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AARON LIM Architecture

rtfolio o P s k r Wo 008 2003–2

AARON LIM 370 Judson Ave., San Francisco, CA 94112 USA, email: aaroncheckshismail@gmail.com, tel. +1 (917) 856-4341


2nd Yr. Design

LIVE-IN AUCTION HOUSE Greenwich, London

Fall 2005

AARON LIM 370 Judson Ave., San Francisco, CA 94112 USA, email: aaroncheckshismail@gmail.com, tel. +1 (917) 856-4341


2nd Yr. Design

LIVE-IN AUCTION HOUSE Greenwich, London

Fall 2005

Left, initial collage and mappings of the auction house site that straddles the Greenwich Meridian line in London. The drawings unfold and project to create a changing space over time.

Syncopated Territories Instead of browsing through furniture and bidding on the spot, the Live-In Auction House allows one to stay overnight with furniture. During the day, it folds accordion-like shielding furniture from the sun and creates a dramatic atmosphere. Furniture hangs vertically on a mobile partition wall that slides back and forth from a viewing platform and is backlit by soft effervescent candlelight. Similar to Sir John Soane’s house—the Inn at Lincoln Fields—one views the furniture of the auction house from multiple perspectives. The spiral staircase surrounds the furniture wall and allows visitors to view objects from above, below, and at eye-level. Once at the top, a visitor is able to choose a set of furniture they are interested in and spend the night amongst it in a small unfurnished apartment. As the sun rises and fills the apartment, one may decide to purchase the furniture or return the pieces to the viewing wall. Unit 8, The Bartlett UCL Profs. Mark Smout, Laura Allen, & Rhys Cannon

AARON LIM 370 Judson Ave., San Francisco, CA 94112 USA, email: aaroncheckshismail@gmail.com, tel. +1 (917) 856-4341


Urban Design

URBAN MONASTERY The Proto-Urban City

Spring 2007

AARON LIM 370 Judson Ave., San Francisco, CA 94112 USA, email: aaroncheckshismail@gmail.com, tel. +1 (917) 856-4341


2nd Yr. Design

WHALING HOTEL Madeira, Portugal

Spring 2006

Mutable Landscapes Whales were once the main source of income on the island of Madeira. When processed, they could be sold as valuable industrial, domestic, and commercial products such as scrimshaw, lamp oil, and ambergris for perfume. The design of this hotel mimics the processes in which a whale carcass is processed and used as a source of light, shelter, stargazing, and storytelling, and transforms it into a hybrid interactive landscape for tourists. Unit 8, The Bartlett UCL Profs. Mark Smout, Laura Allen, and Rhys Cannon

A. The “blubber wall” is flensed, revealing the inner construction and mechanics of the green facade. C.

A.

B. Rain saturates the “blubber walls,” is retreated and reused as graywater for personal gardens. C. A wi-fi perch is cloaked in synthetic skin shielding one from electronic interference.

B.

D. Travelers deposit messages in laundry chutes that act as ballast during coastal storms. E. As the facade unfolds and the building’s “guts” are revealed, the programmatic organization of the rooms is inverted. Bathrooms and shower stalls occupy the space within the facade utilizing the external plumbing system.

E.

D.

AARON LIM 370 Judson Ave., San Francisco, CA 94112 USA, email: aaroncheckshismail@gmail.com, tel. +1 (917) 856-4341


Urban Design

URBAN MONASTERY The Proto-Urban City

Spring 2007

AARON LIM 370 Judson Ave., San Francisco, CA 94112 USA, email: aaroncheckshismail@gmail.com, tel. +1 (917) 856-4341


Urban Design

URBAN MONASTERY The Proto-Urban City

Spring 2007

Left, initial study models, sketches, and reference images. Above, conceptual diagrams showing the exposed copper-clad shear wall oxidizing at different rates over time as it passes through the building. A thin concrete facade drapes over the housing tower and “the crux”—a composite space made up of the altar, chapels, cloister, and living units—and preserves the inner luster of the copper.

The Proto-Urban City This project is a collaboration in the design of a “Proto-Urban City”—a rectilinear grid of streets taken from the dimensions of a typical Manhattan block, and large, 6-foot thick, 200-feet high structural walls forming the boundaries—in which students were asked to formulate their own programs and create a context for community. It attempts to reconfigure the monastic program in an urban context—a program of contradictions: at once separated from, but connected to the city. The monastery suspends across a narrow street where two towers anchor either corner: one contains the social functions; the other, living units. The church connects these two towers at the base and is bounded on one side by a copper-clad shear wall that wraps around the towers, forming the cloister. The exposed shear wall oxidizes at different rates over time as it passes through the building. A thin concrete facade drapes over the housing tower and “the crux”—a composite space made up of the altar, chapels, cloister, and living units—and preserves the inner luster of the copper. Design IV, The Cooper Union Profs. Lebbeus Woods, Kevin Bone, Mersiha Veledar, and Christoph A. Kumpusch

AARON LIM 370 Judson Ave., San Francisco, CA 94112 USA, email: aaroncheckshismail@gmail.com, tel. +1 (917) 856-4341


Urban Design

SCHOOL OF JOURNALISM New Orleans, Louisiana

Fall 2006

AARON LIM 370 Judson Ave., San Francisco, CA 94112 USA, email: aaroncheckshismail@gmail.com, tel. +1 (917) 856-4341


Urban Design

Fall 2006

SCHOOL OF JOURNALISM New Orleans, Louisiana

Cities of Disaster New Orleans was founded on a fraudulent premise: its location at the mouth of the Mississippi River makes it an economic stronghold, yet it’s geography situated below sea-level and susceptible to flooding make it an uniquely inhospitable place. To rebuild New Orleans is to overcome the landscape and the culture in which it has been appropriated. In response to a reading of Sir John Soane’s Bank of England after the Fire of London, the School of Journalism embeds disaster in its siting and design. It is sited at a place of contention: an historic dock for boats and Customs House on the old city fortification. Instead of imposing a single sculptural form on the site, the school consists of fragments of buildings that are dispersed throughout the city and float on, above, and below the datum of the levee exposing the ground plane’s mutable character. Design IV, The Cooper Union Profs. Diane Lewis, Peter Schubert, Georg Windeck, & Mersiha Veledar

AARON LIM 370 Judson Ave., San Francisco, CA 94112 USA, email: aaroncheckshismail@gmail.com, tel. +1 (917) 856-4341


Thesis

EAST RIVER ECOLOGIES New York, NY

Fall/Spring 2007–2008

mil 15-

NY-15 Nike Missile Battery

es

5 1.2

es mil

David’s Island Nike Ajax Missile

Laguardia International Airport

Pot

ter’s

Command and

Fiel

Control

d

Silo and Bu

JFK International Airport

nke r

Newark Airport

Hart Island

1920s Coastal Defense System

Urban Islands

WATERWAY CONNECTIONS during the 1900s

Peace Monument to the Unamed Dead

ca. 2000s: DAY The Discus Thrower The Metropolitan Museum of Art BRONX

Roosevelt Memorial; A Room and a Garden The Museum of Modern Art The United Nations

MANHATTAN

U Thant Oneness Arch Tompkins Square Park Slocum Memorial Fountain

Tolerance Monument to Martin Luther King, Jr.; Broken Obelisk

QUEENS BROOKLYN

The network of islands in the East River was once crucial in supporting the New York metropolitan region. Restoring the archipelago is key in developing strategies for future flood mitigation and adaptation for the greater New York metropolitan region. I propose to think of this archipelago as an “Ecological Spine”: a floating network that allows the islands to flood while at the same time restores the land as a wetlands area as it is given away to the rising tide. This provides flood protection for neighboring urban areas as well as encourages biological development of the ecological region by filtering the river of pollutants from storm-water runoff or waste disposal. This network composes both floating and anchored structures: piers, barges, boats that serve as living units, promenades, and water connections that rise and fall with the tide and provide a framework for the growth of the wetland edge. When the islands are completely submerged, this mobile network will act as surrogate islands. Thesis, The Cooper Union Profs. Anthony Vidler, Hayley Eber, and David Turnbull

ca. 2000s: NIGHT

BRONX

MANHATTAN

QUEENS BROOKLYN

The St atue of Liberty

AARON LIM 370 Judson Ave., San Francisco, CA 94112 USA, email: aaroncheckshismail@gmail.com, tel. +1 (917) 856-4341


Thesis

EAST RIVER ECOLOGIES New York, NY

Fall/Spring 2007–2008

AARON LIM 370 Judson Ave., San Francisco, CA 94112 USA, email: aaroncheckshismail@gmail.com, tel. +1 (917) 856-4341


Freelance Design

THE OSBORN DOLLHOUSE

Oct.–March 2007–2008

silver chrome dull silver

silver chrome

dull silver etched matte black dull silver

clear acrylic

glossy black

frosted acrylic

glossy black

frosted acrylic

frosted acrylic

Kit-of-Parts As a freelance designer, I managed the design and fabrication of a modern dollhouse. My duties included providing construction drawings of plans, sections, elevations, details, and axonometrics as well as designing the assembly of the pieces.The Osborn Dollhouse is conceived as a kit-of-parts built around a simplified structural logic. It is separated into architectonic parts: the base, the windows, the ledge, the roof, free-standing interior partitions, and the chimney. These elements are stacked one on top of the other and are assembled without the use of familiar dollhouse conventions such as plugs or key-in-hole connections. Window frames embed into channels set into the base. Window panes slide into frames and are capped off by the roof which rests on the ledge. Kathy Osborn Illustrator, Client

magnetized feet

magnetized floor

AARON LIM 370 Judson Ave., San Francisco, CA 94112 USA, email: aaroncheckshismail@gmail.com, tel. +1 (917) 856-4341


Modelmaking

DAVID HOTSON ARCHITECT & BONE/LEVINE ARCHITECTS

2003–2005

Right, this series of models are among a set of eight that were crafted over a three year period in the office of Bone/ Levine Architects and are modeled after existing landmark Manhattan buildings. Each required a unique process of fabrication that included abstracting highly detailed elements like cornices and entablature at 1/8-inch scale. Below, study models for the Cafesjian Museum of Art in Armenia designed by David Hotson. The museum is made of intersecting planar geometries formed by a sequence of viewpoints about Mount Ararat in the distance. Much of the design relied extensively on 3-D modeling and a lot of spatial issues had not been resolved. I was asked to take the 3-D computer model and translate it into physical form. The work involved unfolding the model in AutoCAD and reassembling the pieces to create composite planar volumes which were used to resolve structural issues. David Hotson Architect, Summer 2005 Bone/Levine Architects, 2003-2005

AARON LIM 370 Judson Ave., San Francisco, CA 94112 USA, email: aaroncheckshismail@gmail.com, tel. +1 (917) 856-4341


Professional Work

Terreform ONE, Brooklyn

Summer 2010

AARON LIM 370 Judson Ave., San Francisco CA, 94112, USA email: aaroncheckshismail@gmail.com, tel: +1 (917) 856-4341


Professional Work

Terreform ONE, Brooklyn

Summer 2010

City of the Future: Urbaneering for Tomorrow Our primary assertion for Brooklyn 2110 is that all necessities are provided inside its accessible physical borders. In this city, food, water, air, energy, waste, mobility, and shelter are radically restructured to support life in every form. The strategy includes the replacement of dilapidated structures with vertical agriculture and housing merged with infrastructure. The plan uses the former street grid as the foundation for new networks. By reengineering the obsolete streets, we can install radically robust and ecologically active pathways. These operations are not just about a comprehensive model of tomorrow’s city, but an initial platform for discourse.

Left and right, a 20 x 20� tile for which I was primarily responsible for in modeling and drawing. I was tasked with modeling the existing infrastructure, designing the new Manhattan Bridge including the main iconic water tank structure (shown in photo), and elements of the waterfront

All photos, drawings, and text courtesy Terreform ONE, Brooklyn.

AARON LIM 370 Judson Ave., San Francisco CA, 94112, USA email: aaroncheckshismail@gmail.com, tel: +1 (917) 856-4341


AARON LIM

aaroncheckshismail@gmail.com | www.issuu.com/aaron_lim/ Born: June 19, 1984 in San Francisco, CA. US Citizen.

EDUCATION 2008

The Cooper Union Bachelors of Architecture, Professional Degree

2005-06

The Bartlett Faculty of the Built Environment Year Abroad, Unit 8: Smout/Allen (2005-2006)

EXPERIENCE 06/–08/2010

Terreform ONE, New York, NY Design Intern. www.doxprague.org/en/exhibition?38/about

07/2009–02/2010

Wallace Roberts & Todd | Solomon E.T.C., San Francisco, CA Designer.

2008–09

Architecture For Humanity, San Francisco, CA Design Fellow. www.architectureforhumanity.org/node/581

2007–08

Princeton Architectural Press, New York, NY Production & Editorial Intern.

10/2007–03/2008

The Osborn Dollhouse Designer. www.osborndollhouse.com/

01/–06/2007

Wettling Architects, New York, NY Design Intern.

06/–08/2006

Smout Allen, London, UK Production & Design Intern. www.smoutallen.com/

02/–04/2006

C. F. Møller Architects, London, UK Modelmaker.

06/–08/2005

David Hotson Architect, New York, NY Design Intern. www.hotson.net/

2003–05

Bone/Levine Architects, New York, NY Modelmaker.

2001–02

Pfau Architecture, San Francisco, CA Design Intern.

HONORS & AWARDS 2008

Henry Adams Medal, The Cooper Union Awarded to the top-ranking graduating student in architecture.

2007

Benjamin Menschel Fellowship, The Cooper Union Finalist.

2005

AIA NY Scholarship Finalist.

c: (917) 856-4341


2003

Fred L. Liebmann Book Award, New York Society of Architects Awarded to the most promising 2nd Year student at The Cooper Union.

2002–08

Irma Giustino Weiss Cultural Enrichment Fellow, The Cooper Union Awarded to top-ranking high school students at The Cooper Union.

2002–08

Cooper Union Full-tuition Scholarship

EXHIBITIONS 2010

“The Future of the Future,” DOX Centre for Contemporary Art, Prague, Czech Republic

2002–08

The Cooper Union End-of-the-Year Show, New York, NY

2006

The Bartlett Summer Show, London, UK

PUBLICATIONS 2009

Borden, Iain (editor). “Bartlett Designs: Speculating with Architecture” Wiley, London, UK.

2008

Gussow, Sue Fergusson. “Architects Draw” Princeton Architectural Press, New York, NY.

2006

Smout, Mark & Laura Allen. “Pamphlet Architecture 28: Augmented Landscapes” Princeton Architectural Press, New York, NY.

2006

Allen, Laura. “Bartlett Faculty of the Built Environment Summer Show Catalogue 2005-2006” University College London, London, UK.

SKILLS DIGITAL

CAD/3D Modeling: AutoCAD 2010 ArcGIS Vectorworks Rhinoceros SketchUp

Graphics/Production: Adobe PS CS4 Illustrator CS4 InDesign CS4 Bridge CS4

Other: Final Cut Pro Garageband Microsoft Office

MODELS

Contexts: Architecture/Urban Landscape (topography) Costume/Fashion Toy/Set Design

Materials: Soft/hard woods EVA/Foam Core/Plastics Museum/chip board Steel Plaster, Ultracal

Processes: Hand Lasercutting Vacuum-forming Lost Wax Casting

LANGUAGES

Fluent: English

Intermediate: Cantonese French

Basic: Japanese Norwegian

CONTACT INFORMATION AARON LIM

aaroncheckshismail@gmail.com | www.issuu.com/aaron_lim/

c: (917) 856-4341

*References available upon request.


Portfolio 2002-2008