Archival Portfolio_All Work by Sol Yoon

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

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

“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 01

The Node | re-thinking a humanistic high-rise city

2019

image as impressions | The House: the waken desire

2018

inlay within inlay | in the details: the space between God and the Devil

2017

aalto wood research workshop | Northern lights: in tribute to a master: alvar aalto

the moving image | the moving image as architecture

SU - NVRC | Syracuse University - National veterans resource complex

blackwholes | Towards an Architecture of counter absolutes

make it rain | innovative minds 2016 - virtual epoch

SACRED SPACE | â&#x20AC;&#x153;A QUARTET OF MOVEMENTS IN ABSTRACT ARCHITECTUREâ&#x20AC;?

2015

water as PER[FORM]ANCE | A Self-sustainable Ferry Terminal

2014

Sweet sheets | PAPER OR PLASTIC - reinventing shelf-life in the supermarket landscape

2017

2016

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 Chicagoâ&#x20AC;&#x2122;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, bridgeâ&#x20AC;Ś) 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 riverâ&#x20AC;&#x2122;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 siteâ&#x20AC;&#x2122;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

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%

20 m

18 m

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 / Childrenâ&#x20AC;&#x2122;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

Image as Impressions | The House: The waken Desire Harvard graduate school of design, option studio, fall 2018 cambridge, ma PROFESSOR Tatiana bilbao, iwan baan CRITIC emanuel christ, jose castillo, simon hartmann, tilo herlach, zeina koreitem, niklas maak, debora mesa

All images and models produced by S. Yoon unless otherwise noted

Reclaiming the ideas of a home

IMAGE AS IMPRESSIONS | THE HOUSE: THE WAKEN DESIRE

ARCHITECTURE AS image..

“What are the devices to reclaim the ideas of what is a home?”” - Jose Castillo Personally, I go home to find tranquillity and safety, but when contemplating on the differences that define a ‘house’ and a ‘home’, my mind naturally retreats to think about my family, to ultimately claim my ‘home’ is wherever my family is; it’s nostalgia, a feeling, a sentiment, an abstract emotional attachment. Image > Impressions > Narrative The project takes importance in that a home is not a home without its people; specifically, the relationships and their characteristics that define their daily routines. Photography and its facility to capture such moments as is allows us to stitch together an understanding of a reality of the people who will occupy the space - their habits, their rituals, their culture, and their atmosphere. Whatever the circumstance, an impression can be apprehended. It is this idea of abstracted impression the project will use as a starting point towards exploring not only the presence of the self, individuality, and character, but also to integrate such identities in a community through form. Imagining still frames from a scene of a film, the storytelling doesn’t stop because the camera stops moving, but the frame is a mere representation of an instance within a story. It won’t give you the whole story but it leaves traces of information, hints of what was and what could be.

Jorge

RONALDO + MAria

Jose

Dahlia

The Garcia Family

Reclaiming the ideas of a home

IMAGE AS IMPRESSIONS | THE HOUSE: THE WAKEN DESIRE

Photo essay: Jorge

Reclaiming the ideas of a home

IMAGE AS IMPRESSIONS | THE HOUSE: THE WAKEN DESIRE

Photo essay: RONALDO + MAria

Reclaiming the ideas of a home

IMAGE AS IMPRESSIONS | THE HOUSE: THE WAKEN DESIRE

Photo essay: Jose

Reclaiming the ideas of a home

IMAGE AS IMPRESSIONS | THE HOUSE: THE WAKEN DESIRE

Photo essay: Dahlia

Reclaiming the ideas of a home

IMAGE AS IMPRESSIONS | THE HOUSE: THE WAKEN DESIRE

Photo essay: The Garcia Family

Reclaiming the ideas of a home

IMAGE AS IMPRESSIONS | THE HOUSE: THE WAKEN DESIRE

RONALDO + MAria Jorge Dahlia Jose Character > Ritual > Relationship I gained my first impression of Mexico during the studio trip. My first impression was that there is an interesting temperature spectrum. Evident through the photo collection, it demonstrates a coexistence of two extremes: the humid and the dry, the dark and the bright. In the literal sense, Mexico lives in frequent fluctuation of climate, where there is a constant shift between rain and sun, the cold and the hot. Just as the climate would determine the culture of local Mexicans, this signified emotional undertone in a figurative sense. The two extremes potentially describe individual characteristics, their interaction and relationships to one another. s

Garcia Family shared guest

Reclaiming the ideas of a home

kitchen

2nd Floor

KIDâ&#x20AC;&#x2122;S PLAY & STUDY

TORTILLERIA

living

LABORATORY video game

BEDROOM

living

Storage BEDROOM

BEDROOM

living

BEDROOM

LIVING

Garcia Family SHARED

kitchen

IMAGE AS IMPRESSIONS | THE HOUSE: THE WAKEN DESIRE

1st Floor

BEDROOM

Garcia Family Dahlia Jose

3rd Floor

4th Floor

BEDROOM

LIBRARY / gallery

living

kitchen

LIBRARY

living

BEDROOM

WORK AREA

Jorge Dahlia Jose Guest

BEDROOM

Ronaldo, Maria

Reclaiming the ideas of a home

IMAGE AS IMPRESSIONS | THE HOUSE: THE WAKEN DESIRE

Reclaiming the ideas of a home

IMAGE AS IMPRESSIONS | THE HOUSE: THE WAKEN DESIRE

Upon reflection of the whole collection, an initial selection process was determined through what best described this temperature spectrum. Five defining photographs were chosen to extract an impression from their established spaces to manifest five nuclear families. By analyzing the environment and depth within, it provided necessary details for narrative and character developments. Presence and tone of color, presence and brightness of light were used to define the familyâ&#x20AC;&#x2122;s internal characteristics. There was also an interest in layered spatial qualities, where tension is perceptible from a foreground and background relationship; people, plants, walls, streetlamp, or windows, either indifferent to, obscuring, complementing or blending into one another. When the studied tension is then personified as external characteristics, tendency, or relationships, it became informative of family relationship to one another and of their dwelling spaces. In order to translate the family characters into spatial qualities, the project finally explores formal typologies through the configuration of forms, configuration of circulation, sequencing of spaces, and physical and visual exposure.

active space

reflective space

Reclaiming the ideas of a home

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

184° 0

184°

181°

1'' - 12'

Form Transformation

1'' - 6'

1'' - 12'

177°

waffle-framed plaster

wall inlay 1

170°

146°

Line of waffle-framed plaster at tread elevation

146°

145°

164°

1/4 inch thick beaded stainless steel finish folded metal treads

3/4 inch flooring

144°

158°

143°

156° 7

Ø1 6 inch white painted steel tube

141°

154°

141°

Steel beam

150°

Welded joint

141°

143° 10

128°

A 128°

129°

24 25

150°

waffle-framed plaster

Ø2 1.5 inch white painted steel tube

3/8 inch bolt

127° 127°

Ø3 3 inch white painted handrail support beams

6°

146° Aluminum-made treads supporter

4°

pre-embeded steel connection

1/4 inch thick beaded stainless steel finish folded metal treads

Ø2 1.5 inch white painted steel tube

° 24

Ø2 1.5 inch white painted steel tube

4°

plaster-panel finished wall

142° 144°

steel tube frame inbedded in wall

4°

Ø2 1.5 inch white painted steel tube

plaster wall

waffle-framed plaster inbeded in wall

Ø3 3 inch white painted handrail

Aluminum-made treads supporter

1/4 inch thick beaded stainless steel finish folded metal treads

waffle frame

steel tube frame inbedded in wall

Ø2 1.5 inch white painted steel tube

Line of waffle-framed plaster at tread elevation

5°

insulation

6°

pre-embeded steel connection

interior wall 1/4 inch aluminum panel

129°

steel H section beam

1/3 inch steel stiffener

133°

129°

155°

wall inlay2

137°

Aluminum-made treads supporter

waffle-framed plaster

141°

3/8 inch bolt

160°

129°

26 27

167°

171°

173°

1'' - 2' 35

176°

waffle-framed plaster

181°

steel plate fastener

188°

1/4 inch thick beaded stainless steel finish folded metal treads

1'' - 12' A-A Section

waffle-frame

3/8 inch bolt steel plate fasteners support beams Ø1 6 inch white painted steel tube

194°

1'' - 2'

199°

1'' - 4' B-B Section

waffle-framed plaster wall inlay 3

‘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

â&#x20AC;&#x2DC;sectionâ&#x20AC;&#x2122; 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.

50 100

200

400meters

0-5 persons per square kilometers

Cities

5-15 persons per square kilometers

Site Location

15-30 persons per square kilometers

Major Wood Manufacturers

Rovaniemi Polkky Oy

Kemi 30+ persons per square kilometers

Stora Enso

Lakes Oulu

Stora Enso Oyj

Kajaani

Stora Enso Vaasa Kuopio

Jyväskylä Tälli Oy

UPM-Kymmene Wood Oy Joensuu

Stora Enso Oyj

Säynätsalo

UPM Kymmene Wood Oy Puuprisma Oy

Mikkell Pori

Tampere UPM Kymmene Oyj Hameenlinna Lahti Turku

Imatra Versowood Kuovola

Stora Enso Wood Products Oy Ltd

Stora Enso Packaging Oy Kotka Helsinki

POPULATION

Forest density

Cities and wood Manufacturers

Säynätsalo

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.

Student Temp. Exhibition Entry

Storage room Woodshop BUILD Space

Mechanical

Bathroom Archive/Reading Room Studio / Lab

2m 4m

16m

Program diagram

previous Wood Program proposals

4570

9140

2130

9140

2130

7310

4570

7310

4570

12200

4570

proportion study: grid

form studies & Circulation

Reflected ceiling plan

Types of joint formation

strengthening local artistic traditions and practice

proportion study: Beam relationship

Northern Lights: AALTO WOOD RESEARCH Workshop | IN TRIBUTE TO A MASTER: ALVAR AALTO

Entry / Office

Permanent Exhibition

iii

Student Temporary Exhibition

Woodshop

BUILD Space

Storage room

vii

Archive / Reading Room

viii

Studio / Lab

Mechanical

Bathroom

Loading Dock

iii

ix x vii

viii

GROUND FLOOR PLAN

0 1 2

32meters

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 â&#x20AC;&#x2DC;mt2â&#x20AC;&#x2122;

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

Plan artifact

negative

human movement SANAAâ&#x20AC;&#x2122;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

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

shopping

Restaurants & cafes

marshall str Restaurants

Hotel

waverly ave

ACADEMIC

Site Analysis

admin.

New house Hotel

Site context

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200

Wood Wall

Generator/ Conc. Pad Metal Loading Ramp

Airway

Concrete Loading Dock

materialize new and rich relevant building program 500

conference center

consulting center

iii

entrance/ lobby

study lounge

memorial garden

area of refuge

vii

gym offices

viii

dance studio

fitness center

cafe

loading dock

xii

entrance/ lobby

GROUND FLOOR PLAN

Scale: 1” = 20’ - 0”

DN UP

18’ UP

15 18’

18’

UP DN

18’

12 9’

11 vi

18’

10 xi

18’

9 1

1 18’

18’ xii

iii

8 ix

9’

18’ 9’

6 DN

6 9’

9’

5 2

27’

viii

18’

vii

4 ii

18’ 9’

2 9’

15’

27’

9’

18’

15’

cafe

equipment storage

iii

auditorium

cafe seating

memorial garden

area of refuge

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marshall st entrance

viii

men’s locker room

women’s locker room

multipurpose fitness room

swimming pool

xii

mechanical room

xiii

cafe storage

BELOW GRADE PLAN Scale: 1” = 20’ - 0”

16 18’

15 vii

18’

14 18’ v

13 xiii

18’ 9’

11 vi

18’

10 x

18’

18’ viii

ix iv

18’

8 9’ xii

18’

9’

6 xi

9’

5 i

27’

18’

4 3

18’ iii

9’

15’

All Plans co-produced with rajkumar kadam

15’

27’

30’

27’

9’

18’

15’

materialize new and rich relevant building program

SU- NVRC | syracuse university - national veteranâ&#x20AC;&#x2122;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, itâ&#x20AC;&#x2122;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

LOBBY

GYM

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

A 15’

Roof

16’

First Floor

15’

Ground Floor

15’

Below Grade

0 4 8

128

C 15’

D 15’

E 15’

27’

H 27’

J 27’

K 9’

L 18’

15’

N 15’

O 15’

LONGITUDINAL SECTION 2

15’

Roof

13’

Third Floor

13’

Second Floor

13’

First Floor

18’

Ground Floor

15’

Below Grade

materialize new and rich relevant building program

elevation render produced by rajkumar kadam

SU- NVRC | syracuse university - national veteranâ&#x20AC;&#x2122;s resource centeR

materialize new and rich relevant building program

SU- NVRC | syracuse university - national veteranâ&#x20AC;&#x2122;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

0 4 8

128

EXIT

LONGITUDINAL SECTION 1

Cross SECTION 1

Cross SECTION 2

materialize new and rich relevant building program

BLACKWHOLES SYRACUSE UNIVERSITY, Professional Elective Seminar, 2016 SYRACUSE, NY PROFESSORS Maya Alam Critics Benjamin Farnsworth, Mark Linder, Anne Munly, Danielle Profeta

investigating the theories introduced by rudolf arnheim and reflecting on works of Ad Reinhardt and josef albers, The following studies takes into consideration the avant garde conception of perception of Black. The following series of work not only critically EXAMINES the approach in form-making but also investigates the ways in which two dimenstional representation of forms and the color black influences the interpretations of itself, using rendering and printing technologies available today. In turn, challenging the notions of how this affects architecture by applying the same studies three-dimensionally.

Revolve Contour Sequence

Visual Studies With Object

Josef Albers + Ad Reinhardt series (Line Drawing, Color Drawing, Black Drawing)

three-dimensional Evil Twin

Object White Render

Evil Twin

Evil Twin 2

Object Black Render

Evil Twin Inverted

Evil Twin Inverted 2

three-dimensional object

MAKE IT RAIN | INNOVATIVE MINDS 2016 - Virtual Epoch Gurroo design competition: Honorable Mention COLLABORATION ANDREW KIM

virtual

MAKE IT RAIN challenges the co This project aims to manipulate the experience of MAKE IT RAIN isolates the five senses of hearing, touch, sight, taste, and smell of rain and aims to create a uniqu

All images produced by S. Yoon unless otherwise noted | Rendering by Andrew Kim

The conventional notion of “virtual reality” is that of a visually stimulated technology that creates the perception of viewing a “new reality.” This can be seen with the development of reality technology in the Oculus Rift and HTC Vive. While this groundbreaking technology has infinite possibilities, it still doesn’t quite bridge the gap between the physical world and the virtual world.

CONTENTION: onventional notion of “virtual reality” by proposing that a “virtual” space doesn’t necessarily need to be purely an ocular experience, but rather, a “virtual” space is one that challenges the status quo. f an element that evokes continuous change and fluctuating emotion: rain. Rain as an element is an intrusive force that has forced humanity to develop means in combating the harsh climate rain evokes. ue experience of rain that hasn’t been felt before. By isolating each of the five senses, the experience of rain changes and thus the meaning of it chnges, ultimately creating a new “virtual” experience of rain. Isolation of the five senses: Hearing: Creating cavernous voids with three different materials in concrete, steel, and wood to generate maximum acoustics and new perception of the sound of rain Touch: Uses motion tracking cameras that senses people, turning off rain sprinklers. This creates a buffer zone for people to walk in the rain without touching it. Sight: Frames rain in isolated glass containers that mute the sound of rain hitting the glass. This creates a purely visual only experience of rain. Taste: Using filtered water, a stream of water is pooled at a fountain to taste the rain. Smell: By taking advantage of the process of petrichor (rain hitting dry soil and plants, emitting an odor into the air), one can experience the smell of rain.

MAKE IT RAIN | INNOVATIVE MINDS 2016 - VIRTUAL EPOCH

SITE: The site selected for MAKE IT RAIN is on the side of the Brooklyn Bridge Park. Due to the project primarily aspiring to evoke a new “virtual” experience by the isolation of the senses, a disrupting environment in regards to the senses, such as central Manhattan, may deter the effectiveness of the tehcnology proposed. By placing the project on the Brooklyn Pier, it can take advantage of the local water source to supply the experience, without being interrupted by other disturbances. the pier already undergoing development itself for public use, this location serves to promote the project to people by mere exposure.

unrolled section 0 50 100

300

600

SITE PLAN : BROOKLYN PIER

1. EXPERIENCE - Seeing 2. EXPERIENCE - Smelling 3. EXPERIENCE - Hearing 4. EXPERIENCE - Tasting 5. EXPERIENCE - Touching

BRIDGING BETWEEN THE VIRTUAL AND PHYSICAL REALITIES: RAIN

SMELLING

TOUCHING

seeing

HEARING

TASTING

300â&#x20AC;&#x2122; in diameter

program distribution + circulation

100

300

project exposure & Promotion

600

3 4

MAKE IT RAIN | INNOVATIVE MINDS 2016 - VIRTUAL EPOCH

CONCEPTUAL PLAN

EXPERIENCE : Tasting 1

EXPERIENCE : Seeing Renderings by Andrew Kim

1. EXPERIENCE - Seeing 2. EXPERIENCE - Smelling 3. EXPERIENCE - Hearing 4. EXPERIENCE - Tasting 5. EXPERIENCE - Touching

water filtration axon Roof Slab

Sprinkler System Metal Grating

Concrete Wall

EXPERIENCE : Smelling

Steel Frame Glass Mullion

Stone Wall Concrete Plates Wood Plates Metal Plates

Metal Grating Walkable Platform

Water Fountain

Water Intake

EXPERIENCE : Hearing

Filtration Filtered Water

BRIDGING BETWEEN THE VIRTUAL AND PHYSICAL REALITIES: RAIN

SACRED SPACE | “A QUARTET OF MOVEMENTS IN ABSTRACT ARCHITECTURE” SYRACUSE UNIVERSITY, STUDY ABROAD, 2015 FLORENCE, ITALY PROFESSORS RICHARD ROSA, LUCA PONSI CRITIC GABRIEL FELD

All images produced by S. Yoon unless otherwise noted

ABSTRACTED EXPOSITION OF THE FUSING OF RELIGION AND SITE

SACRED SPACE: â&#x20AC;&#x153;A QUARTET OF MOVEMENTS IN ABSTRACT ARCHITECTUREâ&#x20AC;?

religion as architecture...

at the foundation of Italian cities today, lies the fundamental architectural understanding derived from the negotiation of religion and space-making. once thriving of innovation of art and science in the architectural expressions of symbolism. florence being the home and one of the oldest cities to have influence in the renaissance period, it accommodates a plethora of architectural examples that com In particular, these spatial manifestations of symmetry, geometry, proportion, phenomenal transparency are clearly articulated through the works of brunelleschi, alberti, sangallo, raphael, and mic Some of these projects take forms of temples, churches, palazzos, and piazzas. However, what if the same questions had applied to different religions such as paganism? How would this approach to space-making translate in modern society?

these questions pose as the cornerstones of this project.

16th century renaissance period, Italian cities, such as, Florence, rome and Venice, prevail to still be relevant through mpromise religious and scientific testimonies. chelangelo.

ABSTRACTED EXPOSITION OF THE FUSING OF RELIGION AND SITE

SACRED SPACE: “A QUARTET OF MOVEMENTS IN ABSTRACT ARCHITECTURE”

NATURE AS DIVINE... The definition of Paganism originally referred to other minority religions that was nonconforming to a state religion, however, it is more commonly applied to any contemporary belief system that acknowledges the awareness of the significance of the natural world and its power. Pagans believe this is typically alluded through the ongoing cycles of life and death. Many concurrences of the definition of God and God’s presence sources back to the physical world. Questions of multiple deities, the Universe as God, and especially Nature as God being the source of all exploration, the project employs life and nature symbolism such as, cycles, directionality, symmetry, geometry, and phenomenal transparency through space making. Classifying nature’s four fundamental elements found in this world: water, air, fire and earth, these elements determine the strategy to create a series of major spaces. The characteristics of each element are defined through form by dedicating a specific geometry to an element that accentuates each’s properties. The abstraction of interconnection of all things is represented through the overlapping of these major geometric spaces, which is then further broken down by transitional spaces in between each major space.

+ water

+ air

+ fire

earth

the Pantheon and the stonehenge are prime examples of Pagan influenced architecture. the symbolical aspects are

100

200

the Project site, Florence, italy, traditionally offers low rise buildings with various pallazo type houses in the city center and surrouding the site location. The site location is embedded beside the slopes that lead up to palazzo Pitti and giardino di boboli from the duomo side of ponte vecchio. Therefore, shares both types of city-scapes of buildings and nature on either side of the site.

ABSTRACTED EXPOSITION OF THE FUSING OF RELIGION AND SITE 500

1,000

SACRED SPACE: “A QUARTET OF MOVEMENTS IN ABSTRACT ARCHITECTURE”

evident through vast studies in the past that demonstrate sophisticated space making. closer towards the boundaries of the city of Firenze, the site on Costa San Giorgio is located on a steep slope. a cluster of dwelling units, housing and apartments alike, with traces of religious buildings mostly occupy the street and neightborhood. very little or no public gathering spaces exist but the slope inhabits an extensive area of greenery. Taking advantage of the slope, the general overall form of the building is embedded underground as a literal translation of connecting back to nature. By interpreting the cycling of life and death as a journey, the successful transition of the overlapping major spaces intertwining with the transitional spaces becomes the focus of the project. inspired by works of frank lloyd wright, ludwig mies van de rohe, and aldo rossi, the transitional drive was determined by formal techniques; framing, directionality, proportion, phenomenal transparency, slipping and sliding of thin surfaces as well as pushing and pulling of thicker volumes endorses further such specified circulation throughout the ‘journey’. The beginning of the journey descends participants underground into the first water section to restrain all senses of the outside world. This space emulates the fluidity of water by embodying multiple circulation routes, the space is formed through the phenomenal transparency of platforms and partitions. As the journey continues into the Air section,

ABSTRACTED EXPOSITION OF THE FUSING OF RELIGION AND SITE

SACRED SPACE: â&#x20AC;&#x153;A QUARTET OF MOVEMENTS IN ABSTRACT ARCHITECTUREâ&#x20AC;?

Site relationship

participants are ascended back into the open atmosphere that catches glimpses of the city left behind. The change in elevation not only allows the participants to engage in this space as a new experience, but also to realize the figurative reflection (of life) is being imposed literally. Air transitions into Fire, which is designed towards the sun and sunlight, when immerses the participants further down into the ground during transition. In doing so, all awareness of light is absented until participants enter a cone shaped space with a skylight that illuminates the surfaces within. The final sequence of major spaces resume into the Earth section, which takes the journey even further into the ground to emphasize the isolation. Although the space is less geometrically defined than the previous spaces, the ambiance of subtle lighting and exposed earth surfaces as well as the exit sequence is what concludes the journey. At the end of the Earth section, participants are ascended up by an elevator to travel down the slope back to the entrance to finalize the overarching symbolization cycle of life.

Exploded Jellyfish Axon

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

Pool + Water Systems

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 Architectureâ&#x20AC;Ś 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 â&#x20AC;&#x2DC;cleanâ&#x20AC;&#x2122; 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.

active space

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

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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

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

42%

100 Sucrose

6 TEASPOONS

80 60 40

Obesity: 17%

20 0

HFCS

1970

1980

1990

2000

2010

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

SHARE A LITTLE SWEETNESS

Share a little sweetness

sweet sheets | paper or plastic: reinventing shelf-life in supermarket landscape

2 WHITE SPACE

WHITE SPACE

SUGAR SHEETS

Share a little sweetness

sweet sheets | paper or plastic: reinventing shelf-life in supermarket landscape

SHARE A LITTLE SWEETNESS

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

45 D

(Wh con We eve By d inta

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

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

Share a little sweetness