S H I M 2 0 1 2
CONTENTS 1:00 / PRologue 1:03 About 1:04 Axioms
2:00 / CORE STUDIO 2:07 2:21 2:39 2:59
Eleven Years Forest Framescape Citadel Turtleâ€™s Back Lot #4
3:00 / select COURSEWORK 3:89 3:99 3:105 3:115
Enormous Plastic Rain Flower ! Mushroom Tripod Stringray New Brick
4:00 / personal work 4:127 4:137 4:143 4:153
Aralog KneadThisDough. Detroit Bot City Strict Co.
/ EDUCATION 2009-2011 2007-2009
University of California, Berkeley Master of Architecture 2011 University of Utah Bachelor of Science in Architectural Studies Attended on full scholarship (UOS)
Berkeley, CA Salt Lake City, UT
/ PREVIOUS 2011-2012
Strict Co. Founding Member Partner Office of Sustainability / University of Utah Intern Campus Net-zero Energy Initaitive strategy Presentation Kit Design Specialist Maricq Neuroscience Lab / University of Utah Lab Technician Private Tutor Writing English Guitar + Bass Photo Hot Spot Senior Manager Photography Special prints processing Color calibration Rafii Molecular Bio Lab / Cornell University Intern Lab Technician
Brooklyn, NY Salt Lake City, UT Salt Lake City, UT
Salt Lake City, UT Salt Lake City, UT
Salt Lake City, UT
New York City, NY
/ KEY PROFICIENCY Digital AutoCAD Rhinoceros Grasshopper Modo V-ray Revit
Illustrator Indesign Photoshop Excel Premiere Painter
Fabrication Rhinocam/Technoise 3d printer Stitching Full shop experience CNC mill Laser cutter Ceramics
Analog Graphite Charcoal Ink Watercolor Prismacolor
Language English (native) Korean (fluent)
axioms Hello and thank you for viewing my work. My name is Won Shim, and Iâ€™m an M.Arch graduate. My professional goal is to seek licensure whilst working for and learning from a leading architectural firm. These are the qualities that are important to me: 1 / cultural visibility Propogating further intersection of the inconspicuous architectural discipline and popular culture: the rise of a cultural design ethos. 2 / Material investigation Innovative upcycling and/or non-traditional use of materials. 3 / if it isnâ€™t broken Contemporary reinterpretation of vernacular aesthetics, technology, and typologies. 4 / onward Exploration of new aesthetics, technology, and typologies for the sake of design. Constant evaluation of the fine line between true improvement and deceptive placation: permanent cures vs temporary treatments. 5 / a different kind of green A market-informed and economically-aware practice. Architecture does not happen in an experimental paper-concept vacuum: it requires proactive business strategies and funding. 6 / direction Firm branding and marketing/social intersection: generally, these items are treated with minimal importance by many in the discipline. Architecture and design needs to further engage the general population and not just a small number of potential clients: see #1. 7 / and Good people, good work.
ELEVEN YEARS FOREST Trat Province, Thailand Epigenetic Landscapes: Energy Farm + Eco Tourism Resort R. Choksombatchai Studio Fall 2009
The Eleven Years Forest is a strategy for a sustainable, multi-tier energy producing landscape. Using a phased cycle that aligns every ten years, the strategy ends with a year’s rest. When a total of eleven years has passed, the cycle--and the forest--start anew. Situated along the eastern shoreline of the Gulf of Thailand in the Trat Province, this lush forest is designated for industrial development. Amata Power Limited has entered into contracts to develop the area to supply energy to multiple partners. The current course of action would destroy the forest and the relatively untouched wilderness in the area, producing energy through invasive processes that produce toxic waste. Rather than the common practice of simply harvesting the forest or destroying it and placing industry in the area, this alternate proposal aims to produce energy and industry in a phased system that can sustain itself and minimize ecological impact. The resulting setting provides a unique opportunity for tourism and outdoors activities. This proposal calls for the forest to be grown and groomed into a field of windcollecting venturi tunnels. The large bamboo in the area grows extremely rapidly, taking only three years to reach full maturity. Once a a culm is cut, the direction in which it grows can be controlled as it matures. Using this method, the entire forest is essentially turned into a a series of vaulted tunnels that create pressuredifferentials, maximizing wind-flow in a carefully controlled system. The areas designated as ‘lanes’ and ‘tunnels’ are harvested in phases to minimize ecological damage. The resulting biomass is then sold off to traditional energy farms. In the negative space left behind under the field of vaults, portable windbelt generators are placed in strategic locations to utilize the wind to generate energy. The chart shown starts from year one as if starting from a blank slate, demonstrating that such an alternative system could be replicated in other compatible locations. After eleven years, the staggered cycles of the lanes and tunnels meet, giving the forest a year of rest from any harvesting. The forest then begins its eleven-year cycle once again. Not simply a field of static windmills, the Eleven Years Forest is a dynamic, shifting landscape that produces multiple bounties; providing two forms of continuous energy, awareness through tourism, and a replicable model for a new typology of energy generation. Sustainable energy-industry in a unique National Park-like experience is the end goal.
GROWTH C GROWTH B
Cycle 1 LANES (zones harvested)
Cycle 4 C
TUNNEL (zones harvested)
GROWTH B GROWTH C
Three year’s birth
Eleven year cycle
A Year’s Rest
LANE ZONE 1
LANE ZONE 3
TUNNEL ZONE 1
LANE ZONE 2
TUNNEL ZONE 2
TUNNEL ZONE 3
Air flow Density
Bamboo Planting Area
Windbelt Fan Concept 2:17
N ne tunnel
sw tunnel lane
potential windbelt fan placement
ne tunnel lane
groundplane plan of bamboo
sw tunnel lane
wind direction and paths
FRAMESCAPE CITADEL Barrios Altos, Lima, Peru Museum of The Built Environment (MotBE) R. Davids Studio Spring 2010
The Framescape Citadel is a museum with telescoping extrusions along its linear pathway. The quiet, insular procession interrupted by squares of light and glimpes of the outside world solemnly reveals a history replaced by poverty and apathy. Situated along Lima’s forsaken Rimac river, the museum rises from the ground as the only standing monument to an era long-forgotten. This neighborhood of Lima, Peru known as Barrios Altos is now a barren shanty-town, a sad degeneration of propserity in a place once called the ‘City of Kings.’ It was the starting point of the Spanish Colonial Era in the 16th century, giving birth to many historic landmarks and bountiful gardens. Today, the police seldom enter, tourists are discouraged from visiting, and the locals refer to it with a mixure of disgust and a subdued, romantic fascination as ‘The Lost Orchard.” Old manors and prominent architectural constructs dot the neighborhoods, abandoned remnants of the past. Still, the poverty-stricken have managed to build a small community here, ignored by the city center and everyone else just miles away. There is no funding for preservation, or more importantly, aid for the poor. The museum seeks to reverse these conditions by bringing positive attention and traffic back through the area. Housing contemporary art and highlighting landmarks, it aims to propogate interest in both the present and the future, while standing as a reminder of a disappearing past. Though the traditional tower elevates its tenant to a single point and looks across a wide landscape, the museum’s linear pathway performs more like a guided tour. As a visitor walks through the dim museum, the telescoping platforms bring in a warm, focused light, calling to attention the select landmarks that they frame. Each ‘telescope’ has a specifically shaped extension that frames its selected landmark, capped with a seamless smart-glass panel displaying an interactive, electronic overlay. As a visitor approaches the museum’s towering leg and takes an elevator to the top, he is slowly and completely encased by the museum, separated from the city below. As he walks the path and sees the proud past through the museum’s lenses, he periodically comes upon emergent art and culture of the present. At the end of the circular path, he is led to the roof to look upon the entire city, this time without framed constructs. Having taken in the view, he proceeds back down the path and into the elevator, descending again to the ground below. He re-enters his city, seeing with new eyes the quiet story that it harbors.
>>THE LOST ORCHARD Barrios Altos 1 >> Still inhabited by the original sisterhood upon which it was founded in 1606, the oncewealthy first convent of the former City of Kings now survives on faith and humble earnings. 2 >> In Lima’s prime, this meeting point of the five main streets marked a major converging point for the activity of the city. It’s hardly recognizable as any sort of landmark now, instead marking the heart of a poor and dangerous neighborhood.
4 >> CERRO SAN CRISTOBAL
3 >> PLAZA DE TOROS DE ACHO
3 >> A national monument, this historic bullring is the oldest exising in the Americas, and falls only one slot to second in the world to Spain’s La Maestranza. 4 >> The site of a small observatory museum and the highest point in the city, a massive cross stands at its peak, everoverlooking the gray city below it. This hill was the battleground for many conforntations between the Spanish and the indigenous population in the 16th century. 5+6 >> Lima’s largest cemetary and crypt. An unfathomable portion of the landscape is covered in this enormous white maze of stone and grass.
5 >> CEMENTERIO GENERAL EL ANGEL north
6 >> CEMENTERIO GENERAL EL ANGEL south
2 >> CINCO ESQUINAS
1 >> CONVENTO SANTA CLARA
KEIKO >> Keiko, Keiko, Keiko. The lettering is plastered across all of Lima. From buildings in the heart of the city to small shacks on the outskirts and even the countryside, this politcal campaign persists. The nature of the surface doesnâ€™t matter--inhabited, uninhabited, ruins, public, private, it pervades the entire city. Always identical, and somehow with a palpable presense reminiscent of Big Brother, the series of this name became a system of nodes within the city. The MoTBE, then, utilizes this system of nodes within a new framework, telescoping back out to the landscape and framing new nodes. The overlays, reminiscent of the lettering documented above, cover the city in a new campaign. One of history, information, pride, and ultimately-power in the knowledge and reacquaintance with a lost past.
>ROOF PLAN Section A
ROOF GALLERY 8
DEN GALLERY 7
GARDEN GALLERY 7
>>TOWERS AND LANDSCAPES
>>Space Needle No Focus
Free Radial Vision
>>Sather Tower Uni-directional Focus
Extended Cone Vision
>>MoTBE Subject-Specific focus
Projected Frame Vision
>>Small Opening A standard window opening. The cone of vision theoretically extends infinitely upon exiting the frame. At large distances, the visible subject material is not much less than a large opening such as condition B.
>>Large Opening A large window offers a wider frame of initial vision. More information is available to the viewer along the beginning edges of the cone, though this information will generally be sky and ground.
>>Large + Setback Large Openings The setback interior window pane stops the viewer at a tixed proximity from the exterior window pane, effectively narrowing the cone of vision when compared to the identically sized condition B.
>>Small + Setback Large Openings This combination tests the idea that the cone of vision is affected by one general factor (the solid material defining the edges of the cone), which can be altered by two basic criteria: a) the distance of the viewer from the opening, b) the size of the opening
>>Large + Deep Inset Large Openings Condition E demonstrates that through a deep inset, the cone of vision can be controlled to be narrower than identically sized condition C, and even the smaller pane of condition D.
>>The Projected Frame A deep, appropriately angled and sized set of openings frames a specific target area in the landscape. This is the primary component of the landscape display windows + data overlays which are the fundamental element of the MoTBE.
TURTLE’S BACK The Mission, San Francisco, USA Pool & Community Center R. Creedon Studio Fall 2010
The Turtle’s Back is a pool and community space with a roof designed to produce light and aural ephemera inspired by underwater caves. The protrusions bring in focused channels of natural light to specific areas. Utilizing the smooth surface, the ceiling highlights a seldom desired and uniquely present visual phenomena: glare. In this case, the shimmering, ever-changing glimmers of light produced by the water’s reflection. San Francisco’s Mission Pool and Playground is the last remaining outdoor pool in the city. Situated in the historic Mission District, the building remains with its original full-length murals across the facades facing 19th Street and Linda Street. A unique community space for its neighborhood, the lot features basketball and tennis courts as well as a playground and space for youth rec. agendas. Currently, this much-appreciated but ill-funded space is in need of repair and revitalization. The Turtle’s Back is a project proposal to rethink and regenerate the program. The new proposal calls for a few key changes: 1) Improved interaction between interior/exterior of pool space in relation to the sidewalk 2) A retractable roof for all-weather swimming and improved cross-ventilation for passive environmental controls 3) A larger designated space for small community gatherings and youth rec. programs The design uttilizes tilted skylights extruding from a shell-like slab roof. The monolithic construction and low-hanging nature of the roof reproduce the aural quality one my hear within a small, water-filled cave: cavernous but not enormous, with the sound of water and the silent weight of stone. The closed-off corner of the old building is opened into a wet patio, strengthening the social potential of the pool and embracing the sidewalk. The mural of neighborhood people and playing children is replaced with a real display of people and playing children: the hard brick is replaced with wall-length glass showing the main pool space. The old Mission Pool has always been known as a sort of “neighborhood living room.” The Turtle’s Back pool stays true to this critical social utility, while introducing elements that stray from what is often a very mundane pool experience.
HIDDEN COURT / SUNNY DAYS ONLY > The existing neighborhood pool and recreation spaces are, in fact, not very neighborhood-friendly. They creates an inclusive, secluded inner-block: a strangely shrouded gesture for a public space. The roof is the only open plane, which makes the pool unusable in much of San Francisco’s weather.
NEIGHBORHOOD LIVING ROOM / YEAR ROUND > The new proposal extends the public program out to its surroundings, a transparent architecture that facilitates communal use. The roof design makes up for its lower % of sky opening by creating protrusions that are like mirrored sections of the pool. Raising the skylight up to the height of surrounding buildings allows it to capture and reflect light into the interior, but also provides a striking frame for pure, uncluttered sky. With a roof, the pool is now available for use year-round.
Hey! Hello! Hi! Hello! Hello!
GLARE VS SHIMMER 1 The smooth, white interior of the roof protrusion reflects the captured light down into the pool space. 2 This dispersed light bounces off the water’s surface up to the protrusion surface. 3 The surface becomes a canvas for the rippling light reflected off the water. This phenomenon is an avoided distraction in most buildings--a glare. A pool is a unique opportunity in which glare can be magnified to its advantage. The ceiling and the water’s surface mirror each other, magnifying the unique shimmer of the water’s surface.
A COOL BREEZE, A SHARED CONVERSATION > The operable glass panels at the Front and Side Lounges perform two functions: They open as a gesture encouraging interaction with neighborhood passersby, and also facilitate cross-ventilation. Water is a massive heatsink, and humidity is a common problem with indoor pools. With the introduction of the operable panels, the societal responsibility solves an architectural technicality.
1 3 2
The sectional lines of the pool are reflected to create the lines of the roof. after adjustments are made for light and view, the shape is altered.
Once the adjustments are made and the surface is smoothed, the pool is literally cast as a reflection upon the interior surface.
THE NEIGHBORHOOD MYSTERY
> The existing Mission Pool and neighborhood center. The setback attempts to provide a corner park, but instead makes for a silent, brooding sort of architecture. The playground is hidden, the recreation area is more a storage unit, and the inner-block thurway is an awkard, pinched condition. The buildingâ€™s front face is pulled forward.
> The neighborhood intersection, the childrenâ€™s playground, and the athletics courts to the south provide the major site conditions that must be addressed. The form is pushed back and opened to allow for a space that acts as a buffer between the first two conditions and the building. The straight edge at the south end of the form is maintained to leave the courts as a semicontained, self-functioning entity.
THE TRANSPARENT LIVING-ROOM
> The spaces pushed in are then reconnected outwards, manifested as an extended pool deck and sun lounges. Transparent and directly abutting the public programs around them, the pool becomes an open connection to the neighborhood. The thruway to the inner-block is widened, now sitting side by side with the building entry. They function as a sort of gateway, a fork in the road to the inner-block. The face of the southern facade is inset to reveal the program.
> The completed pool is essentially two private volumes tied by glass and covered by a singular roof. Visibility through the building allows the new corner space to function as a transparent neighborhood living room and beacon for communal recreation.
LINDA STREET 19th STREET
> Mission Pool > Childrenâ€™s Playground > Basketball Court
> Soccer Field
> Tennis Courts
> Pocket Park
A > Lobby B > Reception + Office C > Men’s Locker Room D > Women’s Locker Room E > Pool Lounge F > Side Lounge G > Front Lounge H > Civic Auditorium I > Kitchen J > Staff Room K > First Aid L > Custodial M > Mechanical N > Men’s Restroom O > Women’s restroom P > Rear Corridor
Reception + Office Skylight
Pool Lounge Skylight
> SECTION A
Reception + Office Skylight Reception + Office
Lockers Corrider Entry
> SECTION B 2:51
Staff + First Aid
Civic Auditorium Skylight
Side Lounge Skylight
> EAST ELEVATION
> WEST ELEVATION
> NORTH ELEVATION
> SOUTH ELEVATION
LOT #4 Wudadao Historic District, tianjin, China Residential + Mixed Use Lot Redevelopment R. Chow Thesis Studio Spring 2011
Lot #4 is a mixed-use development featuring an elevated ‘New Ground’ level that holds a park and a running track. Commercial and recreational programs occupy the ground level, while the sleek, flowing aesthetic continues onto a residential complex above. The program typology is a reinterpretation of traditional Chinese space. This lot is part of an investigative research seminar and studio conducted with support from the Tianjin Ubran Planning and Design Institute (TUPDI) and the Deparatment of Architecture Charles W. Moore Endowment for the Study of Place. The culmination is a coordinated group thesis: a theoretical from-scratch redevelopment of a set of lots in Wudadao Historic District, a neighborhood in Tianjin, China. Each lot is designed in conjuction with a set of research-based parameters and assigned programs that are designated based on the needs of the masterplan. Lot #4 is a mid-block condition containing a mid-rise residential structure, a park with a running track, and a gym/rec. center. The design spans two main axes: The elevated New Ground level in the NE/SW direction, and the resulting canyon-like thru--block in the NW/SE direction. This thru-way accomodates and encourages a cross-grain activity between downtown Tianjin and the abandoned Wudadao Historic District. These axes are intended to function as circulation that allows for multiple break-off points along their lengths. The resulting ‘Horizontal Continuity’ doesn’t simply link elements or network circulation paths, but rather understands the New Ground as a prominent datum that serves as an anchor for urban legibility. Traditional Chinese space--that which borders the private and the public, the nodal and the circulatory--is reinterpreted as the collective park and the transitional passage. Lot #4 is an attempt to take these ideas as foundational strategies for creating an architecture that is representative not of Asian architecture in its physical manifestation, but its cultural use of space as it has been represented throughout history.
BUSINESS + LIGHT COMMERCIAL
12 WUDADAO HISTORIC DISTRICT
8 7 6 5 4 3 2 1
11 10 9 LOW INCOME RESIDENTIAL
Combined Parameters 12 11 10 9 B A
District-wide planning of baseline parameters. These guidelines ensure a smarter, more relevant way to design. Lighting, density, and scale specifics are discussed and decided on. Designs for individual lots then follow these guidelines, but can also include special conditions upon negotiation with neighboring lots. The overall use of zones and programmatic allocations are also discussed and decided, resulting in a planned, balanced distribution of all design elements.
7 6 5 4 3 2 1
New Ground The critical new element to be introduced into Wudadao. An elevated ground level serving as a public space, its specific programs may vary along its length. As a whole, it becomes a singular element promoting â€˜horizontal continuityâ€™ within the district. It is imagined as a pedestrian strip of green that brings a unifying connectivity to the otherwise disjointed fabric of the areaâ€™s urbanity.
Stormwater Infrastructure as opportunity. Rather than running traditional methods of water collection, treatment, and plumbing, the proposed new water system is tied directly to the New Ground. This is physically manifested as a singular element in some cases. This allows for each designer to work in ideas such as small-scale water and plant + filtration ecosystems into portions of the New Ground without having to introduce radically different or unfeasibly proprietory infrastructure technologies to the overall system.
Minimum 60% Built The primary building zone within each lot. Being situated along the southwestern edge as the highest structures within the lot provides these zones with the Southern daylight access required by Chinese building codes. At 60% minimum, most of these zones are comprised of residential programs, with light mixed-use programs integrated where necesssary.
Maximum 40% Built The secondary building zone within each lot. Lower heights in this zone allows for light to enter into each primary zone building of the adjacent lot. [See A, B] This zone is typically where non-residential programs are introduced: commercial, recreational, social, government, etc. Through virtue of the porosity of this zone, some designs incorporate more of the green associated with the New Ground into the program.
The initial parameters are given volume and adjusted for height regulations. The 60% minimum zone is highest, while the 40% maximum must meet flush with the adjacent building at a determined height to allow for light penetration. The stormwater zone must meet the level of adjacent lots as a piece in the prerogative for continuity.
The 60% minumum and 40% max zone are spread to create a passageway through the block, promoting circulation and program connecting the two sides of the city split by Wudadao.
CORE + PASSAGE
The floorplates are increasing stepped via a clockwise rotation. This helps again with light, but is done mainly to offer views towards the city to the North.
Issues have been created by the steps thus far: there is no straight vertical space for an elevator core, and the height of the building determined by sq. ft. requirements overshadows the passage.
The Stormwater and Green zones are combined to create a â€˜New Groundâ€™ that seamlessly connects lots 3 and 5, while also extending sloped surfaces directly to the two sides of the city.
The Southwestern face of the building is sloped back to allow for stepped floorplates, which in turn help increase access to natural light for the residential units.
The floorplates are altered to compensate. A space suitable for a core is created, and the Southeastern corner is pushed back to allow more light.
LOT 4 ROOF PLAN
TYPICAL FLOORPLATE PLAN 1 NEW GROUND 2 COMMUNAL HALL 3 APARTMENTS 4 COMMUNAL BALCONY 5 PRIVATE BALCONIES
GROUND LEVEL PLAN 1 GALLERY 2 GYM 3 PRIVATE PARKING/BICYCLE 4 OFFICE/STORAGE CORE 5 OFFICE/DRESING ROOM CORE 6 GYM PATIO 7 RESTROOM CORE
2 1 6 3
Enormous plastic rain flower ! Wurster Courtyard, CED, Berkeley, California Urban Water Seminar: Upcycled Rainwater Collector + Urban Sculpture M. Anderson Fall 2009
Constructed out of reclaimed plastic bottles, EPRF is a sheltering structure designed to capture, filter, and hold water for potable consumption. An exercise in upcycling materials to create a socially responsible installation, the final product costed nothing save for time and transportation. Just days after the opening party, the bottles claimed from a recycling center proved true to the cyclic process of the project--the entire structure had been dismantled by the local homeless population to be sold to the recycling center once again. EPRF has been featured in national social publications such as Curbed SF, Notcot, and Green Diary. “This is what I am thinking: EnormousPlasticRainFlower. We shall build an enormous plastic rain flower that will capture and purify drinking water from the sky. It will look ridiculous of course, and significantly so. Beautiful and grotesque, our flower will further serve as a wide-spreading public umbrella tree drawing people to gather under its shelter, protected from the sky’s harshness even while succored by its fruit. Like a flower blossoming from cow dung, this machine-flower of human sustenance will blossom from the fertile waste of excessive human consumption. Our flower will be constructed purely of plastic water bottles, sugared beverage containers, and other scrap plastic constructions, stitched together with screw-top cap bolts and structurally layered as translucent, crystalline pistils and petals funneling sunlight and rain drops into corded plastic stems of tuberous filtration drawing downward into threaded, clinging roots spitting small fountains of sweet rainwater sucked freely by passersby delighted by the novelty of drinking water cut free from intercontinental transport, commerce and cash. That’s it, simple and pure— one material, multi-purpose, full with questions and possibilities. How tall can this reach and how far can it spread? What will it look like and where might it grow? Did I mention that this is a seriously purposeful study in structure, construction and materials—EPRFTM, and all of that?” -Prof. M. Anderson Team: Seminar peers Key Involvement: General process, Construction, Documentation
Screens from construction timelapse (available on Youtube)
Opening night party
Mushroom tripod Wurster Courtyard, CED, Berkeley, California Material Geometries: Tectonic Installation + CNC Fabrication Study L. Iwamoto Spring 2010
The Mushroom Tripod is a shading installation designed using an â€˜inverse tripodâ€™ mechanic. This tectonic study is an attempt to create a tripod that, rather than meeting in the center using compression, pulls from the center using tension. This balances the tripod in what may be considered to be an inverse of a traditional tripod. An exercise in design fabrication, the tripod is composed of 192 CNC milled and lasercut MDF pieces. The construction is a glueless, joint-based method that consists of panel pieces and connector pieces.
Team: S. Brummond, S. Park, E. Privot, W. Shim, G. Wilson Key Involvment: Tectonic concept, Visuals, Panel modeling
PILLAR: SELF STANDING
TRIPOD: COMPRESSION DEPENDENT
REVERSE TRIPOD: TENSION DEPENDENT
STINGRAY Wurster Hall, Berkeley, California Wall Installation: Lighting + Surface Tile Ceramics Study R. Rael Spring 2010
The Stingray is a slip-cast porcelain tile inspired by the translucent qualities of jellyfish. It can be multiplied and attached to a grid structure to serve as an articulate surface wall. Ceramics have been used in architecture for centuries, though its prominence as a cladding material has faded in contemporary use. An extremely durable material that is immune to rot and weather conditions, it provides opportunities for contemporary architectural expression that have only been explored to a limited degree. The initial mold is cut from a plaster block by a CNC mill. The mold is then filled using a slip-cast clay procedure, which produces a semi-hard tile that can be dried out and baked in a ceramics oven.
the new brick Wurster Hall, Berkeley, California Aggregate Component: Porcelain Vessel + Archâ€™l Brick R. Rael Spring 2010
The New Brick is a porcelain vessel that can be stacked and arranged in a variety of configurations. This object is a secondary study to the Stingray tile, extended to three dimensions and prototyped in a 3d printed concrete mix which was then used to create the two-part mold. Both a material study as well as a hand-crafted ceramics primer, the factors of modularity and scale present a variety of experimental and experiental possibilities. As a brick, the vessel steps up from a role as simple surface cladding and into the realm of thickened-wall construction and all its complexities and opportunities.
analog Various Media
Shrink & Blink / digital paint Chapel for The Departed Scene 1 / pen + watercolor Chapel for The Departed Scene 2 / pen + watercolor Select Sketchbook Works / graphite + pen
KNEAD THIS DOUGH.. Personal Weblog Since 2010
KNEAD this dough is a personal blog comprised primarily of images. These are mostly related--but not limited to--design, fashion, pop culture, art, and architecture. Beyond being a conveniently managed and maintained archive of images, it acts as an information feed for popular culture, design, and social trends. Material from different categories can be cross-referenced and viewed in relation to trending ideas. Following many established sources, the blog acts as a sort of digital crystal ball for pop culture. In the fast-paced and overly saturated market of todayâ€˜s society, there is an abundance of excellent work that doesnâ€™t receive enough attention or visibility. Access to a wide field of vision and smart analysis is key to successfully understanding where certain projects or products should or can stand. Following trends isnâ€™t necessarily important--but knowing them and why they are, is.
DEtroit bot city Gallery MC, New York City 2012 D3 Natural Systems International Competition Select Exhibit
Detroit Bot City is an entry that was submitted to the D3 Natural Systems exhibit and was selected to participate as part of the final exhibit in 2012, held at Gallery MC in New York City. A theoretical proposal presented in an experimental comic book-style narrative, it tells the story of a Detroit City rebirthed by the spirit of the city, employing the machinery left-behind in the remains of its booming industrial heyday.
Perhaps the most antithetical condition to the American Spirit—the past synergy of American ingenuity and innovation—exists in the postindustrial cities of the United States. Detroit, the Motor City, stands as a monument to the height of American manufacture as a product of successful systems logic—a memory of the collective efforts of both a city and a country. Our submission critiques the seemingly nonsensical juxtaposition of raw material, typological distribution, and expanse of urban open space in presentday Detroit while confronting the urban food and population crises the City faces through a narrative device. In this storyline-as-architectural-intervention, the Spirit of Detroit, lamenting the loss of energy, production, and inhabitants of the City, becomes a catalyst for the animation of Detroit’s once-useful, but now abandoned, industrial machines. As they observe their once-great City, the machines realize that the distribution of material and people does not logically correspond with the latent potential Detroit still possesses. The machines investigate further. They see that more resilient life forms than humans still thrive in Detroit. They stumble upon ant colonies, and catalog a system of efficiency unusually reminiscent to the one the machines themselves used to participate in, when people still constituted Detroit’s Spirit. Understanding issues of physical proximity, material categorization, and the ants’ closed-loop production system, the industrial ghosts of Detroit devise a plan.
They compare the development pattern of Detroit to other urban centers and the lessons learned from the natural system of ants. They begin to send scouts to the outskirts of the City, and bring homes, rendered islands through foreclosure and demolition, closer to the City core. The machines understand that American cities which have avoided Detroitâ€™s fate often fared better due to natural boundaries, and by utilizing available resources in an efficient manner. The machines salvage all they can. What cannot be repurposed or recycled, they compile into a mound defining an upper limit to the City. Detroit is now clear, physically contained by the river and the hill. Free of idiosyncratic dwelling, the outskirts of the previous Detroit have been recompiled into mass open space. A previously repressed potential of American farmland is now released. The machines leave enough remnant utility limbs from the City to provide electricity and irrigation, but prevent development follies of the past. Irrigation will provide water for the crops, and repurposed natural gas lines will reverse polarity, returning methane to the City for energy. Inside the City limits, the human inhabitants are now poised to assume stewardship of their City following the network and cooperative logic demonstrated by the ant biological system. Electricity fulfills the machinesâ€™ potential to facilitate design ingenuity, as it allows them to recede to the new countryside, once again becoming the industrial production engine for the City. The machines offer a Cityâ€™s future without hunger.
Team: J. Batty, C. Bolos, S. Lofgren, D. Nee, C. Storey Key Involvement: Layout, Graphic style, Concept development, Storyboarding
OUR CITY DROWNS--
--THE VOID CONSUMES IT--
THE HALLS OF INDUSTRY--
--RELICS OF AN EMPIRE.
IT’S BEEN LONG SINCE THE LAST MAN LEFT.
BUT THE SPIRIT REMAINS.
1703-1 --IT LEAVES LITTLE STANDING:
A DISCARDED SHELL.
AN EMPTY HOME.
“NOW THE LORD IS THAT SPIRIT: AND WHERE THE SPIRIT OF THE LORD IS, THERE IS LIBERTY.” 2 CORINTHIANS (3:17)
THE SPIRIT WEEPS.
OUR CITY BURNS.
--A SILENT BREATH,
A STEADY PULSE---MUTED STEPS.
THE CITY IS PATIENT.
WHERE DID THEY GO?
WE SEARCH THE VOID. WE FIND PERSEVERANCE.
THERE IS ORDER IN THEIR EFFICIENCY. THERE IS STRENGTH IN THEIR PROXIMITY.
THEIR UNITY, THEIR PROXIMITY, THEIR RESOURCEFULNESS
WE MUST GATHER, WE MUST ORDER.
LIMITS BECOME OUR LOGIC, THEY BECOME OUR STRENGTH.
WE MUST GATHER, WE MUST ORDER.
LIMITS BECOME OUR LOGIC, THEY BECOME OUR STRENGTH.
WE STAND POISED.
strict co. Founding Member / Partner Est. 2012
Strict Co. was founded as an outlet for creative design endeavors. Backed by a comprehensive approach combining design and production, the resulting objects are planned with actual market goals. Premium carry goods and designed objects produced in small runs make up the current product lineup. The economy of the architectural profession today is in constant turmoil: design needs and wants are checked and rechecked by funding. There exists an alarming gap between academia and professional practice, theory and physical manifestation. Many potentially successful ideas never make it out of a sketchbook. Furthermore, the field is abundant with companies and oversaturated ideas; but carefully curated, clearly identifiable brands are rare. Strict Co. is a way to utilize a shared interest in popular-culture and design to study and counter the aforementioned disparities. Ever since Americaâ€™s throw-away materialism unexpectedly met the startling economic decline of late, consumers are once again turning towards passionately designed and skillfully crafted goods that perform as long-term investments and not short-term, temporary satiations.
(In Progress) Key Involvement: Initial strategy, Creative direction: branding/identity, Logo, Font
1309 E. Royal Troon Dr. #10 SLC, UT 84124
Thank you s o v e r y m u c h. -Won
Published on Aug 19, 2012