Sol
Yoon
Architecture portfolio
Bachelor of architecture, 2017 Syracuse University, School of Architecture Master of architecture II CANDIDATE, 2019 Harvard graduate school of design 1200 massachusetts avenue, apt e46 cambridge,ma 02138 a s h t o n . s .y @ g m a i l . c o m / s y o o n @ g s d . h a r v a r d . e d u (+1) 347.268.4174
SOL YOON syoon@gsd.harvard.edu ashton.s.y@gmail.com (+1) 347.268.4174 www.linkedin.com/pub/sol-yoon/67/18b/2b/en
Education .
ACTIVITIES .
Harvard Graduate School of Design | Harvard University | Cambridge, MA Master of Architecture II | August 2017 - Expected May 2019
KGSD | 2018-2019| Assistant Organizer Korean Student Organization - Graduate School of Design Awareness for Korean Architecture and Culture KTrek Introduction Initiated School Events and Socials
Syracuse University | School of Architecture | Syracuse, NY Bachelor of Architecture | 2012 - Expected May 2017 Dean’s List 2013-2015 South Island School | Hong Kong International Baccalaureate | 2005 - 2012 Korean School | Korean International School (KIS), Hong Kong Special Merit | 2000 - 2011
KSOA | 2014 | Assistant Organizer Korean Syracuse School of Architecture Initiated Events and Advisory Meetings for Underclassmens HKAYP | 2008-2013 | SIS, HK Bronze, Silver & Gold Level Changing Young Lives Foundation | 2010 - 2013 Gold Star Recipient [a donation of HKD20,000 +] Donations made International Evening profit
Experiences . Atelier Global Ltd | Architecture Internship | Summer 2015 | Hong Kong Produced AutoCAD drawings and construction details Prepared and organized presentations Attended design consultation meetings with clients and competitions
International Evening | 2010-2012 | SIS, HK Head Co-organizer, Performer/Singer
‘Autoplaza’, Facade study and Skin remodeling drawings ‘Sans Boundary Cultural Hub’, Art Museum and Library Competition, Shenzhen ‘YuenLong House’, Villa facade design ‘Sungang Mall’, Building reconstruction design assistance
O t h e r E X P E R I E N C E s a n d I N T ERN AT I ON AL ST UD I ES .
KOTRA | Internship | Summer 2013 | Hong Kong Marketing and Advertising Agency Website blog posts, translation
“~ish: Stages Before the Real” | Team Leader | Spring 2017 | Syracuse
JNB International Ltd | Internship | Summer 2012 | Hong Kong Textile and Fabric Distribution Agency Frank Gehry Technologies | Architecture Internship | Fall 2010 | Hong Kong Produced representation drawings using digital tools, techniques and sensibilities
“Rethinking the Säynätsalo Town Hall” | Spring 2018 | Helsinki Northern Light Studio | Exhibition Harry Der Boghsian Fellowship Exhibition Arranged and attended meetings with professor and team Lead, co-organized group work and presentations
SU in Florence | Fall 2016 | Florence, Italy Studio: “Sacred Space: A Quartet of Movements in Abstract Architecture ” Architectural History, Field Studies, Travelling Sketching
TONIC DESIGN - TONIC CONSTRUCTION | Fall 2015 | Syracuse, NY Visiting Critic Studio: “Working Backwards” Residential Analysis, Detail Wall Sections Drawings
LANguages . English Korean Mandarin
Fluent Native Elementary
Skill set . DIGITAL AutoCAD Rhinocerus Revit Adobe Photoshop Adobe Illustrator Adobe Indesign SketchUp
PHYSICAL Hand drafting Graphite Ink on Mylar Freehand Sketching Oil, Water Color, Acrylic Wood / Museum Acrylic / Plexi Foamcore
FABRICATION Laser Cutter 3D Printer Woodshop
distinctions . Dean’s List | Fall 2014 - Spring 2016 Syracuse University
Innovative Minds 2016: Virtual Epoch | Competition | Summer 2016 International Design Competition Honorable Mention Project- “MAKE IT RAIN”
Certificate of Special Merit | 2011 | KIS, Hong Kong
Contents
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SU - NVRC | Syracuse University - National veterans resource complex
2-13
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inlay within inlay | in the details: the space between God and the Devil
14-21
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aalto wood research workshop | Northern lights: in tribute to a master: alvar aalto
22-31
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The moving image | moving the static in architectural representation
32-37
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the node | an elevated public platform: re-thinking a humanistic high-rise city
38-45
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water as PER[FORM]ANCE | A Self-sustainable Ferry Terminal
46-51
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Sweet sheets | PAPER OR PLASTIC - reinventing shelf-life in the supermarket landscape
52-68
SU - NVRC | Syracuse University - National veterans resource complex SYRACUSE UNIVERSITY, comprehensive studio, 2016 syracuse, ny COLLABORATION rajkumar kadam PROFESSOR lawrence davis CRITIC david shanks, Timothy Stenson
All images produced by S. Yoon unless otherwise noted | Rendering by rajkumar kadam
materialize new and rich relevant building program
SU- NVRC | syracuse university - national veteran’s resource centeR
REFLECTIVE
ARCHITECTURE AS MONUMENT..
LOBBY
SOCIAL 22,225 sf
REFLECTIVE
CAFE
READING AREA
BAR
GALLERY
“the national veterans resource complex (NVRC) at syracuse university will leverage a public-private sector partnership model, to nurture academic research, actionable programming, and collaborative thought leadership positioned to impact veterans and their families on the campus of syracuse university, in new York state, and in communities across the u.s.” emulating the foundations of a project currently undergoing construction in syracuse, the proposal for a student designed SUNVRC seeks to cater the needs of veterans and their families to make a successful and productive transition into their life beyond their service. as existing syracuse university communities are major characteristics of the city that could provide such academic and professional programs, The forming of a veteran community to integrate and combine it as another central part of the city becomes the emphasis of the project. the incorporation of the academic and social aspects of SU with the necessary resources for rehabilitation together with the consideration of the site being a transitional area within Campus, determines the programs facilitated. this allows the concept of integration to be expressed both literally and metaphorically and drive the project forward formally.
FITNESS CENTER
INDIVIDUAL STUDY
LOBBY
LIBRARY
ADMIN
ALUMNI CENTER
ACADEMIC 25,580
CONFERENCE CENTER
CLASSROOMS
CAFE
AUDITORIUM/ THEATER
BAR
CONSULTING
PERSONAL 15,800 sf
LARGE CLASSROOMS
PSYCHOLOGICAL
SchooL buildings city buildings
OTHER 19,500 sf
SEMINAR ROOMS
SMALL CLASSROOMS
PERMANENT EXHIBITION
PHYSICAL WELLNESS
LOCKER ROOMS
TEMPORARY EXHIBITION
AUDITORIUM/ THEATER
OTHER STUDENT WORK EXHIBITION
ADMIN INDEPENDENT FITNESS RECEPTION/ COUNSELLING
Mall
parking
SOCIAL
Restaurants Restaurants Banks & bar
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marshall str Restaurants
Hotel
waverly ave
ACADEMIC
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admin.
New house Hotel
Site context
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gym offices
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All Plans co-produced with rajkumar kadam
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materialize new and rich relevant building program
SU- NVRC | syracuse university - national veteran’s resource centeR
By embodying a piazza as a form of a reflective memorial space, interaction is created by merging veterans with existing students to reflect on the past but still motivate them together towards their futures. Analyzing the existing new house complex adjacent to the site and the courtyard, enclosed by New house 1, 2, and 3, it’s provided a secondary route from waverly ave to University place, a major promenade that circulates students around major school buildings, it demonstrates a fallowed and failed public gathering space.
active space
Formally speaking, utilizing the existing connection between Marshall Str and Waverly Ave as such reflective space, a divide is created allowing the project to formulate an interesting programlandscape relationship whilst maintaining the transitiona l qualities of the site.
The divide further separates the supplementary programs into two masses: the active and the reflective. The active includes a gym, a gallery and a cafeteria. the reflective facilitates classrooms, veteran alumni center, a library, an auditorium and a wellness center (for physiotherapy and consulting).
reflective space
GALLERY
LIBRARY
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INDEPENDENT FITNESS SPACE
REFLECTI V E CLASSROOMS
CAFE
REVIEW
PROJECTI ON ROOM STAGE
AUDITORIUM CLINIC ALUMNI ENTRANCE
Program Distributions
Formal Approach
Reflection
materialize new and rich relevant building program
SU- NVRC | syracuse university - national veteran’s resource centeR
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materialize new and rich relevant building program
elevation render produced by rajkumar kadam
SU- NVRC | syracuse university - national veteran’s resource centeR
materialize new and rich relevant building program
SU- NVRC | syracuse university - national veteran’s resource centeR
The reflections are also figuratively demonstrated through the repeated use of concrete and wood within the sacred spaces. Concrete exterior walls and wooden Louver system wrapping the facade aimed to create a thoughtful but not an intimidating image. simple, concrete waffle slabs - as support - and wooden finishes was employed for the interior. louvers wrap around the main facades that face Waverly Avenue and the open courtyard. An air vent that embodies a memorial plaque is also situated in the courtyard in order to commemorate veterans whilst reflecting formal aspirations of the building.
framing plan and diagrams co-produced with rajkumar kadam
waffle slaB STRUCTURE
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materialize new and rich relevant building program
All images produced by S. Yoon unless otherwise noted | model co-produced with maitao guo
Inlay within inlay | In the Details: the space between god and the devil harvard graduate school of design, option studio, 2018 cambridge, ma COLLABORATION maitao guo PROFESSORS dwayne oyler, jenny wU CRITIC Kristy BallieT, Preston Scott Cohen, Todd Gannon, Rene Graham, Grace La, Mack Scogin, patriK schumacher
an exploration of reversals; the object, the site, the detail, the section
ACTIVE INLAY | IN THE DETAILS: THE SPACE BETWEEN GOD AND THE DEVIL
Detail as Architecture.. Through the exploration of obscurity and the interaction of two massing identities, the project first approaches its formal and conceptual challenges. When the ‘Host,’ a mahogany box, is introduced to the ‘inlay’, a 3d-printed tunnel-like geometry, this determined the formal drive of the ‘object.’ bounded within the surfaces of the wooden box, Sectional qualities of the ‘inlay’ embedded within the ‘host’ are exposed. only through the exploration in which the ‘inlay’ is exposed in multiple faces of the ‘host’, resulted in the ‘object’. the opaquenss of both materials produced obscurity, pushing the ‘object’ to favor the complex levels of reverse readings to determine its final ‘object’ form. The project is drawn to the qualities of the inlay fighting for dominance. At certain moments the 3d-print suggests a host identity. Its this reversal reading, which at the object scale plays with what reads as the ‘host’ and the ‘inlay’. To emphasise this idea, the project reintroduces the mahogany as an ‘inlay’ embedded within the 3d-print. What was the inlay becomes the host and what was the host becomes the inlay of the inlay.
the ‘object’
the ‘object’ on site
Scaling up a level, when the ‘object’ sits in the site, the site is treated as the ‘new host’ where the original ‘inlay’ material spills out to dominate the surrounding volumes. Here, the material of the site is reintroduced into the spilled ‘inlay’ to complete the argument.
model co-produced with maitao guo
fabrication process Diagram
17 Object Host Mahogany Wood
Object Inlay 3D-Printed
Object Host Mahogany Wood Reverse Inlay Mahogany Wood
‘object’ form diagram First, Second Floor plan Circualtion
Exhibition Space Reverse Inlay, Skylight MDF
Longitudinal Section Cut Facing NE
Gallery Space(s)
Site seams Landscape
an exploration of reversals; the object, the site, the detail, the section
Detail Drawings produced By maitao guo
ACTIVE INLAY | IN THE DETAILS: THE SPACE BETWEEN GOD AND THE DEVIL
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‘detail’ drawings
an exploration of reversals; the object, the site, the detail, the section
ACTIVE INLAY | IN THE DETAILS: THE SPACE BETWEEN GOD AND THE DEVIL
Scaling down from the object scale to the detail scale, the focus shifsts to a reversal of volume expressions. Through the design of the staircase, a Solid versus Void reversal relationship was explored. based on perspective and scale, the staircase can be read as one or the other. The components of a staircase, such as stair treads, hand rail, guardtail, and frame structure is an intertwining system of solids and voids. When all frame components read as void volumnes, The solid versus void argument is manifested three times; The treads versus the frame structure, The guardrail versus the frame structure, and the wall versus the frame structure. Conceptually speaking, the reversal also occures in that the whole structure can be read as voided volume from sectional representation. However at 1:1 scale, the handrail (a frame component) comprehends as solid object. at section level, making the presence of the two major inlays prominant, mainly through aesthetic distinctions, was priority. although the model suggests a direct translation of the ‘object’ on site, the reversal idea exsists in the form of illusion, where the original mahogany ‘inlay’ is connected to the site ‘inlay’. The space that connects the two is spatially occupied as the main circulation from below grade up into the building.
model co-produced with maitao guo
‘section’ model
Longitudinal section cut
an exploration of reversals; the object, the site, the detail, the section
Northern lights: aalto wood research workshop | in tribute to a master: Alvar aalto Harvard graduate school of design, option studio, 2017 cambridge, ma PROFESSOR toshiko mori CRITICs Grace la, zhang ke, Jorge Otero-Pailos, anthony titus, Tod williams
All images produced by S. Yoon unless otherwise noted
Northern Lights: AALTO WOOD RESEARCH Workshop | IN TRIBUTE TO A MASTER: ALVAR AALTO
ARCHITECTURE AS REFLECTION..
“The project emphasises a consumerist and touristic view of art at the expense of the cultural and humane task of art. Instead of strengthening local artistic traditions and practices, the project strengthens the already doubtful globalisation and commercialisation of art. The public funds could clearly be used in a more innovative and efficient manner to support Finnish artistic culture.” [about the new Guggenheim Helsinki Competition 2014] – Juhani Pallasmaa Juhani Pallasmaa’s statement sets up the inspiration for this project, which is crucial in understanding the perspective and attitude towards culture in Finland. This project suggest a relevant and interesting proposal celebrating the long-lasting traditions of Finland together with one of Alvar Aalto’s legacy: Säynätsalo Town Hall. Säynätsalo Town Hall faces a unique problem of losing its purpose since the Säynätsalo town was merged with the municipality of Jyväskylä. Built to accommodate many activities, the multi-functional building was operated not only as the town’s primary civic meeting space, but also as a library, barber, shops and a bank. Since its loss of township, Säynätsalo Town Hall was left without a function for the next two decades.
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Kemi 30+ persons per square kilometers
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Stora Enso Packaging Oy Kotka Helsinki
POPULATION
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strengthening local artistic traditions and practice
Northern Lights: AALTO WOOD RESEARCH Workshop | IN TRIBUTE TO A MASTER: ALVAR AALTO
The Wood Program
Permanent Exhibition
Covered in forest at about 72.4%, Finland naturally has had a long relationship with forest cultivation, forest management, and wood manufacturing, which has been one of Finland’s natural resource. Not only does the ‘Wood Research Woodshop’ support the continuation of this practice and tradition, but also wants to suggest a potential for more. A study program called ‘The Wood Program,’ currently offered at the Design and Architecture department (School of Arts) at Aalto University, is a one-year intensive study focused on wood and wooden architecture. The program explores ecological, technical and architectural properties of wood, providing a wholistic view on the chain of wood construction. The project sought this as an opportunity; A way for Säynätsalo Town Hall to be reactivated perhaps starts by introducing an accommodation for wood research, wood-manufacturing activities adjacent to the Town Hall.
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strengthening local artistic traditions and practice
proportion study: Beam relationship
Northern Lights: AALTO WOOD RESEARCH Workshop | IN TRIBUTE TO A MASTER: ALVAR AALTO
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strengthening local artistic traditions and practice
Northern Lights: AALTO WOOD RESEARCH Workshop | IN TRIBUTE TO A MASTER: ALVAR AALTO
strengthening local artistic traditions and practice
Northern Lights: AALTO WOOD RESEARCH Workshop | IN TRIBUTE TO A MASTER: ALVAR AALTO
The current Säynätsalo Town Hall operates mainly as a major tourist attraction. What once was a main gathering space for public civic meetings, it is operating as office spaces, a conference room, smaller meetings room, and small apartment units. Taking into consideration the project proposes a residence program available for studies about wood. Spaces incorporated within are two studios, a wood storage, two exhibition halls; an archive room, a library, a workshop and an external build space. In contemporary society, by proposing out to the ‘Wood Program’ and making these spaces accessible to students and scholars residing in Town Hall, this allows constant dialogue between the Town Hall and the new building. The form of the building communicates through circulation and proportion whilst complimenting the Town Hall’s monumental status and presence. Through the use of wood and an exploration of wood construction systems, the design hopes to be indicative of its modern and contemporary identity.
Exterior Perspeftive collage
Interior space collage
Exterior perspective collage
strengthening local artistic traditions and practice
Northern Lights: AALTO WOOD RESEARCH Workshop | IN TRIBUTE TO A MASTER: ALVAR AALTO
strengthening local artistic traditions and practice
The moving image | moving the static in architectural representation SYRACUSE UNIVERSITY, thesis, 2017 syracuse, ny COLLABORATION eujean cheong, Andrew kim PROFESSOR Brian lonsway CRITIC Ivan Bernal, bess krietemeyer, yutaka sho
All images co-produced with E.Cheong and a.kim unless otherwise noted
the moving image as architecture
the moving image | moving the static in architectural representation
MOving images as ARCHITECTURE..
visually articulates movement. Tschumi’s use of an imaginary character traversing through ‘stage sets’, and the subsequent diagramming and mapping of this character movement helps Tschumi create a methodology to his representation and architectural form making. With this methodology, Tschumi visually represents the ‘stage sets’ and movement through plans, sections, axonometrics and perspectives. This thesis questions, however, if simply representing character movement through a series of static images is able to genuinely capture the dynamism of human movement.
Form in architecture has become synonymous with geometries as opposed to the philosophical Aristotelian notion of form. This thesis rests on two beliefs: space and form are co-present, as space without form is nothing and likewise form without space leaves no room to materialize itself. An object results when space and form are co-present; architecture as an object then subsequently reveals itself when a third element of human movement is introduced. This thesis contends that if architecture is perceived through the introduction of human movement, then it is peculiar that architectural representation has historically been represented through means of static images. Through what is delineated as the moving image, this thesis explores a new mode of architectural representation that utilizes the dynamism of movement as a method of design for architectural form. “The Manhattan Transcripts” by Bernard Tschumi, is the primary architectural precedent that this thesis would like to contend against in furthering the exploration of the moving image. In “The Manhattan Transcripts”, Tschumi uses the ‘tripartite mode of notation’: movement, event, and space. Using this mode of notation, Tschumi states that it is “proceeded from a need to question the modes of representation generally used by architects: plans, sections, axonometrics, perspectives”. To Tschumi, this general mode of representation deployed by architects are “caught in a sort of prison-house of architectural language, where ‘the limits of my language are the limits of my world.’ Any attempt to go beyond such limits, to offer another reading of architecture demanded the questioning of these considerations”. By using Bernard Tschumi’s “The Manhattan Transcripts” as a base of exploration and experimentation, we are able to explore the idea of movement in architecture through means not represented in Tschumi’s original documents. One of the core issues that we contend against Tschumi is how he
Movement Diagram
Formal translation
Finalform proposal
“MT2” of “The Manhattan Transcripts” is visualized through individual ‘buildings’ on 42nd St. of Manhattan, each being comprised of a plan, section, and base image. This line aims to serve as the ‘character’ moving through ‘stage sets.’ We are drawn toward this chapter of “The Manhattan Transcripts” because of its use of plan and section while giving an indicator of human movement in the form of a dotted line. What is problematic with this methodology is the fact that despite indicating where and how a ‘character’ is moving through space, a static image simply cannot translate the intricate nuances of human movement. As a means of experimentation, we took six buildings of “MT2” and used their respective plans and sections to create the buildings in three-dimensions. While the three-dimensional forms we generated are speculative at best, the intent, however, is to recreate Tschumi’s drawing set by incorporating video as a means of visualizing movement. By using and following the exact character path drawn by Tschumi, we create a set of three videos, each representing plan, section and perspective using a tracking shot, something that is commonly used in contemporary filmmaking. Cinematic representation is innately architectural, however, inversely, architectural representation is not innately cinematic. Why is this the case? Simply put, the historic use of plan, section, and perspective in architectural representation is static. Cinematic representation will always have an
bernard Tschumi’s ‘MT2’ from the manhattan transcripts
Human Movement visualized in ‘MT2’
the moving image as architecture
the moving image | moving the static in architectural representation
architectural element because of its representation of movement and object, two components that this thesis deems integral to making architecture. Historically, architectural representation does not hold the same philosophy, insofar that its primary purpose is to represent the object in architecture and not movement. While architecture exists through movement, plans, sections, and perspectives simply cannot possibly represent this condition in the static image. What these highlight is the object, an equally invaluable tool to represent architecture, but consequently absent of a vital component. While Tschumi embraced the effect of ‘cuts’ in cinematography when making “The Manhattan Transcripts”, this thesis believes that ‘cuts’ break the flow of camera movement, and as a result lose valuable context and spatial information. The ‘one-take shot’ in cinematography is a popular tool to extend a scene by having the camera track a subject and never make a ‘cut’. To analyze the one take shot, we categorized them into five different types of this technique: vertical tracking, horizontal tracking, dynamic tracking, one-point perspective, and dynamic perspective. Through analyzing these five uses of the one-take shot, we aim to highlight the four important components of information that we believe makes up a one-take shot: temporal shifts, scale, part-to-whole, and directionality. Using the four components (temporal shifts, scale, part-towhole, directionality) explored in the visual explorations and experimentations of contemporary cinema, we combined the plan and section videos generated from “The Manhattan Transcripts” to create a series of artifacts. visual studies were investgated through combining the elements learned in the vertical, horizontal, and dynamic tracking explorations by using the “The Manhattan Transcripts” plan and section videos as a base. These artifacts are then combined to create a six by six square grid artifact that incorporates all the aforementioned elements back into a single frame, creating a plan and section evocative of movement derived from “The Manhattan Transcripts”.
Vertical tracking
Horizontal tracking
Dynamic tracking
Perspective tracking
the moving image as architecture
the moving image | moving the static in architectural representation
(figure 3) ‘MT2’ Plan
(figure 4) ‘MT2’ SEction
(figure 5) ‘MT2’ Perspective
(Figure 6) plan artifact using ‘mt2’
Positive
negative
(Figure 7) section artifact using ‘mt2’
moving objects
the moving image as architecture
the moving image | moving the static in architectural representation
As a means of evaluating this representational methodology, the exact same process was used for two different architectural precedents, SANAA’s Rolex Learning Center and Le Corbusier’s Villa Savoye. Because the Rolex Learning Center or Villa Savoye do not have ‘designated’ circulation paths given like “The Manhattan Transcripts”, we generated our own possible circulation path to start the representational methodology. The process of evaluating this methodology with an additional two different precedents is an important observation in validating that this representational methodology is not only applicable in a wide range of scenarios, but is also a replicable process in generating architectural object. While the goal of this thesis is a visual representational methodology for the moving image, it also aims to achieve the original equation of object (space + form) and human movement is architecture. Every artifact and image generated for the moving objects is ultimately a culmination of a series of two dimensional images. To fully engage human movement and object, the representation of the project must be realized into physical three dimensions. By using the moving object video, we can extrude an image of the video by black to white levels in a similar manner to how the moving object was previously created from a black and white version of the plan and section artifacts (figure 58). Through this extrusion of levels, we are able to create a physical three dimensional object. By extracting an object from the two dimensional screen into the physically tangible three dimensional world, the object inevitably reverts back to its static nature, seemingly contradicting this thesis’ claim about the copresence of object and movement. To mediate the removal of movement, we use the moving object video and project the movement of the original video back onto the object (figure 59). It is important to note that the extrusion of the moving object video is in a single direction, and as a result the projection back onto this object is also in a single direction.
Plan artifact
human movement Le Corbusier’s Villa Savoye
section artifact
Positive
Positive
Plan artifact
negative
negative
human movement SANAA’s Rolex Learning Centre
moving objects
section artifact
moving objects
the moving image as architecture
the moving image | moving the static in architectural representation
Object is the coexistence of space and form, and architecture is the coexistence of object and human movement; these are the two core beliefs that this thesis rests on. After the culmination of the 3D object exploration, this thesis has created object and movement but has yet to introduce the element of human interaction. To achieve this goal, the 3D object is scaled up from 1:100 to a 1:1 installation as a means of encapsulating a human inside the experience of the 3D object (figure 62). By increasing the size, the installation creates an immersive chamber that is not only able to capture the experience of the 1:100 3D object at the human scale, it serves to reintroduce the human perspective introduced originally through the representations of Erwin Panofsky and Auguste Choisy; this brings the thesis full circle and completes the proposed equation that object and human movement is architecture (figure 63). The installation is not meant to be read as a building, but as the potential experience of applying our representational methodology to architectural design. This installation is as much as what one would call a ‘concept model’ prior to implementing programmatic design decisions for a conventional architectural building. Much like Bernard Tschumi’s Parc de la Villette can be seen as a programmatic implementation of the methodology set by “The Manhattan Transcripts”, The Moving Image is a framework of architectural design derived through the implementation of movement in architectural representation.
2.5d Model | cnc, acrylic, fabric, image projection
3d Model | cnc, acrylic, fabric
3d Model | image projection
the moving image as architecture
the moving image | moving the static in architectural representation
1:100 human scale experience
1:1 installation with movement
final installation | cnc, acrylic, fabric, image projection
the moving image as architecture
the NODE | an elevated public platform Harvard graduate school of design, option studio, spring 2019 cambridge, ma COLLABORATION Minyoung Hong, Christina Shining Sun PROFESSOR moshe safdie, Jaron lubin CRITICs preston scott cohen, scott duncan
All images produced by S. Yoon unless otherwise noted
Urban and architectural solution to an alternative streetscape
the node | An elevated public platform
Urban Design as Architecture.. Adopting the urban problems of a masterplan currently undergoing development by SOM in Chicago, the Skyloop is a proposal that attempts to appropriate the same problems in multiple scales. The Skyloop proposes a new type of streetscape that aims to bridge communities not only in the city and site scale, but also suggest in the architectural scale. The new street is an elevated public platform and a continuous indoor loop that accommodates Chicago’s extreme weather shifts, grade differences along the traverse edges of the site, as well as the segregated conditions along the longitudinal edges of the site. Located south on the outskirts of the most active parts of downtown, the site is situated at a major intersection of infrastructural links (highways, METRA line, bridge‌) and of neighbourhoods. The conditions along the two longitudinal edges of the site presented a challenge to this particular provocation of connectivity and accessibility. Along the west edge are undesirable attributes of noise coming from train tracks and railway station. Along the east edge is habited by a gated community of low-rise residential buildings that interrupt circulation to the rest of Chicago. The project saw an opportunity for an act of bridging that not only embrace its identity as a junction within the city, but also promote for a real place future Chicagoans will appreciate.
Urban and architectural solution to an alternative streetscape
site
The loop
Pilsen
This urges the project to tackle this opportunity of bridging through an introduction of a central spine; a public zone that provides its own edges separate from the existing ones. In speculation of developments along the river’s edge beyond the site, the form of the public zone is adjusted so the tips of the spine ultimately connects back to the river for future connections whilst culminating potential for major public buildings. To create bridging opportunities between public and private spaces without segregating the site’s surroundings, high density is placed along the spine while low density is pushed towards the perimeter. Programmatically, office spaces are given more ground space on the first four floors allowing larger floor areas, pushing residential and, cultural other public spaces on top or outside of the spine. Most of the residential spaces is concentrated into tower typologies on top of the office spaces along the spine. The spine is also elevated but intersecting with the office spaces on the 3rd and fourth floor, thus creating a new strata of public circulation and challenging how architecture will plug itself into the urban scale framework realised. Low rise residential and cultural programs outside of the spine are broken into smaller massing which adheres to a principle of porosity and not alienate its surrounding neighbours.
model co-produced with Minyoung hong | diagram co-produced with Christina shining sun
south loop chinatown
the node | An elevated public platform
Little Italy
Neighbourhoods & Communities
adjusting the metra line and existing grid
6m
Waterfront
Cultural + Market Bridge
Waterfront Setback
Vehicular Street Setback
20 m
50 m
Elevated Bridge
increasing accessbility
30%
20%
10%
Density Zoning - Porosity
Green Spine Setback
Public Zoning
40%
Metra Line Setback
50%
8m
20 m
6m
6m
18 m
8m
8m
Setback guidelines
Urban and architectural solution to an alternative streetscape
the node | An elevated public platform The project also extended the existing Chicago grid allowing a secondary connection system across the site from one long edge to the other. Linear pedestrian bridges were incorporated as an extension of 13th and 14th street which also provides an invitation directed from the gated east edge. The intersections resulting between the linear bridges and the central public zone are marked with major vertical circulation gestures. The bridges were designed which also offers temporary market spaces throughout seasons. The final gesture of visual banding happens at 25-28th floor of the residential towers. The location offers a semi-public space or shared space for the resident of the tower. Daycare / Children’s play room, Gyms, Swimming pools, a small theatre and a shared 360 view of the river or lake Michigan on the east.
major bridge and spine intersection
render produced by Christina shining sun
Market bridge towards loop facing west
Circular Node
Urban and architectural solution to an alternative streetscape
the node | An elevated public platform
Urban and architectural solution to an alternative streetscape
water as PER[FORM]ANCE | infrastructural system as Architecture SYRACUSE UNIVERSITY, 2nd year studio, 2014 syracuse, ny PROFESSORS JULIE LARSEN CRITICs larry bowne, joseph godlewski
All images produced by S. Yoon unless otherwise noted
Form as function through performace
per [form] ance | A self-sustainable ferry terminal
Panel study
module study
Module Layout
Program distribution
CONCEPTUAL STUDY MODEL
final model
Private Public
CHARCOAL
2
Pool + Water Systems
1
pebbLe
Other Terminal programs fine grain sand
cotton
Filtration system Diagram
Private v.s. Public
program Distribution + Modular differentiation
Circulation Diagram
Form as function through performace
per [form] ance | A self-sustainable ferry terminal
Infrastructure as Architecture‌ Per[form]ance seeks to employ technology with formal drive to contribute to a developing community on the Brooklyn Pier. With the intention to adapt a filtration system and taking advantage of the surrounding water, this project also aspires to create an ecological building that is self-sufficient within an evolving environment. The project also aims to program a private pool, shower + changing rooms, Cafe and restaurant. (Public) Pool, shower + changing rooms, Cafe, Ticket booth, Waiting Hall/Docking zones, bar, gift shops and bathrooms. to create a working filtration system, two different methods of water collection was considered: existing water source and rainwater. Deriving from the general form of the pier consisting of two slabs, the rainwater is be collected through the roof and seawater through beneath the platform. Both sources once collected is filter separately and stored afterwards in the same ‘clean’ thank. New York state water is renowned for its drinkable quality and its accessibility from the city. Making use of its location, the river water is filtered and reused, using the water harvesting system, which applies the same for harvesting rainwater. The river water will have a separate system leading into the main mechanical room. River water will be purified using charcoal, pebbles, fine-grained sand and cotton.
1
active space
2
In order to gather rainwater, a modular infrastructure was generated that conforms to a gridded curved horizontal surface. The curvature opens up larger programmatic areas not only allowing sunlight into the building but also creates runoffs for rainwater to be collected at specified locations. This way, a natural delivery system is provided using gravity. The modules used consist of large hollow columnsreinforced with steel frames- that hold the filtration system within. Leaf screens will be attached on the outer surface of the roof to catch debris, and water will be ready for purification. the system is designed to connect into a larger storage tank located in the mechanical room which distributes all usable water throughout the pier. The water will be reusable for pools, bathrooms and in the cafe and restaurants. The building will be fully self-maintained.
reflective space
Form as function through performace 0
50
100
200
500
sweet sheets | paper or plastic: reinventing shelf-life in supermarket landscape harvard graduate school of design, branding seminar , 2017 cambridge, ma COLLABORATION margaret george, jiabao Li, chien-min lu PROFESSOR teran evans, teman evans CRITIC KEVIN ALLEN, chrisoula Kapelonis, Uma Karmarkar, Sergio Leymarie, Casey Maher, Grace Xu
All images produced by S. Yoon unless otherwise noted | Rendering co-produced with c.lu
19
2017 / 11 / 03 MAGGIE GEORGE JIABAO LI CHIEN-MIN LU SOL YOON
Share a little sweetness
THE WAR NEEDS TO STOP! Attitude towards Sugar The War needs to stop!
1860s Sugar becomes cheaper
LUXURY 1100 - 1500s Aristocracy used it to show wealth: White Gold
The attitude towards sugar since a millenium ago has changed from it being deemed as a luxury item to something cheap and unhealthy to consume. Study shows nearkly 60% of Americans say they avoid taking sugar most likekly due to this attitude, however, over 80% MISCONCEPTION agrees when asked if sugar can be controled and incorporated into a healthy - Study of howdiet. ‘sugar = obesity’ is a misconception
1799s Birth of ‘Domino’
58%
white gold
But,used sugarto≠be obesity - Sugar luxury, - Stress levels make people eat more many believe, The obesity problem /incoconut the us issweeteners one of the /biggest - Substitution of artificial sweeteners organic
1890s Obesity starts rising
associated issues to sugar. however, statistics show that the consumption levels of sugar has in fact decreased and is still decreasing since 4 decades ago, however, obesity levels remain on the rise and is a bigger problem than ever.
CHEAP & BAD FOR YOU
of Americans say they are trying to AVOID sugar
When asked if sugar can be part of a healthy diet,
81%
said YES
BUT, SUGAR = OBESITY 120
This proposal wants to take the opportunity of domino’s warm , dependable and trusting image and rebrand the harmful impressions of sugar by taking advantage of the versatile effects sugar can have. At the right amount, sugar can have alleviating effects for spice, and also greater the longevity of product life and plants.
Amount Consumed (Ibs/year)
sweet sheets | paper or plastic: reinventing shelf-life in supermarket landscape
1
42%
100 Sucrose
6 TEASPOONS
80 60 40
Obesity: 17%
20 0
HFCS
1970
1980
1990
2000
2010
About the same
About the same
Usually 45-65+
Under 35
White (x1) & Black (x2)
Asian & Latino
Make under 70K
Make over 70K
Often childless
Have children
Often no college
College
Cash & Food Stamps (x2)
Debit
Usually pantry stocking trip
Quick trip
CRISIS
21
SHARE A LITTLE SWEETNESS
Share a little sweetness
sweet sheets | paper or plastic: reinventing shelf-life in supermarket landscape
2 WHITE SPACE
23
2
WHITE SPACE
SUGAR SHEETS
Share a little sweetness
sweet sheets | paper or plastic: reinventing shelf-life in supermarket landscape
SHARE A LITTLE SWEETNESS
25
The only sugar manufacturer that has been making sugar for over 200 years for millennials who work hard and seek joy in their life, in the Eastern United States, who want to enjoy the sweet and spicy pleasures sugar can offer while maintaining a balanced lifestyle during a stressful time of uncertainty about artificial food, healthy eating, and the economic future of the U.S.
Share a little sweetness
sweet sheets | paper or plastic: reinventing shelf-life in supermarket landscape
3 3 MADE FOR SHARING
The travel size design enabled people to bring it wherever, use it whenever, with whoever.
REGAIN HEALTHY DIET
Bringing your own sugar makes controlling sugar intake easier than ever.
DESIGN
DESIGN
45 D
(Wh con We eve By d inta
27
SUGAR SHEETS
Each sugar sheets equals 0.5 teaspoon, and each packaging contains 12 sugar sheets.
Share a little sweetness
sweet sheets | paper or plastic: reinventing shelf-life in supermarket landscape
3 DESIGN
29
3
DESIGN
PUSH DOWN EDGE
The elevated and beveled edge allows user to push down and push back easily
SIDE GRIP
After several user testing, we identified the most slippery point of the product and added handle grip.
Share a little sweetness
sweet sheets | paper or plastic: reinventing shelf-life in supermarket landscape
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Share a little sweetness
33