Blue Fin Tuna Gateway Project, Tokyo by Mae Szeto

MAGURO WEAVE: The Tuna Gateway Project

Szeto Yan Mae 13092725 Oxford Brookes University

Imagine. Being able to experience, by replaying the loop of desire in line with the ecstasy of sushi melting in your mouth. This is an architectural compression of research, desires, and memory emerging from the means of commodification of tuna knowledge passed down by generations of the Tsukiji Tuna community in Japan.

Tuna Extroversion Checkpoints

Journey of introspection

Points of Mindful Consumption

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Taste Archive

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Umami Research

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Tun a 108

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1000

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3000

Wearable : Taste Cube Visualizing the perception of Taste.

Tuna Gateway Project

Maguro Weave , Ginza, Tokyo. Landscape of Differentiated Expertise

Oxford DS6 “The environment we perceive, it is our invention” as postulated by H.v Forster, the investigation begins with a perceptual journey, to create personal maps of existing places (Sense). The journey begin with a focus of sight, and then smell and ended with an amalgation of sight and taste. The quantification of the senses creates a vivd sketch of momentary spaces, (Map)ping the human experience. The device (Wear) functions as an “interpretant” of space. It is an functioning artefact that embodies the aesthetic and ethic criteria and our way of thinking about the [city]space. It contains within itself, names, places, situations, and all the contradictoriness and complexity.

This studio will explore the the future of urban networks whether for people, information or matter; creating projects that rethink, augment and mutate existing conditions.

The symbolism of this real, physical environment which surrounds us and affects our senses can beused to contruct new possible scenarios in the future (Speculate), new ways of interpreting layers of the city.

Flow-place

Studio’s Philosophy

The early part of the 21st Century is seeing a paradigm shift from bureaucratic hierarchies toward technology-driven networks, exemplified by the sharing economy. In this data-centric context the studio’s preoccupation with flow, networks, systems and technology is combined with exploration of the qualitative and the personal, building a narrative which includes thoughts, emotions, memories, and behaviours.

S01

In the speculative future, building are reconstituted into a new entity, via a self organising algorithm, that consist not only of objects, but also events, ideas, activities. A speculative algorithm that is can be used and re-used to design new system of networks, boundaries, borders and constraints. Exploring relationships between physical objects and the flows around them (Transient), a new system of relations, a new kind of infrastructure that imbues a new identity, meaning and performative capabilities focusing on tectonic and programmatic interventions will emerge - towards a new multiplicity.

Sense

Wear

Map

Speculate

TOKYO, JAN 2015 S02

Conditions

Opportunities

Operative Strategy

Responsive Technology

Tectonics

Sense

Wear

Map

Speculate

SENSE Sight_

WEAR Sight_ Taste_ Visualization of the subconscious.

Sight And Frames ; Corridors

Transitory Thresholds Frames as transient information, pixel points as floating amorphous data.

Memory triggered potentials informing customised food preparation (Jiro Dreams of Sushi, 2011)

new modes of interactivity and participation emerge.

Taste Preference Matrix ELECTROPHYSIOLOGICAL REPRESENTATION OF TASTE MEMORY

new modes of interactivity and participation emerge.

Personalised Palettes of Taste - customized gastronomic experience. - personal data / memory excerpts of individuals

These tools allow us to collect, visualize and mobilize commons. The design of visualization systems will allow new ways of managing a commons, by designing different levels of participation and interaction.

these systems are new interfaces, platforms for citizen participation, from which to give voice to non-visible agents in the processes of management, analysis, decision making and production of city.

WEARABLE / DATA

Systems Data Acquisition

Data Analysis

Filtering Mechanism

Aggregation

Coding, Pattern Interpretation

Mapping data on 3D display LED

Acquisition Data from Neurosky

Mindwave

Signal Processing and Classification

Acquisition Server

Binary Patterns

OpenVibe Designer

Microcontrollers

Varying binary sequences according to different bandwidth signals, different taste experiences

Electrode Localisation

Beta

Topographical Mapping 2D/3D Vortex

filtered waveforms

Arduino

inconclusive,

Theta Delta

.csv writer .gdf writer

as of yet...

Compatible Baud Rate

data filters

WEARABLES Flora Neopixels LED Conductive Thread LIly Pad Ada fruit LED Display

Alpha

Processing / MatLab

CSV Data file

Frequency threshold

}

Display Signal

frequency bandwidth Serial Communication between dual

microcontroller platform

Transferring text values to arduino

sending serial data...

Acquisition: Taste Pulses

Information Differentiation

LED 4x4x4 Display

EEG

Coding

2 Different Devices, Using the same technology

Signals

DATA Sight_ Taste_

URBAN SPECULATION Desire and Memory To expand on the theme of performativity of taste, the themes of overconsumption was evident when contemplating the possibilities of a future that captures the experience of taste, visually. In a society, that overconsumes and data-obsessed, this device brings forth a question: when does it get too much?

Taste City Identity of a city is made up very much by the palettes of its resources, its locality creating a strong economy force of supply and demand. Such is the case of Sushi, the globalisation of sushi and its evolution into a modern delicacy reveals a complex dynamics of globalization and “a virtous global commerce and food culture”( Issenberg, 2007).

Fish on a macro scale The research in taste, and its active feedback depends on previous memory and experiences. Data in the form of electrical impulses were measured by a working of EEG device and also a visual platform that exposes a new dimension of expression in terms of taste. “Seeing is believing” is applied to the dimension of taste and memory.

Details of global freighting of fish to Japan, in particular, Blue Fin Tuna, was researched into charting Japan’s sushi economy, with a special emphasis on Tokyo’s Tsukiji Market.

“Taste” Origin Latin Tangere (‘To touch) Gustare (‘To taste’)

Old French Tast Taster

(Touch, Try, Taste)

Taste (‘touch’)

Our eyes let us “taste” food at a distance by activating the sense memories of taste and smell. Even a feast for the eyes only will engage the other senses imaginatively, for to see is not only to taste, but also to eat. The chef’s maxim, “A dish well presented is already half eaten,” recognizes that eating begins (and may even end) before food enters the body. Television cooking shows—there are now entire channels devoted entirely to food—are a way of eating with the eyes by watching others prepare, present, and consume food, without either cooking or eating oneself. Cookbooks, now more than ever, are a way of eating by reading recipes and looking at photographs. Those books may never see the kitchen. Indeed, experienced readers can sight-read a recipe the way a musician sight-reads a score. They can “play” the recipe in their mind’s eye. While not unique to the experience of food, visual aspects of food are no less essential to it. First, the eyes play a critical role in stimulating appetite. Visual appeal literally makes the mouth water, gets the juices going, starts the stomach rumbling—in other words, sets the autonomic reflexes associated with digestion in motion. These responses—salivation, secretion of gastric juices, hunger pangs—are involuntary, spontaneous, instinctive, though the cues are ones that we learn. Second, the eyes are bigger than the stomach. Visual interest can be sustained long after the desire to taste and smell has abated and appetite has been sated. Perhaps for this reason, the most spectacular displays are likely to come at the end of the meal. Taste in its most materialistic form in relation to architecture can define areas within a macro context in terms of districts, where the aroma and mere flavour of a certain cuisine can help initiate place-making and memorable journeys. Mnemonics and genus loci quality of the sense of taste is one that exists unconsciously in the collective thought process of the masses, and not confined to the few individuals actually paying attention to it. The sensation of flavour is different to each person, as is the perception of a space to its varied user, to each their own appetite. Common terms of taste experience include relishing, tang, savouring. An individual appreciation of the burst of ingredients merging together to form a singular emotional experience of pleasure, indifference or dislike. The qualitative of taste, is expressed by the device, coded by quantitative data. It is in its representation of sensation that runs in line with experiencing architecture. Architects, in a nutshell, are always trying to define the intangible aspects of either society, culture, community into building design by trying to abstract them into form and space. Justification of use of tools at hand, using tangible sources like ingredients and architectural elements to provide an intangible experience. With the device, we can finally complete the full circle, by recreating it into a tangible result, completing the experience, both sensorial and spatial. Taste can also help the architecture discipline and its practice extend to domains varying “from the physiological to the atmospheric, from the sensorial to the meteorological, from the gastronomic to the climatic. In a world where more and more skeptics and cynics are born everyday, a want for a interactive building that transforms and projects the internal physiological experience, the need for justification and visual confirmation is an actual qualification for future architecture. An architecture or system that engages the senses of the users, whilst retaining its covert functions and ambience.

01 /

CONDITIONS

/ OPPORTUNITIES

OPERATIVE STRATEGY

/ RESPONSIVE TECHNOLOGY

06 TECTONICS

/ INDEX

performativity

desire / memory Taste City

sushi

blue fin tuna

Gestural Score The Eating Experience

Environment

Sustainability

Memory

Global stock transfer from the sea to consumers

Displacement of Tsukiji Market

Value is marked up, determined by selected auction houses and companies in Tsukiji. Manipulation of stocks.

Future anticipates that intermediate wholesalers with the skills and personal relationships with the end users, and trade owners will find new distribution system.

A city needs an ever evolving creative myth, allowing its inhabitants to understand it collectively and imagine its future. A new creative myth generates a new genius loci. Sometimes a myth fades and a new myth must replace it for a city to prosper. With the displacement of independent intermediate wholesalers, there is an opportunity in anticipating new outlet for their skills in the future.

“Maguro de Kawa”

Conditions

Showmanship Tuna Cutting, a platform for artisanal trade is derived from the performativity aspect that was found from data of the taste cube.

Screen excerpts from

Jiro Dreams of Sushi (2011)

Opportunities

Operative Strategy

Responsive Technology

Tectonics

RESPONSIVE TECHNOLOGY

THE ACTORS , RELATIONSHIPS AND FLOW

THE ACTORS

Dependencies of this individuals on judgement of the cut, freshness, against an ever increasing current of demand and supply of tuna stock against the increasing issue of depleting stock at sea, at a global level.

Conditions

Opportunities

Operative Strategy

Responsive Technology

Tectonics

Routines of the Market Cycle

PEAK

TUNA MARKET SCHEDULE

MODERATE INACTIVE

receiving goods

laid out

auction starts

tunas taken away by middlemen

tuna sold in market

clearing, downtime

taste data research fish stock monitoring agency Meguro Masters meeting point

Thinking budget

Intuition

Dispersion

Divergence

Gauging Worth, Price

Rationalizing seasons and logistics (the catch)

Sampling

Lateral differentiation / Branching Out

Auction

Distributed network of wholesal-

Market core displacement

ers forming a polar relationship with other businesses. Intuitive first impression

Blue Fin Tuna depleting raw stock

Collective Expertise The end of the line

Clean, knife sharpening

seasons

INTUITION Spinal stroke

Trade Sensing Jung Expertise Bootcamp The Ideal Fish ‘Kata’

‘EYE FOR QUALITY’ MEKIKI -takes 10 years of training -family trade

logistics

Colour assessment

THINKING

MAGURA NO KAIWA The cutting art / The Conversation with the Tuna

GATEKEEPER OF QUALITY Categorisation of tuna parts

Secondary slices Feeling

FEELING Rituals / Critical Processing Skills in Tuna handling

Tokyo Fish Market: MEMORY ARCHITECTURE

Biggest point of magnetisation for sea-

GINZA SENSING

Highest concentration of Elite Sushi Restaurants

food stock in the world

FACTORS AFFECTING FLAVOURS COMMODIFICATION OF EXPERTISE

Master and Apprentice

Sushi Master: The Alchemist Memory / Time The performativity of taste The art of attention - art of memory

CHOMP DEVICE

Visualizing the intangible

PROCESS CENTERING, THE THEATRE OF CONSUMPTION PRECEDENTS Process Lengthening, “The quest for slowness, which begins as a simple rebellion against the impoverishment of taste in our lives, makes it possible to rediscover taste.”

The Slow Food Pavilion will be situated in an area of 3,500 square meters at the eastern end of the Expo’s central boulevard, alongside the Mediterranean Hill. The scheme sees three built structures grouped around a central plaza, reminiscent of the rural Lombard farmsteads, subdivided into a theater, exhibition space and tasting area.

‘Orto in Condotta’ by Herzog De Meuron

An Educational Inniative

A pavilion that promotes the core principles of this year’s Expo - biodiversity, sustainable agriculture, and access to food that is good, clean and fair for all.

“Our architectural and curatorial proposal is based on a simple layout on tables which creates an atmosphere of refectory and market,” continues Herzog & de Meuron. “People can watch visual statements and read key texts about different consumption habits and their consequences for our planet, they can meet and discuss with exponents of sustainable agriculture and local food production to learn about alternative approaches, and they can smell and taste the richness of agricultural and food biodiversity.” The design of the structure is intended to mirror the the contents it is hosting: simple, lightweight, low environmental impact and long lasting. A conscientious effort to promote agricultural production above architectural prowess. After the Expo ends in October, the structures will be dismounted and reassembled as garden sheds in school gardens all over Italy as part of Slow Food’s educational initiative ‘Orto in Condotta’. The tripartite pavilion is subdivided into a theatre, exhibition space, and tasting zone, with each program occupying compact areas of less than 455-square-meters apiece. Herzog & de Meuron’s understated approach mirrors the grassroots nature of Slow Food, and is a conscientious effort to foreground agriculture and food production as against architectural showmanship. Maintaining a human scale, the single-story pavilion controls traffic volumes and flow and allows visitors to more effectively engage with on-site experts and written and visual material. The three timber structures circumscribe a triangular courtyard, and are formally suggestive of the traditional Lombardian farm house, or Cascina.

Spaces Applying a Community Centred Design Approach Facilitating creative collaborations Understanding people’s behaviours, experiences, and practices Fostering Organisational Change Engaging and Connecting People: Enabling Collaborative Service Models

Identifying Opportunities by means of performance

Workers in stalls are roughly divided among three categories.

“Delivery/Porters”

Visible Hands - Platform of exchanges

Auctions Auctions stands at the fulcrum be-

Everyday, at 6 am, bells and buzzer clatter loudly across the marketplace. The workday starts everyday at midnight, employees and subconsctractors of auction houses have been arranging, grading, labeling and rear-

tween primary producers and consumare the turning point, repackaging large volumes of relatively similar commodities into smaller units for use to restaurateurs and consumers.

consistency of multicrate shipments, eyeing colour of fish stocks lined up on wooden crates. The bells and buzzer do not end this hubbub; they signal the opening of auctions.

of the marketplace. If its auction houses face upstream, towards

non unionized, hourly employees. Organization of the lowest rung

shippers and producers, then Tsukiji’s intermediate wholesalers

of labor, e.g. delivery people or porters are done by labour unions

face downstream towards restaurants, fishmongers, and ordinary

at Tsukiji.

Tsukiji traders are sometimes almost smug in their feelings of su-

Upstream / Downstream

periority over the white-collar, salaried middle classes. They value the freedom their work offers in forming and cultivating

rubbing slivers between thumb and opening styrofoam cases to check

Most non-family workers in the intermediate wholesaling firms are

Despite the long hours and uncertainties of their own businesses,

traders and employeers have been

forefinger to judge the fat content,

Tsukiji’s intermediate wholesalers define much of the character

consumers.

Hundreds of market participants,

fragments of flesh from frozen tuna;

“Sales”

ers, market’s auctioneers and traders

ranging fish for the morning sales.

inspecting lots: spearing out tiny

Family Firm

“Back Office”

Upstream from the marketplace, brokers assemble catches from separate producers into larger and larger flows of commodities of increasingly homogenous character for auction at Tsukiji and similar wholesale food market. Downstream from the marketplace, however, customers do not demand large quantities of single commodities; they want small amounts of wide range varied products. Crucial task of auctions and the traders is to match supply with demand, by transforming one bulky product stream into another that is much more diverse.

close interprersonal ties in a highly interdependent social world. They take a quiet pride in flexibility and autonomy that come from running their own business. However, intermediate wholesalers are often confronted with the same problems of corporate continuity, risk and credit, labor and capital, and supply and demand that any business must face. Sales of volumes of their businesses may be many times larger than that of the tiny mom and pop stores that charcterize the small scale sector of the Japanese domestic economy (Patrick and Rohlen 1987; T.Bestor 1990).. In fact, in many cases, they are incorporated as joint-stock co-operations.

The marketplace is not a welcoming place for labor organizers. Many of the employeers who potentially might be union members regard themselves as floating, part0time workers, and hence have little interest in colelctiev efforts to improve their working conditions. Small scale sectors of the Japanese economy and particularly the employees of family-run enterprises have markedly low rates of union participation.

Learning with the Body (Karada de oboeru) When handling seafood, proper attitude and care that traders gloss as kata, proper form, refes to the precise motions of a skilled artisan. The phrase “to learn with the body” describes mastery of these physical principles of work.

Fictive Kinship

The fading artisanal spirit reflects the decline of apprenticeship and the changing relationships among labor and management, this decline affecting the social fabric of the marketplace as a whole. It is a dense network of fictive kinship created through master-apprentice relations.

Trading

Artisanal Apprenticeship

An apprentice spends two hours each afternoon sharpening a single tuna knife longer than a man’s arm. “Maguro no Kaiwa”; the conversation of the tuna, that is to listen to the fish as they are cutting it; to gauge the pressure of the forearm and wrist on the hilt of the knife and on the back of the blade from the smooth sound of a blade sliding through a block of red meat; to be alert for the small, sharp crunch when the blade reaches the bottom, outer layer of the skin ; to respond to that crunch - almost before they hear it - with a short concentrated push to put the blade cleanly through to the cutting board.

Trader guilds rearrange the physical layout of the marketplace to erase locational disadvantages. On the institutional end of the continuum, intermediate wholesalers draw together through several kinds of formal groups structurally

STROKES

involved in administering a marketplace. These include customary trading communities, fleeting political coalitions, and enduring trae guilds organized around specific commodities, as well as overaching federations-to which Tsukiji Intermediate wholesalers all belong. Trading communities form around specific auctions, the specialization of each group directly reflecting the demands created by Japanese food culture. The premium on fresh seafood and the vast array of speicies, grades are critical in defining the trade. Not only are the culinary skills, processing techniques, tools and market knowledge necessary distinct,its demand structures differs from species to species.

Abstraction of Tuna Cutting Ritual

The Tuna Praxis Praxis is a key in meditation and spirituality, emphasis is placed on gaining first hand experience of concepts. Wisdom is always taste—in both Latin and Hebrew, the word for wisdom comes from the word for taste—so it’s something to taste, not something to theorize about. “Taste and see that God is good,” Tasting the Architecture, Trusting the experience, before institution or dogma.

IDENTIFYING THE SITE

Mapping consumption of tuna: Identifying district with the highest concentration of demand for Blue Fin Tuna, which is the prime stock in any well established and respected sushi establishment..

Ginza Roppongi

Distribution of â&#x20AC;&#x153;hauteâ&#x20AC;? sushi restaurant across Tokyo.

Ginza Tokyo is a Metabolist City, and land being divided and taken up by infrastructure and buildings, there is a lack of public space. Land is constantly sold and divided to create smaller, denser lots.

Capitalist vs Metabolizing

Thresholds = Connections at Boundaries.

Ginza

JR Shinbashi Metro

Shinbashi Metro

Shiodome

DENTSU INC.

Shiodome Metro

Circulation

Nodes and Circulation Studies

Shiodome Sio-site Big Co-operations

Site Plan 1:100

Field Condtions Ginza is the district of high end consumption in Tokyo, housing Michelin rated sushi restaurants and establishments. The boundary of Ginza is surrounded by expressways and toll roads, and also working corporate districts.

Opportunities: Circulation Boundary, a threshold balancing a district of Supply (Financial), Shiodome (Left) in contrast with the district of consumption, Ginza.

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swa

Bou

nda

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inz

Sh op pi ng

Co rri do r

Shiodome Financial District

Field of Consumption

$$$ Financial Gateway

Highway Threshold

Ginza

Toll Checkpoint

Demand

Supply

? Opportunities: Highway Threshold

Proposal: Threshold Infrastructure that allows performativity and experience of “Taste”. The Cut

phase 1

PHASE 1

Demand

Supply

phase 3

PHASE 2

The Cut The Stroke and Underbelly Cut.

Opportunities: Highway Threshold

VERNACULARS of Threshold Architecture

IDENTIFYING THE SITE MAKING THE LINK Mapping consumption of tuna: Identifying district with the highest concentration of demand for Blue Fin Tuna, which is the prime stock in any well established and respected sushi establishment..

E CL T A CT PI

SITE INFLUENCES

SPATIAL ORGANISATION

PROGRAMME

y ivit t c ne inza n o c G m fro

TO Y N I SH HWA HIG

ser

ss asse

cut

p dro

cut

L TO

asse ss

y ivit t c ne from n o c e om d io Sh

off

secondary storage primary storage

private

conference

public

clean space

discussion room

drainage

assess

analyse office

clean

defrost

stock

drop off point

cut

check out point

fo ye r

akami

taste bar according to different parts of the fish.

serve

start

Process

Maguro Weave, Tokyo.

Process Diagrams Linear Underbelly.

Process Architecture

Programme Possibilities and Schemes.

Identifying stakeholders and existing economic current of Tuna trade.

Schemes, Plans (NTS).

Scheme: Weave

atio

Cre

fo n of

g to

in cord

to poin

f lin

es kag

and

ion.

lat ircu

Plans

ve r

Br id ge

ab ov e

SHIODOME

Section B-B

str de

ian

bo eA ag k in

Section A-A

GINZA

Existing Pedestrian Access Maintained. Routes frequented by working class from Shiodome and Ginza high end commercial class. 1. Foyer 2. Freezing Room 3. Office

SZETO YAN MAE

13092725

DS6

First, Roof Plan 1:200

MAGURO WEAVE, TOKYO

First Floor Plan 1:200

3rd

2nd

2nd , 3rd Floor Plan 1:200 (in A0 printed)

First Floor Plan 1:200

Roof Plan 1:200 Maguro Weave, Ginza, Tokyo.

West Elevation 1:200 @ A0

South Elevation 1:200 @ A0

East Elevation 1:200 @ A0

SZETO YAN MAE 13092725

The Maguro Weave

MAP.

REFLECT.

Sequential abstraction of Tuna Slicing strokes directing the architectural narrative through space.

MAP.

SENSE. Tuna Dropoff

Intersection of vehicular and pedestrian connection creates opportunities for a flow space that slows the swift urban currents whilst create a new checkpoint of distribution for the displaced tuna artisans from Tsukiji.

Expressway Boundary creating a distinct threshold between a district of supply and demand.

Section A-A (1:200@A0)

Structure

Form Finding

Grid Shell Precedents

Materiality and parameters of the architecture is inspired by strokes of cutting techniques of tuna handlers,

Sw e

Sweep

Structural methods of gridshells are typically fabricated from a flat mat of straight laths, or paper tubes in Shigeru Banâ&#x20AC;&#x2122;s pavillion, and then raised and or/lowered into shape. Form finding driven by a parametric system linking intrinsic material values of the gridshell tectonic with extrinsic such as programmatic needs and environmental response.

Surface Normal

Materiality and parameters of the architecture is inspired by strokes of cutting techniques of tuna handlers,

Sustainable fabrication can be found through understanding the nature of materials themself and using productive capacity that allows form to take shape by bending, rather than cutting a shape out of a mterial. Gridshell structures is used to pursue this proposition. Structural methods of gridshells are typically fabricated from a flat mat of straight laths, or paper tubes in Shigeru Banâ&#x20AC;&#x2122;s pavillion, and then raised and or/lowered into shape. Form finding driven by a parametric system linking intrinsic material values of the gridshell tectonic with extrinsic such as programmatic needs and environmental response.

Layered Whole

01/ Circulatory Ramps

Multiple ramps accomodating flow of foot and food traffic underneath the expressway and to the streets. Supported vertically by thin columns.

02/Spine Frame

Timber A-Frame

Frames + Tensile Rods, thresholds. Partition Frame, supports and interlocks with grid lattice structure at various points in the building.

Structural Explanation

03/ Shell Lattice

Glulam, engineered laminated timber,

Primary structure

04/ Vertical Suspension Held together by mast and high strength tensile rods

Force Analysis Diagrams

Timber A-Frames

Circulation Spine

Tension Cables

Schematic Section

Glulam Timber Roof

With the intention of changing partition and routes, linear circulation is punctuated with the changing frames, achieved by manipulated several variation of A-frame timber.

Circulation Ramps

Forces and Frames

Glulam Glulam was chosen as a material that is robust in span and also its capacity to take shape and bending.

Material

WALL

Ventilation

Severely overcast by adjacent Shiodome

A- Frame Structure

Roof and Wall Lattice Grid to detail

Structural mast

Tensile steel rods

Glulam Grid Lattice

Structural Shell

Circulation Ramp

Axonometric View

Design Progression : PLAN

Precedents Composite Joints

Woven Wood Bridges

Grid Shell

North Holland

Project Nest We Go, University of Berkeley

The Savill Gridshell

Composite At each floor level, two perpendicular pairs of glulam larch timber beams intersect each column. The beams nest into 3-inch-wide-by-10-inch-deep notches in the columns. “We knew we needed to make a deep enough notch in those columns to fit the beams [and] generate that moment connection,”.

The larch and oak logs were carefully selected and graded prior to sawmilling. This entailed an integrated procurement process involving the forester, processors and carpenters. The locally-grown larch, planted in 1935, is generally of high quality. The good management of the timber stands made it possible to examine the standing trees and select slow-grown, high trimmed timber which was likely to have close grain and minimal knots.

On Nest We Grow’s first and second floor levels, cross-bracing members bolt into tabs of the sandwiched steel plates. This crossbracing combined with the moment connections and catwalks at the third- and fourth-floor levels provide the necessary lateral resistance against seismic and wind forces.

The fabricators had prior experience of finger jointing oak but not larch. Similar adhesive techniques were used to those for the oak in the Weald and Downland project, but because this was still regarded as not fully proven, a test programme was specified. This demonstrated a strength class of up to C30 for the finger jointed larch laths. Because of the nature of the gridshell technique, the 6m off-site lengths had to be scarf jointed on site to produce continuous lengths of up to 36 m.

The Akkerwinde bridge is made so unique by the fact that the wooden construction is able to support the steel deck. Furthermore, traffic from the highest traffic class (60 tonnes) can drive over it. A list of wooden bridge facts: Length: 32 metres Width: 12 metres Height: 16 metres (not including the substructure) Total weight of the wooden superstructure and steel substructure: 360.000 kilo Weight of drive bolts and link-up bars: 9000 kilo Quantity of wood: 690 cubic metres Type of wood: Accoya®

Woven Wood Bridges Kintai Bridge Original Construction The bridge is composed of five sequential wooden arch bridges on four stone piers as well as two of wooden piers on the dry riverbed where the bridge begins and ends. Each of the three middle spans is 35.1 meters long, while the two end spans are 34.8 meters for a total length of about 175 meters with a width of 5 meters.

The bridge is composed of five sequential wooden arch bridges on four stone piers as well as two of wooden piers on the dry riverbed where the bridge begins and ends. Each of the three middle spans is 35.1 meters long, while the two end spans are 34.8 meters for a total length of about 175 meters with a width of 5 meters.

Identifying truss at midpoint.

Distribution of tensile wire.

Distribution of second set of tensile support.

Environmental Analysis

ENVIRONMENTAL SIMULATION Ginza, July In the summer months, the buildingwill receive natural sunlight without being severely overcast by Shiodome.

Optimum daylight

poor daylighting

Environmental Analysis February

The building does not receive suitable amount of sunlight during the winter months as it is overcast by looming corporation skylines above. Building openings are insulated by ETFE to allow heat to be contained within but allowing as much natural sunlight in as much as possible.

Poor Daylighting

Climate Summary

Environmental Analysis

Optimum Wind Axis

Fish auction Space

Psychrometric Charts The building sits directly tangential towards direction of high frequency wind, which may prove troublesome to the structure.

SZETO YAN MAE

13092725

DS6

SECTION 1:20

MAGURO WEAVE, TOKYO

Key Plan (NTS)

Detail 3 Forces and Frames

Detail 1

1 2 Section 1:20 Maguro Weave, Ginza, Tokyo.

Detail 4

Details 1. Parametric Glulam Grid Shell Junction with Lath Connections, and Steel Base Connection. 2. Glulam Roof Connection with tensile connections, ETFE and steel rod supports. 3. Glulam-Glulam Column Connections with Steel Base.

3 Detail 2

Detail 1: Glulam and ETFE detail.

SZETO YAN MAE

13092725

DS6

SECTION 1:20

MAGURO WEAVE, TOKYO

Key Plan (NTS)

Forces and Frames

1 2 Section 1:20 Maguro Weave, Ginza, Tokyo.

Detail 2: Glulam Timber Column Connections

SZETO YAN MAE

13092725

DS6

SECTION 1:20

MAGURO WEAVE, TOKYO

Key Plan (NTS)

Forces and Frames

1 2 Section 1:20 Maguro Weave, Ginza, Tokyo.

Detail 3: Glulam Pin Base Connection

SZETO YAN MAE

13092725

DS6

SECTION 1:20

MAGURO WEAVE, TOKYO

Key Plan (NTS)

Forces and Frames

1 2 Section 1:20 Maguro Weave, Ginza, Tokyo.

Detail 4: Glulam Curved Gridshell Wall

SZETO YAN MAE

13092725

DS6

SECTION 1:20

MAGURO WEAVE, TOKYO

Key Plan (NTS)

Forces and Frames

1 2 Section 1:20 Maguro Weave, Ginza, Tokyo.