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　　另一個令我們印象深刻的是意大利施工方的做事方法和標準。意大利施工方自己有一個木工和金工作坊，他們會在作坊里做試驗對復雜的節點，加工一些樣品，就像我們工作室里日常做模型一樣，非常有幫助。意大利施工方的一個老工程師，最后幾天了，為了陽臺的一個收邊板隔一天從都靈跑一趟米蘭，每次來帶一塊他們的作坊制作的樣版，確認收邊板符合現場的尺寸，跟我們交換意見，怎么讓這塊板看起來更精致。我記得我們在圖紙背面畫草圖，陸老師還趴在陽臺邊去把尺寸標下來，然后老工程師再做一塊樣品再過來試，因為他覺得這件事很重要。到最后效果比沒這樣收過好太多了。

　　順便也說一句，這種根據情況臨場發揮對我來說也很特殊，不只是會讓我想起老一代建筑師賴特、斯卡帕他們的做法。而是你會突然發現，有些解決辦法的出現正是由于有了幾個月工地經歷的積累，建筑元素在你眼中變成另外一種存在。這個時候你看到的東西可能更立體，更有質感，解決方法也許會更出人意料，帶有一種不同的靈感。這種意識在我受的建筑教育中很有限，只有通過做項目，通過和優秀的工程師、建造者合作來體驗。我們曾在參與這些過程，中國館對我們的關聯就更多了一層，我們覺得它的質量，或者一種“重量”是不尋常的。這些過程也會投影在我們今后的設計中，我們甚至可能會去自發的尋找這樣的“發揮”的機會。

　　【蔡沁文】 Generally speaking what left its most marks is probably the whole process of realizing the timber roof and woven bamboo skin. It is almost a miracle. The complex geometry under such a tight schedule requires high capacity from the constructors. For example, they would need to process hundreds even more than a thousand detail elements that are slightly different from another, coordinate the fabrication, categorizing, transportation, assembly at various locations across Italy and China then organize the site activities all in such a short time. There was enormous amount of work involved in the past a few months. It was the same during the installation of the roof waterproofing and bamboo panels. The entire roof is highly custom-made, without many standard off-the-shelf elements. It means extra amount of work. The roof installers worked continuously without weekends for two months. Sometimes they had to use security cables to stay on the almost vertical parts of the roof for 12-14 hours. A few outstanding engineers and workers actually enjoyed working on challenging projects and were motivated. We appreciated and respected people like this and felt more encouraged to interact with them, offering our best help to achieve the best result. That’s how the miracle could happen.

　　Another important aspect for us is the working methods and standard of our Italian contractor Bodino engineering. They have their own wood shop and metal shop where they can experiment relatively complicated details and fabricate samples, just like we make study models every day in our studio. And it’s very helpful. Even during the last a few days of the construction, this senior engineer from Bodino came to Milan from Turin every day, always carrying a sample panel made in their metal shop to verify that the panel would match the dimensions of what was already constructed. We would also exchange our thoughts with him about how to make the panel more elegant and easier to install. We sketched at the back of the drawing set. Prof. Lu even climbed next to the balcony where the panel would be to mark the sample. After that the engineer made another sample on the following day. It was all because he thought it was important to reach a certain standard. The result was much better.

　　By the way, the on-site improvisation is always special for me, but it’s not only because it reminds me master architects like Frank Lloyd Wright or Carlo Scarpa. You will realize, some solutions could emerge, exactly because of the accumulation of the months spent on the construction site – the architectural elements exist differently in your eyes, more physical and more three dimensional. So your solutions possibly are more unexpected with somewhat different inspirations. This kind of mind-setting was limited in the architectural education I received, so I can only experience it through working on actual projects and working with excellent engineers and builders. And the China Pavilion relates to us even more as we were part of these improvisations on site. So we feel its quality and ‘weight’ is extraordinary. And it will also project to our future design; maybe sometimes we might be even automatically seeking opportunities to improvise.　　

　　↑ 中國館屋面竹瓦施工過程照片(攝影：陸軼辰)　　

　　↑ 中國館屋面竹瓦施工過程照片(攝影：陸軼辰)