分離形象：萬科館

建筑設(shè)計(jì)：丹尼爾·里伯斯金/里伯斯金工作室

Architect: Daniel Libeskind/Studio Libeskind

分離形象：萬科館

Divided Image: Vanke Pavilion

建筑設(shè)計(jì)：丹尼爾·里伯斯金/里伯斯金工作室

Architect: Daniel Libeskind/Studio Libeskind

1.2 外景/Exterior views

3 生成圖解/Diagram of generation

中國萬科企業(yè)館的設(shè)計(jì)對(duì)2015米蘭世博會(huì)主題“滋養(yǎng)地球，生命之源”所涉及的一系列關(guān)鍵命題進(jìn)行了探索。萬科館的概念取自中國文化中與食物相關(guān)的3個(gè)元素：食堂，中國餐廳的傳統(tǒng)形式；景觀，生命的基本要素；以及龍，隱喻關(guān)聯(lián)著農(nóng)耕和食糧的形象。這3個(gè)核心概念全然包容于萬科館的展覽內(nèi)容、建筑形式及功能布局中。

在位于競技湖東南邊緣的場地中，800m2的萬科館如同自東方破土騰躍而起，而構(gòu)成了充滿動(dòng)感的垂直地景。婀娜起伏的幾何構(gòu)圖在室內(nèi)外之間蜿蜒流動(dòng)，勾勒出建筑的突出特征。被暖灰色調(diào)混凝土包覆的大樓梯，雕刻般切入盤虬的紅色體量，引導(dǎo)參觀者拾級(jí)而上。屋頂?shù)挠^景平臺(tái)被植物花園圍繞，具有令人屏息的景觀視角——競技湖及其近旁的意大利國家館皆可盡收眼底。

該場館外表皮覆蓋了4000多塊礦化陶瓷板，這種陶瓷板由建筑師里伯斯金與意大利卡薩爾格蘭德·潘達(dá)納公司合作設(shè)計(jì)。這些方形陶瓷板不僅拼貼出了如同龍鱗般的表皮，還具有自清潔的高度可持續(xù)性及空氣凈化特性。涂飾以金屬色彩的三維表面隨日光與視角的遷移而變化萬千。它時(shí)而呈現(xiàn)出深邃的暗紅，繼而變作炫目的金，在某些角度下甚至又似乎是透亮的純白。陶瓷板的安裝借助最先進(jìn)的疊瓦系統(tǒng)完成，因此使靈動(dòng)的扭轉(zhuǎn)形體得以呈現(xiàn)出富有韻律的表皮排布并保持精準(zhǔn)的形態(tài)控制。盤旋而上的兩處樓梯分置于南北入口，貼切回應(yīng)了整體建筑形式，北側(cè)朝向競技湖入口的樓梯不僅承擔(dān)交通功能，可以就坐的臺(tái)階也為人們提供了小憩的場所。

在場館內(nèi)部，參觀者將邂逅被散落如星群的200塊屏幕點(diǎn)綴的展覽空間，這些屏幕固定于相互綁接成陣列的竹架上。曲折的反射水池拓寬了參觀甬道的感受，而在其上方，正是漂浮著的、由熒幕與竹木構(gòu)成的這片叢林?！?（陳茜 譯）

The corporate pavilion for Vanke China explores key issues relating to the theme of the Expo Milano 2015, "Feeding the Planet, Energy for Life". The concept for the Vanke Pavilion incorporates three ideas drawn from Chinese culture on food: the shi-tang, a traditional Chinese dining hall; the landscape, the fundamental element of elegant life; and the dragon, which is metaphorically related to farming and sustenance. All three concepts are presented in the Vanke Pavilion's exhibition, architecture and program.

Situated on the southeast edge of the Lake Arena, the 800-square meter pavilion appears to rise from the east, forming a dynamic, vertical landscape. The design features a sinuous geometrical pattern that flows between inside and outside. A grand staircase, cladded in warm grey concrete, carves through the red serpentine form and guides visitors to the upper level. A roof-top observation deck with a planted garden will provide stunning views of the lake and near-by Italian pavilion.

The pavilion consists of more than 4,000 red metalized tiles that Libeskind designed with the Italian company Casalgrande Padana. The geometric ceramic panels not only create an expressive pattern that is evocative of a dragon-like skin, but also possess highly sustainable self-cleaning and air purification properties. The three-dimensional surface is coated with a metallic coloration that changes as light and viewpoints shift. At times it will appear as deep crimson, then a dazzling gold, and even, at certain angles, a brilliant white. The tiles are installed with a stateof-the-art cladding support system that gives a rhythmic pattern and mathematical form to an otherwise supple, torquing shape. Two spiraling stairs, echoing the form, ascend the pavilion to the south, and to the north from the Lake Arena entrance, serving both as circulation and seating.

Inside the pavilion, visitors encounter an exhibition space filled with a constellation of 200 screens mounted to a matrix of bamboo scaffolding. The forest of screens and bamboo floats above a winding reflecting pool that borders the visitor pathway.□

WA: 萬科館的設(shè)計(jì)是如何呼應(yīng)米蘭世博會(huì)“滋養(yǎng)地球”這一主題的？

阿戈斯蒂諾·吉拉爾代利：萬科館的概念受到中國文化的啟發(fā)，它的形態(tài)、它的文化參照與它承載的展覽內(nèi)容，都著力探索關(guān)于飲食的話題，令人感知中國的生活方式。我們堅(jiān)信給養(yǎng)地球是一個(gè)與食物緊密相關(guān)的具體命題，也是一個(gè)更為深刻的與生命、生存及人口突發(fā)性移動(dòng)緊密相關(guān)的命題。我們的方案曾始于對(duì)中國傳統(tǒng)地理形態(tài)和水稻梯田的明確參考，然而隨著設(shè)計(jì)生命與靈性的自我構(gòu)建，設(shè)計(jì)本身主導(dǎo)著我們走向現(xiàn)今的概念——中國龍。

WA: 萬科館項(xiàng)目中最具創(chuàng)造性和吸引力的構(gòu)造設(shè)計(jì)是什么？

吉拉爾代利：我相信應(yīng)該是用于立面的疊瓦技術(shù)，它的確創(chuàng)造出了不落窠臼的效果——建筑一方面連接了土壤與大地（即構(gòu)造方式），另一方面又通過變幻莫測(cè)的反射連接了大氣與天空。

另一個(gè)極強(qiáng)的元素在于建筑內(nèi)表面的處理，通過全覆蓋的竹制鑲板保持了設(shè)計(jì)闡釋的清晰性。如果說外表皮的特征在于光鮮的鱗片感，那么內(nèi)表皮的特征則在于溫暖的平滑感，二者之間形成了從元素到情感的鮮明對(duì)比。

WA: 場館建造過程中最為困難的部分是什么？

吉拉爾代利：建造周期緊迫得令人難以置信。期間世博園區(qū)中有大概160個(gè)場館在同時(shí)進(jìn)行建造，而我們的場館正是這場關(guān)于質(zhì)量與時(shí)間的較量當(dāng)中的一部分。

關(guān)于每個(gè)細(xì)節(jié)及解決方案的重要決定都只能在倉促的時(shí)間內(nèi)完成。當(dāng)然，最具挑戰(zhàn)性的部分依然在于立面。我們希望勇敢進(jìn)行嘗試與研究，當(dāng)然也經(jīng)受了失敗的風(fēng)險(xiǎn)，但我們最終完成了一座精彩的建筑，成為了這場較量中的勝利者。我們的場館是最早完成建造的一個(gè)。□（陳茜 譯）

4 陶瓷板詳圖/Detailed tile

11 剖面/Section

12 首層平面/Floor 0 plan

13 二層平面/Floor 1 plan

5-10 施工過程/Under construction

14 三層平面/Floor 2 plan

15 四層平面/Floor 3 plan

Agostino Ghirardelli (AG): The concept of the pavilion is inspired by the Chinese culture, its shape, its cultural references and the content of the exhibition. It has been done with working, exploring eating, breathing the Chinese way of living. We believe that feeding the planet is a concrete issue related to the food and also a more meaningful issue related to our lives, to the sudden migration of women and men in the world. We have started from a clear reference to the traditional Chinese topography and rice terraces and, as the project took an individual life and soul, it brought us to a transformed concept and a dragon, the long.

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

AG: I believe the shingling technique used for the fa?ade creates unconventional effect that makes the buildings connect to the soil (tectonic) and that makes the changing reflections of the building connect to the air, the sky.

Another strong element is the design definition of the treatment of the inner surface, always in bamboo veneer. If outside the shelter is scaled and brilliant, the inside is smooth and warm, a counterpoints of elements and emotions.

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

AG: The construction process was a fantastic rush. At the time, in the expo were under construction about 160 pavilions, we were part of this incredible race of quality and of time.

There was short time to take important decision about every detail and solutions. For sure the most challenging part was the facade. We wanted to dare and make research, and we risked failing but in the end we made a fantastic building so we won the race. Our pavilion was the first to be completed.□

16.17 內(nèi)景/Interior views

18 樓梯/Stairs

項(xiàng)目信息/Credits and Data

主創(chuàng)建筑師/Design Architect: Daniel Libeskind, 總裁/CEO: Lev Libeskind, 項(xiàng)目主持/Principalin Charge: Yama Karim,責(zé)任建筑師/Architect of Record: Agostino Ghirardelli

項(xiàng)目團(tuán)隊(duì)/Project Team: Studio Libeskind (architecture), Ralph Appelbaum Associates (interpretive planning and exhibit design), J&A Consultants (project management), Ramboll UK Ltd (structure and facades), Deerns Italia (MEP + specialities)施工團(tuán)隊(duì)/Construction Team: Bodino Engineering (pavilion general contractor),Nussli Italia (exhibition general contractor), J&A Consultants (construction management), Studio Libeskind (construction supervisor)

材料/Material: 鋼結(jié)構(gòu)，再生復(fù)合木板+樹脂（內(nèi)立面），三維金屬化面磚（外立面），微粒水泥（室外樓梯和女兒墻面層），天然竹板條（內(nèi)部面層），竹竿（展覽）/Steel structure, recycled composite wood panels + resin (inner facade), three-dimensional metalized tiles (exterior facade finishing), microcement (exterior stairs and parapet finishing), natural bamboo slats (interior finishing), bamboo poles (exhibition)

功能/Program: 展覽、服務(wù)、VIP層/Exhibition, service & VIP levels

設(shè)計(jì)時(shí)期/Design Period: 2013-2014

完成時(shí)間/Completion: 2015.03

建筑面積/GFA: 740m2

攝影/Photos: Hufton+Crow Photography(fig.1,2,16-20), Studio Libeskind Milano(fig.5-10)

評(píng)論

蘇丹：萬科館的設(shè)計(jì)具有一種后現(xiàn)代主義慣用的調(diào)侃，壯麗鋪陳的大臺(tái)階最終導(dǎo)向的卻是一個(gè)巨大的消化系統(tǒng)——"胃”。誰說食堂不是“胃”呢？建筑粗壯并扭曲的形體和它所涵括的內(nèi)容不僅形態(tài)吻合，而且寓意貼切。建筑表皮的肌理倒沒有使我想到巨龍的鎧甲，我聯(lián)想到了巨蟒強(qiáng)大的“胃”所具有的不可思議的消化能力。當(dāng)然，作為建筑的“胃”，它一定著重在消化當(dāng)下多元的、爆發(fā)式的文化。

張昕：復(fù)雜形式與快速完工，萬科再次成功創(chuàng)造了反差，也證明了企業(yè)在海外項(xiàng)目的建設(shè)管理等方面具有強(qiáng)大實(shí)力。回到“表里要不要如一”這個(gè)永恒話題，對(duì)于作為空間的“表”和作為表皮的“表”，建筑師取得了成功；內(nèi)部呈現(xiàn)中國餐飲文化的竹上300屏，很像是蘭會(huì)所里食客與名利場的換位，很好奇這是誰的主意。2010年7個(gè)安靜的麥垛化身為2015年的“紅色猛龍”，秸稈板升級(jí)為閃閃發(fā)光的龍鱗，塵埃落定之后，也許最值得期待或焦慮的是，2020年的萬科館將向何處飛去。

19 屋頂/Roof

20 外景/Exterior view

Comments

SU Dan: In the design of Vanke Pavilion, people can see a tone of teasing in typical Postmodernism – the splendid large stairs in the end lead to a gigantic digestion system: a "stomach", isn't a dining hall a "stomach" ? The strong and twisted architecture form conforms to the content it contains both in morphology and in implication. Instead of the armor of a giant dragon, the texture of the building surface reminds me of the incredible digestion capacity that a huge "stomach" of a python can have. Certainly, as the "stomach" of a building, it must more tend to digest the diversified and explosive culture at present time.

ZHANG Xin: With its sophisticated form and speedy construction, Vanke once again successfully made a contrast in the Expo, which also proved the corporate's strong strength in terms of overseas project management and construction. Returning to the ever-lasting topic of "form and content", for the "form" that constructs the spaces and the "skin" of the building, I think the architect won the game. The internal impression of Chinese food culture, using 300 screens attached to bamboos, is like a transposition between the guests and vanity fair from the LAN club in Beijing, I was even wondering whose idea it could be. The 7 quiet grain stacks in 2010 suddenly changed into the "red mighty dragon" in 2015, with straw panels turned into glittery dragon scales. After all the dust is settled this year, what left behind would be the anxious wondering –what will the Vanke pavilion be like in 2020?