2010年上海世博會西班牙館——中國上海

項(xiàng)目年份： 2007年6月競賽第一名，2010年5月竣工開放

首席建筑師：貝內(nèi)黛塔·塔加利亞布

項(xiàng)目總監(jiān)（競賽階段）：福田真弓、薩爾瓦多·吉拉貝特

項(xiàng)目總監(jiān)：薩爾瓦多·吉拉貝特、伊格·佩拉薩（現(xiàn)場）

工程師：朱利奧·馬丁內(nèi)斯·卡爾松 – MC2 工程設(shè)計工作室

主材料：鋼、柳條、玻璃

場地面積：7 149平方米

總建筑面積：8 620平方米

Year： Competition First Prize， June 2007， Inauguration date： 1st May 2010

Architect： Benedetta Tagliabue （Principal） - Miralles Tagliabue EMBT

Project Directors （Competition）： Makoto Fukuda， Salvador Gilabert

Project Director： Salvador Gilabert， Arch; Igor Peraza， Arch （on Site）

Engineer： Julio Martínez Calzon – MC2 Estudio de Ingeniería

Major Materials： Steel， Wicker， Glass

Site Area： 7 149m2

Total Floor Area： 8620 m2

在2008年舉辦北京奧運(yùn)會之后，中國再次向世界展示了自己作為新興大國的能力，能夠舉辦世界級的萬國博覽會，這是首次在中國本土舉辦的世界博覽會。世界博覽會是各國展示其最佳成果并向世界自我介紹的絕佳機(jī)會。

西班牙館位于專門為國家館預(yù)留的展區(qū)。從競賽的初期階段開始，目標(biāo)就是避免直接提及代表一個國家的典型元素，而是要探討一個更抽象的主題：展館作為西班牙氣候的反映，以及如何通過建筑來體驗(yàn)這種氣候。因此，從一開始就決定要復(fù)興編織工藝的非凡技藝，不僅因?yàn)樗膫鹘y(tǒng)價值，而且要將其重新塑造為一種適應(yīng)當(dāng)前場合的新型建筑技術(shù)。上海世博會的西班牙館巧妙地運(yùn)用了編織技術(shù)的無限潛力，這種材料還引入了貫穿整個建筑項(xiàng)目和建造過程的生態(tài)和可持續(xù)性因素。編織技術(shù)是一種“全球”傳統(tǒng)，被所有文化和所有時代所共享。盡管根據(jù)地理區(qū)域和可用植物品種的不同而存在特定的變體，但在東西方幾乎都以相同的方式使用。從這個意義上說，展館選用的材料成為連接兩種文化（西班牙（游客）和中國（東道主））的橋梁。

編織植物纖維的半透明質(zhì)地被用來創(chuàng)造庭院，就像編織籃子一樣，營造出令人難以置信的光線氛圍，讓人想起西班牙-阿拉伯建筑某些元素的朦朧透明感——既能看清周圍環(huán)境，又能保護(hù)隱私，光線和陰影不斷變化，但沒有落入陳詞濫調(diào)的直接解讀。強(qiáng)烈的外部光線透過鋼絲和竹編交織的空間網(wǎng)格進(jìn)入室內(nèi)。

在展館的庭院中，最大的一個面向外部敞開，歡迎并吸引世博會的參觀者進(jìn)入室內(nèi)。可以說，這個廣場對于城市而言，就像庭院對于房屋一樣：是一個休息、放松和慶祝的地方；因此，這個廣場將成為一個供人們互動的公共空間，世博會參觀者的聚會場所。其余的庭院則占據(jù)著室內(nèi)外空間的模糊地帶，展館的參觀者可以在這些大型籃筐/廣場/庭院之間不斷穿梭，在同時既是室內(nèi)又是室外的空間中移動。因此，展館避免了單一空間的容器盒結(jié)構(gòu)，而是由允許輕松流暢移動的各種混合空間所定義。

After organizing the Beijing Olympics in 2008， China once again presented itself to the world in 2010 as a new power capable of hosting a world-class Universal Exposition， the first to be held on Chinese soil. World Expositions are a perfect occasion for participating countries to showcase their best and introduce themselves to the world.

The Spain Pavilion was located in the section of the Expo reserved for National Pavilions. From the earliest phases of the competition， the goal was to avoid direct allusions to the stereotypical elements representing a country， in order to address a more abstract theme： the Pavilion as a reflection of Spain's climate and how it is experienced through architecture. For this reason， the decision was made from the beginning to revive the extraordinary craftsmanship of wicker， not only for its traditional value but also to reinvent it as a new construction technique adapted for the occasion. The Spain Pavilion in Shanghai played with the incredible potential offered by wicker weaving techniques， a material that also introduced the ecological and sustainable factor that was present throughout the project and construction process of the building. The techniques of basketry， the manual interweaving of plant fibers， are a \"global\" tradition shared by all cultures and across all times. Although there are specific variations depending on geographical areas and the available botanical varieties， it is used in almost identical ways in both the East and the West. In this sense， the choice of material for the Pavilion serves as a bridge between two cultures： Spanish （the visitor） and Chinese （the host）.

The semi-transparent quality of the woven plant fibers was used to create courtyards that， like wicker baskets， provide an incredible atmosphere of light， reminiscent of the veiled transparencies of certain elements of Hispano-Arabic architecture—allowing one to see without being seen， with changing plays of light and shadow—but without falling into direct interpretations of the cliché. The intense exterior light penetrates the interior， filtered by the overlapping spatial meshes of steel and wicker.

Among the Pavilion's courtyards， the largest opens to the exterior to welcome and attract the Expo's visitors inside. One could say that this plaza is to the city what the courtyard is to the house： a place of respite， relaxation， and celebration; the plaza will thus be a public space for interaction， a meeting place for Expo visitors. The remaining courtyards occupy the ambiguous space between interior and exterior， where Pavilion visitors constantly move between these large baskets/plazas/courtyards， in spaces that are both inside and outside at the same time. The Pavilion thus avoids the single-space container box and is instead defined by various hybrid spaces that allow for easy and fluid movement.