Kengo Kuma’s Prolific Works: From the Olympic Stadium to V&A Dundee

由专筑网Martijn，小R编译

隈研吾描述了他的创造性方法，人们甚至可以将他的体育场列入日本建筑师出色作品名录中。

随着奥运报道的开始，日本奥林匹克体育场背后的建筑师的名字振聋发聩。然而，取代了扎哈·哈迪德的原先而有争议的方案的隈研吾被广泛讨论的作品，很难被认为具有“标志性”或具有“纪念性”，这种类型的建筑经常发生这样的情况。但是，板条木包层和三层种植树木的形式构成了建筑师所谓的“活树”的基础。

Kengo Kuma describes his creative approach, allowing you to contextualize his stadium within the wide spectrum of the Japanese architect’s brilliant work.
As Olympic coverage begins, the name of the architect behind Japan’s Olympic Stadium is sure to be on the lips of fans around the world. Yet, Kengo Kuma’s much-discussed structure, which replaced the original and controversial plan by Zaha Hadid architects, would not be described as “iconic” nor “monumental,” as is often the case with this type of building. Instead, slatted wood cladding and three-levels of planters lined with trees form the basis of what the architect calls a “living tree.”

GC Prostho 博物馆研究中心 / Daico Ano
GC Prostho Museum Research Center by Daico Ano. Courtesy of The Images Publishing Group

太宰府天满宫表参道星巴克咖啡 / Masao Nishikawa
Starbucks Coffee at Dazaifutenmangu Omotesando by Masao Nishikawa. Courtesy of The Images Publishing Group

长竹墙 / Satoshi Asakawa
Great Bamboo Wall by Satoshi Asakawa. Courtesy of The Images Publishing Group

体育场优雅的格子木设计借鉴了隈研吾的其他作品，例如东京的 SunnyHills 蛋糕店，它被描述为是对日本传统建筑的改造。与此类似，数字 47 在整个设计过程中都发挥着重要作用：这座建筑高约 47 米、周围种植了 47,000 棵树木、建筑的木材来自日本的 47 个县。现在日本著名的建筑师的新书将这一设计置于隈研吾作品的文脉中，对他更广泛的建筑方法做出了决定性的陈述。

地形强调出了隈研吾的建筑如何与周围的文化和环境自然融合，让读者能够将他在东京 2021 年奥运会主体育场的工作置于更广阔的设计背景下，例如苏格兰的 V&A博物馆邓迪分馆和东京最新的火车站，以及更多人尺度的作品，比如韩国的济州球度假村。

The latticed wood design for the elegant stadium draws on other work by Kuma, such as the SunnyHills cake shop in Tokyo, which has been described as an adaption of traditional Japanese architecture. In a similar vein, the number 47 plays an important role throughout: the building is just about 47 metres high, 47,000 trees were planted around its perimeter, and wood for the construction was sourced from all 47 prefectures of Japan. Now, a new book by one of Japan’s most prominent architects places this design in the context of Kuma’s body of work, making a decisive statement about his broader architectural approach.
Topography highlights how Kengo Kuma’s architecture naturally merges with its cultural and environmental surroundings, allowing readers to contextualize his work on Tokyo’s main stadium for the 2021 Olympic Games within the broader context of designs such as the V&A Dundee museum in Scotland and Tokyo’s newest  train station, in addition to more human-scaled works, such as Jeju Ball resort in Korea.


Architizer 分享了隈研吾的介绍摘录，概述了将他的工作主体编织在一起的线索：

Architizer shares an excerpt of the introduction by Kengo Kuma outlining the thread that weaves together his body of work:

屋顶/鸟 / Keishin Horikoshi/SS Tokyo
Roof / Birds by Keishin Horikoshi/SS Tokyo. Courtesy of The Images Publishing Group

贝桑松艺术中心和音乐城 / Nicolas Waltefaugle
Besançon Art Center and Cité de la Musique by Nicolas Waltefaugle. Courtesy of The Images Publishing Group

苏州相城区阳澄湖旅游交通中心 / Erieta Attali
Xiangcheng Yangcheng Lake Tourist Transportation Center by Erieta Attali. Courtesy of The Images Publishing Group

“我在整个 90 年代的主要关注点是让建筑消失。日本在持续到 80 年代的异常高速经济增长导致了泡沫，经济在 90 年代初期突然停滞。作为一名建筑师，我已经忙了很多年，但在90 年代，突然间所有工作都在没有任何事先警告的情况下被取消。”

上世纪90 年代的日本非常寂静，一切都非常黑暗。日本有些人称这为‘丢失的十年’，在此期间东京的工作岗位很少。由于无事可做，我去了日本各地；我在旅途中遇到了各种各样的事情，也遇到了很多有趣的人。在建筑师的生活中，有一段时间没有工作其实非常重要。

我在濑户内海的一个叫做大岛的岛上遇到了很多人，他们被要求设计一个引人注目的天文台。在我看来，他们无疑认为，由于我是一名在 80 年代东京繁荣时期和经济泡沫时期工作的建筑师，因此我可以创建一个真正引人注目的天文台。然而，我的感觉正朝着与 80 年代的自信美学完全不同的方向，我想让建筑消失在周围的环境中。

我非常不喜欢自己作为一名建筑师，与我的前辈一样在 80 年代的繁荣时期以庆祝的方式创造了引人注目的建筑。我完全厌恶这一切。

尽管被要求设计一个显眼的天文台，但我想设计一个看不见的天文台。我这样的行为相当反常。

“My key focus throughout the 1990s was on making architecture disappear. The abnormally high economic growth that had continued through the 1980s in Japan led to a bubble, and the economy suddenly stalled at the beginning of the 1990s. I had been extremely busy as an architect for a number of years, but in the 1990s suddenly all jobs were canceled without any prior warning.
The 1990s in Japan were such a quiet time, when everything was truly dark. Some people in Japan call this the Lost Decade, during which time there were very few jobs in Tokyo. Since there was nothing to do, I traveled to various regions around Japan; I had various encounters during my travels, and met quite a few interesting people. Having periods when you do not have any work is very important in the life of an architect.
I met a number of people on an island called Ooshima in the Seto Inland Sea and was asked to design an observatory that would stand out. In my view, they undoubtedly thought that since I was an architect who had done work during the boom era and economic bubble in Tokyo during the 1980s, I could thus create an observatory that would really stand out. My feelings, however, were facing in an entirely different direction from that of the 1980s’ assertive aesthetics: instead, I really wanted to make architecture disappear into its surroundings.
I strongly disliked the part of myself as an architect that had created conspicuous architecture in a celebratory manner during the boom of the 1980s, as well as my predecessors. I was totally disgusted by all of it.
In spite of the fact that I was being asked to design a conspicuous observatory, I wanted to design an observatory that could not be seen. My actions were quite perverse.

V&A Dundee / Hufton + Crow
V&A Dundee by Hufton + Crow. Courtesy of The Images Publishing Group        

虹口Soho / Eiichi Kano
Hongkou Soho by Eiichi Kano. Courtesy of The Images Publishing Group

FRAC 马赛 / Nicolas Waltefaugle
FRAC Marseille by Nicolas Waltefaugle. Courtesy of The Images Publishing Group

让建筑消失的最简单方法就是把它埋于地下。我认为观景台所需的功能，包括观景台本身，连接它的台阶和洗手间，都应该用泥土覆盖而使它们消失。当我制作模型来研究这个设计时，我意识到一件非常重要的事情，实际上这座建筑并没有完全消失。

尽管我认为我已经让建筑消失了，但那个地方出现了新的地形。我创造了新的地形，而不是建筑。而且我意识到的重要一点是，让建筑消失是不可能的。我意识到，虽然我认为我已经让建筑隐形了，但不可避免地会创造出其他东西来取而代之。我没有注意到我需要对在那个位置创建的东西负责。因此，我承担了为代替建筑而创建的新地形的责任。

这种责任可能比创建建筑更为重大。由于建筑的寿命一般可以用几十年来计算，你可以采取最终建筑将不再在那个位置的态度。然而，对于地形来说又并非如此。尽管由于风雨的影响，地形会以不同的方式发生变化，但它仍然永远留在那个位置。当你创建的地形在不可阻挡的时间长度内继续存在时，你需要承担与该事实相称的责任水平。当我意识到这一点时，我创建建筑的方式完全改变了。经济泡沫的破灭让我意识到了这件重要的事情。”

The easiest way to make architecture disappear is to bury it underground. I thought that the functions required for an observation deck, including the deck itself, the steps that approach it, and the restrooms, should all be covered with earth to make them disappear. I realized something very important when I was making a model to study this design: I became aware that in fact the architecture really did not disappear at all.
Even though I thought that I had made the architecture disappear, new topography appeared in that location. I had created topography instead of architecture. The important thing that I realized was that it is impossible to make architecture disappear. I became aware that while I thought I had made the architecture invisible, something else was inevitably created in its place. I had not noticed that I was responsible for what was being created in that location. Thus, I assumed responsibility for the new topography that was being created in place of architecture.
This responsibility may be something that is even more serious than creating architecture. Since the life of architecture can generally be counted in the dozens of years, you could adopt the attitude that eventually it will no longer be in that location. However, this is not true for topography. While topography changes in varying ways due to the effects of wind and rain, it continues to remain in that location forever. When you create topography that continues to exist for that inexorable length of time, you need to assume a level of responsibility commensurate with that fact. When I realized this, the way that I created architecture completely changed. The bursting of the economic bubble made me aware of this important thing.”

船坞 1862 / Erieta Attali
Shipyard 1862 by Erieta Attali. Courtesy of The Images Publishing Group

北京茶馆 / Nacasa & Partners
Beijing Tea House by Nacasa & Partners. Courtesy of The Images Publishing Group

隈研吾通过提出以下问题来结束本文的这一部分：

那么，建筑师在创建地形时究竟应该关注哪些因素呢？

当他详细阐述他深思熟虑的回应时，他的话从书面文本无缝衔接到随后的插图丰富的部分。今年夏天，所有那些对隈研吾的东京奥林匹克体育场赞不绝口的人——建筑师和爱好者——都会很高兴地将这座建筑融入这位日本建筑师的杰出作品的广泛领域中。

Kuma concludes this section of the essay by posing the following question:
So, what exactly are the considerations that the architect should focus upon when creating topography?
As he elaborates his carefully crafted response, his words seamlessly segue from written text to the richly illustrated volume that follows. All those who find themselves fawning over Kengo Kuma’s Olympic Stadium in Tokyo this summer — architects and enthusiasts alike — will be delighted to contextualize the building within the wide spectrum of the Japanese architect’s brilliant work.