M.Arch 1 Application Portfolio (Yale, Cornell, Columbia, UC Berkeley)

SANGJI HAN I Master of Architecture1 Selected works 2013 - 2018

SANGJI HAN I Master of Architecture1 Selected works 2013 - 2018

B.S., Interior Architecture and Built Environment Yonsei Univerisity sangjihan0708@gmail.com 82) 010.4020.9497 http://sangjih.wixsite.com/2016 26-7, Wausan-ro 33-gil, Mapo-gu, Seoul, Korea

Media Architecture Architecture is something beyond just a construction of a building. It is a spatial experience one can get from the surroundings. An architect is the one who creates those experiences by design.

As a young architecture student and film director, I started filming and imagining in visual sequences before anything else, being obsessed with the idea of video art and structural films. However, it was not interesting not merely because of the interest in the art itself, but because the concepts were architectural enough.

First of all, editing; in that, it enables to overcome the spatial and temporal continuity and limitation through a sequence. The sequence is always present in architectural discourse. Additionally, subjectivity; in that individuals are understood as more personal being, and artists create settings for interaction and developing an individual’s narrative through interaction. Lastly, conceptualism; in that, it questions different readings of reality, and the process of human perception.

Contents 1 - 17

Yonsei

Space Beyond the Screen

VID

Interior Architecture Thesis

18 - 25

Personal

Space + Simulation *

VID

Spatial Installation with VR

26 - 33

Personal

Immerse *

VID

Video Projection mapping Installation

34 - 45

Yonsei

Wheelthrown Gallery in Seochon Architecture Studio III

46 - 53

Yonsei

“UBLO” 3D Printing Failure Control * Graduate Research & Design Studio

54 - 59

Personal

Slow Sowol Street *

UIA Seoul International Idea Competition

I have been trying to apply this way of thinking into architecture.Spatial experience is simply expanding beyond the boundary of ‘physical.’ How can space interact with people and embody responsiveness? What are the boundaries of the concept of space, and how can sensory and cognitive experiences of human can be understood?

60 - 63

Most of all, how is the architect’s role changing?

66 - 67

Syracuse

Jogakbo Community Center

Environmental and Interior Design Studio III

64 - 65

Syracuse

Chair in the Mirror

Advanced Art Video Studio AnLstudio

Naepo Hami Youth Cultural Center * Professional Competition

Additional video links are noted with VID. Click the Link on the top left of the cover page.

Authorship and Partnership: All group projects are noted with *.

Works done by group members are noted with * followed by their role and initials.

Works from an external source are noted with ** followed by the original source.

Space Beyond the Screen Link : https://www.youtube.com/watch?v=Vftd2TW_LKs&t=12s

Individual Thesis Yonsei University Interior Architecture Graduation Thesis Dean’s Award for Best Thesis 2017 2017 Summer - Fall Exhibition : Young Creative Korea 2018, Seoul Media Architecture Biennale 2018, Beijing Instructor : Jeong hee Lee, Hokyun Lim Site : 7-23, bukgajua-dong, Seodaemun-gu, Seoul

01 Space Beyond the Screen

Research on Spatial Possibility of Projected Imagery

Stepping into Spatial augmented imagery Thesis started with the question of following. Why projection at architectural scale only has to be experienced as an image on a flat surface outside of the building? How can I reverse the process of projection added later on the existing structure? After actively reinterpreting the spatial nature of the video, my question developed to the following.

What would it be if the visual experience from a projected 2D image is reinterpreted into an actual space?

The idea starts from the conceptual definition of 3 different types of space in video installation in Screen (K.Mondloch) and theory of blink that enables visual perception from in the blink of an eye (M.Walter). Based on this, spatiality in visual experience is interpreted as space by time sequence. First, Infinite loops in closed circuit setting became the method of geometry. Then, editing-in-mind and discontinuity of one’s eye movement due to blink is developed into unit configuration and circulation in between. A typical program of housing is interpreted as a sequence along the axis of time of a day. Similarly, the site is designated based on interpretation as a spatial sequence between business area and residential area.

Going beyond the limits of ProjectionMapping There has been constant attempt to understand and reflect film and video architecturally in history. Le Corbusier talked about the cinematic experience in space through promenade and vista from a window. After the development of media technology, these attempts extended to TV, monitors, and CCTV. In Space beyond the Screen, projection, which has not been included in the existing discussion of the boundary between media and architecture, will be discussed to explore the border and reinterpreted as a method of creating the spatial experience.

Projection is a technology used to turn objects into a display surface for video projection, enabled through software and technological advancement. It is unique that projection combines reproduced image on top of the object and creates 3rd meaning when there is a strict distinction between objects and reproduction.

Currently, projection mapping is used primarily for large-scale building projections for holidays, or exhibitions where images are projected on the surface of buildings. However, they merely use architecture as a canvas without deep reflection on the underlying architectural concepts. Also, these projections are often understood in urban scale as a nightscape of the city, not creating a meaningful connection with space inside.

2

3

대상 Object

재현 Simulacra

Space

Virtual Space

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 the optical tactile types view them as windo Theand person in frontand of the projection of vision he associated with each.spacesFurthemore, the moving concentrating on projected the spaces depicted on and ins image adds dimensions of time normally not available to dynamics architec- of screen reliant instal for the complex spatial ture.

Definition of 3 spaces in S

Mondloch, K. (2011). Screens: viewing media installation art. Minneapo

<Kissing Architecture> Sylbia Labinth Mediated Space

Definition of 3 spaces in Screen-reliant Projec

The person in front of the projection view them as windows onto other representational or spaces- concentrating on the spaces depicted on and inside the media screen has special 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

Analysis-Video Inst Definition of 3 spaces in Screen-reliant Factors Projection 1. Infinite Loop of Closed 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.

Circuit Camera

Mondloch, K. (2011). Screens: viewing media installation art. Minneapolis, Minn: University of Minnesota Press.

Dan Graham <Present Continuous Past(s)>

Bruce Nauman

Factors Analysis-Video Installation work 60’s- 7

1. Infinite Loop of Closed Circuit Camera Projection Projection Expanded Cinem 2. Multiscreen

Space of the screen object itself Space of projection light Dan Graham <Present Continuous Past(s)>

Nauman <Video Corrior> Space inBruce the screen

Hybrid Artwork

Factors Analysis-Video Installation work 60’s- 70’s

Charles and Ray Eames, Buckminster Fuller Moscow World’s Fair <Glimpse of US

Studies on Spatial Characteristics of Video installation First, I studied how media installation exploited space. The effort to overcome conventionalities of time in linear narrative of single video work was to utilize space. It was called expanded cinema to scatter the screens in the space and let viewers decide the length, and order of their appreciation. Every viewer had different experience within space, reconstructing spectator participation and promoting reader over the author.1 Viewers unconsciously made up for the apparent ruptures in expanded cinema in the brain by themselves, and in this project, this is called Editing-in-Mind. 2 Some studies have shown that this space of video installation has its hybrid characteristics. The video installation is a format in which distanced relationship between collapses through the creation of “filmic space,” an inherently hybrid spatial and cinematic phenomenon.

1. Infinite Loop of Closed Circuit Camera Projection 2. Multiscreen Projection Expanded Cinema

Projects on Cinematic possibility of Architecture.

I could find the works of architecture that translated these attempts. These works considered space and image not independently, but instead mutually determining factors, fusing space and film.

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 meDan Graham <Present Continuous Past(s)> Bruce Nauman <Video Corrior> Hybrid Artworks<Incidental Legacy> First, DS+R <Slow house> is a pathway from a door to a window, physical entry to dia screen has unique consequences for the Charles and Ray Eames, Buckminster Fuller Doug Aitken <Electric Earth> optical departure. The passage through the house is anti-perspectival, the axis of complex spatial dynamics Moscow World’s Fair <Glimpse of USA> of screen reliant 3 4 vision is bent. The only direct view withheld until the last moment. installation art spectatorship.

2. Multiscreen Projection Expanded Cinema While Slow house play with the image of the view of the sea, by lamination of the two images of the view, Space beyond the screen plays with the visual illusion; spatially experienced visual perception. Thus, it creates a juxtaposition of spatial quality of visual experience and spatial experience in architecture.

Charles and Ray Eames, Buckminster Fuller Moscow World’s Fair <Glimpse of USA>

4

1. Cairns, Graham, et al. The architecture of the screen: essays in cinematographic space. Intellect, 2013.

2. Murch, Walter. In the blink of an eye: A perspective on film editing. Silman-James Press, 2001.

Definition of 3 spaces in Screen-reliant Projection

In her book, K. Mondloch analyzed types of space experienced in “screen-reliant installation.” Knowing that I could define a spatial visual experience as a type of space, I applied this concept to analyze video installation to explain concepts from which I Doug Aitkendesign <Electric Earth> can draw methodology.

3. Dimendberg, Edward. Diller Scofidio+ Renfro: architecture after images. University of Chicago Press, 2013. 5 4. Mondloch, Kate. Screens: Viewing media installation art. U of Minnesota Press, 2010.

A. Infinite Loop of Closed Circuit Camera Projection

I. Video Installation Precedent Analysis

16’

32’ 24’

II. Video Experiment

III. Spatialization of visual experience

Spatial experience of closed circuit loop video experiment

Concept model of the infinite loop of closed-circuit camera projection example

The continuous flow of visual perception in multi-screen projection

Concept model of discontinuity and editing in mind of multi-screen projection example

64’

8’ Reality

0’

+0’ +8’

+16’ +24’

1

B. Multiscreen Projection Expanded Cinema

Dan Graham, <Present Continuous Past(s)> Peter Campus <Shadow Projection> Bruce Nauman <Corridor>

Michael Snow <Two sides to every story> Doug Aitken <Electric Earth> 6

1. SangjiHan <Chair in the mirror> , 2016

7

IV. Spatialized Definition of 3 Space Types of K.Mondloch

V. Geometry Factor Analysis

op

e Lo

No.

Infit

te

A. Infinite Loop of Closed Circuit Camera Projection

i Inf

op

Lo

.

No

30 25

e

20

am e Fr

Tim

15

10

60

5

50

1

40

30

Infit

30

5

am e Fr

Tim

15

10

50 1

30

30

5

20

1

02. Screen

10

op

e Lo

2

3

4

Frame Tilt Angle

No.

Zoom In (%)

11’

8’

8’

4’

4’

2’

2’

-2’

-2’

-3’

5

-4’ -5’ -6’

4 3 2 1

Infite L

oop N

o.

11

10 9

1

Delay Time (milliesecond)

1.2

0.9 0.7 0.5 0.3 0.0

1.5

Delay Time (milliesecond)

1.2

0.9 0.7 0.5 0.3 0.0

13’

11’

No.

30

1

1.5

Delay Time (milliesecond)

-3’ -4’ -5’ -6’

8

7 6 5 4 3 2

1.2

0.9 0.7 0.5 0.3 0.0

25

e

20

am e Fr

Tim

15

10

Frame Tilt Angle -30’ Zoom 70% FeedbackTime 10’

60

5

50

1

53’

13’

Infit

1.5

10’

7 6

-3’ -4’ -5’ -6’

6

1

10’

8

-2’

7

20

10

9

2’

8

40

40

1

10

50

10

4’

9

60

5

11

8’

11

e

20

60

13’ 11’

25

10

Frame Tilt Angle

No.

Inf ite L

op

e Lo

oop

01. Projection

ra eF

Tim

15

No

me

op

30’

.

53’

20

e Lo

25

Infit

10

1

10’

Zoom In (%)

Frame Tilt Angle

20

30

40

30’

30

Frame Tilt Angle -50’ 1 Zoom 130% FeedbackTime 30’

Frame Tilt Angle 0’ Zoom 60% FeedbackTime 53’

20

10

1

03. Space in the Screen

Infinite Loop of Closed Circuit Camera Projection

Morphosis of Loop Factor Analysis

B. Multiscreen Projection Expanded Cinema

3. the space in the screen

01. Projection

9’ 16’

1. the space of the screen object

11’5”

5’5””

8’

6’

02. Screen

2. the space between the viewer and the

3’

14’

5’5”

6’

8’

9’

11’5”

12’

14’

3’ 9’ 16’ 5’5””

11’5”

8’

12’ 6’

1. the space of the screen object

14’ 3’

12’

3. the space in the screen

Movement of One’s eyes in Multi-screen Projection I

03. Space in the Screen

Timeline Analysis of Movement of One’s eyes in Multi-Screen Projection

Editing-in-mind between blink

8

9

1 2 am

4 pm

50 45 40

30

25

pm

35

1

1 2 am

1 1 am

am

4 pm

ow ind ed W en e b Op ke th Ma

am

ity

9

eC

0

Th

to

1

To

sed res Hair d t Ge e up k a M

Go er eth w o e h t a s sh ke Bru a T ve Sha eal am e v Ha

m

roo

h bat

ff

stu

pm

55

ke Ta

pm

60

3

40

30

2

W ng oki od o C b fo Gra

45

35

es

ish

d ash

50

5 pm

8

ep Sle e Up k a W

am 6 pm

1

7 am 7 pm

6 am 8 pm

9 pm

0

1

o ot

pm

1

1

w sho

pm

2

1 am

Th

eH

am

To

2

The site was set up at the intersection of DMC, the most modernized business district in Seoul, and old residential district across the railway. This contrast creates an axis between these districts.

The site is located on the slop of an old residential area, looking down this changes along the axis.

am

Contrast between Business area and Residential area

1

Narrative along Axis of Site I

om

e

ep Sle m a e Dr

s

the

k oo a b urnal d a Re e a jo it wr

er

lo eC g n a Ch care n Ski

a ke Ta ve h t Sha h tee s u r B

G

m

roo

h bat

ils Ma al k c e e Ch e a m v a H

ng oki hes Co h dis d st Was foo Re er V T Ord h c t Wa kout r o W

To

Th

eH

Narrative along Axis of Time I

Linear Program of a Day in Typical Modern Domesticity A daily routine of going to the city in the mornings and coming back to the home at night is interpreted as continuous narrative along the axis between the house and the city.

Furthermore, this program narratives were reinterpreted into a configuration of Mass in a spatial sequence. At one end of the mass, the sun comes through the window, and at one end, a processed image is projected onto the door. Individuals who return from the city enter their homes, stepping into an endless loop that has been experienced visually at the lobby.

To the space beyond the screen.

10

11

om

e

VI. Spatial Interpretation of Defined Concepts

2’

7’

1’

6’

Dynamics of Infinite Loop is interpreted as a method for geometry. While discontinuity created in Multiscreen setting interpreted as Disconnected Mass. Editing-in-mind that enables continuous understanding of discontinuous visual perception interpreted as circulation in public space that connects articulated mass in a single unit.

4’

The lobby is a two-story atrium that faces five screens. Each screen is a door to a different mass and camera and projector is installed to each, creating a separate live loop. The image an individual face in the lobby is different types of geometry that are continuously projected on five multi-screen. Individuals have a visual experience where they see the infinite loop on the screen on their narrative. Then, beyond the door, they step into their spatialized loop; residential unit.

Timeline Analysis of Movement of One’s eyes in Multi-Screen Projeciton

12

13

22,000

18,000

16,000

12,000

10,000

6,000

VII. Unit Configuration I disconnected mass in a single unit and intervention of circulation The example of captured movement of eyes are interpreted as a unit consisted of divided mass. In this unit model, the part of a single unit is represented by white acrylic and the other units by transparent acrylic. Continuous program sequences in a single unit are fragmented and separated into multiple masses.

4,000

Just as the viewer goes through the process of editing-in-mind to connect discontinuous visual perception of eyes, residents in this house actively connect discontinuity of their daily life in the unit by actively going up the stairs and crossing bridges that connect disconnected Mass.

GROUND

14

15

X 1 XX 11

X 2 XX 22

X 3 XX 33

X 4 XX 44

Y 1 YY 11

Y 2 YY 22

Y 3 YY 33

4F X 1 XX 11

X 2 XX 22

X 3 XX 33

X 4 XX 44 Projection Tilt angle

Y 1 YY 11

0

11.25

1

Y 2 YY 22

169% 19"

8"

k

ac

db

1" Fee

Y 3 YY 33

la De

7

e

im

yt

19"

2

100% 1"

140% 8"

26.85

3

4 FFL E.L +18,000

22

-29.

4

8

9

-10.45 Projection Tilt angle 0

-10.45

-29.22

X 1 XX 11

X 2 XX 22

X 3 XX 33

103% 9"

112% 19"

3F 5

X 4 XX 44

3 FFL E.L +12,000

1

Y 2 YY 22 -29.22 112% 19"

Y 3 YY 33

5

6

-10.45

0 100% 1"

103% 9"

7

11

2 FFL E.L +6,000 22

8

4

2F

-29.22

X 4 XX 44

9

5

-29.

X 3 XX 33

10

22

-29.

8

X 2 XX 22

7

2

Y 1 YY 11

X 1 XX 11

0 100% 1"

3

112% 19"

0

-10.45 103% 9"

10

9

0 100% 1"

7

2

Y 0 YY 00

1 FF E.L + 000.00

1 Y 1 YY 11

Y 2 YY 22

Y 3 YY 33 Y 4 YY 44

0

1

2

5

(m)

1F Lobby In-between space Residential Unit

16

1 2 3

Residential Unit-a Terrace in between Residential Unit-b

4 5 6

Circulation in between Terrace Bridge in between

7 8 9

Lobby Camera Projector

10 11

Stairs Elevator

17

Space + Simulation Link : https://youtu.be/GXLCqWJNd4M

Personal Project 2018 Fall 2018 Youth Artist Support Project, Selected and supported $1,000 Exhibition : Gallery Muak, Nov, 2018 Gear VR, Unreal Engine, Acrylic Mirror, PE transparent vinyl Team : Inji Moon, Myung-jin Lim, Hyeong-ji Yang, Sang-ji Han Role : Concept Develop, Installation, 3D-modelling for VR, Graphic Diagram 18

19

+ Simulation 02 Space Spatial Installation with VR F.O.R Studio

SPACE + SIMULATION

Spatial Sequence 02

Spatial Sequence 01

Spatial Experience Sequence

The Reversal of Relation between Virtual Space and Real Space VR has frequently shown technologies, unrealistic worlds, and fantasy that surpasses the real world.

However, what would happen if we reverse the relationship between virtual reality and physical reality? Would there be a concrete boundary between the two modes of reality?

When the viewer walks up the stairs and opens up the curtains, one finds surreal space where the time has stopped. Space is expanding to infinity into mirrored walls, and the actual space boundary is blurred and hidden behind opaque vinyl. We turned the gap in between those mirrors to dreamlike status with light.

The challenge that VR poses to architecture cannot be reduced to the question of technology. And this is the crucial question that the virtual continually poses to the real: How can the real expand itself? 1

However, When the viewer put on the Gear VR in the middle of the space, they confront different mode of reality. Virtual reality that holds the qualities of reality that we are familiar with; spatial boundary of walls and ceilings. Actual space of the gallery has been modeled and rendered in Unreal engine. In this space, there flows time, and this is shown by the animation of walls slowly getting worn out.

We tried to investigate qualities that make reality real.

We identified 2 factors â&#x20AC;&#x201C; distinct physical boundaries and constant flow of time -. On the other hand, an undefined boundary of the space and inconsistent flow of time was identified as qualities of virtual reality. Then, we endowed properties of physical reality onto virtual reality and vice versa.

20

1.** Grosz, E. A. Architecture From the Outsideâ&#x20AC;Ż: Essays on Virtual and Real Space. The MIT Press, 2001

* Image export from Unreal Engine by IJ.M

21

Content Existing Space Spatialized Vision

TIME

Format [ Virtual Reality ] [ Physical Reality ]

Viewer in Virtual Reality

E AC SP

Viewer in Physical Reality

I. Two Layers of Experience in Installation ITwo layers of reality

II. Reversal of Virtual Reality and Reality I Properties analysis

In Space+ Simulation, there exist two different modes of reality that we live in but slightly reversed. As a result, in virtual reality flows the most realistic time, while existing space turned into the most surreal space. Viewers are then invited to ask a question on the boundary between virtual space and existing physical space around them and what makes reality real and virtual reality virtual.

22

* Photography by HJ.Y.

SP AC E

Physical space expands spatially to infinity into mirror walls on both sides, while virtual space expands on the axis of the time; growing old.

23

7675

7675

1200

1200

THK3 Mirror Acrylic Mirror THK3 Acrylic THK30 Plywood THK30 Plywood 50×50Square Wood Square Bar 50×50 Wood Bar

2860

2630

2860

2630

2630

2630

1200

1200

F.O.R F.O.R NOTE NOTE

1200

1200

1200

1200

Metal Wire fixing Metal Wire fixing

Gear VR Perspective I Clear spatial boundary and flow of the time THK3 Mirror Acrylic Mirror THK3 Acrylic THK30 Plywood THK30 Plywood 50×50 Square Wood Square Bar 50×50 Wood Bar

7375

300

300

300

300

300

335

335

10

10

0

10 0 1485

0

0

10

10 10 0

00

10

18

0

0

0

10

10

20

22

20

22

UP

UP

DN

97

21

DN

70

70

Black Curtain Fabric Curtain Black Fabric 5660

2136

0

0

0

DN

Epilogue I Desire to grab the moment

10

10

10

DN

1 A01

0

335

0 10

0 10

UP

UP

1 A01

35

35

300

300

336

300

35

35 335

1485

300

Storage FL+0

1485

335

2160

200

200

300

300

Storage FL+0

35

35 335

300

Storage FL+0

Storage FL+0

335

335

1485

300

2160

200

200

300 300

336

145

145 300

300

300

70

70

2136 1800

7375

7375

1800

7375

Metal Wire Metal Wire W300Translucent W300Translucent PVC PVC

00

18

THK3 Mirror Acrylic Mirror THK3 Acrylic THK30 Plywood THK30 Plywood 50×50Square Wood Bar Square Bar 50×50 Wood

97

21

7 39

7 39

5660

REVISION REVISION NO.

DATE

DATE

While time passes by with speed in the virtual reality of existing space, expanding in the axis of time, acSEED 무악 SEED 무악 tual exhibition (existing) space is extended spatially SpaceSpace + Simulation + Simulation to infinity PROJECT PROJECT

7675

F.O.R 1200

2860

DRAWINGDRAWING TITLE TITLE

DRAWN BY DRAWN BY

HSJ

NOTE

THK3 Acrylic Mirror THK30 Plywood 50×50 Wood Square Bar

NOTE

DATE

(A4)1/100 DATE 18. 10 18. 10

SCALE (A4)1/100

DRAWN NO. DRAWINGDRAWING STATUS. STATUS. DRAWN NO.

THK3 Acrylic Mirror THK30 Plywood 50×50 Wood Square Bar

1200

HSJ

tual and physical space, to capture the moment in time and space, and to go beyond the limits of virtual 실시도서 실시도서 I-302 I-302 and physical spaces.

SCALE

Metal Wire fixing 1200

APPROVED BY APPROVED BY

DRAWN BY DRAWN BY

Metal Wire fixing 2860

1200 2630

THK3 Acrylic Mirror THK30 Plywood 50×50 Wood Square Bar

2630

1200

1200

1200

F.O.RBlur, reverse, and expand the boundary between vir-

4층 4층 가구가구 평면도 평면도

2630

1200

7675

2630

NO. DESCRIPTION DESCRIPTION

All the existence grows old with time. We have captured a moment in time or space that we long to last forever and filled the installation with the fraction of time. In the meantime, VR, which always represented false and illusions, is filled with a more realistic time stream than reality.

We shall last forever in our ways.

THK3 Acrylic Mirror THK30 Plywood 50×50 Wood Square Bar

7375

7375

70

336

Metal Wire W300Translucent PVC

335 300

145 335

0

10

200

1 A01

35 335

300

336

35

300

25

70

1800

335

300

300

Storage FL+0

35

1485

200

Storage FL+0

335

Metal Wire W300Translucent PVC

200

7375

145

300

2136

7375 300 300

2160

24

Storage FL+0

Storage FL+0

1

Immerse Link : https://vimeo.com/210629210

[ Part I ] Perosnal Project 2017 Spring Exhibition : Shinliart Gallery, Feb, 2017 Fabric Ribbon, Wood Structure, Sofa, Projection on installation 3’30” Instructor : Liseok (Video Artist) Team : Jooyong Park, Syra Kwon, Myungjun Lee,Donghee Kim, Jeonghoon Paik, Sangji Han Role : Motiongraphic Design (1’30” - 2’30”),Installation

26

[ Part II ] Individual Analysis Architectural Drawing

27

03 Immerse [ Part I ] Projection Mapping Installation

The calmest state, Immersion The viewer comes into a quiet and dark space. White light is spreading out to a small sofa in front of them. When the viewer lies on the couch, the frustum shaped installation comes up as a single image. The projected image of light, the universe and the water is getting closer then farther away, leading the viewer into the calmest status of mind; Immersion.

When the viewer lies down on the chair, there is a focal point in front of them, and the installation stretches out from that point, covering up the viewerâ&#x20AC;&#x2122;s vision completely. The projector behind their head creates a moving image filling up space.

28

Seoullo Media Facade Screening (2018) Selected, Screened

29

1’55”

2’03”

* Photography by SR.K.

6000 450

DN

1750

1250

2650

300

1800

9000

UP

2’21”

6000

6000 450

DN

1750

1250

2650

300

1800

9000

White fabric Ribbon 50×50 Wood Square Bar

UP

6000

Immersed in water I

Motion graphics from various Status of water

30

2’25”

31

03 Immerse [ Part I Visual Environment Analysis on Distortion of Field of View 120° 60°

30° 15°

Projected Image Z- axis Conversion analysis I Correlation between Image and Projection

0°

Projection

15°

Installation

30°

Projection 60°

Source Image

Distorted Projection imagery

120°

Viewing Frustum

I. Field of Vision I General Projection

Refined Viewing Frustum

Field of View

Projected Image

Projection Installation

Utilization of human Field of Vision In general projection, where an image is projected on the flat surface, there is no distortion to the image nor perception of it. However, when the same image is projected onto the tilted surfaces of the frustum, this angle distorts imagery. This phenomenon is because the form refines the projection within the installation.

Distorted Projection imagery

120°

stum

How projection mapping enhance immersion using this distortion.

Installation form of the frustum is mirrored to create the immersive visual environment, by effectively distorting the projected imagery. Video graphic is expanding and shrinking around one point towards periphery to build experience of immersion. When this graphic is projected at the focal point of installation, this projected imagery is converted to three-dimensional movement back and forth on the installation surface, towards the viewer, effectively enhancing a sense of immersion.

Refined Viewing Frustum

II. Distorted Field of View I Projection mapping on installation 32

33

Wheel-thrown Gallery

Individual Project Yonsei Architecture Design Studio 3 2017 Spring

34

Instructor : Jooeun Sung Critic : Soo-in Yang (Life Things) Site : 35-17, Jahamun-ro 8-gil, Jongno-gu

35

04 Wheel-thrown Gallery

Artist Residency Cooperative Association in Seo-chon

1.** Image from “ceramic arts handbook” p.26

Cultural Center in gentrified area of Seoul In the past few years, Seochon showed the highest rate of increase in rental fee in Seoul. There has been an effort to protect this village from reckless commercialization over a few years by civic groups and government.

But gentrification is this area can’t be blamed for pure gentrifiers, as there are subtly different groups and people between gentrifier and social a conservationist.

Seochon artist residency cooperation is proposed at this point. To provide an organic solution and to bring back the artists who left this town, there should be an artist residency, as the driving force of their leave was increased rent. Wheel-thrown Gallery imagines a way of incorporating different groups of people into organizing artist residency coop.

In this effort, courtyard around the existing tree is provided to the public as ‘Place like a bowl,‘ that can embrace various programs of the 1st floor when it is expanded into the courtyard. Therefore, the courtyard of this gallery, which is invisible in mass becomes the physical center and functional core of this gallery.

Borrowing from a method of wheel-throwing in ceramics, the tension between inside and outside creates a mass.

36

Geometry Methodology I

Creating Volume through Wheel-throwing In Ceramics, Wheel-throwing is a method for creating a body of revolution for various use. The factor that decides the size and the volume of the ceramic ware is the content that bowl is going to hold.

Wheel-throwing is a series of process of finding that right volume for use. To acquire that, subtle tension between fingers inside and outside the ceramics is applied. After going through series of adjustment, proper volume and the shape is found for the use.

Site History I

Seo-chon, Accumulated layers of History Seochon, being neighborhood of Palace of Josun dynasty, has accumulated history over 500 years. Historical assets exist adjacent to modern residential Hanok from early 20th century. Sites in this town are divided into small pieces and long narrow streets are hidden like a maze.

In 2010, Seoul District Unit Determination was annected in part of this action to protect small business and prohibit reconstruction of buildings. Residents gathered to make civic groups to revitalize the old market in area and protect old church from reconstruction.

37

Development I Wheel-throwing Methodology

B B

C Multi purpose Hall

X

B∩C

C

X

Curator Office

A∩ B

X

A

B

B

B

C

C

A

A

Residency

A

D

D

C

X

X

A

D

D

A∩ D

Co-Living

D

Gallery Courtyard Enterance Cafe

I. Program zoning I Vertical lines from site boundary as axis

II. Wheel-throwing I Spline is revolved to create mass

III. Subtraction I Volume from axis of existing tree

V. Tension I Reshaping geometry

IV. Geometry Set I Boolean operation

B B∩C C

A∩ B

NO. 01 Intersection

A ∩B

A

NO. 06 Addition Subtraction

NO. 02 Intersection

B ∩C

NO. 07 Addition Subtraction

NO. 08 Addition Subtraction

X

A-( A ∩ B)

VI. Filling up I Filling up the subtraction with porgram

38

VII. Geometry I Outcome

NO. 04 Addition

∩

NO. 03 Addition

NO. 05 Addition

B-{( A ∩ B) (B ∩ C )}

NO. 09 Difference

NO. 10 Difference

NO. 11 Subtraction

C-( B ∩ C)

VIII. Boolean Operation I Mass Set

39

â&#x20AC;&#x153;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.â&#x20AC;? 2

40

2.** Architecture Review_ How Cultural Buildings Can Help Prevent Gentrification, Not Cause It

41

A

A

A A1

A

A1 17810

A A1

A

A1

A1 17810

17810

A

A1

18000

18000

1400

18000

A

A1

A1

A

A1

1400

1400

1

B X

B1

680

B1

B2

B2

B2

14700

A1 B1

A1 B1

A1 B1

DN

B

12

A

2915

2915

DN

A

B1

UP

C

X1

X1

C

C

C

X

X

X

X1

X1

A

A

14364

DN

DN

DN

21300

4

DN

21300

DN

21300

21300

DN DN

11

14364

13700

DN

21300

21300

14364

13700

DN

12580

X1

13700

19800

19800

DN

19800

X1

DN

12580

C

UP

UP

UP

UP UP

13

DN

DN

DN

9

11

F.L -1,000

F.L -1,000

6

F.L -1,000

F.L -1,000

3108

12925

2807

B

6625

B1

12925

12925

2807 6625

2807

B

0 1 2

42

A

B1

B

2915

680

X

A

B

UP

UP

12580

B

UP

UP

C

5

8

B

UP

C

C

7

B

X

F.L +0

UP

3

A

B1 X

B1

1

1

B

A1

X

10

F.L +0

F.L +0

C

A

1700

1700

0

A 1700

X

X

A1

B

DN

X

A1

X

X

DN

DN

X

680

A1

A1

DN

A1

X1

DN

UP

X

X1

14700

16915

16915

17397

17397

X1

16915

UP

17397

10

UP UP

X1

X1

X1

X1

UP

X1

X1

UP

3 4

14700

2

B1

5

B

12246

B1

10 (m)

6625

3108

3104

B

7050

B1

B2

12246

12246

3104

B

14

7

F.L -1,000

12

F.L -1,000

DN

DN

DN

3108

3104 7050

B1 B B2

12600

B1

7050

B2

1670

B

8120

12600

12600

B

0 1 2 3 4 5 6 7

Outdoor Deck Lobby Front Desk Cafeteria Rest room Auditorium Pereparation Meeting room

1670 8120

1670

B1

8 9 10 11 12 13 14

B1

B

8120

B1

Pantry Community Kitchen Exhibition Artist Residency Stairs Studio Office

43

Planar Figure I Facade

Exploded Axon I Program

Serial Section I Tesnion C

B’ C’

C

A’

Vertical Circulation

Aturium

X (A U B U C) U

A

B∩C

A∩B

Floor Plate

Mass

(A U B U C) - X

C

B

C’ B B’

A

A

Facade

B 0

AT S.L + 12,000

.L + 7,000 7,000

3F S.L + 7,000

1

2

0

01

X

A’

.L + 12,000 12,000

B∩C

A∩B

12

2C

5 (m) 5 (m)

0

10 1 (m)102

Site Condition

A 5 (m)

10 (m)

0

+ 12,000 AT S.LAT+ S.L 12,000

AT S.L + 12,000

+ 8,000 3F S.L3F+ S.L 8,000

3F S.L + 8,000

1

2

+ 12,000 AT S.LAT+ S.L 12,000

AT S.L + 12,000

+ 7,000 3F S.L3F+ S.L 7,000

3F S.L + 7,000

+ 3,000 2F S.L2F+ S.L 3,000

2F S.L + 3,000

S.L -1,000 1F S.L1F-1,000

1F S.L -1,000

5 (m)

10 (m)

+ 12,000 AT S.LAT+ S.L 12,000

3F S.L3F+ S.L 8,000 + 8,000

AT S.L + 12,000

AT S.L + 12,000 .L + 3,000 3,000

AT S.L + 12,000

+ 4,000 2F S.L2F+ S.L 4,000

2F S.L + 4,000

2F S.L + 3,000

+ 4,000 2F S.L2F+ S.L 4,000

AT S.L + 12,000

3F S.L + 8,000

3F S.L + 8,000 S.L 000-1,000

1F S.L1F+0S.L +0 1F S.L -1,000

3F S.L + 7,000

1F S.L +0

1F S.L1F+0S.L +0

3F S.L + 8,000

2F S.L + 4,000

44

0

2F S.L + 4,000

2F S.L + 4,000 2F S.L + 3,000

1

2

5 (m)

45

3D Printing Failure Control of UBLO

Group Research Yonsei Graduate Architectural Research & Design Studio 2017 Fall Instructor : Youm, Sang Hoon Government funded research project on Zero Energy Building Systems R&D works on the UBLO window of VS-A. Exhibition : UABBHK Bi-City 2017 Biennale of Urbanism & Architecture,Shenzen Team : Young Hyun Kim, Sang Ji Han Role : Idea Develop, Research, Modelling & Diagram 46

47

05 3D Printing Failure Control of UBLO

Government funded research project on customizable window system UBLO window

Overhang Angle <45’ -Printed with Support

Overhang Angle > 45’

IGU Window

-Printed without Support

Gasket Mosquito Net / Pollution Filter Fixed Frame ( Mold ) Operable Part ( Mold ) Cover ( 3D Printed )

Primary Support

Perpendicular to the Plane

Secondary Support

Adjacent to Curved Surface

Raft 1

1,2,3. ** source : official Ublo

Developing New Tectonic incorporating Birthmarks of 3D Printing Technology

Analyzing basic UBLO 3D printing

Ublo is a new window system developed by VS-A.Korea that provides a solution to energy saving, ventilation, and safety. Ublo resembles bottle cap in a way it operates and functions.

After release, original files are to be provided so that Ublo can be customized and printed at home for each user. While participating in product development research as a design team, our research was conducted on a possible technical error that could occur in 3D printing.

Ublo’s unique circular and curved form inevitably created support, a fundamental technical feature of 3D printing, while printing without support led to stringing and oozing. These error situations emerged from both the design of the spline surfaces and the technical gap created between modeling and conversion into actual 3D printing settings, as certain traits of the modeling led to a technical error at a particular situation – overhang angle, model thickness, and printing direction.

An experiment was conducted to understand the composition of supports and the type of generated support depending on the angle and shape of each part of the modeling.

First, we analyzed types and conditions of support created in basic UBLO printing. When printed upside-down, it was possible to print without support from a plane that had an angle of approximately 45 degrees or more, but support was generated from an overhanging angle of 45 degrees or less. And this part, when printed without support, created a stringing effect.

The project was designed to deliberately control the design by converting so-called error and failure situations into “intentional decoration.” First, We focused on identifying which factor leads to certain error situations -unremovable support and stringing effect- and then designed with errors intended, by incorporating conditions for fundamental 3D printing errors to fill up.

The attitude of incorporating birthmarks of 3D printing technology into the design was referred to Greg Lynn’s CNC installation at ‘Expanding the Gap’ exhibition, Cologne furniture fair, Rendel & Spitz Gallery.

48

2

1) Lynn, Greg, and Neil Leach. “The structure of ornament.” Digital tectonics (2004): 63-68.

The decoration emerges from both the design of the spline surfaces and the conversion into a continuous tool path. It is not applied but is intrinsic to the shape and mathematics of the surface, and in this way the ornament accentuates the formal qualities of the surface; 1

Besides, the type of the support differed in position. Support in contact with the vertical and horizontal planes produced diagonal shape (primary support), but on steeper surfaces, created a smaller pattern of support just above the raft and above the primary support in the circular center. (secondary support)

3

Exhibition at UABBHK

49

I. Tectonic A I Embracing support into design

II. Tectonic B I Embracing stringing into design

Modeling

Modeling

Primary Support

Overhang Surface

Secondary Support

Stringing Predection

Printed Result

Printed Result

50

OP_1

OP_2

OP_3

OP_1

OP_2

OP_3

We created a deep gap on the original surface so that the gaps could be filled with generated secondary support regularly.

To dramatically vary the output, the gap was shaped oval by turns, and the number of the gap was increased.

To widen the curved surface, decreased the number of the gap and instead added a curved surface on the original surface.

We made the deeper curved surface, making the angled surface under 45 degrees wider.

The curved surface is converted to steps, making a 0-degree surface more frequently in the air.

To maximize the effect, 0.6mm protrusion was added on the surface, which is close to minimum printable width.

51

I. Tectonic A I Embracing support into design

II. Tectonic B I Embracing stringing into design

Experiments were conducted to incorporate support as a part of the design rather than as an accessory to the printed model that needs to be removed. We identified the conditions under which natural support occurs and the type of generated support.

Stringing and Oozing happen under two conditions. Printing an overhang surface below 45 degrees without support cause the nozzle to fail. Also, this occurs in objects that are thinner than the nozzle can print.

When this happens from the beginning of printing, the whole process fails. But when we created a condition in which this phenomenon occurs partially, we were able to control stringing as a part of the design.

The result was that curved surface below 45 degrees created the most secondary support below the intended surface. Then, we attempted to maximize the curved surface below specific angles as possible and carried out a project that utilizes patterns of support that touch them as design elements.

1. Primary Support

52

2. Secondary Support

3.** overhang angle test (source: 3D hub)

4.** overhang support test (source: 3D hub)

53

Slow Sowel Street THEATER STUDIO

DINING CAFE

OFFICE

pe

rm

LOCAL FM

Namsan

LIBRARY

ea b

le l an d

(N am sa n

)

disconnecting! im

walking

pe rm

AFTER SCHOOL CLASS

RESERVIOR

ea ble r

oa

FARM STORAGE

Haebangchon

d(

as ph alt

-pa

ved

)

I. Community Farm Zone THEATER

TOOLS

farming

STUDIO W/C LOCAL FM MARKET

Strolling

3 KITCHEN

2

BOOK CAFE

Haebangchon has been highly dense with residential area since 1949 after Korean War. Even 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 asphlt-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 space, which eventually makes the street fast-changing.

harvesting

II. Street Farm Zone gathering planting Eating 1

Buying

HaeBang Presbyterian Church

Studying

gathering

III. Kid’s Play Zone

Group Project UIA Seoul 2017 International Idea Competition “Post-human Urbanity” 2017 Spring

Parking

Site : Sowol 20 street,Yongsan-gu, Seoul, Korea Team : Gayoung Lee, Heejin Lee, Sangji Han Role : Concept develop,3d modeling, Isometric 54

IV. Community Zone 1. Isometric Drawing by SJ.H

2. * Plan Drawing by GY.L

3.* Site Diagram by HJ.L

55

How to make

slow

phasing 1

phasing 2

Haebangchon has been highly dense with residential area since 1949 after Korean War. Even 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 asphlt-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 space, which eventually makes the street fast-changing.

Sowel Street 06 Slow Street-driven Regeneration of Community Micro-Farming

2030, sl

phasing 3

Public space for Community

Sprouting a Green

community farm

irrigation for vegeta-

Phase Haebang I Church

farming을 통한 커뮤니티 견고_farming을 통해 교육하고 나누고 street farm 함께 먹고 팔고 등의 활동을 지역사회에서 함께 해나갈수 있는.! community creative hub 프로그램 설명.!!/프로그램 네트웍스/순환/학교 키친 마켓 rain water 커뮤니티 공간들 네트워크(수확해서 레스토랑에서 먹고 등등) / community kitchen reservoir 주차 계획 / 버스, 차량 동선/버스스탑 market aging circualtion! library

Plowing a plot of green for planting tree, crop and vegetables for fresh food, unveiling the existing asphalt-paved car road

블루 스트릿 인프라스트럭쳐.! 빗물 retention -> 다시 뿌려줌/기존 건물에도 재상용??

green/blue/wood plot water plot

How to make

BUS

community plaza

Growing along with Street!

slow

wood plot

phasing 1

kid’s zone

phasing 2

2030, slow streets on

phasing 3

“plowing a plot of green for planting tree, crop and vegetables for fresh food, unveiling the existing asphalt-paved car road”

“watering the real land of soil by uncover“harvesting vegetables and sharing food ing the street for cars and turning it Public into a space for Community in diverse public programs ,which leads public sapce for people to chat and build to intergenerational cooperation” community farm community”

irrigation for vegeta-

I. Community Farm Zone

farming을 통한 커뮤니티 견고_farming을 통해 교육하고 나누고 함께 먹고 팔고 등의 활동을 지역사회에서 함께 해나갈수 있는.! 프로그램 설명.!!/프로그램 네트웍스/순환/학교 키친 마켓 rain water 커뮤니티 공간들 네트워크(수확해서 레스토랑에서 먹고 등등) / reservoir 주차 계획 / 버스, 차량 동선/버스스탑 aging circualtion!

블루 스트릿 인프라스트럭쳐.! 빗물 retention -> 다시 뿌려줌/기존 건물에도 재상용??

II. Street Farm Zone

water plot

How to make

slow

Growing along with Street! wood plot

phasing 1

phasing 2green plot

“watering the real land of soil by uncovering the street forPublic cars and turning it into a space for Community public sapce for people to chat and build community farm community” Mountain Connecting Farm zone

irrigation for vegeta-

Phase II community creative hub

community kitchen Watering the realmarket land of soil by uncovering the street after school class for cars and turninglibraryit into a public sapce for people to chat and build community community plaza

green/blue/wood plot

IV.

phasing 1

The speed of changes on Sowol street in Haebangchon area has been getting faster and faster forced by comSprouting a Green mercial 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 water plot support center by church.

Not only that, since the given site, Sowol 20 street is placed on “Maroo of Namsan”, woodmountain, plot the highest flatland of Namsan it has geographically rich nature. green plot

56

“plowing a plot of green for planting tree, crop and vegetables for fresh food, unveiling the existing asphalt-paved car road”

slow

Connecting micro-farming networks with existing-communities such as school and residential networks

Recycling with Green community creative hub

farming을 통한 커뮤니티 견고_farming을 통해 교육하고 나누고 rain water 함께 해나갈수 있는.! 함께 먹고 팔고 등의 활동을 지역사회에서 reservoir 프로그램 설명.!!/프로그램 네트웍스/순환/학교 키친 마켓 커뮤니티 공간들 네트워크(수확해서 레스토랑에서 먹고 등등) / 주차 계획 / 버스, 차량 동선/버스스탑 aging circualtion!

HBC Community Farm Zone

community kitchen

market

after school class library community plaza

Growing along with Street!

Kid’s Playground Zone kid’s zone

wood plot

How to make

Yongsan Middle&High

kid’s zone

BUS

street farm

III. Kid’s Play Zone

Bosu

parking

“harvesting vegetables and sharing food Seoul Youngam Elementary in diverse public programs ,which leads to intergenerational cooperation”

Haebang Church

블루 스트릿 인프라스트럭쳐.! 빗물 retention -> 다시 뿌려줌/기존 water plot Community 건물에도 재상용??Zone

Recycling wit interacting with programs/ intergenerational cooperation

street farm

2030, slow streets on

phasing 3

“plowing a plot of green for planting tree, crop and vegetables for fresh food, unveiling the existing asphalt-paved car road”

Sprouting a Green

C e

Seoul Y

BUS

Haebang Church

green/blue/wood plot

Yongsan Mid

parking

green plot

Sprouting a Green

after school class

interacting with programs/ intergenerational cooperation

Phase III

Bosung Girl’s Middle&High

Harvesting vegetables and sharing food in diverse public programs ,which leads to intergenerational Yongsan Middle&High cooperation

parking

green plot

phasing 2 “plowing a plot of green for planting tree, crop and vegetables for fresh food, To effectively make use of this natural advantage and to unveiling the existing asphalt-paved car deal with gentrification, we propose community farmroad”

2030, slow streets on

phasing 3 “watering the real land of soil by uncovering the street for cars and turning it into a public sapce for people to chat and build community” Public space for Community

ing regeneration, slowing down the speed of on-going community farm changes. . “Farming” is the art of complex communicavegetation with people, irrigation land, for vegetation and insects as part of Haebang Church huge ecosystem by deeply understanding and practicing its mechanism of sun, wind, water and the original street farm land of Mother Nature like Namsan mountain. Wecommunity be- creative hub lieve the rain way waterto cultivate land corresponding with difcommunity kitchen market ferent 24 reservoir Solar terms in four seasons can change the library Haebangchon village with sustainable, voluntary and openGrowing growth embracing along with Street! traditional and fresh dynamics by itself, not driven by a dominant administration.

Sowol slow street

Street Farming Zone

“harvesting vegetables and sharing food in diverse public programs ,which leads to intergenerational cooperation” Seoul Youngam Elementary

Connecting micro-farming networks with existing-communities such as school and residential networks

BUS

interacting with programs/ Recyclingintergenerawith Green tional cooperation

Bosung Girl’s Middle&High

after school class

community plaza

Connecting micro-farming networks with existing-communities such as school and residential networks, expanding the micro-farming to engage with natural resources.

Yongsan Middle&High

kid’s zone parking

“watering the real land of soil by uncovering the street for cars and turning it into a public sapce for people to chat and build community”

“harvesting vegetables and sharing food in diverse public programs ,which leads to intergenerational cooperation”

4

Phase IV

Sowol slow street

Connecting micro-farming networks with existing-communities such as school and residential networks

4.* Phase Diagram by HJ.L & SJ.H

57

Market

Storage

Water Tank

Multi-purpose

Kid’s Zone

Water Tank Parking Water Tank

Water Tank

0 1 2

0

2 5

10

Section A-A’ I Parking lot, Kid’s play zone

5

20

10 (m)

Water Tank

Water Tank

0

(m)

Section B-B’ I HBC community creative hub

A

B

A’

B’

2 5

20(m)

5 10 5.* Sectional Drawing

by GY.L

0 1 2

(m)

0 5 10

58

10

20

40(m)

6.* Sectional Drawing by GY.L, SJ.H

59

Residential Area Local Retail Places Business Area Urban Area

07

Jogakbo [ Patchwork ] Community Center

Residential Area Lake Business Area

Demographic Research I Necessity of Immigrants Cultural Center Percent of Foreign-Born

Adaptive Reuse Project of an abandoned building in Syracuse

80%

Lake

Oswego

60% 2

40%

Oswego

20% 0% 3mile

1mile

1 mile 1 mile

1 mile

3 mile

3 mile

3 mile

Rail Road

Institution Type

5 mile 5 mile

5 mile

Cultural Economical Religious

7 mile 7 mile

Rail Road

7 mile

3

Utica Thruway Utica Oneida Lake Thruway

Location of institutions for immigrants around downtown Syracuse shows correlation with the density of the foreign-born population, in case of religious, and economic institutions, which count up to 5, and ten each. However, there are only two cultural institutions, which is 7 miles away from downtown Syracuse. This shows the necessity of cultural institution in downtown Syracuse.

Oneida Lake

Jogakbo wall I Pattern Development

Syracuse Syracuse Local Retail Places Urban Area Residential Area Business Area Lake 4

1

Oswego

0

0 Cultural center for immigrants

Individual Project Syracuse University Environmental and Interior Design Studio 3 2015 Fall Instructor : Gregory Marinic Site : 420 S,Salina st, Syracuse, NY Individual Work Rail Road

6

12

24

32

40

6

12

24

32

40

Jogakbo is a type of traditional Korean patchwork. It brings left clothes of different size, color, and shape together and makes one heterogeneous pattern. The parts of the surface retain their own identities, and at the same time, they create a beautiful cloth as 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 is not a single cultural center that adequately represents the multicultural aspect of the city.

60

Thruway

(miles)

(miles)

This project aims to provide a cultural center for all - immigrants and U.S. citizens as well as different races. The project documented and digitally modeled one abandoned building in downtown Syracuse where the immigrant population is concentrated.

The project renovated the existing 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. Utica

1. GIS analysis of Transportation system, Regional zoning, Natural environment surrounding Syracuse 2. Foreign-Born Population Analysis around Syracuse Oneida Lake

3. Locations of Asian Institutions Relative to Residential Concentrations of the Asian-born Population 4. Traditional Pathwork Pattern Study, Lasercut Mockup, Pattern Deformation CNC Mockup

61

Exploded Axonometric I Connecting Passage with immigrants center

Building History

n

atio

1960 Storefront modernization

1920 Renovation

l ircu er C

Us

1897 Partial collapse by fire

1890 Bond Building built

Adaptive ReuseI Conservation & Intervention

1

3

ath nP

5

ia str de

Pe

2

4

6

Conservation

Demolition

Intervention

1. Structure 2. Plate

3. Interior Wall Plate for Aturium 4. Facade

5. Vertical Circulation 6. Pattern Wall

2 5 6 1

3

4

62

7

1. Open Dining & Cafe 2. Kitchen 3. Children Library 4. Atrium 5. Restroom 6. Entrance 7. Passage & Gallery

63

08 Chair in the Mirror (2015) Closed Circuit Projection Experiment Video

Loop Principle Diagram

Spatialized Vision of loop

Spatialized Vision Form

Fast Camerawork

Regular Camerawork

Slow Camerawork

ep

st 03

Top

step 01 2

p0

Front

Isometric

ste

[ Part I ] Individual Project Syracuse University, Intro Art Video Studio 2015 Fall Instructor : Emily V. Duke Chair, Mirror, Projector, and Camera 3â&#x20AC;&#x2122;15â&#x20AC;?

This video is the experiment of the infinite loop of camera and projection under closed circuit setting. A continuous flow of import of camera and export of projector creates illusion infinitely deep behind the projected wall. This algorithm triggers interactive feedback between virtual images within the loop and the body in reality. At the same time, the virtual space of loop expands to infinity and creates technical delays between virtual images; -what has become just past and body in reality; present.

In the video, the focus lies on a relation of virtual images within the loop and the body in reality. Mirror and movement create replacement and duplication of the image as an expansion of body.

This diagram shows the basic principle of creating a loop with a camera and a projector. First, light reflected on objector is captured by the camera. step 01: Import Then, the image is transmitted to a projector through cable. step 02: Transmission This image is projected on the wall, where the viewer is standing. Step 03: Export This is one cycle of the loop. It is endlessly repeated; import the image step 04, and export again.

But the images that are captured by the 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 the image, what was just present.

[ Part II ] Personal Project Architectural Drawing (Personal)

This virtual space is controlled by a camera and projection to create different forms of visual spatiality.

Figures from left to right divide more frequently a linear form of virtual space.

Creating smoother 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 the loop.

By controlling the movement of the camera and the speed of the camera works, creating virtual space within the infinite loop on the wall is possible.

Also, viewers can create the rhythm in between each frame of the loop by interacting with what is projected on the wall at that moment.

This live feedback is what enable the viewers to create a rhythm with. Two basic camerawork is controlled. 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 an angle, creating a pattern of images Transitions between these options create a rhythm as the adjustment that made quickly becomes past and current frame reimport that image to export as another frame.

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 0.1sec delay

64

transmit

Camera

Viewer import shoot

Projector

export shoot

65

Wall within frame

transmit

Camera

Viewer import shoot

Projector

export shoot

Wall within frame

Viewer

transmit

Camera

Projector

Wall

09 Naepo-Haemi Youth Cultural Center Competition Professional Competition at AnLstudio

N 0 4,5

1

Exhibition

0

,00

11

Auditorium

UP

Auditorium Lobby

UP

Exhibition

Terrace from Cafeteria

4,500

1

G.L + 2.00

ition

Exhib

cafeteria

수련의 숲

n

bitio

Exhi

00

Ceiling Louver over Outdoorfield

Auditorium

수련의 숲

1

Office ,5 14

6,400

0

,50

16

scale 1:1000

G.L + 2.00

UP

Office

2

4,500

Louver connecting Auditorium and Dormitory

21,000

6,000

G.L + 0.00

3

39,050

1 G.L + 0.00

23,240

수련의 숲

27,000

8

24,000

10

Main Enterance

Auditorium

5,500

0

Auditorium

N

N

Dormitory

배치도

00

4,5 00

8,8

0 ,85 14

Dormitory

2F

Cafeteria

N

1F

Terrace between Cafeteria and Dormitory

G.L + 0.00

0 ,32

49

4

수련의 숲

6

5

UP

주차 27EA

15,000

UP

UP

+ 2.00 수련원G.L 안마당

82

숙소

,00 0 G.L - 3.00

G.L + 0.00

7

24,000

G.L - 3.00

야외집회장

G.L + 0.00 0

,00

G.L - 3.00

14

전시관

3

진입마당

39,000

10,750

00

4,5 00

5,500 ,85

,00

0

0

42,190

0

,50

6,400 4,500

DN

35,410

DN

4,500

1

0

,00

14

G.L - 3.00

0

,50

16

21,000

6,000

체육활동장

14

82

00

4,5

11 24,000

단면도

1 2 3 4 2인실 5 6 8인실 7 8 9 10 11

DN

4 전시관

15,000

4

DN

2인실

전시관

3 DN

82 ,00 0

로비

3

2

Professional Project Naepo-Haemi Youth Culture Center Appointed Competition, Submitted AnLstudio 2018 Summer Supervisor: Keehyun Ahn, Minjae Shin Team: Sungsik Choi, Juwoon Lee, Sangji Han Role: Schematic Design, 3D Modeling, Visualizaiton

Site Area Building Coverage Ratio Floor Area Ratio Number of stories Total Floor Area

284,000 ft 7.47% 15.10% 2F 42,800 ft

2

Upon Pope Francis’ visit to the Haemi Castle and Haemiupseong Fortress in 2014, city plans to use its adjacent closed school site to provide cultural centers, connecting scattered Catholic remains in Seosan City. A design that includes an exhibition hall and training facilities and shows the embracing spirit of Christianity was required.

Primary mass around exhibition revolved to face the direction entering the site. Linear massing with an exhibition at its core makes the program of exhibition accessible from every direction around the site. At the same time, on the 2nd floor, this exhibition mass divides the public program from the office area.

11,500

39,000

10,750

Dormitory Cafeteria Office Exhibition Lobby Auditorium-M Auditorium-L Outdoor field Exercise field Parking Auditorium-S

scale 1:300

16,270

서측입면도 scale 1:300

Dormitory

Au

dit

Haemi Castle

11

or

ium

4

3

Exhibition

Of

2

fic

e

3

5

7

2

3

66

3

Louver structure over linear mass creates in-between space under the structure. This space shows the possibility of a promenade or outdoor field beside the mass, and of expanding the interior program to this. It also functions as connecting circulation in site.

scale 1:300

남측입면도

0

,00

14

N

N

8,8

11

9

16,270

53,000

11,500

1,2,3.* Concept Diagram by KH.A & SJ.H

4

3.* Plan by JW.L & SJ.H 4.* Elevation, Section Drawing by JW.L & SS.C

67

SANGJI HAN