Die Schweiz mit ökologischem Froschlaich-Pavillon

Do you want to leave the world in the Kreis? Or do you find a Kreislaufwirtschaft? Both interpretations are consecrated in the execution of the Weltausstellung in Osaka, which will be carried out in April after a few years. The Japanese star architect Fujimoto has developed the Masterplan for Expo 2025, in which a creative enterprise will work with the Australian economy and a central company.

Etwa 150 nations and organizations were so long under the all-world motto ‘Designing the future society for our lives’ with a vision that could bring the rundlaufen on the road in a sustainable future of mankind. The theme Kreislaufwirtschaft is a long history, an architectural representation of the Expo that is interesting to see.

Fujimotos holds the ring with a 700-meter breakthrough, which is fruitful at the Expo-Gelände in the purchase of Osaka, a raised insel called Yumeshima. The house construction of the hollow construction can now not be connected and is therefore easy to build. The Zapfsysteme has developed the traditional Japanese Zimmermann handicrafts since their years of special development.

When the exhibition exhibition opened at the end of the year, the exhibition was moved across the border of the national pavilions at the spaziergang – and the new silhouette of the Swiss pavilions was stopped. Dieser reminds a Seifenblasen. The Swiss Pavilion, designed by the Basel architect Manuel Herz, is an ultra-light construction. The project project is no more than one of the most likely projects of the Expo buildings, if you find Eindruck in the back areas.

Reconstruction and further processing

Blauregen would rank the mild Exposition Blasen. I have presented the themes «Life-Science», «Planet» and «Robotics & AI». The Bau weighs only 400 kilograms, and the Bauteile is transportable by means of a load wheel. Herz is a double-shell company from the ETFE-Folien, which has become a tragger, while the Abbaut of the Exposition of his company is being further worked on.

The membranes are translucent and internal, if they are lighted, and Froschlaich. The theme designs, the choice of materials and the further development of the Swiss architecture were improved, which allowed the time of the discourse in the construction industry to be improved.

The Swiss construction is oriented towards one of the historical. Gestalteric knots at the Expo 1970 and the fall in Osaka are absent. Damals were Kugelarchitectures in fashion. Through the damaging pavilion of Schweiz, a work by Willi Walter, war with a steel construction, you get a lonely prop and renovation with 60,000 mirrored aluminum plates, which reflect the sky.

The pavilion was to symbolize “Swiss inventor spirit, precision and the meaning of beauty”. Fritz Bornemann’s German pavilion revolved around Karlheinz Stockhausen’s Kugelauditorium for Compositions. Three-dimensional soundscapes serve as a multimedia sounding board on the pavilion. The pavilion of Germany at the Expo is so inspired and avant-garde in the coming years: The small building of the Lava Office (Laboratory for Visionary Architecture) “Wa” genannte Rounded Buildings, the geometry for Harmony and circular economies were to stand.

Whoever wants to see the German exhibition with an erected finger at the Expo in Dubai for four years, what one builds and lives today “must”. The German pavilion in the Emirates is a ruin, a sinful aftercare is not possible.

The Japanese architect Yuko Nagayama from Tokyo with his design has written a separate letter: for the Frauenpavillon in Osaka, who has provided by hand the Japanese National Pavilion in Dubai and after the transport welding in Osaka. Seine Bauteile has breathed new life into his own «Origami Architecture».

The clothing is diagonally from Monyo-Muster and the kimonos used are used. So eckig can Kreislaufwirtschaft aussehen. The elegant photos that the paper contains, filter into the inner pavilion. Nagayama walks the tradition of Asa-no-ha-Muster into a three-dimensional grid grid, which is in a feinen Gerüst as a filter layer and twischenraum.

Test meadow for new ideas

Auch der Schweizer Architekt Manuel Herz, dessen bekanntestes Werk der Neubau der Synagoge in Mainz ist, beweist mit seinem Entwurf ür de Schweizer Expo-Pavillon Gespür für die Geschichte der Gestaltung: Blasen, pneumatic Bauten und Kapseln stands auch den Expo-Bauten von 1970 , who worked under the direction of Japanese master architects Tange Kenzo, in the foreground.

Everything echoes like a completely different zeitgeist: Japan’s nachwarsurvival momentum has died down in the last seventy-six years, the oil boom has become bare at the end of the futuristic metabolic architecture. Before the Expo 1970, it was the first World Exhibition in Asia at all and with 64 million people the largest Expo of History, which included a “Festival Plaza”.

When you go through life, it is time that you step into the middle of a «Sonnenturm» by the Japanese artist Okamoto Taro gestaltet-hat. His giant, white tower sculpture with two arms and three faces on the front and back sides roars out of the “Grossen Dach”. An overview of the prehistory represents the Gegenwart and a black face on the back of the «Sonne der Vergangenheit». Red bags on the front side represent Thunder.

The Tower became a platform for protests against the Vietnam War and against the Japanese alliance with the US. Only a month after the world’s experience, a demonstrator clatters into the direct line of sight of the sun tower sculpture and begins a hunger streak, which begins as “Eye-Jacking” in development. The single tower is the largest part of the Expo 1970 exhibition.

It is a question which relevance World Exhibitions in the global world world and digital networking has not yet made an effort. If you have completed the exhibition architecture of the Expo architecture, you can read all possible meanings in your notes, it is a sin to look at Bau and the ideas of your thinking.

Young architects with Manuel Herz from Basel or Nagayama from Tokyo can work with their new venture, with their sparsamen Einsatz von Materialien, aber nicht van Ideen, die Weltausstellungen als Typus zukunftsfähig zu halt – as Testwiesen voor nieuw Ideen and Ausdruck der Zeit.