Esther Cho - Architecture & Design Portfolio

esther cho

portfolio selected works 2014-2019 echo@mica.edu

CONTENTS

academic

03

outdoor classroom

04

construction through emotion

09

christiansborg underground

13

place-memory-historic

15

aj manual

17

xs block

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woodworking

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outdoor classroom Integrated Design, 2014 “uses materials to define purpose�

This project aims to reinterpret outdoor classrooms. Each floor has its own purpose, and the materials chosen reinforce those purposes.

The concrete first floor provides a private space for students. The second floor is public, a place where people meet and communicate. The horizontal glass wall framed with I-beams opens

Section Diagram

and lands creating a bridge to the adjacent bridge, transforming the third floor into an openair studio space.

3

constructing emotion fr

Senior Thesis, 2017

lov

a formal system from which I generated forms.

The resultant forms, shapes, and buildings all express my emotions during this time period.

The differences in how people perceive their emotions is what makes this project uniquely my

y - internal expression

immigrating to the U.S., I organized my ideas into

depression

l

e

sadness

happy

design process data to design space, framed the range of emotions I experienced after

t ra ve

thrilled

This project uses a data-driven, generative around personal discovery. By quantifying

nd

“a spatial exploration of self through abstract interpretations and metaphors of construction�

ie

manic

neutral (0)

normal

family dissatisfied

happiness stressed

health

own. undisheartened

manic

depressed 2004

2005

2006

2007

2008

2009

2010

2011

2012

2013

2014

2015

2016

x - time (year)

Methodology

Mind Map The map charts my external and emotional expressions

z - external expression

chronologically (by half-year) since 2004.

1 - Mind Map

2 - Map to Drawings

3 - Drawings to 3D space

4

a

b

Map to Drawings a - map analysis Different interpretations of the Mind Map created emotional landscape. graphite and mixed media

b - Semiotics of Space Mark, color, pattern, and collages tranlate into forms and materials through the notation system. mixed media

5

Drawings to 3D space

a

b

a - spatial study Each spatial quality represents my own emotional narrative and formal representations of invisible parameters. mixed media

b - emotional landscape I developed the previous studies through a series of overlays and represented time physically at the scale of the human body.

Emotional landscape in July through August 2016.

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2

3 12

+ 9 transparency

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12 2 1

6

3 10

4

5 4

8

5

7 -

space

+

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6

6

6a

6b

9

10

6c

6d

7 61

.oN

1080 sq.ft.

8

9

10

6

Representational models No.1607 and No.1608

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Installation Physical representation of #3 spatial study

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3

4

5

6

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ch ri sti a n s b o rg un de rgro u n d Urban Design Studio, 2016 “adding a new underground layer to sustain surrounding historic architecture values�

Historic areas exhibit a range of heritage values such as social, historical, and architectural.

Therefore, the design quality of new buildings in a historic area is important. To minimize interruptions

Site Plan

Concept Diagram

on the surface and retain the historic quality of the existing architecture, the underground pavilion provides new public spaces for outdoor exhibitions.

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2

1

3

5

4

6

Plan

0

12.5

25

50m

The outdoor exhibition on Danish Democracy is located underneath

1 - Plaza

the narrow translucent glass floor. Its transparent skin interacts with

2 - Outdoor Exhibition

both daylight and artificial light. Light-diffusing polycarbonate tubes

3 - Lecture Hall

are located in between the frosted glass ceiling and the floor and

4 - Cafe

become a light installation at night.

5 - Ramp 6 - Indoor Exhibition

10

Section The experience of walking down a long passageway triggers one’s curiosity and gives a unique experience.

0

2.5

5

10m

11

0 Sections 1: 100

2.5

5

10m

12

place-memory-history Integrated Design, 2016 “Historic Urban Form Mapping” Physical characteristics of town or cities result from the evolution of urban activities and planning. The following proposal is located within multiple Baltimore neighborhoods: Old Goucher, Station North, Bolton Hill, Mount Vernon, and considered the following questions: Why is the historical identity of a community and neighborhood important and how can you give substance to the historical identity of a place aside from simply creating and promoting neighborhood “brand”?

What is the value of incorporating a historical analysis of neighborhoods such as this as a layer into the planning process for neighborhoods, communities, cities, and regions?

Site Map showing Neighborhoods

Site Study

Concept Design

Old Goucher Remington

Jones Falls Area Barclay

Reservoir Hill

Charles North

Greenmount

Bolton Hill

Mid-Town Belvedere

Scale: 1:250

Ebenezer Howard’s Three Magnets 1898

Scale: 1:125

Historically the neighborhood has been identified and strengthened by:

expanded district

- a strong educational and society legacy

current district

- an extremely adaptable and high quality building stock

stores

- inter-connected green spaces

school

- strong-defining yet strained edges

offices

- socio-economic and racial diversity

industrial

- a mixture of residential, commercial, and institutional uses

residence museum

13

residential restaurant/cafe office and studio Indoor park vertical garden art gallery railroad museum community buidling

14

6

design compeons near the same me and around the world, Danmarks Naonal Bank has a low number of compeon entries being a closed compeon. In relaon to other projects’ construcon mes, the Danmarks Naonal Bank also took much longer me to complete.

curtain wall principle, where the facade has been mounted to the building without being part of the load-bearing structure. This was a very innovave technique at the me. The curtain wall assembly is comprised of an embedded sunshade sandwiched between a venlated triple glazed skin.

“All an architect does is make spaces. It is the quiet and thoughul arrangement of these spaces that makes houses, neighbourhoods, streets and environments. Good architecture never shouts. Is it like a well-mannered lady that is polite to its neighbours.

The order and progression of the street is more important than the individual building. In looking back over my work for the past twenty years it seems I have been obsessed with the quality of light. I am sll learning.”

-Arne Jacobsen

The Curtain W The facade of curtain wall pr has been mou without being structure. This technique at t assembly is co sunshade sand venlated trip

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3 4 5

a

e

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d gf

b

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20 16 12 8 4

4

0m

3

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40

80

100

Compression and Expansion of Public Lobby

The Architecture The architecture comprises a low and a tall mass, surrounded by a one storey arne jacobsen manual high wall. The low part of the building, Integrated Design, 2016 with a public pavement garden, ensures that the 350-year-old Holmens Church adjacent to the west of the site is not “ architecture is a form of representation dwarfed by a dominant building complex. in itself ” The tall part of the building, facing Niels Juels Gade the east, maintains the A contemporary investigation of to Scandinavian original proporons of the area and Architecture starting from the lines traced ensures that Danmarks Naonalbank is in by its ancestors. This project focuses on harmony with the surrounding 19th representation within architecture and The building’s large century buildings. glass facades vary in appearance, ensuring a clear understanding of details depending on the weather and the me through digital drawings. of the day, and they integrate the surrounding buildings by reflecng them.

4 5

3

2000 1800

The Compeon In 1961, the Denmark Naonal Bank invited five prominent architects of the me to take part in a compeon. The compeon was to result in a soluon whereby the Denmark Naonal Bank’s funcons could be gathered in one place, taking into account its central locaon with the Old Stock Exchange, Holmens Church, Chrisansborg Castle and various ministries as its neighbours. The proposal from Arne Jacobsen was preferred because it solved the programmac demands using a built floor area rao of almost half of that permied by the site.

1

1600 The Architecture 1400 The architecture comprises a low and a tall mass, surrounded by a one storey 1200 high wall. The 1000 low part of the building, The Module with a public pavement garden, ensures 800 The Danmarks Naonalbank building that the 350-year-old Holmens Church adjacent to the600 west of the site is not consists of narrow module measuring building complex.

400 420 x 420 cm as the load-bearing dwarfed by a dominant The tall part of 200 the building, facing Niels structure, partly with a view to reducing Juels Gade to the east, maintains the 0 the construcon height and makingoriginal room proporons of the a area b andc d e f g for an extra story without the building ensures that Danmarks Naonalbank is in Number of Compeon Enres becoming taller than the neighbouring harmony with the surrounding 19th century blocks. The modules are visible both on buildings. The building’s large the facade and inside the building, glass (e.g. facades vary in appearance, depending on the weather and the me in the office corridors with double walls of the day, and they integrate the of cupboards, on panels and in the surrounding IT buildings by reflecng them.

The Module The Danmarks consists of nar 420 x 420 cm structure, part the construc for an extra sto becoming talle blocks. The mo the facade and in the office co of cupboards, floor of the ba

floor of the banking hall).

Collaboration with Zachary Green

The Site The building precisely respects the lines of streets that defines the block, it opens the potenal for the building to be included in the urban context and appears as a solitary element at the same me.

2

7

1961

Compeon is held for design of Denmark’s new naonal bank

1964

Demolion of exisng buildings on site

1965

Phase 1 (northern half of tall building) construcon started

1970

Phase 1 construcon completed, occupied

by April

1971

Arne Jacobsen dies, architects Dissing + Weitling take over

1972

Phase 2 construcon started (southern half of tall building and poron of low building)

1976

Phase 2 completed and phase 3 construcon started (remainder of low poron)

1978

Phase 3 completed, complex is finished

ARCHITECT Arne Jacobsen PROJECT Denmark Naonal Bank

a

8 9 10 11

GROUND FLOOR

1 Double Door Public Entry 2 Recepon

b

c

d

e

f

g

The Site Relave Area of Projects The building precisely respects Floor the lines of streets that defines the block, it opens the potenal for the building to be included in the urban context and appears as a solitary element at the same me. a. Toronto City Hall by Viljo Revell

1961-1965 (75,890 m2) b. Sydney Opera House by Jorn Utzon 1959-1973 (18,000m2) c. Centre Georges Pompidu by Renzo Piano and Richard Rogers 1971-1977 (45,000m2) d. The Royal Library by Schmidt Hammer Lassen 1993-1999 (20,733m2) e. Austrian Cultural Forum New York by Raimund Abraham 1992-2002 (7,574m2) f. Guggenheim Helsinki 2015 - present (12,200m2) g. Danmarks Naonal Bank 5 Banking Offices GROUND FLOOR 1965-1978 (48,000m2) 6 Suspension Cables

1 7mm Bronze Coated Outer Pane 2 6mm Insulang Pane

15 5 10.5mm

6 Frosted P

6

6

design compeons near the same curtain wall principle, where the facade me and around the world, Danmarks has been mounted to the building Naonal Bank has a low number of without being part of the load-bearing compeon entries being a closed structure. This was a very innovave compeon. In relaon to other technique at the me. The curtain wall 6 projects’ construcon mes, the The Curtainassembly Wall Architectural Design Compeons is comprised of an embedded In comparison to other architectural Danmarks Naonal Bank also took The facade of the building is based on a sunshade sandwiched between a near the sameme to complete. curtain wall venlated principle, where facadeskin. design compeonsmuch longer tripletheglazed

houses, neighbourhoods, streets and environments. Good architecture never shouts. Is it like a well-mannered lady that is polite to its neighbours.

The order and progression of the street is more important than the individual building. In looking back over my work for the past twenty years it seems I have been obsessed with the quality of light. I am sll learning.”

-Arne Jacobsen

has been mounted to the building without being part of the load-bearing structure. This was a very innovave technique at the me. The curtain wall assembly is comprised of an embedded sunshade sandwiched between a venlated triple glazed skin.

6

1

20 16 12 8 4

6

2 3

1 2 3 4 5

a

e

c

d gf

b

6

4

0m

20

40

80

100

Compression and Expansion of Public Lobby 3

me and around the world, Danmarks Naonal Bank has a low number of compeon entries being a closed compeon. In relaon to other projects’ construcon mes, the Danmarks Naonal Bank also took much longer me to complete.

curtain wall p has been mo without bein structure. Th technique at assembly is c sunshade san venlated tri

4

5

4 5

2

a

e

c

d gf

b

6

3 7

3

1

The Compeon The Architecture In 1961, the and Denmark Naonal Bank The architecture comprises a low a tall mass, by a one fivestorey prominent architects of the Thesurrounded Architectureinvited high wall.

The low partcomprises of the building, to take part inaa compeon. The The architectureme a low and with a public pavement garden, ensures tall mass, surrounded by a one storey compeon was to result in a soluon that thehigh 350-year-old Holmens Church wall. The low part of the building, whereby the Denmark Naonal Bank’s with public pavement garden, ensures adjacent to athe west of the site is not funcons could be gathered in one that the 350-year-old Holmens Church dwarfed by a dominant building complex. place, taking into account its central adjacent to the west of the site is not The talldwarfed part of by thea dominant building, facing Niels locaon with the Old building complex.Stock Exchange, Juels Gade to the maintains the Niels Holmens Chrisansborg Castle The tall part east, of the building,Church, facing originalJuels proporons of the area and Gade to the east, maintains the and various ministries as its proporons of the areaThe andis ensuresoriginal that Danmarks Naonalbank in neighbours. proposal from Arne ensures Danmarks Naonalbank is in harmony with that the surrounding 19thpreferred Jacobsen was because it with the surrounding 19th centuryharmony buildings.

Thesolved building’s large the programmac demands century buildings. The building’s large glass facades vary invary appearance, using a built floor area rao of almost glass facades in appearance, depending on theonweather the me depending the weather and the me by the site. half ofand that permied of the day,they and integrate they integrate of the day, and thethe surrounding buildings by reflecng them. surrounding buildings by reflecng them.

1

The Architecture 2000 The architecture comprises1800 a low and a tall mass, surrounded by a1600 one storey 2000 high wall.1800 The low part of the 1400building, with a public pavement garden, 1200 ensures 1600 that the 350-year-old Holmens Church 1400 1000 The Module adjacent to the west of the800 site is not 1200 The Danmarks Naonalbank dwarfedbuilding by a dominant building complex.

1000 The Module 600 consists of narrow module measuring 800of the building, facing Niels The Danmarks Naonalbank buildingThe tall part 400 420 x 420 cm as the load-bearing consists of narrow module measuringJuels Gade600 to the east, maintains the 200 structure, partly with a view to reducing 400 420 x 420 cm as the load-bearing original proporons of the area and 0 200 the construcon height and making room structure, partly with a view to reducing ensures that0 Danmarks Naonalbank a isbin c d e f g the construcon height making room the building for an extraand story without a surrounding b c d 19th e f g harmony with the for an extra becoming story without the building Number of Compeon Enres taller than century the neighbouring buildings.

Theofbuilding’s large Number Compeon Enres becoming taller than the neighbouring blocks.

The modules are visible both on blocks. The modules are visible both glass on facades vary in appearance, theinside facade inside the building, the facade and theand building, (e.g. depending on (e.g. the weather and the me the office with double walls in the office in corridors withcorridors double walls of the day, and they integrate the of cupboards, panels and on in the IT and in the IT ofon cupboards, panels surrounding buildings by reflecng them. floor of the banking floor ofhall). the banking hall).

7

a

1961 The Site The Site The building precisely respects the lines The building precisely respects the lines of streets that defines the block, it opens thethat potenal for the be 1964 of streets defines thebuilding block, to it opens included the urban context and the potenal forin the building to be appears as a solitary element at the same included in the urban context and 1965 me.

appears as a solitary element at the same me.

1 Double Door Public Entry

5 Banking Offices

2 Recepon

6 Suspension Cables

Compeon is held for design of Denmark’s new naonal bank Demolion of exisng buildings on site Phase 1 (northern half of tall building) construcon started

1970

Phase 1 construcon completed, occupied

by April

1971

Arne Jacobsen dies, architects Dissing + Weitling take over

1972

Phase 2 construcon started (southern half of tall building and poron of low building)

1976

Phase 2 completed and phase 3 construcon started (remainder of low poron)

1978

GROUND FLOOR Phase 3 completed, complex is finished

1 7mm Bronze Coated Outer Pane 2 6mm Insulang Pane

b

c

d

a

e

f

b

g

c

d

e

f

The Module The Danmark consists of na 420 x 420 cm structure, pa the construc for an extra s becoming tal blocks. The m the facade an in the office c of cupboards floor of the b

g

Relave Floor Area of Projects The Site Relave Floor Area of Projects The building precisely respects the lines of streets that defines the block, it opens the potenal for the to be 8 a. Toronto Citybuilding Hall by Viljo Revell included in the urban (75,890 contextm2) and 1961-1965 8 a solitary element a. Toronto City Hall by Viljo Revell appears as at Jorn the same 9 b. Sydney Opera House by Utzon 1961-1965 (75,890 m2) me.

1959-1973 (18,000m2) 10 9c. Centre Georges Pompidu b. Sydney Opera

by Renzo House by Jorn Utzon Piano and Richard Rogers 1959-1973 (18,000m2) 11 10 1971-1977 (45,000m2) c. Centre Georges Pompidu by Renzo d. The Royal Library by Schmidt Piano and Richard Rogers 11 Hammer Lassen 1971-1977 (45,000m2) 1993-1999 (20,733m2) The New Royal Library e. Austrian Cultural d.

Forum York by by Schmidt Raimund Abraham Hammer Lassen 1992-2002 (7,574m2) 1993-1999 (20,733m2) f. Guggenheim Helsinki e. Austrian Cultural Forum New York by 2015 - present (12,200m2) Raimund Abraham g. Danmarks Naonal Bank 1992-2002 (7,574m2) 1965-1978 (48,000m2) f. Guggenheim Helsinki 2015 - present (12,200m2) Danmarks Naonal Bank 5 10.5mm Tempered Inner Pane 9 30mm Norwegiang.Marble 1965-1978 (48,000m2) 6 Frosted Privacy Strip 10 Arficial Light

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xs bl o c k Digital Fabrication, 2015 “..aggregate form and converging ideas revolving around illustions and visual dynamics�

Design process began with the idea of creating a block that could create complex patterns as a aggregate form and converging ideas revolving around illusions and visual dynamics.

Collaboration with Valeria Fuentes

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sc u l ptu re s Greenwood Working, 2016 “process of sourcing, refining, and working working with imperfections. �

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T h a n k Yo u

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