一方面，退潮（和流动）指的是一种形式上的字面意义；结构实际上是在沙漠周围流动。然而，退潮（和流动）也指一种心态：有意识的运动和与我们周围世界的接触。在这个意义上，该项目旨在打破我们现有的和构建的现实之间的现有障碍：建筑、自然和艺术。植物是地面的延伸；建筑是人的延伸；一切是自然的延伸。
On the one hand, ebb (and flow) refers to a formal literalism; the structure literally flows around the desert. However, ebb (and flow) also refers to a mindset: the conscious movement and engagement with the world around us. In this sense, the project aims to break down existing barriers between our existing and constructed realities: architecture, nature, and art. Plants are an extension of the ground; architecture is an extension of people; everything is an extension of nature.
该项目从测量、素描开始，并立即将数据实时分析为特定地点的形式。团队成员测量并记录了各种现场条件，然后围绕这些条件勾勒出曲线和漩涡。然后，这些形状由我们的团队在现场全比例手绘和切割。接下来，每一个弯曲的平台都被数百个以切分的间隔放置的木桩隔开。
The project started with the surveying, sketching, and immediate analysis of data in real-time into a site-specific form. Team members measured, and recorded various site conditions and then sketched curves and swirls around them. These shapes were then hand-drawn and cut by our team in full scale on location. Next, each of the curved platforms was separated by hundreds of wooden pegs placed at syncopated intervals.
这个装置是为空间沙龙设计实验室在南加州举办的年度艺术和建筑节而建造的；这次迭代的目的是对数据的生产、记录和利用进行实验性探索。在主题上，该项目从深入的考古学开始，并对现场进行了惊人的记录。从个别植物和岩石的位置到现场特定的情绪和氛围都进行了分析。然后，团队对这些记录作出反应，在沙地上画出与我们的发现相关的方块和线条。这些图纸随后被用作框架，成为最终的形式。
这样，在施工过程中，我们没有看任何官方图纸或三维模型，也没有任何东西是预制的。相反，所有的胶合板件都是由我们的团队手工绘制和现场切割的。从这个意义上说，结构的形式不是从草图和模型中输出的，而是成为草图本身–最终的形式具有表现力的形状，就像一个巨人在沙地上涂鸦一样。
The installation was built for Space Saloon Design Laboratory’s annual art and architecture festival in Southern California; this iteration of which was meant as an experimental exploration into the production, recording, and utilization of data. On theme, the project began with an in-depth archeological, and phenomenal documentation of the site. Everything from individual plant and rock placement to site-specific moods and vibes where analyzed. The team then responded to these recordings by drawing squiggles and lines in the sand that correlated to our findings. These drawings were then used as the framework that would become the finished form.
This way, during construction, no official drawings or 3d models were looked at, and nothing was prefabricated. Instead, all plywood pieces were hand-drawn and cut on-site by our team. In this sense, the form of the structure was not export of the sketches and models, but rather became a sketch itself—the final form taking on an expressive shape, as if it was drawn on the ground by a giant person doodling in the sand.
其结果是景观上的一个模糊的海市蜃楼。当游客在结构周围走动时，他们会遇到一个迷幻的景象–钉子的随机性同时隐藏和揭示了它们背后的景观–就像世界本身在闪烁着存在。
The result is a nebulous mirage on the landscape. As visitors move around and about the structure, they are met with a psychedelic vision—the randomized nature of the pegs simultaneously hiding and revealing the landscape behind them—as if the world itself was twinkling in and out of existence.
Architects: i/thee
Area: 600 ft²
Year: 2019
Photographs: Zeno Legner
Manufacturers: Behr, Grip-rite, Norbord, Zinsser
Design Team:Neal Lucas Hitch, Martin Hitch, Kristina Fisher
Build Team:Ann-pavinee Langenskioeld, Varinda Suphantharida, Tinn Kiewkarnkha, Natchaluck Radomsittipat, Noémie Despland-Lichtert, Brendan Sullivan Shea
Clients:Built for Fieldworks: a festival by Space Saloon Design Laboratory
City:Morongo Valley
Country:United States