The Italian Pavilion will be a living organism, producing knowledge and innovation by cross-fertilising between generations and cultures: a vast warehouse of Italian know-how that will embrace artistic, scientific, entrepreneurial, and social experiments. The spaces of the Pavilion will bring to light and stimulate the creative DNA that is innate in all Italians, and that the whole world envies. The cultural artefacts of Italy's heritage will be placed in evidence, decomposed, and then re-proposed in an unexpected contemporary way.
There are two parts to the Pavilion: a showcase building containing the exhibition itself (the core experience) and a service area containing the secondary functions, located behind the showcase. The pavilion presents itself as a structure that lets itself be suffused by the luminescence coming from the sky and sea around the site. The main frontage is an open portico with giant columns, offering a view into a large atrium and framing the architecture of the internal visitor route.
There are two parts to the Pavilion: a showcase building containing the exhibition itself (the core experience) and a service area containing the secondary functions, located behind the showcase. The pavilion presents itself as a structure that lets itself be suffused by the luminescence coming from the sky and sea around the site. The main frontage is an open portico with giant columns, offering a view into a large atrium and framing the architecture of the internal visitor route.
There are two parts to the Pavilion: a showcase building containing the exhibition itself (the core experience) and a service area containing the secondary functions, located behind the showcase. The pavilion presents itself as a structure that lets itself be suffused by the luminescence coming from the sky and sea around the site. The main frontage is an open portico with giant columns, offering a view into a large atrium and framing the architecture of the internal visitor route.
There are two parts to the Pavilion: a showcase building containing the exhibition itself (the core experience) and a service area containing the secondary functions, located behind the showcase. The pavilion presents itself as a structure that lets itself be suffused by the luminescence coming from the sky and sea around the site. The main frontage is an open portico with giant columns, offering a view into a large atrium and framing the architecture of the internal visitor route.
La struttura è composta da 2 corpi: una teca che contiene il cuore espositivo ed esperienziale del padiglione; un corpo secondario posto nella parte retrostante la teca che ospiterà le funzioni accessorie. Si presenterà come una struttura permeabile alla luminescenza del cielo e del mare che la circondano. Sul fronte principale si aprirà con un ordine gigante di portali che concorreranno all’immagine di grande atrio porticato, posto ad inquadrare le architetture interne del percorso espositivo.
Visitors will be guided through a creative journey, gradually becoming one with it; fully immersed in the colours of the Renaissance paintings, the proportions of the urban spaces, and the feeling of sociability, they will find themselves unmistakably “breathing the air of Italy”.
This dramatic experience is divided into three separate “acts”, each rooted in locations and experiences in which Italy has been an innovator.
Visitors will be guided through a creative journey, gradually becoming one with it; fully immersed in the colours of the Renaissance paintings, the proportions of the urban spaces, and the feeling of sociability, they will find themselves unmistakably “breathing the air of Italy”.
This dramatic experience is divided into three separate “acts”, each rooted in locations and experiences in which Italy has been an innovator.
Visitors will be guided through a creative journey, gradually becoming one with it; fully immersed in the colours of the Renaissance paintings, the proportions of the urban spaces, and the feeling of sociability, they will find themselves unmistakably “breathing the air of Italy”.
This dramatic experience is divided into three separate “acts”, each rooted in locations and experiences in which Italy has been an innovator.
Visitors will be guided through a creative journey, gradually becoming one with it; fully immersed in the colours of the Renaissance paintings, the proportions of the urban spaces, and the feeling of sociability, they will find themselves unmistakably “breathing the air of Italy”.
This dramatic experience is divided into three separate “acts”, each rooted in locations and experiences in which Italy has been an innovator.
Il visitatore, che sarà accompagnato attraverso un percorso creativo fino a diventarne parte, “respirerà” l’Italia in maniera inequivocabile quando sarà investito dai colori dei quadri rinascimentali, dalle proporzioni degli spazi urbani e dalla socialità.
Tale esperienza sarà divisa in tre atti, ciascuno dei quali affonda le proprie radici in luoghi ed esperienze di cui l’Italia è stata innovatrice.
Italy’s theatrical heritage (in the architectural space, technological innovation, and revolutionary acting methods) is limitless. Visitors to the Theatre will experience an alteration of their perceptions and possible future scenarios will suggest themselves; the spectator will become interchangeable with the actor, and the real will become indistinguishable from the virtual, in an immersive, multisensory theatrical space that subjects the spectator to visual suggestions along with sounds, movements, and colours.
Italy’s theatrical heritage (in the architectural space, technological innovation, and revolutionary acting methods) is limitless. Visitors to the Theatre will experience an alteration of their perceptions and possible future scenarios will suggest themselves; the spectator will become interchangeable with the actor, and the real will become indistinguishable from the virtual, in an immersive, multisensory theatrical space that subjects the spectator to visual suggestions along with sounds, movements, and colours.
Italy’s theatrical heritage (in the architectural space, technological innovation, and revolutionary acting methods) is limitless. Visitors to the Theatre will experience an alteration of their perceptions and possible future scenarios will suggest themselves; the spectator will become interchangeable with the actor, and the real will become indistinguishable from the virtual, in an immersive, multisensory theatrical space that subjects the spectator to visual suggestions along with sounds, movements, and colours.
Italy’s theatrical heritage (in the architectural space, technological innovation, and revolutionary acting methods) is limitless. Visitors to the Theatre will experience an alteration of their perceptions and possible future scenarios will suggest themselves; the spectator will become interchangeable with the actor, and the real will become indistinguishable from the virtual, in an immersive, multisensory theatrical space that subjects the spectator to visual suggestions along with sounds, movements, and colours.
Il patrimonio teatrale italiano è sconfinato in termini di spazio architettonico, di innovazione tecnologica e di attori rivoluzionari. Sarà il Teatro il luogo del Padiglione dove, ibridando l’osservatore con l’attore, il reale con il virtuale, si stravolgerà l’esperienza del visitatore e si suggeriranno possibili scenari futuri. Sarà un Teatro immersivo e multisensoriale che metterà in scena suggestioni visive, suoni, movimenti, colori.
The Ideal City first developed as a theme in fifteenth century painting to represent the theoretical Renaissance concept of the Ideal City and depicted it as a place of deafening emptiness, where the absence of human life made Utopia a dystopian, metaphysical place. That consideration will be an opportunity to bring back people, nature, sustainability, and life to the centre of the future Ideal City. The Ideal City experience is a space where a new future can be created by taking an inclusive, social approach that aims to enhance quality and craftsmanship by associating them with the new technologies. It is a space for narrative, in-depth knowledge, and creation and will include a series of modern workshops, each dedicated to a different theme: technology and energy; food and the environment; manufacturing and design; and art and architecture.
The Ideal City first developed as a theme in fifteenth century painting to represent the theoretical Renaissance concept of the Ideal City and depicted it as a place of deafening emptiness, where the absence of human life made Utopia a dystopian, metaphysical place. That consideration will be an opportunity to bring back people, nature, sustainability, and life to the centre of the future Ideal City. The Ideal City experience is a space where a new future can be created by taking an inclusive, social approach that aims to enhance quality and craftsmanship by associating them with the new technologies. It is a space for narrative, in-depth knowledge, and creation and will include a series of modern workshops, each dedicated to a different theme: technology and energy; food and the environment; manufacturing and design; and art and architecture.
The Ideal City first developed as a theme in fifteenth century painting to represent the theoretical Renaissance concept of the Ideal City and depicted it as a place of deafening emptiness, where the absence of human life made Utopia a dystopian, metaphysical place. That consideration will be an opportunity to bring back people, nature, sustainability, and life to the centre of the future Ideal City. The Ideal City experience is a space where a new future can be created by taking an inclusive, social approach that aims to enhance quality and craftsmanship by associating them with the new technologies. It is a space for narrative, in-depth knowledge, and creation and will include a series of modern workshops, each dedicated to a different theme: technology and energy; food and the environment; manufacturing and design; and art and architecture.
The Ideal City first developed as a theme in fifteenth century painting to represent the theoretical Renaissance concept of the Ideal City and depicted it as a place of deafening emptiness, where the absence of human life made Utopia a dystopian, metaphysical place. That consideration will be an opportunity to bring back people, nature, sustainability, and life to the centre of the future Ideal City. The Ideal City experience is a space where a new future can be created by taking an inclusive, social approach that aims to enhance quality and craftsmanship by associating them with the new technologies. It is a space for narrative, in-depth knowledge, and creation and will include a series of modern workshops, each dedicated to a different theme: technology and energy; food and the environment; manufacturing and design; and art and architecture.
La città ideale è un tema della pittura sviluppato attorno al XV secolo come rappresentazione del concetto teorico rinascimentale della città ideale. È il luogo in cui l’utopia diventa distopica, metafisica, a causa dell’assordante mancanza di vita. Riflettere su questo tema sarà l’occasione per riportare l’uomo, la natura, la sostenibilità e la vita al centro della città ideale futuribile. La città ideale funge qui da spazio per creare un nuovo futuro, proponendo un approccio inclusivo e sociale volto a valorizzare qualità e artigianalità in associazione con le nuove tecnologie. Sarà il corpo narrativo e di approfondimento del Padiglione, lo spazio del creare; accoglierà un insieme di moderne botteghe ognuna dedicata a diversi temi: tecnologia ed energia; alimentazione ed ambiente, manifattura e design, arte e architettura.
The Italian Garden on the roof of the Pavilion is a place for leisure and delight: a contemporary reworking of the classical idea of the labyrinth, an emblem of the control that humans exert over nature and constrain it by subjecting it to the rules defined by rigour and mathematics. The Italian Garden will be an opportunity for visitors to experience a new equilibrium between human and plant life, and between the natural and the artificial, balancing the organic originality of life with the rationality of human design.
The Italian Garden on the roof of the Pavilion is a place for leisure and delight: a contemporary reworking of the classical idea of the labyrinth, an emblem of the control that humans exert over nature and constrain it by subjecting it to the rules defined by rigour and mathematics. The Italian Garden will be an opportunity for visitors to experience a new equilibrium between human and plant life, and between the natural and the artificial, balancing the organic originality of life with the rationality of human design.
The Italian Garden on the roof of the Pavilion is a place for leisure and delight: a contemporary reworking of the classical idea of the labyrinth, an emblem of the control that humans exert over nature and constrain it by subjecting it to the rules defined by rigour and mathematics. The Italian Garden will be an opportunity for visitors to experience a new equilibrium between human and plant life, and between the natural and the artificial, balancing the organic originality of life with the rationality of human design.
The Italian Garden on the roof of the Pavilion is a place for leisure and delight: a contemporary reworking of the classical idea of the labyrinth, an emblem of the control that humans exert over nature and constrain it by subjecting it to the rules defined by rigour and mathematics. The Italian Garden will be an opportunity for visitors to experience a new equilibrium between human and plant life, and between the natural and the artificial, balancing the organic originality of life with the rationality of human design.
Ospitato sulla copertura del padiglione, è il luogo dello svago e del diletto, emblema del controllo dell’uomo sulla natura, costretta nelle regole definite dal rigore e dalla matematica. Il giardino, una rielaborazione contemporanea del classico elemento del labirinto, sarà l’opportunità di sperimentare un nuovo equilibrio tra uomo e pianta, tra naturale e artificiale, bilanciando l’originalità organica della vita con il disegno razionale dell’uomo.
The project for the Pavilion began from analysing the local climate in Osaka, to define its specific characteristics.
Its design goes beyond the usual downstream environmental impact assessment (as part of a linear thinking process) proposing instead an integrated approach in which the ultimate point of arrival is not only to mitigate the environmental impact that the project will generate, but to operate the construction site as a circular economy.
For that purpose the priorities will include using products of natural origin, short supply chains, recycled content, avoiding toxic ingredients, and obtaining sustainability certifications. For the construction, preference will be given to timber – which is one of the most readily available materials – sourced from certified local supply chains, and contamination will be minimised by giving preference to mono-material components.
At the end of its lifecycle the Pavilion will become a mine for materials. The characteristics of each individual element (physical, architectural, technological, etc.) will be such that they can be adapted to new requirements by undergoing natural processes of transformation that require no further processing.
After the Expo has closed down, the Pavilion is intended to become an archive, for display as an “Italian Workshop”: a database of Italy’s best practices, patents, projects, sustainable ideas, collaborations between human intelligence and artificial intelligence, social successes in respect of integration, commercial partnerships between companies, and agreements between countries. This is because art regenerates life and already in the Renaissance, Italy had become a laboratory for Italian genius and a global centre for art and innovation.
The project for the Pavilion began from analysing the local climate in Osaka, to define its specific characteristics.
Its design goes beyond the usual downstream environmental impact assessment (as part of a linear thinking process) proposing instead an integrated approach in which the ultimate point of arrival is not only to mitigate the environmental impact that the project will generate, but to operate the construction site as a circular economy.
For that purpose the priorities will include using products of natural origin, short supply chains, recycled content, avoiding toxic ingredients, and obtaining sustainability certifications. For the construction, preference will be given to timber – which is one of the most readily available materials – sourced from certified local supply chains, and contamination will be minimised by giving preference to mono-material components.
At the end of its lifecycle the Pavilion will become a mine for materials. The characteristics of each individual element (physical, architectural, technological, etc.) will be such that they can be adapted to new requirements by undergoing natural processes of transformation that require no further processing.
After the Expo has closed down, the Pavilion is intended to become an archive, for display as an “Italian Workshop”: a database of Italy’s best practices, patents, projects, sustainable ideas, collaborations between human intelligence and artificial intelligence, social successes in respect of integration, commercial partnerships between companies, and agreements between countries. This is because art regenerates life and already in the Renaissance, Italy had become a laboratory for Italian genius and a global centre for art and innovation.
The project for the Pavilion began from analysing the local climate in Osaka, to define its specific characteristics.
Its design goes beyond the usual downstream environmental impact assessment (as part of a linear thinking process) proposing instead an integrated approach in which the ultimate point of arrival is not only to mitigate the environmental impact that the project will generate, but to operate the construction site as a circular economy.
For that purpose the priorities will include using products of natural origin, short supply chains, recycled content, avoiding toxic ingredients, and obtaining sustainability certifications. For the construction, preference will be given to timber – which is one of the most readily available materials – sourced from certified local supply chains, and contamination will be minimised by giving preference to mono-material components.
At the end of its lifecycle the Pavilion will become a mine for materials. The characteristics of each individual element (physical, architectural, technological, etc.) will be such that they can be adapted to new requirements by undergoing natural processes of transformation that require no further processing.
After the Expo has closed down, the Pavilion is intended to become an archive, for display as an “Italian Workshop”: a database of Italy’s best practices, patents, projects, sustainable ideas, collaborations between human intelligence and artificial intelligence, social successes in respect of integration, commercial partnerships between companies, and agreements between countries. This is because art regenerates life and already in the Renaissance, Italy had become a laboratory for Italian genius and a global centre for art and innovation.
The project for the Pavilion began from analysing the local climate in Osaka, to define its specific characteristics.
Its design goes beyond the usual downstream environmental impact assessment (as part of a linear thinking process) proposing instead an integrated approach in which the ultimate point of arrival is not only to mitigate the environmental impact that the project will generate, but to operate the construction site as a circular economy.
For that purpose the priorities will include using products of natural origin, short supply chains, recycled content, avoiding toxic ingredients, and obtaining sustainability certifications. For the construction, preference will be given to timber – which is one of the most readily available materials – sourced from certified local supply chains, and contamination will be minimised by giving preference to mono-material components.
At the end of its lifecycle the Pavilion will become a mine for materials. The characteristics of each individual element (physical, architectural, technological, etc.) will be such that they can be adapted to new requirements by undergoing natural processes of transformation that require no further processing.
After the Expo has closed down, the Pavilion is intended to become an archive, for display as an “Italian Workshop”: a database of Italy’s best practices, patents, projects, sustainable ideas, collaborations between human intelligence and artificial intelligence, social successes in respect of integration, commercial partnerships between companies, and agreements between countries. This is because art regenerates life and already in the Renaissance, Italy had become a laboratory for Italian genius and a global centre for art and innovation.
La progettazione è partita da un’analisi climatica per definire le peculiarità del clima di Osaka.
Nell’ambito della proposta per il Padiglione Italia si vuole superare la logica di pura e semplice valutazione di impatto ambientale a valle, tipica di un processo lineare, proponendo un approccio integrato in cui il fine ultimo non è solo la mitigazione dell’impatto generato dall’intervento, ma la promozione di un’economia circolare interna al sito. Saranno favoriti aspetti quali l’origine naturale dei prodotti, la filiera corta, il contenuto di riciclato, l’assenza di ingredienti tossici e la disponibilità di certificazioni. Per la struttura, si intende privilegiare l’impiego di una delle risorse a più alta disponibilità locale, il legno proveniente da filiere locali certificate; la scelta dei materiali prediligerà la monomatericità dei componenti, per ridurre al minimo la contaminazione.
Il Padiglione, una volta terminato il suo ciclo di vita, diventerà miniera di materiale: ogni suo singolo elemento ha caratteristiche (materiche, di design, tecnologiche, ecc.) che gli permetteranno di trasformarsi in maniera naturale senza subire successive lavorazioni, per potersi adattare a nuove esigenze.
Al termine dell’esposizione questo “laboratorio Italia” dovrà diventare un archivio da mettere in mostra, una banca dati di best practice, brevetti, opere, idee sostenibili, collaborazioni tra intelligenza umana e intelligenza artificiale, successi sociali in termini di integrazione, di partnership commerciali tra aziende e accordi tra paesi, perché l’arte rigenera la vita. L’Italia già nel Rinascimento si è fatta laboratorio di genialità e capitale globale dell’arte e dell’innovazione.
