Image? Filippo Bolognese

未來的材料：4位建筑師的交叉層壓木材測試
Material of the Future: 4 Architects that Experiment with Cross Laminated Timber
本文最初發表于《The Architect's Newspaper》，標題為“建筑師將最先進的制造、設計和可視化技術應用于古老的木材”。
每隔一段時間，建筑領域就會出現某個“奇跡建筑材料”?；炷潦沽_馬帝國得以擴張，使鋼鐵致密的城市達到了以前無法想象的高度，而塑料則使建筑內部和建筑經濟得以重振。
但卻有這樣的疑問，為什么在21世紀，木材經歷幾千年的沉寂后又重新被賦予了奇跡般的地位？盡管其粗糙的表面和獨特的組裝方式看起來似乎與當前全球大量的建筑發展需求相反，但木材的耐用性、可再生性和封存碳的能力引發了建筑業者的關注，并大量投資于未來。

交叉層壓木材（CLT）是一種高彈性的工程木材，通過將固體鋸材層粘合在一起而制成，最早于上世紀90年代初在歐洲被開發使用，但直到2000年代才普及，于2015年在引入時被納入《國際建筑規范》。盡管世界各地的中型到大型公司都在競爭建造最大或最高的木結構以證明其與混凝土和鋼的可比性，但實際上許多獨立建筑師也一直在嘗試通過最新的制造方法、計算設計技術和原始材料的可視化軟件，去合理應用這種材料。在這里，AN展示了當前的一些案例，并相信木材可以成為未來的混凝土、鋼和塑料。

This article was originally published on The Architect's Newspaper as "Architects apply the latest in fabrication, design, and visualization to age-old timber."
Every so often, the field of architecture is presented with what is hailed as the next “miracle building material.” Concrete enabled the expansion of the Roman Empire, steel densified cities to previously unthinkable heights, and plastic reconstituted the architectural interior and the building economy along with it.
But it would be reasonable to question why and how, in the 21st century, timber was accorded a miracle status on the tail-end of a timeline several millennia-long. Though its rough-hewn surface and the puzzle-like assembly it engenders might seem antithetical to the current global demand for exponential building development, it is timber’s durability, renewability, and capacity for sequestering carbon—rather than release it—that inspires the building industry to heavily invest in its future.
Cross-laminated timber (CLT), a highly resilient form of engineered wood made by gluing layers of solid-sawn lumber together, was first developed in Europe in the early 1990s, yet the product was not commonly used until the 2000s and was only introduced into the International Building Code in 2015. While mid-to-large range firms around the world have been in competition to build the largest or the tallest timber structures to demonstrate its comparability to concrete and steel, a number of independent practitioners have been applying the latest methods of fabrication, computational design techniques, and visualization software to the primordial material. Here, AN exhibits a cross-section of the experimental work currently being pursued with the belief that timber can be for the future what concrete, steel, and plastic have been in the past.
AnnaLisa Meyboom

Courtesy of David Correa

2018年秋季，不列顛哥倫比亞大學（UBC）AnnaLisa Meyboom教授的15名學生，滑鐵盧大學的David Correa、Intelligent City的Oliver David Krieg以及22位參與者設計并建造了第三屆年度Wander Wood 亭子，這是一個由不同的組件組成的扭曲的格子木質結構。

利用UBC高級木材加工中心提供的先進制造資源，包括CNC銑床和多軸工業機器人，該項目既是其設計團隊的學習機會，也是向廣大公眾展示木材是一種比現行材料適應當代制造技術的材質的絕好契機。亭子的一端是可容納兩個人的長凳，由社會機構測試結構本身的強度和耐用性。

雖然展館只需要三天就可以在現場進行組裝完成，但是要花大量的時間和精力來做前期準備工作。因此建立了嚴格的設計工作流程，使迭代設計過程與快速的幾何輸出平衡，從而解決了裝配排序的邏輯問題。最后將亭子的每一塊進行銑削以互鎖到位，并用金屬鉚釘進一步固定。

該項目旨在教給學生在應用新型材料時，縮小數字設計與物理制造之間差距的策略。鑒于此，Meyboom表示，在整個制造過程中都使用了標準的工業機器人，并“專門設置用于木材的加工整合”。

In the Fall of 2018, 15 of professor AnnaLisa Meyboom’s students at the University of British Columbia (UBC), along with David Correa at University of Waterloo, Oliver David Krieg of Intelligent City, and 22 industry participants designed and constructed the third annual Wander Wood Pavilion, a twisting, latticed timber structure made up entirely of non-identical components.
By taking advantage of the advanced fabrication resources available at the UBC Centre for Advanced Wood Processing, including a CNC mill and a multi-axis industrial robot, the project was both a learning opportunity for its design team and a demonstration to a broader public that timber is a more than viable material to which contemporary fabrication technologies can be applied. The pavilion forms a bench on one end that’s large enough for two people, a public invitation test the structure’s strength and durability for themselves.
While the pavilion only required three days to fabricate and assemble on-site, a significant amount of time and energy was spent ensuring its quick assembly when the time came. A rigorous design workflow was established that balanced an iterative design process with rapid geometric output that accounted for logical assembly sequencing. Every piece of the pavilion was then milled to interlock into place and be further secured by metal rivets.
The project was devised in part to teach students one strategy for narrowing the gap between digital design and physical fabrication while applying a novel material. In this vein, a standard industrial robot was used throughout the fabrication process that was then “set up with an integrator specifically to work on wood,” according to Meyboom.
Gilles Retsin

Image? Filippo Bolognese

倫敦建筑師兼巴特利特建筑學院教授Gilles Retsin長期嘗試設計新穎的制造方法，而最近對木材的關注使他的實踐朝著大膽的新方向發展。例如，2019年初在倫敦皇家學院安裝的巨型木結構是建筑師通過使用微軟的Hololens將增強現實技術應用于模塊化木材結構的首次嘗試。 “我們使用AR將指令直接從數字模型發送到現場工作的團隊?！?Retsin解釋說。，“因此，AR幫助我們了解全自動化的模型構建過程，數字模型與現場人員和機器人進行直觀的溝通。”

在最近在德國紐倫堡舉行的國際比賽中，Retsin將目光投向了更大范圍，建造世界上第一個機器人預制的木材音樂廳。該方案是與建筑師Stephan Markus Albrecht、工程咨詢公司Bollinger-Grohmann、氣候工程師Transsolar和聲學專家Theatre Projects合作設計，利用了該區域木材豐富的優勢，同時兼顧了該材料的應用所面臨的獨特建筑類型。建筑物的形式是在大堂空間上使用30英尺的鋸齒形CLT預制模塊，從而展示材料的輕度，由于采用了無縫玻璃圍護結構，這些模塊將清晰地暴露在外。

Retsin說：“用木材設計不僅意味著更加可持續的未來，而且使建筑師從頭開始徹底地重新設計建筑。這是一項具有挑戰性的創新任務，我們從建筑的基礎部分開始設計，這是一切的基礎。”

While Gilles Retsin, the London-based architect and professor at the Bartlett School of Architecture, has long experimented with both computational design and novel methods of fabrication, a recent focus on timber has propelled his practice into a bold new direction. A giant wooden structure installed at London’s Royal Academy in early 2019, for instance, was the architect’s first attempt at applying augmented reality to modular timber construction through the use of Microsoft’s Hololens. “We used AR to send instructions directly from the digital model to the team working on-site,” Retsin explained. “AR, therefore, helps us understand what a fully-automated construction process would look like, where a digital model communicates directly with people and robots on site.”
In a recent international competition set in Nuremberg, Germany, Retsin set his sights on a much larger scale for what would have been the world’s first robotically prefabricated timber concert hall. Designed in collaboration with architect Stephan Markus Albrecht, engineering consultancy Bollinger-Grohmann, and climate engineers Transsolar and acoustic specialists Theatre Projects, the proposal takes advantage of the site’s location in a region with an abundance of timber while envisioning the material’s application to a uniquely challenging building type. The building’s form exhibits the material’s lightness using 30-foot sawtooth CLT prefabricated modules over the main lobby spaces, which are exposed from the exterior thanks to a seamless glass envelope.
“Designing in timber not only means a more sustainable future, but also has architects profoundly redesigning buildings from the ground up,” said Retsin. “It’s a challenging creative task, we’re really questioning the fundamental parts, the building blocks of architecture again.”

Casey Rehm

Courtesy of Casey Rehm

對于SCI-Arc教授Casey Rehm而言，與木材合作意味著挑戰建筑領域的許多問題。鑒于在運輸和制造方面大量的時間和材料成本，在洛杉磯很少使用木材作為建筑材料。 “但現在?！?Rehm說，“材料業正在著力將它們壓成面板，然后切割使用。”但他認為，如果木材廢料本身被用作建筑材料，那在全球范圍內的成本效益可能會更高。

盡管木材已用于在世界范圍內建造越來越大的結構，例如多層房屋和辦公樓，但Rehm認為，該材料可以合理地適應小型規模建筑，以便快速建設。本著這種精神，Rehm一直在與他的學生一起研究，以生產廉價的CLT面板，并且在洛杉磯這個房屋短缺明顯的城市建造屬于無家可歸者的房屋和附屬住宅。

然而，除了具有成本和材料效率方面的潛力外，建筑師甚至將木材用于最具探索性的設計工作。 NN_House 1是Rehm于2018年在加利福尼亞沙漠平原上設計的龐大單層房屋，部分使用3D神經網絡進行設計，以建立房間之間的劃分，并模糊內部和外部之間的界限。AI經過現代主義建筑師的訓練，產生了自己的特質，以用于開發具有多個空間功能的居住場所。

For SCI-Arc professor Casey Rehm, working with timber has meant challenging many issues in the field of architecture at once. Timber is a rarely-considered building material in Los Angeles given the high time and material costs associated with its transportation and manufacturing. “Right now,” Rehm said, “the industry is manually laying up two-by-sixes into industrial presses, pressing them into panels, and then manually cutting window openings.” But if timber waste itself was adopted as a building material, he argued, the material could be far more globally cost-efficient.
While timber has been used in the construction of increasingly large structures around the world, such as multistory housing developments and office buildings, Rehm believes the material can be reasonably adapted to a smaller scale for quick deployment. In this vein, Rehm has been researching strategies with his students for producing inexpensive CLT panels for the construction of homeless housing and accessory dwelling units in Los Angeles, a city with a, particularly conspicuous housing shortage.
But aside from its potential as a cost and material-efficient material, the architect has applied timber to even his most exploratory design work. NN_House 1, a sprawling single-floor home Rehm proposed in 2018 for the desert plains of Joshua Tree, California, was designed in part using a 3D neural network to develop ambiguous divisions between rooms, as well as to blur the divide between interior and exterior. The AI was trained on the work of modernist architects—while producing idiosyncrasies of its own—to develop a living space with multiple spatial readings.
Kivi Sotamaa

Courtesy of Kivi Sotamaa

作為在芬蘭執業的建筑師，Kivi Sotamaa一直研究木材建造的廣泛可能性，而他也絕不是該研究中的獨行者。但是，他正在對其在國內的應用進行更為新穎的研究，重新構想如何將木材用作房屋建筑的主要材料。
Meteorite是建筑師在赫爾辛基附近設計的三層住宅，完全由本地生產的CLT建造，采用建筑師戲稱“the misfit”的組織策略進行設計。按照Sotamaa的定義，該建筑創建了由兩個不同的系統生成的間隙空間，這些間隙空間同時充當建筑物的隔熱層、存儲空間和外殼。 Sotamaa闡述道：“從美學上講，該策略允許在外部設計大規模的整體形式，以體現出一定的類似森林的規模，并在內部進行復雜的人類活動的空間布置。”建筑師估計，這些房屋的CLT板總共從大氣中隔離了59488千克（約65噸）二氧化碳。
Sotamaa希望將其他可視化技術應用到木結構的設計和生產中，包括增強現實技術，使建筑商能夠在現場實時查看裝配說明。Sotamaa解釋說:“當碎片在現場有序擺放并有明確的指示時，三維的組裝就可以快速有效地進行，這與傳統的施工過程相比，可以節省能源和物資?！?br style="-webkit-tap-highlight-color:transparent;box-sizing:border-box;" />As an architect practicing in Finland, Kivi Sotamaa is certainly not unique in his community for his admiration of the far-reaching possibilities of timber construction. He is, however, producing novel research into its application at a domestic scale to reimagine how wood can be used as a primary material for home construction.
The Meteorite, a three-story home the architect has designed near Helsinki constructed entirely of locally-grown CLT, was designed using an organizational strategy the architect has nicknamed ‘the misfit.’ This system, as Sotamaa defines it, creates two distinct formal systems to generate room-sized interstitial spaces that simultaneously act as insulation, storage space, and housing for the building’s technical systems. “Aesthetically,” Sotamaa elaborated, “the misfit strategy allows for the creation of a large scale monolithic form on the outside, which addresses the scale of the forest, and an intricate human-scale spatial arrangement on the interior.” Altogether, the architect estimates, the home’s CLT slabs have sequestered 59,488 kilograms, or roughly 65 tons, of carbon dioxide from the atmosphere.
The Meteorite was developed and introduced to the client using virtual reality, and Sotamaa hopes to apply other visualization technologies to the design and production of timber architecture, including augmented reality that could allow builders to view assembly instructions in real-time on site. “When the pieces are in order on-site and [with clear] instructions,” Sotamaa explained, “the assembly of the three-dimensional puzzle can happen swiftly and efficiently, saving energy and resources when compared with conventional construction processes.”

來源：專筑網