| Type | work | bureau |
|---|
| Year / years | 1978 | 1968 |
|---|
| Place | Santa Monica, California, United States | Paris, Ile-de-France, France |
|---|
| Place context | Santa Monica, California, United States | Representative site: Nankō-kita, Nankō-kita, Japan |
|---|
| Climate | 12°C · 13.2h daylight · 6 km/h wind | 18°C · 13.2h daylight · 10 km/h wind · via Osaka Maritime Museum |
|---|
| Focus | Houses | 4 works in corpus |
|---|
| Architects | | |
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| Linked context | Bureaus | Notable works - Osaka Maritime Museum
- Guangzhou Gymnasium
- Oriental Art Center
- Suzhou Culture and Arts Centre
|
|---|
| Typologies | | - museum
- building
- performance venue
- landscape
|
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| Materials | | Not recorded yet. |
|---|
| Carbon signals | Steel and Glass look like the main embodied-carbon drivers in the current palette. | museum, building, performance venue, and landscape gives us a typology starting point even though the work does not have a recorded material palette yet. No dominant drivers yet. |
|---|
| Lower-carbon levers | - Prioritize recycled content, efficient sections, and procurement-specific EPD comparisons.
- Compare system-level facade options, reduce overspecification, and pair glass choices with structural reductions.
- Track sourcing, certification, and assembly logic rather than assuming timber is automatically low impact.
| No levers surfaced yet. |
|---|
| Accessibility | Access not recorded | 3 of 3 recorded works are publicly accessible |
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| Related books | No linked books yet. | No linked books yet. |
|---|