Design Portfolio - Kim Huang

KIM HUANG CV + design portfolio.

Hi! I am an architecture + music graduate with interests in participatory design, building information modellling (BIM), sustainability and the role of sound in architecture towards creating multi-sensory spatial experiences.

I believe in the impact of design towards creating vibrant communities.

KIM HUANG kimhuang1997@gmail.com 0456 772 369

EDUCATION

EXPERIENCE

AA Visiting School Melbourne Architectural Association School of Architecture

Student of Architecture Billard Leece Partnership, Melbourne, Victoria

July 2019

Mar 2021 - present

Bachelor of Design (Architecture) University of Melbourne

Student of Architecture CIVIS Design & Advisory, China

2017 - 2020

Nov 2020 - Feb 2021

Diploma in Music (Piano) University of Melbourne 2017 - 2020

Victorian Certificate of Education (VCE) The Knox School, Wantirna South 2013 - 2016

Contract Graphic Designer Imaginnov Design, Melbourne, Victoria 2019 - 2020

Office Assistant / Admin KB lighting, Guangdong, China Nov - Dec 2017 (Holiday Casual)

QUALIFICATION

Church Pianist Unity Spiritual Truth Centre, Hawthorn, Victoria

Associate in Music, Australia (AMusA) Classical Piano

2015 - 2017

EXHIBITION

Volunteer Event Photographer Melbourne International Jazz Festival 2015 & 2017

MSDx Melbourne School of Deisgn

Private Home Tutor (Piano & Chinese)

2017 & 2019

2014 - 2018

The Living Pavilion The University of Melbourne

Casual Interior Photographer Partystar Pty Ltd, Melbourne

May 2019

2014 - 2016

KIM HUANG kimhuang1997@gmail.com 0456 772 369

SOFTWARE SKILLS

LANGUAGES English Mandarin Cantonese

Rhinoceros

Photoshop

Illustrator

REFERENCES Hella Wigge Architect + Academic Tutor

Indesign

V-ray

Microsoft Office

+61 406 461 905 hella@bellabark.com

Chris Georgiou Senior Architect / Health Planner

AutoCAD

Grasshopper

Revit

+61 438 003 001 chrisg@blp.com.au

INTERESTS

Placemaking

Design for Co-living

Environmental Protection

Sound & Listening

Public Architecture

Music Education

01 02 03 04 05 06 07

POLYRHYTHMIA

architecture studio - design for collective housing

O-STOP

bus shelter design - competition for Hobart city

THE ORGANISED CHAOS

architecture studio - design for a speculative library

LIVING SOUNDSCAPE public art installation

GHOST HARDWARE

cinematography study - AA visiting school

SURFACE + WAFFLE design for digital fabrication

TACTILE CITY

speculative artwork - Bartlett summer studio

POLYRHYTHMIA “All rhythms imply the relation of a time to a space - a localised time, or a temporalised space.”

- Henri Lefebvre

POLYRHYTHMIA POLYRHYTHMIA This is a collective housing project that takes the lived experiences of time & rhythms of everyday life as departure points towards space and place-making. Its title is inspired by the sound / phenomenon of a simultaneous combination of two or more contrasting rhythms, whose elements may synchronise occasionally.

In contemporary culture, the emphasis on privatisation of space has led to asynchronised human perceptions of time, which directly affects individuals’ lifestyle rhythms and their ways of communication with others.

With this prevailing spatio-temporal fragmentation, can a time-based architecture offer ways to respect private rituals while re-kindling the collective connection to our circadian rhythm, and encourage the act of timesharing through social interactions as a way to foster synchronised experiences of space?

To speculate on these questions, the project investigates the notion of spatial rhythms through formal gestures, organisational strategies, circulatory routes and facade treatments which are inspired by linear and circular movements in time.

Project Mentor: Hella Wigge

I see, it’s sunday again......

Investigation of rituals

RESIDENT ANALYSIS - CONCEPT GENERATION - DESIGN REFINEMENT

Investigation of the need for recreational & resident

RESIDENT ANALYSIS - CONCEPT GENERATION - DESIGN REFINEMENT

tial spaces

level 1 plan

RESIDENT ANALYSIS - CONCEPT GENERATION - DESIGN REFINEMENT

Late afternoon. Spring.

It is Patricia's favourite time for knitting and reading on the bench by her long window, feeling the setting sun's warmth on her ba She hears her neighbour's kids running along the communal corridor. Her visiting grandson gallops out from the shoji door, thrille She continues reading, wondering if the neighbours will join her for some jasmine tea this evening......

RESIDENT ANALYSIS - CONCEPT GENERATION - DESIGN REFINEMENT

ack, the smooth and gentle pebbles on her feet. ed by the joyous laughters of his play mates.

After a long day working from home, he relishes a moment of solitude on the terrace.

Savouring the sensation of iced beer trickling down his throat, he leans back and meditates on the sunset.

The sky turns purple. Moisture in the air is being infused with the aroma of his neighbour's cooking......

RESIDENT ANALYSIS - CONCEPT GENERATION - DESIGN REFINEMENT

Above Patricia lives Mateo and his family.

unit layouts

RESIDENT ANALYSIS - CONCEPT GENERATION - DESIGN REFINEMENT

O-STOP

In collaboration with Jeniece Cheung (Industrial Design) & Carlos Melegrito (UX/UI)

The O-Stop is an “organism” that grows by duplicating its own elements. Starting with the simplest form of pole and a roof canopy, O-Stop expands on these basic structural elements and transforms into a full-size, interactive bus shelter. Its modularity allows it to accommodate to different footpath widths, and provides flexibility to scale up or down.

Concept

Connecte Co t n

An extra panel can be added to a shelter for displaying rich

If more space is available, additional “widgets” can be

information about surrounding points of interest.

added as accessories to extend the commuter experience.

These widgets enhance the experience by allowing commuters to gain insights on their impact and connect with the community through meaningful data.

Concept

Navigation and Wayfinding

A dot-matrix display sits under a printed layer with

For larger spaces such as interchange stations, larger panels can

cutouts that allow for LEDs to illuminate sections of the

accommodate more detailed information.

graphic, designed for low-energy usage and easy maintance.

Plus, if no power is available or the display is damaged, the static graphic can still be used without the LEDs.

Concept

Modularity

Each bus shelter can be assembled using the same set of re-usable, modular components.

THE ORGANISED CHAOS “In all chaos there is a cosmos, in all disorder a secret order.”

- Carl Jung

Project Mentor: Laura Mártires | Director of Mártires Doyle Architects

THE ORGANISED CHAOS

This is a speculative exploration in the possibility of a spontaneous, “messy” yet vibrant contemporary urban library in the midst of Chinatown, Melbourne.

The spatial organisation of traditional libraries are often permeated by a strong sense of hierarchy, order and centralisation, which can be interpreted as an architectural manifestation of the authoritative character of the library as an institution. The clearly defined zones & spaces in traditional libraries inherently contribute to a productive environment for proper academic study and research, yet what role does it play in forging connections and discussions among people from diverse backgrounds who live in the vibrant and ever-changing city of Melbroune?

With the site being a highly dense commercial district surrounded by highrises, an environment where lots of events happen simultaneously and spontaneously, is it possible to embrace this sense of “messiness” while creating a sheltered and safe space for the comuunity? Can the library programme be organised in a more ambiguous and nuanced way to create more possibilities for interaction and play? How does it still fulfill the requirement for quiet study spaces which are free from distraction?

SCHEMATIC ITERATIONS

TECHNICAL DRAWINGS The final design features a group of tubic structures that are arranged to investigate blurred relationships between inside/outside spaces with ambiguous thresholds. Each “tube” serves a specific function such as reading room, performance hall, gallery and vertical circulation.

GROUND FLOOR PLAN

LONG SECTION

LIVING SOUNDSCAPE As a part of the 2019 Living Pavilion which took place on the Parkville campus of the University of Melbourne, Living Soundscape is an installation created by Grant Cullom, Harry Waldron, Kim Huang and Nicholas Ng. It aims to engage and connect members of the community through providing a means for collective music-making as well as encouraging playful interactions between people and the installation.

The project also aims to create a connection with nature through utilising a tree as the support structure for three sets of suspended instruments made from natural bamboo. The tree acts as the central focus of the soundscape, and sends a message about how the natural environment can foster community engagement.

Project Mentors: Tanja Beer | Ecological Designer Munir Vahanvati | Architect

Sound travel directions

shorter pipe (higher pitch)

bamboo node Lower pipe hits the upper pipe to produce air vibration

elastic strings bamboo node

Longer pipe (lower pitch)

HARMONISED PIPES

Combinations of different tones produced by pipes of varying lengths create musical harmonies

There are three donimant factors which affect the pitch of the pipes: the thickness of the bamboo wall, the diameter of the pipe’s cross section, and the length of the pipe.

To keep the instrument consistent, we decided that all chosen pipes would be 55-60mm in diameter, with wall thickness of around 10mm thick, which means the only varying factor would be the length of the pipes.

There is a specific sound frequency that correspond to each musical note. To produce these frequencies of sound vibration on the bamboo pipes, the pipes needed to be cut to specific lengths.

The team derived a tuning method using a relative system.

Using Eb3 (155.56Hz) as a reference, we first found the required length (560mm) for this pitch by trial and error, with help of a digital tuner. We then worked out a ratio formula to derive the rest of the required lengths: frequency a : frequency b = length a : length b e.g. Eb3 (155.56 Hz) : C4 (261.63 Hz) = 560 : length of C4 pipe length of C4 pipe = 333 mm

The pipes were colour-coded according to the different harmonies they produced, to make the installation more inclusive for non-musicians. This color-coding system was also applied to our complementary necklaces which were worn by our team members.

COMMUNITY INTERACTIONS To view video recordings of this project: http://drive.google.com/drive/folders/1G0ihsheSWI-KYjKHHNCu6TDSfKfgRp7G?usp=sharing

20

GHOST HARDWARE Project Mentors: Alvaro Pulpeiro | Filmmaker Sergej Maier | 3D Visualiser In collaboration with Shirley Tan & Qiyu Chen

Dusk.

A gloomy motel room.

I walk in.

I turn on the TV. ......I wake up.

As Freud mentions in his book The Interpretation of Dreams , our waking lives are full of emotions, drives, wishes and experiences that our mind simply could not consciously handle, and that loaded psychic material would regularly repressed and buried into the unconscious. While we are sleeping, our unconscious manifests through dreamwork into vivid experiences which we perceive as “real” while we are in them. In a sense, our waking worlds and our dream worlds can be argued as parallel realities in which our different states of consciousness exist within. From another perspective, dreams can also be used as tools to decode the unconscious workings of our mind.

This project is a metafiction that investigates the blurred boundaries between the conscious, the subconscious and the unconscious. Through the combination of a panormaic VR environment and an evocative soundscape, we aim to weave the narrative inside the mind of a ghost constructed from fragments of memories, who enters an altered state while falling asleep in a gloomy motel room, where their twisted desires and repressed emotions seep into reality and manifest themselves into fantastical happenings.

Searching for its consciousness, the ghost finds itself trapped helplessly inside the screen of a TV (a metaphorical unconscious space), on a theatre stage where a camera stares right into its soul. Meanwhile outside the TV, a violent scene starts to unfold......

REALITY

THE UNCONSCIOUS

PLAN LIVNG ROOM STAGE

shadow

UNCONSCIOUS

soundscape VR

viewpoint

http://www.youtube.com/watch?v=5u8F5GJwFh8

Twin Peaks, David Lynch The theatre manifests not a material entity of a stage, but also a cinematic, hallucinated visulalisation of unconsciousness.

In this reference, there is a red room which is understood as Cooper’s dream. The red velvet curtains function as the division of sections, hence the space is a unlimited and unknown. The curtains on the theater stage also act as the partition between the forestage and backstage. The backstage, as an unrevealed dimension, can be interpreted as the un-realised self, the unknown unconscious.

Sonic features: muffled, round, fluid & dark bass juxtaposed against sudden, sharp, bright & high-pitched sound effects at key points in time; fragmented dialogues occur in reversed speech.

Videodrome, David Cronenberg Similar to this reference, the vintage TV serves as a mediator between the real and the unreal, the conscious and the unconscous.

Sonic features: round, echoy, dark & low-pitched background sounds to create a hollow atmosphere, juxtaposed against heavily distorted & sharp static/glitch effects that imitate old-school TVs and radios, panning between left & right channels; voice-over and dialogues heavily distorted with pitch shifter effect. http://www.youtube.com/watch?v=u1V4VN6pp5I&list=PLzSH_xfBW9xwaF3r4I4TDkvSmUEZe9j8A

VISUAL & SONIC REFERENCES

To experience the VR environment & soundscape: http://www.youtube.com/watch?v=shlRG6c3uxs

VR ENVIRONMENT + SOUNDSCAPE

definition of boundaries

original surfaces

generate horizontal and vertical contours

offset contours to create waffle elements

surface creation within boundaries

create joints where horizontal & vertical elements intersect

surface panelisation

Lofts

1.1

SURFACE + WAFFLE 1.2

1.3

1.4

{120,150,150}

{60,150,150}

{150,120,150}

{150,30,150}

{0,90,150}

{120,150,0}

{30,150,150}

{0,120,150} {90,0,150}

{6 {0,25,150} {30,0,150}

{0,0,107}

{150,90,0}

{0,0,120}

{30,150,0}

{0,120,0}

{0,150,0}

{0,120,0}

{60,0,0} {30,0,0}

{0,120,0} {60,0,0} {0,30,0}

{30,0,0}

Paneling Grid & Attractor Point

2.1

2.2

{78,83,54}

Paneling

3.1

{3

{139,71,85}

2.3

2.4

This is an exploration of the spatial relationships between structure and the envelope, through the implementation of parametric design. {78,83,54}

Perforations on the panels allow light to penetrate through the waffle structure, together with the solids they create an interplay 3.2 3.3 between light and shadow within the interior.

Project Mentor: Joel Collins | Academic Tutor

generate 2D linework for fabrication

{30,0,0}

3.4

TACTILE CITY This project explores and visualises a distant futuristic city in a fantastical and metaphorical tone. It questions the cold and unfriendly machine aesthetic, and reimagines the city as a vertical megastructure composed with a complex infrastructure system made from organic and natural textures with rich tactility.

The final artwork is an A1-sized hand-drawing, exhibited as a part of the Bartlett Summer Studio.

Project Mentors: Pascal Bronner & Tom Hillier FleaFolly Architects

KIM HUANG kimhuang1997@gmail.com 0456 772 369