DE SI GN
P RT F LI MICHAEL W. KIM A journal of design and architecture
DESIGN PORTFOLIO By
MICHAEL W. KIM tel: 647 887 5873 e: michael.kim.w@gmail.com
SELF REFLECTION Continuously evaluating and criticizing the world around me, the interest in design came naturally. I constantly questioned how a purpose is fulfilled and through what process? I approach design as a pursuit for meaning rather than chasing immediate results. It is through this often the method behind the design became more important than the final manifestation. It is with this I constantly seek inspiration for new methods of design observation, analysis, and experimentation -to produce meaning or narrative through design.
Architecture
Design Research
Photography
Startup
CONTENTS HORIZON
FIGURES ON THE HORIZON
DETAIL
DETAILING OFFICE SPACES
TAILOR
DETAILING CREATIVE SPACES
RENOVATE DINING SPACES
VOLUME
MEZZANINE OFFICE
LEAN
FIGURES ON THE HORIZON
SPONGE
DETAILING OFFICE SPACES
DUALITY
DETAILING CREATIVE SPACES
REFLECTION
PHOTOGRAPHIC JOURNAL
COMMUNITY BRIDGE
IDENTITY REBRANDING
6
16
26
36
46
56
68
82
94
104
116
Architecture
FIGURES ON THE HORIZON
2010
BROWN + STOREY ARCHITECTS INC.
DESIGN ASSISTANT 3D IMAGING MODEL PRODUCTION RENDER PRODUCTION
TTC ASHBRIDGES BAY DESIGN COMPETITION - 1ST PLACE
6
O H RIZ N O
PAUSE MOMENTS AT NIGHT Rendering of pause moments within a linear fast moving site
8
HORIZON
DESIGN PHILOSOPHY To introduce a linear parkway that accommodates fast flowing linear traffic and integrates moments of pause throughout the site.
The design proposal is an attempt to capture the movement of the site through a fluid process of patterns, figures, and vegetation. The proposal first establishes a network of patchwork programming and pathways of various speeds, then adds moments of pause through monument figures to create markers for distance and scale throughout the site. In addition to landscape, a large part of the proposal was to determine how a wall can be designed to hide the TTC streetcar housing facility behind the site.
9
WALL DESIGN CONCEPT
UNDER CONSTRUCTION
10
WALL IN MOVEMENT Instead of simply hiding the TTC facility, the proposal interprets the movement of the TTC streetcars through a pixilation process. As pedestrians and vehicles move throughout the site, the wall becomes a stop motion picture of a moving streetcar.
11
HORIZON FIGURES DESIGN PROCESS
URNS OF BUILDINGS PAST The horizon figures were designed to be perforated urns that houses construction materials of the buildings past that make up the lakefill of the site.
12
13
CONCLUSIONS The proposal provided the narrow and flat landscape with a sense of place. Providing vertical components as well as patchwork of mixed programming throughout the site, what was once a high speed corridor, now provides different speeds of getting through the site as well as moments of pause.
Architecture
DETAILING OFFICE SPACES
2011
BUILDING ARTS ARCHITECTS
MILLWORK DETAIL CONSTRUCTION DRAWINGS SELECTION OF FINISHES
CANADIAN PENSION PLAN INVESTMENT BOARD - LONDON OFFICE
16
DE T A I L
CONCIERGE COUNTER FRONT ELEVATION Main atrium of CPPIB London office
18
DETAIL
DESIGN PHILOSOPHY Clean and simple lines in design requires understanding of material behavior and construction detailing. Every angle and reveal within the design is intentional.
Detailing is a craft that requires attention to materials, form and intention involved in deisgn. With proper detailing, mundane objects in an office can become extraordinary objects of design.
19
B A
C FLOOR PLAN Detail samples
A B C
20
Feature glass wall Concierge desk Conference bench
A FEATURE GLASS WALL Cascading glass modules play on transparencies to create a waterfall-like feature. The glass feature was cut into the ground to create a seamless end condition.
21
B CONCIERGE DESK
22
C CONFERENCE BENCH A play of natural materials were used for millwork details. Bold and dark stone was used to clad the base of several millwork to give a firm anchor, while applying the warm gluelam wood on any surfaces that the human touch might occur.
23
CONCLUSIONS The Canadian Pention Plan Investment Board Headquaters in London was to act as a prototype for future CPPIB office interiors around the world. Design detailing and material selection were meticulously developed to showcase what can be possible for their office interior. Tones and textures selected are natural and invoke a landscape within the interior of the office.
Architecture
DETAILING CREATIVE SPACES
2012
BUILDING ARTS ARCHITECTS
CONSRUCTION DETAIL MILLWORK DETAIL SELECTION OF FINISHES
Publicis - Toronto Head Office
26
TA I L OR
FISH-BOWL ROOM creative meeting room in Publicis Toronto
28
TAILOR
DESIGN PHILOSOPHY Creative thought requires creative spaces. Design transformative partition solutions to tailor to the creative work space needs.
Publicis Toronto is an international advertising agency that houses over 500 employees. For their headquaters, major renovation to several of their departments required designing tailored creative solutions to their creative spaces. To answer this call, every detail - from partition handles to doorframes all have been meticulously designed to showcase craftsmanship and deliberate design intention. The design allows space to be used as flexible working tools in their creative process.
29
30
ROTATING PANELS Creative team required flexible office spaces that allowed different groups to work together for different projects. One idea may inspire another - with a flip of a panel, the team and ideas are shared through different arrangements.
31
DOOR FRAME DETAILS
32
ROTATING PANEL DETAILS
33
CONCLUSIONS Designing details allows me to think about how the component might be used. Drawing details helps me to think empathetically when designing, creating intentionally designed custom components for tailor-made solutions.
Architecture
DINING SPACE
2012
BUILDING ARTS ARCHITECTS
CONSRUCTION DETAIL MILLWORK DETAIL FINISHES CONCEPT
CREEMORE KITCHEN RESTAURANT
36
R F NO A T E V
CREEMORE KITCHEN ENTRANCE Renovation of old gas station into modern restaurant
38
RENOVATE
DESIGN PHILOSOPHY Rustic materials and attention to detail in craftsmanship to reflect the restaurant’s menu.
Creemore Kitchen restaurant project was a renovation of an already existing gas station. The building was in very bad shape and had to be completely redone inside and out. The design took this opportunity to bring sunlight in with newly renovated ceiling flooding the dining area with light through light wells and exposed truss systems.
39
PLAN OF CREEMORE KITCHEN
40
RESTAURANT BAR AREA Client wanted the restaurant to feel like a rustic barn but have a modern cheek flare as well.
41
SECTION OF DINING AREA
42
LIGHT WELLS Newly installed exposed truss systems allowed rustic yet modern interpretation of “barn-like� dining area.
43
CONCLUSIONS Understanding material finish is important to invoke the right emotion in design. A traditional material such as wood can be worked into an array of different design expressions based on its method of finish. It the pursuit of understanding material craftsmanship that differentiates detail oriented architecture.
Architecture
MEZZANINE OFFICE
2012
BUILDING ARTS ARCHITECTS
CONCEPT DEVELOPMENT CONSRUCTION DETAIL MILLWORK DETAIL
BUSINESS INFORMATION GROUP - OFFICE
46
V O L U M E
MULTI-HEIGHT CEILINGS The high ceiling of the warehouse allowed for a mezzanine floor to be added, making different vertical volumes possible.
48
VOLUME
DESIGN PHILOSOPHY Transform a double height warehouse space into a series of multileveled interconnected volumes.
Business Information Group brand comprises of three different magazines all under one roof. This meant that some spaces required groupings or divisions while others required a sense of communal shared space. To resolve this, the design plays with interconnected volumes that intuitively guide the eye to help make groupings throughout what was once a large open warehouse space.
49
A LUNCHROOM LOBBY B
A
TOP - GROUND FLOOR RIGHT - MEZZANINE FLOOR
50
B MAIN ENTRANCE LOBBY 51
52
C MEZZANINE FLOOR
C
53
CONCLUSIONS Introducing different ceiling heights for different volumes brought the unreadable large open space down to human scale. The office became much more dynamic as spaces shrunk and opened up as you walk throughout the office.
Design Research
LEANING TOWERS
2009
MICHAEL KIM FARAH KABIR NICHOLAS BOUTIN ELA KORAQE KAYEON LEE PROJECT LEAD DESIGNER
THEORETICAL DESIGN PROJECT
56
L EAN
LEANING TOWERS CONCEPT pedestrian view of the leaning towers complex
58
LEAN
DESIGN PHILOSOPHY To shift floorplans to make towers lean against eachother, causing horizontal relationships in the sky.
The project was a theoretical vision of how rockefeller center can be reimagined. While accommodating a complex of mixed programming, the project seeked to find ways to improve relationships between towers through formation of `sky lobbies`that connected them.
59
GROUND CONDITION CONCEPT COLLAGE The ground condition was envisioned as rolling hills of city activity. Using sweeping forms and meandering paths to create a natural landscape experience in the heart of New York city.
60
LEANING TOWERS VS. TRADITIONAL TOWERS
The circulation of a traditional skyscraper is a simple vertical movement, accompanied by floor-basis horizontal circulation. The proposal is to introduce new circulatory patterns throughout a skyscraper.
Traditional skyscrapers have high value at the top and bottom floors. Introducing new horizontal and diagonal relationships produces opportunities for high valued properties throughout the different elevations.
61
Programming a skyscraper in a traditional method, was a direct relationship with its floor value. The proposed design provides opportunities for diverse programming throughout the building floors.
VIEW FROM ABOVE
PEDESTRIAN VIEW STUDIES
DEVELOPMENT RENDERINGS
62
VOLUME STUDIES
63
FRAMED VIEWS Creating caynons and vallyes that curates the pedestrian discovery of the complex.
PHYSICAL MODELS
65
CONCLUSIONS The design exercise explored the idea of the “sky lobby� and how it might be used to benefit a busy city complex. Creating new opportunities for programming throughout and in-between towers as well as developing a ground condition that takes advantage of the unique forms generated.
Design Research
MIGRANT WORKER HOUSING
2009-2010
MICHAEL KIM
RYERSON UNIVERSITY THESIS
68
SPONGE
THE FORTIFIED SPONGE 3D model of the proposed migrant worker housing
70
SPONGE
DESIGN PHILOSOPHY To develop a building typology that transforms clusters of horizontally layered communities into a vertically layered single community oriented structure.
The challenge of the thesis was to design an appropriate housing type for migrant workers. Seen both as a permanent and temporary phenomenon within the city fabric, brought unique opportunities to explore clashes of typology that migrant workers were exposed to. The project utilizes courtyard housing typology which is traditionally a horizontal structure, then stacks them to create a vertical structure suitable for the dense city fabric.
71
VOLUME STUDIES
NEW TYPOLOGY Migrant workers prefer a living typology that emphasize community and group dynamics. Spaces are shared, social occurrences are encouraged, and dependence on one another is apparent. These sets of micro communities are a horizontal fabric element. To accommodate urban context, a new typology is needed to turn a horizontal fabric into a vertical one - without compromising the living qualities preferred by the migrant workers.
72
CONCEPTUAL SECTION
73
THE “SPONGE” The “sponge” is created through a series of scaffolding-like structures. This gives the innards of the building an organic flow to a rigid and fortified exterior. The scaffolding structure framework is installed with a series of blinds with different levels of permeance, causing certain spaces to become more private than others.
+
+
+
THE “FORTIFICATION” Individual units are designed to accommodate up to two people per unit. The units were intentionally designed for minimum private living accommodations to provide as much community public space throughout the building. Other traditional activities that are usually associated with dwelling units such as kitchen, living room, etc. are shared by the building commune. This method of programming creates larger communal spaces for the structure and its occupants.
74
FORTIFIED SPONGE Design concept collage
75
76
77
INTERIOR RENDERING Designing for the migrant workers in the city was to design with a play on contradiction. Their lives involve an understanding of permanence and a realization of temporary state of being simultaneously. The architecture is in a state of pause between what would communicate permanence, and temporary.
CONCLUSIONS The architecture speaks not ignorantly stating “I am here to solve the conflict� but rather it humbly acknowledges the conflict. The architecture in this case is sympathetic to its occupants, transforming with them to provide a sense of home in a foreign place.
Design Research
RISE OF THE DUAL PLATFORM CITIZENS
2014-2016
MICHAEL KIM
UNIVERSITY OF WATERLOO THESIS
82
DU AL ITY
{
?
DIGITAL-SCAPES
SITE IN QUESTION
{
PHYSICAL-SCAPES
DIGITAL-SCAPES There is a massive surge in contexual and social digital data that is currently not harvested for architectural use. This provides new opportunities for informed design decisions in a context.
84
DUALITY
DESIGN PHILOSOPHY Expanding architecture as dual platform understanding practice - designing environments that engage and encompass both the digital and the physical realms.
The thesis research topic came from a simple question: what is the role of the architect in the future? As I watched the world become enchanted with making everything become “online,” I wondered what all this meant for architecture, a design practice that has not yet embraced the digital realm as an architectural “place.” My thesis research is a call for action, for future architects to understand design as a dual platform practice. Contemporary architects must be sensitive to both the digital and the physical citizens that occupy their design, to fully harness and utilize what the digital realm offers for environmental design.
85
NO DIGITAL FOOTPRINT
THE BROWSER
ACTIVE MEMBER
ABSENT
THE TOURIST
OCCASIONAL VISITOR
HEAVILY CONNECTED USER
ACTIVE COMMUNITY MEMBER
ALPHA USER
COMMUNITY LEADER
DUAL PLATFORM CITIZENS The change in architectural thinking lies in the expansion of understanding human occupancy. Given that digital users are citizens of the public realm, they influence and are able to be influenced by the built environment around them as much as their physical counterparts. It is the responsibility of architectural intervention to facilitate this relationship, determining how data flows between the two platforms of occupancy.
DATA FLOW TRANSFER TYPOLOGIES
direction of data flow digital platform citizens
physical platform citizens physical realm
digital realm
actively participating within platform
not participating within platform
physical to digital data flow
digital to physical data flow
86
loop data flow
DUAL IDENTITY Today we leave both physical and digital footprints that make up our identity.
87
MAPPING INSTAGRAM LAYERS
live track of photos (time log) photo archives types of users Instagram user trends (#, events, locations)
STACKING INSTAGRAM LAYERS Combining Instagram layers with physical layers introduces valuable occupant data that help understand the space through crowd sourcing. Contributing data is generated through occupants, providing insightful behavioral data points to contextual analysis.
88
DECIPHERING INSTAGRAM DATA
89
browser
active member
observer
participant
heavily connected
alpha user
no digital connectivity
absent
active partcipants
event planner
DATA FLOW AND OCCUPANT STUDY The interactive seating concept allows a loop data flow transfer or dual platform activity to occur. The physical platform citizens are able to share information and activity output with digital platform citizens and vice versa.
EXSISTING WEB INFRASTRUCTURE
DESIGNER
TITLE OF IMAGE
collection: Facebook, Skype, Twitter
CODE DEVELOPER
+
data archive: Facebook, Yelp, Twitter, Skype servers
= outgoing calls
= time log
output: display instructions extraction: individual posts related to Dundas square 90 = trends (#, events, locations)
= incoming calls
= post content
= author
Sarah related topic
Linda
user profile
a
Linda
a
Forming relations The booth displays information regarding the current occupant’s user profile and content. This allows quick glances to become well informed in the person’s physical as well as their digital identity.
a
Paul
a
b
Sarah
Linda
Linda
Finding similarities As more people join, the content of the booth can become either more focused or diversified. (depending on the conversation and individuals involved within the booth)
Sarah
a+b
a
b
John’s phone a+c
a Sarah
Linda
External devices Digital or physical traits of the content may attract different types of people to get together. They are strangers but are able to quickly identify that they have certain traits that are common.
Sarah
Linda
a+b
a
b
William
William
John
a!
a
Sarah
Linda
Linda
Sarah
a
a+b
John
b
a
Greg
b?
Online participants People in the digital realm are able to participate within the booth as well, by digitally “occupying” the booth. There is no difference in the occupant experience as the booth treats the digital user as if the person was physically there.
DUAL PLATFORM SEATING Seating concept that “seats” both physical and digital occupants
91
CONCLUSIONS My thesis research is a call for action, for future architects to understand design as a dual platform practice. I believe the practice of dual platform understanding should not be considered a style or trend in architecture, but an integral process in understanding context and its occupants.
photography
PHOTOGRAPHIC JOURNAL
RE 2010-2014
MICHAEL KIM
PHOTOGRAPHER JOURNAL ENTRIES
PHOTOGRAPHIC JOURNAL ENTRIES
94
FLECT - I ON
FUNCTION What does form generated through raw function look like? Does it have character? Does it generate dialog? Does it set a certain atmosphere? There is a strange phenomenon in which pure functionality reveals its ties with its aesthetic agenda. The two cannot be separated even at its most unconscious state. 97
RHYTHM The city streets are full of rhythm. Once architectural repetition can be identified, a symphony of patterns and accents flood even the most average or common sights into a masterpiece of visual melody. 99
TEXTURE Often a secondary complement to an already existing structured conversation. Texture offers another layer of dialog. The form implies and the texture reinforces. It cannot be understood as an individual, but at a macro scale it becomes a tide turning element. 101
MOVEMENT movement of forces within a structure often become a part of the visual experience. This movement is stretched, manipulated, and designed to make the laws of physics abide to the principles of design set by the architect. 103
Startup
BRIDGE
2013-2015
BRIDGE WATERLOO ARCHITECTURE
CO-EXECUTIVE DIRECTOR
STARTING A DESIGN COMMUNITY
104
C OM M U N I TY
BRIDGE STOREFRONT Storefront rendering before construction
106
COMMUNITY
DESIGN PHILOSOPHY To create an engaging design community by creating a hub for design partnership and exchange. The starup required securing key investors and management of property as well as creating a buzz around a new design exchange hub.
BRIDGE is a student startup that sought a place for sharing all things design related to the local community of Cambridge. We were able to launch a website and secure a storefront to begin engaging with the design interested population. BRIDGE continues to evolve to not just be a platform for design events but a hub for anyone interested in engaging with an active design community.
107
+2500 monthly unique visitors +1250 followers on Facebook visitors from +135 different countries http://waterlooarchitecture.com/bridge/
BRIDGE WEBSITE Digital platform for BRIDGE to engage globally to the art and design community. Website recieves over 2500 monthly unique visitors.
108
37 Main St. Downtown Galt, Cambridge featured in: Cambridge Times, CBC news Kitchener-Waterloo, snapd Cambridge
BRIDGE STOREFRONT Physical platform for BRIDGE to engage with the immediate local community. The storefront is used as a physical medium for fostering design and art interest in the city of Cambridge.
109
BEFORE
BRIDGE HAPPENINGS NIGHT OF POSTCARDS
BRIDGECAST
Empty postcards were produced and distributed throughout the community asking them to draw what anything that represented their idea of the city. Received over +500 postcards back and hosted a gallery of all the postcards that were received.
Started out with student applicants interested in acquiring funding and space for their weekly design podcast. The podcast was approved and held weekly live recordings with live pedestrian participants.
110
AFTER
ART BATTLE
MANY MORE...
BRIDGE hosted an event where artists applied to participate in live painting contest. Artists would have set time painting a series or single artwork - where audiences vote who moves on to win the competition or become eliminated.
BRIDGE hosted or financially supported art/design/architecture projects all throughout the community. The storefront and the website fostered design interest and helped the community realize their artistic visions.
111
ON TO LOCAL PAPER BRIDGE initiatives took the interest of local news and community websites. The organization continues to work closely with the local media to find and advertise new design venture opportunities.
112
113
CONCLUSIONS First started off as post-its on a wall, BRIDGE began with group of architecture students and local community leaders that were interested in building and fostering a design/art interest for the city of Cambridge. The BRIDGE centre for architecture + design now stands as the hub for the Cambridge community to partner with Architecture students of Waterloo for possible design ventures and initiatives.
Startup
REBRANDING
2009-2010
325 MAGAZINE
EDITOR
REBRANDING DESIGN MAGAZINE
116
I DENT I T Y
325 MAGAZINE Cover art for 325 magazine
118
IDENTITY
DESIGN PHILOSOPHY Rebranding the magazine to showcase Ryerson Architecture students as designer’s that practice “Real Architecture” understanding architecture as both a physical and theoretical dicipline.
325 magazine is an annual architectural magazine produced by the students of Ryerson Architecture. The goal of the magazine was not to simply be a “yearbook” of works as the magazine was in the past. After its re-introduction, the magazine’s goal was to became a critical thinking body of its own. Critiquing the current design trends and tools, the magazine became a vessel to communicate the student’s collective manifesto for architectural discourse.
119
MAGAZINE SAMPLE PAGES
120
essay year represented
Peter Zumthor’s Visual Aesthetic by: First Name Last Name
Shortly after the announcement of Peter Zumthor as this year’s Pritzker Prize winner, critics took aim at the Swiss architect’s focus on the aesthetic and experiential qualities of space and his apparent lack of politics or confrontation with the myriad crises at hand today. Examples include Christopher Hawthorne’s assertion that “Zumthor’s work has nothing to do with social activism, disaster relief, sustainability, new design software, mega-cities, affordability or infrastructure -- all of which have crowded together recently near the top of the profession’s agenda -- [his winning is] a boost for the idea that architecture is fundamentally an aesthetic rather than a political profession.” James S. Russell calls the winner a “Swiss Hermit” and says the jury “avoids contemporary challenges” and “left me wishing it had been more adventurous.” Clay Risen
goes furthest in his call to “Fix the Pritzker,” stating, “there’s a real opportunity to reorient architecture toward more humane, socially engaged goals. Getting rid of the Pritzker—at least as we know it today—would be a good start.” Additional, less-critical coverage includes Paul Goldberger fairly typical portrait of “Zumthor’s Quiet Power,” Richard Lacayo’s coverage in Time Magazine, Thomas de Monchaux’s essay on “The Mystery of Peter Zumthor” and interviews with Zumthor at The Architect’s Journal, with Blair Kamin and with Edward Lifson. I’m interested in addressing the critiques linked in the first paragraph above, ones that think Zumthor is not a political architect because he does not deal with what are held to be political issues, such as those mentioned by Christopher Hawthorne. Politics in these cases is defined one way, an engagement with government and its policies. Architects are always dealing with government, even if they are building a relatively insignificant structure like a hot dog stand, because they are follow-
ing codes, zoning and other rules established by governments. But Hawthorne and others want architects to go beyond this and engage governments in their choice of commissions and their working process, leading to buildings that formally express this engagement. I would argue that these three parts of architecture (project selection, process, formal product) are political in Zumthor’s work, though not in
profession’s agenda -- [his winning is] a boost for the idea that architecture is fundamentally an aesthetic rather than a political profession.” James S. Russell calls the winner a “Swiss Hermit” and says the jury “avoids contemporary challenges” and “left me wishing it had been more adventurous.” Clay Risen goes furthest in his call to “Fix the Pritzker,” stating, “there’s a real opportunity to reorient architecture toward more humane, socially engaged goals. Getting rid of the Pritzker—at least as we know it today—would be a good start.”
Shortly after the announcement of Peter Zumthor as this year’s Pritzker Prize winner, critics took aim at the Swiss architect’s focus on the aesthetic and experiential qualities of space and his apparent lack of politics or confrontation with the myriad crises at hand today. Examples include Christopher Hawthorne’s assertion that
Additional, less-critical coverage includes Paul Goldberger fairly typical portrait of “Zumthor’s Quiet Power,” Richard Lacayo’s coverage in Time Magazine, Thomas de Monchaux’s essay on “The Mystery of Peter Zumthor” and interviews with Zumthor at The Architect’s Journal, with Blair Kamin and with Edward Lifson.
“Zumthor’s work has nothing to do with social activism, disaster relief, sustainability, new design software, mega-cities, affordability or infrastructure -- all of which have crowded together recently near the top of the
I’m interested in addressing the critiques linked in the first paragraph above, ones that think Zumthor is not a political architect because not deal with
325 | 8
what are held to be political issues, such as those mentioned by Christopher Hawthorne. Politics in these cases is defined one way, an engagement with government and its policies. Architects are always dealing with government, even if they are building a relatively insignificant structure like a hot dog stand, because they are following codes, zoning and other rules established by governments. But Hawthorne and others want architects to go beyond this and engage governments in their choice of commissions and their working process, leading to buildings that formally express this engagement. I would argue that these three parts of architecture (project selection, process, formal product) are political in Zumthor’s work, though not in Shortly after the announcement of Peter Zumthor as this year’s Pritzker Prize winner, critics took aim at the Swiss architect’s focus on the aesthetic and experiential qualities of space and his apparent lack of politics or confrontation with the myriad crises at hand today. Examples
include Christopher Hawthorne’s assertion that “Zumthor’s work has nothing to do with social activism, disaster relief, sustain
325 | 9
MAGAZINE LAUNCH EVENT
MULTIDISCIPLINARY Due to the multidisciplinary nature of architecture, the magazine required flexible layout for mixed media presentation. The design of the layout sets clear principles of formatting, but allows for visual breaks or additive layering that makes every page mixed media, reflecting the encouraged multidisciplinary method of creative thinking.
121
CONCLUSIONS Restarting the 325 magazine for Ryerson required a new identity, an identity that would allow larger production, new investors and wider distribution outside of the University. The new image promised a magazine that would become a pivotal document for the students of Ryerson University - a dictionary of design language for new students and a proud design manifesto for leaving students to voice their design perspective.
SKETCH APPENDIX
DESIGN PHILOSOPHY A daily record of activities, inspiration, and ideas rigorously recorded everywhere I find them.
The habit of constantly sketching in search of new creative expression still continues today. Everyday thoughts, gestures, creative ideas, design experiments, etc. are all recorded and logged. It became so much a part of my life that it became an integral daily routine to pack my sketchbook and my favorite pens, much like putting on a shoe.
MICHAEL W. KIM A journal of design and architecture tel: 647 887 5873 e: michael.kim.w@gmail.com