維多利亞和阿爾伯特博物館鄧迪分館，蘇格蘭，英國

建筑設計：隈研吾建筑都市設計事務所

圖1 外景/Exterior view

“對于我們來說，這個項目的獨特之處在于它的位置——坐落在水與城市之間。正因為其獨特的位置，它有別于常見的項目場地。在我們開始思考該項目時，一位同事給我看了一張蘇格蘭東北部的懸崖照片：看起來就像是泥土和水進行了一段漫長的對話，最終形成了這種驚人的形狀。維多利亞和阿爾伯特博物館鄧迪分館的設計試圖通過打造一座人工懸崖將這種地理獨特性轉譯到建筑當中。”

——隈研吾，維多利亞和阿爾伯特博物館鄧迪分館建筑師

環境

這座建筑位于鄧迪昔日繁忙的海濱基礎設施用地——已拆除的格雷伯爵碼頭遺址。它醒目的形式重新連接了鄧迪的中心地帶與泰河，呼應著那造船及紡織品貿易還是其經濟命脈的時代。

形式

博物館的形式靈感來源于蘇格蘭東北海岸線上的懸崖及其覆蓋層。預制混凝土戲劇性的線條沿著彎曲的混凝土墻橫向延伸，由此產生的陰影圖案可隨著天氣以及一天中不同的時間而變化。

維多利亞和阿爾伯特博物館鄧迪分館的外觀猶如兩座倒置的金字塔，于底層相互分開，卻又在上部畫廊層纏繞相連。這樣一來，博物館的中心不僅變出了一座開放的拱門——重新連接了城市與河流，更為泰河增添了一抹風景。同時，拱門的設計還參考了附近具有紀念意義的“皇家拱門”——于1844年為迎接維多利亞女王和阿爾伯特王子到訪而建。

結構

隈研吾雄心勃勃的設計需要諸多工程師和施工人員的配合。這是一種獨特而復雜的結構，外墻縱橫纏繞，打造出類似波浪或船身的形狀。

工程師原本計劃在60cm 厚的墻里嵌入巨大的鋼板，但在團隊利用3D 模型和分析工具對建筑形狀進行實驗后，他們決定將墻體的厚度削減一半，并用更薄的鋼筋替換其內部的鋼骨架。

整個建筑的集成3D 模型被視為一種協調工具，讓參與施工的建筑師、工程師和承包商可以將所要建造的結構數字化。

完工后的結構真實呈現了讓其一舉奪冠的卓越設計——屋頂最大的懸挑遠遠超出博物館自身的占地面積，長達驚人的19.8m。

空間

維多利亞和阿爾伯特博物館鄧迪分館的建筑面積為8445m2，包括主大廳、學習中心、禮堂、展覽館和永久的蘇格蘭設計畫廊。建筑的底層分為獨立兩塊，但在上方第二層相連。

該博物館擁有蘇格蘭最大的博物館標準式臨時展覽空間，面積達1100m2，另有550m2的蘇格蘭設計畫廊。

施工過程

在施工初期，一塊由12,500t 石頭建成的臨時圍堰于2015 年5 月完工，為整個施工過程保駕護航；于2017 年夏天被拆除，標志著博物館施工的最后階段正式開始。

在完成地基后，兩個獨立的核心筒開始施工。內墻可從該核心筒一直延伸至建筑的周邊，以支撐向外傾斜的外墻。

接下來是混凝土外墻的澆筑過程，一片巨大的臨時結構網被搭建出來以配合整個過程。

這種結構由模板和腳手架組成。模板充當著一種模具，供澆筑的混凝土干燥與硬化，而腳手架則支撐著日漸成型的建筑。

數控機器通過三維模型的信息來切割模板。這一臨時結構由一支20 人的設計團隊完成，并在5個不同的地方進行加工制造。在工地現場，有多達30 位木工參與了該結構的制作，而場外的木工則超過了50 人。

當2429 塊預制混凝土板都被吊起到位時，建筑的外部工程竣工了。這些建筑周圍的混凝土板大小、形狀和位置均各不相同，隨著太陽光線在博物館周圍的移動而產生不斷變化的陰影圖案。

圖2 外景/Exterior view

2

每塊混凝土板重達2t、長達4m，是用角鐵安裝在預先澆筑于外墻上的凹槽而固定在建筑物上的。吊裝和固定所有預制混凝土板的過程大約耗時7 個月。□（王單單 譯）

項目信息/Credits and Data

地點/Location: 1 Riverside Esplanade, Dundee, DD1 4EZ,Scotland, UK

客戶/Client: Dundee City Council

客戶項目經理/Project Manager: Turner & Townsend

總承包商/Main Contractor: BAM Construct UK

主持建筑師/Lead Architect: Kengo Kuma & Associates

合伙負責人/Partners in Charge: Kengo Kuma, Yuki Ikeguchi, Teppei Fujiwara

項目建筑師/Project Architect: Maurizio Mucciola

項目經理/Project Manager: John Tavendale, Turner &Townsend

交付建筑師/Delivery Architect: PiM.studio Architects

執行建筑師/Executive Architect: James F Stephen Architects

結構/海事及土木工程設計/Structural/Maritime and Civil Engineer: Arup

機電消防聲學工程設計/Mechanical, Electrical, Fire and Acoustic Engineer: Arup

外立面工程設計/Fa?ade Engineering: Arup

照明設計/Lighting: Arup

景觀建筑設計/Landscape Architect: Optimised Environments(OPEN)

工程造價測算/Quantity Surveyor: CBA

標識系統設計/Wayfinding and Signage: Cartlidge Levene

主持設計/Principal Designer: Kengo Kuma & Associates/PiM.studio Architects

主持設計顧問/Principal Designer Advisor: C-MIST

無障礙設計咨詢/DDA Consultants: C-MIST – James F Stephen Architects

水景專家/Water Feature Specialist: Fountains Direct

餐飲及商業設計/Café, Restaurant and Retail Design:Lumsden Design

基地面積/Site Area: approx.11,600 m2

總建筑面積/Total Floor Area: 8445 m2

預算/Budget: 80.11M GBP

繪圖/Drawings: Kengo Kuma & Associates

攝影/Photos: Hufton+Crow (fig.1-3,6-9,12-16), Ross Fraser McLean (fig.19-22)

圖3 夜景/Night view

"The uniqueness of this project for us is in the position between the water and the city – it is very different from a normal site as it sits in between land and water. As we started thinking about the project, one of my colleagues showed me a picture of the cliffs of north-eastern Scotland – it's as if the earth and water had a long conversation and finally created this stunning shape. The design of V&A Dundee attempts to translate this geographical uniqueness into the building by creating an artificial cliff."

– Kengo Kuma, architect of V&A Dundee

Setting

The building is positioned at the heart of what was once Dundee's bustling maritime infrastructure,on the site of the demolished Earl Grey Dock. Its striking form reconnects the heart of Dundee to the Tay, echoing the time when shipbuilding and the trade in textiles were its economic lifeblood.

Form

The form of the museum is inspired by the cliffs on Scotland's north-eastern coastline, with the cladding – dramatic lines of pre-cast concrete that run horizontally around the curving concrete walls –creating patterns of shadows which change with the weather and the time of day.

V&A Dundee's appearance is of two inverted pyramids which are separate at ground floor, and then twist to connect at the upper galleries floor.This creates an open archway through the centre of the museum, reconnecting the city with the river,framing the view of the River Tay, and referencing the commemorative Royal Arch which was built nearby to welcome Queen Victoria and Prince Albert to the city in 1844.

Structure

Kengo Kuma's ambitious design demanded much of both engineers and constructors. It is a unique and complex structure with exterior walls which twist both horizontally and vertically, creating shapes like waves or the hull of a ship.

The original plans devised by the engineers included walls up to 60 cm thick with huge pieces of steel embedded inside. By experimenting with the shape of the building using 3D models and analysis tools, the team cut the thickness of the walls by half and replaced the steel skeleton inside with much thinner reinforced bars.

An integrated 3D model of the entire building was created as a coordination tool, meaning the architects, engineers and contractors involved in the construction could all study a digital version of what they were about to build.

The finished structure remains true to the extraordinary design that won the competition, with the largest overhang seeing the roof extend an impressive 19.8 m beyond the footprint of the museum.

圖4 立面/Elevations

圖5 剖面/Sections

圖6 .圖7 外景/Exterior views

圖8 局部/Detailed view

圖9 外景/Exterior view

Spaces

V&A Dundee has a floor area of 8445 m2and includes a main hall, learning centre, auditorium,exhibition galleries and the permanent Scottish Design Galleries. At the ground floor level, it is arranged as two separate buildings. These join together on the upper second floor.

V&A Dundee has the largest museum-standard temporary exhibition space in Scotland, at 1100 m2,in addition to the Scottish Design Galleries at 550 m2.

Construction Process

At the start of construction, a temporary cofferdam, made from 12,500 tonnes of stone. The cofferdam was completed in May 2015 and was in place throughout the build. It was removed in the summer of 2017, marking the start of the last phase of the museum's construction.

With the installation of the foundation, two separate cores could be built. From these cores,interior walls reaching out to the perimeter of the building – designed to support the outward leaning exterior walls – were erected.

Next came the process of pouring the concrete exterior walls. To do this a huge web of temporary structure was created.

This structure comprised of formwork, acting as a mould in which the poured concrete could dry and harden, and falsework, which supported the emerging building.

The formwork was cut by digitally controlled machines, using information from the 3D model. A design team of 20 people worked on this temporary structure, which was manufactured in five different locations. Off-site, more than 50 joiners were involved in its fabrication, while another 30 were located on-site.

The exterior of the building was completed when all the 2429 pre-cast concrete panels were lifted into place. The size, shape and placement of these vary around the building, creating changing patterns of shadows as the sun moves around the museum.

Each panel, weighing up to two tonnes and measuring up to four metres in length, was attached to the building using brackets fixed into channels which had been cast, in advance, into the exterior walls. The process of lifting and fixing all of the pre-cast concrete panels into place took around 7 months to complete.□

圖10 總平面-首層平面/Site-Ground floor plan

圖11 展館平面/Galleries floor plan

圖12 .圖13 內景/Interior views

圖14 -16 外景/Exterior views

圖17 外立面參數化模型/External fa?ade parametric model

圖18 外墻細部/External wall detail

圖19 -22 施工過程/Construction process