I have recently graduated with a master’s degree in Architecture from Louisiana Tech University in the US , having been awarded Project of the Year for my thesis. As a passionate and up-and-coming designer, I love architecture because it revolves around defining creative spaces that enhance people’s experience.
My character and design principles have been shaped by a unique journey. At the end of eighth grade, I relocated from South Korea with my parents, who were medical missionaries. Since then, I have lived in Australia and the United Kingdom for two years, and then in Niger, West Africa, where I completed my high school education. Throughout my adolescence, I immersed myself in various cultures, learning to adapt and understand each region’s worldview and way of life. This ability to embrace and understand diverse cultures has sharpened my flexible thinking, becoming a significant asset in my architectural design approach.
Prior to transferring to Louisiana Tech University, I pursued pre-med for two years, after which I joined the Air Force in the Republic of Korea to fulfill my mandatory service. During this period, I encountered individuals from diverse fields, igniting my interest in architecture. I view architecture as a medium capable of genuinely enhancing people’s daily lives, benefiting both the community and broader humanity. While once I aspired to aid individuals in Africa or other developing regions through medicine like my father, my ambition has evolved. Now, I still dream of improving people’s life quality but with a different tool called architecture.
01. COASTAL CANVAS 04-15
02. GREEN LIGHTHOUSE 16-27
03. URBAN OPAL 28-39
04. STRATA RESEARCH CENTER 40-49
This PDF features an extraction of the four projects from the full portfolio, with some pages omitted.
For a complete experience of the original portfolio, please contact me via email.
CONTACT
archjeung@gmail.com
COASTAL CANVAS
Louisiana Tech University / 4th Year
Partner Project [Nolan Courville] / Spring 2023
Critic: Dr. De Paola
Located on the steep coast of Australia near the Great Barrier Reef, the Coastal Canvas serves as a hub for coral reef restoration, research, and art. The building’s expressive steel structure is designed to coexist with and promote the growth of coral reefs. It is a testament to the harmonious relationship between steel and nature.
The slope of the site is not ideal for coral growth, this allows the building’s construction to avoid damage to existing reefs. Instead, it provides additional habitat for coral once the rebar sculptures created by local artists are installed. The building’s cantilevered design over the ocean minimizes its contact with the water, reducing any potential impact on the marine environment. Inside the building, artists are invited to stay and work on their coral-inspired creations while researchers and visitors can come and experience the beauty of the coral reef ecosystem up close through scuba diving or snorkeling.
The building’s focus on art and science creates a unique space for people to connect with nature and understand the importance of preserving it. The steel rebar used in the sculptures acts as a durable material for the artwork, and it promotes the growth of coral. Research has shown that the rough surface of the rebar provides an ideal substrate for coral larvae to attach and grow, leading to up to five times faster growth rates than traditional methods. The building’s use of steel as a symbiotic material with coral emphasizes the need for sustainable design and the importance of protecting our marine habitats.
This building represents the harmony between steel and nature, showcasing the potential for innovative design to contribute to environmental conservation. Through its focus on art, science, and coral reef restoration, the building serves as a hub for education and inspiration for future generations.
Juror Comments
Coastal Canvas is a top winning design using concise and engaging drawings. The students presented a beautiful story of the project with the board design. The level of sophistication and clarity in the diagrams and sections shows care and attention to detail. The incorporation and time spent creating a physical model elevates the design.
RESEARCH & DESIGN PROCESS
Characteristics of Coral Reefs
01. Program
+ Rebar Art
Reef Restoration + Art
The building has a distinctive objective of achieving harmony among three elements: Reef restoration, Rebar artistry, and Scuba diving.
02. Elevate
Minimize Direct Contact with Ocean
Coral reefs are closer to the collection of animals rather than a plant. Individual creature of coral reef is called “Polyp,” and they live on hard and rocky surface. Polyps use a substance in the ocean called calcium carbonates (also known as limestone) to deposit on the surface, creating a tree root-like system to store the resources while allowing their tentacles to protrude out and collect microscopic food floating around the ocean.
[Design 01]
In order to enhance their chance of survivability, polyps learned how to link up their bodies to different polyps through a tissue called Coenosarc. The connections at their lower base not only offered them structural stability but also facilitated the sharing of nutrients for survival. The structural and survival strategies of polyps served as inspiration for the project, applying natural wisdom to the building design approach. In this design, the bottoms of the buildings are interconnected through concrete, while the steel structures extend upward above the ocean, resembling coral
[Polyp] branches. [Design 01]
However, given the nature of the steel competition, the initial design leaned heavily toward concrete, which posed a higher risk of environmental damage during construction. As a result, we relocated the building closer to the shore rather than placing it inside the water. The building programs were either cantilevered in the air or gently touched the water, celebrating the steel structure while respecting the ocean’s ecosystem.
The building minimizes its contact with the ocean in order to respect and preserve the natural environment.
Crane Respect Ocean
The monorail crane is installed underneath the cantilever, enabling the transportation of rebar artwork from the workshop to the underwater gallery in the ocean.
Scuba
03. Shards
Celebrate Supporting Structure of the Building
04. Perforated Skin
Provide Shade Emphasizing Structure and Cantilever
Coral Bleaching
Coral reefs also formed a symbiotic relationship with algae called [Zooxanthellae], where the algae use photosynthesis to produce sugar and oxygen for coral reefs. Coral reefs return the favor by giving carbon dioxide. Coral reefs receive most of their nutrient from this algae symbiotic system up to 90%, which also makes coral reefs colorful. When coral reefs experience conditions unsuitable for their algae cultivation, they will expel algae from the body. When algae leave, coral reefs lose their color, and this effect is called [Coral bleach]. This is a defensive mechanism of coral reefs where they turn into a dormant state to save their energy and wait till their optimal condition comeback for algae cultivation.
[Bleaching Process]
The research discovered that exposed rebar with concrete creates an optimal environment for their symbiotic relationship, significantly boosting their growth rate up to four times faster. Given that coral reefs thrive at depths of approximately 5m to 30m in the ocean, the concept of Coastal Canvas was born—a building designed to allow rebar artists to paint the ocean with vibrant colors once again.
FORE REEF ZONE
Rust resistant steel, which contains a high percentage of chromium and nickel, is used for primary structure and space truss to prevent oxidation caused by salt air.
Reduce Heat Gain
The space truss provides separation between the skin and the primary structure. This design creates a necessary ventilated space between the structure and ultimately reduces heat absorption, leading to a cooler interior space.
Rust Resistant Soft Light
The perforated panels effectively block harsh sunlight, protecting those inside from UV rays. By adjusting the size of the perforations, the light is softened and gently guides people towards the viewport as they walk.
Off Zone High Wave Energy Drop Off Zone
A.
Panels - Space Frame Tongue and Groove
The panels for the skin slide together with a tongue and groove system. A series of bolts attaches the panels to the space frame.
B.
Space Frame - Truss Mounting Brackets
The space frame is attached to a plate using mounting brackets. This plate is then secured to the primary truss.
C.
Truss - Girder + Joists Bolted Seat Connection
The floor joists rest on a girder which is attached to the primary truss using a stiffened, bolted seat connection.
W-3
W-2
G.
H. Exploded V-Column North Shard + Workshop Catwalk
D. E.
F.
Top Chord
60’ Open Web Joist
Composite Steel
Vertical H-Profile Holding Catwalk
Corrosion Resistant HSS Steel
Space Frame For Skin
Perforated Metal Skin
Concrete Foundation
Steel Rebar For Coral Growth
Exposed Rebar
I. Foundation
The building’s concrete foundation adds weight and stability which counterbalances the weight of the cantilever.
M-2
F-2
F-1 M-4
M-3
D. Vertical X-Bracing
E. Tension Cables
F. Horizontal X-Bracing
Floor plans on the left show the collection program of reef research, education, and artist accommodation spaces. Artist workshops are placed under the building on the ground floor, and the exhibition area is tucked under the ground facing the ocean, allowing visitors to see under the water, showing the collection of harmony of rebar and reefs.
Space For Scuba Diver, Rebar Artist and Reef Research
Floorplan (Left) + Perspective Render(Above)
STRUCTURAL ANALYSIS
When the load is evenly applied throughout the cantilever, the amount of load exerted on the cantilever increases proportionally with the distance from the support center. In order to alleviate the strain on the cantilever, weightdemanding programs are strategically stacked closer to the building’s support. The building incorporates voids and ample double-height spaces, enabling the cantilever to extend beyond its regular limits, resulting in a visually captivating and dramatic effect.
GREEN LIGHTHOUSE
Louisiana Tech University / 4th Year
Individual Project /Winter 2023
Critic: Kevin Singh
The main goal of this project is to “Change Salt Lake City together.” The building’s concept revolves around dedicating a significant portion of the research space to the public, providing passive education, and exposing sustainable strategies. While the direct impact of a single building may be limited, if this building can inspire social awareness and change in people’s thinking, it can make a significant contribution to restoring nature and the ecosystem in Salt Lake City.
This project was submitted for ACSA Cote TOP 10, which emphasizes the following aspects: integration,economy, resources, community, wellbeing, energy, discovery, ecosystem, change, and water. The objective of this building is to minimize material consumption and instead “borrow” from nature. With a significant portion of the building constructed from timber, any damaged components can be easily replaced, ensuring the
maintenance of the structure. Even in the eventual deterioration of the building, all materials, except for a small amount of concrete used for the foundation, are recyclable. The construction timbers’ leftover materials are re-purposed to create shaded areas for the public, effectively reducing waste. Additionally, the building incorporates a rainwater collection system that is prominently showcased, exemplifying sustainable strategies to the public.
While the influence of an individual building on society may be limited, if the building can inspire a shift in social awareness and perspectives, it can significantly contribute to the restoration of nature and the ecosystem in Salt Lake City. The Green Lighthouse envisions that the impact on Salt Lake City’s environment will be driven not only by the building itself but also by the people who pass by.
Juror Comments
“Green Lighthouse exposes sustainable design strategies to the public by inviting them into a building working on healthy living in the downtown core. The quality of the diagrams and the amount of information that is communicated on the boards is impressive. Overall, a thoughtprovoking and comprehensive project that hits all the environmental marks.”
SITE & DESIGN PROCESS
Project Site
Dominion Energy Utah
Utah Division of Professional Licensing
Offices
Placement
Lab Connecting Office and Public Space
Recycle: Wood
Accessibility
Trail + Bus +Bike
18.57 Inch Per Year = -34,500 sf2 Maximum 400,000 Gallon/Year Use Leftover Wood As Mosaic Art For Public
Air Recycle: Water
Maximize Daylight Intake
Building Materials(Left) / Water Cycle Diagram (Right)
Design for Resources
Green Lighthouse minimizes waste, optimizes costs, and promotes material recycling. It uses timber construction with minimal concrete, incorporating fly ash to sequester carbon. Terracotta and a louver system protect the wood, requiring low maintenance. Steel columns and fenestration ensure stability for suspended wood art. The auditorium exterior uses recyclable translucent fiber. The focus is on selecting recyclable materials, reflecting the concept of borrowing from nature and emphasizing sustainability.
Passive Cooling Diagram (Above)
Design for Energy
Achieving net-zero energy in a multi-floor building with limited space is challenging. Consequently, the available space had to be divided based on user priorities. The building was strategically oriented to maximize the intake of indirect daylight, reducing the need for artificial lighting. To enhance passive cooling ability, large atrium were incorporated to facilitate the flow of hot air out, while the first-floor features folding doors to enable the entry of cold air. Vertical louvers were strategically installed on the east and west sides, while horizontal louvers were positioned on the south side of the building.
URBAN OPAL
Louisiana Tech University / Master
Individual Project / Summer 2023 -Spring 2024
Critic: Damon Caldwell
Urban Opal is an ambitious project where a designer pursuing timeless and tranquil quality intersects with the timely program of fashion design. Instead of forcibly blending these two aspects, the project respects their differences by allowing them to coexist as contrasting forms in the project.
The base plinth embeds in the ground and rises from the landscape, providing exterior amenities and public-oriented programs such as the fashion runways, auditorium, and archival gallery. Clad in timeless limestone and concrete, this base form establishes a timeless foundation for the fashion institution.
Floating above the plinth is a contemporary glass volume, housing studios, classrooms, and fabrication facilities. This volume is enveloped by a faceted translucent drapery of perforated metal; a timely expression of change, challenge, and boldness. Carving up through the middle of the volume is a dramatic atrium ascending from plinth to sky. Within this, the community staircase serves as a
space that permeates both timeless and timely qualities, offering fashion design students insights into both timeless and timely aspects of design.
The four-quarter master’s project began with creating a personal manifesto without prior knowledge of the site and program. It required delivering detailed building drawings that meet the standards of the design development phase, emphasizing the practical aspects of architecture while staying true to one’s manifesto. This experience allowed me to integrate an architectural designer’s philosophy with the specific requirements of both the building program and the site. It also deepened my focus on the practical considerations essential for construction, enhancing my comprehension of spatial dynamics and detailed construction needs. Regular meetings with the project’s coordinator professor and consultants in facade, structure, and HVAC systems provided valuable firsthand insight into the collaborative nature of architecture.
Urban Opal was honored with the 2024 LTU Graduate School Project of the Year award.
PROJECT OF THE YEAR
MY MANIFESTO: TIMELESS+TIMELY
Before knowing the specifics of the building and its location, each graduate student had to write a manifesto on what makes a good building. This included specific quality of the building beyond green space, creating pleasant spaces for people, and ensuring sustainability and functionality which were considered as basic elements. From my undergraduate experience, I found joy in designing buildings that harmonize subtly and tranquility with the natural landscape. Therefore, my manifesto focused on “Timeless” quality, emphasizing intentional sequence, framing nature, embracing void, amplifying phenomena, being intricate yet effortless, and distinct among familiarities. Some people say minimalism is timeless. I believe minimalist buildings are the easiest to appear timeless, but not all timeless buildings are minimalist. I thought my manifesto elements provided timeless value to space and aimed to create a timeless building, even if it wasn’t minimalist. While writing this manifesto, I hoped to design libraries, spiritual spaces, and museums incorporating nature. However, the site turned out to be on the outskirts of downtown Houston with no natural surroundings, and our assigned program was a fashion design building.
The images on the left shows my Wunderkammer, meaning “room of wonder”, which we were required to craft to represent my manifesto. Designing an object that embodies my manifesto’s six elements— intricate, subtle, and timeless—felt like solving a puzzle. This reminded me of the German classic puzzle “Der Teufelsknoten” (Devil’s Knot) I played as a child. Its intricate pieces must be assembled in a precise sequence to appear effortless once complete. It perfectly captured my manifesto’s spirit, so I dedicated each puzzle piece to one element of my manifesto and customized it accordingly. For example, the “Intentional Sequence” piece (Grey Piece) is the first piece, with a drawing that shows the order in which the other pieces fit together.
The concept of my building is derived from my manifesto object, as shown in the image on the left. Once I discovered that our assigned program was a fashion design school, I attempted to merge a timely program into a timeless suitcase. However, forcing two conflicting personalities to harmonize was contradictory. One day, while disassembling and stacking my manifesto object, I realized that instead of mixing these opposing tendencies, their juxtaposition allowed them to respect and contrast, making each character more appreciable. The concept became timely atop timeless, connected with a void.
A Void that Connects Timely and Timeless Spaces
DESIGN PROCESS STRUCTURE
TIMELY
TIMELESS Start with a concept
using an oculus void, but the oculus design was overly invading the campus quad, so I compromised with a sunken plaza
Initially, I wanted a simpler top to represent the timely and modern aspects, while the bottom part would be more expressive to celebrate the timeless elements central to my manifesto. The base of the building adapted its shape according to the site context.
Atrium where the fabric of the dress appears to be dripping.
“An exterior runway visible from both the sunken plaza and the interior of the building extends towards the waterfall feature, framing the natural scenery.”
I envisioned a design resembling white fabric draped over limestone. The translucent white screen encapsulating colorful student-designed clothing evoked the image of an opal, inspiring the project name “Urban Opal.”
METAL DECKING
[F3-F6]
CASTELLATED BEAM
[CB 40x145]
SUSPENSION COLUMN
[AISC HSS SQUARE 8x8x6.25]
TERTIARY BEAM
[AISC-W 18x50]
SECONDARY BEAM
[AISC-W 24x76]
PRIMARY BEAM
[AISC-W 27x84]
The aim was to invite students and the public into the void space that holds the main gallery. Initially, loop around the campus was designed, but it was modified due to various restrictions.
CONCRETE CORE
CORE COLUMN-STEEL
[AISC HSS SQUARE 14 x 14 x .625]
CORE COLUMN-CONCRETE
[24x24” CONCRETE COLUMN
RETAINING WALL
AUDITORIUM
LANDSCAPE+ CIRCULATION
COMPREHENSIVE DESIGN
00. Site Analysis+ Conceptual Design
The building, situated on the outskirts of downtown Houston, functions as a new face of campus facility. Positioned at the campus periphery, it acts as a gateway, linking current students with the public. The design concept, inspired by my manifesto responding to the nature of fashion design, features a white fabric draped on top of a limestone. The site analysis encompasses public traffic flow, sun study, climate, soil, vegetation assessment, adjacent building materials, socio-economic diversity, public transportation availability, pedestrian circulation patterns, and an average street speed study. This comprehensive approach provides a thorough understanding of the site’s context.
01. Structure
The building is primarily divided into two parts: Concrete structure from B1 to 2, and Steel structure from the 3rd to 6th floors. A cantilever extending southward is supported by a castellated beam and suspension column from the beam, while a central concrete core ensures overall structural balance. The structure system was consulted and approved by a structural engineer.
02. Envelope
Above the concrete base, the glass volume is wrapped in white perforated metal panels that embody the essence of fashion design: a timely expression of change, challenge, and boldness. This project collaborated with a facade consultant to thoroughly analyze and design the integration of the facade and facade frame with the floor slabs and curtain wall mullion frame.
03. RCP+Branching
The reflective ceiling plan for the ground floor and HVAC branching diagrams illustrate the consideration of various materials and ceiling heights corresponding to the hierarchy of each space. Light and sprinklers are also placed according to the space. With an HVAC engineer consultant, we used the HVAC CFM Calculator Program to estimate airflow requirements based on the program space. Airflow requirements vary: 0.5 cfm/sf for storage and circulation, 1 cfm/sf for offices and classrooms, and 2 cfm/sf for auditoriums. Ventilation calculations optimize vent dimensions for efficient ceiling space utilization.
04.Environmental Study
The project used the Rhino plug-in program [Climate Studio] to analyze daylight, radiation, glare, and energy study. After conducting radiation studies, adjustments to the model shape led to a significant 35.04% reduction in solar exposure, decreasing from 625 kWh/m² to 406 kWh/m² on average. The perforated metal screen also contributed to lowering from 24.3% Annual Solar Exposure (ASE) to 9.1% ASE, while maintaining a daylight autonomy (sDA) level from 62.5% to 53.9% sDA with 1228 average lux.
05.Code and Life Safety
[Occupancy Road-IBC 2021 Table 1004.5] , [ADA Accessibility], [Fire Exist],[Egress and Fire Stairs],[Path Limit],[Auditorium Seating],[Ramp],[System Space-Telecom, Custodial, Electrical], [Water Drainage] and [Smoke Curtain]. These factors were considered during the design process and implemented in the drawings.
06.FloorPlan, Section, Elevation
Seven floorplans, four elevations, three sections were drafted, and two wall sections were drafted along with a site plan and a roof plan at the design development level. The site plan in the original package was drawn at scales of 1/32”=1’ and 1/16”=1’-0”. Having a wall section drawing at a scale of 3/4”=1’-0” enables both facade and structural consultants to collaborate on the building’s tectonic details.
07.Landscape
The redesign of the approximately 74,000 sf campus quad was undertaken in response to the construction of a new building. The original quad followed a radial grid pattern centered around an obelisk, respecting historical streets leading downtown. The new landscape design aimed to create a more pedestrian-friendly environment with increased shading, seating areas, and paths reorganized based on traffic flow and building relationships. This transformation changed the rigid radial grid plaza into an organic, campus-friendly space integrating seating areas, a water fountain, sunken garden, and plaza, while maintaining the landscape’s historical hierarchy and narrative.
URBAN OPAL
CENTER FOR FASHION EXCELLENCE
DESCRIPTION
The reflective ceiling plan for the ground floor and HVAC branching diagrams illustrate the consideration of various materials and ceiling heights corresponding to the hierarchy of each space. Light and sprinklers are also placed according to the space. The drawing also reflects different airflow requirements based on the function of each area. Specifically, ventilation calculations allotted 0.5 cfm/sf for low occupancy spaces like storage and circulation areas, 1 cfm/sf for standard spaces such as offices and classrooms, and 2 cfm/sf for high-density occupancy spaces like auditoriums and runways. The branching calculations provided vent dimensions to optimize ceiling space utilization. Notably, the diagram does not depict the return air configuration.
ANNOTATION
METAL MESH PANEL -A (BLACK)
METAL MESH PANEL -B (WHITE)
ARKTURA: DELTA DROP CEILING PANELS+LIGHTING
2’x 2’MARS HIGH-CAC ACOUSTICAL PANEL
2’x2’ STRATWOOD
LIGHTWEIGHT PACIFIC GREY MARBLE PANEL
STAGE LIGHT
2’x2’ RECESSED FLORESCENT LIGHT LINEAR FLORESCENT
TRACK LIGHT
DOUBLE SLIT VENT (TOP)
METAL BAFFLE GRILL DOUBLE SLIT VENT (SIDE)
VENEERED WOOD GRILL
ACOUSTICAL DRYWALL CEILING [ENSEMBLE]
EXTERIOR METAL LINEAR
SMOKE CURTAIN SPRINKLER CAN LIGHT
2’x2’VENT
USG METAL TONE ILLUSION 1 2
USG WOOD TONE ILLUSION
1’x2’VENT
ROUND VENT
INFORMATION
ISSUED
The images above depict the final scale model designed to be separable. Using the 3D printing technology from prior projects, this model minimally relied on glue. Instead, each part was secured within a groove akin to a lock and key method, with careful attention to neat processing where parts connect. Consequently, this scale model allows for easy attachment and detachment, enhancing a spatial understanding of through sections.
Scale Model
1.Split view
4. Facade test on a curtain wall
2.Model on the site
5. Model detached into three pieces
3. Section view 6. The facade detached from the main building
STRATA RESEARCH CENTER
Louisiana Tech University / 2nd Year
Individual Project / Spring 2021
Critic: Thomas Provost
North America contains many diverse and dynamic landscapes. New Mexico, in particular, possesses several stunning geographic rock formations that expose layers of ancient strata. Similar to the rings in tree trunks and the wrinkles on our elders’ faces, strata can tell a story to those who will stop and listen. These layers of stacked earth served as a record of the passing time and accumulated change. This archive collects a variety of strata and focuses on studying their history. Geologists and engineers study the properties of the samples and also analyze the patterns of cracks to discover what sound the strata might make when it breaks. Most of this strata collection is
on display and open to visitors. If they visit at the right time, they may even have the opportunity to participate in a lab test where researchers use compression machines to test various samples. The site of this project was a central part of New Mexico’s nature with no main roads or pedestrians. We received a rhino file with a steep slope topography. We were able to transform the given topography according to our project. Considering New Mexico’s geography and history, I decided to focus on the abandoned mine and built my building on top of it. New Mexico Strata Center will gather various strata from the abandoned mine and collect different strata around the states to do geological research.
“Every
line forms over time, carrying its own unique story, whether it is wrinkles on the skin or the ring of the tree. Strata hold their own story, too.“
Age of Lines (Above) / Design Process (Right)
From the wrinkles made in the caterpillar cocoon in at least a few weeks to the wrinkles that people get after decades, the repetition of the line often symbolizes the passage of time. In the same way, different strata represent different periods and have their own story. The adjacency diagram on left shows general relationships between programs and each program’s connection to the public.
& GALLERY SAMPLE
ARCHIVE
1000SF
1000SF
Classroom 1000SF
Manager Office 1 1000SF
Manager Office 2 500SF
5000SF Archive 5000SF
2500SF Restroom 1000SF
1000SF
Cafe +
4000SF
When visors arrived at the lower ground and took a turn, the archive provided a splendid view that the visitors were anticipating from the lobby., Offering them a different perspective on start. The presence of monumental strata tells people that they have their own story too. The crane on the center of the building is crucial both functionally and symbolically.
Building on Top of an Abandoned Mine
Architectural Marquette(Above) / Central System Diagram (Right)
CUSTOM MADE WINDOW
WINDOW FRAME
SUPPORTING FRAME
PORTABLE CRANE
ELEVATOR
W 14 350mm 23x19”
ROCK HOLDER ROCK
CRANE CONTROL BOX
Journalist Comment
...Jeung’s design for the New Mexico Strata Research Center on top of an abandoned mine unlocks the potential of the museum not just to tell the story of the site’s geological formations but to introduce views into those formations themselves... - The 2023 Metropolis Future 100
I Y . I .J I
01. COASTAL CANVAS 02. GREEN LIGHTHOUSE 03. URBAN OPAL
04. STRATA RESEARCH CENTER 05. MAD HATTER’S DWELLING 06. SONGDO WRITING MUSEUM
