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Designed by MUS Architects, their proposal for the Tokyo Fashion Museum was recently
named the winner of the World Architecture Awards 20+10+X. The whole structure of the
building, from the entry yard to the top of the tower has been wound with a homogenic lether
relating to the basic fabric of every fashion designer and constituting the base of every
collection. Fibers of the fashion museum are lead in two rows one layer of fiber winds
around the building clockwise, the other one counter-closkwise thus resulting in a kind of a
plaiting. Due to the small dimensions of the parcel being located in the intensely urbanized
city tissue of Tokyo, the wide program of the fashion museum has been set up vertically on
22 levels (19 of which above the ground level). The result is a functional pile of layers
program squares. More images and architects description after the break.
The tissue of the plot has been treated as an elastic fabric, which can be stretched, pulled
upwards and twisted so as to form the desired shape, based on the design-program
analysis. A function of a museum is commonly associated with buildings with a wide,
horizontal program-spatial layout. They tend to be objects which are exposition
packagings, places of an individual contemplation, but also areas for meetings, drawing
society into their world.
In order to create an urban emptiness, out of which a public space can be created that will
draw into the building interior, the entry level program square has been moved to the lower
ground floor and has been connected with the city via a wide ramp. The ramp flows into the
lower level, forming an entry level hall, of the shape and c olor of a solidified flow of magma.
The following functions have been located there: reception, souvenir shop and seat ing
places. The form of the underground relates to the holy mountain Mount Fuji; the bottom
part is a metaphor of magma, whereas the conical upper structure snow covered
summits.
On the ground level, a yard has been organized on slopes created of plains, which like
elastic fabric are stretched out of the plot corners. They connect further down the ground
and twist, leading upwards to the corners of the raised storeys. The surface of the yard
canopy has been shaped by the wrapped up fabric enabling screening of pictures and
multimedia presentations. The pile of program squares, raised above the city level, has
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26 AUG2012by Alison Furuto
Awarded Competitions miniMuseums and Libraries Japan
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Courtesy of MUS Arc hitects
Courtesy of MUS Arc hitects
Courtesy of MUS Arc hitects
been processed further, preliminarily moving them around clockwise within the borders of
the plot. Each of the pile levels have been allocated certain functions, in order of the
assumed and transformed functional program and of a diagram of mutual spatial and logical
relations.
http://www.archdaily.com/425913/the-stadiums-of-the-three-runners-for-the-2020-olympics-tokyo-madrid-and-istanbul/http://www.archdaily.com/?attachment_id=266430http://www.archdaily.com/?attachment_id=266429http://www.archdaily.com/?attachment_id=266428http://info.criteo.com/psu/privacy/informations?infonorm=3&partner=10926&campaignid=37644&zoneid=8683&bannerid=1718310&displayid=a666fcda9a7/27/2019 Furuto, Alison. Tokyo Fashion Museum Proposal
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11/09/13 Tokyo Fashion Museum Proposal / MUS Architects | ArchDaily
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Courtesy of MUS Arc hitects
Courtesy of MUS Arc hitects
A further step of hybridization of a base model is diversification of the level heights
changing the space form of given interiors, creating a preliminary layout of the desired
emptiness-mass balance. The resulting level layout has been connected via a vertical
construction, the communication and technical infrastructure core. Vertical partitions the
external walls consist of functional elements, generated by the earlier assumed set of the
program squares.
The cubature created in this way is a pile of simple, basic geometric shapes boxes piled
up one on another according to the assumed order of the plan of the building and their
mutual shift. The pile of shifted boxes is a partitioned 100-metre tower. Dividing the space
helps reduce the volume of the building mass optically and helps relate the horizontal
directions to the height of the surrounding buildings. The pile of boxes has been cut through
by horizontal straight lines thus creating stripes of glazing wrapping around the building and
providing a 360 degrees view. The biggest part of the museum the permanent display ,
devoted to given historical periods, has been shifted so that the first stage of the visit the
gallery dedicated to the oldest period covered by the program (the 20s) has been located
on the top of the pile. Lower down, the further levels have been dedicated to the subsequent
periods according to the time continuum.
The aim of this was to separate the oldest period from the contemporary city and to enforce
the historic sightseeing route by going lower down. In the subsequent layers of the gallery
holes have been cut through and stairs have been fitted in accordance with the assumed
visitor route, ie from the top to the bottom clockwise. This ensures a fluent transition
between the periods of fashion history. Going further down we go through the history,
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11/09/13 Tokyo Fashion Museum Proposal / MUS Architects | ArchDaily
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Courtesy of MUS Arc hitects
Courtesy of MUS Arc hitects
coming closer to the contemporary period as well as to the the contemporary tissue of the
city. Parking and deliveries have been organized on level 3, accessible via a lift located in
the west part of the plot. The upper part of the shaft has been covered with an elliptic
capsule finished up with a high class artificial grass. Aside from the transporting function,
the lift also constitutes an abstract sculpture enriching the yard.
The plaiting of the skin is then modified adjusting the meshes and its density to factors
such as lighting conditions, view openings and overall composition. Fibers of the fabric
winding around the museum cross at different angles, creating either a dense net or wide
meshes locally, providing a full opening of the building. The main core of the vertical
construction is a skeleton of the building, on which the ceiling has been based. This
solution allows the elevation to be free from construction elements so that a clear frameless
glass facade can be applied. Stripes of the external white walls have been wound by cable
arrangement fabric. The structure of the fabric is achieved by the use of white cables
made of artificial material complemented by a light frame made of carbon pipes. On the yard
level they are converted into steps seating places.
Interiors are homogeneous in terms of material and color. Maintained in white, they make a
natural background for exposition. White concrete flooring impregnated with resin has been
used. All the necessary installations should be fully hidden, simple, accessible, easy to
maintain and adjusted to the functional structure in the same time. They are held in the
walls of the communication route. The main utility rooms have been located on the level 1.
Architects : MUS Architects
Location: Tokyo, Japan
Team: Adam Zwierzynski, Anna Porebska
Type: Competition Entry
Date: 2010
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Co urt esy o f M US Arch it ect s Co urte sy o f M US Arch it ect s Co urt esy of MUS Arch ite ct s
Co urt esy o f M US Arch it ect s Co urte sy o f M US Arch it ect s Co urt esy of MUS Arch ite ct s
Co urt esy o f M US Arch it ect s Co urte sy o f M US Arch it ect s Co urt esy of MUS Arch ite ct s
Courtesy of MUS Architects Courtesy of MUS Architects site plan 01
site plan 02 floor plans runway level plan
Courtesy of MUS Arc hitects
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1 commentTosh
Share your thoughts
sections viewing axis diagram schematic diagrams
reference photos idea structure
skin building structure in layers exhibition rooms diagram
te rra ce s a nd vi ewi ng poi nts di agram e xp lod ed axon om etri c di ag ram d iag ra m 01
diagram 02 diagram 03 diagram 04
Reply
Looks like a Herzog & DeMeuron ripoff.
http://www.archdaily.com/266425/tokyo-fashion-museum-proposal-mus-architects/?replytocom=2700650#respondhttp://www.archdaily.com/266425/tokyo-fashion-museum-proposal-mus-architects/diagram11-tower-as-stack-of-layers/http://www.archdaily.com/266425/tokyo-fashion-museum-proposal-mus-architects/diagram9-sightseeing-route-by-going-lower-down/http://www.archdaily.com/266425/tokyo-fashion-museum-proposal-mus-architects/diagram6-colors/http://www.archdaily.com/266425/tokyo-fashion-museum-proposal-mus-architects/diagram5-on-the-ground-level-a-yard-has-been-organised-on-slopes/http://www.archdaily.com/266425/tokyo-fashion-museum-proposal-mus-architects/diagram10-exploaded-aksonometric-diagram/http://www.archdaily.com/266425/tokyo-fashion-museum-proposal-mus-architects/diagram8-terraces-and-viewing-points/http://www.archdaily.com/266425/tokyo-fashion-museum-proposal-mus-architects/diagram7-exhibition-rooms/http://www.archdaily.com/266425/tokyo-fashion-museum-proposal-mus-architects/diagram6-building-structure-in-layers/http://www.archdaily.com/266425/tokyo-fashion-museum-proposal-mus-architects/diagram4-intro-04-skin/http://www.archdaily.com/266425/tokyo-fashion-museum-proposal-mus-architects/diagram3-intro-03-structure/http://www.archdaily.com/266425/tokyo-fashion-museum-proposal-mus-architects/diagram2-intro-02-idea/http://www.archdaily.com/266425/tokyo-fashion-museum-proposal-mus-architects/diagram1-intro-01-reference-photos/http://www.archdaily.com/266425/tokyo-fashion-museum-proposal-mus-architects/floor-plan-3-schematic-diagrams/http://www.archdaily.com/266425/tokyo-fashion-museum-proposal-mus-architects/diagram-viewing-axis/http://www.archdaily.com/266425/tokyo-fashion-museum-proposal-mus-architects/section_all/http://info.criteo.com/psu/privacy/informations?infonorm=3&partner=10926&campaignid=37644&zoneid=8681&bannerid=1718315&displayid=94a9df0b1f7/27/2019 Furuto, Alison. Tokyo Fashion Museum Proposal
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