Taeseop Shin (MIT M.arch)

architecture

I museum, 2011

2015

TAESEOP SHIN M. arch 1 applicant (B.S. in Architectural Design)

Remian Trivera apt 214-1301, Gangbuk-gu, Seoul, Korea taesup88@naver.com +82-10-9909-6387

ARCHITECTURE + ‘ ? ’ Valerie Gelezeau, a respected French geographer and writer, describes Seoul as the “Republic of Apartments,” arguing that capital-driven urbanization only made Seoul an ephemeral city that cannot provide a “home” to its inhabitants.

As an architecture student and a resident of the city, I have ceaselessly thought about what I can do to improve such living conditions and rejuvenate Seoul. On the other hand, I realized that architecture was not the panacea to every urbanization problem due to its often multidimensional aspects in the political, social, and technological realms. Therefore, in order to find a new role for architecture in contemporary urban environments, I explored various possibilities of architecture both in and out of school.

Forging a new role for architecture in contemporary urban environment.

INDEX

A ARCHITECTURE + ‘ URBAN PLANNING ’

01 PLATFORM CITY + FRETRADE ZONE Graduate thesis work, 2014

02 NETWORK STRUCTURE Formative artwork, 2014

B ARCHITECTURE + ‘ REGIONAL PLANNING ’

01 COEXISTING SCENERY Grand prize, International Space competition for Youth 2012

02 EARTHEN VOID Selected work, Korean earth architecture competition 2013

03 IHWAMARU PROJECT Seoul Mayor Special prize, 2012

C ARCHITECTURE + ‘ ? ’

01 GARDEN FLOW Grand prize, National Exhibition of Korean Landscape Architecture, 2013

02 FACTORY HOUSE Grand prize, Junglim Architecture Awards for Students 2014

03 CLOUDBOMB PROJECT Public art project, Collaborated with Fab Lab Seoul 2014 - 15

‘I’ MUSEUM, ‘I’ STUDIO, ‘I’ SCHOOL Artwork for my space, 2011 - 2014

A ARCHITECTURE + ‘ URBAN PLANNING ’ ‘Songdo 68 sector’ Masterplan ‘What is the role of architecture in urban planning?’

FREETRADE PLATFORM CITY

GRADUATE THESIS WORK STUDIO 6, 2014 Prof. Youngsuk Kim, Jisop Han Personal work

“THE TEMPORARY CITY”

Songdo 6, 8 sectors remain desert because original master plan was interrupted for not taking surrounding context into consideration. I propose the ‘Free trade platform city’ that reacts flexibly to the flow of incoming logistics from Incheon International Airport by solving spatial problem from International Business District (IBD) and expansion of Incheon harbor. Moreover, I designed ‘Free trade zone’ as a modular architecture, which support the function of the city flexibly.

PLATFORM

INCHON AIRPORT

3

‘SONGDO 68 SECTOR’ MASTERPLAN

PLATFORM CITY

SEOUL

CENTERAL PARK INCHON BRIDGE

GREEN

ESS

IN BUS

DI

ON

UTI

IB STR

E

PHASE 2. PLATFORM

INCHON PORT

OLD TOWN

SONGDO IBD

(BUSSINESS DISTRICT)

‘SONGDO 68 SECTOR’ MASTERPLAN

E

ZON

PHASE 1. EXISTING CONDITION

5

WATER

ON

Z RY

TO FAC

E

ZON

PHASE 3. CONNECTION

N BRIDGE

FREETRADE SYSTEM

RM

TFO PLA

4

Songdo 6, 8 sectors are equipped with the entire infrastructure for the four elements of ‘trade, production, storage, distribution’ for the Free Trade Zone. If these sectors were planned as free trade district, it will solve the shortage problem of Free Trade Zone of Incheon harbor and have possibility of a cooperative relationship with Incheon Airport’s Free Trade Zone which is connected by Incheon Bridge.

TRADE

FREETRADE SYSTEM

FACTORY

DE

RA EET

DISTRIBUTION

E

ZON

FR

STORE

M3

R TFO PLA

R CONNECTION

RM

TFO PLA

RM

TFO PLA

PHASE 4. FREETRADE SYSTEM

2

1

PHASE 5. GREEN & WATER

URBAN PLANNING

FREETRADE PLATFORM CITY

6

FREETRADE ZONE The Free Trade Zone starts with basic structure and evolves itself spontaneously, depending on demand.

STRUCTURE STRUCTURE

CORE

BRIDGE

VOID

PROCESS BAR The space can be expanded freely depending on the stage of development of trade. It joins and separates depending on the needs from ‘Co-Working Studio Module’ where ideas are shared to ‘Making Factory Module’ for creating a prototype.

MODULE Modules of all stages are made with modifications in the standard unit. For ‘Trade studio’, one standard unit is joined with another that is 180 degrees rotated. And for ‘Making Factory’, standard units are joined side by side.

1700

3500

1F

2F

1F

1.5F

1F

1F

URBAN PLANNING

FREETRADE PLATFORM CITY

8

2035 PLAN It has various void spaces, which are developed from modules and structures, such as conference hall, exhibition, and museum to display and sell different kinds of products from trade.

1F VOID

PRODUCE

ART MUSEUM SQUARE

2F VOID

AXONO

A’

A

CONFERENCE HALL PRODUCE

VOID 1

ART MUSEUM

It is composed of basic structure with Void Space for various activities, Modules for trade, Core Structure as a connection between floors.

4F VOID

DISTRIBUTION ZONE

CONFERENCE HALL

VOID PLAN Every levels of Free Trade zone could have various void space, and these space could be connected with each other for visitors.

VOID 2

VOID 2 ‘VOID 2’ space connects each floor vertically and functions as museum with spiral circulation, and serves as a core for connecting floors for temporary trading residents.

0

9

5

10

20

‘SONGDO 68 SECTOR’ MASTERPLAN

40(m)

VOID 1

VOID 2

Void 1 space is the main entrance of Free Trade zone for visitors. People who came from IBD or Incheon port could approach to Free Trade zone through the Green bridge.

Void 2 space is used as a museum of the Free trade zone.

Moreover, due to the conference hall and reception hall exist nearby void 2, this space could play the role of main core.

VOID VOID

VOID PATH

GREEN BRIDGE

CONFERENCE HALL RECEPTION HALL

SECTION AA’ Section AA’ shows the interconnection between Void 1 space and Green bridge.

URBAN PLANNING

FREETRADE PLATFORM CITY

10

MODEL, FREETRADE ZONE There are two different kinds of space in this Free Trade Zone. One is used by traders and their modules. And the other is several void spaces for visitors who want to see the results of trade. By making a architectural model, I studied not only the connection between visitor`s space and trader`s space but also the impression of void space.

NETWORK STRUCTURE

FORMATIVE ARTWORK STUDIO 6, 2014 Personal work

“A STUDY MODEL FOR FREETRADE ZONE”

I studied physical construction method and possibility of Freetrade zone through the process of three elements (frame, network, structure) to build physical space being constructed in accordance with the passage of time. The frame shows the basic structure in Freetrade zone. NETWORK and STRUCTURE are proposed elements that are generated by the interaction in the evolution of Freetrade zone.

TIME / PROCESS NETWORK

STRUCTURE

FRAME

13

NETWORK STRUCTURE

B

ARCHITECTURE + ‘ REGIONAL PLANNING ’ ‘HYEHWA’ Village regeneration v ‘What is the role of architecture in village regeneration?’

SCHOOL 4

SCHOOL 3

SCHOOL 2

SCHOOL 1

PROJECT 1. COEXISTING SCENERY

“PLANT THE YOUTH CULTURE I

PROJECT 3. ‘IHWAMARU’ PROJECT “WHAT CAN I DO AS AN ARCHITECTURE STUDENT”

PROJECT 2. EARTHEN VOID “EARTH COULD BE A SOLUTION”

IN VILLAGE”

EXPANDING

COMMERCIAL ZONE

ART STREET

COEXISTING SCENERY

GRAND PRIZE, ISCY 2012 (A Ministry of Gender equality and Family prize)

International Space Competition for Youth 2012

STUDIO 3, 2012 Prof. Donghee Lee, Sukhyun Cho Teamwork with Jinhyuk Cha, Jooyoung Lee

“PLANTING YOUTH CULTURE IN VILLAGE”

With youth’s art culture as a heart, residents of ‘Dongsung-village’, ‘Daehak Art Street’, and ‘Naksan park’ cross over each other to create a new creative culture.

The creative culture is generated through a variety of exchanges and vitalizes old town, and the youth becomes the subject of cultural production and creates growing culturescape that communicates with ‘Daehak Art Street’.

FOR YOUTH

17

HWEHWA VILLAGE REGENERATION

FOR ALL

NATURE

STUDY

MEDITATION

ART & EXHIBITION

CO-WORKING

COMMUNITY ACTIVITIES

ART ACTIVITIES

CO-WORKING

CULTIVATINON

ART ACTIVITIES

CO-WORKING

ART LECTURE

OUTSIDER OF ART STREET, YOUTH Daehak Art Street of the 1990s created culturescape of art culture of youth and university students. However, youth lost their place as the subject of cultural production and was degraded to tout around the Art Street now.

4 SCHOOL

40% (50)

SURVEY 70% of teenagers answered that the Daehakro Art Street does not have enough space for the youth.

SITE DAEHAK ART STREET

SECONDARY SEX

ACTIVITY

DONGSUNG VILLAGE

FORMATION OF RELATIONSHIP

SOCIALTY

COGNITIVE DEVELOPMENT

CREATIVITY

SELF FORMATION

IDENTITY

PLANT THE CULTURE OF YOUTH

UNDEVELOPED VILLAGE, DONGSUNG Daehak Art Street became degenerated by commercialization now, and people are forced to move to underdeveloped and isolated residential area between Naksan Park and Daehak Art Street.

1

3

NAKSAN PARK

ABANDONED SPACE

The village was connected with the Naksan park and the Ihwa village (project 3).

The abandoned space is used for Juvenile delinquents.

2

19

4

CLOSED CENTER

VILLAGE TREE

There are no community facilities for the residents of this village.

The old village tree exists near by The Daehak Art street.

HWEHWA VILLAGE REGENERATION

SITE MODEL This site model shows how each sector`s project interact with the existing context.

THE FLOW OF YOUTH&VILLAGE CULTURE The creative culture by the youth, university students, and residents from the village flows into Daehak Art Street.

PROCESS All projects of each sector are starting with the existing village context. By analyzing the context of the village, I planned to renovate several buildings and spaces into creative art&culture space for youth and villagers.

NAKSAN PARK

CLOSED CENTER

ABANDONED SPACE

VILLAGE TREE

Two masses and pathway to Naksan park were renovated as a natural shelter for youth

Two masses and the closed village center were planned for villagers and youth in order to interact each other.

The abandoned space and its walls were recycled as a courtyard and vegetable garden for Youth and residents.

Three masses around the village tree could be renovated into hybrid co-working space for Youth and artists.

FLOW THE VILLAGE AND YOUTH CULTURE INTO DAEHAKRO ART STREET

COEXISTING SQUARE By connecting five masses that exist as a boundary between the village and the Art Street, this space could be used as a square for youth and villagers to interact with the Art Street culture.

REGIONAL PLANNING

COEXISTING SCENERY

22

SECTOR 2. CLOSED VILLAGE CENTER Two masses around the closed village center are planned to transform into the senior center, community center, and youth creative center, with connecting bridge and internal courtyard for inter-exchange.

- 2F Co-working studios

Connection Bridge

- 1F Senior center village center Youth center Inner courtyard

A’

A

SECTION AA’

1F

23

HWEHWA VILLAGE REGENERATION

SECTOR 3. ABANDONED SPACE The youth creative center is planned by connecting the ruins, abandoned spaces, and the two masses that were left in between the village. Walls from the ruins are used for exhibition and meeting space.

- 2F Co-working studios Meeting room

Connection Bridge Vegetable garden Courtyard

- 1F Exhibition room

DETAIL : REUSED RUIN WALL

2F

REGIONAL PLANNING

COEXISTING SCENERY

24

SECTOR 4. VILLAGE TREE The three masses surrounding the old village tree are each planed into youth and university student’s creative space, and the center mass is planed into courtyard for interaction.

- 2F Co-working studios Meeting room

Connection Bridge

- 1F Retail & Gallery

1F

25

HWEHWA VILLAGE REGENERATION

COEXISTING SQUARE The youth as subject of art culture production interacts with residents and citizens in the Coexisting Square, and this creates a new Culturescape of Daehak Art Street.

2F Youth gallery 1F Retails CONNECTING BRIDGE This bridge connects every gallery and retails in the coexisting square.

Connection Bridge VILLAGE ENTRANCE This stair could be used not only for various activities s but also for village residents as an entrance of the village.

PERFORMANCE STAGE Youth could perform for visitors with various artists in this stage.

1F Coexisting square

REGIONAL PLANNING

COEXISTING SCENERY

26

EARTHEN VOID

SELECTED WORK, KEAC 2013 Korea Earth Architecture Competition 2013

Personal work

“EARTH COULD BE A SOLUTION”

I proposed this earth architectural project by using two of characteristics of soil; vitality and coexistence. I also tried to imagine that earth architecture can heal the urbanization problems of this HyeHwa areas through the site`s soil. Madang, courtyard garden space in Korean traditional architecture, is void space for supporting various activities. I proposed using this “Madang” space to make cultural exchange between the Daehak Art Street and the Ihwa village.

URBAN

(CONCRETE)

EARTH

27

HWEHWA VILLAGE REGENERATION

NATURE

RESTROOM

CONNECTION ALLEY

EARTHEN MUSEUM

EARTHEN VOID, MADANG

ZINC ROOF WOODEN FRAME EARTHEN ADOBE WALL CONTINUOUS DOUBLE GLAZED SEALED FRAMELESS WINDOW - SILICON IN PLACE

RAMMED EARTH WALL 150 RAMMED EARTH WALL - REINFORCED 100 PREFINISHED METAL 150 RAMMED EARTH WALL - REINFORCED

RAMMED EARTH WALL

EARTH ARCHITECTURE

250 RAMMED EARTH WALL - REINFORCED 150 PREFINISHED METAL 250 RAMMED EARTH WALL - REINFORCED

CONCRETE SLAB

EARTH

REGIOANL PLANNING

EARTHEN VOID

28

GREEN BOUNDARY This ground exists as a border line with natural landscape between urbanized the Daehak Art Street and isolated the Ihwa village.

THE GROUND OF THE SITE

CONNECTION ALLEY

Residence Culture 1980-1990 1970-1980

2000-2010 1990-2000

ge

la Vil e

en

m

eu

us

m

id

vo

en

rth

us

rth

ho

Ea

Ea

EARTHEN ADOBE Earthen adobe was used for outer walls in this architecture to interact with the nature; light, wind.

RAMMED EARTH Rammed earth walls used for inner courtyard space ‘Madang’ to make a static space.

Use

site

h

eart

Site earth

29

HWEHWA VILLAGE REGENERATION

Comersial

SECTION STUDY I designed inner space of “Earthen museum� with the consideration of the existing topography. To study the relationship between the topography of the site and space, I made a section model which includes Madang, earthen museum and entrance way.

EARTHEN MODEL I used real soil to study the impression of space of “Earthen museum.” and “ Earthen void, Madang.”

EARTHEN MUSEUM & VILLAGE HOUSE By using the soil from this place, I designed an earthen museum and a community earth house, and earthen void, MADANG, is created between the two spaces. This space could be used for villagers and artists to interact with each other.

Village level (1F)

1. Earthen void, madang

Art Street level (B1)

1. Earthen museum

2. Village office

2. Village multipurpose room 3. Storage

TOP COAT - CEMENTITOUS WATERTOP

SLOPE DN.

PUDDED EARTH TOP LIFT WATER

PREFINISHED METAL FLASHING

CONCRETE SLAB

EXTERIOR

RAMMED EARTH WALL 250 RAMMED EARTH WALL - REINFORCED 100 PREFINISHED METAL 250 RAMMED EARTH WALL - REINFORCED

RECESED IN-SLAB LIGHT SLOPING CONTITOUS WATER TROUGH

REGIONAL PLANNING

EARTHEN VOID

32

IHWAMARU PROJECT

SEOUL MAYOR SPECIAL PRIZE, 2012

Director, Proposer of this project Teamwork with Seoul City Hall ‘FAS’ project group members

“WHAT CAN I DO AS AN ARCHITECTURE STUDENT”

Based on the “Coexisting Scenery” project, I actually proposed to the City Hall the idea of renovating one of the abandoned spaces in the district and letting villagers and artists use it as a community space and gallery. Furthermore, I formed the “FAS project group” by gathering architecture students, artists to work with. This project enabled me to think that architects are able to go beyond mere building design and become leaders of urban regeneration.

BEFORE

33

HWEHWA VILLAGE REGENERATION

35TONS OF TRASH, DESERTED HOUSE In the past, this space was used as someone`s home, but after the house is demolished by developers in 1990s, the abandoned space gradually was filled with 35 tons of trash until now.

ABANDONED LOT

PROPOSED PLAN

00

20

90

19

0

8 19

This ground exists as a border space between the left side of the village and the right side of the village.

The design concept was to maintain as much as possible the pre-existing context and to reflect the residents’ opinion.

VILLAGE GALLERY I planned a gallery by renovating the deserted house in which everyone could come and embrace art with villagers.

GALLERY & STAIR

VILLAGE FURNITURE After collecting people’s opinions, we designed and made furniture for the village community space.

VEGETABLE GARDEN I proposed the idea of renovating the space for vegetable garden and letting villagers use us as a community space.

35

HWEHWA VILLAGE REGENERATION

WOODEN BENCH

VEGETABLE GARDEN

BOUNDARY TREE

A JOURNEY OF 83 DAYS On September 13, 2012, through the efforts of everyone involved, we provided a renewed space for the village residents.

A. SITE RESEARCH

B. PROJECT WORKSHOP

C. PROJECT CONSULTATION

D. CLEANING SITE

E. FURNITURE WORKSHOP

Analyzed the site in Ihwa village

Held a workshop for ‘village regeneration’

Proposed the project ‘IHWAMARRU’ Meeting with Jongno-gu office, artists

Cleaned up the site with sweepers

Learned the carpenters work from a carpenter

13, JUL

20, JUL

25, JUL

13, SEP

25, AUG

10, AUG

2012 02, JUN

03, JUL

PROJECT PROPOSAL

WORKSHOP POSTER

29,NOV

10,OCT

SEMINAR POSTER

J. ‘IHWAMARU’ EXHIBITION

I. PROJECT LECTURE

H. VILLAGE CEREMONIAL FEAST

G. ARTWORK

F. LANDSCAPING PROJECT

Planned the ‘IHWAMARU’ exhibition

Lecture for citizens about the project

Opened the village feast with Jongno-gu office

Made an outdoor gallery with artists

Designed ‘IHWAMARU’ space and created village garden for residetns

REGIONAL PLANNING

IHWAMARU PROJECT

36

IHWAMARU EXHIBITION By using exhibition modules, I planned two square exhibition space. Inner square space was used as a video exhibition space, and outer space was used to display artworks from the workshop and the pictures of the project.

EXHIBITION MODULE

VIDEO

WOOD BOARD INFORMATION

STEEL FRAME

PROJECT TIMELINE

PROJECT DATA, REFERENCE

WORKSHOP ARTWORKS

PROJECT INTRODUCTION

PROJECT VIDEO

EXHIBITION PLAN 23 Recycling modules, 7 Artworks, 53 Pictures

37

HWEHWA VILLAGE REGENERATION

MEMORY OF THE HOUSE FORMATIVE ARTWORK Arcylic, Steel bar, Objets from the site

Reinterpreted the disappeared house by overlaping the objects from the site.

C ARCHITECTURE + ‘ ? ’ Beyond the boundary vv ‘Forging a new role for architecture as an “autonomous coordinator”’

PROJECT 3. CLOUDBOMB PROJECT “PUBLIC ART PROJECT”

SEOUL STATION

PROJECT 2. FACTORY HOUSE “ARCHITECTURE + 3D PRINTER”

BUILDINGS` GARDEN

to s in

low

p

e, lac

ple

peo

Banned

ow n fl

rde

Ga

PROJECT 1. GARDEN FLOW

“ARCHITECTURE + LANDSCAPE ARCHITECTURE”

GARDEN FLOWS INTO LOW PLACE AND PEOPLE

GRAND PRIZE, NELKA 2013

(A Ministry of Land, Infrastructure prize)

National Exhibition of Korean Landscape Architecture 2013 Teamwork with Landscape Architecture students Minjung Jung Kyoungmin Kwon Miyoung Kim

“ARCHITECTURE + LANDSCAPE ARCHITECTURE”

What is a true open garden of our times?

Our open garden is a space that communicates and embraces neglected urban stories. Acting as the coordinator between the spatial aspect of buildings and the landscaping aspect, I was able to propose a new plan to address the internal spatial problems by introducing the concept of indoor vertical gardening. Finally, we proposed a true meaning open garden by substituting into the garden to share with citizens.

GARDEN AS A BOUNDARY

41

BEYOND THE BOUNDARY

CHOKBANGCHON, DOSSHOUSES In 1980s, backward regions were torn down and high-rise buildings started to boom under the name of urban development. The town became isolated by high-rise buildings and their gardens, and turned into alienated space of dosshouse for homeless people. All they could have was a small room of 2.5 x 2m and public toilet in the city.

2m

2.2m

Interior problems

3F, 30 Rooms, 30 People

Buildings` people

Boundary wall

Villagers

Deserted house

Dumping ground

43

BEYOND THE BOUNDARY

GARDEN FLOW The enclosed building garden’s GARDEN FLOW breaks into the architectural problems of dosshouse and creates open gardens here and there. These gardens present hopeful space for the people in the region and give an opportunity to communicate with the outside world.

GARDEN 1 1. Community garden 2. Building garden entrance 3. Gardener Education zone GARDEN 2 4. Open vegetable garden 5. Green Corridor GARDEN 3 6. Square garden 7. Open Square 8. Recyclable Garbage dump

ARCHITECTURE + LANDSCAPE ARCHITECTURE

GARDEN FLOW

44

GARDEN 1 By creating a garden space meaning of coexistence after demolishing the wall behind the dosshouse, villagers and citizens can communicate with each other by gardening together through ‘gardener training program’ and others.

45

BEYOND THE BOUNDARY

GARDEN 2 By utilizing the closed ruins in town and existing garden, we provide a large garden space which can be a meeting place for villagers; and, by revitalizing the inside alley of disconnected dosshouse, communication is easily made.

ARCHITECTURE + LANDSCAPE ARCHITECTURE

GARDEN FLOW

46

PROGRAM In the course of solving the problem for each specific area, we planned the activities that may occur in the three gardens; For example, we proposed gardening education for both villagers and buildings` citizens in “Garden 1”. And then, for the villagers, we suggested “Garden 2”, a vegetable garden that could be used by all villagers.

GARDEN 1

47

BEYOND THE BOUNDARY

GARDEN 2

GARDEN 3ã…Ž

ARCHITECTURE + LANDSCAPE ARCHITECTURE

GARDEN FLOW

48

FACTORY HOUSE

GRAND PRIZE, JUNGLIM AWARD 2014 Junglim architecture awards for students 2014 Teamwork with Son Jihun (Architecture student) Bae Jongho (Client, a Technician)

“ARCHITECTURE + 3D PRINTER”

Personal manufacturing factories in Seoul are disappearing due to the Seoul Redevelopment policy. For Bae Jongho, one of technician who has his factory in Seoul, I imagined how 3D printer can transform disappearing personal factories in the Euljiro district in near-future Mobile-customization era through a variety of analysis and observation of Bae Jongho.

JONGHO BAE`S MANUFACTURING FACTORY

49

BEYOND THE BOUNDARY

PAST - NORMADIC LIFE

Bae Jongho came to Seoul in 1970 to become as a ‘Euljiro district’ technician, and moved from one factory to another continuously due to the life cycle of industry until he found his own factory, Bumjin manufacturing factory, in 1980s.

Bae Jongho came to Seoul in 1970 to become a technician

He frequently moved from one factory to another due to his life cycle of industry

ARCHITECTURE + 3D PRINTER

He found his own factory in 1980s

FACTORY HOUSE

50

PRESENT - DISAPPEARING FACTORY

2015

3

15M

Teamwork

Private work 18M 3

HIS FACTORY & MOTORCYCLE

Finishing work

He once had 3 workers and succeeded in his business. However, employees left the factory one by one because of decline in manufacturing business and redevelopment plans in the Euljiro district, and 30 years after that, he covers every production process in his factory.

7

51

BEYOND THE BOUNDARY

8

12

13

16

24M

24M

Snack with co-workers

52M

20M

Lunch with co-workers

6M 3

Reading news

4M 3

Have a Breakfast

3

3

3

58M3

17

20

Mobile system

3D printing system

FUTURE - MOBILE CUMSTOMIZATION By analyzing Bae Jongho‘s day-to-day behavior and spatial organization, we propose moving factory that is only for him. I came up with a thought of moving factory house; transforming space depending on urban context and manufacturing to meet customer’s needs anywhere and anytime using 3D printer.

Bed

Storage

Storage

Storage

Kiosk

Adjustable Closet

Living room

Worktable

Co-working table

Kitchen

Private working space

Restroom

PRIVATE LIVING SPACE

PRIVATE WORKING SPACE

CO-WORKING SPACE

Utilizing a private work, living space organization and furniture from his existing factory, we re-interpreted utility room, bedroom, bathroom and kitchen for residence.

I analyzed necessary furniture for personal work from the existing factory, and planed by re-interpreting personal working space when milling machine in replaced by a 3D printer.

Depending on size of factory house and events in accordance with urban context, furniture for his personal use is transformed to compose public working space for collaboration.

ARCHITECTURE + 3D PRINTER

FACTORY HOUSE

52

24M 3 PRIVATE FACTORY 3D stand

Making studio

Kitchen

Living room Restroom

When Bae Jongho’s factory house moves around the city or functions for personal living and work, the factory house will have minimal space (24M) and function as personal space exclusively for him.

3D printing table

AM 7:00

AM 9:00

LET`S START MY DAY !

56M 3 CO-WORKING FACTORY CO-WORKING WITH CITIZENS !

Co-working studio

The factory house can be expended up to 56M2 depending on urban context, and collaboration with different people, workshop, and exhibition can take place with expended space.

PM 3:00

3D printing table

PM 5:00

OPEN 3D MARKET

53

BEYOND THE BOUNDARY

BEFORE

Move

Have a breakfast

AFTER

Private work

Open factory

Have a lunch with Co-workers

Workshop

Snack with Co-workers

Close factory

Finishing work

Sleep

ARCHITECTURE + 3D PRINTER

FACTORY HOUSE

54

CLOUDBOMB PROJECT

PUBLIC ART PROJECT Collaborated with Fab Lab Seoul (MIT LAB)

Proposer, Director of this project Teamwork with Lee Kyungsuk (Architecture student) Lee Boyoung (Architecture student) Sol Bee (Culture critic) Hojung Tak(Culture critic) Yoo Jeemin (Visual artist) Lee Bin (DJ)

“3D PRINTER, MOBILE CUSTOMIZATION ”

Based on the “FACTORY HOUSE” project, I planned a public art project in order to find the possibility of 3D printer in the realm of mobile architecture. I actually proposed to Fab Lab Seoul the idea of 3D printing pavilion. And then I formed “Cloudbomb project Group” with six university students, who majored in architecture, art, and film.

In this project, I could learn the possibility to produce a new culture when architecture and 3D printer meet the public.

TEMPORARY PAVILION

DRAW NEEDS

3D PRINTING SYSTEM

SALE

EXHIBITION

55

BEYOND THE BOUNDARY

SITE 3. TTUKSUM HAN RIVER PARK PM 9:00 exhibition, sale

SPACE DIAGRAM We accumulated data of images drawn on the pavilion regularly, and printed out on the site by translating with 3D program.

Diagrams on the side show different space diagrams depending on various project times.

Site 1 7:00 PM

Site 1 8:00 PM

Site 1 9:00 PM

Site 1 10:00 PM

Site 2 7:00 PM

Site 2 8:00 PM

Site 2 9:00 PM

Site 2 10:00 PM

Site 3 7:00 PM

Site 3 8:00 PM

Site 3 9:00 PM

Site 3 10:00 PM

MOBILE SYSTEM To implement the pavilion moving in town, it was designed to fold its frames and to join together with the central core. This was planed to connect with cart or bicycle to move freely.

Connection Junction

57

BEYOND THE BOUNDARY

3D PRINTING PAVILION People drew pictures in the pavilion, installed along the street, listening to the DJ’s music and, by selling and exhibiting the picture produced by 3D printer, the possibility that anyone can be a designer as well as a producer was confirmed.

‘I’ MUSEUM

THE THEORY OF ARCHITECTURAL DESIGN, 2011 Prof. Inyoung Kwon Formative artwork, Personal work 30 X 30 X 30 (cm) Iron plate, Wooden stick, Polycarbonate Bolt, Nut, Bamboo, Stone, Soil

“WHERE IS MY SPACE IN METROPOLIS?”

In the class of The Theory of Architectural Design, I designed a museum of myself.

This project was a good chance to express the thinking about my space within the city. When I designed the museum, I tried to use real material such as iron plate, wood stick, poly carbonate, soil, bamboo without using glue. In this process, I could study the relationship between material properties and the function of space.

59

MY SPACE

CARTESIAN VOID

‘I’ MUSEUM

60

X

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SLANTED HOUSE ‘Slanted house’ space could play the role of the video room at the museum because the tilted internal space can make people to sit and lean on the floor naturally.

WALKING, SITTING, STANDING Every space in this museum was designed by considering my size. For instance, when I planned the entrance stair, I measured my shoulder width in order to decide the width of stair. Furthermore, I planned the height of the window of slanted house by measuring my sitting height.

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SLANTED HOUSE

18 g

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Wooden stick, Pebbles, PVC polycarbonate, R 2mm Bolt & Nut, Silicon

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MEMORIAL WALL

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R 2mm Bolt & Nut, 1.5t Iron plate, Cramp of metal, Light bulb

‘I’

CARTESIAN VOID

‘I’ MUSEUM

62

‘I’ STUDIO

INSTALLATION WORK STUDIO 6, 2014 Teamwork with Huh Kibum (my classmate) 3600 X 2400 X 2500 (mm) Fabric, Woodir In the beginning of every semester, we choose our tables by randomly selecting a number. Huh Kibum(my classmate) and I were eventually chosen to use these tables, and we proceed this project to turn this unwanted place into a good working space.

1800

1800 1000

Fabric

Fixed fabric

1000 1125

Light bulb

1700

Wood 2000

2000

Joint

Fixed wire

1200

Wire mesh boxes

Cable tie

1750

1800 Professor

63

MY SPACE

Taeseop Shin taesup88@naver.com