JIHYUN NADIA KIM 646-462-2770 jkim122@pratt.edu
BOTANICAL RESEARCH CENTER Chinatown, New York
Botanical Research Center, designed by three major systems (multi-function system, continuity of volume, nature›s shadow), provides a space to study and feel the nature. Multi-function system is demonstrated through column and envelope systems. Parallelogram columns provide not only structural support, but also sittings, as well as an exhibitional space of a botanical species inside. The envelope system carved into the floor planes provides additional structural support working as exoskeleton. To create space with continuous open spaces, the floors planes are designed to have gradual changes in size. Continuous space towards Chrystie street allows open reading space where the opposite one on lower levels create an auditorium. The building actively uses the shadows of surrounding elements. In order to allow the casted tree shadows from the nearby park deeper into the space, the facade on the park side has bigger glass openings than the other side which is affected by the neighboring buildings› shadows. Together, the research center creates a space to see, feel, and study the nature.
+65’0”
+46’0”
+33’0”
+23’0”
+13’0”
0’0”
-9’0”
-17’0”
Nadia Kim Karen Bausman
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Site Section 1/8”=1’0”
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Design 201 Fall 2014
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f 102 ngiseD 4102 llaF
Nadia Kim Karen Bausman
Axonometric 1/32”=1’0”
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noitceS liateD ”0’1=”2/1
Design 201 Fall 2014
b
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g Nadia Kim Karen Bausman
Elevations 1/8”=1’0”
Design 201 Fall 2014
a. exploded axon b. morning shadow c. afternoon shadow d. site section e. column f. model showing auditorium g. elevations h. detail section
miK aidaN namsuaB neraK
TOWNHOUSE FOR TWO DANCERS Brooklyn, New York
A townhouse is designed for two dancers with different personalities: an introverted ballerina and an extroverted street dancer. The occupants are chosen followed by the two body motions: leaping and cartwheeling. The house comprises of 3 intersecting floors and each occupant uses the space diagonally. The space is designed to accomodate the occupants› personalities. The break dancer›s entrance is open to public, where the ballerina›s entrance is hidden behind the gate. The top floors for both occupants are reversed, where the ballerina›s bedroom faces the street while the street dancer›s faces the backyard indicating the necessary need for interaction and privacy for the introverted and extroverted occupants. The second floor of the house is a communal practice room where occupants meet and practice harmoniously.
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a. body motion analysis b. west elevation c. axonometric sections d. backyard perspective e. plans
REINTEPRETATION OF A SPACE Brooklyn, New York
An imaginary space with an absence of gravity and continuous stairs are created using a10’x10’x10’ space in Pratt Institute’s Higgins hall. For a drawing # 1, plan and elevtaions of the space is overlapped to create a 3-dimensional illusion to evoke viewer’s imagination for the created space. For a drawing #2, stairs from plans and elevations are extruded and attached with each others to achieve the 3-dimensional illusion which was illustrated in the previous drawing, but using a different method.
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a. drawing # 1 (digital) b. drawing # 2 (analogue)
HOUSE X ANALYSIS
Using ‘L’ extrusion, which is a basic geometric system in Peter Eisenman’s House X, as a motif, a drawing is constructed which shows the specific moment in the house-- the collision of the two ‘L’ extrusions of each quadrant. The collision space is shown through specific cuts of the quadrants of the house. The drawing demonstrates the location of the collision by rotating the quadrants from the perspective which addresses the space to elevations.
diagrammatic scheme
INTERACTIVE KIOSK
CIRCULATION TUBE HELIX GOCAM STABILIZER
Brooklyn, New York
MATERIAL: Glass & Water
ENTRY
The Circulation Tube acts as a path for visitors to follow. It starts from the entrance and ends at the end of the intended circulation which is the ground floor of the ceremonial stairs.
A kiosk is designed in Pratt Institute’s Higgins Hall 4th floor staircase. The kiosk is inspired by 4 market products (Dolce Gusto, Kindle, Gopro, Bike) which developed into 2 invented products (interactive bed, wrist camera). The kiosk has interactive surface wall with magnetic balls which performs as a display table, information desk, as well as a sitting area. The surface consists of small ball magnetic units and reacts with the pressure. The tubes inside the wall illuminate different colors of light that change the atmosphere of the kiosk.
MAGNETIC FIELD FLEX BED MATERIALITY MATERIAL: Magnetic Metal MAGNETIC UNIT BALLS
Repeating metal unit balls envelope the wall surfaces. Flex products in the space are free to gradually flow and connect to any surface of the wall because of the magnetic balls.
AESTHETIC UNDULATION
UNDULATING WALL SURFACE IN RELATION TO BOTH PROJECT 2S PRODUCTS
DISPLAY DISPLAY
RECEPTION DESK
MATERIAL: Formed Cement Walls LOUNGING/ SEATING
The formation of the cement walls range from being seats to display areas and reception desks. They define the space, and the functionalities of the spaces.
KIOSK SPACE 4TH FLOOR CEREMONIAL STAIRS ENTRY
MATERIAL: Masonry walls, Cement stairs, Wooden railings Chosen kiosk space to display Helix GOCAM and Flex Product.
STRUCTURE FOR UNSUPPORTED BODIES
A wooden structure is made to hold an unstable motion of two people who are leaning against each other back to back. The form of the structure is designed to only fit into specific bodies. The structure is made with several layers of thin woods for stronger support.
b. process
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d. close-up
WAVE HILL ACADEMY Bronx, New York
Wave hill academy provides classrooms, a gallery, an outdoor garden, and dwellings for scientist. Built in light wood construction, the academy›s architecture not only harmonizes and merges with the nature especially through shadow. A site is chosen to be affected by neighboring tree shadows in different time of a day. Then, the building itself›s shadow casts upon pre-existing Glendor gallery, which makes a visual but non physical connection between. The academy›s floor levels correspond with the slope of terrain which allows the minimum excavation of the site as well as separate entry points for private and public users. The exposed wooden structure creates ‹fuzzy› shadow resembling that of trees. This illustrates architecture›s attempt to resemble the nature as well as providing the neutral ground between artifacts and nature.
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rootfop +21’8”
Plan at level 2
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1/8”=1’0”
gallery level
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+12’10”
dwelling second floor +2’11” entry level 0’0”
dwelling first floor -16’0”
Section a
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1/8”=1’0”
a. shadow analysis b. first floor plan c. perspective showing the fuzzy shadow d. perspective from outdoor garden e. section f. model seeing from lower terrain g. model showing outdoor garden
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PRATT GRADUATE DORM Brooklyn, New York
The dormitory project for graduate students of Pratt Institute demonstrates an urban idea of New York City projected into the dorm. New York City is a compressed version of the globe, and a dorm is a smaller version of New York City. There are varieties of races, ages, and backgrounds residing in both New York City and the dorm. The Pratt graduate dorm project seeks for several ways to be aware of the others around oneself and live with them harmoniously. It has a curved glass envelope which deforms one›s image and allows one to look at the surrounding in different perspectives. Each unit is a loft with two rooms where upper floor is connected to the lounge shared by three different units.
TYPICAL FLOOR 2 [4,6F]
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TYPICAL FLOOR 1 [3,5F]
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DRAWING SCALE_1’-0 = 1”
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a. typical floor plan b. glass reflection analysis c. model showing shared lounge d. perspective of inside lounge e. reflection of glass inside room f. model showing stree elevation g. sections h. detailed section
COLUMBIA UNIVERSITY BOATHOUSE Harlem River, New York
Located on Harlem River, New York, Columbia University›s Boathouse project celebrates the history of the university›s rowing team with a monumental design. Columbia University›s rowing team was the first American team to win against the U.K, where competitive rowing was originated. This victory is revolutionary in the history of cultures of the U.S. In order to commemorate this event and the team, a perfect circular form of design was used. Also, to integrate the motion of water created by oars, the roof is shaped in vortex form. There are several elements that strengthened the monumentality of the building – rowers have to go under the building to get to the dock which creates the posture of them praising the building, use of natural lights are designed to narrate the functions of the room contributing to monumentality, and the spatial organization is followed by the order of religious building : congregation-anticipation-transition The circulation is organized encircling the center core of the building, provides the most efficient way to arrive-change-row. Apertures design of the building is considered with passive energy design.
CAST IN PLACE CONCRETE VAPOR BARRIER
SEPTEMBER | 7 A.M. | DIRECT DIFFUSED IN OFFICE | SPOTLIGHT CONDITION IN HALLWAY |
STEEL BOLTS 2 INCH FOAM
HINGE ARM
b HINGE TRACK
JAMB STEEL MESH CONCRETE SLAB METAL DECKING
INTERIOR WALL BOARD
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CAST IN PLACE CONCRETE WALL
SEPTEMBER | DURING THE DAY | DIFFUSED LIGHT | MULTIPURPOSE ROOM
RIGID INSULATION DEPTH TO FROST LINE
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Scale: 3/4" = 1'-0"
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COLUMBIA BOATHOUSE | WALL SECTION | ARCH302 | SP2016 | CYNTHIA WONG & NADIA
SEPTEMBER | 7 A.M. | DIRECT DIFFUSED IN OFFICE | SPOTLIGHT CONDITION IN HALLWAY | SEPTEMBER | 7 A.M. | INDIRECT DIFFUSED TRAINING | SPOTLIGHT IN HALLWAY
COLUMBIA BOATHOUSE | ELEVATIONS & SECTIONS | ARCH302 | SP2016 | CYNTHIA WONG & NADIA KIM
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a. diagrams b. elevation from water c. section through ‹anticipation› d. congregation moment e. worship moment f. 3 stages of change g. wall section
SURREAL SERIAL TRAIN Taiwan & Japan
Based on a train travel throughout Taiwan and Japan, a train is designed with experiential series of surreality. In this space, nothing is right. There are multitudes of images floating around the passenger. What is a right way to look at this imagery? Is there even a right way to look at something? Only the passenger within the space know the answer. Many options are given, and reality doesn›t matter anymore. How the passenger perceives the world matter. Passengers recreate the dimension, directionality, and reality. They are no longer ordinary passive image receivers during the travel. They become active image creators and sole moving entities in their own space and world. Dimension, direction, movement, and speed are rearranged with their interpretation and perception which result in a sur-real-ity. Each passenger is seated in a filleted cube space which constantly reflects and distorts images from outside the train and inside cube. The cubes are arranged to have apertures in every 6 side of the cube. The heights of the cubes are also vary, providing maximum spatial experience not only during the time inside the cube but also approaching or exiting the cube.
SERIAL UNSEAL
NADIA KIM
SURREAL SERIAL
ZEAL DEAL 7
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7 Surreal Serial Train
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CONCEAL SURREAL 4
mechanical space
inside the cube facing the window directly
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SURREAL SERIAL
hallway view
NADIA KIM
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1”= 48”
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mechanical space inside the cube looking upward
1”= 48”
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1”=48”
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+15’0”
URREAL SERIAL
+12’ 0”
PEEL APPEAL
NADIA KIM
+8’ 1” +6’ 3” +5’ 5” +4’ 6” +3’ 4” +2’ 9” +0’ 9” 0’ 0”
1”=48”
elevation a
b f +15’0”
+12’ 0”
+8’ 1” +6’ 3” +5’ 5” +4’ 6” +3’ 4” +2’ 9” +0’ 9” 0’ 0” elevation b
1”=48”
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a. plans b. elevations c. longitudinal sections d. cross sections e. passenger›s point of view f. whole model g. section model