SOU
HONG
SOU HONG pratt institute interior design bfa 2018 Selected works completed under the Pratt Institute Interior Design Undergraduate program, including personal works outside of the program.
SOU
WORKPLACE SPATIAL RELATIONSHIP
MOMENT OF REFUGE P R I V AT E LY O W N E D P U B L I C S PA C E
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URBAN DWELLING INTERSECTING PIVOTS
S TA C K A B L E C U B I C L E 13.9973
D E S K PA R T I T I O N 34.7785
INITIAL FURNITURE STOOL
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TECHNICAL OFFICE CONSTRUCTION DRAWINGS
BLACK AND WHITE VARIOUS FINE ARTS PIECES
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SPATIAL INTERRELATION URBAN OFFICE
Located in Industry City, Brooklyn, the space is designed for a science fiction post-production film company. This office is a physical model of the imposing and molecular spatial and scalar relationships seen in the cosmos. The space defines an understanding of smaller elements, such as offices or lounges, formulating the greater office as a whole. Because of this, the office creates different scalar relationships between the user and the physical space. The cross between manmade techniques of understanding the natural world is apparent in the assimilation of both natural and industrial materials throughout the space. While providing an efficient communication and circulation through the different departments, the space develops small pockets of discovery and versatility. The space is designed to cater to the user’s needs, in aspects like acoustics, lighting, and privacy and provides a diversity of work place areas.
F I LT E R D E S I G N
People can choose to use different spaces according to their needs
We began our study of the office space by developing a filter. This filtering system allows the user to manipulate the filter according to their needs in regards to light and acoustics. The filter acts as one that refines the users spatially throughout the office. i.e. if the user needs a quiet space, they can move to a room with auditory properties.
The space provides different levels of privacy requirements in terms of walls, their materials, and their correlation with privacy. Open offices provide a closer connection to the greater portion of the office, while closed off offices provide a more intimate relationship with the space.
The filter incorporates panels of various materials that manuever in various orientations and directions. The use of both hard/ translucent and soft/opaque materials allow the user to manipulate, not only the desired levels of light, acoustics, and privacy, but allow them to be moved according to the user’s needs.
C O N C E P T D E V E L O P M E N T: U S E R ’ S N E E D S
E X P LO D E D A XO N : S C A L A R R E L AT I O N S H I P S
PRODUCTION -OFFICES The first floor contains private production and management offices as well as the main central lounge and presentation araes OPEN BENCHING
OPEN OFFICE
PRIVATE OFFICE
S C A L A R R E L AT I O N S H I P S The central lounge area offers varying scales, creating different scalar relationships. This idea is taken from the concept of the molecular and open relations of space and the human body in science fiction films.
13’-8” C L E A R A N C E (O N E F L O O R)
FIRST FLOOR PLAN
7’-6” C L E A R A N C E
DOUBLE HEIGHT
20’-4” C L E A R A N C E
28’-4” C L E A R A N C E
24’-4” C L E A R A N C E
C O N C E P T D E V E L O P M E N T: D I F F E R E N T S C A L E S
REFLECTED CEILING PLAN
IGUZZINI Technica Pro Track Light
BELUX DISK Pendant
The different levels of height clearances provides a dyanmic relationship of the user’s sense of scale within the space, while allowing for different work, lounging, and dining areas.
OCL Glowstick Pendant
S E C T I O N : S C A L A R R E L AT I O N S H I P S
POST-PRODUCTION The second floor comprises of all post-production offices and editing rooms. Because of the technology required for some rooms, materiality, acoustics, and lighting must be considered.
OPEN BENCHING
OPEN OFFICE
SOUND EDITING
Second Floor - Video Editing First Floor - Presentation Room / Reception
Second Floor - Private offices / Sound Editing & Production First Floor - Private offices
AVID ROOMS
SECOND FLOOR PLAN
LOUNGE
SCREENING ROOM
OPEN CENTRAL LOUNGE Open throughout to provide natural daylight throughout the space
REFLECTED CEILING PLAN AVID ROOMS
GUEST LOUNGE
LOUNGE
SCREENING ROOM
SOUND EDITING
CENTRAL LOUNGE
IGUZZINI Full Recessed Down Light CLOSED ROOMS Addresses the light and acoustic needs of specific programs
SECTION: OPEN VS. CLOSED
FURNITURE SELECTION
STOLAB
SWEDESE
OFFECCT
HAWORTH (Cappellini)
BLA STATION
OFFECCT
HERMAN MILLER
SWEDESE
COALESSE
ROSHULTS
STEELCASE
TEKNION
HIGH TOWER
MOMENT OF REFUGE P R I V AT E LY O W N E D P U B L I C S PA C E
The Carnegie Hall Tower lobby is a space that offers moments of “pulling over” admist the traffic of the urban busyness. The artwork, “Once Upon a Place” features three telephone booths that tell the stories of immigrants and their journeys to New York. The intimacy of, both, the story telling, as well as, the emotional refuge of the telephone booth are incorporated in the structure of the space. The space incorporates panels that align to create a narrowing aperature into the corridor, focusing on moving through the space to encourage constant movement. Each panel supports opportunities for passive pursuits, such as seating and work stations for quick meetings or simply charging electronics. The materials of the panels offer two differing experiences through the two entries in the space. The space is designed for the every day workers in the office spaces above, as well as, people who regularly move through this area of the city who need a quick moment to pull over in refuge.
ONCE UPON A PLACE Aman Mojadidi Times Square - Duffy Square Approx. 85”h x 33”w x 33”l Repurposed telephone booth The purpose of this installation is to give the listener a chance to listen to the histories of immigrants and about the stories of their journies to New York. As phone booths are being removed from the public, the artist intended to bring them back, as well as provide a different way of story telling.
H I G H W AY / R E S T S TO P
MERGING ZONES PA U S I N G C I R C U L AT I O N
PHONEBOOTH PLACEMENT
ZONE ONE (EXTERIOR) ZONE TWO (BUFFER) ZONE THREE (INTERIOR)
S PAT I A L O R G A N I Z AT I O N PAT H S DISTRICTS NODES EDGES LANDMARKS
REST STOPS
ROLE OF URBAN I N T E R I O R P U B L I C S PA C E
Height levels of dots emulate human scale and changesdepending on duration of activity and human scale
H I G H W AY
Height levels of dots are not adapted to human scale and remain constant
SCALE DIAGRAM
Privately owned public spaces should be known, utilized, and understood by the public that it serves and surrounds. A privately owned public space, in the form of a lobby corridor within a luxury office space, should promote active pursuits while providing opportunities for passive programs. The space becomes a microcosm; it becomes a miniature reflection of the city in which it is embeded. When categorizing and breaking down an urban setting according to its physical and abstract understandings, the public can more efficiently use the space for whom it was created.
Interior middle of passageway
Interior double entrance of 56th Street entrance
A R T W O R K LO C AT I O N S
Exterior of 57th Street entrance
PROSPECT REFUGEE THEORY The prospect-refuge theory argues that we derive feelings of safety and pleasure from inhabiting environments that offer both views and a sense of enclosure. This theory also has parallels with arousal theory, which suggests that an increase of pleasure is felt when a person views a space or scene that has a degree of uncertainty or novelty about it. As a physical interpretation of these theories, the space is designed with two different materials, wood and concrete, as an experiential element. Users who frequent the space can have two different experiences depending on which entrance they enter through.
The Carnegie Hall Tower lobby is a space that off busyness. The artwork, “Once Upon a Place” featu and their journeys to New York. The intimacy of, b telephone booth are incorporated in the structure o a narrowing aperature into the corridor, focusing on Each panel supports opportunities for passive pur simply charging electronics. The materials of the p in the space. The space is designed for the every d regularly move through this area of the city who ne
ory argues that we derive feelings of safety and pleasure from inhabiting environments d a sense of enclosure 56TH
SECTION
SCALE: 1/8” = 1’-0”
SECTION
SCALE: 1/8” = 1’-0”
This theory also relates to the arousal theory, which suggests that an increase of pleasure is felt when a person views a space or scene that has a certain amount of novelty about it
ENTRANCE
MESSENGER CENTER
E L E VATO R S 3-27
CONCIERGE
Lynch, Kevin. The image of the city. Cambridge, MA, MIT Pr., 1979. 57TH ENTRANCE
BUILDING OFFICE
56th Street Entrance 57TH ENTRANCE
57th Street Entrance R E TA I L CAFE
S TA I R B
E L E VATO R S 28-44
MAIL & TELEPHONES
E L E VATO R S 45-60
S TA I R A
57th Street Entrance
R E TA I L FLORIST
56TH ENTRANCE
56th Street Entrance
E L E VATO R S 3-27
CONCIERGE
INTERSECTING PIVOTS URBAN DWELLING The space is located in downtown Brooklyn in the pent house W floor plan at the Toren Condominium. The complex is LEED Gold rated with exterior metal and glass panels and rainscreen system. The client is an entirely female multigeneral household. Each family member carries certain sensitivities and idiosyncracies. Certain family members value privacy, while some prefer a public layout. The family requires a space in which they could grow and adapt and one that follows universal design. The design of the space is manipulated by analyzing furniture pieces that the family already owns. This project serves to provide an idea of working with clients that need a space dependent on their preferences and belongings.
The design of this interior space is organized spatially by pivoting doors and panels. The circulation and programs of the spaces are determined according to which panel is manipulated. Light, sound and privacy are crucial elements to the daily functions of the family and are manipulated through materiality, shape, opacity, and form in order to fit the needs of the client. Intersections
Opacity
Overlap / Layering
The organization and structural elements of the space was taken from the Arredoluce Triennale Floor Lamps. The pivots of the three lamp arms intersect one another and are affected by each other’s pivoting intersections.
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LONGITUDINAL SECTION FAMILY MEMBER’S ROOMS
LONGITUDINAL SECTION COMMUNAL AREAS
FIRST FLOOR
FIRST FLOOR OPEN UP
GREEN PANEL
ECORESIN MARBLE
BENEFITS OF GREEN PANELS + Reduces urban heat island effect and smog + Cleans interior air space by removing harmful toxins + Acts as a sound proofing barrier + LEED benefits + Energy cost reduction
FIRST FLOOR CLOSED
ENTRY WAY Seating and storage area for grandmother’s walker with continuing panels from shelving to create entry threshold
When all of the panels are opened on the first floor, one cannot access the hallway between the utility rooms and the stairs
STAIRS Central location of the stairs inhibits or engages the circulation depending on the pivot of the panels. Stairs also serve as display areas for collection pieces
When all of the panels are closed on the first floor, the hallway is accessible, however the utility rooms are inaccessible.
SECOND FLOOR
SECOND FLOOR OPEN DOWN
W/D
WHITE WOOD
GLASS
BIRCH RED GLASS
The materials used define both the existing architectural elements of sustainability and luxury while accommodating the family’s needs.
SECOND FLOOR CLOSED
HALLWAY Central staircase with surrounding bedroom areas, each with a pivoting door accessing the next. Full bathroom upstairs.
When all of the panels are open on the second floor, the panels intersect into the family member’s sleeping quarters, both physically and in relation to their individual privacies.
GRANDMOTHER +CHILD View of the grandmother’s room with a horizontal pivot door that leads to the child’s room, which has a vertical pivot to the parent’s room
When all of the panels are opened on the second floor, each family member gets their own separate, respective privacies.
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S TA C K A B L E C U B I C L E D E S K PA R T I T I O N
The client is a dorming student who has little desk space. The partition will serve as an opportunity for privacy, while allowing for organizational and space saving techniques. The modules are moveable, transportable and adjustable for the user to manipulate according to their specific needs.
concept developm
Useable depth
Actual depth
TRANSPARENCY
ACRYLIC
JOINT MIDDLE
JOINT CORNER
The translucency allows for small amounts of light and sound to pass through. It does not completely block off the user and their surroundings. The items that occupy the cubes determine levels of privacy and opaque the system becomes.
8” x 4” x 8” (Large Compartment)
ELEVATION
SCALE: 6” = 1’-0”
PLAN
SCALE: 6” = 1’-0”
4” x 4” x 4” (Medium Compartment)
4” x 2” x 2” (Small Compartment)
ELEVATION
SCALE: 6” = 1’-0”
ELEVATION
SCALE: 6” = 1’-0”
PLAN
SCALE: 6” = 1’-0”
PLAN
SCALE: 6” = 1’-0”
ONE INCH DEPTH TO STACK
SLITS ARE USED AS JOINERY
13.9973
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PLAN
34.7785
8” x 4” x 8” (Large Compartment)
4” x 4” x 4” (Medium Compartment)
4” x 2” x 2” (Small Compartment)
INITIAL FURNITURE STOOL
This group project implements a sustainable material to create a space of worship within the extents of a 4’ x 4’ x 8 threshold. By using the cardboard cup sleeves, we manipulated its physical characteristics to create a space according to the user’s needs, whether it be sitting, standing, or dancing. By designing the methods of connection, we were able to control where and how the user was able to achieve a sense of privacy as well as controlling the external passerby’s view into the piece. The finished installation is to be featured indoors within a high traffic hallway. The site was chosen because of its innate service as a connection between two buildings and a source of linear and even natural lighting sources.
JIA
SOUA
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SKETCH TWO
1’-6” 0’-3/8”
My sister’s Korean name starts with
o
1’-6”
where as my name starts with
SIDE ELEVATION
PLAN S C A L E : 3”=1’-0”
S C A L E : 3”=1’-0”
KOREAN INITIALS
1’-0”
2’-0”
The shapes found in this piece symbolize the first initial of my sister’s and my names.
BACK ELEVATION S C A L E : 3”=1’-0”
PART DETAILS S C A L E : 3”=1’-0”
TECHNICAL OFFICE CONSTRUCTION DRAWINGS
This features samples of construction plan and detail drawings
10' A
B
C
23 8"
1" 22
S3
1'-10"
1
4'-81" 2
5'-0"
1 1'-72"
4'-0"
5'-0"
3'-5"
5'-0"
3'-61" 2
3'-11"
5'-0"
4'-0"
1 1'-74"
LIGHTING LEGEND
ACCOUNTING OFFICE
PRODUCTION OFFICE
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101
101
CEILING HEIGHT 12'-0"
OFFICE MANAGER OFFICE
PUBLIC OFFICE
SALES OFFICE
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101
101
L1 L2 L3 L4
2
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S
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S S
L5
1 A104
S
CEILING HEIGHT 12'-0"
10'
CEILING HEIGHT 12'-0"
SALES OFFICE
S S
4'-0"
4'-0"
2" CEILING HEIGHT 12'-0"
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L6
S
C
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HVAC LEGEND LINEAR SUPPLY DIFFUSER C
LINEAR RETURN DIFFUSER ABOVE FLOOR
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BELOW FLOOR UP
UP
UP
5'-0"
MATERIAL LEGEND
3
WOOD PANELING
101
101
CEILING HEIGHT UNDER PLATFORM 8'-0"
DINING AREA
LOUNGE AREA
101
101
OPEN TO SECOND FLOOR CEILING
5'-0"
PANTRY / CAFE
5'-0"
CONCRETE
OPEN BENCHING AREA
2
GYB BOARD
RCP FRAME, HVAC, SPIRNKLER
Scale: 1/2":1'-0"
OPEN TO SECOND FLOOR CEILING
LEGEND
RETURN
SPRINKLER
PLATFORM 3'-6"
5'-0"
1'-93" 4
5'-0"
S
S
HVAC
S
S
C
C
3'-3"
4'-0"
OPEN MEETING AREA
PRIVATE ROOM
GUEST LOUNGE
5'-0"
104
103
102
5'-0"
4'-0"
RECEPTION
101
1
S
S
7'-33 4"
S
8'
S
S3 S
4'-0"
4'-0"
5'-0"
4'-0"
105
1 5'-72"
5'-0"
7'-0"
1 3'-84"
LARGE PRIVATE CONFERENCE ROOM
2'-93 4"
4'-0"
3 A104
REFLECTED CEILING PLAN SCALE: 1/8" = 1'-0"
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O F F I C E S PAC E : REFLECTED CEILING PLAN
SECTION
Scale: 1/2":1'-0"
CLASSROOM: REFLECTED CEILING PLAN & SECTION
OFFICE: C E I L I N G & PA R T I T I O N D E TA I L S
BLACK AND WHITE VARIOUS FINE ARTS PIECES
This features various works from my portfolio applying to Pratt Institute, as well as projects completed in fine arts courses during the foundation year of my education.
PIANO Chinese ink
“RAISING OF THE CROSS” REPLICA Oil Pastel
PA I N T I N G O F A B E N C H Acrylic pant
BLACK AND WHITE FILM HAND-DEVELOPED