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 Tokyos Three Main Sub-Centers

[MOVE]ment performed

2 hours

6 hours

2 hours

3 hours

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...

[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.

...100111010111000110000110101000001010001001111111001010010101001010110100101010010100010111010...

this will be our last song thanks...

.9 seconds

3 minutes

15 minutes

(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 producers 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 defendants 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).

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?

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... 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...

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
1 view 4

682

view 5 view 6

681

view 3 680 view 7 1 679

678 N

_site plan 1 = 30

677

snacks ticket bath. theater coat bath.

_plan

0 15

30

682

681

680

679

_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

_view

_view

_view

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 performances movement and the barrier it is possible for both of these parties to arrive at the same point in a satisfying manner.

_view

[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

view 1

_pavilion plan

1 2

10

smell

sound

sight

touch

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.

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

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 Chicagos near north at the confluence of intermodal transportations such as Zipcar carsharing, 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 selfcontained 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 farmers 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.

N _site plan

_section

1-1

_view

_housing 2

view 2

view 2

_housing 1

view 3

_main level

_structural assembly

_enclosure system

80 35 80 35 80 35

oyster mushrooms

tomato bell pepper

80 35

black beans

80 35 80 35

apple sweet potato

80 35

winter wheat O N D

_view

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.

cary, il 2 3 7 8 9 5 12 10 11

13,14

1,5,14 9 3,6 8,11 6

cary, il

site location manufacturing location disposal location X landfill manufacturing route disposal route
2,12

10

X7

_material locations

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.

23

22

21 20

19

18

17

16 12 13 14 15

9 8

10

11

1. concrete floor concrete 2. concrete wall concrete 3. steel support framing w12x22 steel 4. sill plate 2x6 lumber 5. floor framing 2x10 lumber 6. subfloor 8x1x.75 wood planks 7. finish floor carpet, laminate wood, tile 8. deck 4x4 lumber, 2x6 lumber, 2x4 lumber 9. siding vinyl 10. sheathing 8x1x.75 wood planks, plywood 11. vapor barrier polyethylene 12. exterior framing 2x4 lumber 13. batt insulation fiberglass 14. drywall gypsum board 15. wall finishes laminate wood, paint, wallpaper 16. ceiling finishes paint 17. ceiling drywall gypsum board 18. ceiling framing 2x6 lumber 19. blown insulation fiberglass 20. roof framing 2x6 lumber 21. roof underlayment 8x1x.75 wood planks , plywood 22. shingles asphalt 23. brick chimney brick

_house anatomy

e d

j k

_kitchen module 12 x 8

a: paperstone recycled paper countertop b: avanti 1151w refrigerator $440, 277 kwh c: bosch 300 series evolution dishwasher $599, 329 kwh, 8.5 gal/load d: kohler undertone kitchen sink $700 e: kohler simplice faucet $295, 2.2 gal/min f: fibertech 600 dht windows u=.25, shgc=.39, vt=.5 g: usg sheetrock gypsum board h: range i: bamboo hardwoods cabinets j: armstrong migrations bio-based tile $148.50 k: microstrand wheatboard

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.

1 1. garage 2. den 3. bedrrom 4. bathroom 5. kitchen 6. dining room 7. living room 8. closet 9. porch

4 3 dn 5

4 6

_original plan

0 15

30

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.

1 1. garage 2. den 3. bedrrom 4. bathroom module 5. kitchen module 6. dining room 7. living room 8. porch move half bathroom to improve circulation 3 dn 5

make windoes operable to allow for cross ventilation

4 6

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

8 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

N _revised

plan

0 15

30

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

[STEEL] platform
This 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 stadiums 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

_connection 1

side view

top view

side view

top view

_connection 2

G1

B1

B2

B1

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

G2

B3

B4 G3 8 max = /300 = [16ft (12in/1ft)]/300 = .64in Lb = 8 8

B3

10 K G1 2 rx: 10 K
12 K 12 K

10 K Pu = 1.2 10K = 12K Mu = Pua = 12K 2ft = 24Kft Vu = Pu = 12K

12

2 rx: 10 K

Vu

0K -12 K

0K -12 K

24 K ft

24 K ft 0 K ft

Mu

0 K ft

.64in = (20K24in/2429000ksiIreq) [3(192in)2 4(24in)2] Ireq = 116.7in4 Try W10x12: Mn = 28.5Kft [AISCM T3-10], Vn = 56.3K [AISCM T3-2], I = 53.8in4 [AISCM T3-3]

Mn = 28.5Kft > Mu = 24Kft > Vu = 12K Vn = 56.3K < Ireq = 116.7in4 I = 53.8in4 Select W12x19: Mn = 60Kft Vn = 85.7K I = 130in4 Mn = 60Kft

exceeds bending requirements exceeds shear requirements does not meet deflection requirements [AISCM T3-10], Vn = 85.7K [AISCM T3-2], I = 130in4 [AISCM T3-3]

> Mu = 24Kft exceeds bending requirements > Vu = 12K exceeds shear requirements > Ireq = 116.7in4 exceeds deflection requirements

W = .375 KLF

G3 rx: 3 K

Wu = 1.6 .375KLF = .6KLF Mu = Wu2/8 = .6KLF(16ft)2/8 = 19.2K ft Vu = Wu/2 = .6KLF16ft/2 = 4.8K

16 rx: 3 K

4.8 K

0K

0K -4.8 K

19.2 K ft

0 K ft

0 K ft

.64in = [5.375KLF(16ft)4 (12in)3/1ft]/(38429000ksiIreq) Select W8x10: Mn = 22.0Kft Vn = 40.2K I = 30.8in4 10 K G3 2 rx: 13 K

16.8 K 15.6 K 3.6 K

Ireq = 29.8in4 [AISCM T3-2], I = 30.8in4 [AISCM T3-3]

Mn = 22.0Kft > Mu = 19.2Kft > Vu = 4.8K > Ireq = 29.8in4

[AISCM T3-10], Vn = 40.2K

exceeds bending requirements exceeds shear requirements exceeds deflection requirements 10 K

W = .375 KLF

12

2 rx: 13 K

0K

0K -3.6 K -15.6 K 43.2 K ft -16.8 K

Pu = 1.2 10K = 12K Wu = 1.6 .375KLF = .6KLF Mu = Pua + Wu2/8 = 12K 2ft + .6KLF(16ft)2/8 = 43.2Kft Vu = Pu + Wu/2 = 12K + .6KLF16ft/2 = 16.8K

32.4 K ft

32.4 K ft 0 K ft

0 K ft

.64in = (20K24in/2429000ksiIreq) [3(192in)2 4(24in)2] + [5.375KLF(16ft)4 (12in)3/1ft]/(38429000ksiIreq) Try W12x16: Mn = 45Kft [AISCM T3-10], Vn = 79.1K [AISCM T3-2], I = 103in4 [AISCM T3-3]

Ireq = 146.5in4

Mn = 45Kft > Mu = 43.2 Kft Vn = 79.1K > Vu = 16.8K I = 103in4 < Ireq = 146.5in4 Select W12x22: Mn = 75.0Kft

exceeds bending requirements exceeds shear requirements does not meet deflection requirements [AISCM T3-10], Vn = 96.0K [AISCM T3-2], I = 156in4 [AISCM T3-3]

Mn = 75.0Kft > Mu = 43.2Kft exceeds bending requirements Vn = 96.0 K > Vu = 16.8K exceeds shear requirements > Ireq = 146.5in4 exceeds deflection requirements I = 156in4

[BENCH] fabrication

plan

78in

18in 12in

side elevation

front elevation

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.

18in

2in

48in

78in 96in

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 4x8x2 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

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

mastercam simulation

mold fabrication

foam mold

plaster casting

plaster object

object assembly

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 atriums 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.

unit fabrication

rhino model

connector fabrication
mastercam simulation

unit sorting

unit milling

unit a
connector milling

unit sorting

light interaction unit b

transportation

light screen

light interaction

unit c

[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.

ring road condition

growth strategies

site:

athletic field

urban farm

market

current condition

the ramblas of Barcelona

micro public space

item list
mobile stands

furnicycle 2002 shanghai biennale

school wheel 2006 busan biennale

hammock house 2009 red card gallery

round bench

giant foosball furnivehicle 2008 venice biennale white limousine 2003 tsumari art triennale sunset house 2009 red card gallery

white limousine

vending car

bowling lane monster truck library

barbeque area public kitchen

furnicycle sunset house

speakers corner

planter joke table mobile shop swing set

mobile kitchen

bbq chimney

parking

mobile garden

tank stage trampoline

hammock house mobile pool mobile tree sandbox school wheel furnivehicle

green roof

seesaw

musical gazebo

Tower House

TOWER HOUSE IS PET modifications for ARCHITECTURE: The 1964 Olympic Games required an increase in the performance of the Tokyo transportation infrastructure, which the 1964 Tokyo Olympic Games. 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 1962 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 Urban grid of the 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 Gaienmae area before the urban modifications for of the site and instead reaches up toward the sky as a solution. the 1964 Tokyo
Olympic Games.
Urban grid shaped Triangular of the Gaienmae area plots and buildings before the urban generated due to modifications for of the construction the 1964 Tokyo Jingumae avenue. Olympic Games.

Urban grid of the Gaienmae area before the urban

1962

1962 1975

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

1.
1975

LE SANG DES POETES W 4 x D 2.5 x H 10 (m) Pub

2.

1
1975

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

ANIMAL ON AIRS W 6 x D 4 x H 5.5 (m) Pret a porter boutique Childrens boutique Gallery Today: Storage house

3.

NFA REAL ESTATE W 3.5 x D 5.5 x H 9.5 (m) Pink house boutique Today: Housing rental

4.

BAILEY STOCKMAN W 13 x D 2 x H 7.5 (m) Egg shop and futon shop Today: Cowboy boot shop

5.

TOWER HOUSE W 4 x D 7 x H 9.5 (m) Residence

5 3 2 4
Triangular shaped

2010

1 plots were selected TOWER HOUSE USER MANUAL: Tower House, with its vertical organization, requires a specific choreography to be utilized properly, which serves as a direct by focusing on the quality of contrast to the homes of extraordinary and North America and their horizontal organization. Thus, it is important to articulate how a family should occupy and move Europe smallness. through the house. Based on shaped 1 Triangular selected 5 plots were Azumas experience during her childhood, activities (eating, studying, etc) are specified based on the time each activity occurs. by Chronological organizationfocusing on the becomes important as the open nature of the house erases defined areas. The result is a space that expands, contracts, intensifies, 3 quality of 2 extraordinary smallness. and calms over the course of a day as members of the family live out their daily routines.
2010

daughter

5 4 3 2 4

2010

mother father

04:00

05:00

06:00

07:00

08:00

09:00

9 6

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 readers 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 spaces 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.

2000 1900 1800

5
9

12

300

180

1700 1600 1500 1400 for visual tasks of little or moderate difculty (750 - 2000)1

300

350

1180

1300 1200 1100 1000 900 800 700 600 500 400 300 200

1220

690

450

350

12

1350

1350

1
6

4550

2910

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

830

400

Below 200 lux, artificial lighting required 1 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
1 2 3

230

: Recommended Illuminance Values in Accordance with CIE2 : Commission Internationale de lclairage (International Commission on Illumination ) : 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.

10:00 11:00

12:00 13:00

14:00 15:00

16:00

17:00

18:00

19:00

20:00

21:00 22:00

23:00

01:00

02:00

03:00

1950

150

CH=4450

150

CH=2150

Ev (lux)3 Above 2000 lux, not suitable for reading, illuminance level too high
2150

150

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 architects 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.

1080

7
9

12

12

300

1210

CH=1750

260

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.

Human Flux Interactions in Hybrid Station Buildings:

A Case Study on Tokyos Three Main Sub-Centers
This research thesis was submitted and accepted as part of the Masters program at the Tokyo Institute of Technology. It consists of an analysis of Tokyos 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

Ikebukuro

Shinjuku

Shibuya

sub-center studied other sub-center train station train line directly connected to sub-center in study other train line

_Tokyo Metro Map

Due to the abstract nature of the research, an abstract approach was utilized, the Situationist drive. The drive is a psychogeographical exploration of ones 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. Drives conducted in the three stations yielded a total of 52 sample spaces which were further analyzed.

_Ikebukuro Station: B1F

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.

Number

Threshold Presence

03 TG TG TG 31 TG TG 52 TG TG 17 TG TG DO 02 TG TG SO 37 TG TG DO SO SO

45 TG DO SO SO 10 TG DO SO 22 TG DO SO 12 TG DO DO SO 40 TG DO DO SO

Transit

No: 03 Ikebukuro

47 TG DO SO 14 TG DO DO
Avenue (29)

23 TG DO 09 TG DO 20 TG DO DO

Linear (14)

06 TG SO 39 TG SO 24 TG SO 41 TG SO 26 TG SO 21 TG SO

Plaza (13)

Transit-Commercial

No: 40 Shinjuku

No:

Location: Ikebukuro SF PL MFD + TC TG DO DO Destination Volume

20

Interchange (10)

Surrounded (31)

05 TG SO 04 TG EP DO SO SO 08 TG EP DO SO 44 TG EP DO 30 TG EP DO 01 TG EP DO 36 TG EP SO 34 TG EP DO
Transit-Commercial-Exterior No: 04 Ikebukuro

51 TG EP DO

Low

High

Island (7)

Threshold(TH)

Flux Type

11 DO DO SO 13 DO SO 18 DO SO

15 DO DO SO

Transit Identity

Circ.

Int. Portal (IP)

Vis./Access.

35 DO DO 07 DO DO 42 SO SO 48 SO SO 33 EP DO SO 49 EP DO DO SO
Commercial No: 48 Shinjuku

Ext.

Ext. Portal (EP)

27 EP DO SO 19 EP DO SO

Train Commercial Identity

Train Gate (TG)

One-Way

16 EP DO DO 28 EP DO 29 EP DO 32 EP DO 43 EP DO 38 EP SO SO 25 EP DO

Hid./Access.

Dept.

Dept. Opening (DO)

Shop

46 EP SO SO 50 EP SO

Shop Opening (SO)

Two-Way

Vis./Inaccess.

Exterior-Commercial

No:19 Ikebukuro

Number

Height

Form

FD

Tr
39L 10L

TrCm

TrCmEx

Cm

CmEx

35 A 07 A 42 A 48 A 13 A 18 A 10 A 39 A 19 A 15 A

AvLn

L L

32 A H 43 A H 11 A 22 A 17 A 21 A 14 A 16 A

28 A H 29 A H

L + L + L + L + L + L + + + L +
No: 21 Shibuya 03L

31 A 52 A 06 A 02 A 23 A

L L L

+
05L 24L 04L 36L

AvIs

27 A

33 A

03 A 41 A 24 I 46 I 38 I

L L L + L +

05 I 04 I 36 I 50 I 26 I

+ +

InSr

+ L + L L

09 I 47 I

12 P H + 45 P H 37 P H + +
No: 09 Ikebukuro

L 49 P H +

InIs

25 P L + 40 P L + 20 P 08 P 44 P 30 P 01 P 34 P 51 P L + L + L + L + L + L + L +

PlSr

F
No: 48 Shinjuku 07L 13L 15L 18L 48L 35L 42L

28H 29H 32H 43H 19L

No: 29 Shibuya 31L 52L

AvSr

06L 21L 22L 17L 14L

11L

16L 33L 27L

02L 41L

No: 16 Ikebukuro

50L 38L 46L

No: 02 Ikebukuro

09L 26L 47L No: 38 Shinjuku

45H 37H 12H 40L 20L

01L 08L 30L 34L 44L 51L

25L 49H

No: 45 Shinjuku

No: 30 Shibuya

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.