DIONYSUS CHO A COLLECTION OF RECENT WORKS ART/DESIGN/ARCHITECTURE 2016
DIONYSUS CHO XX
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A COLLECTION OF RECENT WORKS ART/DESIGN/ARCHITECTURE 2016
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UPROOT FOLD LIGHTLESS SPINNER SPRAY ARTIFICE SENTINEL VERTEBRAE KITBASHING ASSEMBLY TENSE KINETIC MEMBRANES DANCE MACHINE TWISTED GLYTCH WAVE UNKNOWN
YALE SCHOOL OF ART SCULPTURE 2014
Torn up from the concrete floor, this piece juxtaposes the clean polished veneer of the architectural surface with the organic roots below. The development of a structured mold set into a bed of roughly formed dirt allows for the smooth top and the roughly undulating underside. The frame was developed digitally to express geometric triangulations in contrast to the organically formed concrete.
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UPROOT 01
FOLD/CHAIR 02
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YALE SCHOOL OF ARCHITECTURE SVRL DESIGN 2015 to CURRENT
FOLD is a sleek lounge with edge.
Cut from a flat sheet, it is not only an exercise in geometry, but craft - specific folds smooth edges and adds structure. Crisp lines of the carefully intersecting legs holds the form, completing a sharp profile.
06 02 FOLD explores the process of design and fabrication in the development of a unique but readily manufacturable form. Taking the most basic elements - a sheet and rod - through an iterative process of refinement from drawing to card models to CNC prototypes, FOLD brings form to functionality.
Designing with manufacturing in mind, clean folds gives a simple flat sheet form. Folding onto itself, each angle is tuned to fit the body while providing strength to an extremely thin profile. Likewise, careful testing creates a leg structure which provides rigidity to the form and supports weight.
Designed and developed during studies at Yale University, FOLD has been further refined and prototyped, becoming the basis for SVRL Design. FOLD is now in preparation for production.
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LIGHTLESS 03 PERSONAL LIGHTING DESIGN 2014
Developed from the progression of cord, steel, and bulb to create a linear geometric sculpture consisting of angles. The form is a static one, but the geometry shifts with the view as the black stroke bends around the light. Varying orientations provides several readings: suspended freely, intertwined, or placed flat.
SPINNER 04 YALE SCHOOL OF ART KINETIC SCULPTURE 2013
thread
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Turning a single invisible ethereal projection surface.
SPINNER came about through the course of numerous investigations into the manipulation of the projection surface - projection beyond the white screen. Prior prototypes attempted to produce an image on a rotating acrylic plane, producing a holographic effect. The final project takes this idea to its furthest reduction: the two dimensional plane to a single dimensional line. Further dematerialization of the device would eschew the frame all together, leaving only motor and thread.
A light installation machine.
SPRAY 05
YALE SCHOOL OF ARCHITECTURE SCULPTURE/COMPUTATION 2014
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SPRAY is an interactive piece that untethers painting from the human hand with the aid of a crafted mechanism and a Processing based digital interface.
Semi-automatic drawing.
A spray can, suspended with a finely tuned mechanism, is actuated through a Processing script - a control interface allowing for orchestrating a sequence of motions - and an Arduino microcontroller. Propelling the device with the release of air, SPRAY produces a hectic and random piece tracing strokes of its travels as a result of controlled activation both timing and pressure - of a spray can.
YALE SCHOOL OF ARCHITECTURE INDEPENDENT DESIGN STUDY 2014
ARTIFICE is the intersection of architecture physical and digital - whereby the potentials of a virtual architecture is limitless; the ability to generate accessible and malleable virtual worlds provides an ‘eccentric’ experience of space that may be created at no cost, shared online, and explored in VR. With the use of the Oculus Rift, coupled with the Unreal gaming engine, new impossible spaces were developed - architecture to be explored in all planes.
w/ Anne Ma
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ARTIFICE 06
SENTINEL 07
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PERSONAL SCULPTURE 2013
SENTINEL plays with the grasping and clawing forms of a pair of succulents. Taking cues from the twisting limbs, SENTINEL is at once stretching in multiple directions and coiling internally – outreaching limbs and interwoven articulated folds giving way to stretched apertures.
A frozen alien organism.
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YALE SCHOOL OF ARCHITECTURE VISUALIZTION 01B 2013
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VERTEBRAE
A material and fabrication study of creating modular panelization with non-standard geometries.
Inspired from studies of interlocking joints in the human skeletal system, the repetition of this vertebral unit creates numerous configurations and seamless patterns across a 3D array. Developing crafting techniques utilizing digital sculpting, casting, and 5-axis robot CNC milling.
MARBLE
KITBASHING 09 Through a collaboration with Autodesk, KITBASHING aims to create a high resolution physical space out of the conglomeration of disparate digital entities - an aggregate composed to enclose volumes. Materials and texture are used regardless of original object intentions. The scifi world of kitbashing and unlimited ornamentation/articulation is entering the real world. KITBASHING was 3D printed in full, and a detail section milled in marble.
w/ Daniel Nguyen + Anne Ma
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YALE SCHOOL OF ARCHITECTURE DESIGN RECONNAISSANCE 02B 2014
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YALE SCHOOL OF ARCHITECTURE ASSEMBLY 2013
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ASSEMBLY 10
ASSEMBLY, a sculptural installation developed for the International Festival of Arts and Ideas, hosted in New Haven.
For this project, ASSEMBLY provides a gathering place while acting as a storytelling device a travelling pod collecting and broadcasting tales from the neighborhood.
26 10 For the competition to develop the working concept. Studies in material and form-finding processes were taken to develop the proposal. Caternary structures were generated with thermal warping of acrylica sheets, forming self-supporting domes upon inversion.
In the development of a large scale prototype, a form was generated with taught fabrics and solidified with aquaresin. This provide a dynamic form frozen in its suspended state.
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The installation of transducers on the surface transformed the silent sculpture into a dynamic speaker.
TENSE 11 The sculpture is in tension . It is fighting the form – the frame constructed for it and the threads which bind it. It bends the steel rods and snaps carefully routed strings. The expression is an organic process which cannot be predicted – one additional point of tension creates a response in the entire system.
There is a certain frustration in the material mutilation.
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An expression of forms through fabric in suspension. Not the draping of fabric in a fashion sense, but in the sharp folds and piercing peaks in taut membranes. Or the sagging ripples in a deflated one.
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PERSONAL SCULPTURE 2014
KINETIC MEMBRANES KINETIC MEMBRANES: the final prototype developed utilizing a collection of digital techniques to create an interactive, dynamic, and fluid form.
This acts as a proof of concept for use in a large scale lightweight construct or installation in which a space could be continually and wirelessly adjusted to the desires of the user. Kinetic Membranes carries forth inspirations to develop architectural solutions which are not only fluid in formal conception - then subsequently plastic - but organic and fluid in its ability to adjust and adapt as an elastic organism for responsive environments.
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YALE SCHOOL OF ARCHITECTURE DESIGN RECONNAISSANCE 01A 2012
FORM
DIGITAL
SCRIPT
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INTERFACE
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ANALOG
INTERACT
Through several prototypes, winch servos for RC sailboats, were selected and mechanisms developed to house it. Firefly (plugin), through an Arduino module, allowed for precise movement of the membrane from a computer. This required experimentation on the digital scripts as well as the development and calibration of mechanism prototypes.
Kangaroo (a Grasshopper plugin) was used for iterative form finding, taking into account material elastics and physics. This allowed for the generation of multiple forms for testing.
Tests with a Kinect module allowed for flexible multi-user control through bodily gestures, while touchOSC provided for a touchscreen interface by which the membrane form could be controlled smoothly.
DANCEMACHINE DANCE MACHINE: a dance facility like no other in New York. This building reinterprets three elements of dance into architecture: clothe, suspend, and lift.
The Machine is clothed by a spidery structure, forming a webbed glass box. Within, the interior is delineated by layers of suspended semi-opaque shrouds wrapping individual practice studios. The performance hall, a tesselated jewel, is lifted and held center stage, peeking through the taut screens at the corner overlooking the prominent street edge.
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YALE SCHOOL OF ARCHITECTURE STUDIO 01A 2012
The ground floor is divided by the overlooming High Line bridge. Underneath is tucked the services and changerooms, coiled in a tesselated tail. Taut fabric housing dance studios likewise conceals the theater above; the culmination of the procession tying the interweaving pathways of dancers and viewers.
Playing off the studies in Kinetic Membranes, the Dance Machine foregoes concrete walls to implement flexible and responsive shrouds, carving out spaces within the volume, expanding for larger groups or lifting away when unnecessary.
PROGRAM
storage WC [women] WC [men] elevator
changeroom [women] changeroom [men] office ticketing
cafe lobby service entrance rehearsal studio
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DANCERS
VIEWERS
TWISTED 14 Carving up Science Hill.
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Rather than developing a pavilion to sit atop the Hill, this design works with the student flows across this campus park - bridging facilities and classrooms with a cafe and information center wrapped in pathways.
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YALE SCHOOL OF ARCHITECTURE STUDIO 01A 2012
The information center, nestled into the hill, acts as a branch of the Peabody Museum, providing an auxiliary space to tease new exhibitions. The cafe above looks down through exhibit boxes puncturing up from below. Multiple pathways take pedestrians through the structure, wrapping them around a dropped garden, or past an opportunity for caffeine.
GARDEN
VIEWING WELL
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DISPLAY W/C INFO COUNTER
CAFE
CAFE
VIEWING WELL
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GLYTCH 15
YALE SCHOOL OF ARCHITECTURE 02A DESIGN STUDIO 2013
GLYTCH: an HQ for CASIS. Glitch. Symmetry. Reflection. This project sprouted from ideas of space and science fiction. A speculative study of apparent symmetries of mechanical systems (the ISS/SSI) and the development of geometries from glitch generation.
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The resultant drawing takes the human figure and its reflection; through similar operations, generates a structure with layers of scale and a weaving of form into an inhuman tapestry.
Initial studies were developed utilizing animation techniques, tweening the transition and transformations, then capturing the intermediate frames from the ground floor constructs to the roof. Floorplates shrink with the ascent while the break in the ring, as generated by insertion of two space modules, shift from rear to front, forming apertures and atrium.
OFFICE
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THEATER
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DISPLAY
The plan is symmetrical, reflected about and highlighting the two central space artifacts: the Destiny module and the smaller SpaceX capsule.
The exterior skin consists of an aggregation of shards, a highly articulated structural shell with moments of slippage revealing views within. With the aesthetics of space/mech, CASIS brings back the Space Age with a design that doesn’t ground itself with Earthly precedent, but truly aspires to bring Space to Earth.
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Above, three floors of office are split by the SpaceX in a central atrium, creating a focal point around which the floors are arranged.
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Wrapping the Destiny module, continuous circulation takes one from the lobby up into the gallery, through the educational spaces, and up into the lecture hall.
COLUMN WITH INTUMESCENT PAINT BLACK STEEL GUARD RAIL WITH GLASS 12" WHITE TILE MORTAR BEAM FIRE-PROFFING, O G, ALL S STEEL TYP. BOLTED AND WELDED STEEL ANGLES
EXPANSION JOINT GUSSET PLATE PRE-FABRICATED RE F STEEL NODE WITH IINTUMESCENT PAINT 3" PREFABRICATED INSULATED A CORNER UNIT BOLT PIN N CONNECTION TOP PLATE COLUMN WELDED TO C CONNECTOR STEEL E ANGLE ALUMINUM CEILING I CAP
BEAM FIRE-PROFFING, O G, ALL S STEEL TYP. DROP CEILING RODS AND HOOKS CEILING PANNELS VENTILATION DUCT
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SYSTEMS INTEGRATION DESIGN w/ Jack Wolfe + Kara Biczykowski
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To tackle the heavily articulated facade, an underlying tessellated structural frame wraps the interior space and ties back to a regularized column system. With floor plates which vary drastically from floor to floor and numerous voids and atriums throughout, an intricate web of steel had to be crafted to distribute and support the shifting volumes.
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Remaining true to the deconstructed fracturing of its predecessor, GLYTCH02 proves to be a constructible and cohesive design solution.
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GLYTCH02 is the further development of GLYTCH as a feasible and complete design from structural to HVAC to building skin systems. This was developed as a project to integrate and detail building technologies.
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The exterior, imagined as folding shards, is broken down into modularized panel system which divides large triangles into manageable and self-contained curtain wall units.
STERLING MEMORIAL LIBRARY
WAVE MUSEUM 16 YALE SCHOOL OF ARCHITECTURE PATKAU ADVANCED STUDIO 2015
WAVE Museum is a proposal which seeks to redesign a currently sorely underutilized portion of Yale campus. Opposite of Cross Campus, which flows out from Sterling Memorial Library, open greens are cut short by a disorganized block consisted of a scattering of Yale School of Music and other affiliated buildings in a mess of scales and materials bounding a paved parking lot.
CROSS CAMPUS
WAVE MUSEUM
OLD CAMPUS
NEW HAVEN GREEN
The rolling field, playing off the Cross Campus green, not only serves as a continuation of the park, but as it rises gently, houses a performance space underneath the hill while terminating in the swell of an amphitheater. The flowing wave along the hill, which switches from facade to roof, shields the collections within while revealing, at moments, the folds and swirls of circulation. WAVE Museum was selected for the H.I. Feldman Prize Nomination 2015 Best Advanced Studio Project
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WAVE is the evolution of Yale’s Music Instrument collection from a depository into a museum. Working with collections curators, it was determined that an interactive and open display, with space for the performance of select instruments, would be necessary. WAVE organizes the program in two strips.
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The first step reorganizes the block with a new masterplan to densify and liven the street edges. The northeast corner is redeveloped to continue the length of pedestrian friendly restaurants and shops along the street, while the southeast corner makes way for larger Yale development. The swath of parking which occupies the center, along with flanking buildings, has been excised to make room for the heart of this proposal.
A strong section is produced by a parametrically driven system which accounts for both form and structure.
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While carving out a flowing spatial experience below its wing, each fin along the row (each consisting of two heavy timber members supported by steel frames) adjusts to accommodate the loads of the roof above.
Studies of the seriality and repetition found within the (double) piano inspired the WAVE: gradually shifting members form an elegantly smooth but deceivingly simple and constructible ruled surface roof. Housing the musical collections, the efficiently gathers strips, creating a display units.
instrument and manuscript bar beneath the WAVE curated pieces in linear field of instruments and
Circulation is kept at the outer edge with views down onto the hills and a voluminous spiral of stairs marking a dramatic entrance to the procession upwards.
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LEIGH HALL
ELIZABETHAN CLUB
STOECKL HALL
ELIHU CLUB
MANUSCRIPT LIBRARY
YALE / LANGUAGES
COMMERCIAL / 01F
COLLEGE STREET ELM STREET
HENDRIE HALL
HENDRIE HALL PROPOSED EXTENSION 03 FLOORS
WALL STREET
NORTH ENTRANCE CORE
GRADUATE CLUB
UNDER HILL
SLIFKA CENTER
SPIRAL ATRIUM
VISITOR CENTER
NORTH COURTYARD
GIFT
YALE PROPOSED 04 FLOORS
COMMERCIAL / 01F
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YALE UNIVERSITY PRESS PROPOSED 03 FLOORS
CLASS
LOBBY
CAFE
AMPHITHEATER
COMMERCIAL / 01F TEMPLE STREET
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LAYER CUT
CARVE PACK
UNKNOWN 17
UNKNOWN treats the mass like meat.
Wrapped in layers of mass, carving across the plies reveals a rippling of striations and voids. The resultant structure is then sliced, reformed and repacked, disregarding its original form. Within, inflating voids form bloated volumes of programs, forming and bending to the exo-structure.
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UNKNOWN is the re-imagining of the Secession Hall - the icon of Vienna’s Secession movement. The Secession is a break from tradition - an integration of arts and crafts. This secession is the break from traditional digital explorations - a break from clean and sterile surfaces, perfections afforded to us by our tools - and integrate a more primal craft butchery.
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YALE SCHOOL OF ARCHITECTURE DIAZ-ALONSO ADVANCED STUDIO 2015
As the Secession is a break from tradition and an integration of arts and craft, this digital exploration is a break from the clean, sterile surfaces – the utter perfection afforded by our techniques – with the primal craft of butchery.
There is also a break from the palette.
Ornamentation is not a gold leaf, but real leaves, and the inspiration is not taken from Klimpt’s supple female forms, but of Typheous, the beast, giant, and captor of gods, as depicted in the final panel of the Beethoven frieze: Hostile Forces.
62 17 The pods of UNKNOWN have been developed as hard shelled panels split to reveal a heavy layer of textured moss While bracketing the form, the shells give the bulb shape while allowing for the bulging green to spread between.
A central open atrium connects the volumes of the kunsthalle while acting as a terminus for the pedestrian path from the park to the north. Wrapped with an undulating landscape, the form of the building buries itself into and warps its surrounding site, drawing pedestrians into its folds.
Arranged as a series of bulbous organs, the galleries are treated as individual units housed within and held together by the striated structure.
The interior is organized as a procession of organelles. The first, lined with hair/villi, an open gallery. The second, an esophageal void opening above to an oculus and sheared below to create exhibition space. The last is an oral experience, contrasting organic shards with hard panels and veinous textures.
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which not but reveal beneath a held tight
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Butchery involves surgical cuts only form the shapes and sufaces, unexpected interior situations unified exterior - the gory mess beneath the skin.