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>
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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
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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
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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
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IV. Spatialized Definition of 3 Space Types of K.Mondloch
V. Geometry Factor Analysis
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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
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1. the space of the screen object
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2. the space between the viewer and the
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1. the space of the screen object
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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
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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.
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Contrast between Business area and Residential area
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Narrative along Axis of Site I
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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.
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VI. Spatial Interpretation of Defined Concepts
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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.
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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
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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.
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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
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1F Lobby In-between space Residential Unit
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Residential Unit-a Terrace in between Residential Unit-b
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Circulation in between Terrace Bridge in between
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Lobby Camera Projector
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Stairs Elevator
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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
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+ 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.
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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
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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.
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* 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.
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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
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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.
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F.O.RBlur, reverse, and expand the boundary between vir-
4층 4층 가구가구 평면도 평면도
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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.
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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
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[ Part II ] Individual Analysis Architectural Drawing
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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.
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Seoullo Media Facade Screening (2018) Selected, Screened
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* Photography by SR.K.
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Immersed in water I
Motion graphics from various Status of water
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03 Immerse [ Part I Visual Environment Analysis on Distortion of Field of View 120° 60°
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Projected Image Z- axis Conversion analysis I Correlation between Image and Projection
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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
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Wheel-thrown Gallery
Individual Project Yonsei Architecture Design Studio 3 2017 Spring
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Instructor : Jooeun Sung Critic : Soo-in Yang (Life Things) Site : 35-17, Jahamun-ro 8-gil, Jongno-gu
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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.
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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.
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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
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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
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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
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2.** Architecture Review_ How Cultural Buildings Can Help Prevent Gentrification, Not Cause It
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Outdoor Deck Lobby Front Desk Cafeteria Rest room Auditorium Pereparation Meeting room
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Pantry Community Kitchen Exhibition Artist Residency Stairs Studio Office
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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
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A∩B
Floor Plate
Mass
(A U B U C) - X
C
B
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A
A
Facade
B 0
AT S.L + 12,000
.L + 7,000 7,000
3F S.L + 7,000
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.L + 12,000 12,000
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A∩B
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2C
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Site Condition
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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.
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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
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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
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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.
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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
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2. Secondary Support
3.** overhang angle test (source: 3D hub)
4.** overhang support test (source: 3D hub)
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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
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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
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“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
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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
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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
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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
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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
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transmit
Camera
Viewer import shoot
Projector
export shoot
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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
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SANGJI HAN