YUKI TAKESHIMA PORTFOLIO
CURRICULUM VITAE CO N TA C T I N F O R M AT I O N YUKI TAKESHIMA 1 8 7 2 N C LY B O U R N A V E A P T 2 0 9 CHICAGO IL 60614 (773) 732 6072 takeshimayuki@gmail.com E D U C AT I O N
BACHELOR OF ARCHITECTURE 2008-2013 ILLINOIS INSTITUTE OF TECHNOLOGY COLLEGE OF ARCHITECTURE DEAN’S LIST FALL 2011 STUDY ABROAD SEMESTER SPRING 2012 CHARLES E. DANIEL CENTER FOR BUILDING RESEARCH AND URBAN STUDIES G E N O A , I TA LY
EXPERTISE
ARCHITECTURAL/GENERAL AutoCAD, Photoshop, Illustrator, InDesign, Premiere Pro, SketchUp, 3 dsMAX, Rhino, Vray, Microsoft Office, physical modelling in various media, hand sketching. LANGUAGES Fluent in Japanese, Korean and English
EXPERIENCE
site design group, ltd. PROJECT DESIGNER DECEMBER 2012 - PRESENT CHICAGO, IL Currently managing projects of various scales while working in collaboration on other project teams. Oversees intern work, mainly in terms of graphics. Has experience with all stages of project from schematic design to construction documents and construction administration. Large involvement with company’s graphic standards development. Mainly in charge of all competitions related efforts. Project Types: Public parks and playgrounds, residential / commercial public amenities, civic / institutional public spaces / international competitions CHO SAMUSO ARCHITECTURAL INTERN SUMMER 2009 SEOUL, SOUTH KOREA Internship performing database management, case study research/translation and physical modelling. Project Types:
Museums, public recreational facilities, research
EVERGREEN OUTDOORS CENTRE A D M I N I ST R AT I O N STA F F WINTER/SPRING 2008 H A KU B A , J A PA N Worked as receptionist, office clerk and administrator in charge of scheduling and salaries, using Japanese, English, Korean and French for international clients.
I N S T A L L AT I O N
GREETINGS FROM BUBBLE BEACH WINNIPEG WARMING HUT COMPETITION 2017 - WINNER S I T E D E S I G N G R O U P, LT D . The Winnipeg Warming Hut competition is an international design competition held each year where the winning design are realized on the frozen Red River trail of the Forks in Winnipeg, Manitoba, Canada. The competition aims to engage the public outdoors during the coldest months of the year. All entries are a collaboration between architects and artists and previous winners straddle between art installations and “warming” huts. Hailing from Chicago, the home of the “Polar Vortex”, we approached the project by first relating to Winnipeg, the second most isolated city in the world - losing out to Perth, Australia which incidently my home town. As fellow snow-dwellers, we were inspired to bring to frozen Winnipeg what would be missed most in the depths of winter; a sunny, tropical beach getaway. Further inspired by kitschy vacation memorabilia, we designed a giant inhabitable “snow globe” that was inverted so that the snow was on the outside and while the beach was inside, thus the name Bubble Beach. Bubble Beach is furnished with a tall fake palm tree, complete with fake coconuts, deck chairs, a smattering of plastic flamingoes and large pink and yellow polycarbonate sails that filter the cold winter sunlight to a warm tropical glow. The graphic boards for Bubble Beach also took cues from the “beach vacation” concept, drawing upon vintage travel posters, vacation advertisements and destination postcards, portraying Bubble Beach as a place where you can escape into an illusion of being at some tropical location far, far away. After it’s completion in February 2017, Bubble Beach has attracted many skaters and visitors along the frozen Red River trail, and will be brought out onto the river every winter as long as the installation lasts. Bubble Beach was the first competition won by site design group, ltd.
2017 A ONE-NIGHT STAND FOR ART & ARCHITECTURE: LAST CALL DON’T MIND THE ROCK competition entry: chosen and built May 2017 “A one night stand they called it. The motel rooms were filled with all types of things: what had once been lifeless now overflowed with a sense of urgency, and what had once been vulgar became even more so. As the night wore on so were we transfigured by the mere passing of time and the status of the motel was transformed from its previous state as rest-stop and instead became a place of wonderful unrest. It was at once magical and obscene— no decent thing happens past bedtime.” This is not just about motels, it is about all of America. The recession of the motel as the American place of comfort speaks directly to the socio-economical transitions happening in the country in the past 50 years. The disappearance of this building type is caused by the disappearance of the American middle class. The motel used to be where the non privileged American could comfortably rest in their travels and enjoy refreshing pools in the summer while exploring the vast cross-country highway. Now it is a place with no audience and no ability to continue in its former glorious form. Like a manifestation of absence, this solid black mass emphasizes the disappearance of one of America’s greatest architectural typologies: the motel. The mass directs the attention away from itself and onto the context of this room. A place that used to be about familiar comfort is now a place for discomfort. In turn, the motel itself is not the real issue for its decline, but rather the context it exists in. The Rock was built and installed in Los Angeles over a one-week period, to culminate in a one-nightonly exhibition held at the Royal Vikings Motel in the West Lake neighborhood. It dominated the room it inhabited, forcing viewers to acknolwedge it as it squeezed them against walls and other typical motel furnishings. Upon completion of One-Night Stand L.A., the Rock was acquired by a local architect / art-enthusiast as a part of their private sculpture collection.
2017 A ONE-NIGHT STAND FOR ART & ARCHITECTURE: LAST CALL AICHMOPHOBIA alternate competition entry submitted January 2017 “A one night stand they called it. The motel rooms were filled with all types of things: what had once been lifeless now overflowed with a sense of urgency, and what had once been vulgar became even more so. As the night wore on so were we transfigured by the mere passing of time and the status of the motel was transformed from its previous state as rest-stop and instead became a place of wonderful unrest. It was at once magical and obscene— no decent thing happens past bedtime.” A motel room is uncomfortable; the outdated interior, the yellowing bathroom, the experience of driving right up to the door. This proposal intends to amplify and augment this uncomfortableness by creating tension and a heightened awareness. In exploring elements and effects that exaggerates awareness and perception, the concept of fear and phobia was introduced. Aichmophobia - an extreme and irrational fear of sharp things such as pencils, knifes and needles. Aichmophobia explores fear; how fear transforms one’s perception of any environment and distorts it irrationally for the phobic. A motel room is just a room but fear is irrational. Fear transforms the banal into the fantastic. Those with fear become painfully aware of that which they fear. By introducing an array of needles that descend to hover over the objects in the ordinary room - the bed, the side tables, the armchair, the carpet - Aichmophobia creates a nervous tension that even those without an irrational fear of sharp objects would tangibly feel. The details of the otherwise inconspicuous motel room is now painstakingly articulated by the tips of needles.
CHICAGO FLOWER AND GARDEN SHOW B I R D H A B I TATS O F T H E M I S S I S S I P P I F LY W A Y The Chicago Flower and Garden Show is an annual event held in Navy Pier in Chicago, exhibiting various plants and gardenscapes. For 2017, the producer of the show planned to go beyond gardenscapes, to curate exhibits and installations by landscape architects, to inspire and educate the public on various aspects of the garden in the context of landscape architecture. The team partnered with the National Audubon Society, a non-profit organization dedicated the conservation and restoration of natural ecosystems with a focus on birds. Naturally the design process began with an in-depth research on birds of North America, with a particular focus on the Mississippi Flyway, as this was the one of four flyways of North America that passed through Chicago. Following the research on endangered bird species and climate endangered habitats, the design direction was set to focus on the major habitats of the Mississippi Flyway; the marshes of Louisiana, the deciduous forest, mid-western prairie land through to the rocky tundra of the North. The concept is to mimic the experience of a bird during the fall migration, travelling from North to South, at the their viewpoint to create a highly immersive experience. This was achieved by raising or lowering the landscape relative to the exhibit path. The exhibit will inform the public as to the larger context of bird migration and also how they can aid in the process by creating micro-stopover habitats within their own garden space by appropriating critical native plant species. The project is currently on track to be realized for the Chicago Flower and Garden Show 2018.
CHICAGO FLOWER AND GARDEN SHOW 2017
T a s t o v
T v la le v
T v la f -
T t q la r TUNDRA
PRAIRIE
IMMERSIVE EXPERIENCE
WOODLAND
MARSH
2018 ICE HOTEL JUKKASJĂ„RVI - ART SUITE #28 EYE OF THE STORM competition entry submitted May 2017 Eye of the Storm explores the animate nature of snow and ice as frozen in space. The gusts and flurries are crystallized and static, so that you can experience the tempest within a moment of calm. Unlike the traditional process of removal and carving of ice The Eye of the Storm proposes an additive method of building out the volume of the interior. The space is formed similar to the way snow accumulates outside. It gains volume and expression through the process of aggregation and layering. The different spaces within the room are formed by sculpted waves, each space enveloped in layers of snow and ice that swirl around the space. The spiraling form modulates the space into different zones according to their use while the translucent material qualities of ice maintains their mutual presence. The waves remind the visitor of the materiality of the environment, juxtapositioning the static nature of the ice with that which it was born from - a storm. This organic formation celebrates the atmospheric properties of ice to form a sublime lodging space. Through a series of material samples we used and developed the adhering properties of ice to create an organic ice form. The base ice form was sculpted first then crushed ice and water was sprayed onto the surface. This process proved that the subtle difference in temperature made the ice particles adhere to the surface, giving the form of a crystallized drift of ice. This subtle textural and volumetric effect enriches the surface of the ice by bringing out its natural organic forms. Additionally the material maintains its translucent properties that vary through layering and form. The resulting form is merely guided by the designer but fully sculpted by ice itself.
Sitting Space
Sleeping Space
Storm Walls
Outer Snow Walls
Entrance
S P E C U L AT I V E
CONCRETE(STEEL) A N E X P LO R AT I O N O F AT M O S P H E R E A N D I D E N T I TY T H R O U G H T H E ST U DY O F M AT E R I A L C H A N G E S . ADVANCED STUDIO FALL 2012 INSTRUCTOR: JOHN RONAN Atmosphere is the experience of an object or space that is a combination of the viewer’s immediate perception and their associated memories and experiences. The atmosphere is identified by shifting between these two reactive perceptions; the sensory information that the viewer receives and the drawing upon of the viewer’s existing knowledge base. The synthesis of these preceptive tracts is explored as a process of defining identity in this project. With a gradual change in space, both in spatial conditions and materiality, the viewer must constantly re-interpret the space they are in, redefining the space at every turn. Concrete (Steel) is a helical path that begins as a grounded, heavy and solid corridor made entirely of concrete that evolves ultimately to a transparent steel woven cage in mid-air. During this transition, the steel reinforcements in the concrete, first only visible through the rust staining through the concrete, eventually rips through the surface, binds and increases in density until the path is created entirely out of steel. This gradual change is tracked by the viewer as through their dual-perception of the immediate and the past, the change is constantly matched against what was perceived just seconds before, allowing the two materials to be identified as a constant integral rather than two separate entities. Coming from a mixed cultural background, I was able to explore this notion of composite identity through this project. With a Korean mother and a Japanese father, I have always felt the need to somehow synthesize the two cultural backgrounds and identify with both, to be perceived as both simultaneously by others. Experiencing this path allows the viewer to be aware now of the steel embedded within the concrete and the concrete whence the steel came from.
S O U T H G RA N T PA R K M A ST E R P L A N EXERCISES IN VISION Grant Park is a large public park space that contains many Chicago landmarks including Millennium Park, the Art Institute of Chicago and Museum Campus. South Grant Park is a portion of Grant Park that is located in the South Loop neighborhood of Chicago. Although South Grant Park draws huge transient crowds as it hosts many large-scale public events such as Lollapalooza, Taste of Chicago and the Chicago Jazz Festival, on a day-to-day basis, much of the park remains underutilized due to lack of programming, lack of access and lack of interest. The project’s aim was to inspire neighborhood community groups and local municipalities to envision what would be possible through large scale site interventions and portray what kind of dynamic life could be brought to the various areas of South Grant park. At completion, a set of ten atmospheric perspectives were created, each taking a portion of South Grant Park, and by implementing a specific change to the site, explored how the area could be activated. The implementation ranges from pushing a significant portion of Lake Shore Drive underground to site wide public art installations. Graphically, these ten visions were created so that together they portrayed a wide breadth of seasonal conditions and program. Elements of other successful public space projects around the world were collaged and appropriated in certain views as reference and for inspiration.
Wedding shoot at Roosevelt Gateway Intervention: Public art installation
Spring Blossom Festival at Buckingham Fountain Intervention: Lake Shore Drive Underground
Weekend Farmer’s Market on Columbus Drive Intervention: Shared streets condition
Tough Mudder Intervention: Covered Metra train tracks
Winter Skating Intervention: Artificial pond at Hutchinson
P R OJ E C T
SCHOOL FOR THE STUDY OF FASHION DESIGN FUNCTION = FORM VS FORM X FUNCTION ADVANCED STUDIO SPRING 2013 INSTRUCTOR: STEVEN BRUBAKER, HARRY MALLGRAVE Form follows function has long been the mantra of modernists, especially of the Miesian school, which I was readily exposed to in my five years of study at the Illinois Institute of Technology, College of Architecture. Within the uniquely material-driven curriculum, concepts of the core constructs of architecture were explored in a highly tangible state. In my last studio, there was a desire to explore that core mantra - form follows function as a rule - is it a method as inevitable as a formula or were conscious aesthetic and superficial choices part of the process which mean infinite variations were possible. The School for the Study of Fashion Design has identical programs on each of the studio floors, consisting of a studio space, display space, storage space and a garden. Each floor however is unique - with different organizations of program, a unique garden space, and differing connective relationships with the other studios. Through these differences, each programmatically identical studio is uniquely expressed, thus form may follow function but that form is arbitrary. In the pursuit of a “true� architecture where only the function is expressed, devoid of any superfluous gesture or ornamentation, it is possible to arrive at a solution and feel that it is the undeniably the correct choice, however architecture is a visual art form, one that might have to satisfy more function than other aesthetically-driven fields such as fashion or product design, but a highly subjective and visual art form nevertheless.
H O US E FO R M Y PA R E N TS DESIGNING THE LAST HOUSE OF THEIR LIVES Given the daunting task of designing my own parents’ last house, the process began with a re-examination of their lives - that of which I had intimate knowledge of but discovered that life between them had many unknowns to a daughter that had left home close to a decade ago. The site faces the Indian Ocean, with roughly 300 meters of natural dunescape between the lot and the beach. The program is rather simple - a house for my mother and father to live out the rest of their lives in peace. Prior to the design process, the concurrent day-to-day activities of my mother and father were diagrammed, including their ideal level of exposure to nature, whether it be garden or the ocean. After merging all concurrences by configuring them based on their relationship with nature, the program was mapped out in relation to each other. The crux of the house was inspired by the Min-ka and the Han-ok; traditional Japanese and Korean residences. While my Korean mother had memories of vising her grandmother’s Han-ok in the countryside, my Japanese father had grown up in a converted Min-ka in rural Toyama,Japan. Even though they had chosen to move to and live in Perth, Australia, far away from both of their homes, there was a nostalgic desire to incorporate some notions of their traditional dwellings into their last house. The courtyard and the wooden platforms that surround it are elements present in both typologies, albeit with subtleties unique to each, and were chosen as the elements to be incorporated into this house. This is the house where my parents’ plan to live out the rest of their lives. As such, the house is required to shift and adapt to their changes in lifestyle, eventual changes in mobility and level of comfort . In doing so, these changes must not sacrificing their day-to-day enjoyment of the garden and the ocean. The design for the house is ongoing.
UPPER FLOOR
GROUND FLOOR
SECTION
OBJECT
OBJECTS BY KA-SA C R E AT I N G N A I V E O BJ E CTS TO P O P U L AT E YO U R S U R R O U N D I N G S . Under the studio name “ka-sa” (phonetically “the home” in Romanian and “umbrella” in Japanese), unique, whimsical objects with varying degrees of functionality are created for those who want to surround themselves with curiosities. ka-sa was launched with Chicago based architect, Mircea Eni as an outlet for physical creation that we both found lacking in the practicing profession.
ROOSTY Created for the Year of the Fire Rooster, Roosty is a porcelain vase stone whose tail feathers can be arranged through flowers and other decorative plants of your choice through organically arranged openings on the figure. FINGERPRINT ESPRESSO Fingerprint Espresso is an espresso set consisting of a cup and saucer with imprints that evoke the ghostly hands that hold the objects. The subtle indentation of the fingerprints contrast with the unexpected mass of porcelain, the solidity of the material enhancing the delicate imprints. The cup holds exactly 1 fluid ounce of liquid which equals to one shot of espresso. ARCHES A playful celebration of archtiecture, Arches is both a container for your tools and light. This scaleless and porous volume carefully reveals the objects inside through it’s arched windows while offering a unique aesthetic through it’s mediated shadows.