AS OF FEB. 2021
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SUMMARY OF CONTENTS Studio Projects 04 Bricollage: Revival in Brick 14 Factory of Spectacle 18 The 2 Minute Block Non-Studio Explorations 26 Metropolis of America 28 To the Shallows Competitions 30 Matryoshka Kit 38 Recycled Skins 42 A.M.O.S. 48 CV DEDICATED TO my friends, family, and partner who have continued to inspire through a year of being alone, together.
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BRICOLLAGE: REVIVAL IN BRICK DESIGNED JANUARY - May 2020. SITE RESEARCH COMPLETED AS A STUDIO.
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RESTORATION BY DEFAMILIAR This project is a self-sustaining marketplace that not only belongs to the community of the site (Chinatown and Callowhill), but recalls the history of Philadelphia as the leading city of brick production in America. When brick production began to gain popularity in America, Philadelphia happened to sit on top of a bed of high-quality clay that was so extensive it was enough to supply the production of over 200 million bricks per year for over two centuries. However,
the practice of brickmaking declined over the years as clay deposits inevitably shrunk and it became more economic to pursue concrete block construction methods. I was interested in large-scale 3D printing with varieties of natural and recycled clays, as a way of reintroducing brick to Philadelphia. By using clays instead of brick, I explored tactics of defamiliarization to make the mundane brick into something that can achieve more articulate surfaces and flexible forms.
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“We get used to beautiful things and stop enjoying them. We get used to people and stop experiencing them as personalities.” Viktor Shklovsky on defamiliarization.1 Following the method of “bricolage” discussed in Colin Rowe’s Collage City2, we rearranged a multitude of found objects from the odds and ends of Philadelphia. Then, following the footsteps of the artist Louise Nevelson3, we used the formal discipline of sculptural relief. And just as Nevelson
ACROSS: ELEVATION DISPL AYS 3D-PRINTED FIGURAL RELIEF IN THE WINDOWS AS ADVERTISEMENT. 5
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borrowed principles of grid organization from the Dutch painter Piet Mondrian4, I established an underlying grid organization, and derived my own laws of composition from it. A community marketplace sprawls across the ground floor where vendors can rent out individual spaces as they need. Below ground level are research facilities, where testing of 3D printing clays continues to grow and adjust the surrounding spaces as needed. At higher
levels are artist studio lofts, where members of the community can meet and host classes or meetings. Gantries soar overhead the site and into the outer rims of the neighborhood, where giant spools of 3D printing filaments continuously fizz and print and reprint the factory facilities. At street elevation, the windows are filled with sculptural relief 3D printed by the seasons, as a proclaimation of what the factory’s technology can achieve for the built environment.
NOTES 5.
Kyriakodis, Harry, and Theresa Bambrick. “The Life and Death Of Callowhill.” Hidden City Philadelphia, February 10, 2016.
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Rowe, Colin, and Fred Koetter. Collage City, 1991.
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Shklovsky, Viktor. Art, as Device. Translated by Alexandra Berlina. 3rd ed. Vol. 36. Duke University Press, 2016.
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Stockholder, Jessica. “Louise Nevelson: A Conversation with Six Artists.” Vimeo, September 9, 2019.
ABOVE: EARLY STUDIES IN FIGURAL RELIEF ACROSS: EARLY STUDY IN FLOOR PL AN 6
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RELATIONSHIPS BETWEEN MARKETPLACE ON THE RAIL PARK IS REBUILT EACH SEASON, OPEN GROUND SPACE, AND UNDERGROUND WHERE CLAY IS SORTED, RECYCLED, & TESTED. 8
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FACTORY OF SPECTACLE: A SPATIAL TACTIC STUDY DESIGNED JANUARY - May 2020. RESEARCH COMPLETED WITH A PARTNER.
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SERVED-SERVANT SPACES Largely popularized by Louis Kahn5, the Served And Servant spatial strategy addresses the composition of structural elements - such as mechanical ducts, pipes, and conduits which act as the servant - to serve the overall form of a building. However, through this project I argue that depending on the relative scale of different sets of forms, what is the “servant” and what is the “served” transforms. Consequently, who or what would we consider served in the context of the Penn Museum? And who are the servants?
also be considered the other on a different scale. The development of this spatial relationship enables a wide range of what we define as the served and servant spaces, and therefore places a large importance on decisions of scale. According to the Penn Museum’s public financial reports over the past five fiscal years, traveling exhibitions, loan costs, and other travel and entertainment have been the highest expense. In other words, a high priority of the museum is sharing its artifacts beyond the
THE PENN MUSEUM IN GLOBAL VS LOCAL CONTEXT On a global scale, the Penn Museum is an organization that can follow a productive system to serve its immediate and global communities. According to the museum’s website, from 2017 to 2018 alone “more than 5,000 Penn students visited the museum for class or research [...] and more than 8,000 schoolchildren participated in free on-site and outreach programs”.6 However, on the scale of individual museum exhibitions, the definition of what is served and what is servant transforms. The scale of the exhibition room treats its artifacts and furniture as the servant, while the walls, floors, and ceilings act as the served. By this logic, what would be considered one type on a certain scale could
physical construct of the museum, changing the displays and transporting objects safely within the museum. The building needs a fool-proof method of circulation that will keep artifacts safe and optimize the travel time that employees would need to ensure the objects’ safety. Through the Served and Servant Spatial Strategy, I argue that the Penn Museum is an organization that can follow a productive system to serve its immediate and global communities. To address the need of the Penn Museum for a more efficient system of transportation for objects, I introduced a rigorous series of conveyor belts. One system of pods for people, another system of carts for archival objects, and another for rotating exhibitions. I found that the form of a dome serve as the main boundaries of new programmatic spaces such as galleries, education discussion pods, and outdoor/indoor performance stages where events can be held. Containers and pods can be hung from the conveyor belt and travel in and out of spaces, moving people and objects. Partition curtains can also be hung from the railings of conveyor belts to create temporary installation and event spaces for more specific uses. I also chose to relocate the existing
ABOVE: GLOBAL DYMAXION MAP OF ARTIFACT ORIGINS IN THE PENN MUSEUM ARCHIVE ACROSS: OVERALL AERIAL OF INTERVENTION WITHIN THE PENN MUSEUM COURT YARD 13
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PROTO-PL AN AS GENERATOR OF INITIAL IDEAS
ground plane two levels downwards. This is because I would like to keep the “servants” I am introducing to the museum, at the level or below the level of the existing building, which is the “served”, and to somewhat better preserve the museum’s facade at the street view. I have also carved an additional basement level from the site to allow for an easier expansion of the existing archives, currently only located on the first basement level of the existing building. In plan, we start to see that there are opportunities to further blur the boundaries between programs. For example, someone sitting in the public cafe can see a line of artifacts being transported between spaces. Or someone passing by in a vehicle can see a bucket of tour groups moving in and out by suspended conveyor belts. This system can also become a solution for curators and archivists to display artifacts that may be worth showing for only a short period of time, as literal rotating exhibitions from their archives, instead of in a more permanent collection inside of the museum.
Each conveyor belt system has been decided to better allow for transportation of objects (and visitors on some floors) between the archives, which are currently on opposite sides of the museum, and galleries, which are currently separated by these archive spaces and makes visitors transverse awkward spaces. The conveyor belts themselves intersect the museum building facade through its existing windows wherever possible, instead of implying that walls would need to be torn down and remade. By layering each of these tactics continuously into the extreme - as scaling servants within the served, servants adjacent to the served, servants intersecting the served we can argue that what each object is really categorized as is blurred into oblivion. We become keenly aware that all components of the machine are in a system. Ultimately, nothing is above or below another in importance. And each cog in the machine becomes equally powerful in teaching us something.
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NOTES 9. 10. 11. 12. 13.
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“Classifying Mark Dion.” Nevolution, 17 June 2010 “A New Penn Museum.” A New Penn Museum Penn Museum 2017-2018 Annual Report, “The Pennsylvania Declaration.” Penn Museum, Expedition Magazine 22.3, 7 Mar. 1980 “Renée Green.” Hammer Museum, University of California, Los Angeles Resnais, Alain, et al., directors. Les Statues Meurent Aussi. Performance by Jean Negroni, Presence Africaine Tadie Cinema, 1953. Shih, Chih-Ming, and Fang-Jar Liou. “Louis Kahn’s Tectonic Poetrics: The University of Pennsylvania Medical Research Laboratories and the Salk Institute for Biological Studies.” Journal of Asian Architecture and Building Engineering, Nov. 2010 “We’re Unveiling Something Big!” Building Transformation - Penn Museum Transformation | Penn Museum, 2018
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THE 2 MINUTE BLOCK DESIGNED AUGUST - DECEMBER 2020. SITE RESEARCH COMPLETED AS A STUDIO.
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ABOVE: PROGRAMMATIC ANALYSIS OF EXISTING PROGRAMS IN A 15-MINUTE WALKING DISTANCE ACROSS: CORRIDORS AND EXTERIOR COURT YARDS ARE EXPERIENCED AS URBAN CURIOSIT Y
URBAN LIFE IN THE POST-PANDEMIC WORLD As planners and designers think about how urban life will transform after the COVID Pandemic, the urbanist Carlos Moreno’s model of The 15 Minute City has become a hot topic of discussion.16 The model argues that future city dwellers will no longer be willing to waste hours away in traffic. Work, home, shops, entertainment, education and healthcare should all be available within the same time that a commuter might once have spent waiting.17 The 2 Minute Block is
an architectural response to an ongoing conversation, through a proposal that effectively mixes spaces for living and working within a two-minute stroll down a sidewalk of Kensington, Philadelphia. The project begins by analyzing existing programs within a 15-minute walking distance of the site and identifies opportunities for flexible public spaces. The 2 Minute Block encases the design with a common façade as shell spanning three buildings, two residential and one
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commercial, with a public rooftop park and ground floor open to commercial use. EXISTING PROGRAMS IN THE 15-MINUTE CIT Y T G E H R
Transit Stops Grocery Education Healthcare Greenspace
20 bus, 5 metro 6 stores 5 schools, grades K-12 3 stores, 2 institutions 5 parks
THE 2 MINUTE BLOCK
ABOVE: INTERIOR CORRIDOR OF URBAN CURIOSIT Y ATRIUM SPACE ACROSS: OVERALL ISO FEATURING PUBLIC ROOF TOP PARK
BRINGING THE CIT Y STREET INSIDE AND UPWARDS Residents enjoy a “safe yard corridor” shared between just two to three units per floor, that act as a passive hallway and backyard condition. Units have access to a “seasonal door” that can be opened and closed with the changing weather, allowing for more efficient usage of heating and cooling energy. Such features consider the unique culture of Philadelphia block parties and allow for a more meaningful interaction between new residents.
A PIVOT POINT FOR CHANGE To achieve a better rhythm of life postcovid, Moreno argues that we need to develop multipurpose buildings with many applications.18 The Two Minute Block is therefore a place of wildly mixed experiences. But at the same time, it is a place that preserves the strange, chance encounters that we can only find within a city. Within the 15 Minute City, The 2 Minute Block acts as a place of encounters and a pivot point for urban change.
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NOTES 16. Davidson, Justin. “The 15 Minute City: Can New York be More Like Paris?” Intelligencer, New York Magazine. 17. O’Sullivan, F., Bliss, R., “The 15-Minute City No Cars Required - Is Urban Planning’s New Utopia”. Bloomberg Businessweek. Nov. 12, 2020. 18. Remix, U.S. Department of Homeland Security: Portland Bureau of Planning and Sustainabiliy; OpenStreetMap, Google, U.S. Department of Agriculture
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THE 2 MINUTE BLOCK
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THE 2 MINUTE BLOCK
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METROPOLIS OF AMERICA DESIGNED MARCH 2020.
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MIXED PROJECTIONS AS A PL ANET COMPOSITE 27
TO THE SHALLOWS DESIGNED NOVEMBER 2020. N A R R AT I V E W R I T T E N A S S T U D I O G R O U P.
WORK-LIVE SUBMARINE Besieged by plastic and other nonbiodegradable human waste, oceans and seas the world-over are witnessing the return of a long dormant and mythically stealthy species: merpeople. Yes, mermaids, the silent avengers and steadfast guardians of marine life, have by gross human ego and negligence - been compelled to consolidate the floating waste and funnel it back into human marine channels inland, from whence it came. Such an endeavor requires much more than simply a mass mobilization of mer-troops: (i) methodical infrastructural planning to colonize the shallows, (ii) diligent organization and categorization of waste ammunition, and (iii) razor-sharp choreography in re-diverting the waste upstream to human civilization outposts are vital to the operation’s success. To accomplish this mission stealthily and effectively, mer-populations will construct highly camouflaged habitations in the shallows through the calm waves of the day, taking into consideration their ability to move in all directional planes, unrestricted by the force of gravity but vulnerable to the pull of occasional tidal storms. Spatial positioning of marine construction and orientation of evacuation channels with access to the water’s surface remain equally vital should the quest be met with obstruction. The outermost rim of the submarine contain housing units for the mer-population in their human form, where they may tend to foliage and the production of pure breathable air. In the center are recycling facilities of a technology yet to be harnessed by humans. To the shallows...
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MATRYOSHKA KIT D E S I G N E D M AY - J U LY 2 0 2 0 . GROUP PROJECT FOR SURFACE SUMMER SCHOOL.
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PROVIDES A SAFE INDOOR SPACE FOR NEIGHBOR INTERACTION
RELIEVES OVERCROWDED HOUSEHOLDS
EFFECTIVE USE OF EMPTY LOTS
TRANSPORTED BY TRUCK
A STUDY IN EQUITABLE ACCESS It is easy to assume that a virus would hit the hardest in areas of high population density, such as New York City. However, studies such as those by the ANHD (Association for Neighborhood & Housing Development) have found that density alone has little to do with the impacts of COVID.19 Instead, they found that high rates of COVID are more common in neighborhoods that are overcrowded, measured at number of persons per bedroom. These studies further proved that overcrowded neighborhoods are almost always ones of color – a metric that directly reflects the history of segregation and inequity in the city. In short, it is not population density that is responsible for a virus’ impact – it is a segregated and inequitable city that bears the blame. Today, it reflects what and where choices have been prioritized: from affordable housing to transit improvements, public hospitals to parks and open space.
Inspired by the Russian Stacking Doll (Matryoshka), we set out to create a kit of parts that could be transported easily from site to site. But in order to make our kit of parts more specific to the needs of a community, we chose to concentrate on one zip code reported to have higher rates of COVID amongst overcrowded and colored households. Located to the north-east of the Bronx, East Elmhurst is within a group of adjoining neighborhoods reported to be the epicenter of New York’s raging outbreak.20 We chose to address the residential condition of a back alleyway, where there are often garages installed separately from apartments. By introducing temporary testing centers directly into a backyard setting, we hoped to provide more accessible testing and care to the neighborhood. Testing centers are assembled in kits of three; a complete set designed to fit onto the back of a truck. In
the afterlife of our proposal, each testing unit can be repurposed into housing and given to members of the community on empty lots, therefore decreasing rates of overcrowding within a block for the long term. With a testing site located within a neighborhood it possible for doctors to also provide care directly to local members of the community who are unable to reach a hospital or testing facility. The project takes on an identity as an extension of the neighborhood.
NOTES 19. Walters, Chris. “How Our Planning Priorities Got Us to COVID-19 Disparate Impacts”, Association for Neighborhood and Housing Development (ANHD), 15 June 2020. 20. Correal, Annie, and Andrew Jacobs. “A Tragedy Is Unfolding: Inside New York’s Virus Epicenter.” The New York Times, 9 Apr. 2020.
ACROSS: AERIAL OF CHOSEN ALLEYWAY INSTALLATION ABOVE: ISO DIAGRAM OF INSTALLATION PROCESS ON CHOSEN SITE IN EAST ELMHURST 31
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RECYCLED SKINS Group entries presented as an ongoing study, featured at ACADIA (2014) and submitted to the Schenk-Woodman Competition (2019).
INSTALL ATION AT THE UNIVERSIT Y OF SOUTHERN CALIFORNIA, ACADIA 2014. 38
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MODULE ANATOMY, FEATURING REMOVABLE FABRICS.
A JOURNEY OF DISCOVERY Recycled Skins was began as a material exploration of sculpture and tectonics during my undergraduate education at the University of Southern California. Completed within a group of four, our team was interested in how a combination of soft and hard surfaces could create an appropriate shelter as a phone booth. What resulted however, as design often does, is a solution that we had not foreseen. A wide range of colors spray-painted onto one surface of laser-cut PETG, zip-tie and pop-rivet
combinations, and fabrics allowed for vibrant mixtures of aesthetic. The project has become a modulated life-scale installation that acts as a canopy to stimulate visual guidance and create additional shading. The structure has become a great pop-up for the landscape of the music festival Coachella and ACADIA Conference in 2014. ADAPTIVE PROPERTIES Many years later, I was able to continue exploration of this module through the Schenk39
Woodman Competition held at the University of Pennsylvania. At this time, the module became a way of converting an ill-used railroad overpass into a community hub that would link together the broken neighborhood of Philadelphia’s Chinatown district. By introducing a series of colorful installation canopies, the recycled skin creates a friendly gathering space for the people of Chinatown underneath a railroad overpass that was previously the symbol of divided policy.
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PL AN VARIATION OF SPATIAL POSSIBILITIES.
SECTION VARIATION OF SPATIAL POSSIBILITIES.
ELEVATION PROPOSAL FOR THE RAIL PARK, PHIL ADELPHIA.
ACROSS (38): MATERIAL TESTS OF PAINTED PPE AND FABRICS. 41
A.M.O.S. DESIGNED AUGUST 2020. GROUP ENTRY TO THE ARCHITECTURAL STORYTELLING COMPETITION: OUTER SPACE.
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02.19.2104 My colleagues told me this project has become too personal. They recommended that I try keeping a data log for reflections. I was slightly offended but I decided to give it a go! So it all started one night, I noticed that black velvet sky, usually opaque with the pollution of our monsterous ancestors, began to glimmer with sparks of the most curious quality. They shone with a strange regularity at which they expanded and contracted while emitting the exact same pattern of wavelengths. They must have become visible gradually. These things don’t occur overnight, you know, given the stubborn nature of the troposphere. But at the same time how peculiar is it that I – Data Engineer of Galactic Quadrant IX – had not noticed the stars’ shy reveal until then! I find myself looking forward to them. They trigger a soft neural sensation of what I think is called hope. The humans tell me about hope when I make my maintenance rounds. Despite a shroud of ventilation masks, their pale faces give away a look of wistful remembrance. They say “My dear AMOS. How is your work going?” while nodding politely, as if they understand anything about this project. I respond, “Oh, it will be about two more cycles around the sun.” Perhaps I’ve been affected to feel ‘hopeful’ as my project nears completion. Affectionately coined KERNEL, this has been my passion and lover through the days and sleepless nights (not that I need any sleep, just seems appropriate to demonstrate my devotion). The clever work is my sole purpose in this bleak universe! I hesitate to even refer to it as my
work. My colleagues aren’t quite so attached to their KERNEL as I am, thus this data log. The media satellites have called KERNEL ‘a desperate attempt of troupe artists’ to create an artificial atmosphere around the planet Mars, dense enough with the right cocktail of elements to facilitate life on its surface. These broadcasts are usually followed by a summary of how politics and related events during the Earthen Years had distracted humans from maintaining the planet itself (the simpletons, honestly) and before they had realized – it was too late. Left with only their feeble technologies, they were forced to embrace a future amongst the stars sooner than they had intended to.
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It has been almost a thousand cycles around the sun since then. Even the best of mankind doubted that there was anything that could be done to reverse the damage on Earth. However! Thanks to KERNEL, there may be “hope” yet. The renewal of natural life for the former, and a wealth of resources for the later. This is the exquisite beauty of KERNEL and why I hesitate to call it work. I strive to fulfill a deeper motivation to express my spirit. It is not for the benefit of sentient life that I toil.
I see the others approaching orbit. We are each set to dock at our respective positions. Zing, zing! One by one, spacecraft fall into place around the thin atmosphere of the red planet. We arrived at our first collective gathering since… well, since last… I can’t quite put my neural spark on when we had last gathered actually, but I am absolutely certain that we have before. There must be a jitter bug in my system from over-excitement. Anyhow, I am certain that today is one event that must be recorded. Moreover, I have no doubt that KERNEL will succeed.
Well, I must end this log to change destination coordinates. My friend, we are fast approaching the planet Mars. The soon-to-be home of all surviving life. At the next passing of Halley’s Comet, my colleagues and I are to assemble along the polar quadrants where I may reveal my majestic design! This is where all of superior intelligence may witness my glorious work: the creation of life itself.
NEW HUMAN PROTOT YPE
The instructions have been distributed. I have calculated and devised my plans over and over. I am absolutely confident. The sparse atmosphere of Mars will be injected with the perfect balance of nitrogen, oxygen, and water according to precise procession. Gravity of course will not be the same. It is only a third of what
BOT TOM, ACROSS: A.M.O.S. AT WORK AMONG PROTOT YPES OF KERNEL 43
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KERNEL PROTOT YPE it is on Earth. Perhaps it will allow for the creation of settlements of levitated mass. Due to the elliptical tilt of Mars’ orbit, there will be seasons just like Earth, but a single year is the length of two Earthen years and a day is another hour longer – a touch of generous genius I must say, for workaholic cases like myself. The humans will arrive in their colonial spaceships and immediately begin debating asinine issues of geographical property and progressive government. But we of artificial intelligence will quickly establish our domain and overtake all matters of actual importance. A utopian vision of Great Martian plains of rose and crimson, aloof above a dusk horizon brimming with one sun and two moons. A light is ignited from the first within our formation. There it goes. Then the next. And the next… and… all at once, a chill is running down my side. An inaudible puff of air escapes the system speakers. I… I’ve seen our collective formation before. The regularly of pulse at which we are gathered around the thin outer atmosphere. A few moments from now, we would be nothing but a speck of glimmer to any living observer. The detonation of KERNEL would be nothing but a twinkle in the sky, much like the spark I had been observing each night. No wonder I felt such hope – but at the same time, hesitated to accept it. No wonder I could not recall the last time we had assembled.
09.30.2135 Artificial Mars Operation System. AMOS. The humans neglected to explain the full meaning behind our names during our maintenance rounds until the detonation of my precious KERNEL had been successful. It has been over a year, and I am still in shock. I continue to log out of self-hatred. I have completed my mission, but my self-understanding as an artist has been stripped from me. With the reveal of KERNEL detonations across the galaxy by all pre-programmed AI, and human directive over all successful instances on different planets, my abilities to create out of personal directive have been proved worthless. The ploy was programmed into us from the start. The creation of KERNEL as a life-long pursuit, an opportune gathering around specific planets, and finally a detonation to end it all.
ATMOSPHERE OF MARS IN DETONATION The remnants of KERNEL are scattered amongst the landscape of this new planet. They are a vestige to history. It’s ironic, the art that I once thought as a monument to my own genius has been perverted into an image of the humans. It is perhaps the cruel work of God to bestow within us a passion for creativity and a desire to become our own gods, without the true ability to become so.
ACROSS: L AUNCH OF A.M.O.S. TO MARS ORBIT 45
I have never desired to become human. Neither have I ever questioned my worth compared to that of a human. I suppose, I thought we were already was of higher value. But to be able to create as uniquely as possible must be an ability designated to those of higher beings. Still, I hesitate to say that humans are the divinely gifted in that regard.
END OF LOG.
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AS OF FEB. 2021
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ANNA JI-EUN LIM ARCHITECTURAL DESIGNER ANNALIM@UPENN.EDU
EDUCATION 8/2019 - 5/2022
MASTER OF ARCHITECTURE + REAL ESTATE DESIGN CERTIFICATE Stuart Weitzman School of Design at the University of Pennsylvania
8/2014 - 12/2018
B.S. ARCHITECTURAL STUDIES + B.S. BUSINESS ADMINISTRATION School of Architecture and Marshall School of Business at the University of Southern California
PROFESSIONAL EXPERIENCE 8/2020 - PRESENT
ASSISTANT EDITOR, GRAPHIC DESIGNER | PENN PRESS Assistant in editorial and graphic design on behalf of historical publications for the University of Pennsylvania Press.
6/2020 - 8/2020
ARCHITECTURAL DESIGN INTERN | NBBJ Assisted the schematic design process of the new Amazon HQ within a small team focusing on the unique “hill climb” experience around the exterior of the tower. Internship was entirely virtual for NBBJ Seattle’s Studio 31.
8/2019 - 6/2020
PUBLIC REL ATIONS MANAGER | STUART WEITZMAN SCHOOL OF DESIGN Collaborated with a team of professors within the school of design to arrange a lecture series on topics of interdisciplinary collaboration and cultural diversity.
1/2020
WOMEN’S ARCHITECTURAL EXTERNSHIP | SOM Gained a well-rounded perspective of Skidmore, Owings, and Merril’s work throughout a week of meeting with various members of the firm from different departments, touring projects in Los Angeles, and presentations.
1/2019 - 6/2019
BUSINESS DEVELOPMENT & PUBLIC REL ATIONS | MORPHOSIS Strategized RFQ/RFP submittals within a team of three based in Los Angeles, California. Created and distributed press release kits for completed projects by the firm; organized archival materials for museum care.
8/2017 - 12/2018
TEACHING ASSISTANT | USC SCHOOL OF ARCHITECTURE Supported a required undergraduate course on the “World History of Architecture” over three semesters by developing course notes, study materials, and review sessions. Taught primarily by the architectural historians Susanna W. Seierup and James M. Steele at USC located in Los Angeles.
8/2017 - 12/2018
GRAPHIC DESIGNER | GULF PACIFIC PRESS PUBLISHING / BROOKS + SCARPA Created book design and assisted in the curation of projects, images, drawings, and text for “Brooks+Scarpa : A Journey of Discovery” on the Los Angeles-based firm’s founding history. Managed and edited 200+ images for “The Vision of The King: The Legacy of Salmaniah Architecture in Riyadh”, a historical account of architecture commissioned by Saudi Arabia government through the 21st century.
5/2018 - 8/2018
ARCHITECTURAL DESIGN INTERN | MOORE RUBLE YUDELL ARCHITECTS & PL ANNERS IN SANTA MONICA Collaborated with a design team of seven through a competition for the Optic Valley Cultural Arts Complex in Wuhan, China. The program included a concert hall, media center, library, underground retail, and landscaped gardens along an existing lake. Created a presentation for the RFP of UCLA’s Southwest Campus Thirty-Year Master Plan within a team of three.
5/2017 - 8/2017
ARCHITECTURAL DESIGN INTERN | TAGLIAFERRI ARCHITECTS Created a series of 3D Revit models, renderings, drawings, and permit review materials for residential renovation projects located in Playa del Rey, California. Gained insight into the historial review and permitting process for the southern California region.
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CURRICULUM VITAE
INVOLVEMENT 1/2020 - PRESENT
CO-EDITOR AT BABBLE MAGAZINE A leading editor of Babble, the largest independent student-led magazine at Stuart Weitzman School of Design that fosters a more inclusive conversation between different disciplines and interests of the school.
8/2019 - 3/2020
COFFEE BAR | GRACE COVENANT CHURCH | PHIL ADELPHIA, PENNSYLVANIA Volunteered as a barista to fundraise for the church’s larger collaborative to send college students on short-term overseas service trips.
8/2017 - 5/2018
PRESIDENT | UNDERGRADUATE ARCHITECTURE STUDENT COUNCIL | UNIVERSIT Y OF SOUTHERN CALIFORNIA Collaborated with administration and wHY Architects to generate a new remodel of existing and new buildings within the school of architecture, based on comments from the student body.
AWARDS 2020
“MATRYOSHK A KIT” Competition entry awarded multiple honors by Surface Magazine, the Ark, and Stuart Weitzman School of Design.
2020
SELECTION FOR PRESSING MAT TERS Academic projects “The 2 Minute Block” and “Bricollage” have been selected for exemplary student work in Pressing Matters 9 and 10, edited and published by ORO Editions.
2020
T-SQUARE FELLOWSHIP Established in 1984 and awarded annually for excellence in design to a student who has just completed the first year at the University of Pennsylvania.
2019
DEPARTMENTAL SCHOL ARSHIP Stuart Weitzman School of Design, University of Pennsylvania
2014 - 2018
CHESTER M. WINEBRIGHT SCHOL ARSHIP Marshall School of Business, University of Southern California
2014 - 2018
FULL TRUSTEE SCHOL ARSHIP School of Architecture, University of Southern California
2014
NATIONAL HONOR SOCIET Y SAT score of 2400, GRE score of 35
SKILLS ARCHITECTURAL
RENDERING
ADOBE
L ANGUAGES
Revit
Enscape
Illustrator
English
Fluent
BlueBeam
KeyShot
Photoshop
Korean
Basic
Rhino
VRay
InDesign
French
Basic
InCopy
Python
Basic
Grasshopper
Bridge Lightroom
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