Puzzle Ball Carving

Steven Chilton Architects has released details of their proposed Puzzle Ball Theatre in the Huadu District of Guangzhou, China. The 2000-seat spherical scheme is influenced by the ancient art of puzzle balls; “intricately carved sculptural ornaments consisting of several concentric spheres, each freely rotating with the next and traditionally formed from a single block of material.”

The Chilton scheme, along with the original Yue-inspired show it will contain, seeks to evoke the characteristics and qualities of the ancient art, through a spherical massing, asymmetric overlapping patterns, and a complex surface geometry.

Steven Chilton Architects在中國廣州花都區發布了他們提出的益智球劇院的細節。 2000座球形方案受古代拼圖球藝術的影響; “精雕細刻的雕塑飾品由幾個同心球體組成,每個球體隨著下一個球體自由旋轉,傳統上由單塊材料組成。”


Architect: SCA | Steven Chilton Architects
Client: Dalian Wanda Group
Architecture and Design Management: Wanda Cultural Tourism Planning & Research Institute Co. Ltd
Concept Engineer: Buro Happold Engineering
Show Design: Dragone

建築師:SCA | 史蒂文奇爾頓建築師事務所
概念工程師:Buro Happold Engineering

Visitors to the scheme entering via the main entrance are treated to a composition of offset spherical surfaces, creating an asymmetric overlapping pattern reminiscent of puzzle balls. The surface geometry is also inspired by the “geometric patterns found on wooden window shutters originating from the region.”

通過主入口進入的方案的參觀者被處理成偏移球形表面的組合,產生不對稱的重疊圖案,使人想起拼圖球。 表面幾何形狀也受到“源自該地區的木製百葉窗上發現的幾何圖案”的啟發。

The eye-catching cladding was designed with a variety of goals. The sizing and placement have been optimized to limit the number of panels needed to cover the sphere, resulting in a reduction in time needed for fabrication. The cladding also seeks to “capture the complexity and differential porosity that is a characteristic of real puzzle balls,” while distributing the complex areas of the façade to maximize their exposure to the public.

引人注目的包層設計有多種目標。 尺寸和位置已經過優化,以限制覆蓋球體所需的面板數量,從而減少製造所需的時間。 包層還旨在“捕捉複雜性和差異孔隙度,這是真正的拼圖球的特徵”,同時分佈複雜的立面區域,以最大限度地向公眾展示。

These goals were achieved through the creation of a triangular grid based on a geodesic polyhedron, with engineers’ input ensuring it achieved the optimal structural properties. Rhombus and trapezoid-shaped panels were then developed and distributed across the grid over three generations, each one reducing in size from the previous. As the pattern approaches the ground and entrances, the density and complexity of the surface increases.

這些目標是通過建立一個基於測地多面體的三角形網格來實現的,工程師的輸入確保了它達到了最佳的結構特性。 然後開發出菱形和梯形面板,並在整個網格上分佈三代,每一代都比以前減小了尺寸。 隨著圖案接近地面和入口,表面的密度和復雜性增加。

The size of the opening in each panel is determined by the need for national light and views into the lobby and main entrance while ensuring the façade is as closed as possible in higher parts of the building to avoid unwanted heat gain. The design outcome of these several components, conditions, and desires is a “gentle and gradual variation of solids and void” paying tribute to an intricate aspect of Chinese culture.

每個面板的開口尺寸取決於對國家燈光的需求以及大廳和主入口的視野,同時確保建築物較高部分的外立面盡可能封閉,以避免不必要的熱量增加。 這幾個組成部分,條件和願望的設計結果是“固體和空洞的溫和和漸進的變化”,向中國文化的複雜方面致敬。

News of the scheme comes weeks after Steven Chilton Architects designed a forest of white columns and a latticed metallic roof around the Wuxi Show Theater in China.

有關計劃的消息是在Steven Chilton Architects在中國無錫表演劇院周圍設計了一個白色的柱子和一個格子金屬屋頂的幾週之後。


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