What is considered a MEDIUM in Architectural Design? This question has always lingered with me throughout my career. My wa0y of proposing a design is to explore how such a MEDIUM should be perceived by humanity. What is the boundary of a MEDIUM in Architecture? Is it just brick and mortar, or columns and beams? I strongly argue that the Architectural MEDIUM is never limited to any physical building material.
I consider that every element of this universe can be a building material, such as Time, steam, light, darkness, air, and noise. Their adaptability as an Architectural MEDIUM is limited only by how meticulously it has been portrayed. I strive to utilize these MEDIUMs so they can be perceived by people as part of a building. I also endeavor to show how a MEDIUM can carry a statement while being considered part of Architecture. Sometimes those statements can be satire or even an open question. When an issue or a question combines with the right MEDIUM, I believe the statement becomes louder and bolder. This philosophy guides my design process and is reflected in my portfolio.
I believe a design should be firm and bold. It should be obvious to the eye what the designer is trying to convey to the world. That argument is also translated into the layout of this portfolio. I wanted to demonstrate how two lines intersect to reveal a new shade of color, just like how an argument can intersect with a MEDIUM to create a statement. These intersections are not only presented in the layout but are also integral to my design projects. I always seek to find the right MEDIUM that can amplify my design statement, making it louder and bolder.
Not all Architectural designs need to emit positivity or be entirely efficient. I believe Architecture can also be a MEDIUM to monumentalize emotions such as sadness, frustration, tiresomeness or satire. Architecture, at its core, is a vessel for storytelling—a language through which designers communicate ideas, emotions, and questions to society. It is this narrative potential that makes the MEDIUM so powerful and dynamic. Every designer should and must have a voice of their own. Thus, I have found my voice through the MEDIUM
By challenging the conventional boundaries of the Architectural MEDIUM, I aim to expand the horizon of what constitutes building material and how it interacts with the human experience. The MEDIUMs I choose are not random; they are deliberate choices that align with the themes and issues I wish to address. For example, the use of light to evoke spirituality or the incorporation of sound to amplify an emotional response are ways I manipulate these elements to create impactful designs.
This ideology transcends traditional norms, urging us to look beyond physicality and embrace the intangible. My work seeks to provoke thought, incite dialogue, and challenge perceptions, demonstrating how Architecture can be a profound MEDIUM for cultural and emotional expression. It is through this lens that I approach every project, ensuring that the interplay between form, function, and message is both meaningful and resonant. Just be Bold and Loud
PROLOGUE MEDIUM
TOWER
Time is one attribute to this universe that never gets changed or altered. However, the precence of this medium becomes too obvious sometimes, people stop appreciating the greatness of it. What if progression of time is visually present to one another? Evolution of time is invisible to the naked eye, however it could be seen with combination of another medium, steam.
WIDE ANGLE RENDER
Hverir (Hotspring)
ENTRY 1.
PROGRAM
Due to the mother nature, There is close to infinite amount of steam produced underground of Iceland. Coexistance of two continental techtonic plates next to each other, this country is gifted with endless active volcanic activity. Century Tower, accomodates this nature attribute, steam, to visually present the evolution of time. Not only so, With the visual effect created by steam, the two towers can be seen from far away and produce self sustainable energy throughout the system. By that a Steam Skyscraper is built with less than 10 floors.
FUNTIONAL DEATIL
OBSERVING DECK
PLANTARIUM
AURORA ROOM
PROGRAM DEATIL
PROGRAMS
AURORA EXPERIENCE ROOM [7F,8F] TOWER 1,2
PLANTARIUM [3F,4F] TOWER 1,2
CAFE [2F,3F] TOWER 2
WELCOME CENTER [1F] TOWER 2
ELEVATION FLOOR PLAN
2.
One might say that someone is like an oxygen. This usually translates that the one is always present where ever they go. Air is alway there and we know it. Air doesn’t have form or rigidity, but has volume. What if air could be utilized to form a structure? All it needs is a simple algorithm and structure that can contain the air’s form as solid. Enforcing and controlling air is the matter of issue.
PROJECT DEVELOPMENT
PHASE 1 PHASE 2
PHASE 3 PHASE 4 PHASE 5
a. STARTING FROM TRASH:
Random assortment to test form and mass the item can produce.
PHASE 2
b. ABSTRACTING THE FORM:
Form was wrapped with metal mesh to transfer and abstract its pattern.
c. DISCOVERING PATTERN:
Orignal mass was extracted to clearly discover the wrinkles and patterns of the form abstraction process.
VARIOUS INTERACTIONS
CREATING THE VOID
TRANSFERRING ENVELOPE
Paper was wrapped around the desired form to reveal its true patterns and propose a new structure.
GLAMOUR VIEW
TRACING THE FOLD:
CREATING BASE STRUCTURE:
c. UTILIZING WRINKLES:
d. ENFORCING THE STRUCTURE: e. ATTACHING AIR VALVE:
BACK VIEW
This Confidential Data Center was done during my time of practice in HKS.Inc. Project consists an overall area of 107,760 sqft including an administrative space and a lobby. Project documentation including programming, rendering, and documentation was soley handled by myself with the coach of the Project Architect, Amy Anderson. Further details are to be nondisclosed by the client’s needs.
This Confidential Data Center was done during my time of practice in HKS.Inc. Project documentation including programming, rendering, and documentation was soley handled by myself with the coach of the Project Architect, Prince Ambooken. This is a New build project with the client having no design basis template. 20+ project schemes were produced to suggest a final design to the client. Total Area of this project was 500,000 square ft with inclusion of the Administrative space. Further details are to be nondisclosed.
Noise pollution is one of the biggest stress factors in modern era. The issue exacerbates as one goes closer to the urban area. St. Louis is notorious for its random and aggressive placements of highways. In fact, highways are one of the biggest factor that produces noise pollution. These loud beasts screams out noises 24/7 to the near residential areas. Goal of this project is to reflect those noises back to the highway and provide tranquility around those noisy beasts while screaming “No More Highways.”
ARCH 212. SPRING 2017 / ANNA IVES / GREENHOUSE PROJECT / ST. LOUIS, MISSOURI
SOFTWARE: ADOBE SUITE, RHINO, D5, LUMION
DESIGN DEVELOPMENT
NOISE POLLUTION MAP
SKETCH MODEL
FINAL DESIGN
CONCEPT PROPOSAL
PROGRAM
This unique community center / vegetation tower reflects the noise back to the screaming highway with its aggressive sound proofing material adaptation. This sound proofing material was stragically placed and oriented to directly reflect the noise back to the highway. By this, it achieves abolute tranquility inside the structure.
CONCEPT PROPOSAL
Imagine spending tranquility, bathed Yet, this site was inevitable noise of highways once the residential area. stands as a sanctuary, only escape from The shell of this envelops the creating a void this project truly that the noise is fostering an
Beyond offering integrates sustainability enveloping module community garden, space for growth collection systems strategically angled the building to sustain approach creates but also a hub for the harmony between
spending time in an area with absolute bathed in soft strays of warm light. was originally notorious for its pollution. The deafening roar once infiltrated every corner of area. Wall of Tranquility now sanctuary, offering residents the from this overwhelming Noise.
this unique structure gently interior with two layers, void where the programs of truly thrive. This design ensures is absorbed and dissipated, environment of Tranquility.
offering respite, Wall of Tranquility sustainability into its core. Its module supports a vibrant garden, providing a shared growth and connection. Rainwater systems nurture the plants, while angled sunlight is reflected into sustain life within. This holistic creates not just a space for peace for sustainable living, reinforcing between nature and architecture.
SECTION & ROOF PLAN
PERSPECTIVE RENDER
Not everyone can attend chapel service Sunday mornings. People work at various times of the day. Why should prayers only be made under the bright light? Pray under the silent night sky to make your prayers be heard loud to God. Ambiance and quietness blends in with the darkness, suggesting perfect space for those with sincere and genuine prayer. Chapel for people who shall be late in the day of their schedule.
BEHAVIORS OF THE LIGHT
MATERIALIZING LIGHT
LIGHT SITE MAP
WHEN IT BECOMES DARK 5.
PROGRAM
The facade or envelope of this ambiant project only reveals itself when the sun goes down. By that it attracts people seeking to worship at tardy times. This monunumental chapel softly brightens up the atmostphere at this darkest area of St. Louis.
A man made pond reflects the warm light emitted from the building, amplifying the warm light to extend even furthur.
Imagine worshipping around the quiet light, under the dark sky. Maybe its too quiet that the voices can be heard even further and louder than daytime.
CHAPEL, ABSTRACT MODEL
CONCEPT PROPOSAL 5.
RENDERED SECTION VIEW
PERSPECTIVE VIEW
FURNITURE WORK CRAFT & RESEARCH
Rocking chair was designed and crafted in the woodshop to research the correspondence between ergonomics and weight distribution. Center of the mass of the chair is structurally aligned with human body to perform a stable rocking gesture. The specific chair was also designed with consideration of saving material. The final product was made with 2 5ft x 5ft x .5in plywood and 10ft of 1in diameter rod.
ARCH 347. FALL 2020 / LINDSEY STOUFFER / FURNITURE DESIGN
STRUCTURE RESEARCH
Research started out as choosing a building of interest, Marche by Kengo Kuma. Then, by utilizing multiple sources and base understandings of architecture, technical drawings, 3d structure section model, and functional diagrams were delivered. Multiple revisions and debates were made in order to hypothesize the details, which are insufficient in research data.
ARCH 445. FALL 2019 / PABLO MOYANO FERNANDEZ / BUILDING SYSTEMS / YUSUHARA, KOCHI, JAPAN
