意大利米蘭

建筑設(shè)計(jì)：Piuarch

設(shè)計(jì)小組：Miguel Pallares, Davide Fascione, Gianluca

Iannotta, Alessandro Laner, Alessandro Leanti, Enrico

Pellegrini, Jenny Spagnolatti, Santiago Trujillo, Anna Zauli

結(jié)構(gòu)設(shè)計(jì)：FV Progetti

機(jī)電設(shè)計(jì)：Cornelius Gavri

景觀設(shè)計(jì)：Caritas Ambrosiana

業(yè)主：Caritas Ambrosiana

建筑面積：900 平方米

攝影：?Andrea Martiradonna

Architectural design: Piuarch

Team: Miguel Pallares, Davide Fascione, Gianluca Iannotta, Alessandro Laner,Alessandro Leanti, Enrico Pellegrini, Jenny Spagnolatti, Santiago Trujillo,

Anna Zauli

Structural design: FV Progetti

M&E Design: ESA Engineering

Landscape design : Cornelius Gavril C

lient : Caritas Ambrosiana

Built surface : 900 sqm

Images : ?Andrea Martiradonna

Piuarch建筑師事務(wù)所負(fù)責(zé)設(shè)計(jì)了2015年米蘭世博會埃內(nèi)爾(意大利國家電力公司)展館及卡里塔斯展館。為了將客戶想表達(dá)的含義與價(jià)值觀更好地傳達(dá)給觀眾，Piuarch選擇了一種特殊的建筑語言來體現(xiàn)兩個(gè)展館的特點(diǎn)。

埃內(nèi)爾展館沿東西大街而建，占地900平方米。設(shè)計(jì)體現(xiàn)出智能電網(wǎng)這一概念，傳達(dá)出以智能科技優(yōu)化世博會整體用電的理念。

展館以配有650多個(gè)聚碳酸酯元素（直徑150mm，高5.3-7m的管材）的“電網(wǎng)”搭建出一個(gè)虛擬結(jié)構(gòu)，突出能源共享的理念。通過這些發(fā)光管，營造出千變?nèi)f化的燈光效果，以促進(jìn)“展館與觀眾的積極互動”。垂直發(fā)光管層層疊加，不同的觀看角度，產(chǎn)生不同的效果，因而形成一種“動感效應(yīng)”。

卡里塔斯展館的設(shè)計(jì)理念為“化繁為簡，共享共贏”，即財(cái)富共享。展館外觀如同破碎的立方體“亭臺”。一個(gè)立方體被分割為五個(gè)大小不同的展區(qū)。每個(gè)展區(qū)有不同的功能，傳達(dá)不同的信息，營造不同的效果。整個(gè)展館均為白色，別具一格，也因此形成整體感。參觀者可在五個(gè)“房間”中穿行，中間是一個(gè)中心區(qū)。展館內(nèi)的重磅作品是1973年由德國藝術(shù)家Wolf Vostell設(shè)計(jì)的名為Energia的藝術(shù)品。藝術(shù)品以凱迪拉克（Cadillac）為載體，車上裝有戰(zhàn)爭武器，周圍堆放有各種面包，感染力極強(qiáng)。消費(fèi)者保護(hù)主義和破滅與人類基本需求（面包）之間形成鮮明對比，這是對消費(fèi)社會的有力批判。

Piuarch designed both the ENEL Pavilion and Caritas Pavilion for EXPO 2015 held in Milan. Both projects managed to convey the message and values the client wanted to send out to visitors, opting for a distinctive architectural language refiecting their respective identities.

The idea for the ENEL Pavilion set along the Decumanus over an area of 900 m2 was to embody a notion of smart grid, intelligent technology optimising the energy supply to the entire EXPO site.

The idea of sharing energy was embodied through the creation of a virtual structure generated by a“grid”fitted with over 650 polycarbonate elements (tubes measuring 150 mm in diameter and between 5.3-7 m high). These vectors lit up to create constantly changing lighting effects designed to create“active interaction between the setting and visitors”, with the superimposing of vertical elements also creating a “kinetic effect” by the constantly changing ways in which they are perceived.

The Caritas Pavilion was based around the message: “Divide to multiply. Break the bread” or, in other words, the idea of sharing wealth.

An elaborate concept embodied in a small broken-down cube-shaped “kiosk”. The structure looked as if one single cube had been broken down to create five parts of different sizes, each serving a different purpose, with its own story to tell and its own message to convey. The pavilion’s stylistic and functional unity came from its white-coloured structural profile. Visitors moved through thefive “rooms”overlooking one single central area. An artwork entitled Energia, designed by the German artist Wolf Vostell in 1973, was the main attraction in this space. Energia is a large installation with great narrative force constructed out of a Cadillac loaded with war weapons surrounded by different kinds of bread.This powerful critique of consumer society comes from the contrast between symbols of consumerism and destruction and man’s primary need, bread.