HYU ; ARCHIFOLIO 1 by Hyu Lim

A N “ A R C H I T E C T U R A L” P O R T F O L I O

HYU L. HENGYU

CONTENTS

1. PROLOGUE 2 . F O U N DAT I O N S 2 . 1 T RU N C AT E D I C O S A H E D R O N 2 . 2 2 T R A N S F O M AT I O N 2.3 APERTURES 2.4 DIFFERENT MEDIUMS 3 . A S M A L L S PA C E [ I M P L I C AT I O N S O F I N T E R S E C T I O N S ] 3.1 BODY DIMENSIONS 3.2 MASSING PROCESS 3 . 3 C O N C E P T UA L D I A G R A M 3.4 EXPLODED AXON 3.5 PLANS + SECTION 3.6 RENDERS 4.PRECEDENCES:HAGIA SOPHIA & GEOMETRICAL DISSECTION 4 . 1 - 5 . 0 T E N L AY E R S 5.FIGURE,FRAME,FIELD - OV E RV I EW 5.1 FIGURE 5.2 FRAME 5.3 FIELD 6. L ACA 6 . 1 C O N C E P T UA L D I A G R A M 6 . 2 C O N C E P T + S T R AT E G I E S 6 . 3 P R O G R A M A NA LYS I S 6 . 4 S I T E A NA LYS I S 6 . 5 H Y B R I D D R AW I N G 6.6 PLANS [ ENLARGED ] 6.7 SECTION MODELS 7 . V I S UA L S T U D I E S : FA B R I C AT I O N S A N D D E L I N E AT I O N 7.1 PRECISION 7.2 COLLISION OF PRIMITIVES : ONE 7.3 COLLISION OF PRIMITIVES : T WO 7.4 COLLISION OF PRIMITIVES : THREE 7 . 5 M AT E R IA L T H I C K N E S S : F I NA L 8 . A C A D E M I C PA P E R S 8 . 1 V I S UA L R H E T O R I C S : T H E B E AU T Y O F T R AG E DY 8 . 2 D E S I G N C U LT U R E S 8 . 2 . 1 TA K I N G I T W I T H YO U 8.2.2 THE CONTROVERSIAL AND THE COMMERCIAL 8 . 3 C O L L E G IAT E W R I T T I N G : 8.3.1 PLASTIC CUPS , PLASTIC HEARTS 8 . 3 . 2 PA N O P T I C O N : G R E E N E Y E S 8 . 3 . 3 A R T WA L K I N D O W N T O W N L A 8.3.4 MUSEUM OF JURASSIC TECHNOLOGY 8.4 HUMANITIES: 8.4.1 AN ILLAID : A REVIEW 8.4.2 RENAISSANCE 8.5HISTORY OF ARCHITECTURE: P E R P E T UA L P R O J E C T I O N S

PRO LOGUE

The definition of architecture is one which is constantly ever - evolving and everchanging in the context of the modern world, where designs are often challenged by the inexplicably diverse nature of society. Hence, we begin to experience a collision of culture leading towards a never - ending discourse of the realms between forms and functions. This portfolio features projects and written works from the southern california institute of architecture, comprising of academic essays, architectural studies and visual works which revolves around the preliminary discourse of architecture aimed at uncovering and developing an understanding of space , forms and function.

foundation: TRUNCATED ICOSAHEDRON

Studio : 1A

| Instructor : Bryonny Roberts

OVERVIEW: â&#x20AC;&#x153;Foundationâ&#x20AC;? marks the begining of a new chapter , in this first chapter we will delve into the foundations of architectural study by understanding the construct of a basic three dimensional objects from two dimensional geometries. The object allocated in this prompt was the Truncated Icosahedren a geometry also found in the traditional soccer ball, comprising of 16 hexagona and 24 pentgons in its construct, each having a distinctive network of tension working collectively in the holistic form. TRANSFORMATION: The prompt then engages us to study the possibilities of manifestations within a set boundary, extrapolating new forms while retaining certain principles, allowing us to understand simple and basic architectural element without any scale of disruption, APERTURES : Following next is a study of apertures, understanding the possibilities of a negative space within a positive volume,analyzing the juxtaposition and and balance between both realm. ANOTHER MEDIUM : The final study revolves around the transformation of the object towards a curvilinear form. looking into a different aspect of the three dimensional form as a medium.

foundation : one truncated icosahedron

The prompt begins with the end product, specifically allocated to each student is a complex three dimensional geometry comprising of a network of sub - geometries working collectively to form the final object. In this case study, the object allocated was a Truncated Icosahedron, consisting of 12 hexagona and 24 pentagons, it begins with the construction of the hexagons on a two-dimensional plane, using primarily mathematical proportions and basic rules of trigonometry to create the hexagons, followed by the projections of arc on a different (z)axis to find the point where both geometries begin to tessellate, leading to the folding up of the form.

t r i c Vi e w

T R U N C AT E D I C

HYU LIM HEN

foundation : two transformation within boundaries

Following the formation of the Truncated Icosahedron is the first transformation process, the prompt was to elaborate a second figure based on certain principle or system from its primary geometry (the Truncated icosahedron) , The principle chosen here was the outline of the original geomtery, while retaining its outline, the shape begins to manifest itself using its outline as a boundary, while extruding each surfaces to form a unique and robust figure. This technique also engages in the mathematical relationship of the truncated icosahedron , with each extrution acting as an amplification of its factes, each edges turns into a facet of its own. Hence, elaborating the figure in terms of multiplication.

EX. 1 WI R EF R AME

E X 2. W I RE FR AM E

HYU L I M H ENG YU / 1 A F a l l 2 0 1 3

T RUNCAT ED ICO SA HEDRO N TR AN H SF OR M ATI ON PR O C ES S

A x o n o m e tr i c Vi e w

Elev atio n View

TRANSFORMED TRUNCATED ICOSAHEDRON H YU LIM H E N GYU / 1A Fall 2013

5 7 6

2D U nf ol d

17 14 11

20 16 13

12 10

T RANSF ORMED TRUNCATED ICOSAHED RON HY U L I M HE NG Y U / 1 A Fa l l 2 0 1 3

TRANSFORMED TRUNCATED ICOSAHEDRON HYU LIM HENGYU / 1A F al l 2013

foundation : three apertures ; mobius

“Apertures” defines an opening, similary like windows or even possibly, in a more ambigious terms it could be defined as a void.This segment of the assingment was to begin to develop or carving out voids within the previous form. Ultimately, gently eroding part of the previous form to create voids that would compliment or juxtapose with its positive space. In this segment of the assignment, the form begins to erode to form a mobius strips, incidentally, developing a void which would interlock with its positive form, introducing a visual juxtaposition of the positive and negative. This assignment also entails introductory section drawings to illustrate the area of “apertures” Conceptual drawing by Hyu Lim (right)

1”

2”

ric

3”

Section B

3”

Section C

HYU LIM HENGYU / 1A Fall 2013

2X’S TRANSFORMED TRUNCATED ICOSAHEDRON

R ED a A H 1A F O S YU /

16 6 17

13/14

2D Unfold

15 2

3 19

T R A N S F O R M E D T RUNCAT E D I CO S A HE DRO N HYU L I M HENGYU / 1 A Fall 2013

2 X’ S T RA NS F O R ME D T R U N C AT ED IC OSA H E D R ON HYU LIM HENGYU / 1A F al l 2013

2X’s

Aperture one

Aperture two

Mobius

foundation : four different mediums [ curvilinear forms]

This final segment of the assignment explores the transition of the final from towards a curvilinear one using basic computer aid tools to develop an understanding of materiality and other complex geometries. This segment also studies the geometrical information of the form by its contouring layers on two different axis. The final edition of the form had been simplified due to the nature of its complex and opulent materiality , nonetheless still retaining key essence of the juxtaposition developed in the previous segment.

A x onometric View EX.3

S OF

Axonom etric View EX.4

1 H O R I Z O N TA L L AY E R P R O F I L E S 2D LASERCUT PROFILE Y

SOFT TRANSFORMED TRUNCATED ICOSAHEDRO

HYU LIM HENGYU / 1A Fall 201

1 V E R T I C L E L AY E R P R O F I L E S 2D L ASER C U T P R O F I LE X

SO F T T RANSF O RM ED T RUNCAT ED I COSAHEDRON HY U L I M HE N G Y U / 1 A F a l l 2 0 1 3

“A SMALL SPACE” THE IMPLICATIONS OF INTERSECTIONS Studio : 1A

| Instructor : Bryonny Roberts

Overview : “A small space” begins as an introductory study towards architecture from a smaller scale , this assignment studies the basic roles of programs within small spaces and the relation between the human body and these forms, experimenting various modes of transition between spaces, the possibilities of interaction between them, and the spatial requirements for these forms to exist. The assignment objective is also aimed at understanding differrent modes of organization of spaces, mainly organic forms of organization or a grid like infrastructure. Prompt: The objective was to design a small space featuring five main programs, action, gallery, rest, work and a lounging area within a 9 x 18 feet boundary with a hight limit of 14 feet. This restriction challenges the organization of spaces while trying to retain its form and aesthetics which are often compromised to pave ways for the programs. Introduction: Due to the spatial requirements, this project begins to collide certain programs and intersecting them, this collision of spaces and forms then begins to generate new forms which some act as supple boundaries while some acts as transitional spaces. Generally intertwining programs to create a holistic forms while utilitizing intersections as furnitures for the programs within.

b o d y D I M E N S I O N S A N A LY S I S

2 MASSING PROCESS The massing process begins with the organization of several blocks each carved into the required dimension of the individual programs, the blocks are then organized and reproduced in several different pre-mutations to discuss with the instructors to find the ideal setup of the programs. This allows us to understand the possibilities of different forms just from the organization of these programs.

Prior to the beginning of the design process, we began by documenting the spatial requirements of each programs , similarly to the modular man by le corbusier, this chart however acts as a simpler guide to understanding the basic spatial dimensions required for inhabiting each programs , the chart is measured based on the height and width of several different postures including standing, sitting, laying, and a different action [walking] .

5’-11” (182 cm) 5’-10” (178 cm)

5’-10” (178 cm)

4’-9” (145 cm)

6’-0” (183 cm)

2’-7” (78 cm)

1’-9” (42 cm)

1’-5” (42 cm) 1’-0” (32 cm)

1’-9” (54 cm)

STANDING

3’-5” (104 cm)

1’-5” (42 cm)

LOUNGING

6’-0” (183 cm)

1’-8” (50 cm)

5’-10” (179 cm)

LYING DOWN

1’-12” (62 cm)

5’-10” (179 cm)

REACHING TO THE CEILING

WALKING

SITTING AT A DESK

Hyu Lim Hengyu - Body Dimensional Data Scale: 1” = 1’-0”

REST WORK LOUNGE GALLERY action

MASSING DIAGRAM distribution of space:

Action + Gallery:

Work:

The intergration of programs are based on several different factors, including circulation between spaces, verticle distribution [perspectives from the top and bottom] , the balance between public and private space, also finally the overall aesthetics of the form.

The action space , techinically a free space registers as the entrance , as well as the opening for the gallery, this space then begins to merge with the gallery through several process due to the nature of its ambiguity. both spaces can also be seen as leisure programs. Hence, they are allocated at the bottom, where there are more interaction with the public. The gallery space is generally a space for the display and viewing of art piece.

The working space is allocated on a higher elevation, giving the subject a better visual experience while remaining off the ground and far from distraction.

The overall concept, is conceived as a twisted ribbon, swerving upward from one end of the ribbon. the ribbon is being broken down into several different components:

Lounge: the louging space is utilized as a place of business and pleasure, allocated outside the gallery as the artworks begin to spill in the lounging area.

Rest: The Resting place, is located at the end of the extremeties of the ribbon, the program is the most segregated from any other spaces due to the nature of its privacy requirement.

3 conceptual diagram:

SITE MAP

AXONOMETRIC VIEW: TUBE1 IV AI TO E ( I N T “P E RR SE CT N S P A C E”

Articulation : from Mass to Forms

O F TUBE1+2)

WORK + SLEEP

the translation from mass to forms begins with the concept of two seperate chunks, top tube [ private space; sleep , work ] and bottom tube [ public space; Action, gallery, lounge ]. These tubes begins to intersect at specific posture depending on the spatial requirements of individual programs

CIRCULATION D I A G R A M:

UNRAVELLING

LYING AREA

Circulation:

SITE MAP

TUBE1 “P R I V A T E S P A C E”

DESK

WORK + SLEEP

TUBE2 “P U B L I C S P A C E”

The concept behind the intertwining of the tubes creates a more organic circulation between programs and using different methods A Xboundaries O N O M E T R between I C V I E W spaces : to set rather than using ( I Na T Etypical R S E C T Iwall. ON

LOUNGE + GALLERY

O F TUBE1+2)

LOUNGE

SITE MAP

AXONOMETRIC VIEW: (INTERSECTION O F TUBE1+2)

UNRAVELLING

LYING AREA

The implications of intersections: TUBE2 “P U B L I C S P A C E”

DESK

UNRAVELLING

LYING AREA

TUBE2 “P U B L I C S P A C E” DESK

LOUNGE

LOUNGE + GALLERY

The intersections between forms are used LOUNGE + GALLERY as tools to trim or define the inhabiting environment, some intersections are being defined as applications such as the lounging seat, the desk of the work environment, ect. Hence, drawing functions from its form, resulting in a more holistic and dynamic design.

TUBE1 “P R I V A T E S P A C E” WORK + SLEEP

AXONOMETRIC VIEW: (INTERSECTION O F TUBE1+2)

LYING AREA

TUBE2 “P U B L I C S P A C E” LOUNGE + GALLERY

PLANS + SECTIONS SECTION D

SECTION B

PLAN E A

D E S K L Y I N G A R E A

P R A M

2 rendered views

PLAN F C L O U N G E

D AC T I O N

P R A M

HYU LIM HENGYU

Roberts Studio, 1A Fall 2013

SECTION A

SECTION C

SECTION B

SECTION D

PLAN E A

D E S K L Y I N G A R E A

P R A M

renders [ interior + exterior ]

LOUNGE

“precedences” understanding from the past Studio : 1B

| Instructor : David Freeland

Overview : In this assignment “ Precedences” is the formal analysis of prior or parental elements in architecture. The assignment aims to develop an understanding of plans based on mathematical and proportional context by analyizing and studying certain plans which had been allocated to us. Allowing an indepth understanding of how forms are derived from precedential geometries. Prompt: The prompt was to analyze the plan of the Hagia Sophia, and to “reverse - engineer” the plan to be able to develop an understanding of how each geometries relate to each other in forms of sysmtems and principles which were used as a tool to develop the plan. After which we are to re - construct the plan based on our understanding , implementing the use of these systems of mathematical proportions and alogrithmic increments to full develop ten layers of plans in sequential form which leads on to the final plan. Introduction: A few of the common principles and systems found in the hagia sophia includes local and global symmetries and hybrid systems of both radial and grid fields. The plan is them broken down based on the increments between geometries and technique used to develop the radial grid to unravel and re - develop the plans.

hagia sophia geometrical autopsy

The plan of the Hagia sophia was constructed based on mathematical proportions and systematic principles. In this study, the prompt was to re-construct the plan based on its basic geometry. Hence, leading on the the term â&#x20AC;&#x153;Geometrical Autopsyâ&#x20AC;?. Generally dissecting the geometries and analyzing thier roles in the overall plan to re - construct them from a blank canvas. some prominent principles found in the manifestation of the plan includes principles of symmetry and incremental shifts leading on the the formation of grids which acts as a guiding tool to furthur deploy sub - geometries. Layer one: Through analysis, most geometries were formed from the center out. Starting with only a circle, the plan begins to lay out axis of symmertry and other guiding tools.

Layer six: Ceiling plan is formed via the articulation of the grids patterns of increments are noted on the grids.

Layer two: using the square as a guiding tool, the plan begins to construct the semi dome structures and a bounding box

Layer seven: Details are added to the columns and more increments begins to ripple out from the grid

Layer three: The deployment of sub - domes are from based on proportions and earlier guiding tools

Layer eight: The deployment of seconday columns, along the base of the sub - dome based on radial increments.

Layer four: The organizational grid begins to be more defined and articulate based on sub - increments.

Layer nine: Projection of arcs and circles are used to define columns and smaller scaled elements.

Layer five: The deployment of primary columns begins to appear between grids, allocating in a sparse manner.

Layer ten: The arrival of the final plan , including poache and two highlighted figures which are used for futhur study.

1 2 1 2 1 2 1 2

2 1 2 1 2 1 2 1

1 2 1 2 1 2 1 2

2 1 2 1 2 1 2 1

1 2 1 2 1 2 1 2

2 1 2 1 2 1 2 1

1 2 1 2 1 2 1 2

2 1 2 1 2 1 2 1

â&#x20AC;&#x153;figure,frame,fieldâ&#x20AC;? the art of part to whole & the undefined scale Studio : 1B

| Instructor : David Freeland

Overview : The notion of a field describes a network of system mainly created or implied from sub components (Figures and frames), this network of system or modulation of different components encompasses elements which implies a form of connection between them. This assignment aims to uncover several different aspects of understanding the part to whole relationships in architectural elements. Prompt: The prompt of the assignment is to develop several different component including figures and frames based on the precedence of the Hagia Sophia, these component are then articulated to create other sibling figures and frames based on a secondary degree of analysis which will begin to modulate to establish the overall field. Introduction: The concepts of the figures revolves around the precedential principles used to construct the Hagia sophia implementing a system of global and local symmetry which retains certain scale and proportion from the former poache. it also establishes new relationship between geometries through the symmetry and principles. The frames are then developed by capturing the interesting moments of transition between figures. This allows the frame to encapsulate the essence of both figure at the same time. The form of the field was shaped after establishing a kind of dialogue between figure-figure , frame - frame and frame - figure relationships which resulted in a net of field which cascades in an interesting manner.

figures forms from precedence

The figures were developed from the poche of the Hagia Sophia, Extrapolating new meaning and forms from the former two - dimensional silhoutte , in this instance, the form is developed using principles of local and global symmetry as found in the Hagia Sophia. It also begins to created new experimental shapes fron other axis from the creation og the form.

developing from a two - dimensional figure : The figures are developed from the former poche which resembles an elephant, in the establishing of the figure, it revives certain principles of the Hagia Sophia such as its local / global symmetries (as seen in the drawing). The forms are also developed three dimensionally using the information from its former verticle hierarchy.

figures : 2 forms from precedence

The prompt leading on to the the second figure was based on a transformation from the first figure while re - intergrating a secondary degree of systems and principle on the first figure. While the first figure experiments modes of addition and configuration of geometries, this second figure experiments with the subtraction of forms, ultimately subtracting stacked components to achieve a sub - â&#x20AC;&#x153;unifiedâ&#x20AC;? form.

developing from a two - dimensional figure : The black poche indicates the object used to subtract from the fomer figure resulting in a more unified form, eroding fragments to create a partially seamless component among the fragments.

Iteration of another figure The drawing depicts another iteration of the frame, flipping the axis of symmetry and exterimenting configuration among different axis.

frames a mediator between figures

The frames are idealised as a mediator between figures, engaging the figure from a rather ambigious degree with no implication of a defined positive or negative space. It can be seen as spatial possibilities and option for expansion beyond the figures. However, the frames remains mostly as a kind of dialogue between figures. In this instance, the frames are created from the void between two figures.

A mediator between figures. Above is an illustration of a frame forming withing the negative space of two figures, capturing the void which interlocks between the two figures.

frames : 2 a mediator between figures

The second frame was Developed using a different configuration, where two different figures are oriented in a symmetrical manner. projection lines between the void of the figures are drawn to create the frames. capturing the transition between one figure to another.

A third figure from an equation : The drawing illustrates two figures configured in a position where each projection crosses paths, creating the frame as a product of the transitional void between both figures. Encapsulating the essence of both figures.

field a modulation process

The final segment of the assignment â&#x20AC;&#x153;Fieldâ&#x20AC;? encompasses the collaboration of the figures and the frames , experimenting ways where both realms of figures and frames begin to engage in a kind of implied organization between them and begins to expand in a systematic kind of network. In this assignment, the field results in a configuration where frames operate as a dialogue between figures, and creates a kind of structural inter-dependency as seen in the photograph. This unique configuration then begins to develop the field in a three - dimensional aspect rather than a two dimensional one.

The effect: Below is an illustration of the field from a two dimensional aspect, this illustration indicate layers of systems used to construct the field (as seen on the right). The two dimension illustration can be seen as the â&#x20AC;&#x153;effectâ&#x20AC;? of the three dimensional configurations.

The cause: Below depicts an olique axonometric drawing of the field, illustrating the three dimensional network of figures and frames. The modulation process was challenging due to the multiple layers of connections between figure- figure, figure - frame and frame frame. The red box indicate the cut for model making and furthur analysis.

Iterations (Radial Field) : The drawings illustrate another iteration of a field developed using a radial system, similarly to the Hagia Sophia, the figures are deployed in intervals using the rotation of the arcs and begins to branch out in mathematical proportions by the rotation of other sub - components. It begins to develop in another axis as well.

â&#x20AC;&#x153;los angeles center for architectureâ&#x20AC;? a design based on subtle precedences. Studio : 1B

| Instructor : David Freeland

Overview : In this final assignment the objective was to develop spaces from precedential geometries , while using these precedential geometries as an organizational tool. We were to create a rich and intricate plan , implementing multiple layers of systems and principles found in its precedence. However, these systems and principles may begin to adapt towards the spatial requirements for developing these inhabitable spaces. Prompt: The prompt was to design a museum for â&#x20AC;&#x153;Los Angeles Center of Architecture featuring eight main programs, exhibition space, lecture hall, a lobby, a cafe, a bookshop, an office, WC and a storage space within a 75 x 75 feet boundary. Introduction: Some key principles found in the Hagia Sophia includes a use of local and global symmetry, These principles are carried forward to this assignment as tools to organize and articulate the final plans.

conceptual diagrams

Field extraction :

re-intergration of frame :

site calibration :

l ay e r d i s t r i b u t i o n :

The plan is extracted from the field, aimed at capturing organizational behaviour and characteristics of the field which will be used as a tool to help define and articulate the final plan. Ideally it could be seen as developing spaces from a former geometries.

The frames begins to take on the same role as it did in the field, as a transitional structure between two components of the plan which begins to divide during the layer distribution(below). acting as a key transitional space, an axis for the plan.

FRAME

75’x75’

The plan is then calibrated into the site boundary of 75’ X 75’ , using the the field to establish a grid to expand and contract simultanously to intergrate the programs while retaining certain mathematical proportions of aesthetics.

While calibrating to the site, the plan is then organized into seprate layers vertically, offering the programs a different variety of floor plan catered to its individual requirements. entirely wrapping a three dimensional courtyard. while using the frame as a connecting structure between the cantilevering top chuck to the bottom chunk.

circulation diagram : L1

The two chunks circulate in opposite direction from the key frame, when layered it balances out the movement within the building. The exit from level 2 also reaches to a landing which accesses the outdoor lecture hall and patio on the top deck of level one.

CONCEPTS & strategies The overall concept revolves around strategically mapping the programs into the plan while the plan simulataously shapes itself towards its own form to accomodate to the programs ,establishing an inter - dependent relationship between both plan and programs while using the field is used as an organizational tool of shaping to carve out walls to divide, sub - divide and redirect circulation.

LACA

In this project, the plan is seperated into two seperate chunks, allocating retail and archive on the first level, while allocating the exhibition space and office on the second level using the bottom chunk as a pedastal for the exhibition space. Featuring mostly glazed panels, it projects the exhibits furthur from an elevated point. The bottom chunk allocates the retail space for public access and cafe being accessible from the street and the courtyard. Giving the courtyard cafe an initimate setting with chunk wrapping around it. The plan is also developed in a way to form a three dimensional courtyard, allowing the courtyard to be seen from different elevations.

PLAN+ PROGRAM DIAGRAM

EXHIBIT

Archive

Exhibition space

VISUAL STUDIES fabrications + delineation course : Visual Studies

| Instructor : Dale Strong

Overview : Fabrications + delineation is an introductory visual study of basic tools and primitive forms, challenging the boundary of the manipulation of forms at a basic level, while understanding the simple tools used to extract, subtract , add, multiply or divide. The course also entails significant skills required for drawing dimensions and other modes of illustration.

C O L O R S

FONTS

Aa Aa

.7 in

.5 in

.4 in

2/2 2/1 1/2 1/1 0.5/4 0.5/3 0.5/2 0.5/1

2.0 1.9 1.8 1.7 1.6 1.5 1.4 1.3 1.2 1.1 1.0

1/8”

1/16”

1/32”

1/64”

P R I N T E R C A L I B R A T OR H Y U L I M

1/8” M E S H

1/16” M E S H

1/32” M E S H 1/64” M E S H

One : precision

The prompt was to develop a simple printer calibration sheet, featuring an array of colours , gradients, hues, and various lineweight and linetype. The objective was to develop an understanding of the different result that may vary from different machines. It also develops basic organizational skill in a user - friendly reading of the calibration sheet.

TOPVIEW

5 1/2"

3/4"

4 1/2"

3 1/2"

6" 1"

3 3/4"

1 1/4"

4 7/16" 96

9" 3 1/2"

FRONT VIEW

two : collision of the primitives DIMENSIONS OF INTERSECTED PYRAMAID + CUBE The prompt was to intersect two primary BY HYU LIM HENGYU

solids and produce a dimension and oblique axonometric drawing.

RIGHT VIEW

3 1/2"

DIMENSIONS OF INTERSECTED PYRAMAID + CUBE [OBLIQUE 90 DEGREES AXONOMETRIC]

2 1/3"

three : collision of the primitives The prompt was to intersect an additional solid to the pre - existing intersected object and to produce an axonometric drawing + a section drawing from several planes.

four : collision of the primitives The prompt was to intersect an additional solid to the pre - existing intersected object and to produce an axonometric drawing + a section drawing from several planes.

1”

1 3/4"

8 7/8"

1 3/4"

1”

7/16" : RADII

75°

3/16" RADII

5 1/2"

75°

75° 1/8" RADII

85°

3 9/16"

85°

75°

5 1/2"

75°

85°

3 9/16"

85°

73°

8 1/4"

1”

2”

3”

five : understanding material thickness

The promt of the final assignemnt was to re - develop an three - dimensional object digitally using tools and commands which were taught throughout the semester. The object assigned was an industrial box and we were tasked to translate the unfolded object into a digital form and re - create the box digitally with included material thickness, the objective was to allow an understanding of material thickness and to account for intersections and the folds of these materials..

VITA500 ORTHOGRAPHIC DRAWWIN

academic essays â&#x20AC;&#x153; t h e o n ly g o o d i s k n o w l e d g e a n d t h e o n ly e v i l i s i g n o r a n c e â&#x20AC;? A collection of essay written by : Hyu L.Hengyu

The Beauty OF Tragedy

Course : 1A Visual Rhetorics

| Instructor : Stephen Phillips

We live in a capitalistic world controlled by mass corporations, living lives dictated by social norms which are created by ideologies fed to us from television and mass media. Slowly we become what we hear and see. Billboards after billboards of pretentious, perfect commercial smiles, driving us towards the idea that everything communicates better with beauty. Television and advertising are often sexualized because sex sells and we see fake and plastic happy looking people on loan advertisements, which could never quite possibly happen in reality. All of which seems to be a great distraction to the everyday people, “assuring” their life is fine , inciting more expenditure despite the inevitable financial bondages from tuitions and home loans, creating more distractions that makes us neglect the repercussions of over consuming , However despite the constant tsunamis of pretentious smiles and perfect life television and mass media is trying to sell, a portrait of a beautiful tragedy photographed during a violent protest suddenly becomes the world press photo of the year. The photo, captured by Samuel Aranda during a street protest against the thirty three year long regime of authoritarian president Ali Abdul Saleh in Sanaa, Yemen. It depicts Fatima al – Qaws in a traditional Hajib, which veils her entire body and expression while cradling her son zayed in a warm and intimate embrace while he was suffering the effects of tear gas after the violent protest. The photograph not only encapsulates a certain kind of tenderness from the embrace between the mother and her son with her arms wrapped around him in a gentle manner which posture resembles much of a renaissance painting, but it also creates a great juxtaposition with the mysterious elements from the veil of the mother, which inevitably masks her most probable expression of agony. It also accentuates their innocence as victims of the violent retaliation from the government, making the photograph proof and evidence as a form of social awareness for the adversity of such political outrages in the world, Shedding light to the degree of agony caused by politics towards a world sugar coated by corporate entities. A sugar coated world by corporate entities trained to digest easier with the apparatus of beauty. Perhaps it is why the photograph looks shockingly poetic and tragic and the same time. Despite the occurrence of tragic moments within the picture, the photograph had been strongly aestheticized and captured in a provocative manner which most likely had contributed to the success of the photo which prior to becoming the press photo of the year, underwent a vigorous amount of curating and vetting by judges and juries who critiques a photographs based on aesthetic means for a media company which seeks to serve the masses. But why is such demand of beauty within a photograph that also seeks to serve the truth so critical and vital? And if such means of curating happens does it not neglect certain information from photographs that are deemed “not beautiful enough” to be publicized? It might all just be due to the way society reads and understand, with beauty and aesthetics being the supreme mediator between information and us.

The Beauty OF Tragedy

Although the shot is composed by a man with neither understanding of such circumstances nor understanding of such agony, it eventually leads on to unintentionally portraying the subjects under some misconceptions, but nonetheless some truth towards the agony of the subject resonates and shakes the modern society which is driven by beauty. Then maybe it comes into realization that the beauty and aestheticism is merely a great apparatus in propagating such controversial photographs. Despite the fact that some truth may never shed light in a world driven by aesthetics and beauty, where things are often prioritized based on the mixed agenda of media companies between profits and journalism there can be a great distortion of information based on the misinterpretations of speculators at times. However, most publications hold a striking balance between truth and beauty, and sometimes only truth can be heard with beauty as an a p p a ra t u s.

propaganda and identities

Course : Design Cultures

| Instructor : Dora Epstein Jones

Over the years, there has been many debates over the incorporation of multiple functions towards design, some might see this incorporation as a kind of taboo in the art of design with the belief that somehow multiple functions might compromise its aesthetics or reciprocates in a kind of fragility through the implementation of more functions. In this context we observe the mobile home, the caravan. Before the Airstream took a revolutionary turn on mobile living, caravans are deemed a poor invention due to the idea that a house cannot be a car or at least the combination of both a car and a house was not easily accepted due to the lack of “proper functioning” many were skeptical of this convergence of function and often fret over the idea that a house on wheels would create much issues and problems. The Idea of a caravan was often associated with hygiene, danger, poverty, ect. 1 However, Benham might argue that these ideologies behind the caravan were a mere result of perhaps, poor design.2 Is it an image based design issue that evokes a poor justification of its actual potential? or is the invention truly poor? Based on Benham’s “Taking it with you”, the airstream had successfully managed to retain its existing function as a caravan but however demolish its infamous relation with the “problems” associated with the caravan. How is this possible? According to Benham, it is the controversial new design which sets it aside from its predecessor, successfully manifesting a new, stronger, bolder, and intriguing image of its own3, Hence, successfully abolishing the previous identity of the caravan. This success propelled the design of the airstream to fame, turning it viral and globalizing it through the propagation of the media. This phenomenon not only globalized the beauty in design of the airstream, but it also unintentionally encapsulates the American identity with its design, educating foreigners and strangers the sort of association between the design and America itself and therefore, creating a strong relationship between the two. This American identity4 can also be seen due to the fact that its creation is influenced by the American lifestyle, the “freedom” among civilians and the strong sense of wanderlust among most Americans, as portrayed in music videos and television, the vast skies, the endless freeways. Through this depiction, Americans had been associated with a kind of passion for venture, “vagabonds for life”. Hence, this invention was a clear manifestation of the culture of wanderlust and venture found among Americans. By analyzing the Airstream and its image, The American identity, hence, had been associated with features and certain design characteristics which had been implemented towards the Airstream such as the general anthropomorphic form, the contour and tapering of the edges and more. These elements such as the contours can be seen among other product designs as well. Whether intentional or not, these product designs emits a sense of American identity through the geometrical relationship established among the objects of many remarkable designs of the American history. One example would be Apple products.

propaganda and identities

Apple products often feature a seamless tapered edge, contours and a clean and minimalistic finishing touch, these traits whether or not influenced by the Airstream, contain notable similarities between them, therefore, when analyzing might create a relationship between the two, and generalizing the features as a form of an American identity. Whether or not Apple had the intention of associating the apple product design and its design characteristics / principles, the Apple Company had successfully managed to tie a strong bond between its product and the American identity. Generally when we think of apple design, America comes to mind. This inevitable association between the two could be due to the fact that Appleâ&#x20AC;&#x2122;s mass produced products are stamped with the â&#x20AC;&#x153;Designed in Californiaâ&#x20AC;? text which confirms the bond between the two. Also, in contribution to the image, the exponential sales of the apple products reciprocates in the globalizing of its design and its association with the American identity. In conclusion, the American identity, just like any other cultural identity is constantly evolving to the rhythm of pop culture and many viral influences justified by the countries origin. These identities established by countries in modern societies are often controlled by giant corporations which hold the key to mass production and propagation; Similarly, like the apple company. In my opinion, this is somewhat a waste as most of these corporations true agenda is tied to the profit it makes; Hence occasionally the design could in turn have adverse repercussions on its identity. One example would be thing that are made in China which are often associated with lack of quality. Therefore, design plays a crucial part when it comes to mass production. I believe a successful design is one that is able to retain its function yet incorporates extreme aesthetics and beauty. Only then with such balance in form and function comes such beauty.

Porcelain Milk Carton (Small) by Jeremy Hatch

the controversial & the commercial

Course : Design Cultures

| Instructor : Dora Epstein Jones

What constitutes to the success of a design? How does society play a role in designing? Should designs be a pure unguarded manifestation of the designer? if so, how does social influence come to play in design? The writings by forty and jones provides an in-depth analysis and investigation on these questions and studies an array of variable aspects of design ranging from the omnipotence as designers, cultural influences and technical aspects of design. We will look into how these factors contributes to the success of design and also emphasise on the cross discourse set between design, the designer and society itself. However, both authors illustrates different contrasting perspective on designs, are designers omnipotent in their freedom of expression? if so, why must society and sponsors be taken into consideration while conceiving a design? In this essay, we delve into both aspects of forty and jones. “Design, Designers and the literature of design” written by Forty analyses the design of the lucky strike packaging which design was considered a success given it establishment of the american identity through a clean look with the use of simple and minimal colour tones of red and white. This choice of design created an new image for lucky strike and introduced the essence of the american through subtle and minimal means, which in turn made it a great success as the rise in immigrants yearning the partial acknowledgement of being an american contributed to great deal for the lucky strike company. This movement and choices which relates to the correlation between design and society’s demand can also be much related the writings “What is designing” By jones which offers an in-depth study of how great designs are associated with meeting sponsors, clients manufactures and distributor requirement in acquiring accessibility and meeting the mass. Jones also believed in a recipe to good design, however, forty might argue that the principles of design cannot be taught through typical means and might change with the ever evolving pace of culture and society. One example of a successful design would be the everyday milk carton. it was not until the early 1906 when milk cartons were distributed in the city of san francisco, Before that, milk was transported with the use of glass bottles which was deemed too heavy which contributed in difficulties in transportation, hence, affected cost. it was also breakable and a great hassle for it to be cleaned and reuse.However, things took an interesting turn as G.W Maxwell found a remedy to the problem with the use of paper cartons,hence, the idea of the milk carton was conceived. The use of paper cartons lighten the weight of the milk which accommodates more for transportation, therefore more efficient through cost and time. the square packing also accommodates more room for transportation as it maximises the volume since glass bottle have a kind of contour which restricts appropriate stacking. finally, its unbreakable and easy to recycle. The milk carton is a great example of Jone’s means of design meeting manufacturing needs by finding a remedy to the problems of inefficiency, G.W maxwell designed the milk cartons in response to a problem and in turn was a great success. This idea of design was not only a solution but also created a new culture of its own. manifesting a new way of life on its own,

the controversial & the commercial

which brings to a point about forty’s beliefs in the omnipotence as designers. Another classic example of great design that shaped the world was the Monobloc plastic chair designed by Italian designer Mico Magistretti in 1967 which then went into production with Allibert Group in the 1970s. Since then, The chair had created a widespread phenomenon and millions have been manufactured in countries including Russia, Taiwan, Australia, Mexico, the United States, Italy, France, Germany, Morocco, Turkey, Israel and China. This clearly illustrated the global influences that the chair had based on the omnipotence of a specific designer. Who did not only designed a chair that was simply ingenious but also redefined the world there the revolution of his design. The mono bloc chair similar to the milk cartons is capable of maximum efficiency through the use to stacking and also light weight . By far, both examples being used illustrates the technical and commercial aspects of design possibilities and success, however ,ironically, or maybe paradoxically, adrian wrote that sometimes designers must be able to exercise omnipotence ignoring the fact that they are agents of ideology. But is it ever possible with the constant changing ever evolving world? if designers should be omnipotent in their own way,would it compromise the aesthetics for its patron? The Apple iPhone. One of the most revolutionary and successful phone in the world, assembled with simply a glass panel and aluminum backing, was the first phone to feature a minimalistic look with the use of only a singular home button, a power button, volume and silent switch. This design influenced many other brands which also featured similar properties. Why does so many companies follow the footsteps of Apple? And how did apple take such a huge leap of faith removing the conventional buttons that we use everyday yet make it such a huge success? Possibly this defines the omnipotence of a designer & the “recipe” of design which at that time conforms to the standards of mostly excessive plastic keypads. The design of the iPhone not only managed to redefine the phone but also in terms of Jone’s writings, managed to feature great efficiency in terms of their packaging and their minimalistic accessories which consist of far too little plastic compared to the norm. Forty and Jone’s perspectives on design and it’s literature illuminated the astounding factors which contributes the success of design, both writing provided a critical analysis on both from commercial and controversial aspects, from manufacturing to the omnipotence of a designers being able to ignore the role as a mediator between clients and society. Despite the technicality of design and its realistic capacity set by Jone’s, Forty striked a balance in terms of expressing the power as designers and their freedom to design in their own means ignoring ideologies. Both authors provides views that are interdependent in creating the “perfect” design.

Photograph by : Hyu L. Hengyu

PLASTIC CUPS, PLASTIC HEARTS Course : Collegiate writting

| Instructor : Claire Phillips

It is a Friday night and for several weeks, you’ve been stuck in the same office with the same people with the same pursuits in the exact same rat race, the rat race to escape the financial bondage from unpaid home loans, cars and your college tuition. Hence, you found yourself stuck here in the corporate jungle, except in this jungle only the colors of black and white exist, you realize everyone’s shirts, suit, ties and briefcases seemed to be from the same wardrobe, the array of whites, black, occasionally navy blue and leather all clearly dictated by the corporate norms and etiquette of business. Individuality dies a little each day. The office was illuminated with the same fluorescent tube echoing down the hallways in its distinct artificial manner. The same fluorescent tube which has been mass produced which transcends a kind of mundanity and banality, You love it here. And you hear the same clicking of pens thru every meetings, you love it here, the same grids of numbers and spreadsheets on every computer screens, you love it here. And the same unbearable sound of printers running its inkjet along its track printing stacks of papers that don’t make sense to you. You love it here. So some time along that devastatingly mundane outcome of your life that you certainly did not hope for, you decided that you were going to head out. You wanted to live the remaining youth you have. you wanted a controversial life. And just like every other corporate animals you dwell in hard liquors, substances, adrenaline and fast cars for your “getaway”. money can buy you happiness. You don’t have the time to invest in perfect relationships like those in the movies, after awhile you stop believing the lies they try to sell you and you start counting the money they make from selling those novels. You don’t have a “home” to go to; no place called home where you know that mom and dad will always be. No one to tell you they’ll be there no matter what. What doesn’t kill you makes you stronger is the new lie you try to sell yourself. Ten feet away, the muffled bass from behind the door starts enticing you and your friends, you know it’ll be another “memorable” night. You step in and bass gets louder the colors got brighter and the morals got looser. Neon lights of pink, yellow, green and blue flashes in sync with the music, colors that you have not seen for almost a week. your adrenaline builds up and your ego follows along. You pop a bottle and a few girls decide to join. You pop a bigger bottle, more girls decide to join. You note the trend but ignorance’s a bliss, ignorance’s a curse. This is what the superficial & mainstream world is made of : lyrics of fast expensive cars and pretty babes , alcohol and drugs and flashing light, you know you are disgusted . But somehow you can’t find the courage to separate ourselves from the norm. Because you don’t want to be alone. Because nobody wants to be alone or at least being the minority better known as the misfits of society had a heavy price to pay. thru the evolution of society, the outburst of social media platforms, society became more dependent of acceptance of the mass, stirring up the drive and hunger of fame & followers and and you know you don’t want to miss out no matter how disgusted you are. Because once again, you’re afraid of being alone. Imitation intimacies, blooming throughout the floor . Plastic jugs that filled plastic hearts, plastic hearts with an endless void. Ironically, the most memorable nights are the ones we can barely remember. But what was the pursuit? somehow we can’t remember. But we were chasing something. A mystical concoction of liquor and substances took a toll on your body. On the second bottle, you blacked out.

PLASTIC CUPS, PLASTIC HEARTS

Sitting on the wheelchair, you start to sober up. You find yourself attached to tubes of other substances, you look around you, you look at the people around you, people fighting colon cancer, people with amputated limbs from diabetes, and you are shamed by the way you ended up here , in the same line waiting to be treated , a sense of guilt engulfed upon you when you start realizing the fact that the people here in the same hospital had their serving of misfortunes thru a certain fate that was uncontrolled. and you? you ended up here by choice. Then you thought to yourself: maybe the mundane isnâ&#x20AC;&#x2122;t so bad after all, the cycle never fails to continue. a short story by Hyu Lim

panopticon : green eyes. Course : Collegiate Writting

| Instructor : Claire Phillips

Panopticism by Foucault successfully describes the idea of power and discipline through the implementation of a fortress like architecture. The idea of Panopticism not only revolves around the physical mechanism of architecture itself, but it also refers to how it could potentially shape the disciplinary structure of society by introducing hierarchal principles and thus creates a self-sustaining environment independently. However, similarly to Foucault’s, there are strong elements from Panopticism that are seen implied among corporations, schools, hospitals and military organizations. Organizations that operate with a hierarchal & disciplinary mechanism which is the key to efficiency and daily operation. One example based on personal experience would be the military. The agenda of the military body is simple and concise, to protect and defend a nation from any possible threats, however these modes of physical training to arm soldiers with the amp skills to defend and protect requires extreme discipline and regimentation to be able to conquer and demolish the barrier of one’s physical and mental limits. However, ironically the motive and intension behind it is much softer, gentler and more humane; for our loved ones. Upon entering the military, every enlistee begins with shaving their head. The truncation of various styles, color, individuality all which subsides to a simple uniform length of a single millimeter. This symbolic ritual strips one’s identity and dictates one’s rank in the army, which upon entering would be a recruit. The recruit then receives a number tag which would be how one would be identified for administrative purposes. Similarly, like the inmates of a prison. This process subsides individuality to a homogeneous ground which demolishes room for any disparity among the recruits. This ritual was pointed out by Foucault’s Panopticism as quote “individualities merging together, a collective effect, is abolished and replaced by a collection of separated individualities. From the point of view of the guardian, it is replaced by a multiplicity that can be numbered and supervised; from the point of view of the inmates, by a sequestered and observed solitude”. This quote that was based on an extraction of Bentham’s panopticon letters, clearly illustrates the function of the ritual and how it can be seen as a successful mechanism in the play of observation and supervision. However, this vicious process of abolishing individualities would not suffice to having ample control over one for total supervision and power as architecture and other elements features a huge contribution to panopticism. Subsequently, the recruits are then assigned to a company which usually consists of two hundred people. Within the company they are assigned a platoon which consist of approximately fifty people and under each platoon, they are assigned a section which consist of mainly twelve to fifteen people. A typical company would consist of four platoons which can be subdivided into four sections from each platoon, this segregation of the recruits is primarily to assist supervision. The company is then supervised by commanders which are allocated based on a hierarchy of power, a section is in charge by a sergeant, a platoon is in charge by a lieutenant and a company is in charge by a captain. This systematic hierarchal breakdown of supervision and power which can also be seen implemented among corporations, instills a great deal of efficiency

panopticon : green eyes. and self-sustainability. As pointed by Foucault, “The penetration of regulation into even the smallest details of everyday life through the mediation of the complete hierarchy that assured the capillary function of power” This panoptic strategy assist the organization through the chain of command, allowing personnels of a certain power to make instantaneous decisions to remedy a problem or an issue. The segmentation of a company is also efficient in ways that large scale obstacle and training can be conducted on a company level while administrations and monitoring can be conduction on a section level, Hence maximizing time efficiency. However implementing these labels and position of authority, the key to Panopticon is mainly its fortress like architecture which is the key figure for the application of such hierarchy. The recruits are then allocated bunks based on their section and platoon. Each company has four levels, one for each platoon, each level has four bunks, one for each section, all of which are designed like a prison cell. The bunks are merely separated by walls, with only a corridor connecting them, each and every bunk can be observed from the center of the parade square, where all the companies are allocated around in a fortress-like manner with every corridor opened to be observed, guarded and scrutinized by the center of the parade square. The bunk beds are pre-labeled with their identification number tags, all of which aligned in a parallel manner on the left and on the right side of the room with each bed facing each other. This lack of privacy incorporates cross supervision and observations among each other. During meal times, the whole company would assemble in a contingent of rows and columns, in which the recruits are visible by the commanders, the line up and assembly of the soldiers in this manner makes it clear for any movement or disparity among them. The cookhouse, which is where the soldiers would have their meals, resembles much as those architecture organization of china factory like Foxcon , a line to pick their food up , endless rows of solid rectangular tables, aligned in a parallel manner, all of which are guarded and observed by the front row, which consist of mainly commanders and supervisors. The soldiers then quickly consume their food, trying to meet the time limit given to them. Soon, another batch would arrive and it would be their turn to consume. This system of surveillance can be seen as a panoptic phenomenon, as quote by Foucault, “Permanent visibility that assures the automatic functioning of power. So to arrange things that the surveillance is permanent in its effects, even if it is discontinuous in its action; that the perfection of power should be a machine for creating and sustaining a power relation independent of the people who exercise it”. This suggest that through this transparency between the subjects and the observer. it would assist the proper functioning of power as there is a visual constrain held between the observer and the subject. Although Foucault and Betham managed to illustrate the ideal structure of Panoticism, which can be seen successfully applied and operated among schools, hospitals, corporation and military by a fortress like architecture, hierarchy of control and social segregations, it may not be able to adapt to the ever-evolving changes within society as people have the tendency to change and hence with its new behavior deemed incompatible with the application of such structure. As the world progresses and through the globalization of different ideologies and concepts spreading among society, individuality becomes more diverse and impeccable. Making it difficult for people to conform to a singular uniform trait. People are becoming more interested in privacy and also, in power; the demand to be on top on the hierarchy. As a result of this evolution, Panopticism seems to be harder to implement in today’s society. People of our age tend to be fuelled by welfare and materials and not by surveillance and the abolishing of individuality.

Photograph by : http://buttonsandbowsla.com/

art walk : a research Course : Collegiate Writting

| Instructor : Claire Phillips

on a typical night, the city of Downtown Los Angeles is merely a gloomy city with excessive homeless people at almost every turn1, scavenging on every possible opportunity on food or change, the streets are plagued by a horrendous stench and is often avoided due to the constant increase in crime rates. These are just some of the factors that drive tourist and people away from the city. However in recent years, a particular art movement is set to turn the city around by introducing not only vibrant colors to the streets, but also opportunities from the creative industry in attempt to bring life and to rejuvenate the faltering city. Although the change is gradually turning the city around, its introduction of art galleries and the rise of creative enterprises opened doors of opportunities to the people of the city, bringing hope and a chance to turn things around. One particular initiative that is seen to drastically transform the city would be the monthly Art walk which is held in Downtown Los Angeles every second Thursday of the month. Organized by some of the brightest in the industry such as Joe Moller (Executive director of Art walk), Qathryn Brehm (Director of Operations) and LaTanya Spann (president), The Art walk is a great cultural experience open to all comprising of endless seas of installation, a wide spectrum of paintings and photographs from young and old aspiring artist from all places featured in up to forty different galleries. It all started eight years ago with only eight galleries and a hundred visitors 2 as an effort to promote the art scene in downtown LA. However, things blew out of scale and soon, the Art walk turned into a monthly affair, attracting people from all parts of the world, gaining mass media and drastically turned the city around with the sudden outburst of global patrons, expansion of art galleries and the rise of job opportunities. After the introduction and exponential growth of the downtown Art walk, the outcome has been overwhelming with the sudden jolt of job creations. As quoted from Joe during an interview on the LA art walk “No where else in downtown do you see the economic and experiential growth that you see within the Art walk footprint”3 emphasizing on the impact of the Art walk towards downtown LA. He also added that “ A lot of the smaller businesses make their mortgage or rent payment on Art walk night “ making it a positive platform for the community 3. Another outside source Shana Ting Lipton the Editor of about.com also pointed that “the goal of the event is to preserve the local history and culture of the area, as well as to spur job creation in the long term.” Shedding light to the overall agenda of the Art walk, which although is not only to preserve the local history and culture of the area but it also helps spur job creations. The overall impact ignited by the sudden growth of art galleries and global patron had indeed propelled the gloomy city towards stronger and brighter prospects with the rise in job opportunities and emitting of positive energy. Ever since, crime rates had significantly decreased and more people began finding to find jobs. Although the changes reflected by the art movement in downtown is rather gradual, it is proven to have drastically transform the city with the up rise in job opportunities and tourists, sparking the economic growth of the city and giving it new life and hope. This phenomenon proves that despite the odds, art can sometimes bring forth positive changes in many ways and help people get back to their feet through their passion and hobbies.

Photograph by : Museum of Jurassic Technology

museum of jurassic technology Course : Collegiate Writting

| Instructor : Claire Phillips

You begin with the anticipation of visiting a museum; a collection of various art pieces displayed on a white pedestal with a white backdrop, accentuating the beauty and intricacies of the art piece. However, to your surprise, this particular museum encapsulates a different, far more immersive ambience. Upon entering you are greeted by historical objects illustrated and displayed in a dimly lit environment, illuminating them in an intimate and interesting manner. These elements then create the illusion that you are taken back to a different time or rather a short visit to a different dimension. This is the Museum of Jurassic Technology. The Museum of Jurassic Technology located at 9341 Venice Boulevard bears a typical shop facade with far less embellishments and decorations in contrast to the modern day museums. However, on the inside, its exhibits and interior spaces seems far more interesting than the image it portrays. Founded by David Hildbrand Wilson and Diana Drake Wilson in 1988 1, the museum was driven by Wilson’s interest in eccentric and unique objects in his earlier days which stimulates a sense of curiosity, he was also interested in creating narratives from miniatures in shoeboxes and illuminating them with a tiny light. This passion then led Wilson to further establishing his vision for a museum through a series of events. The museum of Jurassic Technology as the name denotes, features a massive collection of historical objects, art, illustrations and exhibits by notable scientist, philosophers and artist such as Harald Henry Dalton, Albert G Richards, Athanasius Kircher and more which revolves over a strange concoction of art, nature, science, religion and astronomy dating back to the olden days. These exhibits which consists of strange objects such as decaying dices, mice on toast, floral radiographs, poetic historical letters, micro miniatures in box cases filled with unspoken yet strong and compelling narratives are displayed in a strategic and organized manner which stimulates a kind of suspense to the visitors with the use of minimal yellowish light which exudes a kind of warmth very much relatable to the olden days during the use of tungsten light bulbs. However, besides the use of minimal lighting, the arrangement of the museum is structured like a maze to create a spatial illusion to amplify the minimal and tight constrains of its location. It almost seemed like the darkness and absence of light in the museum created space for imagination to breed. Pulling you into the idea of a being in a different dimension full of possibilities. Despite the fact that most of the exhibits dates back to the early years, the museum had successfully managed to retain its essence and heritage throughout the years and still manages to evoke a sense of nostalgia to the modern day people. One specific room that seemed particularly intriguing was the Kircher room. Athanasius Kircher was a 17th-century scholar and polymath whose works revolved around a variety of interest such as oriental studies, geology and medicine. The room which featured his works comprised of a collection of models which illustrated a few of his major pieces such as the “tower that could not reach the moon”, “The Pyramids of Memphis and a Tomb”, “Subterranean Waters and Subterranean Fires” and “a Bell Wheel and Transcriptions of Bird Songs” featuring a peculiar wheel of bells which revolves every few seconds orchestrating a chime which contributed the mystical ambience of the room, evoking a sense of magical wonder. The models were place in glass cases and illustrated his studies with subtle illumination from tiny light sources within it, creating an interesting glow and adding a compelling finish to the pieces, accentuating its beauty being the only source of light in the room. One piece which captured my attention was “Why the tower that could not reach the moon” which was based on Kircher’s last books of his lifetime “Turris Babel”, featuring Kircher’s illustrations in attempt to “proof that Nimrod’s ambition of building a tower to reach the moon was intrinsically flawed” 2, Using models of the earth and the moon as a diagram to demonstrate the flaw. As quoted by the wall captions “ in order to reach the nearest

Photograph by : Museum of Jurassic Technology

museum of jurassic technology Course : Collegiate Writting

| Instructor : Claire Phillips

heavenly body; the Moon, the tower would have to be 178,672 miles high, comprised of over three million tons of matter. The uneven distribution of the Earth’s mass would tip the balance of the planet and move it from its position at the center of the universe, resulting in a cataclysmic disruption in the order of nature.”3 This model of Kircher’s study was extremely interesting as it delves not only into the fantasy of man’s ambition to reaching the heavens but also into the theoretical and scientific breakdown of the process, composing a striking balance between the art of religion and science. Although some of his theories much like the remaining exhibits are left theoretically unproven, it rejuvenates a kind of wonder which struggles to survive in today’s society where most studies and theories are often rationalized and tested vigorously to attain a fixed and scientific outcome. Apart from the Kircher’s room, there are many rooms filled with bizarre and gratifying images and objects featuring floral Stereo-radiographs of different species of plants, displayed with the use of stereoscopic apparatus. nostalgic experiences stimulated by poems and the smell of tea and cookie emitted by a tube, American folktales and legends encapsulated in boxes, a theatre that screens clips of places and poems on exploration, micro-projections and other apparatus which contributed to its unique and delightful experience. Despite the fact that most of the exhibits seem to be drastically different among each other, they are extremely intriguing in its own strange manner, each piece curated in the museum displays profound and astonishing beauty which would inevitably captivate the viewers. Although some might argue that its’ strange and different ambience does not work for the museum, I personally believe that the strange and bizarre exhibits contribute greatly to the success of the museum, Making it stand out from the rest. Hence, making it one of the museums not to be missed.

on the iliad Course : Humanities

| Instructor : Jill Vesci

2. Does the narrator in the play view Hector’s death as necessary? If so, why? In what ways does this version of the story have similarities to the original narrative and in what ways does it depart from the Greek version. 5. The Iliad of Homer incudes an extensive catalogue of ships, while the play included this, it also included an extensive catalogue of wars throughout history. Why do you think the authors chose to do this and how does the modern playwrights view of war differ from that of the ancient Greeks. 2. The play of “An Iliad” in contrast to the original narrative “The Iliad” is a rather great and successful adaptation of the original narrative on many degrees. The play had successfully managed to retain astounding similarities on the critical elements from the original narrative such as the immersive tone as told by Homer and ample truthfulness at the same time. It manages to capture the essence of the original narrative rather than becoming a short summary of it. However, the play parts from the original narrative by the adaptation of the narratives towards a more contemporary and modern context, Hence, establishing a stronger relationship between the play and the audience, by making certain situations more relatable and putting them in everyday context. Although, some might say that the adaptation in a modern context diminishes its strong ties of certain ideologies that are spurred from the ancient Greek times such as the notion of war that could be seen as a taboo in the modern context. Nonetheless, the play had managed to successfully conveyed the critical components of the play. To some extent Hector’s Death was seen as rather unnecessary partially due to the relation of the modern day context and the fact that Andromache tried convincing hector to retreat. After the death of Hector during the play, The narrator continuously referenced hectors death to the repercussions of the responsibilities he had left for his wife, Andromache such as the upbringing of his new born child Astyanax which would lack the nourishment of a father and it was a fate that was robbed from him during his childhood leaving Andromache the responsibilities and burden of being both parent as well as much sorrow and sadness. Even before his death, Hector’s wife had tried to persuade hector to retreat from the war and warned him of his pride 1“Hector , your fiery courage will destroy you! ” . However, Hector’s pride and ego served him the irreversible fate of death. As quote by Hector in An Iliad 2“No man will hurl me down to death against my fate.” It evidently proved Hector’s over confidence, which later consumes him in the form of death by Achilles. Also his death was also rather unnecessary as it could have been avoided if Achilles stayed committed to refraining himself from going back to war. 5. The recital of the catalogues of ship and past wars created by mankind was an intense component of the play which placed the audience in a much more immersive and reflective state of mind. I suppose the play included an extensive catalogue of ships in order to dramatize and heighten the scale of the war and the Trojans, it was recited with a rather glorious tone, putting people in the perspectives of the ancient Greeks and illustrating the power of war that they held during that point in time by reciting the staggering number of ship and the amount of soildiers within each individual ships, the specificity and details of how enormous it is played a huge role in building a climax of the scale of the war. However, during the play, The whole idea and preconception of the ultimate power of the war during the Greek times was torn down with the great power of contrast attributed by the recital of past wars spurred by man in the past decades. Putting the viewers in a more vulnerable aspects towards understanding the ludicrous scale and amount of the past wars by making us feel smaller and smaller in contrast to the

on the iliad Course : Humanities

| Instructor : Jill Vesci

the Iliad 3“ Skepticism is as much the result of knowledge, as knowledge is of skepticism. To be content with what we at present know, is, for the most part, to shut our ears against conviction” introducing the astounding collection of war to “shake” our minds from the lack of knowledge against so much that happened during the past. And using strong modern context as an apparatus to taking us back to our seats, reminding us of the peace obsessed world we live in turning pride to shame, The modern playwright spurs and instigates a sense of guilt and shame in accordance to the variety of wars recited upon the modern twist while dramatically in historical Greek context of war, people often bask in the glory of war and it is seen as an opportunity for victory, pride and glory. The notion of war certainly had evolved through time, The perspective of war during the ancient Greek times was Primitive and barbaric in certain ways as its primary interest revolved around a kind of romance (for the war of troy it was based on Helen) Which can be hard to find in modern times in regards the twist of national agenda that we face as a modern society (no longer just about woman). It is not only the Iliad which war revolved around a kind of romance but also tales of war from the past even up to medieval times had revolved around a kind of romance. Such sentiments are rather rare in modern times where our interest is at a larger and global scale constituting national interest rather than a woman. Also wars during Greek times are fueled by pride, ego, woman, glory whereas the modern day context of war are often associated by economical tension between nations, accordingly, war in modern day society are often between corporate giants, which reflects on the nationals economical stability which are a sub division of a nation’s primary pillars of support and also, political tensions. The Greek saw war as a more casual event or occurrence compared to modern day society whereas in modern days the topic of wars are seen as a taboo among modern social norms , people are more emerged in the idea of peace and progression rather than resorting to wars and violence. Which at that point of time seemed rather trivial to the ancient Greek culture , hence I personally felt that the way that the playwright interpreted the wars striked a compelling balance between conveying the adversity of the war yet enlighten us on the how it remains a great deal of lesson to be learned in context to the inexplicable amount of wars spurred by mankind. Creating a great juxtaposition of emotions throughout the play. Conclusion: The play was a magnificent adaptation of the Iliad being put in a contemporary context Although , there could potentially be a distortion of the essence of the Iliad by the translation and adaptation to modern day situations if taken out of context but I felt that an Iliad was compelling and gratifying in many ways capturing the essence of the narrative and amplifying the essence of it with the use of sounds from the bass and subtle sound effects.

The renaissance Course : Humanities

| Instructor : Jill Vesci

The renaissance art period marked the beginning of a new era of massive progression in several factors in society apart from the visual arts , some include philosophy, literature, music , science and economy and are often being built by the remains of the medieval period . Initiating the transition to the early modern age. Some similarities can be found amongst the Italian , Holland and England Renaissance art , in terms of technique used in art pieces but however, based on the interpretation and context each individual origin of renaissance may hold various context and expresses different ideas. However, one of the most prominent root of the Renaissance art period would be the Italian Renaissance. The Italian renaissance: The Italian renaissance was the strongest amongst Holland and England in factors not only based on the visual arts but also in terms of economy , scientific advances, philosophy and literature. The prominent works which rather illustrates the essence of the Italian renaissance culture includes works by Leonard Da Vinci ‘s Last supper , Michael Angelo’s Creation of Adam and Botticelli’s the birth of venus . they often tell a tale of god and men, featuring a rather religious outlook on life yet ironically , Da Vinci managed to contribute revolutionary studies in science. Despite the dedication to the portraiture of men and god, Holland and England renaissance holds a rather different perspective in renaissance art. p.s. the renaissance art period was also rather revolutionary featuring new ideas of rather , triggering a shift in political views on art, marking new reforms and drastic change in views.One example would be Botticeli’s birth of venus which triggered much speculation and controversy over female nudity in paintings Holland Renaissance: The Holland/northern renaissance period often feature “Still life” painting of objects illustrating a certain significance or symbolic meaning from the objects. Some prominent works includes breakfast with bread, cheese and cherries by Clara Peeters (and that bowl of strawberries from class) these still life painting were seen as a form of social status among the northern renaissance culture , people often displayed objects and food as a form of material to show one’s buying power. like we discussed in class ;) , the painting of the daily breakfast was simply to illustrates one’s ability to afford that lifestyle of rich and decadent meals yet remain subtle and “modest” at the same time. England Renaissance : The England renaissance period though manifested mostly in the area of literature and philsophical arts , there has been some contribution of art which mainly featured portraits of Henry VIII and the portrait of Elizabeth by Marcus Gheeraerts . these portrait were a form of documenting the political power and materials of one often featuring fancy clothings and upright and stern posture seemingly different from the Italian renaissance which exudes a more gentle and poetic gestures Perspectives: as an apparatus. Some / rather most of the renaissance often feature the use of visual tricks to creating and compose of more dramatic and aesthetically pleasing effect to the human eye. Some includes the use of perspectives in the last supper and composition in the Mona lisa. By Leonardo Da Vinci

the perpetual projection Course : History of Architecture

| Instructor : Christoph Korner

I. I N T R O D U C T I O N. The notion of perpetual describes continuity without intermission or interruption. it describes ceaselessness, which could only be derived from certain forms in architecture. Some may describe these forms as curvilinear, organic, elliptical, spherical, etc. These forms though may exude a kind of minimalistic essence to some extent with the lack of corners, edges, planar surfaces, however, it bears intricate and sublime complexities upon its construction to achieve its minimal, fluid and ceaseless gesture. These complexities in its form in turn attributes to the advancement of technologies, which opened doors to new functions, allowing ceaseless projection and other innovative structural properties. The Dome in particular contributes as a ceaseless form towards the innovation of non-rectilinear architecture. Re-invented and mastered by the Romans, the dome soon became a significant milestone of both aesthetical and technological advances in architecture. It is also seen as a form of great significance in the past and modern day context having seen as not just a figure of common applications but rather of a great monumental structure. However, throughout decades, architecture had been experiencing the absence of domes or rather its diminishing existence in the modern times. Could this be due to the density of population, reflecting the need of a compact city? Why is it that domes structures draw the line between common applications and a monumental one? In this paper we will delve into the primary construct of the dome, a classic form and predecessor of the curvilinear architectural forms as we know of today and also into the analysis of the monumental significance of domes and what factors contributes to it and its absence in modern times. This paper will outline the history of the dome through the roman revolution of architecture and the functional context of its form during the past and present. It will analyze, compare and contrast two prominent domed buildings in the city of Los Angeles in regards to factors such as its aesthetic appeal, functionality, its evolution of technology and itâ&#x20AC;&#x2122;s relationship towards the past and present. A. Roman architecture The Roman architecture style started during the establishment of the Roman Republic in 509 BC1 comprising of elements and ideas adapted by the ancient Greek architecture. Some key elements of the Roman Architecture style include: The Roman Ionic, Doric and Corinthian order found in columns, vaults and arcs. However, Most of the elements that are adapted are further re-designed and re-invented by the Romans to resolve problems such as financial constrains and high population density. One particular re-invention of the roman from the Greek arcs would be the architecture of a dome. B. The origin of the dome Although the historical origins of the primitive dome dates back to the 19,280 - 11,700 BC 2 comprising of mainly mammoth tusks and bones, it is the romans who mastered and revolutionized the constructs of domes and arcs as an innovative resolution towards the excess requirements and dependency of excess interior columns which are required when establishing a shelter or ceiling to hold against a pediment 3 , this technique of enclosing a building requires an excessive amount of columns and inevitably occupies too much space within the building. Hence with the implementation of arcs and domes, the weight of the ceiling is distributed in a radial manner from the top of the keystone downwards to the edge or corners of the ceiling then to the ground. ( Fig 2.1 ) This innovative design was a product of a revolutionary mathematical and geometrical evolution which shaped the world of architecture, opening a window of endless possibilities of design, potentially shaping the way interior spaces are created, without any disruptive columns to dictate and disrupt the circulation of a building process. Hence, Most Dome structures in Rome are often used as public spaces.

the perpetual projection

C. Dome Structures. A Dome structure is similar to an arch rotated around its central vertical axis There are several types of Dome structures, True dome, Corbel dome, Pendentive domes and geodesic dome. A dome can be thought of as an arch, which has been rotated around its central vertical axis. Thus domes, like arches, have a great deal of structural strength when properly built and can span large open spaces without interior supports. Corbel domes however, achieve their shape by stacking each horizontal layer of stones inward slightly farther than the previous, lower, one until they meet at the top. These are sometimes called false domes. True, or real, domes are formed with increasingly inward-angled layers of voussoirs, which have ultimately turned 90 degrees from the base of the dome to the top. D. Method of construction They are customarily hemispherical in shape and partially or totally concealed on the exterior. In order to buttress the horizontal thrusts of a large hemispherical masonry dome, the supporting walls were built up beyond the base to at least the haunches of the dome and the dome was then also sometimes covered with a conical or polygonal roof. E. The Evolution of the dome. Through decades, there has been a significant evolution of the dome , more technological advancements had been made towards the simple structure of the dome , incorporating technologies which are manifested by its intricate structural properties which comprises of no corners some examples include the Omni-theaters (fig 2.2), planetariums(fig 2.3) and a telescopic observatory(fig 2.4). These special technologies / programs that requires the structure of a spherical dome which could be what attributes to the monumental title of the domes. Turning the form into a paramount figure while illustrating its complex nature in a physical manifestation while some forms are seen as monumental structures in the City of Los Angeles, such as the Griffith Observatory and the Cinerama Dome.

the perpetual projection

III. G R I F F I T H O B S E R V A T O R Y. Perched peacefully on the south-facing slope of Mount Hollywood lies a captivating form overlooking the city of angels while being significantly closer to the stars. This form stands out peaking from the hills like a sacred monument of some sort with its staggering white mass, yet embedded with delicate intricacies amongst its walls and ceiling. Its sole purpose remains dedicated to the art of science but yet, it encapsulates the science of art. It is, the Griffith observatory. A. Introduction and analysis The Griffith observatory (Fig 3.1), which was established in 1935 by architects John C. Austin and Frederick M. Ashley 5 , was dedicated to the art and science of astronomy for the public. Interesting as it may seem, this architectural marvel posses prominent architectural similarities to the Pantheon a Historical landmark established in dedication to the Gods. They both play a role as a mediator of interiority and exteriority. The Griffith Observatory is a rather far more interesting establishment as it features a rare set of program spaces catered to science, Hence its design had to be carefully calibrated to accommodate these specific spaces as a planetarium catered to studying the stars while it also requires special attention to its orientation as it sits overlooking the south of Los Angeles with a gratifying view of the landscape. B. Architectural style The Griffith Observatory architecture is defined as Art â&#x20AC;&#x201C; Deco architectural style, a Stylistic turn in the history of architecture , more often featuring stong embellishment and ornamentation of architectural elements , highly stylizing it . The presence of the style can be seen around the columns and architrave of the building. C.Programs The Griffith observatory comprises of three main domes , two of which attributes as a telescope observatory while the bigger dome attributes as the planetarium. These key program space are then allocated in a triangular position and apart from each other. This configuration is a rather wise choice as allocating key programs at the very edges of the building promotes circulation through out various areas while engaging a kind of momentum around the space , seemingly avoiding congestion which could possibly occur during the stacking of key programs. D. Forms & functions As seen in Fig D.1 the Arc of dome is given a functional role with its slit opening for the swiveling of the telescope. This arc allows the telescope to swivel up and down without any form of interruption or obstruction. Ideally, the opening slits can be seen as the oculus of the dome However, unlike historical purpose of the occulus, this manifests in a modern function, allowing telescope for appropriate study. Apart from the use of a planetarium and observatory, there are several other modern innovations of the dome , one example would be the Cinerama found in Hollywood.

Fig 3.3

Fig 3.4

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IV. C I N E R A M A A. Introduction and analysis The Cinerama located at 6360 sunset boulevard in Hollywood was first commissioned by Pacific Theaters on February 1963 and opened its doors shortly after on November 1963.6 The Cinerama soon gained much attention due to its monumental nature from its dome and became One of Hollywood’s most prominent dome structure. The Cinerama dome features a rather different construction method known as a Geodesic construction , featuring a network of great circles, tying tension of triangular/ hexagonal facets to create a more rigid structure. Fig 4.1 Photograph By: Hyu Lim From the photograph taken during a trip to further analyze and study the dome we can infer the dome’s ability to stand out as a monumental structure among other low-rise buildings, In particular, its drastic feature of a semi – spherical form within a recto-linear grid of other buildings. Cinerama’s design was based on R.Buckminister Fuller’s geodesic dome and costs merely half as much as conventional theaters, packing it with not just a great form and function but also cost efficiency. B. Architectural style Despite the difference between roman corbel domes and geodesic domes , both method of structural systems establishes and interdependency between component to hold up the dome, reiterating the notion of form follows function, establishing a clear physical illustration of the architectural concept itself C.Programs The sole program of the dome featured in the Cinerama may have contributed to its monumental factor, stamping its identity as a symbol of the cinematic arts. This phenomenon however paves the question if the domes identity of a monument is shaped by a dictative and pervasive program space or if it crowns the identity of a monument solely by its staggering form. D. Forms and Function The Cinerama dome played a huge role in the advancement of film technology using the arc, (as extrusion from the edge of the dome) to produce a more ambient screening as a curved projection to the audience. This Feature incalculates the form of the dome towards shaping a new innovation.

the perpetual projection

V. C O M P A R I S O N & C O N T R A S T.

Elements of analysis The selection for the analysis between the two domes were based on its drastically different factors in several different aspects including its aesthetic, functional and technological aspect which successfully brings forth a broader spectrum of discursive elements to unfold and scrutinize. The Griffith Observatory although utilizes the dome as a mediator between interiority and exteriority similarly like the pantheon where the oculus draws in light into the interior , while the Cinerama takes on different role , an epidermal monolithic structure. However, the two forms served as a monument of its kind. But how does these forms achieve its status as monumental structures? Could It be due to its historical origins? Or its scale factor? During roman times, most domes were built as â&#x20AC;&#x153;Houses of Godâ&#x20AC;? therefore potentially shaping its identity as a monumental structure9 but in modern times, this factor might have transited towards the scale factor. The Scale theory The incompatible Geometry of the compact city; In theory, Domes are mostly seen as monumental structures not only due to the need for a unique / huge scaled programing and planning but it restricts the compatibility of its application as a mass-produced building in the urban environment. Establishing itâ&#x20AC;&#x2122;s own identity apart from the masses. One example of its incompatibility would be the lack of space, which is required from a compact city; Fig 5.1 illustrates the wastage of space in such forms. Hence, although the curvilinear and perpetual forms of domes are poetic in many aspects but the beauty results in the compromising of spaces.

(Fig 5.1) Diagram of circular trim by Hyu Lim Conclusion Apart from the consumption of spaces, the form of the dome also requires a relative scale and programs to be considered a success, domes such as the Griffith Observatory, Cinerama and pantheon features a unique scale. Nonetheless, due to its complex and poetic nature of a ceaseless and perpetual beauty that is so sought after in present day, modern architecture begins to take after the curvilinear form of the dome, manifesting it in present context and representation of programs and spaces, reintegrating and recalibrating its form for future functions, allowing the impeccable and perpetual beauty to flourish in

All works in this portfolio was written , designed and layed out by Hyu L.Hengyu