大阪世博会瑞士馆丨日本大阪丨Manuel Herz Architects

2025/04/22 14:12:32

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项目概览

Overview

瑞士馆是瑞士国家在2025年日本大阪世博会的国家馆。该项目源于一次国际竞赛，于2022年底至2023年初举行。在建筑设计上，项目旨在打造一个极为轻盈的结构。我们设计了由多个相互连接的球体组成的充气结构作为展览空间，并设有一座由模块化钢结构与木质立面构成的垂直建筑体，用于容纳内部功能空间。另有一个独立球体安置于后方建筑之上，作为屋顶酒吧空间。展馆于2024年春末动工，并于2025年4月13日世博会开幕时正式启用。

The Swiss Pavilion is the national pavilion of the country of Switzerland at the World Expo 2025 in Osaka, Japan. The project developed out of an international competition, held in late 2022 / early 2023. Architecturally, the aim was to develop a very light-weight structure. Our design consists of a pneumatic construction of interlocking spheres for the exhibition spaces and a vertical building made of a modular steel structure with a wooden façade, for the internal program. A separate sphere housing the roof-top bar, sits on top of that rear volume. Construction of the pavilion started in late Spring 2024 and the pavilion was inaugurated with the opening of the World Expo on April 13, 2025.

▼项目概览，overview of the project ©Iwan Baan

设计理念

Design

在为2025年大阪世博会设计瑞士馆时，我们被55年前同样在大阪举办的1970年世博会所深深吸引。当年“代谢派”建筑的精神充满了大胆、激进与富有想象力的展馆设计：飞船、异形生物、齐柏林飞艇般的结构充满展场，许多建筑也采用了充气结构。这种充满勇气、乐观与欢乐的建筑展示令人叹为观止，仿佛传达着一种信念——建筑可以承担探索与改善社会的职责。我们希望2025年的瑞士馆能呼应这种1970年大阪世博会的大胆与乐观精神。

©Manuel Herz Architects

When we started working on the design for the Swiss Pavilion for the 2025 World Expo in Osaka, we were fascinated with the previous Expo 70, that had taken place also in Osaka 55 years ago. At that time the spirit of the architecture of “metabolism”, the pavilions offered daring, bold and evocative designs. Pavilions looking like space ships, alien monsters, or Zeppelins filled the exhibition site, with many buildings employing pneumatic constructions. The courageous, optimistic and joyful display of architecture must have been breath-taking. The designs seem to speak of a belief that architecture can be used for exploration and for betterment of society. With our own building for 2025, we wanted to connect to this optimistic and audacious spirit of Osaka ‘70.

▼轻量化结构，minimal-weight structure ©Iwan Baan

在设计过程中，我们想起了Buckminster Fuller那句标志性的问题：“你的建筑有多重？”我们接受了“轻盈”的挑战，力求将对场地的物质干预降至最低。（尽管建筑重量不等同于生态足迹，但两者之间有很强的关联。）特别是考虑到该展馆为临时建筑，轻量化结构在物流、能源消耗、施工与拆除方面都具有显著优势。因此，我们提出采用由多个相互交错球体构成的充气结构。这些球体采用双层膜结构，材料为PVC与ETFE，由辅助钢结构支撑。只有这些气垫本身被充气，内部空间维持常压，因此观众进入和穿行无需设立气闸门。

Working on the design, we thought of Buckminster Fuller’s iconic question “How much does your building weigh?”. We took on this challenge of “lightness” and aim to develop a design that brings the smallest amount of physical mass to the site as possible. (Even if building weight does not simply equate to ecological footprint, there is nevertheless a strong correlation.) Especially considering its temporary nature, a minimal-weight pavilion has big benefits in terms of logistics, energy use, construction and disassembly. We therefore proposed a pneumatic structure consisting of several interlocking spheres. The spheres consist of double-layered pillows using PVC and ETFE membranes, supported by a secondary steel structure. Only the pillows themselves are inflated, with the interior spaces having normal air-pressure, meaning that no air-locks are necessary for entering or moving through the spaces.

▼采用由多个相互交错球体构成的充气结构，a pneumatic structure consisting of several interlocking spheres ©Iwan Baan

所有展览空间均设置于这些球体之中，且全部布置于地面层，无需电梯或自动扶梯，以进一步降低环境影响，同时实现对所有观众（无论其行动能力如何）的无障碍访问。后勤功能区为矩形体量，由模块化钢结构构成，外覆木饰面，形成球体展厅的背景墙面，内设办公室和会议空间。顶部加设一只球体，仿佛轻盈得几乎无法停留地面，内部为屋顶咖啡厅，俯瞰整个世博园区和大阪湾，视野开阔，景致壮丽。

▼模型，model ©Manuel Herz Architects

All exhibition spaces are located within these interconnected spheres. All exhibitions are placed on ground floor, so that no elevators or escalators are necessary for the visitor flow, further reducing the environmental impact of the building and making it truly accessible for all visitors irrespective of their mobility. The back-of-house is a rectangular volume made of modular steel elements, and a wooden cladding. The volume forms a backdrop to the spheres and contains offices and meeting spaces. It is crowned by one additional sphere, as if it were almost too light to stay grounded. This sphere houses the roof-top café, offering a spectacular view over the Expo site and the bay of Osaka.

▼屋顶咖啡厅，roof-top cafe ©Iwan Baan

▼屋顶咖啡厅，roof-top cafe ©Iwan Baan

展馆场地种植有丰富的绣球花和紫薇树，牵牛花藤蔓爬满球体结构。这一构图意在传达瑞士的核心价值与特质：球形充气结构象征瑞士在科学、研究与技术领域的领先地位，植物与花卉则展现瑞士令人惊叹的自然景观，也暗示这些自然在很大程度上是被精心规划与管理的——一种“建构的自然”。球体与植物相互交叠、共生共长，表达出自然与创新间的密切联系。同时，“轻盈”这一从设计初稿即确定的主题，也与瑞士所珍视的价值观高度契合，体现出我们彼此之间以及对整个世界应负的责任。

The site itself is densely covered with Hydrangea shrubs and Crepe Myrtle trees, while Morning Glory vines are encroaching onto and overgrowing the spheres. This constellation is meant to represent some of the fundamental values and characteristics of Switzerland. The spherical, pneumatic structures can indicate Switzerland’s strength in the sciences, research and technology, being one of the most innovative countries of the world. The plants and flowers represent Switzerland’s stunning nature, while also hinting at the fact that most of this nature is somehow planned and curated: a constructed nature. The spheres and the plants overgrowing and standing on top of each other suggests that nature and innovation are intimately linked. Furthermore, we believe that the concept of “lightness” – the central theme for the pavilion since the first design sketches – resonates very well with Swiss values, and our responsibilities that we have towards each other, and towards the world as a whole.

▼牵牛花藤蔓爬满球体结构，Morning Glory vines are encroaching onto and overgrowing the spheres ©Iwan Baan

当然，我们也曾自问：在今日这个时代，世博会是否仍具必要性？在互联网和全球媒体几乎瞬时传递信息的背景下，加之高度发达的旅游与交通业已使全球触手可及，世博会是否还有其独特作用？但恰恰在当今全球日益紧张与误解频发的局势下，能够在某个共同场所亲身会面、共享开放与世界主义精神的机会，反而显得尤为宝贵与重要。

Of course, we asked ourselves for the overall need to have a world expo in our age. With the internet and global media relaying information on foreign places, technologies and news events in no time across the globe, and an international tourism and travel sector that gives access to virtually the whole world, it is (too?) easy to ask if these Expos still perform a vital purpose. But maybe it is exactly in our current times of increasing global tensions, and misunderstandings, that every opportunity to meet physically in a shared location, and to celebrate a certain spirit of openness and cosmopolitanism, is in fact precious and significant.

▼内部空间，interior ©Iwan Baan

就建筑学而言，我们也相信“展馆”这一建筑类型极具价值。多数建筑受市场压力与投资逻辑的制约，必须尽可能高效利用空间、严格控制预算、规避风险。而展馆作为一种临时性结构，天然带有“奇观”性质（借用Guy Debord之说），能突破效率与理性主义的桎梏，成为我们学科中为数不多的实验空间，因此在推动建筑创新方面可扮演重要角色。

And for our discipline of architecture, we believe that the architectural typology of the “pavilion” is truly important. Most other buildings are governed by the pressure of the market and investment instruments, forcing them to be as efficient as possible, where every square centimeter counts, keeping to a strict budget, and trying to minimize risk. The pavilion – by being a temporary structure and part of a certain “spectacle” (to paraphrase Guy Debord) – can escape this practice of efficiency and rationalization. Hence it is one of the few points of experimentation that we have in our discipline, and therefore can play an important role as innovator.

▼夜景，night view ©Iwan Baan

▼夜景，night view ©Iwan Baan

整个展馆——包括充气球体与后勤建筑——均可拆解为中小型模块化单元，便于运输。这使得展馆在大阪世博会结束后可以整体迁移并重复使用。目前我们正在与一位潜在客户洽谈展馆的永久迁址和再利用，地址临近大阪。

The whole pavilion, its pneumatic spheres and its back-of-house, can be dismantled into small to mid-sized modular elements for easy transport. This allows for a relocation and reuse of the pavilion on another location, after the end of the Osaka Expo. We are currently in detailed negotiation with a potential client about the permanent relocation and reuse of the whole pavilion after the Expo at a site close to Osaka.

▼模型，model ©Manuel Herz Architects