Veneer House Works in Japanese by veneerhouse

Design-Build Action towards Participatory Architecture In the current highly professionalized and specialized architectural design and construction industry, clients, occupants, architects and contractors have grown increasingly distant from the design and construction processes. The people who should be the most intimately involved in the production and use of architecture find it difficult to realize their ideas in architecture during the design and construction processes. As design and fabrication becomes more mechanized and computerized, producers and users of architecture may face increasing feelings of alienation in their own environment. Apathy or abdication of responsibility by some professionals leaves the issue of the absence of tactile human input into architecture unexamined. To combat this, people should involve themselves directly in the design and construction process. We can recover the sense of citizen-ownership of architecture by promoting flexible self-build construction systems. Architecture made using these systems can also produce a sense of collective ownership of and responsibility for buildings. By creating opportunities for input from members of the community, we can move toward a new architecture of empathy. At the same time, we can and should make use of the latest technological developments to aid in the production of empathic architecture. In particular, by making use of precise digital design and computerized fabrication tools, we can create flexible, intuitive systems that allow people with limited skills and experience to engage in the design process. In this way, we can realize concrete architecture from subjective feelings. â&#x20AC;&#x153;Veneer Houseâ&#x20AC;? projects are the trials to achieve these goals.

CONTENTS STORY

APPROACH

TECHNIQUE

PROJECTS

ESSAY

107

AWARDS

121

PROFILE

123

STORY

WE asked ourselves W H AT W E C A N D O A N D W H AT S H O U L D B E D O N E

䎃‫ח‬饯ֹ‫׋‬匌傈劤㣐ꩍ拄‫כ‬ծ‫ךך׮‬侧ⴓ‫ג׃ח‬㢳ֻ‫ך‬㼣ְㄏծ凃‫׃׵‬ծ ‫ג׃׉‬遳‫׾‬㤽ְծ⫊‫ֽא‬ծ‫׶ַכ‬ 濼‫ًتךוקְז׸‬٦‫➂׾آ‬ղ‫ך‬䗰‫ח‬婍‫׋׃תְֹג׃‬կ ׁ‫ח׵‬ꩍ拄䖓‫ך‬植㖑‫כד‬ծ耵➂‫װ‬项勞ծꅾ堣ָ♶駈 ‫׃‬ծ㠨徦涸‫ז‬朐屣ַ‫ך׵‬䗁莆‫הֿךֶזכ‬ꤹ‫ְ׃‬麣‫ח׶ך‬䠬ׄ‫׋׃ת׸׵‬կ 䩛‫׷Ⰵח‬项勞‫׾‬⢪‫ג׏‬ծ傍ֻ٥㸜ֻ٥知⽃‫דسٕؽؿٕإח‬䒉鏣‫׷ֹד‬倜‫ְ׃‬圓岀‫׾‬կ 㣐㷕‫ד‬䒉眠‫׾‬侄ִ‫׷‬㼭卌⽆➂‫ך׉ה‬㷕欰‫ָ׍׋‬ծ荈ⴓ‫׾הֿ׷ֹדח׍׋‬垷稊‫׃‬ծ㹋遤‫ָך׋׫ג׃‬չ‫صץ‬،‫أؐع‬պ‫ך‬㨣‫׋׃ד׶ת‬կ

Veneer House - STORY -

WE DEVELOPED A SELF-BUILD ARCHITECTURE SYSTEM

岣湡‫כך׋׃‬ծ‫صץ‬،さ匢կ ‫׮דֿו‬㸜⣣‫ד‬䩛‫ֻׅװ׸Ⰵח‬ծ ‫ֻזָ׶⿾גְד׸׉‬㼄岀ָ姻然կ 勞俱䓼䏝‫׮‬㸜㹀‫גְג׃‬ծ䒉眠项勞‫ג׃ה‬ꬊ䌢‫⮚ח‬猕‫ׅד‬կ ‫ֲִך׉‬ծ啾卌‫ך‬꟦⠄勞‫׾‬勞俱‫דך׷ְג׃ה‬ծ橆㞮‫׃ׁװ׮ח‬ ְկ ֲֿ‫صץ׋׃‬،さ匢‫ֶֹג׃زحؕ׭ַׄ׵֮׾‬ծ ‫׾׵׸׉‬暴婊‫ז‬䪮遭‫װ‬䊨Ⱗ‫׾‬⢪‫ⵃח׆׻‬欽罏荈‫ָ׵‬穈‫׫‬甧 ‫ג‬ծ䒉眠暟‫׾‬䒉‫׾הֿ׷ג‬〳腉‫ָך׷ׅח‬չ‫صك‬،‫أؐع‬պ ‫ׅד‬կ

‫‪WE BELIEVE‬‬ ‫‪IN BRINGING ARCHITECTURE CLOSER‬‬

‫׋׏ת׃ג׃‪ꟼ⤘ָ⛣ꨄ‬ךה➂׷ׅ‪ⵃ欽‬׾׸׉ה‪ծ䒉眠‬׭׋׋׃⻉‪ⴓ噟‬׃‪涪麦‬ח‪ծ䒉眠䪮遭ָ넝䏝‬כד➿‪植‬‬ ‫‪կ‬ׅת׸׻‪䙼‬חֲ״‬ ‫‪ֻծ‬זד׶ַלְ׃‪嚂‬כהֿ׷‪⡲‬׾‪䒉暟‬ךⴓ‪荈‬דⴓ‪ծ荈‬׃ַ׃‬ ‫׷ׅ‪㼎‬ח‪䒉暟‬דהֿ׷ֲׅ׉‬ ‫‪կ‬ׅת׶ת‪䓼‬׮‪䠥滠‬‬ ‫‪կ‬הֿ׋׏ַⴓגׄ‪鸐‬׾أؐع‪،‬صץ‬ ‫‪ծ‬כ׸׉‬ ‫׏״חהֿ׷‪⡲‬ג׃⸂⼿דז׿׫ך؍ذصُى؝׾‪䒉暟‬ךאהמ‬ ‫‪ծ‬װְ‪䙼‬׷ׅ‪㼎‬ח‪ծ㕼㖑‬׶ֿ‪⠗䪫ָ饯‬ך⻉‪俑‬װ‪濼䜋‬׋ֹג׃‪剣‬ך‪ծ㖑㚖‬ג‬ ‫ֿ׷ת‪䙼ְָ䓼‬׷ׅ‪㼎‬ח؍ذصُى؝‬ ‫‪կ‬ה‬ ‫ג׏הח׍׋➂ךֻ‪䒉眠ָ㢳‬‬ ‫‪կ‬׷זח‪պ‬ה׀ⴓ‪չ荈‬‬ ‫ׄ‪䠬‬׾‪〳腉䚍‬זֹ‪㣐‬ח‪♧꬗‬ז׿׉ךأؐع‪،‬صץכ׍׋‪猘‬‬ ‫‪կ‬ׅתְג‬

‫‪7‬‬

‫‪APPROACH‬‬ ‫‪ֲַկ‬׹׌׷׸׵׭‪簭‬׾‪騃ꨄ‬ך➂ה➂‪䒉眠ծ‬ה➂‪ծ‬׵׋׃ֲו‬ ‫أؐع‪،‬صץ׋ֹג׃‪罋ִծꟚ涪‬ח׶ז׍׋‪ծ猘‬ג׃‪㼎‬ח׸ֿ‬ ‫‪կ‬ׅת׃➜‪稱‬ח♴⟃׾سحاًך‬

‫‪10‬‬

Accessibility ‫صץ‬،‫ךأؐع‬㛇劤‫כ‬ծ㼔Ꟍ濼陎‫װ‬暴婊‫ז‬䪮遭ָ‫חֲ״ךٕرٌٓف׮גֻז‬铩‫ָ׮‬穈‫׫‬甧‫׷׸׵ג‬知⽃‫ז‬ ➬穈‫׫‬կ

さ匢‫⚅כ‬歲⚥‫ד‬䩛‫׷Ⰵח‬项勞‫׭׋׷֮ד‬ծ ؕ‫رךزح‬٦‫ִׁة‬鷏‫ל׸‬ծ ‫׮דֿו‬鿇勞‫׾‬欰欵‫ָהֿ׷ׅ‬〳腉‫ד‬ ‫ׅ‬կ 妜‫ָ➂ְ׃‬妜‫ְ׃‬㜥‫ד‬欰欵‫׷ֹד‬կ ‫׶תא‬䬿挿㘗‫ך‬欰欵٥⣘窌‫ֻזכד‬ծⴓ侔㘗‫ח‬㾜Ꟛ‫׷ֹד‬䒉眠‫ׅד‬կ

‫‪Veneer House - APPROACH -‬‬

‫‪WORKSHOP‬‬ ‫‪կ‬ׅת׶֮חהֿ׷ׅחך׮ז‪魦鵚‬׾‪䒉眠‬ג׏״חيذأءךسٕؽؿٕإ‪ծ‬כ‪溪냯‬ךأؐع‪،‬صץ‬ ‫‪կ‬فحّءؙ‪ٙ٦‬ך‪铡僇欽‬׋ְ‪欽‬׾‪遤ֲծ垷㘗瘝‬ג׃‪㼎‬ח׍׋➂ך‪㖑㚖‬װ׍׋➂׷׻‪ꟼ‬ג׃ה‪䒉鏣銲㆞‬‬ ‫ח‪㹋ꥷ‬‬ ‫‪կ‬فحّءؙ‪ٙ٦‬ך‪㘗‬ز‪ٝ‬ك؎ך׭׋ֲ׵׮ג׃‪⡤꿀‬׾ג‪甧‬׫‪穈‬‬

‫‪椚鍑‬ךפأؐع‪،‬صكגׄ‪鸐‬׾׶ֻבׯ׍׮ֶך‪ծずׄ圓岀‬ח‪㼎韋‬׾׍׋‪㶨⣘‬זׁ‪ְ㼭‬׃‪ꨇ‬כ⸇⿫ךפ‪䒉鏣‬‬ ‫‪կ‬فحّءؙ‪ֲٙ٦‬׵׮ג׭‪帾‬׾‬ ‫‪կ‬ׅתְג׃חⴖ‪㣐‬׾׶ֻב‪ֲ堣⠓‬׵׮ג׃⸇⿫ח➂ךֻ‪㢳‬׶״כ׍׋‪ָծ猘‬ׅדתׂתׁכ‪䕎䡾‬‬

‫‪12‬‬

‫‪building MANUAL‬‬ ‫׾‪䊨玎‬ךגⰋך‪ծ䒉鏣‬כأؐع‪،‬صץ‬ ‫ְזך׫‪꼧厩‬ח‪鏣鎘㔳꬗‬װ‪ծ䒉眠‬דהֿ׷ׅ‪㔳爙‬ח‪ُ،ٕպ‬صو‪չ䒉鏣‬‬ ‫‪կ‬ׅתְגׇ׻‪さ‬׍‪䭯‬׾׫‪➬穈‬׷ׅחֲ״׷ֹד‪椚鍑‬׾‪麓玎‬ך‪䒉鏣‬ח⽃‪知‬׮ד➂‬

‫‪㹺‬װ✲➬׸׊׸׉‪ָծ涺‬ׅתְג׃‪䱿㤺‬׾הֿ׷׻‪䵿‬ח‪䒉鏣‬ך׉ָ‪ⵃ欽罏‬ךֻ‪㢳‬׮ד➂♧‪ծ‬כדأؐع‪،‬صץ‬ ‫‪կ‬׿ׇת׶֮כדֽ׻׷ֹד⸇⿫ח‪ָ䌢儗䒉鏣‬׮‪ծ铩‬׶׋ְג׏‪䭯‬׾‪䏬‬‬ ‫‪ָծ‬ך׷זה⸬‪剣‬ח‪ꥷ‬׋׃ֲ׉ ‬ ‫ٍء‪٦‬ا‬ ‫‪կ‬ׅד‪⢘欽‬ך‪瘝‬ز؎؟ـؑؐװ‪،‬؍رًٕ‬ ‫‪ծ‬דהֿ׷ׅ‪ⰕꟚ‬׾‪鹌䯴‬ך✲‪䊨‬ה‪䊨玎‬גְֶח‪ծGBDFCPPL‬לִ‪⢽‬‬ ‫ל׸ֽז׵װ׾‪⡦‬ח‪䒉鏣銲㆞ָ如‬ך‪儗‬ך׉‬ ‫‪ָ〳腉‬הֿׅ׵‪幾‬׾׶‪䩛䨱‬ך‪䒉鏣‬חⰟהּ‪꣇‬׾‪ꅾ醱‬ך‪ծ⡲噟‬׶זחֲ״׷ֹדָֿ׷ׅ‪椚鍑‬ח‪ְַ⽯䏟‬ז׵ז‬ ‫‪կ‬ׅת׶זח‬

‫‪13‬‬

Veneer House - APPROACH -

LOCALITY ‫صك‬،‫כדأؐع‬ծ さ匢ַ‫ػ׋׃⳿׶ⴖ׵‬٦‫׶״חخ‬䒉暟‫ך‬圓鸡‫ٖؿ‬٦‫׾ي‬⡲‫ׅת׶‬կ ‫׃ַ׃‬ծ㢩鄲‫װ‬Ꟛ〡鿇‫כגְאח‬ծ괏㕼‫װ‬㖑㚖‫ך‬䗍俑⻉‫ח‬さ‫ׇ׻‬ծ植㖑‫ך‬勞俱‫װ‬圓岀‫׾‬䱰欽‫חהֿ׷ׅ‬ꅾֹ ‫׾‬縧ְ‫ׅתְג‬կ

㖑㚖‫ך‬俑腞‫ח‬さ‫ְז׻‬ծ瑱搫铩ַ‫׋׸׵ִ♷ח‬䒉暟‫ֻזכד‬ծ荈ⴓ‫ד׍׋‬⡲‫׷‬荈ⴓ‫ך׍׋‬䒉眠կ 䢪‫׸‬鋵‫׿׃‬ ‫׌‬勞俱‫װ‬⡲‫׶‬倯‫ל׸֮ד‬ծ荈ⴓ‫ך׍׋‬䩛‫⥜ד‬籾‫׮‬〳腉‫ד‬ծ䭯竲〳腉‫ז‬䒉眠‫ׅת׶זה‬կ ワ㔲‫ך‬兝錁‫ה‬锃ㄤ‫׃‬ծ ٗ٦ٕؕ‫׾س؎ٓف‬肪‫׬‬ծ ‫ז׿׉‬䒉眠‫صץ׾‬،‫כأؐع‬湡䭷‫ׅתְג׃‬կ

‫‪DISTRIBUTION‬‬ ‫‪կ‬أؐع‪،‬صץ׋׸ת‪欰‬ח‪㤍堣‬׾‪拄㹱䗁莆‬ך‪⯋ղ匌傈劤㣐ꩍ拄‬‬ ‫ג׃ה‪꧊⠓䨽‬װ‪٦‬ةٕؑءך‪⟎鏣‬ח‪ꬊ䌢儗‬‬ ‫‪կ‬ׅתִ‪罋‬כ׍׋‪猘‬ה׷ְג׃‪剣‬׾ٍٕء‪ٝ‬ذه׷ג‪䕵甧‬‬

‫‪կ‬ׅתְת׃ד׿ַָׁ➿‪ծ⥂盖‬כדךֶֻגַׇ‪㻅‬׾‪鿇勞‬ך‪ծ㣐ꆀ‬גִ⪒ח‪儗‬ך♧ָ♰‪ծ‬׃ַ׃‬ ‫ָ‪ծ拄㹱‬׋ת‬ ‫‪ծ‬הֲ‪遤‬׾زحؕך‪然⥂ծ鿇勞‬ך‪ծ勞俱‬׃‪寸㹀‬׾‪؎ٝ‬ؠر׵ַגֹ‪饯‬‬ ‫‪կ‬ׅתְת׃ג׏ַַָ‪ⴓ儗꟦‬ך׉‬ ‫ٗف׾أؐع‪،‬صك‪ծ‬כח׭׋׷ֽ‪㾈‬׾أؐع‪،‬صץח‪㜥䨽‬׷֮ךؤ‪٦‬صֻ‪ꥷծ稆傍‬׋ֹ‪筜䚈✲䡾ָ饯‬װ‪拄㹱‬‬ ‫ׅ‪䲿⣘‬ג׭‪ַֹ꧊‬׵ַ‪⦋䏧‬׾׵׸׉ֽ׌ֹהך‪ծꬊ䌢儗‬ׇךחزح؛‪٦‬وך‪䋐顋‬כ‪傈갦‬ג׃‪欰欵‬ג׃הزؙت‬ ‫‪罋ִծ‬הְַזכדךז⸬‪剣‬ג׃הيذأء؎ٓف؟ָך׷‬ ‫‪կ‬ׅתְג׏‪䱱‬׾‪㹋植〳腉䚍‬ך׉‬

‫‪15‬‬

technique

‫‪BASIC&ADVANCED SYSTEMS‬‬ ‫‪կ‬ׅת׶ז‪殯‬׸׊׸׉׮‪朐屣‬׷ְג׸ַ‪ծ縧‬ד‪圫ղ‬כ‪㖑㚖‬װ‪㕂‬׷זה‪㖑‬زؙؑآٗفךأؐع‪،‬صץ‬ ‫ֲ‪⢪‬׾‪倵鏣‬װ‪䊨㜥‬׋׏‪侭‬ך⪒‪ծ鏣‬ל׸֮׮زؙؑآٗف׷ג‪䒉‬ד׫ךⰧ‪䊨‬זٕف‪ٝ‬ءה⸂ך➂‪ֻծ募‬זָ‪ꨵ孡‬‬ ‫‪կ‬ׅת׶֮׮زؙؑآٗف׷ֹדךהֿ‬ ‫‪‬גֽⴓֹֻ‪⚥ծ㣐‬׷ֽ‪竲‬׾‪何葺‬ג׃‪湡䭷‬׾يذأءז‪♱㣗‬ד⤑‪知‬׶״‬ ‫‪կ‬׋׃ת׸ת‪ָ欰‬يذأءأؐع‪،‬صץךא‬

‫‪BASIC SYSTEM‬‬

‫‪JOINTS‬‬

‫‪CUTS‬‬

‫‪ծぐ‬׃הزحإ‪卐‬׾خ‪٦‬ػך‪ず䕎朐‬‬ ‫ֻֿײד׿‪䊴鴥‬ח‪갫‬׾ثحظךزحإ‬ ‫׾‪圓鸡⡤‬ך‪瘲朐‬ךוז‪咿‬װ‪ծ变‬דה‬ ‫‪կ‬يذأء׷ֻא‬ ‫ⴓ‪鿇‬׫‪䊴鴥‬ךثحظ‬ ‫דהֿ׷׭‪殅‬דآطג׃׾‪加‬ג‪ծ䔲‬כ‬ ‫‪կ‬ׅתְֹג׃‪酡䓼‬‬ ‫‪ָ㢳‬׶ז‪ꅾ‬ך‪勞俱‬‬ ‫‪ְⴓծ‬‬ ‫ת׶זה‪さ匢ָ䗳銲‬ך׿ֻׁ׋‬ ‫ד‪穈甧倯‬ז⽃‪ְ知‬ׅװ׃‪ָծ椚鍑‬ׅ‬ ‫‪ծ‬׶֮‬ ‫‪帾‬׾‪ⴖ鴥‬ד‪ⴓծ植㜥‬זٕف‪ٝ‬ء‬ ‫ءٖؗؿז‪〳腉‬׮‪锃侭‬ךוז׷ֻׅ‬ ‫‪կ‬ׅדيذأءזٕـ‬

‫‪ծ‬כדيذأءؙحء‪٦‬ك‬ ‫‪ծ‬‬ ‫‪ծ‬‬ ‫ז‪‬‬ ‫⸇׾‪‬ثحظ‪䊴鴥〡‬ח‪䕎朐‬ז‪⽃秪‬ו‬ ‫‪կ‬ׅת׶זהخ‪٦‬ػ‪さ匢ָ㛇劤‬׋ִ‬ ‫ػ‬ ‫‪噰⸂䲧‬׾ׁ‪帾‬ךثحظװ‪㼄岀‬ךخ‪٦‬‬ ‫⻉‪⽃秪‬ך‪ծ⡲噟‬דהֿ׷ׅ⻉‪ִծ鋉呓‬‬ ‫‪կ‬ׅת׶‪㔳‬׾‬

‫أؐع‪،‬صץ‪ծ‬כيذأءؙحء‪٦‬ك‬ ‫׋׃⳿ִ‪罋‬חⴱ‪剑‬דزؙؑآٗفך‬ ‫‪կ‬ׅדيذأء‬ ‫‪ծ‬׆ׇה‪䗳銲‬׾‪ꨵ孡‬‬ ‫ך‬ ‫‪䕎‬זٕف‪ٝ‬ء׷ֹדزحؕ׮ד׶ֺֿ‬ ‫ה‪加‬ג‪ծ 䔲‬ׇ׻‪さ‬׫‪穈‬׾خ‪٦‬ػך‪朐‬‬ ‫‪կ‬ׅת׃‪㔿㹀‬דׄי‬

‫‪19‬‬

‫‪Veneer House - TECHNIQUE -‬‬

‫‪ADVANCED SYSTEM‬‬

‫‪JOINTS‬‬

‫‪CUTS‬‬

‫‪⠗‬׷ֹד‪䱸さ‬ח‪㘋湫‬׾خ‪٦‬ػך‪匢朐‬‬ ‫׏‪⢪‬׾‪ծ嘱‬׋‪䖤‬׾ز‪ٝ‬ؼח‪➬〡‬ז‪窟涸‬‬ ‫‪կ‬ز‪ّ؎ٝ‬آ׋‬ ‫‪䫙‬׾‪ծ嘱‬ד‪ꆃ暟ָ♶銲‬‬ ‫‪〳腉կ‬׮‪鍑⡤‬דֽ׌ֻ‬ ‫׋ְ‪ 礵䏝ָ넝‬‬ ‫‪㢌‬ךד‪ָծ植㜥‬ׅד⤑‪知‬כ‪ծ穈甧‬׭‬ ‫‪넝ְ礵‬׮ח‪ֻծ㛇燉瘝‬׃‪ꨇ‬כ‪刿٥锃侭‬‬ ‫‪կ‬ׅת׸׵׭‪䏝ָ実‬‬ ‫ָ׶ז‪ꅾ‬ך‪ 勞俱‬‬ ‫ת׫‪幥‬ד‪ְさ匢ꆀ‬ז‪ծ㼰‬׭׋ְז‪㼰‬‬ ‫‪կ‬ׅ‬ ‫‪ծ‬׋ת‬ ‫ٓؿ׷׸ֻא׾‪꬗‬זزحٓؿ‬ ‫ך‪ծ㢩鄲瘝‬כ‪Ꟛ涪‬ךز‪ّ؎ٝ‬آُءح‬ ‫‪կ‬׋׃ת׃‪㣐ֹֻ顀柃‬ח♳‪倵䊨䚍ぢ‬‬

‫ח‪涫㜥‬ך‪ّٝ‬ء‪٦‬؛ٔـ‪؋‬ؿٕةآر‬ ‫‪ծ‬׶״‬ ‫ׄ‪ծず‬ל׸ֹד‪ִׁⰟ剣‬ة‪٦‬ر‬ ‫‪ⱄ植‬׮דדֿוָ➂⦐׾ך׮ך‪ㅷ颵‬‬ ‫‪կ‬׋׃ת׶זחֲ״׷ֹד‬ ‫ة‪$/$ٕ٦‬‬ ‫‪䕎朐‬ז‪ծ醱꧟‬כ‪㜥さ‬׷ֹד‪⢪欽‬׾‪٦‬‬ ‫⳿׶ⴖ׾خ‪٦‬ػך‪稢ְַ➬〡‬׋׃׾‬ ‫‪ծ‬׃‬ ‫‪勞俱⸬桦ծ‬׋׸⮚‪넝ְ䓼䏝ծ‬׶״‬ ‫‪կ‬ׅת׃‪鷄実‬׾‪知⤑ׁ瘝‬ך‪穈甧‬‬

‫‪20‬‬

‫‪さ‬ח‪ծ㛇劤涸‬כيذأءزأ‪ٝ‬غس‪،‬‬ ‫‪⢪‬׾ׄיװ‪欽ְծꆏ‬׾׫ךخ‪٦‬ػ‪匢‬‬ ‫‪կ‬ׅדيذأء׷׸׵ג‪甧‬׫‪穈‬ח׆׻‬ ‫‪醱‬׋ְב‪㛇‬חة‪٦‬ر‪٦‬ة‪ُ٦‬ؾ‪ٝ‬؝‬ ‫ٔـ‪؋‬ؿٕةآر׾خ‪٦‬ػך‪䕎朐‬ז‪꧟‬‬ ‫ד‪٦‬ة‪٦ٕ$/$ٕ٦‬خ‪ّٝ‬ء‪٦‬؛‬ ‫‪կ‬ׅתְ‪遤‬׾ג‪甧‬׫‪穈‬ד‪ծ植㜥‬׃زحؕ‬

⽂♲ꤵ‫صץ‬،‫أؐع‬ 傈劤㹧㙹源匌傈劤㣐ꩍ拄䖓‫ך‬鄃拄㖑‫גְֶח‬ծ⟎鏣⡝㸓‫׷ֶֽח‬⡝橆㞮‫ך‬何㊣ָ実‫⚥׷׸׵׭‬ծ暴‫ֶח‬괏ス‫ח‬ꟼ‫׷ׅ‬銲実ָ侧㢳 ֻ䮙ָ‫׋׃תְג׏‬կ 㹺‫ך‬杞ְ괏ス‫׮׶״‬㣐ֹ‫ז‬괏ス‫ח‬涺‫♧ד‬筰‫ְ׋׶Ⰵח‬կ ‫ז׿׉‬䖞勻‫ך؍ذصُى؝ך‬穠勲‫Ⱏׅ⤛׾‬ ず嵭㜥ָ劍䖉ׁ‫׋׃תְג׸‬կ ⽂♲ꤵ‫صץ‬،‫כأؐع‬ծⰟず嵭㜥鎘歗‫ך‬痥♧劍‫ג׃ה‬ծ㖑㚖‫➂ך‬ղָ孡鯪‫ח‬甧‫׍‬㺔‫لأ׷׸‬٦‫ֲ״׷זהأ‬鏣鎘٥䒉鏣ׁ ‫׋׃ת׸‬կ 㹧㙹源欵‫ך‬꟦⠄勞ַ‫׵‬⡲‫صץ׷׸׵‬،さ匢‫׾‬欽ְծ ‫ךٗف‬䪮遭‫ח‬걾‫׆׵‬㷕欰‫♧װ‬菙‫➂ך‬ղ‫ג׏״ח‬穈甧‫׵ג‬ ‫׷׸‬知⤑‫ד‬䐡⣣‫ז‬ծ ַ‫א‬㖑㚖欵噟‫ך‬䮶莆‫װ‬橆㞮何㊣‫ח‬顀柃‫׷ׅ‬䒉眠圓岀‫ׅתְג׏זה‬կ ‫׆ת‬ծ䋐㜥‫ח‬剑‫⳿׮‬㔐‫صץ׷ְג׏‬،さ匢‫Ⱈ♲ך‬匢 Y NN‫ن‬٦‫س‬‫׾‬搀꼽‫ ֲ״ְז⳿ך‬NN⽃⡘‫׃ⶴⴓד‬ծ ‫ח׵׸׉‬穈‫׫‬甧‫ג‬欽‫׶ⴖך‬鴥‫׫‬‫ثحظ‬‫ׅתֶֹג׸Ⰵדزحٖؕف׾‬կ ֿ‫׾ثحظ׵׸‬湱✼‫ח‬䊴‫׃‬鴥‫דהֿ׬‬鿇勞ず㡦 ‫׾‬䱸さ‫׃‬ծ畭勞‫׾أؽה‬欽ְ‫ג‬酡䓼‫׵ָז׃‬穈‫׫‬甧‫ׅתְֹגג‬կ 穈甧‫ָג‬知⤑‫ד‬鍑⡤獳眠‫׮‬〳腉‫ךֿז‬圓岀‫כ‬ծ鄃拄㖑‫װ‬筜䚈٥⟎鏣涸‫ז‬䒉眠‫ך‬꨽銲‫ח‬黝‫ׅתְג׃‬կ ‫׋ת‬ծ鿇勞‫ؿٔفך‬ ؋‫؛ٔـ‬٦‫ג׏״חز‬ծ ‫׶״‬鴼鸞‫׾يذأءז‬鷄⿹‫ָהְֻֿג׃‬〳腉‫ׅת׶זה‬կ

‫ث‬٦‫ي‬䣒䥯纏㞢㣐㷕4'$鏣鎘倵䊨ծ㼭卌٥圊‫؎ؠر‬ٝٙ٦‫فحّءؙ‬鏣鎘倵䊨ծ㹧㙹㣐㷕䎂䀤㊣嵞灇瑔㹓鏣鎘倵䊨ծꈿ加㉔圓鸡ծ吳䒭⠓爡‫م‬٦‫ي‬䒉勞䏄‫زحٖؕف‬ծ㖑㚖⡝孖倵䊨ծ➭

Veneer House - PROJECTS -

Plan

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Section

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Axon Sketch 24

⵸笨嵋‫صץ‬،‫أؐع‬ 傈劤㹧㙹源 ⵸笨嵋‫صץ‬،‫כأؐع‬ծ⽂♲ꤵ‫صץ‬،‫׾أؐع‬何葺‫ג׃‬圓䟝ׁ‫صץ׋׸‬،‫أؐع‬痥✳䔉‫ׅד‬կ 匌傈劤㣐ꩍ拄‫ך‬鄃㹱‫ח‬黧 ‫׋׏‬㖑⯋‫ך‬怒噟穈さ剣䘊‫ג׏״ח‬㖑㚖꟦⠄勞‫ⵃ׾‬欽‫ג׃‬倵䊨ׁ‫׋׸‬ծ ‫؍ذصُى؝‬꧊⠓䨽Ⱟ⦋䏧鎘歗‫ׅד‬կ 劤‫כדزؙؑآٗف‬ծ䒉鏣‫ךגⰋך‬䊨玎‫ה‬䩛갫‫׾‬ չ䒉鏣‫ُصو‬،ٕպ‫ח‬㔳爙‫׃‬ծ鏣鎘㔳꬗‫׾‬鍑铣‫׮גֻז׃‬知⽃‫ח‬䒉鏣‫ך‬ 麓玎‫׾‬椚鍑‫➬׷ֹד‬穈‫׾׫‬㼪Ⰵ‫׋׃ת׃‬կ ֿ‫׶״ח׸‬ծ䒉鏣‫ך‬䩛䨱‫׶זֻזָ׶‬ծ ‫ך׉‬傈‫ך׉‬儗‫ך‬䒉鏣銲㆞ָծ如‫ח‬⡦‫װ׾‬ ‫⽯ְַז׵זל׸ֽז׵‬䏟‫ח‬椚鍑‫׃‬ծ⡲噟‫׾‬鹌‫׋׃תֹדָהֿ׷׭‬կ ‫؎׋ת‬ٝ‫ة‬٦‫׋׃➜׾زحط‬䊨玎‫Ⱅך‬Ꟛ‫ג׏״ח‬ ‫׮‬ծꟼ⤘ぐ➂‫ח‬䊨✲‫ך‬鹌䯴ָ鑫稢‫ח‬⠗ִ‫׋׃ת׸׵‬կ 㖑㚖‫أך‬٦‫׾أ‬欰ַ‫ג׃‬ չ傍ֻ㸜ֻ知⽃‫ח‬պ‫׾‬さ鎉衝‫ח‬ծ ֿ‫صץך‬ ،‫أؐع‬痥✳䔉‫כד‬ծ ً‫؍ر‬،꬗‫ח‬㣐䌴‫ז‬何葺ָ⸇ִ‫׋׃ת׸׵‬կ

‫ث‬٦‫ي‬"SDIJUFDUVSF GPS )VNBOJUZ‫هأ‬ٝ‫؟‬٦ծ㼭卌٥圊‫؎ؠر‬ٝٙ٦‫فحّءؙ‬鏣鎘倵䊨ծ䣒䥯纏㞢㣐㷕4'$㼭卌⽆➂灇瑔⠓鏣鎘倵䊨ծꈿ加㉔圓鸡ծ溪司䊨蔓吳䒭⠓爡‫زحٖؕف‬ծ谏㽵㷀䝜倵䊨ծ⵸笨嵋怒噟⼿ず穈さ剣䘊 倵䊨ծ➭

②パネル組立

②パネル組立４.基礎梁の移動/固定

Ძ଺᧓

ⅲ.X1の基礎梁の固定

６.柱の組立てと補強材固定

Წ଺᧓

ⅱ.柱の組立て（Y2/Y5）

＊注意点＊

１．Y６の梁を柱の直下まで手で運ぶ２．梁の中心でバンドを括りつける

2枚

３．各柱の下に脚立を用意する

24枚

４．柱に2人ずつ、ユニック操作1人、全体指揮1人の配置につく５．ユニックで梁を持ち上げるその際に梁が暴れないように柱にいる人が支えながら上げる６．柱の上部まで上がったら徐々に下ろして切り込み部を合わせる

SC3

ビスを打ち込み辛い懸念があるので、場合によってはグレーの部分を適宜切り落としてください。

SC3

Წଐ

ⅱ．補強材の固定

・上棟した時点で垂直水平が保てているか確認する必要アリ

ー人数が十分でない時もやらない

・大工さんよく相談して補正を行う

ー必ずゆっくり行うこと

・確認するポイントとしては、

ー1箇所を先に入れてしまうと他が入らなくなる事があるので必ず3箇所同時に行うーY6⇒Y5⇒Y4⇒Y3⇒Y2⇒Y1の順で行う

１．梁がたわんでいないかどうか →たわんでいた場合下から上げて、20㎜程のむくりをつけておく

７．一気に入れようとせずに水平に下げるよう気をつけながら行う

２．柱が垂直かどうか

８．完全に下ろしたらバンドをはずして終了

３．Y1からY6までのピッチが正しいか →内壁や垂木を固定する前に必ず補正しておく

SC3

ー風が強い日に無理をしてやらない

９.垂直水平の補正

４．梁が曲がっていないかどうか

SC3

Ჭ଺᧓gᲰ Ჭଐ

ⅰ．ユニックによる梁上げ

・手順

フィンから40m離して固定すること (補強材がこの後くるため)

②パネル組立

７.梁上げ

＊中心に括りつける

SC3

各柱部分に脚立2台で2人ずつ配置 or 外周部に足場を組む(現場で要相談)

Construction Manual

Veneer House - PROJECTS -

Site Plan

Section

Section Detail

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Plan

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Scale 1/50 30

‫‪٦‬ة‪ٝ‬إؚ‪ٝ‬ص‪ٔ募ٓ٦‬قظو‬ ‫‪؎ٝ‬ذػ ‪٦‬و‪ٍٝ‬ى ‬ ‫‪ծ‬כ‪٦‬ة‪ٝ‬إؚ‪ٝ‬ص‪ٔ募ٓ٦‬قظو‬ ‫‪ٝ‬ص‪ٓ٦‬׋׸ׁ‪䒉鏣‬ח׮הה‪꧊衅⡝孖‬גח‪ٔ募‬قظو⼒‪盖‬؍ر‪ؒ٦َٙ‬ך‪٦‬و‪ٍٝ‬ى‬ ‫‪կ‬ׅד‪٦‬ة‪ٝ‬إؚ‬ ‫‪遹欰橆㞮‬ך‪㖑倯꧊衅‬׷ָ‪呓䊴ָ䎢‬ךה‪鿪䋐‬׶״ח⻉ٕغ‪ٗ٦‬ؚ‪ծ孖⚺⻉٥‬גׄ‪鸐‬׾‪麊㌀‬ך‪䒉鏣䖓‬ה‪䒉鏣‬‬ ‫‪ぢ♳ծ‬ך‪欰崞橆㞮‬זתׂתׁךוז‪侄肪堣⠓‬װ‬ ‫‪կ‬ׅתְג׃ה‪湡涸‬׾הֿ׷ׅ♷‪㺔‬ח⻉‪䓼‬؍ذصُى؝׋ת‬ ‫‪ծ‬׃׵‪噰⸂幾‬׾‪ծ鿇勞侧‬כדزؙؑآٗف‪劤‬‬ ‫ת׶‪㔳‬׾⻉⤑‪知‬׷ז‪刿‬ך‪䒉鏣䊨玎‬ן⿹‪؎ٝ‬ؠرחֲ״׷ֹד‪䒉鏣‬ח‪㺁僒‬׶״‬ ‫‪կ‬׋׃‬ ‫‪ծ‬כד‪ְ植㜥‬ז׸׵‪䖤‬ך‪ꨵ孡‬‬ ‫‪կ‬׋׃ת׸׻‪倵䊨ָ遤‬דⰧ‪麣‬׋׸׵‪ꣲ‬ך׫ך׶ֺֿךה׍ַ׿ה‬ ‫صץכח‪ծ圓鸡‬׋ת‬ ‫‪կ‬׋׃ת׃‪湡䭷‬׾‪䒉眠‬׬‪徇ֽ鴥‬ח‪ծ㖑㚖‬דהֿ׷ׅ‪⢪欽‬׾‪稆勞‬ך‪植㖑‬ךוז‪畾‬כח־♳➬‪♧倯ծ‬׷ׅ‪⢪欽‬׾‪،勞‬‬

‫‪鏣鎘倵䊨ծ䣒䥯纏㞢㣐㷕4'$㼭卌⽆➂灇瑔⠓鏣鎘倵‬فحّءؙ‪؎ٝٙ٦‬ؠر‪٦ծ㼭卌٥圊‬؟‪ٝ‬هأ‪:.$"‬ي‪٦‬ث‬ ‫➭‪䊨ծꈿ加㉔圓鸡ծ谏㽵㷀䝜倵䊨ծ㖑㚖⡝孖倵䊨ծ‬‬

‫‪33‬‬

Veneer House - PROJECTS -

Site Plan

Plan

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‫؞؝‬ٝ募⥂肪㕦 ‫ؾٔ؍ؿ‬ٝ ‫من‬٦ٕ䃊 ‫؞؝‬ٝ募‫כ‬ծ䏝ꅾ‫׷ז‬ꩍ拄‫װ‬〴괏‫׶״ח‬㣐ֹ‫ז‬鄃㹱‫ؾٔ؍ؿ׋ֽ「׾‬ٝ‫منך‬٦ٕ䃊‫ח‬⡘縧‫׷ׅ‬ծ➂〡秈 ➂‫ך‬募‫ד‬ ‫ׅ‬կ +*$"ַ‫♧׵‬鿇项ꆃ䲿⣘‫ֽ「׾‬ծ ⦜㠨‫⥂׋׃‬肪㕦‫׾‬䗁莆‫׷ׅ‬鎘歗ָ甧‫׋׃ת׸׵ג‬կ 䒉暟‫ך‬낦穈‫׫‬鿇ⴓ‫כ‬ծ ‫؝اػ‬ٝ‫ر‬٦‫חة‬䖞‫ג׏‬荈⹛涸‫ח‬堣唒ؕ‫صץ׋׸ׁزح‬،さ匢‫ػך‬٦‫׾خ‬ծずֻׄ‫صץ‬،匢‫׷״ח‬ 嘱‫ػך‬٦‫؎ّآדخ‬ٝ‫׷ׅز‬ծ杝荈‫ך‬圓岀‫ד‬䒉‫ׅתְג׸׵ג‬կ 植㖑‫ךד‬さ椚䚍‫׾‬ꅾ鋔‫׃‬ծ♧ⴖ䱸滠⶝٥ꆏ٥ꨵ⹛䊨Ⱗ‫׾‬欽 ְ‫ׅדيذأءְזךהֿ׷‬կ 䣒䥯纏㞢㣐㷕‫ך‬㷕欰‫ֻזדֽ׌‬ծ募➂‫⫴⼿ךה׍׋‬⡲噟‫׭׋׷ׅה‬ծ㖑㚖‫ך‬㶨⣘‫׉װ׍׋‬ ‫ך‬㹺做‫ה‬ծずׄ圓岀‫׷ֻא׾ׯ׍׮ֶד‬ٙ٦‫׾فحّءؙ‬遤ֲ‫׵ַ׹ֿה‬㨣‫׋׃ת׭‬կ 낦穈‫ח׫‬㼎‫׷ֽ➰《ג׃‬ծ䒉暟‫ך‬㢩淼‫׷זה‬稆勞‫כח‬ծ植㖑‫ך‬畾‫׾‬箟‫׾ٕطػ׌׿‬欽ְծ孡⦪‫װ‬⠗窟䒉眠‫ח‬꼧厩‫؎ؠر׬‬ٝ‫׾‬湡䭷‫׋׃ת׃‬կ

‫ث‬٦‫ي‬+*$"ꫬ䎃嵲㢩⼿⸂꥘‫هأ‬ٝ‫؟‬٦ծ䣒䥯纏㞢㣐㷕4'$㼭卌⽆➂灇瑔⠓鏣鎘倵䊨ծ㼭卌٥圊‫؎ؠر‬ٝٙ٦‫ءؙ‬ ّ‫فح‬鏣鎘倵䊨ծ➙劤㉔♧䓼䏝鑐꿀ծꈿ加㉔圓鸡ծ#PIPM *TMBOE 4UBUF 6OJWFSTJUZ倵鏣䲿⣘ծ㖑㚖⡝孖倵䊨 ծ➭

Veneer House - PROJECTS -

Ω͙͑ͥͲ͚ͥ

Ω͙͑ͥʹ͚ͩ

Ω͙͑ͥͳ͚ͩ

Ω͙͑ͤ͵ͧͶ͚ͩ͢

Ω͙͑ͦ͢Ϳ͚ͤ͡

Ω͙͑ͦ΀͚͢͡

Ω͙͑ͣͧ͹͚

Ω͑ͥ

Ω͙͑͢Ͷ͚ͥ͡

Ω͙͑ͨͽ͚ͣͩ

Ω͙͑ͣ;͚ͩ

Ω͙͑ͣͺͥͼͩͻ͚ͥ

Drawing for Pre-Cut

Wood Joint with Wooden Wedges

Axonometric

‫أؐع‪،‬صץزح؝ٍٔث‬ ‫‪ٓؕ䊜‬س ٕ‪٦‬ػط ‬ ‫‪ծ‬כأؐع‪،‬صץزح؝ٍٔث‬ ‫‪ծ‬ג׃הف؎ةزٗفך‪㹺‬׋׃‪㼎䘔‬ח‪ٔ٦‬ى‪؋‬ؿؚٕ‪ٝ‬ء‬ ‫‪鄃拄‬ך‪٦ٕ㖑ꩍ‬ػطך‪䎃‬‬ ‫‪㖑ծ‬‬ ‫‪կ‬׋׃ת׸׵ג‪䒉‬דزح؝ٍٔث‪ٓؕ䊜‬س‬ ‫‪ꅾֻ厫圓鸡‬כ‪ծ㠖‬׭׋׷ׅה‪䒉勞‬ז⚺׾‪瀖‬װؖ‪ٖٝ‬כ‪㹺‬ךٕ‪٦‬ػطז‪⠗窟涸‬‬ ‫‪կ‬׋׃תְג׏ת׃גְ‪䬸‬׾‪鄃㹱‬זֲ״ך‪ծ➙㔐‬׆׵ֶג׏זה‬ ‫‪넝ְ圓‬ך‪厫鮾䚍‬ד‪鯪ꆀ‬גְ‪欽‬׾‪ծさ匢‬כדزؙؑآٗف‪劤‬‬ ‫‪կ‬׋׃ת׃⿹‪鷄‬׾‪䊨岀‬׋׃‪黝‬ח‪㖑㚖‬ז‪崞涪‬ך⹛‪ծ㖑ꩍ崞‬ג׏״חהֿ׷ׅ‪䱰欽‬׾ي‪ٖ٦‬ؿ‪鸡‬‬ ‫‪ծ‬׶זה‪㼭卌灇瑔㹓ָ⚥䗰‬ך‪ծ䣒䥯纏㞢㣐㷕‬כأؐعَصكزح؝ٍٔث‬ ‫׸׵‪⡲‬ג׃‪⼿ず‬ה‪さ匢ً٦ؕ٦‬ךزح؝ٍٔث‬ ‫‪կ‬׋׃ת‬ ‫‪ծ‬׃‪⢪欽‬׾‪加勞‬ך‪植㖑‬׷׸《׵ַزأٖؓؿ؍ذصُى؝‬ ‫ָ‪➂ղ‬ך‪ֽծ㖑㚖‬׬ח‪㔐䗁‬ה‪䗁莆‬ך׵ַ‪ꩍ拄‬ךٕ‪٦‬ػط‬ ‫‪կ‬׋׃ת׸׻‪䒉鏣䊨✲ָ遤‬ג׏זה‪♧⡤‬‬

‫‪鏣鎘倵䊨ծꈿ加㉔圓鸡‬فحّءؙ‪؎ٝٙ٦‬ؠر‪䣒䥯纏㞢㣐㷕4'$㼭卌⽆➂灇瑔⠓鏣鎘倵䊨ծ㼭卌٥圊‬ي‪٦‬ث‬ ‫➭‪ծ㖑㚖⡝孖倵䊨ծ‬زأذ‪ծ倵䊨‬زحٖؕف‪ծ%PMBLIB 1MZXPPE *OD ‬‬

‫‪45‬‬

Veneer House - PROJECTS -

Frame Section

♫٠嵋‫ؽ‬٦‫أؐعث‬ 傈劤㹧㙹源 ♫٠嵋‫ؽ‬٦‫⟎כأؐعث‬鏣‫ذأ‬٦‫ן״ֶآ‬嵲‫ך‬㹺‫ג׃ה‬ծ匌傈劤㣐ꩍ拄䖓䎃‫♫׷זה‬٠嵋‫ך‬嵲Ꟛֹ‫׾‬牜‫ג׏‬鎘歗ׁ‫׸‬ ‫׋׃ת‬կ ‫ء‬ٝ‫عזٕف‬٦‫ٔءؿ‬ٝ‫ت‬٦‫ך‬䕎朐‫׶״ח‬ծさ匢‫ؾ‬٦‫ךأ‬珏겲‫דתחא ׾‬⡚幾‫ֹדָהֿ׷ׅ‬ծ➙‫ח♳⟃דת‬穈 ‫׫‬甧‫ָג‬知僒⻉ׁ‫׋׃ת׸‬կ 㢙‫ך‬ծ 鹈꟦‫ⵃ׫ך‬欽ׁ‫׷׸‬劤䒉暟‫כ‬ծ嫣䎃穈‫׫‬甧‫הג‬鍑⡤ָ粸‫׶‬鵤ׁ‫׸‬ծ ‫؝‬ٝ‫؟‬٦‫וזؑؿؕװز‬嵋‫ךד‬،‫ذؽ؍ذؙ‬ ‫ך؍‬㜥‫ׅת׶זה‬կ 䖞勻‫ך‬䒉暟‫ה‬嫰‫ץ‬ծ知僒‫ז‬㛇燉‫ה‬鯪ꆀ‫ٖؿך‬٦‫ָي‬ծ⥂盖٥麊䵤٥䒉鏣‫ח‬銲‫׾زأ؝׷ׅ‬䫇ִ‫ׅת‬կ ֿ‫ך‬ ⟎鏣‫صك‬،‫כأؐع‬ծ㢙‫ך‬嵲‫׾‬渿‫חⰟה׷־♳׶‬ծꩍ拄‫ד‬㢳ֻ‫׾‬㣟ְ⫊‫♫׋ְא‬٠嵋‫ך‬㔐䗁‫׾‬䖓䬃‫׃׃‬䗁莆‫ח‬㺔♷‫׷ׅ‬ ֿ‫׾ה‬격‫ג׏‬⡲‫׋׃ת׸׵‬կ

‫ث‬٦‫ي‬䣒䥯纏㞢㣐㷕4'$㼭卌⽆➂灇瑔⠓鏣鎘倵䊨ծ㼭卌٥圊‫؎ؠر‬ٝٙ٦‫فحّءؙ‬鏣鎘倵䊨ծꈿ加㉔圓鸡ծ溪司䊨蔓吳䒭⠓爡‫زحٖؕف‬ծ㖑⯋넝吤倵䊨ծ➭

Veneer House - PROJECTS -

Flush Joint Detail

Axonometric

ٞ‫صץ أ؍‬،蘠㹓 ‫ؙٗ‬،‫ث‬، ٞ‫أ؍‬䃊傈劤‫ך‬䒉眠俑⻉‫׾‬稱➜‫׃‬ծ傈劤‫ؙٗה‬،‫ث‬،‫ך‬俑⻉❛崧‫ׅ⤛׾‬湡涸‫ד‬ծ ‫ؙٗ‬،‫ث‬،‫ך‬ٞ‫أ؍‬䃊‫ח‬蘠㹓ָ䒉‫׋׃ת׸׵ג‬կ ‫ה׮ה׮‬傈劤‫ך‬蘠㹓‫כ‬獳⹛〳腉‫⟎ד‬鏣涸‫ָ׋׃ד‬ծ荈‫ָ׵‬穈‫׫‬甧‫גג‬⡲‫ךֿ׷‬さ匢‫ך‬蘠㹓‫׋ת׮‬ծ傈劤䒉眠‫ֲ״ך׉ך‬ ‫זַװז׃ז‬䚍呓‫׾‬邌植‫ׅתְג׃‬կ ؎‫ٔة‬،ַ‫׵‬麊‫׋׸ל‬さ匢‫כٕطػ‬ծ ‫صكٗأ‬،‫ך‬넝吤‫׷֮ח‬$/$ٕ٦‫ة‬٦‫ד‬侄肪‫♧ך‬橆‫׸ׁزحؕג׃ה‬ծ ‫ؙٗ‬،‫ث‬، ‫ך‬ٞ‫أ؍‬䃊‫ח‬麊‫ג׸ל‬蘠㹓‫הפ‬穈‫׫‬甧‫׋׃ת׸׵ג‬կ 鯪䘯‫ז‬蘠㹓‫כ‬ծワ㔲‫ך‬瀖‫ٖװ‬ٝ‫ךؖ‬䒉眠‫ה‬㥨㼎撑‫׃ז׾‬ծ殯‫׷ז‬俑⻉涸胜兝‫׾‬䭯‫׋׏‬䭯竲〳腉‫ז‬䒉眠‫ג׃ה‬ٞ‫أ؍‬䃊‫ך‬ ➂ղ‫׋׃ת׸׵׸Ⰵֽ「ח‬կ

‫ث‬٦‫ي‬䣒䥯纏㞢㣐㷕4'$㼭卌⽆➂灇瑔⠓鏣鎘倵䊨ծ㼭卌٥圊‫؎ؠر‬ٝٙ٦‫فحّءؙ‬鏣鎘倵䊨ծ ‫ظٓى‬䊨猰㣐㷕 鏣鎘倵䊨ծꈿ加㉔圓鸡ծ ‫صكٗأ‬،‫ך‬㖑⯋䊨噟넝吤‫زحٖؕف‬ծ➭

Veneer House - PROJECTS -

Axonometric

‫صץ‬،‫أؐع‬擓劤傈劤擓劤源 ‫صك‬،‫أؐع‬擓劤7),‫כ‬ծ剑㼭ꣲ‫صكך‬،‫׾أؐع‬湡䭷‫ג׃‬鎘歗ׁ‫׋׃ת׸‬կ ट䓼‫ך‬䎢ׁ‫ـך‬٦‫כأ‬ծꬊ䌢儗‫כח‬知僒涸‫ז‬⡝‫חְת‬ծ遳‫ك؎ך‬ٝ‫ز‬儗‫כח‬獳⹛䒭㾊〴‫ח‬ծ ‫ךדأ؍ؿؔ׋ת‬䩧さ‫ـׇ‬٦‫וזأ‬圫ղ‫ז‬欽鷿‫ⵃח‬欽〳腉‫ד‬ծ䗳銲 ‫חֹהז‬穈甧‫ג‬ծ欽✲ָ幥‫ל׭‬鍑⡤‫ع׷ֶֽג׏ת׃ג׃‬ٝ‫ז؍ر‬噰㼭‫صك‬،‫ׅדأؐع‬կ

Ve Ve

V V

Yatai (Vendor Stall)

Tea House

Possibility of Daily Use

‫ث‬٦‫ي‬䣒䥯纏㞢㣐㷕4'$㼭卌⽆➂灇瑔⠓鏣鎘穈甧ծꈿ加㉔圓鸡ծ➭

Playroom for Kids

Veneer House - PROJECTS -

×2

×3 Layout of Plywood Board

Exploded Axonometric

ꆏ‫ְזך‬嵲‫ך‬㹺傈劤牞㣽䊛源 ꆏ‫ְזך‬嵲‫ך‬㹺‫כ‬ծ 䎃‫ך‬匌❨ؔٔٝ‫إכדؙحؾ‬٦ٔٝ‫ؚ‬畸䪮ָꟚ⪵✮㹀‫׷֮ד‬寐‫ך‬䃊‫ך‬晙戭匌嵋‫ח‬䒉鏣ׁ‫׋׸‬ծ 㢙ꣲ㹀‫ؽך‬٦‫ؔٔؽػث‬ٝ‫ׅד‬կ ،٦‫ث‬朐‫ءך‬ٝ‫זٕف‬䕎‫כ‬ծ ‫ךא‬殯‫ػ׷ז‬٦‫׭׋׷ְגֹדד׫ךخ‬ծ鴼鸞ַ‫א‬㺁僒 ‫ח‬䒉鏣ָ〳腉‫ׅד‬կ ַ剢꟦ꣲ㹀‫ך‬Ꟛ鏣‫׭׋׷זה‬ծ嫣䎃穈‫׫‬甧‫הג‬鍑⡤ָ粸‫׶‬鵤ׁ‫ׅת׸‬կ ٓ؎‫إؿ‬٦‫غ‬٦‫ך‬䖉堣䨽٥佸隊㹓٥ٓ‫ؔآ‬佝鷏㽷‫׋׏ְה‬堣腉‫׾‬ろ‫ؔٔؽػךֿ׬‬ٝ‫כ‬ծꆏ‫♧׾أؽװ‬劤‫׮‬⢪欽‫זְג׃‬ ְ‫׭׋‬ծ鍑⡤䖓‫דְ׸ֹ׮‬㸜Ⰻ‫ז‬瀧嵋ָ⥂‫ׅת׸׋‬կ ‫׋ת‬ծ鯪ꆀ‫ٖؿז‬٦‫הي‬-7-⽃匢琎㾴勞‫ء׷״ח‬ٝ‫זٕف‬㛇燉‫׶״ח‬ծ⥂盖‫װ‬鱐鷏ծ䒉鏣‫׮زأ؝ך‬䫇ִ‫ׅתְג׸׵‬կ IUUQT LVHJOPOBJ VNJOPJF DPN

‫ث‬٦‫ي‬/10岀➂嵲ֻׁ‫׵‬ ‫هأ‬ٝ‫؟‬٦ծ傈劤頿㔚ծ ‫هأ‬ٝ‫؟‬٦ծ㼭卌٥圊‫؎ؠر‬ٝٙ٦‫فحّءؙ‬鏣鎘倵䊨ծꈿ加㉔ 圓鸡ծ ꅿ罈劉꧅‫؎ؠرؙح؍ؿؚٓ‬ٝծ溪司䊨蔓吳䒭⠓爡‫زحٖؕف‬ծꞿ靼蠜倵䊨ծ䣒䥯纏㞢㣐㷕4'$㼭卌⽆➂ 灇瑔⠓倵䊨ծ㖑㚖⡝孖倵䊨ծ➭

Veneer House - PROJECTS -

Axonometric

‫صكٗأ‬، ‫ؔٔؽػ؍ذصُى؝‬ٝ ‫صكٗأ‬، ‫ٗأ‬ٞؑ‫ص‬٥‫خرؚٓ‬ ‫صكٗأ‬،‫ٗأך‬ٞؑ‫ص‬٥‫׷֮חخرؚٓ‬䊨噟넝吤‫ך‬胜䖓‫ך‬啾‫ח‬䒉鏣ׁ‫ؔٔؽػךֿ׋׸‬ٝ‫כ‬ծ欰䖝‫ה‬鵚ꦄ‫ך‬⡝孖‫׏״ח‬ ‫ג‬꧊⠓‫ئٖفװ‬ٝ‫ذ‬٦‫ّء‬ٝծ ؎‫ك‬ٝ‫ز‬瘝‫ח׭׋ך‬⢪欽ׁ‫ׅת׸‬կ 䒉暟‫ך‬鏣鎘‫ה‬倵䊨‫כ‬䣒䥯纏㞢㣐㷕㼭卌灇瑔⠓‫شٍٔـُٔה‬㣐㷕(MB[BS灇瑔㹓‫ך‬㷕欰‫⚺ך׍׋‬㼪‫ג׏״ח‬遤‫׸׻‬ծ넝 吤欰‫׋׃ת׃⸇⿫׮׍׋‬կ 变咿‫ך‬圓鸡⡤‫כ‬넝吤‫ך‬$/$ٕ٦‫ة‬٦‫ء׋׸ׁ⳿׶ⴖג׏״ח׶ֺֿךה‬ٝ‫זٕف‬さ匢‫ػך‬٦ ‫דخ‬圓䧭ׁ‫ׅתְג׸‬կ Ꟛ佝涸‫ז‬圓鸡⡤ָծ ‫׶״‬Ꟛ佝涸‫ה➂ז‬㜥䨽‫ך‬ꟼ⤘䚍‫׾‬䕎‫ג׏ְג׏ֻב‬妜‫ְֲהְ׃‬격ְ‫׾‬鴥‫ג׭‬ծ䒉‫׋׃ת׸׵ג‬կ

‫ث‬٦‫ي‬䣒䥯纏㞢㣐㷕4'$㼭卌⽆➂灇瑔⠓鏣鎘倵䊨ծ ُٔ‫شٍٔـ‬㣐㷕(MB[BS灇瑔㹓鏣鎘倵䊨ծꈿ加㉔圓鸡ծ㖑 ⯋䊨噟넝吤倵䊨ծ➭

Veneer House - PROJECTS -

Axonometric

擓劤ٌؔ‫؛‬ٝ‫ػ‬٦‫ؙ‬ 傈劤擓劤源 ٌؔ‫؛‬ٝ‫ػ‬٦‫כؙ‬ծ擓劤‫؎ًך‬ٝ،٦‫؛‬٦‫♳׷֮דא♧ךس‬鸐‫׶‬屟ְ‫ך‬ծ㖑ꩍ‫ך‬䕦갟‫׶《ד‬㠨ׁ‫ךٕؽ׋׏ת׃ג׸‬騊㖑 ‫ⵃ׾‬欽‫׋׸׵ֻאג׃‬劍꟦ꣲ㹀‫Ⱅך‬㕦‫ׅד‬կ ꩍ拄䖓ծ䒉暟‫ⱄך‬䒉顤欽ָ넝꿳‫ד⚥׷ׅ‬ծ չ䒉‫ְזג‬պ瑞ֹ㖑ⱄ欰‫ך‬〳腉䚍 ‫׾‬䱱‫ה׷‬ず儗‫ח‬ծ擓劤‫ך׍תך‬ չ㼭ׁ‫ז‬㶨鸬‫ ד׸‬孡鯪‫ח‬⠅䤰‫׷ֹד‬㜥䨽ָ 駈‫ְז׶‬պ ‫ְֲה‬铬겗鍑寸‫׾‬㔳‫ֻץ׷‬ծ㹋꿀涸 ‫ח‬鏣ִ‫׋׃ת׸׵‬կ ‫؝‬٦‫ؼ‬٦‫ةأ‬ٝ‫װس‬琎‫׫‬加‫ך‬麇‫ן‬㜥‫ⰕחⰟה‬㕦‫⚥ך‬䗰‫ח‬䒉‫صץ׋׸׵ג‬،‫כדأؐع‬ծ〢劤㾊‫ך‬ չ〢剅导宏爡պָ窩劤 ‫⚥׾‬䗰‫׋׃ה‬ㅷ䲧ִ‫⳿ך‬䓸顋㡰‫׾‬遤ְծ㼭ׁ‫ז‬㶨ַ‫ֶ׵‬䎃㺔‫ָדת׶‬꧊ֲ庛ְַ瑞꟦‫♧ח׶ֻב‬鬨顠ְ‫׋׃ת‬կ

‫ث‬٦‫ي‬꬗加⨳㕼㖑䲿⣘ծ嘑⾱溪⟰歗麊㌀ծ䣒䥯纏㞢㣐㷕4'$㼭卌⽆➂灇瑔⠓鏣鎘穈甧ծ ‫ؿ‬؋‫نٓـ‬꣚豣⽂㼭㕂 倵鏣䲿⣘ծ擓劤䋐孖穈甧ծ➭

Veneer House - PROJECTS -

歊㕦锃䋒㼭㷕吤㶨⣘‫أؐع؎ٖف‬ 傈劤匌❨ 歊㕦锃䋒㼭㷕吤‫גח‬鏣縧ׁ‫ךֿ׋׸‬㶨⣘‫כأؐع؎ٖف‬ծ㶨⣘‫ָ׍׋‬嚂‫ֻ׃‬꧊ְծ麇‫׷ץ‬㜥䨽‫ֲ״׷זה‬ծ㶨⣘‫ך‬㼄岀‫ח‬ さ‫؎ؠرגׇ׻‬ׁٝ‫صى׋׸‬٥‫صك‬،‫ׅדأؐع‬կ ‫ؤ؎؟صى‬佦‫ח‬ծ兛媮⢪欽‫ךהֿ׷ׅ‬㢳ְ㔊Ⱂ匢‫غثعء‬ٝ ‫♧׮׶״‬ 㔐‫׶‬㼭ְׁ♲Ⱈ匢‫غؙٗـ؟‬ٝ‫ך‬さ匢‫׾‬欽ְ‫׋׃ת׸׵ֻאג‬կ 㹺Ⱗ‫כ‬㠖‫ה‬㣓❁ַ‫ػ׋׃⳿׶ⴖ׵‬٦‫דخ‬㶨⣘‫׍׋‬荈魦ָ‫חֲ״׷׸ֻא‬䊨㣗ׁ‫׶ֶג׸‬ծⴖ‫׋׃⳿׶‬䖓‫ך‬瑎‫כ‬圫ղ‫ז‬邌䞔‫ך‬겣‫׾‬䲽ֹծ㶨⣘‫׮׵ַ׍׋‬鋵‫؎ؠر׷׸ת׃‬ٝ‫ה‬ ‫׋׃ת׶ז‬կ

‫ث‬٦‫ي‬䣒䥯纏㞢㣐㷕4'$㼭卌⽆➂灇瑔⠓鏣鎘穈甧ծ歊㕦锃䋒㼭㷕吤㹺Ⱗ穈甧ծ➭

Veneer House - PROJECTS -

‫أ‪٦‬ـأ؍ؿؔ‪畾⚥䊨⹡䏄匌❨劤䏄‬‬ ‫❨‪ 傈劤匌‬‬ ‫‪ծ鼘ꨇ䨽‬דהֿ׷ׅ‪鱐鷏‬ח‪植㖑‬ג׃‪ծ♧䏝鍑⡤‬כח‪ꥷ‬׋ֹ‪筜䚈✲䡾ָ饯‬װ‪ծ拄㹱‬׃‪⢪欽‬ג׃הأ‪٦‬ـךⰻأ؍ؿؔכ‪兛媮‬‬ ‫‪կ‬ׅד‪䲿周‬ךأؐع‪،‬صك׷ֹד‪鯄欽‬ח‪㼭ְׁ㺊屯倵鏣‬װأ‪٦‬لأز‪٦‬ك؎ٓفך‬ ‫ؔ❨‪匌‬ך‪㣐䩛䒉鏣⠓爡ծ畾⚥䊨⹡䏄‬‬ ‫‪ծ‬גחأ؍ؿ‬ ‫‪կ‬׋׃ת׃‪⡲䧭‬׾أ‪٦‬ـך‪鎘珏‬׷ׅ⳿ⶼ׾‪瑞꟦‬ך‪꟦‬ךسؤ‪ٗ٦‬ؙה‪ٝ‬ف‪ؔ٦‬‬ ‫׃ת׃‪ 珏겲ⵖ⡲‬׾‪瑞꟦‬׷ֶֽ׾‪騃ꨄ‬׃‪㼰‬׵ַ‪⠓鑧‬ך‪ծワ㔲‬כח‪ؒٔ،‬ؚ‪ٝ‬؍ذ‪٦‬ىך‪ ꥡ‬׷׸׻‪ָ遤‬ׇ׻‪さ‬׍‪䩧‬ךֻ‪㢳‬‬ ‫‪կ‬׋‬ ‫‪կ‬ف؎ةך‪ծ变٥咿圓鸡‬כא♧‬ ‫‪կ‬ׅדف؎ة‪ٔ٦ٝ㠖‬ؙأך‪ծ♶鋉⵱垷圫‬כא♧ֲ׮‬ ‫‪婍‬׋׃⳿׶ⴖ׾خ‪٦‬ػⰧ‪ծ㹺‬כ‪䖓罏‬‬ ‫‪կ‬ׅתְג׏זה‪ٔ٦ٝ㠖‬ؙأתתך׉ָٕطػך׶‬ ‫‪կ‬ׅדأ‪٦‬ـז‪知僒‬ך‪ְ鍑⡤٥ⱄ圓眠‬ז׻‪⢪‬׾أؽװ‪ꆏ‬׮׵׍ו‬ ‫‪կ‬׋׃ת׃‪ⵖ⡲‬ח‪璞ꥷ‬א✳׾أ‪٦‬ـך‪㣐ֹ湡‬׃‪㼰‬׷‪䧭‬׵ַ‪鿇㾊‬ך‪ծ醱侧‬כח‪㛁⹡ؒٔ،‬ך‪♧倯ծ ꥡ‬‬ ‫ָזְח⚥‪ծ‬כא♧‬ ‫‪纇կ‬أ‪٦‬ـ➂⦐׷׸׵ׄ‪䠬‬חַ׻חָ‪圫㶨‬ך‪ワ㔲‬׮׵‬ ‫‪婍‬׋׃⳿׶ⴖ׾خ‪٦‬ػⰧ‪㹺‬כ‪䒷䨫‬ה‪㠖‬ך‪ず圫ծ姻꬗‬הך׮ך‪ ꥡ‬‬ ‫‪կ‬ׅתְגֹד׵ַٕطػך׶‬ ‫‪纇կ‬أ‪٦‬ـؚ‪ٝ‬؍ذ‪٦‬ىז‪剑黝‬חְ‪さ‬׃‪鑧‬ךד➂‪ծ醱侧‬כא♧ֲ׮‬ ‫ؑثٕـ‪٦‬ذךֽ‪ ➂䱦‬‬ ‫‪կ‬ׅתְג׸ׁ‪ָ欽䠐‬ز‪ًٝ‬آ‪،ٖٝ‬ךוז‪䌎‬أؙحنװ‪،‬‬ ‫‪կ‬ׅתְגְ׌׋ְ‪崞欽‬׀ח‪⫴ֻ涺圫‬דأ؍ؿؔ׮➙כ׵׸ֿ‬

‫‪䊨蔓爡‬كْ؎‪ծ倵䊨ծ吳䒭⠓爡‬زحٖؕف‪䣒䥯纏㞢㣐㷕4'$㼭卌⽆➂灇瑔⠓鏣鎘倵䊨ծ溪司䊨蔓吳䒭⠓爡‬ي‪٦‬ث‬ ‫➭‪㹺Ⱗ醡⡲ծ畾⚥䊨⹡䏄穈甧ծ‬‬

‫‪89‬‬

Veneer House - PROJECTS -

1F Meeting Area: Type A

1F Meeting Area: Type B

5F Office Area 93

ַ‫׍ֲ׻‬ٙ؎ٝ ‫؍ذأ؎ذ‬ٝ‫ؔٔؽػؚ‬ٝ 傈劤状䃊源匌傈劤㣐ꩍ拄ַ‫ ׵‬䎃⟃♳‫ך‬儗ָ穗‫ג‬ծ状䃊⾱㶨⸂涪ꨵ䨽ַ‫ ׵‬LN㕢ⰻ‫׷֮ח‬䊛ⰻ募‫כד‬秈 ‫ך‬募孖ָ䌓募‫ג׃‬ ְ‫ׅת‬կ ַ‫׍ֲ׻‬ٙ؎ٝ吳䒭⠓爡‫׋ת׮‬ծ 䎃‫ךֿ׶״‬㖑‫ד‬倜‫ְ׃‬欵噟‫׷זה‬ٙ؎ٝ鸡‫׾׶‬㨣‫׋׃ת׭‬կ ֿ‫؍ذأ؎ذך‬ ٝ‫ؔٔؽػؚ‬ٝ‫ךגⰋך‬鿇勞‫כ‬ծ㼭卌⽆➂灇瑔⠓‫ך‬㷕欰‫ָ׍׋‬$/$ٕ٦‫ة‬٦‫׾‬植㖑‫ך‬傊礵㺘堣唒䊨㜥‫ח‬䭯‫׍‬鴥‫ⴖד׿‬ ‫׋׃ת׃⳿׶‬կ N錬‫ؕحؑثך‬٦‫ؚحٓؿ‬朐‫ך‬㠖꬗‫ד‬圓䧭ׁ‫ء׋׸‬ٝ‫ُؗזؙحٔن‬٦‫כـ‬ծ䎢ְ‫ֲוע‬歹‫׾‬鋅兦‫ׅ׵‬ 㜥䨽‫ח‬䒉‫׍‬ծ ‫ך׉‬繟‫ְ׃‬兝葿‫חⰟה‬䊛ⰻ募‫ך‬倜‫ְ׃‬ٙ؎ٝ欰欵‫׾‬鋅㸚‫ׅתֹײג׏‬կ

‫ث‬٦‫ي‬䣒䥯纏㞢㣐㷕4'$㼭卌⽆➂灇瑔⠓鏣鎘倵䊨ծꈿ加㉔圓鸡ծ ַ‫׍ֲ׻‬ٙ؎ٝ 倵䊨ծ➭

Veneer House - PROJECTS -

‫أؐع׿ֻ׮‪٦‬ו‬ ‫❨‪ 傈劤匌‬‬ ‫ؗך‪ְֲ/),‬הֲ״׃ֻ‪ֽ葺‬׌ה׏׳׍׾‪ծ爡⠓‬׫‪䮋‬ד‪،‬ر؎‪،‬׷׸ס֮‪䗰‬ן‪ծ麇‬׃‪㼎‬ח‪铬겗‬ך⚥ך⚅ז׍ָ׭‪镘‬׾‪鍑寸‬‬ ‫‪٦ٝ‬ل‪ٍٝ‬‬ ‫‪ֿꬠㄏպկ‬׏ׄכ‪չ‬‬ ‫חو‪٦‬ذ׾‪չ㺔➰պ‬כדת‪ 䎃剢傈։ 傈‬‬ ‫‪ְֽ֮պ‬ׅ׋‪չ/),娕劣‬‬ ‫ֽׅ׋‪չ/),嵲㢩‬‬ ‫‪ְ֮պ‬‬ ‫ֻ׋׸Ⰵ׾‪ֶꆃ‬׆׻‪ִծ䙼‬׵׮ג׏‪䭯‬׾‪莆㄂‬׮ח׍׋➂ז‪搀ꟼ䗰‬ח➰‪ծ兛媮㺔‬׸ׁ‪٦ָٝ㾜Ꟛ‬ل‪ٍٝ‬ؗ‪ְֲ⹫ꆃ‬ה‬ ‫‪կ‬׋׃ת׸ׁ‪،ָ罋周‬ر؎‪⹫ꆃ،‬ז‪圫ղ‬זֲ״׷ז‬ ‫أ‪٦‬لأ؍ذصُى؝׷׭‪㨣‬׾➰‪ծ㺔‬׷֮ח‪牞㹧⵸❛䊴挿‬‬ ‫‪չ‬׌׿ז׍ח׿ֻ׮‪٦‬וך‪٦‬ةٍؙٓؗך‪ծ/),‬גח‪չTVCB$0պ‬‬ ‫‪կ‬׋׃ת׃⳿ⶼ׾‪٦‬ش‪٦‬؝׷ֹד‪⡤꿀‬׾‪،‬ر؎‪⹫ꆃ،‬ז‪圫ղ‬׋׸ׁ‪ծ罋周‬׃‪鏣縧‬׾‪պ‬أؐع׿ֻ׮‪٦‬ו‬

‫➭‪/),⟰歗ծ䣒䥯纏㞢㣐㷕4'$㼭卌⽆➂灇瑔⠓鏣鎘穈甧ծ‬ي‪٦‬ث‬

‫‪99‬‬

Veneer House - PROJECTS -

100

101

102

⻌嵲麣‫صץ‬،‫ُؗ‬٦‫ـ‬ 傈劤⻌嵲麣⻌嵲麣‫صك‬،‫ُؗ‬٦‫כـ‬ծ㖑⯋‫ך‬加勞‫غؕٓء׷֮ד‬ծ ؎‫َة‬ծ ‫ٗس‬ծ ‫ךוזخوسز‬邌䞔‫װ‬葿㄂‫ך‬殯‫׷ז‬埠珏‫ך‬さ匢‫׾‬甧 ⡤涸‫ח‬穈‫׌׿‬圓鸡暟‫ׅד‬կ ぢְַさֲ穈‫ך‬꬗‫ה‬䎮勞‫׸׊׸׉ח‬殯‫׷ז‬埠珏‫ך‬さ匢ָ欽ְ‫׸׵‬ծ鋅‫׷‬錬䏝‫ג׏״ח‬馯‫ך‬ 殯‫؎ؠر׷ז‬ٝ‫ׅתְג׏זה‬կ 匢勞ָ如⯋涸‫ח‬䊴‫׃‬鴥‫ג׸ת‬穈‫ךֿ׷ָ♳׫‬圓岀‫כ‬ծⰋ⡤‫ג׃ה‬䓼㔿‫ז‬圓鸡暟‫׾‬䧭‫ׅתְג׃‬կ ず♧䎂꬗‫ך‬鿇勞‫כ‬눴 ‫ך‬㽰㽵‫ך‬䕎‫ذُءح؍ؿ׋׃׾‬٦ٕ‫؎ّآ‬ٝ‫׶ָזאדز‬ծ ‫חֿ׉‬‫א‬湡‫ך‬湫遤鿇勞‫׾‬䯏Ⰵ‫דהֿ׷ׅ‬鿇勞ָ‫ה׶ַ׏׃‬ 㔿㹀ׁ‫➬׷׸‬穈‫׾׫‬Ꟛ涪‫׋׃ת׃‬կ Ⰻ⡤‫׾‬圓䧭‫׷ׅ‬㢳侧‫ך‬㔊錬䕎‫כ‬啟‫׶זה‬ծ㔳剅긫‫װ‬剅䏄‫וז‬圫ղ‫ז‬㜥‫ⵃךד‬欽‫ח‬黝‫ׅתְג׃‬կ

‫ث‬٦‫ي‬畾⚥䊨⹡䏄⚺⪵٥⟰歗ծ䣒䥯纏㞢㣐㷕4'$㼭卌⽆➂灇瑔⠓鏣鎘穈甧ծ⻌嵲麣甧筨さ灇瑔堣圓卌欵鑐꿀㜥ծ 吳䒭⠓爡✳‫أؙحة‬ծ⻌嵲麣劦䌽䊨噟넝瘝㷕吤ծ秀⟻㕂㾊剅䏄劦䌽劤䏄ծ➭

103

Veneer House - PROJECTS -

104

Axon Composition with Different Types of Wood from Hokkaido Locally

2710.0

⑩

⑨ Fish-Tail Joint

542.0

2710.0 Elevation

105

Scale 1/50

Japanese Poplar

Japanese Larch

Japanese White Birch

Japanese Maple

106

‫إ؍ذصُى؝ ٕػ‬ٝ‫ة‬٦ ؎ٝ‫ءطس‬،ծ ‫ءؑؐٓأ‬䃊䎃剢傈ծ ‫ٕػ‬䋐ַ‫ ׵‬ज⯓‫ך‬尣‫ُثصؚوד‬٦‫ך س‬㖑ꩍָ錁庠ׁ‫׋׃ת׸‬կ 竲ְ‫ג‬峸岚ָ涪欰‫׃‬ծ屟䁘鿇‫ך‬ 䒉暟‫♧׾‬䰾կ ‫ך׉‬䖓‫׮‬㕼瀧拄㹱ָ銒ְծ秈䨫‫ך‬⡝㸓ָ䴦㠨ծ ♰➂‫➂ך׮‬ղ‫ח‬䕦갟‫׋׃תִ♷׾‬կ ⚅歲涸‫׮ח‬ ֿ‫ך‬䎃剑‫׮‬鄃㹱‫ך‬㣐ַֹ‫׋׏‬㖑ꩍ‫ד‬ծ頾⫊罏秈 ➂ծ娤罏秈 ➂‫׾‬鎸ꐮ‫׋׃ת׃‬կ ֲֿ‫׋׃‬朐屣‫גֽ「׾‬ծ鼘ꨇ‫ٍؗ‬ٝ‫ּׅךف‬埆‫إ؍ذصُى؝ ٕػח‬ٝ‫ة‬٦‫ך‬䒉鏣ָ鎘歗ׁ‫׋׃ת׸‬կ 暴䗙涸‫♲ז‬錬‫ך‬䕎 ‫כ‬ծ ֿ‫ך‬㖑‫ך‬⠗窟涸‫ז‬⡝㸓 3VNBI 5BNCJ ‫ח‬滠䟝‫׾‬䖤‫ׅתְג‬կ さ匢‫כ‬ずׄ‫ءؑؐٓأ‬䃊‫ד‬植㖑‫ך‬耵➂‫حٖؕفג׏״ח‬ ‫׸ׁز‬ծ倵䊨‫כח‬㖑⯋‫➂ך‬ղ‫غװ‬ٝ‫س‬ٝ䊨猰㣐㷕ծ ‫؝ُٓرة‬㣐㷕‫ך‬䒉眠㷕欰‫׋׃ת׃⸇⿫ָ׵‬կ

‫ث‬٦‫ي‬䣒䥯纏㞢㣐㷕4'$㼭卌⽆➂灇瑔⠓鏣鎘倵䊨ծ*"* 1BMVծꈿ加㉔圓鸡ծ ‫غ‬ٝ‫س‬ٝ䊨猰㣐㷕倵䊨ծ ‫؝ُٓرة‬ 㣐㷕倵䊨ծ➭

107

Veneer House - PROJECTS -

108

109

Elevation

110

111

112

‫ سحك‬ ‫ـ ؙحـ‬٦‫أ‬# #‫ـ‬٦‫أ‬խ 傈劤匌❨ # #‫ـ‬٦‫➂⦐כأ‬㸓‫ך‬㶨⣘鿇㾊Ⱟ剅保‫ח׭׋ך‬鏣鎘ׁ‫׋׸‬甧⡤呓㶨‫׾‬㛇劤‫ـ׋׃ה‬٦‫ׅדأ‬կ չ⻌嵲麣‫صץ‬،‫ُؗ‬٦ ‫ـ‬պ ‫ד‬Ꟛ涪ׁ‫׋׸‬鯥倯ぢ‫ח‬呓㶨‫׾‬穈‫׬‬圓鸡‫׾‬㛇劤‫׃ה‬ծ ‫سח׸׉‬،ծⰻ㢩‫׷ⴖ➬׾‬胜匢ծ ‫♳ג׃׉‬鿇‫׷׸ָ♳ח‬䎮‫⸇׾‬ ִ‫ك؎ٓفג‬٦‫ز‬䚍‫׾‬넝‫صץ׋׭‬،‫ׅדأؐع‬կ 圓鸡⡤‫♧כ‬菙涸‫ח‬崧鸐‫Ⱈ♲׷ְג׃‬匢‫ה‬鎉‫ ׷׸׻‬NN Y NN ‫ך‬垥彊涸‫ךؤ؎؟ז‬さ匢‫׾‬欽ְծ害欽䚍‫׾‬넝‫׋׭‬圓䧭‫ׅתְג׃ה‬կ 㶨⣘ָ荈ⴓ♧➂‫ך‬瑞꟦‫׾‬䭯‫ח׮ההא‬㢩⩎‫כ‬劤啟٥귅‫׶‬啟‫ⵃג׃ה‬欽‫ָהֿ׷ׅ‬〳腉‫ָׅד‬ծ胜匢‫׾‬㢩‫ⰻדהֿׅ‬㢩‫׾‬ 箢‫ֹד׮הֿ׷־זאחַװ‬ծⰻ㢩‫؛صُى؝ך‬٦‫ّء‬ٝ‫➬ך‬倯‫׭ֹ׾‬稢ַֻ锃侭‫ָהֿ׷ׅ‬〳腉‫ׅד‬կ

‫ث‬٦‫ي‬䣒䥯纏㞢㣐㷕4'$㼭卌⽆➂灇瑔⠓鏣鎘倵䊨ծ溪司䊨蔓吳䒭⠓爡‫زحٖؕف‬ծ倵䊨ծ㼭卌٥圊‫؎ؠر‬ٝٙ٦‫ؙ‬ ‫فحّء‬倵䊨ծ➭

113

Veneer House - PROJECTS -

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An original text for “Digital Wood Design: Innovative Techniques of Representation in Architectural Design”, from the Springer 2019

EMPATHIC ARCHITECTURE:

Digital Fabrication and Community Participation by Hiroto Kobayashi* and Don O’Keefe**

Abstract This paper examines a new construction method in engineered wood material, including plywood and LVL (Laminated Veneer Lumber), using computer numerically controlled routers to build simple buildings in a quick and inexpensive way. With the method elaborate on here, there is no need to use skilled labor or sophisticated construction equipment. It provides an effective way of rebuilding in the wake of natural disasters. The primary innovations of this method are in ease of construction and transportation by using flat, portable, and durable engineered wood products, application of the traditional wisdom in wooden carpentry, and the efficiency of digital fabrication technology. In the case of disaster relief, using this construction process as a method of organizing community is essential for successful implementation. The experience of the Great East Japan Earthquake and Tsunami in March, 2011 in north-east Japan highlights the importance of bringing both technical and social skills to disaster reconstruction. Keywords: empathy, ethics, engineered wood, CNC machine, public participation, mutually-built, selfbuilt, disaster reconstruction, inclusivity

1. Introduction In the last two decades we have been facing significant difficulties in maintaining ‘ordinary’ and peaceful order of our lives, socially and spatially. Natural disaster, terrorism, large scale migration, and other unpredictable issues have made it increasingly difficult to foresee the future form of architecture or the city. Instead of planning decades into the future, we have to be prepared to adapt to what is happening in front of us at any moment, and react to new realities spontaneously. We cannot give up trying to improve our future, and yet we have to accept the inevitability of drastic change. Being resolved to adapt to these unpredictable changes, and revise our own idea of what is ‘normal,’ we also have to ask ourselves: what constitutes contentment in life? What kind of life goals would we like to pursue collectively; and, how can we make them happen? Now, we are facing a time in history in which individuals, more than groups, are starting to express their hopes explicitly. In daily life, and increasingly through the internet and social media, we express our ideas for our better lives, and our individual desires. But in order to create a coherent response to the challenges ahead, we must also recover an ability to hope and act collectively. Unfortunately, it seems that many of the conventional channels for collective action are narrowing, in recent times. Political participation has been decreasing in many developed countries, and though leaders are directly elected, elections are affected by rising global tendencies linked to populism and immigration that seek to create walls between abstract groups like “us” and “them.” Many of the political ** Correspondence: Graduate School of Media and Governance, Keio University, Fujisawa, Japan hiroto@sfc.keio.ac.jp; ** Graduate School of Design, Harvard University, Cambridge, USA

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structures and geographical borders around which we have structured our notions of self seem to be deteriorating, so we must rely on grassroots action to create a new sense of community and purpose. In this indeterminate period, we must have an honest dialogue to establish a clear direction to a future we are working toward as a society. Narrow and technocratic responses to challenges of this scale are insufficient. While maintaining empathy for each individual life and their views, we can still construct a shared vision for the future of our community as a whole. 2. The Role of Architecture In light of the uncertainty described above, how should we define the role of architecture in defining and improving community? One idea is to shift the major focus of our field from the aesthetic qualities of buildings to their economic, environmental, and social performance. This would also have implications for how architects, critics, academics, and even prize committees evaluate architecture. In order to change architecture, we must change the methods by which architecture is produced, publicized, and evaluated. All of this implies that architectural education will also have to change. 2-1. Architecture in service of Economy, Environment, and Society Economically, the role of architecture in the modern city is clear, but the role of architect is somewhat harder to define. What does the architect add to the economic equation that is not already offered by contractors, developers, and realtors? Architects often focus on eliminating or mitigating unwanted externalities of development; we shape and clad buildings so as to make them sympathetic to the surrounding environment; we try to make them efficient in their use of materials and energy. But these respond to perceived social and environmental problems, as we will address presently. The question is: should the architect attempt to play a part in the ongoing economic development of the city, in addition to the spatial manifestation of that development? We believe so. The growth of the city cannot be considered in isolation from the movement of the global economy. Industrial development, economic revitalization and their economic effects are hugely important for how cities and rural areas change. These structural changes should be considered in tandem with the future demography of the world population. As internal and external migration increase, larger cities are becoming the only place where many people can earn money and have a fulfilling life. It seems continued population concentrations are inevitable, as people seek to enter the emerging global middle class, but have we studied this problem enough to know that? Given the scale of modernization and all of the cultural and spatial lenses through which it is filtered, it is difficult to say. What is certain is that the shape and direction of the global economy will have a significant impact on the built environment, and thus on the daily lives of people around the world. Architects should work with allied professionals, in planning, urban design, government, media, and business, to help ensure that the

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built environment is contributing to the just distribution of resources throughout the built environment. This means taking a keen interest in economic development, transit, employment, and public health. Energy, ecology and technology can be considered as the primary constituents of environmental practices in architecture, each of which affects and changes our lives, spatially and physically. Our course, the energy efficiency of buildings with respect to lighting, heating, cooling, and other mechanical systems is a primary concern. Recently, more focus has been given the important issue of embodied energy in architecture. We must continue to measure and work to reduce the energy used in the production, transportation, and assembly of building materials. This is where technology comes in; by harness digital fabrication and intelligent logistics services, we can reduce the impact of architecture on the environment while providing increased design and construction flexibility. The social role of architecture has always long been a topic of public debate in the profession, but we must work to extend the benefits of architecture to all corners of society, not just those who can afford to commission architects themselves. Recovery from disastrous situations, be they social or natural, is a pressing need that architecture can help to address today. Natural disasters have a larger proportional effect on people in developing countries, on those who do not have resources to provision for disaster prevention and response (Kreimer 2001) (Yamamura 2015). Developed countries have their own difficulties, as the political effects of migrants in European cities have demonstrated. When one considers that climate change will increase the number of natural disasters, and also the number of migrants, then the inseparability of these categories become obvious (McCarthy et al. 2001). It is then clear that, if we seek to meaningfully contribute to the resolution on these problems, architects must simultaneously address economic, social, and environmental challenges. Ignoring these responsibilities, even in part, will degrade the status of our profession and possibly bring about catastrophic failure in the future built environment. And only by addressing all of the above challenges, not only those that are explicitly environmental, can we achieve true sustainability. 2-2. Reacting to Unpredictable Situations with Architecture As we have discussed, in order to construct a sustainable future for society, we must recover a sense of collective imagination and action. However, it has become imperative to allow space in society for those with unconventional identities and circumstances to make their individual voices heard. If we are to pursue our hopes and desires both individually and collectively, then we must overcome the perceived binary conflict between the individual and the collective. Therefore, action should be organized in a relatively non-hierarchical way, from the ground up, allowing each individual to make a contribution suited to their capabilities. A sincere effort based on honest feeling is the foundation of any critical or speculative attempt to revise our relationship with architecture and the city.

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At least in developed countries, our daily needs are increasingly provided for by impersonal institutions like the state or large corporations, but we are still obliged to work together spontaneously in extreme situations. In the case of natural disasters such as earthquakes, tsunamis, hurricanes, floods, volcanic eruptions, wildfires, etc., people commonly come the aid of strangers, and immediately realize that mutual aid is the best path to preserve the stability and civility of society, even when one’s individual needs are taken care of. Architecture has a role to play in the aftermath of natural disasters as well. When homes, schools, and places of work destroyed in disasters, they also interrupt the functions that took place their and delay the recovery of the community. It is essential to prepare alternative places to live, work, and gather quickly after a disaster, but resources are limited. Because of the lack of availability of skilled labor in these situations, a self-built construction methodology should be investigated and promoted. We believe that, like disaster relief coordination and logistics efforts, disaster relief architecture can be revolutionized with the application of digital technologies. Recently, structural engineers and architects have begun to explore the power of iterative computational and parametric design to test large numbers of spatial and tectonic alternatives. Computers, web-based databases, and social networks have also enabled designers to create imaginative virtual spaces and speculative proposals that regularly feature in academic and professional publications. While these techniques undoubtedly provide many benefits, this change in the process of realizing spatial ideas has had extensive effects on the prevailing notion of professional responsibility and agency. Architecture has, to an extent, become distant from the people it is intended to serve. Though architects are aware of the most pressing issues of society, they find it increasingly difficult to break out of the narrow professional channels of specialization that they fall into. It has become easier to restrict oneself within a border, however vague, then to extend oneself into adjacent fields and difficult professional situations. The barriers to this action are not just disciplinary subgroups like “health care architecture” or “residential architect,” but also notions of speculative and academic practice that tend to limit the interaction of the architect with those outside their immediate professional sphere. Rather than define the role of the architect by a set of pre-determined capabilities, we should define ourselves based on a set of issues or challenges in the world at large that we intend to address. Our notions of the status of the client are as badly in need of revision as those of the architect. In particular, the client should not be regarded as an individual that approaches the architect. Architects need to be active in the communities they serve before a specific commission materializes. This is particularly clear with regard to the above example of disaster relief architecture. The predominant form of architectural commission today, like professional specialization itself, seems to bolster self-defensive notions and a protective sense of ownership of space. If we seek to create more equitable access to space, and foster a sense of community and mutual responsibility for its maintenance, we need to create new ways for clients and community stakeholders to participate in the archi-

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tectural process. In particular, we should encourage people use their body to examine how they can physically contribute to the construction process and, together with others, to forge a collective sense of ownership of their architecture. With the above in mind, this paper attempts to present modest but realistic and impactful ideas to address the above challenges through architecture. 3. Veneer House Project The Veneer House Project began in the wake of the 2011 Great East Japan Earthquake and Tsunami. The disaster displaced tens of thousands of people and destroyed buildings along the coast of northeast Japan. (Fig. 1) After witnessing this disaster, we resolved to find a way to ameliorate some of this damage through architecture. The rebuilding efforts in the affected area were a priority, and a number of large scale building and town reconstruction projects were initiated by local and national level government agencies. Fig. 01 Thus, rather than focus our contribution on the design of large scale buildings, it seemed that a greater impact could be made by helping to simplify and expedite the construction of small scale buildings. In the wake of the 2011 disaster, our laboratory at Keio University in Japan began developing a strong and flexible structural system based on Computer Numerically Controlled (CNC) routed plywood components. This system allows a structural frame to be assembled quickly without advanced tools or a prior knowledge of architecture. Given the abnormally high demand for contractors and construction workers during the rebuilding efforts after the disaster, this construction system proved helpful in reducing the time and labor costs. The system also requires less specialized equipment than conventional building, and large portions of the construction can proceed without any power tools at all. Moreover, the involvement of final users in the construction process engenders a close relationship between the user and the architecture, thereby increasing mutual attachment. There is a promising and inherent potential in the active use of self-built structures after completion. Creating a sense of ownership over a building is akin to creating a sense of civic duty for the creation and maintenance of spaces, public and private. 3-1. Embodiment Design and Self-Built Architecture The first Veneer House, intended to the test these suppositions, was realized in the village of Mina-

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misanriku, Miyagi, Japan in 2012. (Fig. 2) Minamisanriku sustained significant damage in the 2011 disaster, which left the community in need of a place to gather and recover their shared identity and resolve to overcome the damage. The program included a meeting space as well as a public bathing facility. Because the building was an inherently public undertaking, and one that everyone in the town was aware of and committed to, it was an ideal staging ground for an experiment in collaborative construction. Because the small, prefabricated plywood components used in the design were lightweight and wieldy enough to be held by one or two people, many Fig. 02 locals felt comfortable participating in the construction. The simple assembly process reduced the amount of time needed on site, compared with conventional construction, which also reduced the time burden on citizen participants to an acceptable level. Though imperfect, this was an auspicious beginning to our investigations into self-build construction. In the field of architecture, so-called embodiment design tends to be associated with self-built methodologies. Encouraging more people to construct buildings by themselves for recovery projects after natural disasters is one such example of embodiment design, as is monodzukuri â&#x20AC;&#x2DC;fabrication.â&#x20AC;&#x2122; In part, this is also a manifestation of a critical attitude responding to our overreliance on advanced technologies at the expense of human contact with the construction process, even for those in the profession. This itself is linked to an uneasiness with the widening reach of technology in our everyday lives and the acceleration of related social changes. We should in no way seek to turn back the clock or align ourselves with Luddism. Even so, we should take such concerns seriously, and examine the effects of the alienation of the public from the process of construction and design on the experience of the built environment. The Veneer House Project seeks to implement advanced fabrication technologies, not to mystify or exclude the public, but to simplify the construction process and thus open it to everyone. 3-2. Logistical and Material Sustainability of Engineered Wood In 2013, our Lab realized another structure, the Maeamihama Veneer House, in the disaster stricken Ishinomaki area of north-east Japan. (Fig. 3) The project included a meeting space and storage area for local fishermen, who themselves constructed the building in the afternoons after fishing in the morning. For this project, the Fig. 03 construction process was illustrated in advance with a manual complete with diagrams. This functioned as a kind of informal construction documents package, allowing the fisherman to reference and fully understand the process. The project not only helped restore the sense

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of community that was damaged by the disaster, but helped the fisherman in their daily livelihood. As described above, these projects functioned in social and economic dimensions, but they also involved an environmental strategy. The use of digital fabrication technology and a simplified construction system can reduce waste and mechanical equipment use on site. For an oceanside site like that of the Maeamihama Veneer House, and for other sensitive sites, this can be an important factor. More importantly, both projects used engineered wood products made from local forest thinnings. These projects help promote the resumption of forestry activities in the area, which is a renewable and sustainable method of material production, if properly managed. Indeed, we believe material selection to be of primary importance to the Veneer House environmental strategy. In the future, the relationship between design, construction, and local natural resource reserves will become critical in evaluating the environmental importance of buildings. We must think across multiple scales, including about how precious resources like rare earth minerals as well renewable materials like timber can be most effectively used. Logistical efficiency, a factor of the weight and proximity of materials, must be considered alongside embodied energy, extraction costs, and material durability. Considering the group of concerns listed above, wood is an ideal material for building construction. Not only is material affordable and renewable, it also sequesters carbon from the atmosphere and thus combats the effects of climate change. It can also be produced in many locations, meaning that transport efficiency is likely to be high. Our team at Keio University uses engineered wood products such as plywood and LVL (Laminated Veneer Lumber) to enhance the usage of timber and promote forestry as a source of sustainable employment. Furthermore, engineered wood products can be made using forest thinnings, rather than clear cutting or cutting of old growth forest as is sometimes required when using natural timbers of large dimension. 3-3. Traditional Techniques Simplified with Digital Technology For us, the use of wood has also opened a door to another important resource: the accumulated wisdom of carpenters and craftspeople. The study of wood joinery systems, in particular, have helped us to increase the efficiency and applicability of the Veneer House system. In the earlier Minamisanriku and Maeamihama projects, we used a notch cut system that, while easy enough to assemble, still required the use of a crane to place preassembled plywood beams. Furthermore, the shapes for the initial Veneer House at Minamisanriku, which had to be cut on a table saw rather than a CNC router, did not take full advantage the flexibility and accuracy of digital fabrication. Though a CNC router was employed in the Maeamihama Veneer House, it was not used to full effect. The next innovation in the development of the Veneer House project was the introduction of wedgelocked joinery into the system. Using traditional Japanese joinery techniques as a precedent, our lab at

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Fig. 04

Keio University developed a way to create rigid assemblies of plywood ribs and structural panels, held together by plywood wedges. (Fig. 4) The updated systems were lighter and easier to assemble than previous iterations, and a crane was no longer required, even to construct the roof. In conventional carpentry, joinery is a laborious process involving the hand finishing of each joint with chisels. Because the Veneer House assemblies are composed only of flat components, the CNC router can cut the all components needed for construction, including wedges and complex joints. Additionally, engineered wood products have fine tolerances and, due to cross lamination of layers of wood grain, they resist bending due to weather exposure. The resulting system was robust enough to function as a complete structural frame, and yet simple enough to allow anyone to participate in construction. (Fig. 5) In fact, the assembly of the revised structural frame does not require the use of glue, nails, or powertools of any kind. The modular design of panels, constrained as it is by the standard dimensions of plywood sheets, also ensures that components are portable and wieldy. (Fig. 6)

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The Cogon Day School, built in 2014 on Bohol Island in the Fig. 08 Philippines, was the first Veneer Fig. 07 House project to fully employ this digital fabrication system. (Fig. 7 & 8) The school building is a first for the small village of 700 people.

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The village was affected by a severe 2013 Bohol earthquake and Typhoon Haiyan, and the project helped to catalyze their recovery. The structural frame was assembled in the course of only two days, including workshops for local student who would later use the school. Some participants we as young as kindergarten age, but all could participate in the workshop with the aid of scale models and mockups. (Fig. 9) Older children and other adults from around the village helped to complete the structural frame and to clad the exterior in local materials. By involving students and their parents in the construction and even the design of the structure they would later inhabit, the project forged an intimate relationship between building and user. Based on our experience in Japan, we believed that broad community participation would create a sense of ownership and agency that would strengthen the will of the community to maintain the building and perhaps go on to collectively address other needs. In particular, we felt that the experience would be a lasting one for the children, and perhaps have some long term impact on them.

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For the Cogon Veneer House, fabrication as well as construction was carried out locally. Components were CNC routed at a fabrication lab at Bohol Island State University using locally produced plywood sheets. Only data was prepared in Japan and sent to the Philippines, and no materials had to be shipped internationally, illustrating the logistic efficiency the system can achieve. Because of the ease and speed with which the Veneer House system can be implemented, and because of its ambition to stitch torn communities together, disaster relief applications became a main Fig. 11 focus of our work. The Manawhari Learning Center (2013) addressed flooding conditions in the rural Ayeyarwady region of Myanmar. (Fig. 10) The building comprises a flexible classroom space and a veranda for the use of local children, many of who also participated in construction. The Charikot Veneer House (2015) was built in Nepal in response to severe earthquakes occurring earlier that year. (Fig. 11) The flexible and lightweight wood construction system performs better in seismic events than the static and heavy stone masonry buildings common in the region.

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3-4. Assemble/Disassemble; Flexibility and Adaptability In addition to ease of assembly, the Veneer House systems also allows for easy disassembly. In the Charikot Veneer House, the entire structural frame was assembled in a factory as a test, before being dismantled and moved to the site to be assembled once again. (Fig. 12) More recently, this ease of disassembly has been exploited in a number of temporary pavilions most notably the Veneer Beach Houses. Every summer in Japan, umi-no-ie, or beach houses, are erected along many popular beaches in Japan. These are used as restaurants, music venues, or other temporary venues for the summer festivities. in 2015, we completed the Veneer Beach House in Shichigahama, Miyagi Prefecture, Japan. (Fig. 13) Shichigahama beach, formerly a major tourist attraction, is located in the region most affected by the 2011 earthquake and tsunami. This Beach House serves as a venue for concerts and other festivities, helping to bring vitality back to the local community. The second Veneer Beach House, built in 2017 in Higashihama near Enoshima Island, Japan, houses a clinic and office for lifeguards, as well as a temporary radio station. (Fig. 14) The Veneer House system makes it easy to assemble and disassemble the structures each summer, and store the flat components in a small space during the rest of the year. Additionally, because there are no nails are screws used in the assembly, there is no chance of losing nails in the sand and endangering beach visitors. With these beach houses, the number of kinds of pieces required for assembly is less than ten, which greatly simplifies and accelerates the construction process. (Fig. 15) Compared with the first Minamisanriku Veneer House which required more than 100 kinds of pieces, the beach house assembly is less complex and is proceeds with fewer mistakes. Veneer House types with smaller number of components and fewer types of components are most suitable for applications in which the structure will be dismantled and reassembled several times. These components can be easily replaced or even reused in other ways.

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3-5. Developing the Joint System to Accommodate Local Cladding The Veneer Beach Houses also include a flush joinery system, the latest development in the progression of the Veneer House technology, which leaves the exterior finished surface of the structural frame smooth. (Fig. 16) This allows exterior cladding to be fixed to the frame without the use of an additional substructure. In the case of the Veneer Beach House, a large custom tarp is stretched over the extent of the frame, providing adequate weather protection in the summer months.

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With the flush joint, other forms of membranes can easily be fixed on the exterior of the structural frame, including regionally sourced materials like amakan woven bamboo used earlier Veneer Houses in Myanmar and the Philippines. Although the underlying structural technology and joint details can be applied to structural frames of various shapes and dimensions, we are conscious that the Veneer House system still represents a new and thus unusual or foreign construction method for people in most contexts. Making provisions for the application of local cladding materials helps to integrate these structures into varied contexts. We benefit by learning from the accumulated knowledge of the community how best to protect the structure from local conditions, and we also believe this helps the community develop a relationship with the building. Using local materials as an exterior finish also allows local people to maintain the building continuously by themselves, protecting the comparatively durable veneer structure on the interior. This hybridization of local techniques and global technology is one promising direction in the future architecture. 3-6. Agile Architecture The agility of the Veneer House system, both in production and construction, is one of its principle strengths. Given the pace of change in contemporary living and working conditions, we feel that Veneer House can make a contribution to a wider range of situations than we have, or even could, anticipate. Even the notion of permanent architectural solutions may come to seem outdated, as temporary and flexible forms of housing are desired or demanded by circumstance. Economic, social, and environmental problems will continue to be those we are most interested in ad-

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dressing. With climate change, natural disaster, and the refugee crisis continuing into the foreseeable future, there may be more need than ever for temporary and flexible architectural solutions. At the same time, we have attempted to experiment with the Veneer House system in entirely new contexts. As part of an ongoing relationship between Keio University and the Polytechnic University of Milan, we have constructed pavilions in Vis, Croatia (Fig. 17) and Slovenj Gradec, Slovenia. (Fig. 18) Each has been a chance for students from both countries to interact with local craftspeople and citizens, making the construction and use of each pavilion a change for cultural interchange. It has also been a chance for us to experiment with structural system itself; the open, column grid system in the Slovenj Gradec Veneer House does not require shear walls. At an even smaller scale, our lab at Keio University has developed a series of kiosks and booths used for both temporary and permanent installation. We erected a temporary kiosk in the earthquake stricken Japanese city of Kumamoto, which was used for a local event after the disaster. (Fig. 19) We have also deployed temporary structures at beaches for summer festivities, and in various exhibitions and industry events dealing with wooden architecture and digital fabrication. Finally, we have created a series of interior booths that can be assembled inside offices to create private spaces for conversation or individual work. (Fig. 20) We believe the flexibility of the system makes it ideal for augmenting the ever changing interior landscape of the contemporary, open plan office. In each of these applications, the participation of the users in the construction process is an integral part of the system. Also, by distributing these booths kits in the marketplace and keeping a large stock of kits in storage, we hope to be able to offer as many temporary rest spaces as possible in the case of an unpredicted disasters.

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As Veneer House technology continues to develop, the quantity and variety of its potential applications grows apace. The agility of the technology helps it to adapt and grow along with the changing demand and conditions we have come to expect. What is most crucial, we believe, is maintaining an empathetic stance toward the built environment and the communities that inhabit it. Only by first focusing on the underlying social, economic, and environmental Fig. 20

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challenges before use can we develop and apply this technology to its highest form. 4. Conclusion In the history of Japanese architecture and construction, people worked together to build each community memberâ&#x20AC;&#x2122;s house in a village in turn. This was a collaborative working system based on mutual aid in a small and autonomous community called â&#x20AC;&#x2DC;Yui.â&#x20AC;&#x2122; By this method, people could complete a large amount of construction work that could not be done alone. This type of working system promotes mutual understanding and respect among the community members and sense of ownership of the community itself through collaboration. The Veneer House building system tries to realize a contemporary version of Yui by providing a simple building method by which any and everyone can work together to provide a place for themselves. Is has been our observation that self-built structures create a strong sense of unity among the participants, a sentiment that extends to the building itself. Committing to build something collaboratively fosters a sense of ownership for each person and collaborative work can forge a new sense of unity in a community recovering from a calamity. It is the ambition of the Veneer House project to simultaneously promote both a notion of a community around a building, and an individual sense of commitment to it. Mutual understanding occurs not only between community members, but also between the local people of the construction site and us. Using local materials and techniques helps us understand the different cultural backgrounds we encounter, and create a sense of empathy that extends beyond any one culture, time, or place.

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CITATIONS 1. Kreimer, Alcira. “Social and Economic Impacts of Natural Disasters.” International Geology Review, vol. 43, no. 5, 2001, pp. 401–405., doi:10.1080/00206810109465021. 2. Yamamura, Eiji. “The Impact of Natural Disasters on Income Inequality: Analysis Using Panel Data during the Period 1970 to 2004.” International Economic Journal, vol. 29, no. 3, 2015, pp. 359–374., 10.1080/10168737.2015.1020323. 3. McCarthy, James J. “Impacts, Adaptation and Vulnerability.” Contribution of Working Group II to the Third Assessment Report of the IPCC, Intergovernmental Panel on Climate Change, 2001, www.ipcc.ch/ ipccreports/tar/wg2/index.php?idp=450. BIBLIOGRAPHY de Waal, Frans. “The Age of Empathy: Nature’s Lessons for a Kinder Society” Kinokuniyashoten, no. 6, 2017, p. 128 Kobayashi, Hiroto et al. “Rethinking Resilience, Adaptation and Transformation in a Time of Change 1st ed.” no. 1, 2017, Springer, pp. 365-385 Kreimer, Alcira. “Social and Economic Impacts of Natural Disasters.” International Geology Review, vol. 43, no. 5, 2001, pp. 401–405., doi:10.1080/00206810109465021. Yamamura, Eiji. “The Impact of Natural Disasters on Income Inequality: Analysis Using Panel Data during the Period 1970 to 2004.” International Economic Journal, vol. 29, no. 3, 2015, pp. 359–374., 10.1080/10168737.2015.1020323. McCarthy, James J. et al. “Impacts, Adaptation and Vulnerability.” Contribution of Working Group II to the Third Assessment Report of the IPCC, Intergovernmental Panel on Climate Change, 2001, www.ipcc. ch/ipccreports/tar/wg2/index.php?idp=450.

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AWARD 2012 Inspirations Award / contract Magazine Practice-Based Category Award Minamisanriku Veneer House “NPO Gyoryu-no-yu“ 痥㔐加勞崞欽‫؝‬ٝ‫ؙ‬٦ٕ 傈劤加勞ꫬ㡪䎃㔚⡤鸬さ⠓ 加勞崞欽暴ⴽ颣 ⵸笨嵋‫ٖزأ؍ذصُى؝‬٦‫آ‬ The 18th Wood Utilization Competition Japan Wood Youth Group Special Prize Maemihama Veneer House 2015 Invitational Tournament International Ecology Design Award / MILANO EXPO 2015 Best Design for Ecological Architecture 最佳生态建筑设计奖 Manawhari Veneer House 2015 Invitational Tournament International Ecology Design Award / MILANO EXPO 2015 Best Design for Ecological Architecture 最佳生态建筑设计奖 Cogon Day School

前網浜ベニヤハウス皆で、早く、安く、簡単に。 ―ベニヤによる構法― 2011年に東日本を襲った津波によって被害を受けた漁村のコミュニティのための、漁業用倉庫兼集会所。漁村の住民によって建設された。漁村の住民＝建設の素人による施工のため、簡単に建設できるシステムを考案する必要があった―ベニヤの三六板（910x1820mmボード）を無駄のないよう455mmのモジュールのパーツに分割し、それらに切込み（ノッチ）をCNCルーターにより施す。そのノッチを相互に差挟むことで柱・梁を構成する。１つのパーツの大きさは、大人ひとりで楽に持ち運べる大きさとした。どこにでもある安価な素材で、誰にでも簡単に、素早く建設ができる。

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自ら協力しあって建設することで、愛着を持って建築が受け入れられる。

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ベニヤで組み立てられた漁村の小さな倉庫が、新たな建築の可能性を示唆する。

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2枚

12枚

SC5

[完成図] ー全部で12か所(両側含め)

※片側の柱はまだ組み立てないこと基礎に緊結してから組み立てる

SC2

SC5

ーY2/Y3/Y4/Y5共通ーY1/Y6の外側の下の補強材のみLVL角材40x90

ᑠᒇ⤌

LB1

SC5

C12

SC3

SF1

SC5

F1 SF2

組み立てる

小屋組みの完成

合板補強材（下側に合わせる）

225

SF1

合板補強材

LB1

上と下の補強材は裏と表の両側の２枚で補強して下さい

C14

C11

SC3

合板補強材（上側に合わせる） 460

LVLには51㎜を、合板には32㎜のビスを10本ずつ打ってください

C13 SC5

SC3

SC5

C13

C10

SC3

C14

SC3

F1 SC2

パ―ツを切り出す CNCルーターを使用

SC5

SC3 C10 SC5

SC3

133

2枚

４枚

[完成図 Y1]

SC3

SC5 C11 SC3

SC5

C12

SC3

建設マニュアル・・・建設の全ての工程と手順を図示することで、始めて建設に参加する人でも簡単に建設の過程を理解できる。

The Wood Design Awards 2015 / Canadian Wood Council Citation Award Veneer House - Cogon Day School ؐ‫؎ؠرسح‬ٝ颣 ؐ‫؎ؠرسح‬ٝ颣麊㌀✲⹡㽷 ٓ؎‫؎ؠرٕ؎ةأؿ‬ٝ鿇Ꟍ 䒉眠٥瑞꟦ⴓꅿ ‫صك‬،‫زؙؑآٗفأؐع‬ Japan Wood Design Award 2015 Wood Design Award Steering Committee Lifestyle Design Category, Architecture and Space Veneer House Project ؐ‫؎ؠرسح‬ٝ颣 ؐ‫؎ؠرسح‬ٝ颣麊㌀✲⹡㽷 ٓ؎‫؎ؠرٕ؎ةأؿ‬ٝ鿇Ꟍ 䪮遭٥灇瑔ⴓꅿ ‫صك‬،‫زؙؑآٗفأؐع‬ Japan Wood Design Award 2015 Wood Design Award Steering Committee Lifestyle Design Category, Technology and Research Veneer House Project ؐ‫؎ؠرسح‬ٝ颣 ؐ‫؎ؠرسح‬ٝ颣麊㌀✲⹡㽷 ‫ع‬٦‫؎ؠرٕؿز‬ٝ鿇Ꟍ ‫؛صُى؝‬٦‫ّء‬ٝⴓꅿ չ麣欵加‫׷֮ך‬劢勻‫׾‬鋅‫׵ְַ׋‬կ պ .84加‫ך‬ٙ٦‫فحّءؙ‬ Japan Wood Design Award 2019 Wood Design Award Steering Committee Communication Field “Seeing the Future of Hokkaido Wood” -- MWS Wood Workshop

șȋǢȏǦǹƱƸ ベニアハウスは、合板から切出したパーツにより、建物の構造フレームをつくる構法です。特殊な技術、工具が不要なセルフビルドを可能とするシステムで、欲しい人が欲しい場で生産ができる、つまり拠点型の生産/供給ではなく、分散型に展開できる建築です。

データさえ送れば、どこでも生産可能拠点生産ではなく、必要とする個人が生産できる

合板は寸法が精確で加工もしやいだけでなく、間伐材を材料とする環境に優しい、廉価で、世界中で手に入りやすい素材

ベニアハウスの構造体は合板のパーツのみ板のため、コンパクトに保管・運送が可能

それぞれのパーツは人が運べるサイズ重機が不要、人が協力しあう単純作業

金槌など、シンプルな道具のみで、知識・技術がなくとも参加できるプラモデルのような組立て方

部分的な交換、増改築・解体もしやすく、建築を一度つくると動かせない固定的なものから、柔軟で可変性の高いものに

株式会社小林・槇デザインワークショップ〒150-0033 東京都渋谷区猿楽町30-3 ツインビル代官山A-402 tel: 03 6415-7980 mail: kmdw@kmdw.com

134

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䨽㾩㷕⠓ 傈劤䒉眠㷕⠓ծ鿪䋐鎘歗㷕⠓

135

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