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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. “Veneer House� projects are the trials to achieve these goals.
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CONTENTS STORY
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APPROACH
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TECHNIQUE
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PROJECTS
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ESSAY
107
AWARDS
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PROFILE
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STORY
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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
In 2011 the Great East Japan Earthquake and tsunami swept away thousands of homes and lives in a matter of minutes, leaving deep scars on the hearts of those affected. In the aftermath, the impacted area faced shortages of skilled builders as well as construction materials and heavy equipment, impeding the path to reconstruction. In response, Hiroto Kobayashi, professor of architecture at Keio University, and his students searched for ways to contribute to the recovery. Together they developed a new construction system that ordinary citizens could build quickly, inexpensively, and easily with locally available materials. This is how the Veneer House Project started.
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Veneer House - STORY -
WE DEVELOPED A SELF-BUILD ARCHITECTURE SYSTEM
Kobayashi’s team began by investigating the potential of plywood (known as “veneer” in Japan) — an excellent construction material that can be found at affordable prices anywhere in the world. Plywood is made with accurate dimensions and high material strength, which minimizes warping overtime. In addition, plywood can be made from forest thinnings, parts of trees that might otherwise go unused. Using plywood as a structural material cuts waste and sequesters carbon from the atmosphere, reducing stress on the environment. The Veneer House system is composed of plywood components that are pre-cut using saws or CNC routers. The assembly of these components is simple enough to enable people to construct buildings on their own without relying on special skills or equipment.
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WE BELIEVE IN BRINGING ARCHITECTURE CLOSER
Architecture has developed into an extremely specialized, technically advanced field, but this has created a distance between buildings and their users. In order to restore the connection between people and the built environment, we believe that people should become involved in the process of construction itself. Through the many Veneer House projects, we have learned that when community members work cooperatively to construct a building, local knowledge and culture are inherited, which deepens their attachment to the building and the community at large. It is possible to foster a sense of collective ownership of a building by making the problem of its construction one’s own. We believe in bringing architecture closer to people.
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APPROACH How can we bring architecture closer to people? How can we bring people closer to each other? Here we introduce the Veneer House methods that we have developed in response to these challenges.
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Accessibility Simplicity is the key to the Veneer House system. People can assemble a Veneer House building like a plastic model kit, with no professional expertise or specialized equipment.
Since plywood is an accessible material around the world, the building components can be produced anywhere. The data used for the production of these components can be processed by any CNC router, so the production and supply of a Veneer House is not centralized. Whoever wants to use the systems can produce Veneer Houses whenever and wherever they want.
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Veneer House - APPROACH -
WORKSHOP The essence of the Veneer House system is to make architecture more familiar to people by encouraging them to join in the construction process. We have organized various types of workshops to help introduce people to the system. These include explanatory workshops using scale architectural models for both construction personnel and local people. We have also held workshops in which large groups of people can join to assemble a building or fragment of a building together.
For children too young to participate in the actual construction, we prepare toy kits with the same panel system to promote understanding of the Veneer House system. We try to create opportunities for as many people to engage in the construction process as possible, regardless of their abilities.
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building MANUAL By illustrating the entire construction process diagrammatically in a Building Manual, the Veneer House construction process can be easily understood even by those not familiar with architectural drawings.
We encourage as many future users of a building as possible to participate in the construction, but of course not everyone can join full time. In such circumstances, using social media or websites in combination with the Building Manuals is effective. For example, when the construction process and progress is shared on facebook, construction participants can instantly check what has already be done and figure out what they should do next. This prevents redundant work and reduces errors during construction.
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Veneer House - APPROACH -
LOCALITY The Veneer House’s structural frame is made out of pre-cut plywood components, but we try to tailor the exterior cladding of each building to the local climate and culture. Sometimes this means adopting local materials and construction methods.
Rather than appear out of place, a completed Veneer House should feel familiar to local people. Indigenous materials and construction methods enable local people to repair the building exterior with their own hands, further reducing the need for outside labor, equipment, and expertise. The Veneer House aims to produce an architecture that harmonizes with the surrounding landscape and nurtures a sense of locality and community.
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DISTRIBUTION Because the Veneer House Project originated in the reconstruction efforts of the Great East Japan Earthquake, we have developed it to be effective as a temporary shelter or a gathering place in emergency situations. However, storing plywood components just for the sake of emergencies would create large storage costs. Conversely, making design decisions, securing materials, and cutting plywood into components after a disaster occurs will consume valuable time.
In order to supply the Veneer House promptly in emergency situations, we believe that it is best to create a product that is commercially available on the market at ordinary times, but can be gathered from storage immediately should it become necessary. We are currently exploring the feasibility of this supply system.
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technique
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BASIC&ADVANCED SYSTEMS The Veneer House projects take place in various countries and regions, each with a unique need and context. Some projects do not have electricity on site — in such cases construction has relied heavily on simple tools and cohesive power of the villagers. On the other hand, some sites enjoy access to well appointed factories and facilities. While continuing to improve the Veneer House in search for an easier and stronger system, we have developed 2 main systems as described below.
BASIC SYSTEM
The Basic System was the first system we created in the course of our project. This system does not require electricity to produce components — the simple shaped plywood parts can be cut with saws and are assembled and joined with battens and screws.
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CUTS
JOINTS
With the Basic System, plywood is cut into simple geometries, such as I, T, and L-shaped pieces, and are provided with notches. Labor can be simplified by standardizing the dimensions of the plywood parts and the depth of the notches.
With the Basic System, we can create hollow tube structures such as columns and beams by fitting together sets of identical notched components. The junctions between pieces are secured with battens and screws to reinforce the interlocking system. This method requires a lot of plywood, as the notched construction system requires that components overlap. However, the assembly is simple and easy to understand, which also leads to the flexibility that allows last minute adjustments to be made on site.
Veneer House - TECHNIQUE -
ADVANCED SYSTEM
The Advanced System uses plywood parts only, and is assembled without nails or screws. Complex components are cut using digital fabrication methods (CNC routers) and then assembled on site.
CUTS
JOINTS
With digital fabrication, we can now reproduce products of the same quality anywhere where data is shared. When CNC routers are available, we fabricate complex components that result in the best structural performance, material efficiency, and simplicity of assembly.
The Advanced System employs joints with wedges, inspired by traditional Japanese wooden joinery that enables perpendicular connections of separate pieces. This system does not require hardware like nails or screws, and buildings can be disassembled by simply pulling out the wedges. The high degree of precision makes assembly easy, however the building foundation requires similar precision and last minute changes and adjustments at the site are difficult to achieve. The structural efficiency of the system means it requires less plywood than the Basic System. Recently, we have developed a flush joint system that yields a smooth exterior surface. This allows various cladding systems to be attached to the building easily.
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MINAMISANRIKU VENEER HOUSE 2012 / Miyagi, Japan The condition of temporary housing and facilities in the aftermath of the Great East Japan Earthquake has been in constant need of improvement, including a number of requests for new public bathing facilities. Instead of bathing privately, many local residents wish to bathe in spacious communal baths, in part to help strengthen the bonds of the community. The Minamisanriku Veneer House was designed and constructed as the first phase of a public bath project. Using veneer boards made from local forest thinnings, the building was quickly assembled by amateurs. This demonstrates the unique features of the Veneer House construction method, which is simple, fast, cost-effective, and contributes to both the local industrial development and environmental improvement. The 910x1820mm veneer boards are divided into units of 455mm and are provided with pre-cut notches. The boards are assembled by interlocking these notches and reinforcing the joints with wood battens and screws. This construction method is easy to build and can also be disassembled and relocated, making it suitable for disaster sites and urgent or temporary building demands. Construction time can be reduced drastically by prefabricating building components.
TEAM: Keio University SFC (Design, Construction), Kobayashi Maki Design Workshop (Design, Construction), Miyagi University Yoshihiro Hiraoka Laboratory (Design, Construction), Akira Suzuki (Structural Engineering), Home Kenzaiten Co., Ltd. (Precut), Local Residents (Construction), and others
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Veneer House - PROJECTS -
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Plan
Scale 1/200
Section
Scale 1/100
Axon Sketch 24
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MAEAMIHAMA VENEER HOUSE 2013 / Miyagi, Japan The Maeamihama Veneer House is an updated and improved version of the Minamisanriku. The building includes a gathering space and a storehouse for the victims of the Great East Japan Earthquake. It was constructed by volunteers of the local fishermen’s union using plywood made from local forest thinnings. The entire construction process was diagrammatically illustrated in a construction manual, so that the procedure could be easily understood without conventional design drawings. This reduced errors during assembly and enabled all construction personnel to understand the sequence of construction. In addition to the manual, the construction progress was shared in detail among all persons involved through the internet. Using social media to share the construction process with members of the community who were unable to participate is one step in the development and exploration of a truly social system of architectural production.
TEAM: Architecture for Humanity (Sponsor), Kobayashi Maki Design Workshop (Design, Construction), Keio University SFC Hiroto Kobayashi Laboratory (Design, Construction), Akira Suzuki (Structural Engineering), Shin-ei Kogei (Precut), Kouetsu Fujio (Construction), Maeamihama Fisheries Cooperative Volunteers (Construction), and others
②パネル組立
②パネル組立
②パネル組立 ４.基礎梁の移動/固定
Ძ᧓
ⅲ.X1の基礎梁の固定
６.柱の組立てと補強材固定
Წ᧓
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
2枚
2枚
2枚
2枚
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
C3
C6
SC3
SC3
SC3
SC3
C5
C8
SC3
SC3
C4
C7
SC3
SC3
SC3
SC3
C5
C8
SC3
SC3
SC3
C7
C4
SC3
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
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
SC3
Ჭ᧓gᲰ 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
C6
C3
SC3
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
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Veneer House - PROJECTS -
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Site Plan
Section
Section Detail
Scale 1/1000
Plan
Scale 1/200
Scale 1/200
Scale 1/50 30
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MANAWHARI LEARNING CENTER 2013 / Pathein, Myanmar The Manawhari Learning Center, located in the Ayeyarwady Region of Myanmar, was constructed in collaboration with the local villagers of Manawhari. This provincial village suffers from poor sanitary conditions and educational opportunities, as the disparity between cities and the countryside grows as a result of democracy and globalization. The project aimed to contribute to the improvement of the local living environment, and also to empower the local community through education and enhance their mutual bond. In order to make the construction as easy as possible, the number and types of building components were kept to a minimum. The building was constructed using only hammers and saws, since electricity was not available at the site. Veneer boards were used for structure and local materials such as woven bamboo were used for finishing, demonstrating respect for local craftsmanship and building culture.
TEAM: YMCA (Sponsor), Kobayashi Maki Design Workshop (Design, Construction), Keio University SFC Hiroto Kobayashi Laboratory (Design, Construction), Akira Suzuki (Structural Engineering), Kouetsu Fujio (Construction), Local Residents (Construction), and others
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Site Plan
Plan
Scale 1/1000
Scale 1/200
Section
Scale 1/200
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cogon day school 2014 / Balilihan Bohol, Philippines The rural town of Cogon sits on Bohol Island, a region hard hit by the 2013 Philippines Earthquake. With a population of around 700, Cogon’s resources are limited and day school was, until recently, held in the town’s small chapel. This project, funded in part by the Japan International Cooperation Agency, aimed to create a new day school and community space for the people of Cogon. All structural components for the building were pre-cut using a CNC facility at Bohol Island State University’s Fab Lab. To further streamline the process, wood joinery techniques were applied including wooden wedges, which allowed the structural frame to be assembled without glue, nails, or power tools. After conducting a workshop with local children and families, construction commenced with citizens and students from Keio University taking equal part. Local materials including woven bamboo panels serve as the skin for the structural skeleton and tie the building to the architectural traditions of Bohol.
TEAM: JICA (Sponsor), Keio University SFC Hiroto Kobayashi Laboratory (Design, Construction), Kobayashi Maki Design Workshop (Design, Construction), Keiichi Imamoto (Strength Test), Akira Suzuki (Structural Engineering), Bohol Island State University (Facility), Local Residents (Construction), and others
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Ω͙͑ͥͲ͚ͥ
Ω͙͑ͥʹ͚ͩ
Ω͙͑ͥͳ͚ͩ
Ω͙͑ͤ͵ͧͶ͚ͩ͢
Ω͙͑ͦ͢Ϳ͚ͤ͡
Ω͙͚͑ͦ͢͡
Ω͙͚͑ͣͧ
Ω͑ͥ
Ω͙͑͢Ͷ͚ͥ͡
Ω͙͑ͨͽ͚ͣͩ
Ω͙͑ͣ;͚ͩ
Ω͙͑ͣͺͥͼͩͻ͚ͥ
Drawing for Pre-Cut
Wood Joint with Wooden Wedges
Axonometric
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CHARIKOT VENEER HOUSE 2015 / Dolakha, Nepal Charikot Veneer House is a single family home prototype built in Charikot, Dolakha, a part of Nepal affected by a powerful 2015 earthquake. Traditional Nepali construction relies on brick and masonry with heavy and inflexible walls, which lead to severe damage earthquakes. This project explored a lightweight and flexible structural frame suitable for seismically active regions. In creating the Charikot Veneer House, Keio University Kobayashi Laboratory partnered with Dolakha Plywood Inc., a plywood manufacturer based in Charikot. Sourcing materials locally allowed project stakeholders and the local community to participate in the design development and construction process. This home prototype is only the beginning of what could be a significant contribution to the reconstruction and recovery of Nepal in the wake of its recent disaster.
TEAM: Keio University SFC Hiroto Kobayashi Laboratory (Design, Construction), Kobayashi Maki Design Workshop (Design, Construction), Akira Suzuki (Structural Engineering), Dolakha Plywood Inc. (Pre-cut, Test Assembly), Local Residents (Construction), and others
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Veneer House - PROJECTS -
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Frame Section
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SHICHIGAHAMA BEACH house 2016 / Miyagi, Japan The Shichigahama Beach House is a temporary beach pavilion built to celebrate the reopening of the Shichigahama Beach 5 years after its destruction in the Great East Japan Earthquake and Tsunami. Its simple half cylindrical shape is made up of only 5 different types of components, allowing for a fast and easy construction process. The pavilion is only used for a few weeks in the height of summer, so it will be erected and disassembled each year. The beach pavilion accommodates functions including a concert venue and a temporary cafĂŠ. The simple foundation and lightweight frame reduces the storage, transport, and construction costs associated with previous pavilions. This temporary Veneer House fits the need of the summer festivities at Shichigahama, but it also helps the community to heal and recover part of what it lost in the devastation of the disaster.
TEAM: Keio University SFC Hiroto Kobayashi Laboratory (Design, Construction), Kobayashi Maki Design Workshop (Design, Construction), Akira Suzuki (Structural Engineering), Shin-ei Kogei (Precut), Local High School (Construction), and others
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Veneer House - PROJECTS -
Flush Joint Detail
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Axonometric
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VIS VENEER TEA HOUSE 2016 / Vis Island, Croatia This tea house was built to introduce the architecture and culture of Japan to the Croatian island of Vis. The simple pavilion will be used for cultural exchange between the two countries. Plywood panels were prepared in Italy and were then taken to Slovenia for CNC machining. The prefabrication process involved workshops for local high school students. The precut pieces were then brought to Vis where they formed the structural frame of the pavilion. The lightweight construction of the tea house contrasts strongly with the surrounding stone masonry buildings while acknowledging the site and views to the ocean beyond. It is recognized by the community in Vis as a new proposal for sustainable architecture with a different cultural background.
TEAM: Keio University SFC Hiroto Kobayashi Laboratory (Design, Construction), Kobayashi Maki Design Workshop (Design, Construction), Polytechnic University of Milan (Design, Construction), Akira Suzuki (Structural Engineering), Local High School in Slovenia (Pre-cut), and others
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Veneer House - PROJECTS -
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Axonometric
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VENEER HOUSE KUMAMOTO 2017 / Kumamoto, Japan Veneer House Kumamoto (VHK) is the smallest in the Veneer House series yet: a 5m2 wooden unit that can be used as a house unit to sleep in an emergency, a vendor stall for community events, an office meeting booth, and so on. When needed it can be assembled, and when unnecessary, it can be disassembled and stored.
Ve Ve
V V
V V
Yatai (Vendor Stall)
Tea House
Playroom for Kids
Possibility of Daily Use
TEAM: Keio University SFC Hiroto Kobayashi Laboratory (Design, Assembly), Akira Suzuki (Structural Engineering), and others
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×2
×2
×2
×3 Layout of Plywood Board
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Exploded Axonometric
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ENOSHIMA NO-NAIL BEACH HOUSE 2017 / Kanagawa, Japan The Enoshima No-Nail Veneer Beach House is a temporary beach pavilion built to celebrate summer activities on Enoshima East Beach, where 2020 Olympic events are planned to be held. Its simple arch shape is made up of only 6 different types of components, allowing for a fast and easy construction process. The pavilion is used 2 months per year in the height of summer, so it will be erected and disassembled each year. The beach pavilion accommodates functions including a lifeguard’s office, a first-aid station, and a beach radio station. Since no nails or screws are used during construction, the beach is kept safe and clean after its disassembly. The simple foundation made of LVL (Laminated Veneer Lumber) and the lightweight frame reduces storage, transport, and construction costs.
TEAM: NPO Umisakura (Sponsor), The Nippon Foundation (Sponsor), Kobayashi Maki Design Workshop (Design, Construction), Akira Suzuki (Structural Engineering), Asao Tokolo (Graphic Design), Shin-ei Kogei (Precut), Haseman (Construction), Keio University SFC Hiroto Kobayashi Laboratory (Construction), Local Residents (Construction), and others http://kuginonai-uminoie.com/
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Veneer House - PROJECTS -
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Axonometric
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SLOVENIA COMMUNITY PAVILION 2017 / Slovenj Gradec, Slovenia The pavilion was built in a forest behind an industrial high school in Slovenj Gradec in Slovenia. It will be used for gatherings, presentations, events, and other functions by the students and neighbors. The design and construction of the pavilion is conducted by the students of Keio University Kobayashi Lab and Ljubljana University Glazar Lab, and with the help of local high school students. The post and beam structure is composed of simple plywood elements which were cut both by hand and using a CNC router operated at the high school. The pavilion was built with the intent that its open structure will promote open dialogue and interaction between people and place.
TEAM: Keio University SFC Hiroto Kobayashi Laboratory (Design, Construction), Ljubljana University Glazar Laboratory (Design, Construction), Akira Suzuki (Structural Engineering), Local High School (Construction), and others
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Axonometric
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Kumamoto Omoken Park 2017 / Kumamoto, Japan Situated along Kamitori, one of the main shopping arcades of Kumamoto, Omoken Park is a temporary public space that fills an urban lot left vacant after the 2016 Kumamoto Earthquake. This experimental park was created to explore the possibility of not building in recognition of rising construction costs. It was also intended to fulfill a need for family friendly resting spots, which were lacking in the city of Kumamoto. Built amongst reclaimed wood structures including a coffee stand and a children’s play space, the Veneer House contained Kosho Kisuisha’s selection of used picture books. The structure contributed to creating an active gathering place for the citizens of Kumamoto, young and old.
TEAM: Ken Omoki (Land Owner), Makoto Tsubakihara (Event Organization), Keio University SFC Hiroto Kobayashi Laboratory (Design, Assembly), Fablab Aso Minamioguni (Facility), Kumamoto Locals (Assembly), and others https://www.facebook.com/machitaneproject/
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DENENCHOFU ELEMENTARY SCHOOL CHILDREN’S PLAYHOUSE 2018 / Tokyo, Japan This playhouse installed at Denenchofu Elementary School in Tokyo is a miniature Veneer House designed at the scale of children. It is a place where children can cheerfully gather and play. Because of its small size, this Veneer House was made from 3’ x 6’ plywood sheets rather than normally used 4 x 8s. Children were able to assemble furniture for the playhouse themselves using pieces cut out from wall and ceiling boards, turning the structure into a friendly house with an expressive face.
TEAM: Keio University SFC Hiroto Kobayashi Laboratory (Design, Assembly), Denenchofu Elementary School (Furniture Assembly), and others
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takenaka tokyo office booth 2018 / Tokyo, Japan This project introduced four different types of booths into Takenaka Corporation’s Tokyo office. These interior Veneer Houses will normally be used as office booths, but if an emergency occurs, they can be disassembled and shipped to disaster sites for use as private space in temporary shelters or small accommodations. The booths create a middle ground between open and closed office layouts. In the ground floor meeting area, we created two types of booths that allow people to distance themselves from the surrounding conversations. One is designed as an open post-and-beam structure and the other is clad with perforated screens. These screens were made from sheets from which furniture pieces were cut, creating irregular openings. Neither of these booths use nail or screws, and can be easily disassembled and reassembled. For an office area on 5th floor, we created comparatively large structures that consist of multiple rooms. One structure is a string of private booths in which front walls and sliding doors are made out of boards used to produce furniture, in the same way as the perforated volume on the ground floor. Each room is private, yet open enough to stay connected with its surroundings. The other structure is a group of meeting rooms with varied seating arrangements suitable for larger conversations such as 4 seat tables and booth seating.
TEAM: Keio University SFC Hiroto Kobayashi Laboratory (Design, Construction), Shin-ei Kogei (Precut, Construction), Iyobe (Furniture Production), Takenaka Corporation (Assembly), and others
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1F Meeting Area: Type A
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1F Meeting Area: Type B
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5F Office Area 93
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kawauchi wine tasting pavilion 2018 / Tokyo, Japan Seven years after the 2011 Great East Japan Earthquake, about 80% of the residents have returned home in Kawauchi Village, located within 30km from the Fukushima Nuclear Power Plant. Kawauchi Wine started producing wine in 2017, bringing a new industry to this land. We were commissioned to build a tasting pavilion to sit amongst the vineyards. All of the components used in the pavilion were cut with a CNC router that Kobayashi Lab students installed in a former precision machine factory near the site. The 3.8m x 3.8m x 3.8m symbolic cube composed of a checkered pattern surfaces overlooks the vast vineyard. From here, visitors can take in the view and watch the village’s new industry grow.
TEAM: Keio University SFC Hiroto Kobayashi Laboratory (Design, Construction), Akira Suzuki (Structural Engineering), Kawauchi Wine (Construction), and others
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domo-kun house 2018 / Tokyo, Japan The Domo-Kun house is a temporary installation designed as part of “Hajikko Kakumei,” a campaign run by NHK (Japan’s national public broadcasting company) that aims to make the world a better place by using playful new ideas to address challenging social problems. Two fund-raising campaigns were held in December of 2018, and various teams were tasked with engaging new participants and encouraging them to donate to the campaign. The site is at the corner of the Jingumae intersection in Harajuku in a community space called “subaCO”, which focuses on encouraging ordinary people to make small donations to good causes. We designed a small Veneer House for this space that looks like NHK’s character Domo-kun (Domo is an informal way of saying “thanks”). The installation helped visitors learn about the campaign and find out how to get involved.
TEAM: NHK (Event Organization), Keio University SFC Hiroto Kobayashi Laboratory (Design, Construction), and others
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Hokkaido Veneer Cube 2019 / Hokkaido, Japan The Hokkaido Veneer Cube is a structure made from plywood that uses local timber such as Japanese white birch, painted maple, Japanese poplar, and Sakhalin fir, all which range in color and expression. Depending on the angle from which it is viewed, the plywood appearance is altered, becoming aesthetically variable. The different types of plywood are used for each 3 sets of facing facades. This system of inserting plywood boards 3-dimensionally creates a rigid structure. A new joint system was developed for this project: 2 members on the same surface are first connected with fish tail joints, then are interlocked by inserting a perpendicular member. The multiple squares that configure the structure can be used as shelves, and are well suited for use in places such as libraries, book stores, among others.
TEAM: Takenaka Corporation (Event Organization), Keio University SFC Hiroto Kobayashi Laboratory (Design, Construction), Hokkaido Research Organization Forest Products Research Institute, NITTAX Corporation, Hokkaido Sapporo Technical High School, Books Kinokuniya Sapporo, and others
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Axon Composition with Different Types of Wood from Hokkaido Locally
2710.0
⑩
⑨ Fish-Tail Joint
542.0
542.0
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PALU COMMUNITY CENTER 2019 / Palu, Indonesia On September 28, 2018 a 7.5 magnitude earthquake was measured 77km (48mi) off the coast of the city of Palu. The earthquake was then followed by a localized tsunami that caused the structures on the shoreline to be swept away entirely. Landslides finalized the level of destruction that befell this town with approximately 68,000 houses in need of repair or reconstruction affecting about 1.5 million people. It was the deadliest earthquake worldwide in 2018 with an estimated 4,400 people injured and about 2,200 dead. The Palu Community Center was designed and built next to one of the refugee camps. Its unique triangular shape is inspired by the local traditional houses called Rumah Tambi. Plywood boards were pre-cut in the same Sulawesi Island, then assembled with the locals and architecture students from Bandung Institute of Technology and Tadulako University.
TEAM: Keio University SFC Hiroto Kobayashi Laboratory (Design, Construction), IAI Palu, Akira Suzuki (Structural Engineering), Bandung Institute of Technology (Construction), Tadulako University (Construction), and others
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Bed & Book Booth (B&B Booth) 2020 / Tokyo, Japan B&B Booth is a cubic lattice designed for children’s room and study in a private residence. This Veneer House is based on the Hokkaido Veneer Cube’s structure, but achieves a higher level of privacy with an added door, backboards that separate internal and external space, and a ceiling that allows one to climb on top of the structure. This Veneer House system uses widely distributed standardized 3x6 (910mm x 1820mm) boards, more versatile than those that require less common larger size boards. The B&B Booth can provide children with their own space, while its exterior can be used as a bookshelf. The backboards can be taken out to loosely connect inside and outside, enabling one to adjust finely the way they communicate.
TEAM: Keio University SFC Hiroto Kobayashi Laboratory (Design, Construction), Shin-ei Kogei (Precut, Construction), Kobayashi Maki Design Workshop (Construction), and others
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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 ‘fabrication.’ 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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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 member’s house in a village in turn. This was a collaborative working system based on mutual aid in a small and autonomous community called ‘Yui.’ 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“ 第18回 木材活用コンクール / 日本木材青壮年団体連合会 木材活用特別賞 前網浜コミュニティストレージ 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。
fishing port
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。
断面図
平面図
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。
1:200
1:200
配置図 1:2000
910
②パネル組立
Ძ᧓
ⅰ.Y1の基礎梁
３.補強材の固定
Ჰ᧓
ⅱ.梁の補強
ᰕ
合板 18mm厚 90x460 (mm) 288枚
２枚
②パネル組立
②パネル組立
１.基礎梁の組み立て
４枚
４枚
４枚
合板 18mm厚 225x460 (mm) 72本
６.柱の組立てと補強材固定
Წ᧓
ⅲ.柱の組立て （Y3/Y4）
2枚
2枚
2枚
2枚
コーススレッド 51mm 1440本
コーススレッド 32mm 720本
1820
2枚
12枚
12枚
SC5
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
C9
C12
SC3
SF1
SC5
F1 SF2
組み立てる
90
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
90
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
SC5
C13
C10
SC3
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
C9
SC3
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 ウッドデザイン賞 2015 / ウッドデザイン賞 運営事務局 ライフスタイルデザイン部門 建築・空間分野 ベニアハウスプロジェクト Japan Wood Design Award 2015 Wood Design Award Steering Committee Lifestyle Design Category, Architecture and Space Veneer House Project ウッドデザイン賞 2015 / ウッドデザイン賞 運営事務局 ライフスタイルデザイン部門 技術・研究分野 ベニアハウスプロジェクト Japan Wood Design Award 2015 Wood Design Award Steering Committee Lifestyle Design Category, Technology and Research Veneer House Project ウッドデザイン賞 2019 / ウッドデザイン賞 運営事務局 ハートフルデザイン部門 コミュニケーション分野 「道産木のある未来を見たいから。 」MWS木のワークショップ 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
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PROFILE HIROTO KOBAYASHI Principal, Kobayashi Maki Design Workshop (kmdw) Japan Representative/Liaison, Skidmore Owings and Merrill LLP (SOM) Professor, Keio University, Graduate School Of Media and Governance e-mail: hiroto@kmdw.com Employment 2018 2012- 2013 2012- present 2010- 2011 2005- 2012 2004- present 2003- present 2003- 2005 2003- 2005 2001 (fall) 2000 (spring) 1992-1993 1988-1996
University of Ljubljana University of California, Berkeley Center of Japanese Studies, Visiting Researcher Keio University, Professor Massachusetts Institute of Technology, Visiting Associate Professor Keio University, Associate Professor Skidmore Owings and Merrill LLP, Japan Representative/Liaison Kobayashi Maki Design Workshop, Principal in partnership with Naomi Maki Harvard University Graduate School of Design, Visiting Associate Keio University Shonan Fujisawa Campus, Lecturer Harvard University Graduate School of Design, Teaching Fellow for Dean Peter G. Rowe’s Studio
Ljubljana, Slovenia Berkeley, CA, USA Fujisawa, Kanagawa, Japan Cambridge, MA, USA Fujisawa, Kanagawa, Japan Tokyo, Japan Tokyo, Japan Cambridge, MA, USA Fujisawa, Kanagawa, Japan Cambridge, MA, USA
Harvard University Graduate School of Design, Teaching Fellow for Kazuyo Sejima Sir Norman Foster and Partners Nikken Sekkei Ltd.
Cambridge, MA, USA Frankfurt, Germany Tokyo, Japan Cambridge, MA, USA Cambridge, MA, USA Cambridge, MA, USA Kyoto, Japan
1982-1986
Harvard University Graduate School of Design, Doctor of Design Harvard University Graduate School of Design, Visiting Scholar Harvard University Graduate School of Design, Master in Design Studies Kyoto University Graduate School of Engineering, Department of Architecture, Master of Engineering in Architecture Kyoto University Department of Architecture, Bachelor of Engineering in Architecture
Awards 2001-2002 2000-2003 1999-2000 1999-2001
Obayashi Foundation Grant for Research on Urban Transformation Using GIS Harvard University Graduate School of Design, GSD Grant Fulbright Grant for Research Program Asahi Glass Grant for a Research on a Japanese Suburban Town
Education 2000-2003 1999 -2000 1991-1992 1986-1988
Professional Affiliations
Publication, Exhibition 2002
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Registered Architect (first grade) in Japan, 1990 Member of Architectural Institute of Japan Member of City Planning Institute of Japan Harvard Design School Alumni/ae Council Member Co-author, Assistant Editor of Case: Toyo Ito, Sendai Mediatheque by Prestel/Harvard, 2002
Kyoto, Japan
www.kmdw.com kmdw@kmdw.com
www.veneerhouse.com veneerhouse@kmdw.com
architecture.keio.ac.jp/lab/kobayashi/ 136