Advanced Design Studies Blog: Critical Mass
Author: T—ADS
パビリオン公開 // PAVILION DISPLAY
12月5日（月）– 12月18日（日）// December 5 (Mon) – December 18 (Sun)
10:00 – 17:00
東京大学本郷キャンパス工学部1号館前広場
The University of Tokyo, Hongo Campus, Engineering Building #1 Plaza
パネル・模型展示 // PANEL AND PROCESS EXHIBITION
12月5日（月）– 12月17日（土）// December 5 (Mon) – December 17 (Sat)
平日と土曜日のみ // Weekdays and Saturdays only
(12月5日は13:00から) // (Open at 13:00 on December 5)
東京大学本郷キャンパス工学部 11 号館1階展示スペース（入場無料）
The University of Tokyo Hongo Campus, Engineering Building #11, 1F Exhibition Space (free entry)
主催: 東京大学建築学専攻 Advanced Design Studies（T—ADS）
PRODUCED BY: Advanced Design Studies, Department of Architecture, The University of Tokyo
企画: 東京大学建築学専攻 Digital Fabrication Lab（DFL）
鹿島建設株式会社
東京大学大学院情報理工学系研究科コンピュータ科学専攻 五十嵐健夫研究室
東京大学大学院新領域創成科学研究科社会文化環境学専攻 佐藤淳研究室
素材協力： 株式会社エコグリーン、株式会社東邦アーステック（順不同）
PLANNING:
Digital Fabrication Lab (DFL), Department of Architecture, The University of Tokyo
IN COLLABORATION WITH:
Kajima Corporation
Graduate School of Information Science and Technology, Department of Computer Science, Takeo Igarashi Laboratory
Graduate School of Frontier Sciences, Department Socio-cultural Environmental Studies, Jun Sato Laboratory
MATERIALS PROVIDED BY:
Eco Green, Toho EarthTech (in random order)
東京大学建築学専攻Digital Fabrication Lab（DFL）では、建築施工におけるデジタル技術の活用をテーマに、毎年実験的なパビリオンを制作しています。単に技術による自動化や高度化を目指すのではなく、そこに「人間が関わること」の可能性を探る実証の場として、これまで「人間と機械が融合した3Dプリンター」（2014年STIKパビリオン）や「巨大3Dペン」（2015年TOCAパビリオン）を建築スケールで再現してきました。
本年Computational Clayプロジェクトでは「人間が関わること」をより一層推し進め、個性としての身体パフォーマンスを建築表現に反映させるため、人の動きと素材と関係に着目したユニークなパネル加工システムを開発しました。
Every year in the University of Tokyo’s Digital Fabrication Lab (DFL), digital fabrication technologies are used to produce an experimental pavilion project. The aim, rather than being simply to achieve automation or precision through use of such technologies, is to explore the potentials for human and machine collaboration. Past projects have focused on fusions between humans and machines through the use of 3D printers: the 2014 STIK Pavilion explored this theme through guided aggregation, and the 2015 TOCA Pavilion by using humans as a parameter along with an oversized 3D pen.
This year, in the Computational Clay Pavilion, we advance the role of the human in construction one step further, examining how an individual’s capabilities and performance can be expressed in an architectural output. We have developed a unique panelized construction system wherein the movements of humans and their relationship to the material are explored.
Two arches completed on-site.
Structural optimization.
Guidance sequence.
Scanning process on-site.
Panel-making process.
Preparation for guidance.
Scanning sequence.
The two images show the stages of panel production used for the 2016 pavilion project.
Panel Bag Sealing Steps (image 1):
Step 1: Wood chips are mixed with resin and poured into a pre-made wooden frame, which sits on top of a double layer of plastic bags to decrease possibility of holes forming.
Step 2: The frame is removed and another double layer of plastic is put on top of the wood chips. The outer bag is then closed with a heat sealer. Two adjacent lines of sealant help to prevent air leakage during vacuuming.
Step 3: The panel is vacuumed and any small holes that may be produced due to the combination of sharp wood chips and high pressure are taped.
Step 4: Reflective marker guidance system tracking points are applied. This is for the panel shaping process, which comes next.
Panel Shaping Process (image 2):
A Kinect camera uses an infrared projector to detect the contrast between reflective markers and the background. When it finds a point of contrast it produces a tackable point, which is then compared to predetermined points in the computer model. The manipulation of the panel is articulated according to the difference between the points on the model and the points (reflective markers) on the actual panel. After the panel has been shaped, the points are re-scanned to quantify the difference between the physical and computer models. A light-absorbing cloth is used as a backdrop to create total contrast between the panel and its environment. This allows the physical panel to be easily tracked and manipulated in space.
Please join us on Saturday, November 19 in Lecture Hall 15 of Engineering Building #1 for a lecture from Marcos Novak. Novak is the Director of transLAB in the Media Arts and Technology Program at the University of California, Santa Barbara.
Professor Marcos Novak is the founding director of the transLAB at the University of California, Santa Barbara, where he is affiliated with the AlloSphere and CNSI (the California NanoSystems Institute).
He is a researcher, artist, theorist, and transarchitect. In 2000, he represented Greece at the Venice Biennale, where his works have been exhibited several more times since. His projects have also appeared in prominent museums, galleries, and collections in many countries. He serves on the scientific committees and advisory boards of several international journals and conferences.
His projects, theoretical essays, and interviews have been translated into over twenty languages, have appeared in over 70 countries, and have, and have become the topics of conferences and symposia. He lectures, teachers, and exhibits worldwide.
Please join us at 18:30 on November 15, 2016 in room #15 of Engineering Building #1 for a lecture from Australian architect John Wardle.
Lecturer: John Wardle (Principal, John Wardle Architects)
Lecture Title: This Building Likes Me
Date: November 15, 2016
Time: 18:30-20:00
Location: Lecture Hall #15 (Room 15), Engineering Building #1, the University of Tokyo
Lecture Description: John Wardle, one of Australia’s leading architects, explores the ways buildings weave together landscape, history, memory, and materials.
John Wardle Architects (JWA) has gained a reputation for creating buildings that connect to their surroundings in subtle yet powerful ways. The work ranges across scales: from small-scale domestic dwellings, to large commercial projects and major university buildings, most recently, Melbourne’s Conservatorium of Music. Collaboration is ingrained in the those of the Melbourne-based office, a spirit that extends to working closely with builders and craftsmen in the realization of their projects. Materiality and intense detail are constant interests, both for their aesthetic and experiential qualities and for the values they embody, as Wardle writes: “The care shown in how materials are employed, tells a story about the value that a community places in its built environment.”
This lecture coincides with the launch of This Building Likes Me – John Wardle Architects, published by Thames & Hudson
APPLICATIONS FOR ACADEMIC YEAR 2017-2018 ARE CLOSED.
The below information is for reference purposes only.
——————————————————
Admission for the 2017/2018 academic year is now open.
In order to complete your application, it is necessary to complete both online and postal submission of documents.
Admission Information: http://www.global30.t.u-tokyo.ac.jp/g30_hp/architecture-and-urban-design.html#guidance
Start your application here: https://t-cens.iapply.t.u-tokyo.ac.jp/t-cens/login_screening.php
Application Guide: https://t-cens.iapply.t.u-tokyo.ac.jp/guidance_information/
ONLINE APPLICATION
- Initial online registration period (create your T-cens account during this period): Between September 14th, 2016 and November 25th, 2016
- Deadline for data entry and document upload: By November 25th, 2016
POSTAL APPLICATION
- All documents must be postmarked: On or before November 30th, 2016
- All documents must reach the Global 30 office: No later than December 5th, 2016.
FINAL RESULT NOTIFICATION
- March 2017
Find further information about the course and the University of Tokyo:
- Department of Architecture: http://arch.t.u-tokyo.ac.jp/
- Blog: http://obuchi-lab.blogspot.jp/
T_ADS and Obuchi Laboratory are pleased to present a free online course available worldwide via edX.
Four Facets of Contemporary Japanese Architecture: Theory
First Facet: Theory
The course is presented by Kengo Kuma and Yusuke Obuchi, who have invited other leading Japanese architects to participate.
Course materials are presented in Japanese with English subtitles.
Framed between the two Tokyo Olympics of 1964 and 2020, this series will explore and reflect on the diversity of contemporary Japanese architecture by focusing on four facets: theory, technology, city, and humans.
Through lectures by instructors and discussions with some of the most influential Japanese architects, the course will trace the development of contemporary Japanese architecture and will consider its future direction.
First Facet: Theory
Course Schedule:
July 31: Introduction
August 7: Arata Isozaki, Hisao Kohyama
August 14: Terunobu Fujimori, Hidetoshi Ohno
August 21: Kengo Kuma, Kazuyo Sejima
August 28: Conclusion
For additional details and enrollment, please see the course page.
EXHIBITION: The Scene of New Architectural Educationー新しい建築教育の現場
Obuchi lab is featured at this exhibition hosted by the LIXIL Ginza Gallery.
Future of Creation Exhibition #8: Supervised by Kengo Kuma
Advanced Design Studies, The University of Tokyo: The Scene of New Architectural Education
Advanced Design Studies, The University of Tokyo: The Scene of New Architectural Education
June 12, 2016 (Sunday) – August 22, 2016 (Monday)
Closed: Wednesdays, August 10-17
Open Hours: 10:00-18:00
Admission: Free
Cooperation: Kengo Kuma and Associates, LIXIL GALLERY
Talk Event July 23, 2016
18:00-20:00
Kengo Kuma (Architect), Yusuke Obuchi (Associate Professor, The University of Tokyo), Guest Lecturer
*Reservations accepted from June 1 (Wednesday); registration will close when capacity met.
18:00-20:00
Kengo Kuma (Architect), Yusuke Obuchi (Associate Professor, The University of Tokyo), Guest Lecturer
*Reservations accepted from June 1 (Wednesday); registration will close when capacity met.
The exhibition includes a look back at past pavilion projects, an introduction to prior thesis projects by second year students, and a glimpse into the ongoing work at the lab. Students are working in the gallery to research and create mockups for this year’s pavilion project. Visitors will also be able to see current activities in the actual lab via a live streaming webcam. Please visit and see how it progresses!
Staff and students visited several islands in Japan’s Inland Sea last week in an effort to see and experience international and domestic art and design. The itinerary for the trip included Shodoshima, Inujima, Teshima, and Naoshima.
A historic local soy sauce maker on Shodoshima. Staff kindly provided a brief tour of the facilities and explained the manufacturing process, distribution efforts, and history of the location.
Meipam (maze town) near Toshogu Port on Shodoshima. The winding streets are filled with art and design spots for examination.
I-Art House.
C-Art House.
A-Art House
.
S-Art House.
F-Art House.
Inujima Seirensho Art Museum
.
Teshima Art Museum.
Takamatsu Port Area.
Naoshima Pavilion, by Sou Fujimoto.
Red Pumpkin, by Yayoi Kusama.
Naoshima Hall, by Hiroshi Sambuichi.
Art House Project “Haisha,” by Shinro Ohtake.
Naoshima Bath ”I♥湯” (I love YU), by Shinro Ohtake.
100 Living Tales exhibit, by Yuki Iiyama. Gallery 6.
Marine Station “Naoshima,” by Kazuyo Sejima.
