建筑設(shè)計(jì)：亞瑟·卡薩斯工作室，馬爾科·布拉約維奇工作室

Architects: Studio Arthur Casas + Atelier Marko Brajovic

身體愉悅：巴西館

Playful Bodies: Brazilian Pavilion

建筑設(shè)計(jì)：亞瑟·卡薩斯工作室，馬爾科·布拉約維奇工作室

Architects: Studio Arthur Casas + Atelier Marko Brajovic

1 內(nèi)景/Interior view

亞瑟·卡薩斯工作室和馬爾科·布拉約維奇工作室贏得了由巴西出口與投資促進(jìn)局投資的 2015米蘭世博會(huì)巴西館的設(shè)計(jì)權(quán)。其目標(biāo)是把建筑與遠(yuǎn)景結(jié)合起來，圍繞“滋養(yǎng)世界的答案”的主題，為游客創(chuàng)造一種體驗(yàn)，從中傳達(dá)巴西的文化價(jià)值以及農(nóng)畜業(yè)中所蘊(yùn)含的靈感。這不僅是一座臨時(shí)建筑，而是包括了休閑、高科技信息、交互與學(xué)習(xí)的感官沉浸。

靈活、平滑、離散網(wǎng)絡(luò)的靈感在這座建筑上體現(xiàn)得淋漓盡致，并體現(xiàn)出這個(gè)國家的多元性。在130多座建筑中，巴西館仿佛一個(gè)休止符，營造出一個(gè)集聚人氣、激發(fā)情感的公共廣場。一如通透的巴西文化，這個(gè)碩大的體量向游客完全敞開，用巴西五彩斑斕的植物畫出一條小徑。金屬結(jié)構(gòu)的色彩突顯出一種“巴西性”，而室內(nèi)外空間的漸變消解了建筑與遠(yuǎn)景之間的界限。這種網(wǎng)絡(luò)的暗喻通過伸長的結(jié)構(gòu)得以體現(xiàn)，是它為娛樂和休憩創(chuàng)造出意想不到的場所。遵照巴西現(xiàn)代主義和巴西館的傳統(tǒng)，寬大的跑道強(qiáng)調(diào)了不同空間的聯(lián)系。

巴西館首層上的簇群源于各式各樣的主題。它們是按照不同的概念組織起來的，比如營養(yǎng)、家庭農(nóng)業(yè)、林業(yè)，以及農(nóng)業(yè)和畜牧業(yè)的一體化。植物箱分別在正交網(wǎng)中，進(jìn)而形成以亞馬遜河曲線為原型的蜿蜒小路。這個(gè)笛卡爾網(wǎng)絡(luò)與有機(jī)景觀形成互動(dòng)，在人類的雙手與大自然的偉力之間疊起嬉戲的對話。走在這條小路上，游客會(huì)看到交互桌臺，從而領(lǐng)會(huì)這一網(wǎng)絡(luò)如何融入不同主題之間流動(dòng)的界限。

場地后方的體量之中是展覽空間、講堂、小鋪、咖啡廳、休息廳、餐廳和辦公室。它們由自然采光的大中庭連為一體。巴西藝術(shù)家和設(shè)計(jì)師受邀展出能夠表現(xiàn)我們創(chuàng)造力的作品，旁邊的交互裝置介紹的是巴西食品產(chǎn)業(yè)在以巴西農(nóng)業(yè)研究公司為主的研究公司引領(lǐng)之下的技術(shù)進(jìn)步。

可持續(xù)性隨處可見，從由預(yù)制模數(shù)組成的建構(gòu)/解構(gòu)體系，到水回收機(jī)制和經(jīng)認(rèn)證的可回收材料的利用。這一體驗(yàn)的重點(diǎn)在于，用臨時(shí)性建筑證明了以極少的資源和環(huán)境影響來創(chuàng)造意義和內(nèi)涵是可行的。

2015米蘭世博會(huì)巴西館的目標(biāo)是將新的元素引入巴西對此類活動(dòng)的參與。展望未來，它的目標(biāo)是證明巴西在人類的若干重大領(lǐng)域達(dá)到了巔峰，比如農(nóng)業(yè)和畜牧業(yè)；在為人類社會(huì)與環(huán)境的關(guān)系創(chuàng)造新范式的永恒追求上實(shí)現(xiàn)了突破；進(jìn)而形成一種共生性的變化，能為巴西勾勒出全新的策略。巴西館不只是希望在眾多國家中展露鋒芒，更闡釋出激發(fā)熱愛祖國大地和民族的欲望，以此創(chuàng)造出超越世博會(huì)會(huì)期的新的關(guān)系。它要證明的是，實(shí)現(xiàn)烏托邦的理想，激發(fā)弘揚(yáng)世博會(huì)主題的方案是絕對可能的——滋養(yǎng)地球，生命之源?！酰ㄉ袝x 譯）

項(xiàng)目信息/Credits and Data

項(xiàng)目合作/Project by: Studio Arthur Casas and Atelier Marko Brajovic

建筑設(shè)計(jì)/Architecture: Studio Arthur Casas

主創(chuàng)建筑師/Author: Arthur Casas

聯(lián)合建筑師/Co-authors: Alexandra Kayat, Gabriel Ranieri, Alessandra Mattar, Eduardo Mikowski, Nara Telles, Pedro Ribeiro and Raul Cano.

項(xiàng)目協(xié)調(diào)/Project Coordination: Alexandra Kayat

室內(nèi)及設(shè)計(jì)聯(lián)合協(xié)調(diào)/Co-author and interior design coordination: Renata Adoni

事務(wù)所總監(jiān)/Studio Director: Marilia Pellegrini

合作者/Collaborators: Arnault Weber, Rodrigo Tamburus, Fernanda Müller, Daniel Vianna and Juliana Matalon

展覽及布景/Exhbition and Scenography: Atelier Marko Brajovic

創(chuàng)意總監(jiān)/Creative Direction: Marko Brajovic and Carmela Rocha

項(xiàng)目協(xié)調(diào)/Project Coordination: Carmela Rocha

平面設(shè)計(jì)/Graphic Design: Estudia Design

合作者/Collaborators: Martina Brusius, Milica Djordjevic and André Romitelli

策展人/Curators: Rony Rodrigues and Eduardo Biz

駐地顧問及技術(shù)職責(zé)/Local Consultants and Technical Responsibility: Mosae -Architecture and engineering

團(tuán)隊(duì)/Team: Stefano Pierfrancesco Pellin Dario Pellizzari, Andrea Savoldelli, Klaus Scalet, Michele Maddalo and Luisa Basiricò

顧問/Consultants: 結(jié)構(gòu)協(xié)助/Structural assistance－SP Project, 照片設(shè)計(jì)/Lighting design－Maneco Quindere

設(shè)計(jì)時(shí)間/Project: 2014

施工時(shí)間/Construction: 2015

規(guī)劃面積/Plot Area: 4133m2

建設(shè)面積/Built Area: 3674m2

攝影/Photos: Raphael Azevedo Fran?a

模型照片/Scale Model Photos: Eduardo Pagés

2.3 內(nèi)景/Interior views

4 概念圖/Concept drawings

5.6 模型/Mockup

7.8 概念圖/Concept drawings

9 內(nèi)景/Interior view

Studio Arthur Casas and Atelier Marko Brajovic won the competition to create the Brazilian Pavilion for Expo Milan 2015, commissioned by APEX-Brasil. We aimed to combine architecture and scenography in order to provide visitors with an experience that would transmit Brazilian values and the aspirations of its agriculture and livestock farming according to the theme "Feeding the world with solutions". More than a temporary building, the sensorial immersion includes leisure, high technology information, interaction and learning.

The inspiring idea of a flexible, smooth and decentralized network is present in every aspect of the building and represents the country's pluralism. Amidst more than 130 constructions, the Brazilian Pavilion proposes a pause, the intention of creating a public square that draws people together and engenders curiosity. As porous as the Brazilian culture, a large volume is open to visitors and establishes a pathway among several plant species cultivated in our country. The earthly colors of the metal structure highlight this "Brazilianess", and the gradual transition between inside and outside erases the boundaries dividing architecture and scenography. The metaphor of the net is materialized by a tensile structure that creates unexpected places for leisure and rest. Following the tradition of Brazilian modernism and its pavilions, large runways reinforce the connection between the different spaces.

Different themes inspired the clusters to be distributed along the ground floor of the pavilion. They are organized according to ideas such as nutrition, family agriculture, forestry and integration between farming and livestock. Boxes containing plants were organized according to an orthogonal grid, creating sinuous paths, inspired by the curves of the Amazon River. This Cartesian grid plays with organic landscapes, in a game of superposition and dialogue between the hand of man and the forces of nature. While walking through this path, visitors will find interactive tables andsee how the net takes part in this fluid demarcation between themes.

The volume placed in the rear of the plot houses exhibition spaces, an auditorium, a pop-up store, a café, a lounge, a restaurant and office facilities, interconnected by a large atrium that brings in natural light. Brazilian artists and designers were invited to exhibit works that showcase our inventiveness, side by side with interactive installations that explain the technical revolution in course in Brazilian food industry, largely due to the research of companies such as EMBRAPA.

Sustainability is everywhere, from the construction/deconstruction system made up with prefabricated modules, to the water reuse mechanisms and the employment of certified and recyclable materials. A fundamental part of the experience, the rationality of this ephemeral architecture demonstrates that it is possible to create meaning and content with few resources and low environmental impact.

The Brazilian pavilion in Expo Milan 2015 aims to bring new elements to the traditional attendance of the country to this type of event. Looking at the future, it aims to demonstrate that Brazil achieved excellence in crucial areas for mankind, such as agriculture and livestock farming, in a permanent movement to create new paradigms for the way our society relates to the environment, a symbiotic transformation, capable of tracing new strategies for our country. More than trying to stand out among so many nations, the Brazilian pavilion translates the desire for inspiring curiosity towards our territory and people to engender new relations that take place beyond the period of the event. It should demonstrate that it is possible to transform into reality utopian ideas and to inspire solutions that follow the Expo theme: Feeding the planet, energy for life.□

10 內(nèi)景/Interior view

評論

蘇丹：在壯闊的世博軸線一側(cè)，富有想象力地創(chuàng)造出一個(gè)生動(dòng)的場地，以此激發(fā)出了來自世界各地人們的參與熱情。這種快樂的方式讓人忘記了國家館建筑所一直具有的追求經(jīng)典的價(jià)值取向。這是一種獨(dú)特的民族性格的反建構(gòu)的表達(dá)，人們在軟網(wǎng)上行走的身影甚至取代了傳統(tǒng)意義的景觀，這是一個(gè)真正以人為本的社區(qū)，充滿著追求民主的精神。

劉晨：如果把展館當(dāng)成臨時(shí)建筑來設(shè)計(jì)，就落入了世博會(huì)的歷史俗套，建筑師很清醒地意識到了這一點(diǎn)。與其循規(guī)蹈矩，不如轉(zhuǎn)換觀念，從舞臺學(xué)的角度來定義并實(shí)踐它，將空間、藝術(shù)、文字、探索、表演與觀眾融會(huì)貫通。這種舞臺設(shè)計(jì)不僅僅是向觀眾呈現(xiàn)形象，它更在意觀眾的接受和參與。它像一個(gè)自圓其說的互動(dòng)裝置作品，創(chuàng)造的體驗(yàn)既愉悅感官，也增益智識。

11.12 內(nèi)景/Interior views

Comments

SU Dan: On one side of the spectacular axis of the Expo, the architect creates a lively space full of imagination that triggers off people's passion for participation from all over the world. This happinessseeking method releases people from the traditional value orientation that a national pavilion usually takes before. It is an anti-structure expression reflecting the unique national characters of Brazil. The shadows of people walking on the soft network even replace the traditional-sense landscape. This is a truly humanoriented community that is full of democratic spirit.

LIU Chen: Rather than following the conventional pattern of temporary exhibition architecture, the architects took a different attitude: defining as well as materializing the pavilion as a work of scenography, with a seamless synthesis of space, text, research, art, actors, directors and spectators. The Brazilian pavilion is not simply content with presenting theatrical images to an audience; it is more concerned with audience reception and engagement. It has the quality of an interactive installation work, integrating the sensory and intellectual experience, which is at once emotional and rational.