| Type | work | bureau |
|---|
| Year / years | 1974 | 1930 |
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| Place | Los Angeles, Los Angeles, United States | Osaka, Osaka Prefecture, Japan |
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| Place context | Los Angeles, Los Angeles, United States | Representative site: Kashihara, Kashihara, Japan |
|---|
| Climate | Climate unavailable | Climate unavailable · via Kashiharajingū-mae Station |
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| Focus | Museum | 3 works in corpus |
|---|
| Architects | | |
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| Linked context | Bureaus - Richard Meier & Partners Architects
| Notable works - Kashiharajingū-mae Station
- Abeno Harukas
- Nissay Theatre
|
|---|
| Typologies | - museum
- campus building
- house
- performance venue
| - building
- tower
- performance venue
|
|---|
| Materials | Not recorded yet. | - concrete
- glass
- steel
- plaster
- timber
|
|---|
| Carbon signals | museum, campus building, house, and performance venue gives us a typology starting point even though the work does not have a recorded material palette yet. No dominant drivers yet. | Concrete, Steel, and Glass look like the main embodied-carbon drivers in the current palette. |
|---|
| Lower-carbon levers | No levers surfaced yet. | - 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.
- Compare system-level facade options, reduce overspecification, and pair glass choices with structural reductions.
- Use classification and product-level EPD research to place this material more precisely.
|
|---|
| Accessibility | Publicly accessible | 1 of 1 recorded works are publicly accessible |
|---|
| Related books | No linked books yet. | No linked books yet. |
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