ribbons open air theater

source: newstgnet
　日本建筑设计师渡边诚Makoto Sei Watanabe被委托为台湾台中一个城市公园设计一个露天剧院。剧院的天篷中有后台室和其它用于户外剧院中的新的设备。
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　　在2005年，他为奥地利的格拉茨设计了一个当代日本艺术展览馆，名为“缎带”。设计通过一条缎带穿行在空间之中，起起伏伏，它在一些地方形成了摊位的墙壁，在一些地方形成了引导参观者的顶篷结构。这次，设计师采用了同一设计概念设计这个剧院。
版本1 – 经过裁剪的外壳
　　方案将建造一个封闭的曲线形表面结构，并且将这一表面进行裁剪形成另外一种曲线表面。这样便达到了实用最小外壳结构的要求。然而，城市相关部门希望从街道上很容易就能看到这个建筑。
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版本2 – 由小路引导的缎带/形状
　　第二个方案将在两条独立变化的小路中间延伸出一个表面。这个缎带式的表面在两条小路的上方，时而比较宽时而又比较高，时而扭转形，形成一个空中的天篷。这个方案的建造取决于台湾对于建筑结构设计的限制及成本问题。
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版本3 – 波浪上的缎带
　　第三个方案已被采纳，它的名字为“缎带”。该方案由五个波浪形
的缎带以平行的方式结合在一起。
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　　每个缎带都是一个简单的三维曲面，它们在某些地方会出现小小的扭转和轻微的移位。但是这些有着微小区别的缎带结合在一起形成了一个令人惊讶的具有变化性的结构。尽管目前对于这个工程来说没有相应的计算机程序，但是算法设计的基本原则没有变。也就是说，简单的操作应用到了一些有限制的项目中并产生出了复杂的效果。
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source: designboom
japanese architect makoto sei watanabe was commissioned to design an open air theater for a city park in taichung, taiwan. the canopy consisted of backstage rooms and other new facilities for the existing outdoor theater.
in 2005, he did the spatial design for an exhibition of contemporary japanese art in the austrian city of graz. entitled ‘ribbon’, that project featured a ribbon weaving through space, rising and falling, at places becoming the wall of a booth and at places becoming
a canopy to guide the visitors. for the theater project he approached the design concept from that direction.
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source: 10aeccaf
The brief for this design was a canopy, backstage rooms, and other new facilities for an existing outdoor theater in a Taichung (Taiwan) city park.In 2005, I did the spatial design for an exhibition of contemporary Japanese art in the Austrian city of Graz. Entitled RIBBON, that project featured a ribbon weaving through space, rising and falling, at places becoming the wall of a booth and at places becoming a canopy to guide the visitors. The Graz ribbon figured in the preliminary discussions for this project, so the design concept was approached from that direction.

The first proposal was to take a closed curved surface and cut it out with another curved surface so as to leave a shape that fulfilled the minimum requirements of a shell. Taking advantage of the configuration of the site, where seating for the audience is carved into the ground, the shell was designed so that only its crest would visible from the street (city) side, with its full extent coming into view gradually as visitors approach via a circuitous route through the park.But the city wanted a design that could be seen easily from the street.

The second proposal was to stretch a surface between two independently varying paths. The result was a ribbon that danced along the two paths, changing its width and height, crossing itself and twisting to open and close and form an overhead canopy. This concept is a further development of the Graz ribbon, and its direct successor.

The courses taken by the two paths were determined by the designer, but the surface was not – it was generated by the paths. Ultimately the round dance of the surface was born from the mutually intersecting and revolving paths. In a case like this, the design work consists of manipulation of the paths to achieve a surface behavior that satisfies the various functional requirements and approaches the (latent) spatial goals of the designer. The client liked the space that resulted from this proposal. But it was never built, due to limitations related to structural design in Taiwan and questions of cost.

The third proposal, which was chosen for construction, is entitled “RIBBONs”. It consists of five wavelike ribbons in a parallel configuration. Each of the ribbons is a simple 3D curved surface with the addition of a small amount of twist and a slight displacement in phase. But the accumulation of small differences as the wave forms are fitted to each other results in a surprisingly large amount of variation. Although no special computer program was developed for this project, the principle is consistent with the basic principle of ALGORITHMIC DESIGN, namely that simple operations applied to a limited number of items produce complex results.

Image Courtesy Makoto Sei Watanabe / Architect´s Office
A theater is a place for heart-stirring performances and interpretations that rouse our emotions. Shapes like these, which resonate in tune with the required functions, are appropriate for such a space. The swaying waves contribute to a feeling of excitement and anticipation of what is about to occur.

After meeting all of the functional requirements, the next step was to make RIBBONs as open as possible, floating high above the site. To achieve this, the backstage rooms were placed below ground to give them a lower profile. Beneath the waves and in the spaces between the waves can be seen the buildings of the city.

The rhythm of the cityscape and the undulation of the waves reinforce each other, so that the city as a whole becomes a background to the theater. This is the result of a conscious decision to exploit the environmental conditions – an outdoor theater on a site surrounded by buildings – in the spatial configuration of the project.

Instead of creating a separate world isolated from the cityscape, the theater incorporates its surroundings. While maintaining its own identity, it is open to the environment. This project will be a success if performances in the theater escape the limitations of the physical stage and extend out into the city. If it can achieve this, RIBBONs will transcend its role as canopy and play a role in expanding the functions of the theater.
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source: frac-centrefr
L’architecture de Watanabe résulte de l’interaction directe avec la ville, qui est pour lui un événement en continuelle évolution. Dans ses architectures complexes aux formes fluides et dynamiques, il exploite l’énergie positive du chaos et cherche à s’affranchir de toute pesanteur pour souligner la « qualité flottante » de l’espace. Ses expérimentations génèrent ainsi des réalisations spectaculaires depuis Mura-no terrace (1995) ou le K-Museum (1996) jusqu’à ses projets de gare pour train à grande vitesse (2004-2005). L’architecte mise sur l’intégration des paramètres naturels (lumière, vent, etc), structurels et communicationnels dans des programmes algorithmiques fonctionnant comme système matriciel : toute modification d’un élément altère la chaîne de relations et génère un nouveau calcul de l’ensemble du système. Le projet de recherche Induction Cities, initié en 1990, est fondé sur ce principe de génération hétérogène pour des logements collectifs. La Station de métro d’Iidabashi (2000) à Tokyo, déploie une trame connective et continue, qui annonce les recherches récentes de l’architecte sur le « ruban » (Ribbon), système fluide et multiperformant dont les circonvolutions créent des surfaces et des espaces différenciés tout en répondant à des contraintes matérielles et structurelles (Ribbon’s Theater, Taiwan, 2009).

Diplômé en 1976 de l’Université Nationale de Yokohama, Makoto Sei Watanabe rejoint en 1979 Arata Isozaki avant de fonder sa propre agence en 1984. Watanabe a enseigné à l’Université de Denki à Tokyo, à l’Université de Housei, de Yokohama ou encore de Tamkang à Taipei. Exposé à ArchiLab en 1999 et 2006, Makoto Sei Watanabe a reçu de nombreux prix, dont le Public Architecture Award au Japon en 2008.