Page 1

KOHO LIN PORTFOLIO Applicant for the SCI-ARC’s fall 2011 M. Arc 2 program


KOHO LIN PORTFOLIO

CONTENTS

2 TABLE OF CONTENTS


TABLE OF CONTENTS

ACADEMIC WORK _FORM FOLLOWS FLUIDITY 04~ _ASSEMBLED URBAN CAVE CLUSTER 22~ _RAINY DOMAIN 60~ _FIFTH FAÇADE BETWEEN LANDSCAPE AND ROOFSCAPE 74~ _WAVY HOTEL 88~

GRAPHIC DESIGN WORK _RESTAURANT LOGO 103 _SACHPLAKAT AD 104 _BABY FOOD LABEL 105 _3-D BOX LETTER FORMS 106 _TIME MAGAZINE COVER PAGE 107 _SLOW FOOD MOVEMENT POSTER 108~

KOHO LIN PORTFOLIO 3


TOKAI UNIVERSITY 2003 FALL DESIGN STUDIO

FORM FOLLOWS FLUIDITY

DESCRIPTION

FORM FOLLOWS FLUIDITY

4

2003 FALL DESIGN STUDIO SITE: NISHI-KU, YOKOHAMA, KANAGAWA, JAPAN PROGRAM: FITNESS CENTER


DESCRIPTION

DESCRIPTION This project is to design a fitness center. The site is on the corner of the intersection of very busy national roads and is surrounded by a variety of traffic FLUIDITY such as pedestrians, cars on the highways and the national roads, and trains on the elevated railway. Plus, there are a lot of graffiti on the walls of the elevated railway. The graffiti are seen as art and preserved legally. The graffiti have unique paint FLUIDITY.

I believe that the fluidity of the building and surroundings resonate with each other, and not only the idea, form follows functions but also my idea, FORM FOLLOWS FLUIDITY would be good architecture methodologies.

FORM FOLLOWS FLUIDITY

I explored fluidity in architecture to make the building and the surroundings resonate with each other. The fluidity I found out in architecture was FLUID STRUCTURE and CONNECTIVTY OF DISTINCT FUNCTIONS. To achieve fluid structure, I rounded all edges between wall and floor and wall and ceiling. The rounded edges blurred the separation of floor, wall and ceiling. The blurred separation created a sense of SPATIAL FLUIDITY, CONTINUITY and FLOW. In addition, the fluid structure connected and embraced distinct functions of fitness center smoothly. The structure generated fluid circulation within the building.

TOKAI UNIVERSITY 2003 FALL DESIGN STUDIO 5


SITE ANALYSIS

SITE ANALYSIS

NISHI-KU, YOKOHAMA,KANAGAWA JAPAN

HIGHWAY RAILWAY

FORM FOLLOWS FLUIDITY

PROJECT SITE

TOKAI UNIVERSITY 2003 FALL DESIGN STUDIO

DESIGN RESEARCH

6

NATIONAL ROAD

The project site is surrounded by various traffic FLUIDITY such as pedestrians, cars on the highway and the national road and trains on the elevated railway.


SITE ANALYSIS

In addition to the traffic FLUIDITY there are many graffiti on the walls of the elevated railway. That graffiti are seen as art and preserved legally. The graffiti have unique paint FLUIDITY.

NATIONAL ROAD FORM FOLLOWS FLUIDITY TOKAI UNIVERSITY 2003 FALL DESIGN STUDIO 7


SEEK FLUIDITY IN ARCHITECTURE

FLUIDITY IN ARCHITECTURE By rounding edges between wall and floor and wall and ceiling, the separation of floor, wall and ceiling is blurred. The blurred separation creates a sense of spatial fluidity, continuity and flow.

Separation

Fluidity

TOKAI UNIVERSITY 2003 FALL DESIGN STUDIO

FORM FOLLOWS FLUIDITY

Moreover, the fitness center consists of functions such as a swimming pool, a dance studio, and fitness rooms. A folded plate with the rounded edges smoothly connects and embraces the distinct functions. The continuity generates fluidity within the building.

8


STUDY MODELS

STUDY MODELS

FORM FOLLOWS FLUIDITY

TOKAI UNIVERSITY 2003 FALL DESIGN STUDIO

9


GENERATIVE PROCESS GENERATIVE PROCESS

This building is comprised of folded plates.

00

01

02

03

04

05

06

07

08

09

10

11

By rounding edges between wall and floor and wall and ceiling, the separation of floor, wall and ceiling is blurred. The blurred separation creates a sense of spatial fluidity, continuity and flow.

FORM FOLLOWS FLUIDITY

Floor becomes wall, turns into ceiling, turns into structure and turns into floor smoothly seamlessly.

TOKAI UNIVERSITY 2003 FALL DESIGN STUDIO

The folded plates with the blurred separation expand, undulating horizontally vertically, and form the building.

10

Spirally folded plate is inserted into the building in order to connect spaces diagonally and enhance a sense of spatial fluidity, continuity and flow.


FLUID CONNECTIVITY OF DISTINCT FUNCTIONS

DANCE DANCE STUDIO STUDIO

FLUIDITY IN ARCHITECTURE

MACHINE MACHINE ROOM ROOM

POOL POOL

FORM FOLLOWS FLUIDITY

FLUIDITY OF STRUCTURE

CEILING

FLOOR

WALL WALL

COL- COLUMN UMN

FLOOR

COL- COLUMN UMN

WALL FLOOR

TOKAI UNIVERSITY 2003 FALL DESIGN STUDIO

WALL

CEILING

11


ELEVATIONS/PLANS

NORTH ELEVATION SCALE 1:500

WEST ELEVATION SCALE 1:500

MECHANICAL -6000

LEVEL -2 GL -6000mm FLOOR PLAN SCALE 1:500

FORM FOLLOWS FLUIDITY

MECHANICAL -6000

46250

14000

STORAGE -2000

OFFICE -2000

POOL -2750

LEVEL -1 GL -2000mm FLOOR PLAN SCALE 1:500

NORTH ELEVATION SCALE 1:500 LOUNGE +1500

TOKAI UNIVERSITY 2003 FALL DESIGN STUDIO

SHOP

VOID RECEPTION +1500

ARCH BLOCKS

12

People - Plan View

LEVEL 01 GL +1500mm FLOOR PLAN SCALE 1:500


ELEVATIONS/PLANS

EAST ELEVATION SCALE 1:500

SOUTH ELEVATION SCALE 1:500

MEN’S LOCKER ROOM +3200

VOID

LEVEL 02 GL +5000mm FLOOR PLAN SCALE 1:500

VOID CAFE +4500

FORM FOLLOWS FLUIDITY

WOMEN’S LOCKER ROOM +5000

DANCE STUDIO +8000

BREAKOUT SPACE +6700

VOID

FITNESS ROOM +8500

LEVEL 03 GL +8000mm FLOOR PLAN SCALE 1:500

FITNESS ROOM +12500

LEVEL 04 GL +14500mm FLOOR PLAN SCALE 1:500

SOUTH ELEVATION SCALE 1:500

MULTIPURPOSE SPACE +13500

FITNESS ROOM +14500

VOID

TOKAI UNIVERSITY 2003 FALL DESIGN STUDIO

VOID

13


SECTIONS

MULTPURPOSE ROOM

DANCE STUDIO

BREAKOUT S

CAFE

MEN’S LOCKER RO

RECEPTION

FORM FOLLOWS FLUIDITY

OFFICE

MECHANICAL FITNESS ROOM MULTPURPOSE ROOM

GL +14500

FITNESS ROOM

GL +13500

GL +12500 DANCE STUDIO FITNESS ROOM

AA SECTION SCALE 1:500 GL +8000

GL +8500

BREAKOUT SPACE

WOMEN’S LOCKER ROOM

CAFE

GL +4500 GL +3200

GL +5000

MEN’S LOCKER ROOM

RECEPTION

GL +1500

TOKAI UNIVERSITY 2003 FALL DESIGN STUDIO

GL

14

GL

OFFICE

GL -2000

POOL

GL -2750 MECHANICAL

GL -6000

GL -6000

AA SECTION SCALE 1:500


FITNESS ROOM

SECTIONS

FITNESS ROOM

BREAKOUT SPACE

MEN’S LOCKER ROOM

FORM FOLLOWS FLUIDITY

POOL

FITNESS ROOM

FITNESS ROOM

MECHANICAL

BREAKOUT SPACE

GL +6700

MEN’S LOCKER ROOM

GL +3200

GL

GL -2750

MECHANICAL

GL -6000

BB SECTION SCALE 1:500

TOKAI UNIVERSITY 2003 FALL DESIGN STUDIO

BB SECTION SCALE 1:500

POOL

15


TOKAI UNIVERSITY 2003 FALL DESIGN STUDIO FORM FOLLOWS FLUIDITY

RENDERING

RENDERING

16


RENDERING FORM FOLLOWS FLUIDITY

TOKAI UNIVERSITY 2003 FALL DESIGN STUDIO

17


18

TOKAI UNIVERSITY 2003 FALL DESIGN STUDIO FORM FOLLOWS FLUIDITY

RENDERING


RENDERING FORM FOLLOWS FLUIDITY

TOKAI UNIVERSITY 2003 FALL DESIGN STUDIO

19


20

TOKAI UNIVERSITY 2003 FALL DESIGN STUDIO FORM FOLLOWS FLUIDITY

RENDERING


RENDERING FORM FOLLOWS FLUIDITY

TOKAI UNIVERSITY 2003 FALL DESIGN STUDIO

21


TOKAI UNIVERSITY 2005 UNDERGRADUATE THESIS ASSEMBLED URBAN CAVE CLUSTER

ASSEMBLED

URBAN CAVE CLUSTER

22


Inspiring creative workplaces generated by a collection of “URBAN CAVES,” which are URBAN GAP SPACES with spatial qualties of CAVES.

ASSEMBLED URBAN CAVE CLUSTER TOKAI UNIVERSITY 2005 UNDERGRADUATE THESIS

2005 UNDERGRADUATE THESIS SITE: JINGUMAE, SHIBUYA-KU,TOKYO, JAPAN PROGRAM: ARTIST-IN-RESIDENCE, WHICH SERVES AS WORKSPACE AND RESIDENCE FOR DESIGN ERS,ARTISTS,ENTREPRENEURS AND SO ON.

23


RECONSIDERATION OF THE ROLE OF WORKPLACE

RECONSIDERATION OF THE ROLE OF WORKPLACE dvances in information and communication technologies have been changA ing meaning of places. The advances and diversification of work styles have been enhancing mobility and dispersion of workers for last 20 years. The advances have made it possible for us to work whenever and wherever we want. For example, telecommunication would allow us to work at home without long commutes, and we wouldn’t have to leave every time we want to speak with somebody. We could stay wherever we want. Moreover, the advances in information and communication technologies have created new kinds of occupations, and encouraged people to start new business or try new things.

ASSEMBLED URBAN CAVE CLUSTER

As the result of occupational diversification, people who work individually or in a small group have increased and spread out in various locations. Artists, designers and creators especially tend to prefer working in a small group wherever they want. s the information and communication technologies become advanced, A mobility and dispersion of workers have increased, but at the same time, the importance of direct interaction has also increased. Given this situation,

I think I should reconsider the role of workplace and discover new design for workplace to fit new work styles. I’d like to reconsider the meaning of “GATHERING.” Gathering contributes to connecting various people who have professional abilities or creative talents. A new encounter leads to a new relationship. The relationship creates other new encounters. Gathering permits people to cross various boundaries and have opportunities to encounter. o I propose a new type of creative workplace to stimulate creativity and S collaboration as my graduate thesis. The new type of workplace assembles dispersed people who have various types of jobs and diversified work styles.

TOKAI UNIVERSITY 2005 UNDERGRADUATE THESIS

INTRODUCTION MOTIVATION

24


As information and communication technologies develope, meaning of places is changing, and workplace is more dispersed and diversified. RECONSIDERATION OF THE ROLE OF WORKPLACE

DIAGRAM

1. OLD WORKPLACE

2. DISPERSION OF WORKPLACE/WORKERS

5. DISPERSION OF WORKPLACE/WORKERS, OCCUPATIONAL DIVERSIFICATION

6. ASSEMBLY OF DISPERSED WORKERS/WORKPLACE WITH DIVERSIFIED WORK STYLES/OCCUPATION

7. DISPERSION OF WORKPLACE/WORKERS, OCCUPATIONAL DIVERSIFICATION

TOKAI UNIVERSITY 2005 UNDERGRADUATE THESIS

NEW WORKPLACE

ASSEMBLED URBAN CAVE CLUSTER

4. DISPERSION OF WORKPLACE/WORKERS, OCCUPATIONAL DIVERSIFICATION

3. DISPERSION OF WORKPLACE/WORKERS

25


26

TOKAI UNIVERSITY 2005 UNDERGRADUATE THESIS ASSEMBLED URBAN CAVE CLUSTER

TOKYO DESIGN RESEARCH

TOKYO DESIGN RESEARCH

JING

DESIGN RESEARCH

SHIBUYA


TOKYO DESIGN RESEARCH

HARAJUKU

OMOTESANDO

GUMAE

ASSEMBLED URBAN CAVE CLUSTER

AOYAMA

Tokyo appears to be very chaotic, disorganized or disorderly, but it is a city that works really well. Tokyo’s townscape is perhaps very unique among world’s great cities. In order to find what makes Tokyo’s townscape unique, I did urban design research especially in Harajuku area, Tokyo , which I called “Tokyo Design Research.” TOKAI UNIVERSITY 2005 UNDERGRADUATE THESIS 27


URBANCAVE

URBAN CAVE I researched in Harajuku area, Tokyo, because Harajuku area is the most popular place where many artists, designers and creators like to live and work. I thought there were some reasons why the people want to live and work there despite being able to work wherever they want. What I noticed through my design research was fascination of urban gap spaces between buildings in Harajuku area. There are generally two kinds of gap spaces. One is urban streets and alleyways. The other one is void space except for urban streets and alleyways. Harajuku’s basic street structure was established in1800s. Afterwards, many narrow streets and alleyways were added into the area chaotically. So now Harajuku’s street structure is very complicated.

ASSEMBLED URBAN CAVE CLUSTER

Buildings in Japan don’t share walls with adjacent buildings due to Japan’s architectural code and its architectural customs even though a city is high dense. Therefore, gap spaces between buildings are generated by the reason. I call urban a gap space in Harajuku “URBAN CAVE.” There are two reasons why I call the urban gap space “URBAN CAVE.” The first thing is a similarity in a generative process between urban gap space in Tokyo and a cave. The urban

gap spaces formed by adding streets chaotically and Japan’s architectural code and its architectural customs are byproducts regardless of people’s intensions. On the other hands, a cave is formed by various natural geologic processes such as erosion from water and tectonic forces regardless of human being’s desire, intensions or needs. The both urban gap space and a cave are generated regardless of human beings intensions. In that sense, the urban gap space is artificial, but at the same time, is able to be conceived as natural topography like “CAVE.”

+

More important, the urban gap space stimulates human beings creativity especially in Harajuku area. It is as if people thought about or tried to find how they use and live in a cave. In other words, a cave is a place where how human beings can use the space is not predetermined, and they discover and define how they use the space, interpreting topographical hints of the cave by themselves freely. In that sense, urban gap space seems to have the same spatial quality as a “CAVE” has. Urban gap space and a “CAVE” have interesting similarities in the generative process that is disinterested in human beings intensions and spatial quality that stimulates human beings creativity. Therefore, I call urban gap space in Harajuku “URBAN CAVE.” I think such a generative principle and a spatial quality of “URBAN CAVE” are essential elements of what attracts people especially such as artists, designers, creators, and stimulates their creativity and makes them feel comfortable.

TOKAI UNIVERSITY 2005 UNDERGRADUATE THESIS

TH R E E T YP ES O F U RB AN CAVE S

28

streets

alleyways

gap spaces generated by Japan’s architectural code


URBAN CAVE

CAVE

TOKAI UNIVERSITY 2005 UNDERGRADUATE THESIS

URBAN GAP SPACE

ASSEMBLED URBAN CAVE CLUSTER

+ URBAN CAVE

29


SEQUENTIAL CHANGES

SEQUENTIAL CHANGES IN DISTANCE BETWEEN PEOPLE AND BUILDINGS

TOKAI UNIVERSITY 2005 UNDERGRADUATE THESIS

ASSEMBLED URBAN CAVE CLUSTER

Once you walk through URBAN CAVES of a dense city of Tokyo, DISTANCE between people and objects (buildings) changes rapidly and sequentially. The sequential changes attract walkers. According to a behavioral scientist, modern people in a dense city of Tokyo are able to have a flexible sense of changes in distance. I think the sequential changes in distance make spatial experiences in URBAN CAVES more fascinating and intriguing.

30


FIGURE/GROUND MAP

FIGURE/ GROUND MAP Creating figure/ground reversal makes “URBAN CAVE” stand out.

ASSEMBLED URBAN CAVE CLUSTER TOKAI UNIVERSITY 2005 UNDERGRADUATE THESIS

FIGURE/ GROUND REVERSAL

31


DESIGN CONCEPT

12

DESIGN CONCEPT

25

23

06

02 19

12 01

23

22

01 24 04

03

09 07 15

08

20

ASSEMBLED URBAN CAVE CLUSTER

13

16

PROJECT SITE

TOKAI UNIVERSITY 2005 UNDERGRADUATE THESIS

17

32

05 14

10 11 18

21

My proposal is to extract URBAN CAVES, which I found out as a unique characteristic of Harajuku area through the Tokyo Design Research, to define the extracted URBAN CAVES as URBAN CAVE BLOCKS, and then apply the blocks to a new building for artistin-residence program. By grafting URBAN CAVES onto the building, the unique characteristic of Harajuku(or Tokyo) is preserved within the building, and simultaneously infuses new types of spatial qualities into it. The spaces of URBAN CAVES are places where HOW PEOPLE CAN USE THE SPACES IS NOT PREDETERMINED LIKE A CAVE. In other words, the spaces are SITE SPECIFIC. So users have to explore, define and come up with how they can use the spaces.

PROPOSAL METHOD

I believe that such spaces of URBAN CAVES stimulate their creativity and encourage them to collaborate with each other, crossing over the borders between their profession.


The patterns of URBAN CAVEs are extruded.

The plan patterns of URBAN CAVEs are conceived as sectional patterns to make the URBAN CAVEs spread vertically and horizontally.

EXTRACTION OF

URBAN CAVE BLOCK

13000mm

URBAN CAVE BLOCK

13000mm

Minimum Private Space Bathroom

Washing room

Lavatory

Furniture

Kitchen

Storages

ASSEMBLED URBAN CAVE CLUSTER

Spaces except URBAN CAVE accommodates minimum private functions. That encourages people to work in the URBAN CAVE and facilitate them to have serendipitous encounters and social exchanges.

Bed

“URBAN CAVE BLOCKs” are generated.

EXTRACTION OF URBAN CAVE BLOCKS

25 forms of URBAN CAVEs are extracted from Harajuku area and site’s surroundings. The extracted forms are abstracted, and patterns of URBAN CAVEs are generated.

Spaces of URBAN CAVES are NOT limited to one function as opposed to the spaces except URBAN CAVES. The spaces of URBAN CAVES are places where users can define how they use the spaces, interpreting its TOPOGRAPHIC-LIKE spatial qualities freely.

TOKAI UNIVERSITY 2005 UNDERGRADUATE THESIS

URBAN CAVE

WORK EXHIBITION MEETING COMMON SPACPE and so on

33


TOKAI UNIVERSITY 2005 UNDERGRADUATE THESIS ASSEMBLED URBAN CAVE CLUSTER

25 URBAN CAVE BLOCKS

25 URBAN CAVE BLOCKS

34

01 02 03

04 05 06

07 08 09

10 11 12

13 14 15

16

17

18


20

21

22

23

24

25 URBAN CAVE BLOCKS

19

25

ASSEMBLED URBAN CAVE CLUSTER

25 URBAN CAVE BLOCKS ASSEMBLED IN ONE PLACE

TOKAI UNIVERSITY 2005 UNDERGRADUATE THESIS

35


TOKAI UNIVERSITY 2005 UNDERGRADUATE THESIS ASSEMBLED URBAN CAVE CLUSTER

MORPHOGENETIC PROCESS

MORPHOGENETIC PROCESS

36

00 01 02

03

04

05


MORPHOGENETIC PROCESS

07

08

09

10

11

12

13

14

15

16

17

ASSEMBLED URBAN CAVE CLUSTER

06

TOKAI UNIVERSITY 2005 UNDERGRADUATE THESIS

37


MORPHOGENETIC PROCESS ASSEMBLED URBAN CAVE CLUSTER TOKAI UNIVERSITY 2005 UNDERGRADUATE THESIS 38

By grafting URBAN CAVES onto a building, unique characteristics of Harajuku (Tokyo) are preserved within the building and simultaneously infuse new types of spatial qualities into the building.


18

19

20

22

23

24

25

26

ASSEMBLED URBAN CAVE CLUSTER

21

MORPHOGENETIC PROCESS

The vertical cores serve as structure to lift up URBAN CAVE BLOCKS as well as vertical circulation.

As URBAN CAVE BLOCKS are inserted between the vertical cores, the building gradually takes shape.

27

28

29 TOKAI UNIVERSITY 2005 UNDERGRADUATE THESIS 39


TOKAI UNIVERSITY 2005 UNDERGRADUATE THESIS ASSEMBLED URBAN CAVE CLUSTER

MORPHOGENETIC PROCESS

30

40

31 32

That evokes natural geologic processes.

33 34 35

36 37 38

39

40

41


42

MORPHOGENETIC PROCESS ASSEMBLED URBAN CAVE CLUSTER

TOKAI UNIVERSITY 2005 UNDERGRADUATE THESIS

41


RENDERING ASSEMBLED URBAN CAVE CLUSTER TOKAI UNIVERSITY 2005 UNDERGRADUATE THESIS 42

Introducing URBAN CAVES as an unique characteristic of the city into a building not only connects the building to the surrounding urban contexts but also creates new relationship between the building and the city.


RENDERING ASSEMBLED URBAN CAVE CLUSTER

TOKAI UNIVERSITY 2005 UNDERGRADUATE THESIS

43


TOKAI UNIVERSITY UNDERGRADUATE THESIS 2005 (REVISED IN 2009) ASSEMBLED URBAN CAVE CLUSTER

PLANS

PLANS

44

PLANS

RENDER SCALE 1:1000


PLANS

LIBRARY

ASSEMBLED URBAN CAVE CLUSTER

RESTAURANT

URBAN CAVE

GL +0000mm SCALE 1:600

TOKAI UNIVERSITY UNDERGRADUATE THESIS 2005 (REVISED IN 2009)

Spaces of URBAN CAVES are NOT limited to one function as opposed to the spaces except URBAN CAVES. The spaces of URBAN CAVES are places where users can define how they use the spaces, interpreting its TOPOGRAPHIC-LIKE spatial qualities freely.

45


46

TOKAI UNIVERSITY UNDERGRADUATE THESIS 2005 (REVISED IN 2009) ASSEMBLED URBAN CAVE CLUSTER

REDERING


MINIMUM PRIVATE SPACE RESIDENCE GL +21000 PLAN

GL +20500

GL +18000

GL +16000 GL +20500

GL +21000 MINIMUM PRIVATE SPACE RESIDENCE GL +19500

GL +19000

GL +18000

GL +16500 GL +19000

=URBAN CAVE

Spaces of URBAN CAVES are NOT limited to one function as opposed to the spaces except URBAN CAVES. The spaces of URBAN CAVES are places where users can define how they use the spaces, interpreting its TOPOGRAPHIC-LIKE spatial qualities freely.

GL +18500 MINIMUM PRIVATE SPACE RESIDENCE

GL +20500mm SCALE 1:400

TOKAI UNIVERSITY UNDERGRADUATE THESIS 2005 (REVISED IN 2009)

GL +19000

ASSEMBLED URBAN CAVE CLUSTER

GL +19000

GL +15500

47


PLANS

FLOOR PLANS SCALE 1:1000

GL -3500mm

GL +3500 mm

GL 0000mm

GL +6500 mm

ASSEMBLED URBAN CAVE CLUSTER

GL +11000 mm

TOKAI UNIVERSITY UNDERGRADUATE THESIS 2005 (REVISED IN 2009)

GL -3500mm

GL +500mm

GL +3500 mm

GL +6500mm

GL +6500 mm

GL +11000 mm

GL +11000mm

URBAN CAVE

Private or Fixed function Space GL -3500mm

48

GL 0000mm

GL 0000mm

GL +3500mm

GL +6500mm

GL +11000mm


PLANS

GL +14000mm

GL +17150mm

GL +14000 mm

GL +20500mm

GL +20500 mm

GL +171500 mm

ASSEMBLED URBAN CAVE CLUSTER

GL +14000 mm

GL +11000 mm

GL +171500 mm

GL +23500 mm

GL +26000mm

GL +26000 mm

GL +30000mm

URBAN CAVE

Private or Fixed function Space GL +14000mm

GL +17150mm

GL +20500mm

GL +23500mm

TOKAI UNIVERSITY UNDERGRADUATE THESIS 2005 (REVISED IN 2009)

GL +23500mm

GL +20500 mm

GL +26000mm 49


SECTIONS

MINIMUM PRIVATE SPACE RESIDENCE STORAGE

LANUNDARY

MINIMUM PRIVATE RESIDENCE

ASSEMBLED URBAN CAVE CLUSTER

MINIMUM PRIVATE SPACE RESIDENCE

TOKAI UNIVERSITY UNDERGRADUATE THESIS 2005 (REVISED IN 2009)

LONGITUDINAL SECTION PERSPECTIVE GL +30000mm GL +26500mm GL +23500mm GL +20500mm

GL +14000mm GL +9000mm GL +5500mm

GL +0000mm

50

GL -3500mm

SHOP


SECTIONS

MINIMUM PRIVATE SPACE RESIDENCE E SPACE E

MINIMUM PRIVATE SPACE RESIDENCE

ASSEMBLED URBAN CAVE CLUSTER

TOKAI UNIVERSITY UNDERGRADUATE THESIS 2005 (REVISED IN 2009)

51


52

TOKAI UNIVERSITY UNDERGRADUATE THESIS 2005 (REVISED IN 2009) ASSEMBLED URBAN CAVE CLUSTER

SECTION PERSPECTIVE

LONGITUDINAL SECTION PERSPECTIVE

AIR VENTILATION

AIR VENTILATION

SUN LIGHT

AIR


SECTION PERSPECTIVE

The vertical cores serve as structure to lift up URBAN CAVE BLOCKS and vertical circulation, and help provide natural air ventilation and sunlight.

IR VENTILATION

ASSEMBLED URBAN CAVE CLUSTER TOKAI UNIVERSITY UNDERGRADUATE THESIS 2005 (REVISED IN 2009) 53


RENDERING TOKAI UNIVERSITY UNDERGRADUATE THESIS 2005 (REVISED IN 2009)

ASSEMBLED URBAN CAVE CLUSTER

The spaces of assembled URBAN CAVES have various forms, sizes and heights. A URBAN CAVE is connected to other URBAN CAVES in a variety of directions like a real cave. The sequential changes in distance betweem people and buildings in a dense city, Harajuku, are preserved within the building.

54

The spaces of URBAN CAVES are SITE SPECIFIC. Users would enjoy discovering how they can use the spaces, interpreting its TOPOGRAPHIC-LIKE spatial qualities freely.


RENDERING ASSEMBLED URBAN CAVE CLUSTER

TOKAI UNIVERSITY UNDERGRADUATE THESIS 2005 (REVISED IN 2009)

55


56

TOKAI UNIVERSITY UNDERGRADUATE THESIS 2005 (REVISED IN 2009) ASSEMBLED URBAN CAVE CLUSTER

URBAN CAVE forANIMATORS

MINIMUM PRIVATE SPACE RESIDENCE

URBAN CAVE for FASHION DESIGNERS

RENDERING


RENDERING

MINIMUM PRIVATE SPACE RESIDENCE

TOKAI UNIVERSITY UNDERGRADUATE THESIS 2005 (REVISED IN 2009)

57

STORAGE

ASSEMBLED URBAN CAVE CLUSTER

URBAN CAVE for FURNITURE DESIGNERS


RENDERING ASSEMBLED URBAN CAVE CLUSTER TOKAI UNIVERSITY UNDERGRADUATE THESIS 2005 (REVISED IN 2009) 58

In response to the height of the surrounding buildings, URBAN CAVE BLOCKS were inserted and arranged between vertical cores.


RENDERING ASSEMBLED URBAN CAVE CLUSTER

TOKAI UNIVERSITY UNDERGRADUATE THESIS 2005 (REVISED IN 2009)

59


RAINY DOMAIN

2005 CONCEPTUAL DESIGN COMPETITION

RAINY DOMAIN

雨の領域

60

2005 CONCEPTUAL DESIGN COMPETITION FOR SHELTER FROM THE RAIN CLIENT:NISSHINKOGYO FROM JAPAN PROGRAM: SHELTER FROM THE RAIN, GATHERING SPACE (CAFE)


By visualizing invisible RAINY DOMAIN boundaries, the architecture creates illusion of RAINY SCENES on sunny days, and merges into real rainy scenes and disappears in the rain.

RAINY DOMAIN 2005 CONCEPTUAL DESIGN COMPETITION 61


DESIGN CONCEPT

DESIGN CONCEPT The conceptual design competition required designers to come up with a place that functions as a shelter from the rain and a gathering space.

2005 CONCEPTUAL DESIGN COMPETITION

RAINY DOMAIN

For Japanese people, rain or rainy scenes seem to have special meaning. In order to make scenes more emotional, intriguing or attractive, RAIN and RAINY SCENE have been used in many Japanese films, dramas, plays, poets, novels and paintings for centuries.

62

I have a strong interest in rain and scenes that rain generates. I analyzed rain, and found out RAINY DOMAIN as one element of how rain makes people emotional or fascinates people. When it starts to rain, people open up their umbrellas, and then individual domains that they are not aware of until it rains appear. I call the individual domain RAINY DOMAIN. The domain boundaries can be felt, but are invisible and very ambiguous. Rainy scenes are poetry and look like illusion because rain creates ambiguous boundaries visually and blurs scenes. The fascination of RAINY SCENES is related to RAINY DOMAIN. Given these, I designed a shelter from the rain based on the idea of RAINY DOMAIN. By using a lot of slender columns, I visualized invisible RAINY DOMAIN. The shelter creates illusion of dramatic rainy scene on sunny days. When it rains, it merges into real rainy scene and disappears in the rain.


DESIGN CONCEPT RAINY DOMAIN

When it starts to rain, people open up their umbrellas, and then individual domains that they are not aware of until it rains appear slightly. I call the individual domain RAINY DOMAIN.

2005 CONCEPTUAL DESIGN COMPETITION 63


CONCEPT DIAGRAM

CONCEPT DIAGRAM SITE

01

02

03

2005 CONCEPTUAL DESIGN COMPETITION

RAINY DOMAIN

When it starts to rain, people open up their umbrellas.

64

04

05

06

Individual domains that they are not aware of until it rains appear gradually. I define the individual domain as RAINY DOMAIN.

07

08

09

The individual domains’ gathering creates RAINY DOMAINs of various sizes.


1200mm

CONCEPT DIAGRAM

1200mm 1200mm

1200mm

I define 1200x1200mm as a proportion of one RAINY DOMAIN. A large number of slender columns softly divide a space into RAINY DOMAINs, and then Invisible, ambiguous RAINY DOMAIN boundaries are visualized. RAINY DOMAIN 2005 CONCEPTUAL DESIGN COMPETITION 65


OKU / DEPTH

OKU = DEPTH

SOFT BOUNDARY BETWEEN SEMI-EXTERIOR AND EXTERIOR SOFT BOUNDARY BETWEEN ROOM AND SEMI-EXTERIOR(PORCH)

SOFT BOUNDARY BETWEEN ROOMS SOFT BOUNDARY BETWEEN ROOMS

RAINY DOMAIN

OKU is a word to express a sense of depth in Japanese based on unique spatial perception in Japan. However, OKU in Japanese is NOT equivalent to DEPTH in English. It’s very hard to translate the word into English. The concept of OKU was usually incorporated into Japanese traditional architectural design. To generate a sense of OKU, Japanese traditional buildings have many layers of soft boundaries within and outside the buildings to connect interior with exterior. Once people penetrate the layers, they can feel a sense of OKU.

2005 CONCEPTUAL DESIGN COMPETITION

We can feel a sense of OKU in the rain. Rain creates infinite layers of ambiguous boundaries and blurs scenes. As a result, rain gives birth to a sense of OKU.

66


SECTIONS SECTIONS

AA SECTION PERSPECTIVE SCALE 1:200

BB SECTION PERSPECTIVE SCALE 1:200

CC SECTION PERSPECTIVE SCALE 1:200 RAINY DOMAIN 2005 CONCEPTUAL DESIGN COMPETITION

ELEVATION PERSPECTIVE

67


PLANS

PLANS A

A

B

B KITCHEN

CAFE

C

2005 CONCEPTUAL DESIGN COMPETITION

RAINY DOMAIN

GROUND FLOOR PLAN SCALE 1:300

68

BEAM PLAN SCALE 1:300

C


ROOF PLAN / RENDERING

ROOF PLAN SCALE 1:300

RAIN OF SUNLIGHT falls down from skylights like polka dot pattern.

RAINY DOMAIN 2005 CONCEPTUAL DESIGN COMPETITION 69


2005 CONCEPTUAL DESIGN COMPETITION

RAINY DOMAIN

RENDERING

RENDERING

70


RENDERING RAINY DOMAIN

2005 CONCEPTUAL DESIGN COMPETITION

71


72

2005 CONCEPTUAL DESIGN COMPETITION

RAINY DOMAIN

RENDERING


RENDERING

Slender columns arranged based on RAINY DOMAIN and RAIN OF SUNLIGHT falling down from skylights create the illusion of RAINY SCENES.

RAINY DOMAIN 2005 CONCEPTUAL DESIGN COMPETITION 73


SANTA MONICA COLLEGE 2009 FALL DESIGN STUDIO FIFTH FACADE BETWEEN LANDSCAPE AND ROOFSCAPE

FIFTH FACADE between LANDSCAPE and ROOFSCAPE

74


“The green roof undulates in response to the mountains and blurs the boundary between landscape and roofscape.” 2009 FALL GREEN DESIGN, SANTA MONICA COLLEGE SITE: 189 THE GROVE DRIVE, LOS ANGELES, CA, USA PROGRAM: GREEN ROOF GARDEN, RESTAURANT, PUBLIC SPACE

FIFTH FACADE BETWEEN LANDSCAPE AND ROOFSCAPE SANTAMONICA COLLEGE 2009 FALL DESIGN STUDIO 75


INTRODUCTION / SITE ANALYSIS

INTRODUCTION he reason why I transform the rooftop parking structure into green roof with T solar panels is that in many cases, rooftop spaces, especially rooftop parking lots are wasted, and have great potential for sustainability.

First, my most favorite place in LA is the rooftop parking lots. In my home country, Japan, there are not many big high-rise multilayer-parking structures as LA has. In very dense cites such as Tokyo and New York City, parking lots are typically located underground or at small gap spaces between buildings. So the first time I came to LA, I was surprised that there are many huge parking structures above the ground level in the big city, Los Angeles. To me, public rooftop parking lots in LA are very attractive and fascinating. That’s because everyone can easily get splendid views. For example, you can look down the Pacific Ocean from the top of

FIFTH FACADE BETWEEN LANDSCAPE AND ROOFSCAPE

SITE ANALYSIS UNOBSTRUCTED 360-DEGREE VIEW

HIS project site is the rooftop parking lot of The grove which is located on 3rd T street and the grove Dr. The rooftop parking has an amazing unobstructed 360 degree view and very huge space, approximately 171000 square feet. Howev-

SANTA MONICA COLLEGE 2009 FALL DESIGN STUDIO

er, in spite of such a great space, the parking space is just only for cars and almost vacant on weekdays according to my research. So my proposal is to transform the rooftop parking lot into green roof with solar panels.

76


INTRODUCTION / SITE ANALYSIS

parking structure on 2nd street in Santa Monica. In addition, Los Angeles doesn’t have very high-rise buildings except for downtown area. So many rooftop parking lots would provide unobstructed 360-degree views and a sense of openness with amazing LA weather that should be one of the most important elements to attract me. I thought rooftop parking lots would become much more intriguing and better public spaces. More importantly, converting rooftop parking space into green roof with solar panels would bring us a lot of benefits such as reducing outdoor air temperature and the urban heat island effect, absorbing rainwater, filtering the air, providing fresh local herbs, fruits and vegetables, and generating free electricity from the direct sunlight. The green roof with solar panels would improve our urban environment meeting our needs.

FIFTH FACADE BETWEEN LANDSCAPE AND ROOFSCAPE SANTAMONICA COLLEGE 2009 FALL DESIGN STUDIO 77


DESIGN DESCRIPTION / SECTION PERSPECTIVE

DESIGN DESCRIPTION In order to achieve the ideal conditions for solar panels which are a south-facing pitched roof, I added elevated surface to existing surface on the south side, and the elevated surface and the existing surface are connected smoothly continuously. I also undulated the elevated surface to house mechanical rooms, elevator cores and organic food restaurants in proportion to those room sizes underneath, and at the same time, the elevated and undulated surface echoes mountains on the north side, which can be viewed from the site beautifully. As a result, the undulated surface forms artificial terrain. If the vegetation grows on the green roof, the boundary between landscape and roofscape or artificial landscape and natural landscape could be blurred.

FIFTH FACADE BETWEEN LANDSCAPE AND ROOFSCAPE

SECTION SOUTH

SANTA MONICA COLLEGE 2009 FALL DESIGN STUDIO

SOLAR PANELS

78

ORGANIC FOOD RESTAURANT


NORTH

GREEN ROOF

SANTAMONICA COLLEGE 2009 FALL DESIGN STUDIO

EXISTING PARKING STRUCTURE

NEW UNDULATING SURFACE

FIFTH FACADE BETWEEN LANDSCAPE AND ROOFSCAPE

SOLAR PANELS

SECTION PERSPECTIVE

SOLAR PANELS

EXISTING SURFACE

79


ELEVATIONS

ELEVATION

FIFTH FACADE BETWEEN LANDSCAPE AND ROOFSCAPE

WEST ELEVATION SCALE 1:500

NORTH ELEVATION SCALE 1:500

SANTA MONICA COLLEGE 2009 FALL DESIGN STUDIO

EAST ELEVATION SCALE 1:500

80

SOUTH ELEVATION SCALE 1:500


ELEVATIONS FIFTH FACADE BETWEEN LANDSCAPE AND ROOFSCAPE

SANTAMONICA COLLEGE 2009 FALL DESIGN STUDIO

81


SANTA MONICA COLLEGE 2009 FALL DESIGN STUDIO

FIFTH FACADE BETWEEN LANDSCAPE AND ROOFSCAPE

EDIBLE VEGETATION GARDEN

EDIBLE VEGETATION GARDEN on the rooftop

82

Some spaces on the green rooftop should be used for edible vegetation. I created the space for organic food restaurants underneath the undulating surface. The restaurant hopefully would use vegetables, fruits and herbs that the edible garden on the green roof would provide.

EDIBLE VEGETATION GARDEN


CABBAGE Yes in CA Year Round

CARROT Yes in CA Year Round

CUCUMBER Yes in CA April-Nov

EGGPLANT Yes in CA July-Oct

LETTUCE Yes in CA Year Round

PEPPER Yes in CA July-Dec

POTATE Yes in CA Year Round

SPINACH Yes in CA Year Round

TOMATE Yes in CA May-Dec

ZUCCHINI Yes in CA June-Oct

Blackberry Yes in CA May-Aug

Blueberry Yes in CA Year Round

GRAPE Yes in CA May-Nov

LEMON Yes in CA Year Round

PEACH Yes in CA May-Sep

STRAWBERRY Yes in CA Jun-Nov

BASIL Yes in CA

MINT Yes in CA

ROSEMARY Yes in CA FIFTH FACADE BETWEEN LANDSCAPE AND ROOFSCAPE

BROCCOLI Yes in CA Year Round

EDIBLE VEGETATION GARDEN

AVOCADO Yes in CA Year Round

SANTAMONICA COLLEGE 2009 FALL DESIGN STUDIO 83


SOLAR PLANT

SOLAR PLANT In order to replace existing outdoor lightings with sustainable outdoor lightings, I designed a solar-powered outdoor light, which I call Solar Plant. LED is used for the light.

SANTA MONICA COLLEGE 2009 FALL DESIGN STUDIO

FIFTH FACADE BETWEEN LANDSCAPE AND ROOFSCAPE

As real leaves of plants are facing the sun, the solar panels of the solar plants are facing south so that they can absorb as much sunlight as possible.

84


SOUTH

SOLAR PLANT FIFTH FACADE BETWEEN LANDSCAPE AND ROOFSCAPE

SOLAR PANELS

LED

SANTAMONICA COLLEGE 2009 FALL DESIGN STUDIO

85


RENDERING FIFTH FACADE BETWEEN LANDSCAPE AND ROOFSCAPE SANTA MONICA COLLEGE 2009 FALL DESIGN STUDIO 86

The undulated surface forms artificial terrain. The boundary between landscape and roofscape or artificial landscape and natural landscape could be blurred.


RENDERING

Today, Google Earth enables us to see God’s eye views of places where we want to see. Rooftop design will become more important.

FIFTH FACADE BETWEEN LANDSCAPE AND ROOFSCAPE SANTAMONICA COLLEGE 2009 FALL DESIGN STUDIO 87


SANTA MONICA COLLEGE 2010 SPRING DESIGN STUDIO

WAVY HOTEL

WAVY HOTEL

88

2010 SPRING DESIGN STUDIO SANTA MONICA COLLEGE SITE: 1447 Ocean Ave, Santa Monica, CA 90401 PROGRAM: HOTEL


WAVY HOTEL SANTA MONICA COLLEGE 2010 SPRING DESIGN STUDIO

Connecting the new interior with the surrounding urban context and simultaneously increasing the contrast of opposing elements between the new interior and the existing building create new boundaries with a sense of DISCONTINUOUS CONTINUITY.

89


DESIGN CONCEPT

DESIGN CONCEPT This hypothetical project is to revitalize an old existing building by transforming it into new hotel. The site is located on Ocean Ave, and has stunning views of Pacific Ocean. My design concept is to connect the new interior with the surrounding urban context and simultaneously increase the contrast of new interior and existing old building to create a new relationship between the hotel and the surrounding environment. PHASE 01: In order to create continuity between the newly renovated interior and the surrounding urban context, I conceived of “WAVE” as one of the important characteristics of LA and the surrounding environment, and applied the element of “WAVE” to the interior design. PHASE 02: I increased the contrast of opposing elements of old/new and straight/curved. Standing out differences between the existing building and the new interior leads to a new relationship between them.

WAVY HOTEL

1447 Ocean Ave, PROJECT SITE 2SITE: Santa Monica, CA 90401

PHASE 03: I believe that combining connection between the new interior and the surrounding environment and the enhanced contrast of opposing elements generates new boundaries between the new interior, the existing building and the surrounding environment. For example, at a glance, visitors would think the old building doesn’t fit the surroundings when they look at the hotel from the outside. But they could feel the connectivity between the new interior, the surroundings and LA once they enter the hotel.

SANTA MONICA COLLEGE 2010 SPRING DESIGN STUDIO

Thus, I created new boundaries between the new interior, the existing building and the surrounding environment, considering urban contexts. The boundaries gives visitors a sense of DISCONTINOUS CONTINUITY.

90

PHASE 01

WAVE


PHASE 02

OLD MATERIALS

CONYEMPORARY MATERIALS

VS

EXISTING BUILDING

STRAIGHT SURFACE

DESIGN CONCEPT

+ NEW INTERIOR

CURVED SURFACE

PHASE 03

SANTA MONICA COLLEGE 2010 SPRING DESIGN STUDIO

CONTINUITY BETWEEN THE NEW INTERIOR AND THE SURROUNDING ENVIRONMENT

WAVY HOTEL

ENHANCED CONTRAST OF THE NEW INTERIOR AND THE EXISTING BUILDING

91


SECTIONS ROOFTOP BAR INFINITY POOL

SECTIONS

GL +69’-0” GUEST ROOM

GUEST ROOM

GUEST ROOM

GUEST ROOM

GUEST ROOM

GUEST ROOM

GUEST ROOM

GUEST ROOM

GUEST ROOM

GUEST ROOM

GL +51’-0”

GL +36’-0”

MULTIPORPOSE ROOM

GL +18’-0”

RECEPTION DESK

SHOP

RESTAURANT

KITCHEN

GL 0’-0”

WAVY HOTEL

AA SECTION SCALE : 1’-0”= 1/32”

ROOFTOP BAR

INFINITY POOL

GL +69’-0”

MECHANICAL

GUEST ROOM

GUEST ROOM

GUEST ROOM

GUEST ROOM

GL +51’-0”

GL +36’-0”

CONFERENCE ROOM

RESTAURANT

SANTA MONICA COLLEGE 2010 SPRING DESIGN STUDIO

GL +18’-0”

92

RESTAURANT

RESTAURANT

RESTROOM

GL 0’-0”

BB SECTION SCALE : 1’-0”= 1/32”

RESTAURANT


SECTION PERSPECTIVE WAVY HOTEL

SANTA MONICA COLLEGE 2010 SPRING DESIGN STUDIO

BB SECTION PERSPECTIVE

93


SANTA MONICA COLLEGE 2010 SPRING DESIGN STUDIO WAVY HOTEL

PLANS / RENDERING

PLANS B

A

94

A

GROUND FLOOR PLAN SCALE: 1’-0” = 1/32” B


PLANS / RENDERING

SECOND FLOOR PLAN SCALE: 1’-0” = 1/32”

WAVY HOTEL

SANTA MONICA COLLEGE 2010 SPRING DESIGN STUDIO

95


PLANS / RENDERING

FOURTH FLOOR IS SIMILAR TO THIRD FLOOR

SANTA MONICA COLLEGE 2010 SPRING DESIGN STUDIO

WAVY HOTEL

THIRD FLOOR PLAN SCALE: 1’-0” = 1/32”

96

ROOFTOP FLOOR PLAN SCALE: 1’-0” = 1/32”


PLANS / RENDERING WAVY HOTEL

SANTA MONICA COLLEGE 2010 SPRING DESIGN STUDIO

97


98

SANTA MONICA COLLEGE 2010 SPRING DESIGN STUDIO WAVY HOTEL

PLANS / RENDERING


RENDERING WAVY HOTEL SANTA MONICA COLLEGE 2010 SPRING DESIGN STUDIO

The infinity pool connects the hotel with The Pacific Ocean by bringing “WAVE” as the characteristic of the surrounding environment to the hotel.

99


100

SANTA MONICA COLLEGE 2010 SPRING DESIGN STUDIO WAVY HOTEL

RENDERING


RENDERING WAVY HOTEL

SANTA MONICA COLLEGE 2010 SPRING DESIGN STUDIO

101


SANTA MONICA COLLEGE GRAPHIC DESIGN WORK

GRAPHIC DESIGN WORK

102


RESTAURANT LOGO DESIGN

2008 FALL GRAPHIC DESIGN STUDIO SANTA MONICA COLLEGE TYPE: LOGO DESIGN, FLYER DESIGN SIZE:

This project to come up with a name of a hypothetical restaurant and design a logo for the restaurant. I named Japanese-American fusion restaurant “ UKIYO-E WRIGHT.” UKIYO-E is Japanese woodblock prints and was produced between 17th and 20th centuries. Frank Lloyd Wright was well-known as a collector of UKIYO-e. So I combined UKIYO-e and Wright for the name of the Japanese-American fusion restaurant. The Logo for the restaurant is designed based on simple geometries Wright often used in his design.

UKIYO-E + WRIGHT

UKIYO-E + WRIGHT RESTAURANT LOGO SANTA MONICA COLLEGE 2008 FALL DESIGN STUDIO

UKIYO-E + WRIGHT UKIYO-E UKIYO-E + + WRIGHT

103


SACHPLAKAT AD FOR NEW YORK MAGAZINE 2009 SPRING GRAPHIC DESIGN STUDIO SANTA MONICA COLLEGE TYPE: POSTER DESIGN SIZE: 8 x10 3/4 INCHES

This project is to select a product and make the simple illustration for an ad, using the style of the SACHPLAKAT.

SANTA MONICA COLLEGE 2009 FALL DESIGN STUDIO

SACHPLAKAT AD FOR NEW YORK MAGAZINE

EAMES

104

CHAIR


BABY FOOD LABEL DESIGN 2009 FALL GRAPHIC DESIGN STUDIO SANTA MONICA COLLEGE TYPE: LABEL DESIGN SIZE: 2x10 INCHES

NET WT 7OZ (198G)

Nutrition Facts

Serving Size 4Tbsp(14g) Servings Per Container About 14

Amount Per Serving Calories 50 % Daily Value Protein 5% Vitamin A Vitamin C 10% Calcium Iron 60% Vitamin E Thiamin 15% Roboflavin Niacian 20% Vitamin B6 Folate 10% Vitamin B12 Phosphonus 5% Zinic Sodium 1g Potassium Trans Fat 0g Carbohydrate Sugars 1g Dietary Fiber

0% 10% 10% 20% 10% 15% 10% 20g 12g 1g

1234567890234906

The perfect first solid food for baby

HAPPY BABY Fresh Frozen Organic Baby Food ORGANIC BROWN RICE CEREAL

DNA+Probiotic immunity support

Organic goodness: All HAPPYBABY products are always USDA-certified organic. • Enriched: with DHA for brain and eye development, plus iron, vitamins and minerals essential for baby’s growth. • Probiotic protection: Good bacteria specially formulated to help strengthen your baby’s digestive system which can protect against the development of allergies. Dr Sears agrees: “Baby foods with probiotics are a great way to make sure your baby’s system has plenty of “good bowel bugs.” The gastrointestinal (GI) tract is the body’s largest immune organ. The better you feed baby’s GI tract, the better you feed baby’s immune system.” • 100% natural: We support sustainable agriculture. No pesticides, no chemical fertilizers, no genetically engineered ingredients (GEIs).

BROWN RICE INGREDIENTS

Organic whole grains: organic brown rice, sunflower lecithin DHA: DHA algal powder (glucose syrup solids, algal oil, modified starch, mannitol, sodium ascorbate, sodium polyphosphate, high oleic sunflower oil) Enzymes: alpha amylase Vitamins and minerals: ascorbic acid, calcium phosphate, calcium carbonate, reduced iron, alpha tocopheryl acetate, thiamine hydrochloride, riboflavin, niacinamide, pyridoxine hydrochloride, folic acid, cyanocobalamin, zinc oxide Probiotics: l. acidophilus, bifidislactis, l. bulgaricus, l. casei, streptococcus thermophilus, and l. rhamnosus

BABY FOOD LABEL

The perfect first solid food for baby

THE HAPPY DIFFERENCE

HAPPY BABY Fresh Frozen Organic Baby Food ORGANIC BROWN RICE CEREAL SANTA MONICA COLLEGE 2009 FALL DESIGN STUDIO

DNA+Probiotic immunity support

105


3-D BOX OF LETTERFORMS

3D-BOX OF LETTERFORMS

2010 SPRING GRAPHIC DESIGN STUDIO SANTA MONICA COLLEGE TYPE: TYPOGRAPHIC DESIGN SIZE: 10 x 10 x 10 INCHES TYPEFACE: AVENIR

tuvwxyz

SANTA MONICA COLLEGE 2010 SPRING DESIGN STUDIO

ghijklmnopqrstuvwxyz opqrstuvwxyz

106


TIME MAGAZINE COVER PAGE DESIGN

TIME

www.time.com Novmber 28, 2009

2009 FALL GRAPHIC DESIGN STUDIO SANTA MONICA COLLEGE TYPE: MAGAZINE COVER PAGE DESIGN SIZE: 8 1/2 x11 INCHES

Gehry Is Out as Designer of Project in Brooklyn Schwarzeneggar Signs Bill Boosting NFL Staium Plans in San Gabriel Valley

Frank Gehry’s Software Keeps Buildings on Budget

Interview with

Frank Gehry

TIME MAGAZINE COVER PAGE

B AT T L E beteween BEAUTY and BUDGET Time’s Running Out for Planned Arts Center at Ground Zero

121445890490

SANTA MONICA COLLEGE 2009 FALL DESIGN STUDIO

An American Architectual Epoch Locks Its Doors

107


SLOW FOOD MOVEMENT POSTER DESIGN 2010 SPRING GRAPHIC DESIGN STUDIO SANTA MONICA COLLEGE TYPE: POSTERDESIGN SIZE: 10 1/2 x 161/2 INCHES AWARD: BEST OF SHOW IN THE SANTA MONICA COLLEGE GRAPHIC DESIGN EXHIBIT 2010

This poster aims to promote SLOW FOOD MOVEMENT, which was founded in 1989 to counteract FAST FOOD and FIRST LIFE and make people aware of good food and nutrition. Some people might try to convey how good SLOW FOOD or fresh organic food is for your health through this poster. However, everyone knows the fact.

SANTA MONICA COLLEGE 2010 SPRING DESIGN STUDIO

SLOW FOOD MOVEMENT POSTER

So what I did in this design to propose a method so that people can start “SLOW FOOD” life through this poster. My proposal is to“GROW YOUR OWN FOOD.” To do that, I created a planting calendar that evokes a sunflower (edible plants). In order to convey the idea “GROW YOUR OWN FOOD,” I hand drew some parts of the poster.

108


On io ns Pa , Bu rsl ey nc hin Pea s g

Peppers

Potates

Lettuce tard Mus ulb ,B ns io On

Waterm elons

3

2

1

Southern California Planting Calendar gus Aspara nap s, S n a a Be im , L va s a an e F B s, an Be

wer Cauliflo ry le e C s ive s Ch rd lla o C

4

Carrots

5

Be et s Bro cc oli Cab bag e Cantalo upe

6

Co rn Cu c u mb er Egg plan s t

7

Herbs

8

Leeks

12 11 10 9

ra Ok

rn Popco s pkin Pum s he dis Ra ch ina Sp

Su nf lo we To ma r tes s Turn ips

SLOW FOOD MOVEMENT POSTER SANTA MONICA COLLEGE 2010 SPRING DESIGN STUDIO

GROW YOUR OWN FOOD

109

KL_PORTFOLIO  

Portfolio

Read more
Read more
Similar to
Popular now
Just for you