Contents
01. Aedicular House _ Collective housing in King’s Cross 02. Ensemble of Three Houses _ Small scale housing in Hampstead 03. Society of Forms _ Student housing in Paris 04. Luxury of Real Things _ Hotel in Cévennes 05. A Room In-between _ A bespoke window in the arctic 06. HANA Daycare Centre _ Professional work at ISON Architects 07. 416 Memorial _ Competition winner at ISON Architects
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Minsoo Kim Email : als90131@gmail.com
Instagram : https://www.instagram.com/minsoo_kim90/ LinkedIn : https://www.linkedin.com/in/minsoo-kim-2678b1198/
Education
Architecture Work Experience
Master of Architecture, The Cass - London Metropolitan University Pass with Merit Sep 2018 - Jul 2019 � Designed an architectural project. ‘Aedicular House _ Collective housing in King’s Cross.’ � Designed an architectural project. ‘Three houses and a garden _ Small scale housing in Hampstead.’ � Designed an architectural project. ‘A Bespoke Window in the Arctic.’ Teamed with Nadia Naty-Everard, James Higgins, Laura Pascu, Ruby Silove-Lanesman. � Studied a precedent to explore the relationship between house and garden. ‘Turn End’ designed by Peter Aldington. � Produced a report for the module ‘Integrated Design Study.’ (Incorporating technical and legal requirements with the final design project ‘Aedicular House’) � Wrote an essay about architect’s role in society. ‘Exceptional architecture or misplaced ego in conservation area (The architect’s duty of care in respect of 15 Clerkenwell Close)
Architectural designer at ISON Architects, South Korea Feb 2020 - Jun 2021 � HANA Daycare centre Worked on the detailed design for each room, especially the main stair and toilets. Drew drawings for planning permission. Participated in the technical design of the building, especially on interior finish and furniture. Drew working drawings for construction. � 416 Memorial Competition Participated as a design team manager. Managed the team schedule and interacted with the organizing institute. Worked on concept development and design development, especially on the overall layout of the building and charnel house. Prepared the design panels and report, focusing on producing perspective images.
Master of Arts, The Cass - London Metropolitan University Pass with Distinction Sep 2017 - Sep 2018 � Wrote MA Architecture dissertation ‘Society of forms : Implementing figure ground theory in urban architecture.’ � Designed an architectural project. ‘Society of Forms _ Student housing in Paris.’ � Designed an architectural project. ‘Luxury of Real Things _ Hotel in Cévennes.’ � Produced a research booklet. ‘Walking with the walls _ Bibury.’ (About the cityscape and typologies of buildings in Bibury, Gloucestershire). Teamed with Monika Marinova, Robert Haynes. � Wrote an essay for the module ‘Theory.’ Tutored by Dr. Matthew Barac. ‘The Meaning of Architectural Ornament in Contemporary Times.’ � Wrote an essay for the module ‘The problem of Irony.’ Tutored by Dr. Matthew Barac. ‘The Objective Subjectiveness of Le Corbusier’s Architecture.’ Bachelor of Architecture, Korea University GPA 3.69 (Maximum 4.5) Mar 2009 - Feb 2017 � Designed an architectural project. ‘Shoes Street _ Shoemaker cooperative headquarter in Seonsu-dong.’ � Designed an architectural project. ‘Book Station _ Adaptive reuse of Yongsan railway hospital.’ � Designed an architectural project. ‘Fractal City _ Collective housing in Bomun.’ � Designed an architectural project. ‘Urban Festival _ Je-gi concert Hall.’
Internship at skimA, South Korea Jun 2017 Participated in designing, presentation preparation, drawing, model making. Internship at WISE Architecture, South Korea Apr 2015 - Jan 2016 Drew site plan and plan and made collage images for a competition project. Languages Korean Native English Advanced Softwares Autocad Adobe Photoshop Adobe Illustrator Adobe InDesign SketchUp Rhinocreos 3D Revit 3ds Max Enscape Rumion
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Aedicular House 2019. Tutored by Alex Ely and Michael Dillon 0
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The scale of a space massively affects how we 0 experience the 100space. If a room is small, one can feel intimacy and comfort. On the other hand, one may feel suffocated in the same room if it is too small. If a room is big, one can feel owe and progressiveness, in contrast to one feeling1:20 solitude and aloneness in such a big space. This project explored the potential of juxtaposing two different scales in housing. When a small space is juxtaposed with a big surrounding space, it 0 gets a unique character. One feels intimacy in that space, but at the same time, focuses on the bigger space and feels progressiveness. One might be curious about what is happening in the bigger space and look for an opportunity while being in the small secure space. This kind of space is called 1:50a statue of Aedicule, which originally means a small shrine that enshrines a deity. This project interpreted bay windows and balconies as aedicules in a way that these elements create small spaces juxtaposed with larger spaces, 0 1 5 which are the adjacent exterior spaces. By doing that, the project aims to create a special relationship between interior and exterior, and let people experience different modes of scale in their housing.
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The site is located at 17/21 Euston Road, London. The rectangular site faces St. Pancras station to the north and Argyle Square to the south whereas the two other sides face typical four-storey terrace houses. The existing building on the site is a three-storey brick building built in the 1950s, which is now used as King’s Cross Post Office. This project aims to create a collective dwelling on this site, which can accommodate at least 180 dwellings.
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Left Page - View of an aedicule. Scale 1:20 Top Right - Site plan. Scale 1:5000 Bottom Left - St. Jerome in His Study. Painting by Antonello da Messina Bottom Right - Sketch of the entrance floor
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In this project, each unit has an aedicule space inside of them. It starts on the landing space of a stairwell, which can be used as a reading room. The scale of this space is quite small due to the raised-platform and the low-ceiling. This creates contrast with the large living space. The aedicule is extended to the mezzanine floor by the stairs and creates balconies on the street and courtyard facade. The green colour of the aedicule, which is made out of marble and coloured concrete, separates it from the other part of the house. This makes the aedicule look like it is a discrete object inserted in the house.
Left Page - View of a terrace from another terrace. Scale 1:20 Bottom Left - Typical unit plan. Entrance level. Scale 1:100 Bottom Right - Typical unit plan. Mezzanine level. Scale 1:100
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The aedicule adds a sculptural quality to the facade. The service part, which is located between two symmetrical housing layouts, creates a thick solid part where the aedicule can be hung. The thickness of this structure alternates on each floor, which creates harmony with the alternate opening size of the aedicule. The material of the facade is mainly made out of brick and oxidised copper. The red brick has resonance with the surrounding buildings, such as St. Pancras Renaissance Hotel. The green oxidised copper contrasts with the red brick making the aedicules more distinctive and gives of a lightweight expression. The central solid part between the two housing is covered with the light-coloured brick, which emphasizes the repetitive aedicules.
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Left Page - Elevation drawing of street facade. Scale 1:100 Top Right- Study model of a part of the street facade. Scale 1:33 Bottom Left - Typical unit construction plan. Entrance level. Scale 1:100 Bottom Right - Typical unit construction plan. Mezzanine level. Scale 1:100
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Top - Elevation drawing of courtyard facade. Scale 1:100 Right Page- Section AA’. Construction drawing. Scale 1:100
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The mass design of the housing is deeply rooted in the condition of the site. The site was interesting in a way that there are a lot of massive infrastructures on one side, whereas there are small grains of terrace houses on the other side. Also, Euston Road is a hectic road where many passengers pass by to use King’s Cross and St. Pancras station. On the other side, Argyle Square, located in the south, is a small park surrounded by small terrace houses, which are mostly used as hotels. These two different conditions were a critical factor in developing the building’s urban strategy. The urban strategy of this project is focused on how to react with these two different conditions as well as achieve appropriate density for the site. For achieving the appropriate density for the central London site, it is inevitable to create larger volumes compared to the surrounding buildings. Rather than creating a massive mass that is higher than the surrounding buildings, the project suggests placing two rows of low-rise apartments and two pencil towers at the north and south ends of each row. The tower on the north balances with the large-scaled buildings on Euston Road, and the narrow profile of it harmonises with the neo-gothic towers of St. Pancras Renaissance Hotel. Seen from King’s Cross Square, the tower appears as a sculptural object. The tower, on the south, takes advantage of the open green space in front of it. The two rows of low-rise apartments create an intimate streetscape along with the existing terrace houses.
Top - Birds-eye view of the proposal with the site model. Scale 1:200 Middle - The proposal and the surrounding condition from Euston Road. Watercolour painting Bottom - View from Euston Road. Scale 1:200
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The proposal deals with the different degrees of congestion of the site using the exterior spaces with different characters; the front yard, the courtyard, and the backyard. The front yard facing King’s Cross station is a public open space that responds to the busy condition of Euston Road and creates an interaction with King’s Cross Square. The front yard is connected with the middle courtyard via a double-storey height gate, which creates an appropriate threshold for the courtyard. The courtyard is a private courtyard for the dwellers of the estate, which gives a tranquil resting place for them. The courtyard is connected with the backyard, which is on the opposite side of Argyle Square. This open space reacts with the square, creating a communal space for the dwellers and neighbours. The backyard is directly connected to Argyle Square, extending itself to the whole green open space.
Top - View of the courtyard. Scale 1:200 Bottom - View of the backyard. Scale 1:200
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On the street, the aedicules appear as sculptural objects. The three-dimensional shape of the aedicule contrasts with the rest of the facade.
Top - View from King’s Cross Square. Scale 1:100 Right Page - Ground floor plan. Scale 1:500
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In the courtyard, the aedicules appear as repetitive balconies protruded from the mass. These balconies are located on both sides of the courtyard, contributing to the atmosphere. The location of the aedicules is designed to have a diagonal relationship to each other, rather than face each other directly.
Top - View of the internal courtyard. Scale 1:100 Right Page - First floor plan. Scale 1:500
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Standing seam is used to join the copper sheets. To create harmony with the irregular shape of the plane and windows, a vertical and horizontal seam is used at the same time. These seams combined with the peculiar shape of windows create an abstract pattern on the facade. The different depth of the windows adds sculptural quality on the aedicule.
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Top - Horizontal section of typical joints. Scale 1:20 Bottom Left - Interior view. Scale 1:10 Bottom Right - Exterior view. Scale 1:10
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12. Steel tube structure 13. Insulation 14. Steel fixed window 15. Insulated panel system 16. Steel casement window 1:200 17. Concrete flags 18. Gravel 19. Waterproof layer 20. Insulation 10 21. Vapour barrier 22. Screed laid to fall 23. Reinforced concrete slab 24. Insulation 25. Cavity with suspended ceiling fixing 26. Plywood 27. Terracotta tile1:250 28. Insulation 29. Concrete block wall 30. Steel window fixture 31. Sealant 15 32. Steel window 33. Terracotta tile 34. Cavity with suspended ceiling fixing 35. Waterproof membrane 36. Terrazzo finish 37. Concrete screed with floor heating 1:300 38. Sound insulation 39. Coloured precast concrete panel 40. Sound insulation 20 timber (CLT) 41. Cross laminated 42. Cavity with joist 43. Insulation 44. Marble finish attached to honeycomb panel 45. Fixing and cavity 46. Waterproof layer 1:500 30
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Ensemble of Three Houses 2018. Tutored by Alex Ely and Michael Dillon 2 Willow Road is one of three terrace houses0 located in Hampstead, Lon10 don. The existing building was designed by Ernő Goldfinger and is now regarded as a masterpiece of modern architecture. In this project, our unit assumed that the 2 Willow Road building did not exist. Instead, we designed three houses with gardens on the same site. The site is fronted by Hampstead Heath, and the backyards of a group of terrace houses form the back. The proposal focused on the use of communal gardens for the three houses that could be a focal point for interaction between neighbours. The gardens are intimate communal places between three houses, but also do not interrupt the privacy of each house. Platforms and bay windows allow 0 100 this proposal to create a balance of privacy on these spaces.
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Top Right - Site plan. Scale 1:2000 Top Left - Front elevation of 2 Willow Road Middle - Säynätsalo Town Hall designed by Alvar Aalto Bottom - The view of the entrance garden. Scale 1:50
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The proposal creates three different kinds of communal garden. When one goes down the wide stairs, one encounters the entrance garden, which is 0 secopen to Willow Road. Going down the narrower stairs, one reaches the ond garden, which is enclosed by the three houses. Finally, passing by the gap between two houses, one enters the back garden, which is surrounded by two houses and the adjacent building. These gardens can be interpreted as exterior rooms, with careful attention to adequate scale and enclosure.
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Top - Ground floor plan. Scale 1:300 Bottom Left - The view of the central garden. Scale 1:50 Bottom Right - The view of the back garden. Scale 1:50
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0 project applies5 the idea of the10 20m This ‘aedicule’, which are here interpreted as bay windows that protrude from the exterior of the buildings; they are self-standing objects that contrast with the rest of the building. These aedicules loosely define the spaces on the platforms, giving more privacy and intimacy to these spaces. Built in contrasting materials – and in combination 1:250 with the platform and stairs – the aedicules become sculptural objects, giving a strong impression to the whole houses. 0
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Top Right - Aedicule of the house adjacent to the street Top Left - Sketch of a sculptural aedicule Middle Left - Villa Claëson designed by Josef Frank Bottom - Section AA’. Scale 1:300
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The experience within the aedicules is special. The small-scale space allows one to look over a much larger space: the intimacy of a small room contrasts with the larger outside world. It is like being in a watchtower or tree house. In the space within the bay windows, one can look over what is happening in the communal space and perhaps catch a glimpse of a neighbour’s life.
Top - The view from a bay window toward Hampstead Heath. Scale 1:50 Bottom Left - The view from a bay window toward the backyard. Scale 1:50 Bottom Right - The view from a bay window to the communal garden. Scale1:50
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Society of Forms 2018. Tutored by Stephen Taylor, Theodoros Thysiades 5
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A visual environment of a city is made out of various forms of buildings. These forms of the building are the results of cultural tradition and the natural environment. The image of a city is created by interpreting these forms in the human mind. This image of a city is one of the crucial aspects of the 1:100 identity of the city, which lies in people’s memory. This project explored how the new contemporary building’s form can interact with the existing urban environment. Paris is known for its unique 0 1 with a simple material palette. Though 10 atmosphere created by its buildings they have similar materials in their facades and roofs, there has been relentless variation in using these materials and elements in buildings. The project explored one of the ways to vary the norm of Paris buildings in a contemporary context. Also, the project suggests how the new building 1:200 can blend in with the existing city structure by manipulating the figure-ground relationship.
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0 Opposite Page - Bird-eye view from the east. Scale 1:100 Top Left - Sketch of Paris roofscape Top Right - Satellite picture of Paris. Site is marked in red. Bottom - Site plan of existing condition. Scale 1:1000
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50m France. A local market exists on this The site is in the Marais district of Paris, site, which is called Marche couvert des Enfants Rouge. This project aims to preserve the beloved market, at the same time, to build a foyer; a safe place for young people, over the market.
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The figure-ground relationship of Paris is characterised by continuous buildings that define shapes of streets and voids for letting in air and light at the back of the buildings. Likewise, the voids on the west side of the market is surrounded by existing buildings, creating a tranquil atmosphere. However, the height of the market is much lower than the surrounding buildings, and the boundary of the void is left ambiguous.
The proposed building separates the void into three parts, defining the shape of it clearly. The void to the west (1) is shaped by the west facade of the building, forming a threshold space. The void to the south (2) is newly formed by the proposed building, used as an open-air market. This void also allows the neighbour building to let light in and give a view of an open market. The void in the middle of the building (3) forms a courtyard upon the market, creating a communicating space for the dwellers.
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Model of existing site condition. Scale 1:300
Model of early mass study with the site. Scale 1:300
Bottom - Birds-eye view from the north-west. Scale 1:200
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Top - Roof plan. Scale 1:500 Bottom Left - Birds-eye view from north. Scale 1:200 Bottom Right - Plan of Hôtel de Beauvais
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Paris has a unique cityscape. The forms of buildings which are similar but different to each other engage together and create harmonious scenes. The simple usage of materials, like limestone, slate and zinc, highlights this relationship of forms. The proposal engages with this conglomerate order of Paris by using similar languages of forms in the contemporary context. Furthermore, by modifying the shape according to the condition of the site and the programs, the proposed building enriches the formal diversity of Paris.
Opposite Page - Interlocking form of roofs and facades. Scale 1:50 Top - Study models for mass design. Scale 1:200 Middle - Study models for mass and facade design. Scale 1:100 Bottom - View from the boulevard. Scale 1:50
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The sequence of entering this building is carefully designed. The future occupier who enters from the grand stairs first encounters a double-height, 0 1 5 boulevard and the courtyard. medium scale space which is open to both the After experiencing this intermediate space, the user enters the courtyard surrounded by the cloister. The cloister, covered by walls with fenestrations, gives a feeling of protection to the occupier. After experiencing these three different spaces, the occupier enters1:100 the building.
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Opposite Page - View of the courtyard from the library. Scale 1:50 1:250 Top - St.Benedictusberg Abbey in Vaals. Designed by Dom Hans Van der Laan Bottom - First floor plan. Scale 1:300
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The rooms are connected with a spacious corridor which is open to the exterior. Between the corridor and room, there is a semi-private threshold 0 1 5 space, mediating two spaces with different characters.
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Opposite Page - Top view of the courtyard. Scale 1:50 1:250 Top - Cité Napoléon of Paris Bottom - Third floor plan. Scale 1:300
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The proposed building’s main elevation is deeply connected with the typology of existing buildings on the site. The distinct building characteristics in the Marais district; French windows, cornices, gable roofs, and dormer roofs are reflected in the elevation. Furthermore, the asymmetry of the elevation flexibly reacts to the different heights of the adjacent buildings. By reacting to the conditions of the site and programs of the building, the main elevation is not only following the typology of the site but also creating a variation of it. In addition, the gap in the centre of the facade delicately reveals the inner courtyard outside, presenting people on the terrace like a theatre stage. White stained concrete is used for the structure and the skin, giving a monolithic impression to the facade. Also, the subtle changes in the thickness of concrete and the asymmetric cornices make the facade look like a relief.
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Top Left - Sketch of the main facade Top Right - Youlhwadang bookhall. Designed by ARU Bottom - North elevation 1:200
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The courtyard is lifted 5m above ground level where the existing market is located. The proposed building and surrounding buildings create tranquil—an enclosed space for the dwellers. The regular intervals of the wall and fenestrations of the building create a rhythm to the facade. The light wells that brighten the market space form benches in the courtyard, which contribute to the atmosphere.
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Right - View of the courtyard Bottom - Section AA’ 1:200
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Luxury of Real Things 2017. Tutored by Stephen Taylor, Theodoros Thysiades Vernacular buildings around the world show their wisdom and ability to adapt to their natural environments like climate, terrain, etc. They are a result of spontaneous reactions to dwell in their surrounding conditions. This project aims to design a building that resembles the spontaneousness of the existing vernacular buildings on the site, hoping to create something genuine like the existing buildings.
The site is located in Cévennes National Park, France. There is an abandoned hamlet, which consists of several vernacular buildings on the site. This project aims to convert this hamlet to a hotel by renovating the existing buildings and adding additional buildings.
Top of Opposite Page - Roof plan. Scale 1:1000 Left - Early sketch of the scheme Bottom - Aerial view of the proposal. Scale 1:200
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The volumes shaped by pitched roofs appear repetitively. They are sometimes parallel or perpendicular to each other, all together, they create a picturesque disposition. The small volumes created by chimneys add tension to this disposition. The site has many terraces. The existing buildings sensibly use these different heights of terraces and connect them by stairs. Consequently, the site and existing buildings make an architectural promenade.
Top - Sketch of existing buildings from the main road Middle Left - View of existing buildings and terraces from the south Middle Right - Sketch of terraces and a promenade Bottom - Panoramic view of the site from the west
40
Since the site has many stairs and terraces with various heights, the project takes advantage of this characteristic. The suggested building naturally follows the contour of the site. The courtyard formed by new buildings is connected to an existing courtyard with a promenade that is formed by the site contour. The terraces with different heights are connected to each room with stairs. These stairs create a threshold space for the hotel room. The courtyard works as a communicating space for the dwellers, like a street with terraced houses in the UK.
Top left - Sketch of the courtyard formed by existing buildings. Bottom Left- The relationship between new courtyard and exisiting courtyard. Scale 1:50 Right - Terrace houses in Notting Hill, London Bottom Right - Bouça Housing. Designed by Alvaro Siza
41
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The lounge space connects all terraces and hotel buildings with the stairs inside of it. The different scales of the spaces enrich the journey to the upper terrace.
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The courtyard is connected to the existing courtyard, creating a place for intercourse. The different heights created by the terraces make the threshold to the individual hotel room.
Top - View of the courtyard. Scale 1:50 Bottom - Section BB’. Scale 1:200
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46
A Room In-between
2019. Group Project with Nadia Naty-Everard, James Higgins, Laura Pascu, Ruby Silove-Lanesman. Took part on the concept, initial design of interior and exterior, material choices and construction methods, and model making. Tutored by David Grandorge, James Payne
A window is an essential part of architecture. It brightens a room by accepting sunlight and keeps a room warm by retaining radiation heat. Opening a window can allow fresh air into a room. A window also protects the internal climate from outside when it is closed. Excluding the fact that a window controls the internal climate, it is also crucial in the way that it connects the inside of a building and the outside world visually. One can see the outside world from the inside, while one can also be seen from the outside through a window. It opens up the chance to use the exterior scenery from the interior and to show the life of the inside to the outside world. This project explored the possibility of using a window in an Arctic urban situation. As the window is located in the polar area, it should maximise the penetration of light throughout the dark winter months, and be able to control the volume of light received throughout the light polar summer nights. Furthermore, it should act as a barrier to the climactic conditions of the Arctic whilst allowing for a direct connection to be made between the inhabitant and the exterior environment, essentially removing the protective barrier from the consciousness of the user. Left Page - View of window from the interior. Photo by David Grandorge. Scale 1:5 Top Right - Map detailing the location of Svalbard. Wikepedia, ‘Location of Svalbard’ Middle Left - Plan of the window showing various modes to adapt with different climates. Scale 1:50 Bottom Left - Exterior elevation of the window. Scale 1:50 Bottom Middle - Section of the window. Scale 1:50 Bottom Right - Sketches of the exterior and interior view of the window
Longyearbyen is a town located in Svalbard, Norway. The town has effectively been forged as a by-product of the coal mining industry. However, in recent times it has begun to reduce its sole dependence on the industry to exploit the growth of tourism and the opportunities afforded to travellers from its unique terrain. The town is recognised as being the world’s most northern settlement, with settlements beyond it being classified as outposts solely for research and meteorological purposes. The town’s climactic conditions are typically Arctic, influenced in part by the North Atlantic Current, with snow covering the town from November through to March annually. The town’s average temperature winter highs sit within the range of -11°C to -13°C, with its summer months seeing average highs of between 3°C and 7°C. Longyearbyen experiences year-round unique solar conditions in which a two-and-a-half-month period of complete darkness is projected onto the town under the moniker of the Polar Night in the Northern Lights Winter. These conditions are in stark contrast with the Polar Summer, during which the Midnight Sun dominates for 24 hours of the seven-day week. As a way to overcome and exploit this natural environment, we suggested a window that is combined with closets. The additional space created by the closets enhances the insulation capability of the wall. The deep alcove created by the thick wall with heavy insulation and the closets generates an in-between space where people can sit on the stool and gaze outside. This in-between space also acts as an aedicule where there is a comfortable small area adjacent to a large area. Dwellers can control the amount of light which permeates through the window by closing the inner doors on the sides, which are used as the doors for the closets on usual days. In the cold winter, additional thermal insulation capability can be provided by closing the inner doors and shutting the curtains, which are hidden in the closets. 0
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15 Top Left - Picture of the detail model showing joints. Scale 1:5 Middle Left - Picture of the detail model showing depth of windows. Scale 1:5 Bottom Left - Traditional wooden dwelling. Bergen, Norway Right - Vertical section of the window. Scale 1:5
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17 6 1. Lintel; CLT (60mm; 20-20-20) 2. Load bearing wall; CLT (190mm; 38-38-38-38-38) 3. Stop (CLT) for the spruce door 4. Rigid wood fibre insulation boards (2 x 175mm) 5. Vapour membrane (convection barrier) 6. Insect/root protection 7. Wind and rain membrane 8. Pine battens (30x30); drained ventilated cavity 9. Horizontal nordic pine cladding 10. Head; Outward opening window frame; nordic pine 11. Head; Outward opening window casement; nordic pine 12. Sill; Outward opening window frame; nordic pine 13. Sill; Outward opening window casement; nordic pine 14. Triple glazed unit (4-12-4-16-4) 15. Weather seals 16. Pressure relief grooves 17. Window extended sill; nordic pine 18. Mineral wool packing 19. Mastic sealants 20. Stool and seating place 21. Drip gap 0
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1. Adjustable concealed hinge 2. Door; nordic spruce 3. Built-in door handle 4. Thermal curtain 5. CLT (60mm; 20-20-20) 6. CLT (190mm; 38-38-38-38-38) 7. Rigid wood fibre insulation boards (2 x 175mm) 8. Vapour membrane (convection barrier) 9. Wind and rain membrane 10. Pine battens (30x30); drained ventilated cavity 11. Vertical Nordic pine cladding (60x110) 12. Horizontal nordic pine cladding 13. Jamb; Fixed window casement; nordic pine 14. Jamb; outward opening window frame; nordic pine 15. Jamb; Outward opening window casement; nordic pine 16. Triple glazed unit (4-12-4-16-4) 0
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Right - Horizontal section of the window. Scale 1:5 Bottom - Interior view overlooking a street condition from the first floor with window doors opened.
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1:250
HANA Daycare Centre
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30m
2020 Competition Winner. Participated as a design team member at ISON Architects, with Jean Son, the design principal, and Taewan Kim, the team manager. Joined the team on the spatial coordination stage after the competition. Participated in refining each room, especially the main stairs and toilets. Drew drawings for planning permission. Participated in the technical design of the building, especially on interior finish and furniture, and drew working drawings. 1:300 Hana Daycare Centre is located in Cheongna International City, a special 0 free economic zone in Incheon, South Korea. Most of the district is reclaimed land made artificially by filling earth on the vast tidal mudflat. Since the 17.8Km² area was reclaimed in the 1990s, the district has been developing rapidly. For this reason, this region has unusual characters. Everything that is built in Cheongna district is artificial and brand new. Every scale of the district is excessively big, for it is designed to be suitable for the use0 of automobiles. Plus, all the land is flat, i.e., without a mountain or hill, which is a very rare landscape in Korea. Parts of the city are clearly separated by functional zoning. The city makes humans feel small, especially for children. In this project, we reclaimed the sense of community for the children that will grow up here. The building is composed of split multiple nursing rooms (sized 10mx9.2m) attached to communal halls, and between each nursing room, there are courtyards of a similar size. The split masses create an inti0 10 mate scale that is suitable for children. The sloped roof nestles the building, which forms an artificial mountain that children can play on.
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Top - Site plan. Scale 1:5000 Bottom - Bird’s-eye view. 1:200 model. Photo by Jongoh-Kim 1:5000
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Above - Process of design Left - Cheongna island and mudflat before reclamation
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Most programs of the building are spread widely on the ground floor, utilising the vast flatland of the site. The nursing rooms, which are sized 10mx9.2m, are located on the ground floor attached to communal playing halls. There are courtyards between each nursing room, which will be outdoor 1:50 playgrounds for children. Other programs, including a dining room and an office, are attached to the halls. Each nursery room is attached to a small toilet for children to wash up and for them to be each room and 0 trained1 on using a toilet. The walls between 5 communal halls have spacious depth, which will be embedded with closets that store kids’ clothes, toys, and artwork. This ‘furniture wall’ displays kids’ personal items and artwork, which gives character to the nursing rooms attached to it. Along with toilets and other servant spaces, these furniture walls form poché that present specific figures to1:100 interior space.
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Top Right - View of the entrance courtyard Middle Right - View of the playground courtyard Right Page Top- View of the playing hall Bottom - Ground floor plan. Scale 1:300 1. Nursery room for toddler 2. Nursery room for preschool 3. Playing hall 4. Entrance hall 0 5 5. Dining hall 6. Special activity room 7. Promotion room 8. Office 9. Principle’s office 10. Infirmary 11. Teacher’s lounge 12. Locker room 13. Consultation room
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The area is loosely divided into three parts on the first floor, which will be 1:100rooms. The rooms are used as a multifunctional hall and special activity connected to large roof terraces and gardens that are continued from the polygonal roof surface. The sloped green surface of the roof provides an excellent playground for children. 0 1 10
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Right - Bird’s-eye view. Image by ST201 Right Page Top- View 0 of a roof garden from 5 a hall Middle - First floor plan. Scale 1:300 Bottom - Section AA’ 3. Playing hall 7. Promotion room 14. Multifunctional hall 15. Special activity room
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In the usage of material, we tried to use natural materials as much as possible, which is helpful to raise the cognitive ability of children. They can see, touch, and feel the original material such as tile, timber, and concrete, and understand what they are. Colourful usage of tiles on the courtyard walls will arouse children’s visual imagination, and it contrasts with the grey concrete texture on the outside walls, which gives a protective feeling. Huge windows that connect interior and exterior space are framed by solid timber, giving seating places for children in the courtyards.
Top Center - Photo of window and canopy on construction Top Right - Photo of playground courtyard on construction Bottom - Detail drawing of wall construction. Scale 1:30 0
0.5
AL metal mesh 15mm 30mm Borneo Teak solid timber 50mm Square steel pipe 50x50x2.3 130mm Cavity Urethane topcoat 20mm Polyurethane multi-layer waterproofing 50
First Floor GL+4,000
1400
Stoneware tile 15mm Tile adhesive Cement mortar/Metar mesh 15mm
200
AL Sheet 2mm Galvanized steel sheet 1.5mm Square steel pipe 30x30x2 30mm
3850
Lightweight steel frame 9.5mm Plasterboard 9mm Birch Plywood
Square steel pipe 30x30x2 30mm Waterproof plywood 9mm Birch plywood/Oil stain 3mm
2200
Playing hall
2.5mm 40mm 97.5mm 80mm
Marmoleum Cement mortal/heating pipe Autoclaved Lightweight Concrete Phenolic Foam Insulation Board
Acetylated Radieta Pine Solid timber/ 40mm Oil stain
GL+150
150
Ground Floor
Detail Elevation. Scale 1:30 GL±0=EL+6.60
Cement mortar 15mm Urethan waterproofing coating PIT Vertical section detail. Scale 1:30
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Horizontal section detail. Scale 1:30
1
2m
Glass frame : THK1.5 60x40 bended stainless steel hairline finish Tempered glass 10mm Glass frame : THK1.5 25x40 bended stainless steel hairline finish
Sliding door Porcelain tile Tile adhesive /Acrylic waterproof coating Cellulose fiber cement board Waterproof plasterboard C-Study Plasterboard Birch plywood
9mm 15mm 6mm 9.5mm 110mm 9.5mm 9mm
THK 40 Ash Glue-laminated Timber Clothes Hanger 9mm Birch Plywood 9.5mm Plasterboard 50mm Steel pipe 100x50x3.2 /Sound insulation 9.5mm Plasterboard 9mm Birch plywood
The ‘furniture wall’ is a crucial feature of the interior concept. In the furniture wall, glue-laminated ash timber is used on the top and bottom to bear the weight of the top glass and give strength to the structure. The wall panel comprises of square steel pipes that transfer the load to the base and resist lateral force. Sound insulation is installed between them, and it is covered by plasterboard and birch plywood as a finish. The height of these furniture walls is 2.2m, which is, on average, the maximum height that an adult’s hands can reach. Glass partitions are installed on the furniture walls, which separate two spaces acoustically. However, it allows for viewing of the sloped ceiling at different angles, following the shape of the roof. The space inside of the furniture wall is embedded with various types of furniture, including closets, benches, desks, cabinets, sliding doors, etc. The heating and cooling system, including FCU and hot water distributor for floor heating, is also installed in the furniture wall. By installing these furniture walls repeatedly in line, it gives a strong character to the wall and creates rhythm. View of funiture wall from playing hall
THK 40 Ash Glue-laminated Timber Square steel pipe 50x50x1.4 Square steel pipe 40x40x1.4 9mm Birch plywood
Top - Vertical section detail. Scale 1:30 Middle - Horizontal section detail. Scale 1:30 Bottom - Detail elevation. 1:30
57
416 Memorial
2021 Competition Winner. Participated as a design team manager at ISON Architects. Collaborated with Kiohun, Ahnpark, Jean Im and Mark Wasiuta. Managed the team schedule and interacted with the organising institute. Worked on concept and design development, especially on the overall layout of the building and charnel house. Prepared the design panels and report, focusing on producing perspective images. ‘416 Memorial’ project is a work to remember and introspect the memory of the tragic incident ‘Sinking of MV Sewol’, and by doing so, it attempts to transcend the tragic memory into future-oriented value through mediums such as art and academic study. ‘416 Memorial’ will start as a place to answer the truth about the absurd and tragic deaths and embrace personal sorrow with civility, but ultimately, it will be a platform of questions related to social justice around the world. In this place, social value ignited by the tragic incident will be discussed and tested, and it will evolve into an academic, artistic, and ethical way. The product will be stored and consumed by people in participation, experience, and reproduction. Like an academic campus, social value will be produced here, and it will be stored and reproduced in this ‘Storage of memory and social value.’ Our work achieves ‘Genius Loci’ by forming an autopoietic ecosystem. Through the land-space, including hill, valley, plain, and platform, physical installations that accommodate all the social activities will be weaved into them. In the natural land space, creative space and information will interpenetrate and coevolve through interaction. The parts(functional block) will exist autonomously but interdependently and build an organic whole, which is meaningful than the sum of its parts. Thus, the campus is not a completed thing but a process that weaves a web. As a result, our work is highly based on designing situations and events. Such a network will have looseness, margin, and ambiguity, and it will provoke diversification by creating variability, indeterminacy, possibility, complexity, and chaos. This space will accommodate creation, connection, communication, interchange, and fusion. The relationship between the installation and activities is not casual but indeterminate. The encounter and combination will be crucial here as it pursues unexpected possibilities.
58
Water-Platform
Wind-Hill
Light-Square
Sky-Charnel house Tree-Forest
Existing - Flat reclaimed land
Top - Creation of Genius Loci Right - Forming architecture of events by weaving functional blocks Bottom - View of the square from the forest of remembrance. Image by Ecocg
1
Hwarang Lake
Platform
Group-1 (Memory and question)
Group-2 (Creative production)
2 narrative hyper text
3 Wild flower hill hall strip
media wall
4
Memorial and enshrinement
Hill
Hwajeong Stream
5 Forest of Remembrance
Phase I Square of Light
Phase II Juxtaposition of two groups
Phase III Organisation of fucntion blocks
Phase IV Convergence as an organic body
Phase V Deployment
• Ambidirectionally inclined through the course of the village
• The group of storage for memory and product, and the group of creative production and consumption are juxtaposed in the medium of the square
• Group-1 : The function blocks arranged in a sequential, narrative way are connected to the square in the medium of 'Media Wall'
• The two groups converge together in the medium of the square
• The square connects 'Forest of remembrance', 'Wildflower hill', and 'Platform', and opens to Hwarang lake
• The space for memorial and enshrinement located in 'Forest of remembrance' is connected to Group-1 in the medium of the anteroom
• Group-2 : The function blocks arranged in a non-sequential, hypertext way network each other through 'Hall Strip' and are connected to the square
• Autopoiesis body like nature. The whole is more than the sum of its parts
• The whole complex works as a cultural facility that comprises Hwarang Cultural Park
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W.L.+4.6
o Hwaje
Hwarang Lake +6.0
ngche
onseo
g-ro
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o Hwaje
Platform +6.0
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Remembrance and Light Pavillion (Relocate from Gwanghwamoon square)
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Wild Flower Hill ▼
+7.0 (-1.0)
+12.0
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Square of Light +5.5 (-2.5)
◀ +6.0
Industrial History Museum
+7.0 ▶ +11.8
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Memorial and Enshrinement +11.0
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◀Emergency Exit
+5.5 (-2.5)
Car Entrance▷ +7.8 ▲ +7.0
Forest of Remembrance
+8.0
Hwarang-ro 60
Site Plan
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Observatory1
Observatory2·Route of Remembrance
Waterfront cafe that can contemplate on the lake
Gyeonggi Museum of Modern Art ·Waterfront Deck
This road is a node of the city and the main entrance towards 416 Memorial. By improving the existing observatory and creating waterfront space, we give a sense of placeness to this road and enhance the pedestrian environment. Ansan Danwon Danwon Global Children’s Youth Multicultural Library Training Centre Centre
By extending the front area of the museum towards the lake, the waterfront space will be an area for art and culture.
Danwon Highschool Gojan-dong Community Service Centre
Hwajeong Stream Road Reinforce the connection between the stream and the park by having the road vehicle-free on weekends.
Sandbank
Sculpture Park
416 Memorial
Emphasizing the existing sculpture park by extending it towards the lake
Ansan Industrial History Museum Art Workshops
Integrated Museum Storage
Platform
We suggest transforming the auto-camping site into an art workshop where people can participate.
Supplementary storage of cultural facilities in Hwarang cultural park
By creating a platform inclined into the lake, the circulating road where people only pass through can be extended as a place where people can stay.
Hwarang Cultural Park Masterplan The Park is built on reclaimed land, acting as an entertainment park in the industrial era. As the character of the city changes from industrial to cultural, the park should also change into a place that produces and consumes cultural content. To achieve this, we suggest a park as a place of contemplation. By adding nodes to recess, the linear pedestrian road becomes a place, not just a passage.
Top - Masterplan of Hwarang Cultural Park Right - The change of Hwarang lake through reclamation Bottom Above- View of the wildflower hill and the platform Bottom Below - View of the entrance through the forest of remembrance
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Machinery Room
Archive Exhibition
Office
D.A
Server Room
Photo Studio
Electric Room D.A
Cleaning Room Museum Storage
PIT (Variable to Storage)
Machinery Room Laboratory
Freight Storage Lift Water Tank
Basement Floor Plan
D.A
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Convenience Store
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Locker
Info -1.0
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Guide Storage Room -1.75
Theatre
Lounge
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Exhibition+Library+Archiv
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Multipurpose Hall
Preparation Room
Operational Seat
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Storage
: Block of creative production and consumption : Hall strip : Block of memory and question : Office and servant spaces : Memorial space : Main route : Entrance : Exhibition and commemoration : Permanently opened for the families of deceased : Service path : Parking lot for the disabled
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Multipurpose Hall
+3.0
HAVC Facilitie
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Scale 1:600
Property Line -2.6
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Ground Floor Plan
D.A -2.5
Storage
Preparation Room -2.5
Storage
Room of Question
ve
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Freight Lift
Waiting Room-2
Charnel House
Waiting Room-1
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Wall of Commemoration
Storage
-2.5 Manager's Office
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Auditorium
Storage
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Cultural Class
Storage
Physical Activity
Freight Lift
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-2.5
Cultural Class
Workshop
Preparation Room
Cultural Class Lecture
Security Office
Waiting Room
-1.0
Storage
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-0.2
First Floor Plan
Meeting Room
Temporary Exhibition
+2.0
HAVC Facilities
-1.0
+3.5 Office Reception
O.A
+3.5
es Canteen
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Square of Light The square penetrates through the valley, inclining from both sides, inducing dynamic activities through it. The slope made into a cordonata acts as a huge open-air theatre. The activities that happen on building blocks on both sides extend to the square in the medium of ‘Hall Strip’ and ‘Media Wall’. The Square is also a self-sufficient place that accommodates various outdoor events. Floor boxes will be installed under the square to serve those events. The media wall on the east side of the square broadcasts the events of interior space (exhibition, performance, lecture, interview) or displays media art or video that supports running activities.
Top - Functional diagram of 'Square of Light' Middle - Cros section of 'Square of Light.' Section DD' Bottom - View of the 'Square of Light' from 'Hall Strip.' Image by Ecocg
Discharge to the city drainage in case of downpour
Connected to the machinery room -1.0
DN
DN
3.39%
-2.5
-2.5
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DN
-0.5
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-1.0
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Wild Flower Hill
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3.88%
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Media Wall (Glass facade embedded with LED screen) broadcast the events in the building
Floor Box
64
Pit
Water Tank
Pedestrian Passage Loggia that can move through
Inclined Green Area Green Area that can observe the square
Cordonata Wide steps with a low height for the usability of the square
Square External space that accomadates various events
Hwarang Lake Platform Wild Flower Hill
Danwon High school
Industrial History Museum
se Hall
po Multipur
Usual
Event
Tempora
hive ry+Arc
ounge atre/ L
The
Libra ition+
Exhib
Hwarang-ro
Muse
fe
op/Ca
um Sh
ition
ry Exhib
Performance
Hwajeongcheonseo-ro
Hwajeongcheonseo-ro
: Cordonata %
: Slope : Water tank : Pit
* Floor box : Including electric power, telecommunication, sound facilities * Pavement material : Peach coloured concrete with seashell aggregate
: Floor box
DN
-3.13
8.33%
DN
8.33%
: Square
Forest of Remembrance
: Hall strip : Medial wall
-1.0 -1.0
Top Left - Transformation of the square in different usage. Top Right - Diagram shows connection of 'Square of Light' Below - Section detail of Cordonata
Granite
150mm Seashell concrete(Sandblasted) 150mm Mixed aggregate
93.75
65
Exhibition Plan
4
3
1 5 2
7
6
9 8
① ② ③ ④ ⑤ ⑥ ⑦ ⑧ ⑨
7
Horizontal archive display system Real time archive scanners(camera) Real time archive scan(wall) Media archive timeline1 Media archive timeline2 Ferry model with robot arm and screen Interactive media storage and library Ferry in real time(projection) Vertical archive system(downstairs)
Group-1 Storage for memory and product B
The spaces that serve programs for commemoration unfold sequentially when experiencing the journey through the building, which starts from the entrance lounge. After watching an introductory video in the theatre, people move to an exhibition space where the memories and information of the tragic incident are stored. The space also serves programs like the library and archives related to the incident. The exhibition, library, and archives are closely related by the loose boundary of each program. The journey continues to the 'Room of question', which is an agora where people discuss questions of justice triggered by the incident of MV Sewol. By broadening the prospect, discussions can be expanded to universal problems such as war, terror, religious conflict, and polarisation. Before and after visiting the room, people pass by an anteroom with a figurative skylight, which refreshes the atmosphere. The journey ends in Charnel House, where the victims of the incident are enshrined.
A'
A
D
D'
E'
E
C'
C
B'
SECTION B-B'
Temporary Exhibition
Exhibition+Library+Archive Museum Storage
Charnel House
Waiting Room-1
Waiting Room-2
Anteroom
Room of Question Machinery Room
66
Freight Lift
Laborato
View of 'Square of Light' and 'Wild flower hill' from the cafe
View of the charnel house on daytime
View of the charnel house on daytime
View of the anterome
SECTION A-A' Exhibition+Library+Archive
ory
Theatre
Lounge
Museum Shop/Cafe
Museum Storage 0
5
10
20m
Scale 1:600
67
Group-2 Creative Production and Consuption The building blocks for creative production and consumption are arranged in a non-sequential way. Each block is self-sufficient, for it has servant facilities for its program. The blocks are attached to 'Hall Strip,' a linear hall that mediates each block and the square. The blocks of the group will network each other in the way of 'Hypertext.' The Multifunctional Hall is a place for performance, convention, and exhibition. It has devices to accommodate variable activities in the block such as an access floor, movable partition walls, operational seats, an operational stage, and pipe grid ceiling. The wall in front of the stage can be opened entirely to reveal the scenery of the wildflower hill and Hwarang lake. Temporary exhibition space has skylights on the sawtooth roof that brings diffused light. The area is a typical neutral space that can accentuate various exhibition content. The auditorium is a lecture theatre that has stepped seats. Along with the three cultural classrooms, it accommodates various educational programs. The Cultural Classrooms have electric, water supply and sewage facilities for various experimental cultural programs. It can also be used as a preparation space for directors and participants of cultural events for a limited period.
Right - View of the multipurpose hall Right page- View of the temporary exhibition
Office
Class
Lecture
Meeting Room
Class
Workshop
Class
Temporary Exhibition
Auditorium
Physical Activity
Charnel House
Storage
Toilet Water Tank
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B
A'
A
D
D'
E'
E
C'
C
B'
SECTION C-C'
Multipurpose Hall Operational Stage
SECTION E-E'
0
5
10
20m
Scale 1:600
69
Usage of Materials We used materials that leave a trace of time. The colour palette of the materials was carefully selected to harmonize with the surrounding park. The pavement of 'Square of Light' is made from special concrete mixed with seashell aggregate. The material suggests that the place was a part of the sea before reclamation. It also evokes memories of the sea in relation to the MV Sewol incident. A pair of translucent glass facades wrap the space between the canopy and the building. On top of them, a skylight will be installed to bring natural light inside. The double facade hides the thick columns between them, and it also appears as a lightbox since light is scattered inside it. On the outer piece of glass, a media wall will be installed that will broadcast the contents of internal activities. Grass 250mm Topsoil
28mm laminated clear Low-E glass
3mm Magnesium Aluminium alloy Coated Steel Sheet
45mm Drainage board
12mm Waterproof plywood/House wrap
Water proof, Root retardant sheet
Square steel pipe 200x100x9
[outside]12mm laminated clear Low-E glass (media facade-LED·PVB Film embeded) Lighting Box [inside]28mm Low-E glass /W fosted glass
150mm Seashell concrete(Sandblasted) 150mm Mixed aggregate
H300 Access floor
SECTION DETAIL 70
0
0.5
1
2m
scale 1:50
Building System
: Volume of soil cutted : Volume of soil filled up
Canopy - Coloured Steel Sheet
By matching the amount of soil that will be cut and filled up, the cost to transport soil is saved, and the carbon emission on the construction can be reduced.
Exposed Concrete
Use water for gardening, cleaning and cooling Collection of rainwater
Square - Seeshell aggregate concrete /Sandblast finish
Water tank OVER FLOW
Channel
el
Chann
Drain to Hwajeong Stream
Metal mesh LED Film
Cover Glass
Media Facade
PVB Film
The eco-friendly circulation of water is made by collecting rainwater through the inclined square and water tank underneath.
Diffuser Diffuser
Return air
Solar panel
Air handling unit
Return air Exhibition
Solar panel
Return air Supply air
Air handling unit
2nd Floor
Floor box (Including facilities for Outdoor events) Pit(Connected to the machinery room on the basement)
1st Floor
PIT
Air handling unit Air handling unit
Basement
The HVAC system is designed suitable for independent usage of function blocks. It also utilises the double-skin facade for supplying fresh air to the exhibition space.
71