HyEjin yaNg portfolio
maP
z ͳ , KE Z ,/d d^ ϮϬϬϯͳϮϬϬϲ ĂŶǁŽů ŚƵƌĐŚ͕ ϮϬϬϰ
LONDON, UK ULAANBAATAR, MONGOLIA
tŽŶĚĂŶŐ zŽƵŶŐƌĂŬ ŚƵƌĐŚ͕ ϮϬϬϲ ^ƉĂnjŝŽ ,ĂĂŶ tĞĚĚŝŶŐ ^ŚŽƉ͕ ϮϬϬϲ
d, Zd> dd ^ ,KK> K& Z ,/d dhZ ϮϬϬϭϭͳϮϬϭϮ
SEOUL, REPUBLIC OF KOREA
ĂůůŝŐƌĂƉŚLJ ǁƌŝƩĞŶ ŝŶ >ĂŶĚƐĂĐĂƉĞ͕ ϮϬϭϮ
&KEd /E ͘ ϮϬϬϲͳϮϬϬϳ Tolgoit Community Center, 2007
hD Z ,/d d^ ϮϬϬϴͳϮϬϭϬ hŝƐĞŽŶŐ ŚŽŵƵŶŬƵŬ DƵƐĞƵŵ͕ ϮϬϭϬ EĂƟŽŶĂů DƵƐĞƵŵ ŽĨ ŽŶƚĞŵƉŽƌĂƌLJ ƌƚ͕ ϮϬϬϵ zdE DĞĚŝĂ ĞŶƚĞƌ͕ ϮϬϬϵ D >ĂŶĚŵĂƌŬ dŽǁĞƌ͕ ϮϬϬϴ ŚŝůďŽ tĂƚĞƌ dŚĞŵĞ džƉůŽƌĂƚŽƌŝƵŵ͕ ϮϬϬϴ
O
Calligraphy written in Landscape _ Dis nc on MArch Architectural Design, The Bartle School of Architecture,University College London, UK, 2012
BREATHING LINES IN CALLIGRAPHY The project aimed to develop a hybridized drawing method inves ga ng the complementary rela onship between the hap c and the digital. The research began with an interest in calligraphy as a part of an East Asian brush pain ng form, drawn with only black ink and water. In Korean ink and wash pain ng the line is dynamic, con nuously rousing up vitality as if a living and breathing en ty in itself.
FLYING WHITE
SPLASHED INK
TRANSLATION In order to translate this line into a digital environment, a par cle system was adopted. Emi ng par cles, ac ng as the diusion of ink on paper, start to move along a path indicated by the painter’s hand; then transformed by physical forces just as the line reacts to surrounding forces.
ANALYSIS OF CHUSA STYLE Chusa Kim Jeong-hui (1786-1856), one of the most important Korean calligraphy masters in the 19th century, managed to develop the Chusa style while exiled on Jeju Island. The calligraphic gesture in space illustrates the energy to shape a form reac ng with the forces of the environment. The rocks and wind of Jeju Island’s harsh environment were par cularly inves gated as the original canvas of the Chusa style. In this process, the digital tool was developed to simulate the interac on between gesture and environment, collision func ons as par cles as the gestures carve rock.
DEVELOPMENT OF DIGITAL TOOLS
LANDSCAPE OF CALLIGRAPHY The site was dedicated as a trail connec ng Chusa’s house to an exis ng trail route in Jeju island . The calligraphic gesture derived from this trail describes four points of his harsh life story, such as loneliness, the heartbreak of the death of his wife, the crea on of his Chusa style and reaching. Wind and rock in each stage were defined and simulated according to the story line, carving with specific pressure and speed derived from the formal analysis. Air born rock dust produced by the rock carving is used as the component for the ar ficial space on site. First the rock dust is displaced by wind and stacked on site, crea ng the structure. Then, like the diusion of ink on paper in calligraphy, the dust se les into the surrounding rock, and as me passes erodes as a natural phenomenon. Finally, the landscape of calligraphy evolves, changing itself gradually in rela on to the environment, as if the line of Korean ink and wash pain ng is breathing.
PLAN
SECTION
ROOF / STONE WALLS / BENCHES In order to define the diffused space clearly, the grid is adapted. Superimposed on this mosaic is a stra fica on of layers, of meanings, of nature, and of different rhythms.
Roof
High density par cle (Ink) plays as the main structural point. The highest density is supporters. The next density used is the point to handle the force from the roof. And the least low density par cle, for the diffusion of sunlight, is the space under the roof so that we can experience the diffusion of sunlight and wind, while at the same me giving us the opportunity to have a visual experience that it looks like ink running on calligraphy.
Stone Walls
The levels of the stone walls are determined by how the density of the par cles is high and the way it diffuses with strong winds from north. As men oned before, the stone walls can be considered as rough textural, architect materials.
Benches and pa erns
Par cles of low density control land level, format regular steady pa erns, and provide benches that are designed for pedestrians to take a rest, especially those who pass through the trail o en.
O
Uiseong Chomunkuk Museum ͺ tŝŶŶŝŶŐ ƚŚĞ ĞƐŝŐŶ ŽŵƉĞƟƟŽŶ͕ hŶĚĞƌ ŽŶƐƚƌƵĐƟŽŶ͕ ϮϬϭϬ >ŽĐĂƟŽŶ hŝƐĞŽŶŐ͕ <ŽƌĞĂ &ůŽŽƌƐ ϭ͕ ϯ&> dŽƚĂů ŇŽŽƌ ĂƌĞĂ ϯ͕ϰϯϬ ^Ƌ͘ŵ ZĞƐƉŽŶƐŝďŝůŝƚLJ DĂŶĂŐĞĚ ǁŚŽůĞ ĚĞƐŝŐŶ ƉƌŽĐĞƐƐ ĨŽƌ ƚŚĞ ĐŽŵƉĞƟƟŽŶƐ͘ DĂŶĂŐĞĚ ĐŽŶƐƚƌƵĐƟŽŶ ĚƌĂǁŝŶŐƐ͕ ŝŶƚĞƌŝŽƌ ĚĞƐŝŐŶ ĂŶĚ ĞdžŚŝďŝƟŽŶ ƉůĂŶ͘
Ϯ͕ϬϬϬ LJĞĂƌƐ ĂŐŽ͕ Ă ĨŽƌŐŽƩĞŶ ĂŶĐŝĞŶƚ ĐŽƵŶƚƌLJ͕ ŚŽŵƵŶŬƵŬ ǁĂƐ ŽŶĐĞ ĂŶ ŝŶŇƵĞŶƟĂů ŵŽĚĞů ĨŽƌ ƚŚĞ ŶĞdžƚ ĂŶĐŝĞŶƚ ĐŽƵŶƚƌŝĞƐ͘ dŚĞ ŚŝƐƚŽƌŝĐ ƐŝƚĞ ŽĨ ŚŽŵƵŶŬƵŬ ŬŝŶŐĚŽŵ ŝƐ ŶŽǁ ďĞŝŶŐ ĚƵŐ ŽƵƚ͘ ŽŶƐƚƌƵĐƟŽŶ ŽĨ Ă ŵƵƐĞƵŵ ǁĂƐ ĚŝƐĐƵƐƐĞĚ ŝŶ ŽƌĚĞƌ ƚŽ ĂĐĐĞƉƚ ƚŚĞ ĞdžŝƐƚĞŶĐĞ ŽĨ ƚŚĞ ŽŶĐĞͲŇŽƵƌŝƐŚŝŶŐ ŬŝŶŐĚŽŵ ĂŶĚ ŝŵƉƌŽǀĞ Ă ƐĞŶƐĞ ŽĨ ƉƌŝĚĞ ǁŝƚŚŝŶ ƚŚĞ ĐŽƵŶƚƌLJ͘ dŚĞ ĞĂƌƚŚ͛Ɛ ƐƚƌĂƚĂ ƉŽƐƐĞƐƐ ƵŶƐĞĞŶ ŚŝƐƚŽƌLJ ŽĨ ŵĂŶLJ LJĞĂƌƐ͘ ǀĞƌLJ ƌŝĐŚ ŚŝƐƚŽƌLJ ŽĨ ŚŽŵƵŶŬƵŬ͕ ŝŶƐĐƌŝďĞĚ ŝŶ ƚŚĞ ƐƚƌĂƚĂ͕ ŝƐ ƐůŽǁůLJ ĐŽŵŝŶŐ ŝŶƚŽ ƚŚĞ ǁŽƌůĚ ĂŐĂŝŶ͘ dŚĞ ƐŝƚĞ ŝƐ ƉůĂĐĞĚ ŝŶ ƚŚĞ ĐĞŶƚĞƌ ŽĨ ǀĂůƵĂďůĞ ŚŝƐƚŽƌŝĐ ƐŝƚĞƐ ŝŶ hŝƐĞŽŶŐ͘ dŚĞƌĞ ĂƌĞ ƚŚƌĞĞ ĚŽůŵĞŶƐ ŝŶ ƚŚŝƐ ƐŝƚĞ͘ dŚĞ ƉůĂĐĞ ĨĂĐĞƐ ƚŽŵďƐ ŽĨ ŚŽŵƵŶŬƵŬ ĂŶĚ Dƚ͘ <ĞƵŵƐƵŶŐ͕ ƚŚĞ ĮƌƐƚ ǀŽůĐĂŶŽ ŝŶ ƚŚĞ <ŽƌĞĂŶ WĞŶŝŶƐƵůĂ͘ dŚĞƌĞ ŝƐ ĂůƐŽ ĂŶ ĂdžŝƐ ƚŚĂƚ ůŽŽŬƐ ƚŽǁĂƌĚ ĚŽǁŶƚŽǁŶ hŝƐĞŽŶŐ͘ dŚĞ ƚŚƌĞĞ ĚŽůŵĞŶƐ͕ ŚŽŵƵŶŬƵŬ ŚŝƐƚŽƌŝĐ ƐŝƚĞ͕ ĂŶĚ ĚŽǁŶƚŽǁŶ ĂƌĞ ƚŚĞ ĐŽŶƐƟƚƵĞŶƚƐ ŽĨ ƚŚĞ ƐƚƌĂƚĂ͘
dŽŵďƐ ŽĨ ŚŽŵƵŶŬƵŬ Dƚ͘ <ĞƵŵƐƵŶŐ
BC 2000 K>D E^
ϮϬϭϬ CENTER OF UISEONG
EdZ E
ϭϴϱ dKD ^ K& ,KDhE<h<
SKIN DESIGN dŚĞ ŽďƐŝĚŝĂŶ ǁŚŝĐŚ ƐŚŽǁƐ ƌĞŐŝŽŶĂů ĐŚĂƌĂĐƚĞƌŝƐƟĐƐ͕ ĂŶĚ ƚŚĞ ƐƚƌĂƚĂ ǁŚŝĐŚ ŝƐ Ă ƚƌĂĐĞ ŽĨ Ă ůŽŶŐ ŚŝƐƚŽƌLJ͕ ŝƐ ŝŶƐĐƌŝďĞĚ ŝŶ ƚŚĞ ƐƚŽŶĞ͘
KďƐŝĚŝĂŶ
d,<Ϯϰ WĂŝƌĞĚ &ƌŝƚ 'ůĂƐƐ ;'ƌĂLJͿ
'ůĂƐƐ
^ƚŽŶĞƐ ;^ůĂƚĞͿ
CONSTRUCTION DRAWINGS Ͳ ŵĂŶĂŐĞĚ ĮŶŝƐŚŝŶŐ ŵĂƚĞƌŝĂů ůŝƐƚ Ͳ ĚƌĞǁ ĞůĞǀĂƟŽŶƐ ;ĞdžƚĞƌŝŽƌ͕ ŝŶƚĞƌŝŽƌͿ ͬ ƐĞĐƟŽŶƐ ͬ ĚĞƚĂŝůƐ ŽĨ ĐƵƌƚĂŝŶ ǁĂůůƐ Ͳ ŵĂŶĂŐĞĚ ĐŽůůĂďŽƌĂƟǀĞ ĐŽŵƉĂŶŝĞƐ
O
National Museum of Contemporary ͺ /ŶƚĞƌŶĂƟŽŶĂů ĞƐŝŐŶ ŽŵƉĞƟƟŽŶ͕ ϮϬϬϵ
>ŽĐĂƟŽŶ ^ĞŽƵů͕ <ŽƌĞĂ &ůŽŽƌƐ ϭ͕ ϯ&> dŽƚĂů ŇŽŽƌ ĂƌĞĂ ϰϬ͕ϴϬϬ ^Ƌ͘ŵ ZĞƐƉŽŶƐŝďŝůŝƚLJ ĞƐŝŐŶĞĚ ^ƵƐƚĂŝŶĂďůĞ ^LJƐƚĞŵ ĂŶĚ ^ŬŝŶ
Art
DESIGN CONCEPT /Ŷ ŽƌŐĂŶŝƐŵ͕ ƚŚĞ ǁĂLJ ŚŽǁ ŵŝƚŽĐŚŽŶĚƌŝĂ ;ĐĞůůƵůĂƌ ƉŽǁĞƌ ƉůĂŶƚͿ ƚƌĂŶƐĨŽƌŵ ƚŚĞŝƌ ŝŶŶĞƌ ŵĞŵďƌĂŶĞ͕ ĐƌŝƐƚĂĞ͕ ƚŽ ŝŶĐƌĞĂƐĞ ƚŚĞ ƐƵƌĨĂĐĞ ĂƌĞĂ ĨŽƌ ĞĸĐŝĞŶƚ ĐŚĞŵŝĐĂů ƌĞĂĐƟŽŶƐ ƚŽ ŽĐĐƵƌ ůŝŬĞ ĐĞůůƵůĂƌ ƌĞƐƉŝƌĂƟŽŶ ĨŽƌ ůŝĨĞ ƐƵƐƚĂŝŶŝŶŐ ŝƐ ǀĞƌLJ ƐƵŐŐĞƐƟǀĞ͘ ƌŝƐƚĂĞ ŝŶĐƌĞĂƐĞ ƚŚĞŝƌ ŝŶĨŽůĚŝŶŐƐ ƚŽ ĂĐĐĞůĞƌĂƚĞ ƚŚĞ ĐŽŵͲ ŵƵŶŝĐĂƟŽŶ ďĞƚǁĞĞŶ ƚŚĞ ŝŶŶĞƌ ĂŶĚ ŽƵƚĞƌ ŵĂƚƌŝdž ŽĨ ŵŝƚŽĐŚŽŶĚƌŝĂ͘ dŚĞ ƐƵƌƌŽƵŶĚŝŶŐ ƐĞůĨ ŐĞŶĞƌĂƚĞĚ ĂƌĞĂ͕ ƵŬĐŚŽŶ͕ ŚĂƐ ĨŽƌŵĞĚ ďLJ ƚŚĞ ƐĞŐͲ ŵĞŶƚĂůŝnjĂƟŽŶ ƉƌŽĐĞƐƐ ƚŽ ŝŶĐƌĞĂƐĞ ƚŚĞ ƐƵƌĨĂĐĞ ĂƌĞĂ ĨŽƌ ŵŽƌĞ ĂĐĐŽŵŵŽͲ ĚĂƟŽŶ ĂŶĚ ĐŽŵŵƵŶŝĐĂƟǀĞ ŝŶƚĞƌĂĐƟŽŶ͘ dŚĞ ŶĞǁ ŵƵƐĞƵŵ ďƌŽƵŐŚƚ ƚŚĞ ĨŽƌŵĂƟǀĞ ŝĚĞĂ ĨƌŽŵ ĐƌŝƐƚĂĞ ĂŶĚ ƵŬĐŚŽŶ ĨŽƌ ƚŚĞ ǁĂLJ ŽĨ ŝŶĐƌĞĂƐŝŶŐ ƚŚĞ ŽƉƉŽƌƚƵŝƚLJ ŽĨ ĐŽŵŵƵŶŝĐĂƟŽŶ ďĞƚǁĞĞŶ ƚŚŝŶŐƐ͘ ƌŝƐƚĂĞ
ŽŵŵƵŶŝĐĂƟŽŶ
KƵƚĞƌ DĞŵďƌĂŶĞ KůĚ ĂŶĚ EĞǁ
ŽŵŵƵŶŝƚLJ ĂŶĚ DƵƐĞƵŵ
KďũĞĐƚƐ ĂŶĚ sŝĞǁĞƌƐ
/ŶŶĞƌ DĞŵďƌĂŶĞ
^ƵƐƚĂŝŶĂďŝůŝƚLJ
ŶǀŝƌŽŶŵĞŶƚĂů
dŚĞ ŵƵƐĞƵŵ ĂŝŵƐ ƚŽ ĞƐƚĂďůŝƐŚ Ă ŶĞǁ ŵŽĚĞů ĨŽƌ ŵƵƐĞƵŵƐ ŽĨ ŵŽĚĞƌŶ ĂŶĚ ĐŽŶƚĞŵƉŽƌĂƌLJ Ăƌƚ ďLJ ŵŽƌĞ ĨƵůůLJ ŝŶƚĞŐƌĂƟŶŐ ƚŚĞ ĚŝƐƉůĂLJ͕ ůĞĂƌŶŝŶŐ ĂŶĚ ƐŽĐŝĂů ĨƵŶĐƟŽŶƐ ŽĨ ƚŚĞ ŵƵƐĞƵŵ͕ ƐƚƌĞŶŐƚŚĞŶŝŶŐ ůŝŶŬƐ ďĞƚǁĞĞŶ ƚŚĞ ŵƵƐĞƵŵ͕ ŝƚƐ ůŽĐĂůŝƚLJ͕ ĂŶĚ ƚŚĞ ĐŝƚLJ͘ &ƵŶĐƟŽŶŝŶŐ ĂƐ Ă ĐƵůͲ ƚƵƌĂů ŐĞŶĞƌĂƚŽƌ ƚŚƌŽƵŐŚ ĐŽŵŵƵŶŝĐĂƟǀĞ ŝŶƚĞŐƌĂƟŽŶ ŝŶ ƚŚĞ ĂƌĞĂ Ͳ ŽůĚ ĂŶĚ ŶĞǁ͕ ƚŚĞ ŵƵƐĞƵŵ ĂŶĚ ĐŽŵŵƵŶŝƚLJ͕ ŽďũĞĐƚƐ ĂŶĚ ǀŝĞǁĞƌƐ Ͳ ĂŶĚ ŵĂŝŶƚĂŝŶŝŶŐ ƚŚĞ ĐƵůƚƵƌĂů ƐƵƐƚĂŝŶĂďŝůŝƚLJ ůŝĞ Ăƚ ƚŚĞ ŚĞĂƌƚ ŽĨ ƚŚĞ ĂƌĐŚŝƚĞĐƚƵƌĂů ǀŝƐŝŽŶ ĨŽƌ ƚŚĞ ƉƌŽũĞĐƚ͘
Cultural
Flexible
SHARING BUKCHON URBAN CONTEXT dŚĞ ƐŝƚĞ ŝƐ ůŽĐĂƚĞĚ ďĞƚǁĞĞŶ 'LJĞŽŶŐďŽŬͲWĂůĂĐĞ ĂŶĚ ƚŚĞ ŽƉƉŽƐŝƚĞ ƚƌĂĚŝƟŽŶͲ Ăů ƚŽǁŶ͕ ƵŬĐŚŽŶ͕ŝŶ ^ĞŽƵů͘ /Ŷ ĂĚĚŝƟŽŶ ƚŽ ƚŚŝƐ ĐƵůƚƵƌĂů ĐŽŶƚĞdžƚ͕ ƚŚŝƐ ƉůĂĐĞ ƐŚŽƵůĚ ďĞĐŽŵĞ ƚŚĞ ĐĞŶƚĞƌ ŽĨ ĐŽŵŵƵŶŝĐĂƟŽŶ ĐŽŶŶĞĐƟŶŐ ƉĂƐƚ͕ ƉƌĞƐĞŶƚ ĂŶĚ ĨƵƚƵƌĞ͘ dŚĞ ĐŽŵďŝŶĞĚ ĞůĞŵĞŶƚƐ ŽĨ DK ͕ ŽůĚ ĂŶĚ ŶĞǁ͕ ĞdžƉƌĞƐƐ Ă ǁŚŽůĞ ĂŶĚ ǁŝůů ĨƵŶĐƟŽŶ ĂƐ Ă ƐŝŶŐůĞ ŽƌŐĂŶŝƐŵ͘
ŚĂŶŐĞ ŽĨ ƵŬĐŚŽŶ hƌďĂŶ &ĂďƌŝĐ
1912
2010
^ƚĞƉϭ
Step2
Topography
/ŶƚĞŐƌĂƟŽŶ ͗ ^ŝŶŐůĞ ŽƌŐĂŶŝƐŵ
^ĐĞŶĞƌLJ ŽĨ ƵŬĐŚŽŶ
^ƚĞƉϭ
Step2 /ŶĐƌĞĂƐŝŶŐ ƚŚĞ ƐƵƌĨĂĐĞ ĂƌĞĂ ĨŽƌ ďĞƩĞƌ ĐŽŵŵƵŶŝĐĂƟŽŶ
Site Contextual Flow
ǀŝĞǁ ŽĨ 'LJĞŽŶŐďŽŬͲWĂůĂĐĞ ĨƌŽŵ ƚŚĞ ƐŝƚĞ
PLAN
džŚŝďŝƟŽŶ DĞĚŝĂ ĞŶƚĞƌ ĚƵĐĂƟŽŶ ^ƚŽƌĂŐĞ KĸĐĞ Public Space 'ƌĞĞŶ ŽƌĞ
ĂƐĞŵĞŶƚ >ĞǀĞů нϮϴ WůĂŶ
hƉƉĞƌ >ĞǀĞů нϯϰ WůĂŶ
hƉƉĞƌ >ĞǀĞů нϰϭ щ нϰϱ͘ϱ WůĂŶ
hƉƉĞƌ >ĞǀĞů нϰϱ͘ϱ WůĂŶ
EXPERIENCE OF DYNAMIC SPACE
^ĞƋƵĞŶƟĂů ^ĞĐƟŽŶ ŝĂŐƌĂŵ
SKIN DESIGN ZĞƉĞƟƟŽŶ ĂŶĚ ƌLJƚŚŵ ŽĨ ƚŚĞ ŽƉƉŽƐŝƚĞ 'LJĞŽŶŐďŽŬͲWĂůĂĐĞ͛Ɛ ^ƚŽŶĞ ǁĂůů ĂƌĞ ĂƉƉůŝĞĚ ƚŽ DŽĚƵůĞ ŽĨ ƚŚĞ ƌŽŽĨ͘
'LJĞŽŶŐďŽŬ WĂůĂĐĞ͛Ɛ Stone Wall
DK
MODULE
'ůĂnjŝŶŐ ^ŽůĂƌ ĐŽŶƚƌŽů ƚŚĞƌŵĂů ƉƌŽƚĞĐƟŽŶ ŐůĂƐƐ
^ŽůŝĚ WĞƌĨŽƌĂƚĞĚ ŵĞƚĂů ƉĂŶĞů
BIPV ĚũƵƐƚĂďůĞ Ͳ ZŽƚĂƚĞ
O
YTN Media Center ͺ ĞƐŝŐŶ ŽŵƉĞƟƟŽŶ͕ ϮϬϬϵ ^ĞŽƵů͕ <ŽƌĞĂ >ŽĐĂƟŽŶ ϱ͕ ϭϵ&> &ůŽŽƌƐ dŽƚĂů ŇŽŽƌ ĂƌĞĂ ϱϵ͕ϱϴϵ ^Ƌ͘ŵ ZĞƐƉŽŶƐŝďŝůŝƚLJ ĞǀĞůŽƉĞĚ ŽŶƐƚƌƵĐƟŽŶ ŽĐƵŵĞŶƚƐ ĞƐŝŐŶĞĚ ^ŬŝŶ ĂŶĚ ^ƚƌƵĐƚƵƌĞ ^LJƐƚĞŵƐ
OPENINGS BY URBAN CONTEXT
^ŬLJ sŝĞǁ ĂĨĞƚĞƌŝĂ
^ŬLJ 'ĂƌĚĞŶ
Open to Green
DĞĚŝĂ >ŝďƌĂƌLJ
Gallery
KƉĞŶ ƚŽ D^
KƉĞŶ ƚŽ ^ŬLJ WĂƌŬ
PROGRAM
KƉĞŶͲĂŝƌ ^ƚƵĚŝŽ DĞĚŝĂ ĂĨĞ ^ƋƵĂƌĞ ŽĨ >ŝŐŚƚ
^ƚƵĚŝŽ
WƵďůŝĐ ^ƉĂĐĞ
Core
ŝƌĐƵůĂƟŽŶ ŽĨ ƚŚĞ WƵďůŝĐ
KĸĐĞ
ŝƌĐƵůĂƟŽŶ ŽĨ 'ƌĞĞŶ
CONCEPT
ሪ
ŶĂůŽŐ ƐŝŐŶĂů
ŝŐŝƚĂů ƐŝŐŶĂů
ŽŵďŝŶĞĚ ƐŝŐŶĂů
COMPOSITE SKIN DIAGRAM
ሪ
ĂƐĞ ^ƚƌƵĐƚƵƌĞ
^ƚƌƵĐƚƵƌĞ Ͳ ŵĞĚŝĂ
WƌŝŵĂƌLJ DƵůůŝŽŶƐ
,ŝĚĚĞŶ DƵůůŝŽŶƐ
INTEGRATION OF STRUCTURE
> WĂŶĞů
^LJƐƚĞŵ Curtain Wall
d,<Ϯϰ WĂŝƌĞĚ 'ůĂƐƐ
/ŶƚĞŐƌĂƚĞĚ ^ƚƌƵĐƚƵƌĞ
ŽŵƉŽƐŝƚĞ ^ŬŝŶ ŝĂŐƌĂŵ
W, ZŽŽĨ
'ƌĞĞŶ Space DĞĞƟŶŐ ZŽŽŵ
ŽŶĨĞƌĞŶĐĞ ZŽŽŵ
Media >ŝďƌĂƌLJ Media 'ĂůůĞƌLJ
KƉĞŶͲĂŝƌ ^ƚƵĚŝŽ
Media ĂĨĞ
O
DMC Landmark Tower ͺW& ŽŵƉĞƟƟŽŶ͕ ϮϬϬϴ <W&͕ ZhW͕ dƵƌŶĞƌ WĂƌƚŶĞƌƐ ^ĞŽƵů͕ <ŽƌĞĂ >ŽĐĂƟŽŶ ϵ͕ ϭϯϴ&>͕ ;,͗ ϲϱϲŵͿ &ůŽŽƌƐ dŽƚĂů ŇŽŽƌ ĂƌĞĂ ϳϮϳ͕ϰϬϴ ^Ƌ͘ŵ ZĞƐƉŽŶƐŝďŝůŝƚLJ DĂŶĂŐĞĚ ŽůůĂďŽƌĂƟǀĞ ŽŵƉĂŶŝĞƐ DĂŶĂŐĞĚ ĞƐŝŐŶ ZĞƉŽƌƚƐ
Ƶƌũ ƵďĂŝ ϴϬϳ͘ϳŵ
D ϲϰϬŵ
ZƵƐƐŝĂ dŽǁĞƌ ϲϭϮ͘Ϯŵ
ŚŝĐĂŐŽ ^ƉŝƌĞ ϲϬϵ͘ϲŵ
dĂŝƉĂŝ ϭϬϭ ϱϬϴŵ
^ŚĂŶŐŚĂŝ tŽƌůĚ &ŝŶĂŶĐŝĂů ĞŶƚĞƌ ϰϵϮŵ
/ŶƚĞƌŶĂƟŽŶĂů WĞƚƌŽŶĂƐ dŽǁĞƌ ŽŵŵĞƌĐĞ ĞŶƚĞƌ ϰϱϮŵ ϰϴϰŵ
dŚŝƐ ŚŝŐŚͲƌŝƐĞ͕ ŵŝdžĞĚͲƵƐĞ ƚŽǁĞƌ ǁŝƚŚ ĚŝǀĞƌƐĞ ĨƵŶĐƟŽŶƐ ŽĨ ĐƵůƚƵƌĞ͕ ĞŶƚĞƌƚĂŝŶŵĞŶƚ͕ ůŽĚŐŝŶŐ ĂŶĚ ƚŽƵƌŝƐŵ ŝƐ ƉůĂŶŶĞĚ ŝŶ ƚŚĞ D ŽĨ ^ĂŶŐĂŵ EĞǁ dŽǁŶ͕ ĂŶ ĂƌĞĂ ďĞŝŶŐ ĚĞǀĞůŽƉĞĚ ĂƐ Ă ŝŐŝƚĂů DĞĚŝĂ ůƵƐƚĞƌ ŽĨ ĂƐƚ ƐŝĂ͘ ĚŝĂŵŽŶĚ ŵŽƟĨ͕ ĚƌĂǁŶ ĨƌŽŵ ƚǁŽ ŝŵƉŽƌƚĂŶƚ ŝƐ ƵƐĞĚ ƚŚƌŽƵŐŚŽƵƚ ƚŚĞ ďƵŝůĚŝŶŐ͘ dŚĞ ŵĂƐƐŝŶŐ ŝƐ ŽŶ Ă ŶŽƌƚŚͲƐŽƵƚŚ ĂdžŝƐ ƚŽ ŐŝǀĞ ĂĐĐĞƐƐ ƚŽ ^ƵƐĂĞŬ ^ƚĂƟŽŶ ĂŶĚ ƚŚĞ ƌŝǀĞƌ ďĂŶŬ͘ /ƚ ĨĞĂƚƵƌĞƐ ůŽǁĞƌ ŇŽŽƌ ƐŚŽƉƐ͕ ŽĸĐĞƐ͕ ƌĞƐŝĚĞŶƟĂů ƵŶŝƚƐ ϱͲƐƚĂƌ ŚŽƚĞů ĂŶĚ ĂŶ ŽďƐĞƌǀĂƟŽŶ ĚĞĐŬ ǁŝƚŚ Ă ďƌŽĂĚĐĂƐƚ ƚŽǁĞƌ Ăƚ ƚŚĞ ƚŽƉ ĨŽƌ ƚŚĞ ůĂŶƚĞƌŶ ĞīĞĐƚ ĂŶĚ ƐLJŵďŽůŝƐŵ͘ dŚĞ ƋƵĂĚƌĂŶŐůĞ ŇŽŽƌ ƉůĂŶ ƚƌĂŶƐĨŽƌŵƐ ŝŶƚŽ ŽĐƚĂŐŽŶƐ͕ ĂĚũƵƐƟŶŐ ƚŽ ƚŚĞ ƐƚƌƵĐƚƵƌĂů ĐŚĂŶŐĞƐ͕ ƚŽ ƐĞĐƵƌĞ ŐƌĞĂƚ ǀŝĞǁ ĂŶĚ ĂĞƐƚŚĞƟĐ ƋƵĂůŝƚLJ͘
Dƚ͘^ĂŵŐĂŬ
D Tower
'LJƵŶŐďŽŬ WĂůĂĐĞ
N Ax ew is
dƌĂĚŝƟŽŶĂů Axis
DESIGN CONCEPT
<ŽƌĞĂŶ dƌĂĚŝƟŽŶĂů WĂƩĞƌŶƐ
PLAN / SECTION
ŽŵŵĞƌĐŝĂů &ĂĐŝůŝƟĞƐ ƵůƚƵƌĂů &ĂĐŝůŝƟĞƐ ŽŶǀĞŶƟŽŶ ĞŶƚĞƌ KĸĐĞ ZĞƐŝĚĞŶĐĞ Hotel ^ŬLJ >ŽƵŶŐĞ KďƐĞƌǀĂƚŽƌLJ DĂĐŚŝŶĞ ZŽŽŵ
ϭϮϳ&ͳϭϯϯ&
ϭϯϰ&ͳϭϯϱ&
ϭϯϲ&
ϭϯϳ&
ϲϬ&ͳϴϯ&
ϴϲ&
ϵϭ&ͳϭϬϴ&
ϭϬϵ&ͳϭϮϲ&
ϲ&ͳϱϱ&
ϲ&ͳϱϱ&
ϲ&ͳϱϱ&
ϱϳ&ͳϱϴ&
O
Chilbo Water Theme Exploratorium ͺ ŽŵƉůĞƚĞĚ͕ ϮϬϬϴ >ŽĐĂƟŽŶ :ĞŽŶŐĞƵƉ͕ <ŽƌĞĂ &ůŽŽƌƐ Ϯ&> dŽƚĂů ŇŽŽƌ ĂƌĞĂ ϭ͕ϯϮϯ ^Ƌ͘ŵ ZĞƐƉŽŶƐŝďŝůŝƚLJ DĂŶĂŐĞĚ ^ĐŚĞŵĂƟĐ ĞƐŝŐŶ WƌŽĐĞƐƐ WƌŽĚƵĐĞĚ ŽŶƐƚƌƵĐƟŽŶ ƌĂǁŝŶŐƐ
dŚĞƌĞ ŝƐ ĂŶ ĂƩƌĂĐƟŶŐ ĐƵůƚƵƌĂů ŚĞƌŝƚĂŐĞ ŝŶ :ƵŶŐĞƵƉ ŝƚLJ ƌŽŽƚĞĚ ďĂĐŬ ƚŽ ϵ ŽĨ ^ŚŝůůĂ LJŶĂƐƚLJ͘ ŶũŽLJŝŶŐ ŐĂƌĚĞŶ ƉĂƌƚLJ ŽǀĞƌ ƚŚĞ ŇŽĂƟŶŐ ǁŝŶĞĐƵƉƐ ĂůŽŶŐ ƚŚĞ ĂƌƟĮĐŝĂů ƐƚƌĞĂŵ͘͘͘ /ƚ ǁĂƐ Ă ŚŝŐŚůLJ ƌŽŵĂŶƟĐ ƉĂƌƚLJ ŝŶ ŽůĚ ĂŐĞƐ͘ dŚĞ ŝƚLJ ĐŽŵͲ ƉůĞƚĞĚ ŝƚƐ ƉůĂŶ ŽĨ ƌĞǀŝǀĂů ŽĨ ƚƌĂĚŝƟŽŶĂů ͚dĂŝƐĂŶ͛ ĐůĂƐƐŝĐĂů ƐĐŚŽůĂƌƐ ŚĞƌŝƚĂŐĞ ǁŝƚŚ ƚŚŝƐ ƉƌŽũĞĐƚ͘ dŚĞ ŵĂƐƚĞƌ ƉůĂŶ ǁĂƐ ƚŽ ŝŶƚĞƌĐŽŶŶĞĐƚ ƚŚƌĞĞ ďƵŝůĚŝŶŐƐ͕ ŽƵƚĚŽŽƌ ĨĂĐŝůŝƟĞƐ ĂŶĚ ƚŚĞŵĞ ŐĂƌĚĞŶƐ͘ DĂŝŶ ďƵŝůĚŝŶŐ͕ ŚŝůďŽ tĂƚĞƌ dŚĞŵĞ džƉůŽƌĂƚŽͲ ƌŝƵŵ ŚĂƐ ƌŽƵŶĚĞĚ ƐŚĂƉĞ ƉůĂŶ ŵĂƚĐŚŝŶŐ ƚŽ ƚŚĞ ůĂŶĚƐĐĂƉĞ ĚĞƐŝŐŶƐ ĂƐ ǁĞůů ĂƐ ƚŚĞ ĞdžƚĞƌŝŽƌ ƉĂƩĞƌŶƐ͘ ƵŝůĚŝŶŐ ŵĂƚĞƌŝĂůƐ ĂƌĞ ŶĂƚƵƌĂů ŐƌĂŶŝƚĞ ĂŶĚ ǁŽŽĚ͘ dŚĞ ĚĞƐŝŐŶ ĞdžƚĞŶĚƐ ŝƚƐ ŵĞĂŶŝŶŐ ƚŚƌŽƵŐŚ Ă ŵŽĚĞƌŶ ĐŽŵƉŽƐŝƟŽ ĂƉƉůŝĞĚ ƚŽ ƚŚĞ ĞŶƚƌĂŶĐĞ ĨĂĐĂĚĞ͘
ĂĨĞƚĞƌŝĂ
Hall Shop džŚŝďŝƟŽŶϮ
2F PLAN
DĂĐŚŝŶĞ Room
>ŽďďLJ
KĸĐĞ džŚŝďŝƟŽŶϭ
1F PLAN
WALL DEVELOPMENT FIGURE
d />由
PARTIAL PLAN / ELEVATION
d />由 WALL PARTIAL PLAN
FRAME ELEVATION
PARTIAL SECTION
d />由
PARTIAL ELEVATION
d />由
SITE
O
Tolgoit Community Center ͺ ŽŵƉůĞƚĞĚ͕ ϮϬϬϳ >ŽĐĂƟŽŶ hůĂĂŶďĂĂƚĂƌ͕ DŽŶŐŽůŝĂ &ůŽŽƌƐ ϭ͕ ϭ&> dŽƚĂů ŇŽŽƌ ĂƌĞĂ ϯϮϰ ^Ƌ͘ŵ ZĞƐƉŽŶƐŝďŝůŝƚLJ ĞǀĞůŽƉĞĚ tŚŽůĞ ĞƐŝŐŶ WƌŽĐĞƐƐ ĂŶĚ ĚƌĂǁŝŶŐƐ ^ƵƉĞƌǀŝƐĞĚ ŽŶƐƚƌƵĐƟŽŶ WƌŽĐĞƐƐ
CONSTRUCTION OF TOLGOIT COMMUNITY CENTER dŚĞ ƉůĂƚĞĂƵ ǁĂƐ ůŽĐĂƚĞĚ Ăƚ ƚŚĞ ŐĞƌ ƐůƵŵƐ ĐĂůůĞĚ dŽůŐŽŝƚ͕ ǁŚŝĐŚ ǁĂƐ Ăƚ ƚŚĞ ŽƵƚƐŬŝƌƚƐ ŽĨ hůĂĂŶďĂĂƚĂƌ͘ KŶ ƚŚĞ ϭϬϬϬŵϮ ƉůĂƚĞĂƵ͕ ƚŚĞƌĞ ǁĂƐ ŽŶĞ ƉŽŶĚŽŬ ĂŶĚ Ă ŐĞƌ ǁŚĞƌĞ ƚŚĞ ũĂŶŝƚŽƌ ůŝǀĞĚ͘ dŚĞ ƉƌŽũĞĐƚ ǁĂƐ ƚŽ ĚĞƐŝŐŶ ĂŶĚ ƐƵƉĞƌǀŝƐĞ ĐŽŶƐƚƌƵĐͲ ƟŽŶ ŽĨ ƚŚĞ ŽŶůLJ ĐŽŵŵƵŶŝƚLJ ĨĂĐŝůŝƚLJ ŝŶ ƚŚŝƐ ƌĞŐŝŽŶ͘ ďŽǀĞ Ăůů͕ / ƚƌŝĞĚ ŵLJ ďĞƐƚ ƚŽ ŝŶƚƌŽĚƵĐĞ ƚŚĞ DŽŶŐŽůŝĂŶ͛Ɛ ůŽǀĞ ĨŽƌ ƚŚĞ ƐŬLJ ŝŶ ƚŚŝƐ ďƵŝůĚŝŶŐ ĞŶĚĞĂǀŽƌ͘ dŚĞƌĞ ǁĞƌĞ ǀĂƌŝŽƵƐ ŝŵƉŽƌƚĂŶƚ ĨĂĐƚŽƌƐ ǁŚĞŶ ĐĂƌƌLJŝŶŐ ŽƵƚ ƚŚŝƐ ďƵŝůĚŝŶŐ ƉƌŽũĞĐƚ͕ ŝŶĐůƵĚͲ ŝŶŐ ƚŚĞ ůŝŵŝƚƐ ŽĨ ŝŶĨƌĂƐƚƌƵĐƚƵƌĞ ƐƵĐŚ ĂƐ ƵŶĚŝƐƚƌŝďƵƚĞĚ ĞůĞĐƚƌŝĐŝƚLJ ǀŽůƵŵĞ ĂŶĚ ǁĂƚĞƌ ƐƵƉƉůLJ͕ DŽŶŐŽůŝĂŶ ĐŽŶƐƚƌƵĐƟŽŶƐ͛ ƚĞĐŚŶŝĐĂů ĂŶĚ ĐŽŶƐƚƌƵĐƟŽŶƐ ŵĂƚĞƌŝĂůƐ ƐŚŽƌƞĂůůƐ͕ ůŝŵŝƚĞĚ ďƵĚŐĞƚƐ͕ ĂŶĚ ĂďŽǀĞ Ăůů͕ ƚŚĞ ĂƌŝĚ ĂŶĚ ĐŽůĚ ǁĞĂƚŚĞƌ͘ /Ŷ ĐŽŶͲ ĐůƵƐŝŽŶ͕ ƚŚĞ ƐLJŵďŽůŝĐ ďƵŝůĚŝŶŐ ǁĂƐ ďƵŝůƚ ŝŶ ƚŚŝƐ ŐĞƌ ƐůƵŵƐ͕ ŝŶ ĐŽŽƉĞƌĂƟŽŶ ǁŝƚŚ ůŽĐĂů ƌĞƐŝĚĞŶƚƐ ĂŶĚ ƚŚĞ ĐŽŶƐƚƌƵĐƟŽŶ ĐŽŵƉĂŶLJ͘ dŚĞ ƐƵďũĞĐƚ ŽĨ DŽŶŐŽůŝĂŶ ŐĞƌ ƐůƵŵƐ ĂŶĚ ƵƌďĂŶŝnjĂƟŽŶ ƐŚŽƵůĚ ďĞ ĚŝƐĐƵƐƐĞĚ ĨƵƌƚŚĞƌ ŽŶ͕ ďĂƐĞĚ ŽŶ ƚŚĞ ƵŶĚĞƌƐƚĂŶĚͲ ŝŶŐ ŽĨ ŶŽŵĂĚƐ ĂŶĚ ƚŚĞŝƌ ƉƌĞͲĞdžŝƐƟŶŐ ĐŽŶƐƚƌƵĐƟŽŶ ĐƵůƚƵƌĞ͘ ŶĞǁ ŶŽŵĂĚŝĐ ŝĚĞĂ ŝƐ ŶĞĞĚĞĚ͘ &ƵƌƚŚĞƌŵŽƌĞ͕ ƚŚŝƐ ŶĞǁ EŽŵĂĚŝĐ ƌĐŚŝƚĞĐƚƵƌĞ ĐĂŶ ŽīĞƌ ŶĞǁ ĂůƚĞƌŶĂƟǀĞƐ ĂŶĚ ƐŽůƵƟŽŶƐ ƚŽ ŶŽŵĂĚƐ ǁŚŽ ŚĂǀĞ ďĞĞŶ ĚƌŝǀĞŶ ŽƵƚ ŝŶƚŽ ƵŶƐƚĂďůĞ ůŝǀĞƐ ĚƵĞ ƚŽ ĐƵƌƌĞŶƚ ĐŽŶƐƚƌƵĐƟŽŶ ƚƌĞŶĚƐ ŝŶ DŽŶŐŽůŝĂ͘ dŚĞ ŚŽƉĞ ŝƐ ƚŚĂƚ ƚŚĞƐĞ ŶĞǁ ĐŽŶƐƚƌƵĐƟŽŶ ƉŚŝůŽƐŽƉŚŝĞƐ ǁŽƵůĚ ĞŵďƌĂĐĞ ƚƌĂĚŝƟŽŶĂů ĐŽŶĐĞƉƚƐ ŽĨ ĐŽŶƐƚƌƵĐƟŽŶ ŝŶĐůƵĚŝŶŐ ƚŚĞ ǀĞƌLJ DŽŶŐŽůŝĂŶ ŶŽŵĂĚŝĐ ŝĚĞĂ ŽĨ ƵŶĐĞƌƚĂŝŶ ĨŽƌŵƐ ĂŶĚ ďŽƵŶĚĂƌŝĞƐ͕ ĂŶĚ ƚŚĞ ĞǀĞƌͲĐŚĂŶŐŝŶŐ DŽŶŐŽůŝĂŶ ĞŶǀŝƌŽŶŵĞŶƚ͘
ŽŶĐĞƉƚ ĚƌĂǁŝŶŐ Ͳ EŽ ŶŽŵĂĚ
'Ğƌ ƐůƵŵƐ͕ dŽůŐŽŝƚ͕ hůĂĂŶďĂĂƚĂƌ
o
Danwol Church ͺ ŽŵƉůĞƚĞĚ͕ ϮϬϬ >ŽĐĂƟŽŶ /ĐŚĞŽŶͲƐŝ͕ <ŽƌĞĂ &ůŽŽƌƐ ϭ͕ Ϯ&> dŽƚĂů ŇŽŽƌ ĂƌĞĂ ϲϰϲ͘Ϯϰ ^Ƌ͘ŵ ZĞƐƉŽŶƐŝďŝůŝƚLJ WƌŽĚƵĐĞĚ ŽŶƐƚƌƵĐƟŽŶ ƌĂǁŝŶŐƐ ^ƵƉĞƌǀŝƐĞĚ ŽŶƐƚƌƵĐƟŽŶ WƌŽĐĞƐƐ
NORTH ELEVATION
WEST ELEVATION
SOUTH ELEVATION
ϭϮ ϭϭ
ϵ
ϭϬ
2F PLAN DĂŝŶ ŶƚƌĂŶĐĞ
ϴ ϱ
ϲ
7
ǀŽŝĚ
1F PLAN
ϰ 2 ϯ ϭ
ϰ 2
2 WĂƌƐŽŶĂŐĞ ŶƚƌĂŶĐĞ
ϭ >ŝǀŝŶŐ ZŽŽŵ Ϯ ĞĚ ZŽŽŵ ϯ ƌĞƐƐ ZŽŽŵ ϰ DĂĐŚŝŶĞ ZŽŽŵ ϱ DƵůƟƉƵƌƉŽƐĞ ,Ăůů ϲ DŝŶŝƐƚĞƌ ZŽŽŵ ϳ ZĞƐƟŶŐ WůĂĐĞ ϴ &ƌŽŶƚ zĂƌĚ ϵ ŚĂƉůĞ ϭϬ ^ĂĐƌĞĚ ůƚĂƌ ϭϭ īĞĐƟŽŶĂƚĞ DŽƚŚĞƌ͛Ɛ ZŽŽŵ ϭϮ KƵƚĚŽŽƌ ĞĐŬ
B1 PLAN
/ ƉĂƌƟĐŝƉĂƚĞĚ ŝŶ ƚŚŝƐ ƉƌŽũĞĐƚ ŝŶ ƚŚĞ ƉŚĂƐĞ ŽĨ ƚŚĞ ĐŽŶƐƚƌƵĐƟŽŶ ĚƌĂǁŝŶŐƐ͘ dŚĞ ŵĂŝŶ ŵĂƚĞƌŝĂů ŝƐ ĞdžƉŽƐĞĚ ĐŽŶĐƌĞƚĞ ǁŝƚŚ ƚŚĞ ǁŽŽĚĞŶ ƉĂƩĞƌŶ ĂŶĚ ĐŽůŽƌ ƉŽǁĚĞƌ ǁĂƐ ŵŝdžĞĚ ĂŶĚ ĂƉƉůŝĞĚ ƚŽ ƐŽŵĞ ƉĂƌƚƐ ŽĨ ƚŚĞ ďƵŝůĚŝŶŐ͕ ǁŚŝĐŚ ǁĂƐ ƚŚĞ ĮƌƐƚ ĐĂƐĞ ŝŶ <ŽƌĞĂ͘ tĞ ŚĂĚ ƚŽ ĐŽŶƚĂĐƚ ƐĞǀĞƌĂů ĐŽŵƉĂŶŝĞƐ ƚŽ ƉƌŽĚƵĐĞ ƐĂŵƉůĞƐ ĂŶĚ ŐŽ ƚŽ ƚŚĞ ĨĂĐƚŽƌŝĞƐ ƚŽ ŵŝdž ƚŚĞ ƉŽǁĚĞƌ͘ /ƚ ǁĂƐ ĞdžĐŝƟŶŐ ĞdžƉĞƌŝŵĞŶƚ ĂŶĚ ŐŝǀĞƐ ƚŚĞ ůŝǀĞůŝŶĞƐƐ ĂŶĚ ǁĂƌŵƚŚ ƚŽ ƚŚĞ ĐŚƵƌĐŚ͘
O
Wondang Youngrak Church _ 'ƌĂŶĚ WƌŝnjĞ͕ dŚĞ ϯƌĚ ĞĂƵƟĨƵů ƌĐŚŝƚĞĐƚƵƌĞ ŽŵƉĞƟƟŽŶ ŝŶ ^ĞŽͲŐƵ͕ ŽŵƉůĞƚĞĚ͕ ϮϬϬϲ >ŽĐĂƟŽŶ /ŶĐŚĞŽŶͲƐŝ͕ <ŽƌĞĂ &ůŽŽƌƐ Ϯ&> dŽƚĂů ŇŽŽƌ ĂƌĞĂ ϰϴϯ͘ϱϲ ^Ƌ͘ŵ ZĞƐƉŽŶƐŝďŝůŝƚLJ ĞǀĞůŽƉĞĚ ^ĐŚĞŵĂƟĐ ĞƐŝŐŶ WƌŽĚƵĐĞĚ ŽŶƐƚƌƵĐƟŽŶ ƌĂǁŝŶŐƐ ^ƵƉĞƌǀŝƐĞĚ ŽŶƐƚƌƵĐƟŽŶ WƌŽĐĞƐƐ
dŚĞ ĨƌŽŶƚ ƉĂƌƚ ĚŝƐƉůĂLJƐ Ă ĮŐƵƌĞ ŽĨ :ĞƐƵƐ͕ ǁŚŽ ďĞĐĂŵĞ ƚŚĞ ŚĞĂĚ ŽĨ ĐŚƵƌĐŚĞƐ͕ ŐƌĞĞƟŶŐ ŶƵŵĞƌŽƵƐ ƐŽƵůƐ ƚŽǁĂƌĚ ƚŚĞ ƌŽĂĚ ŚĂƉƉŝůLJ͕ ĂŶĚ ƚŚĞ ĨŽƌŐĞĚ ǁĂůů ŽŶ ƚŚĞ ƌŽĂĚƐŝĚĞ ĨŽƌŵĂůŝnjĞƐ ƚŚĞ ƐŬŝƌƚ ŽĨ :ĞƐƵƐ͘ ĞƐŝĚĞƐ͕ ŝƚ ĂůƐŽ ĞdžƉƌĞƐƐ ƚŚĞ ƌŽĂĚ ƚŽ ƚŚĞ 'ŽůŐŽƚŚĂ ,ŝůů ĂƐ ǁĞůů ĂƐ ƚŚĞ ĐƌŽƐƐ ŽƵƚƐƚĂŶĚŝŶŐůLJ ƐƚĂŶĚŝŶŐ ŽŶ ƚŚĞ Śŝůů ǁŝƚŚ ,Ͳ ĞĂŵ ĨŽƌŵĂƟŽŶ͘ dŚĞ ůŽĐĂƟŽŶ ĂŶĚ ŚĞŝŐŚƚ ŽĨ ƚŚĞ ĐƌŽƐƐ ŝƐ ƐĞƚ ƐŽ ƚŚĂƚ ƚŚĞ ĐƌŽƐƐ ŝƐ ƐĞĞŶ ĨƌŽŵ ƚŚĞ ƌŽĂĚ ĐĞŶƚĞƌ ĂŶĚ ŝƚ ĨŽƌŵĂůŝnjĞƐ :ĞƐƵƐ͕ ǁŚŽ ůŝŐŚƚƐ ƵƉ ƚŚĞ ǁĂLJ ĨŽƌ ĐŽŵŝŶŐ ŚŽŵĞ͘ /Ŷ ƚŚĞ ƐŽƵƚŚĞƌŶ ƉĂƌƚ͕ ƐƚĂŝƌƐ ĂŶĚ Ă ŚĂůů ǁĞƌĞ ĂƌƌĂŶŐĞĚ ƚŽ ĐƌĞĂƚĞ ďƌŝŐŚƚ ĂƚŵŽƐƉŚĞƌĞ ŽĨ ƚŚĞ ĐŚƵƌĐŚ ĂŶĚ ŝŶ ƚŚĞ ŶŽƌƚŚĞƌŶ ƉĂƌƚ Ă ŵƵůƟƉƵƌƉŽƐĞ ŚĂůů ǁĂƐ ĂƌƌĂŶŐĞĚ ŝŶ ĐŽŶƐŝĚĞƌĂƟŽŶ ŽĨ ŽīĞƌŝŶŐ Ă ƐƉĂĐĞ ĨŽƌ ĞĂƌůLJ Ͳ ŵŽƌŶŝŶŐ ƉƌĂLJĞƌƐ ĂŶĚ ƐŽĐŝĂů ŵĞĞƟŶŐƐ͘ Ŷ ŝŶĐůŝŶĞĚ ƌŽŽĨ ƉůĂŶĞ͕ Ă ƌŽƵŶĚ ĐŽůƵŵŶ ĂŶĚ ĞdžƚĞƌŶĂů ĂŶĚ ŝŶƚĞƌŶĂů ĐŽƌƌŝĚŽƌƐ ĨƌŽŵ ƚŚĞ ŵĂƐƐ ĂŶĚ Ă ĮŐƵƌĞ ŽĨ Ă ƚƌĂĚŝƟŽŶĂů ƚŽǁĞƌ ŝƐ ƌĞǀĞĂů ǁŝƚŚŝŶ Ă ŵŽĚĞƌŶ ĞdžƉŽƐĞĚ ĐŽŶĐƌĞƚĞ ĞůĞǀĂƟŽŶ͘ ϭ DƵůƟƉƵƌƉŽƐĞ ,Ăůů Ϯ DŝŶŝƐƚĞƌ ZŽŽŵ ϯ DŝŶŝƐƚĞƌ KĸĐĞ ϰ ,Ăůů ϱ KĸĐĞ ϲ WĂƌŬŝŶŐ >Žƚ 7 Storage ϴ ŚĂƉůĞ ϵ ^ĂĐƌĞĚ ůƚĂƌ ϭϬ īĞĐƟŽŶĂƚĞ DŽƚŚĞƌ͛Ɛ ZŽŽŵ ϭϭ KƵƚĚŽŽƌ ĞĐŬ ϭϮ ZĞƐƟŶŐ WůĂĐĞ ϭϯ ƌŽĂĚĐĂƐƟŶŐ ZŽŽŵ ϭϰ &ƌĞĞ ^ƚĂŶĚŝŶŐ tĂůů ϭϱ &ĂĐĞ &ƌĂŵĞ
ϭϬ
ϵ
ϴ
ϰ
ϭϯ
ϭϮ
ϭϭ
ϭϱ
2F PLAN
ϭϰ
7
ϯ
ϱ
2 ϰ
ϲ
ϭ
ϭϰ
1F PLAN
hƉƉĞƌ džƉŽƐĞĚ ĞĂŵ ,ͲϮϵϰyϮϬϬyϴyϭϮ͕ ǁŚŝƚĞ ƉĂŝŶƚĞĚ ŽŶ ƌƵƐƚͲƉƌĞǀĞŶƟŶŐ ŽůŽƌ džƉŽƐĞĚ ŽŶĐƌĞƚĞ ͬ>ĂŶĚ WŝŶĞ WĂƩĞƌŶĞĚ DŽůĚ ;t ϭϰϬ͕ 'ĂƉ ϭϬͿ
,ĂŶĚƌĂŝů
,ͲϭϱϬyϭϱϬ džƉŽƐĞĚ ŽŶĐƌĞƚĞ ;ŐƌĂLJͿ ,ĂŶĚƌĂŝů & ϱϬyϭ͘Ϯ͕ ǁŚŝƚĞ ƉĂŝŶƚĞĚ ŽŶ ƌƵƐƚͲƉƌĞǀĞŶƟŶŐ ^ƚĂƌƚ WŽŝŶƚ ŽĨ ĞǀĞůŽƉŵĞŶƚ &ŝŐƵƌĞ
ϲϬ ^d͘WŝƉĞ ;,сϮϰϬϬͿ͕ ǁŚŝƚĞ ƉĂŝŶƚĞĚ ŽŶ ƌƵƐƚͲƉƌĞǀĞŶƟŶŐ
FREE SANDING WALL PLAN
/ŶĚŝĐĂƟŶŐ ^ƚĂŶĚĂƌĚ ŽĨ DŽůĚ ŝǀŝƐŝŽŶ ;ϵϬϬyϭϴϬϬͿ
ŽůŽƌ džƉŽƐĞĚ ŽŶĐƌĞƚĞ ͬ>ĂŶĚ WŝŶĞ WĂƩĞƌŶĞĚ DŽůĚ ;t ϭϰϬ͕ 'ĂƉ ϭϬͿ W20 Joint
FREE SANDING WALL DEVELOPMENT FIGURE
dŚĞ ŽǀĂƌĂůů ĞůĞǀĂƟŽŶ ǁĂƐ ĂƌƌĂŶŐĞĚ ŝŶ Ă ƐŝŵƉůĞ ǁĂLJ ĂŶĚ ĨŽƌ ƚŚĞ ĞůĞǀĂƟŽŶ͕ ĞdžƉŽƐĞĚ ĐŽŶĐƌĞƚĞ ƚŚĂƚ ŚĂƐ ĐŽŶƐŝƐƚĞŶĐLJ ŽƵƚǁĂƌĚůLJ ĂŶĚ ŝŶǁĂƌĚůLJ ƌĞǀĞĂůŝŶŐ ŝƚƐ ŽǁŶ ƉŚLJƐŝĐĂů ĐŚĂƌĂĐƚĞƌƐ ƵŶůŝŬĞ ŽƚŚĞƌ ŵĂƚĞƌŝĂůƐ ƚŽ ĐŽĂƚ ƐƵƌĨĂĐĞƐ ŽĨ ďƵŝůĚŝŶŐ ǁĂƐ ƵƐĞĚ ĂƐ ƚŚĞ ŵĂŝŶ ĞdžƚĞƌŶĂů ĮŶŝƐŚŝŶŐ ŵĂƚĞƌŝĂů͘ ůƐŽ͕ ĨŽƌ ƚŚĞ ĐƵƌǀLJ ĨŽƌŐĞĚ ǁĂůů ƉĂƌƚ ƚŚĂƚ ƐƵƌƌŽƵŶĚƐ ƚŚĞ ŵƵůƟƉƵƌƉŽƐĞ ŚĂůů ĂŶĚ ƚŚĞ ĨƌŽŶƚ ĂŶĚ ĨŽƌŵĂůŝnjĞƐ ƚŚĞ ƐŬŝƌƚ ŽĨ :ĞƐƵƐ͕ ĞĂƌƚŚLJ LJĞůůŽǁ ĐŽůŽƌĞĚ ĐŽŶĐƌĞƚĞĚ ĨƌŽŵ Ă ƉŝŶĞ ƚƌĞĞ ŵŽƵůĚ ǁĂƐ ƵƐĞĚ ƚŽ ŐŝǀĞ ĐŚĂŶŐĞƐ ŝŶ ĐŽůŽƌƐ ĂŶĚ ŵĂƐƐ ĨŽƌŵƐ ƚŽ ƚŚĞ ĞůĞǀĂƟŽŶ͕ ĂŶĚ ŽŶ ƚŚĞ ŝŶĐůŝŶĞĚ ƌŽŽĨ ƉůĂŶĞ͕ ƚŚĞ ĐŽƉƉĞƌƉůĂƚĞ ŽŶ ƚŚĞ ĐŽŶĐƌĞƚĞ ƌŽŽĨ ǁĂƐ ŇĂƐŚŝŶŐ Ͳ ƉƌŽĐĞƐƐĞĚ ƚŽ ĐƌĞĂƚĞ Ă ůŝŐŚƚĞƌ ĂŶĚ ƐŚĂƌƉĞƌ ŝŵƉƌĞƐƐŝŽŶ͘ hŶůŝŬĞ ĞdžŝƐƟŶŐ ĐŚƵƌĐŚĞƐ͕ ĂŶ ŝŶĐůŝŶĞĚ ƌŽŽĨ ǁĂƐ ůŝŌĞĚ ĨƌŽŵ ƚŚĞ ŝŶƐŝĚĞ ŽĨ ƚŚĞ ŵĂŝŶ ŚĂůů ƚŽ ĂůůŽǁ ŶĂƚƵƌĂů ůŝŐŚƚ ƚŽ ĐŽŵĞ ŝŶƚŽ ƚŚĞ ďƵŝůĚŝŶŐ ƚŚƌŽƵŐŚ ƚŚĞ ŝŶĐůŝŶĞĚ ƉůĂŶĞ͘ /Ŷ ĐŽŶƐŝĚĞƌĂƟŽŶ ŽĨ ŵĂŶLJ LJŽƵŶŐ ƐĂŝŶƚƐ͕ Ă ďƌŝŐŚƚ͕ ĞŶĞƌŐĞƟĐ ĂŶĚ ũŽLJĨƵů ĐŚƵƌĐŚ ǁĂƐ ƉůĂŶŶĞĚ͕ ĞdžƉŽƐĞĚ ƌŽƵŶĚ ĐŽůƵŵŶ͕ ǀĞƌƟĐĂů ĨĂĐƚŽƌƐ͘
ůĞǀĞů ͗ нϯϮ͘Ϯϱ ,ŽůLJ ƌŽƐƐ ,ͲϮϵϰyϮϬϬyϴyϭϮ
ůĞǀĞů ͗ нϯϭ͘ϱϬ ,ͲϮϵϰyϮϬϬyϴyϭϮ͕ ǁŚŝƚĞ ƉĂŝŶƚĞĚ ŽŶ ƌƵƐƚͲƉƌĞǀĞŶƟŶŐ
əͲϭϬϬyϱϬyϮ͘ϯ͕ ǁŚŝƚĞ ƉĂŝŶƚĞĚ ŽŶ ƌƵƐƚͲƉƌĞǀĞŶƟŶŐ əͲϭϬϬyϱϬyϮ͘ϯ͕ ǁŚŝƚĞ ƉĂŝŶƚĞĚ ŽŶ ƌƵƐƚͲƉƌĞǀĞŶƟŶŐ
ůĞǀĞů ͗ нϮϴ͘ϰϬ
ůĞǀĞů ͗ нϮϳ͘ϲϯ
WŽŝŶƚ ŽĨ sĞƌƟĐĂů WŝƉĞ
FACE FRAME PLAN
ŽůŽƌ džƉŽƐĞĚ ŽŶĐƌĞƚĞ ͬ>ĂŶĚ WŝŶĞ WĂƩĞƌŶĞĚ DŽůĚ ;t ϭϰϬ͕ 'ĂƉ ϭϬͿ
ə ϭϬϬyϱϬyϮ͘ϯ͕ ǁŚŝƚĞ ƉĂŝŶƚĞĚ ŽŶ ƌƵƐƚͲƉƌĞǀĞŶƟŶŐ
FACE FRAME ELEVATION
O
Spazio Haan Wedding Shop ͺ /ŶƚĞƌŝŽƌ ĞƐŝŐŶ͕ ŽŵƉůĞƚĞĚ͕ ϮϬϬϲ >ŽĐĂƟŽŶ ^ĞŽƵů͕ <ŽƌĞĂ &ůŽŽƌƐ Ϯ&> dŽƚĂů ŇŽŽƌ ĂƌĞĂ Ϯϰϴ ^Ƌ͘ŵ ZĞƐƉŽŶƐŝďŝůŝƚLJ ŝƌĞĐƚĞĚ KǀĞƌĂůů ĞƐŝŐŶ ^ƵƉĞƌǀŝƐĞĚ ŽŶƐƚƌƵĐƟŽŶ WƌŽĐĞƐƐ ŽŶƐƵůƚĞĚ ĂďŽƵƚ ĞĐŽƌĂƟŽŶ ĂŶĚ ŝƐƉůĂLJ
ŽůĚ ĐŽŶĐƌĞƚĞ ĂŶĚ ƐƚĞĞů ƉůĂƚĞƐ ǁŝƚŚ Ă ƐŽŌ ǁĞĚĚŝŶŐ ĚƌĞƐƐ ĚƌĂƉĞĚ ŽǀĞƌ ƚŚĞŵ͘ ŽŶƚƌĂƐƟŶŐ ŵĂƚĞƌŝĂůƐ͕ ŽŶ ƚŚĞ ŽƚŚĞƌ ŚĂŶĚ͕ ƚŚĞ ŵŽǀŝŶŐ ǁĂůů ĂŶĚ ƐƚĂŐĞ ŵĂŬĞ ďƌŝĚĞƐ ůŝŬĞ ƚŚĞ ŵĂŝŶ ĐŚĂƌĂĐƚĞƌ ŝŶ ƚŚĞ Įůŵ ƚŚƌŽƵŐŚ ŇĞdžŝďůĞ ƐƉĂĐĞ ƉƌŽĚƵĐƟŽŶ͘
MATERIAL STUDY WITH STEEL AND FABRIC
PROPOSAL FOR OPENING RECEPTION dŚŝƐ ďƵŝůĚŝŶŐ ŝƐ ŝŶ ĂŶ ĂůůĞLJ ůŽĐĂƚĞĚ ŶĞĂƌ ůƵdžƵƌLJ ƐŚŽƉƐ͘ / ƉƌŽƉŽƐĞĚ ƐĞĐƌĞƚ ŐŝŌ ďŽdžĞƐ ĐŽǀĞƌŝŶŐ ƚƵůůĞ ĂďŽǀĞ ƐŽƉŚŝƐƟĐĂƚĞ ĂŶĚ ĐŽůĚ ĐŝƚLJ ŝŵĂŐĞ ĨŽƌ ƌĞĐŽůůĞĐƟŶŐ ŚĂƉƉLJ ƌŽŵĂŶĐĞƐ͘
FLEXIBLE SPACE dŚĞ ƐƚĂŐĞ ŽĨ ƚŚĞ ďƌŝĚĞ ƐƉƌĞĂĚƐ ŽƵƚ ŽŶ ƚŚĞ ĐĞŶƚĞƌ͕ ĂŶĚ ŝƚ ůŝŶŬƐ ƚŚƌĞĞ ƌĞůĂƚĞĚ ƐƉĂĐĞƐ͘ DŽǀŝŶŐ ƐƚĂŐĞ͕ ǁĂůů ĂŶĚ ĐƵƌƚĂŝŶ ĐŽŶƟŶƵĞ ƚŽ ĐƌĞĂƚĞ ŶĞǁ ƐƉĂĐĞ ĂĐĐŽƌĚŝŶŐ ƚŽ ƚŚĞ ŵŽǀŝŶŐ ŽĨ ƚŚĞ ďƌŝĚĞ͘
o
Sketch Books
O
Route of Pilgrim ͺ /ŶŬ WĂŝŶƟŶŐ͕ WĞƚƌĂ͕ :ŽƌĚĂŶ͕ ϮϬϬϬϮ
^ĞƋƵĞŶĐĞ ŝŶ WĞƚƌĂ
tĂLJ ŽĨ >ŝŐŚƚ
O
O
Sketches in travelling
Hole to Hole ͺ Kŝů WĂŝŶƟŶŐ͕ ĂƉƉĂĚŽĐŝĂ͕ dƵƌŬĞLJ͕ ϮϬϬϬϳ ƵƌŝŶŐ ŵLJ ƚǁŽͲŵŽŶƚŚƐ ŽĨ ƚƌĂǀĞůůŝŶŐ ŝŶ ƵƌŽƉĞ ĂŶĚ dƵƌŬĞLJ͕ / ǁĂƐ ƉĂƌƟĐƵůĂƌůLJ ŝŵƉƌĞƐƐĞĚ ďLJ ƚǁŽ ƉůĂĐĞƐ ǁŚŝĐŚ ǁĞƌĞ ƚŚĞ ĂƚĂĐŽŵďƐ ŝŶ ZŽŵĞ͕ /ƚĂůLJ ĂŶĚ ĂƉƉĂĚŽĐŝĂ ŝŶ dƵƌŬĞLJ͘ tŚĂƚ ďŽƚŚ ŽĨ ƚŚĞ ƉůĂĐĞƐ ŚĂǀĞ ŝŶ ĐŽŵŵŽŶ ŝƐ ƚŚĂƚ ƚŚĞLJ ǁĞƌĞ ŽŶĐĞ ƵƐĞĚ ĂƐ ƐŚĞůƚĞƌ͘ / ƚƌŝĞĚ ƚŽ ĐŽŶŶĞĐƚ ƚŚĞ ƉůĂĐĞƐ ǁŝƚŚ ĞĂĐŚ ŽƚŚĞƌ ƐŽ ƚŚĂƚ ƚŚĞLJ ĐŽƵůĚ ďƌĞĂƚŚĞ ƚŽŐĞƚŚĞƌ ŝŶ ŵLJ ŵĞŵŽƌLJ͘
ĂƉƉĂĚŽĐŝĂ
ĂƚĂĐŽŵďĞ
o
ConTaCt www.hyejinyang.com hjyaang@gmail.com