day conference.

“礼堂的主要挑战不仅在于这种结构在技术-建筑的棱镜下的合理分析，还在于礼堂的开发、组装和拆除与原型特征的相互交织，尤其在有强烈的空间和时间安排限制下。不接受这种混合性的挑战，不仅会质疑会议周期和计划亮点的举行，而且最重要的是会危及所有其他木建造论坛展台的组装和拆除。”——ArtBuild 建筑师事务所的项目总监 Kévin Guidoux。

“The principal challenge of the Auditorium cannot be analyzed only from the technical-architectural perspective of this structure, but lies in the overlapping development, assembly and dismantling of a prototypical Auditorium at the heart of an event system with strong spatial and calendar constraints. Not taking up the challenge of this hybridity would not only have jeopardized the holding of the conference cycles and the highlights of the program, but above all would have jeopardized the setting up and dismantling of all the stands of the Forum Bois Construction” underlines Kévin Guidoux, project director at ArtBuild Architects.

▼礼堂结构近景，Close-up view to the structure © Tristan Deschamps

创新，通过反复试验的方法以及对临时建筑的质疑，使超越CLT面板的固有特征成为可能，并从而提出了一种无碳、模块化、易于运输、结构自主的替代方案。一个具有多种机会的新流程。

应用于The Temporary Auditorium的这一过程的概念起源从鸟类的骨骼中汲取灵感，因为它们轻盈且效率极高，将弯曲的CLT面板视为整体结构的基本组成部分，采用几何自主贝壳的形式，通过轻质但结实的连接部件组装在一起。

这些贝壳面对面排列（在深度方向上）和交错排列（在长度方向上），形成了一个不连续的起伏，类似于木制窗帘，使得在空间上的设计成为可能。

承重元件的严格交错首先满足结构需求（惯性、刚度），然后是功能需求（视觉和声学密封性），最后是美学需求（孔隙率、物质性）。

Innovation and evolution sometimes occur through trial and error, although there is always underlying method and reason. This project both embraces and addresses ephemerality in architecture, transcending the intrinsic characteristics of its components to describe a model for decarbonized, modular, easily transportable, and structurally autonomous alternatives. Indeed, the very same elements can be recombined using the empirical three-panel units to generate a multitude of combinations, with context, site and use being the drivers behind each new architecture.

The truss-like diagonal connections between curved panels were inspired by the anatomy of bird bones which display an extraordinary lightness and structural efficiency. With the curvature being limited to the central zones of the CLT panels, the edges are devoid of incisions and allow visual appreciation of the Douglas fir surface while allowing the implementation of fittings and struts linking the shells.

Arranged face to face (depth-wise) and staggered (length-wise), these shells form a discontinuous undulation similar to a wooden curtain delineating a volume capable of being developed.

The staggering of the load-bearing elements enables the structure to be stable without the need for penetrative footings as each set of three bonded panels composes an autonomous unit with weight and geometry alone insuring structural stability and resistance to horizontal loads. Visual and acoustic protection is carefully calibrated considering the panels’ position and perforation, and finally, the structure is perceived as a singular aesthetic entity.

▼礼堂用于举办论坛活动，The auditorium is used for forum events © Tristan Deschamps

记者Jonas Tophoven对其进行了描述：“威严与温暖的混合”这个18.5 x 30米的弯曲CLT矩形静态窗帘由64块花旗松弯曲面板组成，尺寸为2.30 x 5.25 m和6厘米厚，每个超过350公斤。

通过在关节之间插入斜角铸铁楔来保持曲率，类似“牙齿矫正”，还可以通过在足部和头部固定10毫米厚的弯曲金属板来实现，以便在必要时将面板吊挂和锚固到地面上。曲率仅在面板中间是必要的，边缘没有凹槽，使得我们既可以欣赏花旗松的表面，同时允许实施确保面板之间连接的配件。

For the Grand Palais amphitheatre, the panels are dressed vertically with the convex sides of the panels facing each other. All 64 Douglas fir panels, each measuring 2.3×5.25×0.06m, together create an undulating ‘curtain’ of wood forming a free plan measuring 475 m².

The new curved geometry of each panel is stabilised by the insertion of bevelled cast-iron wedges into the incisions between the torsion legs. These wedges are likened to a “dental apparatus”, and their role is consolidated with the help of 10 mm thick profiled steel plates at the foot and head of each panel, themselves likened to ‘horseshoes’.
They have been perforated to allow the panels to be slung and anchored to the ground if necessary. As the curvature is only necessary in the middle of the panels, the edges are devoid of grooves and make it possible to appreciate the surface of the Douglas fir while allowing the installation of fittings to ensure the link between the shells.

▼模块示意图，Nomenclature module and Axonométrie éclaté module © Artbuild

The Temporary Auditorium作为一个多孔和环绕的边界，是一个475平方米的巨大舒适区，最多可容纳350人，可通过两个配有天鹅绒窗帘的CLT框架形成的入口进入。

从同一面板和同一纹饰中，出现了许多可能的组合图形，这是产生新建筑外观的现实背景。记者Jonas Tophoven更进了一步，他说“它的灵活性是它的本质和生存的保证”。

Functioning as a porous and encompassing border, the Ephemeral Auditorium is a vast comfort zone of 475 m² that can accommodate up to 350 people and is accessible through two entrances formed by CLT frames fitted with velvet curtains.

A multitude of possible figures can be combined from the same panel and the same design. It is the reality of a context that generates the appearance of a new architecture. Journalist Jonas Tophoven goes even further by saying that “its flexibility is its essence and its guarantee of survival”.

▼一个多孔和环绕的边界，A porous and encompassing border © Tristan Deschamps

The Temporary Auditorium位于蜉蝣大皇宫主轴线的十字路口，凭借其空间霸权，同时也具有规划性和象征性，将自己凸显于其他看台。事实上，这个全体会议室举办了木建造论坛的开幕式和闭幕式，以及为专业人士和公众举办的众多会议。

整个项目是作为 FBC 一部分的生命周期分析的主题，以验证相关性并评估每个阶段的真正可持续性。这个过程使人们可以采用反思的方法来提出比传统解决方案更可持续的替代方案。

Located at the main crossroads of the Grand Palais Ephémère, the Ephemeral Auditorium dominates the other stands due to its spatial, programmatic and symbolic hegemony. Indeed, this plenary hall hosts the opening and closing ceremonies of the Wood Construction Forum, as well as the numerous conferences for professionals and the public.

The whole project was subject to a life cycle analysis within the framework of the FBC to verify the relevance and evaluate the real sustainability of each stage. This process provides a reflective approach to propose alternatives that are more sustainable than conventional solutions.

▼会场，Conference space © Tristan Deschamps

B. 预组装、组装和拆卸（有教育意义的经验）
Pre-assembly, assembly and disassembly (a formative experience)

原型制作 | Prototyping

The Temporary Auditorium的实验过程是多项经验测试的结果，这些测试旨在确定最佳曲率半径、校准截面、校准槽、关节的长度、硬件组件的尺寸以及它们的实施程序。我们必须等待6月底第一个原型的组装，才能确定并了解为面板配备硬件所需的任务的性质和顺序，然后将其拉直，最后将其连接到其他面板。在这一天的练习结束时，部分装配程序得到了纠正，并且调整了零件的尺寸以达到时间和手段的高效。

例如，我们变薄了连接楔块的金属杆，以增加它们的柔韧性，并便于它们沿着内弧下方和外弧的曲率进行操作。方头螺栓的尺寸也经过修改，斜角铸铁楔增加了一个缺口以标准化其插入深度。

除了技术优化之外，新策略是在位于比利时的切割厂（Ets Laminated Timber Solutions）和蜉蝣大皇宫之间找到第三个地点，以便在车队运输的上游弯曲和装备CLT面板。

The OSA process used for the Ephemeral Auditorium is the result of several empirical tests aimed at determining the optimal radius of curvature, sizing the sections, calibrating the slots, the length of the torsion legs, sizing the hardware components, as well as their implementation procedure. It was necessary to wait for the assembly of a first prototype at the end of June to establish and grasp the nature and sequence of the tasks necessary to equip a panel with its hardware, then to straighten it, and finally to connect it to the others. At the end of this trial run, part of the assembly procedure was corrected and the parts were resized to converge towards time and means efficiency.

For example, the metal rods connecting the dowels were made thinner to increase their flexibility and facilitate their handling along the curvature under the intrados and on the extrados of the panels. The size of the lag bolts was increased and the dowels were given a notch to ensure that they are inserted to the same depth.

In addition to technical optimizations, the new strategy was to find a third location between the cutting plant located in Belgium (Ets Laminated Timber Solutions) and the Grand Palais Ephémère, in order to bend and equip the CLT panels before their transport by convoy.

▼结构近景，Close-up view to the structure © Tristan Deschamps

▼CLT面板近景，CLT panel detailed view © Tristan Deschamps

预组装 | Pre-assembly

Wall’Up Préfa公司慷慨地提供了十余天的缓冲空间，暂停了他们工厂用于制造麻混凝土绝缘木框架墙的流水线。这个自由空间（距巴黎不到两小时车程）汇集了一个由学徒、木匠、建筑师（来自ArtBuild）、学生和记者组成的多学科志愿者团队。目标是在短时间内完成所有64个面板的组装。按照木建造论坛的要求，其快速组装和拆除（预组装3天，组装3天，拆除1天）仅需7天。

CLT主面板的边角料用于制作弯曲的模具，用于实现面板的冷弯并在运输过程中支撑它们。与预成型、蒸汽弯曲或浇筑成型等传统弯曲工艺相比，平行槽口的圆锯加工节省了时间和能源。

The company Wall’Up Préfa generously provided a buffer space for ten days while waiting for the production line of their factory to be ready for the manufacture of wood-frame walls insulated with hemp concrete. This open space (located less than two hours from the capital) allowed us to gather a multidisciplinary volunteer team composed of apprentices, carpenters, architects (from ArtBuild), students and journalists. The objective was to assemble all 64 panels within a short time frame. In accordance with the request of the Forum Bois Construction, its rapid assembly and disassembly (3 days of pre-assembly, 3 days of assembly, 1 day of disassembly) took only 7 days.

The offcuts from the CLT master panels were used to make bending dummies, which were used to cold bend the panels and transport them. Machining parallel cuts with a circular saw saves time and energy compared to traditional bending processes such as preforming, steam bending or molding.

▼铸铁楔，Clavettes © Vincenzo De Cunzo

▼弯曲CLT面板制作，Cold-bending CLT panels © Vincenzo De Cunzo

平板经过机加工和开槽后，使用桥式起重机吊起，然后放置在两个具有所需曲率半径的拱形模具上进行弯曲。在CLT面板的顶端和底端，螺纹钢板沿透镜形弯曲。

铸铁楔在末端被刺穿，并被固定在金属条上，然后由两个人插入每个面板的插槽中。一旦铸铁楔被固定，第二条金属条便以镜像的方式从另一端固定，以便对面板施加预应力。

将金属用于支撑、稳定和弯曲元件的原因是希望找到一种能够具有鸟骨功能特性的材料，这取决于对拆卸效率的追求。此外，这种材料似乎与木材完美互补。设计逻辑的驱动力是希望最大限度地减少材料而不使其浪费。

从卸货地点开始，CLT面板沿着一条路线移动，经由几个由志愿者小组管理的操作即可。

Once machined and grooved, the flat panels were lifted with an overhead crane, then placed to be bent on two arch-shaped dummies with the desired radius of curvature.
At the upper and lower ends, screwed steel plates follow the lens-shaped bending.

Drilled at their ends, the dowels were threaded along a metal bar, then inserted by two people into the slots of each panel. Once the dowels were positioned and accessible under the intrados, a second threaded rod was threaded in as a mirror image of the first, in order to prestress the panel.

The use of metal for the bracing, stabilization and bending elements stems from a desire to find a material capable of taking on the functional properties of bird bone, determined by a search for efficiency and dismantlability. Moreover, this material appeared to be perfectly complementary to wood. The design logic was driven by a desire to minimize the material without making it disappear.

From the location where they were unloaded, the CLT panels were moved along a route broken down into several operations managed by small groups of volunteers, using a mobile bridge.

▼预组装，Pre-assembly © Vincenzo De Cunzo

当双手逐渐习惯了重复性的工作，愈发的熟练仿佛初心者对芭蕾舞步的逐步探索，首先是犹豫和摸索，然后是节奏感和游刃有余。对于大多数参与者，尤其是学生来说，这是他们第一次接触便携式工具，并且与木材原材料有关，或者更广泛地说，是第一次参与到集体建造的激动。

这种非化学和非破坏性的弯曲方法有助于弯曲的可逆性，并且还可以将大尺寸面板平放，然后手动进行弯曲。这种拆卸、运输和重新组装的能力使过程的模块化倍增，这不仅限于面板的模数形状。

Hands became accustomed to the repetitive tasks until they found their place in a dance, at first hesitant and fumbling, then rhythmic and fearless. For most of the participants, especially the students, this was the first time they had handled hand-held tools and dealt with the raw material of wood, or more broadly with the hustle and bustle of a collective, constructive process.

This chemical-free, non-invasive and room-temperature bending method enables a certain reversibility of form which is useful for transporting flat construction elements which are subsequently curved into their final shape on site. When demounted, they can be released from their curved shape and transported flat once again. The assembly and disassembly functions integrated in the design optimises modularity and flexibility as there are an infinite number of configurations into which the panels can be recomposed to form new structures.

▼存放，Storing © Vincenzo De Cunzo

▼运输，Transport © Artbuild

现场冷弯和曲率维修作业完成后，将面板以相互叠加的贝壳形式存放，从而形成8块面板的堆叠。 64块面板的运输将需要4辆半拖车，用束带固定并运送到蜉蝣大皇宫。

Once the operations of cold bending in place and maintaining the curvature were completed, the panels were stored in the form of shells placed one on top of the other, so as to form stacks of 8 panels. The transport of the 64 panels to the Grand Palais Ephémère required 4 semi-trailers, each comprising 2 stacks held together by straps.

▼装配现场，Assemble © Tristan Deschamps

C. 相聚的体验
The experience of the encounter

这个项目的惊人力量在于它唤起情感的能力。这是一个真正的启示，一个让自己沉浸在亲生物氛围（温暖而活泼）中的邀请，去触摸，俯身在这个屹立的结构前……正是通过它我们更好地认识了自己。光的微妙作用升华了对立面板的间隙所暗示的结构。

巨大的面板与其明显的轻盈之间的鲜明对比让人想起自然界中的对比。从一连串有节奏的曲线中涌现出的韵律使这结构充满活力。

相聚是一个事件，一个不断更新发现的独特时刻，背光的琥珀色氛围为参与者带来了一种重要的亲生物体验，令人放心，甚至是母爱的。

Visitors evoke feelings of awe, emotion, and surprise as they experience the sublimation of conventional, heavy industrial components into a seemingly weightless composition of wooden embroidery. The intrinsic warmth of this biophilic material is suffused by plays of light which penetrate the incisions and gently remind us of the incessant movement and rhythm of life.

The striking contrast between the gigantic size of the panels and their apparent lightness is reminiscent of the contrasts found in nature. The eurythmy that emerges from the succession of cadenced curves animates this double skin.

The encounter is an event, a unique moment of discovery that is constantly renewed, for which the amber atmosphere of the backlighting generates a major biophilic experience for the participant; reassuring, even maternal.

▼曲线韵律，The rhythm brought by curves © Tristan Deschamps

除了其独特的美学之外，毫无疑问，从声学的角度来看，其惊人的保障也值得引起人们的注意。之所以如此，因为吸收性材料的存在确保了有效的吸音处理，并通过使用定向和和谐分布的扬声器增强了声音的清晰度。墙壁的孔隙率以及它们的曲率有助于声波的衍射。这使得在临时礼堂内部活动和木建造论坛的外部活动的相对隔离之间实现完美的平衡，以保护声音的可理解性。

Beyond its unique aesthetics, it is undoubtedly also its astonishing efficiency from an acoustic point of view that attracts attention. And for good reason, as absorption management was ensured by the presence of absorbent materials. Audibility and intelligibility was enhanced by the use of directional loudspeakers distributed in a harmonious way. The porosity of the walls, as well as their curvature, contributed to the diffraction of the sound waves. This design makes it possible to achieve the right balance between discerning the external activity of the FBC and a relative isolation of the internal activity to safeguard the intelligibility of the sound.

▼外观，Exterior view © Tristan Deschamps

事实上，假如一开始去尝试经典的完全密闭的黑色的方盒方案，是不可行的。无论是从技术上、物流上抑或是经济上来说。

鉴于礼堂的几何形状，且没有屋顶，因此无法创建可靠的声学计算模型。对于 Atelier Indépendant d’Acoustique (AIDA) 的 Karin LeTyrant 来说，“为礼堂设计合适的音响效果几乎是靠着常识去摸索”。

面板的位置，以及它们相对于彼此的覆盖，是我们特别关注的主题。面板的过度覆盖会导致产生“波导效应”，其特点是声波会在结构内反复跳动并形成噪声。相反，面板相距过大的狭缝则会引起人们失去对演讲者的专注。

Indeed, to tend towards a black box model, hermetically closed to residual noise, was not technically, logistically and economically viable.

The leaky geometry of the Auditorium, without a roof, made it impossible to create a reliable acoustic calculation model. For Karin LeTyrant of Atelier Indépendant d’Acoustique (AIDA), “designing the right acoustics for the Auditorium was a matter of common sense”.

Special attention was paid to the positioning of the panels and their overlap with each other. Too much overlap of the panels would have resulted in a “waveguide effect”, which is characterized by the ricochet of a noise inside a reciprocal structure. On the other hand, the appearance of slits forming oblique visual escapes would have caused the speakers to fear a loss of discernment and concentration and the loss of the “sight of sound” at the speaker’s position.

▼结构细部，Detailed view © Tristan Deschamps

IV. 展望
Future prospects

新的建造系统OSA使得提出更可持续且对降低温室气体排放做贡献的替代建筑成为可能。基于建筑材料（CLT）的回收，我们可以想象更多建筑的可能性。弯曲的可逆性、面板的自支撑性都是确保此系统的耐用性和相关性的因素，使此系统可以在其他条件下以另一种配置重现。此外，OSA在手段（成本、劳动力、能源）和时间（执行速度：组装、拆卸）方面也是经济的。

OSA makes it possible to propose alternative architectures that are more sustainable and contribute considerably less to greenhouse gas emissions. The recycling of a building material (CLT) makes it possible to imagine a multiplicity of architectures. The reversibility of the bending and the self-supporting nature of the panels are factors that ensure the durability and relevance of such a device that can be reproduced in other conditions, in another configuration. OSAis also economical in terms of resources (cost, labor, energy), and time (speed of execution: assembly, disassembly).

Armed with these experiences, the technique never ceases to explore its other possibilities, while the agency adopts a retrospective approach and nourishes its reflection with each of these iterations.

With this pioneering project, ArtBuild Architects demonstrates that building with wood (a biosourced material) becomes an opportunity to create new narratives that no longer necessarily depend on form, but emerge from a reflection on a multiplicity of possible configurations according to the location and context.

▼论坛现场，The venue of the forum © Tristan Deschamps

▼平面配置图，Plan implantation © Artbuild

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