內部形象：法國館

建筑設計：阿努克·勒讓德爾，尼古拉斯·德馬聚爾/XTU建筑事務所

Architects: Anouk Legendre, Nicolas Desmazières/XTU architects

內部形象：法國館

Interior Image: French Pavilion

建筑設計：阿努克·勒讓德爾，尼古拉斯·德馬聚爾/XTU建筑事務所

Architects: Anouk Legendre, Nicolas Desmazières/XTU architects

1 入口/Entrance

2.3 市場的演進/Market evolution

4 外景/Exterior view

法國是一個農業大國。其地質特色賦予了這個國度富饒的土地，而根深蒂固的世代傳承使得其文化和美食的傳統在全世界享有盛譽。法國館傳達了這種多產的多樣性，以一個新的標志性的市場形象，通過形體的表達，同時回應地域和景觀的“片段”。

1 地域建筑

在食物方面，如何概括法國的特色?

食品消費和生產是如何變化的?

如何展現法國的創新發明？

1.1 市場原型

在最開始，建筑師通過與農業專家和社會學家交流獲得了關于法國飲食文化的認知，了解到法國的飲食文化是其獨特的地理特征和豐富的物種多樣性的產物。正是豐富的自然資源孕育了法國的山巒河谷、地域氣候、土地的使用方式和多樣的飲食文化與食材,以及那些美味的佳肴。

設計任務書中提到了巴爾塔市場的概念，它是象征著生產和消費的地標，是食品鏈中所有環節永恒的交匯點。XTU采用了一個有頂市集的范式，將其作為所有食材的集散地，進而創造出他們的市集原型：巨大屋頂庇護下的流動空間。

1.2 人造景觀

“法國象征了文化奇景、工業技術和美好生活，” 建筑師阿努克·勒讓德爾總結道，“這正是我們想通過打造這種‘人造景觀’來詮釋法國地域的多樣性、獨特的農業產物和烹飪傳統。”當被問及“滋養地球，生命之源”這一主題時，XTU回答道，“新食品革命的豐沃土壤”，并用這座建筑許下了法蘭西地區對這一信念的承諾。這座展館的形式受到了法國六邊形地圖的啟發，多處隆起，像是因地殼變動擠壓而成。

這片“人造景觀”從側面滑入“市集”屋頂的底面，這也是人們在這座2000m2展館內部唯一能看到的建筑部位。展館的外輪廓呈現懷舊的波浪形，展館的“景觀天花”則投下一片鮮明的景色，讓人聯想到法蘭西大地的寬宏壯闊。這就是將人們引入阿德琳·里斯帕爾所設計的科技展陳內容的前奏。

2 結構法則

2.1 倒置

建筑師為了增加展館對觀眾的吸引力，特地在“設計劇本”中加入了全浸入手法。這座“景觀建筑”吸引著室外的人們進到室內，進入這次景觀之旅。一旦穿過了展館的大門，參觀者們就被一片倒置的山村景觀包圍。樹干一般的柱子支撐著上部的“生意盎然的屋頂”，而這一方屋頂遮蔽并限定著其下的空間、功能區域和通道；首層空間包含展柜、一個真實的市場和合作伙伴區。不同于傳統的有頂市場將商品都陳列在攤位中，這個階段式的市集將多個主題分別布置在屋頂結構劃分出的各個小空間內。

這些“豐饒的寶庫”為人們提供了琳瑯滿目的菜單，例如地區專門作物、精致佳肴、科學和生物技術研究、農業生態、新型農產品技術、遺傳學發現、生命化學和有益菌群。

上面一層空間包含辦公室和VIP房間。頂層是一家餐館。

2.2 自由形式

法國館的膠合疊層結構是完全由法國的木材建成：室外用杉木，室內用松木。

每一個建筑構件——從主要的支撐結構和屋頂到樓板和表皮——都是同質化的材料，它們相互插接形成了這個高度統一的建筑整體，同時描繪了它的外殼和內部的廣闊空間。西莫南木工使用一種超高精度的數控機器人與建筑設計軟件配合完成了建筑所有框架構件的切割。主結構是由相互間隔4.5m的桁架梁和柱子構成，并用每隔1.5m開槽的支撐框架撐牢。這就形成了一系列高度同質化的直角小隔間。

項目的革新性體現在它的穹窿式的空間效果上。這是通過其正交的結構體系凹陷成不規則的被稱作“獨立式”的形體之中而形成的。法國館復雜的幾何形體使木結構框架具有了一系列戲劇性的曲線輪廓，體現出了木制材料靈活多變的塑形能力。除了它戲劇性的形態之外，這頂大華蓋同時還通過Résix?的專利技術——隱形扣件系統——的使用展現出了法國在木制建筑方面的技術創新。

2.3 低科技綠色構筑物

法國館采用一種低技的建造方式，因此可以被輕而易舉地拆解開，然后重新組裝起來。通過交叉通風系統和具有拔熱作用的中央氣樓的設計，這座“景觀市集”實現了自然通風和冷卻，成為了一座低能耗建筑。□（張裕翔 譯）

5 總平面/Site plan

6 首層平面/Floor 0 plan

7 二層平面/Floor 1 plan

8 三層平面/Floor 2 plan

France is a major agricultural country. Geology has endowed it with an abundant array of terroirs and it boasts a deep-rooted genealogical heritage that has given rise to cultural and gastronomical traditions celebrated throughout the world. The French Pavilion conveys this productive diversity with a new twist on the iconic covered market through shapes that simultaneously echo the territory and "pieces" of the landscape.

1 A territory building

How do you symbolize France's identity when it comes to food?

How has consumption and production changed?

How do you showcase innovations from France?

1.1 The market archetype

The architects began by talking with agriculture experts and sociologists, which gave them an image of France's food identity as a product of its amazing geological and genealogical diversity. These natural resources shaped the peaks and valleys, the climate regions, the way people use the land, the varied cultures and products – and its superb cuisine.

The contest specifications referenced the Halles de Baltard market, a landmark of production and consumption, a timeless confluence of all the links in the agri-food chain. XTU galvanized the idea of a covered market as the crossroads where all foods meet and decided to produce what it considers the archetypal market: free-standing spaces sheltered under one huge roof.

1.2 A built landscape

"France symbolizes a cultural wonder, industrial know-how, the good life," reflects architect Anouk Legendre. "That is what we wanted to show the world by inventing a ‘built landscape' that all at once portrays the geographic diversity of France's regions, its unique agricultural offerings and culinary traditions." When asked about the theme "Feeding the planet, energy for life," XTU says, "Terrain as fertile ground for the new food revolution," with a building that stands for the promise of France's regions.

The pavilion, inspired by France's hexagonal shape, seems to have been pushed up here and there by tectonic shifts.

This "built landscape" has sidled into the "market" on the underside of the ceiling, the only part crowds will see as they stream into the 2,000m2space. Contorted by reminiscent ripples, the "landscape ceiling" casts a striking feature that abstractly depicts the wide breadth of France's terroirs. That is what introduces the scientific content staged by Adeline Rispal's exhibition design.

2 The structural principle

2.1 Upside-down

Eager to lure in visitors, the architects engineered a full-immersion approach to the stagecraft by pushing the "pull factor". The "territory building" invites people from the outside to embark on a journey inside. Once past the pavilion's doors, visitors are plunged into the upside-down world of the hilly countryside. Tree-like pillars support the "lived-in roof" that frames the spaces, functional areas and pathways; the ground floor houses the exhibit booths, an actual market and partner zones. Unlike conventional covered markets where products are displayed in stalls, this staged version features a variety of themes the pavilion covers in chambers created by the structure.

These "vaults of plenty" serve up a menu of offerings like regional specialties, delicacy tastings, scientific and biotechnological research, agro-ecology, new agri-food technologies, genetic discoveries, life chemistry and beneficial flora.

The next floor hosts offices and VIP rooms. The top floor is a restaurant.

2.2 Free forms

The glue-laminated structure is completely made of French wood: the interior in spruce and the exterior in larch.

Every building element – from the main and supporting structures and ceiling to the floorboards and fa?ades – is made of interlocked pieces forming a single unified edifice that simultaneously outlines the exterior casing and the interior expanse. The carpenters Simonin used a super-high precision digitally controlled robot to cut out every angle of the framework with the architecture software. The main structure is made of lattice girders and pillars spaced at 4.5m and braced by a supporting framework slotted in every 1.5m.

The result is a series of highly uniform rightangle cubicles. The project is ground-breaking because this orthogonal frame is "cragged" (notched) into uneven shapes called "frees" that create a stunning vault-like effect. The complex geometry of the French Pavilion's framework creates a roller coaster of curves that demonstrates wood's ability to mould into unexpected organic contours. Beyond its dramatic form, this marquee is a showcase for French innovation in wood architecture using invisible fastening systems patented by Résix?.

2.3 A low-tech green structure

The French Pavilion adopted a low-tech approach, so the entire building can be taken apart and put back together. With its cross-ventilation and the central clerestory designed for its heat extraction process, the "landscape market" will be naturally ventilated and cooled down, making it a low-energy consumption building.□WA: 法國館的設計是如何回應米蘭世博會“滋養地球”這一主題的？

9 內景/Interior view

10 景觀建筑圖解/Landscape building

11 結構系統/Structural system

12 組裝+拆裝+再組裝/Assembly+disassembly+reassembly

XTU: 考慮了博覽會的主題之后，使用木材作為主要材料似乎是無可爭辯的了。與其他結構材料相比，木材是環保效益最好的。法國館的膠合疊層結構是完全由法國的木材建成：室外用杉木，室內用松木。主要結構由桁架和柱子組成。這直接形成了一系列高度同質化的直角小隔間。展館映射了法國不同地區的多樣性和獨特氣質。展館的形態則根據法國復雜多變的地質肌理起伏波動，讓人聯想到法國的山川和溝壑。

受到“巴爾塔市場”的啟發，展館在室內設置了一個大市場。市場的形式是一個大屋頂和一片倒置在其中的景觀。這片景觀為展覽中的法國產品和農業財富配以美好的自然景色。

WA: 法國館項目中最具創造性和吸引力的構造設計是什么?

XTU: 整棟建筑可以被完全拆解然后重新組裝起來！木構件的交接處是隱藏起來的。正因木材在建造過程中采用這種方式，我們的展館實現了完全的可持續。

WA: 場館建造過程中最為困難的部分是什么?

XTU: 兩個最主要的挑戰是：如何隱藏的構建的連接部位：通過使用Resix?的專利產品得以解決；如何達到我們想要的連貫形體和造型藝術效果，即梁構件展開部分的曲線切割：通過機器人切割得以解決。□（張裕翔 譯）

項目信息/Credits and Data

客戶/Client: FranceAgriMer

建筑師/Architects: Anouk Legendre, Nicolas Desmazières

項目經理/Project Manager: Mathias Lukacs

設計團隊/Team: Nicolas Senemaud, William Bianchi, Stefania Maccagnan, Ga?lle Le Borgne

聯合設計/Partners: Atelien Architecture (Architects), Studio Adeline Rispal (Exhibition Designers), Innovision (Multimedia), Licht Kunst Licht (Lighting Designers), Grontmij (Engineering), Oasiis (Environmental Technology and Engineering), Agence Laverne Paysagistes (Landscapers), Viasonora (Sound Designers), BECP (Kitchen Designers), Chevalvert (Graphic Designers), Lordculture (Cultural Engineering), Les Films d'Ici (Film Production)參與企業/Companies: C.M.C di Ravenna, Simonin

設計完成/Competition: 2014.01

建設時間/Construction-Completion: 2014.09 - 2015.04

功能/Programme: 文化設施（展覽、餐飲、零售及VIP會客區）/Cultural facilities (exhibition spaces, restaurants, retail & VIP areas)

建筑面積/Building Surface Area: 3532m2（使用面積/ Usable space 3286m2）

場地面積/Site Footprint: 3500m2

造價/Cost: €14,000,000

攝影/Photos: Andrea Bosio

13 東立面/East elevation

14 西立面/West elevation

15 剖面A/Section A

16 剖面B/Section B

17.18 內景/Interior views

WA: How does your pavilion design respond to the theme of the Expo - Feeding the Planet?

XTU: Regarding the theme of the Exhibition, it was an obvious fact to choose wood as the main material. Compared with other structural materials, wood is the most environment-friendly. The glue-laminated structure is completely made of French wood: the interior in spruce and the exterior in larch. The main structure is made of lattice girders andpillars. The result is a series of highly uniform right-angle cubicles. The pavilion makes a reference to the diversity of regions and French identities. The shape of the building follows the diverse geographical topology of the country - its hills, the mountains, the valleys.

Inside, a big market, inspired by the "Les Halles de marché Baltard", is set in the form of a ceiling with an inverted landscape, indicating a scenography around French products and agricultural wealth.

WA: What is the most creative and attractive tectonic design in your pavilion project?

XTU: The entire building can be taken apart and put back together! The fixations of wooden pieces are invisible. It is a perfect sustainable pavilion because of the use of wood.

WA: What was the most difficult part for you in the building process of this pavilion?

XTU: Two main challenges were: how to have the invisible fixations: solved by the use of the patent (certificate) Resix?－and, how to have a continuous shape with "plastic artistic effect"－the cutting (division) "slice curve" of the subface of beams, as solved by the use of robots of cutting.□

19 外景/Exterior view

評論

陳浩如：網格狀木架構中種植著蔬菜、草藥和啤酒花，仿佛進入達利的畫作夢境，建筑似乎以超現實主義手法展現市場模式的變換過程。建筑本身的結構與功能簡潔明了，使用了參數化手法和自然材料，使建筑成為近乎洞穴的地景藝術品，也明確表達了農業與大地自然的關系。這個具有市場氛圍的結構物，外部看似有3層，內部則是一層挑高的洞穴。構造充滿趣味性的空間變化和自然光帶來的愉悅。

于春水：張弛有度的構思體現出建筑師清晰的邏輯與規劃設計的完整性：果木蔬菜（人造景觀）—主體建筑（景觀建筑）—展覽大廳（室內空間），完全遵循參觀者常規的路徑與體驗感受。無論是靈感來自于市集的倒置形體，還是膠合板疊層的結構形式，還是可重復利用的同質化木材，無不傳達出設計的純粹性。巨大屋頂下的流動空間仿佛看到了法國的山巒河谷與參天大樹，懸掛空中的佳肴食材、炊具調料、數字屏幕全部鑲嵌于結構的方格單元內，展示陳列與建筑渾然一體，形式與內容高度統一。

20 形式生成/Generation of form

21-23 內景/Interior views

Comments

CHEN Haoru: A wooden grid structure planted with vegetables, herbs and hops, as if entering Salvador Dali's surrealist world. Anouk Lengendre and Nicolas Desmazieres show the way to present the transformation process of farmer's market. The structure form a new irregular geometry reminiscent of caves or organic forms. Combined with the use of natural materials, this building became almost an artwork of landscape, clearly expresses relationships between agriculture and nature, and formed a cohesive market atmosphere. The external part appears to have three levels, on inside it is only one level of continuous high cave space, a gesture that is thought-provoking.

YU Chunshui: Architects' temperate concepts reflect their clear logic as well as the integrity of design and planning. Through a built landscape with fruit trees and vegetables from France, visitors reach the main building for landscape architecture and come into the exhibition hall spontaneously. The design absolutely follows the route and the feelings of the visitors. A big upside-down form inspired by the "Les Halles de marché Baltard" market, the glue-laminated structure and the interlocked pieces forming of woods, all give a strong sense of the purity of the design. A huge continuous free space of upside-down building looks like the peaks and valleys, and the towering trees of France. French food products and ingredients, seasonings, cookware and digital screens are all inlaid and huge up in unit grids of wood structures, integrated exhibition with building. "Form follows function".