Erik Sven Broberg - M.Arch I Portfolio by Erik Sven Broberg

CO NS TA NT LY UN DE R

CO NS TR UC TI ON

ERIK SVEN BROBERG GRADUATE ARCHITECTURE + DESIGN PORTFOLIO University of Miami + CCA 路 2016 e.broberg@umiami.edu/ 561.307.2084

This page inten onally le black

[ SELECTED WORKS ] STUDIO WORKS Embedded Medical Furniture · UMiami SOA · Fall 2015 Dr. Juhong Park

Emerge Innova on Hub · UMiami SOA · Summer 2014 Denis Hector

‘How to Domes cate a Mountain’ · CCA Advanced Studio · Summer 2015 Anna Neimark, Andrew Atwood, Brian Price

WorkPlace><CityScape · CCA Advanced Studio · Spring 2015 Craig Sco

BUILT CONSTRUCTS John Lum Architecture John Lum, Bret Walters

VARIED Axis 2-2 · CCA · Kinema c Code · Spring 2015 Andrew Kudless

Genera ve Sunscreen · UMiami · Fall 2014 Dr. Juhong Park

**ALL PORTFOLIO CONTENT CREDITED TO ERIK SVEN BROBERG UNLESS OTHERWISE NOTED ON IMAGE**

iii

Final Physical Model Photograph 1/4’ = 1’0” So ware: Rhino, Python, Grasshopper, Illustrator, Photoshop Hardware: CNC Mill, Laser Cu ng, 3D Prin ng

1 Embedded Embed mb m beed dd deed Me M Medical ed diica cal Fu FFurniture Furn urn niittur tur ure

EMBEDDED MEDICAL FURNITURE University of Miami Digital Design and Fabrica on Studio · 2015 Dr. Juhong Park

The goal of Dr. Juhong Park’s ‘Embedded Medical Furniture’ studio was to explore diﬀerent digital fabrica on techniques created from programming languages such as Python and Grasshopper. I had the fortunate experience to be the teaching assistent for this studio as well as be a student. I lectured on Grasshopper to the students on regular intervals. Nevertheless, as the lot of the studio chose to create furniture, I chose to design the clinic that would house this furniture. A er exploring tac le design techniques such as shape grammar and constant itera ons through 3D prin ng, I realized my midterm and final projects through CNC milling. My final clinic consisted of four quadrants where each represented a quarter scale shipping container. As a result, my design called for over 130, three foot tall wooden ribs at a quarter inch thickness. My overall dimensions for the final model were 4’x10’x3’ tall.

Embedded Medical Furniture 2

[ PARAMETRIC MORPHOLOGY ] Employing ideas borrowed from simple addi ve shape grammar and basic musical symmetries, I created twenty five itera ons of since 8x20â&#x20AC;&#x2122; shipping container units. Next, I aggregated them by similarity and formed four quadrants that represented the final form. Throughout this process, 3d prin ng was vital in ge ng a realis c feel for what the spaces would feel like and I designed them accordingly.

3 Embedded Medical Furniture

Itera on C

Itera on B

Itera on A

[ DESIGN DEVELOPMENT ] a.

Itera ons ‘B’ and ‘C’ Aggregated

The impetus of this clinic began by coding a parametric ‘space crea ng wall’. This wall enabled variable spaces to be realized through posi ve and nega ve extrusions based on height. Fig(a) shows the ini al test model. Fig(b) shows 25 itera ons of wall grammar within scaled container boundaries. Fig(c) shows addi ve shape grammar. Fig(d) shows combina ons of itera ons C and D from the previous page. Fig (e) shows a plan view of these aggrega ons while fig(f) displays the final aggregated plan of Itera on B. Finally, figures (g) and (h) show a quarter scale sec on of the wall pictured in fig(d-2) from Itera on ‘B’. g.

Itera on ‘B’ Realized

Physical Model of the quarter scaled sec on ‘aa’ Itera on B.

Embedded Medical Furniture 4

[ CLINIC ] Mobile Maternity Clinic

Embedded Technologies:

The mobile maternity clinic makes use of digital fabrica on in an eﬀort to bring exci ng design to developing countries.

Embedded Technologies UƟlized: 1. Humidity Sensor - This allows the comfort level of the container clinic to be properly analyzedand op mally updated. 2. Light Sensor - This detects the luminance of the rooms and collectvvvs data necessary to control the increase or decrease of ligh ng. 3. Tracking Sensor - This sensor detects the amount of pa ents that enter the clinic daily. It also detects if there are too may people in the wai ng room.

The clinic is designed for the post-disaster zone of Hai ; however, it is adaptable to diﬀerent loca ons. Nevertheless, it is comprised of four shipping containers and merged to form the pictured form. Using wooden strips to create a wall is useful in the small space as it creates posi ve and nega ve space thus allowing for the crea on of space through the various protrusions of the wall. Furthermore, the use of smart technologies embedded within this clinic allows for the analysis of data so better forecasts on health care can be made in the future.

40’

Protrusion Heights <= 2.5 feet +Sea ng|-Storage

Wai ng 16’

Diagnosis

Full Size Floor Plan - Itera on B Scale: 1/2”=1’0”

5 Embedded Medical Furniture

+Cabinet|-Shelf

Examina on Recep on

>= 2.5 feet

[ PHYSICAL MODEL ASSEMBLY Top Exploded Axonometric

Worm’s Eye Exploded Axonometric

2.5’

4’

10’

SCALE: 1" = 1'0"

Scale: 1/4”=1’0”

Scale: 3/8”=1’0”

1" = 1'0"

SCALE: 1/8" = 1'0"

Embedded Medical Furniture 6

Quadrant B Exterior View

Quadrant C Interior View

Quadrant C Exterior View

Quadrant B Interior View

7 Embedded Em mb beed ddeed Me M Medical ed diica cal Fu FFurniture urni rnit itu urre

Quadrant B + C Interior View

Exterior Aerial

Embedded Em mbe b d dd deed dM Medical eed dica iccaall FFurniture urni ur rnitu nitu ni turree 8

[ EMERGE INNOVATION HUB ] University of Miami · 2014 Professor Denis Hector The ‘Emerge Innova on Hub’ project is a project proposed by the financial firm, Medina Capital. This prominent firm wished to u lize our studio to gain design ideas for their vision of inia ng Miami as the ‘Tech Hub’ of South America. As is o en the case of clients, they wanted a large program under a small budget. We spent weeks in a deba ng these ma ers before developing the pictured building. As they insisted the building’s cosme cs too look futuris c we turned to Erwin Hauer’s Design No. 5 for inspira on.

PROJECT DESIGN AND PRODUCTION CREDIT: ERIK SVEN BROBERG + LUIZA LEITE So ware: Rhino, Grasshopper, Illustrator, Excel, Sketchup, Vray, CAD

West ElevaƟon ELEVATION CREDIT: LUIZA LEITE

9 Emerge Innova on Center

North ElevaƟon

[ SITE SELECTION ] Wynwood Arts District, Miami Florida

Situated in the burgeoning Wynwood Arts District of Miami, Emerge Innova on Center occupies a premier slice of real estate which allows not only inrastructural connec vity, but also cultural integra on into the pulse of the burgeoning neighborhood.

Due to the plethora of program that Medina Capital wished to be included in their Innova on Center, we had to develop a system of jus fica on to understand how many people might use each programma c element. Pictured below is a hot to cold diagram illustra ng how more people will u lize open and collabora ve spaces. This open and collabora ve approach is the ethos of ‘Emerge Innova on Center’.

DIAGRAM CREDIT: LUIZA LEITE

East ElevaƟon

South ElevaƟon

Emerge Innova on Center 10

[ PROGRAMMATIC DATA ] TOTAL PROGRAM 133,845 SF

RESTAURANT/BAR 5000 SF

INCUBATOR SPACE 43,260 SF

LIBRARY 10,000 SF

COWORKING 24,785 SF

EDUCATION 10,000 SF

MAKERSPACE 10,000 SF

MEDIA 5,000 SF

ATRIUM 30,000 SF

GYMNASIUM 15,000 SF

SCREENING ROOM 5,000 SF

TRADITIONAL OFFICES 14,800 SF

DIAGRAM CREDITS: LUIZA LEITE

INTERIOR TOP-FLOOR SOUTHEAST ORIENTED VIEW

Form Morphology

Structural JusƟficaƟon

The form for the shell of ‘Emerge’ happened by accident. I was working with a student and teaching them how to 3D print Erwin Haur’s ‘Design 5’, and thought to myself how great it would look as a building. I brought the idea to my partner in studio and before we knew it, we were developing the program and architecturalizing the manifolds slightly. We ended up using a bubble relaxa on technique to achieve the proper form for the primary manifold.

a. While the hyperbolic paraboloid form of the shell allows for theore cally perfect compression, the perimeter condi on of the primary manifold was decided to be comprised to 15’x30’ concrete slabs. The 350’ spans are no problem with this method.

11 Emerge Innova on Center

Erwin Hauer Pa er No. 5

[ FORM + STRUCTURAL JUSTIFICATION ] An innate result from adop ng Hauer’s form, was the ability to manipulate natural light. A er all, he created the original panels to manipulate and screen sun or oﬃce light. As a result, we perforated the primary manifold which created an ethereal ligh ng condi on for the atrium and floors above.

RENDER CREDIT: ERIK BROBERG + LUIZA LEITE

92’

b. We found that the tensegrity of the post-tension boundary condi on allowed us to choose either tradi onal concrete formwork or lightweight panels for the long-unsupported spans.

350’

Emerge Innova on Center 12

[ MOTION ] 3D Printed Study Model

Public vs. Private Circula on Business Circula on Business Elevators Atrium Elevators Atrium Stairs

13 Emerge Innova on Center

DIAGRAM CREDIT: ERIK BROBERG + LUIZA LEITE

Northwest Sec on Plan Perspec ve

Emerge EEm meerrggee Innova In nn nov ova o on n Center Ceeent C nteerr 14 nter nt 14

Tilt Axial PerspecƟve

Musical PaƩern Provides Ordering System for Form Pictured on this page is a 3D printed study model intended to display the the rela onship between the primary hyperbolic manifold with its peripheral manifolds and core support system. It is clear from increasing the scale of Erwin Hauer’s module that he meant to play not ony with light; however, what is unclear is what ordering system he used to jus fy his form. At this scale the manifold appears to follow a musical ‘mo f and cadence’ pa ern. The mo f is the primary hyperbolic manifold and it is resolved by its periphery ‘response system’.

15 Emerge Innova on Center

Side Right View

Axial PerspecƟve

Rear PerspecƟve

Aerial

EEmerge Em meerrggee Innova Inn nnov ovaa o on n Center Ceent Cent nter 16

[ HOW TO DOMESTICATE A MOUNTAIN? ] CCA · ARC 333 ADVANCED EXPERIMENTAL STUDIO SUMMER 2015 PROFESSORS ANNA NEIMARK, ANDREW ATWOOD, BRIAN PRICE

Itera on B Worm’s Eye Axonometric Framing Scale 1/8” = 1’0”

17 How to Domes cate a Mountain

Anna Neimark, Andrew Atwood, and Brian Price (all from GSD) taught an experiemental studio over Summer 2015 at the California College of the Arts. I had the opportunity to take this studio as a caviat to my studies abroad at CCA. The impetus of this studio was to ‘build a mountain house’; however, their noon of a mountain was far diﬀerent than I had imagined. For instance, the studio had many rules which I find refreshing. As far as process and pedagogy, we were each assigned a Mondrian Lozenge pain ng and an epic mountain range. I was given ‘Lozenge with 2 lines’ and the Manaslu mountain range. We were next required to subdivide the mountain with the regula ng lines crea ng from the pain ng. Finally, we could only display our ideas and designs with 45 degree axonometric projec ons and use materials one could buy from Home Depot.

‘Lozenge Composi on with Two Lines’ Piet Mondrian 1931

Manaslu Mountain Range, Nepalese Himalayas

‘Lozenge with Two Lines’ adds regulating lines to the mountain.

How to Domes cate a Mountain 18

[ FORM DEVELOPMENT ] a.

19 How to Domes cate a Mountain

How to Domes cate a Mountain 20

[ POTENTIAL ITERATIONS ]

Itera on B Floor Plan

Itera on A Southwest Eleva on Oblique

Scale 1/8” = 1’0”

Itera on B Worm’s Eye Framing Axonometric

It Iter era a o on nA Itera Top View Framing Axonometric

Scale 1/8” = 1’0”

21 How to Domes cate a Mountain

[ HOW TO DOMESTICATE A MOUNTAIN? ] The intersec on between the Mondrian’s ‘Lozenge with two Lines’ subdivides the Manaslu peak into four segments. (This condi on can be seen in (h) of the ‘form process’. Neverthless, the peripheral shapes were discarded leaving only the primary volume. According to the iterated drawings to the le and below, the stalac te volume can be conceived either as a space with solid walls, curtain walls, or simply as a pavilion. The purpose of this studio was not to reconcile these various condi ons; but, rather to explore the process of crea ng regulated shapes out of chao c ones. The sequen al drawings were constantly iterated which ended up driving the design process. In conclusion, we simply learned that form cannot be jus fied unless there is a point of reference. In this instance, the point of reference is the regula ng lines of Piet Mondrian’s pain ng.

Itera on B Physical Model On Site Hardware: 3D Prin ng So ware: Rhino, Illustrator, Photoshop

How to Domes cate a Mountain 22

[ WorkPlace><CityScape 2.0 ] FAIRCHILD STUDIOS WorkPlace><CityScape 2.0 CCA Advanced Studio 2015 Professor Craig Sco LocaƟon: 55 Potrero Ave, San Francisco, CA 94107 Due to the rapid influx of the tech industry (and their resultant income) into San Francisco’s current development, local businesses are being pushed out of town as the urban fabric is in a state of flux. As a result, the city has enforced PDR (Produc on, Distribu on, and Repair) to ensure a place maintains for local maker spaces. The proposed building, ‘Filter Freak Recording Studios’ oﬀers the city a crea ve outlet to develop both local and interna onal ar sts in the hope of crea ng a las ng impact on the city which has been lacking since the late six es.

So ware: Rhino, Grasshopper, Illustrator, Photoshop Site Sec on · SoMissPo

23 WorkPlac WorkPlace><CitySpace a e>><<C CiittyS ySp paaccee

[ ELEVATIONS ]

North + South ElevaƟons

East ElevaƟon

WorkPlace><CitySpace W Wo rkPlace> e>><C <CittySSpaace ce 24 24

[ SITE ]

[ VIEWS ] SoMissPo

VIEWS

The Th he imptus impt im mptus ptu pt u b us beh behind eh this studio is twoffold. fo olld. FFi First, it fo ffocuses foc c on PDR-zoned parcels ce els iin n tthe area rea aat the junc on between the th he M Mission, ssio SSOMA O and the Potrero Hill/ Design e i Districts. Dis isttric i tss. Second, is to discover the th he best est o opportunity pp r for ‘architecture to o engage enga ngage wi with with t the complex spa o-programma ggrramm maa c condi ons opera ng bettw tween ween tthe h built urban fabric and the adof the area’s streets jjacentt infrastructure iin nf ast strrucct and n freeways’. reewayys ys’ s’.’. 1

The chosen site oﬀers the building a formidable presence when approached from the adjacent infrastructure. Similarly, interes ng views from the building onto it’s adjacent urban fabric and infrastructure are created.

Loca on Map

Site Plan

View from East of building

Exis ng North Street View

View from North of building

View from South of building

Test Model Photograph Sco , Craig. “WorkPlace><CitySpace.” Studio Documenta on from California College of the Arts, San Francisco, CA. Jan 1, 2015.

Site Sec on 25 WorkPlace><CitySpace

[ MORPHOLOGY ] CARVING

Pictured below are the primary views the studio has to oﬀer: North, South and East. (While there is a view from the west, it comes from a stairwell, so it is not pictured as a primary view).

The site plan illustrates how the highway carves through the fabric of the site and leaves a ‘cat’s eye’ shape to be built upon. This idea of carving is taken one step further as an exterior pathway pierces skin of the building to the elements.

fig(1) Site View from East

PA N E L I N G

Site View from North

In the poe c sense, the exterior skin of Filter Freak Studios is derived from the staggered rectangles of a digital level meter. In a postmodern sense they serve as a metaphor, in construc on they oﬀer cladding to the building, and aesthe cally they shine from a distance and oﬀer up an astonishing statement of San Francisco’s crea vity. y Finally, the panels are constructed of one eighth of an inch sheet metal that will be cut on site to accomodate the double curvature of the building. Digital Audio Meter/Equalizer

MORPHOLOGY MORPHOLOGY Step 1: Planometric Divison of Spaces

Planimetric Division of Space

VIEWS

Site Prior to Addition of Highway

Addition of HIghways and Current Building Footprint

Split By Infrastructure

Open Park Spac

Studio Building

Separation of Parcel Into 2 Segments as Dictated by Infrastructure

Site View from South

Addition of New Building Footprint

WorkPlace><CitySpace 26

[ ILLUSTRATED SECTION ]

SCALE 1/8” = 1 FT

SECTION AA

SECTION BB

SECTION CC

SCALE 1/8” = 1 FT

27 WorkPlace><CitySpace

[ FLOOR PLANS ] 2nd Floor

13.

ϭ͘ ƌƟƐƚ >ŽƵŶŐĞ Ϯ͘ WƵďůŝĐ ŝƌĐƵůĂƟŽŶ ϯ͘ sĞƐƟďƵůĞ 4. Storage 5. Machine Room 6. Breezeway 7. Control Room A 8. Studio A 9. Iso Booth 10. Green Room Access 11. Storage 12. Egress 13. Green Room Access

12. 11. 9. 6. 8. 7.

10.

EXTERIOR PUBLIC CIRCULATION

1st Floor ϭ͘ WƵďůŝĐ ŝƌĐƵůĂƟŽŶ 2. Breezeway ϯ͘ ^ŽŶŐǁƌŝƟŶŐ 4. Publishing 5. Rehearsal Space ϲ͘ sĞƐƟďƵůĞ 7. Control Room B 8. Studio B 9. Machine Room 10. Egress

10.

9. 7. . 5.

8. . 6.

3. 2. 4.

12.

Ground Floor Ground Floor 1. Entrance 2. Bar 3. Coat Check 4. Venue 5. Stage 6. Storage 7. Public Entrance 8. Stage Loading 9. Green Room 10. Private Entrance 11. Employee Entrance 12. Egress

10. 4. 8.

5. 9. 7. 6.

11.

SCALE 1/8” = 1 FT

SECTION DD SCALE 1/8” = 1 FT

WorkPlace><CitySpace 28

[ BUILT WORKS ]

29 Built Works

JLA SKYLIGHT AUTOMATION Contracted by John Lum Architecture · Summer 2015 Project Manager: Bret Walters

Described in this sec on are my publicly and semi-publicly constructed designs. Fortunately, I was hired by John Lum Architecture in San Francisco to do everything that required designing with coding. I completed three projects for them, the le pictured ‘Skylight Automa on’, an intercom, as well as a ‘parametric planter’ built on the streets of the Mission District in San Francisco. This work was integral to my understanding and apprecia on of Digital Fabrica on on diﬀerent materials such as steel. Up un l this point I had only worked with wood, plaster and plas c. It was extremely interes ng to work hand in hand with a metal shop crea ng shop drawings in order to have my coded designs physically realized. At the end of the day, what is the point of computa on unless it is built? Once built and func onal, there will always be a reference point.

Built Works 30

[ SKYLIGHT AUTOMATION OVERVIEW ] Forward VerƟcal Construct Top Mechanism Rear Gear System

BoƩŽŵ Mechanism

While interning at John Lum Architecture in San Francisco, I was tasked with every job that required computa on. Although this specific job was more engineering-based, I was requested to design and produce construc on documenta on for a Leonard DaVinci-esque yet Steampunk mechanism to automate their skylight cranking system. A er weeks of design, measuring, and crea ng shop drawings, I delivered the design to the principle Architect before I departed to take a summer studio at CCA.

Design: Erik Sven Broberg Engineering: Christopher Umstead Construc on: Mark Nicholson So ware: Rhino, Grasshopper, Illustrator 26.75

IniƟal State

35.26

3 A.4.0

198.08

1 A.4.0

22.13

IniƟal State

2 A.4.0

4 A.4.0

31 Built Works

Detailed Wall ElevaƟon

Fabricated Component Details (A) Steel Retaining Wall Mount (B)

Fabricated Component Details (B)

1 A5.5

Ø .375" Retaining Ring

Ø 3/8" Lag Screw Ø Steel Shaft

Ø .875 Steel Tube

2 A5.3

Ø 3/8" Steel Shaft

3 A5.3

Skylight

3 A5.3

Ø .375" ID Retaining Ring Ø .375" Sleeve Bearing Ø .375" Retaining Ring

Shaft Retaining Component (B) 1 A5.3

Existing Skylight Shaft

Ø 3/8" - 16 Forged Clevis End Rod

Forged Clevis Rod End

Wall Mounted Ball Bearing

Variable Acrylic Block

2 A5.4

Ø 6" Sprocket Ø 10" Sprocket

.375 Shaft

3 A5.4

Controls whether bearing is on same plane as existing skylight shaft.

1 A-5.2

3/8" Steel Shaft

1 A-5.2

5" Variability Per Location

Flange Control Joist varies between 1 and 5" at each desk.

1 A.1

3 A.2

TOP EXPLODED ISOMETRIC

Scale: N.T.S.

Steel Retaining Wall Mount (A)

TOP VERTICAL MECHANISM

Steel Flange

Existing Joist

1 A5.1

Scale: N.T.S.

1 A5.5

Steel Flange Shaft Couplings

Ø 3/8" Lag Bolt

Ø .375 S te e l Shaft

Ø .5" Steel Shaft

Ø 3/8" Lag Screw Variable Wood Block

Ø .5" R e ta in i ng Ring

Ø .5" Retaining Ring 3 A5.3

1 A5.1

.375" + .25" ID Combination with Spider in between

3 A5.3

**Part Not Yet Fabricated** Will need to measure the distance the joist is offset from the existing skylight rod.

Existing Joist

Arbitrary Steeling Wheel < 22" OD Ø 1" Steel Tubing

2 A5.3

RA-302-1 MINI ANGLE DRIVE BOX 10" Sprocket

4 A5.4

Ø 10" Sprocket

Welded 4" Sprocket

3 A5.4

4 A5.4

Variable Acrylic Block Ø .5" Steel Tube Ø .5" Sleeve Bearing Ø Steel Tubing

Ø Steel Retaining Component (A)

Ø .375" Steel Shaft

4 A5.4

**Part Not Yet Fabricated**

2 A5.3

ANSI 40 Chain

1 A5.5

2 A5.3

Arbitrary Wheel < 22" OD Ø .5" Retaining Ring

2 A.1

BOTTOM EXPLODED ISOMETRIC

Scale: N.T.S.

2 A.1 4 A.2

F O R W A R D V E R T IC A L C O N S T R U C T S E C T IO N Scale: N.T.S.

E-2 A.1

F ORWARD VERTICAL CONSTRUCT ELEVATION Scale: N.T.S

BOTTOM VERTICAL MECHANISM

Scale: N.T.S.

Hand Crank Exploded Axonometric N.T.S.

Detailed Wall ElevaƟon N.T.S.

Final Construc on image of bottom wheel and subsequent gear mechanism. The bo om gear in this case controls both skylights as is illustrated in detail (1 - A.1).

Final Construcon of the en re mechanism. Both Forward Ver cal Constructs can be seen as they connect to the controlling rear sprockets which, in turn, connect to the top center gear mechanism.

Final Construc on of Forward Ver cal Construct (2 - A.1) connec ng to the exis ng skylight handle above.

Built Works 32

[ INTERCOM ] The Second Project consisted of designing a simple intercom system out of 1/8” steel. I created the design on Grasshopper and sent it to get waterjet. Finally, I wired a new bu on to complete the job.

2 3/32

7 5/8

1 21/32

4 5/8

1 1/2

9/32

10 7/32

1 1/2

1 9/32

1 9/32 2 7/16

2 1/4

Ø 5/8"

11/16

Ø 7/32"

Primary Design: Erik Sven Broberg Project Manager: Bret Walters Contractor: Standard Metal Products So ware: Rhino, Grasshopper, Illustrator

33 Built Works

Primary Installa on

Current State (4 Months Later)

[ PARAMETRIC PLANTER ] The third project consisted of designing a Planter Box for the exterior of the architecture firm. Once more, I created a design using Grasshopper’s useful mesh tools. Unfortunately, I did not see my design realized as I had already le to begin my final semester. Nevertheless, the design was finally built allowing me to have a las ng design built in the Mission District of San Francisco. My goal in the design was to create perfora on in an interes ng way so that the name of the firm, ‘Lum’, would be legible only under certain ligh ng condions. I wished to move away from tradi onal a ractor + image sampler combina on, so I research and u lized a ‘tri-grid recursive subdivision by brightness values’ defini on tled and credited to Hyngsoo Kim.

Design Development

Pictured le is the simple code used to create the pa ern. Below is the final construct on the streets of the Mission district.

Street View a. Mission District, San Francisco

Primary Design: Erik Sven Broberg Second Design: Alina Chen Project Manager: Bret Walters Contractor: Standard Metal Products Street View b. Mission District, San Francisco

Built Works 34

[ AXIS 2-2 ] Itera on A

Itera on B

KinemaĆ&#x;c Code CCA. Professor Andrew Kudless So ware: Rhino, Grasshopper, Illustrator Hardware: Vinyl Cu er with Sharpie Credit: Erik Broberg + Hyungsoo Kim

Process Pseudo-Code 10 9 8 7 6 5 4 3 2 1 0

35 Varied

[ GENERATIVE SUNSCREEN ]

Pictured here is the ‘GeneraƟve Sunscreen I designed for Dr. Juhong Park’s LighƟng course. Part of the requirement was study the shading paƩerns and input them into a studio project (pictured above). I iterated the project one step further to create the variaƟons pictured to the right.

Varied 36

[ CV ] ĞĚƵĐĂƟŽŶ ŐƌĂĚƵĂƚĞ͗

^ƉƌŝŶŐ ϮϬϭϱ Ͳ ^ƵŵŵĞƌ ϮϬϭϱ

CCA ^ƉƌŝŶŐ ϮϬϭϱ ^ƚƵĚǇ ďƌŽĂĚ

hŶŝǀĞƌƐŝƚǇ ŽĨ DŝĂŵŝ ͼ D͘ ƌĐŚ / ;ĐƵƌƌĞŶƚͿ

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^ƉƌŝŶŐ ϮϬϭϱ ^ƚƵĚǇ ďƌŽĂĚ

UCLA

Summer 2013

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^ƉƌŝŶŐ ϮϬϭϱ ^ƚƵĚǇ ďƌŽĂĚ

Berklee College of Music

Summer 2001

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hŶŝǀĞƌƐŝƚǇ ŽĨ DŝĂŵŝ

&Ăůů ϮϬϬϯ Ͳ ^ƉƌŝŶŐ ϮϬϬϲ

DĂũŽƌ͗ ,ŝƐƚŽƌǇ DŝŶŽƌ͗ DƵƐŝĐ ƵƐŝŶĞƐƐ͕ :Ăǌǌ 'ƵŝƚĂƌ WĞƌĨŽƌŵĂŶĐĞ

awards

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Summer 2013

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ůů ^ĞŵĞƐƚĞƌƐ

skills ĐŽŵƉƵƚĂƟŽŶ͗

Advanced: ZŚŝŶŽĐĞƌŽƐ ϯ ͕ 'ƌĂƐƐŚŽƉƉĞƌ͕ ZĞǀŝƚ͕ WǇƚŚŽŶ ;/ŶƚĞƌŵĞĚŝĂƚĞͿ͕ ĚŽďĞ ^ƵŝƚĞ͕ sZĂǇ WůĂƚĨŽƌŵ;ZŚŝŶŽͿ͕ ƵƚŽĐĂĚ͕ ĐŽƚĞĐƚ͕ dĂďůĞĂƵ͕ DĂŬĞƌǁĂƌĞ͕ ǆĐĞů͕ E DŝůůŝŶŐ ^ŽŌǁĂƌĞ /ŶƚĞƌŵĞĚŝĂƚĞ͗ WǇƚŚŽŶ ŽĚŝŶŐ͕ WƌŽĐĞƐƐŝŶŐ͕ dĂďůĞĂƵ͕ ƌĐ'/^͕ <ƵŬĂWZ

ƉŚǇƐŝĐĂů͗

Advanced: E DŝůůŝŶŐ ͕ ϯ ƉƌŝŶƟŶŐ͕ >ĂƐĞƌ ƵƫŶŐ͕ tŽŽĚƐŚŽƉ ĞǆƉĞƌƟƐĞ͕ ŬŶŽǁůĞĚŐĞ ŽĨ ĮďĞƌŐůĂƐƐ ĐĂƐƟŶŐ͕ ƌĂǁŝŶŐ͕ Intermediate: WůĂƐƚĞƌ ĂŶĚ ĞŵĞŶƚ DŝǆŝŶŐ͕ ^ŽůĚĞƌŝŶŐ͕ ƌĚƵŝŶŽ ǁŝƌŝŶŐ͕ ŬŶŽǁůĞĚŐĞ ŽĨ ĮďĞƌŐůĂƐƐ ĐĂƐƚŝŶŐ͕ ŐƵŝƚĂƌ ĐŽŶƚƌƵĐƟŽŶ͕ <ƵŬĂ ZŽďŽƟĐƐ

ĂƵĚŝŽ͗

Advanced: WƌŽ dŽŽůƐ ƵĚŝŽ DŝǆŝŶŐ͕ WƌŽĚƵĐŝŶŐ͕ ^ŽŶŐ ƌƌĂŶŐĞŵĞŶƚ͕ ^ŽŶŐ ŽŵƉŽƐŝƟŽŶ͕ dŽƵƌ DĂŶĂŐŝŶŐ͕ DƵƐŝĐ ŽŶƚƌĂĐƚƐ͕ WƌŽŐƌĂŵŵŝŶŐ DŝĚŝ ƵĚŝŽ ^ĞƋƵĞŶĐĞƌƐ͕ KƉƟŵŝǌŝŶŐ ŝŐŝƚĂů ĂŶĚ ŶĂůŽŐ ^ƚƵĚŝŽ н ^ƚĂŐĞ ŽŵƉŽŶĞŶƚƐ

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