Daniel Campbell's Portfolio

time [LINE]

daniel campbell

Contents

2007: 1. [MOVE]ment performed 2. ALTERED [path]WAYS 3. [SELECTED] nature

2008: 4. urban [CO]operative 5. sub[URBAN] renewal 6. [STEEL] platform 7. [BENCH] fabrication

2009: 8. foamCORE 9. digiFAB seminar

2010: 10. [INSTANT] rambla 11. Tower House

2011: 12. Kitamoto Station 13. Human Flux Interactions in Hybrid Station Buildings: A Case Study on Tokyo’s Three Main Sub-Centers

[MOVE]ment performed

“now boarding flight 22 to...” “we will be landing shortly...” “...yeah I saw them back in ‘95 with...” “this will be our last song thanks...”

“...100111010111000110000110101000001010001001111111001010010101001010110100101010010100010111010...” “this will be our last song thanks...”

2 hours 6 hours 2 hours 3 hours

.9 seconds 3 minutes 15 minutes

[MOVE]ment performed served as the catalyst for ALTERED [path]WAYS , a performance space for Allerton park. The goal of this project was to develop a new definition of performance in the twenty-first century. The first thing it examines is how actions change when they are experienced in different ways. With the advent of digital media performances are no longer only viewed live. They are now streamed, recorded, encoded, ripped, and formatted to be viewed in a variety of ways. How does the experience change when something is witnessed live as opposed to downloaded and viewed in the comfort of our own homes? The new digital era has introduced a wide variety of new factors that can influence the effect of performance.

(a) General Provisions.— Whenever a sound recording protected under this title is published in the United States or elsewhere by authority of the copyright owner, a notice of copyright as provided by this section may be placed on publicly distributed phonorecords of the sound recording.

(b) Form of Notice.— If a notice appears on the phonorecords, it shall consist of the following three elements:(1) the symbol P (the letter P in a circle); and (2) the year of first publication of the sound recording; and (3) the name of the owner of copyright in the sound recording, or an abbreviation by which the name can be recognized, or a generally known alternative designation of the owner; if the producer of the sound recording is named on the phonorecord labels or containers, and if no other name appears in conjunction with the notice, the producer’s name shall be considered a part of the notice.

(c) Position of Notice.— The notice shall be placed on the surface of the phonorecord, or on the phonorecord label or container, in such manner and location as to give reasonable notice of the claim of copyright.

(d) Evidentiary Weight of Notice.— If a notice of copyright in the form and position specified by this section appears on the published phonorecord or phonorecords to which a defendant in a copyright infringement suit had access, then no weight shall be given to such a defendant’s interposition of a defense based on innocent infringement in mitigation of actual or statutory damages, except as provided in the last sentence of section 504 (c)(2).

“now boarding flight 22 to...” “we will be landing shortly...” “...yeah I saw them back in ‘95 with...” “this will be our last song thanks...”

By narrowing the focus on the definition of performance and examining the performance itself one can see it consists of a series of actions carried out over time. The organization and links between these movements is what gives a performance its identity. This movement also must negociate barriers, whether they be spatial, physical, mental, legal, or digital. How does it react to these and how to the barriers react to it? Does the performance pass through easily or does it struggle at first? Does the barrier heal itself or is an opening left for other performances to pass through?

“To be, or not to be--that is the question: whether ‘tis...” “chirp chirp chirp” “...mind to suffer the slings...” “tweet” “...arrows of outrageous fortune or to take...” “a deer!” “...against a sea of troubles and by...”

The analysis of the site served as the link between [MOVE]ment performed and ALTERED [path]WAYS. Located in a meadow between a garden and the forest it was chosen for the clarity it could provide the architecture. The built form had to clearly convey the conclusions drawn from this project, and the forest consisted of many distractions that would draw the user away from the movement and barriers experienced. Conversely, the meadow served as a blank canvas in which the performance of movement and barrier could be observed with great clarity.

“To be, or not to be - that is the question: whether ‘tis nobler in the mind to suffer the slings and arrows of outrageous fortune or to take arms against a sea of troubles and by opposing end them. To die, to sleep...”

ALTERED [path]WAYS

682’

681’

680’

679’

678’

677’

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1

2

2

view 4

view 5

view 6

view 3

view 7

_site plan 1” = 30’

_plan 682’ 681’ 680’ 679’

ticket

coat

snacks

bath.

bath.

theater

0’ 15’ 30’

N

_view 3

_section 1-1 1/32” = 1’

_section 2-2 1/32” = 1’

A performance consists of a series of actions. Each individual action may have a completely different meaning on its own, but linking these actions together in a performance allows for a strong, clear message to be communicated. The connections between the individual actions of a performance play an important role in how the event is interpreted. When does the performance speed up? When does it slow down? Does it change abruptly? Manipulating these elements can drastically change the meaning of the performance.

_view 4

_view 5

_view 6

_view 7

Barriers allow performance to transform into multiple permutations which satisfy a wide range of audiences. One type of person may like a slow, meandering performance that has many stops, turns, and sights along the way. However, another individual may want a straight path that gets him or her to the end as quickly as possible. By manipulating the relationship between the performance’s movement and the barrier it is possible for both of these parties to arrive at the same point in a satisfying manner.

[SELECTED] nature

Allerton park consists of two drastically different areas: the sculpted meadows and gardens surrounding the mansion and the secluded forest that surrounds the Sangamon River. Additionally, the park is bordered by two interstates on its northern and eastern edges, creating the potential for noise pollution. The goal of [SELECTED] nature is to create a tea pavilion that immerses the visitor in the forest by completely isolating them from the surrounding influences of the mansion, meadow, gardens, and interstate.

_site analysis scales: 1/8” = 1’ 1” = 100’

This isolation is achieved through a ‘cleansing’ via sensory depravation. The visitor enters a dark tunnel at the edge of the forest that removes any views, sounds, smells, textures, and tastes of the park. As one progresses further down the tunnel the sense begin to return: smells of the forest begin to filter back into the space via a network of pipes, sounds resonate in through these pipes as well, the main tea room provides views of the forest, and finally the deck provides fuller views and the opportunity to step off of it to touch the forest.

_pavilion plan

touch

1’ 2’ 3’ 6’ 10’ N

smell sound sight

view 1

There are numerous types of teas: white, green, oolong, and black, each more processed than the previous one. In this tea pavilion nature undergoes the same processing. On one end the entry corridor is heavily processed where large retaining walls block the senses and the only sound that enters is filtered through the pipes. The main exterior deck provides a more unprocessed look at nature with a large view of the site. Additionally, the site is contoured so that some of the soil spills over onto the deck, blurring the boundaries of the structure and nature.

_view 1

urban [CO]operative

urban [CO]operative was a project for the 2008 ACSA Steel Competition calling for city housing designs for families. It examines a site existing in Chicago’s near north at the confluence of intermodal transportations such as Zipcar car-sharing, elevated trains, bike routes, and a taxi driver hub. These presented an ideal opportunity to design a residential, intentional community with a high degree of social interaction. The project unites a co-housing scheme with agricultural growing space. The community functions as a cooperative by sharing agricultural resources, means of transportation, and common living facilities. The cooperative environment allows food production and communal living to become part of urban culture by making growing spaces visible and allowing families to participate in their own sustenance.

Paradoxically, the greater Chicago public is invited to interact with this close-knit system. The public community and the self-contained cooperative intersect on a new public plane at the elevation of the ‘L.’ Concentrating public space at the level of the ‘L’ celebrates the centrality of public transportation to the site and to a sustainable urban lifestyle. This permeable plane features a farmer’s market which provides ultra-local produce to both the cooperative members and the public, especially commuters using the CTA brown and purple lines. Local urban gardeners are also invited to the deposit their own organic waste at the compost station conveniently adjacent to the CTA terminal. An orchard ramp gently transitions between the street level and the public ‘L’ level while concurrently providing public greenspace, fruit production, and accessibility.

1 1

_site planN

_section 1-1

_view 2

_structural assembly

view 3

view 2

view 2

_main level

_housing 1

_housing 2

_view 2

_enclosure system

_view 3

J F M A M J J A S O N D

winter wheat

tomato

sweet potato

black beans

apple80

35

80

35

80

35

80

35

bell pepper80

35

80

35

80

35

oyster mushrooms

sub[URBAN] renewal

sub[URBAN] renewal is an ongoing project fueled by a generous grant from the Environmental Council of the University of Illinois at Urbana-Champaign. It looks at the condition of contemporary housing in the suburban United States by analyzing a suburban home constructed in the 1950s that is currently in need of renovation. The project examines the cultural phenomena that influenced the start of suburban sprawl and how to create a hybrid design typology, one that uses both old and new parts to reach a more sustainable goal, a design that challenges the inefficient ‘cookie-cutter’ housing trend.

_material locations

X

site locationmanufacturing locationdisposal locationlandfillmanufacturing routedisposal route

412

9

1

cary, il

13,14

11

5

8

3 7

6

2,12

4

3,6

1,5,149

210

cary, il

10

X7

8,11

_house anatomy

What makes up a house? Analyzing the anatomy of a house allows us to truly see the amount of material that is used to create a dwelling; from there one can then determine where it came from and where it will go after its life is up. In doing this some materials can be identified as salvageable and be reused in the house while others can be taking to recycling facilities to avoid the hefty tipping fees landfills charge. The benefit here is twofold: the material is recycled into other useful products and demolition costs decrease.

1. concrete floor — concrete2. concrete wall — concrete3. steel support framing — w12x22 steel4. sill plate — 2”x6” lumber5. floor framing — 2”x10” lumber 6. subfloor — 8’x1’x.75” wood planks 7. finish floor — carpet, laminate wood, tile8. deck — 4”x4” lumber, 2”x6” lumber, 2”x4” lumber9. siding — vinyl10. sheathing — 8’x1’x.75” wood planks, plywood11. vapor barrier — polyethylene12. exterior framing — 2”x4” lumber13. batt insulation — fiberglass14. drywall — gypsum board15. wall finishes — laminate wood, paint, wallpaper16. ceiling finishes — paint17. ceiling drywall — gypsum board18. ceiling framing — 2”x6” lumber19. blown insulation — fiberglass20. roof framing — 2”x6” lumber21. roof underlayment — 8’x1’x.75” wood planks , plywood22. shingles — asphalt23. brick chimney — brick

1. concrete floor — concrete2. concrete wall — concrete3. steel support framing — w12x22 steel4. sill plate — 2”x6” lumber5. floor framing — 2”x10” lumber 6. subfloor — 8’x1’x.75” wood planks 7. finish floor — carpet, laminate wood, tile8. deck — 4”x4” lumber, 2”x6” lumber, 2”x4” lumber9. siding — vinyl10. sheathing — 8’x1’x.75” wood planks, plywood11. vapor barrier — polyethylene12. exterior framing — 2”x4” lumber13. batt insulation — fiberglass14. drywall — gypsum board15. wall finishes — laminate wood, paint, wallpaper16. ceiling finishes — paint17. ceiling drywall — gypsum board18. ceiling framing — 2”x6” lumber19. blown insulation — fiberglass20. roof framing — 2”x6” lumber21. roof underlayment — 8’x1’x.75” wood planks , plywood22. shingles — asphalt23. brick chimney — brick

concrete: 1252 cubic ftsteel: 68 linear ft2x4 lumber: 5118 linear ft2x6 lumber: 4645 linear ft2x8 lumber: 375 linear ft2x10 lumber: 1187 linear ft4x4 lumber: 62 linear ftwood planks: 4221 square ftasphalt shingles: 1943 square ftvinyl siding: 2207 square ftgypsum board: 3860 square ftplywood: 704 square ftcarpet: 808 square ftpaint: 2533 square ftlaminate paneling: 617 square ftlaminate flooring: 226 square ftwallpaper:brick:fiberglass insulationpolyethylene: 1328 square feet

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a: paperstone recycled paper countertopb: avanti 1151w refrigerator $440, 277 kwh c: bosch 300 series evolution dishwasher $599, 329 kwh, 8.5 gal/loadd: kohler undertone kitchen sink $700 e: kohler simplice faucet $295, 2.2 gal/minf: fibertech 600 dht windows u=.25, shgc=.39, vt=.5g: usg sheetrock gypsum boardh: rangei: bamboo hardwoods cabinetsj: armstrong migrations bio-based tile $148.50k: microstrand wheatboard_kitchen module 12’ x 8’

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_original plan _revised plan 0’ 15’ 30’0’ 15’ 30’

1. garage2. den3. bedrrom4. bathroom5. kitchen6. dining room7. living room8. closet9. porch

8

N

1. garage2. den3. bedrrom4. bathroom module5. kitchen module6. dining room7. living room8. porch

increase window area on southern facade for solar gain; sliding glass doors allow for cross ventilation

reduce overhang length to increase solar gain in the winter, while blocking the summer sun

replace load-bearing walls with spanning members to increase effectiveness of daylighting strategies

make windoes operable to allow for cross ventilation

move half bathroom to improve circulation

The original state of the house consisted of many compartmentalized spaces and haphazard additions. This resulted in a very claustrophobic space with awkward circulation; the rooms wanted to act independently of each other instead of a cohesive unit. In this case one can see the pitfalls of contemporary home renovation: the status of having the extra bathroom or new kitchen is more important than placing it in a way that will create synergy among the various spaces in the household.

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_original plan _revised plan 0’ 15’ 30’0’ 15’ 30’

1. garage2. den3. bedrrom4. bathroom5. kitchen6. dining room7. living room8. closet9. porch

8

N

1. garage2. den3. bedrrom4. bathroom module5. kitchen module6. dining room7. living room8. porch

increase window area on southern facade for solar gain; sliding glass doors allow for cross ventilation

reduce overhang length to increase solar gain in the winter, while blocking the summer sun

replace load-bearing walls with spanning members to increase effectiveness of daylighting strategies

make windoes operable to allow for cross ventilation

move half bathroom to improve circulation

In its revised condition, the house begins to open up to maximize natural ventilation and daylighting schemes as well as promoting increased social interaction upon its occupants. Circulation is improved as well and the out of date bathrooms and kitchens are upgraded using sustainable modules. Here we see the living spaces acting as a cohesive unit instead of separate compartments. The kitchen brings in diffused light to illuminate the space, the dining room brings in direct light to heat it in the winter, and the living room allows cross ventilation to condition spaces in the summer.

In response to an invitation by the University of Illinois Environmental Council for a poster presentation at its annual Environmental Horizons Conference this installation was created. The original invitation called for posters on recycled paper, but a colleague and I decided to develop this construct instead by utilizing new and old materials. The goal was to create an object that showed actual construction possibilities utilizing sustainable new materials and salvaged old ones. We created a framework combining wood frame construction seen in suburban housing with steel stud construction seen in urban housing. In side this were a series of reclaimed steel rods that had sustainable material samples mounted on them with a map of their embodied energy on the back. Ultimately , this created an interactive piece of architecture that educated users about sustainable design through direct contact with the material and observation of the assembly methods.

2 x 4 wood framing

reclaimed mantle

reclaimed steel rod

bamboo flooring

.25” drywall

biobased tile

light gauge steel studs

microstrand wheatboard

paperstone countertop

reclaimed steel supports

_installation components

_support structure axon

1

2

_connection 1side view top view

_connection 2

side view top view

[STEEL] platformThis was a project for an introductory structures course that created the challenge of designing a temporary support structure to transfer the load from an elevated platform that would be used to hang a curtain wall at the school football stadium. It needed to transfer a dead load of 10 kips from each of the legs of the elevator system down to the stadium’s support structure. Additionally, a service deck needed to be attached that could support a live load of 1.125 kips per square foot. The resulting design was a simple one that used a standard beam and girder system to transfer loads to the columns. Diagonal steel members provided rigidity to resist lateral forces.

_support structure axon

1

2

_connection 1side view top view

_connection 2

side view top view

X X

X

2’ 12’ 2’

16’

4.8 K

-4.8 K

19.2 K ft

V

M

Wu = 1.6 ∙ .375KLF = .6KLF

Mu = Wu∙ℓ2/8 = .6KLF∙(16ft)2/8 = 19.2K∙ft Vu = Wu∙ℓ/2 = .6KLF∙16ft/2 = 4.8K

.64in = [5∙.375KLF∙(16ft)4 ∙ (12in)3/1ft]/(384∙29000ksi∙Ireq) Ireq = 29.8in4

Select W8x10: ΦMn = 22.0K∙ft [AISCM T3-10], ΦVn = 40.2K [AISCM T3-2], I = 30.8in4 [AISCM T3-3]

ΦMn = 22.0K∙ft > Mu = 19.2K∙ft exceeds bending requirementsΦVn = 40.2K > Vu = 4.8K exceeds shear requirementsI = 30.8in4 > Ireq = 29.8in4 exceeds deflection requirements

V

M

16.8 K 15.6 K

3.6 K

-3.6 K

-15.6 K -16.8 K

32.4 K ft 43.2 K ft

32.4 K ft

Pu = 1.2 ∙ 10K = 12KWu = 1.6 ∙ .375KLF = .6KLF

Mu = Pu∙a + Wu∙ℓ2/8 = 12K ∙ 2ft + .6KLF∙(16ft)2/8 = 43.2K∙ft Vu = Pu + Wu∙ℓ/2 = 12K + .6KLF∙16ft/2 = 16.8K

.64in = (20K∙24in/24∙29000ksi∙Ireq) ∙ [3∙(192in)2 – 4∙(24in)2] + [5∙.375KLF∙(16ft)4 ∙ (12in)3/1ft]/(384∙29000ksi∙Ireq) Ireq = 146.5in4

Try W12x16: ΦMn = 45K∙ft [AISCM T3-10], ΦVn = 79.1K [AISCM T3-2], I = 103in4 [AISCM T3-3]

ΦMn = 45K∙ft > Mu = 43.2 K∙ft exceeds bending requirementsΦVn = 79.1K > Vu = 16.8K exceeds shear requirementsI = 103in4 < Ireq = 146.5in4 does not meet deflection requirements

Select W12x22: ΦMn = 75.0K∙ft [AISCM T3-10], ΦVn = 96.0K [AISCM T3-2], I = 156in4 [AISCM T3-3]

ΦMn = 75.0K∙ft > Mu = 43.2K∙ft exceeds bending requirementsΦVn = 96.0 K > Vu = 16.8K exceeds shear requirementsI = 156in4 > Ireq = 146.5in4 exceeds deflection requirements

.64in = (20K∙24in/24∙29000ksi∙Ireq) ∙ [3∙(192in)2 – 4∙(24in)2] Ireq = 116.7in4

Try W10x12: ΦMn = 28.5K∙ft [AISCM T3-10], ΦVn = 56.3K [AISCM T3-2], I = 53.8in4 [AISCM T3-3]

ΦMn = 28.5K∙ft > Mu = 24K∙ft exceeds bending requirementsΦVn = 56.3K > Vu = 12K exceeds shear requirementsI = 53.8in4 < Ireq = 116.7in4 does not meet deflection requirements

Select W12x19: ΦMn = 60K∙ft [AISCM T3-10], ΦVn = 85.7K [AISCM T3-2], I = 130in4 [AISCM T3-3]

ΦMn = 60K∙ft > Mu = 24K∙ft exceeds bending requirementsΦVn = 85.7K > Vu = 12K exceeds shear requirementsI = 130in4 > Ireq = 116.7in4 exceeds deflection requirements

Vu

Mu

12 K 12 K

-12 K -12 K

24 K ft 24 K ft

2’ 12’ 2’Pu = 1.2 ∙ 10K = 12K

Mu = Pu∙a = 12K ∙ 2ft = 24K∙ft

Vu = Pu = 12K

8’ 8’

3’

7’

Note: B1 and B2 carry no load due to the point loads directly on the girders; they are part of the lateral support strategy

B3 and B4 carry no load because they are less than half the size of G2/G3 so the girders carry all of the deck load

∆max = ℓ/300 = [16ft (12in/1ft)]/300 = .64in Lb = 8’

G1

B2 B1

G2

B1

B3 B3B4

G3

G1

10 K 10 K

rx: 10 K rx: 10 K rx: 13 K rx: 13 K

0 K 0 K

0 K ft 0 K ft0 K ft 0 K ft

rx: 3 K rx: 3 K

G3

W = .375 KLF

0 K 0 K

0 K ft 0 K ft

G3

W = .375 KLF10 K 10 K

0 K 0 K

[BENCH] fabrication

In this project CNC technology was utilized to fabricate a bench for use in a gallery exhibit. This digital fabrication enables the bench to be rapidly produced repeatedly if needed, unlike traditional methods that would consume much more time.

48in18in 2in

78in

12in

78in 18in

96in

side elevation front elevation

plan

foamCORE In response to a more cost effective temporary exhibition system, foamCORE transforms an existing gallery by re-cladding its walls and doubling the amount of surface area through lightweight interchangeable partitions. The typical high cost, labor intensive process of laminating paper onto foam for display is questioned and inverted, whereby the foam actually becomes the CORE of the exhibition space. Using standard 4’x8’x2” sheets of white expanded polystyrene as structure to display work, the unfashionable space is upgraded to better illustrate the content on exhibition.

With a tight budget and short time frame, efficient methods of fabrication, transportation, and installation became paramount. The interchangeable partitions are designed to connect at 15, 90, and 180-degree angles allowing for multiple configurations while enabling each sheet to be manufactured from a single direction. Avoiding adhesives and relying solely on pin connections, a 16 ft partition can be assembled in less than 20 minutes, which further reinforces the temporary nature of this system.

_process images

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typ. 32 holes

_assembly instructions

digiFAB seminar

This seminar consisted of three projects focusing on four design aspects that utilize digital fabrication: surface, materiality, configuration, and installation. The first exercise involved manipulating a surface while maintaining four edge conditions so it could become part of a greater surface. This was taken a step further by experimenting with cutting different materials. In this case ceiling tiles were laminated together and then cut to create the surface. The exercise focused on demonstrating the importance of tooling to generate a desired condition as well as the importance of bit selection when dealing with different surfaces.

rhino model

laser cut prototype

mastercam simulation

cnc milling

foam surface

ceiling tile lamination

ceiling tile milling

The second exercise in the seminar focused on the concept of molding to create and object that can be arrayed into a specific configuration. In this instance emphasis was placed on using the machinery to create the mold, not the object itself. Two halves of a foam mold were fabricated and to cast plaster into a modified ‘brick’ that could pivot in order to form more organic curves.

rhino model


mold fabrication

plaster casting

plaster object

object assembly

foam mold

unit c

unit b

unit a

unit fabrication

connector fabrication

unit sorting

light interaction

light screen

shadow play

rhino model


unit milling

connector milling

unit sorting

light interaction

transportation

The final exercise of the seminar involved creating a large-scale installation expanding upon the knowledge gained in the previous exercises. In this case three different triangular units were fabricated and aggregated to create a surface that played with the phenomenal light that poured through the atrium’s southern wall. Through implementing three different units along with two different connectors, these five unique parts could be rapidly fabricated, yet allowed for a great deal of customization when working together to form the installation surface.

[INSTANT] rambla[INSTANT] rambla received third place at the Koriyama urban renewal competition. It sought to revitalize an area in Koriyama, one of the many shrinking cities in Japan. Borrowing from the success of Spanish ramblas, the project utilizes many wheeled follies which may expand, contract, or move in order to attract people to the area or move on once growth has resumed.

urban farm

market

athletic field

growth strategiesring road condition site: current condition

athletic field

parking

public kitchen

barbeque area

site: current condition the ramblas of Barcelona micro public space

furnicycle2002 shanghai biennale

school wheel2006 busan biennale

furnivehicle2008 venice biennale

white limousine2003 tsumari art triennale

hammock house2009 red card gallery

sunset house2009 red card gallery

item list

round bench

mobile stands

giant foosball

white limousine

bowling lane

vending car

monster truck library

furnicycle

sunset house

speaker’s corner

planter

joke table

mobile shop

mobile kitchenswing set

bbq chimney

mobile garden

tank stagetrampoline

hammock house

mobile pool

sandboxmobile tree

school wheel

furnivehicle

seesawgreen roof musical gazebo

07:0006:00 08:00 09:00 10:00 16:00 19:00 01:0011:00 12:00 13:00 14:00 15:00 17:00 18:00 20:00 23:0022:0021:0005:0004:00 03:0002:00

fathermother

daughter

1. LE SANG DES POETESW 4 x D 2.5 x H 10 (m)

Pub

2. ANIMAL ON AIRSW 6 x D 4 x H 5.5 (m)Pret a porter boutique

Children’s boutiqueGallery

Today: Storage house

3. NFA REAL ESTATEW 3.5 x D 5.5 x H 9.5 (m)

Pink house boutiqueToday: Housing rental

BAILEY STOCKMANW 13 x D 2 x H 7.5 (m)

Egg shop and futon shopToday: Cowboy boot shop

5. TOWER HOUSEW 4 x D 7 x H 9.5 (m)

Residence

4.

1975

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1962

Urban grid of the Gaienmae area before the urban modifications for the 1964 Tokyo Olympic Games.

Triangular shaped plots were selected by focusing on the quality of extraordinary smallness.

Triangular shaped plots and buildings generated due to the construction of Jingumae avenue.

1975

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1975

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TOWER HOUSE IS PET ARCHITECTURE: The 1964 Olympic Games required an increase in the performance of the Tokyo transportation infrastructure, which created large roads and brought many changes to the Tokyo cityscape (fig. 1). The collision of the existing grid road pattern and these new main roads created a series of small residual spaces that in turn yielded a “family” of interesting “pet architectures” (fig. 2). With the aim to use their small size and width favorably, every individual element, no matter how insignificant, plays an important role in the architectural composition of the building. Each fire escape, window, sign, doorway, and ornament transform into aggrandized objects that create peculiar “scenes” on the cityscape. Sometimes these “scenes” result in an extroverted structure where the building entertains the street. Other times the result is introverted and the “scene” moves indoors. The Tower House, by Takamitsu Azuma, is an example of one of these results. Located on a tiny, triangular corner between the main avenue and a residential area, Tower House embraces the limitations of the site and instead reaches up toward the sky as a solution.

TOWER HOUSE USER MANUAL: Tower House, with its vertical organization, requires a specific choreography to be utilized properly, which serves as a direct contrast to the homes of Europe and North America and their horizontal organization. Thus, it is important to articulate how a family should occupy and move through the house. Based on Azuma’s experience during her childhood, activities (eating, studying, etc) are specified based on the time each activity occurs. Chronological organization becomes important as the open nature of the house erases defined areas. The result is a space that expands, contracts, intensifies, and calms over the course of a day as members of the family live out their daily routines.

Tower House

07:0006:00 08:00 09:00 10:00 16:00 19:00 01:0011:00 12:00 13:00 14:00 15:00 17:00 18:00 20:00 23:0022:0021:0005:0004:00 03:0002:00

fathermother

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1180

180

150

300

1210

260

1080

CH

=215

0C

H=1

750

2150

12

6

9

12

6

9

12

6

9

12

6

9

7

6

5

3

2

1

4

200

300

400

500

600

700

800

900

06:20 06:50 07:20 07:50 08:20 08:50 09:20 09:50 10:20 10:50 11:20 11:50 12:20 12:50

1000

1100

1200

1300

1400

1500

1600

1800

1900

2000

Ev (lux)3

Below 200 lux, artificial lighting required

Above 2000 lux, not suitable for reading, illuminance level too high

1 : Recommended Illuminance Values in Accordance with CIE2

2 : Commission Internationale de l’Éclairage (International Commission on Illumination )3 : Lux is the SI unit of illuminance (Ev), and it is used as a measure of the intensity of incident light. Lux is a derived unit based on lumen, and lumen is a derived unit based on candela.

for visual tasks of great difficulty or with higher demands (200 - 750)1

for visual tasks of little or moderate difficulty (750 - 2000)1

1

23

4

5

6

7

1700

DOORS TO ELSEWHERE: The vertical nature of the Tower House, along with its spiraling staircase, segregates the space into a number of individual “floors,” where every step could become a place for reading. The spiral composition of the staircase allows a multitude of possible orientations for the reader’s body. This introduces an intimate dimensional interaction with the walls, furniture, and views of the city. In addition, sunlight plays an important role in finding the optimal place to read. It illuminates parts of the house with natural light, creating excellent reading areas (fig. 1). Also, as the sun shifts the user will begin to move through the house as the lighting becomes inadequate in one spot and ideal in another. Often these places discard the space’s intended function; the bathtub may now be the perfect place to enjoy a novel. Reading in the Tower House demonstrates a phenomenon involving movement, body, space, and shape.

Students from the International Graduate Program at the Tokyo Institute of Technology were invited by XXX magazine to perform a case study on the Tower House by Takamitsu Azuma. Spanning two issues, this installment focused on the history of the house, its response to urban conditions within Tokyo, and the unique way in which the living space is utilized by its occupants. Research was conducted through visiting the house and exploring the spaces within, as well as interviewing the architect’s daughter who grew up in the house who provided valuable insight into the human element which could not be fully understood by surveying an empty home.

Kitamoto Station

This is a sample of modeling and rendering work done for the Kitamoto Station project by Atleier Bow-Wow. Located just outside of Tokyo, this image was created as part of a proposed upgrade to the station and was presented to the citizens of the town.

sub-center studied

other sub-center

train station

train line directly connected to sub-center in study

other train line

Human Flux Interactions in Hybrid Station Buildings: A Case Study on Tokyo’s Three Main Sub-Centers

This research thesis was submitted and accepted as part of the Master’s program at the Tokyo Institute of Technology. It consists of an analysis of Tokyo’s three largest train stations through a semiotic lens. The 1958 designation of Shibuya, Shinjuku, and Ikebukuro as sub-centers of Tokyo led to an augmentation of their growth and prominence, resulting in a state of perpetual development as train lines were added and as commercial spaces integrated themselves within the station fabric. Consequently, these hybrid stations became an important place for social activity within Tokyo, and inside the station a variety of services centralized themselves, each with their own specific identity, creating ambiguity where their human fluxes interact. This study aims to examine human flux interactions from two articulation aspects. First, the degree of hybridization of the space will be studied through the physical thresholds present. Second, the spatial form and the disposition of the main flux demonstrates the spatial order which provides organization. From this a set of typologies will be extracted in order to clarify the spatial characteristics of human flux interactions within hybrid station buildings.

shibuya station 1929 shibuya station 2011

sub-center studied

other sub-center

train station

train line directly connected to sub-center in study

other train line_Tokyo Metro Map

Ikebukuro

Shinjuku

Shibuya

Due to the abstract nature of the research, an abstract approach was utilized, the Situationist dérive. The dérive is a psychogeographical exploration of one’s environment in which a person hastily wanders through varied environments noting the effect they have on mood. This method was used to wander amongst the various fluxes present in these stations noting where they intersect with each other and create “unintended spaces.” Unintended spaces occurred where contrasting flux characters interact, mutating the identity of the space into something the user would not expect. Dérives conducted in the three stations yielded a total of 52 sample spaces which were further analyzed.

_Ikebukuro Station: B1F

03 TG TGTGTGTGTG

TG

31

16

35

1513

07

18

4248

22

17

21

14

02

05

39

23

33

28293243

09

27

3846

36

24

26

11 DO SO

40

06

04

47

10

19

25

01

08

20

4430

12

37

45

49 EP

Threshold Presence

41

50

51

34

Transit No: 03 Ikebukuro

Num

ber

52

Transit-Commercial-Exterior No: 04 Ikebukuro

Commercial No: 48 Shinjuku

Transit-Commercial No: 40 Shinjuku

Exterior-Commercial No:19 Ikebukuro

TG

DODODO

SODO

DO DODO DO

SODO SO

SOSOSOSO

TGTG TGTG TG

DODO

SO SO

SOTGTG

DO SODO SODO SO

TG DO SO

SO

TG DOTG DO

DODO

TG DOTG DO

DO

DOEP DO

DO

EP DOEP DOEP DO

DO

EP SO SOEP SOEP SO

SO

DO

SOTG DO

SOSO

SO

SO SO

TG DOTG DOTG SOTG SOTG SOTG SOTG SOTG SOTGTG

SO

SOEP DO SOEP DO SO

EP DOEP DOEP DO

EPDO SOTG EPDOTG EPDOTG EPDOTG EPDOTG EPDOTG EPSOTG EP

DO

SF

TC

MFD

Location: Ikebukuro

No: 20

P L

TG DO DO○

+

Avenue (29)

Plaza (13)

Interchange (10)

Low High

Surrounded (31) +

Island (7)

Linear (14)

Hid./Access.

Vis./Inaccess.

Vis./Access.

DestinationVolume

Threshold(TH) Flux Type

Dept.

Shop

Train

Ext.

Shop Opening (SO)

Train Gate (TG)

Ext. Portal (EP)

Circ.

Dept. Opening (DO)

Two-Way

One-Way

Tran

sit I

dent

ity

(IP) latroPInt.

Com

mer

cial

Iden

tity

Semiotics were employed in order to analyze each space. Each space was examined through a paradigmatic lens, what is there, and a syntagmatic one, how it is arranged. The paradigmatic elements focus on the destination volumes that surround the sample spaces; these are where fluxes begin and end. The connect to the circulation space via a threshold, which may be modified by the presence of stairs or glass. The chart on the right shows the five paradigmatic patterns that emerged. The syntagmatic elements consist of the shape and height of the space and the main flux form. Both the paradigmatic and syntagmatic elements were diagramed for each sample to aid with analysis.

03 TG TGTGTGTGTG

TG

31

16

35

1513

07

18

4248

22

17

21

14

02

05

39

23

33

28293243

09

27

3846

36

24

26

11 DO SO

40

06

04

47

10

19

25

01

08

20

4430

12

37

45

49 EP

Threshold Presence

41

50

51

34

Transit No: 03 Ikebukuro

Num

ber

52

Transit-Commercial-Exterior No: 04 Ikebukuro

Commercial No: 48 Shinjuku

Transit-Commercial No: 40 Shinjuku

Exterior-Commercial No:19 Ikebukuro

TG

DODODO

SODO

DO DODO DO

SODO SO

SOSOSOSO

TGTG TGTG TG

DODO

SO SO

SOTGTG

DO SODO SODO SO

TG DO SO

SO

TG DOTG DO

DODO

TG DOTG DO

DO

DOEP DO

DO

EP DOEP DOEP DO

DO

EP SO SOEP SOEP SO

SO

DO

SOTG DO

SOSO

SO

SO SO

TG DOTG DOTG SOTG SOTG SOTG SOTG SOTG SOTGTG

SO

SOEP DO SOEP DO SO

EP DOEP DOEP DO

EPDO SOTG EPDOTG EPDOTG EPDOTG EPDOTG EPDOTG EPSOTG EP

DO

F G

A H

B

I

C

D E

03 L

++

+

++

+

+

++++

++

31 L

16 L

35 L

15 L13 L

07 L

18 L

42 L48 L

22 L17 L21 L14 L

02 L

05 L

39 L

23 L

33 L

28 H29 H32 H43 H

09 L

27 L

38 L46 L

36 L

24 L

26 L

11 L

40 L

06 L

04 L

47 L

10 L

19 L

25 L

01 L

08 L

20 L

44 L30 L

12 H37 H45 H

49 H

41 L

50 L

51 L

34 L

Num

ber

52 L

Form

Hei

ght

FD

A

AAA

AAAAAAA

A

A

AAAA

A

A

A

A

A

AAA

AAAA

III

II

I

I

III

P

PPPP

PPPPPPPP

ˑ

ˑˑ

ˑ

++++++++

++

++

+

+

+++

ˑ

ˑˑ

ˑˑ

ˑˑ

ˑˑ

ˑˑ

ˑˑ

ˑˑ

ˑˑ

ˑˑ

ˑˑ

ˑˑ

ˑ

+

Tr CmTrCmExTrCm CmEx

No: 48 Shinjuku

No: 29 Shibuya

No: 21 Shibuya

No: 16 Ikebukuro

No: 02 Ikebukuro

No: 09 Ikebukuro

No: 38 Shinjuku

No: 30 ShibuyaNo: 45 Shinjuku

07L13L15L18L48L35L 42L

09L 26L47L

02L41L

AvLn

39L10L

31L 52L

06L21L 22L 17L 14L

03L

28H 29H 32H 43H 19L

16L 33L27L

11L

05L 24L

04L 36L

50L 38L46L

25L 49H

01L 08L30L34L44L 51L

AvSr

AvIs

InSr

InIs

PlSr

45H 37H 12H 40L 20L

The matrix on the left represents the combination of the paradigmatic and syntagmatic patterns that emerged. Nine typologies emerged from the combinations that contained larger collections of samples. The typology below consists of a plaza surrounded by fluxes with a transit-commercial identity. Furthermore, an added degree of complexity is present due to its vertical tendency. The surrounded plaza main flux form allows for the commercial and transit threshold identities to mix within the flux interaction space. Furthermore, visual connections to the upper floors are present, creating a lively space by framing the vibrant activity occurring on the floor above. In the end, the clarification of human flux interactions in hybrid station buildings and their intertwined program becomes more applicable for architectural design in regards to ecological urbanity.

Daniel Campbell's Portfolio

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