PORTFOLIO
DANIEL KIM
2010 - 2014
CONTENTS
Computing Drawing: ............................................................................// 01 Constructed Landscapes: Seamless Fabric.........................................// 17 Constructed Landscapes: From Parking to Park...............................// 29 Shadow Construction: Perception & Expectation.............................// 39 Urban Design Principles.......................................................................// 51 Fabrication to Digital Representation.................................................// 65 Design Principles...................................................................................// 69
Computing Drawing This studio explores computer programming as a design medium. It focused around the concept of how programming can represent or conceive of architecture. We moved from drawing to building through three stages. Questions of authorship, representation, and discovery were key elements within this studio. What makes the line such a powerful tool in architecture and how can it be manipulated to express architecture?
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This initial investigation was to discover the capabilities of drawing and discovering the power of computation. The project began exploring drawing techniques based off of John Franzen’s series, “EACH LINE ONE BREATH”. Each line in his work responds to the previous continuous line before, reacting to each adjacent nuance, creating a rippled response.
Each Line, One Breath John Franzen
COMPUTING DRAWING // PHASE 1
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The work began with a series of studies, responding to John Franzen’s work and balancing drawing and computation using python. The mechanism used was a traditional pen plotter. COMPUTING DRAWING // PHASE 1
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The resulting drawing expressed apertures and nodes that were organized by creating a grid system that tracked each node so that no lines overlapped one another.
COMPUTING DRAWING // PHASE 1
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This series extended the operation and these drawings are a result of overlapping two scripted algorithmic outputs. COMPUTING DRAWING // PHASE 1
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By creating a script that produces random anomalies, can order be found? Can an architectural language be discovered through drawing? COMPUTING DRAWING // PHASE 1
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How does a drawing imply three-dimensionality? How does a drawing inform a surface through a field of ambiguity? COMPUTING DRAWING // PHASE 1
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Phase Two
Phase 2 began with dissecting the drawings from Phase 1 and shifting from two-dimensional to three-dimensional drawings, suggesting surface, space, and form. Every line extruded to define a new discovery through model and drawing.
COMPUTING DRAWING // PHASE 2
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COMPUTING DRAWING // PHASE 2
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Plan
Axonometric
Elevation COMPUTING DRAWING // PHASE 2
Ambiguity continued to play a large role in the discovery of architecture through model making and drawing. Discovery was found in the power of the line. Continuous or fragmented, the line contains the ability to create a sensation of infinite space. A field of computed information is generated. PAGE 10
Phase Three The field of Massachusetts and the field of Rhode Island collide to generate a new field of data. Lines, information, and program intersect. Here, a toll booth authority emerges, pooling and collecting information from both fields. The crossing is defined by the mobility of the line as its driving force. The line shifts from dotted lines on the street surface to evolving into surfaces which in turn generate structural implications. The line is viewed as a source that holds the sensation of the future but also carries the past. Its collection depicts the perception of infinite space. It sets the stage for emergence and imagination.
COMPUTING DRAWING // PHASE 3
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COMPUTING DRAWING // PHASE 3
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Constructed Landscapes: Seamless Fabric
RISD was engaged in designing and competing in the Solar Decathlon in Versailles, France. This studio studied strategies for relocating the Solar Decathlon home to an artist haven after the competition. Boisbuchet is a campus that engages artists and visitors alike to set the stage for an appreciation of art and nature. The artists utilize the patchwork of spaces across the campus. Across this rural fabric, seams unite the patches and are interpreted as moments where the elements of circulation, water, and vegetation become one moving force.
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These diagrams are based on studies of the site. The site for the incoming Solar Decathlon homes is situation between the north and south parts of Boisbuchet. It becomes the seam that unites the two. There is a accessible road situated north of the site, and the site is bound in the north and south by a line of trees.
CONSTRUCTED LANDSCAPES // PHASE 1 Diagrams
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SPRING EQUINOX SUMMER SOLFALL EQUINOX CONSTRUCTED LANDSCAPES // PHASE 1 Diagrams
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Existing Topography
CONSTRUCTED LANDSCAPES // PHASE 1
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CONSTRUCTED LANDSCAPES // PHASE 1
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First Model Iteration
CONSTRUCTED LANDSCAPES // PHASE 1
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Phase Two
The Solar Decathlon homes are bound to become temporary housing for students who visit the site. The strategy began with the shifting of platforms and landforms. This generated a path that gives opportunity to a series of seams that enclose water, vegetation, and people. The north-south axis develops from branching off the road or main stem to not only hold the master site together but more importantly, to seamlessly tie the artists and campus within the landscape. CONSTRUCTED LANDSCAPES // PHASE 2
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CONSTRUCTED LANDSCAPES // PHASE 2
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CONSTRUCTED LANDSCAPES // PHASE 2
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CONSTRUCTED LANDSCAPES // PHASE 2
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Constructed Landscapes: From Parking to Park
The project is sited in Boston at the busy intersection of Washington Street and East Berkeley Street. The main focus and goal was to redefine a frequently used parking space into a green space that allows the reconstruction of a diverse community. Site circulation was a driving force in the design of this park. With various issues in the site, a proposal was created to funnel the community so that an intersection of diversity, culture, and conversation can develop. This initiation reaches beyond just the site and acknowledges the structure of Boston.
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Constructed Landscapes // PHASE 1 Diagrams
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Circulation on the site was a major issue that also became the design mechanism. Initial investigations found that there were different edge conditions on the site. Washington street had an active edge along the site, with high pedestrian movement from a Chinese market and bus lanes. East Berkelley Street was the fast edge. Cars came off of the high way and East Berkelley Street was the most direct one way into the neighborhoods. Finally Shawmut Avenue was the most pedestrian friendly and had the widest sidewalks. Through these initial studies, key openings were established for pedestrian friendly and vehicle friendly relationships. Pedestrians are funneled into the site and establish collision of community and culture.
Constructed Landscapes // PHASE 1 Studies
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Constructed Landscapes // PHASE 1
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The plan organizes the park into 4 separate experiences. The first gravel pit southwest of the site allows a more pedestrian family play area for children and also opens the space for potential food vendors. A hill emerges from the ground and is carved by the intersecting paths. In the center lies an open field and stage. The two landforms not only block traffic sounds but also allow seating for pedestrians to engage with the stage. Simple paths cut through the park to not only enhance a pedestrian experience but to also funnel them towards downtown Boston, north of the site.
Constructed Landscapes // PHASE 1
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Constructed Landscapes // PHASE 2
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The next steps were taken to extract a detail from the park and to create a 1:1 scaled model of this detail. I decided to design a bench chair. The initial study model tests were created to study the same formal quality of funneling. In this detail, as the pedestrians sit closer and closer to the public space or stage, the more grass grows, creating a natural growing wall alongside the stage. The pink foam is used to represent earth.
Constructed Landscapes // PHASE 2
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Shadow Construction: Perception & Expectation
The project is based on a series of studies, dividing into both twodimensional and three-dimensional elements of shadow and object. The study works in the area of ambiguity or in the arena of architecture, where both language and visual syntax play a large role. Our perception of space and depth can be developed in both three-dimensional and two-dimensional worlds, working back and forth, based off of each other. How can shadows distort our perceptions of space? What do we expect from the information that shadows give us? How is space defined and designed by shadows?
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The constructions are constantly evolving and developing as the shadow is interpreted more and as the model making material develops. Each stage is a consequence and a result of analysis from the previous shadow or construction.
Shadow Construction: Perception & Expectation
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Phase 2 lead to creating a conceptual model of the brain. I began to view the brain as something maintaining structure yet having a sense of plasticity. The resulting images imitated the shifting capabilities from two-dimensional to three-dimensional. Is there an order and plasticity within this process of understanding? Shadow Construction: Perception & Expectation
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Shadow Construction: Perception & Expectation
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This is the result after tracking only 4 points or magnets over a period of time.
Shadow Construction: Perception & Expectation
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The site is located in Providence, Rhode Island in the Jewelry District. The program is to design a brain institute that stimulates not only the users but more importantly becomes a research and practicing hospital. Shadow Construction: Perception & Expectation
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A brain institute is defined by research being the foundation and seed for clinical practice to the outside world. It is defined by a series of conversations that are established above the surface as knowledge and understanding that rises and comes from the earth. Through lifting and elevation, there evolves a new datum for organization. It becomes a new ground. The city landscape and research become two different worlds that insist on being in sync. It is a speculative project on research that questions how a brain institute looks inner and attempts to develop grounds of discovery and innovation. Light volumes sync the worlds together, allowing users to occupy the space and retain conversation. The project is about finding an architectural idea through this specific conceptual frame of thinking, blurring free space and architecture.
Shadow Construction: Perception & Expectation
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Shadow Construction: Perception & Expectation
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Shadow Construction: Perception & Expectation
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Shadow Construction: Perception & Expectation
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Shadow Construction: Perception & Expectation
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Urban Design Principles
Boston is an extremely diverse city that requires great analysis and understanding to design within its urban fabric. The South End was our focus. Any housing complex should be able to provide not only a sense of community but also a sense of place and belonging. It is important to emphasize these focuses because it defines not only a neighborhood but also a city. People are funneled from public and private space with different focuses. These focuses could be socially such as a social focus on family, community, or even a student’s focus on this future.
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South End Sunlight Conditions
Urban Design Principles // Diagrams
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Urban Design Principles // Diagrams
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Urban Design Principles // Diagrams
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Urban Design Principles // Diagrams
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BUILT ENVIRONMENT VS. SHADOW AND SUN SOUTH END, BOSTON
1. TIME: 9:00AM - 5:00PM
SPRING EQUINOX; MARCH 20
SUMMER SOLSTICE; JUNE 20
AUTUMN EQUINOX; SEPTEMBER 22
WINTER SOLSITCE; DECEMBER 21
2. TIME: 9:00AM - 5:00PM
SPRING EQUINOX; MARCH 20
SUMMER SOLSTICE; JUNE 20
AUTUMN EQUINOX; SEPTEMBER 22
WINTER SOLSITCE; DECEMBER 21
3. TIME: 9:00AM - 5:00PM
Urban Design Principles // Diagrams
SPRING EQUINOX; MARCH 20
SUMMER SOLSTICE; JUNE 20
AUTUMN EQUINOX; SEPTEMBER 22
WINTER SOLSITCE; DECEMBER 21
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1. CLARENDON + APPLETON: RESIDENTIAL CLARENDON [EAST - WEST]: HIGH SHADE APPLETON [NORTH - SOUTH]: MEDIUM SHADE LOW-RISE BUILDINGS, 4-5 FLOORS
4. TIME: 9:00AM - 5:00PM
2. TREMONT + UNION PARK: RESIDENTIAL AND INSTITUTIONAL UNION PARK [EAST - WEST]: HIGH SHADE TREMONT [NORTH - SOUTH]: MEDIUM SHADE LOW-RISE BUILDINGS, 5-6 FLOORS 3. MASS AVE + SHAWMUT: RESIDENTIAL, COMMERCIAL, INSTITUTIONAL MASS AVE [EAST - WEST]: HIGH SHADE SHAWMUT [NORTH - SOUTH]: MEDIUM SHADE LOW-RISE TO MID-RISE BUILDINGS, 4-7 FLOORS
SPRING EQUINOX; MARCH 20
SUMMER SOLSTICE; JUNE 20
AUTUMN EQUINOX; SEPTEMBER 22
WINTER SOLSITCE; DECEMBER 21
5. TIME: 9:00AM - 5:00PM
SPRING EQUINOX; MARCH 20
SUMMER SOLSTICE; JUNE 20
AUTUMN EQUINOX; SEPTEMBER 22
WINTER SOLSITCE; DECEMBER 21
SOUTH END, BOSTON 9:00AM - 5:00PM; OCTOBER 11, 2012
6. TIME: 9:00AM - 5:00PM 4. MASS TURNPIKE + COLUMBUS: INSTITUTIONAL MASS TURNPIKE [EAST - WEST]: NO SHADE COLUMBUS [NORTH - SOUTH]: LOW SHADE LOW-RISE BUILDINGS, 4-6 FLOORS 5. HARRISON + UNION PARK: RESIDENTIAL, COMMERCIAL, INSTITUTIONAL UNION PARK [EAST - WEST]: MEDIUM SHADE HARRISON [NORTH - SOUTH]: MEDIUM SHADE LOW-RISE TO MID-RISE BUILDINGS, 3-7 FLOORS
SPRING EQUINOX; MARCH 20
SUMMER SOLSTICE; JUNE 20
AUTUMN EQUINOX; SEPTEMBER 22
WINTER SOLSITCE; DECEMBER 21
6. WASHINGTON + EAST BROOKLINE: RESIDENTIAL, PARK EAST BROOKLINE [EAST - WEST]: LOW SHADE WASHINGTON [NORTH - SOUTH]: MEDIUM SHADE LOW-RISE BUILDINGS, 4-5 FLOORS
Urban Design Principles // Diagrams
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Urban Design Principles // Diagrams
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All these elements play a role to funnel, channel, and filter people in various concentrations and scales. The mechanism is the forced perspective as a way to drive people from public to private or vice versa. This direction or force highlights a conversation programmed for mixed income housing. This in turn can restore the public’s confidence in not only government but more importantly in the community enterprise.
Urban Design Principles // Models
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Urban Design Principles
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Urban Design Principles
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Urban Design Principles
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Urban Design Principles
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Fabrication to Digital Representation
This project began with a personal interest in creating a bench chair that was inspired from wooden sand barrier fencing. Sand fencing is important work for beach preservation and dun restoration. This concept was invested into creating this work of furniture and was further developed into a conceptual digital vision. The resulting work not only maintained the importance of sand fending but also became a kinetic sculpture that was the potential in becoming seating for beachgoers.
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Fabrication to Digital Representation // PHASE 1
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Fabrication to Digital Representation // PHASE 2
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Design Principles
Design Principles was designed to creatively teach students about materials, their capabilities, and how one can transform and discover new possibilities in creating new substance or form. My response to finding material was not to find a variety but to find something modular. By manipulation of material, the studio was able to explore the fundamentals of form-making, shape, and how they hold spatial qualities.
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Plastic condiment cups were cut, creating a joinery for each modular piece to combine with another, creating five similar surfaces. These surfaces were then woven together. Design Principles
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Design Principles
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At this stage, we were asked to create a relationship with another colleague’s material and create a system. Through material studies, I found that the cups played a large role in becoming the joint and making sure that the rubber tubes stayed in place. The tubes are ties up using thin bungee like cord. The cups rigid rim allows the flexible and loose rubber structure support.
Design Principles
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The next and final step was interpretation of the formal and spatial qualities within the new structure and how that can be translated through folded paper. Design Principles
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Design Principles
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New spatial qualities were discovered. Folding the paper allowed not only a structural understanding but also a design and modular one. It allowed large open spaces and gave flexibility to the form. This led to inhabitation and adjusting our design to create an occupying space.
Design Principles
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Design Principles
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Design Principles
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