?

?

?

?

本文由 Fffff 轉載自：設計思享（ID：SharingDesigns）
 

Fffff

每天早上需要吃雞蛋

Rejecting the typical notion of a cultural pavilion as an object in a plaza, the China Pavilion is instead conceived as a field of spaces. Envisioned as a cloud hovering over a “land of hope”, the Pavilion is experienced as a series of public programs located beneath a floating roof, the unique design of which creates an iconic image for the project and a unique presence within the Expo grounds.

Interview

?

(出品人 Producer：向玲 XiangLing??王耀華Yaohua Wang)
LY: 陸軼辰
QW:蔡沁文

1

gooood: 建成后的中國館為什么沒有使用方案效果圖上那層半透明的表皮？改變的主要原因是什么？最終如何確定采用現在表皮？

The final result of the China Pavilion didn’t use the translucent skin design as shown in the original schematic renderings? What was the main reason to change it? How was the current skin design chosen in the end?

LY:?這個問題非常有意思，最近來問我們有關中國館表皮的不少，背后的臺詞是“你們妥協了”–事實上，“妥協”這個詞在我的詞典里是不存在的。在網絡上大家經?？吹降哪前嫘Ч麍D，是在2013年底投標階段的效果圖，之后由于涉及國家項目，我們對外沒有公布過過程中的模型照片和更新后效果圖。我們也沒有料到這張投標階段的效果圖影響那么大，以至于大家認為最后中國館的屋面就是投標效果圖里的半透明的銀色金屬網。

世博會組委會對所有的場館都有一個強行的要求，就是65%的場地面積需要使用可降解材料或綠色屋面；而在投標階段，當時業主就咨詢過是否可以在屋面上大量使用金黃色琉璃瓦，清華的設計團隊當時索性建議用編織竹材來做一個更生態的遮陽屋面，一舉兩得–這個已經是2013年底的事了。之后從方案深化開始，一直是在思考如何用竹子來作屋面。幾個好處：1,竹子在中國文化中的認同感；2,價格平宜，在中國把竹片運到意大利組裝；3，最后的遮陽竹板在空間中灑下的陰影，隨著時間的變幻微妙地改變著空間體驗，體現抽象的中國氣韻。

一個在我們這里實習過的年輕建筑師，前一陣子也通過郵件質疑我，是不是妥協了。我郵件回答了他，他很滿意，說“我也覺得你不會，按咱們對項目的嚴苛程度來看”。我很高興看到這個詞，我們對設計的嚴苛始于對自己的嚴苛–不會妥協，但會在理解各方訴求的前提下推進。經過這幾年的實踐，我發現改變其實不是問題，但建筑師如何去改變，是有方法的。好的設計方法，會凝結各方的訴求，把設計帶到一個更豐富的層面上去；而純建筑學的設計探討，路越走越窄，意義不大。

QW:?“妥協”的潛臺詞是竹編的效果不如銀色金屬網的好——其實真的想像一下，如果我們用了銀色的金屬網，在米蘭的陽光下閃閃放光，或者是蒼白的，對我個人來說并不是更好的結果，也許又會引起其他的聯想。我們認為還是竹編的材質更自然內斂，在不同天氣情況下有豐富的質感，跟木結構的結合也更好。

LY:?You asked a very interesting question. Recently quite a few people asked me about the skin of the pavilion. What they are saying behind is ‘you compromised’. As a matter of fact, we didn’t. The rendering that everyone finds on internet was for the competition at the end of 2013. Since then we haven’t published any updated renderings or model photos because of the confidentiality of the project. We also didn’t expect the rendering would have such an impact that people would actually think the final skin design of the pavilion was going to be locked to the translucent silver metal mesh.

The EXPO committee had a strict request for all the participants – 65% of the projection area of each pavilion should use either recyclable material or green roof; during the competition phase, our client already consulted with us that if the traditional golden porcelain tiles could be used on the roof. Our design group at that time promptly suggested woven bamboo as the alternative to make a more sustainable roof. There are a few advantages:? 1. The recognition of bamboo in the Chinese culture; 2. Low cost, especially when shipped from China to Italy for the assembly. 3. The shadows which are casted by the bamboo shading panels into the main space keep altering subtly the experience. It’s an abstract symbol of the essence of the Chinese disposition.

One of the former intern architects of our studio also asked me in email if we had compromised. I replied to his email. He was satisfied and said, ‘I knew you wouldn’t, given how strict we are for our projects’. I was glad to see the word ‘strict’. How strict we are towards our projects comes from how we are towards ourselves. We wouldn’t compromise, but we would move forward while understanding the appeals from every group. After the practice of the past a few years, I’ve realized that it is not a problem for architects to make changes but how we do it requires methods. A good design method will condense all the appeals and bring the design to a much sophisticated level. On the other hand, a pure architectural design discourse will narrow the paths therefore is not as meaningful.

QW:?It seems ‘compromise’ means the final woven bamboo isn’t as good as the silver metal mesh – actually if you imagine, had we used the silver panels, the pavilion would have been shining under the strong the intense sun light in Milan now, or it would have been pale white. For me it wouldn’t necessarily have been a better result; people might also associate it with something else. It’s all personally taste if some people think the metal mesh skin would look more modern or pretty. At least I think the woven bamboo is more natural and introvert, with the texture of more richness under different weather conditions. Also it definitely has a better reconciliation with the timber structure.

↑ 中國館建成南立面 （攝影：Roland Halbe）

↑ 方案深化階段效果圖（MIR, 2014年）

↑ 中國館 建成照片與過程效果圖對比

2

gooood:從圖解上看，中國館這次使用到城市輪廓線和山水輪廓線的象形設計類比手法。和其他國家相比，象形設計在建筑上對中國近代影響似乎很大，您是如何看待象形設計以及象形設計對中國現代當代建筑設計的影響。

Looked from the graphic, the China Pavilion of this EXPO uses pictographic design methods and elements such as the city skyline and the curved mountain profiles. Compared with that in other countries, pictographic design seems more influential in contemporary Chinese architecture. What’s your perception of pictographic design and its impact to contemporary Chinese architecture?

LY:?我們對這個房子“像”什么一點都不感興趣。好的建筑就和藝術品一樣，不同背景的人可以有不同的詮釋，如果大家對它的說法一致，反而說明這個藝術品的厚度不夠，不足以承載各種深度的信息。比如說，我們樂見：老百姓們看到的是個竹屋面；領導們看到的是傳統屋頂；建筑師們看到的是膠合木結構；參數化建筑師看到的是南側自然拋物線和北側直線之間的數理關系……很好，很和諧–建筑師的思考就在里面。

但我們有明確反對的，就是“具象”的設計。比如說傳統圖案、臉譜、燈籠、剪紙這些過于具象的符號模仿或淺薄裝飾，這個是價值觀問題，設計師應該寸步不讓。中國館在設計過程中有過各種大家難以想象的壓力，但至少在建筑層面上，我們沒有妥協，一些涉及到建筑層面的“裝飾”，最后在工程過程中也基本上被建筑師消解掉了。更重要的是，我們在配合的過程中，看到了業主對建筑師的信任和支持。大家現在看到的，是包括業主、清華美院各專業、總包等各個方面全力配合獲得的結果。要把這些背后的努力寫出來，會是厚厚的一本書。

LY:?We are least interested in what the building ‘looks like’. Good architecture is like good art. People with different backgrounds may have different interpretation to it. If the comments from everyone are the same, it means the art doesn’t have enough depth to take the various insights. For example, we would like to observe that the general public sees a bamboo roof in the pavilion; government officials see the traditional roof; architects see glulam timber structure; parametric designers see the geometric relations between the curves at the south and the folded lines at the north, etc. That’s very good and harmonious. Our thoughts as an architect are in there.

And we also have what we clearly would not want to observe, the real symbolic design. When it’s about the superficial resemblance of the symbols and ornaments, architects should firmly hold their ground because it’s a question of values. During the design process there was all kinds of pressure that people can’t imagine now, but we didn’t set back, as least in the architecture part. Some ornaments at the interface with the architecture also were basically diminished by the architects.? More importantly, we observed that the client of trust and support of architects. What everyone sees now, it’s actually a result of the extensive cooperation of the client, all design departments of Tsinghua University and the contractors in all aspects. If we want to write about the effort behind it, we could get a really big book.

↑ 中國館南立面山水輪廓 （攝影：Sergio Grazia）

↑ 中國館北立面城市輪廓（攝影：Sergio Grazia）

↑ 中國館形式生成圖解

3

gooood:項目現場最讓你印象深刻的事情是？

What was the most impressive thing for you at the construction site?

QW：總的來說印象最深刻的事情可能是這個木結構屋頂和竹編表皮的實現，幾乎是個奇跡。這樣復雜時間又短的屋面要求跟我們合作的實施團隊有很強的能力。比如說，在我們提供的三維模型和大量數據的基礎上，要精確的處理復雜幾何形帶來的幾百上千種不同類型的、微妙變化的構造節點，短時間內協調國內和意大利各地的加工、分類、編號、運輸、組裝，然后組織施工，幾個月以來的工作強度非常大，效率很高。屋面的膜和竹板的安裝過程也是。整個屋頂非常的“特制”，沒有哪一件東西是現成的，那就意味著更多工作量。屋頂安裝團隊從來到走兩個月沒有周末，每天12-14個小時，有時還要在幾乎垂直的屋面上用安全繩吊著工作。過程中有幾位工程師、建造者因為喜歡做有挑戰性的項目而感到有動力，挺享受這個過程。這是我們的欣賞和尊重的，我們也最愿意和這樣的人互動，提供我們最大的幫助，才能一同達到最好的效果，創造這個奇跡。

另一個令我們印象深刻的是意大利施工方的做事方法和標準。意大利施工方自己有一個木工和金工作坊，他們會在作坊里做試驗對復雜的節點，加工一些樣品，就像我們工作室里日常做模型一樣，非常有幫助。意大利施工方的一個老工程師，最后幾天了，為了陽臺的一個收邊板隔一天從都靈跑一趟米蘭，每次來帶一塊他們的作坊制作的樣版，確認收邊板符合現場的尺寸，跟我們交換意見，怎么讓這塊板看起來更精致。我記得我們在圖紙背面畫草圖，陸老師還趴在陽臺邊去把尺寸標下來，然后老工程師再做一塊樣品再過來試，因為他覺得這件事很重要。到最后效果比沒這樣收過好太多了。

順便也說一句，這種根據情況臨場發揮對我來說也很特殊，不只是會讓我想起老一代建筑師賴特、斯卡帕他們的做法。而是你會突然發現，有些解決辦法的出現正是由于有了幾個月工地經歷的積累，建筑元素在你眼中變成另外一種存在。這個時候你看到的東西可能更立體，更有質感，解決方法也許會更出人意料，帶有一種不同的靈感。這種意識在我受的建筑教育中很有限，只有通過做項目，通過和優秀的工程師、建造者合作來體驗。我們曾在參與這些過程，中國館對我們的關聯就更多了一層，我們覺得它的質量，或者一種“重量”是不尋常的。這些過程也會投影在我們今后的設計中，我們甚至可能會去自發的尋找這樣的“發揮”的機會。

QW:?Generally speaking what left its most marks is probably the whole process of realizing the timber roof and woven bamboo skin. It is almost a miracle. The complex geometry under such a tight schedule requires high capacity from the constructors. For example, they would need to process hundreds even more than a thousand detail elements that are slightly different from another, coordinate the fabrication, categorizing, transportation, assembly at various locations across Italy and China then organize the site activities all in such a short time. There was enormous amount of work involved in the past a few months. It was the same during the installation of the roof waterproofing and bamboo panels. The entire roof is highly custom-made, without many standard off-the-shelf elements. It means extra amount of work. The roof installers worked continuously without weekends for two months. Sometimes they had to use security cables to stay on the almost vertical parts of the roof for 12-14 hours. A few outstanding engineers and workers actually enjoyed working on challenging projects and were motivated. We appreciated and respected people like this and felt more encouraged to interact with them, offering our best help to achieve the best result. That’s how the miracle could happen.

Another important aspect for us is the working methods and standard of our Italian contractor Bodino engineering. They have their own wood shop and metal shop where they can experiment relatively complicated details and fabricate samples, just like we make study models every day in our studio. And it’s very helpful. Even during the last a few days of the construction, this senior engineer from Bodino came to Milan from Turin every day, always carrying a sample panel made in their metal shop to verify that the panel would match the dimensions of what was already constructed. We would also exchange our thoughts with him about how to make the panel more elegant and easier to install. We sketched at the back of the drawing set. Prof. Lu even climbed next to the balcony where the panel would be to mark the sample. After that the engineer made another sample on the following day. It was all because he thought it was important to reach a certain standard. The result was much better.

By the way, the on-site improvisation is always special for me, but it’s not only because it reminds me master architects like Frank Lloyd Wright or Carlo Scarpa. You will realize, some solutions could emerge, exactly because of the accumulation of the months spent on the construction site – the architectural elements exist differently in your eyes, more physical and more three dimensional. So your solutions possibly are more unexpected with somewhat different inspirations. This kind of mind-setting was limited in the architectural education I received, so I can only experience it through working on actual projects and working with excellent engineers and builders. And the China Pavilion relates to us even more as we were part of these improvisations on site. So we feel its quality and ‘weight’ is extraordinary. And it will also project to our future design; maybe sometimes we might be even automatically seeking opportunities to improvise.

↑ 中國館屋面竹瓦施工過程照片（攝影：陸軼辰）

↑ 中國館屋面竹瓦施工過程照片（攝影：陸軼辰）

↑ 中國館屋面竹瓦施工過程照片（攝影：陸軼辰）

↑ 中國館南立面幕墻細節（攝影：Sergio Grazia）

4

gooood：設計世博會展館這樣的臨時建筑和非臨時建筑有什么區別呢？你如何看待當代建筑對于“新”的追求？

What was the difference between designing a temporary building and a permanent one? What’s your observation of the pursuit of ‘new’ in contemporary architecture?

LY:?建筑是有生命的，和人一樣，有長有短。對于世博會這樣的展館，它們的生命就是6個月，開館那段時間和6月的館日，就是中國館生命中最華彩的時刻。但生命短，不意味著不精彩。我們可以接受中國館最后會以某種方式結束–作為建筑師，我們會不好受，但適時結束它，其實是保護它的一種方式?，F在也有說法，一些城市想把中國館在中國異地重建，我們謹慎地樂見其第二次的生命。

由鋼和玻璃代表的現代建筑在新的時候很漂亮，舊了就不那么好；而很多老教堂、老房子卻越舊越有味道，很大一部分原因是石、木、金屬這些自然材料可以“記錄時間”。中國館雖然用了最新的膠合木建造技術，但我們卻用它來表達傳統的文化精神。不但大量采用木、竹等可以留下時間痕跡的自然材料，同時我們很關注構建這些材料的過程中，如何與自然因素的融合，比如光。

LY:?Buildings have lives just like human, some long, some short. A pavilion for an event like the EXPO has only a life of six months with the apexes being the opening days and probably the ‘pavilion days’ in June. That the pavilion has a short life doesn’t mean it’s not spectacular. We could accept the China pavilion terminates in certain way – as the architect, we will not feel great, but to terminate it at the right moment is actually one way to protect it. There have been some words now that a number of cities are willing to relocate the China Pavilion to China. We will be carefully glad to see its second life.

Modern buildings made with glass and steel are all beautiful when they are new and not so when they are aged; many old churches, old houses have more and more quality as they age. A big part of the reason is that natural material such as stone and wood can ‘track the time’. Although the China Pavilion utilized the latest glulam building technology, we wanted to represent the traditional cultural spirit with it. Besides using a great amount of natural materials like wood and bamboo to record time, at the same time we also paid attention to how these materials react with natural elements such as light during the process of constructing them.

↑ 中國館室外屋面竹瓦細節（攝影：Sergio Grazia）

↑ 中國館室內空間（攝影：陸軼辰）

↑ 中國館室內竹瓦光影效果（攝影：陸軼辰）

5

gooood:屋頂的形式和內部的功能是否有呼應？如果有，是怎么樣的，如果沒有，那您對于建筑形式與功能之間關系的態度是怎么樣的？

Is there a dialogue between the shape of the roof and the internal programs? If there is, how is it? If not, what’s your altitude regarding the relationship between the form and function?

LYC:?我對純粹的形式不太感興趣，而更在乎觀眾在空間內部的感受。建筑被看到，是一個基本層次的事情，而更高的層次是對空間的感受。而功能是消解在空間中的。如果你們看我們當時在2013年中期的過程模型，其實有一些在建筑學層面上看，和屋面的體系更契合的。但展覽建筑就是這樣，取決于內部展陳的需求。這個建筑中包含著由清華美院師丹青老師設計的一塊400多平米的，發光LED組成的“麥田”，展覽層面上需要有一個無柱的大空間來讓觀眾從各個角度來觀看，使得屋面與內部最大的展覽空間之間存在著另外一種契合。

QW：可能我們把這兩個名詞可以再打開討論。比如像陸老師剛說的，“形式”肯定不是純粹的形式。建筑師傾向于使用某種形式，往往因為它在我們的文化或者意識形態里具有某種信息，符合這個設計的身份的人們的期望；中國館的形式就有這樣的一方面。而“功能”一詞也不是僅僅是“使用功能”，也有可能人們用的方式，這里是有很大挖掘空間的。建筑師不會去過多挑戰比較穩定的使用功能；但可以通過某種形式激發某一方面的使用方式，可以是視覺感受，對光、對尺度；可以是動態感受，行走、穿插；更多的是其他的。這樣的互動是良性的；剩下的事可能就是程度問題，見仁見智了。不同類型的建筑這個動態平衡都不一樣，對這個平衡的把握有可能讓整個設計極富創造性，所以我覺得這個永遠都是建筑設計中最吸引人的地方之一。

LYC:?I’m not quite interested in pure forms, but more in what the visitors feel inside the space. It’s a basic thing that architecture is to be seen, but on a higher level, to be experienced. And the functions are dissolved in the space. If you look at the study model in the middle of 2013, you’ll see maybe more interaction between the interior and the roof system, in the sense of architecture. But exhibition buildings really depend on the needs of the interior display items. The pavilion contains the illuminated LED ‘wheat field’ of 400 square meters, designed by Prof. Shi Danqing of Tsinghua University. A large, column-free space is necessary for the visitors to see the LED field from all angles which led to a different dialogue between the roof and the main exhibition space.

QW:?It’s probably more interesting if we unpack the two terms to have the discussion. For example, as Prof. Lu just said, ‘form’ never means the pure shapes. Certain forms are preferred by the architects because there are messages in them. The messages have always been there in the culture or ideology of us and they match the identity and the expectations of the design project.? The form of the pavilion has to do with it. And ‘function’ is not just ‘usage’ but ‘programs’, the ways people use the building; then there’s a lot to explore. Architects wouldn’t challenge the stable usages of the building but can choose the form to stimulate one of the aspects of how the buildings are used; it can be visual experience, of light, scale; it can be movements, walking, trespassing; there are much more of others. An interaction like this is positive. The rest of the question is to which extent and how, depending on the architect. Different types of buildings have different dynamic balance as well. How to deal with the balance can make the design extremely inventive that’s why I think it will always be one of the most attractive things about architectural design.

↑ 中國館室內空間（攝影：Roland Halbe）

↑ 中國館室內空間（攝影：Sergio Grazia）

↑ 中國館室內空間（攝影：Sergio Grazia）

6

gooood: 建筑的形式和屋頂形成的內部空間具有很明確的方向性，不過從平面來看，內部流線的組織似乎有自己的方向，您是否同意，對于這兩者方向性之間存在的張力您是怎么看的？

The shape of the architecture and the interior space it forms has clear directionality. But the organization of the internal circulation seems to have its own directions. Do you agree? What do you think of the tension between the two different directionalities?

QW：出發點是建筑師希望在最大程度上給屋頂下的展陳、麥田空間留出了自由度，這一點在建成的結果中也是能很明確看到的。比如屋面作為一個自由延展的物體“罩”在景觀和麥田一米高的這個塊上，所有的活動是從這個塊里面掏出來的空間。人們在這個“田野”里行走的時候，屋頂則在不同的高度上出現在他們的視線中。中國館的設計出于各種原因，只能做到這一步，而要將屋頂和下面的流線整合的更嚴謹，把一種無意識的張力轉化成有目的的張力，則需要更微妙的技巧和設計師的敏感度。這在我們以后的設計過程中會是很有意思的，我們為此還挺樂觀甚至興奮的。

QW:?The starting point was that the architect wanted to leave maximum flexibility for exhibition items and the LED field. This intent is clearly there in the final constructed pavilion. The roof is a free style artifact floating above the continuous field of the landscape and the LED installation which is at the height of 1 meter above ground. All the public activity space is ‘carved’ out of the field. While people are meandering within the volume, they encounter the roof at different heights.? For various reasons, the China Pavilion could only push to this point; to further integrate the roof and the circulation, much more skills and sensitivity would be needed to transform the tension into something more intentional. This will be more interesting point in our future design process. And we are actually optimistic even excited about it.

7

gooood: 在建筑圖解中您描述了從城市輪廓到自然輪廓的過渡，這樣的設計方法您認為在您今后的設計中還會出現嗎？又或者，關于設計，您是每一個項目都希望有不同想法的建筑師，還是項目的想法之間會互相聯系，累積的建筑師？

In the diagrams you described the transition between the city profile and the nature profile, do you think the same design method will appear in the subsequent design projects? In other words, regarding design, are you an architect who would like to have a different idea for each project or who would prefer the project ideas interrelate and accumulate?

LY:?我們這一代建筑師的工作方式和蓋里、霍爾他們肯定是不一樣的。比如我會盡量不去畫草圖，而讓團隊不同背景的建筑師們來討論，恰當的時候組織各專業顧問來階段性地“批”這個設計。我們幾個來主導方向。我們用大量的物理模型，來讓建筑與場地“對話”，讓建筑自己按它應該長成的方式“生長”。功能、造價、結構、材料都是形式生成過程中的“酵母”，而建筑師是指揮家，我們用最真誠的方式來推進設計的過程，最好的技術手段來解決設計中遇到的問題。讓項目和建筑自己說話—僅此而已。之前不要去預設，只要過程充實，結果就是水到渠成的事。

LY:?The ways architects of our generation work are definitely different from that of Gehry or Holl. For example I would rather not to sketch but to have a team discussion with architects from different backgrounds, then periodically invite consultants to give critics. A few of us core members guide the direction. We quite many physical study models to let the architecture ‘talk’ with its site then let it ‘grow’. Function, budget, structure and materials are all catalysts of the generation of the form; the architect is the conductor moving the design process forward in the most honest way and solves the problems with the best technical skills. Let the project and the building speak – this is it. Without a pre-definition, as long as the process is rich, the result comes rather naturally.

?↑ 中國館設計過程模型

↑ 中國館設計剖面模型

↑ 中國館前期過程模型

↑ 中國館屋面1:1節點大樣

8

gooood: 項目在建成過程中，是否有沒有完全達到您的要求的遺憾，其中有什么樣的故事嗎？

During the final completion of the project, was there any regret for you that it didn’t reach your expectations? Any stories of it?

LY:?最遺憾的就是時間。一個項目要有很好的完成度，有三個重要的基礎：設計、時間、造價。這個項目最大的特點就是它從定總包到建設完成，只有7個月的時間。建筑師是個很辛苦的職業，造價不夠、時間不夠，最后被妥協的往往都是設計–但在這里，我們可以這么說，整個建筑在設計層面上幾乎沒有任何妥協，都堅持住了。

到了最后趕進度的時候，建筑、結構、屋面、室內、機電、展陳都是同時進場，交叉施工。4000平米的建筑，120多工人（大多數是意大利人）。我和蔡沁文滿場跑，控制一些對整體質量有影響的細節，我們倆有語言優勢，意大利人也信服我們，很多情況下經過溝通之后他們就理解我們，幫我們修改了。到了施工的最后幾天，任何施工的差錯發生了就不能再調整，這個時候我們要做的就是預判問題，在意大利工人犯錯之前就過去糾正，很解決問題。

QW:?沒百分之百達到預期的遺憾肯定有。要讓建筑所有的細節都達到預期，圖紙上的細節永遠都不夠，肯定要再多付出一些確保最終的質量。這就是我們為什么一呆幾個月?；旧辖ㄖ煹乃季S方式是習慣了一遍一遍找最好的做法，施工方則因為工期和造價的壓力傾向于簡化，雙方會為了一個細節怎么做而爭執。這種情況下最好建筑師有工程層面的解決方法；如果不是你的專業范疇你沒有解決辦法，那就要明確的溝通想要什么，不想要什么。建筑師和施工方這種帶張力的合作是行業的特點。我很欣慰的看到我們和我們的“對手”彼此尊重，有時候還互相幫助，往往能找到彼此都能接受的解決辦法。
?
LY:?到開館的前一個月，我們真的是入魔了，沉在細節里不肯出來，不滿足。直到開館那天，看到那么多游客在中國館里，突然一下子如釋負重了，我們的注意力被吸引到了人們怎么用這個房子上去了。

LY:?The biggest regret is time. For one project to reach a good level of completion, there are three fundamental things: design, schedule and budget. The characteristic thing of the project is that it only had seven months between the appointment of the general contractor and the final completion. It’s a hard job to be an architect; when there isn’t enough budget or time, the design is always what’s being compromised. But here, we can say this, there’s almost no compromise in the architectural design. We held up everything.

When it was getting close to the deadline, the workers of architecture, structure, roof, interior, mechanical and exhibition were all working at the same time. There were 120 workers (most of them were Italian) working in the building of 4,000 square meters. My colleague Qinwen and I were running across the site to control the details that actually had greater impact on the overall quality. We had language advantage and somehow the trust from the Italians. In many cases they understood us and would correct the errors for us. But during the last a few days, none of the errors could be corrected. At that time what we had to do was to foresee the possible mistake and point it out before the workers made it. It was effective.

QW:?There were definitely some regrets. Basically architects are used to doing something over and over to find the best way while most contractors tend to simplify things because of the pressure of schedule and cost, so often there would be a disagreement about how to make one single detail. The best thing is that the architect has a solution; if you don’t have it because it’s not your expertise, it’s important to clearly communicate what you want and what you don’t. The tension between the architect and the contractor is always one of the characters of this profession. Gladly in most cases our ‘opponents’ and us respected even helped each other to find the solutions both could accept.

LY:?One month before the opening of the pavilion, we were obsessed in all the detail problems and still unsatisfied. On the opening day, we were suddenly released when we saw that many visitors inside the China pavilion because we were attracted by how people would use the building.

↑ 中國館建成效果（攝影：Sergio Grazia）

↑ 中國館膠合木1:1節點大樣

關于該項目的更多信息：

MORE INFORMATION FROM THE ARCHITECT:

占地面積4590平方米，作為本屆世博會第二大館的中國國家館設計理念來源于對本次米蘭世博會主題和中國館自己的主題”希望的田野，生命的源泉”的理解和思考，力圖在保留展會建筑所要求的“標志性”的同時，更深地探討如何在哲學和精神的層面上來概括地表達中國文化。

當代技術對傳統文化的表達：建筑師在面對場地南側主入口和北側景觀河的2個主立面分別拓撲了“山水天際線”和“城市天際線”的抽象形態，并以”loft”的方式生成了展覽空間，形成“群山”與“屋脊”的效果，以此向中國傳統的抬梁式木構架屋頂致敬。為了實現中國館屋面輕盈和大跨度的內部展覽要求，中國館采用了以膠合木為主材的結構體系。由膠合木結構、PVC防水層、和遮陽竹板一起組成的三明治開放性屋面建構體系，即使在世界范圍中也是創新的。

The theme for the China Pavilion is “The Land of Hope”. The project embodies this through its undulating roof form, derived by merging the profile of a city skyline on the building’s north side with the profile of a landscape on the south side, expressing the idea that “hope” can be realized when city and nature exist in harmony. Conceived as a timber structure that references the “raised-beam” system found in traditional Chinese architecture, the Pavilion roof also uses modern technology to create long spans appropriate to the building’s public nature. The roof is covered in shingled panels that reference traditional pottery roof construction, but are reinterpreted as large bamboo leaves that enhance the roof profile while shading the public spaces below. Designed as layered screens, these panels add texture and depth to the Pavilion’s roof and create evocative light and transparency effects below.

↑ 中國館南立面

↑ 中國館北立面

整列的麥田裝置：中國館場地是一塊南北向縱深的基地，游客由場地南側的田野景觀緩緩拾階而下，“浸”入一望無垠的“麥田”景觀，由中國館東南角不知不覺地進入到建筑內部；人們徜徉在流動的麥田裝置之間，伴隨著展覽內容的深入，觀眾由大坡道來到位于建筑二層核心部位的平臺，回望樓下，映入眼中的將是由22,000根LED“麥稈”陣列出的變化的壯美山河。

Beneath the roof, the building’s ground plane is defined by a landscape of wheat (the “land of hope”) that references China’s agrarian past. This natural landscape transitions seamlessly into an LED multimedia installation in the center that forms the centerpiece of the building’s exhibition program.

The Pavilion’s full exhibition and cultural offerings are experienced as a sequence of spaces, beginning with an exterior waiting area in the landscape, leading to a themed exhibition space with interactive installations and cultural offerings from different Chinese provinces. After this, visitors are guided up a gently sloped public stair to a panoramic viewing platform above the multimedia installation, after which they are guided into a multimedia space featuring a short film focusing on family reunions during China’s annual Spring Festival. This sequence concludes with visitors stepping outside the building onto a platform above the bamboo roof that enjoys expansive views of the Expo grounds.

↑ 回望“麥田”

?↑ 回望“麥田”

“谷倉”影音廳：影音廳位于2層流線的頂端，空間形態體現著平面和剖面布局中的巨大張力，將會為全世界的觀眾播放一部10分鐘有關中國人回家過年、吃團圓飯的動畫。

↑ 影音廳效果

“飛檐走壁”的廊橋：位于影音廳外、漂浮于大坡面上的廊橋使得室外的景、自然光和新鮮空氣可以自由進入內部空間；觀眾走上廊橋，不知不覺走上了建筑的屋面，回望入口景觀并享受世博園的美好景觀。隨廊橋穿插回室內，將體會到整個建筑流線最高潮的部分—高聳的膠合木結構屋架構成的出口區，為觀眾提供了極具紀念性的空間體驗。

↑ 廊橋效果 &? 竹板外觀

位于中國館屋面最上層，是由竹條拼接的板材所組成的遮陽竹板屋面—由電腦參數化“寫”出來的屋面。竹板的肌理順著竹板的角度在屋面上“流動”，在意大利北部陽光下為中國館披上了一層精致、溫暖的竹編外袍。在中國館內部，光線透過竹編表皮漫射進室內空間，在PVC表皮上布下的斑駁投影，隨著季節和時間的變換而變化。

考慮到中國館項目造價平宜、工期短（從確定總包到建筑落成只有7個月）、壓力大等特點，建筑師與中、意建設團隊一起，緊密合作，采用成熟的當地材料和建造工藝，輔以前沿的參數化技術，因地制宜地設計出最具中國氣質的中國館。所呈現的建筑效果令包括米蘭世博會組委會在內的中、意各界人士關注，認為中國館是一個非常精彩且獨特的建筑設計，是“最受期待的國家館”。

↑ 室內空間效果

↑ Site Plan

↑ Plan at Level 1

↑ Plan at Level 2

↑ Plan at Level 3

↑ Building Section

↑ Exploded Axonometric 爆炸軸側

↑ Roof System Diagram 屋面系統

↑ Panel Geometry Rationalization 屋面幾何面板優化

↑ Panel Geometry on Roof 屋面面板圖紙

↑ Panel Types Diagram 屋面面板圖紙

↑ Building Section and Panel Axon? 外表皮構造與建筑剖面

↑ Roof Structural Details 屋面結構節點

↑ Supporter and Waterproofing Axon 結構與防水節點

項目概況
名稱：2015年米蘭世博會中國館
地點：意大利米蘭
項目功能：展覽、餐飲、影廳、裝置、紀念品銷售、接待、會議、辦公等
基地面積：4590 m2
建筑規模（面積）：3500 平方米
設計/建筑成時間：2013-2015
業主：中國國際貿易促進會
組織者：2015米蘭世博會組委會
項目總負責：蘇丹
項目總監：張月、杜異

建筑設計部分：
建筑設計：清華大學美術學院 + Studio Link-Arc（紐約）
主持建筑師: 陸軼辰
項目建筑師: 蔡沁文，Kenneth Namkung?
建筑設計團隊：Alban Denic, 黃敬璁, 范抒寧, Hyunjoo Lee, Dongyul Kim, Mario Bastianelli, Ivi Diamantopoulou,Zach Grzybowski, Elvira Hoxha, Aymar Mari?o-Maza, Yoko Fujita,鄧一泓，胡辰
執行建筑師（LDI）：F&M Ingegneria?
結構工程師: Simpson Gumpertz & Heger + F&M Ingegneria
幕墻顧問: Elite Facade Consultants + ATLV
機電顧問: 北京清尚+ F&M Ingegneria

總體設計部分：
室內設計：汪建松
景觀設計:崔笑聲
展陳設計: 周艷陽、趙華森、李彩麗
裝置設計：師丹青、冼楓?
燈光設計:杜異，劉曉希
VI系統：管云嘉
視覺傳達:顧欣，王之綱

PROJECT CREDITS

PROJECT INFORMATION
Project Name: China Pavilion for Expo Milano 2015
Award: First Prize
Client: China Council for the Promotion of International Trade
Organizer: Expo Milano 2015

ARCHITECTURE
Architect: Tsinghua University + Studio Link-Arc
Chief Architect: Yichen Lu (Tsinghua University + Studio Link-Arc)
Project Manager: Kenneth Namkung, Qinwen Cai (Studio Link-Arc)
Project Team:? Alban Denic, Shuning Fan, Mario Bastianelli, Ching-Tsung Huang, Hyunjoo Lee, Dongyul Kim, Ivi Diamantopoulou, Wei Huang, Zachary Grzybowski, Elvira Hoxha, Aymar Mari?o-Maza, Zoe Zhou (Studio Link-Arc)
Architect and Engineer of Record: F&M Ingegneria
Structural Engineer: Simpson Gumpertz & Heger + F&M Ingegneria
Enclosure Engineer: Elite Facade Consultants + ATLV
MEP Engineer: F&M Ingegneria + Beijing Qingshang Environmental Art & Architectural Design
General Contractor: China Arts Construction and Decoration Company + Unique Europe + Bodino Engineering
Rendering: MIR
Model Photo: Zheheng Hong
Architectural Photography: Sergio Grazia

EXHIBITION, LANDSCAPE, & INTERIOR DESIGN
Project Director: Dan Su, (Academy of Arts and Design, Tsinghua University)
Design Director: Yue Zhang, Yi Du (Academy of Arts and Design, Tsinghua University)
Exhibition Design: Yanyang Zhou, Danqing Shi (Academy of Arts and Design, Tsinghua University)
Landscape Design: Xiaosheng Cui (Academy of Arts and Design, Tsinghua University)
Interior Design: Jiansong Wang (Academy of Arts and Design, Tsinghua University)
Lighting Design: Yi Du, Xiaoxi Liu (Academy of Arts and Design, Tsinghua University)
Visual Identity Design: Xin Gu (Academy of Arts and Design, Tsinghua University)

建筑師簡介

陸軼辰，清華大學副教授，美國Link-Arc建筑師事務所主持建筑師。本科畢業于清華大學，并于耶魯大學獲得建筑學碩士學位。曾于洛杉磯摩弗西斯事務所、洛杉磯弗蘭克·蓋里及其合伙人事務所、紐約斯蒂文·霍爾建筑師事務所任項目建筑師，并主持重要國際項目；曾獲日本文部省平山郁夫獎一等獎、耶魯大學羅伯特·艾倫·瓦德優秀設計獎、耶魯大學弗蘭克·蓋里工作室弗萊德曼設計獎提名、2006年日本“新建筑國際住宅設計競技大獎”一等獎第一名、2014德國設計協會該年度標志獎等。2013年，清華大學美術學院團隊所設計的“意大利米蘭世博會中國館”獲國際競賽第一名，陸軼辰主持了其中的建筑設計部分。

蔡沁文，美國Link-Arc建筑師事務所主任建筑師。本科畢業于清華大學，于康奈爾大學獲得建筑學碩士學位。曾與紐約拉斐爾·維諾里建筑事務所任項目建筑師，并主持重要國際項目。2012年，加入Link-Arc，并主持了深圳小徑灣規劃、貴陽云景臺等獲獎項目；曾獲2014德國設計協會該年度標志獎、第12屆現代裝飾國際傳媒獎年度建筑設計大獎等。

MORE:??Link-Arc建筑師事務所??陸軼辰

本文由 aye_aye_aye 轉載自：http://www.gooood.hk/china-pavilion-expo-milano.htm
 

aye_aye_aye

坯子庫小編一枚