B.S (Interior Architecture) Architecture Portfolio 2013-2017
Sangji Han
Sangji Han / Architecture Portfolio 2018
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* : Video Clip Included in CD
Contents Architecture Thesis
Space Beyond the Screen *
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Architecture Studio
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Research on Spatial Reinterpretation of Projection Mapping
Wheelthrown Gallery in Seochon Artist Residency Cooperative Organization Gallery Independant Video Projection Installation Exhibition
Immerse *
Projection mapping Installation Exhibition
Graduate Architecture Research & Design
UBLO 3D Printing Failure Control
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Design Research of customizable window system
Art Video Essays
Creating a new world with match-on-action On Maya Deren’s film / Video Installation as an image in between space and viewers Architecture Competition
Slow Sowol Street
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Street-driven Community Farming Regeneration
Art Video Studio
Infinity Space *
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Closed Circuit Projection Installation
Interior Architecture Studio
Jogakbo Community Center
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Renovation project for immigrants in downtown Syracuse
Independant Film Project
Shadow Upon Mind * Experimental Film
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Professional Works
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2017 Yonsei Interior Architecture Thesis
Space Beyond the Screen
Sangji Han / Architecture Portfolio 2018
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Space Beyond the Screen Research on Spatial Reinterpretation of Projection Mapping
Yonsei University Interior Architecture Graduation Thesis Instructor : Jeong hee Lee Site : 7-23, bukgajua-dong, Seodaemun-gu, Seoul, Republic of Korea 2017 Fall Individual Work Arawrded with Best Thesis of the Year 2017
Stepping into Spatial Augmented Reality Why is projection mapping merely uses architecture as a canvas without reflection on the underlying architectural spaces? What would it be if the projected 2D image is reinterpreted into a space? The idea starts from contemplation about media and space in early works of DS+R and Hybrid Artworks. The goal was to spatially represent the visually experienced idea of space. Theoretically based on K. Mondloch’s definition of 3 spaces in screen reliant projection, video art works of 60-70’s have been analyzed and reinterpreted as a spatial concept. Then, typical urban residential program was applied into actual spatial- audiovisual architecture.
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Limitation of Projectino Mapping_ In a Context of the City at Night 14
Left: concept drawing of added layer of projection mapping in the scale of city Right: concept drawing of stepping into unreality of projection
Reversing the typical relationship between projection and space 15
Sangji Han / Architecture Portfolio 2018
In the ‘projection community’ the term ‘architectural projections’ is now commonly accepted for such large-scale building projections. However, the content being expressed with these new means of visual communication merely uses architecture as a canvas without deep reflection on the underlying architectural concepts. Therefore, the goals of this paper are to go beyond using architecture as a blank surface. <Architectural Projections>
공간 空間
도시 都市
Anne Fiedberg explores how the screen’s role as a component piece of architecture has dramatically changed materiality of the built space. She recognizes how the screen’s immaterial architecture informs and reflects an architecture of viewing. (cinema frames a space distinct from the viewer’s material space) Friedberg, A. (2006). The virtual window from Alberti to microsoft. Massachusetts: The Mit Press.
투사 Projection
Videon installation, a technical derivative of cinema, and in a sense archcitecture, is a format in which this distanced relationship collapse through the creation of “filmic space” actually designed to inhabited. It is by definition, an inherently hybrid spatial and cinematic phenomenon. Cairns, G. (2013). The architecture of the screen: essays in cinematographic space.
대상 Object Space
재현 Simulacra Virtual Space
Kissing is something you cannot do on your own. Kissing always involves the surprise of the difference of another mouth that is like yours but not yours. Kissing is not a collaboration between two but aims to make one unified thing; Instead, the projected image lends a surprising combination of substance and transparency to the wall, uniquely conciliatingthat someone like… wold have described as the opposing qualities of depth and flatness, as well as the far and near and the optical and tactile types of vision he associated with each. Furthemore, the moving projected image adds dimensions of time normally not available to architecture. <Kissing Architecture> Sylbia Labinth
Critical Introduction 16
Mediated Space
surface. <Architectural Projections>
공간 空間
Anne Fiedberg explores how the screen’s role as a component piece of architecture has dramatically changed materiality of the built space. She recognizes how the screen’s immaterial architecture informs and reflects an architecture of viewing. (cinema frames a space distinct from the viewer’s material space) Friedberg, A. (2006). The virtual window from Alberti to microsoft. Massachusetts: The Mit Press.
투사 Projection
공간 空間 대상 Object Space
Videon installation, a technical derivative of cinema, and in a sense archcitecture, is a format in which this distanced relationship collapse through the creation of “filmic space” actually designed to inhabited. It is by definition, an inherently hybrid spatial and cinematic phenomenon. Cairns, G. (2013). The architecture of the screen: essays in cinematographic space.
Anne Fiedberg explores how the screen’s role as a component piece of architecture has dramatically changed materiality of the built space. She recognizes how the Kissing is something youreflects cannot an do architecture on your own.ofKissing always screen’s immaterial architecture informs and viewing. involves thefrom surprise of the difference another mouth that is like (cinema frames a space distinct the viewer’s material of space) 재현 yours but not yours. Kissing is not a collaboration between two but aims to from make onetounified Friedberg, A. (2006). The virtual window Alberti microsoft.thing; Massachusetts: The Mit Press. Simulacra Virtual Space
투사 Projection
Instead, the projected image lends a surprising combination of substance and transparency to the wall, uniquely conciliatingthat someVideon a technicalasderivative of cinema, and a sense one like…installation, wold have described the opposing qualities ofindepth and archcitecture, is as a format which flatness, as well the farin and nearthis anddistanced the opticalrelationship and tactile types collapse through the creation of “filmic space” actually designed to of vision he associated with each. Furthemore, the moving projected inhabited. is by definition, an inherently hybrid spatial cinematimage addsIt dimensions of time normally not available to and architecic phenomenon. ture. Cairns, G. (2013). The architecture of the screen: essays in cinematographic space. <Kissing Architecture> Sylbia Labinth
대상 Object
재현 Simulacra
Space
Virtual Space
Kissing is something you cannot do on your own. Kissing always involves the surprise of the difference of another mouth that is like yours but not yours. Kissing is not a collaboration between two but aims to make one unified thing; Instead, the projected image lends a surprising combination of substance and transparency to the wall, uniquely conciliatingthat someone like… wold have described as the opposing qualities of depth and flatness, as well as the far and near and the optical and tactile types of vision he associated with each. Furthemore, the moving projected image adds dimensions of time normally not available to architecMediated Space ture. <Kissing Architecture> Sylbia Labinth
Definition of 3 spaces in Screen-reliant Projection The person in front of the projection view them as windows onto other representational or informational spaces- concentrating on the spaces depicted on and inside the media screen has special consequences for the complex spatial dynamics of screen reliant installation art spectatorship. Mondloch, K. (2011). Screens: viewing media installation art. Minneapolis, Minn: University of Minnesota Press.
Mediated Space
Definition of 3 spaces in Screen-reliant Projection The person in front of the projection view2.them as windows onto other representational or informational 1. the space of the screen object itself the space between the 3. space in the screen spaces- concentrating on the spaces depicted onand and viewer theinside screenthe media screen has special consequences for the complex spatial dynamics of screen reliant installation art spectatorship. Mondloch, K. (2011). Screens: viewing media installation art. Minneapolis, Minn: University of Minnesota Press.
Factors Analysis-Video Installation work 60’s- 70’s 1. Infinite Loop of Closed Circuit Camera Projection
1. the space of the screen object itself Dan Graham <Present Continuous Past(s)>
2. the space between the viewer and the screen Bruce Nauman <Video Corrior>
3. space in the screen Hybrid Artworks<Incidental Legacy>
Spatial Definition of Projected Image 2. Multiscreen Projection Expanded Cinema
Factors Analysis-Video Installation work 60’s- 70’s
1. Infinite Loop of Closed Circuit Camera Projection
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Definition of 3 spaces in Screen-reliant Projection Sangji Han / Architecture Portfolio 2018
1. the space of the screen object itself
2. the space between the viewer and the screen
3. space in the screen
1. Infinite Loop of Closed Circuit Camera Projection
64’ 32’ 24’ 16’
Dan Graham <Present Continuous Past(s)>
8’ Reality
0’
Bruce Nauman <Video Corrior>
Hybrid Artworks<Incidental Legacy>
2. Multiscreen Projection Expanded Cinema
Charles and Ray Eames, Buckminster Fuller Moscow World’s Fair <Glimpse of USA>
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Doug Aitken <Electric Earth>
64’ 32’ 24’ 16’
Dan Graham <Present Continuous Past(s)>
8’ Reality
0’
Bruce Nauman <Video Corrior>
Hybrid Artworks<Incidental Legacy>
2. Multiscreen Projection Expanded Cinema
Charles and Ray Eames, Buckminster Fuller Moscow World’s Fair <Glimpse of USA>
Doug Aitken <Electric Earth>
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Left : Concept model of infinite loop of closed circuit camera projection Right : Spatial experience of closed circuit loop video experiment
Infinite Loop of Closed Circuit Camera Projection 21
Sangji Han / Architecture Portfolio 2018
Left : Concept model of discontinuity and editing in mindof multi-screen projection Right : Continous flow of visual perception in multi-screen projection
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Continuous edit in mind of Discontinous Multi-screen Projection 23
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ite
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Infinite Loop of Closed Circuit Camera Projection Expanded Cinema 24
Zoom In (%)
Frame Tilt Angle
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Infi te Lo
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33 41 52 58 61 69 76 82 88 94 100
4’
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58 61
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Delay Time (milliesecond)
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Infi te Lo
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9 8 7 6
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1.2
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11’
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Delay Time (milliesecond)
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33 41 52 58 61 69 76 82 88 94 100
-4’ -6’
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33 41 2’52 58 61 -2’69 76 82 -3’88 94 -4’100
13’
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Zoom In (%)
Frame Tilt Angle 0’ Zoom 60% FeedbackTime 23’
Infite Loop
Infite Loop
No.
Frame Tilt Angle
Zoom In (%)
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. No
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Frame Tilt Angle -50’ Zoom 130% FeedbackTime 20’
13’ op
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Frame Tilt Angle -30’ Zoom 70% FeedbackTime 10’
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0.7 0.5 0.3 0.1 0.0
33 41 52 58 61 69 76 82 88 94 100
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te Lo
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1
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8
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Frame Tilt Angle -30’ Zoom 70% FeedbackTime 10’
11’
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33 41 52 58 61 69 76 82 88 94 100
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33 41 52 58 61 69 76 82 88 94 100
Frame Tilt Angle
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Zoom In (%)
Frame Tilt Angle -50’ Zoom 130% FeedbackTime 20’
Zoom In (%)
Frame Tilt Angle
Zoom In (%)
Frame Tilt Angle -30’ Zoom 70% FeedbackTime 10’
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1.2
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Frame Tilt Angle -50’ Zoom 130% FeedbackTime 20’
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1.2
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Frame Tilt Angle 0’ Zoom 60% FeedbackTime 23’
Left above: spatialized definition of 3 space in infinite loop of closed circuit camera projection Right (top to bottom): morphosis of loop under different settings
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3. the space in the screen
9’ 16’
5’5”
1. the space of the screen object
11’5” 8’
6’
2. the space between the viewer and the 14’ 3’
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1. the space of the screen object
3. the space in the screen
Discontinuity and Editing in mind of Multi-Screen Projeciton Expanded Cinema 26
3’
5’5”
6’
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11’5”
12’
14’
Left Above: spatialized definition of 3 space in multi-screen projection Right Above: Timeline Analysis of discontinuity and editing in mind 27
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수색산
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서울시 마포구 북가좌동 7-11~7-23
수색증산 재정비 촉진지구
수색역 공항철도
준주거지역
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디지털미디어시티역 중앙선 디지털미디어시티역 공항철도
디지털미디어시티역 6호선
DMC 업무집중 일반상업지역
Site location - Direction toward Industry area from residential area
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Linear Program of Site
Right (top to bottom): Space of screen object itself the space between the viewer and the screen space in the screen Below: Isometric
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ow ind ed W b en Op ke the a M
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Linear Program of a Day in Typical Modern Domesticity
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Left: Concept model of discontinuity edit of visual experience at lobby area represented in order of time Right Above: Time layer of visual experience Right Below: Connection created through edit in mind
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2’
7’
1’
6’
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4’
Left Above: Spatialization of discontinuity and editing in mind applied to architecture Right Above: Tilmeline Analysis of editing in mind in lobby space 35
22,000
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18,000
16,000
After work, comes back to home, away from center of the city, towards oneâ&#x20AC;&#x2122;s own space. Finish dinner, change clothes, fall a sleep. Then, when the sun arises, wakes up, change clothes, finish breakfast, then head towards the center of the city, away from home. The typical daily cycle of a person is a repetition of direct reverse rountine, one in the morning, the other at night. This journey is a direction towards more public place to work, and then towards more private space of home., which mathes in inverse relatinoship.
12,000
10,000
6,000
4,000
GROUND
Left: Discontinuous unit configuration and intervention of circulatino Exploded Isometric Right: expanded exploded isometric 36
Discontinuous Unit Configuration and Intervention of circulation
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Left above(top to bottom) : 1:100 Main model Right: 1:100 Main model with site
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Left 1:50 Unit Model
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Left : Unit Model 1:50 Morphosis of loop under different settings of camera and projection Right : Unit Model 1:50 Discontinuity edit of multi-screen visual experience at lobby area 42
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Left Above: Unit Model 1:50 first mass of a unit Left Below: Unit Model 1:50 last mass of a unit Right: Unit Model 1:50
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Linear Program layer of a discontinued unit 45
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Above: Exhibition at Young Creative Korea 2018 Below: Installed Live video loop at thesis exhibition 2017
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Architecture Studio
Wheelthrown Gallery in Seo-chon
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Typology : Gallery Site Area : 1178.1m2 FAR : 200% Building Coverage : 60%
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Wheelthrown Gallery in Seo-chon Artist Residency Cooperative Organization Yonsei University Architecture Deisgn Studio 3 Instructor : Jooeun Sung 2017 Spring Site : 35-17, Jahamun-ro 8-gil, Jongno-gu, Seoul, Republic of Korea Individual Work Critic : Soo-in Yang (Life Things)
“For a cultural building to really contribute to a city, it must be connected into a pre-existing cultural vibrancy, supported by decent infrastructure and a community that actually lives there.” This quote about gentrification describes how I thought this gallery should function as. From Analyzing gentrification in Seo-chon, I proposed artist residency cooperative organization. To create a place “like a bowl” that can embrace various people into courtyard around existing tree, the mass was pushed to the side. It is a invisible space that doesn’t count into FAR, but function as a center of this gallery. Wheelthrowing technique of ceramics was adopted as a method to create a space inside, by deciding axis at the end of the site and revolving it. Original tensions from inside and outside was understood as tension between program, and developed into creating this gallery. To emphasize on drastic curvature surface, thickness became a factor for hierarchy of the interior space, placing circulation and core space between doubly curved walls.
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Residency
Seochon Artist Coop
Urban Pioneer Artists Residency, Exhibition
Resident-to-be
Organization & Planning
Creative Individual Propertier
Original Residents Participants
Run Cafe & Restourants
Left: Accumulated layers of history in Seochon Above : 4 groups of people in Seochon
Seochon, Accumulated layers of History in small scale
“for a cultural building to really contribute to a city, it must be part of a social ecosystem, not simply a place for tourists to visit. A cultural hub must be connected into a pre-existing cultural vibrancy, supported by decent infrastructure and a community that actually lives there.” <Architecture Review_ How Cultural Buildings Can Help Prevent Gentrification, Not Cause It >
Historical assets exist adjacent to modern residential Hanok. Typicial sites in this town are divided into small pieces and long narrow streets are hidden like a maze. There has been an effort to protect this village from reckless commercialization over few years by community and government. Seoul District Unit Determination was annected. It bans franchise business in inner streets to protect small business and prohibit reconstruction of buildins. Residents gatherd to make civic groups to revitalize the old market in area and protect old church from reconstruction.
Why ‘Seochon Artist cooperation’ ? Gentrification is this area can not be blamed for pure gentrifiers, as there are subtly different gruops and people between gentrifier and social preservanists. People in Seochon could be grouped into 4 according to <Seoul, Gentrification>. At first it was artists and urban pioneers, then it was active residents who wanted the town to keep cultural vibrancy. Then, creative individual propertier came to run cafe and exotic restourants that made this town slowly crowded. In past few years ,Seochon showed highest rate of increse in rental fee in Seoul. That meant people who were originally living there would not be able to afford the rent fee and would eventually have to leave this town. Then, business that can afford this high rent fees slowly take up and the cultural vibrancy There has been an effort to protect this village from reckless commercialization over few years by civic groups and government.
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Gallery like a ‘Ceramic Bowl‘ 52
Left: Wheelthrowing Process Right : Concept drawing of Gallery like a bowl
Seochon artist cooperation is proposed at this point. To bring back the artists who left this town, there should be a artist resiency, for cultural vibrancy that makes Seochon like Seochon. So that this gallery can provide close experience with art to not only visitors but also residents around. In this effort, courtyard arond the existing tree is provided to public as â&#x20AC;&#x2DC;Place like a bowlâ&#x20AC;&#x2DC; that can embrace various programs of 1st floor when it is expanded into courtyard. Therefore, the courtyard of this gallery, which is invisible in mass becomes the physical center and functional core of this gallery.
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Left (top to bottom): Axis, Revolving Curve, Tension, Trim process from wheelthrowing methodology
Wheelthrowing Methodoogy Wheelthrowing technique was exploited as design method. Basic steps of wheelthrowing was reinterpreted as a method of creating a space. First, for an axis of revolve, lines were chosen from the maximum massing box of the given site. Second, initial space created to cover program masses by revolving around the axis. Then, as tension created by power of hands from inside and outside of the ceramics decide the shape based on the contents, curved surfaces were changed according to the tensions between the surfaces. That is how I ended up with 3 masses, eventhough there were excatly 4 axis at the begining.
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NO. 01 Intersection
NO. 02 Intersection
NO. 03 Addition
NO. 04 Addition
NO. 05 Addition
NO. 06 Addition Subtraction
NO. 07 Addition Subtraction
NO. 08 Addition Subtraction
NO. 09 Difference
NO. 10 Difference
NO. 11 Subtraction
Above (top to bottom): Outcome of addition and subtraction of wheelthrowing methodology
Rules of Addition and Subtraction 55
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Outcome of addition and subtraction of wheelthrowing methodology
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Above: 1F Plan drawing
Right(top to bottom): Cafeteria, Terrace of artist residency, Stairs to exhibition space, Courtyard Perspective
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Left(top to bottom): Peeled enterance, Exhibition Space, Peeled window Right: 1/100 Model
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Screw Cladding Glass
Fixed Angle Supporting Structure
Floor Boarding Screed
Reinforced Concrete Slab Rigid Insulation Structure Steel
Frame Facade Comprising Cladding Panels
Steel Bracket Ancoring
Structure Steel
Supporring Structure Insulation
False Ceiling Comprising Double Gypsumboard
Wood Deck Frame Screed
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Reinforced Concrete Slab Concrete Foundation
Coop Office
Residency
Gallery
Studio
Residency
Gallery
Multi Purpose Hall
Co-living
Cafe
Left: Detailed Section 1/20 Right: Exploded Axon Program
Program 65
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Independant Video Projection Installation Exhibition
Immerse
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IMMERSE Video Art & Projection Installation MAN FIRST Art Space 2017 Spring Exhibition : Feb 16-18th / Shinliart Gallery Instructor : Liseok (Video Artist) Team : Jooyong Park Syra Kwon Myungjun Lee Donghee Kim Jeonghoon Paik Role : Exhibition concept develop, Motiongraphic Design, Installation https://vimeo.com/210629210
Leading the audience into lying down for the appreciation relieves a sense of duty to stand up for the ravity. This enables people to focus on the work in the most relieving and comfortable state. Besides, the naturally moving graphic is neither fast nor slow. The image stops playing when even a slight ambient noise is made here. This is time and space people can experience in the perfect environmemt for immersion. The image playing at the most ordinary, average speed consists of the most effective elements. It reflects the experience itself in our ordinary everyday life. All of these are the installations for the complete immersion, and people can experience it with the images playing five times which last about 50 seconds in each playing. You, when was the last time you were immersed in?
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Left to Right: Excerpts from projection Video
Projection video aimed to maximize or distort the depth at the focal point of viewers, created initially by cone shaped installation. The graphic generates from or navigate to the focal point and enables viewers to experience the perceptional movement at the various speed and direction. This gives virtually expanded depth, which emphasize spatial experience. Or, comparably flat graphics are distorted on installation surface and becomes images with spatial depth.
Immersed in water of different status 71
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Left ,Right: fabric installation of immersive space
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Below: projection mapping on installation
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Right(top to bottom): Installation in progress Left: Exhibition poster
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SEOULLO Media Facade Special Exhibition 78
<Immersion of water> Selected, and Screened
Graduate Architectural Research & Design
UBLO 3D Printing Failure Control
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UBLO 3D Printing Failure Control 3D Printing Failure Control of Customizable Window System UBLO Yonsei Graduate Architectural Research & Design Studio Design Project in collaboration with VSA_Korea Instructor : Youm, Sang Hoon 2017 Fall
There are several characteristics and condition of Additive 3d printer that leads to what can be called “Failure”, including overhang angle, thickness, printing direction and creation of support. This condition results in unexpected output through the process of coding of 3d printer program and actual printing. Sometimes, Modeling that is not appropriate for printing creates gap between how it is actually printed. We tried to identify in what condition this so called “Error” in occurred and how we can deal with this. We, as a team, took various stance dealing with this of either embrace the condition or overcome this. First, the experiment was about embracing this conditions of failure and make unexpected printing process part of design as output. Second, wood laminating was experimented to overcome the limits of surface.
Team : Seo Woo Lee ,Young Hyun Kim, Sang Ji Han Role : Research, Idea Devleop, Design and Experiment, Presentation
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1. Overhang angle 에 따른 프린팅 상태 2. 서포트 유무에 따른 프린팅 상태 (좌 - Stringing 우- Support) 3. 수평면 프린트를 위한 Primary Support 4. 곡면 프린트를 위한 Secondary Support
기본적인 유블로 환기창을 프린팅하는 과정에서 생성되는 서포트 의 종류와 생성 조건들을 분석해보았다. 곡면의 기본커버를 뒤집어 프린팅할때, 곡면의 각도가 대략 45도 이상되는 면부터는 서포트 없이도 프린팅이 가능했지만, 45도 이하인 면에서는 서포트가 생 성되는 것을 볼 수 있었다. 또한 수직과 수평의 면에 맞닿아 있는 서포트는 대각선방향으로 나 열된 서포트를 생성했지만, 곡면과 맞닿아 있는 원형 중심부와 라 프트 바로 위 곡면부분에서 좀더 촘촘한 패턴의 서포트를 생성했 다. 모델링 각부분의 각도와 형태에 따라 서포트의 형성유무, 생성 된 서포트의 종류를 이해하는 실험을 진행했다.
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Analysis of Original 3D Printed UBLO
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Printed Result
Failure Predection
Modeling
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OP_3
OP_1. Slope Angle Control OP_2. Slope Angle Control + Stair Design OP_3. Slope Angle Control + Stair Design + Addition
기존의 유블로 곡면보다 더 깊은 곡면을 만들어 45도이하의 면이 더욱 넓어지게 하였다. 서포트가 없는 조건아래 에 노즐이 허공에 프린팅을 하며 생기는 오류인 Stringing과 Oozing이 발생하였다. (OP_1) 45도 이하의 면을 더욱 활용하기 위한 계단형 디자인을 적용시켜 보았다. Stringing과 Oozing이 더욱 다양한 면에서 나타나기 시작했다. (OP_2) 3D 프린터의 최소 프린트가능 두께에 가까운 0.6mm 지름의 돌기들을 추가했다. 서포트가 없어 돌기는 거의 프 린트 되지 않았지만, 표면에서 뚜렷한 형상을 이루지 못하고 떠도는 Stringing이 더욱 심화될 수 있었다. (OP_3)
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Support Predection
Failure Predection
Modeling
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OP_1. Gap Control OP_2. Gap Control + Diameter Control OP_3. Gap Control + Angle Control
본래 의도한 모델링을 프린트하기 위한 보조물질에 불과한 서포트를 프린팅 이후에 떼어내는 대신, 결과물의 일부 로 받아들이는 실험을 진행했다. 모델링의 사이에 자연 발생하는 서포트가 생성되는 조건과, 생성되는 서포트의 종류를 파악했다. 45도 이하의 곡면이 최대한 많이 만들어질 수 있는 디자인을 시도했고, 곡면에 맞닿은 서포트의 패턴 자체를 디자인적 요소로 활용하는 프로젝트를 진행했다. 기본 유블로 형태에서 곡면의 홈을 내어 그 사이가 서포트로 채워지도록 실험을 진행했다. 프린팅 이후 곡면에 닿 아있는 패턴이 섬세한 2차 서포트만을 남겨놓고, 서포트를 선택적으로 제거하였다. (OP_1) 서포트가 생기는 면 의 다양함을 위해 홈의 모양을 한쪽씩 번갈아가며 타원형으로 변형시켰다. (OP_2) 홈의 개수가 많고, 좁은것보다 적지만, 넓은 면을 보여주기 위해 홈을 파지 않고, 면들을 추가시켰으며, 수평방향의 각도를 조절하여 적층방식의 프린팅에서 더욱 극적으로 서포트를 보여주고자 하였다. (OP_3)
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Above: Exhibition at UABB SZ-HK Biennale of Urbanism & Architecture ,Hongkong
Art Video Essays
Creating a new world with match-on-action On Maya Derenâ&#x20AC;&#x2122;s film / Video Installation as an image in between space and viewers
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Creating a new world with match-on-action On Maya Deren’s film Syracuse University Imaginative Independent Cinema Instructor : Leo Crandall 2015 Fall Individual Essay
“Non-realistic spatial and temporal continuity through false eye line matches of sort…”1 Maya Deren in her films, creates new world that looks alike, or unlike the real world. The way to create this is to bring different time and space together through editing. Strangely, it gives a new sense of likeliness. In this essay, how she exploits certain techniques is analyzed through Meshes of the Afternoon and her later films. Maya Deren in collaboration with Alexander Hammid produced a famous film of a manipulated reality, titled Meshes of the Afternoon in 1943.2 The film is 14 minutes long and it closely examines everyday life. The film investigates what a character could have felt deep in his/her mind. It starts with a careful examination of everyday life. Her idea is based on reality. But it is actually a dream structure, which can be called “phyco-drama” or, “trance film”. As she mentioned, “it reproduces a way in which the sub-consciousness of an individual would develops, interprets, and elaborates an apparently simple and casual incident into a critical emotional experiences.”
1. Bordwell, David, Kristin Thompson, and Jeremy Ashton. Film art: An introduction. Vol. 7. New York: McGraw-Hill, 1997. 2. Maya Deren in collaboration with Alexander Hammid, 14 minutes, 1943
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Maya’s idea about creating a film relates to her idea that “creativity consists in a logical imaginative extension of a known reality.” In Meshes of the Afternoon, as a series of incidents in one peaceful afternoon repeats in her imagination, she falls deep into her dream. The dream has a four-layered structure. Incident in first layer is what could happen in everyday life and objects in the house is normal. As the film goes deep into layers of dream, the objects This manipulation of objects becomes stronger toward the deeper state of the dream and adds symbolic meanings .She developed an idea of “vertical cinema ” in her theory An anagram if ideas on art, form and film. She focuses on “ramification of moment” and add imagination to an incident. But an interesting thing is that film keeps a sense for reality through deep layers of dream. She did not try to create a space and time remote from reality that has no relationtion to real life. Rather, she investigated subjective imagination and feelings which only the subject can witness. This is a different approach of creating a space from that of avant-garde films, specifically that of German Expressionism.
Deren’s use of narrative film techniques is an director’s effort to convey her ideas through a continuous film narrative. Unlike German Expressionism of the 20s which created a completely new environment, she created a world with film techniques that are used to produce a continuity in narrative through editing. I saw this as effort to convey her idea through quite comprehensible way of film. Narrative film uses matches in editing to create a continuity through different shots. That can be sound or image. As of Match-on-image, it could be match-on-action of different shots, and it could be match-on-shape and match-on-direction of movement. Also, different view point of shots are used to deliver story. View point of the shots is inter-changeable based on what editor wants to show the viewers and what people expect to see from it so that they can understand the film. Interestingly, she exploits these techniques to attach shots from different situation, especially match-on-action. Framing, angle, and short sizes are controlled to put together individual time and space that has nothing in common. This involves cinematography and editing, acting altogether. Especially, Deren creates new space in imagination through matches on action. The ways in which the protagonist moves her body parts, the direction she moves, the things she looks, and the way she looks at it are the means for Deren to create a continuity from different shots. This also relates to shots in protagonist’s perspective view as well. I saw her interest upon movement of body was one of important feature with usage of perspective shots to create sense of continuity in Meshes of the Afternoon. The movements of bodies in the film is an important element to create a sense of continuity in Meshes of the Afternoon, along with the use of perspective shots. Then, in At Land (Maya Deren, 1944) she develops further how the movement can combine two different situations and spaces together. Her later works A Study In Choreography For Camera (Maya Deren,1945) The later works of Deren reflects the developments of her interest in choreography. Deren’s work At land(1944) seemed like a series of collages of different spaces with different situations. Her techniques can be described as montage in the discipline of film. It is “a series of short shots that are edited into a sequence to condense space, time, and information.”
Meshes of the Afternoon (Maya Deren, 1944)
4. Deren, Maya. An anagram of ideas on art, form and film. No. 9. Alicat Book Shop Press, 1946. 6. Richard Hamilton, John McHale, Just what is it that makes today’s homes so different, so appealing? 1956, collage
7. Sitney, P. Adams. “Meshes of the Afternoon” and” Ritual and Nature.”.” Visionary Film: The American Avant-Garde 1943-1978.
when I take a look at photomontage art works, and think about how these un-related images are brought together and transformed to make a sense of reality, I come to think of Deren’s work could be “video montage” that is displayed not flat on paper, but with time and story within 3dimensional space of film. A sense of reality, or the moment of temporal continuity are quite strange, but familiar at the same time. Just like all the images in photomontage are different in medium and color, size, perspective, but they are somehow transformed to fit into the background artist created. Photomontage can be transformed to works of Maya Deren, and vice versa. If the photos, drawings in montage were actually moving over time, it becomes a video. If the frame of image is flexible and much smaller so that viewers are not allowed to see everything at once, it can create a canvas of layers. If those layer align and expand, connected at some point, this video montage can control the transparency of the layers to show the 3 dimensional spatial background. When Deren and Hammid was shooting the film, this concept of overcoming the limits of space and montage was in their mind. “I kept saying to myself, ‘The walls of this room are solid except right there’. That leads to something. There’s a door leading to something.I’ve got to get it open because through there I can go through to someplace instead of leaving here by the same way I came in” In this way, Meshes of the Afternoon could create space that is fluid, circular. Though it focuses inside of the house and the street in front of the house, there was little manipulation of the space in the film. In At Land, it starts from beach but, when she crawls up the tree, the meeting table space parallels with the tree. They exist simultaneously. There are several examples of the thing that connects, actually put together these shots is movement of protagonist. By showing what viewers expect to see when moving into different context, action plays an important role. To explain more closely, The most drastic extension of space is the moment when the protagonist, wearing a sunglasses walks toward herself who is sleeping in sofa, with a knife on one hand.
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At Land When she stands up, she is out side of the house. When she moves forward to step with right feet, it is on a beach, then she steps forward with left feet. The space extends to the house, beach, mounds, grassland, street, then back to the house again. Suddenly, the space between the table and the sofa expands and exaggerates the long journey to herself. It was the biggest expansion of the space in that the film shows circular flow throughout the film. When second Maya goes to upstairs, she does not go through stairs like first Maya did. She comes into the window of second floor, through the curtain. She ran over the stairs and stare at the window thatâ&#x20AC;&#x2122;s facing the stairs. Then she run into curtains and comes in through window. At this point, actual straight space has been twisted to outside of the house, letting her to come in through window.
(Maya Deren, 1944)
In this film, Deren combines climbing tree with a long dining table. As she crawls up the tree on the beach, she crawls on the table. These 2 different situation is edited in a cross cut. This cut suggests these are actually happening at the same time. Then, Maya even moves from a dried tree to the top of oak trees and dining table to cliff. The ways in which she connects these disparate situations is to show the expected action. While she is climbing up the tree on the one hand, she is on the table of meeting room at the same time. Two different places are connected with editing on crawling on the table and climbing the tree. The distance from the dining table to the cliff is shortened by dropping a chess piece. After the scene of dropping the chess piece from the table to the invisible side, the viewers expect to see the falling piece. Then, the film shows the expected chess piece falling under the cliff. With this, the viewers keep focusing on these events and following the change of the settings as the scene moves. In the shot of the woman, jumping off from the cliff, the cliff and strange structure was connected with the angle and movement of woman. After jumping off, she suddenly looks behind and stares up. Now, the camera follows what she is looking at. All of sudden, a tall structure stands and the cliffs fades away. Then camera drops to her point, even that place has been changed to sand bank. She is still looking upon the structure or the cliff. The movements and angles of camera connects disparate scenes and locations together to create a whole new place. It follows the cinematography of the narrative film. Since the visual experience of the newly created world imitates the viewerâ&#x20AC;&#x2122;s natural visual experience,
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Choreography For Camera (Maya Deren,1945) This short experiment shows how cinematography can collaborate actively with choreography and how they can connect different places . The film is about a male dancer’s elegant movements in the woods, in a living room, in a gallery, even at a cliff. And the main source of this change is conducted through a series of dance. At first the protagonist lifts his right leg and draws a circle toward right side and slowly put down on ground. Then we see close up shot of right leg coming down in completely different background of living room. As viewers are focused on movement of his leg, the change of space is not the first thing that comes into eyes. This is the moment of “temporal continuity”Then as dancer explores around the room, camera then shows completely different space. Now the viewers notice the change of the space. When protagonist starts to make a turn, camera shows close ups of his face, then his feet. When he leaps into the air. It is a close up of his body lifting fast upwards. His body up in the air, legs wide to reach out as far as he can, from camera below his body. Camera shows his body parts coming down from the air part by part. Full shot shows the man landing on the cliff in front of the sea. He carefully lands with the right leg that he stretched out in the air. All this happens in a brief moment and the viewers are allowed to think that when the protagonist landed in different space after dynamic posture of jump. In this film she no longer used the camera as a recording device for the preservation of the dance, but as an equal participant with the dance. It was dynamic interaction between the two.
Bibliography Meshes of the Afternoon (Maya Deren in collaboration with Alexander Hammid, 14 minutes, 1943) At Land (Maya Deren, 1944) Choreography For Camera (Maya Deren,1945) Bordwell, David, Kristin Thompson, and Jeremy Ashton. Film art: An introduction. Vol. 7. New York: McGraw-Hill, 1997. Deren, Maya. An anagram of ideas on art, form and film. No. 9. Alicat Book Shop Press, 1946. Keller, Sarah. Maya Deren: Incomplete Control. Columbia University Press, 2014. Sitney, P. Adams. “Meshes of the Afternoon” and” Ritual and Nature.”.” Visionary Film: The American Avant-Garde 1943-1978.
Throughout her works, there was something different about her work compared to other avant-garde films we discussed in class. It sure was complicated. But at the same time, there was something hidden under layers of meaning that she tried to say through film. This distinguished her film from other avant-garde films which seems to be mere visual experiment of videos. Layers of dreams and phycological aspect was interesting as well, but how this is conveyed to viewers and created wholly different space was more impressive. And actually editing and structure of the film worked to deliver this theme visually and cinematically.
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Video Installation as an image in between space and viewers Syracuse University Imaginative Independent Cinema Instructor : Tom Sherman 2016 Spring Individual Essay
Although video art can be discussed as flat screen video it is, when it is recorded, or projected in real time space, something different can be experienced. Video installation can be video works that are recorded, projected, and materialized through TV in relation to other objects, performance or even to space itself. They can be referred to as video installation, multi-channel projection, and video sculpture. When video work is installed, or projected, two- dimensional flat screen images creates space in between projector and surface. Image migrates to three- dimensional space through light, projected from machine as a materialized object in real space. This space exists somewhere in-between reality and the fiction of projection, involving viewers to perceive it. And the spatial environment around it, such as, ceiling, floor, and walls interacts with the video and becomes new canvas that artists can work with. Furthermore even the space, or pavilion itself can be built, or transformed as artwork for video. Now, viewers who were seated in front of the video screen before are free to wander around the space. Margaret Morse referred to video installation as “fresh orientation of the body” in space and a reformulation of visual and kinesthetic experience. They interact with video work more dynamically be deciding what, how and where to look at the video. Suddenly, appreciation of video work becomes materialized experience within space and time. And that experience becomes message, or idea that artists try to deliver through work.
What will be discussed mainly in this paper is live closed-circuit video installation. Closed-circuit camera brings recording and projection to real time situation, transforming the space into camera range. Live feedback and real time situation is one of the most important properties that defines video. Various artist and their work will be discussed in the manner of interaction in between video and space, and its interaction with spectators. And relation and comparison between video works will be discussed.
1. Connolly, Maeve. The place of artists’ cinema: space, site and screen. Intellect Books, 2009. 2. Morse, Margaret. “Video installation art: The body, the image, and the space-in-between.” Illuminating video: An essential guide to video art. New York: New York: Aperture in association with the Bay Area Video Coalition (1990).
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1. 1)
Bruce Nauman Video corridor (1970)
Long narrow corridor is created between 2 wall boards. At the one end is closed-circuit camera and the other end is 2 stacked TV monitors. The corridor is 20 inches wide which is just the width of one’s shoulder. To get to the end there is no other way around but to walk up to those TV monitors. What the viewers confront at the end is their image shot from above behind their back. That means, they realize they are watching the monitor of themselves bending over to TV on floor to see them watching the monitors. The monitor within monitor is too small to show third frame of present, but the monitor below shows recorded images of empty corridor, which was happening just a minute ago and will continue to happen when the viewer is gone. It gives sense of futility and weirdness. That is because after the act of carefully approaching the TV monitors through narrow corridor and bending over the TV on the floor, viewers realize the existence of camera at their back and their perspective of this situation elevates to the location of camera. Looking down themselves in the monitor, sitting on their hunkers. When they walk out of the corridor, the image in the TV gets closer and disappear out of the frame. Different from other video installations, Nauman’s purpose was to have limitation on the viewer’s movement and action through space. That is why he designated the width as 20inches between tall wall boards. But Nauman nevertheless had feelings of frustration at not being able to more fully “control the situation”. By giving less freedom of physical movement, he was able to deliver the feeling of detachment, feeling of “one’s body unglued from my image” and “ground of my orientation in space were pulled out”
2. 1)
Peter Campus Mem (1974)
Most revealing idea in his works is that he is not an artist who made the video, but who invited viewers to be artists themselves by creating space around them. His work with closed-circuit camera is empty, before someone comes into his camera range as model and try to draw illusion with one’s body on the canvas that he provided. His basic equipment is projector, closed-circuit camera. He plays with angle and location of camera and projector by capturing the 3 dimensional space and projecting on flat surface to create 3dimensional illusion. First of all, the most basic work of him could be Mem, which was created in 1974.
On the side of the wall, camera and the projector is located almost parallel to the wall that is projecting. The camera captures the viewers wandering around the space facing the wall. Then the image is projected on the wall from the end of the wall so that the image is skewed as a whole, shrunk at one point and enlarged at the end point. The viewers are confronted with distorted self and notice that the speed of the image is not the same as actual space they are in. This is because of the crooked grid of 2 dimensional projection surface. What will happen when they start moving is slower movement as they move towards camera and projector, and image of self almost fading away as projection goes blurry toward the other end.
Rush, Michael. Video art. London: Thames & Hudson, 2003. Douglasdavid2008. “Bruce Nauman.” YouTube. YouTube, 03 July 2007. Web. 14 Apr. 2016.
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Interface (1975)
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Shadow projection (1975)
Campus went on experimenting these basic idea and tried to duplicate the image of self by exploiting glass, and light. In 1975, 2 different works shows this experiment. Campus added a sheet of transparent glass layer in the middle of the space. Then he installed camera at the back of the glass, and at the other side, there is projector facing the glass. What the spectator is watching is 2 images of self – one mirrored, and one straight – one from reflection on the surface of the glass, and one from projection image. Interesting thing is that one image is due to the physical condition of glass itself, and one image is produced through artificial lighting of projector. This is why campus picked glass layer to be in the middle of the space. The glass layer is crossing and dividing the space into two but intrinsic properties of glass brings reflection and projection images together and blend them. Images appear on the surface creates illusion on both sides of the space at the same time.
Shadow projection exploits 2 different images of self again. What is different is that he added artificial lighting source right next to the projector. This simple treatment creates interesting illusion. The camera is located at the end of the space towards the wall, bringing viewers in between camera and the projection wall by defining the ‘space’. At the same point of camera is the projection. Up to this point, it is quite similar to basic idea except for the location of the camera. Then, right next to the camera and the projector, there is artificial light. What it does is brightening up the projection image on the wall and erase them, except for the surface where it is dark enough to show the projection image. The spectator standing in front of the lighting becomes obstacle for the light, at the same time, provide dark shadow for projection. The shadow and projection image could be similar but one of them is result of actual body and one is projected image. The slight gap between image and the shadow reveals the gap between reality and illusion. Campus continuously produces ‘televised space’ where viewers are compelled to confront their image and be fascinated with the experiment with live video mirror. Through this experience, viewers draw on the projected canvas that he provided, becoming aware of their body and moving it to draw with it. Most of his installation was in the small room of the museums with small opening as a passage. At the moment spectator enters his room, they realize they are holding a brush on their body and breaks out of passive viewer of the work.
“Media Art Net | Works.” Media Art Net | Homepage. Slavko Kacunko In: Peter Campus. Analog + Digital Video + Foto, 2003. Web. 14 Apr. 2016.
Walker Art Center, “Peter Campus Discusses His Work Shadow Projection.” YouTube. YouTube, 11 May 2010. Web. 14 Apr. 2016. Meigh-Andrews, Chris. A History of Video Art. A&C Black, 2013. Rush, Michael. Video art. London: Thames & Hudson, 2003.
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Dan Graham 1) Present continuous past(s) (1974)
Dan Graham is artist who experimented with closed-circuit camera rigorously within architectural environment. His interest to architecture and invention of two way mirror shows that he was actually into how things could be experienced within space through perception no matter of video, or architecture. Similar with Peter Campus, he involved viewers with his works actively. They were invited to his setting and to figure out what was going on and what it feels like to be in that setting. In 1974, Graham did a lot of experiment with timelag video installations starting with Present continuous past(s). The basic idea is quite simple. When spectator enters the space, with clear white mirrored walls. As soon as they enter the room, they are walking into the camera range, which is located on top of the facing wall. Then camera captures the spectator, and also the image reflected on mirror. Then he can find himself on the monitor on the wall, with the reflected image of self through mirror. As these images are projected through monitor, this is also reflected on the mirror walls. What happens next is continuous loop of this reflection and projection. Interesting thing is that there is time-delay between camera and the monitor about 8 seconds. When the viewer is watching the monitor, images in the first frame is exactly what happened 8 seconds ago. The next frame, which is frame within the frame , is 16 seconds ago towards past. The result is extended “drug time-like” present of time delay. What happens to the viewers inside this room is realizing themselves watching what they just did of watching what they had done. It is the moment of realizing self as object of endless camera.
This installation plays with the idea of time rather than image of self. When the viewers are looking into the monitor, there is the infinite regress of time continuum . What they can see from the monitor is framed time of “just past” , somewhat past, almost past, nearly past, and to infinite past of time lag. As if they drop the rock into a deep well, they bending over deep well to hear the rock touching the ground.
Ulrich Obrist,Hans. The Conversation series – Dan Graham. Verlag der Buchhandlung Walther Konig, 2012.
Graham, Dan. Dan Graham: works 1965-2000;[on the occasion of the exhibition” Dan Graham Works 1965-2000” organized by the Museu de Arte Contemporânea de Serralves, 2001. Ulrich Obrist,Hans. The Conversation series – Dan Graham. Verlag der Buchhandlung Walther Konig, 2012.
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When Campus was using projector and light in the dark space, Graham exploited monitor and mirror in brightly lit up space to exaggerate the architectural settings around. This was to let viewers to wander around more in the space, and to make spatial environment a critical thing to this work. Talking about the floor plan of this work, Graham designed entrance of this work as narrow corridor, guiding viewers to the point that they can realize the overall installation at once. They are free to walk up to mirror wall, or to the monitor on the other wall. This makes variety of sequence that one can experience within the space. Graham developed Present continuous past(s) with the factor of microphone, speaker, divided space, perspective views, connection and performer in his series of Time delay room in 1975. Throughout Bruce Nauman, Peter Campus, and Dan Graham’s video installation, what enabled these art work was something only video can do. Spontaneity of the video was explored through their work. The artists prepared the environment, or certain situation as vacant canvas with video camera and projector or monitor. Spatial quality was experimented also for this environment. Then they invited viewers to get involved with the work, and complete the work by viewers themselves. Being able to find their own image made them experience the work dynamically and changed the act of watching the video work.
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Bibliography 1. Connolly, Maeve. The place of artists’ cinema: space, site and screen. Intellect Books, 2009. 2. Morse, Margaret. “Video installation art: The body, the image, and the space-in-between.” Illuminating video: An essential guide to video art. New York: New York: Aperture in association with the Bay Area Video Coalition (1990). 3. Artists Rights Society (ARS). “Guggenheim.” Collections. Solomon R. Guggenheim Museum, New York Panza Collection, Gift, 1992, n.d. Web. 14 Apr. 2016. 4. Douglasdavid2008. “Bruce Nauman.” YouTube. YouTube, 03 July 2007. Web. 14 Apr. 2016. 5. Rush, Michael. Video art. London: Thames & Hudson, 2003. 6. “Media Art Net | Works.” Media Art Net | Homepage. Slavko Kacunko In: Peter Campus. Analog + Digital Video + Foto, 2003. Web. 14 Apr. 2016. 7. Walker Art Center, “Peter Campus Discusses His Work Shadow Projection.” YouTube. YouTube, 11 May 2010. Web. 14 Apr. 2016. 8. Meigh-Andrews, Chris. A History of Video Art. A&C Black, 2013. 9. Ulrich Obrist,Hans. The Conversation series – Dan Graham. Verlag der Buchhandlung Walther Konig, 2012. 10. Graham, Dan. Dan Graham: works 1965-2000;[on the occasion of the exhibition” Dan Graham Works 11. Ulrich Obrist,Hans. The Conversation series – Dan Graham. Verlag der Buchhandlung Walther Konig, 2012.
Architecture Competition
Slow Sowol Street
Sangji Han Han / /Architecture Portfolio 2018 Sangji Architecture Portfolio 2017
walking
Yongsan 2-dong community center farming
Strolling
harvesting
gathering planting Eating
HBC Community Creative Hub Buying
HaeBang Presbyterian Church
Studying
gathering
Playing
Parking
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Slow Sowel Street Street-driven community-farming regeneration UIA World Congress, Seoul 2017 International Idea Competition Site : Sowol 20 street,Yongsan-gu, Seoul, Korea Team : Gayoung Lee Heejin Lee Sangji Han Role : Concept develop, Visualization
The speed of changing on streets in Haebangchon area has been getting faster and faster forced by commercial property. Recently, the gentrification of the city has been key issue in a way to develop the old town as big apartment blocks or a part of grand green axis. Despite its big trials, Sowol 20 street still has its own liveliness and complexity driven by old and new communities such as Sunchun fraternity, Sinheung Market guild, Haebangchon art initiatives, Namsangol magazine, Yongsan FM radio station, alternative research units, youth seminar group and multicultural family support center by church. Not only that, since the given site, Sowol 20 street is placed on “Maroo of Namsan”, the highest flatland of Namsan mountain, it belongs geographically rich nature. To extremely make use of its natural advantage, we propose community farming regeneration, making the speed of street and change slow. “Farming” is the art of complex communication with people, land, vegetation and insects as part of huge ecosystem by deeply understanding and practicing its mechanism of sun, wind, water and the original land of Mother Nature like Namsan. In the eastern world, people used to learn how to deal with the nature by farming the land divided by 24 Solar term. We believe the way to cultivate land corresponding with different 24 Solar terms in four seasons can change the Haebangchon village with sustainable, voluntary and open growth embracing traditional and fresh dynamics by itself, not driven by a dominant administration.
Un-Neccessary Necessary Institute
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Haebangchon, the street facing fast changes Haebangchon has been highly dense with residential area since 1949 after Korean War. Eben if the old village is located right below Namsan, full of natural resources such as sunlight, water, wind, fertile soil, plants and insects, its land has been fully covered with asphalt-paved because of road infrastructure for cars in compact housing area with no green and public space, isolated from Namsan ecology. In 2017, the village is sick of less children, higher commercial rent fee and lack of public spaces, with eventually makes the street fast-changing due to gentrification.
Interactive seasonal-cycling of â&#x20AC;&#x153;Slow Sowol Streetâ&#x20AC;? in 24 solar term Following seosonal-cycle of traditional solar term, farming programs for each season are suggested. By bringing in changes of nature into farming and community activity, slow sowol street embrace the slow changes created by environmant.
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Mountain
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Phase 1
Phase 1
Plowing a plot of green for planting tree, crop and vegetables for fresh food, unveiling the existing asphalt-paved road
Plowing a plot of green for planting tree, crop and vegetables for fresh food, unveiling the existing asphalt-paved road
n Connecting Farm zone
HBC Community Farm Zone
Kidâ&#x20AC;&#x2122;s Playground Zone
Street Farming Zone
Phase 3
Phase 4
Harvesting vegetables and sharing food, starting from diverse programs zones for public users, which leads to farming on street.
Expanding the street farming in Haebangchon maturing with local residential network with fluent natural resources.
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Mountain Connecting Farm zone
HBC Community Farm Zone
Kidâ&#x20AC;&#x2122;s Playground Zone
Street Farming Zone
Modular Plots of Street Typology 106
THEATER STUDIO DINING CAFE
OFFICE
LOCAL FM
KITCHEN
AFTER SCHOOL CLASS
ACTIITY ROOM LIBRARY
RESERVIOR
TOOLS
FARM PRODUCTS THEATER W/C
STUDIO OFFICE
MARKET
LOCAL FM
W/C
YARD KITCHEN
MARKET
AFTER SCHOOL CLASS BOOK CAFE
LIBRARY
HBC community creative hub zone
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Left: Kid’s play park zone_ summer Right(top to bottom) : Community farm zone_ spring, HBC community creative hub zone_ fall, Community street zone_ fall Below: Horizontal section of “Slow Sowol Street“
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Art Video Studio
Infinity Space
Sangji Han / Architecture Portfolio 2018
https://www.youtube.com/watch?v=Q_FpRIeIKuw
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Infinity Space Closed Circuit Projection Installation Syracuse University Advanced Art Video Studio Instructor : Boryana Rossa 2016 Spring Individual Work
This experiment was conducted under simple setting of closed circuit, composed of camera and projection. Continuous flow of import and export creates infinity space deep behind the wall surface. This basic algorhythm then triggers cybernetics between virtual images -what has become just past- and object in reality -present-. This video is the experiment of infinite loop of camera and projection. This algorythm triggers interactive feedback between virtual images within loop and the body in reality. At the same time, virtual space of loop expands to infinity and creates technical delays between times. This virtual space is controlled by camera and projection to create different forms of space. In video, the focus is about relation of virtual images within loop and the body in reality. Mirror and movement creates replacement and duplication of image as an expand body. In diagrams, rhythm and formation of infinity space is depicted, as movement of camera and projection creates and controlls virtual space.
Affected by Bruce Nauman “Corridor”, Peter Campus “shadow Projection” Dan Graham “present continuous past(s)”.
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Process of Closed Circluit Loop 114
Frame 06
0.6sec delay
Frame 05
0.5sec delay
Frame 04
0.4sec delay
Frame 03
0.3sec delay
Frame 02
0.2sec delay
Frame 01
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transmit
Camera
Viewer
Projector
import shoot
export shoot
Wall within frame
transmit
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Projector step 03 export shoot
Wall within frame
transmit
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step 01
Projector
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Left: Spatial representation of visual experience of Loop Right(top to bottom): Image Analysis of Loop, Plan arrangement of Closed Circuit Loop
This diagram shows the basic idea of creating a loop with camera and projector. First, light reflected on objector is captured by camera. (step 01) Then, the image is transmitted to projector through cable.(step 02) This image is projected on the wall, where the viewer is standing. (step 03) This is one cycle of the loop. Basically, importing the image then, exported again. Then, the images is again imported to camera (step 04). But the images that is captured by camera at step 04 is not the same anymore with the imported image of step 01. As the image at step 04 includes what has been projected on the wall. And this delays slightly and creates a frame of image, what was just present.
Loop Principle Diagram 115
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linear virtual form
speed fast
speed regular
speed slow
By controlling the movement of the camera and the speed of the camera works, creating virtual space within infinite loop on the wall is possible. Also, viewers can create the rhythm in between each frames of loop by responsing to what is projected on the wall at that moment. The virtual projected image moves from near frame to deep frame as time goes. This live feedback is what enable the viewers to create rhythm with. two basic camerawork is exploited. Zoom and tilting. Zoom in and out changes the scale of the image and cut out the edges. Tilting rotates the images around the center point with angle, creating a pattern of images.
Virtual space within loop Rhythm by camera works 116
linear virtual form
speed fast
speed regular
speed slow
Above: Figure01. Zoom 30% / Tilt 45’ Below: Figure 02. Zoom in 200% / Tilt -60’
This two experiments develops different forms of virtual space within loop. Figure 01 shows continously zoomed out image, tilted about 60’. Compared to Figure 01, 02 shows larger space , tilted to opposite angle. Figures from left to right, divides linear form of virtual space more times. creating smother movements of more frames. This is possible as the speed of the camera works changes the amount of time it takes for one cycle of loop.
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Interior Architecture Studio
Jogakbo Community Center
Sangji Han / Architecture Portfolio 2018
Jogakbo Community Center Renovation project of an abandoned building in downtown Syracuse Syracuse University Environmental and Interior Design Studio 3 Instructor : Gregory Marinic 2015 Fall Site : 420 S,Salina st, Syracuse, NY Individual Work
Jogakbo is a type of Korean traditional patchwork. It brings left clothes of different size, color, and shape together and makes one heterogenous surface. The parts of the surface retain their own identities, and at the same time, they create a whole. Jogakbo is the method of bringing different matters together without jeopardizing the parts. The population of Syracuse consists of Asians, Hispanics, Caucasians, and African-Americans. There are not a single cultural center that adequately represent the multicultural aspect of the city. This project aims to provide a cultural center for all - immigrants and U.S. citizens as well as different races. This project documented and digitally modeled one abandoned building in downtown Syracuse where the immigrant population of economically lower class do not have a single cultural facility. The project preserved and renovated the exiting building for cultural institution based on the logic of jogakbo. The most significant intervention is the patterned wall structure. It not only provides various functions to the interior conditions, but also symbolizes the cultural ideal for the community. That is, different social and economic classes were encouraged to be put together and mingle without enforcing them to be a homogeneous one.
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Oswego
Oswego
Residential Area
Residential Area Business Area
Business Area
Rail Road Thruway Rail Road Thruway
Utica
Utica Oneida Lake
Oneida Lake
yracuse
Syracuse
Urban Area
Urban Area
Local Retail Places
Local Retail Places
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Transportation system, regional zoning, natural environment surrounding Syracuse
Urban Scale GIS Analysis 122
Location of institutions for immigrants around downtown Syracuse shows correlation between the density of foreign born population, in case of religious, and economical institutions. The number these institutions count up to 5, and 10 for each. However, there are only 2 cultural institutions, which is 7 miles away from downtown Syracuse. This shows the necessity of cultural institution. The population of Foreign Born is about 45,000 as of 2015. Asian Immigrants takes up 35% of immigrants to Syracuse, showing the most drastic growth per year. Right (top to bottom) : Concentrated Foreign born population shows around Downtown Syracuse. Population, Low income, Foreign Born
3mile
1mile
1 mile
3 mile
5 mile
7 mile
Cultural
Necessity of Asian Immigrants Cultural Center 123
Sangji Han / Architecture Portfolio 2018
Native American Morning StarQuilts
Japanese Pattern
Korean Pattern Jogakbo
Patchwork symbolizes immigrants from all over the world with different cultures. The idea of Korean Patch work ‘Jogakbo’ is to bring left clothes together. The size and color, even shape can vary from one and another, but these create beautiful patchwork together.
‘Jogakbo‘ Patchwork Pattern Study 124
Fig. 1
Fig. 2
Fig. 3
Fig. 4
Fig. 5
Fig. 6
Fig. 7
Fig. 8
Fig. 9
Simple wall piece becomes a wall pattern by combining with other pieces, showing the geometry that did not exist in the parts. Then, this wall surface wraps the interior space. Unified pattern develops as a wall, a ceiling, a floor unified space.
Interior Wall Pattern Geneology 125
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S.Salina Street Documentation
Circulation
Cultural Education
Atrium Stairs Elevator
Language Education Cultural Experience
Adult Education
Service
Terrace & Bathrooms
Parent Education
Counselling Service
Public Cultural Space Gallery Concourse Concert Hall Library
Original Building was built in the 1890s. After the 2nd and 3rd floor collapsed due to a fire, in 1920, architect Charles D. Wilsey renovated the building for the L. Vinney Company, to create one large commercial space with a storefront with copper trimming and plate glass. The storefront has been used as a commercial building in downtown Syracuse. Then, in the 2000 local construction company bought property for renovation.
Program 126
Children Parents Neighborhood Pedestrian
Circulation 127
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5 1 6 2
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Parent Education Language Literacy Education Children Education and Daycare 7
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1. Art Education Class room 2. Music Education Class room 3. Atrium Stairs 4. Meeting Room 5. Bathroom 6. Counnselling Office 7. Elevator
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Education
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Parents Education of Language Access of Available Service
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1. Terrace 2. Multi Purpose Education 3. Atrium Stairs 4. Parent Education Classroom 5. Children Education Classroom 6. Counselling Office 7. Elevator
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Counselling Service
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Engaging Neighborhoods - Asian Culture Experience center Walking Gallery of chidrensâ&#x20AC;&#x2122;s work
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Cultural Experience
Rendered Plan
1. Public Dining & Cafe 2. Kitchen 3. Children Library 4. Atrium Stairs 5. Bathroom 6. Entrance 7. Passage & Gallery
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1. Playground 2. Auditorium 3. Lounge 4. Office 5. Bathroom 6. Entrance 7. Passage & Gallery
Interior Rendering & Material Furniture Palette
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S.Salina Street Documentation
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Interior Architecture Studio
(Re)claim Ontario
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(Re) Claim Ontario Lake Ontario Winter Station Design Competition 2016 Syracuse University Environmental and Interior Design Studio 3 Instructor : Gregory Marinic 2015 Fall Site : Kew Balmy Beach, Toronto, ON, Canada
Winter station competition aims to provide a temporary resting space for visitors and locals in lake Ontario beach. The project brings the idea of reclamation by inviting people to participate in building the pavilion by tying the ribbon from plastic bags to the wooden structure. As more people participate in the movement, experience from pavilion develops. Compatible with lifeguard station, pavilion provide interesting spatial experience. Plastic ribbons inside the pavilion waves and triggers sound as the wind blows. The pavilion resemble the form of igloo and aims to provide warmth and comfort in severe cold of lake Ontario.
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Lake Ontario Kew Balmy Beach
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Only 6mile away from Toronto, Kew Balmy Beach is a beautiful lake side beach for residents and tourists. Straight long bea e Ontario gives a feeling of being at the ocean.
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Urban Scale Site Analysis
Assembly + Construction
The steam pressed wooden lath will be woven in a plain woven scheme.
Theatre District
The wooden lath will be bolted to a strip of wood and extend into the ground to stabilize the structure.
Discovery District
Right(top to bottom): Perspective Image birdâ&#x20AC;&#x2122;s eye view, from the shore side, inside the pavilion
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Independant Film Project
Shadow Upon Mind
Sangji Han / Architecture Portfolio 2018
https://www.youtube.com/watch?v=u5IJ5FwPTA0
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Shadow Upon Mind Experimental Film Independant project Yonsei Society of Film Production_ Dreamers 12’ 23” 2015 Spring Scenario, Producing, Edit
In the subway station, there is Ahrum. She is ordinary college student in Seoul. Exhausted, checks her schedule to go part time teaching. Dazzling lights wakes her up. Then, she finds herself in strange place, filled with shadows. Student and her mom give pressure on her, but there is nothing she can do about it. All the sudden, the space changes and ahrum is infront of a white door. Ahrum knocks on the student’s door, but it never opens. Instead, her name is called out of nowhere. It was her professor. Ahrum mistakes the professor as student’s mom but, she mentions scholarship and her grades. Ahrum denies all the reality and finally wake up. She finds herself still in the subway station, waiting for the train to come. Thinking that she had a weird dream, she hurries to go part time. As the door opened, she get into mysterious maze of curtains. The more she tries to get out, the more deeply she gets into the maze. There is only voices and shadows Ahrum can never reach. She keeps saying “let me out”, but her friends voice talks about her incompetence over and over again. In the end, Ahrum can’t stand anymore and cry out that she did her best till then, yelling “let me out” Someone opens eyes in the subway. She is not Ahrum anymore. She is with a face of the mother, the professor, the friend. Then, she hurries into the train to go part time job.
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Left, Right (Top to Bottom): Scenes in order
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Sturucture of the film The structure of the film as in layers of reality is articulated to continously question the actual layer of the sequence- whether this is a real or merely a dream. When Ahrum is A and the other actor, who is the professor, the mother, and the friend is B. When situation at the station of A is thought to be reality, fantasy that comes along can be understood as unreal situation, or a dream. When A opens her eyes and rush to the house of a white door, A seems like she came back to the reality of the subway. However, this is another layer of dream, where A thinks she is in reality. When she taps the door and enters, it is another dream in situation where lights and fog leads to more chaos. The fact that B opend eyes at the station at last questions the viewers. “Is this another layer of dream?“, or “Was everything a mere dreaming?“ or, “has B become A?“ By cutting each scene and placing each at a different layer of reality, the factor that triggers entering the situation brings whole structure of the film confusion. Especially, at the very last scene, when B opens her eyes as if she is A, there is more than one possibility of story.
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Professhional Projects Architecture Portfolio 2013-2017
S-Square
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Brand Experience Center
South San Francisco Biotech Hotel Mixed-use Hotel Complex
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Typology : Museum Gallery Project Phase : Schematic Design Site Area : 2,313.13㎡ building-to-land ratio : 77.15% floor area ratio : 140.54% Floors : 4F / Underground 1F
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대지면적 층수 건축면적 건폐율 용적률 연면적
2,313.13㎡ 지하 1층/지상 4층 1784.6㎡ 77.15% [법정90%이하] 140.54% [법정210%이하] 3250.97 m2
S-Squre Brand Experience Center Unsangdong Architects Intern Designer (4 months) 2016 Winter Site : 36-2, Samgak-dong, Jung-gu, Seoul Role : Graphic diagram, Layout, Physical model making,
신한 山水風景 신한DNA인 열정적 혁신과 변화정신을 담는다. 서울도시의 매력은 도시중심에 한강, 남산, 북한산등 자연 경관이 같이 존재하고 어울 어짐으로 더욱더 풍요롭고 다채로운 도시가 된다. 계획안은 랜드마크 전략이 아닌 자연의 모습을 상상하게 한다. - 도시 속에서 산의 자연적 모습과 웅장함을 만나다 - 지형 속의 다이나믹한 건축과 공간이 만나다 장소에 자리잡는 자연의 지형들은 사람들의 움직임과 외부 공간의 관계에 의해 나누어 지고 분리된다. 하부의 자연은 구조이면서 프로그램이다. 지형 위에 또다른 넓고 평평한 대지적 지형을 올려 놓는다. 쌓여있는 지형의 입면적 모 습들은 보는 방향에 따라 신선하고 유니크한 산수풍경이 된다.
Proposal for Brand experience complex for Shinhan bank in collaboration with Exhibition design team. I participated in the process from begining to the end and was responsible for all the graphic diagram for design package. Also, I helped withl ayout and making physical model. It was a good oppurtunity to learn about designing brand marketing space.
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탑골공원 한국예술문화원 보신각공원
청계광장
청계천 한빛광장
서울중구문화원
시청광장
VIEW 환구단
영화관
청계천과 연계된 청계문화공원 도심 속 자연공간 청계천은 머무르는 곳이라기 보다는 이동하는 공간 청계천을 걷다가 들러 휴식과 문화적 감성을 채우는 청계문화공원 한빛광장과의 연속적인 도심자연공간으로 제안 대 지주변은 신한저축은행본점, 신한은행별관, 신한은 행 백년관 등 신한 빌리지이다. 따라서 신한네트워크 광장을 제 안한다.
자연 + 이벤트 + 사람의 이야기를 담는 다이나믹한 옥상정원 옥상은 또 하나의 빌딩 숲속 입면이면서 자연이다. 옥상 용도는 하나로 고정되지 않고 사용자의 이용 방식에 따라 무수히 변화되는 능동적 공간이다. 공 연장, 자연정원, 전망대, 야외카페 등이 서로 공존하 며 소통한다.
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Conneting to the city
Nature
Circulation
Circulation
View
Roof Garden Program
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Mdeia Facade
Vertical Circulation
Greenhouse landscape concept
Exploded Axon
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Typology : Mixed-Use Hotel Complex Project Phase : Schematic Design Zone : Downtown Station Area Specific Plan District Floor Area : Phase1 - 481,065 SF Phase2 - 234,510 SF
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South San Francisco Biotech Hotel Mixed-use Hotel Complex M-Rad LLC Intern Designer (4 months) 2016 Summer Phase 1 - 121 East Grand Ave, San Francisco, CA 94080 Phase 2- 210 Airport Blvd, South San Francisco, CA 94080
SSF is mixed-use development next to downtown SSF. The site is located in the center of the Biotech Development Plan and its close close proximity to Caltrain station, Btiotech campuses in bay area generates a unique potential for it to become an important complex for work, live and business. Three primary optimizations create the strategic design condition of the project: First, Transportational relation of 101 Freeway, public undercrossing to downtown South San Francisco, and Caltrain Station. Second, connection to Biotech village specific plan next to the site. Last, fostering participation from its guests, community, business and area residents through strategically dynamic program. My focus was to analyze the biotech viallage specific plan and analyze future development around site. I worked from very beginnig with team from developing schematic design proposal to producding several graphic diagrams for the project. Project was conducted in Rhino, and adobe CC, and I was in charge of all the diagrams of the project.
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SAN FRANCISCO BAY 21
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249 E. Grand Ave.
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Britannia Cove at Oyster Point
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Grand Avenue Library Renovation
5
494 Forbes Blvd.
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328 Roebling Rd.
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213-221 East Grand Ave.
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Gateway Business Park
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850-900 Gateway Blvd.
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14 180 S Airpot Blvd. 15 488 Linden Ave. 16 255 Cypress Ave. 17 18 The Rotary Miller Senior Housing 19 Ford Property Development
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PENDING 20 475 Eccles Blvd. 21 Genesis / One Tower Place 22
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23 550 Gateway Hotel 24 150 Airport Blvd. 25 616 Maple Ave.
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26 Caltrain Station Improvement 27 Wynd Fair Complex
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BioTech Retail Hotel
ZONING BioTech Retail Hotel Green Space Residential
Analysis within 1.5 miles of Site 154
WAY
DOWNTOWN SAN FRANCISCO 10 MILES | 20 MINUTES
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SOUTH SAN FRANCISCO CALTRAIN STATION PHASE 2
SFO INTERNATIONAL AIRPORT 3 MILES | 5 MINUTES
This flexible hub shall serve as a central campus connecting the old downtown district with the biotech district, wherein the project site sits. It combines value-generating spaces with strategically stable, sustainable, and engaging programming. Located at the gateway of what is currently known as the birthplace of the Biotech industry, the proposed development shall be in service of the Downtown Station Area Specific Plan of South San Francisco and will lead the charge in the development and implementation of the downtown specific plan.
Downtown Plan Transportation & Future Development Plan within 1/4 mile of Site
04 SSF Biotech Hotel 155
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LEGEND PROGRAM Extended Stay
LEGEND
Hotel
CIRCULATION
Hotel Amenities Pedestrian
Retail
Bicycle
Office/ R&D
Vehicular
Parking
Circulation
RA MP
UP @
1:20
SL
RA MP
OPE
UP @
1:20
SL
OPE
Program
LEGEND PROGRAM Hotel Retail Parking Core
CALL OUT
Ground Floor Plan
Drop-off Zone Retail Zone
Phase 1 156
Common Space
The proposed site begins with an intelligent mix of programs at a highly concentrated density to allow for maximum interaction between the Research and Development (R&D) creative biotech community, short and long term hotel residents, and public and professional users of curated commercial retail. Next comes an active exchange through a redeveloped Grand Avenue corridor that encourages both foot and bicycle traffic through the 101 barrier as well as targeting our neighboring offices to encourage a cross-pollination of relationships, ideas and interactions. The flexible arrangement of the buildings in terms of configuration and layout creates an opportunity for multiple operators and future flexibility with program uses. The Project offers a wide variety spaces and uses: the hotel, various amenities and the office spaces can be run and operated independently from each other, thereby allowing the projects to be based on more flexible economic assumptions.
04 SSF Biotech Hotel 157
Sangji Han / Architecture Portfolio 2018
LEGEND
LEGEND
PROGRAM
CIRCULATION
Residential Pedestrian
Retail Bicycle
Caltrain Station
Vehicular
Parking
Program
Circulation
LEGEND PROGRAM Retail Caltrain Station Parking Core
CIRCULATION
LEGEND
Bicycle
OUT DOOR SPACE
Pedestrian
Residential
Vehicular
Commercial
Ground Floor Plan
Common Space
Phase 2 158
This second development of the Biotech Hub highlights a greenbelt project that shall function as the main artery connecting the emerging biotech corridor to the east and the downtown neighborhood revitalization to the west. Programmatically, the proposed structure on site shall have two floors of retail space and 6 floors of residential units. The 8-story building shall provide 158 new residential units to support the anticipated growth of the biotech industry and the accelerated need for new homes in the downtown neighborhood. The two phased project will bookend the Caltrain rails and the 101 freeway. It will create a vibrant and safe passage between the downtown neighborhood and the growing biotech industry, rendering an otherwise dormant real estate into a valuable, impactful, and useful community for the promising neighborhood.
04 SSF Biotech Hotel 159
Sangji Han / Architecture Portfolio 2018
sangjih.wix.com/2016 sangjih0708@gmail.com 82) 010.4020.9497 26-7, Wausan-ro 33-gil, Mapo-gu, Seoul, Korea
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