| Type | work | bureau |
|---|
| Year / years | 1930 | 1930 |
|---|
| Place | Montevideo, Montevideo Department, Uruguay | Osaka, Osaka Prefecture, Japan |
|---|
| Place context | Montevideo, Montevideo Department, Uruguay | Representative site: Kashihara, Kashihara, Japan |
|---|
| Climate | Climate unavailable | Climate unavailable · via Kashiharajingū-mae Station |
|---|
| Focus | House museum | 3 works in corpus |
|---|
| Architects | | |
|---|
| Linked context | Bureaus | Notable works - Kashiharajingū-mae Station
- Abeno Harukas
- Nissay Theatre
|
|---|
| Typologies | | - building
- tower
- performance venue
|
|---|
| Materials | | - concrete
- glass
- steel
- plaster
- timber
|
|---|
| Carbon signals | Brick and Stucco look like the main embodied-carbon drivers in the current palette. | Concrete, Steel, and Glass look like the main embodied-carbon drivers in the current palette. |
|---|
| Lower-carbon levers | - Review masonry extent, reuse opportunities, and alternate assemblies where the design language allows it.
- Use classification and product-level EPD research to place this material more precisely.
- 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.
- 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 |
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| Related books | No linked books yet. | No linked books yet. |
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