PORTFOLIO
Andrew Kim | Winter 2024
ANDREW KIM CONTACT
WORK EXPERIENCE
akim108@gmail.com 763-313-3943 Dallas, TX | Brooklyn, NY
Design 101 and 102 Teaching Assistant
Professor Clara Ha, Pratt Institute, Brooklyn, NY Fall 2022 - Present
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Instructed students on computer software and physical model-making processes • Recorded video tutorials for digital studio workflows • Critiqued students on design decisions and drawings
EDUCATION Pratt Institute, Brooklyn, NY Bachelor of Architecture 2021-2026 (expected) GPA 3.93
Architectural/Interior Design Intern
Scarpidis Design Corporation, Chelsea, NY Summer-Fall 2023
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Drafting: AutoCAD construction drawings to send directly to contractors and as-built drawings based on site visits • Rendering: Rhino, V-ray, Photoshop conveying architectural design concepts and interior furniture selections to clients • On-site collaboration: reviewed issues with contractors and answered their design questions
Irondale High School, MN 2017-2021 GPA 4.6 SAT 1570, National Merit Finalist
UNIVERSITY HONORS
Social Media Content Creator
President’s List awarded every semester
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Final projects selected for School Archives: Dec 2021: Technics Dec 2022: Intermediate Design I May 2022: Design II, Representation II May 2023: Intermediate Design II Fall 2023: Comprehensive Design I Intermediate Design I Final Project Selected for Institute-Wide Cross-Core Pinup Review
COMPUTER SKILLS
AutoCAD
Followers/Subscribers: over 140,000 on Instagram and 230,000 on YouTube • Organized multiple charity events, including selling merchandise and hosting online fundraisers • Video-edited and uploaded vlogs, teaching students about the experiences of college and architecture school • Collaborated with brands such as Microsoft, Grammarly, LG, and Squarespace to create promotions and reach target audiences
EXTRACURRICULAR American Institute of Architecture Students (AIAS) Pratt Institute Chapter, Brooklyn, NY January 2022 - Present
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(also: Cinema4d + Octane renderer, Enscape, Twinmotion, Revit) Rhino
August 2019 - Present
V-Ray
Social Media Director, Executive Board (2022-2023) • Organized promotional campaigns and collected student submissions for social media • Planned collaboration with Columbia GSAPP’s AIAS • Chapter President (2023-Present) • Organized school events, lectures, and workshops • Coordinated executive board and members National Organization of Minority Architecture Students (NOMAS)
Adobe
MS Suite
G-Suite
Pratt Institute Student Chapter August 2021 - Present
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Collaborated with peers for events and networking
I am interested in creating socially-sensitive projects that are designed through a rigorous process of both analog and digital craft.
CONTENT S
01
HOUSE IN BLOOM Spring 2022
02
PRESERVING THOROUGHFARE Fall 2022
03
SOFT BOUNDARIES Spring 2023
04
TEXTILE ARTS CENTER Fall 2023
01 HOUSE IN BLOOM C RITIC
Richard Yoo
C OUR S E
Spring 2022, Representation II
S ITE
Los Angeles, California
The Petal House (1982) by Eric Owen Moss is a commentary on the sterilizing uniformity of Los Angeles suburbs. A second floor addition and renovation of a minimal tract house, the Petal House is named so because of its pyramidal roof with outwardly opening faces, evoking imagery of a flower in bloom. The right porch is modified to be surrounded by reinforcing bar, a dematerialization of the opposing left-side room. Combined with other peculiar features such as exposed plywood finish, a cylindrical cage ladder leading to the roof, and non-uniform window frames, the Petal House draws attention as a Deconstructivist building within a neat order of surrounding suburban homes. My analysis follows the specific elements that Moss employed to make the Petal House so jarring to its landscape. After exploring concepts of asymmetry, roof manipulation, openness, and rectilinear refutation, I reinterpreted the project to include characteristics of time, growth, and scale. The culmination of the coursework is a final drawing set that represents the Petal House as a singular instance along a timeline of reduction and exaggeration. The climactic perspective drawing (next page) speculates such growth on an urban scale, placing the Petal House in its map location, reducing all the way to a simple rectilinear box as it grows further from the city to the far back right of the drawing. To the front left, the Petal House is rendered in full “Bloom” as it engulfs downtown Los Angeles.
•Rhino
•Adobe Suite
ELEVATION Speculative “Blooming” of the Petal House
FINAL PERSPECTIVE Micron pen and ink hand-rendering, scanned, overlaid digital linework with Rhino and Illustrator, Bristol Paper 20” x 40“
Plan Oblique Taxonomy 48 versions of the Petal House, drawn at varied degrees of “blooming.” Houses individually modeled in Rhino, linework adjusted in Adobe Illustrator.
Google Map overlaid in Photos
PROCESS GENERATIVE DRAWING Linework for the perspective drawing, shown connecting to its elevation and the taxonomy from which the elevation was generated. The perspective takes the taxonomy further than individual houses, aggregating the “bloom” into a landscape of taxonomy iterations and manipulated elements from the Petal House. The aggregation begins with the Petal House at its original location and both decreases to the background and grows to engulf downtown Los Angeles in the foreground. Thus, the drawing fully realizes the spirit of disrupting the city that the original Petal House sought to achieve.
ELEVATION
TAXONOMY
Rhino, Illustrator, Photoshop
Reference Image (above)
Lightbox
Pinup
ps screenshot with Rhino 3D model shop. Completed ink render below.
Aided hand-drawing with reference image underlay
Linework printed on a transparent acetate sheet and overlaid on ink rendering (top)
02
PRESERVING THOROUGHFARE C RITIC
Christian Lynch
C OUR S E
Fall 2022, Intermediate Design I
S ITE
Harlem, New York
The precedent, the Kimbell Art Museum by Louis Kahn, is an art museum located in Fort Worth, Texas. Formally, it employs the barrel vault roof typology to guide visitors through its gallery spaces. Its spaces can be categorized into three types: conditioned space, voided courtyard, and unconditioned shaded space. Jackie Robinson Pool is located in Harlem, New York. Within an urban district of predominately low-income residents, the pool and its adjacent park serve as communal spaces for recreation and relaxation. Upon a site visit to the park, one immediately notices the tranquility of the park space within its dense urban context. Tall trees provide filtered sunlight for benches along a thoroughfare and staircase that bridge a nearly 30’ grade change. Situated along a busy street corner, locals frequently pass through the park to shorten their walks and enjoy a moment of peace from the chaotic context. “Preserving Thoroughfare” reconciles the addition of new construction onto the park site, preserving the thoroughfare of the park underneath an unconditioned half-barrel vault for shade. Space for seating and plant growth preserve the public park feel of the site center. New pantry and bathhouse programs are split in half, recessing their entrances into the middle of the site and making room for the public passerby. Additionally, the grade change is made accessible by introduciton of ADA accessible ramps. Views of programmed space are framed from the street, the public thoroughfare, and an additional public stair on the existing pool side that travels under and through the bathhouse, creating visual interaction between users. The W 145th St side features a new stair that links to the public thoroughfare just past the pantry donation bin, increasing porosity into the public space while encouraging generosity. The new pantry and bathhouse obliquely rotate the precedent barrel vault to make room for the public. At their centers, a courtyard offers private repose layered within the program space. Between intersecting vaults, diagonally adjusted vaults provide additional shade.
•Rhino
•Adobe Suite
•V-Ray
•AutoCAD
•Twinmotion
•Procreate
Plan oblique “Choisy” drawing of the Kimbell Art Museum
PLAN DRAWING Plan drawing of project, showing public thoroughfare from corner of Edgecomb Ave. and W 145th St. to Bradhurst, matching the path of the original parks’ thoroughfare. Pantry donation and main thoroughfare access on W 145th. Pantry exits and public seating on Bradhurst. Side thoroughfare from Edgecomb runs beneath the bathhouse, past Jackie Robinson Pool, to Bradhurst. Programs: Rhino, Adobe Illustrator
PROJECT MODEL, 1/16th SCALE Final project model with roof removed, north is facing the right side of the image. The project tackled a nearly 30 ft. grade change, made ADA accessible with ramps. The bathhouse (right) and pantry (left) are separated, divided by a semi-shaded public thoroughfare. Curved courtyards at the intersections of barrel-vaults provide moments of open-air repose. Process: Rhino, AutoCAD, CNC Mill MDF Base, laser-cut basswood, hand-cut and wet-curved basswood
EXTERI View fro main th veneer made a vaults, p is show side of
Rhino, I
Project Model, 1/16th Scale From the north side, visitors can enter below the slab of the bathhouse building into the side thoroughfare.
Sectional Model, 1/8th Scale Cut through the main thoroughfare and bathhouse, 3D-prints show seating, planters, veneers, and furniture.
IOR PERSPECTIVE om the intersection of Edgecomb Ave. and W 145th St, showing the horoughfare, covered by a half-barrel vault for shading. Wood planters retain some of the greenery of the original walkway, now accessible through ramps. Wooden seating lines the end of the barrel providing space for the public to relax. The side-thoroughfare entrance wn on the left, while the pantry donation entrance is shown on the right the image. Hidden-lines show elements hidden in this view.
Illustrator, Photoshop
Sectional Model. 1/8th Scale The sectional model exposes the side thoroughfare, which passes beneath the slab of the bathhouse.
03 SOFT BOUNDARIES C RITIC
Maria Vrdoljak
C OUR S E
Spring 2023, Intermediate Design II
S ITE
Brooklyn, New York
Shibaura House by SANAA Architects is a community center located in Shibaura, Japan. Structurally, the building uses a typical column-slab system, supported laterally by diagonal bracing. To create double-height spaces within the square plan, the project employs extrusions with curved interior edges to create voids in the concrete slabs. Vertical circulation follows these interior edges through curving stairs. The envelope of the community center is a glass curtain wall, encasing the project in a completely transparent box. “Soft Boundaries” is a critique on the Shibaura house. To introduce geometric order to the free-flowing curves of Shibaura, the project employs the circle and cylinder as a system for creating voids. Rather than extruding only voids, this formal system is also used to extrude solids. As opposed to the light, glass facade of the precedent, the use of brick introduces weight and solidity to the project. Perforating the brick in certain areas blurs the polar opposition of void-solid and light-dark in the project. The edge of the project is also peeled back and voided in plan, receding the entrance from the sidewalk edge and questioning the distinction between project and site. The result is an envelope that creates a “soft” boundary with its site.
•Rhino
•Adobe Suite
•V-Ray
•AutoCAD
FINAL MODEL, DISASSEMBLED 1/8th scale
FINAL MODEL IMAGES LED lights placed inside of model to show perforated brick materiality
AXONOMETRIC VOID DIAGRAM Cylinders overlap to define voids, opening the project to its context
FINAL MODEL
FINAL MODEL
Roof removed, volumes in model (sanded grey museum board, basswood, chipboard, 3d-print)
Theater, service volume, elevator shaft, fire-escape, and classroom removed
PRECEDENT ANALYSIS MODEL
PRECEDENT ANALYSIS MODEL
Voided Floor Slabs of Shibaura House by Sanaa (sanded grey museum board, basswood, bristol paper)
Voids as Solids (voids 3D-printed in PLA)
PROCESS This studio stressed the production of study models for design development. Analog and digital workflows were used in tandem to create controlled, precise models. Grey museum board slabs were hand-sanded to create a soft texture to the slabs of the models. Rhino, AutoCAD, Laser-cut, 3D Print
FIRST ITERATION - STUDY MODEL
MIDTERM ITERATION - STUDY MODEL
Intersecting circles inform circulation, voids, and solids (process: sketch, Rhino, laser-cut museum board, 3D print)
Introduced floating solid volumes to the formal system. The bottom left shows an entrance recessed from the street, while the upper-right tests perforated brick on the facade.
SKETCH
MIDTERM ITERATION - STUDY RENDER
Formal system of overlapping circles. Successive pages of trace-paper notebook were used to build each floor plan.
Using rendering as a tool to test the layering of perforated brick, glass, solid wall, and stairs on the facade. (Rhino + V-ray)
04 TEXTILE ARTS CENTER C RITIC
Salvatore Tranchina
C OUR S E
Fall 2024, Comprehensive Design I,
S ITE
Lower East Side, New York
Partner Saori Takahashi
Located at the intersection of New York’s Lower East Side, East Village, Bowery, NoHo, and Chinatown neighborhoods, Sara D. Roosevelt Park is a seven-block strip of greenery that acts as a meeting place for an ecclectic mix of communities. The circulation of the park follows the linearity of the strip itself, paralleling the traffic of the adjacent Chrystie and Forsyth streets. The project site sits at the northern tip of the park on East Houston Street, containing an odd juxtaposition of historically-rooted buildings and new developments. Surrounded by low-income NYCHA public housing, luxury apartments, small public schools, and boutique art galleries, the introduction of a semi-commercial art-supply market and community art center aims to balance the diversity of the park’s users and contextual buildings, the role of the site as a gateway to the long linear strip, and the needs of the client: the Textile Arts Center. The project splits the semi-conditioned market and the conditioned art center, placing building support programs between the two. Using a system of thick, shifting walls, the project echoes the linear movement of the park and the cross-grain movement that the activity of the park encourages. As patrons of the interior market and students of the art-center enter from the north and exit to the south, they move along shifting walls until meeting at the exterior market, where students can sell to patrons. Structurally, the shifting of these walls is contained by a one-way joist canopy, unifying the cross-grain interactions between the two sides under a single roof. The defining element of the canopy is a fabric that weaves between wooden purlins, filtering the sun to provide diffuse daylighting. Materially, the project uses brick, wood, fabric, corten-painted steel, copper-painted metal fabric, fiber cement panels, and white gypsum to provide a warm interior and a palette that fits both newer and older context.
First floo (North u •Rhino
•Adobe Suite
•V-Ray
•AutoCAD
•Cinema4D
•Octane Render
or plan upward)
Diagram model of pathways on existing park (North downward)
PLANS: Second level (above) and ground floor (below) (Rhino, Adobe Illustrator)
EXTERIOR RENDER (above)
Perspective view from the northern, entrance side of the proje canopy. The middle lobby entrance separates the open-air m (Rhino, Cinema4D, Octane Render, Lightroom, Photoshop)
SECTION (second floor-access)
ect. Shifting walls slip out from beneath the market (right) and art-learning center (left).
WALL SECTION (class)
SOUTH ELEVATION
EAST ELEVATION
The back facade, where visitors to the market and arts center exit and converge. The second floor exits onto a balcony.
The classroom-side facade, where metal fabr ing classrooms. With perforated brick landsc
PERSPECTIVE SECTION Cut through the center of the project, this drawing shows the divide between the market (left) and learning center (right) sides of the project. The central mezzanine overlooks the gallery, the market, and the central crossing zone. Fabric woven between wooden purlins diffuses light into the building, allowed in via light-monitors. The facade employs metal fabric colored in warm copper tones to limit heat gains and to create a warm interior. Rhino, V-Ray, Illustrator, Photoshop
ric frames hang from the roof and the cantilevercaping walls, this creates a layered patchwork.
WEST ELEVATION The market-side facade, where passerby of the park’s thoroughfare can see through the layers of the building.
FINAL SECTIONAL MODEL: Front/North Facade
FINAL SECTIONAL MODEL: bristol paper, stained basswood, plaster cast with brick texture
INTERIOR RENDER: gallery space with partitions, second floor balcony (Cinema 4d + Octane)
PLAN OBLIQUE CHOISY Worm’s-eye-view drawing showing the layers of the project’s roof. Rhino, V-Ray, Illustrator, Photoshop
Second-Floor Mezzanine
STRUCTURAL SECTION The structural system of the project is a one-way steel joist. The second floor slab is typical steel framing. The “thick” walls are actually brick veneer on steel studs because the second floor has walls that are shifted in comparison to the first floor, where there is only a column. This also allows for a clerestory detail to be added above the thick walls, providing visual continuity to the fabric canopy roof. The roof assembly rests on the joists, but it also uses wooden purlins to weave the fabric around. Drop ceilings are used to vary the height of the fabric, and light monitors are used to let light through the roof. The metal fabric facade hangs from the roof as well as the second floor slab on the east. Rhino, Illustrator
Market Cross-over (looking from market)
Second-Floor Overlook
Second-Floor Mezzanine .
BUILDING SYSTEMS The project employs many passive building systems to optimize interaction with the environment. The metal fabric facade with vertical fins provides shading to limit heat gains. Building-integrated photovoltaic panels line the flat roof and collect energy to be fed back into the city grid. A stone floor in the market provides thermal mass for passive-heating during the wintertime. Operable louvers in the light monitors and cleretstories along with the openness of the metal fabric allow for prevailing winds to passively cool the building. Permeable pavers form walkways around the project, reducing runoff and filtering water of pollutants. Gutters on the roof collect rainwater, which is routed down walls and collected in an underground cistern for greywater usages. Reflecting ponds located both inside and outside of the building provide evaporative cooling to help moderate termperatures. Rhino, Illustrator, Photoshop
Th a n k y o u !