Kim Daejeong P O RT F O L I O
graduate works
CONTENTS
Making of Design Principles / FALL 2013
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04
Architectural Design / SPRING 2014
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08
Urban Design Principles / FALL 2014
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14
1:1 Precast Concrete / SPRING 2015
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20
Between Content and Container / FALL 2015
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26
Extra Studios / Interdisciplinary Works
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32 - 49
Resume
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50
Architectural Analysis (page-36), 3d-printed with wood base
Making of Design Principles course enlightens the most fundamental area of designing architecture -- how to develop a spatial idea through rigorous process.
Making of Design Principles Instructor : Kyna Leski FALL 2013
04 | 05
Through process from a simple but rich problem at the beginning to architectural space design, what I had to observe and investigate was actually myself. It was interesting process going back and forth that I had to do drawings and modelings and at the same time I rigorously need to peruse myself in order to see what my principle is for the decision I made. Basic rule for the whole semester was given that a cube size of 3x3x3 inches should be defined for any phase of different approach using different medium such as a string, surface, then on a specific location, including scaling from model scale to real scale in the given situation.
Overall, I was intrigued by interaction between multiple objects. The first assignment I made was balancing a balloon using a string and weight. I happened to set a balloon to the window frame so that it can be movable corresponding to the movement of the window. Which means put the object in situational context. Thus the mere balloon, in turn, can activate and animate the space surrounding it. Everything has relationship with everything other in a certain rule. It has status in between deterministic and indeterministic. The position of objects are not fixed or designated but what is designated is the action provoking, vice versa. What would it happen in-between moments, not at the moment?
06 | 07
I thought that architecture in my mind has been always inbetween status. In-between of fixed/movable, identifiable/ unidentifiable, functional/aesthetic, etc. They are not necessarily opposite terms. They might reciprocal terms. It is tension between each meanings of term to create the space, or architecture. Thus each element of architecture is incomplete here though, the architecture can be complete in the sense that architecture exist in between the relationship which is ready to be activated by people’s activity, actions, inhabitation, or performances.
Architectural Design Instructor : Jim Barnes SPRING 2014
08 | 09
Architectural Design is the second of the three core studios, which follows The Making of Design Principles and is conceived to build on the formorder-making skills developed. For the course, I was assigned to design a new Providence Amtrak Station, on existing site. The project extends to imagining of “The Gateway of
Providence.�
Signs make people move, or flow, in right time to the right place. It has been kind of conventional method of conversation between architecture and people since the era of post-modern architecture. The structure, as the nature of it, of how it works here in general and local is like this: there is a sign such as sign board or simple arrow, beyond that there is a imagery space or a scene which pops up in people’s mind, and there is actual space or thing(s) indicated by the sign and formed by architecture. The imagery spaces or things can only defined by the relationship between people and signs so that it is only connected to those rather than to its actual space or thing. Therefore in between those imagery and actual
space there is the gap, or difference, which actually drive people to move.
The experience in the train station is actually a series of composition of changing relationship to sign. People pass through signs. As they traveling around, the relationship as lines keep being dragged, rotated, hidden or appeared, and even flickering. Making of a matrix was an important tool for examining and abstracting the current situation. My matrix as interpretation of the existing train station was specifically about abstracting the experiences of perception through the space then connecting them correspondingly to spatial order of sign system. Then through examining and excavating process of the matrix as the tool the system of sign generates another layer of spatial order. The generating the whole process of design includes series of drawings, diagrams, and matrix model.
//MATRIX In early iteration of the matrix, I pursued to visualize the relationship in geometric lines so that as it keeps changing I can see and investigate how it actually shifts and move in geometrically measurable way. Therefore, the matrix should not only be a placeholder of my project but also be an active tool to segue from the matrix system, which is still abstract, to a corporeal system as architectural structure. Then I got the geometric system of it from working on simulating digitally so that the logic of it could be exploited as the principle of designing architectural elements, which is more manipulable in scale. So, setting the interpretation of matrix that derived from ‘nature’ of the given site as a generator of process, each members actually delineate 3-dimentional lines, trajectory surfaces, and, in turn, volumes in the space. The generated architectural fragments sit on the site as being interwoven with the interrelationship among program spaces. Therefore the architecturally derived members in turn perform as forming environment of project such as walls and structure for drawing light inside, circulation, and supporting facilities.
potential movement
delineated by movement
viewer location of sign anchored
imagenary space projected
interconnected system
12 | 13
Ramp
Multi-purpose Stage
Restaurant / Bar
Down to Platform
Ramp
Concourse Waiting Area Ticketing
Security Baggage
Restroom
News stands Restroom Down to Platform
Down to Model Space
Down to Platform Welcome center + Cafeteria
Taxi Stands
Drop-off Zone
N 1/16” = 1’ 00”
Urban Design Principles Instructor : Dongwoo Yim FALL 2014
14 | 15
Life is paradox. Life is paradox enough that we are dying and are living. Paradox that dominate us are life and death, everlasting and evaporating, delight and lament, presence and absence, and tangibility and apparition. In my arrogant opinion, urban theory, maybe people, take approach to the urban situation only either in Utopian way or in excessively practical problemsolving way. Or maybe they all are different kinds of Utopian. Seldom does it solve a problem such as crime, vandalism, disease, and social discrepancy, as Utopian visions do. I do not think they are wrong. And I do not attempt
MYSTIC RIVER (BOSTON INNER HARBOR)
to solve the problem through my project either. But I would like to explore through the neglected fact that paradox is the reality that architecture and urban studies should deal with. Here Michel Foucault addressed a term ‘heterotopias’. Redrawing some ‘other
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ad
i
ro
gp
n sti
n me
spaces’ which once had been core of urban development then neglected and
ex
kept behind oblivion. Such as prison, hospital, military base, and cemetery.
URBAN CONTEXT
Massing of cemetery program starts with monolithic form, while housing massing tend to fit into context around forming bar-type masses and be divided by unit size, circulation etc.
4 FAR 2.0
3 2
1 9 8 7 6 5
//MASSING PROCESS There are two distinctive mass, sphere and series of bar-shaped volumes. Principal point of this process is to combine and/or convolute then generate paradoxical status. The cemetery volume starts from monolithic form of sphere, whereas housing massing only following urban context. They are interrupted and intersected by each other so that its two contrast of program - housing and cemetery, or mausoleum – are colliding.
Through massing process, those two are colliding and comingling together.
16 | 17
=3-1
CENTER OF CEMETERY VOLUME
4 BR 3 BR
1
2
3
2 BR
SERVICE SPACE
4 = 4ᑎ3
1 BR SERVED SPACE (BED ROOMS)
mixed
3
=1+2
=3+4
Usage of slanted walls
Distance from center shelves
door
bed
seat
shelves
lightwell
terrace
elevated floor
stair
// HYBRID HOUSING Paradox that Hybrid of housing and cemetery, or mausoleum, would make is profound quality of human life then urban life. How can I carry this paradox through the project? This question has actually been driving force of approach. How can I keep the essences of both ends’ and come together? This followed question is probably guiding my design process in profound level. Then I refer back to 200-some years ago, Ledoux’s project. In Utopian cemetery project for his ideal city Chaux, by proposing the cemetery as a gargantuan round void space he related death to physical architecture shape. Architecture he proposed was therefore a pure poetic one, symbolizing its absoluteness. Therefore, a sphere, in its completeness, can be regarded as the primitive form for cemetery program which is less, or never, dependent on its surrounding circumstances.
Cemetery / Mausoleum program unit
communal space, group meditation, theraphy, etc
So my question would be : how the cemetery could have existed as public space in urban situation? Moreover, how should this monolithic volume be interrelated with context? Porosity would be the key for these questions. A volume that is porous enough can serve as urban infrastructure which is permanent and at the same time temporary, which is the cemetery. The porosity of the sphere volume would be always changing by the usage of each cell space just as though it takes back and forth between life and death.
18 | 19
There is direct connection between the space for life and for death, in public spaces, view, and circulation. The proximity of that connection is ‘heterotopously’ provocative, which would be totally new urban situation. Thus here my question as moving on is : how will people cemetery route promenade route
inhabit totally unprecedented urban situation? Through that question, I’d ponder more on ultimate question beyond : what does provoke the paradox in life?
1:1 Precast Concrete studio is an advanced studio, which is experimental course focusing on casting full-scale concrete pieces. The arc of the research and experiment includes extensive research on various way of casting in general and in specifically concrete, experimentation of casting using plaster, wax, concrete, or anything during process, selfdefining process of project through the given prompts and questions, field trips, and sort of test-and-fail process of experimenting with materiality of concrete. The three prompts I was given were : 1. hard/soft 2. surface of interfacing 3. process of casting Through series of drawings and castings, the arc of the project was led and emerged. The site of project that I found was a corner of RISD Museum. Because it was one of the most recent building of school on historical site of Providence city and one of rare building in the city that has a clear corner not stone or brick.
1:1 Precast Concrete Instructor : Brett Schneider SPRING 2015
20 | 21
In order to quantify and visualize the degree of imperfection, I brought a picture of the corner into Photoshop, then grab a row of single pixel on each side, and then stretch the pixels to each end. The difference of pattern on each side was significant. It had been done in various level of resolution. They, in turn, were overlaid depending on the distance from the corner.
Corner. What does a corner mean to architects? This question defines the parameter of my project for the studio. To be more specific, the question was about
imperfection of the corner. Every architect does consider a corner to be precise and perfect as he or she designs the architecture. Corner defines the architecture. Corner signify the architecture. Then why the corner of an architecture is not perfect at all? The implementation of creating the corner was neglected while it had been designed. Imperfection is an inevitable nature of a corner because of the implementation ultimately depends on hand-craftmanship, nature of producing the corner piece(s), and/or nature of the material. Being said, imperfection could actually be a factor to create the corner. Maybe it should be.
Thus what if the design of a corner is emerged from the nature of that imperfection? And it defines each surfaces on both sides? Ultimately, the corner is defined back from the surface the corner itself created. So it landed on the decision that the making of corner should be somehow coherent with the implementation of physical action of making the corner. The paradox revealed by this phenomenon is that the corner is the most significant element or field for architects in physically and metaphorically while it defies the architects by never being perfect. The tension played between architects and a corner is quite intensive, and one can never conquer the other utterly. Exploring through analog experimentations phase, digital analysis, digital design, and then back to intensive analog way of implementation -- styrofoam(pink foam) sectional profiles for mold, sending down, construction of wood backer in specific shape, sealing, coating, and intense action of turning the form-work gradually all physically, the project overarching a fundamental questions of architectural thinking.
22 | 23
The process of implementation - casting concrete - I figured out was to experiment with the process of returning cast. So it, in turn, is not about merely making a form, but about creating the process of making the form so that the actual action and physicality can be a factor to create the corner element. The process of casting is to turn the whole form-work gradually as concrete being cured in an hour gap between each turn. With pouring several layers of concrete each in different angles as the previous layer was semi-cured, the process of casting itself territorialized the corner. It makes possible to control one side of surface while the other remained open. The paradox came to the play that one side of surface is controlled but not to be perfect, whereas the other side is not controlled with form-work but more seems to be more perfect as leveled by nature.
3'-6"
3'-6"
6.84°
4°
59° 135.
.7 83
135.
7.43°
00°
3/4"
11 5/8" 2'-0" 2'-1 1/2"
3'-6 1/4"
1. low viscous / without glass fiber | top coat > each side > 1 time turning 2. high viscous / with glass fiber | second layer > each side > 1 time turning 3. (metal sheet) reinforcement 4. low viscous / without glass fiber | back layer > each angle > 4 time turning
Turning Process
24 | 25
This studio examined the notion of architecture as the difference between ‘content’ and ‘container’. Which can never be separated out from the other. ‘Content’ is defined by architectural projects as strategies and concepts selected within time frame of 1968-78, which is directly after the shock of May, 1968 the Global Financial Crisis. It will be carefully sampled, edited, and combined, while ‘container’ will be defined by the analysis of a specific site, which is the Cathedral Square, Providence.
//CATHEDRAL SQUARE The failure of the Cathedral Square can be revealed through examining existing hierarchical structure in architectural standpoint. The visible/invisible hierarchy can be defined and measured by looking at proximity, density, access, and verticality. What makes the current square fail to working is inactive hierarchical structure that does not allow any exchange. That makes barrier against the neighborhood and Providence. Stakeholders, the dispossessed, are people who are basically lost their access to the space or place such as refugees, asylum seekers, and immigrants. They are regarded as outsiders from the existing social structure. So the program proposed for intervention is set up for enabling for them to break in the existing hierarchies. Which can stir up, or bring disruption to a certain extent, the dull current situation.
Between Content and Container Instructor : Emanuel Admassu FALL 2015
26 | 27
//CONTENT Exodus, 1971 - Rem Koolhaas and Elia Zenghelis The main concept identified for sampling is to use the architectural project as a statement that provokes controversies in order to reveal the issues at stake, for instance the Berlin wall in this case. The wall is manifested as division and consolidation at the same time. The interior of the wall is set as series of distinct and exquisite programs just abutting without transient spaces. Pompidou Centre, 1975 - Renzo Piano and Richard Rogers The project clearly divides between serving and served space so that lets the served space be truly flexible. Those are connected perpendicular manner.
Cemetery of San Cataldo, 1972 - Aldo Rossi The project illustrates the reversal image of existing social hierarchy. The most monumental structure is actually the room for dispossessed or forgotten people. The intentional failure Rossi addressed is to leave the project as incomplete in order to be a true cemetery.
Platform level (serving structure)
Zone
machine rooms, electronic rooms, utility, storages, restrooms, circulations, structure
Structure one-level 3d truss
Intervention Stragety 1
Intervention Stragety 2
(for the Cathedral intervention)
(for the auditorium intervention)
Flexible Spaces (served structure) above the Platform
Flexible Spaces (served structure) below the Platform
Platform level is for serving space such as machinery, electronics rooms, utility rooms, restrooms, storages, and circulations. The flexible level above or below is spaces or rooms for the dispossessed people to occupy and turn the space into all the different activities, programs, and events. The intervention is designed to have minimum demolition area so the existing structure can be still usable after the intervention in order to enable the whole project to provoke the negotiation between the dispossessed and the nondispossessed.
Proximity is the key term for the whole project. By keeping the proximity between the existing and the intervention spaces/programs, the negotiation and conversation can be started.
28 | 29
30 | 31
Given that the flexible level is space platform always changing and negotiating, the intervention works as a political structure. For it to be active urban space, the structure shouldn’t have any permanent set of space on the flexible level, while the platform level has all serving programs with fully ready to serve for any kind of possible activities. So the flexible space is set as field of negotiation and conversation. The intervention absorbs and states all different ethnicities, cultures, activities, and eventually people themselves --refugees, asylum seekers, immigrants, etc. Furthermore the archive structure is manifestation of accumulative action of migrating people. It cumulatively archives different artifacts and information coming from their own origins in the tower, establishing urban-scale relationship between the Cathedral square and Providence.
Architectural Projection Instructor : David Ross FALL 2013
32 | 33
34 | 35
‘Watching an object’ could be not only to receive visual information, but also to project my perception onto it, to gather unseen data, to run into unexpected spaces that is provoked by cloud of data around it. The process going back and forth between 2D and 3D and analog and digital constantly challenged me for thinking deeply about sense of seeing. Moreover, much more qualities that are unseen could be excavated such as speed of mark making, edges of perception, density of data, and vector forces on surfaces.
Architectural Analysis Instructor : Ryan Murphy SPRING 2014
36 | 37
For Architectural Analysis, I was assigned to analyze Steven Holl’s Chapel of St. Ignatius in Seattle. As producing series of drawings of the architecture that are technical, abstract, or both, I was intrigued by movement of sound in the space. Because it is a chapel with a big single space, there was specific location for choir and podium, and the curved roof would do significant role for the sound behavior in the space. I developed digital analyzing tool in grasshopper and rhinoceros. As the behavior of sound hits the surface - wall, ceiling, or floor, a sphere is generated which its size is determined by the strength of the sound. So ultimately, the spheres were altering the architectural space and creating ambiguous architectural space in-between representative and interpretative.
38 | 39
The final installation was specific about experiential space. So there were sound, inspired by Alvin Lucier’s ‘I Am Sitting In A Room’, animation that moves through and around the analyzed architecture, drawings, and 3d-printed model. My intension was that those each analytical exploration can interact with each other then it can create experience of the architecture for each individual level.
Sculptural Fabric Structure Instructor : Lee Boroson SPRING 2014
40 | 41
Augmented Bodies is an interdisciplinary studio with apparel design during short wintersession. The course was set with series of lectures on fashion design, emerging techniques, discussions, and studio crits. For the project, I was interested in how very tactile experience can be translated into 3-dimensional form such as architectural spaces. So through the process translated texture data were interpreted into abstract drawings by a drawing machine made for the project. Then it was transferred into 3d form, which is gotten developed into a wearable piece. Apparel is the most intimate unit of architectural space. Here the phenomenon of tactility became space between a body and the garment. Thus as the body moves the space in-between is activated, making another layer of experiencing the world around.
Augmented Bodies Instructor : Catherine Andreozzi WINTERSESSION 2015
42 | 43
Photography in Paris Instructor : Anna Strickland WINTERSESSION - SpĂŠos Photographic Institute, Paris 2014
44 | 45
Photography, I think, is about capturing what the object ‘speak’, even though the object cannot speak, does not speak to you, or there is no object at all but only speech. So watching picture is similar to experience of ‘reading text.’ Which provides me possibility to seek the way to treat picture (or series of pictures) as a certain form of text. Here the boundary between image and text is blurred and interfered. Photography in turn may become a certain form of language that we can read, ponder, imagine, communicate and even sing.
‘Galapagos : Now’ was a summer workshop exploring through process of construction and interaction among wide-spectrum of disciplines and ideas as a collective bodies. During the five-week workshop, it had situated intense set of collective works with people from various places, various disciplines, and the pivotal work for it was to construct a bridge. This was sequential activity of workshop through last 3 years that prepared and imagined a school, which would emerge among us, among the interrelationship. There were three main ‘place’ for the workshop - the mill, the hill house, and the barn. For the last 3 years, the places were evolved through workshops and this year happened to be about construction of the bridge. Intermingled with series of Lectures from various disciplines, phenomena begotten from construction project was captured, revealed and excavated. The interactions between each different captured phenomenon generated totally new questions among people, which led to spatial and conceptual evolution of workshop, as a form of school, collectively. Through the workshop the anticipation of the bridge commingled with anticipation of stage, of audience, and then the future school. Led toward final performance piece, I witnessed how architecture, in much extensive sense, can be emerged. Architectural program, architectural elements, and architectural imagination.
Galapagos : Now Director : David Gersten SUMMER - Arts Letters & Numbers, 2015
46 | 47
SCALE
Integrated Building System Instructor : Jonathan Knowles Fall 2015
1/16 in = 1 ft
48 | 49
RISD/BROWN CROSS-DISCIplINaRy MeDICal DeSIgN StuDIO NICHOLAI GO, LEIS HO, DAEJEONG KIM, DANIEL THOMPSON
a4
a3
a2
a1 ROOF LEVEL EL. 154’
GREEN HOUSE
a4 1
A-303
a3
11TH LEVEL EL. 143’
a2
a1
FLEXIBLE SPACE / INNOVATION LAB TWO WAY REINFORCEMENT TO CONCRETE FLOOR
B1
C1 10TH LEVEL
3”
EL. 129’
B2
FLEXIBLE SPACE / INNOVATION LAB
16
”
9TH LEVEL
12”
B3
EL. 115’
18
”
EL. 101’
18
8TH LEVEL
”
OFFICES
FLEXIBLE SPACE / CLASSROOM
WaFFle DIagRaM
2
7TH LEVEL
SCALE: 1/4” = 1’
EL. 87’ FLEXIBLE SPACE / CLASSROOM
6TH LEVEL EL. 73’ FLEXIBLE SPACE / CLASSROOM
5TH LEVEL EL. 59’
RIBS BOTTOM REINFORCEMENT BARS
CAFE, SIMULATION LAB OVERLOOK
pROJeCt tItle
pROJeCt tItle
RISD/Brown Cross-disciplinary Medical D
3”
RISD/Brown Cross-disciplinary Medical Design Studio B4
4TH LEVEL EL. 45’
SIte aDDReSS
Providence, Rhode Island, USA
SIMULATION LABS, PREFAB LAB
3”
3
EL. 17’
Date
11/21/15
StRuCtuRal plaN SCALE: 1/16” = 1’
SCALE: 1/16”
18”
Nicholai Go, Leis Ho, Daejeong Kim, Dani 3”
SCHeMatIC DeSIgN DRaWINgS 2ND LEVEL
BuIlDINg SeCtION
aRCHIteCtS
Nicholai Go, Leis Ho, Daejeong Kim, Daniel Thomspon
EL. 31’
1
D1 GROUND LEVEL EL. 0’
Providence, Rhode Island, US
WAFFLE VOID
aRCHIteCtS
3RD LEVEL WORKSHOPS
LOBBY
SIte aDDReSS
WAFFLE VOID
C1
SHeet tItle
3”
SCHeMatIC DeSIgN DRaW
WaFFle SeCtION DetaIl SCALE: 1” = 1’
BUILDING SECTION
page NuMBeR 016
18”
SHeet SeCtION A-301
Date
11/21/15
SHeet tIt
STRUCTURAL SY
page NuMBeR 029
S Se S
Kim, Daejeong
B.Arch KNU, Korea M.Arch RISD, US Fellow at Arts, Letters and Numbers
Design tools
daejeong.dj.kim@gmail.com (US) 617.800.5344
Handcraft(woodwork), Rhinoceros, Grasshopper, python, Revit, AutoCAD, Adobe Creative Suite(Photoshop, illustrator, inDesign, PremierePro), 3ds Max simply along with open mind to any other way of working
Graduate Level Education
2013 - 2016
Master of Architecture, Rhode Island School of Design
Scholarship
2013 - 2016
RISD Fellowship & Graduate Div. Fellowship
Assistantship
2014 Fall
Teaching Assistant, Architectural Projection
2014.FA - 2015.SP
Research Assistant, Aaron Forrest and Yasmin Vobis
2015.FA - 2016.SP
Research Assistant, Emanuel Admassu
2015 Fall
Teaching Assistant, Urban Design Principles
Internship
2014. 6 - 2014. 8
Goody Clancy, Boston
Workshop
2015. 6 - 2014. 8
Galapagos : Now, Averill Park, NY
underGraduate Level Education
2004 - 2012
Bachelor of Architecture, Kyungpook National University, Daegu, Korea
2009 - 2010
Exchange Student Program, Seoul National University, Seoul, Korea
Scholarship
2004 - 2012
Full Scholarship of National Science and Technology
Awards
2011 2011 2010 2010 2009 2008
National Exhibition of Korean Architecture, Honored Mention Docomomo ‘Adaptive Re-use of Camp Hialeah’, Entry Daegu International Architecture Competition, UIA, 3rd Prize Competition of Educational Facilities, Special Mention Docomomo ‘The Challenge of Change’ - Entry Competition of Digital Design Architecture, Special Mention
Internship
2010. 6 - 2010. 8
Hanul Architects & Engineers Inc., Seoul
Duty
2005 - 2007`
Military Service
other interests
Construction at hands with craftmanship, Algorithmic Design, Philosophy, Fine Arts