Florian Busch Architects フロリアンブッシュ建築設計事務所

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The Floating Stadium
浮競技場

2016-1017


(The project behind Tokyo Olympic Odyssey)

 

It is quite sobering to witness that —half a century after some of the best architectural projects of the 20th century kicked off a glorious period of genuinely public projects, many of them embracing the emerging understanding of the fallacy of closed systems— more and more of today’s “grands projets” are mere representations of self-centred myopia.

 

When in the late 50s —just a little over a decade after the world had almost collapsed under the worst of what nationalism can lead to— Tokyo was selected to host the 1964 Olympic Games, Japan rose to the occasion and showed, on the international stage of the Olympics, the positive powers of a collective spirit.

 

“Although they were very different characters, the architects worked closely together to realize their dreams, staunchly supported by a super creative bureaucracy and an activist state”. 

—Rem Koolhaas and Hans Ulrich Obrist in Project Japan

 

Anachronism

The years leading up to 2013, when Tokyo was chosen to host the 2020 Olympics, were a different time. Where the reset of the post-war era had brought the necessity of rethinking society as an interdependent organism, self-interest and complacency were now in the driving seat.

A proud committee, recruited from the ages of symbolic bravado, pondered the Olympic stadium and walked —heads high up, eyes sternly focussed on revenue— into the trap of a helplessly overblown brief for the (in their minds indisputably) new stadium. Rather than seizing this once-in-a-lifetime opportunity to again usher in a new era, this time around taking up the challenge of the 21st century, any vision was quelled a priori by the decision to bluntly replace the existing with a solution incapable of going beyond convention.

An international competition was held and some of the best of what the architectural world had to offer sent their docile submissions instead of challenging a competition destined to not produce greatness.

 

Opportunism

When the arguably most emphatically gesturing project was declared the winner, many of those who had up until then been complicit part of the entire undertaking, perhaps surprised by the extravaganza they had unwittingly been involved in, raised a hue and cry.

With success: Two years later, after verifying behind closed doors that a different, new proposal would still make it in time for the Olympics, the winning project was scrapped and replaced with a pro forma competition to find such a ‘new proposal’: less expensive and more in line with preconception. Interestingly, the conditions were now reshuffled, making a temporary add-on to the original stadium a real possibility. Except that the demolition of the original stadium had steamed ahead for months and was about to be completed.

 

Heterotopia

“The ship is the heterotopia par excellence. In civilizations without boats, dreams dry up”.

—Michel Foucault

 

As it became painfully clear that mediocrity was the last actor standing in this tragicomedy, our thoughts began to drift away towards a future much brighter than what was gradually becoming reality. We allowed ourselves to imagine, as one of many possible saner alternatives, a stadium freed from the baggage of an unnecessarily overwhelming permanence. A site without place, an Olympic stadium made by and for Tokyo, and many of the hosts to follow…

 

「2020年7月、新国立競技場という名の「船」が、お台場のレインボーブリッジの袂に錨を降ろし、東京が新たのオリンピックスピリットの旗手として立ち上がった。」

“In July of 2020, the New National Stadium, a ship, anchored under Odaiba’s Rainbow Bridge and Tokyo became the first host of an era of a newfound Olympic spirit.”

 

Excerpt from:

東京オリンピックオデッセイ| Tokyo Olympic Odyssey

 

Further reading:

 

 

Tokyo, Japan
and many cities around the globe

Type:
Sports, Cultural

Status:
Concept Design

Project Team:

FBA: Florian Busch, Tomotaka Yamano, Max Madeck, Jamie Eden

FBA:フロリアン ブッシュ、山野友嵩、マックス マデック、ジェイミー エデン



Maximum length: 269.72m
Minimum length: 194.96m
Waterline length: 226.34m

Height above waterline: 36.44m
Maximum draught: 9.66m
Total height: 46.10m

Seating Capacity: 60,000 + 20,000 standing on the roof + whatever context the ship docks onto

K House in Niseko
ニセコのK邸

Science Island Kaunas

Museo de Arte de Lima
リマ市立美術館

S House in Chiba
千葉のS邸

K8

Tagacho Community Centre
多賀町中央公民館

Guggenheim Helsinki

WHO Extension

Viaduct Gallery

Ota Culture Centre
太田市文化交流施設

House of Hungarian Music

Kinmen Ferry Terminal
金門フェリーターミナル

Our Private Sky

R4

Zentral- und Landesbibliothek Berlin
ベルリン中央図書館

伊豆の国市伝統芸能会館
Izu Centre of Traditional Performing Arts

同志社大学チャペル
Doshisha University Chapel

BL Project

Daegu Gosan Public Library
デグゴサン市立図書館

Haus der Zukunft Berlin
未来館 ベルリン

Zucca Restaurant
ズッカ

F&F Project

内にひらく家
House that opens up to its inside

Tohoku to the Future
未来遺産 – Creating Heritage

Tokyo Designers Week 2011
東京デザイナーズウィーク2011

Music & Space: Workshop in Yonesaki
音楽と空間: 米崎小学校

Echigo Tsumari Australia House

Toké 7
土気 7

雪の中の二軒
Two Roofs in the Snow

MOJAMOJA Lights

Nakadai Project
ナカダイプロジェクト

House on the Slopes
斜面の家

高田馬場の家
House in Takadanobaba

‘A’ House in Kisami
吉佐美のA邸

L House in Hirafu
ヒラフのL邸

Tile Turbulence

A Symmetry

The Rings of Dubai

neon

軽井沢の家
House in Karuizawa

RG Project

Strategies in the Wild

Berlin-Tokyo/Tokyo-Berlin
東京ベルリン/ベルリン東京

Teleconference

Geocoque

dalas

Searching for Urbanism:
Anti-Masterplanning the City