2011-2016
PHILIP DONGHO SHIN Design works vol.1
DONGHO SHIN philipsdh@gmail.com +1.202.250.9314
EDUCATION
Illinois Institute of Technology Bachelor of Architecture Class of 2016
SKILLS
AUTOCAD RHINOCEROS, VRAY, REVIT, ARCHICAD ADOBE SUITE HAND DRAWING MODEL MAKING PHOTOGRAPHY
LANGUAGE
KOREAN ENGLISH
PROFESSIONAL EXPERIENCE
Toban Architects & Associates
Seoul, S. Korea l Staff, Designer l 2011.8 - 2013. 3 Projects: Residential: Lakehill House lot No. 12/15/18/50, “Home Star” Housing Competition: Shin-ha Local Library Public Design: Elementary School Pavilion
Construction Supervisor in Military Service
Gyeonggi, S. Korea l Assistant Supervisor, Military Engineer l 2007.10 - 2009.8 Projects: 30th div. Military Tribunal Renovation Gas Storehouse Construction 53th Tank Battalion Barracks Construction Phase 1, 2 30th div. B.O.Q., B.E.Q. Renovation
OTHERS
Photograph
Autumn Leaves in the Art Institute Chicago l 2015.10 An Emotional Inventory Volume 1 l 2015.12
Exhibition
Painting, The Cent Pavilion (Credit to Pezo von Ellrichshausen) Chicago Architecture Biennial 2015
Awards
2nd Place, The 2016 Race to Zero Student Design Competition Design Awards, Attached Housing Contest
STUDIO WORKS
SUCCESSIVE AGGREGATE : MONASTERY FALL 2015
SPACE PROBLEM : PRIVATE ART GALLERY SPRING 2015
CAPRICIOUS FIELD : CENOTAPH SPRING 2016
UPTOWN CULTURE CENTER SPRING 2014
PROFESSIONAL PRACTICE / OTHERS
LAKEHILL HOUSE LOT NO.50 2011-2012
LAKEHILL HOUSE LOT NO.15 2011-2012
PAVILION RENOVATION 2012
PHOTOGRAPHS
STUDIO WORKS
AN EMOTINAL INVENTORY NO.5 ‘anxiety’ PHOTOGRAPH BY DONGHO SHIN
anxiety
SUCCESSIVE AGGREGATE : MONASTERY Mt. Andes, Chile l 2015 Fall Studio l Pezo von Ellrichshausen
The monastic life erodes any rational object. It is ruled by time while alienated from its eventualities, from the unexpected accidents of life itself. This separated inner domain has never become obsolete. It is a faithful world precisely demarcated and profusely divided into a tortuous and complex system of rooms, into an addition of secluded instants, of intimate and forced encounters, of endless sequences. This is a legitimately exceptional still life. If the modern dogmas pretended to subordinate the relationship between form and life, in the confined and mysterious realms of the monastery, life is so strictly regulated that it always becomes form, a severe and simple one, without any mediation, without any imposed compositional architectonic principles. Behind the perimeter walls of a cloister, of a massive block anchored on a mountain or a peaceful courtyard surrounded by crops, the architectural form is incarnated in a form of life, in a rather repetitive and tedious routine, in the everyday exercise of the personal will. The monastic rule is formal by definition but exceptional by necessity. It is determined synchronically by spiritual rituals and domestic labors, by the very work turned into a ritualized practice. Pezo von Ellrichshausen
16 MONASTERIES COLLAGE HALFTONE FILTERED
INVENTORY MODEL 1: 100 WOOD, PAINT
The monastery is organized along a mountain spine with the primary axes running in an eastwest direction in which the key components are placed. Secondary axes runs perpendicularly, working as connectors while forming a number cloisters with colonnades and large openings facing inward and upwards, reinforcing the feeling of isolation. Although occupied by only forty monks and half as many guests, the monastery works as a small selfsufficient city. The church is placed in the very middle dividing the program into one more intimate part with essential functions for living and one more collective part with school, library, workshop, hospice and guest house. This simple arrangement results in a logical partitioning of chores between the monks and the guests defining the church as a common meeting point for daily prayers. There are also several smaller secluded chapels for individual praying, often placed — together with other more important spaces of the monastery — by the end of primary axes. By doing so, each space are allowed the most beneficial orientation in relation to the sun for each function. Along these primary axes, a diversity of spaces are placed in long sequences, in order to emphasize the qualities and power of each space, providing each walk through the monastery with a spiritual feeling. The monastery has a close contact to the topography through a responsive positioning of its different components like a piece of cloth enclosing irregularities. Thereby large retaining walls can be avoided and a more natural flow along the undulated terrain is made possible.
BUILDING MODEL MODEL : 1: 200 WOOD, PLASTER, CARD BOARD
B A
A
N
B
PLAN, SECTION DRAWING : ARCHI CAD, AUTO CAD
PERSPECTIVE VIEW FROM SOUTH RENDERED IMAGE ARCHI CAD, ADOBE PHOTOSHOP /HALFTONE FILTERED
PERSPECTIVE VIEW FROM EAST RENDERED IMAGE ARCHI CAD, ADOBE PHOTOSHOP /HALFTONE FILTERED
SPACE PROBLEM : PRIVATE ART GALLERY West Chicago Suburb, IL, US l 2015 Spring Studio l Arthur Takeuichi
“Space as an architectural problem; structure as an architectural factor; proportion as a means of architectural expression; the expressive value of materials; painting and sculpture in their relationship to architecture.” It is assumed that structure can be more than an expedient and space more than just a void. It may be that proportion, a fundamental and potent tool of the architect, if developed, can impart genuine expressive qualities and that paintings and sculpture can be fully integrated to enhance the whole. The aim of the Space Problem course is to study how the new space can be realized with the least intrusion of gratuitous or extraneous elements. To see if a few good materials carefully selected and the eye for good proportions are all that are necessary to bring a space to life.
PERSPECTIVE VIEW COLLAGE : 30” X 40” RHINO, AUTO CAD, ADOBE PHOTOSHOP
“ SIMPLICITY IS THE ULTIMATE SOPHISTICATION. ”
William Gaddis
BUILDING MODEL MODEL : 1/3” = 1’-0” WOOD, ARCRYLIC, METAL, STONE
RECEPTION PAINTINGS : Joan Miro, Personage Picasso, Atelier de la modiste
GUEST ROOM PAINTINGS : Andy Warhol, Zebra
LOUNGE PAINTINGS : Robert Motherwell, untitled Picasso, The Kitchen
DINING PAINTINGS : Picasso, Night Fishing at Antibes
a b
d a
b
e c
PLAN AND SECTION COLLAGE : a. Coat Room b. Powder Room c. Guest Room d. Reception e. Lounge
CAPRICIOUS FIELD : CENOTAPH Lakefront, Chicago, IL, US l 2016 Spring Studio l Pezo von Ellrichshausen
The megalomaniac drives of powerful personalities, those who have guided the destinies of so many peoples in vast and extended territories, perhaps by a mere reciprocal act of compensation, seem to deserve an equivalent monumental construction; a final building overloaded with such presence, character and ideological value that it is not only expected to become a capricious sign of itself but a bold statement about the figure’s afterlife ambitions. This irrevocable house might be read as a heroic proclamation of authority, even when the contained room is empty, with the remains either forgotten or posthumously celebrated elsewhere. In these terms, the mysterious yet bizarre form of the cenotaph is rooted in a rather basic contradiction: it is a device filled with memories, images and myths while simultaneously appealing to a sublime presence and a sensitive experience. Pezo von Ellrichshausen
EXTERIOR PERSPECTIVE VIEW RENDERED IMAGE RHINOCEROS, V-RAY, ADOBE PHOTOSHOP
24 FIGURES DRAWING AUTOCAD, ADOBE ILLUSTRATOR
Singular fragments were selected from a wide range of historical drawings (plan, section or elevation) of Thomas Jefferson’s. All the figures were re-regulated as autonomous geometrical figures. This inventory of plates was applied to the formal foundation for the different scales of the proposed square and building. FIGURE NO. 5 DRAWING AUTOCAD ADOBE ILLUSTRATOR
Democracy, equality and individuality are Thomas Jefferson’s main political ideas that are represented in the cenotaph of him. The cenotaph is a hypostyle architecture expressed in a one meter by one meter grid system, with an area of each column being within one meter square. Individuality is shown by 24 different figures. Each one of them is extruded to equal height. The nature of democracy is applied to the methodology of design through arbitrarily picking the columns and placing them in the grid. The roof is supported by all the extrusions which indicates harmony. The journey from the lakefront to the cenotaph is a process of revealing. Its location is next to the Grant park, one of the most activated place in city of chicago. The platform is compromised to existing lakefront trail. So that people are able to perceive it as part of the trail. From the lakefront trail, people can see the architecture’s profile, approaching from north to south to get on the plaza with appreciating city view. The cenotaph appears with gradual changing view while people ascending from curved ramp. In the end of the ramp people face to east and see its west facade. It shows all the extrusions with equal height and irregular shapes, tapered roof on top. People can choose any space between columns to enter the cenotaph. Under the roof, they will be surrounded by columns and experience the dynamic lights and shadows from the skylights. Once they are in the courtyard, stepping on top of the figures on the ground, they are able to be one of them and seemingly support the roof. At the same time, they can appreciate the lake.
AERIAL PERSPECTIVE COLLAGE RHINOCEROS, V-RAY, ADOBE PHOTOSHOP
FLOOR PLAN DRAWING AUTOCAD, ADOBE PHOTOSHOP
SECTION DRAWING DRAWING AUTOCAD, RHICOCEROS, V-RAY, ADOBE ILLUSTRATOR
EXTERIOR PERSPECTIVE VIEW RENDERED IMAGE RHINOCEROS, V-RAY, ADOBE PHOTOSHOP
INTERIOR PERSPECTIVE VIEW RENDERED IMAGE RHINOCEROS, V-RAY, ADOBE PHOTOSHOP
INTERIOR PERSPECTIVE VIEW RENDERED IMAGE RHINOCEROS, V-RAY, ADOBE PHOTOSHOP
“ ARCHITECTURE SHOULD SPEAK OF ITS TIME AND PLACE, BUT YEARN FOR TIMELESSNESS. ”
Frank Gehry
UPTOWN CULTURE CENTER Uptown, Chicago, IL, US l 2014 Spring Studio l Monica Chadha
agora
The Agora (Ancient Greek: Aγορά, Agorá) was a central spot in ancient Greek city-states. The literal meaning of the word is “gathering place” or “assembly”. The agora was the center of economic, cultural, spiritual and political life of the city. The Ancient Agora of Athens was the best-known example.
The Agora, for instance, was a place of happening; Agora, the Stoa. The Stoa was made most marvelously. It was made like this: no partition, just columns, just protection. Things grew it. Shop became. People met to meet there. It’s shaded. You present a quality, architectural, no purpose, just a recognition of something which you can’t de ne, but must be built. Louis I. Kahn - The Silence and Light
1’ CON’C RETAINING WALL
TRANSLUCENT GLASS
1 3
2 ELEV
4
5
6” STL. COL.
30’
11
HANGED STAIRS W/ STL. ROD
OUTDOOR MARKET
6
PROPERTY LINE
0
8 10
3
PLANT
PUBLIC PLAZA
7
PARTITION WALL
INDOOR MARKET/ GALLERY PROPERTY LINE
9
1’ CON’C RETAINING WALL
12
ELEV
STAGE
OPEN-AIR THEATER
DOUBLE SKIN CURTAIN WALL SYSTEM W/ WHITE COLOR PANEL
60’
1. CTA STATION ENT. (RELOCATE)
7. MEN’S RESTROOM
2. KITCHEN (CAFE)
8. WOMEN’S RESTROOM
3. STORAGE (CAFE)
9. SEATING AREA
4. OUTDOOR MARKET STORAGE
10. MUTI-PURPOSE ROOM
GROUND FL. PLAN
5. PREPARATORY ROOM
11. OFFICE
6. MARKET RECEPTION
12. LOBBY
DRAWING : HAND DRAFTING, AUTO CAD, ADOBE PHOTOSHOP
Repetition of transparency and opaqueness, contrast of weightness and lightness make richness in the architecture and its surroundings. Also it enhances fluidity of people’s movement throughout the neighborhood.
Its multi-purposal space for indoor market and exhibition is composed by light steel column. The columns are supporting the perfomance hall and allow it to be being floating with lightness.
PROFESSIONAL PRACTICE
AN EMOTINAL INVENTORY NO.6 ‘playfulness’ PHOTOGRAPH BY DONGHO SHIN
playfulness
LAKEHILL HOUSE LOT NO.50 S. Korea l 180sqm l Steel Structure l Residence l Built 2012 participated for the whole design process; schematic design, building permmission, construction documentation
The client had eagered to move their place from Seoul where the most crowded city in Korea to country side. They dreamed to cultivate vegeteble and have barbeque in their garden or backyard. It ultimately meant to enjoy their own life with peaceful space and getting away from routines in the city. They wanted to move to new place as soon as possible. So, all the process needed to be done with immediate. It leaded to make decide a structure system and building material.
SITE PLAN 1:400
RIGHT, FRONT ELEVATION 1:250
GROUND FLOOR PLAN 1:250
PARTIAL FLOOR PLAN 1:100
COLUMN DETAIL 1:40
ROOF-WALL SECTION 1:25
LAKEHILL HOUSE LOT NO. 15 S. Korea l 148sqm l Concrete Structure l Residence l Built 2012 participated for the whole design process; schematic design, building permmission, construction documentation
GROUND FLOOR PLAN 1:250
2ND FLOOR PLAN 1:250
LONGITUDINAL SECTION 1:250
During its construction phase, we could not take part in supervising and consulting due to limited budget and location issue. Not only that circumstance but also the lack of communication with the contractor leaded bad quaility. Their overall understanding of its design idea and detailings was totally different with us. Regardless the construction document, they constructed the building with their own way and understanding.
WALL SECTION 1:100
PAVILION RENOVATION S. Korea l Renovation l Steel Structure l Pavillion l Built 2012 participated for the whole design process; schematic design, building permmission, construction documentation, construction supervising
This project was highly focused on how we can deal with limited budget and existing condition of its space and structure. In order to proceed the project with great success, we aimed three main goals which are ‘Re-cycle’ its existing material, ‘Re-use’ its footing and ‘Re-framing’ its own spatial condition better. The existing condition of “The Pavilion” was a great place to rest for people to interact. So we tried to keep its own atmosphere and to enhance its character. This design not only renovated the old structure, but solved the problem of connection with the street.
REFRAMING SPACE
RECYCLE MATERIALS
REUSE FOOTINGS
PHOTOGRAPHS / OTHERS
AN EMOTINAL INVENTORY NO.2 ‘weariness’ PHOTOGRAPH BY DONGHO SHIN
weariness
AN EMOTIONAL INVENTORY December 2015 l Photographs l Published
AUTUMN LEAVES IN THE ART INSTITUTE OF CHICAGO October 2015 l Photo Essay
INBETWEEN September 2015 l Photography Project
PAINTING : CENT PAVILION October 2015 l Oil Painting, 6’ x 6’ l Chicago Architecture Biennial
DONGHO SHIN philipsdh@gmail.com +1.202.250.9314
INBETWEEN PHOTOGRAPH BY DONGHO SHIN