Julia Hyoun Hee Na's Portfolio

Hyoun Hee Julia Na 2004-2012

Hyoun Hee Julia Na EDUCATION MArch Architecture and Urbanism (2010 - 2012) Architectural Association (Design Research Laboratory) London, United Kingdom BArch (2004-2010) Cornell University Ithaca, NY, United States EMAIL

hyounhee@gmail.com

2004-2012 research

P07

spring 2005 urban density study

P11

fall 2009 combinatorial form

studio102 // critic: John Zissovici

P29

winter 2010 reTUR(n)ing matter

P40

2011 proto design

AA DRL workshop // critic: Alisa Andrasek

studio501 // critic: Thom Mayne Val Walke Andrew Batay Csorba

AA DRL Studio // critic: Theo Spyropoulos

P23

summer 2008 origami research

internship // Gage/Clemenceau Architects

architecture

P63

summer 2008 Taiwan CDC

internship // Gage/Clemenceau Architects

Contents

object

P77

winter 2010 korea rural community office

P82

spring 2009 nyc composite office tower

internship // Hyub Yeon Architects

P108

fall 2008 robotic tulip lights

P116

summer 2006 curtain

P120

winter 2010 vivace

internship // Gage/Clemenceau Architects

studio402 // critic: Michael Silver

studio202 // critic: George Hascup

P92

spring 2010 transforming nyc tower

BArch thesis // advisor: Leire Asensio

Designboom Radically Porsche competition

Teamwork

2011 proto design

P40 winter 2010 reTUR(n)ing matter

P29

fall 2009 combinatorial form

P11

summer 2008 origami research

spring 2005 urban density

P23

P07

HCRAESE

Urban density Study spring 2005 // studio 102 critic: John Zissovici The busiest area of downtown Ithaca, Ithaca Commons, has a parking lot facing Green Street.

Visitors to the Commons park here, but densely packed buildings make it hard to reach the other side, the main street of the Commons. This project sought to study the dense condition of urban settings and create its solution, with emphasis on material research.

top

The dense wax model with holes inside represents the big block of the buildings with voids that blocks the access.

potential passages

elevation

The shaded holes on the image above suggest the potential passages penetrated through the dense block, which can bring more dynamics into the city creating different spatial conditions. The connections between the passages can help the circulation of the activities in the Commons, besides more convenient access between the parking and the street.

n

e

re

G t

e

re

St

N Cayuga Street

Aurora Street

E Seneca Street

E State Street

parking lot

E Green Street

Wax model superimposed on the map of Commons

Ithaca Commons block between Green Street parking lot and the main street of Commons

panoramic view of Commons

a

ac

Ith

s

on

m

m Co

The chunk of the city block has both voids and solids, and to represent the characteristic of this duality, wax was chosen to experiment with. Wax has both liquid and solid states which allowed to create voids with water balloons and later removed after the wax gets solidiďŹ ed. wax experiment process

Framework to hold the hot wax

Water balloons placed

Wax poured inside the frame

Frame removed after wax gets hardened

Water balloons popped and removed

wax model after removal of balloons

Right: close-up photoshot of 3d printed combinatorial form

Combinatorial form fall 2009 // studio 501 critic: Thom Mayne, Val Walke, Andrew Batay Csorba Combinatorial form is a methodology to produce diverse spatial conditions using ďŹ ve basic components and boolean operation. The goal of using this method was to produce architectural design with solely focus on operational strategy without program and site analysis.

The simple geometries were given to each student from the primitives used in a former Morphosis project, and by aggregating them, complex geometries and diverse spatial conditions were created.

Object

Boundary

Solid Line

Void Line

Site

boolean union boolean difference

Perspective renderings of one of the configurations Axon Views

Boundary

Object

Void Line

Iteration 3

Iteration 2

Iteration 1

Solid Line

Different Iterations of Each Component (Solid Line, Boundary, Object, Void Line)

Given the four different component systems (solid line, void line, object, and boundary), different iterations of each system were generated by locating, scaling, and deforming the component within the frame of 100:100:30 proportioned box. From each component system, one iteration was picked to be overlapped within the frame, then the four systems

Configuration 01 : North Elevation

interact with one another, by using ‘boolean union’ or ‘boolean difference’ commands in Rhino. ‘Boolean union’ results creating one form out of two forms, and ‘boolean difference’ results creating voids. When looking at the final product of four systems’ interacting altogether, one can recognize how the form is created with which systems’ interaction.

Configuration 01 : Perspective View

As the process accumulates, the project becomes more complex interrogative organizations , and maximizes the sptail differentiation. The initial setup of organization and the sequence of operation are emphasized in order to create coherence within a complex system. Because of the limitless number of iterations of each

system and different ways of sequencing, the methodology opens an endless potentiality in creating diverse spatial qualities, without being constrained by program and site analysis. This whole designing process was done in 3d modelling software, Rhino, and completed with realizing into a physical model by Z-corp 3d printer.

Configuration 01 : South Elevation

Section drawing In this section drawing of the model, the details of the interior are viewed. Whether it is solid or void, the form suggests the boundary of spaces and the solid from also suggests that it can be voids that are occupiable.

Above: perspective renderings

Detail shot of the 3d print

Variously tessellated surface models

Origami Research fall 2008 // Internship Gage/Clemenceau Architects Team: Yu Ping Hsieh, Pablo Kohan As I have always been fascinated with the delicate and versatile features of origami, the research project given by Gage/Clemenceau from the beginning of the internship was an opportunity for me to expand my knowledge in origami. The project aimed to observe the change on the surfaces when tesselated into various shapes, and realize them into physical models, using software called Pepakura(which allows unfolding any 3d model and produces 2d lasercuttable drawings).

Light fixture designed with origami

Built orgami models displayed in the office

Hexagonal rocks in Giant’s Causeway, Ireland

The inspiration of the following origami model was well-known hexagonal rocks in Giant’s Causeway in Ireland. This specific natural pattern would work out well for origami’s characteristic of folding and unfolding, creating edges.

Built hexagon tessellated surface model

Displayed in the office

The fact that the edges of this model have to be 90 degree angle helped the structure of the surface to be more rigid, and it was also resistant to outer force that could deform the shape.

Processing of building surfaces with paper

Each paper model is based on the same shaped surface, however by breaking it down into different geometries and sizes, each turned out to be slightly different surfaces. When building the models, the paper behaves differently according to three factors, which are scale, shape, and the division that Pepakura produces when unfolding the model.

Th e s u r f a c e g e ts broken down into different shapes and sizes of pieces in Rhino and Maya

The 3d modeled surface is sliced into different strips or other shapes, whichever makes the building part easier and faster in pepakura

Pepakura creates a drawing ďŹ le of the sliced strips or shapes. The drawing ďŹ le is open in Autocad and modiďŹ ed if necessary.

Each strip or shpe is lasercut with tabs on the edge where can be glued to one another.

Scale

1

The scale mattered on whether the original geometry was reďŹ ned or roughly depicted. The time co n su me d to b u i l d w a s proportional to the resolution of the geometry determined by the scale of the pieces.

For this case, I worked on a single surface of the same size with different scales of pieces, the larger scaled piece with small resolution required much effort to put the pieces together.

Geometry

Each piece of a certain shape represented as a pixel of the surface, and by changing this shape of the piece, interesting and different details came across; for example, the rectangular shape as shows on the left created bumpy edges at each vertexes, while creating a pretty smooth surface unlike the triangle shaped piece.

2 Divisions when unfolded

During the process of unfolding in Pepakura, I also could determine the divisions of a strip containing a chunk of pieces that could be folded. Through series of building the surfaces, certain strategies of division were acquired, and this affected how close the actual physical model could be put together as the digital model, and how much time gets consumed for building.

Surface Tessellation 1. Small triangulated surface 2. Rectangulated surface 3. Large triangulated surface

3

Right: 3 nested 2d patterns in before extrusion with sliders

reTUR(n)ing Matter

reaction-diffusion system

winter 2010 // AA DRL workshop critic: Alisa Andrasek, Jose Sanchez Team: Ulak Ha, Kwanphil Cho, Kate Revyakina

The project was an exercise of generative design through setting up the environment for a certain model in digital space and producing a numerous outcome that can be modified by controlling the environment. In this studio, we were given to comprehend Alan Turing’s “two component reaction-diffusion system”, script the Gray-scott model in processing, and optimize the environment with parameters that can modify the pattern.

Once the model is set up in the digital space, we further developed the script to combine a few patterns and observed how this affected the pattern. In the later of the workshop, we extruded the 2d pattern into 3 dimension, and scripted to have mesh around this 3d pattern, so we can export as 3d model, and fabricate it with 3d printer.

grayscott pattern parameters

nested patterns _3 components

F1-0.023 K1-0.075 dU1-0.095 dV1-0.09 q1-0.6 F2-0.023 K2-0.0725 dU2-0.095 dV2-0.07 q2-0.2 F3-0.023 K3-0.0725 dU3-0.095 dV3-0.06 q3-0.2

F1-0.023 K1-0.07 dU1-0.095 dV1-0.07 q1-0.41 F2-0.023 K2-0.068 dU2-0.095 dV2-0.06 q2-0.2 F3-0.02 K3-0.07144 dU3-0.095 dV3-0.06 q3-0.246

F1-0.023 K1-0.0725 dU1-0.095 dV1-0.139 q1-0.6 F2-0.023 K2-0.0725 dU2-0.095 dV2-0.108 q2-0.18 F3-0.023 K3-0.0725 dU3-0.095 dV3-0.106 q3-0.448

F1-0.023 K1-0.0725 dU1-0.095 dV1-0.1392 q1-0.722 F2-0.023 K2-0.0725 dU2-0.095 dV2-0.13578 q2-0.608 F3-0.023 K3-0.0725 dU3-0.095 dV3-0.12818 q3-0.538

import toxi.geom.Rect; import toxi.math.MathUtils; public class jGrayScott { public float[] u, v; protected float[] uu, vv; protected int width, height; protected float f, k; protected float dU, dV; protected boolean isTiling; public jGrayScott(int width, int height, boolean wrap) { this.width = width; this.height = height; this.u = new float[width * height]; this.v = new float[u.length]; this.uu = new float[u.length]; this.vv = new float[u.length]; this.isTiling = wrap; reset(); setCoefficients(0.023f, 0.077f, 0.16f, 0.08f); } public float getCurrentUAt(int x, int y) { if (y >= 0 && y < height && x >= 0 && x < width) { return u[y * width + x]; } return 0; } public float getCurrentVAt(int x, int y) { if (y >= 0 && y < height && x >= 0 && x < width) { return v[y * width + x]; } return 0; } public float getDiffuseU() { return dU; } public float getDiffuseV() { return dV; } public float getF() { return f; } public float getFCoeffAt(int x, int y) { return f; } public float getK() { return k; }

public void setDiffuseV(float dV) { this.dV = dV; } public void setF(float f) { this.f = f; } public void setK(float k) { this.k = k; } public void setRect(int x, int y, int w, int h) { int mix = MathUtils.clip(x - w / 2, 0, width); int max = MathUtils.clip(x + w / 2, 0, width); int miy = MathUtils.clip(y - h / 2, 0, height); int may = MathUtils.clip(y + h / 2, 0, height); for (int yy = miy; yy < may; yy++) { for (int xx = mix; xx < max; xx++) { int idx = yy * width + xx; uu[idx] = 0.5f; vv[idx] = 0.25f; } } } public void setRect(Rect r) { setRect((int) r.x, (int) r.y, (int) r.width, (int) r.height); } public void setTiling(boolean isTiling) { this.isTiling = isTiling; } public void update(float t) { t = MathUtils.clip(t, 0, 1f); int w1 = width - 1; int h1 = height - 1; for (int y = 1; y < h1; y++) { for (int x = 1; x < w1; x++) { int idx = y * width + x; int top = idx - width; int bottom = idx + width; int left = idx - 1; int right = idx + 1; float currF = getFCoeffAt(x, y); float currK = getKCoeffAt(x, y); float currU = uu[idx]; float currV = vv[idx]; float d2 = currU * currV * currV; u[idx] =MathUtils.max(0,currU + t * ((dU * ((uu[right] + uu[left] + uu[bottom] + uu[top]) - 4 * currU) - d2) + currF * (1.0f - currU))); v[idx] = MathUtils.max( 0, currV + t* ((dV * ((vv[right]+ vv[left] + vv[bottom] + vv[top]) - 4 * currV) + d2) - currK * currV)); } }

if (isTiling) { int w2 = w1 - 1; int idxH1 = h1 * width; int idxH2 = (h1 - 1) * width; public float getKCoeffAt(int x, int y) { for (int x = 0; x < width; x++) { return k; int left = (x == 0 ? w1 : x - 1); } int right = (x == w1 ? 0 : x + 1); int idx = idxH1 + x; public boolean isTiling() { float cu = uu[x]; return isTiling; float cv = vv[x]; } float cui = uu[idx]; 0.0230 F1cvi = vv[idx]; float public void reset() { float d = cu * cv * cv; for0.0725 (int i = 0; i < uu.length; i++) { K1 u[x] = uu[i] = 1.0f; 0.0950 dU1 MathUtils.max(0,cu+ t * ((dU * ((uu[right] + uu[left] + uu[width + x] vv[i] = 0.0f; + cui) - 4dV1 * cu) - d) + f * (1.0f - cu))); } 0.0650 v[x] = MathUtils.max(0,cv + t * ((dV* ((vv[right]+ vv[left]+ vv[width } 0.6000 Q1- 4 * cv) + d) - k * cv)); + x] + cvi) d = cui * cvi * cvi; public void seedImage(int[] pixels, int imgWidth, int imgHeight) { u[idx] int0.0230 xo = MathUtils.clip((width - imgWidth) / 2, 0, width - 1); F2 = MathUtils.max( 0,cui+ t* ((dU * ((uu[idxH1 + right] + int yo = MathUtils.clip((height - imgHeight) / 2, 0, height - 1); uu[idxH1+ left] + cu + uu[idxH2 + x]) - 4 * cui) - d) + f * (1.0f - cui))); 0.0725 K2=MathUtils.max( 0,cvi + t* ((dU* ((vv[idxH1 + right] + v[idx] imgWidth = MathUtils.min(imgWidth, width); vv[idxH1dU2 + left] + cv + vv[idxH2+ x]) - 4 * cvi) + d) - k * cvi)); 0.0950 = MathUtils.min(imgHeight, height); imgHeight } for (int y = 0; y < imgHeight; y++) { 0.0670 dV2 int i = y * imgWidth; for (int for (int x = 0; x < imgWidth; x++) { 0.2000 Q2y = 0; y < height; y++) { int idx = y * width; if (0 < (pixels[i + x] & 0xff)) { int idxW1 = idx + w1; int idx = (yo + y) * width + xo + x; 0.0230 int F3 idxW2 = idx + w2; uu[idx] = 0.5f; float cu = uu[idx]; vv[idx] = 0.25f; 0.0725 K3 float cv = vv[idx]; } 0.0950 dU3 float cui = uu[idxW1]; } float cvi = vv[idxW1]; } 0.0660 dV3 float d = cu * cv * cv; } 0.3500 int Q3 up = (y == 0 ? h1 : y - 1) * width; int down = (y == h1 ? 0 : y + 1) * width; public void setCoefficients(float f, float k, float dU, float dV) { u[idx] =MathUtils.max( 0,cu+ t * ((dU * ((uu[idx + 1] + cui+ this.f = f; uu[down] + uu[up]) - 4 * cu) - d) + f* (1.0f - cu))); this.k = k; v[idx] = MathUtils.max(0,cv+ t * ((dV * ((vv[idx + 1] + cvi+ vv[down] this.dU = dU; + vv[up]) - 4 * cv) + d) - k * cv)); this.dV = dV; d = cui * cvi * cvi; } u[idxW1] = MathUtils.max(0,cui+ t* ((dU* ((cu + uu[idxW2]+ public void setDiffuseU(float dU) { uu[down + w1] + uu[up+ w1]) - 4 * cui) - d) + f* (1.0f - cui))); this.dU = dU;

By easily controlling the 5 parameters of 3 grayscott patterns with sliders in processing, we were able to produce different types of pattern; pulsating, labyrinth, spotty, and wavy patterns.

The speed of the pattern change can be also controlled by the slider, and this is a crucial factor that influences the 3 dimensional pattern as the 2d pattern moves up. As the 2d pattern gets extruded, its pixel drops a point, which later composes meshes with the neighboring points.

Therefore the speed of pattern change, as well as the speed of the pattern’s extrusion play a significant role in deciding the 3 dimensional product.

Different Patterns extruded in 3d

Pulsating Pattern

Labyrinth Pattern

Spotty Pattern

Wavy Pattern

Machine constraints : Resolution

The studio also emphasized on the constraints of the digital fabrication, therefore in the process of scripting, the resolution of the printers had to be considered as well. We were given two different sized printers, D-shape and Z-corp. D-shape has a low resolution as the scale of the model can be maximized to 236inx236inx236in, while the Z-corp has a scale of 8inx8inx8in with high resolution of 300x450 dpi.

6m 1 in

1 in

D-Shape 6m X 6m X 6m = 236.22 in x 236.22 in x 236.22 in Resolution : 4 dpi Low Resolution Volume

1 in

1 in

20.32 cm

Z-Corp 8in X 8in X 8in Resolution : 300 x 450 dpi

High Resolution Volume

Parameters in the final code

Coefficients

As explained in the previous pages, the coefficients of the reaction-diffusion system are the key parameters of changing the 2d pattern. In the final code, we added another value to update these coefficients when desired, therefore, the 2d pattern constantly changes and create more interesting 3d space when extruded.

Resolution

Because of the machines’ different resolutions, the model in digital space should be able to be adjusted to each resolution. This can be controlled by adding a parameter that multiplies the resolution of initial setup. Also the size of the box frame can be readjustable.

Mesh formation

Mesh of the 3d space gets formed by assigning the boundary of the neighboring points from the origin. These neighbor points along with the origin point will create a mesh, therefore, this affects the resolution of the 3d model as well as its form.

When the neighbor boundary is narrow, the resolution is high and the form is more detailed, while when it’s wide, the resolution is low and the form is smoother.

Boundary between two patterns

This specific 3d model was generated with two patterns whose boundary was adjustable with a cut on xy plane.

The code was written such that when the pattern crosses a certain boundry, the coefficients of the pattern gets updated.

Final scripted turing model

Parameter controlling slider

The sliders in processing are very useful because the parameters can be updated while the script is running. In the script, I can assign the default value of each parameter, and the minimum and maximum ranges can be assigned too.

surface ISO value 4 parameters to adjust grayscott pattern

grayscott coefficients updating value moving up speed

boundary of two different grayscott patterns

new grayscott coefficients beyond boundary

values related to the box location and its size

1.000000

ISO

0.026000

F1

0.078000

K1

0.095000

dU1

0.070800

dV1

10

UPDATEVAL

5

MAXSPEED

1

MINSPEED

0

XCUT1

100

XCUT2

10

YCUT1

100

YCUT2

0.026000

NEW F

0.078000

NEW K

0.095000

NEW dU

0.069199

NEW dV

1.0E-5000000

XX

1.0E-5000000

YY

4.0E-5000000

ZZ

3d printed model

The 3d model on the bottom was developed to be 3d printed as shown on the left and the right pictures. In processing, the scale and the resolution were adjusted to be appropriate for the Z-corp machine. After exporting the ďŹ le as obj from processing, in Rhino, the model was cut in half to expose the interior and offsetted to give the minimum thickness for z-corp to be able to print.

2d pattern before extrusion

Extruded 3d model

3d printed model, printed in Z-corp, 8 in x 8 in x 8 in

import peasy.*; import toxi.math.*; import controlP5.*; import processing.opengl.*; import toxi.color.*; import processing.opengl.*; import toxi.processing.*; import toxi.geom.*; import toxi.geom.mesh.*; import toxi.volume.*; import gifAnimation.*; ControlP5 jControl; jGrayScott gs; ControlWindow jWindow; ToneMap toneMap; PeasyCam myCam; GifMaker gifExport; VolSpace vSpace; int COLS = 120; int ROWS = 120; float ISO = 8; //float f_01 = 0.023; float k_01 = 0.078; float du_01 = 0.095; float dv_01 = 0.045; ArrayList GridOfPoints2D; ArrayList CollectionOfMatPoints; boolean start = false; boolean doSave = false; boolean isWireframe = false; boolean updateMesh = true; boolean movie = false; //CREATE PrintWriter output; void setup() { size(600,600,P3D); vSpace = new VolSpace(); myCam = new PeasyCam (this,100); gs=new jGrayScott(COLS,ROWS,true); //gs.setCoefficients(0.026,0.078,0.095,0.045); ColorGradient grad=new ColorGradient(); grad.addColorAt(0,NamedColor.BLACK); grad.addColorAt(128,NamedColor.RED); grad.addColorAt(192,NamedColor.YELLOW); grad.addColorAt(255,NamedColor.WHITE); toneMap=new ToneMap(0,0.33,grad); GridOfPoints2D = new ArrayList(); CollectionOfMatPoints = new ArrayList();

countY ++; countX=0;

} } //-------------------------------

//VERY IMPORTANT!!!! THIS IS THE INITAIL CONDITIO gs.setRect(30, 30,20,20); //close setup

jControl = new ControlP5(this); jWindow = jControl.addControlWindow("controlP5 gui(); } void draw() { background(140); stroke(255); noFill(); strokeWeight(1); box(600); println(frameCount); lightSpecular(230,230,230); directionalLight(255,255,255,1,1,-1); shininess(1.0f );

//if (mousePressed) { // gs.setRect(10, 10,20,20); //} int countX = 0; int countY = 0;

//VERY IMPORTANT!!! SPEED OF UPDATE OF THE GR for(int i=0; i < 10; i++) gs.update(1);

//------------------------------for (int i = 0; i < COLS*ROWS; i++) { float cellValue=gs.v[i]; //float cellCol = map(cellValue, 0,0.3,0,255); color cellCol = toneMap.getARGBToneFor(gs.v[i]); //stroke(cellCol); jPoint pt = (jPoint) GridOfPoints2D.get(i); pt.cellValue = cellValue; pt.cellCol = cellCol; pt.run();

} //------------------------------for (int i = 0; i < CollectionOfMatPoints.size(); i++) { MatPoint mp = (MatPoint) CollectionOfMatPoints. mp.run(); } //------------------------------vSpace.run();

if(keyPressed) { if (key == 's') { exportToTxt1(); } //WE BUILD AN ARRAY OF POINTS (FROM OUR if (key == 'w') { NEW POINT CLASS) AND WE STORE ALL OF THEM isWireframe = !isWireframe; IN AN ARRAYlIST (IT COULD BE AN ARRAY ASWELL) } int countX = 0; if (key == 'u') { int countY = 0; updateMesh = !updateMesh; } if (key == 'a') { //------------------------------start = true; for (int i = 0; i < COLS*ROWS; i++) { } if (key == 'p') { float nuPosX = map(countX,0,COLS,-300,300); movie = true; float nuPosY = map(countY,0,ROWS,-300,300); } Vec3D loc = new Vec3D(nuPosX, nuPosY,-300); if (key == 'n') { movie = false; GridOfPoints2D.add(new jPoint(loc)); gifExport.finish(); } countX++; if (key == 'd') { if(countX == COLS) { gifExport = new GifMaker(this, "export.gif");

ON FOR THE PATTERN!!!!!

5window",100,100,200,600);

RAY SCOTT!!!!!!

s.get(i);

Strange Natures 2011 // AADRL studio Critics: Theo Spyropoulos, Shajay Booshan, Mustafa el Sayed Team: Justin Kelly, Carlos Sarmientos, Adrian Aguirre The design studio began by investigating unique and emerging areas of sciences. Through an analysis of processes conducted within the sciences, we aimed to develop alternative conceptual design approaches. Our research led us to isolated and extreme sites, where we could speculate on how new forms of architecture and urbanism could augment the typical on-site laboratory.

The ocean hosts a variety of mysterious processes, yet there’s still much to learn about the ocean, given that 75% of its species remain undiscovered. For better understanding of the vastness and complexity of these environments,

oceanographers go to great lengths to study them. We propose to deploy a robotic fabrication process, to aid their scientific research, and in this proposal, the key element is that it embraces oceanographic science not as a passive system of record-keeping and data collection, but as an active experiment which will enable to enhance circulating systems in the ocean. Strange Natures proposes an alliance between natural and technological systems. By introducing technological interference into nature’s evolutionary processes, our project plays a role in coral propagation and regeneration.

Robotic Fabrication Timeline Material Experimentation cnc controlled deposition hot ice metal

Robotic Unit data scanning anchoring scaffold deployment

Scaffold Deployment coral propagation underwater exploration design

Floating Pads local vehicles for oceanographers

SAME PROCESS REPEATS ROBOTIC UNIT MIGRATION ANCHORING

SCAFFOLD DEPLOYMENT

MIGRATION

Timeline

DATA SCANNING

CORAL GROWTH CONTINUES SINCE THE BIOROCK PROCESS COMPLETES TRIP OF SCIENTISTS’ RESEARCH = APPROXIMATELY 90 DAYS

Ocean Metals

Unknown to many, certain portions of the Pacific seabed are being leased from the International Seabed Authority to nations interested in harvesting its metals. At present, because of its dependence on foreign suppliers for metals Germany is scanning the 75,000 square kilometers of metallic ocean floor it has leased hoping to start mining it by 2021.

Considering the environmental consequences of land mining, one could only imagine the disastrous results from ocean mining. Soil run-off and the demolition of ecological systems among them. The technology to extract metals is still lagging, and minimally intrusive methods have yet to be explored.

With this in mind, we have considered ocean metals as a possible materials resource.

Hot Ice

One of our first objectives was to develop a unique material deployment strategy. We were especially interested in additive processes which could use the water to change phases from liquid to solid. In our earlier research we worked with hot wax and molten metal alloys deployed into water. The immediate change in temperature, would cause the material to solidify instantly. This led us to sodium acetate trihydrate also known as hot ice, which performs a phase change from liquid to solid in reaction to any physical disturbance.

*prototype 1

failed due to friction in joints

*prototype 2

used to deposit basic strands of material, however was limited in terms of height

* prototype 3

attachment which could rotate and hold syringes, however was difficult to control due to the sensitivity of the hot ice

* prototype 4

part of box stacking system which let us print to greater heights

Material Control

initial setup

initial setup for hot ice to build on top

3 min lapse

after one set of choreography ďŹ nished

6 min lapse

accumulation on the ďŹ rst layer

10 min lapse

more complex form achieved

For material experimentation with digital control, we set out to develop a deposition system which could allow for versatile material formations.

The hot ice proved advantageous in this case as a generic material template which could be mechanically controlled, as if it was underwater. We developed several attachment prototypes for the DRL cnc machine and using code gcode and an arduino controlled syrnges, we were ultimately able to calculate speciďŹ c line trajectories.

NOAA : Quasi-Client

NOAA is an agency that conducts atmospheric and oceanographic research, as well as, provides citizens, planners, emergency managers, and other decision makers with reliable information when they need it. Their research expands from marine ecosystems, ďŹ sheries, to corals. They are a premiere organization for oceanographic research. For these reasons we have chosen them as our quasi-client.

Okeanos, is one of the research vessels of NOAA, which travels in the PaciďŹ c, generally in the tropics.

Missions of Okeanos include mapping, site characterization, and reconnaissance, which means searching an unknown area for interesting anomalies.

Additionally the vessel conducts regular water column exploration to improve characterizations of water mass properties within selected sites.

3 datas to be scanned

* Depth

* Bedrock Locations

* Water Current

data scanning Processing simulation captures

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Data Scanning

Robotic units are deployed to scan the seabed for anchoring locations. Certain factors will heavily determine the most suitable areas to deply the scaffold in order to generate life forms. Three important sources of data are to be considered: * water currents for nutrient flow * depth to determine sunlight penetration under water * bedrock locations to ground the scaffolds In order to avoid strong currents, which is not favored for coral growth, the water’s movement is carefully analyzed. Depth is determined to be between 20 to 50 meters below the water’s surface. Bedrock locations which have no existing coral provide an ideal area to

frame 650

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ground the scaffold. The robotic agents will scan the bed of the seamount, and from their gathered date, they will anchor the scaffold and choreograph their movements based upon the multi-agent system. From their activities, new spaces for underwater exploration will emerge.

Proto-Site

To test our prototypical system, we chose a site close to the Hawaiian Islands, a seamount which has been environmentally compromised and is proximity to NOAA’s existing migratory network. The robotic units can be deployed on site to scan for suitable reef-building locations, from there, they determine the most suitable areas to deply the scaffold.

Potential Anchoring locations Top View

Cross Seamount

Hawaii Islands

Multi-agent system: scaffold deployment

For scaffold deployment, strange natures uses intelligent multiagent systems. These intelligent robotic agents interact with each other, and build the structures in swarm behavior. Their behavior can be either cooperative or individual; the driver agents (which build the main frame of the structure) share a common goal, following the attractor as they move in separation or cohesion at the same time, while the stigmergy agents move rather individual way, detecting the trace of the driver agents’ scaffolds and stitching them. The number of agents and the frequency of the stitching decide the porosity of the scaffolds, and therefore, control the sun exposure of the whole structures.

Stigmergy Agent Robot Body

stigmergy robotic agents set their targets as first deployed scaffolds to follow

Scaffold

they stitch the first deployed scaffold lines

Driver Agent’s Scaffold

determine the porosity of the structure and biorock growth

Trace

driver robotic agents follow multiple attractors in swarms they leave traces for the stigmergy agents to track

Driver Agent Driving Direction Scaffold

Robot Body

Driver Agents Stigmergy Agents

Pheromone

Attractor

Porosity Control

Porosity controlled by stitching frequency and number of agents

Separation

Cohesion

Processing Animation Captures

deployment/anchoring locations

connection between columns

driver agents

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Stigmergy Agents

Complex Geometry from digitally simulated environment

The scaffold provides a framework for marine life which is grown and studied. To harness the geometry of the scaffold, we developed further the multi-agent systems using Processing. Ultimately, all of this information produces optimized forms, which can be deployed in accordance with the abilities of the robotic unit’s material deployment system. After the scaffold deployment, soon, the biorock will form on the surface of the scaffold, which will be essential for coral propagation.

disconnected for floating device

Connection between columns

More flattened surface for the corals spread out widely

Biorock Technology

Through our earlier research into the biogeochemistry of the ocean, we became interested in biorock technology.

We have partnered with Dr. Thomas Goreau, President of Global Coral Reef Alliance, as an advisor on the biorock process. This technology is a process of aggregation, where new material accumulation transforms the geometry of the host material.

The process for creating biorock is similar to how tube worms and coral grow. To create their structures, these marine organisms use electric currents and mineral that

are abundant in the ocean. In a comparable manner, Biorock is created by passing a low-voltage current through a metal frame. Salt water electrolyzes and calcium carbonate slowly forms around the metal frame.

Eventually the metal is coated with a calcium carbonate deposition that is stronger than concrete and can self-heal. This material is an ideal substrate on which to attach coral and amplify its growth. It is virtually identical, to what coral grows on.

Biorock digital simulation with Maya particles biorock builds up less, allowing more porosity and therefore, more sunlight allowance

Porosity level low

Current flow

biorock builds up densely where the stitches are tight and the sedimentation happens more

Porosity level high

biorock builds up dense enough for goodfoundation.

Porosity level medium

Scaffold after deployment

Scaffold with Biorock formation complete

space A medium growth

stimulus anode

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space C :: D continuous growth close to stimulus stimulus cathode

space F continuous growth interconnectivity

Biorock Sample (20 DAYS)

Our biorock experiments were developed in a controlled environment. Calcium carbonate circulated through a closed liquid system, and the wire samples were connected to a low current stimulus, through the control of the angle of the connections, number of connectionsm and distance from the stimulus, our biorock samples displayed the same behavior as the digital sample.

stimulus cathode

space I diffused growth far from stimulus

space G no growth

Coral growth studies

An important factor we’ve considered is the distribution of coral at a larger scale. In our research, we found out that coral grows best on convex geometries, because it provides the most amount of room to spread out and grow. While the pattern of coral distribution may change from a vein-like network to spotty mound clusters, the performance of the geometry remains the same, thus a convex form. To complement our biorock studies we developed coral growth simulations based on the studies of Dr.Jaap A. Kaandorp and Dr. P.P.A. Sloot. They specifically studied the branching growth of stony corals. They simulated this growth to understand the influence of all

external conditions in coral’s shape, such as sun exposure and the mineral content of the ocean. In our case, the coral simulations are based on physics and forces; a target is located where the geometry(column) is highly connected.

The target is a particle with certain attraction, and it simulates a natural implant, a series of minerals are located around the geometry. Some of these minerals attach to the initial target and create a coral structure, to control growth(height and width), the variables of gravity (water density) and air turbulence(water current) affect the secondary minerals, breaking some of the connections or enhancing growth.

Coral Reefs

initial setup

gravity 1.0 air density 0 linear growth

initial setup

face extrusion aggregation

initial setup

initial setup

gravity 1.0 air density 0 speed 1 speed direction x linear growth

face extrusion aggregation

gravity 0 air density 10 horizontal growth

gravity 0 air density 10 speed 6 speed direction xy horizontal growth

gravity 9.8 air density 10 vertical growth

gravity 9.8 air density 10 speed 10 speed direction yz vertical growth

The living remains of the oceans geological activities are coral reefs.

A WRI report states that 75% of all coral on earth are currently threatened and most could be gone by 2050. The rainforests of the ocean are presently threatened by a host of problems, from climate changes to cyanide fishing. Climate change in particular leads to an increase in ocean acidity, which stresses coral.

When coral are under duress, they expel the zooxanthellae inside them, in a process called bleaching. If they remain bleached for enough time they eventually die. This is a problem, since reefs cater to 70% of ocean life.

Sometimes they will be managed by local ocean communities as a haven for food and tourism, but this is not always possible. Since they play a key role in marine biodiversity, one of our objectives has been to find innovative methods for sustaining the growth of coral despite inferences.

Coral reef depth zones

Different types of corals grow in different depths of the ocean. Between 0 to 30 meters, soft corals dominate the reef area. and in the deeper zones, hard corals are more abundant. Hard corals are especially important for reef building, since their skeletons provide a solid base for other corals to grow on. The study of different types of corals and their growth patterns is essential to the reef building aspect of our project since the corals attached on the scaffold keeps growing throughout a long period of time. The scaffold design needs to consider these growth patterns, and as such is optimized for coral generation.

Sinularia Densa Depth: 0-15 meters Maximum Length: 0.08 meters

Acabaria Bicolor Depth: 15-30 meters Maximum Length: 0.08 meters

Table Coral Depth: 35-50 meters Maximum Length: 1.8 meters

Staghorn Depth: 0-40 meters Maximum Length: 2 meters Growing Rate: fast

Acabaria Bicolor

Time based growth, 3d print model

Printed column

Biorock growth

Coral details

Coral growth

water level ďŹ&#x201A;oating system

printed scaffolding

natural implant

biorock offset

sea mount level

Section

Rendering of Maya partical simulated floating device

Organizational Diagram

range of movement

cluster for larger space usage

function as smaller vehicles for oceanographers research within the research site

Connecting Moments : connection happens at the tangent where the ďŹ&#x201A;oating devices meet

Above water spaces

When oceanographers reach their research destination, they typically dock their boat and investigate their immediate surroundings. Therefore, some intermediate space between their boat-life and underwater exploration is needed, which can become their diving deck, and platform for collecting and storing live samples.

The above water spaces we developed are a resultant geometry from the sun analysis.

Our initial studies showed these connected to the vertical forms below, but due to sunlight requirements, we made the above water spaces independent and mobile.

These forms enhance connectivity between

NOAA research vessels, and the underwater spaces below, while providing a resting area for scientists’ diving.

The floating elements are initially deployed underwater, as a mixture of metal and ocean plastics, where the plastic is used for floatation and is effectively sealed off from the water. While underwater biorock grows over the structure, and when a suitable amount has grown, the forms can be released to float above the water. In profile, the form dips in the center, similar to a boat, to aid its floatation. Due to sun proximity, corals will easily populate beneath these spaces. rendering of several floating pads

Physical model: Elevation

In order to articulate material at a large scale, we developed this model. Using glue and piano wire as a modeling technique, we were able to express our deposition strategies while exercising a fair amount of control over the forms. The ďŹ nal model embodies all the characteristics of the digital.

Plan

View to connection

spring 2010 transforming nyc tower

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spring 2009 nyc composite office tower

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winter 2010 KRC office

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summer 2008 Taiwan CDC

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RUTCETIHCR

Taiwan CDC summer 2008 // Internship Gage/Clemenceau Architects Team: Nate Hume, Cody Davis,and Pablo Kohan The competition was organized by the government of the R.O.C (Taiwan), to design the Taiwan Center for Disease Control Complex, which is located in the Hsinchu Biomedical Science Park in Hsinchu County. The complex should be designed including an administration center, a national health command center, and a laboratory & research center. The total construction budget was assigned to be 52 million dollars for phase I, and 23 million dollars for phase II. Our approach was that rather than one large, oppressive, single building, the complex is instead a village of interaction, that is secure not only through physical barriers, but through the very design of the complex. The buildings surround a series of interior courtyards which feature plantings, reďŹ&#x201A;ecting pools and other elements of inspiring civility.

Rendering: viewing office tower

Site Plan

The layout of the CDC complex is organized through a series of highly secure, separate yet interconnected buildings. Each building is an independently functioning entity, with individual entrances on the ground floor. A series of elevated ramps and bridges connects all of the independent buildings at the third floor level, allowing workers to physically move between departments without the need to access the more public lower levels.Each building is raised above the ground level, providing a higher degree of security in the face of potential protest or unrest.

Office tower High risk labs Low risk labs

Library Auditorium

Loading zone

Circulation

Parking is separated into two subterranean levels. These floors are fed by two points of entry/exit, each dedicated to either lab or office parking. Each building’s core connects directly with these floors allowing every person to park in direct proximity to their place of work. Each core also feeds into one service route which accommodates maintenance, shared mechanical program, and delivery for the entire complex, terminating in the loading and waste area at the back of the site.

Service link Parking space

Mechanical shaft Office parking entrance

Lab parking entrance

Circulation diagrams

Environmental section

The Taiwan Centers for Disease Control should stand as a leader in global environmental responsibility.

This design pairs aesthetic consciousness with a concern for the latest advancements in sustainable technology, material and methods of construction.

The architectural strategy addresses issues such as embodied energy to influence the palette of materials. The design incorporates many features for increased energy efficiency. The curtain wall, fully

glazed with low-e glass, maximizes natural light within the building while curved panels help block direct sunlight and reduce cooling loads. Floors utilize a raised floor system which allows for under floor air distribution capitalizing on free-air cooling, bringing in outside air when it is cooler than the interior space, as well as improving ventilation. Photovoltaic panels are integrated on the roofs of the buildings to harness and convert the sun’s energy.

Rain Water Recycling

Building Integrated Photovoltaics

Chilled Beams and Ceilings

Natural Ventilation System

Ice Storage System

Geothermal Heat Pump System

Recycled Rain Water used for landscape irrigation

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COURTYARD

High risk laboratories

LEVEL 1

The office building of the CDC complex is a twelve story block, visually supported on a raised plinth that provides for increased security against protest, attack, and unforeseen natural disasters.

From the plinth spring a series of slightly folding, contoured plates constructed of curtain wall glass combined with both stainless steel and ceramic panels. Through reflection, refraction, and transparency, the office building, while iconically bold, visually mediates between the ground and the sky, placing the building in a harmonious relationship with the surrounding environment.

LOBBY LEVEL 2 3 4 6 7 8

OFFICES LEVEL 5

CONFERENCE ROOMS

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Viral Enterk and Emerging diseasaes Special Pathogen Lab Support Spaces

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Sexually Transmitted Myotic Vector Borne Viral and Rickettsial Diseases

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Mycobacterial Diseases Lab Bacterial Respiratory Diseases

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Animal Laboratory BSL-3 Lab

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The pedestrian bridge delivers people to a controlled multistory atrium and elevator lobby beginning on the third floor.

This dramatic social space is lined by offices and the National Influenza Center with all other departments situated in controlled areas.

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National Influenza Center Viral Respiratory Diseases

Lab building interior

Section

Korea Rural Community Office

winter 2010 // Internship Hyub Yeon Architects Team: Seyong Lee, Minsoo Park, Hyunin Kang

Korea rural community ofďŹ ce was a competitionn project, which was to design masterplan for the site of 115,500m , including the ofďŹ ce building and all the amenities for the people who work for Korea Rural Community, in Naju, Korea. The main design concept of the master plan is to create a greenscape that connects the building and the surrounding nature, not only aesthetically harmonious within the context, but also programmatically it invites people to involve in the programs that are nature-enhanced and experience the green nature.

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To be environmentally friendly, the facade is designed to save energy, by installing energy louvers, maximizing the natural light sourceâ&#x20AC;&#x2122;s use, and preventing the heat loss with double layered panels on the northeast. Each side of the building envelope has different facade system according to the direction of the natural light source, and this variety creates a beautiful harmony, when looked from any angle.

Perspective rendering

Mass study

40,000m2 mass given

The capital of South Jeolla, Naju was designated an Innovative City candidate and several public offices would move from Seoul, to the Naju area. Surrounding the site, there is farmland and mountain, and inspired by this beautiful landscape, our approach to the project was to bring

the nature’s pattern in the design. By embedding the idea of ubiquity and ecofriendliness, the building becomes an representative of Korea’s public buildings that prioritizes green community surrounding them, and an icon of Naju as the site is located at the entrance of the city.

mass functional division

Design concept connection between masses

farmland pattern laid on the site

nature’s pattern extruded for mass creation

architectural space that carrys communication between nature and human beings

more refined mass by programs

Programmatic distribution

The project is composed of multi-purpose hall, main office tower, green deck, and promotion hall, and additionally, there are different themed parks around them, such as carbon free park, which emphasizes on the green scape, that is the initiative of the design. The main office tower is 20-storyhigh, and the rest are relatively low to open up the views and natural light passage for the main office tower. The four main programs are interconnected on the ground creating communal area. The parking lot has 617 spots (underground: 110, overground: 507).

main office tower

multi-purpose hall green deck

promotion hall

visitors ofďŹ ce users

drop off area

multi-purpose hall visitors

VIP drop off area

Circulation diagram

The vehicle circulation is clearly deďŹ ned to ensure the safety, and programmatically divided parking lots help the visitors to access the programs more easily. Also, there is a big parking lot for bicycles which will encourage people to use bicycles more.

Legend cars bicycles service

Master Plan

Second Level Plan

multi-purpose theater dining area

promotion hall

parking area

multi-purpose theater

Ground Level Plan

west facade

south facade

vertical louver for the light from west side

horizontal louver for the light from north side energy louver (BIPV installed on the louver)

northeast facade double layered system (glass+aluminum panel) prevents heat loss

Facade system

The facade system of each side of the ofďŹ ce tower varies, and this adds more dynamics to the design of the ofďŹ ce tower. The pattern of the facade is inspired by the pattern of hemp, which is one of the major industries in Naju. By combining different kinds of louvers, glasses, and panels, the ofďŹ ce tower receives the maximum natural light and prevents heat loss, as well as its aesthetical contribution to the overall design.

aluminum louver(BIPV)

east facade

low-emissive glass aluminum double panel

low-emissive glass

aluminum double panel

aluminum double panel

low-emissive glass

low-emissive glass

South elevation

Interior renderings

NYC Composite Office Tower spring 2009 // studio 402 critic: Michael Silver

The project challenges designing architecture under the potentials of composite fiber as being a material for buildings. The advantages of using composite fiber are various in terms of sustainability, structure, and design. The fabricating process using composite material influenced the design, and the structural analysis exchanged feedbacks with the design. The project is distinctive that it introduces the design process of architecture driven by the use of material.

The pattern on the surface represents the strips of composite material laid on the mandrel during fabrication. To produce this pattern digitally, I used Processing as it allows to figure out the choreography of the pattern drawing. Not only the production of the surface pattern was interesting and unique, but also the making of physical model for presentation was unconventional; using cnc mill, I made a female-male mould where the wet lasercut patterned basswood can fit in between. As the wood gets dry inside the mould, it bends and deforms as the form of the mould.

rendering of the building in the context of the city

Site

The site is in the lower east side of Manhattan, where there are small boutiques and office buildings. The site is only 450 square meter, quite small square footage for an office building, therefore, the floor expands as it goes higher, cantilevering over the neighbor buildings.

Lower Eastside, Manhattan

Suffolk Street

Essex Street

Norfolk Street

Stanton Street

Composite material’s capability of taking the heavy loads allows more flexibility in structure; within the small square footage, the material is expecially beneficial since there’s not so much of the structure is needed. The floor slabs hang on to the exterior wall and to the core of the building. The exterior wall can remain thin because the layered pattern of the fiber-reinforced composite can resist heavy loads with small amount of material.

Floorplans

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Programmatic Distribution The use of the building is mainly for the offices, however the ground and the top levels are open to public Sky Cafe

Office Space

Technical floor

Office Space

Technical floor

Office Space

Cafe

Technical floor

Carbon Fiber Patterns

The ďŹ ber-reinforced materials have a layered or laminated structure. The patterned ďŹ ber styles are available in various forms, different resin, various widths of the tape, and etc.

Fiber-reinforced composite materials used in transportations

Composite materials are popularly used in transportation business such as fabricating aerospace components, boat hulls, and racing car bodies because of its high-performance in taking harsh loads despite its light weight.

Structural conditions translated as in composite materials

The short and long fibers are typically employed in compression moulding and sheet moulding operations. These come in the form of flakes, chips, and random mate (which can also be made from a continuous fibre laid in random fashion until the desired thickness of the ply / laminate is achieved).

More layers of fiber for stronger structure

thickest surface with a lot of layers to support the weight of the building

woven pattern to be used as the shields of the building

Pattern produced from Processing

rendering of the building in the context of the city

West Elevation

South Elevation

Detail of the facade on low levels

Looking up from the entrance level Right: Overview of the building with neighbor buildings

Hudson River

Transforming NYC Tower spring 2010 // B.Arch Thesis advisor: Leire Asensio

We are all human beings with emotions, and we cannot live just isolated, by ourselves. We need our community to give us feeling where we belong to, and we need security within the community. We accept support from others and we give our support when itâ&#x20AC;&#x2122;s needed. My thesis attempts to test, within a compact, dry urban life setting, how architecture could create a symbiotic environment between the neighbors, between the building and the environment as well. And in attempt to do so, it also asks how the users could play the role of mediator in order to achieve this mutualism.

Birdâ&#x20AC;&#x2122;s eye view

Greenwich Village, Manhattan

Interactive design has been explored by many designers in the past and the present.

It is a ďŹ eld of design in which objects and space have the ability to meet changing needs with respect to evolving individual, social, and environmental demands. I believe that given the rapid changes and ongoing in our social structures and environmental demands, interactive architecture has a great potential in offering alternative architectural models to the current ones. My thesis investigation is therefore driven by a strong interest in the ďŹ eld of interactive architecture. Many of precedents of responsive architecture focus on the visual effect on the skin or envelope only, which is interesting already. I suggest that this visual effect should stretch further involving the change in space in order to gain more architectural and spatial quality out of it.

Therefore, I chose an urban setting to design a building which brings a symbiotic life between users, community, and public using the skin of the building.The site is located at the northeast corner of charles street and Washington street, in west village, New York.

View from the street

Zoning Restrictions

The site is about 3000 sqft, 50ft by 60 ft, and the neighbor buildings are mostly used for residential purpose. The site accompanies a small garage parking to the east of the site.

It is crucial to understand the zoning, in order to comprehend the restrictions of the buildings in the specific neighborhood, and to figure out the maximum envelope. Due to the height restriction, and the setback within the small footage, the floors expand, using the air right of the next door garage.

Cantiliever over Lot 34 with Air Rights

Setback

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Maximum Height for zoning C6-1 (Commercial FAR : 6.0 Residential FAR: 0.87 to 3.44)

BLOCK 632-LOT 34

BLOCK 632-LOT 1 --- area: 3,000 sf (50’ X60’)

Programmatic Distribution

The building is fourteen-storyhigh. The bottom four floors are occupied by communal and commercial programs, while the above ten stories are residential. This opens up an opportunity to create symbiotic relationships between residents, community, and public will be created.

Residential

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The programs of the bottom floors into two categories, one permanent, and one temporary. The permanent programs are stores, café, bar, and classrooms for community, reading room and etc. The temporary programs, or seasonal programs will be open market, spaces for musical performance, temporary exhibition and etc.

al mun l/Com ia c r me

Symbiotic Relationship

The communal/commercial floors are not only convenient facilities for the residents above, but also they can bring much liveliness in the neighborhood by attracting the neighbors with various programs on those floors. The whole facade skin of the building will transform by the demand of the users, and in addition to that, the bottom communal floors will have a facade that can be completely closed or open or semiclosed. The change of the facade not only brings interesting aesthetical contribution to the look of the building, but also programmatically accomodates different scenarios by seasonal change, and spatially provides more flexibility in its use. The flexibility of the building skin will bring much more dynamics and vibrance to the neighborhood, and this will profit all three bodies, residents, communities, and bigger public.

Residents

Public

Community /Commerce

Polyurethane-coated Spandex

For the skin of the building, I suggest a material that has been used in the BMWâ&#x20AC;&#x2122;s 2008 fabric car, Gina. The basic shape of the car is composed of moveable aluminum wire structure, and stretchable water resistant translucent fabric skin -polyurethane-coated Spandex is covering the structure.

According to driverâ&#x20AC;&#x2122;s desire, the shape can be changed, and along the wire, the fabric gets stretched to follow the shape.

Skin change

Using the material of Gina, the building skin moves and creates different form and different sizes of openings.

The polyurethane-coated spandex skin is attached to the aluminum wireframe and the wireframe is then attached to the walls of the building.

Behind the wireframe is a layer of structural glass. The openings can be also controlled by the users manually depending on their desire.

winter

spring / fall

summer

Overall building view from the streets The shift of the building shape and the change of the openings by the users create a certain engagement with the public as the public views these changes on a daily base. Not only from the visual point of view, but also programmatically, the building can also give advantages to the community surrounding by being used as commercial and communal programs, such as classrooms and stores for the people around the area. When itâ&#x20AC;&#x2122;s fully open, the space will be occupied with public programs, as a place for the passerby to hang out.

Plans

The plan of the ground level is pretty much open except there’s the second skin that can be used to divide the spaces. When the skin is open, there can be seasonal programs such as market and performance space. The skin of the ground level moves along the rails, which allow the very corner pivot of each skin division to revolve, then the rest of the skin follows that point and changes the form freely. When this skin is fully close, the space can be used as private function, and when it‘s open, it becomes public space. The other communal/commercial floors are mostly used for meetings rooms, reading rooms, and classes for the residents and the public.

According to the real estate research of west village, New York, studios and one bedroom apartments are in most demand just like other places in the city. Through the study of the neighbor buildings’ floorplans and consideration of the small footage, the floorplans of the residential floors are carefully designed.

Meeting room

Reading room

Public space

Level 3 , 4

Studio A

Studio B

Studio C

Level 5 - 11

Right: section

Entrance view from Charles Street

Night View Due to the translucent quality of the material of the skin, at night, the lights inside the building can be visible on the outside, which takes the aesthetics of the building to another level.

Ground level interior

winter 2010 vivace

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fall 2008 robotic tulip lights

OBJECT

OBJECT

Right: Robotic Tulip Light on the table

Robotic Tulip Lights

Lasercut paper with folding lines

fall 2008 // Internship Gage/Clemenceau Architects Team: Mark Foster Gage

As a continuation of research on origami and with the request from a furniture store during my internship period at Gage/Clemenceau, I worked on a light fixture that is inspired by the folding feature of origami. The geometry of the light fixture was designed in Maya, resembling a tulip with robotic look. Then it was taken to Pepakura to be unfolded, in order to create 2d lasercuttable file. The panelizing idea on the surface was to enhance the look of robotics, and the inspiration came from the airplane body panels.

Lasercut plastic panels

Base geometry made out of paper

Panelization

After the geometry of the lamp was determined, the pattern on the lamp shades were to be designed; I attempted three different approaches in design, ďŹ&#x201A;oral, vectoral, and panelizing. The last trial with panelizing was most successful in turning the lampshade into robotic look. The below are the pictures of the ďŹ nished lampshade under the daylight when the light bulb is turned off. Each lasercut panel is glued one by one onto the paper lampshade. The shiny black plastic sheet adds the robotic look on the shade. Also, the gold mirrored plastic on the inside of the lamp gives a metallic touch to the light ďŹ xture.

mountain folding line

light plastic sheet paper

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Use of Metallic sheets

The design of robotic tulip light was focused on the exterior of the shade, therefore the lamp is ideal to be used on the table, with its robust structure to be able to stand on its own. For the interior of the shades(inside of the three legs), I used gold metallic plastic sheets, to give different colors from the exterior plastic sheets. This differentiation of the colors made the lamp to look interesting when it hangs from the ceiling, especially with multiples.

Details on the inside

Left: Robotic tulip light standing on the desk in dark.

Right: Robotic tulip light hanging, view from bottom.

Below: â&#x20AC;&#x2DC;zoomed inâ&#x20AC;&#x2122; view of panels.

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Curtain summer 2006 // studio 202 critic: George Hascup This was a workshop phase project of summer 2006 studio, followed by a small house project, which was to design an object that could be placed in the house. Using a simple geometry of hexagon, I overlapped it repetitiously with certain offset, and this produced a series of drawings which I may further develop into three dimension by using the overlapping lines and additional lines to fold and cut. By controlling the folding direction and cutting edges, the drawing became an interesting three-dimensional â&#x20AC;&#x2DC;moduleâ&#x20AC;&#x2122; that can be combined with others simply just by positioning it right. By the scale of bending, the aperture of the module could be controlled as well as the whole shape of the curtain when the modules are put together.

cutting line folding line Hexagon layout

3d module

Right: Photo taken in close-up

Change of curtainâ&#x20AC;&#x2122;s aperture and shape

compressed

stretched

Vivace Porsche Cayman

winter 2010 Designboom Competition

‘Radically Porsche’ was Designboom’s scholarship competition in 2010, organized with Porsche, and the following design was my entry, which made to the top four among 1153 submissions. My entry, ‘Vivace’ tried to convey Porsche’s elegance in sportscar and the idea of succes and fun. It has worked closely with Cayman’s body shape and focused on emphasizing each of the car parts in a continuous flow of lines and shapes. The specificity of each moment and the coherency and elegance of the whole pattern are the strong characters in the design. The various gradients along the sides and top and the wire lines especially in the front of the car work as an accent to the very sensuous, elegant and famous curvature of Porsche Cayman.

BACK

FRONT

TOP

SIDE

Front View

The top four entries were translated into real Porsche Cayman model range spots cars after the competition.

During this process, I and Designboom communicated via emails in order to realize the car closest to the original 2d design. Due to the gap that happens when working 2d into 3d, the 2d graphics could not be placed exactly where the design indicated, however, the delicacy of the lineworks and the gradient color of blue-black were translated successfully.

Side View

‘Vivace’ at exhibition

Exhibited from April 12th to 17th, 2011, at Roberto Cavalli’s Just Cavallie Cafe, during Salone del Mobile 2011(Milan Design Week)

image © designboom

Bergamo 03/25 Brescia 03/23

Milano 03/24

Verona 03/30 Padova 03/31

finish

start Roma 04/01

Torino 04/21

Bari 04/02 Modena 03/29

Firenze 03/22

March 22 - Firenze March 23 - Brescia March 24 - Milano March 25 - Bergamo March 29 - Modena March 30 - Verona March 31 - Padova April 1 - Roma April 2 - Bari April 8 - Catania April 21 - Torino

Catania 04/08

RADICALLY PORSCHE ‘VIVACE’ ROADSHOW 2011 The four realized cars, including ‘Vivace’, were toured throughout a road show in Italy from late March through early April, and during the Milan fashion week, they were displayed at Roberto Cavalli’s Just Cavalli Cafe from April 12th until 17th.