新作丨深浅渐变 光影随行——影像混凝土的艺术呈现

新作丨深浅渐变 光影随行——影像混凝土的艺术呈现

肖泽恒 ZaomeDesign 3天前



▲光影板实拍视频



如何用单一灰度的材料表现有无限灰度的图片呢?


我们用混凝土找到了答案。

How to show infinite grayscale pictures with singlegrayscale material? 
We found the answer with concrete.

 



01


光影板 


混凝土是建筑大师们最为青睐的材料之一。混凝土像水,在不同的模具中塑造不同的形状,呈现不同的质感,所以结构大师奈维尔(Pier Luigi Nervi)说,“混凝土的核心特征正是它的塑性”。也因为这种无比柔软的身段,同样是混凝土,不同的大师却用出了各自的风格:安藤忠雄的混凝土克制,柯布西耶的混凝土粗野,路易斯·康的混凝土静穆,坎德拉的混凝土轻盈如纸……

Concrete isone of the most popular materials for architects. So structuralism leader Nervi(Pier Luigi Nervi)said,” The core characteristic of concreteis its plasticity.” Different masters have showed theirown styles with same concrete: Tadao Ando’s concrete isrestrained, Corbusier’s concrete is rough, Louis Kahn’s concrete is quiet, Candela’s concrete isas light as paper……


依靠这种塑性,混凝土拥有丰富的表现力以待挖掘。当模板被卸下时,混凝土的表面会留下自然的木纹肌理,目光划过,形成沃尔夫林(Heinrich Wolfflin)所描述的“触摸感“的视觉体验。这触发了我们的好奇心:如果用混凝土作画又会带来怎样的体验呢?

Based on this plasticity, concrete has richexpressiveness to be excavated. When the template is removed, the surface ofconcrete will leave a natural wood texture, and it will form the visualexperience of “touchingfeeling” described by Heinrich Wolfflin when you glancethrough the concrete. This triggered our curiosity: what kind of experiencewill it bring if we paint with concrete?

 

混凝土在浇筑的过程中需要不断地搅拌,使之均匀,若在其中加入不同的色彩,则很难控制颜料的分布,就算是单色,亦是如此。如何用单一灰度的材料,取代颜料作为表现画面明暗的手段,表现有无限灰度的图片呢?我们的答案是光影。

The concrete need to be stired ceaselessly in theprocess of pouring to disperse it homogeneously. If different colors are addedto it, it’s difficult tocontrol the distribution of pigments, even for monochromatic colors. How can weuse single grayscale material to replace pigments as a means to show the lightand shade of the picture to show infinite grayscale pictures? Our answer isshade and shadow.

 

光影成像的原理并不复杂。只需将混凝土塑形为齿条状,在多方向来光的室内条件下,齿条凹凸自然会产生阴影,凹陷较浅处受光面积大,阴影较浅,反之,凹陷深处受光面积小,阴影则较深。深浅不一的光影会形成图案。至此,我们将成像的问题转化为对混凝土凹槽深浅的控制,问题得解,而这项工艺也有了其恰切的名字——光影板。

The principle of light and shadow imagingisn’t complicated. Wejust need to shape the concrete into racks and under the condition ofmulti-direction of light, the concave and convex shadow will be producedlegitimately. The light area of the shallow depression is large and the shadowis shallow, on the contrary, the light area in the deep depression is small andthe shadow is deep. Images will be produced by light and shadow of differentdepth. Thus, we turn the problem of imaging into the control of the depth ofthe concrete groove. The problem is solved and this craft also has its propername-Smooth Shadow Board.

光影板原理 ©于善行

 

为了测试光影成像这一原理,我们制作了小尺寸的样板进行测试。我们在A4大小的混凝土板上塞入88个齿条,齿条之间是乔布斯照片转译形成的曲面。灯光亮起,乔布斯的形象在混凝土板上生动而静谧。


To test the principle of light and shadow imaging, wemade a small sample for testing. We put 88 racks into A4 size concrete slab,among the racks is a curved surface formed by the translation of the photo ofSteve Jobs. With the lights on, the image of Jobs is vivid and quiet on theconcrete slab.

 

乔布斯光影板©姚裕秋


光影板侧面©姚裕秋

 

这终归只是一幅小小的装饰画,混凝土作为最常用的建筑材料,只有成为结构,成为墙壁时,才算真正完成了它的使命。我们也不由地期待,当这种视触觉的体验延伸至一整座墙面时,将会是怎样的震撼?

This is only a small decorative painting after all.Concrete as the most commonly used building materials, only when it becomes astructure and a wall, it can truly fulfill its mission. We can’t help but look forward to that whenthis kind of visual touch experience extends to a whole wall, what kind ofshocks will it be?

 

机缘巧合,我们接到了一家设计院的委托,得以在他们的大堂中实现我们的设想。这家位于二环官园桥附近的设计院致力于创造人与自然和谐共处的可持续建筑,为了传达宜居、环保的设计理念,设计师选择了一幅森林的图片作为混凝土影像的表现目标。森林图像也意寓着新建筑舒适、节能、健康的办公环境。

As luck would have it, we accepted a commission from adesign institute so that we can realize our vision in their lobby. The designinstitute which located near the Official Bridge of the Second Ring Road, isdevoted to creating sustainable buildings where people and nature can coexistharmoniously. The designer selected a picture of forest as the performancetarget of concrete image to convey the design concept of livability andenvironmental protection. Forest image also implies comfortable, energy-savingand healthy office environment in new building.

 

网络图片

 

这幅照片中树影层层叠叠,或深或浅,甚至深浅之间还有渐变,呈现出了丰富的灰度层次。光影板需要通过对光影的控制,实现灰度的“无级”变化。我们首先在自制的图形软件中,将目标图片的灰度转化凹陷的深度,深度在室内光环境下又再次转化为光亮与阴影的信息,完成图片的二次转译。图片从2d的灰度信息,转化为混凝土板上的凹凸变化, 35mm的厚度中塞入了一张复杂的曲面,微妙的光影在这小小的深度中被细腻地传递,混凝土板不再是一款只有表面质感的平板。

The shadows of the trees in this photo are layered,shallow or deep, and even with anamorphism between the depths. It presents arich gray level. The smooth shadow board needs to control the light and shadowto realize the “stepless” change of gray level. First of all, in the self-made graphicssoftware, we transform the gray level of the target image into the depth ofdepression, and the depth is converted into the information of light and shadowagain in the indoor light environment to complete the second translation of theimage. Te picture changes from 2d gray information to concavo-convex change onthe concrete slab. A complex curved surface is @Inserted into the 35mmthickness.Subtle light and shadow are delicately transmitted inthis small depth. The concrete slab is no longer a normal flat slab with only asuperficial texture.

 

局部细节©吕博

 

光影成像互动性较强,同时也有一定的技术含量,但是大规格尺度的光影图像板会有强大的震撼力。而大尺度的呈现需要清晰度较高的图像,图像越清晰表现效果越好,可以任意设计,充分表达设计师创意。

Light and shadow imaging has strong interaction, andalso has a certain technical content, but the large-scale light and shadowimage board will have a strong shock. However, large-scale rendering needshigh-definition images. The clearer the image is , the better the performanceis. It can be designed arbitrarily to fully express the designer’s creativity.

 



02


制作 


如此复杂的混凝土表面,要怎样被塑造出来?这是一个难题。

 

混凝土制作需要模具,复杂的模具又是通过对模种的翻模塑形而来。也就是说,先要在其他材质上先制作出光影曲面,再通过模种-模具-成品的流程,制作光影板。

How to shapesuch a complex concrete surface?This is a conundrum.

Concreteproduction needs molds, and the complex molds are formed by turning over theprototype. That’s tosay, we should first make the light shadow curved surface on other materials,and then make the smooth shadow board through the process of prototype- mold-end product.

 

 

我们选择使用数控机床(cnc)对密度板进行雕刻,使用4mm左右的球形刀,蛇形往复地在密度板上面雕刻,每条雕刻路径的间距为0.15mm4m高的光影板需要分两张1220*2440mm的密度板进行雕刻,数控机床需要工作24小时才能雕刻形成单张光影板的复杂曲面。

We choose to use CNC to carve the density board, aspherical knife of about 4mm is used to carve reciprocally on the density boardin a serpentine way. The distance between each carving path is 0.15mm. A 4mhigh smooth shadow board needs to be divided into two density boards of1220*2440mm to be carved. CNC needs to work for 24 hours to carve the complexcurved surface of single smooth shadow board.



密度板模种

 

两张密度板拼合,经喷砂打磨,缝隙修补等工序的处理,再在保持高精度水平的平台上进行翻模。4m长的模具用钢管进行加固,以保证在这个长度下,模具制作的板材平直无弯,安装后板与板之间缝隙均匀笔挺。

Two density boards are assembled, sandblasted andpolished, gab repaired and other treatment processes are processed, and thenthe mold is turned over on the platform with high precision level. The 4m longmold is reinforced with steel pipe to ensure that the steel plate made by themold is straight without bending, and the gap between the plates iswell-distributed and straight after installation.

 

 


03


材料 



混凝土的材料研发是另一个难题。4m及以上更大规格的长板需有极好的物理性能。我们在进行了数次材料配比和工艺的研发后,混凝土的强度(抗压和抗折)有了很大的提升,抗压从45-50MP稳定提升到100-120MP,抗折从8-15MP稳定提升到20-25MP,混凝土表面硬度达到莫氏5级,特殊处理后更达到莫氏6级。

The researchand development of concrete materials is another problem. 4m and above thelarger size of the long board must have excellent physical performance.After severaltimes of research and development of material ratio and technology, thestrength (resistant strength and rupture strength) of concrete has been greatlyimproved, the resistant strength increased from 45-50mp to 100-120mp, thesurface hardness of concrete reached Mohs grade 5, and reached Mohs grade 6after special treatment.


工艺研发也从清水混凝土表面修色处理提升为滲透型色差控制,从而避免了“假清水混凝土”的出现,真实的呈现混凝土最本真的色泽和质感。同时也根据不同的工艺控制而研发出新的清水混凝土肌理。高强清水纤维混凝土薄板会呈现更加自然肌理,可制作超大尺寸规格,满足建筑室内外的表皮语言需求。


The process ofresearch and development has also improved from the surface color modificationof fair faced concrete to the control of permeable color difference, thusavoiding the appearance of “false fair faced concrete”, and trulypresenting the most authentic color and texture of concrete. At the same time,according to different process control, the new fair faced concrete texture isdeveloped. High strength fair faced fiber concrete sheet will present morenatural texture, and can be made into super large size specifications to meetthe needs of skin language inside and outside the building.

 


©吕博

 

©吕博

 

©吕博

 



04


安装 



近5m高的板材四周制作出肋梁,通过预埋件与墙体上的钢结构连接,组成三面光影墙。

Rib beams aremade around a slab with a height of about 5m, which is connected with the steelstructure on the wall by embedded parts to form three light shadow walls.  


节点大样

 

节点大样


效果图©于善行

 

光影墙伫立在大厅中央,划分出两个空间,中间留出的位置自然形成门洞。两侧自然光撒入,直线光带在天花抬升处穿过光影墙,更多的光洒落。

The light shadow wall stands in the center of thehall, and divide the hall into two spaces, the position left in the middleforms a doorway naturally. Natural light on both sides is scattered, and thestraight-line light band passes through the light shadow wall at the ceilingelevation, and more light is scattered.

 

3面光影墙极高却也极薄,静置于大厅当中,而更像是划分空间的3幅画。不同方向的光在光影板凹凸的表面留下阴影,灰度深浅变化,呈现出影影倬倬的树林图像。

Three light shadow walls are very high but very thin.They are standing in the middle of hall. They are more like three paintingsdividing the space. Light from different directions leaves shadows on theconcave and convex surface of the light shadow board, and the changes of graylevel showing the forest images with different depth.

 

在这一空间中,灰色并不显眼,默不作声地调节着空间的氛围。当视线稍作停留,这片灰色便立马分出了深浅的调子,组成森林的图像。再仔细看下去,会发现深浅调子来自于板材均匀平直的齿条之间,或粗或细、或长或短的阴影。凑近了瞧,会看到齿条之间凹凸变化的曲面,以及露出的点点白色骨料,过渡平滑,形状来自24小时一道道连续轨迹的雕刻。这是一个可以仔细、反复凝视的设计,复杂的细节藏在35mm厚度中。

The gray is not conspicuous in the space, it’s regulating the atmosphere of thespace in silence. The gray immediately distinguishes the different depth of thetone and forming the forest images when the sight slightly stops. If you watchcarefully, you will find the tone comes from the coarse shadow or thin shadow,long shadow or short shadow between even and flat racks of the slab. If youlook closer, you can see the curved surface with concave and convex variationsbetween racks and exposed white aggregate tiny spots. The shape comes from thecarving of continuous tracks in 24 hours. It’s a designwith complex details hidden in a thickness of 35mm that allows you to gazecarefully and repeatedly.

 

©吕博


©吕博

 

©吕博

 


 

05


文创 


一个好的工艺是可以延伸至不同尺度的。

  A good craftcan be extended to different scales.

 

多孔砖是建筑中最为常见的砌块之一,通常被涂料所覆盖,尺度变换后,可以变成带有建筑师特征的文创产品。我们将光影板的尺度缩小,融入多孔砖的表面,曲面在放缩之后,齿条纤细,但并不影响光影造型的表现,方寸之间依然能显示森林的图像。砖块的功能价值体现在三个孔洞中,孔洞封底作为笔筒或花器或收纳,砖块的尺寸也正适宜于承托尺笔。

Perforated brick is one of the most common buildingbricks, it’s usuallycovered by paint. After changing the scale, it can be turned into cultural andcreative products with architect’s characteristics. Wereduce the size of the light shadow board and integrate it into the surface ofporous brick. After the curved surface is expanded and shrunk, the racks areslim, but it doesn’t affect the performance of lightand shadow modeling, the forest image can still be displayed between the squareinches. The functional value of brick is reflected in the three holes. The backover of the hole can be used as a pen holder, a flower ware and a storage box,and the size of the brick is also suitable for supporting the ruler and pen.


在中国浩浩荡荡的城市化大潮中,大量建筑物被改造或重建,产生海量的建筑废渣。这些是中国高速发展过程中甩在身后的影子。作为混凝土类的文创产品,可以将这些废渣回收利用,将建筑的历史碎片重新铸成一块新的“砖”或一面”墙“,这也是一件挺有意思的事情。

In the tide ofurbanization in China, a large number of buildings have been reconstructed orrebuilt, which resulting in massive construction waste. These are the shadowsleft behind the China’srapid development. As a kind of concrete cultural and creative products, it’s also a very interesting thing to recycle these wastes and casthistorical fragments of buildings into a new “brick” or a “wall”.

 

除了混凝土最为常见的灰,我们还制作了砖红、浅蓝和牛油果绿3色,为平平无奇的砖块注入一丝个性。活泼的配色让这一设计更跳脱于建筑师自娱自乐的产物,更富于时尚性,成为面更广泛受众的,带有强烈建筑符号属性的文创产品。

In addition to the most common gray in concrete, wealso made three colors, brick red, light blue and avocado green to inject a bitpersonality into the ordinary brick. The lively color matching makes thisdesign more out of the product of architect’s self entertainment, more fashionable and becomes a cultural andcreative product with strong architectural symbol that attribute for a wideraudience.

 

光影砖©吕博


光影砖©吕博

 

光影砖©肖泽恒


光影砖©肖泽恒

 

光影砖©吕博


光影砖©吕博

 

光影砖©肖泽恒

©于善行

 

品牌:mattering

联系方式:mattering@126.com

主案设计:维拓传奇中心室内设计

影像板主创团队:于善行 肖泽恒 周正

技术支持:造么工作室、 雷诺

工程实施:北京中建华腾装饰工程有限公司

影像支持:吕.视觉艺术

影像主创作团队:吕博 李奔跑

翻译:张欣翊



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