KWON GSAPP PORTFOLIO

David Daeil Kwon

M.Arch Candidate 2010 Columbia University

Graduate School of Architecture Planning and Preservation

INDEX 2 - 13

sělf uh-gro-veyt-ed| [n.] critic francois roche team arik wilson

14 - 25

in ak-ses-uh-buhl| [adj.] critic david benjamin

26 - 33

rey kuh-nekt| [v.] critic jeffery johnson

34 - 41

af-ekt| [n.] critic mabel wilson

42 - 53

per-uh-fer-ik| [adj.] critic michael bell team eunkyoung kim

54 - 69

rap-id in-fley-shuhn| [adj.|n.] critic ed keller

70 - 73

uh-nat-uh-mee| [n.] critic keith kaseman team jacob benyi | peter morgan

74 - 75

kuhm-poh-nuhnt| [n.] critic joseph vidich team christo logan

76 - 77

jig-ee| [n.] critic joshua draper team hayes shair

78 - 81

dih-lin-ee-ey-shuhn| [n.] critic rhett russo

82 - 85

glahs hohl-s| [n.] critic anton martinez | elias mater team aidan flaherty | christo logan |peter morgan

86 - 87

moh-shuhn| [n.] critic joshua uhl

88 - 89

pluhf-ee| [adj.] critic david benjamin | sooin yang team eric tse

90 - 97

skair-ed sik| [n.] team christo logan

98 - 101

fab-ri-keyt-ing lahyt| [n.] team joshua draper | john hooper | christo logan | morgan reynolds

102 - 103

waks jaks| [n.] team brigette borders | christo logan

104 - 105

gley-shair-ee-uhm| [n.] team natalie gaettano | jason johnson | thomas kelly | christo logan

106 - 109

sělf uh-gro-veyt-ed [text]| [n.] critic francois roche

self (agro)vated | sělf uh-gro-veyt•ed| [n.] critic francois roche team arik wilson

1 a packaging of entropy where the observation of necrosis is the simulation of a mausoleum.

2 the self perpetuated cultivation of substances as a response to protect itself

from the changing ecosystem, therefore extending its existence in its biome.

3 a performance of domesticity through the shrouding of a forest, in which

the domestication of the forest is the mechanism for survival as well as the exhibition of preservation.

DAVID KWON | necrosis

5

DAVID KWON | necrosis

7

delaunay triangulation

branch triangulation

identify canopy points and termination point create delaunay triangulation from point cloud draw lines delaunay surface

identify points at the end of each branch find the 2 nearest points with a z value less than the original pt find the area centroid and add point

surface relaxation

trajectory triangulation

identify vaccuum point for relaxation of surface use delaunay triangulation lines construct ‘relaxed’ surface

identify all trajectory points and outlet points draw trajectory lines from each intersection point

mesh conversion

blob mesh construction

convert NURBS surface to mesh smooth mesh to prepare for boolean

divide trajectory vectors to articulate shape use blob mesh modifier to construct volumes of trajectory

DAVID KWON | necrosis

9

+2010

+2020

+2030

+2035

+2100

+2200

DAVID KWON | necrosis

13

(in)accessible | in ak-ses-uh-buhl| [adj.] critic david benjamin

1 unopen to democratic access, delineating class differences by monetary limitations

2 a situation that does not allow for impromptu happenings and systematizes the organization of space

3 a condition inherent in all societies but most illuminated in countries

such as south africa. while most south africans live on less than one us dollar a day, most visitors for the fifa world cup 2010 will pay thousands of dollars to enjoy the game.

4 the mediation between the visitors of the fifa world cup event and the

community that will be effected. the oppurtunity exists for both parties to benefit and enjoy the phenomenon of the beautiful game.

DAVID KWON | proof

15

04

NON-AUTOMATED TESTING

TECHNIQUES//Several iterations of strucutral analysis before and after the experiment to locate weak points of the structure and optimize for these problems.

SOFTWARE//Robot Milennium

d b

STRUCTURE TRUSS NODE

SURFACE PLANAR FACETED

02 a

VOLUME

c

SOLID OPEN

GEOMETRY ANGLE VOLUME

DESIGN 01

BEYOND TESTING

TECHNIQUE//The parametric model will be a template for presenting the various optimized designs produced by the workflow. These blocks will be assembled as a diagram of the various designs produced by the experiments, carefully considering the site conditions to aggregate the modules. Non pareto designs will be considered for this assembly as the design may find benefits from their attributes.

PERFORMANCE

CONCLUSION

CONCEPT 03

//Intentions are to realize a form that allows for optimum viewing of the game inside and outside the stadium and to create public spaces for the community of Johannesburg //The method is to use view corridors as a metric to sculpt the form of the stadium. Reclaiming the old gold mine tailings as a platform for viewing outside the stadium, the stadium begins to democratize the event for participants who pay for the event, as well as the individuals who cannot. The idea is to optimize for both of these architectural problems.

AUTOMATED TESTING

TECHINIQUE//Evolutionary computation and algorithmic search methods.

SOFTWARE//modeFrontier/CATIA/Robot Millennium DESIGN_SPACE//SOBOL/Very large scope, potentially thousands of designs through automated performance evalution

LOW INCOME HOUSING MINES TAILINGS

MINES TAILINGS MINES TAILINGS

MINES TAILINGS

MINES TAILINGS

SITE

MINES TAILINGS

LOW INCOME HOUSING

LOW INCOME HOUSING

DAVID KWON | proof

HIGH INCOME HOUSING

17

DAVID KWON | proof

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INP

INP

P UT T U O

O

P UT T U

CT

IVE

DESIGN 13

OBJ E

OBJ E

CT

TPUT U O

UT

UT IVE

DESIGN 917

DESIG

914 1 3 1 3 161319 67 7 1 8 6 917 27 1 6 1621477 21 9

627 8 890 49 154 16 4 920 53 13

DAVID KWON | proof

INP

O

P UT

P UT T U

IVE

CT

IVE

CT

939416 84 2 60 7

556 83

54803 8 73 470 1

1586923 107 7

162 281 2

21

OBJ E

O B J E

OBJ E

T U O

UT

UT

UT

DESIGN 1548

DESIGN 556

IVE

GN 910

73 194 572 144 6 91 0

INP

CT

INP

MAX VIEWING ANGLE TO

TO BAR

BOTT BOTTOM

OM A

W

WE RR

FAIL

ER

AT IO

HE

IG

HT

TOP

NGLE

SEATIN G VOLU

ME

MAX BOTTOM VOLUME

O ATI IO WR RAT VIE TING SEA TOP T EIGH H G TAILIN RATIO W IE V MID FIEL

W RATIO BOTTOM VIE

MIDDLE SEATING VOLUME

BOT SEATING RATIO

NODE 102

MIN DISPLACEMENT

3

NODE 10

MAX VIEW VAL

UE

8

NODE 10

MAX SE ATING

109 NODE E NOD

FAIL

ME AN OLU GV TIN SEA

TOP

P TO

GLE

MAX ANGLE VIEW VAL VIE UE 2 WV ALU E1

DESIGN 917

BAR

BOTT BOTTOM

SLATE D Y TRAN

MIDDLE ANGLE

TO

TO

VOLUM

E

OM A

W

WE RR

FAIL

ER

AT IO

HE

IG

HT

TOP

NGLE

SEATIN G VOLU

ME

MIN NODAL DISPLACEMENT

O ATI IO WR RAT VIE TING SEA TOP T EIGH H G TAILIN RATIO W IE V MID FIEL

W RATIO BOTTOM VIE

MIDDLE SEATING VOLUME

BOT SEATING RATIO

NODE 102

MIN DISPLACEMENT

3

NODE 10

MAX VIEW VAL

UE

8

NODE 10

MAX SE ATING

109 NODE E NOD

FAIL

ME AN OLU GV TIN SEA

TOP

P TO

GLE

MAX ANGLE VIEW VAL VIE UE 2 WV ALU E1

DESIGN 910

DAVID KWON | proof

BAR

BOTT BOTTOM

SLATE D Y TRAN

MIDDLE ANGLE

TO

TO

VOLUM

E

OM A

W

WE RR

FAIL

ER

AT IO

HE

IG

HT

TOP

NGLE

SEATIN G VOLU

ME

O ATI IO WR RAT VIE TING SEA TOP T EIGH H G TAILIN RATIO W IE V MID FIELD Y

MIDDLE ANGLE

ATE TRANSL

W RATIO BOTTOM VIE

MIDDLE SEATING VOLUME

BOT SEATING RATIO

NODE 102

MIN DISPLACEMENT

3

NODE 10

MAX VIEW VAL

UE

8

NODE 10

MAX SE ATING

109 NODE E NOD

FAIL

ME AN OLU GV TIN SEA

TOP

P TO

GLE

MAX ANGLE VIEW VAL VIE UE 2 WV ALU E1

DESIGN 556

VOLUM

E

60/1643

80/1643

100/1643

120/1643

140/1643

220/1643

240/1643

280/1643

300/1643

320/1643

400/1643

420/1643

440/1643

460/1643

480/1643

560/1643

580/1643

600/1643

620/1643

640/1643

720/1643

740/1643

760/1643

780/1643

800/1643

880/1643

900/1643

920/1643

940/1643

960/1643

1040/1643

1060/1643

1080/1643

1100/1643

1120/1643

1200/1643

1220/1643

1240/1643

1260/1643

1280/1643

1360/1643

1380/1643

1400/1643

1420/1643

1440/1643

1520/1643

1540/1643

1560/1643

1600/1643

1643/1643

23

DAVID KWON | proof

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(re) connect | rey kuh-nekt| [v.] critic jeery johnson

1 the appropriation and the redevelopment of man-

hattanville offers an opportunity to design an environmental mornitoring facility at the waterfront. this building offers to reconnect the community to the waterfront, engage the public and keep visible the institution at work.

2 to join, link, or fasten together; unite or bind 3 to establish communication between; put in communication

DAVID KWON | reconnect

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DAVID KWON | reconnect

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DAVID KWON | reconnect

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DAVID KWON | reconnect

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aect | af-ekt| [n.] critic mabel wilson

1 study of observed storefront signage and ubiquitous forms of semiotics losing its relevance and dissolving under the pressure of time.

2 a reaction to the immediate need for a musuem of delineation and its ability to reveal the residue of history.

3 the way in which one perceives and interprets events and one's relationship to them in contrast both to one's objective responses to stimuli and to any inferred unconscious motivation for one's behavior

DAVID KWON | performance

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DAVID KWON | performance

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LIBRARY GALLERY STORAGE

DAVID KWON | performance

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DAVID KWON | performance

staff restrooms janitor

curatorial workroom research portfolio room

loading docks

conference area

after hours entrance

drawing rooms

pantry kitchen

reception conference event space

large contemporary gallery

staff curatorial

public passage and entry public restroom

director's office meeting room

drawing center publication library

conservation work area

artist viewing slide registry

staff-admin development publication

storage dedicated storage general

computer labs output labs

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peripheric | per-uh-fer-ik| [adj.] critic michael bell team eunkyoung kim

1 questioning of the car as a ubiquitous mode of

transportation, which has developed into both a comforting and discomforting form of transport; the housing container becomes a vehicle for peripheral observation and creates individual enclosures for a dissimulation of reality. this becomes the heuristic device which imagines housing as psychological episodes which occur through circulation, adjacencies and orientation.

2 concerned with relatively minor, irrelevant, or superficial aspects of the subject in question.

DAVID KWON | housing

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G G

G G

G G

G G

G G

G G

DAVID KWON | housing

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DAVID KWON | housing

47

grass

waterproof membrane green roof slab top slab exterior shear wall lourve double glazed glass plumbing trellis

rebar stairs mullion interior shear wall

ooring

bottom slab

DAVID KWON | housing

49

CROSS VENTILATION

COOLING SINK

THERMAL LAYERS

LIGHT WELL

CONVECTION ZONES

GREEN ROOF

DAVID KWON | housing

COMMUNITY SPACES

51

DAVID KWON | housing

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rapid ination | rap-id in-ey-shuhn| [adj.|n.] critic ed keller

1 the act of mitigating a large scale catastrophe through formal and infor-

mal modes of finanacing which allows of the activation of an atemporal housing unit, allowing for rapid deployment and permanent installation

2 the rate at which the general level of prices for goods and services is

rising, and, subsequently, purchasing power is falling, occurring within a short time; happening speedily.

3 to cause to expand or distend with air or gas with great speed

DAVID KWON | cryptoform

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DAVID KWON | cryptoform

CATASTROPHE INSURANCE TCIP

INSURANCE COMPANY

AGENTS

HOMEOWNERS

57

(COST/SQ.M x GROSS AREA OF HOUSE/FLAT) x (TARIFF PRICE)

TL 20.90

ANKARA

TL 16.72

KARAMAN

BUILDING TYPE

DAVID KWON | cryptoform

TL 31.54

ARTVIN

TL 58.90

ERZURUM

TL 83.60

BINGOL

STEEL/REINFORCED CONCRETE MASONRY OTHER

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HIGH DAMAGE PROBABALITY MEDIUM DAMAGE PROBABILITY LOW DAMAGE PROBABLITY

HIGH DAMAGE PROBABALITY MEDIUM DAMAGE PROBABILITY LOW DAMAGE PROBABLITY

DAVID KWON | cryptoform

PRODUCT DESIGN AREA DEMOGRAPHICS

TARGET MARKET AND MFI STRATEGY

LOAN PORTFOLIO

BORROWERS

LOAN LOSSES’ BRANCH NETWORK AND STAFF

FUNDS AVAILABLE FOR LENDING

INTEREST AND FEE INCOME

NET INCOME MFI EQUITY

SAVINGS

EXPENSES EXTERNAL SOURCES OF FUNDS

TL 3,720.55 SINGLE

TL 5,952.88 MARRIED

TL 446.466 MARRIED W/ FAMILY 61

DAVID KWON | cryptoform

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DAVID KWON | cryptoform

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DAVID KWON | cryptoform

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DAVID KWON | housing

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anatomy | uh-nat-uh-mee| [n.] critic keith kaseman team jacob benyi peter morgan

1 attempting to create an element that bridges between an architectural, spatial system, and a purely sculptural, artistic process.

2 largely driven through the “on-the-fly” manipulation of the “soft-body” portion of the cast, which creates a high degree of variability.

3 an analysis or minute examination

DAVID KWON | fabrication

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DAVID KWON | fabrication

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critic joseph vidich team christo logan

component | kuhm-poh-nuhnt| [n.] critic joseph vidich team christo logan

1 using an aggregation of smaller elements to produce a larger system in which the design is informed by FEA and feasibility.

an aggregation of smaller elements to pro1 a constituent part; element; ingredient.

2 using

duce a larger system in which the design is informed

by FEAofand feasibility.

3 the projection a vector quantity, as force or velocity, along an axis.

2 a constituent part; element; ingredient.

3 the projection of a vector quantity, as force or velocity, along an axis.

DAVID KWON | fabrication

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jiggy | jig-ee| [n.] critic joshua draper team hayes shair

jiggy | jig-ee| [n.] critic joshua draper team hayes shair

1 the structure of boards, bolts, etc., composing a

form for poured-concrete or rammed-earth construction.

machine thatbolts, uses etc., registration marks the structure of boards, composing a to 21 antiquated functioning as a parametric formwork form for poured-concrete or rammed-earth construction.

2 antiquated machine that uses registration marks to functioning as a parametric formwork

DAVID KWON | fabrication

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DAVID KWON | delineation

delineation | dih-lin-ee-ey-shuhn| [n.] critic rhett russo

delineation | dih-lin-ee-ey-shuhn| [n.] critic rhett russo

1 representation in its original form; the shoe would be deformed and the deformation would be recorded as a drawing

trace the outline sketch or tracetheinshoe outline; represent picto21 to representation in itsof;original form; would be deformed rially. and the deformation would be recorded as a drawing

sketch; rough draftin outline; represent picto32 atochart traceor thediagram; outline of; sketch or trace rially.

3 a chart or diagram; sketch; rough draft 79

DAVID KWON | delineation

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glass holes | glahs hohl-s| [n.] critic anton martinez elias matar team aidan aherty christo logan peter morgan

1 a method of constructing highly in-

tricate geomotries with simply repetitive accretion of elements

2 an assemblage or combination of

things or parts forming a complex or unitary whole

3 an ordered and comprehensive assemblage of facts, principles, doctrines, or the like in a particular field of knowledge or thought

DAVID KWON | building systems

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DAVID KWON | building systems

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motion | moh-shuhn| [n.] critic joshua uhl

motion | moh-shuhn| [n.] critic joshua uhl

1 the act of changing the flow of time though the breaking the stillness of frames

2 the action or process of moving or of place or position; movethe act of changing the flow of time 1 changing ment though the breaking the stillness of frames

2 the action or process of moving or of changing place or position; movement

DAVID KWON | moving image

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DAVID KWON | kinetic

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scair’d (sic) | skair-ed sik| [n.]

1 the act of deformalizing furniture

through the process of material investigations

2 avoiding the usual design solution of creating purposeful furniture, rather creating playful interventions

DAVID KWON | independent study

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DAVID KWON | independent study

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DAVID KWON | independent study

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DAVID KWON | independent study

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fabricating light | fab-ri-keyt-ing lahyt| [n.] team joshua draper john hooper christo logan morgan reynolds

1 functions as static representation of a responsive system. the individual

pixels respond to the external stimuli of a singular light source, each altering the orientation of its base and angle of its face according to the intensity of illumination that it receives.

DAVID KWON | exhibition

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DAVID KWON | exhibition

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DAVID KWON | exhibition

wax jacks | waks jak-s| [n.] team brigette borders christo logan

1 an eight piece mold that creates a 2

module to aggregate into a lattice structure. a poured matter that can be melted into a deformable mass, transforming from the structural to the fluid.

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glaciarium | gley-shair-ee-uhm| [n.] team natalie gaettano jason johnson thomas kelley christo logan

1 a smaller interactive instrument, “the glaciarium,”

engages visitors’ senses through the sight and sound of a melting ice core.

DAVID KWON | exhibition

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self (agro)vated | sělf uh-gro-veyt-ed| [n.]

1. a packaging of entropy where the observation of necrosis is the simulation of a mausoleum.

2. the self perpetuated cultivation of substances as a response to protect itself from the changing ecosystem, therefore extending its existence in its biome.

3. a performance of domesticity through the shrouding of a forest, in which the domestication of the forest is the mechanism for survival as well as the exhibition of preservation.

Mausoleums are built from obsessions, as they are derived from the need to sustain legacies and project unyielding desires for permanence and relevance. In another words, the mausoleum is a device of memory and the effort to be remembered.

Mausoleums may be relics of the past as no one literally erects them anymore, but arguably, mausoleums are still established today. Through historic preservation mausoleums are established and are able to extend their importance in culture. In the field of architecture the practice of preservation is a method of embalming and the simulating the purpose of the mausoleum. As the building participates in the act of being preserved it is monumentalized and therefore considered an artifact. This act of preservation allows the building to become an object of obsession different if the building were conserved.

It is important here to note the difference between preservation and conservation. In the field of library and information sciences, preservation is the act of maintaining or restoring access to artifacts, documents and records through the study, diagnosis, treatment and prevention of decay and damage, whereas conservation is the act of treatment and repair of individual items to slow decay or restoration to a usable state.1 Vladimir Lenin’s tomb sits in the center of the Red Square in

1

“A Glossary of Archival and Records Terminology”. Society of American Archivists. http://www.archivists.org/glossary/term_details. asp?DefinitionKey=78.

DAVID KWON | text

Moscow in a non-descript marble box. Currently, the body is available for visitors to observe and examine. To maintain the quality and display of Lenin’s body the embalming of his corpse occurs daily. Moisturizers are applied to the physical features of his body and preservatives are injected under his clothes. Lenin’s sarcophagus must be kept at a precise 61 degrees Fahrenheit with a relative humidity of 80 -90 percent.

Every eighteen months the corpse is removed and the entire body is submerged in a chemical bath containing potassium acetate, glycerol and quinine. This complicated procedure to preserve the body is the very questioning of the mausoleum.

Is the mausoleum an act of preserving the artifact or the representation of the artifact? In a sense, to be fully convinced of an idea unfamiliar to us, we must perpetuate an idea through the preservation of the artifact, doing so validates that the idea had implicitly existed through the object. This idea exists in architecture through the preservation of architecture, it is not the literal protection of the building that is important, rather its engagement in the experiment of preserving cultures and ideas that is significant. A mausoleum has the ability to recall previous moments in time, but also to reflect the current response of its history that it encapsulates. This reaction is the duality of the mausoleum, to preserve a relic of the past and perpetuate new interpretations of the past and present.

The experiment of preservation is where the scenario of self (agro)vated takes place. The site of necrosis is situated in the forest of Southeast Asia, specifically the Sundaic region of Thailand, which is the largest producer of natural latex. The biosphere of the region has optimum growing conditions for rubber trees (Hevea brasiliensis) leading the world in latex production 2. The plot proposes to save an area of the Sundaic forest affected by high coal consumption (Fig. 1) and shelter it

2

The rubber tree initially grew only in the Amazon rainforest, but with the increasing demand and the discovery of the vulcanization process in 1839 by Charles Goodyear the proliferation of rubber trees began in Thailand and Southeast Asia via England.

107

from the acid rain that is currently destroying its ecosystem.

Acid disposition levels are particularly high in areas such as southeast China, northeast India, Thailand, and the Republic of Korea, which are downwind from major urban and industrial centers. An estimated 34 million metric tons of sulfur dioxide, the major emission producing acid rain, were emitted in the Asian region in 1990, over 40 percent more than North America3.

The forest responds and defends itself from the effects of acid rain by extracting the latex secreted from its bark. This procedure is executed by machines that are intravenously attached to the trees to extract and distribute the latex to the canopy branches, therefore forming a membrane enclosure around itself. The enclosure begins to create a closed system which is created in response to survival. This production of latex sap is specific to the rubber tree’s genetic defense mechanism designed to deter insects from attacking the inner phloem layer of the tree, but instead the latex is used to protect itself from the environment. A slow materialization of the viscous sap begins to confine the system and remove itself from the existing biosphere, consequently creating a biome of its own. Eventually, the process is completed by preserving itself entirely and removing itself from the environment. This vehicle of preservation is an aberration of a mausoleum, in which the preservation does not begin after death, but during life.

Through the construction of the enclosure it facilitates a life support system, which is necessary for preservation. Inevitably, the enclosure will slowly degrade as the latex is a naturally biodegradable substance.

This scenario represents the domestication and isolation of the forest through preservation, where the domestication of the space is the mechanism for survival as well as the exhibition

3

Downing, R., R. Ramankutty, and J. Shah. 1997. RAINSASIA: An Assessment Model for Acid Deposition in Asia. Washington, DC: The World Bank.

DAVID KWON | text

for preservation. The elastic medium of the latex serves to stretch over the existing scaffolding of the tree’s branches to provide an enclosure for the forest which is susceptible to acid rain pollution (Fig. 2). In doing so, it entertains the notion of sustainable design by carrying out the act of preservation through observation. This observation takes place through the labyrinths, which circulate through the enclosure, but never within them. The labyrinths are created by stretching the membrane across branches avoiding them, creating trajectories through the void space (Fig. 3). These vectors pervade the negative space of the tree in turn shadowing the space around the forest. When the fabrication of the labyrinths is complete their profiles are the inverted silhouettes of the trees creating an illusion of passageways that grow like trees (Fig. 4). The labyrinths will eventually be a pathway for birds to fly through and direct water for the system. Although the individual is examining the forest from the interior pathways, they are never in contact with the new biome. They are in separate environments, the forest in one that is domesticated by its own secretion of latex and the individual in the reality of the world that has produced destruction.

This is the particular experiment of the self (agro)vated forest and the uncertain outcome of preservation. It is the act of preservation which transforms the forest into a monument, which struggles for permanency, but also facilitates the destruction and anti-monumentality through the necrosis of the protective enclosure and the trees. Such a struggle is necessary in preservation to convey the notion that artifacts are naturally meant to dissolve through the passage of time, whereas the ideas of which they represent will also transform through contemporary interpretations.

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