共同管沟展示馆-K-MUSEUM-渡边诚

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共同管沟展示馆
K-MUSEUM
座落地点：东京，日本
建筑设计：渡边诚
设计完工：1996

共同管沟展示馆(K-MUSEUM)由日本知名建筑师渡边诚所设计。1952年出生於横滨的渡边诚，被2000年威尼斯建筑双年展总策展人福克萨斯评为亚洲以人工智慧发展数位建筑最有成就者。

共同管沟展示馆位於东京湾临海副都心的一块荒地上，这个区域埋设了一个全日本最大的地下管线系统，该系统主要是因应未来都市发展有关能源、电信、废弃物、污水等管线需求而设置的，其工程造价相当於兴建一座核电厂所需的费用。兴建 展示馆，主要目的就是向公众展示这一巨大且重要的地下管线系统。

东京湾临海副都心开发始於1980年代，其后历经了日本自二次大战结束以来最严重的经济危机，使得这个被称为「未来都市」模范的地区，至今仍呈现出方兴未艾的局面。该地区原本计画举办《世界城市博览会》，最后被迫取消，许多进行中的大型建筑计画也暂时被搁置，导致今天还有许多地方仍是荒地。

临海副都心是新填海做出来的，无论人工环境或自然环境都是从零开始，在这样一个无特性的基地环境上，如何展示那些看不见的、埋藏在地下的庞大基础设施？建筑师渡边诚的想法是：「一件建筑作品如果处於无特性，无旧城景观可参照，无文化遗产可继承，无自然可崇尚，无未来可预测的文脉中，那麼人们对它会提出什麼样的要求呢？答案是光，给空间照明的明亮的光，强烈到足以使周围环境活动起来的光」。


来到这无啥景观可言的荒地上，当时的天气并非十分晴朗，而这几根明显表达「共构」概念的管状量体，透过其各种角度的切面和特殊材质，仍能使太阳光在该建筑上产生复杂多变的光影效果。此外，令人感到有些讶异的是，原本以为这是个规模不小的建筑，没想到实际规模并不大。就这一点，渡边诚曾被问到，是否因建筑本身规模不大，而想打出更强烈的形象？他的回答：「是的。因为周围什麼都没有，所以很难知道大小。人在判断东西的大小时，常常是透过窗口和其它线索来判断，我故意把这个线索取消，所以只看建筑本身是看不出大小的。」


为了加强建筑周边地面的肌理效果，展示馆的地表看起来像是个自然的丘陵，有高有低，事实上这是用石材贴出来的斜坡，再铺上一块块凸出来的黑色磁砖。土丘上有一根根像草一样随风摇曳的金属杆，到了晚上，金属杆上端会发出绿色光点。

渡边诚喜欢在他的作品上开发一些新材料，这个作品也不例外。建筑外部使用了大型铝合金板和不锈钢板，内墙和天花板用的是一种透明有机玻璃夹蜂巢状铝丝钢板，这个材料是渡边诚和厂商共同研发出来的，除了质轻之外，亦可使透到室内的光线变得极为神秘。
K-MUSEUM临海副都心共同沟展示馆是我在2005年11月去日本时，特别去找的一栋展示馆，它位在日本东京都江东区有明3-1，也就是台场附近。是建筑师渡边诚设计，1996年完工的建筑。在台场「国际展示场」站下车走N分钟，建筑物整体露出地面上层空间不大，而展示馆的名字只低调的在某个门上方留下退色的痕迹，可惜的是当时没有开放，现在也应该没有开放。

  共同沟是电、电话、上下水道、瓦斯等的电缆和管等收容的道路地下的设施，这里吸引我是的它建筑物外观特别的造型

A new sub-center of an old metropolis is appearing on the Tokyo Bay waterfront. Ever since the early seventeenth century when the village of Edo (now Tokyo) became the seat of the shogunal government, urban growth has been a process of transforming sea into city, in other words, urban expansion through land reclamation. What I call the Tokyo "Frontier" is the final site of Tokyo's expansion of twentieth century times when growth was a virtue in itself.
The dynamism of a city is determined by economic conditions, however. The construction of the Frontier started in the 1980s amid the so-called bubble business boom. Its infrastructure had been nearly completed and superstructures were about to go up when the worst recession since the end of World War II hit Japan in the early 1990s. A planned exposition of the world's cities scheduled to take place in this water-front project was canceled by a popularly elected governor whose background was in show business. Corporations that had planned to build office architectures there decided to postpone construction plans indefinitely. The center of the new city, which was to have grown up as a mammoth new business district, remained vacant, a vast empty space.
This museum rises into the very heart of this incipient city.
The purpose of the museum is to explain the infrastructure of the city. Beneath the city is buried a huge common tunnel system for pooling energy, information, disposing of refuse, and for other purposes required in the future, the largest of its kind in Japan.
The cost of the construction was the equivalent of that for architecture a nuclear power plant. The museum is a facility to place this system on public display.
The area that was to have been the hub of the new sub-city is a vast empty space. Though already included among the urban centers of Tokyo, the landscape is even more undeveloped than Tokyo's remotest suburb. A complex that came into being only after having destroyed the local ecosystem, unless it is developed into a true urban ecosystem, the area will be a meaningless void that is neither urban nor rural.
What is required of an architectural work meant for such a context devoid of any identity, with no older townscape to provide a point of reference, no cultural heritage to inherit, no nature to respect, and no future to forecast ?

The answer lies in light. A bright light to illuminate the void. A light of such intensity that it stirs its surroundings to action. By the nature of its function, one small work of architecture alone will not attract throngs of visitors. The purpose of the architecture is to play the role of qualitative-not quantitative-urbanity. The architecture should be a model that is the city itself. What then should be extracted to represent the character of this city ?

Light: Simplicity in Diversity


　
Oneof characteristics of the city is diversity. The city offers a choice of several routes for achieving any particular purpose. In the process of achieving the goal, peripheral functions inevitably come into play of their own accord. Whenever choices are made according to a certain set of criteria, invariably there are people, things, and phenomena that cannot be dealt with according to those criteria. The interaction of many different elements makes the character of the city complex beyond comprehension by a single standard of measure.
A combination of simple units produces a complex whole.
The museum is a model rendering of an urban structure based on that principle. The metal units used are of basically simple, abstract forms. Their combination produces a diverse whole. There also are several types of these textures, and combining them encourages further diversity. Light is the element that provides the clues to this approach.
Even small variations in the transmission, reflectivity, and wavelength of light turn out to make a big difference. Differences in the angle of the reflecting plane deflect the light and amplify the movements of the sun. As a result, our perceptions of the forms change with the passage of time.Thus, the combination of limited materials and forms generates awhole made complex through the medium of light.　  Topography: Contrast and Interchange
The topography is formed by the undulating base structure combined with the museum architecture. Whereas the architecture itself is made in a manner that responds to light, the outer structure is covered with a light-absorbing black material. Moreover, while the architecture is made up of rectangular units, the outer structure is composed of three-dimensional curved surfaces.
This sharp contrast is fundamental to the museum architecture.
This kind of balance-that one extreme always has its counterpart-is a fundamental principle of the city as well.
One of the features of contrasting extremes is that each pole acknowledges that part of itself can be found in the other. This is the function known as "interchangeability." In this work, the light of the architecture is seen as "chips" of reflected metal visible among the black waves, and part of the wave becomes a semitransparent, curved volume partially buried in the metal wall of the architecture.
The area under the architecture houses a water supply plant serving the facilities in the vicinity, another aspect of the urban infrastructure. Covered with black stone and tile, with openings the pedestal to support the architecture, its shape undulates making the architecture look as if it were drifting among black waves.
The waves are etched with slender silver lines that seem to whirl in the wind. They are environment sculptures called " Touching the Wind / FIBER WAVE" that serve as an interface connecting the solid, motionless architecture and the constantly changing nature/city, and coordinating their relationship. This presence of a function to accommodate the interrelations of different elements-an etiquette ofbalance-is another fundamental rule governing the city where diverse elements gather.
The Moment: A Dash
The form of this museum expresses a strong sense of direction.
It touches ground at its base only partially. One cannot tell whether it symbolizes a moment of take off before flight or the moment of touchdown after a long flight. We only know that it is a very brief moment of repose in the process of transfer from one mode to another. Modes are right in the process of being changing.
The perception here is that a city is eternally in that state of changing modes. And this movement animates the city, imbuing it with life. Materials: Development
A number of finished materials developed specially for this architecture are used. It was desired that joints be simple, and panels large and three-dimensional.
Aluminum and stainless panels for the exterior are large ones with no seals and using open joints. The three-dimensional solid bodies are installed after the panels are assembled using narrow three millimeter-wide joints. Four types of finished materials-alumetized and fluorine-coated aluminum and mirror-surface and gold-colored stainless-are combined. For the interior walls and ceilings a newly developed material consisting of two acrylic sheets with aluminum honeycomb sandwiched between them is used. Illumination set behind this material, named "Acry honeycomb," illuminates the silver honeycomb.

The top-light curved surface was created through the integral forming of semitransparent fiber reinforced plastics (FRP), five meters in major axis. In order to obtain a moderately transparent FRP with a minimum of yellowish color, many tests were conducted, including hardener blending adjustment and the screening of glass fiber and basic materials. Thick ditched steel sheets, a temporary material usually employed at factories and other works, are coated with fused zinc and used for the floor inside the architecture.
The three-dimensional, curved floor of the undulating base structure is covered with stone and tile. The stone is polished black granite, and the three-dimensional curved surfaces are obtained by shaving planks. Four types of tiles, each having curved solid bodies, are combined at random.
The " Touching the Wind / FIBER WAVE " environmental sculptures of carbon fiber are an advanced version of what was first developed for the " MURA-NO TERRACE ". A blue light-emitting diode, not developed previously, is used along the edges. The solar cell units used this time are also more compact.
The self-contained toilet booths inside the architecture are unit forms made by bending artificial marble. Its essential parts, such as doors, washstands, and exhaust column, are made as much as possible of the same artificial marble.
Display: Getting the Message Across
My idea from the outset is that the museum architecture itself is an item on display.
It is a facility aimed to help understand the infrastructure of the city. Because its purpose is very specific, the architecture need not be a flexible exhibition space like an ordinary gallery. It is not meant as a universal space.
The city's underground tunnel itself is part of the sight-seeing trail for visitors, who can go inside and see for themselves. Therefore, we might go so far as to say that the purpose of the museum architecture will be fulfilled as long as seeing the architecture stimulates people to think of what a city should be like.
The function of the architecture will be satisfied if it gets across to visitors the message that diversity, availability of options, contrast, interaction, light, and direction should provide the infrastructure of the city.
Both miniature models and digital media are used in the exhibition.
The video screen is a state-of-the-art 40-inch plasma display.
The independent toilet units are also exhibition items of an urban facility.  
Design Technology: Potential of Choice
Computer-aided design and computer graphics as well as miniature models were used for the studies of the space and form of the architecture. The undulating three-dimensional curved surfaces were first studied using miniature models, which were then turned into CAD images through a 3-D scanner. The CAD images were then checked with analog measurements, and the results yielded the data for the stonework.
Thus we adopted a policy utilizing both digital and analog technologies, comparing and coordinating them so that the strengths of each could be utilized. This policy conforms with the design concept and perception that the appeal of the city is the panoply of choices it offers.
图片来源http://www.makoto-architect.com