The pavilion presented in this paper is an articulation of space based on the Weaire and Phelan tessellation. In this pavilion a second generative pattern is partially engraved and cut out of the polygonal surfaces that bind the polyhedron. This pattern is made up of cubic curves that aim to spatially engage with the tessellation. The design and prototyping process was implemented and controlled using parametric and procedural models. The use of these models made it possible to define the shape, orientation, and size of each element of the pavilion: from the polyhedron and the pattern’s curves, to smaller components like the shape of the panels’ joints, holes, and the countersinks that hold the screws. This research illustrates the geometric, formal, and procedural design that was used to shape the pavilion in its current spatial configuration, to draw the pattern cut and engraved into the polyhedron’s surface, and finally, to determine the shape and scale of the joints that hold the faces of the polyhedron together and characterize the internal space. Regarding the topic of Patterns and Spatial Organization , the paper investigates shape design methodologies, which are based on historical practices but updated using new technologies.

中文翻译：

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让我们加入：受 Weaire 和 Phelan 空间镶嵌启发的展馆

本文中展示的亭子是基于 Weaire 和 Phelan 镶嵌的空间表达。在这个展馆中，第二个生成图案是从连接多面体的多边形表面部分雕刻和切割出来的。这种图案由三次曲线组成，旨在与镶嵌在空间上接合。使用参数和程序模型实施和控制设计和原型制作过程。使用这些模型可以定义展馆每个元素的形状、方向和大小：从多面体和图案的曲线，到更小的组件，如面板的接头、孔和埋头孔的形状。握住螺丝。这项研究说明了用于在当前空间配置中塑造展馆的几何、形式和程序设计，绘制切割和雕刻到多面体表面的图案，最后，确定将多面体表面连接在一起的关节的形状和比例，并表征内部空间。关于模式和空间组织的主题，本文研究了基于历史实践但使用新技术更新的形状设计方法。