Vintersol：重新定义建筑与自然之间的关系
Vintersol: Redefining the Relationship Between Architecture and Nature
Vintersol 项目是由 Agustina Alaines（NAAR 创始人）设计的创新装置，通过将参数化设计与自然原理相结合，突破了传统建筑的界限。该装置最初是为 2020 年 Hello Wood Argentina 音乐节创作的，以其对刚性材料的流畅转换而著称，利用 10,000 个精心制作的木制立方体来创造一个动态的、适应性强的结构。
The Vintersol project is an innovative installation designed by Agustina Alaines (founder of NAAR) that pushes the boundaries of traditional architecture by merging parametric design with natural principles. Initially created for the 2020 Hello Wood Argentina festival, this installation stands out for its fluid transformation of rigid materials, utilizing 10,000 meticulously crafted wooden cubes to create a dynamic, adaptable structure.
通过其持续的形态和对环境刺激的反应，Vintersol 是一个引人注目的例子，说明建筑如何像一个生命系统一样行事，模糊了自然与人工之间的界限。
Through its continuous morphology and response to environmental stimuli, Vintersol is a striking example of how architecture can behave like a living system, blurring the lines between nature and artificiality.
设计的新范式
A NEW PARADIGM IN DESIGN
Vintersol 的起源在于 Hello Wood Argentina 音乐节带来的挑战，参与者的任务是使用特定资源创建木结构。Alaines 借此机会进一步推动建筑实验，应用计算技术超越静态形式。2020 年 Hello Wood Argentina 音乐节记录了 Vintersol 的施工过程（视频：Camila Migliore、Rosadina Güere）。
Vintersol’s origins lie in the challenge posed by the Hello Wood Argentina festival, where participants were tasked with creating wooden structures using specific resources. Alaines took this opportunity to push architectural experimentation further, applying computational techniques to move beyond static forms. Vintersol’s construction process was documented at Hello Wood Argentina’s festival in 2020 (video: Camila Migliore, Rosadina Güere).
Agustina 方法的关键是将体素（数字建模中使用的小型立方体形状单元）的概念转化为物理世界。这些 45 毫米的木制立方体被精心排列成一个长 30 米、宽 1 米的带状结构。该装置的立方体不仅仅是装饰性的;它们在允许结构适应和改变其环境方面发挥了不可或缺的作用。通过交织这些立方体，Vintersol 可以像柔性织物一样移动位置、膨胀和收缩。
The key to Agustina’s approach was translating the concept of voxels—small, cube-shaped units used in digital modeling—into the physical world. These 45 mm wooden cubes were carefully arranged into a ribbon-like structure that stretched 30 meters in length and 1 meter in width.The installation’s cubes were not merely decorative; they played an integral role in allowing the structure to adapt and morph to its environment. By interweaving these cubes, Vintersol could shift positions, expanding and contracting like a flexible fabric.
这种对体素系统的创新使用使结构能够模拟自然行为，其中一个简单的组件可以与其他组件组合以创建复杂、不断发展的形式。互锁的立方体的行为很像生物有机体中的细胞——对外部刺激做出反应并不断适应新的条件。
This innovative use of a voxel system enabled the structure to mimic natural behaviors, where a simple component can combine with others to create complex, evolving forms. The interlocking cubes behave much like cells in a biological organism – reacting to external stimuli and continually adjusting to new conditions.
Vintersol的适应性是其突出特点之一。随着丝带状结构的扭曲和重叠，它创造了广泛的配置——从阴凉区域到实验性家具、座椅，甚至是参观者可以与之互动的微空间。这种设计提供的灵活性使装置能够根据其所依赖的地形进行演变，使其对自然和人工景观都有高度响应。
The adaptability of Vintersol was one of its standout features. As the ribbon-like structure contorted and overlapped, it created a wide range of configurations—from shaded areas to experimental furniture, seating, and even micro-spaces that visitors could interact with. The flexibility offered by this design allowed the installation to evolve based on the topography it rested upon, making it highly responsive to both natural and artificial landscapes.
以计算设计为驱动力
COMPUTATIONAL DESIGN AS A DRIVING FORCE
Vintersol 的创建在很大程度上依赖于 Rhino 和 Grasshopper 等高级计算工具，这些工具在模拟重量、厚度、柔韧性和颜色等设计变量方面发挥了重要作用。在构思阶段，进行了一项参数化色彩研究，以使用洋红色、橙色和黄色的调色板来指导整个结构的颜色过渡。
The creation of Vintersol relied heavily on advanced computational tools like Rhino and Grasshopper, which were instrumental in simulating design variables such as weight, thickness, flexibility, and color. During the ideation phase, a parametric chromatic study was conducted to guide color transitions across the structure, using a palette of magenta, orange, and yellow.
这些颜色被应用于立方体的一侧，而另一侧则保留了其自然的木质饰面。这允许在组装过程中立方体旋转时产生动态视觉效果，从而产生微妙的高光和意想不到的色彩爆发。
These colors were applied to one side of the cubes, while the other side retained its natural wood finish. This allowed for dynamic visual effects as the cubes rotated during assembly, creating subtle highlights and unexpected bursts of color.
在生产阶段，10,000 个木立方体中的每一个都必须经过喷漆、切割、钻孔和缝合，以形成最终的结构。使用 Grasshopper 的参数化工具可以对设计进行精确控制，确保立方体的分布方式可以在不影响安装强度的情况下最大限度地提高灵活性。列表和域用于控制立方体的放置和旋转，而 Kangaroo 用于分析结构的重量和曲率，这对于保持灵活性和结构完整性之间的平衡至关重要。瓢虫在评估阴影图案方面也发挥了作用，因为装置的扭曲和叠加经常产生摩尔纹效果——这种光学现象与艺术节 2020 年的主题“叠加”一致。
In the production phase, each of the 10,000 wooden cubes had to be painted, cut, drilled, and sewn together to form the final structure. The use of Grasshopper’s parametric tools enabled precise control over the design, ensuring that the cubes were distributed in a way that would maximize flexibility without compromising the strength of the installation. Lists and domains were utilized to control the placement and rotation of the cubes, while Kangaroo was employed to analyze the structure’s weight and curvatures, which was crucial in maintaining the balance between flexibility and structural integrity. Ladybug also played a role in assessing shadow patterns, as the installation’s twists and overlays often produced moiré effects—an optical phenomenon aligned with the festival’s 2020 theme of “Overlays.”
制造挑战和解决方案
FABRICATION CHALLENGES & SOLUTIONS
Vintersol 的生产过程面临重大挑战，其中最苛刻的是安装所需的 10,000 个木立方体的钻孔。钻孔过程。由于无法使用自动化设备，该团队不得不依靠人工钻孔，这使得该过程既耗时又脆弱，因为任何偏差都可能导致互锁立方体在纺织品内移位。
为了解决这个问题，Alaines 和她的团队开发了一种称为“3P”（精密射孔路径）的定制设备，大大提高了钻孔的效率和精度。
Vintersol’s production process presented significant challenges, the most demanding of which was drilling the 10,000 wooden cubes required for the installation. drilling process. Lacking access to automated equipment, the team had to rely on manual drills, making the process time-consuming and structurally vulnerable, as any deviations could cause the interlocking cubes to shift out of alignment within the textile.
To address this, Alaines and her team developed a custom device known as the “3P” (Precision Perforation Path), which greatly improved the efficiency and accuracy of the drilling.
另一个主要挑战是管理已完成结构的重量。尽管团队预料到安装会很重，但他们没有完全考虑到运输这30米长的编织形式将会多么困难。在Hello Wood节的组装过程中，结构是在地面上建造的，但一旦完成，移动到预定位置几乎是不可能的。来自节日的志愿者们参与并提供帮助，大约有40名参与者共同抬起并运输结构。
Another major challenge was managing the weight of the completed structure. Although the team had anticipated that the installation would be heavy, they did not fully account for how difficult it would be to transport the 30-meter-long woven form.
During assembly at the Hello Wood festival, the structure was constructed on the ground, but moving it to its intended location proved nearly impossible once completed. Volunteers from the festival joined and helped out, with about 40 participants lifting and transporting the structure.
这段经历影响了Vintersol第二版的设计，该版本是为布宜诺斯艾利斯的Raimondi服装店委托制作的。在这一版本中，团队以更小、更易于管理的3米长度进行工作，显著减轻了重量，并使得在最终位置组装全长结构变得更加容易。
This experience influenced the design of Vintersol’s second iteration, which was commissioned for the Raimondi clothing store in Palermo Hollywood, Buenos Aires. For this version, the team worked in smaller, more manageable sections of 3 meters, significantly reducing the weight and making it easier to assemble the full length structure at it’s final location.
Raimondi的安装保持了原始设计理念，但将其缩小以适应6平方米的空间。结构的大部分是用45毫米的立方体编织而成，与原始设计一致，而在某些部分引入了较小的20毫米立方体，以增加复杂性，创造出更细致的纹理和细节。这一选择不仅仅是为了减轻重量，还为了增强装置的视觉复杂性。
The Raimondi installation maintained the original design philosophy but scaled it down to fit a 6-square-meter space. The majority of the structure was woven with 45 mm cubes, consistent with the original design, while smaller 20 mm cubes were introduced in certain sections to add a layer of complexity, creating finer texture and detail. This choice was not solely for reducing weight but to enhance the visual intricacy of the installation.
Vintersol 2 并不是互动的，但它保留了原始作品的动态演变特征。选择了黑色和米色的配色方案，以衬托商店的极简美学，立方体的旋转创造了交替的图案和节奏，这些变化取决于观众的视角。
Vintersol 2 was not interactive, but it retained the dynamic, evolving character of the original. A black-and-beige color scheme was chosen to complement the store’s minimalist aesthetic, with the rotations of the cubes creating alternating patterns and rhythms that changed depending on the viewer’s perspective.
持续探索与未来可能性
CONTINUOUS EXPLORATION & FUTURE POSSIBILITIES
Vintersol不仅仅是一次性安装，它代表着在建筑设计中将自然元素与人造元素融合的持续探索。Alaines继续研究减少结构重量和扩展其适应性的方法，通过探索新的建造可能性，例如挖空立方体以减少质量而不妨碍强度，或实验替代材料。 从本质上讲，Vintersol是一个活的建筑系统，是对建筑环境如何随着自然和人类影响而进化和适应的无尽探索。无论是在节日场合还是商业店面，Vintersol将空间转变为流动的互动体验，推动建筑与周围世界互动的界限。
Vintersol is not just a one-time installation—it represents an ongoing exploration into the possibilities of merging natural and artificial elements within architectural design. Alaines continues investigating ways to reduce the structure’s weight and expand its adaptability by exploring new construction possibilities, such as hollowing out the cubes to decrease mass without compromising strength, or experimenting with alternative materials.
In essence, Vintersol is a living architectural system, an endless exploration of how built environments can evolve and adapt to both natural and human influences. Whether in a festival setting or a commercial storefront, Vintersol transforms spaces into fluid, interactive experiences, pushing the boundaries of how architecture can engage with the world around it.
随着阿古斯蒂娜·阿莱恩斯及其NAAR工作室的继续，他们的项目如Vintersol挑战我们对建筑环境的理解，提供了一种与自然世界一样动态、灵活和适应性的建筑愿景。
As Agustina Alaines and her NAAR studio continue their work, projects like Vintersol challenge our understanding of the built environment, offering a vision of architecture that is as dynamic, flexible, and adaptable as the natural world itself.
