三菱展馆（2025年世博会）/三菱智硕设计

三菱展馆（2025年世博会）/三菱智硕设计
Mitsubishi Pavilion (Expo 2025) / Mitsubishi Jisho Design

结构与主题的和谐统一：三菱展馆的设计精巧地将“让世界充满活力”的主题融入建筑语言。三种几何形态——椭圆代表生命，菱形代表自然，矩形代表社会——的叠加与融合，象征着它们之间的相互依存关系。这种设计手法并非仅仅停留在视觉层面，而是深入到空间体验之中。展馆内部，参观者可以三维地穿梭于不同的几何空间，感受生命、自然、社会之间的互动。没有单一的正面，全方位的开放设计，使得展馆从任何角度都充满吸引力，也呼应了“世界充满活力”的主题。整体的几何结构和主题之间的呼应，是这个项目在建筑理念上的一个显著亮点。

空间序列与沉浸体验：展馆的空间布局展现出对参观者体验的深刻理解。从半地下的等候公园开始，设计巧妙地利用阴影和冷空气，为游客创造了舒适的等待环境。沿着预展、主展和展后区域的参观路线，空间体验层层递进，最终到达悬浮于空中的三角公园。这种空间序列的设计，引导游客逐步深入，体验不同主题的展览内容。同时，沉浸式的视频体验更是增强了参观的互动性和参与感。整个展馆的内部空间设计，就像一个精心编排的故事，通过不同的空间体验，将主题思想传递给每一位参观者，给人留下了深刻的印象。空间序列的精心设计，确保了参观者能够全程沉浸其中，体验主题的深刻内涵。

可持续与循环利用的实践：三菱展馆最引人注目的，是其对可持续发展和循环利用的实践。考虑到世博会后展馆将被拆除，设计最大限度地减少了建筑与地面的直接接触，以保护土壤资源。更重要的是，展馆采用了大量可再利用的临时材料，如聚碳酸酯板、钢结构脚手架等。这些材料不仅降低了建造成本和环境影响，更体现了设计师对材料的创造性运用和对循环经济理念的深刻理解。减少空调区域、利用半室外空间的设计，也进一步降低了能源消耗。这种从设计理念到材料选择，再到空间布局的整体可持续策略，使得三菱展馆成为一个真正意义上的“小规模圆形建筑”，为未来的建筑设计提供了宝贵的借鉴。

一艘“母船”在地面上空盘旋2025年关西大阪世博会三菱集团展馆的主题是“让世界充满活力”，这反映在生命、自然和人类社会作为相互联系和相互作用的元素的核心设计理念中。展馆由地下一层和地上两层分层几何结构组成，从半地下椭圆形空间开始。与此空间重叠的是一个菱形，其顶点接触椭圆的内部曲线。菱形内类似布局的矩形为结构提供了额外的层。这三种几何形状中的每一种都象征着一种不同的元素——椭圆，生命；菱形，自然；矩形、社会——而建筑则表达了它们之间相互支持的关系。展馆没有单一的正面立面；相反，全方位的设计旨在从东门侧的主广场和对面的外围道路上进行视觉吸引。
A "Mother Ship" Hovering Just Above the Ground. – The theme of the Mitsubishi Group pavilion for Expo 2025 Osaka, Kansai—"keeping the world vibrant"—is reflected in the core design concept of life, nature, and human society as interconnected and interacting elements. The pavilion consists of a belowground level and two aboveground levels of layered geometries, beginning with a semi-underground elliptical space. Overlapping this space is a rhombus whose vertices touch the interior curve of the oval. A rectangle similarly laid out within the rhombus provides an additional layer for the structure. Each of these three geometric forms symbolizes a different element—the ellipse, life; the rhombus, nature; and the rectangle, society—while the architecture expresses their mutually supportive relationship. The pavilion has no single front-facing façade; rather, the all-directional design is meant to be visually engaging from both the main plaza on the east gate side as well as the peripheral roads on the opposite side.

内部空间的设计允许游客三维地穿过展馆的“主体”，同时在以主视频展览为中心的各个区域进行各种体验。抵达后，游客首先进入被称为等候公园的半地下空间。该设计阻挡了阳光直射进入空间，促进了冷空气的流动。结果是一个阴凉舒适的等候区，所有游客都可以享受。从那里，参观者可以进入第一层的预展，观看迎新视频，然后进入第二层的主展。在沉浸式视频体验之后，游客返回一楼，穿过展后区域，然后到达该建筑顶端的一个名为Sankaku Park（三角公园）的区域，感觉就像它悬浮在半空中。
The interior space is designed to allow visitors to three-dimensionally cross the "body" of the pavilion while engaging in various experiences throughout areas centered around the main video exhibition. Upon arrival, visitors first descend into the semi-underground space known as the Waiting Park. The design blocks direct sunlight from entering the space and facilitates the flow of cool air. The result is a shaded and comfortable waiting area that all visitors can enjoy. From there, visitors proceed to the Pre-Show on the first level to view an orientation video before moving on to the Main Show on the second level. After an immersive video experience, visitors return to the first floor and pass through the Post-Show area before reaching an area at the structure's tip called Sankaku Park (lit., Triangle Park), which feels as if it is suspended in midair.

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启发我们设计展馆的一个关键概念是小规模循环使用资源。世博会结束六个月后，展馆将被拆除，场地将恢复原状。该设计最大限度地减少了建筑与地面之间的直接接触，以确保土壤这一宝贵资源在世博会结束后恢复到自然状态，对环境的影响最小。挖掘的土壤将重新用于场地复垦，履行我们对循环使用的承诺。
A key concept that inspired our design for the pavilion was the circular use of resources on a small scale. The pavilion will be dismantled after the six-month duration of the Expo, and the site will be restored to its original state. The design minimizes direct contact between the building and the ground to ensure that the soil—a precious resource—is restored to its natural condition with minimal environmental impact after the Expo ends. The excavated soil will be repurposed for site reclamation, fulfilling our commitment to circular use.

对于饰面，我们探索了通常仅在施工期间使用的临时材料的替代用途，将其重新想象为主要的饰面材料。通过考虑这些材料在世博会后重新利用的可能性，我们的目标是减少展馆的经济和环境影响。具体来说，展馆的外部覆盖着聚碳酸酯板和钢结构脚手架的同等组合。展馆中使用的沙袋、钢管（单管脚手架）、踏板、照明设备、风扇和其他材料都可以在现场重新使用。此外，蓝色防水布、天花板框架材料、层压木材、定向刨花板（OSB）和铁丝网围栏等实用材料被巧妙地融入了饰面和室内设计中。
For the finishes, we explored alternative uses for temporary materials that are typically employed only during construction, reimagining them as primary finishing materials. By considering the potential for these materials to be repurposed after the Expo, we aimed to reduce both the economic and environmental impact of the pavilion. Specifically, the pavilion's exterior is covered with an equal combination of polycarbonate panels and steel construction scaffolding. Sandbags, steel pipes (single-tube scaffolding), tread plates, lighting fixtures, fans, and other materials used in the pavilion can all be repurposed on-site. Additionally, practical materials such as blue tarps, ceiling framing materials, laminated timber, oriented strand board (OSB), and chain mesh fencing are cleverly incorporated into the finishes and interior design.

空调区域被最小化，大部分室内空间被设计成半室外区域，让人想起传统日本房屋中的阳台空间（engawa），从而减少了制冷负荷。该设计还避免了过于复杂或戏剧化的照明；相反，建筑内部的柔和照明向外溢出，形成光影渐变。这种柔和、细致入微的照明尊重了植根于日本文化传统的黑暗美学概念，同时也为空间注入了深度和丰富感。
The air-conditioned areas were minimized, and the majority of the interior space was designed as a semi-outdoor area reminiscent of the veranda space (engawa) found in traditional Japanese houses, thereby reducing the cooling load. The design also eschews overly complex or theatrical lighting; rather, soft illumination from within the building spills outward, creating a gradient of light and shadow. Such gentle, nuanced lighting honors the aesthetic concept of darkness rooted in Japanese cultural traditions while also imbuing the space with a sense of depth and richness.

展馆的设计代表了对可持续发展的承诺，从最大限度地减少能源消耗到材料再利用，每个方面都旨在从施工到拆除创造一个小规模的圆形建筑。
The pavilion's design represents a commitment to sustainability, with every aspect— from minimizing energy consumption to reusing materials—aiming to create a small-scale circular architecture from construction to demolition.