Kim Huang - 2019 Portfolio

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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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04


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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07


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


15


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


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