Peter Zumthor - 瑞士展覽館 (Swiss Pavilion Expo 2000)
瑞士展覽館﹝Swiss Pavilion Expo 2000,1997-1999﹞
作品名稱：瑞士展覽館﹝Swiss Pavilion Expo 2000﹞
建築師：Peter Zumthor
建造地點：德國漢諾瓦（Hanover, Germany）
建造時間：1997-1999
瑞士展覽館大量地的隱喻勝利和抽像化因為其設計想法來自於建築師祖姆特（Peter Zumthor）以編管弦樂曲做為構想，並且在於內部並沒有對於展示設計。在建築師祖姆特的早年時生活的周遭都是木頭，他是一個傢俱製作工匠的兒子，從小 他就被訓練做為一個傢俱製作工匠，也使得讓他在年少成長的時期，對於木頭的氣味和手所觸摸的質感都非常的好。
現在，他所設計出的在漢諾瓦萬國博覽會裡的瑞士展示館，而且在設計內可以感覺到他在於早年所被訓練出來對於木材使用的能力，一種難忘、平穩、然後 又互交錯所產生煩擾的出現，整個展覽館是一座木頭的迷宮。整個展覽館的設計想完全的依照漢諾瓦萬國博覽會的主題，它的木製的牆壁並沒有使用釘子、螺絲釘或 膠來將所有的木頭組合在一起，而且所有的木頭都沒經過多餘的加工，所以在展覽結束後還可以被拆卸移到它處，甚至於可以將其原料變賣。使用紅松木做為長向的 水平材料而在中間橫向分隔的木頭為白松木。
每一個原始並未加工的木料用不銹鋼竿與彈簧構件將其加壓束縛在一起，而建築師祖姆特將其稱之為『木材圍牆（wood yard）』，而另一個重點在於其木頭被良好的乾燥並且在春天被壓縮緊束成牆體，所以結構的高度大約會只有 120mm的預期收縮，但在展覽期間或多或少都還是會有收縮變形的可能，所以在不銹鋼竿上的彈簧構件還是可以將其做調整，這也是建築師祖姆特所要表現出對 於瑞士社會的隱喻表現，社會中的變動與適應。建築師祖姆特稱呼他的展覽館為『Klangkorper』，整個建築可以為一個共鳴體，因為在屋頂上有寬的鍍 鋅電鍍排水溝在下雨之時滴落在上發出聲音，就好像上帝或是大自然希望在這裡發生出聲音與其他的事物發出共鳴一般。
建築師祖姆特贏的這次的設計主要的構想是想要呈現出所有的感覺，其中一個地方剛開始的想法是在於應該要有一個『休息房子』，在整個木頭迷宮中應該 要有一個讓人容易找到，並且可放輕鬆的內部庭院，或是在內部有奇異黑色橢圓形三層樓高的單元空間做為展覽館的服務空間，雖然建築師祖姆特極力地否認他想在 建築物內明顯地想要喚起瑞士地方的任何事，但再一次在這裡表現出國家的其中一個存在的痕跡，喜歡並且善於款待的傳統。
瑞士展覽館並不像其他的展覽館一般，他是由瑞士聯邦政府完全的贊助建造的，所以沒有贊助廠商的廣告，就只是簡單的展現出其本身那種自然的感覺，溫 和音樂聲音它喚起那種何乎禮儀的、複雜的、和敏感的社會觀念，美味的食物與飲料的氣味和木材的香味混合在一起，在木材上秀出的瑞士多種語言是使用燈光投射 或者是雕刻，而在展覽館內部行走時，你會發現筆直的木頭好像是在導引你行走的方向，而木材牆壁隔柵可以從那些裂縫中，人影的圖形就好像在暗喻著。
Swiss Pavilion at Expo 2000 in Hanover
"Each material has its own specific expressive language": Adolf Loos' famous words express the basic principle behind Peter Zumthor's architecture, because, as the architect says, "in each of my works, each material has laid down its own laws... Projects are born out of an idea, and in my case this idea is always accompanied by a material. I can't imagine a method of design in which the architect first decides on the form, and then on the materials".
And again, referring to his apprenticeship as a furniture-maker in his father's workshop: "I grew up building concrete things... I'm a carpenter in this sense, in the attempt to get to know the material I work with, its limits, its potential, the effect time will have on it..."
In the Swiss Pavilion for Expo 2000 in Hanover, the intuition in his design originates in a common, everyday image: simple stacking of wooden boards in an ordinary carpenter's stockpile or warehouse.
The 3000 cubic metres of the small building are composed of fully 45,000 boards of unseasoned wood, assembled without adhesives: the 9 m high walls divide up the internal space according to a complex maze-like logic, while ceilings made of larch beams rest on vertical beams of Scotch pine.
They are held in place by steel cables connected to spring tie rods with an elegant minimal design, "following" the nature of the wood as a changing, living material.
On the subject of the expressive potential of the material, Zumthor says: "A Spanish colleague once asked me how I imagined a wooden house. I had a sudden vision of a block of solid wood, a dense volume of horizontal layers sculpted into regular forms A house like this would change shape, dilate and contract, increase and decrease in height: phenomena which should be an integral part of its design."
For this reason the materials he uses in his buildings are not subjected to treatments intended to preserve them unchanged over time: "I am very concerned about how my buildings age, that they should be economical to maintain. I want to achieve something lasting, durable with my architecture. But I like to introduce natural elements and phenomena into my architecture which reflect the passage of time. For instance, my church is made of wood. Just like an old farmhouse, it will darken in the sun; the southern façade will become black, while the northern façade will become silvery."
作品名稱：瑞士展覽館﹝Swiss Pavilion Expo 2000﹞
建築師：Peter Zumthor
建造地點：德國漢諾瓦（Hanover, Germany）
建造時間：1997-1999
瑞士展覽館大量地的隱喻勝利和抽像化因為其設計想法來自於建築師祖姆特（Peter Zumthor）以編管弦樂曲做為構想，並且在於內部並沒有對於展示設計。在建築師祖姆特的早年時生活的周遭都是木頭，他是一個傢俱製作工匠的兒子，從小 他就被訓練做為一個傢俱製作工匠，也使得讓他在年少成長的時期，對於木頭的氣味和手所觸摸的質感都非常的好。
現在，他所設計出的在漢諾瓦萬國博覽會裡的瑞士展示館，而且在設計內可以感覺到他在於早年所被訓練出來對於木材使用的能力，一種難忘、平穩、然後 又互交錯所產生煩擾的出現，整個展覽館是一座木頭的迷宮。整個展覽館的設計想完全的依照漢諾瓦萬國博覽會的主題，它的木製的牆壁並沒有使用釘子、螺絲釘或 膠來將所有的木頭組合在一起，而且所有的木頭都沒經過多餘的加工，所以在展覽結束後還可以被拆卸移到它處，甚至於可以將其原料變賣。使用紅松木做為長向的 水平材料而在中間橫向分隔的木頭為白松木。
每一個原始並未加工的木料用不銹鋼竿與彈簧構件將其加壓束縛在一起，而建築師祖姆特將其稱之為『木材圍牆（wood yard）』，而另一個重點在於其木頭被良好的乾燥並且在春天被壓縮緊束成牆體，所以結構的高度大約會只有 120mm的預期收縮，但在展覽期間或多或少都還是會有收縮變形的可能，所以在不銹鋼竿上的彈簧構件還是可以將其做調整，這也是建築師祖姆特所要表現出對 於瑞士社會的隱喻表現，社會中的變動與適應。建築師祖姆特稱呼他的展覽館為『Klangkorper』，整個建築可以為一個共鳴體，因為在屋頂上有寬的鍍 鋅電鍍排水溝在下雨之時滴落在上發出聲音，就好像上帝或是大自然希望在這裡發生出聲音與其他的事物發出共鳴一般。
建築師祖姆特贏的這次的設計主要的構想是想要呈現出所有的感覺，其中一個地方剛開始的想法是在於應該要有一個『休息房子』，在整個木頭迷宮中應該 要有一個讓人容易找到，並且可放輕鬆的內部庭院，或是在內部有奇異黑色橢圓形三層樓高的單元空間做為展覽館的服務空間，雖然建築師祖姆特極力地否認他想在 建築物內明顯地想要喚起瑞士地方的任何事，但再一次在這裡表現出國家的其中一個存在的痕跡，喜歡並且善於款待的傳統。
瑞士展覽館並不像其他的展覽館一般，他是由瑞士聯邦政府完全的贊助建造的，所以沒有贊助廠商的廣告，就只是簡單的展現出其本身那種自然的感覺，溫 和音樂聲音它喚起那種何乎禮儀的、複雜的、和敏感的社會觀念，美味的食物與飲料的氣味和木材的香味混合在一起，在木材上秀出的瑞士多種語言是使用燈光投射 或者是雕刻，而在展覽館內部行走時，你會發現筆直的木頭好像是在導引你行走的方向，而木材牆壁隔柵可以從那些裂縫中，人影的圖形就好像在暗喻著。
Swiss Pavilion at Expo 2000 in Hanover
"Each material has its own specific expressive language": Adolf Loos' famous words express the basic principle behind Peter Zumthor's architecture, because, as the architect says, "in each of my works, each material has laid down its own laws... Projects are born out of an idea, and in my case this idea is always accompanied by a material. I can't imagine a method of design in which the architect first decides on the form, and then on the materials".
And again, referring to his apprenticeship as a furniture-maker in his father's workshop: "I grew up building concrete things... I'm a carpenter in this sense, in the attempt to get to know the material I work with, its limits, its potential, the effect time will have on it..."
In the Swiss Pavilion for Expo 2000 in Hanover, the intuition in his design originates in a common, everyday image: simple stacking of wooden boards in an ordinary carpenter's stockpile or warehouse.
The 3000 cubic metres of the small building are composed of fully 45,000 boards of unseasoned wood, assembled without adhesives: the 9 m high walls divide up the internal space according to a complex maze-like logic, while ceilings made of larch beams rest on vertical beams of Scotch pine.
They are held in place by steel cables connected to spring tie rods with an elegant minimal design, "following" the nature of the wood as a changing, living material.
On the subject of the expressive potential of the material, Zumthor says: "A Spanish colleague once asked me how I imagined a wooden house. I had a sudden vision of a block of solid wood, a dense volume of horizontal layers sculpted into regular forms A house like this would change shape, dilate and contract, increase and decrease in height: phenomena which should be an integral part of its design."
For this reason the materials he uses in his buildings are not subjected to treatments intended to preserve them unchanged over time: "I am very concerned about how my buildings age, that they should be economical to maintain. I want to achieve something lasting, durable with my architecture. But I like to introduce natural elements and phenomena into my architecture which reflect the passage of time. For instance, my church is made of wood. Just like an old farmhouse, it will darken in the sun; the southern façade will become black, while the northern façade will become silvery."
