Jihoon Park _ Portfolio

JIHOON PARK

COOPER UNION IRWIN S. CHANIN SCHOOL OF ARCHITECTURE

SELECTED WORKS [2016 - 2023]

JIHOON PARK

EDUCATION

The Cooper Union, Irwin S. Chanin School of Architecture

Bachelor of Architecture

Minor in Economics and Public Policies

2016-2023(2020-2022 gap year)

ny. ihoon.par gmail.com

PROFESSIONAL EXPERIENCE

SKM Architects

Façade Engineer

In charge of facade design scripting with grasshopper for an office building. scripted a color study model with various design parpmeters for the facade.

Office of III, New York, NY

Design Intern

Participated in model fabrication for the MoMA PS1 competition.

HAMMERTON STUDIO

Parametric Designer

Responsible for scripting parpmetric shaped lighting design that resembeles hadcrafted chisel texture made out of glass.

Resposible for scripting criscrossing sandune shpaelighting made out of glass.

Clin-Kup Coffee

Interior & Brand Design

Responsible for the branding and interior design of 500 square feet size cafe ingluding logo, display stand, furniture, inteirior, and vegetation.

NARF camping

Furniture Design

Developed furnitures suitable for campting using wood and various material. Furnitrues were kinetic and flat packed design for nomads.

NARF camping, Seoul, Korea

Sinop Coffee

Interior Design

Designed and cordinated diy project for a coffee studio. Responsible for prefabricated furnitures and inteirors.

17.4 4.4 14 www. ihoon.archi Seoul, Korea

2021-2022 New York, NY 2017, summer salt lake city, UT 2023

INVITED INSTRUCTOR

OA LAB and PRAUD

Grasshopper in Architectural Workflow

Instructor for grasshopper in various offices in seoul.

Introduced practical grasshopper scripting to practitioners and help them imply to their design workflow for their facade, planlay out and form finding.

AWARDS, HONORS

4th place

“Busan International Architecture Design Workshop”

Competition for waterfront reuse.

Proposed a waterfront park layered with adjacent city girds.

EXHIBITION

“House Vision, Agriculture”

Interior graphics design on “meta-farm units”

“MoMA : Architecture of Decolonization in South Asia”

Model fabrication and drawings on Steel Corp HQ by Geoffrey Bawa

“House of Poetics”

Seoul, Korea 2022 Seoul, Korea 2021

Seoul, Korea

2021

Seoul, Korea 2020

Tensegrity installation in group exhibition

ADDITIOAL INFORMATION SKILLS

Modeling & Drafting: Rhino, Grasshopper, Auto CAD

Rendering: Vray, Enscape, Lumion, Twinmotion

Post production: Adobe suite

BIM: Revit, Dynamo

Fabrication: Rhino CAM, Fusion 360, Hal Robotics

LANGUAGES

English, Korean

busan, Korea 2019

jinchun, Korea 2022, june new york, ny 2022, feburary governer’s island, ny 2019, march

1

COLOR SPACE IN DI g ITAL IMA g ER y

thesis . the cooper union . fall 2022- spring 2023

Instructor: Michael Young

This thesis touches not only on the representational aspect of computational tools but also on the observer’s vision in relation to digital screen. Way before digital imagery, Goethe posed observation as the play of forces and relations between the object and one’s eye rather than as the orderly contiguity of discrete sensations conceived. Goethe implies visual phenomena such as afterimages are also under the spectrum of real appearance.

Entering the digital era, every pixel on the digital screen became photogenic. It is not the sun that objectifies any subject of optic vision anymore but rather every pixel is both subject and the object. Where would this mode of vision truly take the logic of computing to the point it starts to oscillate our retinal sensation? This thesis aims to investigate a threshold that drives technology or an aesthetic out of frame with the speed of computing. Experiments with new forms of technical aesthetics will generate different interpretations of the ‘afterimages’ for the digital screen.

storm seam boat off a harbour’s mouth making signals in shallow water

1842

j.m.w.turner

122cm x 91cm

oil on canvas

When it comes to computational design, data are derivative of one’s intent. Points become coordinates, curve segments become spline, and planes become curved surfaces all of which are a transition of one’s data to a digital drawing, like how drawings are constructed through the demarcation of primitive geometry, computer-distinct boundaries, areas, and spaces in the world of NURBS. Being able to compute the inter-relationship between data linked to a certain parameter has started a conversation of parametric design over the past decade in the architectural discourse. We have seen many objects and buildings in an organic form empowered by parametric computational tools.

However, what was overlooked about these computational tools are the aspects of their discreteness, a different language apart from NURBS. The language is like how paintings are depicted with an accumulation of pigments. Each autonomous pigment is not bounded to one another with parameters. Only after relentless accumulation, it then becomes a refined piece of painting and reveals inter-relationships between each attribute. From a computational perspective, this mode of medium is being used in architecture only in a limited discipline such as rasterizing images, texture mapping, or photogrammetry.

Optical abstraction merged after the invention of camera obscura as realistic paintings were no longer needed. Such process was revealed by a notable painter, J.M.W. Turner. His solar preoccupations are the embodiment of sight that the camera obscura repressed. Turner’s representation through the vortex of light is a radial conflation of the eye and the sun. Digital screen opened a contingency in that our process of perception itself becomes a primary object of vision. This is the process that camera obscura is incapable of.

Moving on to speculate the tool, digital images were categorized in to five different groups. First, the early paintings of Turner which his subjects are loyal to the source of light. Its silhouette and demarcation of depth is still noticeable even after relentless accumulation of autonomous pigments. Secondly, late paintings of Turner where he starts to blur the light source, creating a radial conflation or an abstraction of apabilities of the camera obscura. Third, paintings with vivid colors but still possesses the perception of depth. Oblique or orthographic projection even some with two point perspectives but dominated by the vivid color accumulated on the canvas. Early works of Kandinsky, and Miro are aesthetical efforts to go beyond the perception of depth different from the camera lens.

Fourth, paintings that mainly deals with color and geometrical composition. These paintings are no about perceiving depth but rather about labeling layers of what comes at the top and what goes beneath. How will the tool anticipate with such abstraction of what is in the front and what is in the back?

Lastly, photographs from Michael Kenna where his work mainly plays with long exposure time of the camera. Cameras are capable of quantifying the amount of photons that the lens is receiving through image sensors. Would the tool be understanding the condensed amount of photos embodied on the pixelated image?

These digital imageries are discretized to the resolution where the tool operates on. Digital images are already autonomous pixels containing numeric information. However, in order to speculate the colors on a threedimensional level, its volume of codes should be shirked until the point where the tool can manipulate around. The last step before these images becomes mode of input for the tool is to blend the autonomous agents adjacent to each other. Similar to any kind of rendering tools, to reconfigure these color values along with merged spatial coordinates color values should not remain discrete anymore. The tool is parametrically sorting these autonomous color values within the three dimensional digital space creating digital canvas that looks like a spider web.

photograph 150cm x 150cm, photo sunset over seaweed farm 2012

composition painting 275cm x 190xm, oil on canvas composition v, 1911

flattened depth painting 90cm x 66cm, oil on canvas the harlequin’s carnival, 1924

early turner painting 122cm x 91cm, oil on canvas fisherman at sea, 1796

EARLY TURNER PAINTIG

The tool seems capable recognizing the source of light where its color topography creates a conic shape from the point of light. Also the reflection of light where it shimmers on the sea surface is also being captured.

LATE TURNER PAINTING

Configurations and color topography becomes more noisy. Radial conflation of the light blur is somehow noticeable but main light source no longer becomes the dominant geometry of the color topography.

FLATTENED DEPTH PAINTING

Topography becomes more and more irrelevant between adjacent colors. No part of the topography spikes high compared to the first two groups.

COMPOSITION PAINTING

The tool no longer reads any depth nor light source. The topography becomes a mere representation of inter relationship with pixels within digital imagery.

PHOTOGRAPH

Reconfigured digital canvas resembles a form of tower. Since its image is constructed based on desity of collected photons, the linear gradation are generated with the speculative tool.

DIGITAL PAINTING

Final stage of this thesis is to convert digital color spaces to something physically tangible. Similar to the materialization of series of digital images, by using the robot arm, it becomes possible to visually speculate how these color values are being constructed within the digital space. All these autonomous color values are within the range of RGB. Therefore, it makes more sense to use light as a medium to reconstruct such painting. The end goal for this thesis is to be speculative about the digital imagery, which we consume relentlessly as architects.

being introduced to a computational tool from the beginning of architectural dscourse, many of us implicitly acknowledge its utility. This thesis aims to think about the origin of how computational tools established its digital world of NURBS and discreteness, different from the conventional way of drawing and painting. Moreover, to be critical about our unconditional consent of utilizing the computational tool.

2 y AC DETROIT

yac proposal . 2020 individual work

The site of this project is positioned right next to the TCF center. It is a place where all the people gather to experience the main events of the city. Therefore, the project tried to advocate the space and fill it with the city’s identities.

The site is both where the M-10 highway ends and the city streets begin. The project proposes to elongate the end of the highway, downtown roads, and the roof of TCF center into the center of the podium. As these three different circulations intertwine with each other, they form a ramp heading straight down to the parking lot.

The ramp does not only act as a circulation core but also as a runway for automobiles. Podium pedestrians around the ramp will always get deluded as if they were in a motor show. The essential role of the ramp is to provide both the drivers and the pedestrians with a full visual experience of the space.

1. truss detail

2. wall detail

3. roof detail

3

k OREA TIMES HEAD q UATERS

professional experience . skm architects . 2021-2022

facade design

The end goal for this project is the color panels on the façade. A headquarter building of Korea Times, the client wanted to imply their CI color which is green. Breaking out from their conventional green color, the project aimed to study color variations driven from client’s original identity proposing what our team called ‘Futuristic Green’.

FACADE SPECULATION

Computational software gives us infinite variations of what the façade could potentially be. The biggest challenge for this project was to harness proper parameters that could translate our architectural values on to the enclosure. Along with the color panels design of the mullions were a major design issue. From a technical viewpoint, the biggest challenge was to make the script operate smoothly while containing a lot of anomalies of the geometry. Some of the parts were consisted with different sizes of panels and even slanted condition. This became a big problem not only in simulating colors of unit curtain walls but also mullion’s fabrication condition.

4

SCENO g RAPHIC CIT y

design iv . the cooper union . fall 2019

Instructor: Florian idenburg

Fictional narrative is to be constructed regarding how media will be consumed in the mere future. In times where reality and fiction seem to be merging, where fiction gives way to experience, where we shift from citizens to characters, where gaming and VR affect the way we tell stories, our experience of what is captured is fundamentally different. How can we better understand contemporary imagery and envision a new architecture?

Every media being published goes through some sort of censorship. For instance pornography or violent contents undergo age rating system in order to be published. Inevitably, there will always be media that could not pass through the filtering system. Where do these contents go? Do they get deleted? Just stored forever in someone’s hard drive? What if all these inappropriate stuff crank in one place? What if architecture could embrace this unhealthy media ecology where they are planned, produced, consumed and lastly combusted all in one place?

Self-harming, drug abuse, pornography or much other hardcore contents can be a business revenue in the mere future. Never to be opened to the public, exclusive contents will only circulate internally.

virtual amusement park

The building is permitted only to the members. Members are to visit the place and consume media as much as they want. They have their own individual pods, which are concealed from the outside world. Whatever they watch or whatever they do, nobody will know.

Enclosure of the building is surrounded with a second skin. Balloon like opaque ETFE which blends outer visual. Members will not only get confused with time but also will not perceive visuals from the outside world. They will be trapped in this floating balloon seeking for more and new stimulation.

056B1165.CR2

056B1168.CR2

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056B1170.CR2

sw exploded axonometric

one way in no way out

The building is composed of three parts. Firstly, welcoming center, a generic piloti type of structure where members will socialize and be informed with new events. A rooftop bar is positioned at the top for amusement. Also, two movie studios were placed on the 2nd and 4th floor. One for filming and the other for post-production. Images or videos produced here only will be consumed inside the building and would never be opened to the public.

Secondly, the pods. A member’s space where they could fulfill their fantasy. People who prefer their identities not to be exposed will seek pleasure discreetly. No playlist or browser history will be recorded. Each pod will have a wide screen inside with a brilliant sound system. Members simply have to ask the staff for other stuff needed. Rather it’s sanitary goods, tools or even media wanted to be produced. The staff will do their best for ultimate hospitality.

Lastly, the healing center. Members dealing with high stimulation might have PTSD. And it is important to treat it well before they enter the pod again for more. Members can stimulate and calm their senses all along and never leave. The healing center contains various programs for mental stability, massage room, group therapy session, meditation room, psychology consultation and the gym.

design iii . the cooper union . spring 2019

Instructor: Mershia Veledar, Hayley Eber, Inaqui Carnicero

There are many forms of households around different collectives. Yet it underlays a universal quality of space. Houses should embrace both comprehensive demand for spaces and varieties of different households. This studio researches households for low-income families.

analysis

Composition of households constantly changes over periods. For instance, urbanization during the industrial revolution configured high-rise, high-dense buildings. Residential units accumulated vertically as apartments. These units were planned in consideration of four members composing one household.

Advancement of society now faces lowgrowth. In cities, where resources like residentials are concentrated, the pie of growth is getting smaller making an individual’s survival primary. This leads to a new configuration, a single household. Cities are now confronting with more demand for single housing.

Song-pa micro housing implies a shift in household formalities. Its significance lies in what the architect calls a ‘tapioca space’. Like the gel around a tapioca pearl, this ‘Tapioca Space’ becomes a soft intersection between public/ private and interior/exterior, creating social fabrics between neighbors.

Fourteen ‘unit blocks’ allow residents to either claim a single space, or in the case of gatherings, blocks can be combined for larger configurations. This flexibility accommodates constant state of change and allows residents to occupy the building longer.

facade and details

Another characteristic about this precedent is its facade and spactial enclosure. The project insists to have double layer of facade for several reason. First, the facade is part of the building drainage system, where outer facade of the building has wide surface that could create enough surface tension for water to flow on its surface. Secondly, its double facade is what indicates the spacial programs of the whole building from the outside. The density of the fins helps private spaces to block the gaze from the street and public spaces to have a wider opening that would not destruct the viewfinder of the window.

unit variations

unit types

Wet spaces and unit compositions are issues for this phase. Its importance lies not only in minimizing the cost for construction but also in dealing with the overall composition of the entire housing complex.

Given to design a ‘single household with co-working space’ and a ‘household with children’ the dadami method was used in order to set the amount of footage necessary for each household. A unique method to break down each unit into basic components hence enabling off-site prefabrication.

mezzanine as public space

The housing complex is a low-rise high dense building. Categorized with three types of household, more variations are given under its form. The complex holds independent buildings, each being clusters of multiple households. External circulation connects each cluster with sky bridges that share four vertical circulation cores.

The complex also has two buildings for public amenities. One with laundry facilities and a public kitchen, and the other a nursery. These facilities are useful for inhabitants who have kids but cannot take care of them during the day and for single households who don’t use the kitchen regularly, but from time to time.

6 1 MILE TEMPLE

design ii . the cooper union . spring 2018

Instructor: Michael Young, Yasmin Vobis, David Gersten

Astronomy has long existed aside from human civilization. Before religion was apart from politics, many of the times, astronomy was adopted as revelation of god. Interpretation of what was written in the sky sometimes proved righteousness of the ruling power. Even today, with different reasons, observation still plays its role. For this studio, observation of one’s particular interest will hover through the end to the design. Either a building could be an apparatus for observation or a fallout of itself.

study of dome

Long a fter the discovery of earth being a sphere, dome structures had been widely distributed across different cultures as a representation of the celestial body. The structure itself embed the perception of observing the sky. Studying the architectural apparatus of observation is what this phase is aiming for.

Onion dome was widely perceptive across muslim culture. Humayun’s Tomb is one of the structures conveying the essence of islamic apparatus of a dome. Built in 1572, at the age of the Mughal

empire, the main dome is positioned at the center of an axisymmetric configuration.

Its significance stands out not only as a prototype of Taj-Mahal, but also as being the first structure to contain a double dome, a feature borrowed from Persia. The mausoleum is situated at the center of the square podium, which is also the center of the entire site. At the top of the mausoleum is the 42.5m high Persian double dome, flanked by pillared kiosks, or *chattris*, which are a distinct Indian architectural feature.

humayun’s tomb plan & section

speculation of muqarnas

surface representation, nomadic contour

The way of interpreting certain observations developed in its way of representing. Heat maps and contour maps are basic representations of filtered raw data. Parameters scaled with temperature or height clearly convey its purpose. Surface representation used for this phase also follows a specific standard.

Ants, creatures that reside in a colonial state, are masters of leaving traces. Their chemical scent is what functions as contours, leaving a topographical memory of their world. Likely, nested trails might seem sporadic but are formed with an algorithmic cluster of geodesic curves. Destination points generated through noises by Perlin pulse direct ants to crawl over the surface, creating geodesic curves that regress to the starting points.

Nomadic tribes, like ant trails, mark their own trails for living. Tibetans specifically, roam the highlands of central Asia. Their nomadic livelihood and theocracy emerge unique way of dwelling. Polyandrous marriage and devotion to buddhism. What kind of architectural apparatus could be driven from the observation of tibetans livelihood?

surface representation of nomadic trail

1 mile manifesto

Welcome pilgrims and roamers who made the final reach to this destination. What has brought you here? Have you found what you wanted?

What has been found here will not depart form here. Where to start and where to end is depended on yourself. It is unsubstantial and has no enclosure. It is real but forgotten.

You can eat, sleep and pray. An endless loop will repeat until you depart. The ring is a mile long, a unit measure or a reflection of repetitive fulfillment. The ring is a compound filled with fragments of time and action. The ring has no origin but will conclude with withdrawal and reset.

You are voluntary prisoners of the ring. No one but yourself has enforced you to participate. What you will leave behind is a decision of your own. What you will depart with is nothing but void.

Three chambers will be offered accordingly. First, ramp of purification, everyone is welcomed. But the trail is set and cannot be contaminated. Secondly, the agora, prisoners will be center of resonance, to saturate or deplete is choice of your own. Lastly, the prayer’s room, the ring does not impose anything. Time and action is only what you should offer.

The ring is not a building. Its apparatus only functions to the occupants who are willing. To those who are not will find no function, egress and not even its existence. Remember you are the voluntary prisoners of the ring.

MOMA PS1

professional experience . office of iii . 2017 model fabrication

Event Horizon exemplifies a theoretical threshold between the summer season and MoMA PS1, around which an inescapable gravitational pull is intensified by a number of related elements. Here architecture is both a dynamic system and the context for interplay of otherwise disparate activities. The existing geometry of the site creates a pinch point between the main dance floor and the more spacious triangular courtyard. To encourage fluidity between these two zones, a secondary platform for performances is surrounded by seating, water, and mist. Above, a torqued element clad in an aluminum textile reflects light, significantly cooling the space.

While one stage situates audiences at the center, a complex canopy comprising tensile undulating lines and layers elicits dynamic energy that matches the experiences of the visitors below. These forces are embodied not only by the MoMA PS1 Warm Up parties as a locus of culture, diversity, and art but also by a heightened awareness of the surrounding environment.

-from MOMA PS1 website-

HOUSE VISION “A g RICULTURE ”

exhibition . professional experience . 2022

interior graphic specialist

House vision is an annual exhibition mainly focused on experimental spaces by invited architects around the world. In 2022 house vision was held in Jinchun, Korea where its community is sculpted based on agricultrual lifestyle. Main theme for this exhibition was to propose alternative living space that could harness various changeds to come in an agricultrual community.

ARCHITECTURES OF DECOLONI z ATION IN SOUTH ASIA

exhibition . moma . 2020 moma archive

geoffrey bawa_steel corp HQ

Geoffrey Bawa is an ceylonese architect renowned for tropical modernism. Steel Corp, just like other tropical modernism buildings, blends into the surroundings while embracing the natural environment at the same time. Although it is now an abandoned building, the building’s facade and roof proves Bawa’s considerations for the natural surroundings.

Half of the building is positioned on a reservoir, which is in the midst of rubber and palm trees, while the other half is on the ground creating an illusion as if the building is moored on a river shore. All the facades are made of precast concrete forming a tight grid to scatter the sunlight. Some are glazed and some are open for natural ventilation. The third floor itself acts as a canopy in order to protect the building from sun and rain.

exploded axon of steel corp HQ

plan & section & elevation

to see full scope of work please visit the adress below www.jihoon.archi