“我们曾仰望星空，思索我们在星辰中的位置； 而今我们只会低垂头颅，忧虑污泥中的身躯。”

“We used to look up at the sky and wonder at our place in the stars, now we just look down and worry about our place in the dirt.”

——《星际穿越》Interstellar

Wutopia Lab 受TOPYS委托联合大界机器人在上海万象城星空广场上以3D打印方式落成了一个魔幻现实主义的装置，降临。这也是是Wotopia Lab的一个城市微空间复兴计划的一次尝试。

Wutopia Lab was commissioned by TOPYS in collaboration with Roboticplus.AI to inaugurate a magical realism installation with 3D printing on Star Square in Shanghai Wanxiang City, Arrival. It is also an attempt of Wutopia Lab’s project of reviving urban micro spaces.

▼区位鸟瞰，aerial view of the site ©CreatAR Images

星空广场夹在万象城背面和北侧停车库之间，广场上还有个地铁出入口。变成一个纯粹的交通场地。TOPYS希望邀请Wutopia Lab在这里创作一个能激活社交性并激活星空广场的装置。由于星空广场下方是地铁，地面楼板承重只有3.5KN每平米。那么这个装置要求轻，不易老化，容易维护，安全，防水，施工简单尤其不能在地面上做开凿固定的施工。TOPYS同时希望这个社交装置在满足功能性上要有昭示性。预算50万。

Star Square is sandwiched between the back of Viacom and the north parking garage, with a subway entrance and exit on the square. Turning into a purely traffic site, TOPYS wanted to invite Wutopia Lab to create an installation here that would activate sociality and activate the Star Square. Since there is a subway underneath the Star Plaza, the floor slab has a load capacity of only 3.5KN per square meter. TOPYS also wanted the social installation to be functional and indicative. The budget is around 500,000 RMB.

▼项目概览，general view of the project ©CreatAR Images

我站在星空广场中央，觉得有些迷惑，这里场所感剥离了我熟悉的一切，不是上海，我仿佛站在任何城市中某个模糊的地点，甚至不在2021年当时那个点。这个感受激发了我关于科幻小说里关于未来某种可能性的探讨。我决定在一个模糊的场地里模仿马格丽特或者罗兰·艾默里奇那样植入一个明确的帕拉图体去重新明确一个模糊的场地。它还要具有预算允许的最大体积，在上海不确定的日光下，我选择了黑色。我决定设计一个轻的巨大的黑色的BDO。

I stood in the middle of the Star Plaza and felt a little confused. The sense of place here stripped away everything I knew. The place was not Shanghai, it was as if I was standing in some vague location in any city, not even at that point in 2021. This feeling inspired me to explore some possibilities of futurism and science fiction. I decided to re-define an ambiguous site by implanting a definite Palladium in an ambiguous site in the manner of Marguerite or Roland Emmerich. It also had to have the maximum volume that the budget would allow, and in the uncertain daylight of Shanghai, black became my very choice. I decided to design a light huge black BDO.

▼一个轻的巨大的黑色的BDO，a light huge black BDO ©CreatAR Images

我联系了大界机器人，经过讨论，采用3D打印技术可以创造出一个3*3*7的极限体积。重量只有650公斤（相同体积的水要63000公斤）。不过轻有轻的烦恼，容易不稳定。大界经过计算，加入钢结构（同时也是楼梯）稳定基座，总重量最后为两吨。符合9平米的楼板只能承受3.15吨的要求。于是大家同意用机器人3D打印一个ABS黑色BDO。我称它为《降临》

▼植入一个明确的帕拉图体去重新明确一个模糊的场地，re-defining an ambiguous site by implanting a definite Palladium in an ambiguous site ©CreatAR Images

“从我记事时开始起，我就开始仰望天空， 你知道我最吃惊的是什么吗?那就是遇见你。”

“You know I’ve had my head tilted up to the stars for as long as I can remember. You know what surprised me the most? It wasn’t meeting them. It was meeting you.”

——《降临》Arrival

▼装置立面，facade ©CreatAR Images

降临在广场上的黑色BDO是一个象征主义装置，它同时具有神性和人性的表达。沉默黑色的长方体内部是一个抽象的喀斯特山洞，你需要探索，攀登然后看到一个黄色的天坑，阳光从这里照耀在你的头顶，你会在那个时刻有些恍惚而思考自己的存在于这个繁杂都市的意义。这个时刻，降临的黑色BDO就是这个世俗城市的神圣空间。

有趣的是，黑色长方体又是可以被分解的，隐藏在里面的黄色会被剥离出来而闪耀。分离的体块不严格地限定了一个世俗的场所，人世间的欢愉在这个临时限定的场所里飘荡。这个分解的黑色方尖碑就是这个世俗城市的欲望空间。

▼轴测图，axonometric ©Wutopia Lab

Arriving on the square, the black BDO is a symbolist installation that is simultaneously an expression of divinity and humanity. Inside the silent black rectangular body is an abstract karst cave that you need to explore, climb and then see a yellow sinkhole from where the sun shines over your head, and you will be in a moment of trance and contemplate the meaning of your existence in this busy city. At this moment, the black BDO that descends is the sacred space of this secular city.

Interestingly, the black rectangular body can be decomposed again, and the yellow color hidden inside will be peeled out and shine. The disintegrated body is not strictly limited to a secular place, and the joy of the human world floats in this temporarily limited place. The disintegrating black obelisk is the space of desire in this secular city.

▼黑色方尖碑，the disintegrating black obelisk ©CreatAR Images

“路？我们要去的地方不需要⋯⋯路。”

“Roads? Where we are going… we don’t need roads.”

——《回到未来》Back to the Future

黑色BDO内部灵感来自于《underland》这本书，而外部灵感则来自于星际之门，一个可以让我们短暂由此而到达一个退避现实的工具。它是3D打印而成，似乎是人做，其实是也不算是人作。重要的是它的降临，会激活一个边缘的公共空间。

The interior of the black BDO is inspired by the book “Underland”, while the exterior is inspired by the Stargate, a tool that allows us to briefly arrive at a retreat from reality as a result. It is 3D printed and seems to be made by a human being, but in fact, it is and is not really out of human hands. The important thing is that its arrival will activate a communal space on the edge.

▼黑色BDO内部，the interior of the black BDO ©CreatAR Images

▼细部，detail ©CreatAR Images

《降临》是通过大界机器人打通设计端及工厂端，实现设计建造互联的ROBIM平台，结合了参数化设计、空间打印数字化建造技术而3D打印出来的。所谓空间打印技术又有别与传统的FDM打印，能够快速制作出异形的空间体量。实现建筑师独特的标志性的设计语言。3D打印技术是实现自由形态的增材制造技术。其中打印材料的短固化性能是实现空间打印的基础，灵活的机械臂在空中画出预设的形状并瞬间降温凝固，得到空间结构。生产制作中也充分发挥了六轴机械臂广阔的自由度，以最大化最高效的制作尺寸，并云端发单制作文件，无人自动化生产。最后工厂用了1.5个月以改性丙烯腈丁二烯苯乙烯(ABS)打印了BDO，花了一周在现场安装完成。

Arrival is 3D printed by the ROBIM platform that connects the design side and the factory side through Roboticplus.AI to achieve design-build interconnection, combining parametric design and space printing digital construction technology. The so-called space printing technology is also different from traditional FDM printing, which can quickly produce shaped spatial volumes. 3D printing technology is an additive manufacturing technology to achieve freeform. Among them, the short curing performance of the printing material is the basis for realizing spatial printing. The flexible robotic arm draws a preset shape in the air and instantly cools and solidifies it to get the spatial structure. The production also gives full play to the broad degrees of freedom of the six-axis robotic arm to maximize the most efficient production size, and cloud-based order production files and unmanned automated production. The final factory took 1.5 months to print the BDO in modified acrylonitrile butadiene styrene (ABS), which took a week to install on site.

▼视频（打印过程），video (printing process)

“未知的未来在我眼前展开。面对未来，我生平第一次感到充满了希望。 因为如果一台机器、一个终结者，都能懂得人生的价值，或许我们也能。”

“The unknown future rolls toward us. I face it, for the first time, with a sense of hope. Because if a machine, a Terminator, can learn the value of human life, maybe we can too.”

——《终结者2》Terminator 2

▼夜景外观，external view by night ©CreatAR Images

编织ABS最后创造了一个半透明黑色BDO。黄色的天坑在日光下隐约可见。到了晚上又像一个巨大的灯笼。这个沉默不语的装置用戏剧性语言如哑剧边表达了建筑师所有想传递给这个城市和居民的信息和观点。它就是一个可以进入的关于未来的临时的城市纪念碑。

The braiding ABS finally creates a translucent black BDO. yellow sinkhole faintly visible in the daylight. At night it looks like a giant lantern again. This silent installation expresses all the messages and ideas that the architects wanted to convey to the city and its inhabitants in a theatrical language like a mime side. It is a temporary urban monument about the future that can be accessed.

▼关于未来的临时的城市纪念碑 ©CreatAR Images a temporary urban monument about the future

“人类是多么的渺小和微不足道，但同时又是何等的稀有和珍贵!这种愿景告诉我们，人类属于某种比我们自身更伟大的东西，那就是，我们不是宇宙中孤独的一员!”

“A vision… of the universe， that tells us, undeniably, how tiny, and insignificant and how… rare, and precious we all are! A vision that tells us that we belong to something that is greater than ourselves, that we are *not*, that none of us are alone! ”

▼夜景鸟瞰，aerial view by night ©CreatAR Images

项目名称：降临 设计公司 ：Wutopia Lab, RoboticPlus.AI 主持建筑师 ：俞挺 项目设计师 ：濮圣睿，梁喆 数字化建造 ：上海大界机器人科技有限公司 赖冠廷，梁喆，陈融升，季建华，徐子杰，陈司亘，吴薇，张智椒，张正宇，曹锃杰，邓财斌，聂佳康，庞胜，王妍婧 委托方 ：TOPYS 摄影师: CreatAR Images

Project: Arrival Design: Wutopia Lab, RoboticPlus.AI Principal Architect: Yu Ting Project Architect: Pu Shengrui, Zee Liang Constructor: RoboticPlus.AI Client: TOPYS Photography: CreatAR Images

▼项目更多图片