Have you ever wanted to look over an entire city from the comfort of your own desk? Do you have a sentimental relationship with the city of Tokyo? If you answered "yes" to these questions, iJet Inc, a 3D print solutions company, along with DMM.com Ltd, have launched a Kickstarter that might be for you.
One Hundred Tokyo is a project aiming to reproduce Tokyo’s urban landscape in the form of one hundred ten by ten centimeter 3D printed models. All of the data and equipment needed to gather visual information of the city has been provided by ZENRIN Co Ltd, who traveled around the landscape in specialized vehicles. The 3D models created by this process are then printed on 3DSystems printers, using gypsum powder that is coated in a special resin in order to harden, and then coated once again in resin paint to achieve the full-color skyline.
For centuries before the invention of screws and fasteners, Japanese craftsmen used complex, interlocking joints to connect pieces of wood for structures and beams, helping to create a uniquely Japanese wood aesthetic that can still be seen in the works of modern masters like Shigeru Ban.
Up until recent times, however, these techniques were often the carefully guarded secrets of family carpentry guilds and unavailable for public knowledge. Even as the joints began to be documented in books and magazines, their 2-dimensional depictions remained difficult to visualize and not found in any one comprehensive source.
That is, until a few years ago, when a young Japanese man working in automobile marketing began compiling all the wood joinery books he could get his hands on and using them to creating his own 3-dimensional, animated illustrations of their contents.
The career of Japanese architect Kenzō Tange features a curious anomaly: he received the same commission twice. In 1952, during the early stages of his career, Tange designed an administrative building in Yūrakuchō, Tokyo, for the city's metropolitan government. Over thirty years later, when the government relocated to Shinjuku, Tokyo, he again won the commission to design its administrative building. Completed in 1991, this would be one of his last, and most ambitious, projects. The second incarnation now dominates the city’s skyline, its highly distinctive design guaranteeing it landmark status. Nicknamed Tochō (an abbreviation of its Japanese name Tōkyō-to Chōsha), its architectural references to both tradition and modernity act as a visual metaphor for the eclectic city over which its inhabitants govern.
This special edition of a+u takes an overview of early works, mostly houses, by 65 prominent architects around the world, including: Álvaro Siza, Richard Rogers, Glenn Murcutt, Valerio Olgiati, Lacaton & Vassal, Caruso St John, Smiljan Radic, ELEMENTAL, and Pascal Flammer. We asked each architect two questions – the visions they had when they designed the house, and how that vision has evolved over time.
The August 2016 issue of a+u explores the architecture and cityscape of Berlin. The fascination of this city stems from the way it continually changes to reflect the current age, even while preserving the memory of past glories and tragedies and the complexities of its positive and negative legacies. This issue, with new photos, is devoted to the “now” of the city and its architecture in their contemporary and historical contexts.
Construction is now underway on Skidmore, Owings & Merrill’s (SOM) OH-1 redevelopment project in the Ohtemachi District of Tokyo, Japan. Covering a 20,000 square meter (215,000 square foot) site, the project constitutes one of the largest revitalization projects in Tokyo’s history. The complex includes two high-rise, mixed-use buildings containing a luxury hotel, commercial office space, retail and cultural facilities, and is centered around a park and public area that will visually connect the development to the adjacent Imperial Palace East Gardens.