EXPO 2010 SHANGHAI - AUSTRIAN PAVILION
Finalist
Location: Shanghai, China
Program: Cultural, Exhibition
Status: Finalist, competition 11/2008
Size: 2.000 m2
Budget: 5 M €
Client: Wirtschaftskammer Österreich
Foto: Roland Schlager
Architecture: Erhard An-He Kinzelbach, Christian Kronaus
Team: Manuela Wind, Lukas Staudinger, Sigrid Müller-Welt, Thomas Garcia, Sabrina Miletich
Consultants: Habiger (Building physics), Heiling (Mechanical engineering, Plumbing), Herbst (Electrical engineering), Kuhlang (Structural engineering), Virtual DynamiX/ Michael Lisner (Visualization and Media design), Teamplan (Pricing)
WALTZING THE EXPO:
The idea of the Expo serves the presentation of national and regional specificities to a global audience. In this sense, the Viennese waltz as an Austrian regional specificity is presented to the world through the world’s largest waltz dancing school housed by the Austrian Expo pavilion. Here, if finds its architectural equivalent in the infinite ballroom.
THE INFINITE BALLROOM:
The waltz and its spatial setting in the Austrian pavilion are to serve as as an island of relaxation and recreation within the bustling and hectic environment of the World Expo in Shanghai. The waltz serves as a source for refeshment, catalyst for communication, a good mood stimulant and puts the visitor in an almost unreal and trance-like condition. This production of a typical Austrian condition of „real virtuality“ (the co-existance of dream and reality) is chosen as the main topic of the architectural concept. 4 parallel mirrors, as seen and often used in historical examples in Viennese cafes or by Adolf Loos, produce an infinite reality. They establish the infinite ballroom as the appropriate spatial container for the world’s largest waltz dancing school.
Couple dance - the mirrored sequence:
The fascination for the couple dance is based on the conception that usually one partner performs the mirrored dance sequence of the other partner. One partner is the mirror image of the other, however the couple is always more than the mere sum of its parts. The couple is a harmonious whole, just as Yin and Yang form a harmonious unit in chinese philosophy. The pavilion project tries to translate the ideas of mirroring, doubling and multiplication that are immanent to the waltz into a spatial concept of extension and multiplication.
AUSTRIAN TRADITION OF SPATIAL INFINITY:
The idea of the extension of space and the illusion of infinity is anchored in European architectural history. One can find many applications in Austrian tradition and architecture. So, for example the mirror gallery in Schoenbrunn palace presents an important example for the feudal baroque concept of spatial extension with the use of mirrors. In civic everyday culture in Austria one can find the concept’s successful application in the world of theatre as well as in the Viennese cafe culture. The Cafe Prueckel, Cafe Demel and Cafe Schwarzenberg are good examples for the use of mirrored walls to achieve the described effects. Furthermore, the American Bar by Adolf Loos is the by far best example for the virtual extension of space with the strategic use of mirrors.
CHINESE WALTZ:
In addition, waltzing, along with other standard dances, is very popular in China - not so much in the context of the ballroom, but as an open-air activity in public spaces such as parks. Especially for the elderly it is a popular form of sports.
Hence, in addition to its aim to present Austria to the world, the concept of the infinite ballroom could also be seen as a reference or bridge to the host country’s everyday culture.
ARCHITECTURAL STRUCTURE:
The architecture of the project is divided into 2 elements: the „real“ ground (the park) and the „virtual“ level of the „infinite ballroom“, where virtual infinity is achieved through 4 mirrors.
Floating object - a glittering chandelier:
The basic elements of the 2 levels – the dance and performance discs of the ground floor and the ballroom interior - can be read clearly and form the primary architectural elements of the project. The mirroring of the ballroom interior is made visible on the exterior by using a mirrored surface for the facade’s back that reflects the surrounding and changing light conditions throughout the day. Simultaneously, performative facade panels in front of the mirrored surface give the facade a glowing and glittering depth.
The revolving cylinder as performing element for stage, dance and exhibition:
The basic shape of the circle and its 3-dimensional counterpart, the revolving cylinder, are directly inspired by the revolving movement of the Viennnese waltz. Unlike in other dances, the revolving movement gives the Viennese waltz its main characteristic: the floating elegance.
Infinite ballroom:
The central element of the project is the large ballroom on the Beletage, that uses 4 fully-mirrored walls to generate phenomenal infinity. The floor consists of a series of circles, half-circles and quarter-circles that can be used and programmed differently.
Programming the pavilion zones:
The 2 main circles in the center of the ballroom with a small revolving circular stage are the proper dance floor that allow for the step-by-step learning of waltzing skills, it is divided into zones of leaning&trying (using the interactive dancefloor) and practicing&perfectioning (using the revolving stage).
Orchestration of the spatial athmosphere – Authenticity and interpretation:
The athmosphere in the interior of the infinite ballroom and its authenticity is mainly supported by two additional elements. On the one hand, there is the contemporary interpretation of chandeliers that complement the circular stages and floors and in addition to lighting the space also hold acoustic, mechanical, ventilating functions. On the other hand, one of the 4 mirrored walls is made of special mirror foil and holds a back projection that can be programmed according to the specific athmospheric needs. When projecting, there is an additional superimposition of projected image space and mirrored virtual space.
TOUR OF THE PAVILION:
A tour through the pavilion is based on the 3 stages of a traditional ball: the intro, the central ballroom experience and the walk-out as the final act.
In the pavilion the intro is dominated by the main exterior projection on the entry wall with the „Red-carpet“-picture point and the escalator ride to the Beletage. The main ballroom experience is divided into the one of the dancer and the one of the flaneur. The walk-out leads through the shop and souvenir area.When arriving to the ballroom, the visitor decides whether to act actively as a dancer or to act passively as a flaneur.
The dancer:
The dancer orients himself gradually to the center of the space. He/she uses to peripheral zone of „learning and practicing“ to learn or warm-up with the interactive dancefloor. He/she then successively moves towards the center, to the „practicing and perfectioning“ zone, until he/she eventually ends up in the central revolving stage where waltzing on a turning floor becomes an unforgettable experience.
The flaneur:
If the visitor decides to take the passive role, he participates in the ballroom as part of the audience. He then takes the route around the central dancefloors which brings him to the additional programmatic elements on the periphery of the ballroom: the restaurant and cafe, the bar, the string quartet stage, the masquarade stage etc. while at the same time watching the ballroom event in the center.
