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Yale School of Architecture M.ArchII 2014 Cal Poly San Luis Obispo B.Arch 2011 Selected work from year 2009 to year 2013 Work range from academic to professional experience

PORTFOLIO 14

Hochung Kim

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Š2014 Hochung Kim Portfolio 14 Academic and Professional work from year 2009 to year 2013 Yale School of Architecture California Polytechnic State University San Luis Obispo


INTRO

While growing up in Southern California, I have spent countless hours commuting to and from both work and school by an automatic car. This experience of commuting within an intimate space interests me because even though my body is not directly involved with the motion of the car, there are still so many outside environmental factors that influence my sense of movements, energy, and forces. However, this realization was hard to grasp at first because all the vehicles around me were traveling at a relatively similar rate of speed. As a result, my perception of motion was lost because I became part of that movement. What interests me is that I was not aware of this phenomenon until I stopped and noticed the movement contrast to the surrounding environment. This realization forced me to further pursue a study on motion. Studying motion has helped me realize that the beauty of space is captured when the perception of movement occurs. Film is one particular form of media that highlights this effect and impacts my visual awareness. Made up of a series of individual images and frames, film as a whole gives the viewer the illusion that motion is occurring as thousands of images are rapidly translated into multiple shots of scenes. However, the viewer cannot see the transition between the frames due to the persistent visual effect in which the eye retains a visual image for a fraction of a second after the sources have been removed. As a result, the picture or photograph conveys the movement and the possible outcome of the object’s next action. Observing this captured moment in time forces me to imagine and collage the past and future in a different perspective. It forces me to create a mental map of time progression. Using animation as a drawing technique really helped me to better understand and analyze this different sequences and stages of motion. It not only became a supplemental tool to analyze and to experiment various outcomes of the projects but it also introduced me to a new paradigm of ideas. Particularly, the diagrams of animation strip helped me to observe the motion of an object in that specific time frame. The ability to capture the information into a single image or a drawing has helped me to connect the dialogue between the cause and effect of a system. This concept of animation has certainly had a strong influence on my past research projects. The elastic structures that I have developed in my urban housing projects were an example of a hybrid structural system that provides alternate solutions to San Francisco’s earthquakes. In my thesis project, Nomadic City, animation was used to create multiples of parametric modules based on different surface pattering organizations. As a result, this dynamic of repetition in form and motion suggested that new development of structural framework evolves endlessly. This project had developed as diverse and dynamic mixtures of programs to intervene in a sprawl Los Angeles River. The parametric process with constraints of the urban framework helped me to test out thousands of different program possibilities. My understanding of animation was also further developed to create a conceptual model based on the form and function of a flower, and this conceptual model was later developed as a skin system for the project. Animating digitally and building the conceptual model physically helped me to study the skin system of a building where the variations of apertures were tested and adjusted to meet criteria of external environmental conditions.

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Academic Work

From year 2009 to year 2014

01 Enigmatic Theaters pg. 06-19

02 Art District pg. 20-39

03 Convention Center City pg. 40-53

04 Nomadic City pg. 54-79

05 Urban Sanctuary pg. 80-95

06 Urban Housing pg. 96-109

07 New Library for The Information Age pg. 110-117

08 Panton Furniture Show room pg. 118-125

09 Urban Garden Expo pg. 126-133

10 Design Reconnaissance pg. 134-143

11 Digital Fabrication pg. 144-151

12 USITT Competition pg. 152-163


From year 2009 to year 2012

CONTENTS

Professional Work

13 Moore Ruble Yudell Architects & Planners pg. 164-171

14 Stephen Ehrlich Architects pg. 172-181

15 HOK San Francisco pg. 182-185

16 Morphosis pg. 186-187

17 WE Architecture pg. 188-193

18 Doug Jackson Design Group pg. 194-201

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Enigmatic Theaters Los Angeles, California

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Professors Marcelo Spina, Georgina Huljich, Nathan Hume Advanced Design Studio: 2013 Aug - 2013 Dec The locations of three theaters are the result of threeprimitive geometries projected from the central axis that have been rotated into three different axis. These three geometries serve as main a framework for three different kinds of theater programs. The initial primitive geometries where cones and a cube but have been modified into more obscure geometry to redefine saddle surfaces in between and create a profile surface for the main theater space. By locating theses three theaters into three different corners create central circulation for the public and create another opportunity to augment secondary and tertiary programs to grow out from the atrium. Epidermal Monoliths The surface of the monolith is treated as an autonomous system and building as an object. The surface of the monolith is characteristically independent that the body is separated from shell like skin. As Machado describes it, “the outer shell form betrays faintly the contours of the instrument while negotiating the regularity of its geometry with subtle cruves, depressions, and protuberances.” And as Paul Virilio’s notes from “Bunker Archeology,” While most buildings are embanked in the terrain by their foundations, the casemate is devoid of any, aside from its center of gravity, which explains its possibility for limited movement when the surrounding ground undergoes the impact of projectiles.


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Skin Texture Just like an instrumental case where it includes a poche layer of soft material to mediate between its generic geometry and the particular contours of the instruments inside, there are a cavity between the object and the skins of a building. The Openings are hybrid apertures of small openings that create moirĂŠ and noir effect. The patterns are created by taking the contour lines from the outline of primitive geometries where the contour lines form about 6 inches to 1 foot extruded planes. Various different gradients are emphasized by the overlapping of these contour lines to create moirĂŠ and noir effect. There are no direct visual to the transparent openings in a relation to interiors.

Top Skin Texture Detail Right Concept Diagram


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left Top A model rotated in four different central axia


RightTop Site Plan Right Bottom Floor Plan 11


Top Axon rendering with the site Left Site Plan 13


Left Top Physical Sectional Model Left Top Process development Bottom Right Physical Sectional model with skin texture on the outside


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left Top Section thru Fairfax


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Left Top Section


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Art District Amsterdam, Netherlands Professors: Isaac Kalisvaart (MAB Developer), Alex Garvin, Kevin Gray Bass Studio: 2013 Jan - 2011 May

The master planning project is located in a historical Navy yard in Amsterdam. The site has a condition of being isolated due to privacy, military concern for the Netherlands’ government. For the proposal, one of the main concerns was to maintain this isolation by creating an Art community. It is a semipublic community where the residents will have an access to private galleries for various events. There are sculpture gardens in between the housing apartments to activate social interactions within the community. During the course, various housing typologies were introduced to study and analyze current Amsterdam urban housing units versus creating new typologies to create more intimate, small green spaces inbetween buildings. The site will be mostly developed by private developers who will maintain the continuity of the language within the community but introduce different qualities of spaces within the community. It is a project that emphasizes new ways of looking at housing units with the relation to the public roads in a new territory. Somehow the project emphasis is on isolation and creation of new community within isolated site.


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Site Plan 1:1000


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Rendering of the overall Site in a relation to the Amsterdam station


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Rendering of the internal community


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SARPHATI PARK BLOCK SIZE: 200 X 55 M NUMBER OF DWELLINGS: 248 NUMBER OF STOREYS: 4-5 DWELLING SIZE: 65m2 - 130m2 DIFFERENTIATION OF DWELLINGS: 3 TO 4 ROOM Courtyard create solitute in the neighborhood.

SARPHATI PARK

TYPE 1

BLOCK SIZE: 200 X 55 M NUMBER OF DWELLINGS: 248 NUMBER OF STOREYS: 4-5 DWELLING SIZE: 65m2 - 130m2 DIFFERENTIATION OF DWELLINGS: 3 TO 4 ROOM

BLOCK SIZE: 30 X 35 M NUMBER OF DWELLINGS: 260 NUMBER OF STOREYS: 4-5 DWELLING SIZE: 60m2 - 100m2 DIFFERENTIATION OF DWELLINGS: 1 TO 3 ROOM

Courtyard create solitute in the neighborhood.

Courtyards are linked to the neigbhorhood.


STADSTUINEN BLOCK SIZE: 55 X 118 M NUMBER OF DWELLINGS: 170 NUMBER OF STOREYS: 4-8 DWELLING SIZE: 75m2 - 144m2 DIFFERENTIATION OF DWELLINGS: 2 TO 5 ROOM Public roads isolate the building unit.

STADSTUINEN

TYPE 2

BLOCK SIZE: 55 X 118 M NUMBER OF DWELLINGS: 170 NUMBER OF STOREYS: 4-8 DWELLING SIZE: 75m2 - 144m2 DIFFERENTIATION OF DWELLINGS: 2 TO 5 ROOM

BLOCK SIZE: 35 X 30 M NUMBER OF DWELLINGS: 360 NUMBER OF STOREYS: 3-4 DWELLING SIZE: 30-80m2 DIFFERENTIATION OF DWELLINGS: 1 TO 3 ROOM

Public roads isolate the building unit.

Main courtyard between the buildings create secondary patio, green space

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BOS EN LOMMER BLOCK SIZE: 175 X 45 m NUMBER OF DWELLINGS: 208 NUMBER OF STOREYS: 4 DWELLING SIZE: 65m2 DIFFERENTIATION OF DWELLINGS: 3 TO 4 ROOM DWELLINGS Between the building courtyards are not active

BOS EN LOMMER

TYPE3

BLOCK SIZE: 175 X 45 m NUMBER OF DWELLINGS: 208 NUMBER OF STOREYS: 4 DWELLING SIZE: 65m2 DIFFERENTIATION OF DWELLINGS: 3 TO 4 ROOM DWELLINGS

BLOCK SIZE: 200 X 55 M NUMBER OF DWELLINGS: 220 NUMBER OF STOREYS: 4-5 DWELLING SIZE: 40m2 - 70m2 DIFFERENTIATION OF DWELLINGS: 2 TO 3 ROOM

Between the building courtyards are not active

Interweaving courtyard creates a secondary private gardens


GWL SITE BLOCK SIZE: 165 X 325 M NUMBER OF DWELLINGS: 600 NUMBER OF STOREYS: 4-5 AND 8 DWELLING SIZE: 84M2, 120M2 DIFFERENTIATION OF DWELLINGS: 2,3,4 ROOMS Units have no direct relation to the green space.

GWL SITE

TYPE4

BLOCK SIZE: 165 X 325 M NUMBER OF DWELLINGS: 600 NUMBER OF STOREYS: 4-5 AND 8 DWELLING SIZE: 84M2, 120M2 DIFFERENTIATION OF DWELLINGS: 2,3,4 ROOMS

BLOCK SIZE: 50 X 15 M NUMBER OF DWELLINGS: 200 NUMBER OF STOREYS: 3-4 DWELLING SIZE: 40m2 - 80m2 DIFFERENTIATION OF DWELLINGS: 3 TO 4 ROOM

Units have no direct relation to the green space.

Interweaving greenspace linked to the major public park.

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Site Area:127,000 m²

Total housing units: Total Housing land a Total Gross Floor ar

Green Space: 38,000

Public Plaza, Alley ways: 20,000 m²

Total housing units: 1100 Units Total Housing land area: 50,000 m² Total Gross Floor area: 150,000 m²


Java Island

Bimhuis

Public Library

Convert to Restaurant

: 1100 Units area: 50,000 m² ea: 150,000 m²

Police Station

Existing Buildings Storage

0 m²

Admin National Maritime Museum

Board Walk Art Gallery: 3500 m²

Green Space: 38,000 m²

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Initial Renderings of the community


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Right Intial sketches of the master planning Left Sectional view of the community 39


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Convention Center City Boston Bay, Boston, Massachusetts Professors Fred Koetter, Ed Mitchell, Aniket Shahane Collaboration with Matt Raugh Post Professional Studio: 2012 Aug - 2012 Dec

The existing character of South Boston is defined by large buildings and spaces resulting from the functional requirements of the expanding convention center district and transportation systems that anchor the site, and we believe that the massive scale and impact of these parking lots, highways, train lines, convention centers, factories, and bodies of water should inform its future development. Specifically, we see six key locations: The Seaport World Trade Center, the highway interchange immediately to the south, the Convention Center, the Gillette building, and the Fort Point channel. Our proposal further defines these monumental voids, leveraging South Boston’s economic power to create equally powerful urban spaces in a new landscape for the city. As visitors arrive by rail, they are welcomed to the city by a large terminal where walking straight leads to downtown, and walking right leads you to the east and the south boston convention center district. The enormous loggia leads directly to the 1000’X600’ channel courtyard. The scale of this space expresses the growing convention districts’ (the city’s) values of commerce and industry (on a global stage), becoming a contemporary interpretation of the imperial city square found in places such as Isfahan, Iran, or the Columbian Exposition of Chicago. However, contrary to these examples, the architecture becomes a restrained background element, serving only to define the monumental void, the (moment of rest within the urban fabric). From this void, the visitor is free to move on to his destination, whether it is one of the hotel rooms that frames this plaza or on to one of the other convention center voids. (or any other destination that south boston may attract.


Concept Diagram The city is based on the time, place and memory of events by an each individual activity.

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Site Plan The site around South Station is the key public space within this system of voids.


Digital Site Overview The relationship between the existing buildings to the proposal voids.

Site Physical Model The relationship between the existing buildings to the proposal voids. 43


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Diagrams This new city of voids is both functional and ambiguous, to be interpreted and used by a wide audience of both international and local users. Each with a different character, they form a basic diagram/structure for future development of the site. By addressing South Boston’s large scale buildings and infrastructures with an equally massive approach, our proposal creates for the entire site a masterplan which acknowledges and develops the character of this site, a unique kind of void city that is part of the heterogeneous fabric that makes Boston.


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The Site The site around South Station is the key public space within this system of voids. Extending existing rail lines directly into the eastern portion of our courtyard, we create a new entrance for South Boston for visitors to the city by long distance rail. Additionally, the courtyard’s location spanning the Fort Point Channel opens new pedestrian connections from the Chinatown and Leather District, as well as accommodates travelers and local commuters from the South Station Bus Terminal, Subway station, and the I-90 and I-93 interchange. This entrance courtyard’s location at the terminus of the fort Point channel also allows the introduction of water, creating a space that is activated based on differing environmental or temporal conditions. Four different elevations in our plaza’s ground surface allow a 10’ tidal fluctuation to let differing levels of water to fill the center. Much like the changing character of Venice’s flooded Piazza San Marco, these periodic floods generate varying levels of activity and density around the periphery based on what time they occur. The water creates temporary uses such as additional convention space when trade shows such as the New England Boat Show are in town, or in the summer filtered pools can be used for wading and cooling off. At times, the entire plaza floods, forcing the masses of commuters at rush hour to throng the arcades at the edge of the courtyard, while at other times at night the space is entirely empty, left to be crossed by the solitary figure.


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Low Tide The water creates temporary uses such as additional convention space when trade shows such as the New England Boat Show are in town

Mid Tide Much like the changing character of Venice’s flooded Piazza San Marco, these periodic floods generate varying levels of activity and density at the edge of the water.


High Tide In the summer filtered pools can be used for wading and cooling off

Flood At times, the entire plaza floods, forcing the masses of commuter at rush hour to throng the arcades at the edge of the courtyard, while at other times at night the space is entirely empty.

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The Seaport World Trade Center is a convention center complex which contains 118,000 sf of exhibition space with the possibility of accommodating 3500 guests at one time. The complex has expanded an associated hotel immediately to the south across Seaport Boulevard with easy access to the world trade center tee station, so we propose a second void at this location composed of support functions for the convention center. The third void we consider to be the existing Boston convention and exhibition center, the largest Convention center in the Northeast bringing over 1.6 million attendees to the city annually. Directly to the south is a proposed extension to the convention center which will nearly double its current size. The fifth void in our system is completed by the back of the Gillette factory, and it creates a more private screened planted courtyard. The sixth void is located at the terminal point of the channel where an older train infrastructure creates an accidental public space.

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Nomadic City Los Angeles River, Downtown Los Angeles Professor Stephen Phillips Studio: 2010 Sep - 2011 Jun

Nomadic City is my research project to find out how spaces can be generated and also meet programmatic, circulatory, structural, and service requirements. As a result, the patterning system is introduced as a hybrid version of different methods of folded plates that leads into a complex form. This also introduces dynamic - variety to the space. Secondly, kinetic structures are integrated based on my animation experiments. This allows the patterning plates to react and respond to the surrounding environment. Thus the overall system is elastic. As a site placement, this small city can walk along the Los Angeles river, as the site never becomes a permanent place. Lastly, investigations on today’s society shows that digital media is always linked to people’s daily lives. The spaces are organized so that the theaters (dependent) are concentrated in the center of the overall layout and the housing and other commercial units (independent) are organized on the outside of the form to be easily manipulated. Conceptual laser cut file of “Flower” in gradual difference of openings and shapes Nomadic City 2011 Thesis Project


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Infrastructural City Infrastructural City Founded in 1850, Los Angeles is the epitome of the modern city, a planned metropolis supported by infrastructure. Whereas New York’s grid is for pedestrians and horses, Los Angeles is laid out according to the progressive ideals of the decongested metropolis, planned for the efficient movement of trolleys cars and, later, automobiles. If the West was dominated by the theology of infrastructure, Los Angeles was its Rome. Cobbled together out of swamp floodplain, desert, and mountains, short of water and dependent on far-away resources to survive, Los Angeles exists by grace of infrastructure, a life-support system that has transformed this wasteland into the second largest metropolis in the country. Historically, Los Angeles’s rapid growth has led to an exacerbated rate of failure. At the turn of the century, the city was running out of water. In the 1920s, downtown was jammed to a degree unimaginable today. By the 1950s the city’s air pollution was probably the worst in the world. What makes our moment distinct is that the remedy of creating a new infrastructure or using new technologies to surmount breakdown is no longer an option. Also Los Angeles is noted for its architecture, that architecture is almost exclusively single-family homes. Los Angeles’s skyscrapers are generic its downtown void of any interest except for the fact that it is there. Downtown’s recent redevelopment serves only to make it more generic: run-down buildings remodeled into run-of-the-mill lofts. Recent attempts to give the city the illusion of a civic architecture also ring hollow. Site Plan and Diagram of Los Angeles Downtown The 48 miles of the concrete viaduct that stands in for the Los Angeles River was once a thriving natural body of water capable of sustaining a population of 250,000

Hospitality Health

Office

Government

Manufacturing / Warehouse Retail Shops

Education Entertainment Office

Hospitality

Culture

Health

Manufacturing / Warehouse Retail Shops

Government Education Entertainment Culture

Metro Stops

Housing

DOWNTOWN

Open space

Parking Structure

Abandon

Parking Lot

SUBURB

Transportation Facility Metro Stops

Housing Open space Abandon

Parking Structure Parking Lot Transportation Facility Rail Lines - Gold Blue Purple Expo Red

Rail Lines - Gold Blue Purple Expo Red


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“The Megastructure is a large frame in which all the function of a city or part of a city are housed...In a sense it is a man-made feature of the landscape. It is like the great hill on which Italian towns were built.” Maki Mega Structures In the 1960’s for a lot of architects and urban designers, megastructures were the answer to the question left unanswered by the functionalist, modernist city: how to adapt a building (or a city) to unpredictable growth and change. In a way megastructures were the first examples of time-based urbanism. Megastructures were buildings at the scale of a city. In 1964 the Japanese architect Fumihiko Maki defined a megastructure as ‘a large frame in which all the functions of a city or part of a city are housed. It has been made possible by present day technology. In a sense it is a man-made feature of the landscape. the Platonic solids. Four-dimensional “polyhedroids” such as tesseract, the four dimensinoal extrapolation of the cube, could be described mathematically and geometrically, but they could not be built or seen.

Paul Rudolph Lower Manhattan Expressway Project 1967 Conventional “A-Frame’ or terrassenhauser section of two slping stack of apratments back to back over each carriageway of a giant transportatioin

A-Frame structure to plug in the program

Four major characteristic: 1) constructed of modular units 2) capable of great or even “unlimited” extension 3) A structural framework into which smaller structural units (for example, rooms, houses or small buildings of other sorts) can be built -- or even “lugged-in’ or ‘clipped-on” after having been prefabricated elsewhere 4) A Structural framework expected to have a useful life much longer than that of the smaller units which it might support.

Kiyonoru Kikutake Ocean City project 1962 Vast cylindrical towers forming the ‘trees’ on which the individual dwellings come and go like seasonal ‘leaves’

Yona Friedman Spatial City 1959 Housing plans and structures should allow for the free will of the individual inhabitants

Trusses as a structural system to plug in the program

Core structure to plug in the program

Buckminster Fuller Montreal Biosphere 1967 Space frame to capsule the exhibition. The sphere serves as structure and to capsulate the inhabitants.

Dome structure serves as a container for the program


Theo Jansen’s Models Theo Jansen, a kinetic sculptor was one of the inspiration for this project. Construction of intricate assemblages of piping, wood, and wing-like sails not only gave result of walking creature, but the process and the delicacy of the construction inspired me to observe the intricate pattern of skeleton assemblage. Using low cost materials to produce such a result of walking mechanism gave life to the notion of kinetic sculpture.

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0’

Initial Study drawings of plans and sections

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LONGITUDINAL SECTION


FLOOOR PLAN 03

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Site Diagram

Rail Roads

To Downtown TTo o Dow Do wntown Downtown

Public Circulation

To Suburbs

Main bridge acess to downtown and freeway


Folded Plates Folded plates distribute loads along the surfaces of a plate and along the seams between the folds, across three dimensions, producing structures composed of surface and linear elements. Folded plates- When the surface is folded, increasing the depth of each of the folds increases their overall resistance, enabling the surface of the plate to function as a beam. Folded plate and truss folded plates- Increasing the depth of their folds similarly increases resistance to bending moments, with the inside of the plate’s section cross-braced by a threedimensional truss. Both subsystems can produce a gradually changing section that distributes loads in a way which is similar to structural aternaries, arches or domes. Art District

Main bridge acess to downtown and freeway

Exploded Axon of components

Exisiting Warehouses

Kinetic Joints

Steel Structures

StructalFrames

Folded Frames- walls, ceilings, floorsf

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-25 BELOW RIVER BANK

Longitudinal Section The longitudinal section illustrates an organization of different programs and a relation to the kinetic structures. The structures respond to each program and is flexible for adjustment.

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Cross Section AA The area contains theater, parking structures in the bottom and the housing units are oriented towards the outside.

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Cross Section BB The structures are adjusted with the movement of different program. The classes are oriented towards the outside.


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Cross Section CC The center of area is an event space where the community meet. It is composed with various media events

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Cross Section DD There are multiple media event areas throughout the main space.

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Kinetic Skin Response The integrated system of aperature technique of camera was used to engender the openings of skin facade. The openings varies from the amount of sun lights you need for theinterior. The aperature of the openings changes according to sun angles. The openings are governed by the structures that are integrated behind the facade. It is used as differnt variation through out the building system. In here the structures are not only used to support the buildings but are integrated together with the skin to response to the outside environment. Several expeiments have been done to have the skin integrated with the floor, and overall building system.

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Kinetic Skin Detail The movemnet of the aperature openings of the enveolope is connected with the floors, walls and celings of the component


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Physical Model Scale: 1/32” Actual Dimension: 24” x 48” Materials: BassWood, Acrylic, MDF

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Patterning System My precedent study of mega structures help me to understand the different typology to organize my overall program. System that is compromised of different kind of programs, site issues, and how it’s structured etc. I developed pattern system where each pattern responds to a specific program requirement and transform based on the needs. The process I used was addition patterning system rather than sculpting the mass of a volume. Such an affect gives dynamic resolution to each cross section space but also provides continuity throughout linear layout. Physical Models I. The overall structures are based on kinetic structures that can be rotated and fluctuate by the internal and external environment. II. The overall linear structures are based on a plug-in system, where each modules (pattern system)could be added and subtracted on the basis of program requirement. Top

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Animation Experiments Throughout the study of animation, I was experimenting to find out the response of an object. Whether it was a study of skin system or an object mutating, clustering to create a different form, it all started by observing the pattern of the animation. The animation not only helped me to understand the process and progress between the beginning and the ending of the kinetic movement of an object but also the integration between those two stages. The drawings of the animation scroll helped me to understand the frozen moment of that specific object when it was continuously evolving to the next stage. In my Parametric Truss animation, I used grasshopper to observe how series of simple lines can translated into a structure system by adding thickness to x,y,z directions. In my Catastrophic Flower experiment, although my physical model did not exactly replicate the mechanical movement from the digital model, it suggested another possibility for the object to move in a different coordinate. Also the physical model helped me to understand how gravity will play in role to see how it will be structured. I used both Maya and Rhino program to model and animate this study digitally. Digtial Diagrams/ Model I have created different versions of the flower skin relation to the structure in the back to create different movement. Diagrams from the animation of flower kinetic structures.The openings of the surfaces react to the outside environment and translates into the structure components that correspondent to the need. Physical Concept Model I have used series of rubber band, bass wood sticks and straws to move this flower like opening where it was folding and unfolding like an umbrella. I have started to modulate series of this prototype to create different pattern. During this process some of the openings were larger than the another. Without knowing exactly what this was going to be, it became a solar panel skin system where it would fold in an out to capture the sunlight and provide energy. It is the beginning stage of the modular units that to be created.


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Pipe Organ Sanctuary Venice, California Professor Thomas Fowler Studio: 2009 May - 2010 May Industrial technology has left the footprints of the machine parts that created society to engage in the system of mass production, thus making the lives of people not only fast paced, but also has introduced to new ideas of perceiving light and space. The space experience in pipe organ sanctuary allows people to ponder and meditate the mystical quality of light energy before they enter the main worship space.

Above: Initial Concept model of forces impact and the creation of space.


Initial Concept Study of Force Field 24” x 36” Ink on Mylar 81


Site: The site is located in Venice Beach, Los Angeles, right now as an empty parking lot. The site becomes the focal point of diversity, where people share multi cultural views with no real boundary of ethnicity and it is also a place where multiple religious viewpoints are shared. The way my programs is oriented on the site is the result of having a sun shaded area mimic the circulation of one way street. The road that leads to the ocean also leads people into my main sanctuary space.


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Program: The program focuses on the worship space where people come in and out to pray, and meditate. Also two secondary programs, the education and fellowship areas engender another small community that allows people to engage in various activities and share information. Since I thought the worship space was so powerful in terms of spirituality, I left it as a void so there would be no interruption of the light energy that generates this space. The void was created by the outcomes of both the education and fellowship spaces crossing each other. The void also becomes a worship space that is directly connected to the outdoor area so people could access in anytime they want 24 hours a day.

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Program Diagram

1. educational rooms 2. administrative 3. circulation

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2 3 Program Diagram

1. main atrium 2. assembly seating 3. main entrance


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Site Circulation

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1. one way road

2. pedestrian access

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Site Phasing

1. public space/ green area 2. parking

3. site bridge

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1. Lobby 2. Lounge 3. Assembly Seating 4. Sanctuary Space 5. Sacristy 6. Pipe Organ 7. Office 8. Conference Room 9. Secretary/ Reception 10. Classroom 11. Fellowship room

12. Restrooms 13. Janitor Room/ Maintenance 14. Machine room 15. Outdoor Public Space 16. Open Area 17. Mediation Room 18. Canal 19. Parking Lot 20. One way Street

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Light Energy

Ligt Space Modulator by Laszlo Moholy-Nagy (1922-193 ) 120 x 120 cm in size.

Inhabitable Light Space Machine Design Process Sequence

My initial study of kinetic power of Moholy-Nagy’s Light Space Modulator—a mechanically driven rotating kaleidoscope projecting ever-changing patterns of light, shadow, and color allows building inhabitance to observe how light will create space in my project. My process starts off by building a light machine that was built by finding the left over parts from industrial machines. My idea was to observe and capture the projection of light images that are refracted by the fan. The main idea was to spin the fan by rotating the gear manually. It was interesting to record the phenomenon of using one handle to rotate multiples of gears to let the fan spin. From the images

and the movie clips that I got off the light machine while moving, there were translated into series of images and diagrams. From these diagrams I started to understand the hidden relationship among forms and how these constructive elements were governed by hidden forces. Diagrams became the strong evidence for capturing these light energies. Then these light energies were translated as a wireframes for my digital and spatial manipulation devices. This was the foundation for developing my overall architectural vocabulary. Those wireframes eventually became the structures for my space. I was letting it expose so the people can see, feel and understand how these hidden forces of light energies would be reflected in reality of my space.

2D DIGTIAL + 2D ANALOG

2.5 DIGITAL + 2.5 ANALOG

3D DIGITAL + 3D DIGITAL Light Machine - Analog

Sitlll image of the light machine movement.

Beginning development of spatial aspiration from the sitll image.

2.5 DIGITAL- Relief Model

Analog Collage Model

Light Machine - Digital

Force Drawing driven from the collage of analog and digital image

Light Machine Exploded Axon- Digital

3D DIGITAL MODEL

Light Machine Section - hybrid of analog and digital


Process Diagram

CIRCULATION

PROGRAM

EDUCATION FELLOWSHIP SANCTUARY ADMINISTRATIVE MECHANICAL ENTRY HALL

SUN SHADING DIAGRAM

91


Skin System

Sectcion Perspective AA

The idea of double skin provided cross ventilation into all spaces. There is 2ft gap between the inner cladding and the outer skin which uses light ETFE cushions for the day lighting and provided shadows that are projected with the skins.

Section AA


Cladding Structural Detail

4 mm aluminum sandwich panel plastic seal sheeting

X2 Steel bars to support the steel edge beam ETFE laminated safety glass Diagonal steel tension cable

Steel Edge Beam

30 mm Steel Tension Cable

Steel bar, high-gloss polished stainless-steel covering fixed with adhesive

Tubular Steel Strut with reinforcing fins 93


Structural System: I am using steel tension cables to work with my overall steel structure. My steel structure is categorized into three components to balance out my space: The first my primary structure consists of using steel bars at the point where all the tension cables are coming down. The secondary structure consists of tension cables. The third structure consists of using part of my pipe organ system with an infinite numbers of strings and tuning wires that are displayed among the structural system which not only makes the pipe organ to work but it also vibrates and undulates the entire building, allowing people to see and feel the operation of the pipe organ.

Physical Model Scale: 1/16” Actual Dimension: 18” x 36”


Physical Model Scale: 1/16” Actual Dimension: 18” x 36” 95


06

Urban Housing Hayes St, San Francisco, California Professor Stephen Phillips Studio: 2008 March - 2010 June

First I have developed scrolls and films into an array of experimental analog models. These constructions correlate to ideas initiated in my animation films. In this process, dynamism is embedded in my built work from the beginning, which affords new ways to conceptualize spatial and material building forms. I have Generated an elastic prototype structure that reconsidered San Francisco’s typical housing and rear yard open space. This design allowed for housing units to be constructed side-by-side to enhance spaces between row houses and provide extensive windows adjacent to garden lots. The public could use pathways between housing where desired, enabling open space and passage between city lots that could be extended up and onto public space on the roofs.

Site Plan Animation Study of movement of lighting in a different time and place.


97


FLOOR PLAN OF NODE1_1/16” 01_ STUDIO 02_ STUDIO W/ BEDROOM 03_ PRIVATE PATIO 04_ LOBBY 05_ PUBLIC PLAZA 06_ RETAIL STORE 07_ PRIVATE HALLWAY

04

01 06 07

03 05

HAYES

IVY

01

00 F

01 F


IVY

HAYES

1/32” SITE PLAN

02

01 1

01

07

02 07

02 F

03 F 99


8

6

7

4

8

10

3

4

1

7

Le corbusier’s Unidad de habitacion Case Study- TThe case study of the aparment complex helped me to understand the proportion of each unit in a modular setting

Housing Units Prototype Using a museum board, various prototype of housing units were created. The folded technique combination with various slits and cuts implied to create different kinds of space

101


Node 1 Modular Unit

I have generated an elastic prototype structure that reconsidered San Francisco’s typical housing and rear yard open space. This design allowed for housing units to be constructed side-by-side to enhance spaces between row houses and provide extensive windows adjacent to garden lots. The public could use pathways between housing where desired, enabling open space and passage between city lots that could be extended up and onto public space on the roofs.


x2 Mirrored and rotated to maximize the sun Node 1 Modular Unit

Two Modular Node1 Combined

studio studio

one bedroom two bedroom

public plaza

retail

Node 1 Program Diagram

Node 1 Circulation Diagram

103


First I have developed scrolls and films into an array of experimental analog models. These constructions correlate to ideas initiated in my animation films. In this process, dynamism is embedded in my built work from the beginning, which affords new ways to conceptualize spatial and material building forms.

Elasticity Structure Study - Digital Model

Animation Scroll Study


Elasticity STructure Study - Analog Model using rubber band and plywood with various nuts and bolts

105


Physical Model Scale: 1/16” Actual Dimension: 18” x 36” Materials: BassWood, Acrylic,

107


Physical Model Scale: 1/16” Actual Dimension: 18” x 36” Materials: BassWood, Acrylic, Chipboard, MDF


109


07

New Library for The Information Age Dallas / Fortworth Airport, Texas Professor Eric Nulman Studio: 2008 Sep - 2010 Dec

A new library for the information age is the result of understanding the relationship between globalization and traditional libraries. The act of globalization is the result of internet access to gain maximum information within short amount of time in any places. As to respond to such a fast paced society, where peoples’ conception of understanding service and time are more valuable than having physical products, my library becomes like a “fast food� place where people are to just grab their knowledge and information through this modular oriented digital library and travel to their destination. My digital library focuses on the system where physical books are strictly limited, but rather the books are stored in digital format where they are contributed through different link system.


111


main circulation result of the two planes that are in an acto of compression to create a passage in between security point starts in every beginning point of the system to enter through the space phase II_ single node modular scale phase I_ single n

Phase I. single node (compression of space)

Phase II. Modulated scale

phase IV_ multiplicity

Phase III. single to multiplication of space.

Phase IV. multiplictiy

reading (private space) next to the book stack + circulation. facing outside

archive (restriction to public) result in the intersection of reading room+ public room. public space result of the intersection of two private spaces (book stack+circulation)


Program

Circulation Terminal A

Components

113


translucent glass 2’x12’ steel frame steel frame welded at 120 degrees

steel frame bracket vacuum formed PVC

water vapor foam

translucent glass plywood frame, covered with white painting

vacuum formed PVC Structure system. This module of Diamond shaped strucutre was to illustrate the mood of compactness when you are inside the space. It is also works as structure because steel is strong in tension, thus the weight is distributed to the ground. For overall of my design I chose vacum formed PVC to illustrates luminious look of the floor surface.

render of an example of material used in the program. hochungkim. arch 341. instructor Golden Elizabeth

a gap between the ceiling and the steel frame wall for air ventilation

low-emissivity translucent glass

A gap between two light filteration panel and PVC panel

light filteration transparent plastic film suspended in the sealed air space of insulating glass. glass-fibre-reinforced plastic cladding enclosure system- Materiality

perspective of the enclosure space.

hochung kim. arch341. instructor Elizabeth Golden


2. 4. 3 5.

6. 2. 1. First Floor 1. public space 2. private reading space 3. ramp to the 2nd floor 4. book stacks 5. main entrance 6. outside opening space

2. 4. 3. 3.1. 4.

2.

2nd floor concourse level 2. private reading space 3. ramp from the 1st floor 3.1 ramp to the 3rd floor 4. book stacks

1.

2.

2. 4. 3.1 4. 3.2

6.

3rd floor 1. public space 2. private reading space 3.1 ramp from the 2nd floor 3.2 ramp to the roof access 4. book stacks 6. outside opening space

115


Physical Model Scale: 1/8” Actual Dimension: 24” x 50” Materials: BassWood, Acrylic, Plywood

Physical Structural Model Scale: 1/8” Actual Dimension: 24” x 50” Materials: BassWood, Museum Board


Physical Detail Model Scale: 1/2” Actual Dimension: 18”x18” Materials: BassWood, Museum Board 117


08

Panton Furniture Showroom Copenhagen, Denmark Professor Marc Jay Studio: 2009 Jan - 2009 March

Inspired by Verner Panton’s exploration of color and forms in furniture to link the relationship between human body and space, the goal of this infill furniture showroom is to let people experience that sense of space while they are exhibiting various furniture. The site is located in Frederiksberggade, lot 38 as a perpendicular to Vester Voldgade, one of the major street in Copenhagen. The site is also known as Stroget where it contains the history of being one of the first pedestrian streets since 1962. The transparent double glass façade emphasize the overall of this Panton-derived form and color to attract many tourists and locals around the area.

Furniture Showroom Concept Diagram


Section Models Typology

119


FREDERIKSBERGGADE

VESTER VOLDGADE


121


01 FLOOR

primary secondary

Program

02 FLOOR

03 FLOOR

Circulation Core

04 FLOOR

Structure System

05 FLOOR


123


Inside the furniture store, bright colors of the furniture were emphasized to define the form of the space. The void is used as an atrium. The main staircase that links all the floors together also becomes a passage to view the entire furniture in one place.


To emphasize the form of the interior space, simple glasses were used as a cladding detail. Joints and details were emphasized in order to maximize the clarity and transparency of the facade image.

Cladding Detail

125


09

URBAN GARDEN EXPO Copenhagen, Denmark Professor Marc Jay Studio: 2009 Sep - 2009 Oct

My first idea originated with my observation how some Danes living in Copenhagen had their own private gardens right outside of Copenhagen to plant their favorite crops. So I wanted to create a garden where people don’t have to drive outside of the Copenhagen but it will be within the main city. The site is located in Norre Voldgade, right next to Orstedparken. It is a temporary pavilion where people around the world have a chance to observe how the urban garden will affect the community and how it will also create another public space for major events underneath the garden. There are many advantages for having this garden: it will provide more greens, the space underneath this garden will serve as a public space for a gallerry, cafe, and a plaza, and it will provide opportunities for people who has limited space in their flats to plant their own crops within the walking distance.


127


129


Each 3x3x3 triangle base is designed to serve as a standard garden lot for people to plant their own crops. Each farmer will have three of this 3x3x3 lots as the person will climb one of the ladder in the center of these gardens. However the base is raised 4m above

Winter Planting Strategy During the cold season each lot will be capsulted with ETFE to keep the heat and allow much sunlight possible

Summer Planting Strategy During the hot season capsules will be opened to allow natural ventilation and create shading for people underneath the capsule

Steel hinge allows to open 180 degree

ETFE membrane Wood panels

Planting Strategy There will be a moveable ladder crane for farmers to palnt their crops above 4m height

Water Preservation The inverse pyrmid shape allows the water to collect in one focal point and carry throughout the underground to be restored and spread throughout other dry season.


131


HF Skovmosen Nyttehaver right outside of Copenhagen City

There is a main public circulation passage where it serves as a “bridge� to link between the Norre Voldgade and the Orstedparken and people to see these gardnes. The materials of making this modular system will cost both new materials (ETFE) and wood panels as it is a recycling material and easy to assemble and disassemble at the end. Private Circulation with the movable crane ladders

Main public circulation links between norre voldgade and orstedparken

GALLERY CAFE/ GARDEN CAFE

Publc progarm

Site Plan


Future expansion plan in 10years

2010

2013

2016

2019

133


10

Digital Fabrication Class Yale School of Architecture Professor John Eberhart Collaboration with Matt Raugh Digital Fabrication Class: 2012 Aug - 2012 Dec

The digital fabrication class involved not only using the advanced tools to produce the projects but it also suggests new ways of design method. The class consists of three assignments, which could relate to each other in terms of design process. The first assignment was using a folding technique to create various forms and patterns. Various folds and cuts were made through laser cutter to create the effect. Second assignment was mainly involved in using the 7-axi robot, Kuka to mill the foam on all x,y,z coordinates. The process mainly involved with converting files from Rhino to Power Mill and to DOS operation program. The last assignment involved both milling and plastic forming. The main idea was to mass produce the same object in a short amount of time within the limited budget. At the end, the product involved with the lightings and constructability of translucent panels. The plastic molded panels have high contrast to the existing concrete texture, where the idea of elastic and more rigid materials comes into the overall composition.


135


a

b

c


Assembly Axonometric Diagram The composite of three layers of modules and a grid

a

a

a

a

a

a

b

a

a

a

b

Layer 2: Secondary structure to serve as a “filling� between layer 1 and layer 2

Layer 1: 4x3 Grid equally spaced horizontally and vertically joined

Layer 3: Repetition of a & b, joined in a different row

137


Robotic Process step 1 The first step of using the robot involved laying out the foam in a flat surface and secures the base.

Robotic Process step 2 Rough stage and finer stage had to go through in order to mill it more accurately.


Robotic Process step 3 In order to mill on the both sides of the surface, the new frame was built so it could stand vertically.

Robotic Process step 4 The finished mill piece was to be smoothed out manually.

139


Digital Process The process involved from creating a prototype from Rhino to exporting to PowerMill program to converting files to DOS format to operate the 7 axis Robotic arm


141


143


11

Design Reconnaissance Transparencies Yale School of Architecture Professor Mark Foster Gage Collaboration with Yasemin Tarhan Post Professional Studio: 2012 Aug - 2012 Dec

This purpose of this seminar is to bring in technical knowledge and aesthetic attitudes from different disciplines into architecture. Our study explores the notion of embedded transparencies as exemplified by the work of the artist Tokujin and tries to create environments that reflect his aesthetic. Our exploration of transparent materials began by using both digital and physical media. At first, we experimented with intersecting different materials and forms in Maxwell to catalogue the range of possibilities. With the help of photo realistic renderings, we tested how a variety of transparent and translucent materials such as antiglare glass, blue gem, rippled glass, acrylic, multiefrigent, bubbled clear plastic and so on interact with one another. We divided our formal strategy into four categories: embedded rectilinear, intersecting rectilinear, embedded soft, intersecting soft. At the end of this exploration, we moved away from combining different materials to using a single material to create some of these effects in physical form. We were interested in how the light gets reflected and refracted within the object to not only make it blend with the surrounding environment but also to portray depth within the 2-D surface of the object. For our first physical prototypes, we tried carving out voids and embedding curvilinear forms in a basic rectilinear form. The curvilinear forms were computer generated and then translated into a point system that was then laser cut onto an acrylic sheet.


145


Amber Gemstone

Antiglare Glass

Cristal Duo

Blue Gem

Rippled Glass

Translude

Acrylic

Multirefringent

Bubbled Clear Plastic

Blue Glass Cobalt Shade


Process The process involved from laser cutting the acrylic sheets to polishing and gluing the layers together. 147


149


As our final product, we fabricated a 1’ x 1’ x 1.5”acrylic brick made up of stacked sheets that has embedded curvilinear forms in it. Each layer has a pattern of lasercut dots that was computed in Rhino to mimic the aesthetic of a floating fabric. These forms both hide and reveal what’s behind the surface, depending on the angle of vision. The individual bricks can be assembled in any pattern to form a wall, stairs, tables, or floors. They can also be translated into a larger scale to create spaces that one can move through.


151


12

USITT Competition Dallas / Fortworth Airport, Texas Collaboration with Yale School of Drama Students Competition: 2014 March

The Team Skene+Theatron is committed to fostering an enhanced theatre culture in New Haven, Connecticut. Current institutions in the immediate surrounding include the School of Drama and the Repertory Theatre Company but they lack the supporting facilities required for the students and professionals to unleash their creativity and potential. For our proposal, the collaborative team consisting of students from the School of Drama and the School of Architecture, had gathered to discuss how the 567-seat multi-purpose theatre at the heart of downtown New Haven could become a cultural landmark for a city that would cater for various scales of productions through the adaptation of a multi-use stage. The scheme proposes a redevelopment of a 46,000 square feet rectangular lot bounded by George Street to the south, College Street to the east, and Crown Street to the north. The team agreed that the theatre should be located at the center of the lot in order to leave sufficient room for trucks to enter from College Street and unload equipment to the southern opening and to provide green open space at the north end that leads to the main entry of the building. The design concept for the new theatre is based on the notion of hide and reveal. A rigid external box embraces the theatre within, and this box is sliced into strips with linear intervals at minimum widths to hide and reveal the theatre according to the angle of view, much like the theatrical performance where house curtain is used to hide and reveal the spectacle.


153


Basement Level

Orchestra Level


Mezzanine Level

Balcony Level 155


View from the stage

157


View from mezzanine level


View from right

View from left balcony level 159


PLASTER ROBOTIC TOTAL STATION : IT COMBINES THE LATEST IN TRACKING, MOTORIZED TURNING, ANGLE ACCURACY, AND SOFTWARE TECHNOLOGY PROVIDING POWERFUL AND EASY-TO-USE “ONE-MAN” VENUE'S LAYOUT RESEARCHING.

MOVEABLE/DEMOUNTABLE PROSCENIUM ARCH TRACKS UP/DOWNSTAGE ON ROLLERS

ACOUSTIC REFLECTOR IN TRANSVERSE SEATING MODE

POSITIONING PRISM

AIR PRESSURE FROM STAGE MOVABLE SEAT WAGON , HOVERCRAFT AIR LIFT TECHNOLOGY

REMOTE CONTROL PAD WITH IMPORTING AND EXPORTING CAD FILE

20

20

20

20

20

20

20

20

20

20

20

20

20

20

20

20

20

20

20

20

20

20

20

20


ACOUSTIC CEILING CLOUD WITH VARIABLE ANGLE DEPENDING ON SEATING CONFIGURATION

OVERHEAD MOTORIZED SHAFT WINCH SYSTEM CAN BE USED FOR

1. THRUST STAGE 2. PROSCENIUM WITHOUT ORCHESTRA 3. PROSCENIUM WITH ORCHESTRA, 4. OPEN STAGE

1. TECHTABLE MODE : THIS ACOUSTIC PANEL CAN BE ATTACHED ON BOTTOM OF TECH TABLE. SO IT CAN WORK AS ACOUSTIC PANEL 2. WINCH SHAFT SYSTEM ALSO CAN BE USED AS RIGGING BOX TRUSS, PROJECTION OR SCENERY PIECES

NESTED TECH TABLE ATTACHED ACOUSTIC PANEL

PERMANENTLY INSTALLED PROJECTION BAFFLE BOX ON BALCONY WING AREA , ABLE TO ROTATE HORIZONTALLY

DEPLOYED TECH TABLE POSITION, IF NOT IN USE, TECH TABLE CAN BE STORED IN TECH REHEARSAL ITEM ROOM LOCATED IN MEZZANINE LEVEL FOH AREA.

STACKED PROJECTION BOX IN CONTROL BOOTH, CAN BE A SOLUTION TO REDUCE KEYSTONE OR PICTURE DISTORTION ISSUE.

PERMANENTLY INSTALLED PROJECTION BAFFLE BOX UNDER BALCONY AREA , ABLE TO ROTATE HORIZONTALLY

INSOLATED BOOTH

ALTERNATIVE SOUND FOH POSITION

161


Orchestra

Softgood & leg Removable proscenium arch Orchestra

Orchestra area Performing area

Stage Configuration Study

hzzpz{hujl zlh{ wlyzvuhs spmlGz|wwvy{ z€z{lt VIBRATING CHAIRS WILL BE AVAILABLE TO THE HEARING-IMPAIRED PERSON.

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THIS AUDIO-TACTILE DEVICE DESIGNED TO ALLOW DEAF PEOPLE TO “HEAR” MUSIC

SOUND ISOLATED WINDOW

hkhGspm{ wvzp{pvu

DEAF ADA BOOTH SECTION

DEAF ADA BOOTH PLAN

WINDOW WINCH , ABLE TO BE REPLACED WITH ACTUATED PIVOTING WINDOW SOLUTION, IN CASED OF BALCONY HIGH IS NOT ENOUGH AIR IN FROM DEDICATED PROJECTION DUCT

SOUND ISOLATED WINDOW VIBRATION COIL HEADPHONE VOICE COIL CHAIR THE 16 VOICE COILS (LIKE SPEAKERS WITHOUT A CONE) EMBEDDED IN THE CHAIR REPRODUCE FREQUENCIES RANGING FROM ABOUT 100 HERTZ TO 10,000 HZ; THE AVERAGE ADULT HEARS SOUNDS RANGING FROM 20 HZ TO 16,000 HZ.

PERMANENT STEEL BAFFLE BOX

ADA LIFT

DEAF ADA BOOTH SECTION

Technical Detail

AIR OUT TO DEDICATED PROJECTION AIR TUBE

PROJECTION BAFFLE BOX DETAIL


Proscenium with wide opening

Wide thrust stage in traditional lyric theatre

Narrow proscenium arch with deep forestage in position

Theatre in the round deep forestage in position

Proscenium with orchestra opera / dance / musical wide proscenium opening

Narrow thrust stage

Thrust stage with proscenium arch

Transverse stage 163


13

The Hague U.S Embassy The Hague, Netherlands Moore Ruble Yudell Architects & Planners Work: 2011 Sep - 2012 July

As a designer in the IDIQ team for U.S. Embassy at The Hague, my task mainly involved with producing construction documents. From creating mock up sets to constantly communicate with the contractors to develop the drawings. I was involved in the project to execute exterior facades, site plan, mechanical and lighting plans, construction details. Project description from Moore Ruble Yudell website: The new U.S. Embassy at The Hague embraces its new rural setting by blending in with its surroundings; pleasing the local residents and city authorities, while meeting the programming requirements of the client. A site was chosen outside the city in a rural district of large, privately owned country estates between the cities of The Hague and Wassenaar. The site itself has been a series of athletic fields for 50 years after it was bombed by the Allies in late 1945. It is surrounded by the country’s water canal system that helps to maintain over 40 percent of land area that would otherwise be underwater. The main office building is maximized to its allowable zoning envelope and then a series of “pavilions” are carved out of the masses to house different parts of the program. The pavilions are connected together by circulation spaces and these wrap around a central service core. The public spaces of the building – the lobby, café and a communicating grand stair between the ground and first floors are all located to be visible from the approach and entrance to the building. Red brick is the main material and various patterns have been developed to help discern the hierarchy of the various buildings on the site with the office building becoming the most important.


165


VEHICLE AND BICYCLE PARKING PLAN

C

C

C

58 14

service entrance building SCAC

2 utility building UTL

18 C

staff housing MSGQ

C

27

C

2

maintenance SPX

C

62

92

chancery NOB

main entrance pavilion MCAC

C

12

31 OFFICIAL VEHICLE SPACES 116 STAFF VEHICLE SPACES 195 BICYCLE SPACES

41 C

C

VEHICULAR PARKING C

C

C

C

BICYCLE PARKING

PROPERTY BOUNDARY LINE REQUIRED LOCAL SETBACKS

true

0

10

20

40m

SCALE 1:1200

UNITED STATES DEPARTMENT OF STATE

KPFF CONSULTING ENGINEERS

SASAKI ASSOCIATES

MOORE RUBLE YUDELL ARCHITECTS & PLANNERS

June 15, 2011

N E W E M B A S S Y C A M P U S AT THE H A G U E, N E T H E R L A N D S

ACCESSIBLE AND BICYCLE PATH SITE DIAGRAM

C

C

C

exterior area of rescue

utility building UTL

C

staff housing MSGQ

C

service entrance building SCAC

C

maintenance SPX

C

chancery NOB

C

main entrance pavilion MCAC

Bicycle path Accessible route C

C

C

C

C

C

PROPERTY BOUNDARY LINE REQUIRED LOCAL SETBACKS

true

bus stop 0

10

20

40m

SCALE 1:1200

UNITED STATES DEPARTMENT OF STATE

N E W E M B A S S Y C A M P U S AT THE H A G U E, N E T H E R L A N D S

KPFF CONSULTING ENGINEERS

SASAKI ASSOCIATES

MOORE RUBLE YUDELL ARCHITECTS & PLANNERS

June 15, 2011


MASTER SITE DEVELOPMENT PLAN

C

C

C

service entrance building SCAC

utility building UTL

C

staff housing MSGQ

C

service

C

maintenance SPX

C

chancery NOB

main entrance pavilion MCAC

C

C

C

C

C

C

C

PROPERTY BOUNDARY LINE REQUIRED LOCAL SETBACKS

true

0

10

20

40m

SCALE 1:1200

UNITED STATES DEPARTMENT OF STATE

KPFF CONSULTING ENGINEERS

SASAKI ASSOCIATES

MOORE RUBLE YUDELL ARCHITECTS & PLANNERS

June 15, 2011

N E W E M B A S S Y C A M P U S AT THE H A G U E, N E T H E R L A N D S

SITE ACCESS & CIRCULATION DIAGRAM

C

C

C

utility building UTL

C

staff housing MSGQ

C

service entrance building SCAC

C

maintenance SPX

C

chancery NOB

main entrance pavilion MCAC

C

Official Vehicles

C

Service

C

Staff (pedestrian)

C

C

C

C

Emergency exit path

PROPERTY BOUNDARY LINE REQUIRED LOCAL SETBACKS

true

0

10

20

40m

SCALE 1:1200

UNITED STATES DEPARTMENT OF STATE

N E W E M B A S S Y C A M P U S AT THE H A G U E, N E T H E R L A N D S

KPFF CONSULTING ENGINEERS

SASAKI ASSOCIATES

MOORE RUBLE YUDELL ARCHITECTS & PLANNERS

June 15, 2011

167


7 A513

6 A513

4 A811

9 A513

1 A811

5 A513

NOB - GRANITE PANEL EXTERIOR

4A

NOB - GRANITE PANEL EXTERIOR

4B

5

4

A544

A544

NOB - GFRG PANEL INTERIOR

5A

1 : 20

4

5

A544

A544

5B

1 : 20

NOB - GFRG PANEL INTERIOR

6 A851

15

12

12

15

A543

A544

A544

A543

5 A851

7 A851

6

15

15

6

A548

A544

A544

A548

NOB - CURTAIN WALL EAST

6A

6B

1 : 20

2

-

A512

---

NOB - CURTAIN WALL SOUTH

6C

1 : 20

NOB - CURTAIN WALL CORNER

7A

NOB - ARCH STAIR #4

7B

1 : 20

NOB - ARCH STAIR #4

3A

3B

A514

A514

790

472

16 FASCIA

A514

8D

MCAC - SOFFIT CORNER TOP

MCAC - SOFFIT CORNER BOTTOM

8E

8G

MCAC - SOFFIT CORNER RCP 1 : 20

10 A514

472

2

2

A514

A514

6

14

A514

13

13

A511

A514

8C MCAC - S.S PANEL WITH GRAPHIC

8A

1 : 20

8F

MCAC - S.S. PANEL WITH GRAPHIC

6

14

A514 SIM

SIM A514

MCAC - SOUTH FASCIA ELEVATION

A514

MCAC - EAST FASCIA ELEVATION

8B

1 : 20

1 : 20

UNCLASSIFIED

75

75

75

75 GYP. BD. OVER METAL STUDS GYP. BD. OVER METAL STUDS

GYP. BD. OVER METAL STUDS

STONE PANEL

STONE PANEL

STONE PANEL

STAINLESS STEEL SPLIT TAIL STRAP ANCHOR

GYP. BD. OVER METAL STUDS STONE PANEL 3

STAINLESS STEEL SPLIT TAIL STRAP ANCHOR

STAINLESS STEEL SPLIT TAIL STRAP ANCHOR

3

STAINLESS STEEL SPLIT TAIL STRAP ANCHOR

3

OPEN JOINT, TYP. PRIMARY PATH OF TRAVEL

3

TYPICAL JOINT @ STONE PANEL

1

STONE PANEL - OUTSIDE CORNER

2

1 : 2

STONE PANEL - INSIDE CORNER

3

1 : 2

STONE PANEL @ GYP. BD.

4

1 : 2

1 : 2

SEE PARTITION 75 TYPE

STAINLESS STEEL SPLIT TAIL STRAP ANCHOR

GYP. BD. OVER METAL STUDS STONE PANEL

GYP. BD. OVER METAL STUDS

STONE PANEL

75

STAINLESS STEEL SPLIT TAIL STRAP ANCHOR

WOOD VENEER REVEAL TO MATCH WOOD PANEL

LAMINATED GLASS PANELS W/PLATE CLIPS, TYP., SEE ELEVATION FOR TYPE

STAINLESS STEEL STRAP ANCHOR

GYP. BD. OVER METAL STUDS OR CONCRETE, SEE PLAN

STONE PANEL

3

STONE PANEL 13

STAINLESS STEEL STRAP ANCHOR 70 @ GYP. BD.

Z-CLIP SYSTEM

100 @ CONCRETE

WOOD PANEL (WDV1 & WDV2)

BLOCKING AS REQUIRED

3 GYPSUM BD.

LINE OF STONE BEYOND

STONE PANEL @ WOOD PANEL

5

6

1 : 2

STONE PANEL @ GLASS PANEL

TYPICAL DETAIL @ T.O. STONE PANEL

7

1 : 2

8

1 : 2

STONE PANEL - HEAD DETAIL 1 : 2

75

75 LAMINATED GLASS PANEL OVER PLATE CLIP SYSTEM

3 GYP. BD. OVER METAL STUDS 70

STAINLESS STEEL SPLIT TAIL STRAP ANCHOR STONE PANEL

STONE PANEL STONE PANEL

GYP. BD. OVER METAL STUDS

STAINLESS STEEL STRAP ANCHOR

8 ALIGN

A814 LINE OF STONE BEYOND

3

STAINLESS STEEL STRAP ANCHOR

SS ANCHORAGE SYSTEM, TYP.

GYP. BD. OVER METAL STUDS

ALIGN

GLASS PANEL (GL7) CAFE SERVING LINE

13

SIGNAGE - SEE SIGNAGE DRAWINGS

75

ALIGN

STONE PANEL

3 GYP. BD. OVER METAL STUDS, TYP. LAMINATED GLASS PARTITION, SEE ELEVATION FOR TYPE

1 : 2

10

STONE PANEL TRANSITION @ GLASS PANEL 1 : 2

11

OUTLET, SEE ELECTRICAL

STONE PANEL @ GLASS PANEL 1 : 2 3

75

ELEVATIONS

STONE PANEL - OUTSIDE CORNER @ GLASS PANEL

9

SEE INTERIOR

3

TV W/ WALL MOUNT

SIM. OPP .

LINE OF STRINGER BEYOND

STAINLESS STEEL SPLIT TAIL STRAP ANCHOR

10

STEEL COLUMN, SEE STRUCTURAL

RABBETED EDGE

CURVED STONE COLUMN COVER

STAINLESS STEEL ANCHOR 13

WOOD VENEER REVEAL TO MATCH WOOD PANEL

CURVED STONE COLUMN COVER STAINLESS STEEL SPLIT TAIL STRAP ANCHOR WELDED TO COLUMN

WOOD PANEL (WDV1 & WDV2)

8 A814

R 15 0

HORIZONTAL TUBE STEEL, SEE STRUCTURAL

10

STONE PANEL

Z-CLIP SYSTEM STEEL TUBE COLUMN & BASEPLATE, SEE STRUCTURAL

TERRAZZO FLOORING

SEE INTERIOR ELEVATIONS

GYP. BD. OVER METAL STUDS

ALIGN

STAINLESS STEEL SPLIT TAIL STRAP ANCHOR WELDED TO COLUMN

FLOOR LEVEL

LINE OF HORIZONTAL TUBE STEEL ABOVE SHOWN DASHED

3

13

STONE PANEL TRANSITION @ WOOD PANEL 1 : 2

14

STONE COLUMN COVER DETAIL 1 : 5

15

STONE COLUMN COVER DETAIL 1 : 2

16

STONE TV SURROUND @ CAFE 1 : 5

UNCLASSIFIED


BRICK PATTERN A 740

5

7

A505

A505

6

5

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10 A505

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EQ

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15 2760

A541

9 A505

1A

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13

10

13

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A511

A541

NOB - BRICK WALL

1B

1 : 20

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2C

2C

5

A571

A571

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NOB - BRICK WALL AXON

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1 : 20

4

4

A507

A507

7 A541

9 A545 423

1 363

A512

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4

4

A507

A507

1

2A

13

5

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A512

1680

1680

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MSGQ - BRICK WALL

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1 : 20

MSGQ - BRICK WALL ELEVATION

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1 : 20

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1 : 20

MSGQ - BRICK WALL AXON

3C 15

3C

A511

A571

A571

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3 353

506

A507

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15 A511

10

2640

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385

208

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1 : 20

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1 : 20

SPX - BRICK WALL SECTION

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1 : 20

SPX - BRICK WALL AXON UNCLASSIFIED

10 MM MORTER JOINT TYP

OTHER SIDE SAME AS VISIBLE SIDE BUT OPP HAND

OTHER SIDE SAME AS VISIBLE SIDE BUT OPP HAND

OTHER SIDE SAME AS VISIBLE SIDE BUT OPP HAND

SOIL/PLANTING PER LSCP DRAWINGS

10 MM MORTER JOINT TYP CUT CORNER BRICKS AS NECESSARY BUT EQ @ BOTH SIDES

FIN GRADE WHERE OCCURS PER CIVIL ALL AROUND GRANITE CAP

10 MM MORTER JOINTS TYP

MITER CUT BRICKS @ CORNER

BRICK TYPE B1 TYP CUT BRICKS AS NECESSARY TYP

SQUARE CUT BRICK FOR CORNER

BRICK TYPE B2 TYP CUT BRICKS AS NECESSARY TYP

CUT AS NECESSARY BUT EQUAL @ BOTH SIDES OF CORNER TYP

BRICK TYPE B1 TYP

CUT BRICKS AS NECESSARY TYP

FIN GRADE WHERE OCCURS PER CIVIL SITE PLANS, ALL AROUND

FIN GRADE WHERE OCCURS PER CIVIL SITE PLANS, ALL AROUND

RESUME BRICK PATTERN 'C' SEE GEN ARCH DRAWINGS

1

ANTI-RAM WALL CORNER

RESUME BRICK PATTERN 'C' SEE GEN ARCH DRAWINGS

RESUME BRICK PATTERN 'C' SEE GEN ARCH DRAWINGS

2

RESUME BRICK PATTERN 'C' SEE GEN ARCH DRAWINGS

RESUME BRICK PATTERN 'C' SEE GEN ARCH DRAWINGS

ANTI RAM WALL END

3

PARKING CONTROL WALL END

4

RESUME BRICK PATTERN 'C' SEE GEN ARCH DRAWINGS

PLANTER END SECTION/ELEVATION NOTES:

CUT BRICKS AS NECESSARY TYP CUT BRICKS AS NECESSARY TYP BRICK TYPE B1 TYP

RESUME BRICK PATTERN 'C' SEE GRN ARCH DRAWINGS

5

2750 WALL END 2750 ANTI CLIMB FENCE

2750 ANTI CLIMB FENCE 2100 MM FENCE METAL GATE PEDESTRIAN GATE ANTI CLIMB FENCE

S.S. ANTI RAM, ANTI-CLIMB BOLLARD 1000 MM ANTI RAM WALL

6

STAFF PEDESTRIAN GATE 1 : 50

7

SOUTH WEST CORNER FENCE 1 : 50

8

SOUTH EMERGENCY ACCESS GATE

9

1 : 50

MCAC - NORTH FENCE 1 : 50

2750 MM WALL 3750 MM WALL 2750 ANTI CLIMB FENCE 2100 MM FENCE

GUARD BOOTH PARKING GATE

2750 ANTI CLIMB FENCE

2100 MM WALL

S.S ANTI-RAM, ANTI CLIMB BOLLARD 1000 MM ANTI-RAM WALL

1000 MM ANTI-RAM WALL

10

MCAC - SOUTH FENCE 1 : 50

11

STAFF PARKING GATE 1 : 50

12

WEST PERIMETER FENCE 1 : 50

UNCLASSIFIED

169


Main office, NOB, Night View Controls of various lighting levels were important scheme to provide security and were considered as part of the overall

+14850 MAX: 14150 MAX (+5%): 14857

+9000

+4500

+10100 MAX: 9650 MAX (+5%): 10132

+4500


View from the Entrance to the Main office The Buidlings and landscape materials were carefully chosen to blend in with the surrounding environment.

+14850 MAX: 14150 MAX (+5%): 14857

+9000

+4500

+10100 MAX: 9650 MAX (+5%): 10132

+4500

171


14

Los Angeles Valley College Performing Arts Center 5800 Fulton Avenue, Valley Glen Steven Ehrlich Architects Internship 2009 May - 2010 May

I was in charge of Building physcial models, digital renderings, worked on Schematic Design, Design Development, Construction Documents, and site analysis. In charge of a model shop, material library, meeting with sales representatives. Projects include: Los Angeles Valley College Performing Arts Cetner, LAUSD Swimming Pool, Abjua Gate Competition in Nigeria, UC Irvine Performing Arts Center. I have built study models to help further study and visualize the space three dimensionally. The Los Angeles Valley College Performing Art Center encompasses three major theaters. Utilizing Revit, we were able to visualize, measure and try out different alternatives to materials in the building. I also drafted and worked in Revit to build digital models, develop quick sketch renderings, as well as drafting, for the Schematic and Design Development packages. During my internship at Steven Ehrlich Architects, I have built study models to help further study and visualize the space three dimensionally. The Los Angeles Valley College Performing Art Center encompasses three major theaters. Utilizing Revit, we were able to visualize, measure and try out different alternatives to materials in the building. I also drafted and worked in Revit to build digital models, develop quick sketch renderings, as well as drafting, for the Schematic and Design Development packages.


Physical Model Scale: 1/32� Actual Dimension: 25X 40� Materials: Film, Plastics, Acrylic, Chipboard, MDF

As a collaboration, the topography of the physical model was based on the earth survey from the Landscape department. All the buildings were accurately measured and built referenced from the revit model. Materials and the colors were carefully chosen and went through many experiments to be used as a final product.

173


Los Angeles Valley College Performing Arts Center . Rendering done by Ehrlich Architects

1/20� site model using different materials


175


1

masses axon southeast

1/64” site model with differnt study models Ehrlich Architects

1

PROJECT NAME:

SHEET NAME:

LAVC MEDIA ARTS + PERFORMING ARTS COMPLEX

3d views

Screening Theater - Section/Axon View

4

H

G.8

P-3 DATE / TIME STAMP:

12/11/2009 7:53:00 AM

Screening Theater - Perspective View

0

G

1

2

Roof 1 30' - 0"

Roof 1 30' - 0" Level 3 (Fly Gallery) 25' - 0"

Level 2 15' - 0"

Top of Parap 18' - 6" Level 2 15' - 0"

Level 1 0' - 0"

Level 1 0' - 0"

PROJECTION BOOTH

SCREENING THEATER SCREENING ROOM PLENUM

SCREENING MECHANICAL ROOM

Orchestra Pit -8' - 0" Basement -13' - 0" Elevator Pit -17' - 0"

Basement -13' - 0" Elevator Pit -17' - 0"

tion Through Screening Theater 2" = 1'-0"

3

Short Section Through Screening Theater 3/32" = 1'-0"


Back Stage Main Orchestra Theater

photovoltaic solar panels

Lobby

Screen Theater w Green roof

I used Revit model to generate section cuts to make physical models and also construct part of a digital model. Using BIM technology, Revit, helped to create floor plan, section, and elevation in one file.

177


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179


New Abuja City Gate Abuja, Nigeria Steven Ehrlich Architects Internship 2009 May - 2010 May

1st place, international architectural design competition I was part of the team to help draw schematic plan for the international architectural design competition for the New City Gate for the Capital City of Abuja, Nigeria. Besides helping with the renderings, I was in charge of drawing the 3 sections for the proposal. As a result, Steven Ehrlich Architects came first in the competition and it is scheduled to be built in Nigeria.

Rendering done by Ehrlich Architects


181


15

Moscone Convention Center Renovation 747 Howard Street, San Francisco HOK, San Francisco Internship 2010 June - 2010 July

I was part of Mosocone convention centerâ&#x20AC;&#x2122;s renovation team during my summer internship at HOK San Francisco. From the existing Moscone convention in San Francisco, my task was to update the demolition plan to construction document drawings for the renovating meeting halls, convention area, lobby, restrooms etc. I was on the site to measure the existing fixtures and to help redraw the plans, elevations, and details. The overall of the project was to be accomplished within the short amount of time with organized and strict schedule.


Rendering done by HOK

183


Esplanade Ball Room- Existing

Esplanade Ball Room- After

DD

CC.7

CC

BB.7

26.5

P

CPT

CPT P

P

CPT

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P

CPT

23.5

1 A500-2

-

-

P

-

-

2 A500-2

20.5

1

20.5

20.5

-

LEVEL 0 -12'-0"

INTERIOR ELEVATIONS - ROOM 143 - 1 SOUTH

2

1/4" = 1'-0"

1/8" = 1'-0"

---

LEVEL 0 -12'-0"

1

PARTIAL FINISH PLAN - MEETING RM #131 - #136

LEVEL 0 -12'-0"

INTERIOR ELEVATIONS - ROOM 143 - 1 NORTH

15

1/4" = 1'-0"

LEVEL 0 -12'-0"

INTERIOR ELEVATIONS - ROOM 118 - 1 EAST

16

1/4" = 1'-0"

INTERIOR ELEVATIONS - ROOM 118 - 1 WEST 1/4" = 1'-0"

BB.7

14.5

BB.7

LEVEL 0 -12'-0"

LEVEL 0 -12'-0"

3

INTERIOR ELEVATIONS - ROOM 143 - 2 EAST

4

1/4" = 1'-0"

LEVEL 0 -12'-0"

INTERIOR ELEVATIONS - ROOM 143 - 2 WEST

3

1/4" = 1'-0"

LEVEL 0 -12'-0"

INTERIOR ELEVATIONS - ROOM 118 - 2 EAST

INTERIOR ELEVATIONS - ROOM 118 - 2 SOUTH

6

1/4" = 1'-0"

1/4" = 1'-0"

20.5

14.5 ---

LEVEL 0 -12'-0"

LEVEL 0 -12'-0"

6

INTERIOR ELEVATIONS - ROOM 143 - 3 SOUTH

5

1/4" = 1'-0"

LEVEL 0 -12'-0"

INTERIOR ELEVATIONS - ROOM 143 - 3 NORTH

4

1/4" = 1'-0"

LEVEL 0 -12'-0"

INTERIOR ELEVATIONS - ROOM 118 - 2 WEST

INTERIOR ELEVATIONS - ROOM 118 - 2 NORTH

5

1/4" = 1'-0"

1/4" = 1'-0"

GG

GG

9'-11"

LEVEL 0 -12'-0"

7

LEVEL 0 -12'-0"

INTERIOR ELEVATIONS - ROOM 143 - 4 SOUTH

8

1/4" = 1'-0"

LEVEL 0 -12'-0"

INTERIOR ELEVATIONS - ROOM 143 - 4 NORTH

1

1/4" = 1'-0"

LEVEL 0 -12'-0"

INTERIOR ELEVATIONS - ROOM 118 - 3 EAST

2

1/4" = 1'-0"

INTERIOR ELEVATIONS - ROOM 118 - 3 WEST

LEVEL 0 -12'-0"

8

1/4" = 1'-0"

GG

LEVEL 0 -12'-0"

1/4" = 1'-0"

LEVEL 0 -12'-0"

10

LEVEL 0 -12'-0"

10

INTERIOR ELEVATIONS - ROOM 118 - 4 SOUTH 1/4" = 1'-0"

LEVEL 0 -12'-0"

7

INTERIOR ELEVATIONS - ROOM 118 - 4 WEST 1/4" = 1'-0"

1/4" = 1'-0"

GG

LEVEL 0 -12'-0"

INTERIOR ELEVATIONS - ROOM 143 - 5 EAST 7/13/2010 4:51:47 PM

INTERIOR ELEVATIONS - ROOM 143 - 5 WEST

1/4" = 1'-0"

BB.7

BB.7

9

INTERIOR ELEVATIONS - ROOM 118 - 4 EAST

12

INTERIOR ELEVATIONS - ROOM 118 - 5 EAST 1/4" = 1'-0"

LEVEL 0 -12'-0"

13

INTERIOR ELEVATIONS - ROOM 118 - 5 SOUTH 1/4" = 1'-0"

LEVEL 0 -12'-0"

14

INTERIOR ELEVATIONS - ROOM 118 - 5 WEST 1/4" = 1'-0"

LEVEL 0 -12'-0"

11

INTERIOR ELEVATIONS - ROOM 118 -5 EAST 1/4" = 1'-0"


client logo placed here

HH

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A Project

SLIDING DOOR

TUNNEL A

SERVICE DRIVE

28 STAIR NO. 5

26.5

Moscone Convention Center Renovation Prepared For

27

City and County of San Francisco

26

Contract No 10.04022.00

STAIR NO. 4

STAIR NO. 3

1

STORAGE

A300-1

25

24 23.5 23

1

HOK One Bush St, Suite 200 San Francisco, CA 94104 USA t +1 415 243 0555 f +1 415 882 7763

A400-1 All reproducti on & i ntell ectual property rights reserved © 2008

STORAGE LIFTWAY ABOVE

22 1 A400-2

H C

21 20.5 STAIR NO. 2

SERVICE DRIVE

20

LOWER LOBBY ESCALATORS & STAIR NO. 8

2 A400-2

19

EXHIBIT HALL

MEP CONSULTANT 405 Howard Street, Suite 500 San Francisco, CA 94105 (415) 398-3833

Shen Milsom & Wilke, LLC AV / ACOUSTICS / LOW VOLTAGE 33 New Montgomery Street San Francisco, CA 94105 (415) 391-7610

Syska Hennessy ELEVATOR CONSULTANT 425 California Street, Suite 700 San Francisco, CA 94104 (415) 288-9060

TUNNEL B - SERVICE CORRIDOR

STAIR 14

Debra Nicholas Design ENVIRONMENTAL GRAPHIC DESIGN 468 Jackson Street San Francisco, CA 94111 (415) 788-0766

TUNNEL B - PEDESTRIAN

CONCESSIONS

In Association with

WSP Flack & Kurtz

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STAIR NO. 2

17.5 STORAGE

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H.E. Banks LIGHTING CONSULTANT Clocktower Bldg. 461 2nd St. # 659 San Francisco, CA 94107 (415) 618-0855

1

LOADING DOCK

A300-2

STORAGE

16

STORAGE LIFTWAY ABOVE

2 A400-1

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SWING SPACE EXISTING MEETING ROOMS

14.5

EXISTING EXHIBIT HALLS

14

13 STORAGE SUPPORT

12

STAIR NO. 1

11.5

ROLL-DOWN DOOR TUNNEL C - PEDESTRIAN

11 Key Plan

SWING SPACE

9.5 STAIR NO. 12

SLIDING DOOR TUNNEL C - SERVICE DRIVE

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9

8

Professional Seals

STAIR NO. 13

7

6 No.

Issue Description

YYYY-MM-DD

No.

Revision Description

YYYY-MM-DD

5

4

3

2

1

1

Level 0 - NEW COMPOSITE PLAN 1/32" 1/32" = 1'-0"

Drawn by

Author

Project No

10.04022.00

Reviewed by

Checker

185


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Presentation / Publishing Group Media Presentation MORPHOSIS, LOS ANGELES Internship 2011 Jan - 2011 Mar

At Morphosis, I was directly under the Business Development and Communication Department to work on several key projects. I have worked on monograph of Morphosisâ&#x20AC;&#x2122;s recent work by Equal Books in Korea, presentation drawings for publications and the website Morphopedia. On monograph, I was in charge of translating text including the essays and key projects in English to Korean. Also I was in charge of archiving past and present work of Morphosis. I have used Illustrator and Rhino to update the presentation drawings, and simultaneously update Morphopedia (Morphosisâ&#x20AC;&#x2122;s Website).


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Villa TT Phuket, Thailand WE Architecture, Copenhagen, Denmark Junior Designer: 2009 Jan - 2009 May As a junior designer at WE Architecture in Copenhagen, I was in charge of various task including making physical models, designing and making various study models for the house and Benetton competition, and research for the furniture. The last project I worked on was Villa TT, located in Phuket, Thailand, a potential house for the client. To maximize the affect of the site, three rectangular boxes are oriented in different directions in order to preserve view and the functionality. I helped to build the final physical models as well as various study models. I also helped to build the model in Rhino.

Dining Living Sleeping


Rendering done by WE Architecture

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Designing in perfect surroundings asks for a building which gives optimal experiences of the environment. This is the case with TT-villa which is Situated on a west facing hillside near the sea, among vigorous vegetation which spans from tall palm trees and rhododendron to orchids and lotus flowers. The luxury of the surroundings is the corner stone of this project. We have tried to create a building where both interior and exterior has equal contact to nature and sea. An inhabitable oasis in the midst of the wild , with the commodities of modern living.


Interior Circulation

Site Plan

Central Floor

Exterior Circulation

Upper Floor

Lower Floor 191


The building site is situated on a steep rocky terrain, between the road on the upper part of the hill and the beach 100 meters below. As a stair, sometimes hovering above nature, sometimes carved into the rock, the building steps down the hill providing interior and exterior access between the arrival on the top of the building and the beach below. Along these paths the layout of the house provides terraces connected to the different functions of the building. Nature can grow unobstructed between the building volumes. Description from WE Architecture

Section AA

Section BB

Section CC


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Souper Green, Los Angeles A+D Museum Exhibition 6032 Wilshire Boulevard, Los Angeles Doug Jackson Design Group Junior Designer: 2011 Jan - 2011 Mar

I was part of Doug Jackson Design group to help “ Souper Green” exhibition, at The Architecture and Design Museum of Los Angeles (an exhibition of new architectural work that offers a compelling alternative to the conventional idea of “being green”). I was in charge of rendering the final images from the existing model. The process included regenerating and remaking some of the model parts in Rhino format to working on final images in photoshop.The exterior and interior renderings were done using Maxwell rendering program directly exported from Rhino.

Day of the Exhibition


Souper Green exhibition poster done by A+D

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Profile for Hojung Kim

Hochungkim portfolio 2014  

Hochungkim portfolio 2014  

Profile for hojungkim
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