2025大阪世博会塞尔维亚馆，立面6000余株植物 / MAP + Aleatek

设计单位  Marquet and Partners - MAP （上海良机建筑设计有限公司）+ Aleatek Studio

项目地点  日本大阪

建成时间  2024年

建筑面积  小于1000平方米

本文英文原文由Marquet and Partners提供，由有方编译。

引言

Intro

2023年，Marquet and Partners携手多学科设计与项目管理团队，在国际竞赛中胜出，获得2025年大阪世博会塞尔维亚馆的设计与建造权。

In 2023, Marquet and Partners, together with a multidisciplinary team of designers and project managers, won the international competition to design and build the Serbia Pavilion for Expo 2025 Osaka.

展馆位于世博园区西侧入口，世博会整体规划由藤本壮介负责。展馆正对并毗邻“大屋根”（Grand Ring），占据高度可见的显要地段，成为迎接访客的重要界面。其区位使其成为来宾进入园区后最先接触的展馆之一，在第一时间建立鲜明印象，并作为通往整体世博体验的门户。

The pavilion is strategically positioned at the western entrance of the Expo site, a masterplan designed by Sou Fujimoto. Directly facing and neighboring the Grand Ring, the pavilion occupies a highly visible and prominent location, giving it a unique presence and strong attraction for incoming visitors. Its location ensures that the pavilion is one of the first points of contact for guests, creating an immediate impression and serving as a gateway to the broader Expo experience.

场地本身呈四分之一圆的几何形态，朝向西侧人流方向。这为设计带来关键挑战：在保证高度可达性、可识别性与清晰动线的同时，自然引导观众从入口逐步进入建筑与展陈的核心体验。展馆不仅需要在视觉上吸引公众，也需在空间体验层面形成目的地特质，同时与场地既有流线无缝衔接。

The site itself is defined by a quarter-circle geometry, oriented toward the western flow of visitors. This presented a key design challenge: to balance high accessibility, visibility, and wayfinding, while naturally guiding visitors from the entrance to the pavilion’s architectural and experiential highlights. The pavilion had to engage the public both visually and experientially, acting as a destination while fitting seamlessly into the movement patterns of the site.

在被大屋根木结构所形成的重复节奏所环绕的环境中，展馆选择通过“回应”而非“对抗”来建立关系。设计在立面上提炼并抽象化呼应环形结构语言的若干元素，形成两种建筑之间的视觉对话。建筑既映射周边环境，也为访客营造出层次丰富的体验——通过图案、肌理与形态的变化，将注意力引向展馆本身与更广阔的世博环境。

Surrounded by the repetitive rhythm of the Grand Ring’s wooden structure, the pavilion responds by reinterpreting this repetition rather than competing with it. Select elements of the ring’s structural language are subtly mirrored and abstracted in the pavilion’s façade, creating a visual dialogue between the two architectures. The design not only reflects the surrounding context but also creates a layered experience for visitors, where patterns, textures, and forms draw attention to both the pavilion itself and the broader Expo environment.

除形式与环境层面的考量外，展馆亦强调文化叙事与体验设计。材料选择、立面细部与空间组织共同呈现塞尔维亚的自然景观与城市特质，为参观者在穿行空间时提供可探索、可联结的叙事线索。

In addition to its formal and contextual considerations, the pavilion emphasizes cultural storytelling and experiential design. Its material choices, façade detailing, and spatial organization work together to evoke Serbia’s natural landscapes and urban character, providing a narrative that visitors can explore and connect with as they move through the space.

通过战略性的布局、鲜明的形态与深思熟虑的材质表达，塞尔维亚馆既延续了世博整体的建筑语汇，也在西侧入口区域形成清晰的识别度，迎接访客、促成互动，并将国家文化身份融入更宏大的世博体验之中。

Through its strategic placement, distinctive form, and thoughtful material expression, the Serbia Pavilion establishes itself as both a continuation of the Expo’s architectural language and a recognizable landmark within the western entrance zone, welcoming visitors, creating meaningful engagement, and linking cultural identity with the larger Expo experience.

展馆设计

Pavilion Design

展馆的设计概念源自塞尔维亚首都贝尔格莱德的利多岛（Lido Island）。这是一座位于多瑙河与萨瓦河交汇处的天然森林岛屿，作为受保护景观得以完整保留。在贝尔格莱德高密度城市肌理之中，它形成了一种罕见而鲜明的对比—— 一片被城市环绕的自然绿洲。岛屿的形态与展馆场地高度相似，从而强化了场所与建筑之间的概念关联。

The pavilion design concept is inspired by the Lido Island in Belgrade, the capital of Serbia. An untouched natural forest island located at the meeting point of the Danube and Sava rivers. Preserved as a protected landscape, the island exists as a rare and powerful contrast within Belgrade’s dense urban fabric an oasis of nature surrounded by the city. Its form closely resembles the pavilion site, reinforcing the conceptual connection between place and architecture.

利多岛象征着在高度城市化环境中重新引入自然的理念，是当代城市生活中生态平衡与可持续性的象征。这一原则成为展馆设计的重要驱动力。

The Lido Island represents the idea of bringing nature back into highly urbanized environments, serving as a symbol of ecological balance and sustainability in contemporary city life. This principle became a key driver of the pavilion’s design approach.

这一地理意象成为连接塞尔维亚与大阪的隐喻性桥梁——开放、友好且彼此相连。在与之相似的高密度世博园区环境中，展馆将自然元素融入空间与体验的核心。呼应2025大阪世博会“设计未来社会（Society 5.0）”的主题，展馆融合自然与建筑元素，将塞尔维亚景观的精神转化为可被感知的空间形态与体验。

This geographical reference becomes a metaphorical bridge between Serbia and Osaka open, inviting, and connected. In a similarly high-density context such as the Expo site, the pavilion introduces nature as an integral spatial and experiential element. In line with the theme of Expo 2025 Osaka: “Designing Society for the Future (Society 5.0)”, the pavilion combines natural and architectural elements, translating the essence of Serbia’s landscape into both form and experience.

在两个不同语境中融合自然与城市密度，展馆提出一种愿景：建成环境与自然系统可以实现平衡共存，具备韧性、包容性与以人为本的特质。

By merging nature and urban density in both contexts, the pavilion offers a vision where built environments and natural systems coexist in balance resilient, inclusive, and human-centered.

在建筑形式层面，设计将利多岛的景观转译为富有节奏感的、生动的立面，回应大屋根结构的重复秩序，也呼应其木结构所呈现的自然特质。该立面并非单纯的绿色装饰，而是象征两种尺度之间的联系——世博园区的城市语境与展馆自身的建筑表达。

Translating the Lido landscape into the pavilion’s architectural form, the design takes shape as a rhythmic, living façade that responds to the repetitive flow of the Grand Ring, while also echoing natural elements that harmonize with the wooden structure of the Ring. The façade is not intended as a purely green, decorative feature; rather, it symbolizes the connection between two scales, the urban context of the Expo and the architectural presence of the pavilion itself.

这一垂直花园立面承载着展馆的核心信息：未来的创新不仅依赖先进技术，也关乎与自然重新建立联系。通过整合保温系统、雨水收集与水循环利用等可持续策略，立面同时发挥生物与环境调节功能。它为小型鸟类与昆虫提供栖息环境——在以硬质铺装与混凝土为主的环境中，这一特质尤为珍贵，使自然生命融入高度城市化的场所。

This vertical garden façade embodies the pavilion’s core message: that the future of innovation lies not only in advanced technologies but also in reconnecting with nature. By integrating sustainable systems such as thermal insulation, rainwater harvesting, and water recycling, the façade functions as both a biological and environmental mediator. It provides habitats for small birds and insects, a rare feature in an environment dominated by hard surfaces and concrete, bringing a touch of living nature into a highly urbanized setting.

该展馆的立面为2025年大阪世博会规模最大的悬挂式绿色墙面，面积超过250平方米，栽植6000余株在大阪苗圃培育的本地植物。立面被设计为可持续生长与变化的系统，在世博期间随时间推移呈现不同的色彩、密度与肌理。它成为一个充满活力的生命体，甚至在某些时刻覆盖或弱化建筑的结构特征，模糊自然与建筑之间的边界。

The pavilion’s façade is the largest living, hanging green wall at Expo 2025, spanning over 250 square meters and supporting more than 6,000 locally grown plants, all nurtured in a nursery in Osaka. The façade is designed to grow and evolve over time, changing in color, density, and texture throughout the duration of the Expo. In doing so, it becomes a dynamic, living element that can even interact with and overtake the architectural features of the pavilion, blurring the line between nature and structure.

由此，展馆成为一个“与自然共处的客厅”——一个开放、可呼吸的空间，让访客得以停留、思考与交流。设计展示了建筑如何融合生态性能、文化象征与城市互动，营造兼具教育意义与启发性的体验。

In doing so, the pavilion becomes a “living room with nature” a welcoming, breathable space where visitors can pause, reflect, and engage. The design demonstrates that architecture can merge ecological performance, cultural symbolism, and urban interaction, creating an experience that is both educational and inspiring.

2025年末世博会结束后，展馆被整体拆除。项目自始即以结构完整性、材料可循环性与“从摇篮到摇篮”（Cradle-to-Cradle）的原则进行设计，确保建筑在活动结束后仍可延续其生命。立面中的6000株植物被重新分配至大阪市各幼儿园。这一举措呼应了世博会的核心理念：某些元素应当在活动结束后继续存续，不仅要打造临时建筑，更要为后世留下持久遗产。

After the Expo concluded in late 2025, the pavilion was dismantled. Designed from the outset with structural integrity, materials, and construction based on fully reusable, cradle-to-cradle principles, the pavilion was conceived to have a life beyond the event itself. The 6,000 locally nurtured plants integrated into the pavilion façade were redistributed to kindergartens across the city of Osaka, where the Expo took place. This gesture echoed the Expo’s philosophy that certain elements should live on after the event offering not just a temporary building, but a lasting legacy for future generations.

设计责任与适应性策略

Design responsibly and suitability

早在2023年本届世博会正式宣布之前，日本已面临劳动力短缺、建造成本上升、材料价格上涨，以及工期日益紧张等挑战。在此背景下，设计团队不仅需要提出具有表达力的建筑概念，更需制定高效且负责任的结构策略，并将可持续性作为核心原则。

Even before Expo 2025 was officially announced in 2023, Japan was already facing significant challenges, including labor shortages, rising construction costs, material inflation, and increasingly strict project timelines. Understanding these constraints from the outset, our role as designers was not only to propose a strong architectural concept, but also to develop a highly efficient and responsible structural strategy for the pavilion that keep sustainability as core principle.

项目的一项关键要求是，活动结束后必须将场地恢复至原始状态交还给世博协会。这意味着无法采用永久性地基或大规模混凝土结构。因此，设计必须确保结构可完全拆解、运输与再组装，同时将环境影响与施工时间降至最低。

One of the key requirements of the project was that the site had to be returned to the Expo Association in its original condition after the event. This condition eliminated the possibility of permanent foundations or extensive concrete frameworks. As a result, the design demanded a structure that could be fully dismantled, transported, and reassembled with minimal environmental impact and construction time.

为此，项目采用基于模块化逻辑的创新可适应结构体系，其核心建立在四项基本原则之上：

In response, we adopted an innovative, adaptable structural system based on a modular design logic. The four primary pillars, each representing a fundamental design and construction principle:

1. 可重复使用 Reusable

结构被设计为可完全拆卸并再次部署，避免永久性建造方式，使其支持多重生命周期，在世博结束后继续发挥作用。

The structure is designed to be fully reusable, allowing all major components to be dismantled and redeployed after the Expo. By avoiding permanent construction methods, the system supports multiple life cycles and long-term use beyond a single event.

2. 标准化与高效 Standardized and Efficient

标准化结构系统加快设计推进、制造流程与现场装配。可重复构件在保障施工质量的同时，显著减少误差、人工需求与建造时间，在紧张工期下尤为关键。

A standardized structural system enables faster design development, streamlined manufacturing, and rapid on-site assembly. Repeatable components ensure high construction quality while significantly reducing errors, labor requirements, and overall construction time—an essential advantage under tight schedules.

3. 环境责任 Environmentally Responsible

结构可拆解并返回原产地再次使用，避免不必要的材料浪费。基于可重复利用与租赁模式的策略，有效降低碳排放、能源消耗与资源消耗。

Because the system can be disassembled and returned to its point of origin for future use, unnecessary material waste is avoided. The reusable and rental-based approach substantially reduce carbon emissions, energy consumption, and resource depletion typically associated with temporary large-scale constructions.

4. 经济可持续性 Economically Sustainable

可重复使用的租赁结构显著降低建造成本压力。通过减少材料浪费、降低人力需求及简化地基工程，资源得以重新配置，用于提升建筑品质、空间体验及细节处理，而非被临时性基础设施所消耗。

A reusable rental structure significantly lowers the financial burden of high construction costs. By reducing material waste, labor demands, and foundation work, resources can be redirected toward improving architectural quality, spatial experience, and detailing rather than being absorbed by temporary infrastructure.

通过这一适应性结构策略，展馆展示了大型国际活动中的建筑如何在经济、环境与物流压力下实现理性回应，提供一个灵活、可持续且面向未来的范例。

Through this adaptive structural strategy, the pavilion demonstrates how architecture for large-scale global events can respond intelligently to economic, environmental, and logistical pressures offering a model that is flexible, sustainable, and future-oriented.

结语

Conclusion

世博会等重大国际盛事进行设计具有特殊意义，这些活动为不同文化搭建了交流桥梁，促进彼此理解。它们更是共享喜悦的时刻，让世界各地的人们凝聚共识，共同描绘通过可持续发展与关爱地球来创造更美好未来的愿景。

Designing for major, prestigious events such as the World Expo’s is particularly meaningful, as they create opportunities for different cultures to connect and better understand one another. These events also represent moments of shared joy, where communities come together around a collective vision of building a better future through sustainability and care for the world.

在为期六个月的世博期间，塞尔维亚馆接待超过百万名访客，并荣获三项重要奖项，其中包括“1000平方米以下最佳小型展馆”。这些成果不仅肯定了展馆作为建筑作品的成功，也确认了其在文化与环境层面的持续价值。

The Serbia Pavilion welcomed more than one million visitors during the six-month Expo period and received three prestigious awards, including recognition as one of the best small pavilions under 1,000 square meters. Together, these achievements affirm the pavilion’s success not only as an architectural work, but as a lasting cultural and environmental contribution.

设计图纸 ▽

完整项目信息

Credits

Client: Office of the Republic of Serbia

Project Manager: Beyond Limits K.K.

General Contractor: GL Events K.K.

Architectural Design consortium: Marquet and Partners - MAP, Aleatek Studio

Architect of Record – Structural Engineer – MEP Engineer: Structured Environment

Interior Design: The Muse Design

Exhibition Design: Galerija 12

Photograph: William Mulvihill, Florian Marquet, Tian FangFang, Arch-Exist

Social media

@marquetandpartners (Instagram)

Info + fun facts

Project size: less 1000 square meter

Project completion date: March 2024

Project Operation: March 2024~October 2025

Project Structural design: Qwad Steel structure

Largest Green living façade of the Expo Osaka 2025 (250m including more than 6000 local nurtured plants)

1 000.000 million visitors visited the Pavilion during the 6 months

Won 2 World Expolympics Awards, Best small pavilion under 1000m2, Best Tech Integration (Nation’s Testimony)

https://www.experientialdesignauthority.com/post/the-experiential-design-authority-announces-world-expolympics-winners

1 Commemorative postage stamp was issued by The post of Serbia, Ministry of Internal and Foreign Trade, Expo 2027 LLC and the Chamber of commerce and Industry of Serbia.

https://www.posta.rs/eng/info/vest-detaljnije.aspx?ID=19992

本文英文原文及图片由Marquet and Partners授权有方发布，编译版权归有方空间所有。欢迎转发，禁止以有方编辑版本转载。