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審定:無
翻譯:吳欣雨(簡介並寄信)
編輯:姜凱文(簡介並寄信)

簡介

在這個學期堙A將要求學生用減和加的手法來改造位於羅德島布里斯托鎮的赫雷肖夫(Herreshoff)博物館的面貌。赫雷肖夫的製造廠被認為是最早的“美國杯”賽艇的建造者,那是在1890年間到1930年間的事。對工作室而言,不僅僅是一個學術課程。它涉及到陸地、水和風,並且要找到特殊的材質和構造方法來表現這些元素之間的關係。也就是說,在這裡有靜止的陸地(船塢、錨都提供了暗示),水的流動性則支撐著對行動和自由的承諾。行動是由風所造成的,同時也考慮水與陸地關係的協調。

船艇和造船

作為探討這些關係的媒介,我們將著重於學習造船,以便可以對我們的設計方法做出提醒。第一步要做的是學習有關造船工藝、其歷史和先進的造船技術,像是以Kevlar-carbon纖維複合材料的外殼內有蜂窩狀樹脂核心。鑽研其他建造方式的價值在於這可以使我們脫離傳統的材料和建構的方法。這樣可協助我們在觀念與技術的轉換上激發出新的思維,促使我們在創造新環境中有不同的設計和產品製作。

尋找構造語彙

尋找適當的構造語彙將會以對控制船艇設計的效能標準的瞭解程度和其多重品質的方式做為輸入,。它們包括:

排水量

從定義上說,船是一種體積的置換,排開水線下的體積,並以設計的平滑剖面將拖曳力最小化。

輕量化

賽艇的設計是要使其盡可能的輕盈,以及較少的能量就能夠驅動。

質量

需要很好地調整其質量的分配,使其在比賽中可以微妙地調節平衡。

強度

儘管賽艇建造得很輕質,但是它必須被有效與堅強的組裝,這樣才可以抵擋住來自船帆、桅杆和船體部分的強大力量。

灌注能量

船帆的強度必須能夠承受得住風力,由很多輕質薄膜所縫製成的一張整體的船帆。

速度

最後,那些賽艇,像是由赫雷肖夫所設計的,是速度、流動性、優雅的代名詞,它們挑戰了材質的限制。

選址和計畫

選址位於羅德島的布里斯托,那是赫雷肖夫兄弟在1870年創立他們公司的地方。我們的選址俯瞰納拉甘西特海灣,兩個船身被撐高了放在現有建築的前面。選址所在地被布里斯托主幹道分成兩塊,佈滿了各種建築(廠房,倉庫,維修間和博物館用地)。以前,最初的碼頭建築主要是造船處和船隻入水的斜坡。時至今日,舊有建築物的軌跡仍舊明顯,代表了這個地方、它的現有建築物,甚至它的水面的有趣的轉變機遇。

現有建物的內部空間相對之下顯得相當地黑暗、零亂和過時。儘管房間堻ㄛO財富,像赫雷肖夫模型室的複製品,堶惘泵s有超過500個船體模型。這埵酗茼h的空間來改善那些全尺寸的船隻和展覽的展示。

過程

我們將探討把設計作為一個互動的過程,包括了閱讀,研究,表現和測試。

閱讀

閱讀是為了瞭解選址地點、計畫、背景、歷史,文化和技術。由設計圖,模型和文字來說明最終的成果。

研究

不管是單獨地還是分組完成工作,我們將研究船隻的建造,計劃和技術,我們將記錄,製作文件,做模型和實驗作為我們調查的一部分,並尋找合適的(建構)語彙。研究是設計的第一步,因為其結果將會對以後的設計研究的方向與內容有非常大的影響。

表現

透過用設計圖和模型來表達我們的設計理念,我們可以使自己從研究中學到的東西內在化,表現的手法不一定是用全尺寸的(模型等)來表現,也可以選擇性地藉由不同比例來表現不同的細節。我們不必擁有像造船工匠般,能試著將想法灌注在工藝中的精湛手藝。

測試

測試就是將自己的想法提出來,將檢視自己的設計與效能標準的關係。失敗是正常的,也是能啟迪思維的。它能迫使我們質疑,我們是否正確地解讀選址和它存在的問題,或者是否做了適當的研究方向,或是透過其展示的應用。不可避免地,當我們在設計與效能標準間找尋最佳的組合時,我們會反覆地在過程中往返。

就像阿爾瓦.阿爾托(Alvar Aalto)在工作中所做的,在這個學期中,我們將不會停止賽艇設計,我們將追求並研究船艇的建造來提供、以及對材質與構造表現產生新的方法


Introduction

This semester students are asked to transform the Hereshoff Museum in Bristol, Rhode Island, through processes of erasure and addition. Hereshoff Manufacturing was recognized as one of the premier builders of America's Cup racing boats between 1890's and 1930's. The studio, however, is about more then the program. It is about land, water, and wind and the search for expressing materially and tectonically the relationships between these principle conditions. That is, where the land is primarily about stasis (docking, anchoring and referencing our locus), water's fluidity holds the latent promise of movement and freedom. Movement is activated by wind, allowing for negotiating the relationship between water and land.

Boats and Boat Building

As a vehicle for exploring these relationships, we will focus on learning about boat building, so that it might inform our design process. We are going to spend the first part of the project learning about the craft of boat building, its history, as well as learning about advanced boat building technologies such as Kevlar-carbon composite skins with honeycomb and resin cores. The value in exploring another method of assembly is that it removes us from more conventional material and tectonic conventions. This can help stimulate new thinking about transferring concepts and technologies where appropriate or simply to inspire alternative design and production processes in creating new environments.

Search for a Tectonic Language

The search for an appropriate tectonic language will be driven in part by an understanding of the performance standards governing boat design, and their resultant qualities. These include:

Displacement

By definition boats are about displacement of volume, carving volume below the waterline, but minimizing drag by designing sleek profiles.

Lightness

The design of racing boats is driven by needing to make them as light as possible, requiring less energy to propel them forward.

Mass

It is also about the fine-tuned distribution of mass, delicately countering-balancing the tendency for flight while staying within racing regulations.

Strength

Despite their lightweight construction, racing boats must be built out of efficient and strong assemblies capable of withstanding the tremendous forces on the sails, mast and hull.

Harnessing Energy

Their strength must be sufficient to harness the wind's energy, with lightweight membranes, stitched together out of smaller elements, yet acting as a whole.

Speed

In the end, racing boats like those designed by the Herreshoffs are about, speed, fluidity, and grace, in seeming defiance of material limitations.

The Site and Program

The site is located in Bristol R. I. where the Hereshoff brothers started their company in 1870. Our site overlooks the Narragansett Bay, where two boat hulls are elevated on stilts in the front of the existing buildings. The site is bisected by Bristol's main road and consists of a compound of buildings (manufacturing, storage, and maintenance buildings as well the museum proper). At one time, the original wharf housed structures for manufacturing boats and ramps for launching boats. Today, traces of past structures are still evident, presenting interesting opportunities for transforming this site, its existing structures, as well as its water's edge.

The existing building's interior spaces by contrast are rather dark, cluttered and dowdy. Yet they house treasures, such as a replica of Herreshoff's model room, where over 500 models of the hulls are housed. There is much room for improvement in the presentation of the models as well as full-scale boats and exhibits.

Process

We will explore design as an iterative process, which incorporates reading, research, representing and testing.

Reading

Reading is about understanding the site, the program, the context, the history, the culture and technology. Drawings, models and words are used to describe the results.

Research

As individuals and in groups, we will research about boat building, the program, and technologies. We will record, document, model and experiment as part of our investigations and search for an appropriate language. Research is the first act of design, since its results will strongly influence both the course and content of future design investigations.

Representing

Representing our design ideas through drawings, and models, we can internalize of the lessons learned from research. Representing is not always carried out at full scale (prototyping) but can be abstracted at different scales and levels of detail. We do not necessarily need the skill of a master boat builder to experiment with the ideas embedded in their craft.

Testing

Testing entails putting forth propositions forward; to be reviewed in relationship to the performance standards you have set forth in your design. Failure is desirable and revealing. It can force us to question whether we read the site and the problem correctly, or whether the research was appropriately directed, or applied through its representation. Inevitably, we must go back and forth in this process iteratively as we seek the best fit between our design and its performance standards.

So while we will not end up designing boats this semester as Alvar Aalto did in his career, we will seek to allow the study of boat building to inform and generate new approaches to thinking about material and tectonic expression.


 
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