分离形象：万科馆

建筑设计：丹尼尔·里伯斯金/里伯斯金工作室

Architect: Daniel Libeskind/Studio Libeskind

分离形象：万科馆

Divided Image: Vanke Pavilion

建筑设计：丹尼尔·里伯斯金/里伯斯金工作室

Architect: Daniel Libeskind/Studio Libeskind

1.2 外景/Exterior views

3 生成图解/Diagram of generation

中国万科企业馆的设计对2015米兰世博会主题“滋养地球，生命之源”所涉及的一系列关键命题进行了探索。万科馆的概念取自中国文化中与食物相关的3个元素：食堂，中国餐厅的传统形式；景观，生命的基本要素；以及龙，隐喻关联着农耕和食粮的形象。这3个核心概念全然包容于万科馆的展览内容、建筑形式及功能布局中。

在位于竞技湖东南边缘的场地中，800m2的万科馆如同自东方破土腾跃而起，而构成了充满动感的垂直地景。婀娜起伏的几何构图在室内外之间蜿蜒流动，勾勒出建筑的突出特征。被暖灰色调混凝土包覆的大楼梯，雕刻般切入盘虬的红色体量，引导参观者拾级而上。屋顶的观景平台被植物花园围绕，具有令人屏息的景观视角——竞技湖及其近旁的意大利国家馆皆可尽收眼底。

该场馆外表皮覆盖了4000多块矿化陶瓷板，这种陶瓷板由建筑师里伯斯金与意大利卡萨尔格兰德·潘达纳公司合作设计。这些方形陶瓷板不仅拼贴出了如同龙鳞般的表皮，还具有自清洁的高度可持续性及空气净化特性。涂饰以金属色彩的三维表面随日光与视角的迁移而变化万千。它时而呈现出深邃的暗红，继而变作炫目的金，在某些角度下甚至又似乎是透亮的纯白。陶瓷板的安装借助最先进的叠瓦系统完成，因此使灵动的扭转形体得以呈现出富有韵律的表皮排布并保持精准的形态控制。盘旋而上的两处楼梯分置于南北入口，贴切回应了整体建筑形式，北侧朝向竞技湖入口的楼梯不仅承担交通功能，可以就坐的台阶也为人们提供了小憩的场所。

在场馆内部，参观者将邂逅被散落如星群的200块屏幕点缀的展览空间，这些屏幕固定于相互绑接成阵列的竹架上。曲折的反射水池拓宽了参观甬道的感受，而在其上方，正是漂浮着的、由荧幕与竹木构成的这片丛林。□ （陈茜 译）

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: 万科馆的设计是如何呼应米兰世博会“滋养地球”这一主题的？

阿戈斯蒂诺·吉拉尔代利：万科馆的概念受到中国文化的启发，它的形态、它的文化参照与它承载的展览内容，都着力探索关于饮食的话题，令人感知中国的生活方式。我们坚信给养地球是一个与食物紧密相关的具体命题，也是一个更为深刻的与生命、生存及人口突发性移动紧密相关的命题。我们的方案曾始于对中国传统地理形态和水稻梯田的明确参考，然而随着设计生命与灵性的自我构建，设计本身主导着我们走向现今的概念——中国龙。

WA: 万科馆项目中最具创造性和吸引力的构造设计是什么？

吉拉尔代利：我相信应该是用于立面的叠瓦技术，它的确创造出了不落窠臼的效果——建筑一方面连接了土壤与大地（即构造方式），另一方面又通过变幻莫测的反射连接了大气与天空。

另一个极强的元素在于建筑内表面的处理，通过全覆盖的竹制镶板保持了设计阐释的清晰性。如果说外表皮的特征在于光鲜的鳞片感，那么内表皮的特征则在于温暖的平滑感，二者之间形成了从元素到情感的鲜明对比。

WA: 场馆建造过程中最为困难的部分是什么？

吉拉尔代利：建造周期紧迫得令人难以置信。期间世博园区中有大概160个场馆在同时进行建造，而我们的场馆正是这场关于质量与时间的较量当中的一部分。

关于每个细节及解决方案的重要决定都只能在仓促的时间内完成。当然，最具挑战性的部分依然在于立面。我们希望勇敢进行尝试与研究，当然也经受了失败的风险，但我们最终完成了一座精彩的建筑，成为了这场较量中的胜利者。我们的场馆是最早完成建造的一个。□（陈茜 译）

4 陶瓷板详图/Detailed tile

11 剖面/Section

12 首层平面/Floor 0 plan

13 二层平面/Floor 1 plan

5-10 施工过程/Under construction

14 三层平面/Floor 2 plan

15 四层平面/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 内景/Interior views

18 楼梯/Stairs

项目信息/Credits and Data

主创建筑师/Design Architect: Daniel Libeskind, 总裁/CEO: Lev Libeskind, 项目主持/Principalin Charge: Yama Karim,责任建筑师/Architect of Record: Agostino Ghirardelli

项目团队/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)施工团队/Construction Team: Bodino Engineering (pavilion general contractor),Nussli Italia (exhibition general contractor), J&A Consultants (construction management), Studio Libeskind (construction supervisor)

材料/Material: 钢结构，再生复合木板+树脂（内立面），三维金属化面砖（外立面），微粒水泥（室外楼梯和女儿墙面层），天然竹板条（内部面层），竹竿（展览）/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: 展览、服务、VIP层/Exhibition, service & VIP levels

设计时期/Design Period: 2013-2014

完成时间/Completion: 2015.03

建筑面积/GFA: 740m2

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

评论

苏丹：万科馆的设计具有一种后现代主义惯用的调侃，壮丽铺陈的大台阶最终导向的却是一个巨大的消化系统——"胃”。谁说食堂不是“胃”呢？建筑粗壮并扭曲的形体和它所涵括的内容不仅形态吻合，而且寓意贴切。建筑表皮的肌理倒没有使我想到巨龙的铠甲，我联想到了巨蟒强大的“胃”所具有的不可思议的消化能力。当然，作为建筑的“胃”，它一定着重在消化当下多元的、爆发式的文化。

张昕：复杂形式与快速完工，万科再次成功创造了反差，也证明了企业在海外项目的建设管理等方面具有强大实力。回到“表里要不要如一”这个永恒话题，对于作为空间的“表”和作为表皮的“表”，建筑师取得了成功；内部呈现中国餐饮文化的竹上300屏，很像是兰会所里食客与名利场的换位，很好奇这是谁的主意。2010年7个安静的麦垛化身为2015年的“红色猛龙”，秸秆板升级为闪闪发光的龙鳞，尘埃落定之后，也许最值得期待或焦虑的是，2020年的万科馆将向何处飞去。

19 屋顶/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?