~ 2018 Selected Projects 18â€™ Candidate for Master of Architecture University of California, Berkeley
LACMA + Problem cloud
Huacas of Lima
Polychromy : Accepting or Denying
4 Lacma + Problem cloud
Plan oblique drawing of LACMA
#1 LACMA + Problem cloud 2016 Fall Core Studio Instructor_James Michael Tate Visiting professor_Andrew Zago, Loura Bouwman Team Project with Sanghyo Lee Software_Rhino, Grasshopper, Photoshop, Illustrator
The Problem Cloud is transformed study model from a set of topical images related to the LACMA. We were interested that form of problem cloud is perceived even some parts are missing, and arbitrary geometry that comes from overlapped grid. Therefore, the urban system, loads and buildings, is already regulated and based on the grid, so we wanted to represent avoiding regulated urban system by using transformed grid. Based on the grid, the exterior and interior of buildings were manipulated. For exterior, some part of the building was scaled up, and the other parts were scaled down. We wanted to get the moments from this scale difference and other perceivable transformations like slightly rotate and move. In addition, the abstracted grid is also applied in plan and sections with spatial characteristics of grid.
5 Lacma + Problem cloud
Site plan of LACMA
Study model of Interior walls of LACMA(left), 1st, 2nd, 3rd floor plan of Gallery One LACMA(right)
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Section of Gallery Two and Three of LACMA
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Daily life near LACMA
Interior perspectives of LACMA
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A study model of LACMA ‘The Problem Cloud’ Team project with Sanghyo Lee, Sangwon Kim, Yike Qin
The Problem Cloud is transformed study model from a Renaissance drawing at LACMA that ‘Fragment from a Cassone Panel ‘Shooting at Father’s Corpse’ by Marco Zoppo. This drawing is called ‘Fragment’ because another part of it is exhibited another gallery, so we transformed both images. The process is dividing 3 layers by RGB color range, so when layers overlapped each other, it can be perceived. There are 7 layers that 3 layers of fragment in LACMA, 3 layers of fragment in another gallery and 1 layer of cropped image of ‘Leg part’.
Unrolled drawing of Problem Cloud
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Axonometric of Problem Cloud
10 ‘Bad’ model
Physical model of ‘Bad’ model
#2 ‘Bad’ model 2018 Spring Thesis Studio Status_Ongoing Instructor_Neyran Turan Secondary advisor_James Michael Tate Individual project Software_Rhino, V-ray, Photoshop, Illustrator Nobody can make their physical model perfectly same with real building in Rhino, Revit, Auto Cad and others. There are environmental damage with time consuming, materiality, gaps, seams, and overlaps. These are sometimes precise but somtimes not(but almost precise). I’m not saying completly denying mass and form with intend. I would say about someting possible to ‘perceive’ mass. These errors are interacting to real building as another door, window, joint, corner, joint, and another materiality.
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Perspective of ‘Bad’ model
Cropped details of ‘Bad’ model
Exterior perspective of Firehouse
#3 Firehouse 2017 Fall Core Studio Instructor_Danelle Guthrie Individual project Software_Revit, Rhino,V-ray, Photoshop, Illustrator The most important thing for design firehouse is to control movement of firefighters. I thought that free plan can make easier to control their movement, so I tried to focus on design thin column and curved wall. The thin columns are composed to 4 T-shaped steel structures and round shaped steel poles. These makes organic collabration with fire poles that most effective device for vertical movement of firefighters. Therefore, curved walls is also effective for movement than conered wall.
1st, Mezzanine, 2nd floor plan of Firehouse(from above)
Physical model of Firehouse(above) Wall detail section of Firehouse(below)
Sections of Firehouse
16 Huacas of Lima
Axonometric section of Huaca Corpus
#4 Huacas of Lima 2017 Spring Core Studio Instructor_Rene Davids Individual project Software_Rhino, Photoshop, Illustrator Huacas at Lima consists irregular geometries. Therefore, the material of them are unified, so their unique forms stand out from other characteristics. Thus, I consider the way to design light building that redound to Huacas. I think that the most important thing is Huacas, not a community center, so pure and light form is not interrupt their own atmosphere. Accordingly, I started from basic geometry, which is triangle. Triangle has directivity, so it is appropriate basic geometry for connecting 6 Huacas naturally. Therefore, there are frames for support glasses at the middle of building, and it is fit on the triangular pyramid. Through this windows, people can see the top view of Huacas.
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1st, 2nd floor plan of Huaca Corpus(from left)
1st, 2nd floor plan of Huaca La Luz(from left)
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Axonometric section of Huaca La Luz
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Exploded diagram of Huaca Corpus, Huaca La Luz(from left)
Interior perspective of Huaca La Luz(left), Exterior perspective of Huaca Corpus(right)
20 Site-specific Pavilion
Site-specitic Pavilion, Photograph by Kyungmin Hwang
#5 Site-specific Pavilion 2017 Spring Elective Course Instructor_Lisa Iwamoto Role_Drawing, Fabrication, Form design Exhibition at Museum of Craft and Design, San Francisco Team project with
Barrak Darweesh, ChengCheng Huang, Ernest Theurer, Felicia Fang, Hanwook Kim, Heewon Lee, I-Ting Tina Lee, Jeremy Ferguson, Jordan Cayanan, Laura Cuconati, Mauricio Zamora, Miguel Nieto, Nicholas Harvey-Cheetham, Ryan Alexander, Sangwon Kim, Setareh Barimani, Taewook Kang, Xin Yu, Yang Liu, Yang Xie
The design for Site-specific Pavilion aimed to both adhere to and question the idea of the architectural pavilion. The design grew from the outcome of a traditional nine square grid exercise. The final pavilion was then projected back onto itself in isometric views to arrive at its final panel system.
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Tumbling drawing of Site-specific Pavilion
22 Polychromy : Accepting or Denying
#6 Polychromy : Accepting or Denying 2017-2018 John K. Branner Fellowship Research Advisor_James Michael Tate Individual project
The use of color is one of the strongest points of contention and dispute in the history of architectural design. Since it was found from the reconstruction plan of Temples at Selinus that the ancients used a variety of colors in their architecture, the controversy has become more heated. Then Le Corbusier and other modernists newly interpreted the use of colors. Bruno Taut, for example, color in architecture is a psychological and aesthetic element composing a space. Such diverse colors have become the center of De stijl movement. Also, Le Corbusier used colors to emphasize the wall as a surface, characterizing the space and forms of his architectural design. Up until now, colors have mostly been used to emphasize “forms”. I’ve seen many buildings using many different colors on my trips and they are used subordinate to other elements such as form, function, or psychological factors. However, I wanted to give colors an independent role, not subordinate to any other elements and to experiment with them to see what colors can do separately instead of emphasizing other elements. Besides, the boundaries of colors and forms are usually matched, which also means colors are used to make a form of space stand out.
However, while traveling I’ve seen buildings where colors are used independently in patterns with no relation to forms, and sometimes the use of colors was so arbitrary that it does not make any patterns. In other words, colors are used in the way “color accepts form” but when you give an independent role to colors, that would be “color denying form”. Among other possibilities, I thought of applying colors used in a building to another totally different building with different function and arrangement. To do this, I classified architecture I saw during my travel into Form and Color groups. For Form category, Nagakin capsule tower in Tokyo, Walden 7 in Barcelona, Berlin Philharmonic, traditional pillars in Rome, and Solomon Guggenheimin New York were selected. In the selection process, building with pure forms were preferred and they were rendered into a more abstract digital model. For Color, many different colors and patterns were sampled from: various-patterned windows in Zurich, bricks used Neil’s yard in London, combination of colored marbles in Basilica San Marco in Venice and Santa Maria del Fiore in Florence, eaves of Korean traditional houses, House of Brazil in Paris, and Pavilion Le Corbusier in Zurich—where Le Corbusier’s color sense is displayed.
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Accepting(left), Denying(right) Polychromy Photograph by Kyungmin Hwang
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Exhibition layout of Polychro
Polychromy : Accepting or Denying
omy : Accepting or Denying
26 Artist studio
Study models of Artist studio, photograph by David Jaehning(above and right)
#7 Artist studio Location_Johnson Valley, California Program_Studio, Gallery and Performance space, Observation Deck Status_Ongoing Team project with James Michael Tate Participate as a contributor for material and form study, physical modeling
The material study of this project is began with subtle contrast between real and fake material. They are distorted by change of color and scale. In addition, we tried to variation of behind part of pyramid in study model.
28 Affordable housing
Exterior perspective of Affordable houseing
#8 Affordable housing 2012/13 University of Malaya Exchange student Program Location_Kota Damansara, Kuala Lupur, Malaysia Instructor_Kamarudzaman Team project with Lee Jin Yu Awards_ 2013 AIDIA International Interior Design Exhibition ‘Certificate of Exellence’ 2013 Kyung Hee University Interior design graduation exhibition ‘Grand Prize’ Software_Sketch up, AutoCAD, V-ray, Photoshop
This project is about redevelopment of existing housings and the site is ‘Kota Damansara’, near Kuala Lumpur, Malaysia. It is ultimately expected that this project will enable easier accessibility to public transportation and local amenities for residents; encourage communication, which seems to lack in the neighborhood; and make users modify their living spaces upon their need. According to the concept: ‘Reweaving’, the theme is to re-establish the connection between industrial and residential areas together. In addition, communication in neighborhood and family was taken into consideration. Taking residents’ economic situation into account, emphasis was put on minimalizing the use of costly material, but producing ideal housing design with raw materials.
29 Affordable housing
Plan and Section of 3 bedroom unit(above) Elevation of Affordable housing(below)
Kyungmin Hwang (510)847.6132 firstname.lastname@example.org University of California, Berkeley