架构师提供的文本描述。“金月”是一种临时建筑结构，探讨如何将香港独特的建筑传统和工艺与当代设计技术结合起来，创造出一个富有表现力和迷人的公共活动空间。这是香港旅游发展局为中秋节举办的“灯笼奇景”设计比赛的二二年度金奖得奖作品，并在香港维多利亚公园展出六天。

Text description provided by the architects. The Golden Moon is a temporary architectural structure that explores how Hong Kong’s unique building traditions and craftsmanship can be combined with contemporary design techniques in the creation of a highly expressive and captivating public event space. It is the 2012 Gold Award winning entry for the Lantern Wonderland design competition organised by the Hong Kong Tourism Board for the Mid-Autumn Festival and was on display for 6 days in Hong Kong’s Victoria Park.

 © Grandy Lui

(男)

“金月”重温了中国灯笼的概念，并将其与月亮不朽女神嫦娥的传说直接联系在一起-这两个元素与中秋节密切相关。根据爱情故事，嫦娥住在月球上，远离她住在地球上的丈夫后羿。这对夫妇只能在中秋节的晚上见面，那是月亮最饱满、最美丽的时候。那一天，为了象征这对重聚的情侣之间激情的燃烧，这盏6层高的球形月亮灯笼用炽热的颜色和图案覆盖着抽象的火焰。灯笼被放置在一个倒影池中，足够容纳150人进入并完全沉浸在声音和光线的体验中。

The Golden Moon revisits the concept of a Chinese lantern and makes a direct link to the legend of Chang’e, the Moon Goddess of Immortality – two elements strongly associated with the Mid-Autumn Festival. According to the romantic story Chang’e lives on the moon, away from her husband Houyi who lives on earth. The couple can only meet on the night of the Mid-Autumn Festival when the moon is at its fullest and most beautiful. To symbolise the passionate love burning between the reunited couple that day, the 6-storey-high, spherical moon lantern is clad with abstracted flames in fiery colours and patterns. The lantern is placed in a reflection pool and is made large enough for up to 150 people to enter and be fully immersed in the sound and light experience.

 © Kevin Ng

(C)凯文·吴(Kevin Ng)

传统的灯笼制作材料，如半透明织物、金属丝、竹子等，已被大规模转化。一个重量轻的钢测地穹顶构成了展馆的主要结构，是围绕着它的计算机生成网格的基础。这个网格是通过竹子的二级结构来实现的。为此，香港采用了传统的竹制脚手架技术-这是一种高速、本能的搭建脚手架的方式，例如香港的许多摩天大楼。这种高度直观和不精确的工艺与精确的数字设计技术结合在一起，精确地安装和弯曲竹竿，形成一个包裹钢穹顶的网格。然后，这个网格被拉伸的织物火焰所覆盖，所有的火焰都被LED动画灯点亮。

Traditional materials for making lanterns, such as translucent fabric, metal wire and bamboo, have been translated to a large scale. A light-weight steel geodesic dome forms the pavilion’s primary structure and is the basis for a computer-generated grid wrapped around it. This grid is materialised through a secondary structure from bamboo. For this, Hong Kong’s traditional bamboo scaffolding techniques were used – a high-speed, instinctive way of building scaffoldings for e.g. the city’s many skyscrapers. This highly intuitive and imprecise craft was merged with exact digital design technology to accurately install and bend the bamboo sticks into a grid wrapping the steel dome. This grid was then clad with stretch fabric flames, all lit up by animated LED lights.

 © Kevin Ng

(C)凯文·吴(Kevin Ng)

竹子和火焰遵循一种基于球体小组化算法的模式，该算法在赤道周围产生纯净和重复，并在两极产生缺陷和近似。这种渐进式的变化，再加上定义几何学的俯冲曲线和能量曲线，创造了一个非常动态的空间，吸引着观众的视野向顶端走去。通过把这个包层网格的轴不是垂直的，而是在一个角度下，穹顶得到一个不对称的方向性。这个运动是由入口处加强的，入口沿着这个倾斜的轴，把人拉进球体，然后沿着网格的切线和矢量被扫走。展馆的色彩放大了淹没在光明仙境中的效果。在黑色油漆钢结构的顶部，形成一个中性的基础，八种不同的，饱和的弹性织物颜色被用于火焰。颜色逐渐从象牙和黄色到强烈的橙色，红色和深波尔多。最亮的颜色用在倾斜的底座上，而最暗的颜色则用在极上，在那里，它们和更复杂的几何图形一起，使图案分解成黑色的夜空。

The bamboo and flames follow a pattern based on an algorithm for sphere panellisation that produces purity and repetition around the equator and imperfection and approximation at the poles. This gradual change, combined with the swooping and energetic curves that define the geometry, creates a very dynamic space that draws spectator’s view up towards the tip. By putting the axis of this cladding grid not vertical but under an angle, the dome gets an asymmetric directionality. This motion is reinforced by the entrance which is placed along this tilted axis to draw people into the sphere and where they get swept away along the grid’s tangents and vectors. The colouration of the pavilion amplifies this effect of submergence in a light wonderland. On top of the black painted steel structure, which forms a neutral base, eight different, saturated colours of stretch fabric are used for the flames. The colours gradually range from ivory and yellow to intense orange, red and deep bordeaux. The brightest colours are used at the tilted base whereas the darkest colours are used at the pole where they, together with the more scrambled geometry, make the pattern disintegrate into the black night sky.

“金月”建立在对“建筑简单”的研究基础上，即用最简单的手段建造复杂的几何学和空间。在这项研究中，我们战略性地将数字设计技术，如计算机编程或数控加工技术，与传统工艺和基本材料相结合。在这个项目中，程序建模技术被用来控制独特几何的产生：一个按斐波纳契序列包裹的球体，它沿赤道产生顺序，并在极地产生随机性。代码用于制作简单的图纸，使劳动力能够很容易地在钢结构和竹子之间标记交叉点。这些图纸在定义安装公差时考虑了传统竹脚手架施工的细节。优化脚本最终被用来减少独特的弹力织物“火焰”的数量，从470个不同的单位减少到10个不同的类型，可以伸展和适应不同的条件，他们的应用。所有细节和施工程序的设计，以允许高速生产，因为只有11天的现场施工，为这个6层高的展馆。为了在有限的时间内成功地结束这个项目，从一开始就需要与工匠进行非常密切的交谈。建筑方法和熟悉的建筑技术的先入为主的观念必须被各方摒弃，因为数字世界和物质世界都要求设计新的设计和建筑设置。该项目为数字设计提供了另一种方式，使其成为一个更人性化的环境，具有有限的时间框架、低的预算、极小的精度，但具有灵活性、创造性和特别的创造性等现实世界条件。

The Golden Moon builds up on research into “building simplexity”, the building of complex geometry and space using the simplest of means. In this research we strategically combine digital design techniques, such as computer programming or CNC fabrication, with traditional crafts and basic materials. In this project procedural modelling techniques were used to control the production of the unique geometry: a sphere that is wrapped with a diagrid according to a Fibonacci sequence that produces order along the equator and randomness at the poles. Code was used for the production of simple drawings that would allow the labour force to mark up intersections between the steel structure and bamboo easily. These drawings took traditional bamboo scaffolding construction detailing into consideration in the definition of installation tolerances. Optimisation scripts were finally used to reduce the amount of unique stretch-fabric “flames” from 470 different units to 10 different types that could stretch and adapt to the various conditions in which they were applied. All details and construction procedures were devised to allow for a high-speed production as only 11 days of onsite construction were available for this 6-storey-high pavilion. To bring the project to a successful end within the limited time available, a very close conversation with the craftsmen was required from the beginning. Preconceptions of building methods and familiar construction techniques had to be abandoned by all parties as both the digital and the material world demanded a new design and building set-up to be devised. This project shows an alternative way for digital design to be materialised into a more humane environment with real-world conditions like limited time frames, low budgets, minimal precision but human flexibility, creativity and ad-hoc inventiveness.

 Courtesy of Hong Kong Tourism Board

香港旅游发展局提供

“金月”在晚上向公众开放，展馆内外都呈现出一种声光相间的景象。大约150人可以同时走过灯笼。灯光表演包括一个主要的，完全预先编排的表演，每15分钟播放3分钟，并与12分钟的间歇表演交替进行。在3分钟的节目中，大规模的图案被专门设计成从一个可以将穹顶视为一个孤立物体的距离上进行全面的设计。在穹顶内部，这些图案变得更加抽象，淹没在人们身上，形成了一个声音、光和颜色的另类世界。这12分钟的间接字是使用来自“代理”或“boids”的非线性、非重复的颜色图案来开发的，这些图案产生的植群模式类似于自然界中在鱼群或鸟群中发现的那种。这样做是为了给展馆一个充满活力的印象，并在整个晚上创造出各种各样的用户体验。

The Golden Moon was opened to the public in the evening and displayed a sound and light spectacle visible both from inside and outside the pavilion. Around 150 people could walk through the lantern simultaneously. The light show consisted of a main, fully pre-choreographed show that plays for 3 minutes every 15 minutes and was alternated with a 12 min intermezzo. For the 3 minute show large scale patterns had been designed specifically to be comprehensive from a distance from where the dome can be seen as an isolated object. Inside the dome these patterns became more abstract and submerged people into an alternative world of sound, light and colour creates. The 12 minute intermezzo was developed using non-linear, non-repeating colour patterns from “agents” or “boids” that generate flocking patterns similar to those found in nature in schools of fish or flocks of birds. This was done to give the pavilion the impression of being alive and create variety of the user experience throughout the evening.

“金月”是在短短11天内建成的，它展示了如何通过先进的数字设计技术和传统的手工工艺相结合，以最简单的方式以高速度和低成本建造复杂的几何图形。它通过在强烈的物质性中锚定范式来重新思考数字设计的前提。有近50万游客在其6天的寿命，展馆利用它的动态空间，结构，颜色，纹理和光线，以触发一个感官反应的游客在2012年的中秋节。

The Golden Moon was built in only 11 days and shows how, through a combination of state-of-the-art digital design technology and traditional hand craftsmanship, complex geometry can be built at high speed and low cost with the simplest of means. It rethinks the premise of digital design by anchoring the paradigm in a strong materiality. With nearly 500,000 visitors during its 6-day lifespan, the pavilion used its dynamic space, structure, colour, texture and light to trigger a sensuous response from visitors of 2012’s Mid-Autumn Festival.