PORTFOLIO SAYAKA AKAYAMA
Sayaka AKAYAMA sakayama@uoregon.edu +1 (541)-325-9207
https://dinosaursazu.wixsite.com/sayaka-akayama
1. Uku Historical Area Design
Internship project/ Sasebo, Japan/ Summer 2020/ Remote
T
his was part of the landscape internship project with students from UC Berkeley and Nagasaki University. I was in charge of developing and finalizing designs in the historic area and managing site analyses. For this, we proposed the connections of historical temples and shrines. The streetscape designs, including gates and pavements, are based on local history and help people feel the historical atmosphere when passing through the gate of the site.
Kojima Shrine
Tokoji Temple
Old Housing
Museum
Bishamon Temple 0
10 20
40 (m)
2. Vanport Voice
Studio project/ Portland, Oregon/Winter 2021/ Remote
T
he town of Vanport, which was proposed originally to create housing for Kaiser’s shipyard workers, was destroyed by a flood in 1948. The lack of documentation of this tragedy, which also includes things like racism, necessitates telling Vanport history and the spatial narrative of the site. Oral history documented by Vanport Mosaic(NPO) inspired me to focus on soundscapes at the site. This project’s purpose is to listen to both historical and ecological sounds at the site and create a space that educates visitors and provides landscape experience to pause, listen, and reflect the past and future of Vanport by applying sound typology.
Sound Typology Source of the Sound, Modulating the Object Object, Manipulating the Sound Person, Experiencing the Sound
Woodland
Ecological Habitat
Block Outer Noise
Inside Sounds Echo
Block Car Noise
Block Outer Noise
Amphitheatre
Tuning Forks
Reflection
Gramophone
Water Basin
Sound Installation
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History
Reflection
Water Drop
Waterfall
Interactive Waterfall
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History
Ecological Sounds
Sounds of Raindrops
Interactive Water Experience
Step on leaves
Interactive Water Feature
Sound Walk
Historical Exhibition
N
1000’
Interactive Sound Chime
6”
7’
7’
7’
7’
3. East Ridgeline Park Design
Studio Project/ Eugene, Oregon/ Remote/ Spring 2020
T
his site was next to an urban growth boundary, which proved challenging due to the neighboring industrial growth. In this studio, the intended design was to keep the site natural, making the visitors’ experiences more significant. The design was focused not only on conservation strategies but also on signage design to increase trail interaction, making it more interesting to the public.
1000’
600’
Wet Prairie & Savanna
0 100’
Oak Savanna
500’
Upland Prairie
Way Finding signs Desired Future Acquisition Parking Area
Future Proposed Development
Bathroom
Recreational Access Trail(5%-20%)
Educational Sinage
Upland Prairie
Bike Trail(5%-20%)
Vending Machine
20 Spots Parking
P
Connection to the proposed river path
1000’
River
Veiwpoint 500’
Moon Mountain Park
Willamette
Universal Access Trail (≦5%)
0 100’
Oak Woodland
1000’
Site Boundary Streams Ephemeral Pond
20’ contour
Oak Savanna
P
Coryell Ridge
th
30 e. Av
75 Spots of Parking
P
Desired Future Conditions
Bloomberg Park Connection to Ridgeline Trail and Suzanne Arlie Park
Oak Woodland
Wet Prairie & Savanna
Mixed Forest
Upland Prairie
Forested Wetland
Oak Savanna
1
at it n ab tio a
H v ve r ti se Na on C
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5
Eugene Wild Flowering Park: Interpretive Signage Detail by Sayaka Akayama
3
34.0 30.0
2.0
22.0
22.0
2.0
12.0
135
12.0
°
135
49.1
°
44.0
24.0
ALUMMINUM TUBING
16.0
SOIL
6.0
2.0
BACK FILLING
16.0
ies
Signage
18.0
ilit
Ac ces s
Fa c
4
CONCRETE FOOTING SONTATUBE 2.0
SUBGRADE
4. Sustainable Bus Hub Design Studio Project/ Eugene, Oregon/ Winter 2020
I
n this studio, we looked at Eugene Station, a central bus hub located in downtown Eugene, and considered what it would look like in the year, 2040. This design aimed to have more sustainability and to encourage the use of public transportation and rideshare, such as EmGo. Walkways for pedestrians will be directed by installed raingardens to provide a safer experience.
5. Planting Design and Models Plants Class/ Winter 2020
6. Landform Models Studio Project/ Fall 2019
7. Carving Collections
I
started carving rubber stamps when I was eight years old, and used my stamps for New Year’s cards every year since then. Each New Year’s stamp is associated with a Chinese Zodiac or something that brings luck. Recently, I decided to expand my skillset to more complicated mediums, such as potatoes and watermelon. This skillset has developed my interests in art, such as graphic design, and honed my creativity in landscape architecture.
8.Experience
A
t the Kyoto Japanese Garden Workshop in 2018, I collaborated with the head garden manager, maintained plants of the site, and learned the art of Japanese sand garden making. At Byodoin temple, a buddhist religious site in Kyoto Japan, I participated in cleaning and maintaining the grounds by removing weeds and debris from the gravel surrounding the pond.