上海世博会展馆方案(2).doc

上海世博会展馆方案（2）智利展馆/Sabbagh建筑师事务所/exihibition/chilean-pavilion-for-shanghai-expo-2010-sabbagh-arquitectos.html本周四，智利政府展示了上海2010年博览会的展馆设计。建筑面积2000平方米，名为“初始之城”，由Sabbagh建筑师事务所设计。这是第一个拉丁美洲国家在世博会上建立自己的展馆。政府强调，此展馆将加强两国的联系，两国当前的商业贸易额达到了170亿美元。原文：/21172/chilean-pavilion-for-shanghai-expo-2010-sabbagh-arquitectos/This Thursday, the chilean government presented the design for the Chilean Pavilion at the Shanghai Expo 2010. The 2000sqm pavilion, named “Sprout of a New City” was designed by Sabbagh Arquitectos.This was the first Latin American country to sign their participation on the Expo with their own pavilion.The government emphasized that this pavilion will strength the relation between both countries, current commercial partners exchanging over US$17 billion.翻译：新意大利展馆/Iodice建筑师事务所/exihibition/italy-pavillion-for-shanghai-expo-2010.html来自Iodice建筑师事务所的Marcello Silvestre，给我们送来了他们设计的2010年上海世博会意大利馆。来自Iodice建筑师事务所的Silvestre，Francesco Iodice，Giuseppe Iodice与Giampaolo Imbrighi, Teresa Crescenzi, Antonello De Bonis,Cosimo Dominelli一同设计了这个展馆。该建筑混合了意大利典型建筑的特点和中国上海的特点。展馆面积为3600平方米，18米高。建筑内部被划分为大小不同的部分，它们之间用钢铁桥梁相连接。如果需要，它们可以在另一个城市中一点点地拆除和重建。 原文：/21180/italy-pavillion-for-shanghai-expo-2010-iodice-architetti/Our friend Marcello Silvestre, from Iodice Architetti sent us their design por the Italian Pavillion for the Shanghai World Expo 2010. Silvestre, along with Francesco Iodice and Giuseppe Iodice from Iodice Architetti worked with Giampaolo Imbrighi, Teresa Crescenzi, Antonello De Bonis, and Cosimo Dominelli in the design of the pavillion. The project proposes a building which integrates a typical model of the Italian urban building, with the architectural structure of the Chinese construction game called Shanghai. More images and architects description after the break.The pavilion covers an area of 3.600 square metres and is 18 metres high. Inside it is divided into irregular sections of different dimensions, connected by a steel bridge structure where the connecting galleries are visible. If needed, the structure can be dismantled and reconstructed, on a smaller scale, in another part of the city.The different sections of the building make up a geometrical variety symbolizing the tradition and regional customs which define the Italian identity: a type of mosaic of which each of the parts show a single picture. The form also highlights the topographic complexity of Italian cities, with its numerous short narrow roads and alleys which suddenly open onto a large square, a characteristic which can also be found in the traditional Chinese urban centres. A psychophysical effect of comfort is given by an internal garden, the presence of water and natural light which spreads throughout the area across the patios and by the walls.翻译：戎 韩国馆/mass工作室/exihibition/korean-pavillion-for-shanghai-expo-2010-mass-studies.html朝鲜字母，是展馆的首要元素。展馆架空于地面以上7.2米。建筑体量由朝鲜字母构成，由这些字母符号去创建建筑空间。使游客可以通过横向，纵向和斜线运动 去体验几何形状的字母。构成朝鲜字母的几何形状是在所有文化中都存在的基本的几何体。从这个意义上看，它是对所有文化开放的Mass工作室的朋友发给我们上海2010年博览会韩国馆的资料。韩国馆位于A区，比邻日本馆和沙特阿拉伯馆，靠近中国馆。基地大约6000平方米，是此次世博会最大的一个地块之一。在此地块中，可以看见黄浦江和上海的摩天楼群。概念朝鲜半岛在历史上长期受到周围的大陆文化（中国）和海上文化（日本）的影响。现在，韩国接受了大量的全球的外来文化全球影响，这些文化在渐进中定义了当代韩国社会。所以，韩国馆采用融合为主题，韩国馆是“融合”的符号。符号成为空间，同时，空间也成为符号。符号与空间朝 鲜字母，是展馆的首要元素。展馆架空于地面以上7.2米。建筑体量由朝鲜字母构成，由这些字母符号去创建建筑空间。使游客可以通过横向，纵向和斜线运动去 体验几何形状的字母。构成朝鲜字母的几何形状是在所有文化中都存在的基本的几何体。从这个意义上看，它是对所有文化开放的。韩国馆的建筑表 皮由两种不同的“点”构成：“字母点”和“艺术点”，“字母点”位于建筑的朝外的表面，由4种不同尺寸的白色板材组成。其它外表面由“艺术点”组成，它们 是45cmX45cm的铝板，由韩国艺术家Ik-Joong Kang设计，这些铝板上的图案要么是自行绘制的，要么是从世界各地收集的（另一种类型的融合）。一共大约有40000片铝板装点立面，创造出丰富的色彩 效果、充满希望的、统一的建筑形象。建筑表面在白天和夜晚有不同的气氛，光线和阴影创造出不同的建筑表面肌理。“字母点”的后面安装了一系列的灯，在大的建筑尺度上使得建筑生动起来。符号与空间地 图是描绘空间的符号，展馆建筑的第一层放置了1：300的韩国城市的3维地图。地面层有一个5米宽、79米长的模拟河流（模仿韩国汉江）从一个角落流到另 一个角落。由于大多数游客要花比真正参观更多的时间用来排队等待。所以，建筑的地面层的山区部分是一个座位区，为排队进入展览场，等待参观的游客提供（大 银幕视频）节目。还有一系列的LFD显示器，大屏幕和两个LFD水屏幕与游客互动。建筑功能空间游客上了展馆的二层以后，就看见一个三千七百平方米巨大的展览空间，这是一个完全黑暗的，可完全控制的展览空间。由于它的空间是开放的，所以能够承受很大的客流。这层以上还有贵宾休息室、新闻发布室、会议室、功能室和工作人员行政区。在展览场地的对面（位于建筑的西北侧）有一个餐厅，设施完备，可上至屋顶花园，俯视黄浦江，看上海的摩天楼群。 原文：Our friends from Mass Studies sent us their design for the Korean Pavillion for the Shanghai World Expo in 2010.The Korean Pavillion is situated in Zone A, directly neighboring the Japan Pavillion and the Saudi Arabia Pavillion, and in close proximity to the China Pavilion. The site is around 6000m2, and it is one of the largest lots within the expo compound.Located on the perimeter of the zone, the site takes advantage of the views out towards the Huangpu River and the Shanghai skyline in the distance.ConceptWith land culture (China) and sea culture (Japan) surrounding the peninsula, Korea has been permeable to imported cultures and global influences, whose progressive mix defines contemporary Korean society. Using convergence as the main theme, the Korea Pavilion is an amalgamation of sign (symbol) and space: Signs become spaces, and simultaneously, spaces become signs.Sign as SpaceHan-geul, the Korean alphabet, is the prime element of signs within the pavilion. The overall volume, lifted 7.2m above ground level, is created by converging these Han-geul letters, allowing signs to create the exhibition space, and so that the visitors can experience their geometry through horizontal, vertical and diagonal movements. The primary geometries that compose the Han-geul letters are universal to other cultures, thus acting as a sort of open set of signs that is engaging to everyone.The exterior surfaces of the Korea Pavilion are clad in 2 types of pixels: Han-geul Pixels and Art Pixels. Han-geul Pixels are white panels with a relief of letters in four different sizes whose combination forms the majority of the exterior, mainly the peripheral surfaces. Most of the non-peripheral surfaces are composed of Art Pixels, which are 45cm x 45cm aluminum panels created by a Korean artist, Ik-Joong Kang, who is renowned for creating massive art walls out of small hand-painted tiles, either self-produced or by gathering from around the world (thus being another type of convergence). About 40,000 of these panels will texture the fa?ade, contributing a bright palette of colors, hope, and unity throughout the Korea Pavilion.The surfaces will project different atmospheres during the day and night, with light and shadows creating different textures. Sequential lighting is installed behind the Hangeul Pixels to highlight the individual letters on the exterior fa?ade at night, further animating the pavilion as a sign (like a text message) on a larger scale. Space as SignBy understanding a map to be a type of a sign that depicts space, weve translated the ground level piloti space as a sign, by making an abstract 1/300 scale 3D map of a characteristic Korean city as its surface. The rest of the building, containing the exhibition space, is suspended 7m above to create a 40m x 77m free, open space generated by the map. The map becomes a semi-exterior landscape that expresses the converging of mountains, water, and a dense metropolitan area, as exemplified by Seoul, the national capital. This ground floor is shaded by the main volume and additionally cooled by the a replica of a river (modeled after the Han River) flowing from one corner to the other as a 5m wide, 79m long artificial stream, while the notable mountains become stages/seating/spaces for the visitors to enjoy shows while queued in line to enter the exhibition space above, to improve the typical inverted condition that most visitors spend more time waiting than experiencing the exhibitio