“制造” 第二届非建筑设计竞赛作品回顾展示│Archi
悬浮映画按：前几期文章我们已经介绍过非建筑设计竞赛的“展示”（Showing）系列竞赛获奖作品。把“建筑”作为一个探索无限可能的工具，将架构（structure）弱化，变成一个永久扩大和变化的世界。
而在第二届非建筑设计竞赛中的“制造”（making）系列中，参赛者与竞赛组委员试图解放关于“制造”的界限与重新定义。在当代，很多时候办公室可能已经成为了员工也将睡觉的地方，建筑的功能性已经被人类的活动弱化了界限。趋势在表明我们的城市需要更进一步地发展，这种模糊性似乎也在重新定义和配置了建筑的类型学。这就让我们来回顾第二届的竞赛获奖作品内容。
（© AMAZONIA PIER）
Making – Alternative design for factories
“制造” -工厂的另类设计
Non Architecture Competitions
（由于竞赛过于有趣，全部作品不能完全展示与说明，如有兴趣可以直接take入非建筑竞赛的网址，或者可以等待我们把竞赛的获奖作品收集齐，再发送上悬浮映画供大家下载。：））
Project/项目介绍
the winners of the second Non Architecture competition (www.nonarchitecture.eu) “Making – Alternative design for factories” have been unveiled, showing some absolutely innovative concepts for factories designs. This was the second of a series of nine competitions, oriented at pushing architects and designers to rethink traditional architectural typologies. In this case factories – intended as building or a group of buildings where goods are manufactured – have been reinterpreted by participants from all around the world. The challenge was to develop an unconventional design for a building to make, with absolute freedom of location, scale and program dimensioning.
The Jury, composed of Alex Hogrefe (founder of Visualazing Architecture and partner at Design Distill); Aldo Sollazzo (founding partner at noumena and researcher at Iaac, Barcelona and Laurent Rosset (creator of Lorystripes and architect at Cebra) selected 3 winners and 12 honourable mentions from more than 100 subscribers.
第二届非建筑设计竞赛(www.nonarchitecture.eu)的获奖作品已经揭幕，展示了一些绝对创新的工厂设计理念。这是九项竞赛中的第二项，旨在推动建筑师和设计师重新思考传统的建筑类型学。在这种情况下，工厂——作为生产商品的建筑或是建筑群落——已经被来自世界各地的参与者重新解读和定义。竞赛旨在开发一种非传统的建筑设计，以绝对自由的位置，规模和尺寸。
由Alex Hogrefe (Visualazing Architecture的创始人和设计部门的合伙人)组成的陪审团;阿尔多·索拉佐(Aldo Sollazzo)(来自noumena的创始合伙人，同时也是Iaac、巴塞罗那和Laurent Rosset的研究人员)，从100多名用户中挑选了3名获奖者和12名荣誉奖。
（© Non Architecture Competitions）
The winning projects showed a variety of approaches, from extremely visionaries solutions, to more practical and business oriented strategies, going from a flying factory to machine that count the passing of time, from mobile factories that work with a simple click on an app to critique industrial presences.
获奖项目展示了各种各样的方法，从极具远见的解决方案，到更实用的和面向商业的战略，从一个飞行工厂到一个计算时间流逝的机器，从使用简单点击程序的移动工厂到工业的存在评论。
1.- WINNER
优胜者
THE CRADLES
摇篮
TEAM: Aldrich CHOY (Singaporean), Allan CHONG (Hong Kong Chinese), Chad SEAH (Singaporean), Frances LAI (Singaporean)
（© THE CRADLES）
（© THE CRADLES）
（© THE CRADLES）
The Cradle Festival is arriving to your city park near you!
London – 1st January
Manchester – 1st March
Newcastle – 1st May
Edinburgh – 1st July
An annual event where you will also be able to catch these unmanned drone factories in action, extracting minerals and materials before manufacturing at the locations listed below.
Kielder Forest – 1st February
Hemerdon Mine – 1st April
Stonebury Farm – 1st June
Invite your family and friends over to the annual Cradle Festival where products are manufactured in front of your eyes using the most advanced CNC robots on deck!
摇篮节将会到达您附近的城市公园！
伦敦 - 1月1日
曼彻斯特 - 3月1日
纽卡斯尔 - 5月1日
爱丁堡 - 7月1日
每年举办一次活动，您可以在这些无人驾驶无人机工厂的行动中，在下列地点制造前提取矿物和材料。
基尔德森林 - 2月1日
Hemerdon矿山 - 4月1日
斯通伯里农场 - 6月1日
邀请您的家人和朋友参加一年一度的摇篮节，在这里您可以在甲板上使用最先进的CNC机器人在眼前制作产品！
FLYING FACTORY
飞行工厂
TEAM: Zheng Cui, Siyang Yu – Chinese – Harvard and Upenn
（© FLYING FACTORY）
（© FLYING FACTORY）
（© FLYING FACTORY）
China is expecting 1 billion people living in cities by 2030. To transform half a billion people from rural villagers to urban residents in the next three decades will require a colossal amount of investment in urban infrastructure and real estate. Meanwhile, with the rapid growth of economy, especially e-commerce, mega packing centers and large manufacture & supplier centers are mushrooming in urban area, grabbing lands resources, and bringing environmental pollutions. Flying Factory is trying to resolve this conflict.
The factory is lifted by drones, big and small, powered by solar system, with great mobility and zero land coverage. Products are assembled by working robots and delivered by smart drones, through online orders. Entire factory could move to certain locations at different times, such as city center during day time, and suburban residential area at night. People at office or home will get their packages in minutes.
中国预计到2030年将有10亿人口居住在城市。要在未来三十年内将五亿人从农村村民转变为城市居民，需要对城市基础设施和房地产进行大量投资。同时，随着经济尤其是电子商务的快速增长，大型包装中心和大型制造和供应中心在城市地区迅猛发展，抢占土地资源，并带来环境污染。Flying Factory正在努力解决这一冲突。
工厂由无人机举起，大小都由太阳能系统驱动，机动性强，零面积用地覆盖。产品由工作机器人组装并通过在线订单由智能无人机交付。整个工厂可以在不同时间移动到某些地点，例如白天的城市中心和夜间的郊区住宅区。办公室或家里的人会在几分钟内拿到包裹。
AMAZONIA PIER
亚马逊河码头
TEAM: Julien Nolin – Canadian – Royal Danish Institute of Fine Arts, School of Architecture
（© AMAZONIA PIER）
（© AMAZONIA PIER）
（© AMAZONIA PIER）
（© AMAZONIA PIER）
Manufacturing an Architecture of Pleasure
Amazonia Pier is a phantasmagorical critique of the industrial presence of Free Trade Zones, the result of globalisation, where large foreign industries take advantage of cheap taxes and even cheaper labor costs to produce their goods, by placing their factories in less wealthy countries and cities such as Manaus, Brazil in this case. In the process of displacing factories to far away places, the consumer is even further removed form the product and its production process.
This new industrial park challenges the relationship of the consumer versus the consumed and intertwines the former into the latter’s production process, hybridizing the mechanical manufacturing processes of industry with the mechanics of amusement rides, juxtaposing themes of consumerism, manufacturing, tourism and pleasure.
In this industrial park, the patron becomes an essential part, even a dependant one, of the manufacturing process while riding the attractions of the park.
The narrative of the goods being produced and that of the patron/producer are intertwined, challenging the two’s relationship to each other during the making process but also during that of consumption. In that sense Amazonia Pier not only critiques large industry and the role it plays in foreign places, but also the role the consumer has in the same spectacle of consumption.
亚马逊河码头是对自由贸易区工业存在的一种幻想批判，这是全球化的结果，大型的外国工业通过将工厂安置在不那么富裕的国家和城市中，利用廉价的税收和更便宜的劳动力成本来生产他们的产品。就像巴西的马瑙斯一样。在将工厂迁移到遥远的地方的过程中，消费者甚至会进一步从产品和生产过程中遗忘。
这个新的工业园挑战消费者与消费者之间的关系，并将前者与后者的生产过程相互交织，将工业的机械制造过程与娱乐游乐设施的机械混合，并列消费主义，制造业，旅游业和娱乐主题。
在这个工业园中，当乘坐公园的景点时，顾客成为制造过程的重要部分，甚至是依赖它的人。
正在生产的货物和顾客/生产者的叙述交织在一起，在制作过程中以及在消费过程中挑战彼此之间的关系。从这个意义上说，亚马逊码头不仅对大型工业及其在外国地区所扮演的角色进行了批评，而且还评估了消费者在同一场景中的作用。
2.- HONORABLE MENTIONS
荣誉奖
DRIFT
漂浮
TEAM: Chi-Kuan Im – Chinese – Politecnico di Milano – On-U Leong – Chinese – The Chinese University of Hong Kong
（©DRIFT ）
（©DRIFT ）
（©DRIFT ）
Industrial Revolution on the Sea
Dear Earth,
Greetings from Planet U. We wish to express disappointment to the design of building for manufacturing (which called ‘Factory’ in Earth). As a neighbour in the galaxy, we would like to advise you for a more intelligent future. Please find the attached images of our DRIFT system for reference.
As we have observed, human lives and fabricates products on lands (30% of the Earth’s surface), while using 70% consists of water for transportation only. DRIFT is to combine all the procedures, from raw material collection to retailing, with transportation, and make them happened on the sea. DRIFT saves lands and makes cities far from pollution. Furthermore, the strategy of ‘fabricating while transporting’ makes the production cycle much more efficient.
Every module of DRIFT consists of two parts – Production and Delivery sections. Robot arms on each side of Production section provide corresponding services for procedures. During the production cycle, Delivery sections transfer materials from one module to another, and multiply combine with different Production sections. Products from different countries can be processed at the same time, even they are transferring to different destinations.
We are confident DRIFT will raise the 4th Industrial Revolution in your history.
Sincerely,
Planet U
海上工业革命
亲爱的地球，
U行星的问候。我们希望对制造业的建筑设计（在地球上称为'工厂'）表示失望。作为银河系的邻居，我们希望为您提供一个更加明智的未来。请参阅我们的DRIFT系统的附件图片以供参考。
正如我们所观察到的，人类在地上（地球表面的30％）生活和制造产品，而使用70％的水仅用于运输。DRIFT将把从原料收集到零售的所有程序与运输结合起来，并使其发生在海上。DRIFT节省了土地，使城市远离污染。此外，“运输时制造”战略使生产周期更有效率。
DRIFT的每个模块由两部分组成 - 生产和交货部分。生产部分每侧的机器人手臂为程序提供相应的服务。在生产周期中，交货部门将物料从一个模块转移到另一个模块，并与不同的生产部门进行多种组合。来自不同国家的产品可以同时处理，即使他们正在转移到不同的目的地。
我们有信心DRIFT将在您的历史上开始第四次工业革命。
此致，
行星U
A FACTORY TOWARD FULFILMENT
工厂接近现实
TEAM: Naomi Rubbra, Leopold Taylor, Felix Yates – British – Edinburgh School of Architecture and Landscape Architecture
（©A FACTORY TOWARD FULFILMENT ）
（©A FACTORY TOWARD FULFILMENT ）
（©A FACTORY TOWARD FULFILMENT ）
We are a society engrossed in consumption. Our persistent pursuit of possession is a product of lies that we have been taught; where objects become the means to reach an instinctive, yet untenable goal of true happiness.
As the producer of artefacts, the factory plays a significant role in this process. But what if the factory set out to address the root cause of consumerism? What if a factory could transform the person from a mechanism of incessant consumption into a being of utter contentedness?
We propose a world in which consumerism becomes redundant. Where the factory doesn’t contribute to the problem, but becomes the solution. A Factory Toward Fulfilment takes stock from those brave enough to break away from the conventions of the status quo [Fig. 1].
For those who choose this route, our architecture provides an ascending assembly of desires – each floor an overindulgent excess [Fig. 2].
In this way, a moving conveyor-belt of society experience their materialist lifestyles to the extreme – drowning in fur coats, sick from eating too much cake, burning away a lifetime of video gaming in one fell swoop.
The output creates a world free from materialism. Is this not a simpler, and more beautiful place [Fig. 3]?
们是一个专注于消费的社会。我们对拥有的持续追求是我们所教导的谎言的产物; 物体成为达到本能，但真正的幸福目标不能成为目标的手段。
作为人工制品的生产者，工厂在这个过程中扮演着重要的角色。但如果工厂着手解决消费主义的根源呢？如果一个工厂能够将这个人从一个不断消耗的机制转变为完全满足的情况会怎样呢？
我们提出一个消费主义变得多余的世界。工厂不会对问题做出贡献，而是成为解决方案。一个靠工厂实现的工厂能够从那些勇敢的人中脱颖而出，摆脱现状的约定[图1]。
对于那些选择这条路线的人来说，我们的建筑提供了一种欲望的上升集合 - 每层楼都过度放纵了[图2]。
通过这种方式，一个社会的移动传送带经历了他们唯物主义的生活方式， 创造了一个没有唯物主义的世界。这是不是一个更简单，更美丽的地方[图3]？
OF DEAD AND BREAD
死亡或面包
TEAM: Rachid Jalloul – Lebanese
（©OF DEAD AND BREAD ）
（©A FACTORY TOWARD FULFILMENT ）
（©A FACTORY TOWARD FULFILMENT ）
Man is dead
Heatless lump
To fire fed
Ashes drown
In stream so sound
Water the crops
In the ground
Wheat gets milled
On the hill
Flour baked
Bread its ate
A factory is directly linked to human consumption and to temporary use. Human beings, however, are also temporary, disposable, recyclable. Once they understand that they are temporary, consumption would becomes more reasonable, more proportional to one lifetime.
This crematorium bakery is set in a natural space. It is a public open space that allows reflection and rejuvenation.
人死了
无热块
给火力喂食
骨灰淹死
在流中如此健全
给作物浇水
在地上
小麦被磨碎
在山上
面粉烘烤
面包吃了
工厂直接与人类消费和临时使用联系在一起。然而，人类也是临时的，一次性的，可回收的。一旦他们明白他们是暂时的，消费就会变得更加合理，与一生的比例成正比。
这个火葬场面包店设置在一个自然的空间。这是一个允许反思和复兴的公共开放空间。
WALK FOR PROGESS
“进步”
TEAM: Wong Suen Yi – Chou Chia Yi – Taiwan
（©WALK FOR PROGESS ）
（©WALK FOR PROGESS ）
（©WALK FOR PROGESS ）
Mobile Factory for Protesting
Making is not only for producing products now,
It’s also for gathering people.
How to reconnect human with factory in this automated world?
We propose a mobile device, “Waking-Print”, as our flyer factory.
The low-tech working device is designed to be too heavy to be pushed by one person, therefore it needs a lot of people at the same time to operate it.
Recall the essential elements in the factory at first—the human.
The devices hide in the city everyday except demonstration happens. When demonstration starts, the scattered devices will be pushed to protesting place. People can see the tall device from a distance, and get a flyer printed by the “Walking-Print” while protester pushing it when marching.
Let’s Walk for Progress!
移动工厂的抗议
制作不仅仅是现在生产产品，
也是为了收集人们。
在这个自动化的世界中如何将人与工厂重新连接？
我们提出一个移动设备“Waking-Print”，作为我们的传输工厂。
这种低技术的工作装置被设计成太重而不能被一个人推动，因此需要很多人同时操作它。
首先回顾工厂中的基本要素 - 人。
这些设备每天都在城市中隐藏，除了示范发生。演示开始时，分散的设备将被推到抗议地点。人们可以从远处看到高大的设备，并获得一张由“行走打印”打印的传单，而抗议者在行进时推动传单。
让我们走向进步！
FACTORY OF THE ABSURD
荒谬工厂
TEAM: Rafaela Sampaio Agapito Fernandes – Thaylini Cristine Luz Belino Bonfin – Miguel João Dias da Costa Pereira – Brazil – cora atelier
（©FACTORY OF THE ABSURD）
（©FACTORY OF THE ABSURD）
（©FACTORY OF THE ABSURD）
Making Time.
In our capitalist system a factory means more than manufacture goods, it means to manufacture goods efficiently. In terms of production, goods are produced at their lowest possible cost and labor are performed with the greatest possible productivity. Efficiency needs to be measured, it needs an instrument who dictates frequency, productivity and discipline, the clock, becomes then, an instrument of coercion. Time is money. The facture of the absurd is a machine that measure the passing of a time. The power source is produced by a human operator, and so, he is the one in the wheel dictating the productivity. If the man is tired, time slows down, if the man is in a hurry, so is the time. Therefore, this is an ironic factory, because it’s not interest in the logical (meaning simple and effective) but only the absurd, since it measures time in an obviously ineffective way: If this machine was operated in 60 rpm it would generate 1 minute in the real world, but humans wouldn’t be able to keep the same rpm for a long period of time causing an arrhythmia, consequently, this is more than a machine or a factory because it questions the way we’ve been ruled by time, and more specifically: the clock.
制造时间。
在我们的资本主义体系中，工厂不仅仅意味着制造商品，而是意味着高效地生产商品。在生产方面，货物以尽可能低的成本生产，劳动力以尽可能高的生产率执行。效率需要测量，它需要谁决定的频率，效率和纪律，仪器的 时钟，然后变，胁迫的手段。时间就是金钱。荒谬的骨折是测量的通过一个机器。电源是由操作人员生产的，所以他是轮子中的人员，决定生产力。如果这个人很累，时间就会减慢，如果这个人很匆忙，时间也是这样。因此，这是一个具有讽刺意味的工厂，因为它对逻辑（意思是简单而有效）不感兴趣，而仅仅是荒谬的，因为它以明显无效的方式测量时间：如果该机器以60rpm运行，则会产生1分钟但是人类无法长时间保持相同的转速而导致心律失常，因此，这不仅仅是一台机器或一个工厂，因为它质疑我们被时间统治的方式，更具体地说：这是一台时钟。
THE MOBILE FACTORY
移动工厂
TEAM: Mark Andrew Lee – Singaporean – De Montfort University
（©THE MOBILE FACTORY）
（©THE MOBILE FACTORY）
（©THE MOBILE FACTORY）
Overworked labourers, horrible working environments, and animal-like treatments, all for the sake of increasing efficiency. These are the stigmas that come along with the conventional factory. Companies like Pegatron and Foxconn have both overworked and forced its employees into detrimental actions such as suicide. This is an unsustainable form of manufacturing. How then, can we introduce a more humane and still efficient solution?
Enter the Mobile Factory. Gone are the days of working tirelessly in a numbing ever stagnant environment with poor conditions. Now if you wish to be a factory worker you simply sign up for it on the Mobile Factory App and it will brief you on the safety procedures and instructions. An air drone will then be buzzed through the app every morning to bring you the materials needed to get started, allowing you to work anywhere throughout the day. Once you have finished, simply notify the app and the drone will return to receive the assembled components.
As the world continues to advance, so too must perceptions about the possibilities of industrial realities. The Mobile Factory strives to be a 21st century minded factory in a 21st century world.
劳累过度的劳动者，恶劣的工作环境和动物般的待遇，都是为了提高效率。这些是传统工厂带来的耻辱。像和硕和富士康这样的公司都过度劳累并迫使其员工陷入诸如自杀等不利行为。这是一种不可持续的制造形式。那么，我们可以如何推出更人性化，效率更高的解决方案？
进入移动工厂。在一个条件恶劣的麻木不断的环境中不知疲倦地工作的日子已经一去不复返了。现在，如果您想成为工厂工人，只需在移动工厂应用程序上注册它，它会向您介绍安全程序和说明。然后每天早上一个空中无人机将通过应用程序嗡嗡作响，为您提供开始所需的材料，让您可以在一天中的任何地方工作。完成后，只需通知应用程序，无人机将返回以接收组装的组件。
随着世界的不断前进，对工业现实的可能性也必须有所了解。该移动型工厂致力成为一个21世纪的志同道合的工厂。
URBAN FACTORY
都市工厂
TEAM:SasaCiabatti(Italian) – Bilyana Asenova (Bulgarian)
（©URBAN FACTORY）
（©THE MOBILE FACTORY）
（©THE MOBILE FACTORY）
By tradition, manufacturing has been thought to be a process that turns raw materials into physical products, and the factory, in managing fragmented communications protocols and automation practices, is the structure where manufacturing happens. Today, drivers such as technology, sustainability, optimization and the need to meet customer demands have once again encouraged the transformation of the manufacturing industry, to become adaptive, fully connected and even cognizant of its own power quality.
How would the future answer to the production segregation of the past?
The future factory transforms from a receiver of instructions to an open environment for cooperation between suppliers and customers. With a flexible production and quick adaptation, suppliers and customers find themselves in a close collaboration at an early stage in the development of a new product.
Urban Factory highlights the importance of objects’ customization. The proposal establishes a new relationship between factory employers and clients. A new chain is created:
Customers meet an employee in an open environment – the meeting points, where the preliminary design is discussed. After, the employee communicates to the engineers the discussed product. From the engineer stations, the engineer sends the required data to the machine that after produces the desired object. The robots start the spectacle of production, which can be observed instantly from the costumers of the factory. The end product is then sold to the costumers in the commercial kiosks.
Urban Factory is in the centre of a dense urban area, open to the city and its citizens. It is a public building for development of customized objects, a hybrid that allows mixture of production, exhibition and trading and in that way creates more individual and personalized production of goods.
按照传统，制造业一直被认为是一个将原材料转化为物理产品的过程，工厂在管理分散的通信协议和自动化实践中，就是制造发生的结构。如今，技术，可持续性，优化以及满足客户需求的需求等因素再次鼓励制造业转型，实现适应性，全面连接甚至认识到自身的电力质量。
未来将如何回应过去的生产隔离？
未来工厂从指令接收器转变为供应商和客户之间开放合作的环境。凭借灵活的生产和快速适应，供应商和客户在开发新产品的早期阶段就发现自己处于密切合作之中。
未来工厂强调了对象定制的重要性。该提案建立了工厂雇主与客户之间的新关系。一条新的链条被创建：
客户在开放的环境中与员工会面 - 讨论初步设计的会面点。之后，员工与工程师沟通讨论的产品。从工程师站，工程师所需的数据发送到产生所需的对象后的机器。机器人开始生产的景观，可以立即从工厂的客户那里观察到。最终产品然后出售给商业售货亭中的顾客。
城市工厂位于人口密集的城市中心，向城市和市民开放。这是一个公共建筑，用于开发定制物品，这种混合物可以混合生产，展览和交易，从而创造更多个性化和个性化的商品生产。
COWHOUSE
牛舍
TEAM: Angela Carbone – Tamara Jamil – United States of America – Cornell University
（©COWHOUSE）
（©COWHOUSE）
（©COWHOUSE）
We must choose: Beef or revolution.
Where is the great American steer which once roamed among the human animal in Lower Manhattan? It has been banished from the mind’s eye of the urban American, relegated to architectural black-boxes: slaughterhouses. We automated our beef production in No-mans-lands, removing all connection, visibility, and responsibility to these creatures. Without bovine presence, the masses have blinded themselves to the creation and overindulgence of beef. Through typological reinvention, beef production is revolutionized for sustainable and conscientious consumption.
Cowhouse was borne from the idea that architecture can act as a site for physical production and as a vehicle to manufacture change. Following lines of production and reinserted into city landscape, patrons are invited to examine the life of cattle as they are raised, harvested, prepared, and ultimately consumed for human pleasure and sustenance. Its form, referential to slaughter and steakhouses, employs form as machinery to process. In turn, humans can engage in conversation about redesigning food networks and facilities with respect due to the animals, lands, and labourers involved. At the summit, patrons savour beefy thanksgivings. Through its form and its choreography of program, Cowhouse becomes a factory which produces awareness, compassion, education, nourishment, and delight.
我们必须选择：牛肉或革命。
曼哈顿下城曾经漫游于人类动物中的伟大美国舵手在哪里？它已经从城市美国人的头脑中被放逐出去，被归入建筑黑匣子：屠宰场。我们在No-mans-lands自动化了我们的牛肉生产，消除了这些生物的所有连接，可视性和责任。如果没有牛群的存在，人民群众已经对牛肉的创造和过度放纵蒙蔽了双眼。牛肉生产被认为可持续和认真的消费而革命化。
考斯豪斯源于建筑可以作为实体生产场所和作为制造变革的工具的想法。按照生产线重新进入城市景观，邀请顾客检查养牛，收获，准备并最终为人类享乐和生活而食用的牛的生活。它的形式，指屠宰和牛排，用形式作为机器来加工。反过来，由于动物，土地和劳动者的参与，人们可以参与有关重新设计食物网络和设施的谈话。在峰会上，赞助人品尝丰盛的感恩节。通过它的形式和节目编排，Cowhouse变成了一个产生意识，同情，教育，营养和喜悦的工厂。
RANDOM ACCESS MEMORY
随机存取内存
TEAM: Cristina Cărcănescu (Romanian) – John Chia (Malaysian) – Sheffield School of Architecture
（©RANDOM ACCESS MEMORY）
（©RANDOM ACCESS MEMORY）
（©RANDOM ACCESS MEMORY）
Random Access Memory has a mnemonic agenda, aiming to marry traditional crafting with digital manufacturing. The idea of crafting techniques becoming extinct leads to over-romanticised solutions of prevention, sometimes absurd and extreme, until the point of negating the benefits of the digital revolution. Through providing a growing, grid-like, temporary structure, RAM will develop ad-hoc, depending on the local needs and resources. Meant to act as a plug-in incubator, inserted locally, it will sit within a world-wide network of contemporary factories. The symbiosis between the digital and traditional is manifested in the way the studio’s modular structures develop. While the crafting workshops can expand in all three directions (x, y, z), the digital pods are always attached to them, +2.5m from the ground datum, creating a belt. The data gathered through analysing and emulating the different techniques is later stored to the cloud (connecting it yet again to the network) and embodied as a digital archive (the servers). The latter bounds the making spaces, representing the outer layer of the RAM. At the core of the system, the exhibition space acts as a bond, both displaying the collaboration between the two fabrication techniques as well as their individual merits.
随机存取存储器有一个助记议程，旨在将传统制作与数字制造结合起来。制作技术的想法已经绝迹，导致过度浪漫化的预防解决方案，有时是荒谬的和极端的，直到否定数字革命的好处。通过提供一个不断增长的，网格状的临时结构，RAM将根据当地需求和资源开发临时性结构。意思是充当插件式孵化器，插入本地，它将坐落在世界范围内的当代工厂网络中。数字和传统之间的共生体现在工作室模块化结构的发展方式。虽然制作工坊可以在所有三个方向（x，y，z）上展开，但数字吊舱始终与地面基准相距2.5米，形成一条皮带。通过分析和模拟不同技术收集的数据稍后会存储到云中（再次将其连接到网络）并体现为数字档案（服务器）。后者限制了制作空间，代表RAM的外层。作为该系统的核心，展览空间充当了一种纽带，既展示了两种制作技术之间的协作，也表现出其个人的优点。
MACHINAPOLIS
社交机器
TEAM: Niko (Seong) Hur – South Korean
（©MACHINAPOLIS）
（©MACHINAPOLIS）
（©MACHINAPOLIS）
Where Machine = Architecture
With the abundance of technology, information, and resources readily available and the means to share such knowledge, everyone can basically manufacture and exchange goods anytime and anywhere. The scales of and the distances among the producer, consumer and the product are ever so small, to a point where a single individual is capable of making a product that he or she can then sell to another individual anywhere in the world.
As we move on from automated-machine filled structure of the last century to today’s 3d printers, the notion of “place of manufacture” or factory requires our attention.
The project pictures a world where products are no long mass produced. Rather, it celebrates the emergence of small and rapid prototyping that augments innovation and creativity. Modular assembly and aggregation of highly individualized units of manufacture will substitute the horizontal repetition of conventional warehousing and assembly line typology. Modules of related products (or non-related!) can be brought together to form larger aggregates, broken apart and reconfigured to create infinite number of combinations and possibilities to collaborate.
The modules, or the architecture, themselves have become the essential building parts of a giant social machine.
机器=建筑
随着技术，信息和资源的丰富以及共享这些知识的手段，每个人都可以基本上随时随地生产和交换货物。生产者，消费者和产品之间的距离和距离是如此之小，以至于一个人能够制造一种产品，然后他或她可以将产品出售给世界上任何地方的另一个人。
随着我们从上个世纪的自动化机器填充结构转向今天的3D打印机，“制造”或工厂的概念需要我们的关注。
该项目描绘了一个产品不会长期大规模生产的世界。相反，它庆祝小型快速原型的出现，增加了创新和创造力。模块化装配和高度个性化制造单元的集合将取代传统仓储和装配线类型的横向重复。相关产品模块（或不相关的！）可以汇集在一起形成更大的聚合体，分解并重新配置，以创建无限数量的组合和可能性进行协作。
这些模块或架构本身已经成为巨型社交机器的重要组成部分。
PONOS
没人关心蚂蚁：
Ponos 名词 [pon'-os]
在希腊神话中劳苦劳苦的神
TEAM: Frixos Petrou (Cyprus) – Studio Miessen – Sofia Nikolaidou (Greece) – University of Pennsylvania School of Design – Emeline Dussaucy (France) – VenhoevenCS – Matteo Novarino (Italy)
（©PONOS）
（©PONOS）
（©PONOS）
No one cares about ants:
Ponos noun [pon’-os]
God of hard labor and toil in Greek mythology.
PonosTM promotes itself as #thefutureofwork – an obscure facility for providing any and all kinds of services, from logistics to automobile prototyping. Truth be told, no-one really knows how it works. A black monolith is the only point of reference, the space where everything is meant to happen. The building has been the object of much speculation and a wide range of theories: some say it must be full of advanced technological machinery, supercomputers and 3d printers, that all tasks are fully automated; others, less optimistic, believe it to be packed with workers under slavery conditions – a human ant farm.
PonosTM echoes the conditions of modern labor; while we are constantly reminded of technological progression, human work remains widely necessary. Actually, the advanced state of technology has had a dire impact on the visibility of labor: outsourcing to poor countries, crowdsourcing to bored college students, impersonal freelancing – they all play a part in concealing the monumental amount of work required to keep our society going. At least PonosTM is honest: in its incredulous vagueness, it gives a physical form to precarious labor in 21st century capitalism.
没人关心蚂蚁：
Ponos 名词 [pon'-os]
在希腊神话中劳苦劳苦的神。
PonosTM将自己推广为＃workfworkofwork - 一个不起眼的设施，用于提供从物流到汽车样机的各种服务。真相被告知，没有人真正知道它是如何工作的。一个黑色的巨石是唯一的参考点，即一切都要发生的空间。该建筑一直是许多猜测和广泛理论的对象：有人说它必须充满先进的技术机械，超级计算机和3D打印机，所有任务都是完全自动化的; 另一些人则不那么乐观，认为它将充满奴隶制条件下的工人 - 一个人类的蚂蚁农场。
PonosTM与现代劳动力的条件相呼应; 虽然我们不断提醒技术进步，但人类工作仍然是非常必要的。事实上，先进的技术状态已经对劳动力的可见度产生了可怕的影响：外包给穷国，众包给无聊的大学生，非个人自由职业 - 他们都参与隐瞒保持我们社会所需的大量工作。至少PonosTM是诚实的：在它不可思议的模糊性，它提供了一个岌岌可危劳动世纪的资本主义模型。
AN ANARCHIST FACTORY
无政府主义工厂
TEAM: Rik Lambers – Dutch
（©AN ANARCHIST FACTORY）
（©AN ANARCHIST FACTORY）
（©AN ANARCHIST FACTORY）
AN ALTERNATIVE FOR JAKARTA’S ILLEGAL SQUATTERS
An Anarchistic Factory is an alternative for plain social housing which formalizes the low-skilled, in-formal, in-efficient jobs that squatters are doing now; recycling waste. It proposes to bypass Jakarta’s Ciliwung river at certain points and build a simple structure that takes in the heavily polluted riverwater.
In this structure, a factory floor will be build. The factory floor serves a modular system that drastically improves working conditions, speed and efficiency of all the recycling steps in the entire process.
A low-tech factory based on an assembly line is created.
The typology of the factory allows for larger economic profits. By understanding that squatters squat where they squat due to economic possibilities, we can use the typology of the factory to create a place which is economically more viable and thus we can control where squatters will squat.
The low-tech factory floor is based on a 875×875 grid. The factory is based upon this modular system of floor elements, each having a different infill according to the specific task of the recycling-process. The infills can be removed easily and placed elsewhere in the factory, making the factory floor very flexible for future situations.
Two thick concrete walls, filled with vegetation, creates a landscape-zone that separates working from living. Sometimes the landscape element, separating living and working, breaks out of the walls and creates a block which houses basic sanitation and a kitchen.
The columns and beams can be used as a construction for the houses and can easily be filled in with scaffolding or waste that is found during working hours.
The community goes back to the Indonesian ‘kampung’ idea that every function has its own place, instead of being scattered over the community. This idea allows to make improvements on basic sanitation and access to gas and electricity cost-efficient. A kitchen per community, not per household.
雅加达的非法的方格的替代物
无政府主义工厂是普通社会住房的另一种选择，它将寮屋居民现在所做的低技能工作，无效的工作形式化; 回收废物。它建议在某些地点绕过雅加达的慈利原河，并建造一个简单的结构，以接受严重污染的河水。
在这个结构中，将建造一个工厂地板。工厂车间采用模块化系统，可显着改善整个过程中所有循环步骤的工作条件，速度和效率。
建立一条基于装配线的低技术工厂。
工厂的类型允许更大的经济利润。由于了解寮屋居民由于经济可能性而蹲下的地方，我们可以使用工厂的类型来创造一个经济上更加可行的地方，因此我们可以控制寮屋居民将蹲在哪里。
低科技工厂车间基于875×875电网。该工厂基于这种地板元件的模块化系统，根据回收过程的具体任务，每个系统都有不同的填充物。填充物可以很容易地移除并放置在工厂的其他地方，使得工厂车间在未来的情况下灵活而有效。
两个厚厚的混凝土墙充满了植被，形成了一个将工作和生活分开的景观区。有时，将生活和工作分开的景观元素突破墙壁，并创建一个基本的卫生设施和一个厨房。
柱子和横梁可以用作房屋的建筑物，并且可以很容易地在工作时间使用脚手架或废物进行填充。
社区可以追溯到印度尼西亚的“甘榜”理念，即每个功能都有自己的位置，而不是分散在社区中。这个想法可以改善基本的卫生设施和获得天然气和电力的成本效益。每个社区的厨房，而不是每户。
More/更多
http://www.nonarchitecture.eu/
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