| Type | work | bureau |
|---|
| Year / years | 1990 | 1965 |
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| Place | Florida, Florida, United States | Tokyo, Tokyo, Japan |
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| Place context | Florida, Florida, United States | Representative site: Sendagaya, Sendagaya, Japan |
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| Climate | 20°C · 13.0h daylight · 17 km/h wind | 20°C · 13.3h daylight · 8 km/h wind · via Tokyo Metropolitan Gymnasium |
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| Focus | Performance venue | 15 works in corpus |
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| Architects | | |
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| Linked context | Bureaus - Michael Graves Architecture & Design
| Notable works - Tokyo Metropolitan Gymnasium
- National Museum of Modern Art, Kyoto
- Japanese Sword Museum
- Iwasaki Art Museum
|
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| Typologies | - performance venue
- hospitality
| - building
- museum
- performance venue
- office
- gallery
- house
- hospitality
- tower
|
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| Materials | | - concrete
- glass
- steel
- granite
- rammed earth
- stone
- earth
|
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| Carbon signals | The recorded material palette leans lower-carbon on paper, but procurement and quantity still matter. No dominant drivers yet. | Concrete, Steel, and Earth look like the main embodied-carbon drivers in the current palette. |
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| Lower-carbon levers | - Track sourcing, certification, and assembly logic rather than assuming timber is automatically low impact.
| - Look for lower-clinker mixes, reused structure, and scope reductions before fine-grained product swaps.
- Prioritize recycled content, efficient sections, and procurement-specific EPD comparisons.
- Use classification and product-level EPD research to place this material more precisely.
- Compare system-level facade options, reduce overspecification, and pair glass choices with structural reductions.
|
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| Accessibility | Publicly accessible | 7 of 7 recorded works are publicly accessible |
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| Related books | No linked books yet. | No linked books yet. |
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