ErikBroberg_DesignPortfolio20170725 by Erik Sven Broberg

ERIK SVEN BROBERG POSTGRADUATE DESIGN PORTFOLIO

CO NS TA NT LY UN DE R

UCLA Suprastudio 路 CCA 路 University of Miami 路 2017 e.broberg@ucla.edu 路 561.307.2084

CO NS TR UC TI ON

[ SELECTED WORKS ] ACADEMIC DESIGN

UCLA SUPRASTUDIO + UMiami SOA 2013-2017

Mars Habitat Challenge Guvenc Ozel

Embedded Medical Furniture Dr. Juhong Park

Northeast Aviary Armando Monterro and David Trautman

Emerge Innova on Hub Denis Hector

Mars Habita on Challenge Guvenc Ozel

So Robo cs Benjamin Ennemoser

Adjacencies in Mo on Guvenc Ozel

Fairchild Studios Craig Sco

How to Domes cate a Mountain? Andrew Atwood and Anna Neimark

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

[ SELECTED WORKS ] PROFESSIONAL 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

VISUALIZATIONS Erik Broberg

76 80

RESUME

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

iii

iv iv

Design Philosophy UCLA SUPRASTUDIO · 2016-2017 This past year I have spent countless hours working in UCLA’s cross-disciplinary post-professional design research facility known as the SUPRASTUDIO. Here, studying under futurist designer, Guvenc Ozel, I have realized my primary research goal of examining how emerging digital tools and technologies can aid in both the design process as well the cra ing of ‘digital experien al environments’. To me, design can be enhanced through the u liza on of an itera ve rela onship between tools such as VR and AR in an eﬀort to gain a more holis c and contextual understanding of a design problem. This aﬃnity is informed on the level of the designer as well as the user’s experience and feedback. As a result, the construc on of a ‘digital experien al environment’ becomes the generator of design in regards to both the designer as well as the user. It is this topic which has led me away from sta c architecture and towards a more generalized design methodology based on emerging technology; yet, rooted in human collabora on.

V+ Environment Render Render Credit: Nazli Tatar Further Edi ng: Erik Broberg 1

V+ (Addi ve Habitat) UCLA SUPRASTUDIO · Spring 2017 Guvenc Ozel Students: Erik Broberg, Huma Nazli Tatar, Alara Akiltopu, Zhe Liang

Our proposal focuses on offering poten al experimental shelter and transporta on solu ons to users and communi es intent on occupying areas prone to current and future sea level rise. Fundamental to this research is the concept of autonomous devices which design, through sensor and user data, highly customized and self-sustainable habitats through the u liza on of locally harvested materials for addi ve manufacturing. In this circumstance, the vehicle will serve as both the manufacturing generator as well as having the ability to intervene as a func onal appendage with its built habitat. Naturally, this habitat will create a disparate rela onship between the car and the organic addi ve surfaces. As a result, context-specific augmented reality interfaces will provide an affinity between the two typologies. Central to our proposal is the idea of the vehicle as a physical and func onal generator. Physically, the vehicle will construct the habitat; while, func onally, it will extend its spaality and func onality. This func onal transforma on will occur as the car intervenes by a aching to each space of the habitat and extends said space dimensionally and func onally. So ware: Maya, 3Ds Max, Rhino, Grasshopper, V-Ray, Illustrator, PSD, Unity3D, Oculus Ri , Microso Hololens 2

[ MODES OF SUSTAINABILITY] While the loca on of this project can be deemed somewhat arbitrary, the concept of popula ng an environment prone to ďŹ&#x201A;ooding has been chosen. In this loca on, the vehicle will serve as the generator where and serve as a central hub equipped with sensors and human input. Through a combina on of sensor data and user input, the vehicle will slowly addi vely manufacture a shell completely customized to the user or users that intend on occupying the environment. In an idealized condi on, the material will be extracted from the site in order to adhere to a sustainable paradigm.

[ HUMAN + MACHINE DATA] , /d d ' E Z d/KE >'KZ/d,D /ĚĞĂůŝǌĞĚ ,ƵŵĂŶ DĂĐŚŝŶĞ ŽůůĂďŽƌĂƟŽŶ /ŶƉƵƚ ĂƚĂ

ĞƚĞƌŝŵŝŶĂƚŽƌǇ ĂƚĂ

Age

^ŝǌĞ &ƵŶĐƟŽŶĂů ^ƉĂĐĞƐ WƌŽǆŝŵŝƟĞƐ ,ĞĂůƚŚ ^ƚĂƚĞ dǇƉĞƐ ŽĨ EƵƚƌŝĞŶƚƐ

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ĞƚĞƌŝŵŝŶĂƚŽƌǇ ĂƚĂ

^ĞŶƐŽƌ ĂƚĂ

User Input Number of Users

/ŶƉƵƚ ĂƚĂ

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Storm Reinforcement

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hƐĞƌ ^ĐĂŶŶŝŶŐ

hŶŝƚ ^ŝǌĞ dǇƉĞƐ ŽĨ EƵƚƌŝĞŶƚƐ

EƵƚƌŝŽŶĂů ŶĂůǇƐŝƐ

&Ăƌŵ >ŽĐĂƟŽŶ tĂƚĞƌ ŽůůĞĐƟŽŶ ^ŝǌŝŶŐ tĂƚĞƌ ŽůůĞĐƟŽŶ ^ŝǌŝŶŐ

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Construc on Phase 03

Construc on Phase 04

ŶĞƌŐǇ ŽŶƐƵŵƉƟŽŶ

Material Usage

Construc on Phase 02

stage01

stage02

stage03

stage04

stage05

3-6 days

1.5 -2 weeks

2 to 4 weeks

1-2 months

2 - 3 months

[ SIMULATED RESULT 01] While the loca on of this project can be deemed somewhat arbitrary, the concept of popula ng an environment prone to ďŹ&#x201A;ooding has been chosen. Incidentally, it was necessary to choose the combina on of two researchers to feed into the habitat algorithm so that one itera on could be constructed for visualiza on and evalua on purposes.

03 02 01

Above are levels of the plan. Each level consists of a discrete room which is possibly func onally and spa ally extended by the connec on of the vehicle. To the right is Sec on AA which shows an axial view of two of these spaces. Here, the mechanical room as well as the primary living unity are shown. Plan Drawing Credit: Alara Akiltopu

SECTION - AA

3D Printed Physical model. 1.5 feet x 1.5 feet.

[ VIRTUAL REALITY INTERFACES] Vehicle VR Interface Diagram

House PLAY A VIDEO

Pla ns

WATER LEVEL

AGRICULTURE

BATTERY

As previously stated, a primary tenet of this project is the use of Virtual and Augmented Reality Interfaces in an eﬀort to nego ate a rela onship between surface diﬀeren a on. Take, the car, for example; it is comprised of clean metal surfaces; while the addi vely printed habitat is comprised of a less-invi ng form. Fortunately, VR and AR are able to bridge the gap between these two typologies and allow users some to poten ally abstract their experiences.

Car

drone 1 drone 1...... drone 1.............. drone 1.... WHEELS robot arm 1 robot arm1...... robot arm1.............. robot arm1....

BATTERY

robot arm2.. robot arm2...... robot arm2............ robot arm2.....

DRIVE AROUND WITH THE CAR

3D MODEL: URBAN PLAN TELEPORTATION TO ANOTHER VR SCENE

3D MODEL: AGRICULTURE AREA

Fig 1 - Pressing this trigger ini ates a holographic diagram/ anima on of the car and how it approaches docking with the primary habitat.

Nevertheless, in this project, we chose to use AR and VR to as not only a design tool, but also as a presenta on tool. We chose to use simulated touch-sensi ve holograms in VR rather than a tradi onal architectural drawing. This method allowed us to show more of the project 3Dimensionally (without prerecorded video) than otherwise possible.

Fig 2 - Simpliﬁed version of Fig 1. With no building exterior.

As seen in these snippets, we are using hand tracking to ac vate triggers which then enable 3d holographic images pertaining to certain aspects of our project to be displayed.

Fig 3 - Enabling this holographic anima on shows the how the drone scans the user’s body in order to add data to the primary algorithm.

Fig 4 - This holographic diagram shows the how the robo c arm is able to addi vely construct the habitat.

[ VEHICLE AUGMENTED VISUALIZATION] During this project, our professor made it very clear to the class that we are not designing cars; but, rather an experiental nego a on between habitats and autonomous vehicles. Rather than focusing on vehicle design, we focused on how autonomous vehicles will change a userâ&#x20AC;&#x2122;s lifestyle. Furthermore, we inves gated how these vehicles can connect with habitats, extending the spa ality as well as func onality of these constructs. In order to help with our design itera ons, Microso lent us three Hololenses which we used primarily to visualize the interior of 3D printed models. This technique was a quick way to judge a designâ&#x20AC;&#x2122;s essence.

Credit: Zhe Liang

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

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 majority 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 fundamental addi ve shape grammar as well as constantly itera ng 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.

[ PARAMETRIC MORPHOLOGY ]

Itera on C

Itera on B

Itera on A

Employing ideas borrowed from simple addi ve shape grammar and basic musical symmetries, I created twenty ﬁve itera ons of since 8x20’ 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.

[ 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.

[ 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 U lized: 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”

+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"

Quadrant B Exterior View

Quadrant C Interior View

Quadrant C Exterior View

Qu Q uad adrraan ntt C Interior In ntterio erio er ior View Viiew V ew Quadrant

Quadrant B + C Interior View

Exterior Aerial

Northeast Aviary University of Miami · Summer 2015 - Summer 2017 Professors David Trautman and Armando Monterro Tucked away in the Smokey Mountains of North Carolina, the Northwest Aviary provides a mul purpose program consis ng of a winery, aviary, as well as a visitor center. This variety of func ons oﬀered, allows the facility to construct a complex and mul -faceted visitor experience. While a primary purpose of the Northwest Aviary and Winery is to create a symbio c and mindfull escape from modern life, it strives to give back to nature by aiding the preserva on of earth’s bee popula on. A natural by-product of a visitor’s experience is to become directly or, rather indirectly, educated on this growing crisis.

So ware: REVIT, 3Ds Max, Rhino, Grasshopper, V-Ray, Maya, Illustrator, PSD

2nd Floor Plan N.T.S.

W/C 56 SF

dĂƐƟŶŐ ZŽŽŵͬ Ăƌͬ ŶƚĞƌƚĂŝŶŝŶŐ 2026 SF Elevator 68 SF

<ŝƚĐŚĞŶͬWƌĞƉ 184 SF

D-1 : HVAC Detail

East Eleva on N.T.S.

The Northwest Aviary and Winery gave me the opportunity to explore the integra on of electrical, plumbing and HVAC systems into the architectural design. While the design is rather unconven onal, there were many diﬃcult problems to solve. Fortunately, Revit helped immensely with this process and automated many diﬃcult calcula ons as well as tasks.

[ SYSTEMS DIAGRAM ] 6WUXFWXUDO &XUWDLQ :DOO 6W\VWHP 6WUXFWXUDO 6WHHO 7XELQJ [ 5HWXUQ +9$& 6XSSO\ +9$& 6WUXFWXUDO +RZ 7UXVV

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HVAC Axonometric Integra on N.T.S.

[ FRAMING AXONOMETRICS [ 3D Structural Details ] ]

Framing Axonometric

The primary load-bearing walls of the ﬁrst ﬂoors (which are double height) consist of stone walls over 8” CMU block. Connec ng into the rebar of the CMU laterally, is structural steel I-Beams 9” deep and spanning up to 30 feet in width.

Sec on Axonometric 21

[[ STRUCTURAL DETAILING]] ADDTIONAL DETAILING Suspended Steel Channeling ϯΗ dŚĞƌŵĂů /ŶƐƵůĂƟŽŶ

2nd Floor 59' - 7 11/32"

4" Deep Wood Canopy /^ ŶŐůĞ ^ŚĂƉĞͲ^ĞĐƟŽŶ͗ L6x4x1/2" Structural Rebar 1 - 193 Moisture Barrier

W 12X36

2x4 ACT Compond Ceiling

Curtain Wall Mullion 1"x1-1/2"

Wall to Ceiling Connec on N.T.S.

Typical Roof over Concrete Slab

Typical CMU Rebar to Structural Steel I-Beam Connec on

Typical Floor Callout

[ LEVEL 2 MODULE DETAILS ] Level 2 Module A Construc on Details

Bent Steel Beam Veneer Paneling Structural Insulated Panel 8"x16" Duct 1

Veneer Paneling

Structural Insulated Panel

Hung Ceiling Cavity

366'-9 5/8"

Foo ng Wall to Floor Connec on N.T.S.

12" Concrete Slab 204'-11 25/32"

Ground - C 39' - 6 7/32"

Ground - B 37' - 0 7/32"

498'-11 25/32"

2 S - 01

Ground - A 34' - 6 7/32"

Rebar 1 - 180 ŽŶĐƌĞƚĞ &ŽŽƟŶŐ

Module roof Construc on Details TOF 1 31' - 0 7/32"

Module roof Construc on Details 2nd Floor 59' - 7 11/32"

Gypsum Wall Board

Rigid Insulation 3/8"

61'-9 7/8"

/ŶƐƵůĂƟŽŶ

6'-0"

CMUs

Laminated Veneer Lumber 48'-0"

Stone, rough tan Gypsum Board 3/4"

54'-0 3/32"

Typical Wall Detail

Structural steel 50ksi 8'-0 3/32"

6"x8" Tubing White Exterior

8'-0"

White Plaster Exterior 1/2"

S - 01

[ 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

25 ELEVATION CREDIT: LUIZA LEITE

West Eleva on

North Eleva on

[ 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 Eleva on

South Eleva on

[ 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 Jus ﬁca on

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. Erwin Hauer Pa er No. 5 40

[ 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’

3D Printed Study Model

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

DIAGRAM CREDIT: ERIK BROBERG + LUIZA LEITE

Northwest Sec on Plan Perspec ve

30 30

Mars Habitat Challenge UCLA SUPRASTUDIO · Spring 2017 Guvenc Ozel Students: Erik Broberg, Yue Yang, Xicheng Ye, Nick Bruni

Our proposal focuses on a long-term Mars coloniza on mission focused primarily on u lizing the planet’s weather condi ons to store and harvest both energy and construc on materials. The mission’s primary goal is to survey advances in self-sustainable addi ve manufacturing techniques in an effort to reduce payload requirements for long-term habita on endeavors. Our manufacturing process consists of harnessing the common silica / basalt dust storms in an effort to melt the material into a translucent and air- ght biosphere. This mel ng condi on will propagate over an autonomously actuated tensile mesh shell consis ng of mul -direc onal modules / or panels, which will be ac vated depending on wind direc on and subsequently deac vated once a density threshold is achieved. Furthermore, 3d printers (hanging from specific nodes within the biosphere) will print the interior form of the habitat with the same silica / basalt material into geometries catenary in nature.

So ware: Maya, 3Ds Max, Rhino, Grasshopper, V-Ray, Illustrator, PSD, Unity3D, Oculus Ri , Microso Hololens

[ SITE + STORM SELECTION]

HELLAS PLANITIA. 18N, 77E

Phase 01: Orbital Landing Site Analysis Rocket remains in orbit, scanning the planet’s surface for ac ve storms. Once, a suitable storm is discovered, it lands and executes Phase 2.

Compulsory Site Parameters: 1. Intense Storm Ac vity 2. Lithographic Diversity

3. Clear / Accessible Stra graphic Context 4. Flat Topography

Site Selec on for this project is based on storm ac vity and tracking. For example, the primary ‘mother’ spaceship will arrive in Mars’ orbit and scan the environment for a variable amount of me.

In Hellas Plani a dust storm events usually occur during the southern hemisphere summer, when the solar insola on is the most intense. The high temperatures cause atmospheric convec on, and thus wind currents.

[ BIOSPHERE CREATION] Procedurally Heated Mesh Panels informed by Wind Direc onality Wind Direc on

Procedurally melted basalt / silica

[ LABORATORY SIMULATION ]

Ini al result whereby sugar is melted onto an aluminum mesh

Subsequent result whereby sugar is further melted onto the aluminum mesh.

[ COMPONENT MOCKUP ]

Construc ng the physical mockup was integral to understanding how our form could func on. In order to allow the form to collect and hold the proper amount of ďŹ lament, we realized through this experimenta on that certain forms worked be er than others.

[ BIOSPHERE MORPHOLOGY ] Aerial view of biosphere 80 percent completed. It will be vital for an air- ght shell to be achieved before the astronauts descend and occupy the biosphere.

As seen, the silica/basalt material will form on the biosphere in an organic and undula ng manner with overlaps akin to the way lava ďŹ&#x201A;ows. This was discovered through computa onal models based on metaball analysis.

The deployment sequence also serves as a log of me-based construc on sequences. First, the pneuma c tent is deployed. Second, the tent is covered with melted silica/basalt. Third, the interior prin ing procedure commences from the tension points deďŹ ned by the shell. These tension points and chosen prin ng technique of a four-point haning printer infom the interior forms which are essen ally an inverse of the shell and take the shape of catenary forms. These catenary forms are then built from the ground up and, (due to the nature of the printer), become less detailed the higher the printer gets.

[ INTERIOR 3D PRINTING PROCEDURE ]

Pinned 3D Printer End Eﬀector The 3D prin ng process will occur inside and a er the construc on of an air- ght biosphere. The printer will also be using silica collected from the storms and will be pinned to tension points of the tent on four points. The constraint of the printer in the fashion will inform the movement and thus the forms that the printer is able to construct. As such, the printer will only be able to print from the bo om up and create parabolic/catenary forms. These forms will naturally be created with higher detail closer to the ground and display a rouger ﬁnish as the printer’s movement and accuracy is less organized the higher it prints. Furthermore, these parabolic/caternary forms will create an analogy between the interior and exterior forms.

[ PHYSICAL FIRST [ SECTION [ FLOOR PLAN MOCKUP] - ]AA] PLAN]

The first floor plan shows how the primary forms host the various func ons. U lizing the ini al cargo ship as a loca on of mechanical u li es, the rest of the program branches out from here. For example, the bedrooms are clustered together and flank the central pathway on the right and le . The rear, large shape houses the laboratory and other science-related func ons. Finally, the open area surrounding these forms is open to plants which help create breathable air as well as food for the inhabitants.

[ SECTION - AA]

The interior form of the habitat will be printed intermittently amid lulls and a er the storm passes via a 3D printer suspended from a pulley system within the structure of the mesh. This prin ng system will u lize the dust (which is par ally stored in a large silo), to print highly accurate translucent interior enclosures. Incidentally, this printer will follow a natural catenary trajectory which will inform the forms printed into catenary hanging and vaulted structures.

[ PHYSICAL [ SECTION MOCKUP] - BB] BB ]

The interior form of the habitat will be printed intermi ently amid lulls and a er the storm passes via a 3D printer suspended from a pulley system within the structure of the mesh. This prin ng system will u lize the dust (which is par ally stored in a large silo), to print highly accurate translucent interior enclosures. Incidentally, this printer will follow a natural catenary trajectory which will inform the forms printed into catenary hanging and vaulted structures.

41 41

[ PHYSICAL MODEL] A er experimen ng to create the mockup and crea ng gravity simula ons to deﬁne the formal language in Maya, it was me to construct the physical model. This turned out to be challenging at ﬁrst due to the fact that we wanted to display the level of detail that the shell would have devoid of its ‘melted sand’ and in its pneuma c form. In order to achieve this, we CNC’d the nega ve form of the biosphere from regular styrofoam and expoxied fabric to the shape. a er it dried, we dissolved the styrofoam with acetone leaving a the shell in its natural pneuma c form.

4 43

SOFT ROBOTICS UCLA SUPRASTUDIO · Winter 2016 Benjamin Ennemoser · Mertcan Buyuksandalyaci Students: Erik Broberg, Nick Bruni, Tyson Philips, Dave

The primary purpose of this so robo cs seminar was not merely to understand the trajectory that the burgeoning field is following; but, to advance design thinking in the field. As a result of this interven on it might be possible that technical robo c development could be accessible and understood by designers secular from the engineering paradigm. Furthermore, u lizing 3d prin ng and robo c arms research was also done in the direc on of prosthe cs for ergonomic as well as aesthe c purposes. Incidentally, it was required that each team not only create an end effector robot for the Kuka arm; but, also to design a prosthe c appendage to create a holis c design element to the end product.

[ COMPUTER VISION ] Electronic Componentry Electronic Armature Distance Sensor Color Tracking Camera

Tubing Tube Armature So Robot

Actua on of the So -Robotic Grabber is undertaken by a two part sensor computer vision solu on. First, we u lized a color tracking camera called the Pixy (a ached to the robot arm which oriented itself towards the ball. Second, a er the orienta on was completed, the IR sensor mounted to the top of the Pixy measures the distance of the sensor to the target object. If the distance is less than the threshold, then the grabbing corou ne would commence. 45

[ PROCESS VISUALIZATION ]

46 46

[ SOFT ROBOTIC MOLD DESIGN ] These technical drawings depict the loca ons of the airsha s within the mold and subsequently the silicon robot model. In this itera on, it was necessary to use four discrete air passages to control diďŹ&#x20AC;erent movements of the robot when necessary.

[ ELECTRICAL SYSTEMS DESIGN ]

[ COMPONENT ARRANGEMENT + ARMATURE ]

As previously stated, crea ng an armature for our electrical componetry was a primary goal of the studio. In this instance, we looked to nature towards the Radiolaria animal for inspira on. U lizing 3d prin ng and robo c arms research was also done in the direc on of prosthe cs for ergonomic as well as aesthe c purposes. Incidentally, it was required that each team not only create an end eďŹ&#x20AC;ector robot for the Kuka arm; but, also to design a prosthe c appendage to create a holis c design element to the end product.

[ SELECTED IMAGES ]

In images (A-C), the prosthe c is shown in diﬀerent angles whereby it conceals the arduino circuitry beneath.

Pictured above, is the mold used to form the so robot end eﬀector. The symmetry of this mold was carfully designed along with the valleys to maximize the amount of air ﬂow necessary to manipulate the appendages into a grabbing behavior.

51 51

Adjacencies in Mo on Ad UCLA SUPRASTUDIO · Fall 2017 UCL Professor Guvenc Ozel Prof Students: Erik Broberg, Sana Nakizi Stud

The objec ve is to create a series of supple, self-indulgent objects that have highly calibrated sets of configgen ura ons. As these objects traverse specific mo on paths, they phy physically fit together according to the trajectory of each specific mo on path. eac

NOTE: this project is s ll under documenta on. NO

OBJECT A END POINT MOTION PATH

START POINT CREATING A MOTION PATH

OBJECT B

INTERSECTION OF OBJECT B 53

ANIMATING SNAPSHOT ALONG A MOTION PATH

BOOLEAN OPERATION

FINAL GENERATED FORM (WITHOUT BOOLEANS)

FINAL GENERATED FORM 54

The diagram above illustrates how object A and object B follow a symbio c adjecency path. Both objects begin as similarly sized; however, as object A follows a speciďŹ c mo on path, it becomes carved by object B. As a result, object B becomes the inverse, while object A remain the extrovert. As a result, if the mo on path is followed, transformable adjacncies will be realized. 55

[ WorkPlace><CityScape 2.0 ] FAIRCHILD STUDIOS WorkPlace><CityScape 2.0 CCA Advanced Studio 2015 Professor Craig Sco Loca on: 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

[ ELEVATIONS ]

North + South Eleva ons

East Eleva on

58 58

[ SITE ]

[ VIEWS ] SoMissPo

VIEWS

The Th he imptus impt im mptus ptu pt u b us beh behind eh this studio is twoffold. 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 ggr amm maa c condi ons opera ng between ttw ween tthe h built urban fabric and the adjjacentt infrastructure iin nf ast strrucct of the area’s streets and n freeways’. reeways 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

[ 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

[ ILLUSTRATED SECTION ]

SCALE 1/8” = 1 FT

SECTION AA

SECTION BB

SECTION CC

SCALE 1/8” = 1 FT

[ 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

[ 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”

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.

[ FORM DEVELOPMENT ] a.

[ 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

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

Scale 1/8” = 1’0”

[ 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

[ BUILT WORKS ] [ PROFESSIONAL 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.

[ 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

Ini al State

35.26

3 A.4.0

198.08

1 A.4.0

22.13

Ini al State

2 A.4.0

4 A.4.0

Detailed Wall Eleva on

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

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

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.

PROFESSIONAL

2 A.1

BOTTOM EXPLODED ISOMETRIC

[ 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

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.

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

PROFESSIONAL

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.

Street View b. Mission District, San Francisco

[ AXIS 2-2 ] Itera on A

Itera on B

Kinema 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

PROFESSIONAL

[ GENERATIVE SUNSCREEN ]

Pictured here is the ‘Genera ve Sunscreen I designed for Dr. Juhong Park’s Ligh ng course. Part of the requirement was study the shading pa erns and input them into a studio project (pictured above). I iterated the project one step further to create the varia ons pictured to the right.

[ VISUALIZATIONS 01 ] A.

77 77

[ INTERIOR SELECTIONS ] C.

[ SCIENCE FICTION ] E.

79 7 9

A. Exterior Render ‘Emerge Innova on Center’. Design: Erik Broberg + Luiza Leite. Rendered using Rhino, V-Ray, PSD. B. ‘Nordic Church’. Design: Flying Architecture. Rendered using Rhino, V-Ray, PSD C - D. ‘Pininfarina Interior’. Design Pininfarina + Los Chulos (Erik Broberg involvement). Rendered using Rhino, V-Ray, PSD. E. Aerial ‘Mars Habitat Challenge’. Design: Los Marcianos. Rendered Using: 3ds Max, V-Ray, PSD F. ‘Mars Cargo Rocket’. Design: Erik Broberg. Rendered using Maya, Mental Ray, PSD. H. ‘Addi ve Habitat’. Design: A.N.Z.E. (Nazlie Tatar) Rendered using 3Ds Max, V-Ray, PSD D. ‘The Apiary’. Design: Erik Broberg. Rendered using 3Ds Max, V-Ray, PSD. J. Night Render of ‘Fairchild Studios’. Design: Erik Broberg. Rendered using Rhino, V-Ray, PSD.

[ EXTERIOR SELECTIONS ] I.

80 80

[ CV ] educa on graduate:

UCLA SUPRASTUDIO

SUMMER 2016 - SPRING 2017

Cross Disciplinary Design Technology Research: 3.946 GPA

California College of the Arts (CCA)

Spring 2015 - Summer 2015

Spring 2015 Study Abroad

University of Miami · M.Arch I

Fall 2013 - Spring 2016

Master’s of Architecture I: 3.79 GPA

UCLA

Summer 2013

Jumpstart Summer Studio

undergraduate:

Rollins College

Fall 2001 - Spring 2002

Spring 2015 Study Abroad

Berklee College of Music

Summer 2001

Summer Studio

University of Miami

Fall 2003 - Spring 2006

Major: History Minor: Music Business, Jazz Guitar Performance

skills

3D:

MAYA (modeling, texuring, anima on), 3DsMAX (texturing, rendering), Grasshopper, Rhinoceros, Dynamo, ZBrush (texturing, polypaint, texture/normal mapping), Unity 5.0, VRay (Maya, 3dsMax, Rhino), Keyshot, 3d Slicing So wares, CNC Milling So ware, NetFabb, Revit

2D:

A er Eﬀects, Illustrator, Photoshop, InDesign, Autocad

VR/AR:

Oculus Ri Devlopment, Unity3D, HTC Vive Development, Vuforia Augmented Reality, Basic Microso Hololens App Deployment

coding:

Intermediate: Python, C#, Java, Processing, Arduino

physical:

CNC Milling , 3D prin ng, Kuka Robo cs, Laser Cu ng, Woodshop exper se, knowledge of ﬁberglass cas ng, Watercolor, Plaster and Cement Mixing, Soldering, Arduino wiring, Guitar Contruc on

audio:

Pro Tools, Ableton Live, Producing, Song Arrangement, Song Composi on, Tour Managing, Music Contracts, Programming Midi Audio Sequencers, Wri ng MIDI code, Op mizing Digital and Analog Studio + Stage Components

[ CV ] experience: professional:

Brillhart Architecture Miami, FL

Winter 2013 Spring 2014

Employed ini ally to model in Rhino3D a parametric chair designed by the architect. Second employment was to assist in the design of a published work of his pertaining to the construc on details of his house.

John Lum Architecture

Summer 2015 San Francisco, CA Ini ally hired to code an architectural project with visual programming. The project consisted of crea ng incremental undula ng sound panels for a mobile yoga trailer. A er the design of this, I was given every project that required digital computa on skills.

teaching:

During my M.Arch I, I completed four semesters as teaching assistant for MIT PhD, Dr. Juhong Park. Under his direc on I lecture and teach both Grasshopper and Rhino to students.

audio produc on:

Produced and par ally mixed and mastered the rock group ‘Ghost Lion’ in 2013. They have achieved mechanical syncs on major television shows, toured and played fes val shows.

awards

CUCD Hai Chare e Involvement

Summer 2013

Dean’s List

All Semesters

Studio Exhibi on Project Selec on

Winter 2017

Tech Seminar Exhibi on Project Selec on

Winter 2017

UCLA Currents: Winter 2017 Project Selec on

Winter 2017

[ CV ]

references:

Dr. Juhong Park - Ph.D. Assistant Professor University of Miami Director of Design Machine Learning Lab Coordinator of MS.Arch in Compua onal and Embedded Technology Ph.D Recipient from MIT in Computa onal Design

j.park2@miami.edu (305) 284-5087 Guvenc Ozel Lead Lecturer SUPRASTUDIO University of Los Angeles California

guvenc.ozel@aud.ucla.edu Benjamin Ennemoser Lecturer University of Los Angeles California

bennenn@ucla.edu Steven Lee Lecturer University of Los Angeles California stevelee1@g.ucla.edu

Professor Eric Firley Assistant Professor University of Miami Co-Author : Wileyâ&#x20AC;&#x2122;s Urban Handbook Series

eďŹ rley@miami.edu (305) 284-5134