Jeeu Sarah Kim Architecture Portfolio

academic professional exhibitions

JUNK BRICOLAGE

Los Angeles, CA | Fall 2021

Taipei, Taiwan | Fall 2019

Geneva, Switzerland | Spring 2019

Rome, Italy | Fall 2017

Ithaca, NY | Fall 2016

News from Nowhere: Freedom Village

Seoul, South Korea | 2021

Banyan Tree Hotel

Wan Chai, Hong Kong | 2019

Freedom Village

Tokyo, Japan | 2017

Promise Park: PLAYSCAPE

Seoul, South Korea | 2022 - 2023

Weight of Time

New Haven, CT | 2022

JUNK BRICOLAGE

Los Angeles, CA | Fall 2021

Critics: Steven Harris, Gavin Hogben, Helen Evenden

Exhibited at Guggenheim Museum Bilbao

Featured on Retrospecta 44, Yale Student Work Page

Future nomads exist in a landscape of detritus of 2086. Domestic spaces are forever kinetic, picking up necessary parts along the way to generate personal vehicles. The act of collecting then repurposing obsolete automobile parts and domestic found-objects fosters a culture of mobility in itself.

Everything is in motion.

Norms of living are reimagined – static, domestic interiorities shift into temporal transitions, contingent upon the everyday. Standardized automobile parts to leftover machinery used to produce those very objects come together to create a new type of automobile, a beautiful hermit crab shell of self-expression.

automobile parts become obsolete, abandoned in a landscape of detritus

a catalog of different car parts organized in regards to relative scale, shape, and function

bedroom & kitchen

storage & scavenger

shower & bathroom

living room & bath

view from the scavenger vehicle, storing extra parts collected along the journey

the hearse is converted into a bedroom where the trunk is propped open for views

installation view of the Motion. Autos, Art, Architecture exhibition at the Guggenheim Museum in Bilbao curated by Norman Foster

1 living room & bath

2 plane wheel

3 kitchen

4 shower & bathroom

5 storage & scavenger

SACS OF SENSATIONS

Taipei, Taiwan | Fall 2019

Critics: Jimenez Lai and Mark Acciari

FeaturedonPLATE2.0,CornellStudentWorkPage

Emotions are subjective, personal, and unique responses to an individual’s nuanced understanding of affective qualities. To induce a range of emotions through curated atmospheres, this project provides sacs hidden behind the façade of a typical residential building in Taipei.

By engaging the senses in each isolated haven, emotions are elicited through visual, tactile, olfactory, and proprioceptive stimuli. Free spaces allow for selfexpression and individual pleasures, as a means to generate pockets of comfort or moments of reassurance.

freshly baked pastries

EMOTIONS & MOODS

TACTILE textures

form, materials

OLFACTORY scent

PROPRIOCEPTIVE

body positions, rituals

WARMTH & NOSTALGIA

soft and fuzzy dips in the floor large open spaces

PVC foam

banana nut bread & coffee sitting eating talking leaning

MEDITATIVE furry soft squishy fuzzy

honeysuckle jasmine pine needle sitting meditating yoga lying down

loaf of bread

croissant

yoga mat

RELAXATION

double height mirrors translucent fabric tiled floors

eucalyptus dried linen washing standing sitting meditating

CALMING & RESTORATIVE

womb-like silky

satin

velvet lavender lying down sitting leaning sleeping

water from the toilet is preserved and filtered into water for the shower for the relaxation sac

steam produced from cooking transforms into diffused aroma for the restorative sac

sacs develop seamless environments within its inner layer

objects gather at the bottoms of the sacs while absorbed furniture is integrated onto the sacs’ exterior membrane

2 typical Taiwanese residential building with appendages on its exterior facades sacs start to emerge with double membranes

CONVECTIVE AIR CLINIC

Geneva, Switzerland | Spring 2019

Critics: Philippe Rahm, Sarosh Anklesaria

By focusing on the phenomena of convection, this clinic aims to generate internal air temperature gradients through a geothermal heat source. Pods of program are placed along this internal vertical gradient, determined by the amount of temperature to be conducted into the space. To achieve the desirable temperatures, varying scales of dimples are used on the surface of pods to change local wind velocities.

temperature map of the site heat radiates from the center with the spas to the rest of the park

outdoor spas on the first floor of the clinic heated by geothermal energy, producing steam for the rest of the park and the interior of the building

The dimples act as artificial turbulators, creating a layer of disturbance on the surface and giving rise to two layers of air going around the ball. The top layer of air is faster, generating turbulence as the air clings to the ball’s surface. This reduces drag force and resistance, allowing the ball to travel faster.

aluminum cover flashing to roof parapet lightweight thermoplastic panels with aerodynamic dimples d = 0.385m waterproofing and air barrier air gap for thermal insulation typical stud wall thermal separator continuous cavity insulation

level 1 public sauna

level 4 meditation room, rehabilitation room, painting room

level 7 emergency consulation modules, secretary office, nursing office, relaxation module

level 10 non emergency consultation modules

level 2 hot yoga

level 5 sculpture room, massage rooms

level 8 emergency consulation modules, secretary office, nursing office, relaxation module

level 11 teaching and training spaces

level 3 meeting room

level 6 reception, staff room, technical care module, radiology module

level 9 non emergency consultation modules

level 12 cafe, bar, kitchen

DESCENSION OF WATER

Rome, Italy | Fall 2017

Critic: Davide Marchetti

Situated in between the two major axes that frame the Caracalla baths, separate volumes of the Roman thermal bath complex are tied together by an urban waterscape. With the private bath program on the left axis and retail on the right, the excavated area between the two forms a public water park. As the site’s existing landscape slopes down toward the Caracalla baths, the excavated site preserves this topography as it gradually steps down toward the baths.

Marked by a shallow pool where the two axes converge, the view toward the Caracalla baths widens as one descends into the excavated landscape. This stepped topography is extremely permeable from the public streets on either sides, with entrances at every intermediate alleys between volumes.

STRUCTURAL SYSTEMS MODEL AGO

GALLERIA ITALIA

In collaboration with Iris Hong Toronto, Canada | Fall 2016

Exhibited at Hartell Gallery in Ithaca, NY

The Galleria Italia of the Art Gallery of Ontario designed by Frank Gehry is located in Toronto, Canada. The structure is composed of a glass and wood facade that spans 600 feet along Dundas Street, rising 70 feet above street level. Gehry wanted a sweeping, generating concept for the Dundas edge. The structural integrity and operations are explored through this 1’-0” = 1/16” scale model. The main focus of this model is on the wooden facade, of the curved glulam beams supported by the secondary structural connection of horizontal beams.

News from Nowhere: Freedom Village

MOON & JEON. Seoul, South Korea. 2021

Exhibited at Museum of Modern and Contempoary Art

Exhibition design & Design of Utopian Botanical Garden for screen B

Formed through the folding of space and time, this work relegates the present to the past and ushers in a virtual future, offering a glimpse of an unrealistic reality. By organically binding together the fact and fiction of the actual Freedom Village and its imaginary counterpart, and flitting back and forth across the boundary between the two, the work opens formerly closed and suppressed gateways of perception.

This work is a two-channel video sound installation, consisting of video played on two large LED panels, seven-channel surround sound, ceiling lights turning on and off in connection with the video, and an automatic shutter opening and closing device synchronized with certain moments in the work.

http://newsfromnowhere.co.kr/

design of the utopian botanical garden featured in screen B

film stills from screen B of the utopian botanical garden

8:31:42, 8:43:61

Banyan Tree Hotel

Zhuhai, China

CL3 Architects Ltd. Wan Chai, Hong Kong. 2019

Project Manager: Clinton Tsui

Design of Chinese Restaurant and Convention Hall

CL3 Architects Limited

Freedom Village

MOON & JEON. Tokyo, Japan. 2017

Exhibited at SCAI The Bathhouse

Design of Public Cemetery within the DMZ for Dispersed Families

Freedom Village is located in plains that lie near a river that flows out to the West Sea. There is a mountain in front of the village, and according to folklore sand was pushed all the way up to this area and piled high when a great food took place sometime long ago. Although there is no exact record when people started residing here, it seems that the village was founded no later than 1 CE. This assumption is based on relics that have been excavated near the village. However, it was only decades ago that it began being called by its present name, and only after reestablishing peace after a long civil war. Those who played a leading role in the truce reestablished a village here, even though people could not live here because it was too close to the military demarcation line, and then named it Freedom Village

The Freedom village exists yet coexists regardless of the real world. The village —little known even by Koreans— suggests a dark spot in history, and represents collective amnesia caused in the aftermath of the political conflicts It is hoped that the project will present an opportunity for the visitors to go beyond the clichéd perception that the village is a peculiar political situation in Korea and rather discover the irrationality and contradictions of our surrounding world as well as refect upon the communal life of humanity.

The exhibition is comprised of photographic documentation of the village taken by the residents, a black and white film and several pieces of singlechannel video and sculpture installation. The main film interweaves footage of a technical laboratory with newsreel footage from the Korean War.

exhibitions

Promise Park: PLAYSCAPE

Seoul, South Korea | 09.2022 - 01.2023

In collaboration with artist Kyungwon Moon

Exhibited at Leeum Samsung Museum of Art Part of group exhibition titled Cloud Walkers

For this installation, the omniscient yet flattened perspective of Moon’s carpet of Yongsan Park is repixelated and reconstructed to operate on an architectural scale. An imaginary PLAYSCAPE is created through the intersection and amplification of layers organized along x, y, and z axes. These include maps that show the evolution of Yongsan’s railroads, military bases, park topography through the Japanese colonial period of the 20th century and the postwar power struggle that followed; ecological maps of today’s Yongsan Park, and the abstract coding for Moon’s carpet patterns and future gardens. This multi-dimensional PLAYSCAPE is bestowed with the original functions of a park such as playing, strolling, and looking; visitors are invited into a complex and variable landscape that is altered according to distance, perspective, and time. Inside, individuals can revisit the historical record and imagine a new tomorrow, a distinct utopia, constructing a personal Promise Park.

https://www.leeum.org/exhibition/exhibition01_detail.asp?seq=53

7 PLAYSCAPES: ATLAS, TRAUMA, UTOPIA, PARADOX, PATTERN, PARTICLE, CODE

7 110 x 110 cm silkscreen prints.

2 HD films, galvanized steel pipe, aluminum, brass, copper, monitors 600 x 530 x 530 cm, 2min, 5min 30sec.

Weight of Time

New Haven, CT | 11.2022 - 12.2022

In collaboration with Ana Batlle, Signe Ferguson, Ivan Tae

Exhibited at the North Gallery, Yale University

The weight of an object is the force acting on the object due to gravity. Heaviness. Waiting. Weight.

Material shifts slowly, finding new states of being with every move. It’s slow-fast. No. Fast-slow. It’s definitely fast-slow. Sand is dexterous, but it becomes waste so easily. We see these piles only when we bury and uncover. Accumulation comes with hiding. We are saying goodbye. We are watching gravity draw a line.

The sand comes from the Connecticut coast. We bring into this institution a sample of matter: a small signal of life. A moment that can stir an emotion or memory.

Welcome to the micro-climate: a NON-SITE. Remark on the line that is drawn from a million points. Observe the log book as we record the memories of sand in this gallery. We will puncture, rake, and wait.