© Paulina Sasinowska (smileupyourself), Anna Dobek, Mateusz Wojcicki

c Paulina Sasinowska(微笑)，Anna Dobek，Mateusz Wojcicki

设计过程开始于与波兰最大的胶合板生产商合作所推动的材料选择-传页的Sklejka S.A.，胶合板因其美学和耐久性能而受到重视，被用作建造CuStore展馆的主要和唯一物质(确认垫安装螺钉和山毛榉木可膨胀锚套除外)。

The design process began with the choice of material driven by the cooperation with the largest plywood producer in Poland – PAGED Sklejka S.A. Plywood, valued for its aesthetic and endurance properties, was used as the main and only substance (with the exception of confirmat mounting screws and beech wood expandable anchor sleeves) for the construction of the Custore pavilion.

 © Paulina Sasinowska (smileupyourself), Anna Dobek, Mateusz Wojcicki

c Paulina Sasinowska(微笑)，Anna Dobek，Mateusz Wojcicki

CuStore概念商店(“定制”商店“)的创建者想要创造一个将商店和艺术画廊结合在一起的空间。一种在触摸屏上展示各种产品的创新方式，鼓励创造性，并给客户机会为自己的家具做出贡献，需要一个非凡的包装。

The originators of Custore concept store ("customize" + "store") wanted to create a space which would be the combination of a store and an art gallery. An innovative way of presenting the range of products on touch screens, encouraging creativity and giving customers the opportunity to contribute to making their own furniture, needed an extraordinary package.

 © Paulina Sasinowska (smileupyourself), Anna Dobek, Mateusz Wojcicki

c Paulina Sasinowska(微笑)，Anna Dobek，Mateusz Wojcicki

客户-马戏团-的关键指导原则是假设展馆应该提供部分的视觉隔离，同时仍然对周围的空间开放。通过遵循这个准则，我们为展馆创造了一个主题-在强烈的几何定义的外部和柔软的内部之间形成了半透明的屏障。在这个项目中使用的材料也给人舒适的印象，这是突出的小面积的​​展馆。

The key guideline from the client - the Circus Digitalis group - was the assumption that the pavilion should provide a partial visual isolation while still being open to the surrounding space. By following this guideline we created a theme for the pavilion - a translucent barrier between a strongly geometrically defined exterior and a soft interior. The material used in this project also gave the impression of cosiness, which was highlighted by the small area of ​​the pavilion.

 © Paulina Sasinowska (smileupyourself), Anna Dobek, Mateusz Wojcicki

c Paulina Sasinowska(微笑)，Anna Dobek，Mateusz Wojcicki

在展馆里，我们找到了一个信息点和四个带有触摸屏显示器的展台。该结构与“Złote Tarasy”购物中心的内部结构相吻合，该购物中心由嵌在钢结构中的三角形玻璃组成，这是波兰使用参数化建筑的第一个例子。

Inside the pavilion we located an information point and four stands with touchscreen monitors. The structure fits in with the interior of "Złote tarasy” shopping centre which is sheltered by triangular panes of glass embedded in a steel structure - the first example of the use of parametric architecture in Poland.

 © Paulina Sasinowska (smileupyourself), Anna Dobek, Mateusz Wojcicki

c Paulina Sasinowska(微笑)，Anna Dobek，Mateusz Wojcicki

技术-设计过程需要这样的工作安排，以便在任何阶段都有可能进行修改。参数方法的选择是至关重要的，因为准则的变化受到技术、维度、逻辑和功能问题的制约。我们把展馆的形式分为两部分-柔软的雕塑内部和笔直的几何外观。这使得展馆的最终形式更加灵活，这取决于不断变化的指导方针。

Technology The design process required such an arrangement of work to make modifications possibleat any stage. The choice of the parametric method was crucial because of the changing guidelines, which were conditioned by the technological, dimensional, logistic and functional issues. We have divided the form of the pavilion into two parts - soft and sculptural interior and straight geometrical exterior. This enabled a much more flexible shaping of the final form of the pavilion, depending on the changing guidelines.

 © Paulina Sasinowska (smileupyourself), Anna Dobek, Mateusz Wojcicki

c Paulina Sasinowska(微笑)，Anna Dobek，Mateusz Wojcicki

展馆的最初参数包括其大小、使用的材料类型和使用的密度。展馆唯一的手工绘制元素是8段确定内部的外壳，经过处理后，最终曲线的造型给出了确定的内部形状。这些部分被动态地连接到展馆的结构上，它们的修改以不断变化的内部形状的形式实时地呈现出来。

The initial parameters of the pavilion included its size, type of material to be used and the density of its application. The only hand-drawn elements of the pavilion were 8 sections of the shell defining the interior, which after processing enabled the modelling of the final curve that gave the definite shape of the interior. These sections were dynamically linked to the structure of the pavilion and their modification has its representation in real time in the form of the changing shape of the interior.

 © Paulina Sasinowska (smileupyourself), Anna Dobek, Mateusz Wojcicki

c Paulina Sasinowska(微笑)，Anna Dobek，Mateusz Wojcicki

采用算法对展馆进行造型，使得展馆接缝的性能不断试验，设计计算成本和材料消耗。将展馆内部和外部划分成不同的模块，也让我们有机会体验整个身体的外观，而不管其内部的形状如何。

The use of algorithms to shape the pavilion led to continuous experimenting with the properties of pavilion joints, the design and calculation of costs and material consumption. The division into modules that defined the pavilion interior and exterior also gave the opportunity to experiment with the look of the whole body, regardless of the shape of its interior.

 © Paulina Sasinowska (smileupyourself), Anna Dobek, Mateusz Wojcicki

c Paulina Sasinowska(微笑)，Anna Dobek，Mateusz Wojcicki

为了定义一个生成展馆的算法，我们使用了Grasshop和Rhinoceros软件。准备用于数字制作的文件需要清理和改进应用算法无法解决的问题。在AutoCAD中，我们增加了缺失的钻孔连接顶针，提供了结构的垂直连接，我们切割型材，调整裁剪垫的大小，胶合板的大小，由分页的斯凯卡。然后，将配置文件转换为数控机床可读的格式，数控机床将可装配的零件磨碎。

To define an algorithm which generated the pavilion we used the Grasshopper and Rhinoceros software. Preparation of the files for digital fabrication required cleaning and improving the issues that were not possible to be solved with the applied algorithm. In AutoCAD, we added the missing drill holes to connect the thimbles, providing vertical joining of the structure, and we cut profiles, adjusting cutting mats to the size of plywood sheets manufactured by PAGED Sklejka. The profiles were then converted into a format readable by a CNC machine, which milled the parts ready for assembly.

 © Paulina Sasinowska (smileupyourself), Anna Dobek, Mateusz Wojcicki

c Paulina Sasinowska(微笑)，Anna Dobek，Mateusz Wojcicki

装配项目的关键目标之一是用货车重新组装和运输它的可能性。因此，在初始原型安装后的展馆(如袖子和被机器切割的部分)必须拆卸回基本模块，然后再与目标模块重新组装。在此过程中，可以测试结构的稳定性并进行潜在的修正。这个过程对馆的最终形式也产生了很大的影响。

Assembly One of the key objectives of the project was the possibility of re-assembling and transporting it by a van. Therefore, the pavilion after the initial prototype installation (with individual components such as sleeves and sections cut by the machine) had to be dismantled back to basic modules that could then be re-assembled again – with target modules. During this process it was possible to test the structural stability and make potential corrections. This process also had a big impact on the final form of the pavilion.

 © Paulina Sasinowska (smileupyourself), Anna Dobek, Mateusz Wojcicki

c Paulina Sasinowska(微笑)，Anna Dobek，Mateusz Wojcicki

商业结构不同于纯实验结构和学术结构，因为它们需要适应于各种敏感环境中的结构。影响展馆形状和形状的另一个重要因素是消防部门发布的指导方针，该指南强制打开屋顶结构和安装施工构件(梁)，以确保力的适当传递，以防止结构向中心坍塌。

Commercial structures differ from the pure-experimental and academic ones due to the need to adapt the structures to be used in a variety of sensitive environments. Another important factor influencing the shape and form of the pavilion were the guidelines issued by the fire department, which forced the opening of the roof structure and the installation of a construction element (beam) to ensure the proper transfer of forces to prevent the collapsing of the structure towards its center.

 © Paulina Sasinowska (smileupyourself), Anna Dobek, Mateusz Wojcicki

c Paulina Sasinowska(微笑)，Anna Dobek，Mateusz Wojcicki

Custore展馆是一个有趣的项目，在这个项目中，仍然处于领先地位的计算机生成的表格与真正的商业市场指南相关联。该结构旨在测试这些解决方案在广告过程中所起的作用，并向普通消费者展示产品。奇怪的是，在波兰市场上，这种类型的建筑一方面激发了观众的好奇心，另一方面也有一种距离的感觉，随着时间的推移，随着用户对交互对象的适应，这种距离会逐渐消退。

Custore Pavilion was an interesting project, in which the still trailblazing computer-generated forms are correlated with real commercial market guidelines. The structure is designed to test such solutions in terms of the role they can play in the process of advertising and showing the product to an ordinary consumer. Curiously enough, on the Polish market this type of architecture on one hand sparks the audience’s curiosity, but on the other hand it is also perceived with a kind of distance, which fades over time as the user gets used to the object of interaction.

 © Anna Dobek + Mateusz Wojcicki

c.Anna Dobek Mateusz Wojcicki

在这种情况下，一个非常重要的方面是年轻的客户。在与展馆的第一次接触中，他们没有感觉到任何距离，这导致了一种更有趣的互动形式。这种互动对于在陪同年轻观众的成年人和现代展馆结构之间至少发起一种类似但更克制的“交流”是至关重要的。

A very important aspect in this case were the younger customers. During the first contact with the pavilion they did not feel any distance, which resulted in a much more interesting form of interaction. Such an interaction is critical to at least initiate a similar yet more restrained “communication” between the adults accompanying the younger audience and the modern structure of the pavilion.

 © Anna Dobek + Mateusz Wojcicki

c.Anna Dobek Mateusz Wojcicki

总而言之，激发顾客对展馆形式的兴趣的效果已达到，而这些形式在商业市场的影响，将在研究顾客对展馆的长远发展的反应后，加以进一步的指引和指引。

All in all, the effect of sparking the customers’ interest in the very form of the pavilion  has been achieved, and further guidance and direction of implications of such forms in commercial markets will be defined after examining the customers’ response to the exploitation of the pavilion in the long run.

设计：Anna Dobek Mateusz Wojcicki地点：波兰华沙Złote Tarasy购物中心客户：马戏团洋地黄区：19.8平方米项目/建设年：2012/2013年

Design: Anna Dobek + Mateusz Wojcicki Location: Złote Tarasy shopping centre , Warsaw, Poland Client: Circus Digitalis Area: 19.8 m2 Year of Project/Construction: 2012/2013