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EUNSU KIM PORTFOLIO Master in Design Studies of Technology + Master in Landscape Architecture 2020 Harvard Graduate School of Design eunsu.sue@gmail.com


INDEX 1

Unattainable

2.

Art on the T

3.

Workership

4.

Hello World

5.

Language Immersion

6.

Montage in the Park

7.

Cubic Garden

8

Traces of Memories

9

Nodes and Pauses

10

The Living Edge

11

Aquifer Recharge

12

Global Engineering Center


EUNSU KIM

designer

EDUCATION Master of Design Studies in Technology; Sep. 2017 - May. 2020 Harvard Graduate School of Design, MA, United States Master of Landscape Architecture 1 AP; Sep. 2017 - May. 2020 Harvard Graduate School of Design, MA, United States Bachelor of Environmental Design; Mar. 2006 – Feb. 2011 University of Seoul, Seoul, Republic of Korea

PROFESSIONAL EXPERIENCES Workership(Startup) ; Jul. 2018 - current Designer / UX, UI, web design, service design, business strategy Improved overall service flow structure design, web design and front-end web development Samsung C&T, Landscape Business ; Feb. 2011 - Jun. 2017 Assistant Manager / Department of Estimation Estimated costs for implementation of retail and built projects Staff / Department of Construction Conducted site investigation and analysis to understand 3D spaces Samsung Everland, Environment and Asset Department ; Jan. 2010 - Feb. 2010 Intern / Department of Environment & Assets Conducted site investigation and analysis to understand 3D spaces ISU Landscape Design Office ; Aug. 2009 Intern / Designer Researched site conditions for developing concept designs

ADDITIONAL EXPERIENCES Vice President, Korea GSD, 2018-2019 Lead the student group ­as organizing social events, lectures and Korea Trek Course Design, University of Massachusetts Boston, 2018 Fall Designed IT485 class and managed students making sentimental analysis reports Global Leadership Experiences, Common Purpose, 2018 Participating in the program for improving leadership skills and global senses In-house Reporter, Samsung C&T, 2015-2017 Reporting in-house news on the PR broadcasting team HPAIR, Harvard Project for Asian and International Relations, Singapore, 2010 Participated in a conference with a focus on “Environmental issues in sustaining momentum” Winter Session in Urban Studies, San Francisco State University Completed courses focused on urban studies

+1-617-909-6553 eunsu.sue@gmail.com 27 Ellery street, Cambridge, MA


VOLUNTEER WORK School Construction Project, Nongbua, Laos, 2016 Organized fundraising activities and participated in school construction project Mentoring Low-Income Students April 2008 – December 2008 Taught essential subjects and career planning to low-income high school students

AWARDS AND HONORS The 6th National Exhibition of Korean Landscape Architecture, 2010 Won a prize for Cinema Park Merit-Based Scholarship, University of Seoul Scolarship for volutary service, University of Seoul

LICENSE AND CERTIFICATION National Technical Qualification of Landscape Architecture, Republic of Korea, 2011 Japanese Language Proficiency Level 2, the Japan Foundation, 2010

LANGUAGE SKILLS Korean / native English / fluent Japanese / intermediate

PROFESSIONAL SKILLS Adobe Illustrator Adobe Photoshop Adobe Indesign Adobe XD Adobe After Effects Sketch HTML / CSS / JavaScript Auto CAD Rhino 3D / Grasshopper Microsoft Office Word/Excel/Powerpoint ArcGIS Arduino


Unattainable ; what defines ambience and value of spaces Spring 2018 _2018.01 - 2018.05 _Academic_Team _Professor: Allen Sayegh _Role: Ideation, idea development, video, installation

Attempts to attain the highlighted books, the highlight immediately shifts away, setting in motion a fruitless chase Commercial value is integrally related to context, association, and place. Thus by siting the installation in the Frances Loeb Library, books become the project’s primary commodity of focus. As a site-specific approach, this installation pairs Kinect motion-tracking with projected videos to construct a new area of perceived value within the Loeb Library shelves. Three rows of books on the back aisle are uniformly wrapped in white paper, rendering a homogenous mass stripped of any previous associations. As such, the books are each assigned an equal value. When approached, however, a curious animation of spliced videos begins to shine on selective groups of books. This in turn instigates a hierarchy of interest. When the user attempts to interact directly with these highlighted portions, the animation immediately shifts away, setting in motion a fruitless chase. This act as a whole is emblematic of the inherent value associated with rare and unattainable goods. By projecting abstract value onto objects, we can thus start to manipulate their perceived value.

6


7


SENSOR AND INTERACTION

1

zone1

zone2

zone3

zone4

2

3

4

5

zone5 BOOK SHELF

2ft

5ft

KINECT PROJECTOR

Kinect motion tracking with projection

The program itself divides the shelf into five vertical columns, each associated with a given section of books. Using data from the kinect, we are then able to track exactly when a body enters a particluar column. At that moment, a video change is triggered, and the projection then reshuffles to the next set of spliced slides.

8


EXHIBITION

When people get closer to the books, (1) it gets darker and only the white covers are highlighted. (2) the video is projected over the book covers—the value of things are not created in and of themselves, but are created externally by the needs of commercial and capitalism. (3) When someone tries to reach to the ‘valuable’ book, the location of projection changes.

Everyday Spectacle / Frances Loeb Library / 2018

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Art on the T ; breaking personal bubble by shared experience Fall 2018 _2018.09 - 2018.12 _Academic_Team _Professor: Malkit Shoshan _Role: Ideation, workshops

Transforms personal space into a connected space without forcing riders to interact with one another Public transportation constraints large numbers of strangers from different backgrounds in one place for a certain period of time. In most public spaces, the breaching of physical personal space is something actively avoided, but in the subway, it is a normal scene. As the subway crowds, people sit closely, and their bodies push against one another. People then create a mental personal space by focusing on a book, phone, or music. Art on the T transforms personal space into a connected space without forcing riders to interact with one another. A space of solidarity in the context of public transit needs to be able to respond to the tendency of personal territoriality. Through creating simple, shared experiences, we create a sense of connection between riders that extends beyond the time spent on the T. By placing small art exercise books on the seats of the subway, people are invited to create art together with other passengers. The exercise books are placed multiple times over two months to create a culture rather than a short-lived spectacle. The passengers’ artworks are then compiled onto Instagram, an online platform, so they can later look at others’ works and stay connected as an online community.

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11


IDEATION AND WORKSHOP ITERATION

publicizing the personal space

The breach of physical distance on a personal and intimate level often causes disturbance and even undermines passengers’ personal territories, yet in the context of the subway, it is normally accepted as a non-intimidating situation. This allows them to feel more psychologically comfortable in situations where personal invasion might occur. iv In this project, we focused on the passengers’ behavior of keeping their personal bubble in public realms and attempted an intervention to publicize their personal space without undermining their personal bubble.

workshop iteration and booklet

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EXHIBITION

propsed exhibition (on the T platform wall)

instagram (@artonthet) The exercise is implemented repetitively, therefore, it remains as aaccount not just a onetime experience, but as a culture. Through the repetitive process, passengers are able to recognize the project and find their own work from the distributed books and online platform. The project is not limited in the result such as artworks or books, but the entire process itself is the project, which makes it a space of solidarity.

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Workership ; Anonymous platform for workers without fear of retaliation Current _2018.07 - current _Startup _Role: Lead Designer / UX, UI, web design, service design, business strategy

Platform for workers to easily communicate with each other as well as union to improve working condition and issues Workership is a platform combines traditional organizing principles with technology to bring worker’s voice to the forefront. Workers tend to not speak up about their unfair contract items or working conditions because of fear of retaliation. Also, it is hard to have access to information about their contract, and sometimes they do not even have the copy of contract. Usually, union is supposed to gather workers’ voice and represent their opinion, but it is also hard for them to collect and support all the opinions. And this lack of worker voice leads to poor work results and organizational inefficiencies. Workership is a platform for workers to easily communicate with each other as well as union.

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15


USER PERSONA AND JOURNEY MAP

Amy GENDER AGE OCCUPATION LOCATION

GOALS

FRUSTRATION

GOALS

FRUSTRATION

Trusted User Female 42 Nurse Cambridge, MA

Activism Personality Leadership Income

low

high

introvert

extrovert

low

high

$0

$100,000

To obtain fair working conditions To get useful information(job posting, health insurance, benefits) easily To express opinions without fear of retaliation No communication between workers and union representatives Fear of retaliation to speak up about unfairness Frustrated by passively complaining other workers

John

Regular User

GENDER AGE OCCUPATION LOCATION

Male 48 Security Guard Austin, TX

Activism Personality Leadership Income

low

high

introvert

extrovert

low

high

$0

$100,000

To engage in a community To share information with other people To talk about gossips and complain about his boss to relieve stress Fear of getting in trouble No idea where to find information and who to ask Have seen unfairness but no idea how to bring it up, but just complain

I organized this workshop for workership, to more precisely define painpoints and user persona on general users, trusted users (with invitation authority), and union representatives. Different types of users--different stakeholders-- have their own roles and needs, this workshop enabled us to define their identities as well as all members to be on the same page.

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WEBSITE / ADMIN MODULE

forum discussion page

admin module

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Hello World! ; Designing a platform for dragging people out from their comfort zone Fall 2018 _2018.09 - 2018.09 _MIT Hackathon_Team _Role: Ideation, UX/UI

It aims to break the monotony and incentivize exploration, human interaction and physical activity In the world we live in today we’ve largely confined ourselves to either stay indoors or go from point A to B on a daily basis. According to a Nielsen Study, on average each day, Americans spend approximately 11 hours- almost half a day in front of a screen. These demonstrate our tendency to self-isolate rather than branch out and experience different places. Most of us are unaware of how restrictive our habits and mobility patterns are. Hence, our proposed initiative aims to break the monotony and incentivize exploration, human interaction and physical activity. This is a platform which can be a tracking and reward system for every step you walk outside of your comfort zone. Your zone expands as you walkoutside of your comfort zone. You gain bread crumbs for each exploration step and these bread crumbs can be traded in for things like: grocery shopping credit, coupons for local establishments or you can opt to donate these to charity. Hence, using our platform, even taking the long walk home from the gym gains the user breadcrumbs for each step taken.

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19


comfort zone home

PROBLEM DEFINITION

work/school

comfort zone

s

work/school

ru

mb

home

br

ea dc

mobility monotony

new territory

The problem we focused on is an echo-chamber, people tend to stick with their comfort zone becuase today’s society system rerquires efficiency and speed all the time. Rather than finding the most efficient way to get home, we nudge people to explore and expand their territory by incentivizing them on every step they walk out of their comfort zone.

pedestrian interview 16 respondents (age:19-62, ave.27.8)

competition features

We conducted simple interviews with 16 people on the street around Charles River next to MIT. They were mostly pedestrians or joggers. We asked about what kind of features they would like if you have a route app of dragging you out from your comfort zone. This helped us to explore different problems and what they would like to do and expect. 20

Interested 82%

Not intereste

reward(financial) 69%

route recommendation

USER INTERVIEW

Ederly

mobility issue


PROTOTYPE

The platform is equipped with gamification features that allow you to compete with friends for breadcrumbs, or even cooperate with friends/family to collectively acquire breadcrumbs. Furthermore, in the app, places of interests, local businesses, historical sites, landmarks and other noteworthy sites become checkpoints for users to check-in and earn more breadcrumbs.

Essentially, the solution we are proposing is a mobile platform which rewards us for physically stepping outside of our enclave, challenging the self-segregation that many of us unknowingly conform to.

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Language Immersion ; Designing a VR Application for learning foreign language Spring 2018 _2018.01 - 2018.05 _Academic_Team _Professor: Ken Zolot, Scott W. Greenwald(MIT) _Role: Ideation, UX, UI

Realistic experience to users, which stimulate and activate synapse of nerve cells allowing them to memorize better When we learn a foreign language, we memorize vocabulary, sentence structure, grammar and linguistics of language but without practicing in an immersive setting, thus the language does not reach fluency. To improve this, we converged on creating an experience for users wanting to learn a new language through interaction. These users would communicate with virtual humans in pre-defined scenarios to practice conversation. These scenarios are the situations that we could easily meet in our daily life: cafĂŠs, grocery stores, libraries, gym, etc. Besides, using virtual reality offers realistic experience to users, which stimulate and activate synapse of nerve cells allowing them to memorize better. Learning Languages VR is the fully immersive 3D language learning software that provides a variety of life-like language immersion scenarios for the global user who craves a more realistic, safe space to hone their skills. The new age of VR technology makes it possible to mimic true immersion in the comfort of a safe environment.

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23


USER PERSONA

Susan Park AGE

Income 21

Personality

OCCUPATION Student LOCATION

GOALS

$0

$50,000

introvert

extrovert

Spk

English

Seoul, Korea

R+L

low

high

To learn English in a more practical way To memorize new words efficiently To get higher score in English test for getting a better job

FRUSTRATION

Being shy when talking to natives Keep thinking about grammer when speaking Never been able to spend time in other countries

Jacob Garcia AGE

Income 24

Personality

OCCUPATION Engineer LOCATION

GOALS

Mexico city, Mexico

To find a new job in the US To learn English with native speakers in Mexico To gain experience of real life English

FRUSTRATION

Hard to learn expressions used in real life Not enough time because he has a full time job No chance to practice with a real person

24

$0

$50,000

introvert

extrovert

Spk

English low

R+L high


PROTOTYPE (SCENARIO + UI) Learning Language VR English as second language

Start Up Office

Hotel New York

Meeting in a informal space (Coffee shop)

Golden Gate Park (Picnic with peers)

Transportation

New York - Streets

Central Park

Office Hours Professor

Business New York

Academic San Francisco

scenario map

Users choose the scenario they wish to engage with by walking into the situations. They use controllers to select the factors. When the user go into the scenario, the missions are given. The users are supposed to interact with virtual humans to complete the missions. When they need help, they can easily get sugesstions by looking up, or when they need transcript, they can get diverse sources including dictionary and transcript of conversation they just had. In addition, users can review and export their conversation and the vocabulary they have looked up in the scenario and review. In ‘my vocabulary’, they can also check pronunciation and definition. Also, the user-contributing system and the utilization plan of user community will help them to share experience.

prototype

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Montage in the Park ; rearragment of emotion Fall 2016 _2016.09 - 2016.12 _Academic_individual

Attempts to attain the highlighted books, the highlight immediately shifts away, setting in motion a fruitless chase Our life is divided into segmented nodes. The film cuts and pastes these nodes to increase or shorten the moment to represent people’s lives and to indirectly convey the feelings being experienced. A montage in a movie is an array of different scenes. The meaning of each shot is not definitively implied, but is represented by different ideas, meanings and emotions depending on how they are combined and juxtaposed. Our lives are also expressed through the process of a collage. In addition to having the event itself, the events and the emotions that occur every moment differ according to their placement. Choices, fragmentary memories, and the surrounding environment are expressed through an expansion or reconstruction of the collage. They are transformed and restructured properties by projecting each other according to their arrangement.

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Fluctuating Emotion, the RED CARPET Wood/ 210x660 / 2016

Creating a platform is to communicate and share visitors’ thoughts. The experience in the park is determined by a montage of their choosing—through a sequencing of the paths that lead to the feeling of different emotions— and differentiated by their placement. The elements experienced on the road are fixed but not deterministic. The experiential boundaries disappear, users create their own experiences, and the boundaries of diversity expand endlessly through juxtaposition. The visitor decides which montage to make and this creates curiosity for future visitors about another combination in the boundary of the indefinite experience. This selective path, which is physically defined, is simple in its structural dimensions, but infinitely proliferates in the empirical dimension. Through this proliferation process, users of the park will have a new experience not only during the festival period but also in their routine visits to the park.


27


STRATEGY_PATH OF EMOTION

shortening a whole life expanding a moment of life a story in our life story is divided by scenes scenes are diveded by shots

LOVE

connected paths of emotions SURPRISE SADNESS

The film expands a part of life or shows a very long time implicitly. The film is divided into scenes, and these scenes are divided again into shots. Just as the montage in the movie determines its meaning through the placement of these shots, the significance of our emotions and personal events is determined by how they are arranged in our lives. I tried to express human emotions - which can be divided into six parts - on the road and make the arrangement a personal experience.

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STRATEGY_RED CARPET

S

+ city

M

+ park

L

+ plaza

XL

+ lake

outdoor stage connected with performance hall rooftop stage outdoor theater

ticket box infomation center souvenir shop indoor small theater

bridge waterfront cafe

plaza connected with park

connected paths of emotions

This red structure symbolizes the park, as well as the facilities needed for the film festival and the facilities that the park should have as a platform for filmmakers. It is diversified by its size and relationship with surrounding environment and ground facilities.

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EXPECTED EXPERIENCE

intrinsic features in theintrinsic park features in thedetermined park accordingdetermined to individual’s experience according to individual’s experience

light sound environment planting

FACILITY

flat

PAVING

comfortable

light sound environment planting

arranged

TOPOGRAPHY

light sound environment planting

TREE

SOUND

* light, sound, paving, facility, topography, planting

wonderful shape

character of path

character of path paths of emotions

JOY

peaceful

light

factors of influence sound environment planting

JOY

guilty

lonely guilty bored abandoned despair ashamed ignored depressed

lonely bored ashamed ignored

startled dismayed confused perplexed amazed astonished excited awe

dismayed perplexed astonished awe

hateful critical distant frustratedthreatened hurt mad violated aggressive

hateful threatened hurt violated

humiliatedanxious rejected scared submissedworried insecure inferior

anxious scared worried inferior

SURPRISEconfused

despair depressed

startled

light sound environment planting

FEAR

amazed excited

critical distant

ANGER frustrated

data selection in movie scenarios

diversified diversifi personal experience personal exp

powerful happy interestedpeaceful intimate proud accepted optimistic

SURPRISE

ANGER

final determination final determination configuration of meaning and resultof meaning and result

happy interested proud accepted

SADNESS abandoned

light sound environment planting

hilly/dent

annoying

soil

creepy shape

light sound environment planting

configuration paths of emotions

SADNESS

none

narrow/wide

fragrant

light sound environment planting

light sound environment planting

unexpected

light sound environment planting

colored

hopeful surprising

* light, sound, paving, facility, topography, planting

light sound environment planting

gloomy

hilly/dent dark

narrow/wide colored

flat bright

TOPOGRAPHY LIGHT

elements of the park and elements paths of the park and paths

mad aggressive

humiliated rejected

FEAR submissed

each routes are translatedinsecure to movies, and vice versa.

powerful peaceful intimate optimistic

?

theaters on the bridge

PATHS OF EMOTIONS PATHS OF EMO light sound environment planting

LOVE

LOVE

affection affection fondness liking lust lust caring User experience longing in recommendation longing adoration adorationcompassion

fondness liking caring process compassion

The application of this park recommends a movie complementing the emotion flow in a way similar to how the user has just experienced the park. Conversely, the app also recommends paths of the park similar to movies chosen by the users. In this way, they are able to experience their favorite movies in a special way.

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EXPECTED EXPERIENCE_PLAYFUL SOCIAL INTERACTION ; Determination and Juxtaposition

Boardgame—reamaking a story with the emotional line

Game elements ; emotion line / subject / event

This game progresses as two players alternately place the tiles on the board by creating a story. As players re-create the story by placing the tile sets—subject, event, and emotion— one by one, they are able to understand how each event influences one another.

The players share the story according to the series of events through the conversation about the various layouts of subjects/objects and events as well as the process of explaining the emotions and the reasons behind them. This whole process of communication is the purpose and the pursuit of this game.

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Cubic garden ; who is the owner of this land?

Seoul

Gangnam-gu

Fall 2016

SITE AREA

site

_2016.09 ~ 2016.11 _Individual work

Seoul

Jongno-gu

SITE AREA

A fundamental solution needs to consider boundaries of space and the interaction between subjects and objects Ihwa-dong is a hilly residential area of Seoul. As a part of a 2006 cultural rehabilitation project, the town brought in artists to cover the stairs and walls with murals, thereby rebranded the neighborhood as a “mural village.” This project introduced an influx of visitors to the area, while local residents were severely inconvenienced due to invasions of privacy, increased garbage and noise. The local residents’ convenience was never considered as a primary concern and they eventually responded through vandalism of the murals. This brings up the question of land ownership and whether or not the needs of residents and visitors can coexist. Addressing this issue begins with the dualization of subject and object. Visitors and residents are divided without being aware of the possibility for interaction between one another. Seoul

A simple programmatic approach for solving a problem, without considering a physical environment, would create confusion. The composition of Cubic garden guarantees the private space of residents by separating the pathways of visitors from the living space of residents. In residential buildings, the collision of visitors and residents is prevented by separating rooftop space and residential space. This physical division paradoxically breaks the boundaries between the two cohorts. Additionally, by providing a common community space between subjects and objects, the boundary between how visitors and residents perceive the community’s slopes is weakened. In this hilly community space, the concept of space is blurred as visitors treat the slopes as a viewpoint, while residents continue to view it simply as a slope. The collapse of a dichotomy from the decaying boundary creates a rhizome form through the interactions of both residents and visitors and allows the possibility of creating events in the space. The concepts of subject/object and resident/visitor become increasingly blurred.

0

32

2

4


8(m)

33


SITE ISSUE Residents of Ihwa are suffering from various problems caused by the increase of visitors such as waste, noise and privacy violations. According to the survey, they want to continue to reside in Ihwa-dong, but they have shown serious dissatisfaction with housing due to poor infrastructure, problems with visitors, and backwards housing conditions due to severe sloping and cramped space. In the meantime, Ihwa-dong has attempted various policies such as the mural village project and a green space project. However, these solutions are coming from a fragmentary perspective, not considering residents, and do not offer a fundamental solution. Therefore, I propose a physical solution that can break down the behavioral and programmatic boundaries.

residents residential area hill

CONFLI

Hily entrance

High d

No buffer

103m

Conflict of circulation visitor’s circulation resident’s circulation

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unsatisfactory

very optimistic optimistic negative very negative

low

physical environments/ infrastructure

low

wall-painting

none

yes

none

yes

very much

mural

35 casued by toursits/ aged environments

ICT residents’ response housing satisfaction

reason of considering moving

individual life quality

recognition of non-residents

private protection

increased housing rent

increasd housing income

increaed trash on roads

increased noise

visiting place

reason of unsatisfaction

satisfaction of living

100(%)

+

100(%)

visitors

mural visiting view point

Poor accessibility to the park

density

103m average slope 28.9%


STRATEGY_MODULING ; unit module housing unit

functional unit

This combinded module provides cubic gardens and rooftop gardens, which makes the circulation go through the center of the site. It also separates the circulation of the visitors from the residents. In addition, the cubic garden connects the green space of Naksan Mountain to the site.

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; binded module

terrace house

suitable for terrain

free space between housings

apply functional units

37


STRATEGY_CUBIC GARDEN Cubic Gardens, which meets the needs of visitors coming from Naksan Park, liberates residents from problems by blocking the visitor’s movement from direct residence in the village.

housing

resident’s circulation

visitor’s circulation

cubic garden

study model

38


visitor’s circulation visitor’s circutlation resident’s circulation resident’s circulation

stairs on stairs oncubic cubic

resting area onon cubic resting area cubic

green and water on cubic green and water on cubic

rooftop garden rooftop garden on housing units on housing units

cubic garden cubic garden

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1 6

2 7 5 10 3

9 11

8

12 4

11 8

4

12

40


JANGSU VILLAGE AREA

CHANGSIN2 AREA

SOONGIN-CHANGSIN 3 AREA SOONGIN-CHANGSIN AREA

JEGI 4 AREA

SOONGIN2 AREA

YONGDU1 AREA

This modular prototype can be applied to other residential environment improvement projects. There are a number of areas which have similar conflicts.

SITE PLAN LEGEND 1. terrace house 2. rooftop garden 3. cubic garden 4. terraced garden 5. communication center 6. viewpoint deck

0

5

10

20

7. resting area 8. garden for 1st floor residents 9. stairs 10. cascade 11. tree planter 12. vehicle road

40(m)

5

6 1 7 2

3

10

9

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Traces of memories ; overlapping the past and the present Fall 2016 _2016.10 - 2016.11 _Collaborative work _Role: ideation, Implementation, and installation

The past is a living part of the present, as well as the basis for the present, and therefore, the boundaries of time disappear. The present does not exist alone, but rather always coexists and interacts with the past. When a past memory resurfaces, it forces the subject to think and reason in the present while confronting the past. This encounter is not a simple meeting of a past fragment with a present event, but rather an instantaneous confrontation of the complete past. The past coexists with the present in every moment. The past is a living part of the present, as well as the basis for the present, and therefore, the boundaries of time disappear.

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Traces of memories Wood, Steel pole, Web camera, Gear, Monitor / 4.3x2.9x3.0 m / 2016

People encounter the concerns of the past, and the past became the present again. The place of the past, which used to lead them to deep contemplation, is the same as it is now, but it is also changing continuously. The place itself exists, but is constantly interacting with changing surroundings. The place is shaped by the events happening there and the accumulation of memories. When the past memories face the present ones, the past make up the present ones again, and build the person’s own character. These interactions between the present and the past are constantly repeating and affecting the individual experience.


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floor plan

wheel details

Encounters with past memories are a constantly engaged series of processes shaped like a wooden wheel. Past and present time come together to face one another through the medium of the camera. The memory in the past is reflected against a screen, and this memory of the past is reflected on the camera installed on the wheel, together with the piece of memory. This continuous process shows the breaking down of the boundary of time by interacting with the past and present. interlocked rotating wheels with webcams

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INSTALLATION

dissection diagram

photos taken with webcams

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Nodes and Pauses ; escape from habituation Fall 2016 _2016.09 - 2016.11 _Individual

Extended range of memories is another flow in and of itself, repeating habituation, dishabituation, and reterritorialization. All present moments coexist simultaneously with the past as a whole. Time is continuously beginning at the present, even though the present time cannot exist as time perpetually moves away from the present. The past should not be segmented as fragments of memories, but rather it should be perceived as an accumulated time that flows into the past from the present. All of these function as landmarks, but the way of connecting them only exists as a space of passage. In routine environments, people’s memories become habitual and the flow of these memories remains locked in the consciousness and in the form of another axis. The transformed axes in these historical gaps have been superimposed again with fragments of past memories. The buoys of memory created in the course of this superposition are represented by nodes and landmarks. These nodes break the current and past boundaries by pausing the present, and induce dishabituation in this already habituated space. It appears as a new superposition in the form of an organic axis breathing with the periphery. The destroyed boundaries of time also break down the axis of people’s flow, allowing people to rearrange and extend the realm of perception to the periphery. This extended range of memories is another flow in and of itself, repeating habituation, dishabituation, and reterritorialization.

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Nodes and Pauses Plaster, styrofoam / 900x1800x1800 / 2016

47


48


HABITUATION

Under ‘habituation’ we do not remember all of the roads and events. In our ‘habituated’ memories, there are only fragmentary fragments, not whole fragments. These fragments have been superimposed over time for a long time, each of them being a patch-like memory point.

Namdaemun Chunggyechun Seoul Station Gwanghwamjun plaza

Gyeongbok-gung Palace

fragments of cognition

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SITE ANALYSIS

Under ‘habituation’ we do not remember all of the roads and events. In our ‘habituated’ memories, there are only fragmentary fragments, not whole fragments. These fragments have been superimposed over time for a long time, each of them being a patch-like memory point.

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1800

1907

1910

1929

1933

1936

change of axis

change of road change of cognition

change of stream flow

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1938

1940

1960

1966

2016


SITE PLAN

main places on Sejong-gil

Nodes that are made by everyday space give pause to people and interact with themselves to create an organic relationship with the surroundings. Thereby a cognitive form which is diversified and extended to the periphery is created.

52


STRATEGY_NODE

Small changes are made in this space by creating nodes in forgotten spaces with habituation of passengers. By making a very ordinary space outside the cognitive area, the habituated cognitive structure will be de-habituated and newly restructured again.

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The Living Edge ; adaptive city Fall 2017 _2017.09 - 2017.12 _Academic_Team Professor: Montserrat Bonvehi _Role:

The edge is defined as the meeting of two conditions where the interaction between them is intensified such that a new condition emerges This project focuses on adapting the City of Boston to the impacts of climate change through the expansion and transformation of the edge. The edge is defined as the meeting of two conditions where the interaction between them is intensified such that a new condition emerges, unique to that edge. The idea of the rocky coast and tidal pool helped to define the pattern of the plan, and the strategy of the stormwater filtering channel system created the structure of the plan. Under this pattern and structure, different elements and infrastructures are added on top of this surface to enrich this built environment. It is maximized for the interactions of edges between soft and hard, public and private and stable and dynamic.

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55


he 8T 193

ic nt tla tA ea Gr

Gre

E ew at N

nd ngla

CLIMATE CHANGE IN BOSTON

19

44

e Th

Annual Precipitation

50

19

g

Do

1954

rol( 08)

)/Ca

a(09

Edn

55 D iane

19

Annual Precipitation 1958 Feb

1960 Mar 1960 Donna

2020

‘16

2015

69

Dec

Feb

05

20

78

03

19

n

Damage by hurricane

b

Damage by blizzards(inch)

ar 7 M

199

Gloria

1991 Bob

eb

Mean Sea Level Trend

Interannual Sea Level Variation

Interannual Sea Level Variation Daily Tides

20

05

1985

/F

Jan

201 3 F eb 201 2 S 20 and 11 y Ire ne

Ja

Fe

Jan

2015

Mean Sea Level Trend Daily Tides

20

2020

1900

Jan

201 3 F eb 201 2 S 20 and 11 y Ire ne

19

Jan

Dec

Jan

1900

1900

‘00

1900

‘16

‘00

03

20

Ja

n

b

Fe

Damage by hurricane

r

a 7 M

199

Gloria

1991 Bob

1985

Damage by blizzards(inch)

10ft Contours Site Boundary Stormwater Flooding Hurricane Storm Surge Boston Landmarks

Sea Level Rise 9in (2050) 21in (2075) 3ft (2100) 5 ft

Boston is highly susceptible to the negative impacts of climate change due to its proximity to SCALE the1:10,000 ocean and the extensive filling of wetland and coastal waters. Storm surge from hurricanes, sea level rise, and more frequent and intense rain storms threaten to flood much of the city, including our site along the Reserve Channel in South Boston. 7ft

Channel

Level Rise 9in (2050) 21in (2075) 3ft (2100) 5 ft 7ft

10,000

1630

1795

1880

56 Stormwater Flooding

1916

1950

1995


Sea Level Rise

10ft Contours

9in (2050)

Site Boundary

21in (2075)

Stormwater Flooding

3ft (2100)

Hurricane Storm Surge

5 ft

Boston Landmarks

7ft

Channel

Annual Precipitation

44 19

e Th

ea Gr

8 193

tA

tla

G The

ic nt

t rea

nd ngla wE Ne

SCALE 1:10,000

50

ngla

nd

19

g

Do

E ew

e

Dian

h 8T

tl ea Gr

tA

8T

tla

he

tA

Gre 193

e

e Th

ic

nt

1960 Mar 1960 Donna ea Gr

1900 Annual Precipitation

193

1958 Feb

at N

t an

ic

E ew

ngla

nd

at N

1955

re eG

arol( 08)

9)/C

na(0

4 Ed

195

90cm rise 150cm rise Annual Precipitation

50cm rise

19

19

44

44

Th

20cm rise

2020

2015

50

19

Jan

1900

‘16

Daily Tides

50

19

g

Do

19

6)9

g

Do

1954

Caro l(08 Feb

Dian e

1958 Feb

5 Dia ne

1960 Mar 1960 Donna

195

Fe b

1958 Feb

Annual precipitation

Interannual Sea Level Variation

r

1960 Mar 1960 Donna

19

69

Feb

20

78

03

19

n

2015

Damage by hurricane

Fe

199 r

a 7 M

69

Feb

Gloria

1991 Bob

eb

1985

/F

Hurricane Storm Surge

20

78

n

Damage by blizzards(inch)

5 ft

3ft (2100)

Boston Landmarks 5 ft

Boston Landmarks

7ft When the edge between what is land and what is water is distorted due to climate change, it becomes necessary to design a new edge: one that can react and adapt to 1:10,000 SCALE 1:10,000 change without jeopardizing those who live at the edge.

Channel SCALE

Interannual Sea Level Variation Damage by hurricane

b Fe

3ft (2100)

a

Surge

21in (2075)

Ja

ar 7 M 199

9in (2050)

Glori

Stormwater Flooding

21in (2075) Hurricane Storm Stormwater Flooding

1991 Bob

eb

Sea Level Rise

10ft Contours

1985

Jan /F

9in (2050)

Site Boundary

Site Boundary

03

19 Sea Level Rise

10ft Contours

Mean Sea Level Trend Daily Tides

20

05

Jan

201 3 F eb 201 2 S 20 and 11 y Ire ne

Damage by blizzards(inch)

b

Jan

19

(08)

Carol

a(09 )/

Edn

1955

9)/

na(0

4 Ed

195

03

Damage by blizzards(inch) 20 20

Daily Tides

Ja

Dec

Jan Damage by hurricane

1900 Mean Sea Level Trend

a 7 M

201 3 Fe 201 b 2 S 20 and 11 y Ire ne

199

a

Glori

1991 Bob

eb

1985

/F

Jan

Jan

‘00

Interannual Sea Level Variation

1900

20

1 97 8 2015

‘16

Mean Sea Level Trend Dec

20 Flooding Stormwater 05 Ja n

2020

1900

Jan

201 3 F eb 201 2 S 20 and 11 y Ire ne

‘00

05

Channel

Dec

Jan

1900

20

Hurricane Storm Surge

‘16

‘00

7ft

Sea Level Rise

10ft Contours

9in (2050)

Site Boundary Stormwater Flooding Hurricane Storm Surge Boston Landmarks

21in (2075) 3ft (2100) 5 ft 7ft

Channel

SCALE 1:10,000

57

200cm rise


LANDFORM AND BUILDING TYPOLOGY

58


59


Aquifer recharge ; rainfall and drought in Cuba Spring2018 _2018.01 - 2018.05 _Academic_Team Professor: Danielle Choi _Role: Ideation/drawing

re-inventing the irrigation channel by disassembling and reusing the existing concrete channel structures Under the Cuban revolutionary government, dams and irrigation channels were actively constructed to control water supply for agriculture and to minimize water shortage in the dry seasons. In spite of the instant satisfaction to the water demand, it has extensively intervened in the original water system. It caused the decline in the volume of groundwater held in aquifers, given that these dams divert the surface water into the massive reservoir. In this region, karst aquifers are composed of limestone and have many voids and spaces in their geology. These holes can be filled with groundwater. However, as the main source of groundwater is rainfall, water table levels have lowered down during the drought seasons. Consequently, available groundwater for water supply decreases. After exploring constructed dams and channels’ impacts on aquifers, we examined how to take advantage of them as a foundation for more sustainable water supply system to agricultural lands, focusing on how to increase recharge of aquifers by controlling channel’s water speed and flow. We propose re-inventing the irrigation channel by disassembling and reusing the existing concrete channel structures. Partially remaining structures diverge water flows and lower the water speed in order to allow the groundwater to be recharged.

60


61


JAIBO CHANNEL IN CUBA

hydrological map of Cuba

62


CHANNEL AND DROUGHT

cutting the channel wings

Since the water flows fast through the channel without its infiltration to the soil, a large amount of water just run out. We are proposing slowing down the water flow to take enough time to recharge the aquifer. By cutting out the part of channel wings, water can be captivated in the clayland and poreland located along the channel.

proposed location of clayland and poreland

63


STRATEGY_RECHARGING RECHARGEMENT DIAGRAM AQUIFER

64


relationship between each element

65


SECTION PERSPECTIVE

66


67


Global Engineering Center ; construction project Spring 2013 _2011.04 ~ 2013.03 _professional work(construction job site) _Samsung Everland _Role: material, labor and budget management

GEC is a newly constructed building for Samsung Engineering employees, located in Sangil-dong, Seoul in Korea. We created a rooftop garden space where employees can relax inside the building. It also offers a variety of resting places for employees, such as a sunken garden, a rooftop garden on the 3rd floor with the glulem bench, an ecological pond, and the traditional garden on the 17th floor. I managed the construction as the director of construction site workers. Also I was mainly in charge of drawings, overall supervision of construction, and suggesting ideas to persuade the client.

68


1

2

69

3

1. Traditional rooftaop garden 2. Glulam garden 3. Bamboo traditional rooftop garden

Profile for EUNSU KIM

Portfolio_Eunsu Kim  

Designer

Portfolio_Eunsu Kim  

Designer

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