I am studying to be an architect, designer and musician, with particular interests in place-making, participatory design, sustainability and the role of sound in architecture towards creating multi-sensory spatial experiences.
KIM HUANG kimhuang1997@gmail.com 0456 772 369
EDUCATION
EXPERIENCE
Summer Studio Bartlett School of Architecture, London
Contract Graphic Designer Imaginnov Design, Melbourne CBD, Victoria
July 2018
Mar 2019 - present
Bachelor of Design (Architecture) University of Melbourne
Casual Sales Assistant Kung Fu Tea , Hawthorn, Victoria
2017 - present
Mar 2019 - present
Diploma in Music (Piano) University of Melbourne 2017 - present
Victorian Certificate of Education (VCE) The Knox School, Wantirna South 2013 - 2016
Architecture Internship AIU Group , Camberwell, Victoria Nov - Dec 2018
Office Assistant / Admin KB lighting, Guangdong, China Nov - Dec 2017 (Holiday Casual)
QUALIFICATION
Church Pianist
Associate in Music, Australia (AMusA)
2015 - 2017
Unity Spiritual Truth Centre, Hawthorn, Victoria
in classical piano
Volunteer Event Photographer
EXHIBITION
Melbourne International Jazz Festival 2015 & 2017
MSDx Melbourne School of Deisgn
Private Home Tutor (Piano & Chinese)
2017 & 2019
2014 - 2018
The Living Pavilion
Casual Interior Photographer
The University of Melbourne
Partystar Pty Ltd, Melbourne
May 2019
2014 - 2016 01
03 09 16 22 28 30 02
THE ORGANISED CHAOS
architecture studio - design for a speculative library
MACARTHUR PLACE NORTH
architecture studio - design for community
LIVING SOUNDSCAPE public art installation
GHOST HARDWARE
cinematography study - AA visiting school
SURFACE + WAFFLE design for digital fabrication
TACTILE CITY
speculative artwork - Bartlett summer studio
“In all chaos there is a cosmos, in all disorder a secret order.� - Carl Jung
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Project Mentor: Laura Mártires | Director of Mártires Doyle Architects
THE ORGANISED CHAOS
This is a speculative exploration in the possibility of a spontaneous, “messy” yet vibrant contemporary urban library in the midst of Chinatown, Melbourne. The spatial organisation of traditional libraries are often permeated by a strong sense of hierarchy, order and centralisation, which can be interpreted as an architectural manifestation of the authoritative character of the library as an institution. The clearly defined zones & spaces in traditional libraries inherently contribute to a productive environment for proper academic study and research, yet what role does it play in forging connections and discussions among people from diverse backgrounds who live in the vibrant and ever-changing city of Melbroune? With the site being a highly dense commercial district surrounded by highrises, an environment where lots of events happen simultaneously and spontaneously, is it possible to embrace this sense of “messiness” while creating a sheltered and safe space for the comuunity? Can the library programme be organised in a more ambiguous and nuanced way to create more possibilities for interaction and play? How does it still fulfill the requirement for quiet study spaces which are free from distraction? 05
SCHEMATIC ITERATIONS
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TECHNICAL DRAWINGS The final design features a group of tubic structures that are arranged to investigate blurred relationships between inside/outside spaces with ambiguous thresholds. Each “tube” serves a specific function such as reading room, performance hall, gallery and vertical circulation.
GROUND FLOOR PLAN
LONG SECTION
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MACARTHUR PLACE NORTH
In collaboration with Tina Wang & Sarah Li Project Mentor: Brendan Josey | PhD Researcher
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In recent decades, rapid population growth has triggered an ever-increasingly high demand for housing in Melbourne. As opposed to mainstream high-rise apartment towers or low-rise suburban single-family houses, the MacArthur Place North Project experiments with an alternative housing typology, through infill housing design in the inner-suburban location of Carlton. It explores strategies of densification and activation of an urban neighbourhood, by designing a series of interconnected, small-scale multi-unit residences that feature appropriate supporting civic or commercial functions, shared indoor and outdoor facilities, green infrastructure, and methods for laneway activation. As the location of Carlton is close to universities and surrounded by a range of attractive features towards the younger demographic, the project aims to design for people such as young professionals, students and young families.
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ELGIN ST BEER GARDEN
STAGE / DECK
NICHOLLS LANE BEER GARDEN
UNIT 5 LIVING / KITCHEN
CAFE / BAR
LIVING/KITCHEN
STAGE / DECK
UNIT 4
UNIT 4 LIVING / KITCHEN
UNIT 1
BEDROOM
NICHOLLS LANE
CANNING ST
STORAGE
BEDROOM
COMMUNAL STUDY ROOM
UNIT 3
KITCHEN
UNIT 5
LIVING / KITCHEN
INNER LANE
LIVING / KITCHEN
CAFE / BAR
BEDROOM
LIVING/KITCHEN
UNIT 1
BEDROOM
CANNING ST
STORAGE
UNIT 4
OUTDOOR GARDEN
UNIT 4 LIVING / KITCHEN
BEDROOM
COMMUNAL STUDY ROOM
UNIT 1
UNIT 2
BEDROOM
STORAGE
UNIT 1
KITCHEN
UNIT 2
LIVING / KITCHEN
LIVING / KITCHEN
UNIT 3 LIVING / KITCHEN
INNER LANE
BEDROOM
UNIT 1
OUTDOOR GARDEN
BEDROOM
UNIT 1
UNIT 2
BEDROOM
STORAGE
UNIT 1
UNIT 2
LIVING / KITCHEN
LIVING / KITCHEN
UNIT 1
BEDROOM
MACARTHUR PLACE NORTH
Scale 1:100 0
MACARTHUR PLACE NORTH
0.5 1
2
3
5M
SITE GROUND FLOOR PLAN
Scale 1:100 0
0.5 1
2
3
11 5M
BEER GARDEN
BUILDING SECTION 1
BUILDING SECTION 2
B SE
STAGE / DECK
NICHOLLS LANE
UNIT 5 LIVING / KITCHEN
CAFE / BAR
LIVING/KITCHEN
UNIT 4
UNIT 4 LIVING / KITCHEN
UNIT 1
BEDROOM
CANNING ST
STORAGE
BEDROOM
COMMUNAL STUDY ROOM
UNIT 3
KITCHEN
LIVING / KITCHEN
INNER LANE
BEDROOM
OUTDOOR GARDEN
UNIT 1
UNIT 2
BEDROOM
STORAGE
UNIT 1 LIVING / KITCHEN
UNIT 2 LIVING / KITCHEN
UNIT 1
BEDROOM
MACARTHUR PLACE NORTH
Scale 1:100 0
0.5 1
2
3
5M
FIRST FLOOR PLAN FIRST FLOOR
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COMMUNAL SPACES 13
SECTION 1
SECTION 2 14
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LIVING SOUNDSCAPE As a part of the 2019 Living Pavilion which took place on the Parkville campus of the University of Melbourne, Living Soundscape is an installation created by Grant Cullom, Harry Waldron, Kim Huang and Nicholas Ng. It aims to engage and connect members of the community through providing a means for collective music-making as well as encouraging playful interactions between people and the installation. The project also aims to create a connection with nature through utilising a tree as the support structure for three sets of suspended instruments made from natural bamboo. The tree acts as the central focus of the soundscape, and sends a message about how the natural environment can foster community engagement.
Project Mentors: Tanja Beer | Ecological Designer Munir Vahanvati | Architect
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Sound travel directions
shorter pipe (higher pitch)
bamboo node Lower pipe hits the upper pipe to produce air vibration
elastic strings bamboo node
Longer pipe (lower pitch)
HARMONISED PIPES 18
Combinations of different tones produced by pipes of varying lengths create musical harmonies
There are three donimant factors which affect the pitch of the pipes: the thickness of the bamboo wall, the diameter of the pipe’s cross section, and the length of the pipe. To keep the instrument consistent, we decided that all chosen pipes would be 55-60mm in diameter, with wall thickness of around 10mm thick, which means the only varying factor would be the length of the pipes. There is a specific sound frequency that correspond to each musical note. To produce these frequencies of sound vibration on the bamboo pipes, the pipes needed to be cut to specific lengths. The team derived a tuning method using a relative system. Using Eb3 (155.56Hz) as a reference, we first found the required length (560mm) for this pitch by trial and error, with help of a digital tuner. We then worked out a ratio formula to derive the rest of the required lengths: frequency a : frequency b = length a : length b e.g. Eb3 (155.56 Hz) : C4 (261.63 Hz) = 560 : length of C4 pipe length of C4 pipe = 333 mm
The pipes were colour-coded according to the different harmonies they produced, to make the installation more inclusive for non-musicians. This color-coding system was also applied to our complementary necklaces which were worn by our team members.
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COMMUNITY INTERACTIONS To view video recordings of this project: http://drive.google.com/drive/folders/1G0ihsheSWI-KYjKHHNCu6TDSfKfgRp7G?usp=sharing
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GHOST HARDWARE Project Mentors: Alvaro Pulpeiro | Filmmaker Sergej Maier | 3D Visualiser In collaboration with Shirley Tan & Qiyu Chen
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Dusk. A gloomy motel room. I walk in. I turn on the TV. ......I wake up.
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As Freud mentions in his book The Interpretation of Dreams , our waking lives are full of emotions, drives, wishes and experiences that our mind simply could not consciously handle, and that loaded psychic material would regularly repressed and buried into the unconscious. While we are sleeping, our unconscious manifests through dreamwork into vivid experiences which we perceive as “real� while we are in them. In a sense, our waking worlds and our dream worlds can be argued as parallel realities in which our different states of consciousness exist within. From another perspective, dreams can also be used as tools to decode the unconscious workings of our mind. This project is a metafiction that investigates the blurred boundaries between the conscious, the subconscious and the unconscious. Through the combination of a panormaic VR environment and an evocative soundscape, we aim to weave the narrative inside the mind of a ghost constructed from fragments of memories, who enters an altered state while falling asleep in a gloomy motel room, where their twisted desires and repressed emotions seep into reality and manifest themselves into fantastical happenings. Searching for its consciousness, the ghost finds itself trapped helplessly inside the screen of a TV (a metaphorical unconscious space), on a theatre stage where a camera stares right into its soul. Meanwhile outside the TV, a violent scene starts to unfold......
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REALITY
THE UNCONSCIOUS
PLAN LIVNG ROOM STAGE
shadow
UNCONSCIOUS
soundscape VR
viewpoint
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http://www.youtube.com/watch?v=5u8F5GJwFh8
Twin Peaks, David Lynch The theatre manifests not a material entity of a stage, but also a cinematic, hallucinated visulalisation of unconsciousness. In this reference, there is a red room which is understood as Cooper’s dream. The red velvet curtains function as the division of sections, hence the space is a unlimited and unknown. The curtains on the theater stage also act as the partition between the forestage and backstage. The backstage, as an unrevealed dimension, can be interpreted as the un-realised self, the unknown unconscious. Sonic features: muffled, round, fluid & dark bass juxtaposed against sudden, sharp, bright & high-pitched sound effects at key points in time; fragmented dialogues occur in reversed speech.
Videodrome, David Cronenberg Similar to this reference, the vintage TV serves as a mediator between the real and the unreal, the conscious and the unconscous. Sonic features: round, echoy, dark & low-pitched background sounds to create a hollow atmosphere, juxtaposed against heavily distorted & sharp static/glitch effects that imitate old-school TVs and radios, panning between left & right channels; voice-over and dialogues heavily distorted with pitch shifter effect. http://www.youtube.com/watch?v=u1V4VN6pp5I&list=PLzSH_xfBW9xwaF3r4I4TDkvSmUEZe9j8A
VISUAL & SONIC REFERENCES 26
To experience the VR environment & soundscape: http://www.youtube.com/watch?v=shlRG6c3uxs
VR ENVIRONMENT + SOUNDSCAPE 27
definition of boundaries
original surfaces
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generate horizontal and vertical contours
offset contours to create waffle elements
surface creation within boundaries
create joints where horizontal & vertical elements intersect
surface panelisation
Lofts
1.1
SURFACE + WAFFLE 1.2
1.3
1.4
{120,150,150}
{60,150,150}
{150,120,150}
{150,30,150}
{0,90,150}
{120,150,0}
{30,150,150}
{0,120,150} {90,0,150}
{6 {0,25,150} {30,0,150}
{0,0,107}
{150,90,0}
{0,0,120}
{30,150,0}
{0,120,0}
{0,150,0}
{0,120,0}
{60,0,0} {30,0,0}
{0,120,0} {60,0,0} {0,30,0}
{30,0,0}
Paneling Grid & Attractor Point
2.1
2.2
{78,83,54}
Paneling
3.1
{30,0,0}
{3
{139,71,85}
2.3
2.4
This is an exploration of the spatial relationships between structure and the envelope, through the implementation of parametric design. {78,83,54}
Perforations on the panels allow light to penetrate through the waffle structure, together with the solids they create an interplay 3.2 3.3 between light and shadow within the interior.
3.4
Project Mentor: Joel Collins | Academic Tutor
generate 2D linework for fabrication
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TACTILE CITY This project explores and visualises a distant futuristic city in a fantastical and metaphorical tone. It questions the cold and unfriendly machine aesthetic, and reimagines the city as a vertical megastructure composed with a complex infrastructure system made from organic and natural textures with rich tactility. The final artwork is an A1-sized hand-drawing, exhibited as a part of the Bartlett Summer Studio.
Project Mentors: Pascal Bronner & Tom Hillier FleaFolly Architects
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KIM HUANG kimhuang1997@gmail.com 0456 772 369