建筑及藝術(shù)設(shè)計：沃爾夫?qū)ぐ吞厮?/p>

Artist: Wolfgang Buttress

整合形象：英國館

Integrated Image: UK Pavilion

建筑及藝術(shù)設(shè)計：沃爾夫?qū)ぐ吞厮?/p>

Artist: Wolfgang Buttress

1 有參觀者的夜景/Night view with visitors

導(dǎo)言

英國館揭示了世界蜜蜂數(shù)量銳減的問題，并強調(diào)了授粉對食品生產(chǎn)的重要性。徜徉在果園中的游客會看到一大片野花，隨即走進“蜂巢”。這個閃閃發(fā)光、嗡嗡作響的雕塑力圖模擬的是一個真實的蜂巢。英國館將養(yǎng)蜂生態(tài)闡釋為一種沉浸式的多感官體驗——一次美麗而含義深遠(yuǎn)的邂逅——讓英式景觀在游客的心中回味無窮。

概念

蜜蜂對所處的環(huán)境非常敏感，因此被視作生態(tài)小衛(wèi)士：地球健康的晴雨表。

呼應(yīng)世博會的主題，我們選擇了食品鏈上不可或缺而又常常被忽視的一環(huán)：授粉過程是一個關(guān)鍵，支撐著至少1/3的食品生產(chǎn)。然而，蜜蜂這個重要的傳粉者正面臨著危機。在過去的10年中，我們目睹了全球蜜蜂數(shù)量的銳減。1986-2005年，英國共減少了30%的蜜蜂，而意大利是40%。最近歐盟的研究顯示29%的英國蜜蜂群落在2012/2013年冬季消亡，這是前所未見的損失。其原因在于殺蟲劑、病害和生境減少等多種因素。1950年代以來，英國失去了約97%的原生草地，轉(zhuǎn)而用于建筑和農(nóng)業(yè)。

英國館關(guān)注的正是解決這些問題的必要性，以及延續(xù)我們發(fā)展至今并賴以生存的古老生態(tài)機制的重要性。

設(shè)計師與蜜蜂專家馬丁·本奇克博士組成了團隊。他正在利用能更好地理解蜜蜂群落行為的技術(shù)進行前沿研究。通過測量振動信號，本奇克就能確定群落的狀況，并預(yù)見群飛現(xiàn)象。這是一個重要的進步。該研究將有助于利用新的監(jiān)測技術(shù)輔助養(yǎng)蜂，進而形成支撐蜜蜂的更大戰(zhàn)略，為食品安全、生態(tài)和經(jīng)濟帶來更大收益。

這一問題對于英國尤為重要，因為我們的蜜蜂數(shù)量在近來世界的下行趨勢中受到的影響最大。與此同時，養(yǎng)蜂仿佛又重新興起，很多人在屋頂上進行業(yè)余養(yǎng)蜂。養(yǎng)蜂的未來在于以本土化的方式復(fù)興，而技術(shù)的進步將為其助力。

英國館的大愿景來自一位藝術(shù)家的感悟，試圖將游客與大自然和生態(tài)系統(tǒng)在體驗上聯(lián)系起來。這一設(shè)計以沃爾夫?qū)暗淖髌窞榛A(chǔ)，向新的領(lǐng)域拓展。該項目在選定的視角和主題之下經(jīng)過了反復(fù)設(shè)計。

設(shè)計團隊在工作上以主題和游客體驗為中心，實際上是完全自主的。無背景介紹的任務(wù)書所要求的是自成一體的設(shè)計。團隊對這個沒有限定的條件的第一反應(yīng)是創(chuàng)造一個新的文脈：將英國的鄉(xiāng)村移植到米蘭來。核心區(qū)序列從果園、草地、臺地酒吧到焦點上的“蜂巢”，共同構(gòu)成了游線。

體驗的過程完全在室外，并被賦予一種寧靜、甚至是崇高的意境。蜂巢從入口退后一段距離，作為穿越風(fēng)景的游線的終點。從世博會的“東西大道”上就能望見蜂巢，吸引游客來此領(lǐng)略奇觀。草地被升到人眼的高度，造成一種“蜂瞰”鮮花的效果。其用意在于營造一種融入自然、與蜂共鳴的通感。

不同的線路和場地讓游客能自由探索屬于他們的旅途。其中的感受是無限定的，因為人的主動體驗是最具靈性的。正是這一原則給英國館帶來了諸多靈感。此外，感官的調(diào)動也很關(guān)鍵：嗅覺、觸覺、聽覺和視覺。

結(jié)構(gòu)

蜂巢由32層水平疊加的六邊形組成。這一構(gòu)成蘊含著理性的秩序和旋轉(zhuǎn)對稱。形體中錯層疊置的放射線和弧線與壓力流向相符，并決定了結(jié)構(gòu)的水平線。雕塑的分層讓結(jié)構(gòu)的放射線和弧線連結(jié)成桁架，在六邊形中的重復(fù)進而表現(xiàn)為宏觀上的韻律。

為了突出雕塑的水平分層，桁架的頂弦和底弦都是用金屬平板條切出的。而連結(jié)頂弦和底弦的支撐是小金屬管或金屬桿。其中的連結(jié)靠的是機器加工的節(jié)點。結(jié)構(gòu)為全支撐，減少了材料，也就意味著連結(jié)節(jié)點不需要抗彎。為了達(dá)到最佳的功效（就像自然一樣），創(chuàng)造一個精巧別致的結(jié)構(gòu)，我們提出每個構(gòu)件，即桁架中的金屬板、金屬管或金屬桿，都不超過所需的寬度，從而在微觀上形成變化。

桁架雖在宏觀上是重復(fù)性的形體，但每一個都要根據(jù)內(nèi)外表面單獨修剪。再加上構(gòu)件的不同尺寸，1000多個桁架幾乎無一相同。

設(shè)計決定了蜂巢要有數(shù)以萬計的不同構(gòu)件，它們的尺寸要根據(jù)一百種不同的荷載組合來確定。此外，蜂巢還要在短時間內(nèi)反復(fù)設(shè)計，經(jīng)歷一個快速的數(shù)字式達(dá)爾文進化。

這種進化只能靠寫軟件來實現(xiàn)。我們認(rèn)為，設(shè)計中的每項任務(wù)都會重復(fù)多次，所以盡量采用自動化的方式。最后，一個包含了詳細(xì)分析模型、設(shè)計標(biāo)準(zhǔn)校核、7萬多構(gòu)件的結(jié)構(gòu)優(yōu)化以及輪廓圖的完整設(shè)計可以在幾天之內(nèi)修改完畢。在一般的項目中，這需要幾個月，而且往往只做一次。

快速修改和測試設(shè)計的能力意味著方案可以適應(yīng)極端情況，甚至是同時將所有材料從不銹鋼改為鋁、用新造型滿足連結(jié)設(shè)計的變化，并且是節(jié)省20%成本的多次顛覆性設(shè)計。

最終確定的方案生成了1500個實體CAD模型，其中包括30,000個帶有全部加工細(xì)節(jié)的構(gòu)件。然后，承包商Stage One就可以用他們已有的3D工作程序和管理系統(tǒng)處理這些模型，再由CNC機器加工。蜂巢總共由169,300個機器加工的鋁材建造而成。

蜂巢有模數(shù)化的結(jié)構(gòu)，由構(gòu)件裝配而成，在英國加工之后運到米蘭，現(xiàn)場組裝。其目的在于讓蜂巢回歸英國之后能“重獲生機”，而這從最初的設(shè)計開始就是一個關(guān)鍵原則。

景觀

這個旅行從一片蘋果園開始（它是需要蜜蜂授粉的），下面滿是耐陰的鮮花。果園兩側(cè)是木板圍墻——“信息墻”和“蜂群墻”。上面排滿了一群小洞，讓人聯(lián)想到蜂群和“蜜蜂旅店”。游客隨即穿過狹窄的過度空間，頗有一種“神秘園”的感覺。之后豁然開朗，一片花海映入眼簾。從平面上看，小徑呼應(yīng)著遠(yuǎn)端“蜂巢”雕塑的六邊形主題。它在這美景之中展開，形成放射狀的道路和布局。這種關(guān)系在地板中的嵌飾上一目了然。周圍是更為規(guī)則的“蜂緣”綠化帶。其中的植物有各個品種的薰衣草，讓人仿佛聞到英國鄉(xiāng)村花園和伯爵茶的味道。事實上，薰衣草也是蜜蜂的最愛。

花海中各式各樣的植物織成一片完美的地毯，鋪在起伏多變的大地之上。婆娑的草地和高大的常青樹構(gòu)成的圖案賦予豐富的地形奇妙的生命。為了營造這樣的效果，一片預(yù)先種好鮮花的草皮滿鋪在地上，之后種上植物，從而形成特色各異的區(qū)域。植物的品種是根據(jù)花蜜的豐富程度和季節(jié)特色選擇的：例如頂著大黃花、高高的貓耳菊，蓬松輕柔、薰衣草色的歐洲山蘿卜，還有葉裙豐茂、有品紅色球狀花的紅菽草。這諸多品種都是與邱園一同精選出來的，他們豐富的專業(yè)知識為項目添色不少。

植物是有季節(jié)性的，在世博會的半年中會不斷變化。我們的計劃是展示這種循環(huán)，并培養(yǎng)人們?nèi)バ蕾p不同時節(jié)的風(fēng)韻。

這個方案的亮點是植物絢爛的效果，也就是某些品種的植物針對某種需求的生態(tài)實用性。景觀成了設(shè)計的宣言書，同時也是為保護授粉者創(chuàng)造滋養(yǎng)它們的植物生境的范例。僅在開幕的一個月中就有無數(shù)蜜蜂飛到這片花叢來。

建筑與室內(nèi)

臺地酒吧與下方會議套房的建筑厚實謙遜，全無多余的細(xì)節(jié)。整座建筑以900mm的通用模數(shù)構(gòu)成了自然的韻律。分模數(shù)則用于樓梯踏步和立板、窗洞口、門鐵頂和掛板，而這一切都回歸到統(tǒng)一的秩序上——一個蜂巢高效的秩序點。

在建筑內(nèi)部，中間是一個六邊形單元，室內(nèi)設(shè)計都圍繞它展開。這是一個多功能的空間，可以舉辦臨時展覽、商務(wù)洽談或召開會議。精心的設(shè)計將輔助空間組織在一起，又能保持相互獨立，滿足不同的功能，使有限的空間得到充分的利用。鄰近關(guān)系、游客流線以及公共和私密空間和路線的分布也進行了仔細(xì)的考慮。公眾、辦公員、廚師、貴賓、貨運和垃圾都有不同的出入口。建筑為游客在室內(nèi)提供了明顯的標(biāo)志，并在室外呼應(yīng)著輕巧的蜂巢雕塑。

外立面的處理大氣磅礴。穿孔耐候鋼板遮住高窗，鏡面百葉板擋住低窗，盡可能不影響整體給游客的安靜印象。酒吧也采用了類似的手法，讓人們一走上通往蜂巢的屋頂平臺就能看到它。厚重的屋頂板蓋住酒吧，為人們遮風(fēng)擋雨。一個鏡面金屬層讓人既能前眺蜂巢又能回望景觀。

隨著以人工智能、互聯(lián)網(wǎng)+、大數(shù)據(jù)等為代表的互聯(lián)網(wǎng)技術(shù)的深入發(fā)展，互聯(lián)網(wǎng)思維這種包含對用戶、產(chǎn)品等進行重新審視的思維方法出現(xiàn)?；ヂ?lián)網(wǎng)思維具有平等性、互動性、開放性、合作性、平臺性等特點，強調(diào)開放、透明、高效、平等和去中心化等，是一種系統(tǒng)性思維方法，對新時期社會經(jīng)濟、文化、政治提供一種新的闡述視角。

材料

選用的材料基本都未經(jīng)處理，會長出自然的綠銹。這種原生態(tài)是一個關(guān)鍵。一旦建成，命運就交給了風(fēng)和雨，而建筑材料的本性會讓它繼續(xù)生長。

銹蝕的耐候鋼有一種鄉(xiāng)土的色調(diào)，與植物和蜂巢結(jié)構(gòu)的輕巧對比鮮明。溫暖的鏡面金屬層增加了進深感，通過各種反射角將不同區(qū)域聯(lián)系起來。帶百葉窗的墻面影射傳統(tǒng)的蜂巢。膠合板與花旗松能帶來柔軟的質(zhì)感，久之還會變成銀色。地板的處理全為樹脂粘結(jié)的礫石，帶來一種松脆的感覺，仿佛走在沙石地上。蜂巢選用鋁有多種原因：輕質(zhì)，結(jié)構(gòu)性能良好，成本低，抗腐蝕，而且易于機器加工。□（尚晉 譯）

Introduction

The UK Pavilion highlights the decline of the world's bee population focusing attention on the importance of pollination for food production. Visitors meander through an orchard, discover a wildflower meadow and enter "the Hive", a sculpture which glows and hums, simulating conditions in a real beehive. The Pavilion reinterprets apiarian ecology as an immersive multisensory experience – a beautiful and profound encounter – leaving visitors with a lasting flavour of the British landscape.

Concept

Bees are very sensitive to their environment and can be seen as ecological sentinels: a barometer for the health of the earth.

Responding to the Expo theme, we have chosen to focus on a vital and often neglected part of the food picture: Pollination is an essential process, underwriting at least a third of our food production. Yet the honeybee, an important pollinator, is in crisis. We have witnessed massive declines in global bee populations over the past decade. The UK has seen an overall decline in bees of 30% between 1986 and 2005, while in Italy the decline has been over 40%. Recently, EU research revealed that 29% of British honeybee colonies died out in the 2012/13 winter, an unprecedented loss. This trend is the result of a combination of factors including pesticides, disease and loss of habitat. Since the 1950s the UK has lost around 97% of its wild meadows to building and agriculture.

The UK Pavilion focuses on the need to address these problems and the importance of sustaining ancient ecological mechanisms which we have evolved within and rely heavily upon.

The designers teamed-up with bee expert Dr. Martin Bencsik who is undertaking cutting-edge research using technology to better understand the behaviour of honey bee colonies.

By measuring vibrational signals Bencsik can determine the condition of a colony and predict swarming, which is a significant step forward. Such research will aid the task of bee keeping through development of new monitoring technology. This in turn could form part of a wider strategy to support the bee, bringing great benefits in terms of food security, ecology and economy.

This issue is of particular importance to the UK as our bee population is among the worst affected in the world by the recent downward trend. At the same time there has been something of a renaissance of interest in bee keeping with many people taking up amateur rooftop bee keeping. The future of bee keeping is being revitalized in localized ways, and new advances in technology could assist in this.

The overall vision for the UK Pavilion comes from an artist's sensibility. It seeks to connect the visitor with nature and ecosystems on an experiential level. The design builds upon Wolfgang's previous work, extending this into new territory. The project evolved through many iterations of design, guided by the chosen angle and underlying theme.

The design team were given a virtual carteblanche to design around a theme and visitor experience. The a-contextual nature of the brief called for something self-contained and coherent in its own right. The team's initial response to this undefined condition was to create a new context: to graft a slice of the British countryside onto the site in Milan. A sequence of key areas including, an orchard, meadow, terrace-bar and the focal "Hive", together comprise the visitor journey.

The experience is intentionally entirely external and is intended to be quiet, almost subliminal. The Hive is set back from the entrance, creating distance and serving as the culmination of a journey through the landscaped areas. The Hive may be glimpsed from the main "Decumanus" Expo thoroughfare generating intrigue and inviting visitors to enter and discover. The meadow is raised to eye-level giving a kind of "bees-eye view" of the wildflowers. The aim is to impart a sense of being within nature, to foster a sense of empathy, humility and connectedness.

Multiple routes and places allow the visitor to explore and participate in the curation of their own journey. The experience is deliberately non-prescriptive, based on the premise that an experience is most insightful when people actively engage. This principle has informed many aspects of the Pavilion. Use of the senses was also key, engaging the olfactory, haptic and aural as well as the visual faculties.

Structure

The Hive consists of 32 horizontal stacked layers of hexagonal geometry. This pattern has a rational underlying order and employs rotational symmetry.The geometry was resolved into alternating layers of radial and circumferential elements. The pattern of radial and circumferential lines is analogous to the flow pattern of stress and so defines horizontal lines of structure. The layering of the sculpture allows these radial and circumferential lines of structure to be joined to form truss like assemblies. This repetition within the hexagonal pattern allows the truss assemblies to provide repetition on the macro scale.

The bottom and top chords of each truss are cut from strips of flat plate to emphasize the horizontal layering of the sculpture while the brace elements joining the top and bottom chords are, in contrast, small tubes or bars. Connections were made mechanically using a machined node. The structure is fully-braced, which helped reduce material and meant that connection nodes didn't need to resist bending. In an attempt to achieve a level of optimal efficiency (as encountered in nature) and thereby produce a filigree and delicate structure we proposed that each individual component, i.e. segment of plate, tube or bar within each truss would only be as wide as it needed to be, producing variation on the micro scale.

Each truss, although based on a macro repetitive geometry, would also have to be individually trimmed to the internal and external surfaces. The trimming combined with the varying sizes of the component parts, made every one of the 1000 or so trusses potentially unique.

It was resolved that the Hive was going to have many tens of thousands of possibly unique parts. These parts would have to be individually sized to carry the forces experienced under a hundred different combinations of loading. It was also conceded that the Hive would need to be re-designed over and over again and it would need to happen in a short amount of time, a quick digital Darwinian process.

The process could only be achieved by writing software. We assumed that every task in the design would have to be carried out time and time again and so each task was automated as much as possible. Eventually a complete re-design involving detailed analysis models, design code checking, structural optimization of 70,000+ elements and outline drawings could be turned around in a few days. On a conventional project this can take months and typically only happens once.

This ability to change and test the design quickly meant that the design could adapt to extreme events including a complete change in material from stainless steel to aluminium, new geometries to accommodate changes in connection design and multiple complete redesigns to achieve savings of 20% at a time.

The design information when finally fixedwas used to generate 1,500 individual solid CAD models containing over 30,000 individual parts fully detailed for fabrication. The contractor, Stage One was then able to take these models and process them through their existing 3D workflow and management system to supply to their CNC machines for fabrication. The Hive is constructed from a total of 169,300 machined aluminium components.

2 夜間內(nèi)景/Interior view at night

The Hive is a modular structure, a kit of parts, made in the UK and then shipped to Milan for assembly on site. The intention is for the Hive to have a "second life" back in the UK and this was designed in, as a key principle from the outset.

Landscape

In response to the difficulties that bees face, we proposed a wildflower feast for pollinators, providing a space for this crucial mechanism at the Milan Expo. The landscape forms a core aspect of the UK Pavilion, covering around 60% of the site area. Planting is a natural foil to the precisely-engineered Hive sculpture which forms the focal point of the Pavilion. We sought to transport the visitor into the world of the honeybee, creating a journey through archetypal British landscapes.

The journey begins in an Orchard area with apple trees (dependant on pollination by bees) under-planted with a carpet of shade-tolerant wildflowers. The Orchard is bounded on two-sides by timber panelled walls, the "information wall" and "swarm wall". These play host to a swarm-like array of small holes, evocative of a swarm and in reference to "bee hotels". The visitor then moves through a narrow transitional space, evoking notions of the "secret garden", before emerging into a rolling wildflower meadow. In plan, the meadow paths continue the hexagonal motif of "the Hive" sculpture, sited at the far end, which seems to radiate into the landscape, informing routes and layouts. An inlay set into the floor makes this connection explicitly. A more formal planting strip, the "BE Fringe", runs around the perimeter. This planting consists of different lavender species, evocative of the English country garden and Earl Grey tea. Lavender is also a favourite of bees.

Planting within the meadow is designed as a rich tapestry of types, merged into one seamless, undulating landform. Varying topography is accentuated using swathes of textured grasses and tall perennials. To achieve this, a single pre-sown wildflower turf was laid throughout the meadow, into which plug plants were inserted, creating

3 景觀總體規(guī)劃/Landscape masterplan

1-“蜂巢”雕塑/Bee hive sculptural piece

2-果園/展館入口/Orchard/pavilion entrance

3-野花中的小徑/Wildflower meadow walk

4-野花草地/Wildflower meadow

5-平臺坐席/Terraced seating

6-活動空間（下層空間）/Event space (beneath space)

7-通向屋頂平臺的臺階/Step access up to roof terrace

8-電梯/Lift

9-屋頂平臺/Roof terrace

10-通向首層的臺階/Step access down to ground floor

11-進入蜂巢的通道（屋頂層）/Bee hive access walkway (at roof level)

12-售票處/Ticket office

13-酒吧/商店/Roof to bar/shop

14-東西大道/Decumanus

15-殘障人士入口/Disabled visitor access

16-緊急出口/Emergency exit

17-灌溉池檢查口（草地下方）/Access cover to irrigation tank (beneath meadow)

18-展館出口/Pavilion exit

19-貴賓通向貴賓室和會議室的入口/VIP entrance to lounge and conference facilities

20-限制入內(nèi)區(qū)域/Restricted access area

21-從東西大道進入果園/Entrance into orchard from decumanus

22-員工通道至售票處/Staff access to ticket office

23-售票處/Ticketing kiosk

24-變壓器室（草地下方）/Transformer room (beneath meadow)

4.5 長剖面/Long sections

25-座位/變電站檢查口/Seating/access cover over sub-stationdifferent character areas. Plant species were selected for their richness in nectar and seasonal interest: the Cat's Ear (Hypochaeris radicata), for example, with its large yellow flowers reaching for the sky, the Field Scabious (Knautia arvensis) with its delicate pom-pom-like lavender coloured flowers, and the Red Clover (Trifolium pratense), with its abundance of lower growing, ball-like magenta flowers. These, and all the other species used, were chosen in collaboration with Kew Gardens, who brought the wealth of their expertise to the project.

6 蜂巢生成草圖/Hive development sketch

7 外景/Exterior view

The planting is seasonal and will change throughout the six-month duration of the Expo. Part of our agenda is to showcase this cycle and cultivate an appreciation of the charms and character of the different stages.

The scheme focuses on the performative aspects of planting, that is, the ecological usefulness of certain types of plants for a specific need. The landscape serves as a representation of the project manifesto and serves as an example of the type of planting that can assist in creating nutritious habitats to sustain the vital pollinators. Many bees have been seen visiting the meadow during the opening month alone.

Architecture & Interiors

The architecture of the terrace-bar and conference suite beneath, is unapologetically solid and understated, minimal in the detail. A common 900mm module is set to provide a natural rhythm throughout the building, with smaller modules being subdivided, setting stair treads and risers; window opening sizes; door ironmongery heights and cladding panels, all linked back to a unifying order, a nod to the efficient ordering of honeycomb.

Within the building, a single hexagonal cell is positioned centrally, with the internal planning developed around this. It provides a multifunctional space through which temporary exhibitions can be held, business meetings attended or conferences presented. Careful planning allows support spaces to cluster, but remain independent to meet functional requirements, making efficient use of the limited area. Careful consideration was given to adjacencies, user flow and the distribution of private and public spaces and routes. Multiple separate entrances are provided for public, office staff, kitchen staff, VIPs as well as stock delivery and waste removal. The building provides obvious markers for users internally and a counterpoint to the lightness of the sculptural Hive externally.

The external facade treatment is monolithic, with high-level window openings positioned behind perforated Corten steel cladding, and at low level, behind mirrored louvered panels, so as to minimise the impact on the visitors' quiet impression of a unified whole. A similar approach is taken with the bar, which greets visitors as they emerge onto the rooftop terrace en route to the Hive. A heavy roof plane covers the bar area providing shelter from the elements, with a mirror-like metallic finish focusing on the experience back towards the Hive and the landscape beyond.

Materials

The materials used are generally unprocessed and will get patinated naturally. This rawness was a key principle. Once built, the weather takes over and the materiality of the pavilion continues to evolve.

Weathered Corten steel has a rustic earthy hue, contrasting nicely with the delicacy of the planting and Hive structure. Warm metallic mirror finish gives the impression of greater depth connecting various areas through reflected glimpses. Louvered walls reference the traditional beehive. Plywood and Douglas fir bring softness and will silver over time.The floor treatment is resin-bound gravel throughout, creating a kind of crunchy feel, like walking across stony ground. Aluminium was selected for the Hive for many reasons: it is lightweight with favourable structural properties, cost, is corrosion resistant and can be machined easily. □

項目信息/Credits and Data

藝術(shù)設(shè)計及創(chuàng)意總監(jiān)/Artist and Creative Lead: Wolfgang Buttress

場館建造/Pavilion Manufacture and Production: Stage One結(jié)構(gòu)工程師/Structural Engineers: Simmonds Studio

建筑景觀及環(huán)境工程/Architecture, Landscape Architecture and Environmental Engineering: BDP

物理學(xué)家及蜜蜂專家/Physicist and Bee Expert: Dr Martin Bencsik

攝影/Photos: Hufton+Crow(fig.1,2,9,11), Mark Hadden(fig.7,8,10)

評論

陳浩如：狹長規(guī)整的地塊猶如期待被打破的城市網(wǎng)格, 英國似乎在此營造城市花園：從小庭院入口，曲折如英式花園，進入頗具透視感的長形空間，花壇從地面凸起，構(gòu)成六邊形的迷宮，觀者從中回繞，行往滅點處虛幻的蜂巢。藝術(shù)家與工程師合作完成了一座金屬的大體量蜂巢建構(gòu)，無數(shù)金屬構(gòu)件交纏一體模糊了建筑物的界面、輪廓和空間，使觀者猶如歸巢的蜜蜂恨不得長出翅膀能占據(jù)這場所。內(nèi)部球體空間指向艾蒂安·布萊在1784年幻想的牛頓紀(jì)念館，和啟蒙時代的理性與進步狂熱。材料細(xì)節(jié)帶來的強烈感官沖擊顯然并非追求一種和諧的表達(dá)。建筑師所熟知的空間典故和理性和諧的建筑傳統(tǒng)，被藝術(shù)家組合最大程度地挑戰(zhàn)了。

劉晨：如果不算上帝，蜜蜂該是自然界最偉大的建筑師。不知有多少人想從一只蜂窩那里汲取靈感，在人類世界演繹這奇特的結(jié)構(gòu)，然而總是差強人意。我們無法親身感受蜜蜂筑巢的行為，就好比我們無法想象蜜蜂“復(fù)眼”中的世界是何模樣，盡管蜂窩和復(fù)眼最終都?xì)w于一個簡單的六邊形。除非讓自己做個夢，在夢里我們都變成蜜蜂。英倫達(dá)人真就造了這樣一個夢，一個巢，一只眼。在六邊形的無窮迭代里，已無所謂空間和邊界。蜜蜂有一對復(fù)眼和3個單眼，但對人類來說，“美目一只足矣”。

Comments

CHEN Haoru: Just like a broken city grid, the regular narrow block was done as expected. It seems that the British is trying to create an urban park: from the small courtyard entrance, twists and turns as an English garden, enter into a quite perspective elongate space. Flower beds raise from the ground to form a hexagonal-shaped maze, which wrap around the viewer whom will then go off-line at the point of fantasy hive. Artists and engineers completed the construction of a large volume of metal honeycomb, and numerous metal integrally intertwined and blurred the interface, outline, and the space of the building, so that the viewer feeling themselves as homing bees will desire to grow wings to occupy this place. The inside space formed a Newton Memorial fancied by Etienne Boullée in 1784, which seems that it is pointing to the rationality and progress craze during the Age of Enlightenment. Strong sensory impact brought by material details is obviously not pursuing the expression of a harmonious. Space allusions and rational architecture convention in the architect's knowledge were furthest challenged by artist combination.

LIU Chen: Bees may be regarded as the most capable architect in nature. The beehive has long been a source of inspiration for humans to create similar structures, though the outcomes are barely convincing. We cannot experience the little bee's behavior of hiveconstruction, nor can we imagine what the world looks like in their compound eyes, even though both the hive and the compound eye derive essentially from a simple hexagon. Unless it happens in a dream, in which we humans are metamorphosed into bees. At the 2015 Milan Expo, some British talents have literally created such a dream with a structure that calls to mind both a beehive and a compound eye. In its infinite iteration of hexagons, neither space nor boundary matters. A bee has three monocular eyes in addition to one pair of compound eyes, but for humans "one beautiful eye would suffice".

8-10 蜂巢底部/Under the hive

11 草地/Meadow