SANGHA JUNG SYRACUSE UNIVERSITY
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SCHOOL OF ARCHITECTURE
2015-2019
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2015-2019 PORTFOLIO
SANGHA www.sanghajung.com T : (201) 310-4740 sjung10@syr.edu
JUNG 2728 Thomson Ave, Unit 211 | Long Island City, NY 11101 Born : Seoul, South Korea Age : 23
E D U C AT I O N
The Hill School Pottstown, PA
| August 2010 - May 2014
AP Studio Art, Calculus, + Physics | Varsity Tennis Captain +Varsity Football Player
Sy racuse U niversity School of A rchite cture Syracuse, NY | August 2014 - May 2019 Bachelor of Architecture Program + Dean's List Architecture Thesis Prize Jury Finalist
EXHIBITION
Venice Architecture Biennale 2018
PROFICIENCY
Venice, Italy | May 26 - Nov 25 2018
language
English Korean
office
Word Powerpoint Excel
image
Photoshop Illustrator InDesign
3D
Rhinoceros Revit Grasshopper Realflow V-Ray
Published in Design Energy Futures : Xiong’an 1.0
Shanghai International City + Architecture Expo 2018 Shanghai, China | May 26 - Nov 25 2018
EXPERIENCE
IROJE A rchite cts + P lanne rs Seoul, South Korea | May - August 2016
2D
Rhinoceros Sketchup AutoCAD
physical modeling
Laser Cutting 3D printing Woodshop Metallurgy Casting Sculpting
materials
Concrete Plaster Metal Wood Plexiglass Chipboard Craft Wire Foam Clay
Worked with principal on site studies of large-scale housing projects Laser-cut wooden site models and hand-cut wooden details Chinese South Sea Pearl Eco-Island Competition Competition team for proposal of 1.26 billion USD complex artificial island Sketched, visualized concept design; built digital model, detailed site model Submitted entry to pool with DS+R, Morphosis, Foster+Partners, UNStudio
INTERNATIONAL STUDY
SU in Florence, Italy: Design Int elligence Florence, Italy | Venice, Rome, Milano, Verona, Siena, Como | Fall 2017 Designed museum renovation on historical church site in Florence Worked with large-scale cast concrete and foam models in workshops
JDS VC Studio: Julien De Sm edt Oslo, Norway | Copenhagen, Denmark | via Syracuse | Spring 2016 Surveyed large-scale urban sites, project context in Oslo and Copenhagen Designed University Complex on Bygdoy Peninsula, part of city masterplan
Three Cities Asia : Bing Bu Tokyo, Japan | Seoul, South Korea | Shanghai, China | Summer 2018 Studied various possibilities of urban intervention, and the role of design in urban development in three of Asia’s most dense urban environments. 3
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2015-2019 PORTFOLIO
CONTENTS 2015 - 2019
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OTYUGH -
SELF SUFFICIENT URBAN BEHEMOTH
STUDIO PROJECT SPRING 2018 PROFESSOR FEI WANG
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PORTALS THROUGH THE HAZE EXHIBITION SEMINAR SPRING 2019 PROFESSOR JAMES LENG
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ELDGOS -
THE TERRAFORMING EARTH
ARCHITECTURE THESIS FALL 2018 - SPRING 2019 PROFESSOR TED BROWN + DANIELE PROFETA + JULIA CZERNIAK
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RUSSIAN EMBASSY STUDIO PROJECT FALL 2016 PROFESSOR RICHARD ROSA
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CASUAL CARVING STUDIO PROJECT SPRING 2016 PROFESSOR JOSEPH GODLEWSKI
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WORKSHOP STUDIO PROJECT FALL 2017 ARCHITECT JIMINEZ LAI & LORENZO GUZZINI 5
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01 OTYUGH SELF SUFFICIENT URBAN BEHEMOTH XIONG’AN, CHINA COMPREHENSIVE STUDIO | SPRING 2018 COLLABORATION with FURUI SUN PROFESSOR FEI WANG
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XIONG’AN, CHINA
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SPRING 2018
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New development as part of urbanization today is often accompanied by demolition of the existing. Thousands of structures have been demolished in China, leaving behind tremendous cultural loss and enormous environmental challenge from tons of waste. In China, demolition waste is typically sent to a landfill or burning facility. Our project attempts to tackle the long un-resolved issue of waste management. Our intent is to look beyond the simply adaptive reuse approach, and seek a possible new typology for the new capital of China, Xiong’an. By combining a power plant with the original need to reoccupy a manufacture building as a research facility located in Xiong’an, the proposed building presents itself as a manifestation within the process of the new development and also functions as a transitional model with permanent significance that hopefully could be transferred into the future city design of China. The superposition of components of the power plant above the existing structure reinforces the building’s expressive character and begins to attract attention from residents in the region. The open display and framing of the power plant, and its working mechanism, transform the project into a giant showroom that advertises a distinct vision for architectural design and even urban planning.
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The system of the power plant is integrated into the mechanical system for everyday use by the research sector of the establishment. The combustion of biomass waste produces residual heat that can be utilized to generate electricity and fulfill the building’s heating needs. This enables the construct to achieve self-efficient autonomy as a strategy in dealing with the highly volatile context. As a result, the building may have extensive impact on the ever-changing built environment surrounding it. This project won 2nd Prize at the King + King Architects Leadership by Design competition. It was selected to be exhibited in the Venice Architecture Biennale and Shanghai World Innovation and Entrepreneurship EXPO (WIEE) in 2018. It is also part of the Design Energy Futures Catalogue published by Syracuse Architecture in 2018.
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PROCESS DIAGRAM
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BUILDING ANATOMY
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SYSTEM DIAGRAM
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LONGITUDINAL SECTION
EXTERIOR PERSEPECTIVE
CROSS SECTION
INTERIOR PERSPECTIVE
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02 PORTALS THROUGH THE HAZE SANGHA JUNG
ACCELERATED MODERNIZATION &
THE THREE GORGES HARRY DER BOGHOSIAN FELLOWSHIP EXHIBITION BY PROFESSOR
JAMES LENG
SYRACUSE, NY MODEL MAKING SEMINAR | SPRING 2019
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PORTALS THROUGH THE HAZE Over the last several decades, the countryside, mountains and rivers in China have been dramatically and irrevocably shaped by an accelerated modernization that is uniquely Chinese. Among the most auspicious of many such examples is The Three Gorges Dam, built across the Yangtze River in Hubei Province, a project so massive that upon completion in 2012, it forver altered the rotation of the Earth. However profound this latter fact, it plaes in comparison to the impact the project had on The Three Gorges and on the lives of local residents. Ultimately, more than one million people were displaced and relocated. And 13 cities, 140 towns and 1350 villages, some more than two thousand years old, were demolished and flooded. This exhibition depicts the impact of accelerated modernization on The Three Gorges by focusing on a 120-mile stretch of the Yangtze River between the cities of Fengjie and Yichang, between which lie Qutang Gorge, Wu Gorge, and Xiling Gorge. And it proposes to do so by creating an abstract, fictional reality that is more real than would be possible to create using conventional architectural means of representation. It is thus an exhibition about The Three Gorges, but it is also about architecture itself. Accelerated modernization creates a chaos of all that it comes into contact with, transforming all that is solid into air, all that is fixed and frozen into an unstable churn. This transformation is especially profound in The Three Gorges, where the ancient mists that blur together mountain, river, village and city into one seemingly continuous landscape, blend with factory pollution and particulate matter created by the demolition of thousands of settlements along the Yangtze River, to form an aerated haze - an airborne filter through which everything that can be seen is seen. A second, semi-liquified haze of bricks, stones, and other building matter can be found scattered on former settlement sites along and below the river, all colored and seemingly cast in the same hue and texture - a haze of matter that
once formed distinct structures now reduced to the common denominator of rubble. A third haze, the Yangtze River itself, risen to a new level with the completion of the dam, obscures from direct view the many former villages along the river that were demolished and submerged - a fully-liquified haze that creates a new datum that obscures but does not completely conceal the past that rests below. In such a world obscured by haze, the precision and verisimilitude sought through the use of conventional forms of architectural representation is inadequate, if not entirely useless. The haze reveals and conceals; it collapses time and space; it blurs the natural and the artificial, the mountain and the village, and renders impossible any definitive vantage point. This exhibition encourages the viewer to take the fictional but profoundly realistic perspective found in traditional Chinese landscape painting, one where all scales and all views are experienced simultaneously. The viewr is thus encouraged to consider what is on view as an assembly of all possible vantage points and objects, a “metaphysical recollection,� as architect Wang Shu suggests, rather than a singular, stable object viewed from a single, stable point of view. Staged between and through a physical model and a series of photographs - portals to a more fundamental reality - the exhibition ultimately encourages the viewer to navigate the landscape from the scale of a room to the scale of an entire region, looking into as well as out onto The Three Gorges. Only such active, simultaneous viewing can reveal what is hidden under, through and beyond the haze. -James LengHarry der Boghosian Fellow Syracuse Architecture
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1. THE LANDSCAPE The most prominent element in the exhibition is an eleven-foot landscape model that represents the “entirity� of the Qutang Gorge. The model framses an attenuated, forced perspective: the deeper the viewer looks into the landscape, the more of the landscape is revealed. Rather than viewing one scale at a time, the model invites the viewer to consider many scales at once. Contouring is a technique conventionally used to give landscape a stable metric. But in this model not all contours register the same amount of information or value. At either end of the model, where the slopes are shallow and the river wide, the contours trace across 350-feet of shoreline, while in the middle, amidst the sharp mountain peaks, the model traces a 10-mile wide span of river.
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2. THE RUBBLE The demolition of countless settlements along the Yangtze River created mountains of rubble that to this day lie submerged beneath the river surface. Every piece of rubble - whether minuscule glass shard from a building window, single brick, or twisted amalgam of concrete and steel frame - is a memory container: Of the bricklayer who placed the brick; of the family who painted the structure red to celebrate a newborn; of the migrant worker whose hammer reduced its walls to shards, dust and debris. Over time these submerged mountains of rubble will be transformed by the river currents and shaped by the river currents and shaped into a new geological stratum.
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3. THE CONTAINERS A series of “gabion towers” serve as abstract figurations of a future architecture that might give shape and form and thus new life to the amorphous, scattered piles of rubble and the memories and culture they contain.
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4. THE RIVER When the dam was completed, the Yangtze River rose, submerging the demolished settlements along the river and with them the memories they evoke and the culture they represent. The river is represented as two parallel surface planes: the original river surface and the new river surface hovering above. Though the new river is in reality placid and clear, it is modeled as a treacherous, fully-liquified flow of surface rubble, a fictional, though fundamentally real shroud that simultaneously conceals and reveals traces of the former settlements that lie below the surface.
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5. THE ROOMS
There are three rooms embedded into the landscape model: a domestic space, perhaps a bathroom or a painter’s study; a museum space; and a circular portal to the mountains and river. Each of these rooms defines an interior space but each also frames a view from within the model - from the interiors of these three spaces - out onto the landscape itself and indeed out onto the exhibition space. The viewer is encouraged to imagine themselves in these rooms and to view the landscape from these alternative, internal vantage points.
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03 ELDGOS THE TERRA-FORMING EARTH HEKLA, ICELAND ARCHITECTURE THESIS | 2019 SANGHA JUNG
COLLABORATION with YOUNGJOON YUN
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ADVISORS TED BROWN | DANIELE PROFETA | JULIA CZERNIAK
Junya Ishigami once said, “Architecture can be formed naturally, like a stone built over time, through sedimentation and erosion.� We believe that this idea of architecture as natural processes can be applied to volcanism, where architecture and landscapes are formed naturally through eruption and flow of molten ground. As we intervene with this natural process to create our own space and environment, we harness humankind as a geological force.
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VOLCANISM “How can architecture participate in the geographic formations of the Earth?� As our thesis strives to find an answer to this question, we were naturally compelled by volcanoes, the source and the origin of ground-making, so called terra-forming of the Earth.
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Through the lens of a greater geological scale, the continued, yet variable rates of interaction between the tectonic plates forces results in diversity of landscape evolution. Volcanoes are agents of destruction but also beneficial contributor to the rebirth of ground. Volcanic activity continuously decompose and construct landmasses with lava flows, lahars, and ashes. When the volcano erupts, the reservoir of melted ground magma actives as it decommissions the present infrastructure. The magma then deactivates the flowing stream the solidi-fied magma retroactive the records as it layered upon another, thus creating new ground with inhabitable and resilient qualities. Volcano represents tangible history of the Earth, not merely in stratigraphic terms, but also in terms of geographic formations and propagation of new materials.
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TERRA-FORMING
G PROCESS - SECTION
STRATIGRAPHIC STUDY - SECTION
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“The tools (technology) are used to not so much imitate the forms of nature, but rather to imitate the process of form making within nature.�
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-Stan Allen-
Core drilling has been the most efficient and significant man-made tool for ground exploration since the invention of core drills by the ancient Egyptians in 3000 BC. Through evolution and technological advances, drills can dig down to 12,000 meters below the surface. The land formed by volcanic activities over time are likely to have complex stratigraphic successions and the core drill enables us to physically study and experience these stratifications in various scales.
As the drill collects artifacts and resources for speculation, the tilt furnace allows us to design and recreate, using the collected resources from the drill. Imagining the quarry as a physical result of drilling in its largest scale, the artifacts collected from the quarry are analyzed and melted through the furnace to create new materials and ground, hence a new opportunity for architecture. The combined process of the furnace and the drill re-enact and imitate the process of ground and material making within volcanism.
In this initial experiment, we poured molten basalt into a steel mold with wooden objects, to seek possibilities of creating voids and test how lava reacts to different materials.
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figure 1.0
figure 1.1
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After basaltic lava is heated up to 1,200 C (2,200 F) in the floor furnace, it is poured over carved wooden structures that represent the interior space. . When the lava flows over the wood, the surface layer of the wood will burn, causing a chemical reaction that leaves scorching patterns inside while maintaining its form. metal re-bars are placed as structures within the lava to prevent cracking as it solidifies.
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SECTIONA
As the lava fills the steel mold and flows over to the sand, it reacts to the structures immediately by ignition. The lava then solidifies over 40 hours as it slowly yet gradually burns the structure. The steel plates and the burnt remnants of the wood are removed once the cooling process is over, leaving behind sections of hollowed blackened cavities and charred walls of basaltic lava.
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WHY ICELAND? Iceland presents itself as the optimal site of choice for our thesis because of its unique geological and geo-graphical characteristics. Located on the Atlantic ridge of two colliding tectonic plates, Iceland is home to continuous ground making cycle of 30 active volcanoes. These volcanoes act as terraforming engines that slowly evolve the island with layers of basaltic rocks, offering possibilities for architecture as natural processes. This unique geological condition of Iceland create environments that resemble mars in many ways, considering 95% of mars is also made of volcanic basalt. This attracts many geologists and space exploration researchers around the world to study volcanism as well as the origin of life and habitation on mars.
Hekla is the most active one out of the 30 volcanoes in Iceland besides Katla, whose eruptions are too explosive and dangerous for this project. By studying the scale and direction of past eruptions, we can predict the amount of lava and the directionality of the flow of future eruptions.
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GEOMORPHOGRAPHIC MAP OF ICELAND
DORMANT
ACTIVE
POST ERUPTION
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HEKLA These drawings show the evolution of terraforming of Hekla Volcano since 1947. Hekla erupts roughly every 10-15 years, producing a significant amount of lava every time it erupts. Since 1947, it has produced 1.5 cubic KM of lava over 122 square KM or land.
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EVOLUTION OF HEKLA | 1947 - PRESENT figure 11.1
figure 11.2
figure 11.3
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REAL FLOW SIMULATION
With our initial research and application of the tools, our goal was to imitate the process of form making within nature, rather than to simply imitate its natural form. While this combined physical process of drilling, melting, and pouring re-enact the terra-forming process at a human scale, the Realflow technology digitally simulates the future lava flows.
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DESIGN
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By harnessing humankinds as a geological force, humans are able to artificially control and influence the natural terraforming force of volcanism towards our own advantage. We have the ability to control lava flows of active volcanoes with structures that guide and trap lava to create artificially terra-formed architecture and landscape. As the layers of Earth formed the landscape of hekla today, we control the subsequent layers to create an artificial landscape with spaces within it. When Hekla erupts, our retaining walls will work like a dam to block and change the direction of lava to the Southwest region of the Volcano. Majority of the recorded lava flows in the past has flown either south or west and the existing landscape is perfect to create an artificial lava field as the ground plateaus into a relatively flat landscape. We used realflow technology to digitally simulate various eruption scenarios and to visualize the future evolution of landscape.
SATELITE VIEW
SITE PLAN
2030
2045
2070
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TWO SIDES OF THE WALL
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BIRD EYE VIEW
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These layers of earth, flowing against the retaining walls, gradually become a part of the wall as it creates two sides with contrasting typologies. While one side, the outside of the wall, remains lava-free in the past, the other side will continue to evolve to create new volcanic landscapes.
The retaining walls also serve as hiking paths at the top where one can hike on the edge of the past and the present. This path will continue up the mountain and around the crater, reaching higher than the peak and becoming the new mountaintop.
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This trapped lava creates spatial moments within the lands tures. Once the new ground has solidified over time, these s the raw materiality. In this new space and ground, hum terrafo 60
scape, where it flows around and over lava resistant strucstructures are removed to reveal the new stratifications and mans are able to experience and occupy the evolution of orming. 61
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STEEL + LAVA SECTIONAL MODEL - SPACE 1
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STEEL + LAVA SITE MODEL
STEEL + LAVA SECTIONAL MODEL - SPACE 2 STEEL + LAVA SITE MODEL
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MOVING FORWARD “HOW CAN WE INTERVENE WITH THE NATURAL PROCESSES OF THE EARTH?”
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Our answer for this greater question for humanity is a geological statement that addresses deeper philosophical concerns of how we intervene with nature as a species. It is timeless architecture, located in various points in time from human to cosmic scales, that encompasses evolving forms and purposes.
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Like Nature, Architecture can be always changing, always affecting, & always adapting.
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04 RUSSIAN EMBASSY WASHINGTON D.C., USA RICHARD ROSA STUDIO | FALL 2016
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WASHINGTON D.C., USA
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FALL 2016
The proposal for the new Russian Embassy in Washington D.C. celebrates an essential moment in the History of Russia - Russian Constructivism. The buiding takes a political stance and aims to facilitate the people’s movement against the current Putin regime, as constructivism did against the Tsarist Autocracy in 1917. Formal moves are inspired by the concept drawings by influential Constructivists such as El Lissitzky, Ivan Leonidov, and Iakov Chernikhov. The Project challenges the usual idea of strict programatic boundaries of an embassy with a key threshold that is pushed back to host public political activities, Political exhibitions, and a library. This threshold divides the entire project into three different functions : Ambassador’s residence, Embassy functions, and political activities.
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STUDY MODELS
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Formal strategies of the Russian Constructivism is explored through concept models for this project. Constructivist architecture elements are often minimal, geometric, architectonic, and spatial. It explores opposition between different forms as well as the contrast of different surfaces and planes. New volumes and clear thresholds are created when these forms and surfaces are contrasted.
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PLAN 1” = 32’-0”
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the programs are divided into three main sections by two intersecting partitions derived from the axis of the site. The three programs include Embassy functions, political activities and exhibitions, and the residence for the ambassador.
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SECTION 1” = 8’-0” This section shows the contrast between the public spaces and the private embassy functions, divided by shear wall that serves as a clear threshold.
POLICAL EXHIBITION
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OUTDOOR GARDEN
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ARCHIVE
AU D I TO R I
IUM + CINEMA
EMBASSY FUNCTIONS
CONFERENCE ROOM
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CONCEPT MODEL IN CONTEXT Vertical surfaces along the axis derived from the site intersect and slide to create thresholds as well as openings. Different materials were explored for visual trnasparency.
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AERIAL VIEW OF SITE (EAST)
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STUDY MODEL
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C O N F E R E N C E R O O M (below)
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05 CASUAL CARVING NEW YORK, NY
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JOSEPH GODLEWSKI STUDIO | SPRING 2016
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As the world took a digital turn, the idea of public library as a warehouse and storage has diminished. it became more of an information store where all forms of crucial media, both old and new, are presented and accessible by the public. Libraries used to be places that mainly promotes the idea of consumption of knowledge. However, with less emphasis on the idea of library as storage, the main purpose of libraries have shifted from consumption to creation, as well as casualization of knowledge. It is a casual public area that brings the community to itself, while bringing the world to the community. Our goal as architectsis not to reinvent the traditional libraries, but it is rather to reorganize and shift priorities in order for them to fit into the modern society.
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Casual C PORTFOLIO
Sang Ha Jung
NEW YORK, NY
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JOSEPH GODLEWSKI | SPRING 2016
The new library on the corner of 5th Ave and 40th St of New York City derives from the context of the existing New York Public Library. It is imagined as a smaller and modern extention of the existing library across the street. Constructed in 1911, the New York Public Library is a traditional library that serves as a storage/warehouse for books that carves out series of spaces that are public yet extremely formal with its classical architecture style. While the old library is considered formal, traditional, classical, and enclosed with its rigid geometries and symmetries, the new library envisions a more informal and figural carving of space to create open and casual library spaces. It pushes forward the notion of casualization of knowledge with the idea of reading spaces as living rooms that embrace a more loungy atmosphere with less traditional rooms and furnitures where the general public can csually access as well as explore various forms of knowledge. The set back entrance to the main living room and lobby with triple height ceiling space sets an immediate casual atmosphere. The main structure consists of a continuous concrete shear wall that runs around and through the project. Opening up to the corner facing the existing public library as well as to the back alley way, these concrete shear walls create a form of an ‘S� with sharp edges. Adjacent to the neighboring buildings are two main cores that each serves as a support system as well as circulation for the living rooms and We-Work spaces. Although the living rooms and the We-Work spaces are separated by a shear wall that runs diagonally through the project, the main circulation forces one to walk up and around this wall thus experiencing both living room spaces and We-Work spaces as one turns the corner. Furthermore, carved out openings in this wall create framed views that allows visual transparency in between the alternating We-Work spaces and living rooms.
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As the world took a digital crucial media, both old and ne However, with less emphasis o knowledge. It is a casual publi libraries, but it is rather to reor
The new library on the co and modern extention of the for books that carves out serie classical, and enclosed with its spaces. It pushes forward the n traditional rooms and furnitur and - lobby with triple height ce
The main structure consis library as well as to the back a each serves as a support system shear wall that runs diagonally spaces as one turns the corner and living rooms.
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Carving
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l turn, the idea of public library as a warehouse and storage has diminished. It became more of an Information store where all forms of ew, are presented and accessible by the public. Libraries used to be places that mainly promostes the idea of consumption of knowledge. on the idea of library as storage, the main purpose of libraries have shifted from consumption to creation, as well as Causalization of ic area that bring the community to itself, while bringing the world to the community. Our goal as architects is not to reinvent the traditional rganize and shift priorities in order for them to fit into the modern society. MAIN CIRCULATION AROUND CENTER SHEAR WALL
orner of 5th Ave and 40th St of New York City derives from the context of the existing New York Public Library. It is imagined as a smaller existing library across the street. Constructed in 1911, the New York Public Library is a traditional library that serves as a storage/ warehouse es of spaces that are public yet extremely formal with its classical architecture style. While the old library is considered formal, traditional, s rigid geometries and symertries, the new library envisions a more informal and figural carving of space to create a casual and open library notion of casualization of knowledge with the idea of reading spaces as living rooms that embrace a more loungey atmosphere with less res where the general public can casually access as well as explore various forms of knowledge. The set back entrance to the main living room eiling space sets animmediate casual atmosphere.
sts of a continuous concrete shear wall that runs around and through the project. Opening up to the the Corner facing the existing public alley way, this concrete shear walls create a form of an S with sharp edges. Adjacent to the neighboring buildings are two main cores that m as well as circulation for the living rooms and We-Work spaces. Although the Living rooms and the We-Work Spaces are separated by a y through the project, the main circulation forces one to walk up and around this wall thus experiencing both living room spaces and We Work r. Furthermore, carved out openings in this wall create framed views that allows visual transparency in between the alternating We-Work spaces STRUCTURAL STEEL TRUSSES IN BETWEEN SHEAR WALLS
VS
BOOKSTACKS / CORE FOR LIVING ROOM OPEN READING SPACES/ LIVING ROOMS CORE FOR WEWORK / CIRCULATION WEWORK OFFICES
CONTINUOUS CONCRETE SHEAR WALL AS MAIN STRUCTURE
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CROSS SECTION
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ELEVA
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GROUND FLOOR PLAN
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SECTIONAL
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PERSPECTIVE
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06 WORKSHOPS SANGHA JUNG
FIRENZE, ITALY LUCA PONSI STUDIO | FALL 2017
(Designed and Modeled in 48 hours)
TOWER
’Z’
with JIMINEZ LAI (architect/designer) Conceptual tower design workshop that aims to achieve architecture with character. Each part of this Z shaped cultural tower contains a unique architectural characters that becomes a part of the larger story of the entire building.
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LIGHT COLUMNS with LORENZO GUZZINI (Architect) creating a special interior atmosphere using openings and natural light. Negative space was designed then was carved out of a cubic plaster. 97
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SYRACUSE UNIVERSITY
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SCHOOL OF ARCHITECTURE |
2015-2019 PORTFOLIO