© Nick Hayes

尼克·海斯

2012示范家居展在上海落基博物馆举行。上海的艺术家迈克尔·林和东京的建筑师Atelier Bow-Wow的作品，它的主要元素是一系列巨大的壁画填充了整个建筑，以及建筑单位，临时安置了进行这幅画的工人。

The Model Home 2012 exhibition was held at the Rockbound Museum in Shanghai. The work of Shanghai-based artist Michael Lin and Tokyo-based architects Atelier Bow-Wow, it’s major elements were a series of huge wall paintings that filled the entire building, and building units that had temporarily housed the workers who had carried out the painting.

 Courtesy of 5th Auckland Triennial, Auckland Art Gallery Toi o Tamaki

奥克兰第五届三年展，奥克兰美术馆

在中国，焊接钢框架成本低，材料容易加工。然而，在奥克兰重新设计这种钢结构会带来一个设计难题-它会很昂贵，在三年后处理大楼时会产生大量的浪费，而且在概念上也会不一致(在奥克兰，没有人会住在房子里)。

In the Chinese context, the welded steel frames are very low in cost and easily worked materials. However, recreating this steel design in Auckland presented a design dilemma – it would have been expensive, created a lot of waste when the building was disposed of after the Triennial, and would have been conceptually inconsistent (in Auckland, no one would live in the house).

 © Melanie Pau

(麦兰妮·鲍)

AndrewBarrie教授提出的解决方案是创建一个纸质的房子。这是便宜的，几乎所有的回收后，展览，并解决了概念上的不一致-而不是一个建筑物，它是一个原始建筑的文字文件。这种施工图的使用代表了巴里以前在制作现代版本的“okoshi-ezu”时所开发的建筑适应技术，这是一种古老的日本建筑制图技术，用于制作折叠纸模型，作为记录和建筑文件，尤其是用于茶馆。

The solution proposed by Prof. Andrew Barrie was to create a paper version of the house. This was inexpensive, could almost all be recycled after the exhibition, and solved the conceptual inconsistency – rather than being a building, it served as a literal document of the original construction. This use of construction drawings to represent the building adapted techniques previously developed by Barrie when making contemporary versions of okoshi-ezu, an ancient Japanese architectural drawing technique of making fold-up paper models that served as records and construction documents, particularly for teahouses.

 © Melanie Pau

(麦兰妮·鲍)

设计和施工的每一个方面都力求将成本降到最低，并测试现有材料的限度。巴里的团队对上海建筑的施工图进行了细化和放大。这座建筑是由一群建筑系学生建造的，他们预制了木结构框架，很快就能在画廊里组装起来。屋顶结构的建造仅仅是坚固到足以支撑自己的重量，并且被钻机小心地提升到适当的位置。墙壁和屋顶由印刷在标准的80克打印机纸上的图纸组成，手工折叠，用双面胶连接。照明是简单的刺刀固定电缆与超市灯泡。一系列的纸配件，包括绘画工具、家居用品、超薄的家具、人形甚至一只栖息在屋顶上的麻雀，增添了原来工人占用者的魅力和回忆职业。

Every aspect of the design and construction sought to minimize costs and test the limits of readily available materials. The construction drawings for the Shanghai building were refined and amplified by Barrie’s team. The structure was built by a group of architecture students who prefabricated timber frames that could quickly be assembled in the gallery. The roof structure was built only just strong enough to support its own weight, and was carefully lifted into place by riggers. The walls and roof were made of drawings printed on standard 80gsm printer paper, hand folded, and joined with double-sided tape. The lighting was simple bayonet fixtures on cables with supermarket light bulbs. A series of paper accessories, including painting tools, household items, super-thin furniture, a human figure and even a sparrow perched in the roof, add charm and recall occupation by the original worker occupants.

展览结束后，纸元素将被回收，木结构框架将被分解，以便在未来的学生项目中重新使用。

After the exhibition, the paper elements will be recycled and the timber frames broken down for re-use in future student projects.

建筑师Michael Lin，Atelier Bow-Wow Location Auckland，新西兰类别房屋设计-纸屋设计-Andrew Barrie Project Management Melanie Pau建筑团队Melanie Pau，Howie Kang，Wade索斯盖特，Nick Hayes，Rita Mouchi，Patrick Loo，Yusef Patel，Sam Wood Project年2013年照片Nick Hayes，Melanie Pau

Architects Michael Lin, Atelier Bow-Wow Location Auckland, New Zealand Category Houses Paper House Design Andrew Barrie Project Management Melanie Pau Construction Team Melanie Pau, Howie Kang, Wade Southgate, Nick Hayes, Rita Mouchi, Patrick Loo, Yusef Patel, Sam Wood Project Year 2013 Photographs Nick Hayes, Melanie Pau