Genki Matsukawa SP2019 Portfolio SCI_Arc by Genki Matsukawa

PORTFOLIO

GENKI MATSUKAWA 2019 SP

Genki Matsukawa Southern California Institute of Architecture M.Arch II US: 100 S Santa Fe Ave, Suit 412, Los Angeles, 90013 CA, USA JP: 4-12-3 Ozenji-Higashi, Asao-Ku, Kawasaki, 2150018 Kanagawa, Japan US: 1 + 213.322.8951 JP: 81+ 44.987.6601 mgenki0606@gmail.com genki_matsukawa@sciarc.edu genki_matsukawa_works Genki Matsukawa genkimat.com © 2019 All rights reserved. No part of this book may be reproduced in any form without written permission of copyright owner.

PORTFOLIO

Genki Matsukawa

Southern California Institute of Artchitecture M Arch II SPRING 2019

Table of Contents Statement

Architectural Design

-- ----------------

First Semester SEMBLANCES

Second Semester Man-Made Nature Spring Show Selected

Semester 3 Fourth Enchanted Models

Preparation 4 Thesis Line You See, Line You Feel

Tectonics / Detail Design -- ------------------------

Semester 5 Third Design Development

142

Semester 6 First Advanced Material and Techtonics

198

Work 7 Undergrad Construction Documents

224

Visual Studies -- ------------

Semester 8 First Visual Study I

244

Semester 9 Second The Big Picture

266

Semester 10Fourth Dialogues Spring Show Selected

306

Art Studio -- --------

Semester 11Third BROKE Studio

330

Statement Genki Matsukawa is a Japanese architecture student born in Tokyo in 1988. He obtained an undergraduate degree of Engineering in Tokyo, Japan. He also received a B.Arch from SUNY Alfred in New York. Currently, he is a candidate for a masters degree in architecture at the Southern California Institute of Architecture (SCI_Arc) in Los Angeles, California. His belief in architecture and design is that good creativity happens when two contrasts are intersected. He has been trying to learn and absorb different studying fields,techniques, cultures, and values, into his projects. Studying abroard is a part of this process. At SCI_Arc, he is currently studying how to see and appreciate the reality happening in the world through new methodologies of architecture such as digital design and fabrication, and how to realize idea solving problems through schematic design, design development, and atchitectural models.

SEMBLANCES: Architectural Design Studio FALL 2017 ( First Semester )

Instructor: Marcelyn Gow / Team: Xiaogang Shen Location: Los Angeles, CA Program: Community Library Used Software and Tools

Modeling: Rhino 6, Grasshopper, Zbrush,Maya Photogrammetry: Autodesk Recap Scripting: Processing Render: Photoshop, Illustrator, Indesign, Keyshot Video:Premere, After effects Tools: 3dPrinter(Powder), Robot Arms(camera works)

Currently the discipline of architecture is in the process of being actively redefined by shifting political, social, technological, and ecological paradigms. In the 2GAX studio students explore the forefront of the discipline, leading the conversation about the next in terms of aesthetic agendas, architecture’s contemporary and future societal role, and the impact of theoretical and technological innovation on architecture’s design and communicative repertoire. The Compositional Morphologies studio places an emphasis on advancing formal strategies beyond the current state-of-the-art. Students integrate extradisciplinary echniques and

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technologies into the design workflow in order to develop innovative architectures that respond to changing societal, ecological and technological contexts. Students’ design work engages issues that range from fundamental morphological transformations through rigorous 3D modeling, to the role of the image and digital sampling in the production of architectural form. These issues are explored through a highly resolved building design.

https://vimeo.com/346269587

Photogrammetry and technological innovation on architecture’s design and communicative repertoire. The Compositional Morphologies studio places an emphasis on advancing formal strategies beyond the current state-of-the-art. Students integrate extradisciplinary echniques and technologies into the design wo 12

Opened texture

Texture with a Geometry

Textures Photo taken textures are generated with glitching program scripted. Four different color pattern and languages are mixed and turn into a new one which does not exist in the natural world.

Scripted by Casey Rhem

1. Original scanned texture of Soap 2. Glitched texture by processing

Soap is a very common material in our daily life but it is also very unnatural. The original factors of the soap are trimmed, distorted, glitched, and reorganized. The new space made out of bizarre pieces questions unusualness of public buildings.

Textures Glitched and bumped textures are applied onto the trimmed edges. The textures are extended and overhanging. The appearance gets less unnatural so that the building makes us questioned about the “semblances” of artificial and natural factors. 18

Section

GF plan

The surfaces of the soaps as separation extends down to the ground floor. The wall also generates the void space used for personal reading space and atrium of the stairs. The entrances on the three glitched walls are facing to the circulation of the flow inside of the building.

3F plan

The void space on center not only connects the spaces but generates a circulation.

Entrance

Roofing System with Skylight

Interior Perspective GF

Interior Perspective 2F

ALMINUM WINDOW FRAME t = 1/2” PAINTED ALMINUM PANEL t =1/4”

WARM FORMED COLORED SINGLE GLASS t = 1/2”

GFRC PANEL t = 1/2”

The facade system comprises three elements: the “glitches” made of aluminum panels supported by steel frame system, “original soap facade” made of GFRC panel and warm inflated glass panel system, and interior glazing system as a water and air sealing. The layer of air between the exterior façade and the sealing covers whole building as a heat insulation, air circulation, and maintenance area. The slits created by the bumpiness on the glitch façade receive daylight. The inflated green glass protect the books from UV lays. 30

GFRC PANEL t = 1/2”

CONCRETE FILLED DECK PLATE

STEEL FRAME WITH FACADE

ALMINUM WINDOW FRAME t = 1/2”

STEEL GLATING FOR ADMIN PATH STEEL BEAM SYSTEM

Man-Made Nature Atchitectural Design Studio SPRING 2018 DS 1201 (Second Semester) Spring Show Selected Instructor: Elena Manferdini / Team: William Maya Location: Flower district, Los Angeles, CA Used Software and Tools

Modeling: Rhino 6,Grasshopper, Zbrush,Maya Render: Photoshop, Illustrator, Indesign, Keyshot, Vray Video:Premere, After effects Tools: 3dPrinter(PLA)

The project is productively situated between a mid-rise and tower massing, during one of the fastest economic turns that transformed a low density industrial zone into a highly valuable land for mixed-used developments. These definitions are often relative to context and are relevant here, as the area of the project is in transition from horizontal fringe to a vertical landscape condition. This mixture of expansive market hall and repetitive vertical housing units will be exploited through the deliberate integration of nature, real, implied or fake. This combination will require innovative reconsider of circulation models, hybrid structural systems and an extensive exploration of material and color. Mixed-use buildings trade in

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programmatic distinction and historically have separated commerce and housing. Starting in the 1970’s the late architect and developer John Portman tested boundaries with grand atriums that created interior vistas and a mixture of atmospheres. The projects blurred the physical and/or implied line between expansive collective space, intimate units and nature. The section was utilized to offer a dramatic model for mixed programs. In this project we aim to challenge the clarity of these borders to design the spaces of the everyday that are punctuated by curated atmospheres that reinvent, and possibly distribute, the qualities market hall.

https://vimeo.com/346643239

Project Overview The Southern California Flower Market was established in 1909 when Japanese American farmers opened a large wholesale style market on Los Angeles Street near its current location. Large parts of the area were previously farmed by Southern California flower growers which made that area ideal for the establishment of the market. In 1923, the market moved to its current location, but ownership of the market is still controlled today by the decedents of the establishing Japanese American families. The buildings that currently hold the market were built in 1961 and 1981 and have become obsolete for the markets’ needs. Similar to 6AM, a large mixed use development designed by Herzog & de Meuron for the Arts District, the new Flower Market designed by Brooks + Scarpa offers a more dense use of land and seeks to reinvigorate the site. The Southern California Flower Market will be a mixed use development on a 3.8 acre site. Plans include the renovation of an existing building (retail + parking + commercial) and the demolition of a second to allow construction of a 14 story residential tower with 290 units. The location, 755 Wall Street in Downtown Los Angeles, is currently zoned for Light Manufacturing use and would require a zone change to permit housing. Ballot Measure JJJ mandates all projects that involve a major zoning change to provide low-income, subsidized units. 10% of the newly developed loft units at the Flower Market will be reserved to comply with measure JJJ and the LA City Planning Commission.

Precedent

Southern California Flower Market. Brooks + Scarpa Architects Los Angeles, CA. USA. 560.000 sqft Brooks and Scarpa Architects proposes to expand and redevelop the existing Flower Market facility between Maple Avenue and Wall Street, south of 7th Street, while maintaining the existing wholesale market. The existing property consists of two buildings, the north building (206,517 square feet) and the south building (185,111 square feet). Both buildings include open roof-top parking. The Architect proposes to maintain and renovate the north building and its roof-top parking and demolish the south building in preparation of a new building with one level of subterranean parking. The proposed scheme would be 15 stories (12-story residential tower, over three stories of office, retail, restaurant, wholesale flower market and parking) and 205 feet in height. The ground floor of the new south building would include two restaurants for general public use, a public paseo, retail uses, wholesale flower space, and bike storage. Pros: 1. Adequate public plazas and green space 2. Efficient circulation in the residential unit layout 3. Adequate Parking provided 4. Pedestrian-friendly market layout sustaining street-level interest

Cons: 1. No green space provided exclusively for individual apartments 2. Towering effect, when compared to surrounding, though softened to an extent by irregular massing

Presedent 1 photographs

Programmatic Analysis Overview The program analysis is based on a study of the Brooks + Scarpa proposal for the Southern California Flower Market. By analyzing the program distribution and adjacencies, as well as the way the proposal retains a part of the existing market on the northern part of the site (7th street). Brooks + Scarpa’s proposal is about 800,000 square feet,

Proposed Program Wholesale/ Storage/ Cooler Office/ Art Production Food/ Beverage Retail Event Space/ Lobbies/ Misc Parking Apartments (323 units) Residential Open Space (33.025 required) Covered Open Space (incl. balconies)

64.000 59.000 13.400 4.400 4.200 250.000 420.787 49.457 70.163

TOTAL

820.269

Residential Event Space Retail Parking Wholesale/ Storage Office/ Art Production

1. Proposed Program sqft

Zoning and Regulation The general plan land use of the Southern California flower market has being chnaged from being a “Light Manufacturing” type to “Community Commercial” based on project needs. The systems that are responsive to relevant codes and regulations were researched, and the principles of life-safety and accessibility standards were included.

3. Zoning diagram of the site

Studio Premise: Topiaries against Types The philosophical premise of the research conducted in the studio session hinges on the acceptance of the increasing erosion of the traditional metaphysical and rational foundations of modernism. The studio takes on Gianni Vattimo’s positive view, arguing that such shift, from strong to weak ontologies, enables a series of alternative reading of realities. The contemporary challenge is to develop a more rigorous process of interpretation, while enabling multiple, latent architectural manifestations. The studio aims to work with well-known typological architectural forms as massing strategy, juxtaposed to ambiguous material finishes -both natural and synthetic- applied to the design of architectural envelopes and interiors. Such novel materials with their cunning optical and sensorial effect will be able to instigate multiple readings of the canonical architectural object.

For the approach to the development of the Southern California Flower Market, we were interested in a reinterpretation of the relationship between man-made and organic nature, more specifically, we approached this relationship from the idea of the topiaries, in which flowers, shrubs or threes take onto well-defined shapes, creating a sense of controlled nature in its formal appearance. Our architectural proposal embraces formal ambiguity both in terms of our tectonic approach as well its massing strategy. The Simple platonic shapes are positioned in a way that makes them be perceived as dislocated and unstable, yet the linearity of the form and directionality reinforces its stiffness and platonic formality. The use of various reflective, refractive, opaque and shiny materials, like colorations of glass and steel, and iridescent and dichroic glass broadens the ambiguity of the acute geometry deceiving the senses and tricking the user and its reading of the architectural project. This project presents new interpretations and multiple architectural manifestations by embracing optical effects in its composition, which are able to generate different readings through the different views along the architectonic project.

Topiaries Evolution

Topiaries CloseUp

The optical effect in the world is one of the fundamental factors happening in the world as nature, such as shaded sunlight through tree leaves, reflection from the surface of sea and gradation of sunset in the sky. Our approach is to recall memories left in the deepest part of viewers mind with a merest hint.

The “fish skin” of the building composed of triangular panels amplify and enrich the reflection. The mullion behind and on the skin represent its geometrical and directional language which organizes each faces as a group.

The color, fish skins, and the dislocation of each geometry gives the building diversity with a whole composition, which was also represented by the topiary.

The building is composed of three crystals: the tallest building for the residents, the middle crystal for a flower market and auditorium, and the tail crystal for parking and office. The two tunnels between each crystal connect both long sides and give a rhythm to a continuous building. The landscapes are connected with entrances located on the building.

Render in the Urban Context

Turuntables

Enchanted Models Architectural Design Studio FALL 2017 ( First Semester )

Instructor: Tom Wiscombie, Brendan Ho Location: Covermymeds Headquarter Columbus, Ohio Program: Office Used Software and Tools

Modeling: Rhino 6, Zbrush,Maya Render: Photoshop, Illustrator, Indesign, Keyshot Tools: 3dPrinter(PLA)

“The thing about architectural models is that

they are intended to represent things at another scale. We accept that and imagine things that are much bigger, although we of course know that the model itself is a specific and irreducible entity that does more than just point at the “real” thing. Model kits-- often from outside architecture-are a special kind of model. They have the dual quality of both being kits of parts that make a “scale” model, but the “set” is also crucial to the overall understanding of the thing. Further, beyond the set is the box, which is often as crafted and bespoke as the model kit itself, and designed to specifically pack, nestle, and display the parts inside. Other things accompany model kits as well, special decals, instruction manuals, and posters.

to the real thing, but it also exists as a cornucopia of parts and pieces that can be laid out like treasures on a table-- a flat ontology of vastly different styles and scales of things. This semester we will engage the model kit as a space for experimentation about parts, containers, sets, collections, and related obsessions. We will begin by examining the history of model kits, from tiny to mega-scale, contemporary and very old as well as attendant accessories and special editions. We will explore the realm of container graphics, instruction posters and manuals in terms of graphic style and begin to speculate on how to extend and even break model kit logic. (SCI_Arc syllabus)

The total experience of the model kit is somewhere in between all of these parts, and assembled together into something which both points at the final scale model which in turn point

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Research Project: Enchanted Models Our studio started with collecting all the histories, aesthetics, and techniques of models in the world, and tried to extract the essence of the models to be applied to our projects.

Precedent stuidy: Matsudai Art Center, Nagano, Japan Architects: MVRDV One of the remarkable features for Matsudai is snow. The place has meters of accumulation in winter, which makes this art center unique. The main building is lifted with “white arms” up to the second floor, and the height of the floor is set up to the level of Maximum estimated snow height. The only box and roof artifacts appear in winter. This strong relationship with between snow and the building was the starting point of this project.

Presedent 1 photographs

Reality and Digital When the 3d model comes to real, structural thinking is very critical for design. In this case, the chassis has to support all the loading of the parts; even the weigh of original cast iron blocks.

Genki Matsukawa Graduate Thesis Magazine 2019 Spring Advisor: Anna Neimark

Table of Contents Lines You See, Lines You Feel

009

Speculation: Line Words Describe Lines

010

Good Line and Bad Line

012

A Catalog of Lines

018

Lines around Me Lines and Creation

Reality: Immigrants of Japan Lines and Immigration

035

Case Study: Immigration and Symbolism

041

Lines I Make: Site and Program

043

Lines You See Lines You Feel My thesis is about two lines. It is very mysterious that we, as architects are still purposefully using geometrical lines on purpose in contemporary design processes even though we are finally able to deal with space without it. We rarely use real mass such as clay to describe three-dimensional objects; instead we use the frame to draw objects without mass. Plans, sections, axonometrics, and other linebased drawings are still our main media by which we develop space and architecture. In addition to geometrical meaning, the line also represents a social and conceptual meaning. The line does not exist geometrically, but it exists in our mind. We use the word ‘line’ to connect. For instance, conceptual sketches for ideas, a family tree for the parents and children, and an organizational chart for the team members are all made out of lines. Connection is equal to a line. It has been a while since the word “globalism” had shown up. Development of technologies releases and reconnect individuals. We are now in the true beginning of the globalism. In many developed countries, governments are discussing how to promote a more fluid society. For instance, in Japan, people are determining whether to accept more immigrants for the sustainability of the labor force. According to the Japanese government, around 40 percent of Japanese will be over 65 years old in 2040. The

birth rate will also be very low by this year. Japan has to start accepting people from younger countries in terms of social sustainability. Currently, Vietnamese, Chinese, and Filipino are the majority of applicants of working visa. Meanwhile, many societies are turning in the opposite way. Border walls are getting higher and thicker. People who do not want globalism gather together, and making hate speeches in front of small communities like bullying. Countries are now questioning themselves as to what and how the new connection between individuals and communities should be in the world of diversity. As a Japanese person, my thesis is a message from me and the Japanese government to immigrants as a statement of welcome to our nation. My thesis magazine, “Lines You See Lines You Feel” is about the contrast between the role of the line in conceptual speculation versus reality. In the speculation section, I am studying both geometrical and social lines and introducing the core idea that interaction between we and line defines good and bad lines. The “Realism” section is a report about Japanese immigration system, a case study of symbolism as a gate, and site and program selection of the thesis project, using the core idea of interaction between you and lines.

Words Describes Lines Globalism The belief, theory, or practice of adopting or pursuing a political course, economic system, etc., based on global rather than national principles; an outlook that reflects an awareness of global scale, issues, or implications; spec. The fact or process of large businesses, organizations, etc., operating and having an influence on a worldwide scale, globalization.

Immigration (Immigrate) Intransitive. To come to settle in a country (which is not one’s own); to pass into a new habitat or place of residence Etymology: Early 17th century (in the general sense ‘move from one place to another’): from Latin migrat- ‘moved, shifted’, from the verb migrare.

Emigré An emigrant of any nationality, esp. a political exile.

Expatriate A person who lives outside their native country. Etymology: Mid 18th century (as a verb): from medieval Latin expatriat- ‘gone out from one’s country’, from the verb expatriare, from ex- ‘out’ + patria ‘native country’.

Diaspora Any group of people who have spread or become dispersed beyond their traditional homeland or point of origin; the dispersion or spread of a group of people in this way; an instance of this. Etymology: Greek, from diaspeirein ‘disperse’, from dia ‘across’ + speirein ‘scatter’. The term originated in the Septuagint (Deuteronomy 28:25) in the phrase esē diaspora en pasais basileias tēs gēs ‘thou shalt be a dispersion in all kingdoms of the earth’.

Lineament An imaginary line in your mind when you are drawing ; also, a delineation, diagram, outline, sketch; plural outlines, designs. lit. and fig. Obsolete. Etymology: Late Middle English: from Latin lineamentum, from lineare ‘make straight’, from linea ‘a line’ (see line).

Line 1. (Mathmatical) A straight or curved continuous extent of length without breadth. 2. A long, narrow mark or band. Etymology: Old English līne ‘rope, series’, probably of Germanic origin, from Latin linea (fibra) ‘flax (fibre)’, from Latin linum ‘flax’, reinforced in Middle English by Old French ligne, based on Latin linea.

Connect 1.Bring together or into contact so that a real or notional link is established. a.Join together so as to provide access and communication. 2.Associate or relate (something) in some respect. Etymology: Late Middle English (in the sense ‘be united physically’; rare before the 18th century): from Latin connectere, from con- ‘together’ + nectere ‘bind’.

Boarder One who boards, or has his food, or food and lodging, at the house of another for compensation; one who lives in a boarding-house or with a family as one of its members, at a fixed rate. spec. a boy who boards and lodges at a school, as distinguished from the day-boy who comes and goes daily, and the day-boarder who remains at school for dinner, but goes home at night.

Drawing The formation of a line by drawing some tracing instrument from point to point of a surface; representation by lines, delineation; hence, ‘any mode of representation in which the delineation of form predominates over considerations of colour’; the draughtsman’s art.

Diagram An illustrative figure which, without representing the exact appearance of an object, gives an outline or general scheme of it, so as to exhibit the shape and relations of its various parts.

Projection The drawing, esp. on mathematical principles, of a map or plan of a surface, or of a two-dimensional diagram of a three-dimensional object; esp. the representation on a plane surface of (part of) a spherical surface, esp. that of the earth or the celestial sphere; any of the geometrical or cartographic methods by which this may be done.

Good line and Bad line Line is not just a geometrical mark on paper documents, and it is not the end. The interaction of information between you and line. In this section, I define a good line and bad line.

Left: A metal disk founded in remains with letters Right: A trace of the letters drawn by historian

Good line It is suggestive and rich.

is a projection of intention.

A good line has an interaction of information with people who see, read, and use. The drawing above is a sketch by a historian and below is the original artifact. The historian received the information of grammar, shape of letter, other cultural or historical information from the disk. In return, the historian is giving a question and further speculations onto the lines on the disk. The sketch is a result of a good interaction with the disk. The more sophisticated information it has, the better it is. However, this idea is very relative because any lines could suggestive from different 99 perspective.

100

Bad line and distractive.

is isolated, annoying

The more information it happens, the better it is. A bad line cuts, stops, and distracts the communication which the creator of the line supposed to give. Also, a bad line is conceptually not connected with other lines. However, some lines happened to give good information so that this definition is very relative.

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102

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A Catalog of Lines

What is the line? We can draw a line even with a finger on the ground, but it is very tough to explain what it is. This chapter is seeking core factors composing the line by introducing lines around me; lines on documents such as letters, symbols, and diagrams; and lines familiar with immigrants.

104

Lines around Me The first step is about lines around me. I took a field trip to find lines which give me interesting thoughts. I put red marks for review and see which part is the line or not. The notes are the reason why I think/do not think it is a line.

105

The school building of SCIArc has a lot of grafities on the walls of the building. The broken line is a line because the author was intended to get it but the bleeding happened to have so that it is not a line.

Incentive: Unknown Location: Los Angeles, USA 106

Incentive: Unknown/ Location: Los Angeles, USA/Author: Electric Workers/Title: Electric Wiring with Metal Pipe Description: The Electric worker should want to make a network of power onto the building so that he used metel pipe for “drawing” . There is a projection of intention of power supply to the fire alarm. 107

Incentive: Joints of the concrete panels could have slits like this because of construction./ Location: Los Angeles, USA/ Author: Construction Workers/Title: A Slit between Pre-casted Concrete Description: This is a bad example. It was generated by accident during construction so that there is no intraction between the contractor and the slit. Line is a projection of intention 108so that it is not a line.

Incentive: For studio work installation./Location: Los Angeles, USA Author: Thesis Student Title: Metal Wire with a Loop and Tie Description: This is one of a strange example. The part bottom from the tie happened to have after some109 one cut the wire but the loop above still remains and created for handing. Therefore this is a hybrid of the part created and the part happened to be. In other words, the loop is a line and leftover is not a line.

Incentive: Aesthetic details/ Location: Los Angeles, USA/Author: SCIArc Students/Title: Hatching on an Architectural Doc. Description: Hatchings used to be drawn by hand. We are now using CAD to generate them. We no longer 110 the lines and drafter dissapeared. need to take the each line carefully so that the intraction between

Incentive: For safety/Location: Los Angeles, USA Author: Thesis Student Title: KEEP OUT border Description: The red line is sending a message that ‘no one can put stuff because of fire safety.’ That is a intraction between you and the line. 111

112

Lines and Creations Lines on documents are one of the best examples that use lines as a function. This catalog is about a variety of types of diagrams in multiple fields, industries, eras, and languages.

113

lines you see

Title: A scene of explosion with an effected letter in a comic book The letter in this comic book is drawn with lines with a perspective toward the center of explosion. The effect represents the moment of the explosion and its strength.

114

Title: A scene of swinging a sword in a comic book The tiny lines along the sword and the solder’s arm forming an arc represents a motion blur of the path of sword. 115

116

Title: New Illustrated Family Atlas with Physical Geography The original shape of the river is not always straight. The author of this drawing straightened them for the comparison.

117

lines you see

Title: Tableaux Graphiques et Cartes Figuratives Author:Charles Joseph Minard Description: The orange and black lines represent the path of the military march of the French invasion of Russia with the numbers of total people on each location as line weights. It is a simple line drawing, but it shows three different information simultaneously: number of the people, the path, and locations. There is a dense interaction of information between the author and the reader. 118

119

Title: A Diagram of Japanese railway system The diagram represents the location of a train on time at each station, which is for the control of the whole traffic system. It used to be used in the control center. 120

Title: The Periodic Chart of Element This periodic chart is different from what we usually see. Each element is connected with lines according to chemical feature. The three loops represent the elements in a loop has similar feature as a group. 121

122

Title: Paths through Cities by Eric Fischer This infographic art represents daily traffic of the grid in New York, which has similar concept as the Charles’ diagram of the march. The lineweight shows the traffic at each locaiton. The information shown is not about 123 important historical event but contemporary technology enable us to record everything happening in the world.

Title: Example of Japanese calligraphy in a textbook with red mark Red mark is annotations of letter about what is good or bad. There is a communication not only between the drawer and the reader but between the drawer and the author of the book. 124

A process of immigration is very linear. People who left the plane are supposed to walk along a walkway, taking multiple legal processes. Also, the flow of people and baggage are very linear in order to process a tremendous amount. This chapter is research of finding lines in the immigration process.

125

lines you feel

Lines and Immigration

Stanchions

lines you feel

A stanchion is an expandable belt for organizing a huge amount of people, which is very common in airports. One of the remarkable features of the stanchion is its flexibility because of the modular system. The path generated with it will never happen again because the flow of the people is unstable too

127

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lines you see

129 lines you feel

Baggage Claim and Shipping Systems Baggage claim belts and the transferring system under the floor is one of the most significant factors in the airport. All of the baggage is tagged with IC and QR tags for tracing. The contemporary system is highly automated.

133 lines you feel

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135

136

Lines in Entrance 1. Quarantine Biological Border

2. Immigration

Legal Border

3. Baggage Claim Shipment border

4. Customs

Monetary border

The space in airports are very systematic. Each function is organized systematically and linearly. Therefore, the lines in airports are not only the building, but also the people.

137

lines you see

Immigration and Symbolism The Statue of Liberty is a landmark and a symbol of freedom in New York for more than a century. It is for welcoming people, especially immigrants by shipping, heading toward the Atlantic Ocean. Nowadays, the main measure of immigration is replaced with flight, but we still respect the statue as the symbol of New York. To welcome immigrants, Japan needs to have a symbol which is welcoming and show their attitude to them.

139 Immigrants and The Statue of Liberty (1915)

lines you feel

New York: The Statue of Liberty

lines you see

Haneda Airport

140

Site Specification and Program Haneda Airport, Tokyo: Immigration gate-baggage claim-Arrival gate

As I mentioned before, most of the immigrants to Japan are nowadays taking flight. Haneda Airport is the closest airport to the downtown of Tokyo, and it has the third biggest airport in Japan. The airport accepts 3.2 million people (2018) annually. It has an increasing trend because the government is now recommending a campaign to accept more travelers and immigrants. Haneda airport is becoming “the gate of Japan.” More specifically, the space from the immigration gate to the arrival gate is a singularity of incoming people. A gate of welcome should be needed there.

141

Design Development Techtonics FALL 2018 (Third Semester) Instructors: Herwig Baumgartner(Details), Brian Zamora(Details), Mathew Melnyk (Structure), Jamey Lyzun(Environment) Team: Bohong Chu, Yun Chu, Ponthakon Surisawat, Saeed Maseeh Used Software and Tools

Modeling: Rhino 6, Zbrush Render: Photoshop, Vray, Illustrator, Indesign, Keyshot

This course investigates issues related to the implementation of design: technology, the use of materials, systems integration, and the archetypal analytical strategies of force, order and character. The course includes a review of basic and advanced construction methods, analysis of building codes, the design of structural and mechanical systems, Environmental systems, Buildings service systems, the development of building materials and the integration of building components and systems. The intent of this course is to develop a cohesive understanding of how architects communicate complex building systems for the built environment and to demonstrate the ability to document a comprehensive architectural project and Stewardship of the Environment. A series of built case studies will be presented by the instructors along with visiting professionals in the field who are exploring new project delivery methods. These case studies will be shown in-depth with construction photographs, 3D renderings, and technical drawings and details. Pertinent specific topics for the course will be highlighted in each presentation, with a focus on the evolution of building design from concept to built form.

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Mega chunk The project is composed of three buildings: The highest residents on the right side, middle flower markets and auditorium, and office, warehouse, and parking lot on the left side. Most of the parking spaces are under the ground. The structure of the lot is also used for the buildings.

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Ground Floor Plan

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Typical Floor Plan

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Typical Floor Plan

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Building Elevation

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Wall Section

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Detail 2d sections The mullions are structurally connected with the beam systems. The sub-structure mullions also support unitized glazing systems for shading and aesthetics. Catwalks are mounted between the glazing systems for sealing (blue) and the aesthetic mullions (purple). The aesthetic mullions are hung on the metal cables.

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3d Facade Chunk The mullions are structurally connected with the beam systems. The sub-structure mullions also support unitized glazing systems for shading and aesthetics. Catwalks are mounted between the glazing systems for sealing (blue) and the aesthetic mullions (purple). The aesthetic mullions are hung on the metal cables.

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3D Wall Section Chunk The gutters for rainwater drainage are invaded on the edges of the buildings.

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3d Detail The exterior mullions are supported with the beam systems with catwalks.

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Structure System Selection The primary gravitational system to be used in this project is a concrete framing system composed of structural columns around the perimeter of each building with concrete cores, foundation, and slabs. In order to reduce the thickness of the concrete slabs to 12”, rebar will be utilized as a reinforcement measure in addition to the steel beams used to hold up the floors. In order to provide lateral stability to the concrete base, a moment frame, primarily used for the residential section of the building, will be added for freedom for programming purposes. Besides, a moment frame would be beneficial for this project because the project is based in Los Angeles, which is prone to earthquakes. Because of the irregularity of the moment frame, for aesthetics, each concrete slab will have an additional concrete connection system at every relevant intersection. To support the paneling system of the project, steel connections in the form of steel members will be used at each intersection with the steel mullion system. This is for a unified appearance to the panel system since steel is light in comparison to concrete and could be quite thin for a committed look. Finally, in order to accommodate the two tunnels that separate the three buildings programmatically, an upside-down rigid steel frame in the shape of a wishbone will be used in order to commit to the design aesthetic of the building and to reduce the number of columns utilized overall..

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Main Structure The building is composed of three buildings. These buildings are structurally individual. The basement is connected with the structural slab used for parking lots.

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Structure and Slab The deck plates are mounted on the steel structure.

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Sub structure The mullions are structurally connected with the beam systems. The sub-structure mullions also support unitized glazing systems for shading and aesthetics.

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Selection of building envelope systems

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Selection of construction materials and finishes

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Egress

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Fire separation and Construction type

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ADA

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Cost Estimation

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Environmental Systems

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MEP Systems

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Acoustics

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Advanced Material / Tectonics Tectonics

FALL 2018 (First Semester) Instructor: Maxi Spina Team: Bohong Qiu, Genki Matsukawa, Junwei Lee, Weiti Wang Used Software and Tools

Modeling: Rhino 6, Grasshopper Render: Photoshop, Illustrator, Indesign, Keyshot Tools: 3dPrinter(PLA)

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Sun radiation analysis by Grasshopper

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Material & Envelope Systems Research Exercise 1 After selecting a precedent for study (list provided separately) we will begin with a two weeks-long research period into building materials, envelope systems and assemblies. You are asked to employ quality photographs, annotated diagrams and 2D details, sections, matrixes, charts and short written observations to elucidate the basic principles involved in the appropriate selection and application of building materials and envelope systems so as to visualize aspects related to fundamental performance; aesthetics; moisture transfer; durability; energy and material resources employed in their mode of production; the environmental impact of their application and reuse. You are responsible for gathering relevant material/ documentation that will allow you to digitally draft, in full tectonic detail, a selected portion of the building envelope. Most likely you will have to interpolate and speculate on how things work within the building. While the envelope performs as a unified element, it is comprised of several subsystems and components. Each team member is charged with becoming an expert in one or more of these sub-systems by thoroughly researching it, drafting it with precision and analyzing it.

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Pineapple cake house at Minami-Aoyama by Kengo Kuma, photo taken by Archidaily.com

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Aesthetic As the building is located in the middle of the residential area in Aoyama, Kengo Kuma gave some soft and subtle atmosphere to it, which is different from a concrete core. He expects that the street and the architecture could be in harmony. Normally, the two pieces intersected in two dimensions, but here they are combined in 30 degrees in 3 dimensions, which came to a strcture like a cloud. With this idea, the section size of each wood piece was reduced to as thin as 60mm*60mm.

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Axonometric diagram of the Facade system

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Moisture Transfer Tokyo is located on the humid subtropic al climate zone as well as severe dry and cold wind in winter. As a resut, it has both humid summer and severe wind in winter. Contemporary builings there are asked both high temerature and himidity control system. The envelope system is exposed to outside, which enable high flexibility on environment control. This system prevents conduction of energy through window and, consequently, it prevents extreme temperature.

Interior at Third floor, photo taken by Archidaily.com

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Products, Components and Assembles The rhombic structure called Jigokugumi contributes to stabilization. Jigokugumi is a traditional wood joint system without nails or adhesives. Use of those materials tends to be a cause of erosion which result in shorter lifespan of the building because of high humidity in summer and rainy season in spring. Jigokugumi structure comprises three elements: exterior and interior parallel frame (yellow, purple, red, and pink) and perpendicular connections (light blue). Those connection forms a three dimensional geometry.

Assemble of the Jigoku-gumi wooden frame system

Structural beam system

1st Jigoku-gumi Layer

2nd Jigoku-gumi Layer

3rd Jigoku-gumi Layer

Perpendicular Connection System

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Energy Ttemperature in summer is high which is around 90 F, the HAVC system is crucial for the pleasant habitat, also the winter season’ temperature can drop down to 41 F that requires heating syetem for indoor activities. The exterior wooden frames help reducing heat in the building during hot period, and the three exterior structures percolate the sunlight into the building. The glass facade and the air conditioner system maintain the temperature in comfort situation of the building.

Facade chunk of connection between facede and slab system

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Interior, Produces, Components and Assembles The wooden frames extrude into the interior concrete core, which contributes to the coherence betweent interior and exterior aesthetic. The wooden envelope system is anchored onto the concrete foundation with the metal joint. It has a slit with holes on the perpendicular sides. The wood and joint are bolted together.

Interior at Third floor, photo taken by Archidaily.com

1. 60mmx60mm wooden frame 2. 10mm Single Low-E glass 3. Aluminum slide window frame 4. 750mm concrete slab with fondation 5. 100mm Flooring system

Facade chunk of foundation system

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Tectonic Analysis & Documantation Exercise 2 In this second phase of the research, you are asked to model a significant portion of your precedent employing Rhino. Such portion should delimit a metonymic fragment from a whole; that is, a fragment that is representative of the predominant tectonic issues present in your case study, including (but not limited to) Envelope (façade, roof, windows, balconies, skylights, etc.); Interiority (walls, partitions, foors, ceiling, etc.); Structure; Attachment/Joinery System; Systems; etc Due to the nature of the sectional object, you should place careful considerations where you position the clipping planes and be able to argue for the resulting section and profile, and the specific relationship between tectonics and spatial definition. This is your large Fragment.

according to the areas of study defined below. Such analytical scrutiny should be commensurate with the scale of epresentation. More importantly, it is expected that students will formulate tectonic hypothesis about it. From here you are asked to present the above study through drawings in the form of bird’s-eye and worm’s-eye Cutaway axonometric drawings emphasizing articulation and assemblies. These should aid in the understanding of the possibilities and limitations of the system and material tectonics supporting it. Your analysis should focus on four (4) main areas of tectonic study, and each student within the team of you will be responsible for at least one. The first area (Envelope) is rather large and has two parts, so it requires two students working on it. Every drawing/diagram will come out of one consolidated 3d model that is sectioned and stripped apart in several ways.

Defining an even smaller significant portion of your study concentrated on the envelope and its vicinity, each group is asked to construct two working digital [sectional] models. These will allow you to visualize construction, fabrication and assembly methods aligned with the materials and their technical limitations utilized within your building system. These two are your smaller Fragments. In both cases (large and small fragments) Students should perform exhaustive analysis 208

Joints of facade system

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Construction Technique Tectonics Undergrad Work Instructors: Joy Carlson Used Software and Tools

Modeling: Revit

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Cover Page

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First Floor Plan

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Reflecting Ceiling Plan

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Elevations

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Sections

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Wall Sections

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Furniture Plan

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Schedules

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Foundation Plan

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Second Floor Structural Framing

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Visual Study I Visual Study

FALL 2017 ( First Semester ) Instructor: Kristy Balliet & Casey Rehm Team: Chen Chen Used Software and Tools

Modeling: Rhino 6, Zbrush,Maya Scripting: Processing Render: Photoshop, Illustrator, Indesign, Keyshot Tools: 3dPrinter (PLA/Powder)

The course will cover issues of contemporary representation and the development of splines in relation to complex digital form and physical and visual space. Visualization today encompasses the development, exploration and communication of information and ideas in multiple mediums. The course will engage recent techniques related to splines gesture interfaces and virtual reality. The course will develop critical visual literacy and review methods for generating and evaluating lines, surfaces and volume. We will review modes of drawing and modeling in three-dimensional space, including the importance of precision and abstraction. Exercises and associated tutorials provide opportunities to discover novel concepts through transformation and tactical work lows. Finally, the course will foster the development of architectural character. You will be expected to develop expertise and execute your intentions with clarity. The exercises will range from straightforward drawing tasks to tasks that will require aggressive experimentation. This course will introduce students to methods and concepts of three-dimensional drawing (zero gravity), digital modeling, multiple realities and digital /physical fabrication.

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The Animate Line Exercise 1 The gestural line will explore the potential and differences of the stroke, the gesture and the line. In architecture and visualization these artifacts can be associated with rhythmic repetition, erratic character, structural integrity, whimsical moments and elegant form. Through gesture, drawing, building and rebuilding the project will address issues of line, surface and volume. The first exercise requires the generation and design of lines through gestural animation. You will create a series of lines in space and then redesign their relationships and qualities. The initial digital models will engage two different techniques. The first model will be the result of a set of designed lines in Maya and the second model, the generation of lines in Virtual Reality, using Oculus Medium. Both models will use an imaginary bounding area. The project will develop by evaluating and modifying the quality of the model in both digital and physical form. We will review modes of drawing and modeling in threedimensional space, including the importance of precision and abstraction. The character of the final model will be designed and built by every team. You will be expected to develop expertise and execute your intentions with clarity. This project will introduce methods and concepts of threedimensional drawing (zero gravity), digital modeling, multiple realities and digital/physical fabrication.

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Axonometric drawing of the Surface with contour 248

Axonometric drawing of the Surface with control points 249

Axonometric rendering of the object 250

Perspective rendering of the object 251

The Composite Model Exercise 2 The composite model will explore texture and surface development. The range of investigation will include subtle bumps to elaborate deformation. In architecture and visualization these tactile augmentations can be associated with rhythmic repetition, erratic character, structural integrity, whimsical moments and elegant form. Through design, testing, and refining the project will address issues of aggregation, layering, and tactility. The second exercise requires the generation and design of three-dimensional augmentation of surfaces. You will create a series of autonomous objects and then redesign their qualities in relationship to surface, Line and seam. We will review the different designs implication of addition, subtraction, aggregation and accumulation. The first phase is to design several possible objects. The second phase is to import those models into Oculus Medium as a ‘stamp’ and engage various techniques to alter the surface quality. The project will develop by evaluating and modifying the quality of the model in both digital and physical form. We will review modes of drawing and modeling in three-dimensional space, including the importance of precision and abstraction. The character of the final model will be designed and built by every team. You will be expected to develop expertise and execute your intentions with clarity. This project will introduce methods and concepts of threedimensional sculpting, digital modeling, multiple realities and digital/physical fabrication. The final output is a Composite Model.

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1. Axonometric rendering of components

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2. Perspective rendering of the object

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Axonometric drawing of surface with contor

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Composition of components

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Textured Model Exercise 3 This exercise will focus on utilizing bottom up logic and intelligent agent based algorithms to manipulate color and matter at a granular level of resolution. As part of this exercise students will produce their own software to operate on both 2D image manipulation and generative 3D solid manipulation. Rather than utilizing off the shelf plugins, students will be tasked with codifying their personal design intention into unique algorithms. This process requires students to engage complexity theory and algorithms purposed to both simulate human forms of composition, and non-human forms of perception. All algorithms utilized will respond to specific content within their inputs to produce non-linear effects. These effects will preface formlessness and qualities of aesthetics without dependence on totalistic figurative elements. The final forms will oscillate between illegibility and accessibility. Specifically students will continue building on their exercise 2 3D models. In the first stage of the exercise, students will produce an unrolled texture map of their 3D printed model of exercise 2 using slit scanning. Each student group will then develop a 2D pixel bending algorithm to manipulate those maps and reproject them back onto their 3D models. In the second half of the project, students will voxelize their 3D model and develop 3D algorithms based off of their image scripts to modify, transform, add, and subtract from their 3D model. The final output will be an object transformed through algorithms and texture mapped with new 2D scripts. This model will be color printed.

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Axonometric rendering with a section

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Glitched texture by processing

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Elevation rendering of the object

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Elevation rendering of the object

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Big Picture Visual Study SPRING 2018 ( Second Semester) Instructor: Ryan Martinez + Casey Reas Team: William Maya Used Software and Tools

Modeling: Rhino 6, Grasshopper, Zbrush,Maya Scripting: Processing Render: Photoshop, Illustrator, Indesign, Keyshot Video:Premere, After effects Tools: 3dPrinter(PLA), Robot Arms(camera works), Laser cutting

The 2GBX Visual Studies seminar is the second VS in the first year of the M.Arch II program. It introduces Processing, a flexible software sketchbook and language for learning how to code within the context of the visual arts, and advanced 3D modeling in Zbrush and Autodesk Maya for the production of architectural representation through the development of digital techniques. Beginning with the fundamentals of Processing, the course will examine the notion of “Regularity and Random”, “Growth, Form, and Simulation”, and “Emergence” in both two and three dimensions. Students will be required to constantly work between code and output, gaining familiarity with the constraints and advantages of the software. Later in the semester students will work in teams of two and will be introduced to XGen, a geometry instancer that lets you populate the surface of polygon meshes with an arbitrary number of primitives either randomly or uniformly placed. XGen lets you quickly populate large-scale environments, including grass savannas, forests, rocky landscapes, and debris trails. As a final deliverable for the class, teams will work with other teams to create large pictorial landscapes using the combination of their output from Processing, spherical envelope volumes in Zbrush and XGen surface textures in Autodesk Maya.

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Data Exercise 1 At the start of the semester, students will be introduced to Processing, an open source computer programming language and integrated development environment (IDE) built for the electronic arts, new media art, and visual design communities with the purpose of teaching the fundamentals of computer programing in a visual context, and to serve as the foundation for electronic sketchbooks. Students will be familiarized with the seven elements of coding, regularity and random, export image and geometry, as well as motion, growth, form, simulation and emergence.

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Script I

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Script I

Time and Space One of the features in generative design which make a difference is that we do not design what but HOW. This design of ‘recipe’ is a very suitable medium to seek the core idea of time and space. For instance, in this ‘flow field,’ We do not design the positions of each pixel on every frame, but we do design how to move, stop, jump, erase, fade, and the relationship of the pixels on every frame. Human, instead, see this integrated vision and figure out its conceptual idea behind the flow, not the pixel.

Script I

https://vimeo.com/346269934

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Script II

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Layers

Time and Layers Extracted 623 frames are selected and overlayed. The tower shows exploding network and reorganized smaller particles eventually.

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Composition of Layers

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Script II Time and Material The transparent plastic captures the frame of the continuous process of the explosion. Unlike the rendering on display, people can see the process with free view, which put viewers isolated with the time on the explosion and their time. The material is a medium of time. Material: Acrylic Panels

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Script II

Acrylic Models

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Data + Volume Exercise 2 Utilizing Zbrush, a 3D industry standard digital sculptingapplication, students will be asked to produce FlatHorizontal and Spherical Envelopes through the aggregation of solid primitive geometry such as boxes, spheres, cylinders, cones, pyramidsand letters. Building on the Output (data) produced in Processing, students will be asked to intergrade a specific characteristic from the workshop into their massing studies. These massing elements will be used as follies and garden ornaments for the student’s landscapes but also as z-tools for the development of group loops and surface layering.

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Massing Models with Colored Papping

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Massing Models with Colored Papping

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Composition with 2.5D Brush effects

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Data + Volume + Surface Exercise 3 Students will be asked to investigate and research TopiaryGardens as a surface treatment for their massing studies that will be used in their large pictorial landscapes. Using XGen to deploy grass, fur, vegetation, etc., the development of graphic gardens, field conditions, and intricate landscapes will be at the forefront of this assignment. Students should revisit their output (data) from processing for the making of interstitial spacesbetween volumes and ground, land and vegetation.

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Massing with Hairs

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“Islands,” Massiing composition

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Data + Volume + Surface + Composition Exercise 4 As a final deliverance for the class. Student will work in teams of 10-12 to organize and compose their individual assignments into one large pictorial landscape. Students will be responsible for collaborating with one another to have a seamless and wellthought-out composition.

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Composition of Islands

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Dialogues Visual Study SPRING 2019 ( Fourth Semester) Instructor: Dwayne Oyler Team: Sadvi Jayanth + Gabriela Zappi Spring Show Selected Used Software and Tools

Modeling: Rhino 6, Zbrush Render: Photoshop, Vray, Illustrator, Indesign, Keyshot Video:Premere, After effects Tools: 3dPrinter(PLA), Robot Arms(camera works), Laser cutting, Welding

This course focuses on the development of spatial and formal dialogues generated by variations, inversions, and misregistered remnants from a series of (not exactly) found parts. Beginning with an object rich in sectional complexity, students will be asked to develop a more robust language that includes objects, frames, and fields with which to work from, Each of those parts will then be reassembled to form a cohesive whole.

VIDEO LINK

https://vimeo.com/346698154

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The Material exists and Material created Given materials (cast iron blocks) represent an existing building, and the new created model (to right) represents geometry reacting existing one, which means adaptive reuse in the architecture. This Visual Study is a traning 308 of conceptual thinking in the field.

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Original Parts We are starting with cut cast iron block originally used for the water pump. The profiles of the pipes running through the block vary by its purpose of the parts. The repeating lines on the surface of cut poche were made when its cut with belt saw. 310

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Composition Created parts retrieved its shape by taking negative shape, cutting, shearing, repeating, revolving, and following along surface. Each part are mounted onto the chassis frame organizing the whole parts. 312

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Frame organizes chaos The frame organizes this chaotic environment altogether structurally and conceptually.

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Details Clearance is set for some of the parts to rotate and move. The language of the parts are similar to architecture so that it represents respect to adjacent parts. 316

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Details Clearance is set for some of the parts to rotate and move. The language of the parts are similar to architecture so that it represents respect to adjacent parts.

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Crafting The design and crafting process is composed of multiple steps. 3d modeled geometries are 3d printed and laser cut with machines. The parts are painted with multiple spray color with primer and sanding. After parts are carefully painted, steel frame, original parts, and base are welded for the structural strenghth. 3d printed parts are mounted onto the steel parts later. 326

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Vertical Studio FALL 2018 ( 3GAX ): Instructor: Lucy McRae Team: Francisco Nassar

In 2018, we can precisely correct and replace faulty DNA. CRISPR-Cas 9 is a molecular tool used in human embryos that gives us the power to engineer life from scratch. Brok€ studio explores how this technology raises the real possibility of a purpose built body and whether this leads to a pursuit of perfection in a non-perfect world. We explore six industry’s that exist 41 years from now – year 2059 is your site. Brok€ studio will build a brand around a hypothetical event that proposes a design for a new body. We will imagine and outline the future psychological, physiological and genetic traits of your guests (client). Are they human or non-human? Have they been grown in a lab? We will produce a presentation of objects, machines, body parts, edible technologies, accessories, etc. that are branded and designed for a client. Focusing on elements such as theatre, product design, ritual, interior detail, graphic design, ergonomics and installation, the final exhibition is a 1:1 experience presented as a shop front window.

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MIRAI Mirai is a global company who is providing a food synthesizing system for an affordable price. Thought alternative food is very popular recently, Product of Miral was struggling with severe criticism. The company was founded in 2020’s as ALT.F, which is a venture company founded by scientist. ALT.F changed the name into Mirai in 2030. Currently, Mirai is the one of the companies who earns on billion dollars annualy.

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Brand Logo 333

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MIRAI DINNER TABLE COMMERCIAL USE FOOD SYNTHESIZER

2050-2056 Mirai Dinner Table is a food synthesizer for commercialusage, such as bars and restaurants. It is 8th generation of food synthesizer. Compared to the Mirai cabinet, it had faster, more detail, and more specific nutrition control serving system. People starts to submit his spit to the sensor besides, then the dinner is served to them. The process of producing is not very different from the 1st generation but this product was carefully designed to meet desires from high-class people. In 2040s, the culture of food synthesizer is widely accepted by public. It was eventually recognized by high-class people so that Mirai started to develop a flagship model of Mirai terminal. This Mirai table is historically significant because it represents the expansion of market to the high-class. Since this moment, culture of food becomes ceremonial rather than a part of life.

Installation “Mirai Table” 336

Details

Details 337

MIRAI CABINET PERSONAL USE FOOD SYNTHESIZER

2032-2037 Mirai Dinner Table is a food synthesizer for commercialusage, such as bars and restaurants. It is 8th generation of food synthesizer. Compared to the Mirai cabinet, it had faster, more detail, and more specific nutrition control serving system. People starts to submit his spit to the sensor besides, then the dinner is served to them. The process of producing is not very different from the 1st generation but this product was carefully designed to meet desires from high-class people. In 2040s, the culture of food synthesizer is widely accepted by public. It was eventually recognized by high-class people so that Mirai started to develop a flagship model of Mirai terminal. This Mirai table is historically significant because it represents the expansion of market to the high-class. Since this moment, culture of food becomes ceremonial rather than a part of life.

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PORTFOLIO

Genki Matsukawa

Southern California Institute of Artchitecture M Arch II SPRING 2019