2015 jaum portfolio by Joon Hee Aum

Joon Aum: PORTFOLIO

Table of Contents â&#x20AC;&#x153;Architectural space is about layering for all the senses... Bringing a space to life means that architectural function and form is not just primarily for the visual sense.â&#x20AC;?

Ink on Mylar

Representation 1.1

Transfiguration Representation I.I focuses on basic knowledge of utilizing different mediums as well as learning various methods and organizational skills to represent the A and S shapes. Tools of representation have a direct influence on the conceptual development and generation of forms, and that there are alternatives to the reductive working methods of most contemporary practice. Thus, it allows one to probe the possibilities of complicated or simplified alterations and investigate what results may occur. Other tools may not change the overall figure but they provide us with more information concerning conditions such as shadowing. Auxiliary and shadowing

Toning with ink

Mirroring and pleating

Overlay of objectâ&#x20AC;&#x2122;s shadows at three different angles of the sun

Plans and Elevations Representation 1.2

Slow House Diller+Scofidio’s Slow House project is based on the idea of a vacation home as a place that offers escape from reality and the exploration on the very notion of a view. Architects have explained that the house “is conceived as a passage, a door that leads to a window . . . a physical entry to an optical departure.” However, these set of drawings focus on retreating from the house which evokes a sense of sadness or one’s desire to face reality.

The diagrams show a series of plans, elevations, and sections of the house as well as circulation mappings and analyzation that relate to this idea: limited cones of visions and decreasing geometrical spaces as one approaches the door. The split passage between the first and second levels, the building’s horizontal curve, and the torqued outer wall of the house are placed to thwart direct visual access to the view dictating one’s movement.

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Slow House Section

Using Haeckelâ&#x20AC;&#x2122;s Plate Twelve, the goal was to build upon the intelligence present in the 2D diagrammatic analysis and then to define a 3D transformational system by paying attention to the local generative rules such as mirroring, rotation/translational symmetry, primary/seconday axis in Rhino. To do so, Rhino surfacing techniques are utilized (Extrude, Loft, Revolve, Sweep, etc). After finalizing the organism, it is time to articulate the speciesâ&#x20AC;&#x2122; inner and outer surfaces by multiple methods of VRAY lighting: studio lighting, dome lighting, sun, etc to create variations in texture, porosity, density, etc. Emphasis is placed on composition, illumination, and shadow.

HDRI LIGHTING

Intro to VRAY

3-POINT LIGHTING

Design 1.3

The next goal was to create a clean, organized, and detailed 3D model of the Storefront for Art and Architecture located in NYC and then practice lighting settings as well as to learn material application techniques such as concrete to the panels and metal to the bolts. Exterior renderings are created to demonstrate light behavior and successfule range of color and contrast. As a result, composite renderings appears more realistic as it clearly orchestrates the relationship of the exhibit/facade panels to the street and the quality of light present outside and inside the space.

Left - Day Rendering Right- Night Rendering

Left/Top Right - Detail + Close Up Rendering Bottom Right - Interior Shot

Rhino+VRAY Render

STOREFRONT FOR ART AND ARCHITECTURE

Model Study + Completion

Technics 1.1

Chevron To create a metal fabrication that will hold weight and enclose a being, paper models were first created to have a better understanding of the strength of folding, usage of scaling, and transitions from one behavior to the other such as from roof to wall. Experimenting with multiple prototypes, for example, the fan, also allowed interesting joint connections between various arrangments. In the end, the chevron pattern provided the best structural performance.

Clustering

Site Plan + Photo Location

Site Plan

The site analysis are based on the overlay of the trees and as a result, I became interested in what forms or spatial qualities could be made of hidden element using the contour lines, shadows, etc. Negative v Positive

Shadow Play

Secret Path within the Trees

Design 2.1

Artist Dwelling

The project for Design 2.1 focuses on the spatial construction of an artist dwelling located in a given area at Wave Hill. Wave Hill is a famous 28-acre public garden and cultural center in the northwest Bronx overlooking the Hudson River and the Palisades that is a home to numerous flowers, insects, and animals. The challenge is that the area given rests on a 50ft drop sloped hill and must be constructed with all or partial wood structural.

Visitor’s Main Turning Point

Artist’s Main Turning Point

Porousity

The overall design of the dwelling is dedicated to Claire Muckian, who is a contemporary ceramics and sculpture artist. Her work “centres on obscure, hidden, and uncontrolled spaces that arise through the ceramic making process” and I wanted to express those spatial expressions within the dwelling as well as incorporating into materiality and circulation.

View Location

Entrance

Extended Voids

Second gallery

Cafe/Kitchen Main Hallway

View to Artist Studio

Dining Area

Down

Studio

Lobby

Down

Balcony Outdoor Space

Ground Floor

Bedroom

Down

Storage Outdoor Pathway

Roof Patio Main Gallery

Education Workshop

2nd Floor / Main Entrance

Top Floor

Sections + Placement of Sculptures East Elevation Section Cut A

South Elevation Section Cut A Interior/Exterior Quality

East Elevation Section Cut B

South Elevation Section Cut B

Perspective Drawing + Photos

Exposure For the graduate dormitory project, we studied different methods and levels of exposure between relations such as the interior v. exterior, individual v. community, and body v. space in one rooming unit. How much exposure is too much? What effects does a certain exposure impose on an individual or group? These are the questions we faced as we manipulated the type of exposure to achieve a certain purpose for multiple aspects of the project. As the massing of the units intergrated into a unitary building, some other factors we merged with exposure are lightness/floating aspect, transperency, etc.

Unit + Facade Study

Design 3.1

Sections + Elevation The overall dormitory is set up as a central atrium in between two unit blocks, the students have access to different common spaces in this atrium shared by the whole community as well as a shared terrace between neighboring units. With experimentation with indirect and direct views, a sense of interaction is established between the user and other students dwelling within the architecture.

Environment

Site Study + Diagrams

Design 3.2

The project is about creating intimate spaces for community and Columbia users by bending the building into an L-shape. This allows the building to have two different faces: an interior courtyard that promotes interaction between the users (Columbia and community) and the water-facing exterior edge that serves as a public face that caters to individual and team training.

Plans & Site Plan Circulation The building is initially split into two sections: community and varsity. Each section has its own lobby, locker room, and boat storage which are located at each end of the building. They are then connected by the public training rooms and other shared programs such as classrooms, lounge, and offices. The ergo and weight room, demanding more active behavior, are facing towards the water while the less active programs are facing the interior courtyard.

Sections + Wall Detail

Having two faces allow for different faรงade conditions on each side. To emphasize the intimacy of the interior edge, the volumes are pushed out into the courtyard creating a feathered-edge condition that contrasts with the sharp and rigid edge on the public face. The site imitates the two edge conditions of the building by using the same form to create small gathering areas throughout the site. The two locker rooms reinforce the initial split by becoming a solid volume that anchors each end of the building. The faรงade and roof-scape emphasizes this by changing in density as it transitions from the locker room to the ergo room that demands an open view to the river.

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Interior Renders

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Exterior Renders

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Day & Night Renders

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  

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 

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  

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 

 

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   

   

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 

    



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

Site Study + Diagrams

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

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    



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  

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

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 

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  

 

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   

 

  

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 

 

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     

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      

      



Design 4.1

Observatory The starting point was my personal walk and experience through the park noting the accesses and different spatial qualities such as the lineage of the trees to a certain view.

By analyzing the needs of each users (students, astronomers, visitors), it was important when these typical users would occupy the building to tailor and organize the interior. Some program such as planetarium are not included as for scale purposes and there is less priority for it by the users.

Plans + Sections

Second floor

Ground floor

Split accesses cut through the architecture creating four zones. Half is given to the public and private: for studentsand astronomers, one zone is strictly livig space and the other is for work/study. The public pathway results into the flat area of the park and the private pathway enjoys the view outward to the Hudson River.

Structural Axon

58 Roof axon

Day and Night Renders + Structural Axons

Exterior and Interior Renders

Four total entrances/exits located around the observatory. Connects back through the shared spaces which are the main cafeteria and library on the ground level. The sitting area is also available to the visitors and brings back the park/greenery into the architecture.

Belt Parkway Analysis

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    





       



 

  



 







 



     

 

  

  

 











  



  



Belt Parkway

Exit Rest Area Golf course LaGuardia Airport Belmont Racetrack Beach









 

   

  





     

  

Site Analysis + Site Plans

   

QUEENS

NASSAU

                   

66 67

Aerial Perspective Sections + Plan

68 69

Exterior and Interior Renders