架构师提供的文本描述。以色列不断增长的钻石交易所区的最新补充是独特的几何形状的中庭塔，由著名建筑师莫什·祖尔设计。在158米高和38层的零售，玻璃摩天大楼持有LEED白金认证-这是以色列第一次这样做。这座建筑的名字来源于它令人印象深刻的中庭入口大厅，由建筑师奥德·哈拉夫(Oded Halaf)设计，他提出了一个激进的想法：在四层高的正交玻璃环绕的大厅中建造一个雕塑式的楼梯元素；一项复杂而看似不可能的任务，必须委托一位拥有知识、经验和巨大创造力的专业人士来完成。

Text description provided by the architects. The newest addition to Israel’s growing Diamond Exchange District is the uniquely geometrical Amot Atrium Tower, designed by prominent architect Moshe Zur. At 158 meters and with 38 floors of retail, the glass skyscraper holds a LEED platinum certification - the first of its kind in Israel. The building's name is drawn from its impressive atrium entrance hall, designed by architect Oded Halaf, who incepted a radical idea: constructing a sculptural stair element into the orthogonal, glass-encased, four-story high lobby; a complex and seemingly impossible assignment, which had to be commissioned to a professional who holds knowledge, experience and immense creativity. 

 © Itay Sikolski (NUMSIX)

c Itay Sikolski(NUMSIX)

进入TomerGelfand：一位精通的工匠，专门为工程问题提供架构解决方案。自从继承了他父亲1976年创立的工作室以来，格尔芬德一直在用木头、不锈钢和玻璃进行设计。在18个月的时间里，自从Halaf向Gelfand展示了他的楼梯草图以来，Gelfand成功地设计、执行、监督和最后完成了所有的建造阶段，把Halaf的梦想变成了现实。

Enter Tomer Gelfand: a masterful craftsman who specializes in giving architectural solutions to engineering problems. Since inheriting his father’s 1976-founded studio, Gelfand practices design implementations in wood, stainless steel, and glass. Over the 18-months period, since Halaf presented his rough sketch of the stairs to Gelfand, the latter managed to design, execute, supervise and finalize all stages of construction, turning Halaf’s dream into a reality.

楼梯结构由两个联锁部分组成：一个骨架金属楼梯和一个雕塑木信封。它们一起从接待处升起，就像一股富有表现力的龙卷风-被设想为起始平台，一直延伸到一楼的阁楼，高出14米。为了实现这一目标，Gelfand设计了一个连续木型材系统，这看起来可能是灵活的和可弯曲的，但实际上是非常僵硬和稳定的。Gelfand首先对骨骼进行mri型扫描，垂直切割结构，并在给定的木剖面宽度内生成剖面。大量的结果部分，每输出一个不同的半径要求，产生了一个似乎无止境的拱门数量。为了处理这一问题，Gelfand将其缩小到“主拱门”-通过计算木型材的平均弯曲公差来设计，这就决定了“主拱”的半径和角度。

The stair structure is composed of two interlocking parts: a skeletal metal staircase and a sculptural wooden envelope. Together, they rise as an expressive tornado from the reception desk - conceived as the inception plateau and up to the first-floor mezzanine, fourteen meters above. To make this happen, Gelfand devised a system of continuous wooden profiles, that may seem flexible and bendable - but is in fact extremely stiff and stable. Gelfand began by implementing an MRI-type scan to the skeleton, cutting vertically through the structure and generating sections in the width of the given wooden profile. The tremendous amount of resulted sections, each exported with a different radius requirement, produced a seemingly-endless amount of arches. In order to deal with this abundance, Gelfand narrowed it down to ‘master-arches’ - devised by calculating the wooden profile’s average bend tolerance, which dictated the ‘master-arches’ radius and angle.

 © Itay Sikolski (NUMSIX)

c Itay Sikolski(NUMSIX)

接下来是从材料本身创建径向轮廓：在数控机床中总共切割了9000米长的杨树原木，以创建主拱形模块的清单，每个模块都经过遗传编码，并被标记为符合总体方案。由于每一段都是不可互换的，每一项措施都必须事先采取，以确保最终实现的一致性：例如，模块之间的每个连接点都以反向半径完成；同时，它形成一个似窦性波，从而产生一个无缝过渡。此外，数码锯通过原始木材呈现各种自然色彩。为了解决这一问题，从杨树片中提取了12种平均色调的味觉，然后将其应用到模块中。

Next was creating the radial profiles from the material itself: a total of 9,000 meters in length of raw Poplar wood was cut in a CNC machine to create the inventory of master-arches modules, each coded genetically and marked to fit precisely in the grand scheme. As each piece was non-interchangeable, every measure had to be taken in advance to ensure the coherency of the final implementation: For example, each of the connecting points between the modules was completed with a reverse radius; together, it forms a sinus-like wave, thus creating a seamless transition. In addition, the digital saw through the raw wood presented with various natural colors. To solve this, a palate of 12 average shades was drawn from the Poplar pieces and then applied to the modules.

 © Itay Sikolski (NUMSIX)

c Itay Sikolski(NUMSIX)

最后，编码的配置文件被交付到网站进行最后的拼图工作：一个精确的、为期四个月的精细装配工作，由Gelfand自己管理和监督。最后的结果概括了当代创作的悖论：作为一种艺术的、手绘的手势，实际上是一个算法数据处理的结果和无数可互换的作品的产物。看似武断却完全电脑化；大自然的物质被当今真正的技术艺术家所利用。

Lastly, the coded profiles were delivered to the site for the final puzzle work: a precise, four-month long delicate work of assembly, managed and supervised by Gelfand himself. The final result encapsulated the paradox of contemporary creation: what appears as an artistic, hand-drawn gesture, is, in fact, a result of an algorithmic data processing and the product of countless interchangeable pieces. Seemingly arbitrary yet utterly computerized; nature’s matter harnessed by today’s true artists of technology.

Architects Tomer Gelfand , Oded Halaf

Location Tel Aviv-Yafo, Israel

Category Offices Interiors

Architect Oded Halaf

Project Year 2016

Photographs Itay Sikolski (NUMSIX)