極繁表皮：意大利館

建筑設(shè)計(jì)：米凱利·莫雷，蘇珊娜·特雷德高/奈邁希與合伙人建筑事務(wù)所

Architects: Michele Molè, Susanna Tradati /Nemesi & Partners

極繁表皮：意大利館

Complex Envelope: Italy Pavilion

建筑設(shè)計(jì)：米凱利·莫雷，蘇珊娜·特雷德高/奈邁希與合伙人建筑事務(wù)所

Architects: Michele Molè, Susanna Tradati /Nemesi & Partners

1 外景/Exterior view

意大利館的設(shè)計(jì)

“我們設(shè)想的建筑理念是：通過一座創(chuàng)新的、當(dāng)代的，然而兼顧意大利建筑偉大傳統(tǒng)的建筑，表現(xiàn)團(tuán)聚的理念并（喚醒）人們互相認(rèn)同成為群體的能力。” 米歇爾·莫雷，奈邁希創(chuàng)始人和總監(jiān)說。

意大利館由6層的意大利宮（建成面積14,400m2）和卡多大道旁的一些2層臨時(shí)建筑組成（建成面積12,500m2）。

從初步設(shè)計(jì)到執(zhí)行設(shè)計(jì)歷時(shí)7個(gè)月

14個(gè)月的建造過程

超過200名專業(yè)人士參與

由意大利企業(yè)建造

主要展覽區(qū)域共計(jì)27,000m2

意大利館建筑

意大利宮是世博會(huì)場地上一座真正的地標(biāo)，其顯著性體現(xiàn)在建筑設(shè)計(jì)和地理位置——坐落于四大方位之一的北基點(diǎn)，并且為貫穿（世博會(huì)）場地的卡多大道提供了優(yōu)美的背景。

意大利宮高達(dá)35m，是本次世博會(huì)的制高點(diǎn)，也是唯一一座將永久保留的建筑。

意大利宮采用了“都市森林”的概念，由奈邁希設(shè)計(jì)的“樹杈狀”外皮同時(shí)讓人聯(lián)想到原始圖騰以及技術(shù)圖像。交織的線條演繹著光影和虛實(shí)，產(chǎn)生了一座似雕塑般的建筑，強(qiáng)烈暗示著大地藝術(shù)。

對奈邁希而言，意大利宮的創(chuàng)意火花來自凝聚的概念，以建筑的吸引力重新發(fā)掘群體性和歸屬感。內(nèi)部廣場代表了社群的能量。這個(gè)位于意大利宮4座體量中間的空間——象征了綜合體的心臟——是展覽游線的起點(diǎn)。4個(gè)體量分別容納了展覽區(qū)（西側(cè)）、觀眾區(qū)及活動(dòng)區(qū)（南側(cè)）、辦公區(qū)（北側(cè)）和會(huì)議及集會(huì)區(qū)（東側(cè)）。這些體量是大樹的象征，巨大的地基模仿深扎入土地的根系。從內(nèi)部廣場向上看，它們伸展開來并逐漸變長，從視覺上形成了超出巨大玻璃屋頂?shù)奶炫铩?/p>

意大利宮的功能布局

奈邁希將意大利宮的布局設(shè)計(jì)為一個(gè)逐漸深入的旅程——發(fā)現(xiàn)和理解這座特殊建筑景觀的形體和內(nèi)涵的過程。流線從內(nèi)部廣場開始，由（中央）大廳歡迎到訪者。弧線形傾斜的立面賦予建筑體量一種流動(dòng)和富有活力的感覺，形成真實(shí)美好的空間。一躍而起的臺(tái)階從廣場升起，縱向穿過這片區(qū)域，從視覺上連接所有樓層。

創(chuàng)新和可持續(xù)設(shè)計(jì)

意大利宮是當(dāng)代工廠的象征，是一次意大利建筑和建造的挑戰(zhàn)，是一個(gè)在設(shè)計(jì)、材料和技術(shù)層面具有實(shí)驗(yàn)性和創(chuàng)新性的作品。憑借光伏玻璃的覆蓋和新型光催化混凝土外殼，意大利宮的設(shè)計(jì)和構(gòu)想為接近零耗能的可持續(xù)性建筑。這是一座與外界環(huán)境對話、交換能源而具有“滲透性”的建筑。

采用2000t自激活生物動(dòng)力學(xué)混凝土

700余塊非標(biāo)準(zhǔn)多杈狀面板

4000m2頂蓋- 400t鋼材

由豐富枝杈編織成的外表皮突出了意大利宮在形體上的雕塑感。奈邁希采用了一種獨(dú)特的幾何設(shè)計(jì)創(chuàng)造這層“外皮”。超過9000m2的意大利宮立面由700余塊自激活生物動(dòng)力學(xué)混凝土板覆蓋，這些面板使用了Italcementi公司TX Active專利工藝。當(dāng)這種材料與光接觸時(shí)會(huì)捕捉空氣中的污染物，將其轉(zhuǎn)化為惰性鹽并降低霧霾水平。砂漿中含有80%再生骨料，其中包括卡拉拉采石場的大理石廢料，讓混合材料相比傳統(tǒng)白水泥更具光澤度。這種新型材料也非常“動(dòng)感”，它使得面板中形狀復(fù)雜的流線型設(shè)計(jì)在意大利宮的建造中變成現(xiàn)實(shí)。

用于外表皮的每一塊面板都是獨(dú)一無二的，由Styl-Comp公司量身定做。奈邁希設(shè)計(jì)的頂蓋是一個(gè)創(chuàng)新的“船帆”，由Stahlbau Pichler公司實(shí)現(xiàn)。這是對森林樹冠的詮釋，由光伏玻璃、以矩形為主的平面或曲面的幾何形狀組成。和“樹杈狀”外皮一樣，這是設(shè)計(jì)和技術(shù)創(chuàng)新的顯著表達(dá)。屋頂?shù)慕ㄖ?biāo)高最高點(diǎn)位于內(nèi)部廣場上空，巨大圓錐形玻璃天窗“懸掛”在廣場和中央階梯之上，為室內(nèi)輻射自然光照。

卡多大道旁的建筑

意大利館還包括了面向卡多大道的一系列臨時(shí)建筑。這些建筑所采用的是“干作業(yè)”技術(shù)，以便世博會(huì)后的拆除和遷移。奈邁希在卡爾多大街旁的建筑設(shè)計(jì)中采用了意大利村落的意向，創(chuàng)造了一系列并置小廣場、露臺(tái)和有頂蓋廊道的體量。不同的幾何形狀，有時(shí)懸挑而出，近乎組成一幅巨大鑲嵌畫，其中的每個(gè)小體量都有自己獨(dú)特的設(shè)計(jì)和自治性。底層和一層主要是建筑構(gòu)造體量交替產(chǎn)生的小廣場。

卡多大道旁的這些建筑代表了意大利的不同區(qū)域，分別提供會(huì)客和展覽區(qū)。沿著卡多大道北端面對意大利宮的區(qū)域則匯入歐盟館，用于機(jī)構(gòu)辦公、展覽和會(huì)客，傳達(dá)了歐洲與意大利緊密連接的信號(hào)。□（馬逸東 譯，王欣欣 校）

2 內(nèi)景/Interior view

Design of the Italy Pavilion

The design chosen for the Italy Pavilion was the winning project in an international competition adjudicated by Expo 2015 S.p.A. in May 2013. In total, 68 architectural practices took part. The winning design came from Nemesi & Partners in association with Proger and BMS Progetti (for the engineering and cost management) and Prof. Livio De Santoli (for building sustainability).

"We imagined an architecture that would represent the idea of being together and the ability to recognize themselves as a community through an innovative, contemporary building taking into account the great tradition of the Italian architecture." Michele Molè, founder and director of Nemesi.

The Italy Pavilion consists of the creation of Palazzo Italia (built area 14,400m2with 6 levels) and some temporary buildings along the Cardo (built area 12,500m2with 2 levels).

7 months from the preliminary to the executive design

14 months of construction

over 200 professionals involved

Italian companies to build the pavilion

27,000m2in total, for the most part exhibition spaces

Architecture of the Italy Pavilion

Palazzo Italia is a genuine landmark on the Expo site, standing out because of its architecture and its location on one of the four cardinal points -the northern one. It also provides a scenic backdrop for Viale del Cardo which runs right across the site.

Palazzo Italia reaches a height of 35 meters, the highest peak within the Expo site. It's the only permanent architecture at the Expo.

Palazzo Italia draws on the concept of an "urban forest", with the "branched" outer envelope designed by Nemesi to simultaneously conjure up primitive and technological images. The weave of lines creates a play of light, shadow, solids and voids that generates a sculpture-like building with clear hints of land art.

For Nemesi, the spark for Palazzo Italia was a concept of cohesion in which the force of attraction generates a rediscovered sense of community and belonging. The internal piazza represents the community's energy. This space - the symbolic heart of the complex - is the starting point for the exhibition route, in the midst of the four volumes that make up Palazzo Italia. These four volumes house the Exhibition zone (West), the Auditorium and Events zone (South), the Office zone (North) and the Conference and Meeting zone (East). The volumes are symbols of giant trees, with massive bases that simulate great roots plunging into the earth. Seen from the internal piazza, they open up and become longer as you look up, visually forming a canopy beyond the giant glazed roof.

Functional Layout of Palazzo Italia

Nemesi designed the exhibition layout of Palazzo Italia to be a gradual journey to discover and understand the shapes and contents of this special architectural landscape.

The route starts from the internal piazza, a great hall in which visitors are welcomed. The curved, inclined elevations give the volumes a sense of fluidity and dynamism, forming a space of genuine beauty. The great flight of steps which rises up from the square, crosses this area longitudinally to visually connect all the floors.

Innovative and Sustainable Approach

Palazzo Italia is the symbol of the contemporary factory, an Italian architectural and constructive challenge, a work characterized by experimentation and innovation in terms of design, materials and technologies used.

Palazzo Italia was designed and conceived as a sustainable energy building, almost zero, thanks to the contribution of photovoltaic glass in coverage and photocatalytic properties of new concrete for the outer casing. An "osmotic" building that dialogues and exchanges energy with its surroundings.

2,000t of i.active Biodynamic concrete

over 700 branched panels all different

4,000m2of sail covering – 400t of steel

The rich weave of branches that forms the outer envelope helps to highlight the sculpted shapes of Palazzo Italia. Nemesi used a unique geometric design to create this outer "skin". The full 9,000m2of the facade of Palazzo Italia is clad in more than 700 i.active BIODYNAMIC concrete panels with Italcementi's patented TX Active technology. When the material comes into contact with light, it can "capture" pollution in the air, transforming it into inert salts and reducing smog levels. The mortar used is 80% recycled aggregates, including scrap material from marble quarries in Carrara that helps add more luster than in traditional white cement. This new material is also very "dynamic", enabling the creation of fluid designs like the complex shapes used for the panels that are part of the construction of Palazzo Italia.

All panels for the envelope are unique pieces realized by Styl-Comp.

The roof designed by Nemesi for Palazzo Italia is an innovative "sail" realized by Stahlbau Pichler. It's an interpretation of a forest canopy, with photovoltaic glass and flat and curved geometric shapes (often squares). Together with the building's envelope of "branches", it's a manifest expression of innovation in design and technology. The roof reaches its architectural height above the inner piazza, where a massive glazed conical skylight "hangs" over the square and the central steps, radiating natural light.

Buildings along the Cardo

The Italy Pavilion includes a series of temporary buildings that look out onto the Cardo. These are being built using "dry" technology to facilitate their removal and relocation when the Expo ends.

Nemesi used the idea of an Italian village to develop the buildings along the Cardo, creating volumes juxtaposed with small squares, terraces and covered walkways. Different geometric shapes, at times overhanging, are assembled to almost form a giant mosaic in which each piece has its own design and autonomy. The ground and first floors are often little squares produced by the alternation of architectonic volumes.

The buildings along the Cardo represent the different parts of Italy, especially the regions, providing them with meeting and exhibition areas. The area facing Palazzo Italia, along the northern part of the Cardo, is used for the institutions, exhibitions and meetings that fall under the European Union Pavilion, providing a symbol of the close ties between Europe and Italy. □

3 剖面/Section

4 總平面/Site plan

5 立面/Elevation

6 屋面細(xì)部/Roofing sail

7 五層平面/Floor 4 plan

8 二層平面/Floor 1 plan

9 首層平面/Floor 0 plan

10 內(nèi)景/Interior view

11 剖面模型/Model of section

WA：意大利館的設(shè)計(jì)是如何回應(yīng)本次世博會(huì)“滋養(yǎng)地球”這一主題的？

米凱利·莫雷：食物這一主題是與社區(qū)以及可持續(xù)性這些概念相關(guān)的。

在具備功能性之外，“意大利宮殿”這一項(xiàng)目也體現(xiàn)了一個(gè)真正的廣場、一個(gè)典型的意大利社區(qū)對自身集體性的認(rèn)識(shí)。

這也是意大利館對2015世博會(huì)關(guān)注的食物的可持續(xù)性供應(yīng)問題的主要貢獻(xiàn)：通過飲食展現(xiàn)人與人的相遇、社會(huì)共享的價(jià)值。

意大利宮殿的設(shè)計(jì)也體現(xiàn)了“滲透式的建筑”與環(huán)境之間的對話。

展館的建筑設(shè)計(jì)的概念實(shí)際上是來自“都市森林”的想法：樹木在其生命周期中通過地下的樹根系統(tǒng)汲取養(yǎng)分，再通過樹葉將氧氣還給環(huán)境。意大利宮殿的內(nèi)在本質(zhì)也反映了這一意象。建筑的技術(shù)設(shè)備能從地下水層汲水，為空氣凈化系統(tǒng)供能，系統(tǒng)的分支則像上端分叉的“樹干”一樣將能源傳遞到不同的建筑部分，最后又都回歸到“樹林屋頂”這一系統(tǒng)中去。能源在完成了在建筑有機(jī)體中的生命循環(huán)后，又通過光伏技術(shù)放歸到環(huán)境中。

建筑的空間結(jié)構(gòu)和用生態(tài)水泥材料塑造的復(fù)雜外表皮也都強(qiáng)調(diào)了有機(jī)體（建筑）和能耗系統(tǒng)間的關(guān)系——建筑中庭的廣場通過煙囪效應(yīng)讓室內(nèi)空氣能被動(dòng)循環(huán)，外層的表皮則能轉(zhuǎn)化陽光輻射和能源、提供給室內(nèi)空間，從而實(shí)現(xiàn)建筑整體的節(jié)能。

WA：場館項(xiàng)目中最具創(chuàng)造性和吸引力的構(gòu)造設(shè)計(jì)是什么？

莫雷：是“樹林屋頂”這一系統(tǒng)。傳統(tǒng)的屋頂系統(tǒng)將雨水從屋頂中央送到角落再排出建筑，但在意大利宮殿的項(xiàng)目中，我們想要徹底反轉(zhuǎn)這個(gè)過程，讓屋頂起到分水嶺的作用，通過在屋頂層的最低處設(shè)置的鋼制漏斗將雨水匯集到一處，再運(yùn)到建筑內(nèi)部。在這一過程中，我們讓雨水通過自身的重量在彎曲的玻璃面板構(gòu)成的“樹林”中滑動(dòng)，水滴從大約4m的高處墜落到一個(gè)殼體中，再以優(yōu)美而富有動(dòng)感的姿態(tài)移動(dòng)到地下的蓄水池（供建筑內(nèi)部循環(huán)再利用）或是排水溝中。分布在窗戶上的光伏板則能讓進(jìn)入建筑內(nèi)廣場的光線變得更有趣（光影效果也幫助加強(qiáng)了樹林的概念），加上玻璃自身的輻射系數(shù)較低，也能更好地調(diào)節(jié)作為建筑核心部分的廣場的微氣候。

WA：場館建造過程中最為困難的部分是什么？

莫雷：是實(shí)現(xiàn)整個(gè)工程最主要的建筑視覺概念——都市森林。材料的厚度、重量和觸感都是我們關(guān)注的重要元素，這也促使我們通過更多的研究來分析纖維增強(qiáng)水泥和碳纖樹脂材料的特性。我們通過3D建模生成的復(fù)雜的框架結(jié)構(gòu)具有迷人的自由和不重復(fù)的特質(zhì)，我們因此決定要采用自由度更大的纖維水泥，并著手研發(fā)Italcementi這種全新的材料，這一材料具有三大特質(zhì)：之前的類似材料無法想象的能任意塑形的卓越的流動(dòng)性，比過去的混凝土更好的可延展和可彎曲性能，以及能通過陽光的光催化來清潔混凝土表面的良好滲透性。位于貝加莫的Italcementii研究室發(fā)明了這種生態(tài)混凝土，為意大利館生產(chǎn)了這種材料，并加入了卡拉拉大理石的粉末來讓材料產(chǎn)生白色的啞光光澤，以向偉大的文藝復(fù)興時(shí)期的雕塑致敬。建造中最重要的是要讓每塊面板能保持固定位置（包括比較透明的和有穿孔的面板），以在讓整個(gè)體系具有完全自由和凌亂的感覺的同時(shí)，能保持基本的理性和工業(yè)序列感。為了做到這點(diǎn)，除了將單塊板材按照面材和形狀分為4類外，我們也根據(jù)綜合情況將連接之后的面板再分為8種類型（例如：平面的不透明板、平面的穿孔板、彎曲的穿孔板等）。□（司馬蕾 譯）

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

Michele Molè (MM): Nutrition is a subject related to the concepts of community and sustainability.

A true piazza, a typical Italian place where the community recognizes itself as an expression of a collective meaning becomes the structure around which the functional system of the Palazzo Italia project.

This is the main contribution that the Italy Pavilion intends to offer to the general debate on sustainable nutrition launched by Expo 2015: the value of encounter, of shared sociality, also through the act of eating.

Palazzo Italia is designed as an "osmotic building" that weaves a dialogue with the environment.

The architectural concept is in fact an "urban forest": the life cycle of the tree which, drawing its nourishment from the ground through a system of roots that returns oxygen to the environment with the help of its foliage, becomes the reflection around which Palazzo Italia structures its own deepest essence. The technological roots of the building, drawing from the underground aquifer the water which powers the air treatment systems, develop the branching of the energy systems through the upper branches which use the "trunks" to distribute energy to the various parts of the building system, concluding in the complex foliage roof which, completing the life cycle of the architectural organism, returns energy to the environmental system through photovoltaic technology.

12 內(nèi)景/Interior view

But it is the spatial structure of the building and its complex exterior membrane in biodynamic cement that emphasize this interdependency between the organism/building and the environment system; if in fact the great void of the piazza activates, through a chimney system, the passive circulation of air inside the building, the exterior membrane transforms and doses solar radiation and energy in the interior, reducing the energy requirements of the whole.

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

MM: The "foliage-roof" system. If a traditional roof does its job by bringing rainwater from the center to the edges to then drain it outside, with Palazzo Italia we decided to completely invert the process, so that the roof becomes a sort of watershed, channeling the water to the interior by making it converge in a steel funnel placed at the lowest level, like a mass which, under its own weight, flexes the glass membrane of the "foliage". The water falls from a height of about four meters into a shell which then sends it, spectacularly and dynamically, to tanks installed in the basement (for re-use inside the building) or directly to the drain. The photovoltaic cells distributed on the tops of the windows offer the interesting possibility of mediating the entrance of light into the piazza (with shadow effects that emphasize the foliage concept) which, along with the low emissivity of the glass itself, makes it possible to regulate the micro-climate of the piazza, heart and fulcrum of the entire composition.

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

MM: It was the development of the most visible architectural concept of the entire project: the urban forest.The thickness, weight and tactility of the material, as they became central elements of our research, induced us to investigate in an increasingly analytical way the world of reinforced fiber cements and carbon fiber resins.But the complexity of the framework that our 3D modelings generated, fascinating in its freedom and non-repeatability, determined a definitive choice oriented toward the freer world of fiber cements, which led to our developing with Italcementi a completely innovative material, with three essential characteristics: an exceptional fluidity to penetrate forms heretofore unimaginable for this type of product, a tensile and flexural strength significantly greater compared to existing concretes, and an osmotic capacity, patented by Italcementi, able to clean the concrete surfaces through a photocatalysis induced by sunlight. And thus biodynamic cement was born in the Italcementii.lab facility in Bergamo, produced expressly for the Italy Pavilion and which, in homage to the great sculptural tradition of the Renaissance, uses marble dust from Carrara to give a white, abstract brilliance to the whole.The most significant effort was ensuring the right fixity of each individual panel (including the more transparent and perforated ones) and especially the necessary rationalization and industrial seriality while at the same time preserving the fully free and chaotic outcome of the entire composition. In this sense, through the structuring of the individual panels as additions of four layers or families of profiles, coherent in themselves, we identified eight different typologies of panels, realizable through coherent and integrated cycles (e.g. flat and opaque panels, flat and perforated panels, curved and perforated, etc.). □

項(xiàng)目信息/Credits and Data

客戶/Client: Expo 2015 SpA

建筑設(shè)計(jì)/Design: Nemesi & Partners Srl, Arch. Michele Molè Founder and Director and Arch. Susanna Tradati Partner Associate and Project Manager

項(xiàng)目協(xié)調(diào)人/Coordinator: Arch. Alessandro Miele

設(shè)計(jì)團(tuán)隊(duì)/Team: Alessandro Belilli, Claudio Cortese, Kai Felix Dorl, Daniele Durante, Enrico Falchetti, Alessandro Franceschini, Davide Giambelli, Alessandra Giannone, Paolo Greco, Sebastiano Maccarrone, Paolo Maselli, Matteo Pavese, Fabio Rebolini, Giuseppe Zaccaria, Fabrizio Bassetta, Tiziano De Paolis, Francesca Fabiana Fochi, Chiara Maiorana, Mariarosaria Meloni

模型制作/Model Makers: Officina06, Gianluca Brancaleone聯(lián)合設(shè)計(jì)/Design Partners: Proger SpA- Bms Progetti Srl, Engineering and Cost Management, Prof. Ing. Livio De Santoli, Sustainability energy

設(shè)計(jì)顧問/Design Consultants: ABeC (Engineering glass facades), Altene Ingegneri Associati (Fluid dynamic) Studio fluidodinamico per lo smaltimento acque di copertura), Arch. Zomraude Chantal Chalouhi (Fire system), Eng Energo SpA (Fluid dynamic), GTA Srl (Environmental feasibility), Eng. Gennaro Loperfido (Fire system), Mario Nanni (Lighting design), Eng. Dario Paini (Acustic), Samuele Sassi- FSC Engineering srl/Ramboll Group (Fire engineering), Studio Montanari & Partners S.r.l. (Food service), Systematica Srl (Flows), Studio Capè (BIM).

13 東立面/East elevation

14 西立面/West elevation

15 枝狀立面/Branched facade

項(xiàng)目總承包/General Contractor Padiglione Italia: Italiana Costruzioni S.p.A.

意大利宮承建/Contractors Palazzo Italia: Mantovani Group (foundations), Italiana Costruzioni S.p.A., (building, systems and finishing), Italcementi SpA and Styl-Comp Group (branched facade), Stahlbau Pichler Srl (sail covering)

能量等級/Energy Class: Class A

面積/Area: 意大利宮/Palazzo Italia, 6 levels + terrace 60×60×34m, 建成面積/Built area 14,400m2; 卡多大道/ Cardo, 2 level + terrace,建成面積/Built area 12,500m2

功能/Programs: 展覽、機(jī)構(gòu)展示、活動(dòng)、禮堂、辦公、餐飲及活動(dòng)露臺(tái)/Exhibition spaces, Institutional spaces, Events & auditorium spaces, offices & meeting spaces, restaurants, terraces for events.

枝裝板/Branched Panels: total surface 9000m2, more than 700 panels, dimension of each panel 4×4m, weight of each panel from 1 to 4ts, quantity of i.active BIODYNAMIC concrete 2000ts屋蓋/Sail Covering: total surface 4000m2, 400t of steel – 4000m2of glass, Photovoltaic glass 650m2, Total weight about 450ts

設(shè)計(jì)競賽/Design Competition: 2012.12

設(shè)計(jì)權(quán)獲得/Won Design Competition: 2013.05

地基/Foundations: 2013.12

施工開始/Start Works: 2014.01

開放日/Opening: 2015.05.01

攝影/Photos: Luigi Filetici

評論

侯正華：按照慣例，世博會(huì)的場館一般都是臨時(shí)建筑，但每屆世博會(huì)東道國的場館是可以作為永久建筑保留下來的。所以，意大利館以鋼結(jié)構(gòu)和預(yù)制混凝土掛板建造，其體量在整個(gè)世博園區(qū)鶴立雞群，非常具有統(tǒng)領(lǐng)性。但是觀眾未必會(huì)意識(shí)到，在意大利館腳下，沿著世博南北主干道兩側(cè)布置的那些展示意大利各地文化的臨時(shí)木結(jié)構(gòu)建筑，也算是意大利館的一部分。意大利館的主體，在世博會(huì)后將會(huì)作為科技研發(fā)中心保留，所以其設(shè)計(jì)從一開始就是以最終功能需求進(jìn)行的，而其“世博展覽”功能，則只是世博6個(gè)月期間的臨時(shí)安排，而南側(cè)的木結(jié)構(gòu)則會(huì)在世博會(huì)后拆除。可以說，意大利館整體是以終為始進(jìn)行設(shè)計(jì)并確定建造方式的。這體現(xiàn)了主辦方在可持續(xù)性方面的成熟思考。

于春水：作為米蘭世博會(huì)唯一永久保留的建筑，意大利館的設(shè)計(jì)初衷更多考慮服務(wù)于世博會(huì)后辦公樓的功能使用。所以，建筑呈現(xiàn)出規(guī)矩的方形平面，標(biāo)準(zhǔn)的層高，4個(gè)不同功能從平面與空間上劃分出4座體量。架空的半室外廣場、內(nèi)部掏空的通高玻璃中庭，被建筑師牽強(qiáng)地冠以“重新發(fā)掘群體性和歸屬感”的凝聚概念。由于缺少理念與形態(tài)的創(chuàng)新，建筑師在被問及場館中最具創(chuàng)造性與吸引力的亮點(diǎn)時(shí)，反復(fù)強(qiáng)調(diào)的是技術(shù)，材料的厚度、重量，生態(tài)混凝土的良好滲透性與自清潔。表皮使用了醒目的“樹杈狀”白色高科技混凝土，不禁讓人懷疑此舉僅僅為了彰顯其作為園區(qū)地標(biāo)的標(biāo)志性。剝?nèi)ミ@層帶有裝飾性的外衣，全透的玻璃幕墻依然成立，只是缺少了亮點(diǎn)與話題。

Comments

HOU Zhenghua: Conventionally, the pavilions for the Expo are mostly temporary buildings except the one for the host country, which can be reserved as a permanent construction. Therefore, Italy Pavilion is made of steel structure and precast concrete panels, and its size is quite outstanding in the Expo site, showing its dominant position. Nevertheless, people might not be aware of that the various wooden temporary structures used to demonstrate local cultures in Italy, which are set up along the northsouth main road of the Expo, are also a part of the Italy Pavilion. The main construction of the Pavilion will be used as a science & tech development center, so the design of it is based on its eventual function from the very beginning. As for its "World Exposition" function, it is only a temporary arrangement for the six months of the Expo, and the wooden structure on its southern side will be dismantled after the Expo. It can be said that both the design and the construction method of Italy Pavilion are orienting at the final function from the beginning, which reflects the mature attitude toward sustainability of the host country.

YU Chunshui: Being the only permanent architecture at the Milano Expo, the Palazzo Italia was intentionally designed to be an office building after the Expo.Therefore, the architects designed a typical square plan, with standard floor height, four connected independent blocks based on different functional layouts and spaces. By an internal square and a glass atrium with floor-to-floor height, covered by photovoltaic glass ceiling, architects present the farfetched idea of "being together" and the ability to recognize themselves as a community. However, not enough innovation on architectural theory and forms was found, the architects repeatedly emphasized the utilization of technologies, material thickness and weight, an "osmotic" building with i.active BIODYNAMIC concrete and well self-cleaning performance. The outstanding white "branched" outer "skin", made of photocatalytic properties of new concrete, makes one wonder it is more of a manifestation of itself to be the landmark of the Expo site. Taking off the decorative concrete "skin", a transparent glass curtain wall would remain as the original skin, however, apparently, highlights and topics for discussion are somehow missing.

16 內(nèi)景/Interior view