巴西“走出去”:四座世博会国家馆的故事,2020/1970/1958/1939

Brazil Goes Abroad:A Tale of Four Pavilions,2020/1970/1958/1939

在巴西近期的建筑作品中,2020年迪拜世博会的巴西馆尤为出色。包括保罗·门德斯·达洛查生前的合作伙伴―MMBB建筑事务所在内的联合团队设计了这一建筑。达洛查设计了声誉颇佳的1970年大阪世博会巴西馆,呼应了卢西奥·科斯塔在20世纪30年代所发出的倡议:设计一座展现包容和多元现代建筑的里程碑。作为圣保罗粗野主义的巅峰之作,大阪展馆可与之前的两座经典之作相媲美,即1958年塞尔吉奥·伯纳德斯设计的布鲁塞尔世博会巴西馆,和1939年卢西奥·科斯塔和奥斯卡·尼迈耶合作设计的纽约世界博览会巴西馆。这两座里约派现代建筑的典范之作,突破了20世纪20年代柯布西耶式纯粹主义的藩篱。上述四个座国家馆虽是临时性的纪念建筑,但却彰显了国家与民族特征,同时融合了政治、宣传、商业和娱乐的功能。对这些世博馆的比较分析显示,尽管它们分别建于不同的年代,但在设计策略和元素上存在着明显的共同点。首先它们都是传统开放式广场或覆顶集会空间的变体。其次,这些设计与周边环境都形成了鲜明对比,以增强建筑的记忆点和纪念性。例如,迪拜巴西馆的流动广场与周遭的沙漠形成鲜明对比;大阪巴西馆的人造山丘和山谷与城市中的众多运河相映成趣;布鲁塞尔和纽约的巴西馆则分别以池塘作为冬季花园和庭院的焦点。这些建筑都具有鲜明的工程学意识,景观设计丰富,同时巧妙地融入对原型、典型和用典的隐喻,创造出既能陈列各种展览又能容纳各类活动的空间。这些展馆氛围的恰当营造,使其更接近供公众休闲娱乐的公共空间,而有别于大使馆或国家博物馆。文章强调了现代建筑作为一种形式系统的持久性,同时指出所有五感与智识的结合对于塑造能够激发思考和行动的纪念性建筑至关重要。

Among recent Brazilian buildings,one of the best is the country pavilion at Expo2020 Dubai,by a consortium including MMBB Arquitetos,the former collaborator of Paulo Mendes da Rocha.Rocha designed the Brazilian Pavilion at Expo'70 Osaka,which was hailed in its time as a milestone of the inclusive and diverse modern architecture as defined by Lucio Costa in the 1930s.An apex of the S?o Paulobased Brutalism,the pavilion was comparable to two earlier milestones,the Brazilian Pavilions at Expo 58 Brussels by Sergio Bernardes and the1939 New York World's Fair by Lucio Costa and Oscar Niemeyer,certified exemplars of a Riobased effort to go beyond the Corbusian Purism of the 1920s.Ephemeral monuments as they are,these four pavilions nevertheless celebrate the nation and country in showcase events that combine politics,propaganda,commerce,and entertainment.A comparative analysis of these pavilions confirms convergences in their design strategies and elements,despite their time intervals.They all provide variants of traditional open concourses or covered assembly spaces.Differentiation from the contexts is a constant,as memorability increases monumentality.A water plaza in Dubai's Brazilian Pavilion contrasts with the surrounding desert;the artificial hills and valleys in Osaka's Brazilian Pavilion are counterparts of the city's many canals;ponds are the focal points of the winter garden in Brussels's Brazilian Pavilion and of the patio in the New York's Brazilian Pavilion.Engineering feats and rich landscaping combine with allusion to archetypes,stereotypes,and significant precedents to create exhibition pieces that shelter exhibitions and assorted activities.Due attention is given to creating an appropriate atmosphere,considering the nature of these machines for remembrance is closer to public recreational facilities than to embassies or state museums.The persistence of modern architecture as a formal system is emphasized along with the importance of all five senses cooperating with the intellect to shape machines for remembrance that inspiring both thoughts and action.