Portfolio

PORTFOLIO

Yong Ju Leehttp://www.eboarch.com

2Yong Ju Lee

[email protected] E 83rd ST #LD, NY 10028

3CONTENTS

Dynamic Performance of NatureSoftShelf

Wallpaper: Network ParallelismOrnamental Connectivity

ThickeningTree Space

Icon: Cathedral Speciation Park 51

50 LispenardHolcom BuildingVertical Fluidity

Perception and ContemplationPhytobench

Archiving River ParanaExcavating the Future

Horizontal CityMetalytical Apparatuses

Pattern : ReduxCV

5 - 1921 - 3335 - 4345 - 49 51 - 6365 - 6971 - 8385 - 8991 - 9597-101103-107108-113114-117118-119120-121122-123124-127128-131132-133

5DYNAMIC PERFORMANCE OF NATUREWinner of a Commission for a Permanent Installation at The Leonardo, an Art, Science, and Technology Museumwith Brian Brush (as EB Office) Program: Media wallLocation: Salt Lake City, UtahCompletion: October, 2011

6Dynamic Performance of Nature is a permanent architectural media installation in the Leonardo Museum of Art, Science and Technology, located in Salt Lake City, Utah. Its composed of 176 unique recycled HDPE fins (diverting 3 tons of waste from landfills) embedded with 1,888 full-color RGB LEDs. DPoN engenders environmental perception in the museums visitors by communicating global environmental information through a dynamic and interactive interface embedded in the material of the wall. Its conceived upon the notion that sustainability for the 21st century should be crafted to evolve beyond conventional application of green techniques into something alive and integrated with the environment, conditioning the most sophisticated forms of creativity for the preservation of life. DPoN will invite curious inquisition as well as detached contemplation of the synthesis between light, material, space, and global environmental information.

9With DPoN weve injected static materials with live information to create a flowing picture of the world. Environmental sensors capture data from sources throughout the planet. As the sensors register changes in temperature, wind, seismicity, and other factors, the LEDs reflect these fluctuations with continuous spectral waves that represent minute shifts in the data feed from moment to moment. At 92 feet long and over 14 feet high, DPoN traverses the museums ground floor lobby, acting as a programmatic threshold between exhibit spaces. Not only limited to environmental data, we imagine DPoN evolving over time, acting as site for continued creative experimentation by designers in the visualization of information through material and architecture.

10

The color spectrum seen flowing through the wall reflects temperatures in the weather feed; the speed of color flow across the piece shows ac-tual wind speed; the direction of color flow indicates the direction of the wind with cardinal directions oriented to the sides of the wall. When an earthquake registers with the USGS, a distorted world map on the wall displays the earthquakes location the brighter the color and more fre-quent the lights flash, the stronger the quake. Visitors can interact with DPoN using Twitter to send messages to @LeoArtwall that either change the global weather feed or simply paint a wash of colors that dance and chase across the wall.

11

Google

USGS

LED CONTROLER

LOCAL SENSING

GLOBAL SENSING

SOLAR PANEL /POWER GENERATOR VISITOR

ENVIRONMENTAL PHENOMENON TRANSLATION PERCEPTION/INTERACTIONCOMPUTER PROCESSING

LED PATTERNSECTIONAL SURFACE

LED CABLESPERSONALINPUT

13

Concept rendering with fiber optics

14

DRILL POINT FOR BOLT FASTENING

CNC MILLED PLATE.ATTACH TO MIRRORED PLATE.FASTEN BY BOLT

LED. EMBEDDED IN PLATE

LED STRING. EMBEDDED IN PLATE

LED STRING. CONNECT TO LEADER CABLE ABOVE CEILING

SCORE LINE FOR CONNECTING BOLT AND ROD

CONNECTING BOLT AND ROD.CONNECT TO UNISTRUT ABOVE.EMBEDDED IN PLATE

SCORE LINE FOR LED AND STRING

INNER FACE OF PLATE

OUTER FACE OF PLATE

CNC MILLED PLATE.ATTACH TO MIRRORED PLATE.FASTEN BY BOLT

Cut file

LED location model

15Elevation

19

Data visualization designer : Noa Younse

Consulting engineer : Kyle Twitchell, Telyk Works

Lighting consultant : Ben Watson, Solus Inc.

Installation team : Haley Blanco, Thomas Candee, Shaun Salisbury, Florence Schmitt, Hayes Shair, Danny Thai

Photography courtesy of EB Office, The Leonardo, Peter Katz, and Noa Younse

21

SOFTSHELFPhillip Anzalone & Caterina Tiazzoldi Studio, Fall 2008Special Mention, Young and Design Competition forSalone Internazionale del Mobile, Milan 2009with Brian Brush Program: Parametric furniture

23

Softshelf is a bookshelf designed and fabricated by Yong Ju Lee and Brian Brush for the Columbia University pavilion at the 2009 Salone Del Mo-bile in Milan, Italy. As part of a series of pieces done for the Parametric Furniture Studio at the GSAPP led by professors Caterina Tiazzoldi and Philip Anzalone, Softshelf explores unique re-lationships between material, customization, fabrication, and parametric design.

Softshelf is inspired by the idea of creating a bookshelf that deforms the rational cellular grid in order to create a custom occupiable, differen-tiated, and soft space for the storage of books and other objects. It is fully customizable by manipulating five customer controls embedded in a parametric design system: overall size of the shelf, overall geometric effect of the shrink-ing and expanding of boxes, the strength of this geometric effect on the entire shelf system, the curvature shape of the shelf, and the stretched shape of the boxes. Softshelf takes advantage of the rigidity and fluidity of wood combined with the precision of CNC milling technology to create a monolithic and continuous form, stur-dy yet geometrically complex, and ultimately innovative.

Configuration 1

24

orn

orn

orn

s_A

c_R

p_T

n_D

array_Y

array_S

array_X

fallo

bubble

SOFTSHELFBRIAN BRUSH_YONG JU LEE

ANZALONE + TIAZZOLDI STUDIOGSAPP_COLUMBIA UNIVERSITY_FALL 2008

INPUT DEL CLIENTE CUSTOMER INPUTCOSA PUO IL CLIENTE DI CONTROLLO? WHAT CAN THE CLIENT CONTROL?

LOGICA PARAMETRICA PARAMETRIC LOGICCINQUE PARAMETRI DEL SISTEMA FIVE PARAMETERS OF THE SYSTEM

TECNICA DELLA COSTRUZIONE CONSTRUCTION TECHNIQUELEGNO LAMINATO E CONTORNO LAMINATED CONTOURED PLYWOOD

VARIAZIONE VARIATIONSOFTSHELF AD OCCUPARE OCCUPIABLE SOFTSHELF

SOFTSHELFSCHEMA PATTERN

e1

a4

c2

b2

c1

b3

a2

d1

a3 c3

e3

b1

e2

d3

c4

a1

d2

Internal Logic and geometric relationships

2.Pinch Number and LocationWhich Cells to Pinch and Scale to Produce Effect

1.Dimension & Extent of the ArraySize of Shelf Assembly by Height and Width of Space and Number of Shelves Desired

4.Profile CurveGive the Shelf a Sine Curve Profile for Stability More or Less Curved? What Portion of the Curve to Use?

5.Individual Shelf ProfilesThe Shape of the Shelf Node Extrusions in Different Combinations

3.Pinch InfluenceHow More or Less Influence the Pinched Cell has on Surrounding Cells

orn

orn

orn

s_A

c_R

p_T

n_D

array_Y

array_S

array_X

fallo

bubble

SOFTSHELFBRIAN BRUSH_YONG JU LEE

ANZALONE + TIAZZOLDI STUDIOGSAPP_COLUMBIA UNIVERSITY_FALL 2008

INPUT DEL CLIENTE CUSTOMER INPUTCOSA PUO IL CLIENTE DI CONTROLLO? WHAT CAN THE CLIENT CONTROL?

LOGICA PARAMETRICA PARAMETRIC LOGICCINQUE PARAMETRI DEL SISTEMA FIVE PARAMETERS OF THE SYSTEM

TECNICA DELLA COSTRUZIONE CONSTRUCTION TECHNIQUELEGNO LAMINATO E CONTORNO LAMINATED CONTOURED PLYWOOD

VARIAZIONE VARIATIONSOFTSHELF AD OCCUPARE OCCUPIABLE SOFTSHELF

SOFTSHELFSCHEMA PATTERN

e1

a4

c2

b2

c1

b3

a2

d1

a3 c3

e3

b1

e2

d3

c4

a1

d2

25

What can the client control?

1. Overall Size of the BookshelfHeight and Width of the Bookshelf can be Chosen to Fit a Particular Sized Space.

2. Overall Effect Client can Control the Shrinking and Expanding of Boxes that Produces the Overall Effect.

3. Strength of EffectClient can Control the Influence of the Effect on the Boxes of the Book-shelf.

4. Overall Shape of the BookshelfClient can Choose a Shape that is More or Less Curved.

5.Individual Box ShapeClient can Choose a Box that is More or Less Stretched.

Configuration 2

26

3

2

1

frontleft

top

SOFTSHELF

BRIAN BRUSH_YONG JU LEE

ANZALONE + TIAZZOLDI STUDIO

GSAPP_COLUMBIA UNIVERSITY_FALL 2008

INPUT DEL CLIENTE CUSTOMER INPUT

COSA PUO IL CLIENTE DI CONTROLLO? WHAT CAN THE CLIENT CONTROL?

LOGICA PARAMETRICA PARAMETRIC LOGIC

CINQUE PARAMETRI DEL SISTEMA FIVE PARAMETERS OF THE SYSTEM

TECNICA DELLA COSTRUZIONE CONSTRUCTION TECHNIQUE

LEGNO LAMINATO E CONTORNO LAMINATED CONTOURED PLYWOOD

VARIAZIONE VARIATION

SOFTSHELF AD OCCUPARE OCCUPIABLE SOFTSHELF

SOFTSHELF

SCHEMA PATTERN

e1

a4

c2

b2

c1

b3

a2

d1

a3 c3

e3

b1

e2

d3

c4

a1

d2

28

Fabrica ng technique study for fi lleted corner

Study models

Detail drawing for bending metal

29

Laminated sec on

30

Tooling paths for 17 components

35

WALLPAPER:NETWORK PARALLELISMMichael Bell Studio, Spring 2007Finalist, Tectonics 2007: International Student Design Competition Program: Bus terminalLocation: Queensboro Plaza, New York City

36

public entry zone public service zone check-in zone secure zone bus terminal service zone

VOCAL

PIANO1

PIANO2

PIANO3

ELEMENT1

SKIN/STRUCTURE

ROUTE FOR VISITORS

ROUTE FOR BUSES

SERVICE ROOM

GREEN/OPEN SPACE

ELEMENT2

ELEMENT3

ELEMENT4

wave form ofmusic for airports 2/1

phase1

phase2

phase3

program sequence

Negative program in space

After 9/11, the situation in the airport became similar to that in the jail. The surveillance and scanning process developed a more strict program sequence in space and time. It became unavoidable that visitors experi-ence a negative feeling in this space.

Shape of perception

The negative aspect in a certain space is dependent on the perception of the visitors. To measure the degree of perception, the pentagon shape is drawn from five lines corresponding to five variable factors in the program sequence. The pentagon trasforms relative to each moment in the program sequence and these pentagons, as sections, can be lofted in time. The space of perception that results changes according to the program sequence. The noticeable change of perception strengthens the negative aspects of the building. Making the shape of perception [purple shape in the loft diagram] consistent throughout the program sequence can reduce the negative aspects of the space.

Ambient music -Brian Eno

Brian Eno called his music Ambient Music. He explained his music as wall-paper. People know the existence of wallpaper but it is homogeneous in space and they dont usually notice it is there. Eno wanted his music to be sonic wallpaper. One of his pieces, Music for Airport 2/1, ist still played at LaGuardia Ariport, showing the strength of his his musics ambi-ent effect. This music keeps changing gradually but visitors in the airport cannot perceive its change. To them this music is homogeneous in time like wallpaper.

Homogeneous in time

To make his music homogeneous, he employs some musical elements, each of which has a different period. There is a main element [vocal in phase1] and other supporting elements [piano 1,2,3 in phase1]. Simpli-fying these [phase2], a pattern results with a new period of its own. By putting these elements together, he made it difficult for the listener to perceive the change in time. In the same way, any kind of architectural elements can be distributed with their own period [phase3]. By mixing them together [phase 4], space gains homogeneity within the program sequence and in time.

39

patternization

monocoque

Monocoque is the name of the car frame that encompasses body, skin, structure and space at the same time. Igloo is an example of the monocoque frame in architecture. Like the monocoque, all patterns are put together in one body.

Except for the programs dedicated to surveillance and scanning, within the sequence all elements can be patterns with their own periods.

Patternization

Monocoque


patternization

monocoque


Except for the programs dedicated to surveillance and scanning, within the sequence all elements can be patterns with their own periods.

40

Part model, 3D Printing

Section

41

Digital model

42

Elegance is the characteristic of being effec-tive, yet unusually simple. The proof of a mathematical theorem is considered to have mathematical elegance if it is surprisingly sim-ple yet effective and constructive; similarly, a computer program or algorithm is elegant if it uses a small amount of intuitive code to great effect. A truss is a physical manifestation of el-ements in a pattern. As the truss is the basic point of departure for this system, new surface is developed through re-arranging this pat-tern. By shifting some joints in only one direc-tion, changing the period, the entire structure can be changed to a different phase. To keep the joints in pin connection as in a truss, the joint part is designed to rotate easily but be fixable. After adjusting and securing the joint position, the surface is fabricated by determin-ing the length of the beams and the shape of the enclosing panels from the overall model. With simple and effective operability housed in each structural component, a material and spatial system with constructive variability is produced.

Transformation

43

joint detail Detail for 1:1 model

1:1 model

45

ORNAMENTAL CONNECTIVITY:FORM, FABRICATION, AND DATA ENVIRONMENTSIndependent Study, Spring 2009Advised by Phillip Anzalon and Sarah Williamswith Brian Brush and Leah Meisterlin

Program: Work station for GIS

46

Digital Model 2D Density Contour Map

The amorphous body of contemporary digital fabrication-related work, although experimental and progressive on many levels of architectonic and systematic production, is not often ventured from beginnings in an extant environmental condition. At the same time, much of the work in spatial analysis and visualization of data quantifying such environments does not extend into determinate three-dimensional space and form. Spatial data can be used for more than just description, argument, or visual narrative. It has the potential to generate form as a response to the questions raised by its analysis. Similarly, projects in digital fabrica-tion can encompass but also surpass physical descriptions of technique and geometry.

This project was conceived as an opportunity for two related but nar-rowly engaged techniques, geographic information systems analysis and digital fabrication, to be integrated in the production of architectural form and ornament through digital fabrication techniques and input from data environments. The assumption of such integration is that the result, rather than being a conceptual or otherwise generative idea that is real-ized through an accommodation of tool and technique to a projective end, would emerge from the combination of techniques, as a synthetic

investigation of the ability of disparate tools to inform design. As such, the project was consciously situated within the bourgeoning climate of real-time, information-driven, communicative and digitally founded ar-chitecture.

This project investigated wireless internet connectivity and router usage across Columbia Universitys Morningside campus, using a sampled da-taset of 270 router access points taken during the course of finals week (6-13 December 2008). The project had two primary goals. One was to design and fabricate a prototype architectural object that uses the en-vironmental datascape produced by this space of wireless connectivity as a geometrical infrastructure for design, but also to contribute to this space in a reciprocal, public, physical alteration. Another is the further contribution to this space through an innovative approach to interactive representation of the dataset, using GIS to both produce the datascape informing fabrication and represent this datascape four-dimensionally. Techniques of investigation included GIS analysis and data representa-tion, Flash animation with interactive components, parametric modeling, print-to-part modeling, and digital fabrication.

47

Final Model

Backside of Final Model

49

Study Model Rhino. Grasshopper Model

51

THICKENINGScott Marble & Keith Kaseman Studio, Fall 2007with Brian Brush

Program: Public housingLocation: W 225th Street near Marble Hill, New York City

52

subwaystation

highway

park

Buildings are always prototypes. Unlike other comparative objects (cars, airplanes, industrial products, furniture, ipods, etc), buildings are always unique. This is both an exhilarating and challenging reality; exhilarating in that as architects, we are always innovating, always designing some-thing new / challenging in that the development associated with rening an object through multiple prototypes that allow the actual object to be perfect is simply not how buildings are built but they are always experi-ments. Components of buildings, on the other hand can, and often are, developed through prototyping that assures a high degree of resolution and renement. The network of coordination associated with the assembly of components that comprise a building is where prototyping becomes logistically impractical. It is exactly this limit of (physical) prototyping that is addressed, and partially overcome, with recent design management software that creates virtual prototypes capable of coordinating entire buildings before they become actual. The design of Boeings 777 passen-ger jet was a benchmark for this type of virtual prototyping as it marked the rst time that a jet of this complexity was fully designed without a physical prototype. Over 10,000 engineers in 26 countries collectively worked on a single computer model that became the instructions for production. This also serves as a benchmark for architecture as this type of integrated design process is just beginning to emerge as the model for building production / prototyping. It also questions whether digital prototyping eectively eliminates the need for physical prototyping and if not (which seems to be the case with the recent resurgent interest in fabrication among architects) then what is the relationship between the two? There are important issues surrounding this development that will be central to our research into redening prototype for architecture.

Cluster prototype -Each cluster is composed of five units.

Site -negative space

53

subwaystation

highway

park

Prototype can be transformed by the site.

54

axis thread

triangle foldaxis thread

90 degree fold

60 degree fold

45 degree fold

triangle wedge

Concept model_thickening of space through component manipulation_rotate and shift about an axis

Study model

Tooling path for study model1.axis as organizing scaffold2.surface spatializing3.folding material4.inside/outside

55

type1

two type1one type2two type3

type2

unit clusterthree units

level 0ft

level 6ft

level 0ft

level 6ft

level 12ft

terrace

room

interconnected space(living/kitchen/bathroom)

type3

Unit cluster

56

Section

Cross section

57

UP

UP

living

living

living

bath

bath

bathkitchen

living bathkitchen

room

room

living bath room

TYPE 1_1

TYPE 1_2

TYPE 3_2

TYPE 3_1

TYPE 2

living

living

room room

livingroom room

terraceroom

terrace room

room

TYPE 1_1

TYPE 1_2

TYPE 2

DN

DN

DN

DN

UP

Plan by the unit types

Plan +6ft

Plan +18ft

58

UP

UP

living

living

living

bath

bath

bathkitchen

living bathkitchen

room

room

living bath room

TYPE 1_1

TYPE 1_2

TYPE 3_2

TYPE 3_1

TYPE 2

living

living

room room

livingroom room

terraceroom

terrace room

room

TYPE 1_1

TYPE 1_2

TYPE 2

DN

DN

DN

DN

UP

Plan with the structure

Plan +6ft

Plan +18ft

59

Interior viewStructure model

60

Thickening, as a concept, deals with the rela-tionship between surface and volume, the den-sication of space and a subsequent intercon-nection of program. With respect to housing, our design responds to a seeming lack of spatial and social connection in the tower in the park typology. Design intent focuses on creating mo-ments of shared experience and blending of programmatic environments across all scales.

Assembling process

61

Surface version of structure

62

Tooling path

Accumulation

Top

Elevation

63

Part model

65

TREE SPACEProject selection for New York City Department of Parks and Recreation Art in the Parks Temporary Outdoor Art Programwith Brian Brush (as EB Office) Program: Public pavillionLocation: Prospect Park, Brooklyn

66

Tree Space is an investigation of the ambiguous dialect between virtual and natural in art. Its a sculptural installation that figuratively looks like a tree by virtue of the compositional logic of the elements that construct it. Tree Space describes the character of a specific recursive method, the Lindenmayer System, which models growth and is characterized by tree-like or plant-like morphologies. Tree Space has branches that simulate growth and give it form, creating their own spatial field; a digital canopy under which one can stand, sit, or move freely. This form will be translated into a geometric and monolithic construction of solid material and light with embedded steel connections. Tree Space will literally be an open, occupiable tree with a dense canopy of computer-generated and digitally fabricated branches.

Day time view(material option1 : wood bar option)

Created as a 3-dimensional object using virtual techniques, Tree Space is based on natural phenomena and natural processes; a translation into the virtual of natural information to create art. Its an information age materialization of nature to create a different notion of designed urban natural space. Through the culturally embedded form-type of a tree, we hope to communicate the innovation of digital techniques in art and design using the symbolic perception of the public eye. Our goal is to invigorate interest in such work through a highly compelling, accessible, and exciting public art object that redefines the notion of designed urban natural space.

68

Night time view(material option2 : plastic tube with LED)

69

Model by rapid prototyping

71

ICON :CATHEDRAL SPECIATIONHernan Diaz Alonso Studio, Spring 2008

Program: CathedralLocation: Central Park, Across American Museum of Natural History, New York City

73

Cathedral has been an ICON. Before Renaissance, it had only relie-gious meaning. Gothic Cathedral was a representation of some sa-cred personage as christ or a saint or angel. After Renaissance, this meaning changed to cultural way. It bacame the object of great at-tention and devotion; an idol -like a pop icon. The meaning of Ca-thedral in these days is still close to the latter. However, this iconic aspect is sometimes understood as ignorance of he context. New Cathedral could show how these two dierent qualities (icon-context) meet and react each others.

Saturn Devouring his Son, Fransisco Goya, 1820 1823

75

Accumula on, Anima on sequence

76

Cluster_ver cal type

Cluster_horizontal type

77

East eleva on

79

Interior view

80

Horizontal cluster -Physical model, 3D prin ng

81

Maya model

82

Sec on

83

Interior view to bell tower

85

PARK 51Professional Work at Soma Architects, New York Program: Islamic Culture CenterLocation: New York City, New Yrok

86

View from street

87

Facade geometry studies

88

Interior view

89

Exoskeleton/Endoskeleton

91

50 LISPENARDProfessional Work at Soma Architects, New York

Program: Residential buildingLocation: New York City, NY

92

Aerial view

94

Ground fl oor 3rd fl oor

95

Penthouse lower level Penthouse upper level

97

HOLCOM BUILDINGProfessional Work at Soma Architects, New York

Program: Facade for office buildingLocation: Beirut, Lebanon

99

Perspective View : North East Side

100

Aluminum Panel : East Facade

Aluminum Panel : North Facade

103

CEILING

PERC

EPTION

FUNCTION

SPACE

FLOOR

Like many other space in New York City, height of Kennys bathroom is relavely stretched comparing to planar footage. To manipulate this out-proporon space and to achieve new spaal atmosphere, geometric contrast in vercal way (oor to ceiling) is suggested. By adding atypical geometry contrary to other common xtures and by matching their materials, user can experience vercal uidity between funcon and percepon, and visual and tangible.

VERTICAL FLUIDITYWith Jaryeon Seo (as EB Office)

Program: Bathroom interior

105

Like many other apartments in Manhattan, the height of this bathroom is relatively tall compared to the small footprint. To manipulate this disproportionate space and to achieve a new spatial atmosphere, geometric contrast across the vertical axis (floor to ceiling) is explored. By adding atypical geometry which contrasts the more rational common fixtures, and then matching their materials, the occupant can experience vertical fluidity between function and material perception; visuality and tangibility.

108

PERCEPTION AND CONTEMPLATIONEntry for Competition In Cyprus -Relax as Architects -Reinterpret with Brian Brush

Program: Contemplation of the historic objectsLocation: Salamis, a Greek ruin city on the eastern coast of Cyprus

110

Salamis is a Greek ruin city on the eastern coast of Cyprus. People come from all over the world to see the stone columns and brick walls of antiq-uity, preserved, petrified, and frozen in time. They come to witness that which was and will never be again; a prototype of the passage of time. For some, the contemplation of this passage is a marvelous mental rec-reation of the past; conjured images of Greek philosophs and Mediterra-nean Sea traders walking stone streets, the sound of bronze and ceramic clamoring in carts. For this visitor, the site of a historic ruin is like a virtual cultural tour, where the old is not simply old; its meaningful, evocative, and reminiscent. Reinterpreting contemplation is less about changing exactly what or how someone contemplates a historic object. Its more about creating something that gives reason to pause, to question, to tilt ones head to the side out of curiosity and ask why; its not to shock.

This project wraps the gymnasium at Salamis within a dense canopy of flowing, metal wires welded together to create a three-dimensional man-made

web. It takes inspiration from cob webs found in nature, a back yard, maybe even an attic, not only for a webs geometric interest, but also for the symbolic value cob webs possess culturally. In one moment the web intends to penetrate the petrified scene, dragging the frozen time of the past up to the dynamic time of the present in a material contrast of stone primitives and metallic meshes. In another, however, it pushes percep-tion of history; how can such a historic object be encrusted by something so new, something that, although new, is evocative of something that usually forms in places time (but not nature) has forgot?

Reinterpreting contemplation of the historic object is about creating cause for a change of perception that questions that assumption of his-tory. Contemplation is no longer of what the object represents or what information history has passed on to it, but rather its of what the object is, in and of itself in front of your eyes and within your hands.

112

strand ID xy-position xy-position length (cm)faceA faceB strand

12-e-317 (17,19) (24,14) 52

12-e-318 (19,24) (16,27) 49

12-e-319 (23,21) (12,06) 61

12-e-321 (38,13) (31,21) 56

12-e-320 (36,09) (41,17) 50

e-02

a

a-02

b

b-01

b

b-02

c

c-01

c

c-02

d

d-01

d

d-02

e

e-01

e

e-02

f

f-01

f

f-02

g

g-01

g

g-02

h

h-01

h

h-02

i

i-01

i

i-02

j

j-01

The Salamis Web is realizable by a combination of handicraft and com-putational construction administration. The entire web contains 24 web clusters. Each cluster is composed of welded metallic strands and is di-vided into cubic segments, anywhere from 10 to 30 in number, 45cm x 75cm x 45cm. Each cube is a three dimensional slice of the web cluster such that it contains a cross-sectional portion of all the metallic strands that pass through the particular cluster and that particular cube.

Cluster cube segment

Longitudinal section

Strand construction

The strands pass through the cube and intersect with two opposing cube faces. The two faces are subdivided by a Cartesian matrix that gives xy location data of where each strand intersects with the face. Therefore each strand of each cluster is associated with precise sectional informa-tion to be used in fabrication: strand ID, cluster #, cube segment #, faceA xy-position, faceB xy-position, strand length. All of this information is ex-tracted via script in the virtual model and is exported to an xml database to be used as a cut sheet or strand schedule. The strands are then assembled in a jig or box similar to the cube diagram and welded into position. Multiple cubes are then assembled and welded again to form the entire cluster.

113

strand ID xy-position xy-position length (cm)faceA faceB strand

12-e-317 (17,19) (24,14) 52

12-e-318 (19,24) (16,27) 49

12-e-319 (23,21) (12,06) 61

12-e-321 (38,13) (31,21) 56

12-e-320 (36,09) (41,17) 50

e-02

a

a-02

b

b-01

b

b-02

c

c-01

c

c-02

d

d-01

d

d-02

e

e-01

e

e-02

f

f-01

f

f-02

g

g-01

g

g-02

h

h-01

h

h-02

i

i-01

i

i-02

j

j-01

114

PHYTOBENCHHonorable Mention, Seoul Design Olympiad 2009 Competition2010 Metropolis Magazine Next Generation Competition NextGen Notablewith Brian Brush (as EB Office) Program: Public furniture

115

Bush Terminal Piers

Stage 2 Volunteer Plant Growth

Stage 1 Volunteer Seedling Establishment

Stage 3 Expansion and Phyto-remediation

Test: Bush Terminal Piers, New York

The City of New York is home to 259 sites which have been remediated or are being managed for future

remediation under one of the State of New York Department of Environmental Conservations remedial programs such as State Superfund,

Brownfield Cleanp, etc. One of these sites is Bush Terminal Piers, located along the Upper New York

Bay in Brooklyn near Brooklyns Sunset Park neighborhood. Historic landfilling operations at the

site resulted in the presence of hazardous substances in the soil, groundwater and sediments and in the

presence of landfill-related gasses beneath the landfill's surface.

Phytobench, with its seed-embedded composite lumber construction, can be deployed in multiple

locations along a system of pedestrian pathways to germinate the spread of volunteer plants throughout the polluted site. Avoiding expensive and potentially

harmful use of machinery excavation and chemical seeding mixtures Phytobench accomplishes

consilience by passively generating ecosystem, while actively merging the built and non-built, designed and

non-designed.

116

A bench that gives you a rest and helps the earth. We think outdoor seating should do more than look good and provide a place to sit. We think it can actually improve the environment its in too. Thats the idea behind Phytobench, a seating element that grows phyto-remediative plants capable of cleaning soil while simultaneously creating infrastructure for beautiful public space. Phytobench works by using a composite of various recycled materials embedded with plant seeds to grow plants that spread across a soil landscape. The plants Phytobench grows arent like most plants, theyre hyper-accumulators. They possess resistivity to toxicity in the soil caused by the presence of heavy metals, chemicals or pollutants from things like pesticides, and other industrial processes. Growing in the soil, they bio-accumulate pollutants or render them inert within the soil through chemical transformations. The plants can even be mined to re-purpose the chemicals they absorbed!

To initiate the process, we place Phyotbench on a site anywhere from a public park to an open brownfield, to a golf course, and even your own backyard or rooftop garden. A series of porous components allow rainfall and plantlife to penetrate the interstitial air space within the bench. On an array of teeth forming the bottom surfaces of the components, the replaceable seed-embedded composite is attached. During heavy rains, central channels at the heart of each component collect water The water is funneled down to the seed-embedded composite. Fed by water and the nutrients within the composite, seedlings germinate, the composite substrate eventually dissolves, the bench anchors in the soil, and the seedlings grow into volunteers that spread out and repair the surrounding soil. The beauty of Phytobench is that it can also be used to beautify any outdoor space through growing plants and flowers. So even if you dont have soil to repair, you can use Phytobench as a greener, more colorful alternative to typical outdoor seating.

117

Bush Terminal Piers

Stage 2 Volunteer Plant Growth

Stage 1 Volunteer Seedling Establishment

Stage 3 Expansion and Phyto-remediation

Test: Bush Terminal Piers, New York

The City of New York is home to 259 sites which have been remediated or are being managed for future

remediation under one of the State of New York Department of Environmental Conservations remedial programs such as State Superfund,

Brownfield Cleanp, etc. One of these sites is Bush Terminal Piers, located along the Upper New York

Bay in Brooklyn near Brooklyns Sunset Park neighborhood. Historic landfilling operations at the

site resulted in the presence of hazardous substances in the soil, groundwater and sediments and in the

presence of landfill-related gasses beneath the landfill's surface.

Phytobench, with its seed-embedded composite lumber construction, can be deployed in multiple

locations along a system of pedestrian pathways to germinate the spread of volunteer plants throughout the polluted site. Avoiding expensive and potentially

harmful use of machinery excavation and chemical seeding mixtures Phytobench accomplishes

consilience by passively generating ecosystem, while actively merging the built and non-built, designed and

non-designed.

118

ARCHIVING RIVER PARANAwith Kyung Jae Kim

Program: Vertical zoo

120

EXCAVATING THE FUTUREwith Kyung Jae Kim

Jury Selec on, 2010 ENYA Compe onResponsibili es: Concept, Design,

3D Modeling, Visualiza on

EXCAVATING THE FUTUREJury Selection, ENYA Competition 2010with Kyung Jae Kim

Program: Cultural facilities between Manhattan and BronxLocation: High Bridge, New York City

122

HORIZONTAL CITYHonorable Mention, Evolo Housing Competitionwith Kyung Jae Kim and Kyu Seon Hong

Program: Public housingLocation: on the edge of Hudson River, New York City

124

Architectures imperative is to grasp something absent, to trace or demarcate a condition that is there only latently. K. Michael Hays from Architectures Desire

The spectrum of isolation between form, space, information and material in architecture is collapsing. As the generation and consumption of information ascends in public consciousness and the ability to compute, store, and communicate information expands, architectural and material assemblies will no longer exist as inert boundaries separating discrete conditions of human occupation. Rather, the architectural object, element, and assembly will operate as Metalytical Apparatuses, intelligent manifolds generated by and facilitating the exchange of human-social-environmental informatics, the currencies of cultural production which flow uninterrupted through our personal and urban spaces.

The purpose of this studio is therefore to engage architecture as a discourse of the meta, or the other; a process of interpreting and then signifying through material praxis the meta-data of the physical, social, cultural and environmental context that architecture responds to and subsequently creates. The challenge will not only be to distill the invisible, the ephemeral, and the a-temporal into a distinct and substantive architectural event, but to instrumentalize them through rigorous digital, material, and tectonic versioning tested through articulated prototypes and demonstrated through meticulous graphic documentation.

METALYTICAL APPARATUSESCo-instructor with Brian Brush

A551 Graduate Design Studio, Montana State University Summer, 2011

125

Steel frame

Composite panels

Steel mesh

Existing con

Glass panel

open to below

open to above/below

open to below

down

Utility

up

Office

Media Studio

up

ExhibitExhibit Exhibit

B

B

AA

Auditorium

Office

Office

Storage

Utility

up

Lounge Office Conference Room

Office

Exterior Courtyard

Utility

Storage

Down

B

B

AA

Steel Frame

Formed composite panels

Human Activity NetworksPatterns of public activitytemporary and dynamic constant state of uctuationparallels with intensity

City FunctionsEstablished Institutional Entitiesxed and permanentsteady state of operationparallels with presence

Intersections behave as zones of hyperactivity

Public activity supports and envelops the institutional framework, encouraging the emergence and propogationof institutional entities

MICRO conditionPenetrations in to building provide momentsof transformation with a transition into program.An interaction between public and institution(realm of science and technology) is formed at the scale of the individual

MACRO ConditionRelationship between a solid, dened geometry and an overlapping network of varying transparency epresent motion and uctuating densities(Presence vs. Intensity)

Darian Rauschendorfer Mark Matheny

126

Chris HodgsonBrent Huntley

127

Ben EaganDanielle Farebrother

128

Pattern is back in architecture. Decorative patterning of surfaces such as geometric tiled floors, screen walls or carved reliefs had flourished through ancient, medieval, renaissance, and neoclassical periods such that by the ascendance of modernism they were wholly taken for granted. Much of modernism, and in particular the International Style, opted for the clean planes of color, monolithic material, and white walls that eventually caused the sophistication and ubiquitous presence of patterning to disappear.However, over the last couple decades, through the ambitious attempts by Postmodernism, Deconstructivism and now Parametrics to develop a new vocabulary for architecture, the call for the pattern has emerged again. This emergence is almost single-handedly coupled with the integration of advanced design and production technology in architecture. Patterning is once again a fundamental creative act in architecture and through the use of digital technology the pattern has entirely shifted from its previous role as secondary or tertiary ornament to the primary creative gesture of building. This class will expose students to this new paradigm of the pattern through a Pattern Redux.

Individual students will develop their own projects through the session beginning with precedent pattern studies, followed by pattern evolutions and concluding with pattern creations. They begin by choosing a historical or existing project to study and present as a basis for their logical investigation. Students will translate information from their studies into digital material and specify, discover, add and articulate new digital patterns based on the extracted logics of their precedents. Digital pattern translation will be taught using Rhino Grasshopper, Generative Components or 3D Studio Max and tutorials will be specifically crafted to engaging pattern discourse. The projects students will study and ultimately create can have any size and function from a small art piece to a building or a map. The projects will be approached and evaluated within the conceptual context described above, looking at how students can articulate a redux of pattern through intense analysis, digital translation, and intuitive transformation through the spectrums outlined. Fundamentally, pattern will be adopted by students to denote a new interpretation of architecture. The goal of the class is to give students the technical skills and knowledge to engage the contemporary discourse of patterns in architecture by seeking new interpretations of existing work and by evolving them towards a hybridized conceptual state that traverses historical institutions and contemporary digital design methodologies.

PATTERN : REDUXInstructor

A525 Tech Elecative Class Montana State University Summer, 2011

129

Brent HuntleyZack SchaffAJ Hoffman

130

Max AnthonMatt MuirJoe Treecrab

131

Ryan WaltersMark MathenyAlesha Quam

132

YONGJULEEYongjulee99@gmail.comwww.eboarch.comEDUCATIONMasterofArchitecture2006.9.2009.5.GraduateSchoolofArchitecture,PlanningandPreservation,ColumbiaUniversityBachelorofScienceinArchitecture1999.3.2006.2.HonorsdegreeWithHighestdistinctionYonseiUniversity,SeoulACADEMICANDPROFESSIONALEXPERIENCEPartner,EBOffice,NewYork(www.eboarch.com,formerlysoftrigid)2008.9.PresentPartnerinemergingarchitecturaldesigncollaborationWinner,Commissionforpermanentinstallation,TheDynamicPerformanceofNatureinTheLeonardoMuseum,SaltLakeCity,builtin2011VisitingFaculty,MontanaStateUniversity2011.5.2011.8.GraduatedesignstudiowithBrianBrush,MetalyticalApparatusesTechelectiveclass,Pattern:ReduxProjectArchitect,SomaArchitects,NewYorkCity2010.2.2011.4.LeaddesignerforparametrictechniquesPark51IslamicCulturalCenter,NewYorkCity50LispernardResidentialBuilding,NewYorkCityRmeil444ResidentialTower,BeirutUniluxLightingShowroominterior,BeirutTeachingAssistant/DigitalAssistant,ColumbiaUniversity2008.9.2009.8.StudioassistantforEricSchuldenfrei/MarisaYiuStudioDigitaltoolassistantforDigitalCraftTeachingAssistantforVisualStudiescoursesTechniqueofUltrareal(Autodesk3dsMax)Meshing(Autodesk3dsMax,RhinocerosGrasshopper)RethinkingBIM(AutodeskRevit,RhinocerosGrasshopper)DesignStaff,GlobalDesignStrategies,NewYork2009.10.SchematicDesignforBacosTower,SouthAfrica3DModeler,AliceAycockStudio,NewYork2008.9.2008.12.ModelingforfabricationofsculptureinAutodesk3dsMax3DModeler,ObraArchitects,NewYork2007.11.GdanskESCCompetitionInternArchitect,AsymptoteArchitecture,NewYork2007.6.2007.9.3Dmodeling(AutodeskMayaandRhinoceros)andphysicalmodelingJuniorArchitect,TEDArchitectsStudio,Seoul2005.9.2006.6.

133

ACHIEVEMENTS/AWARDSWinner,MajorArtInstallationoftheLeonardoCenter,SaltLakeCity(Builtin2011)2010.4.JurySelection,EmergingNewYorkArchitectsCompetition2010.2.HonorableMention,SeoulDesignOlympiad2009Competition,Seoul2009.9.Finalist,The4thBinInternationalCompetition,NewYork2009.9.SpecialMention,RimaEditriceYoung&DesignCompetition,SaloneInternazionaledelMobile2009.4.PrototypingtheCityWorkshop,Turin2008.7.Finalist,Tectonic2007InternationalStudentDesignCompetition,Eindhoven2007.11.HonorableMention,EvoloHousingCompetition,NewYork2007.8.1stplaceinYonseiGraduateExhibitionofStudioWorks,Seoul2005.12.ScholarshipsinYonseiUniversity,Seoul99,00,03,04,05PUBLICATION/LECTURE/EXHIBITIONDynamicPerformanceofNaturepublishedinSpaceMagazine2011.12.DynamicPerformanceofNaturepublishedinMetropolisMagazine,InteriorDesign,IIDAPerspective2011.11.Lecture,TruetoModel,MontanaStateUniversitySchoolofArchitectureSummerLectureSeries2011.7.Process+PrototypeExhibition,Portland2011.6.PresenteratPetchaKutchaNight,Portland2011.4.OrnamentalConnectivityandSoftShelfinContemporaryDigitalArchitecture:DesignandTechniquesbyLinks2010.9.PhytoBenchinMetropolisMagazine,July/August2010issue2010.7.RealinTransforumExhibitionatGalleryKorea,NewYorkCity2010.5.ExhibitionatJackKentCookeFoundationArtistShowcaseat25CPWGallery,NewYorkCity2010.1.FuseBenchexhibitedatJamsilCenter,Seoul.PublishedinSeoulDesignOlympiadCatalogue2009.10.SoftShelfinIDEATmagazine,France,July2009issue2009.7.SoftShelfinGdAILGIORNALEDELLARREDAMENTO,RimaEditrice,Italy2009.6.SoftShelfinDigitalPrimitives,a+d+mMagazine2009.4.HorizontalCity,EvoloMagazine2009.1.Coeditor,Transforum,ColumbiaUniversityPress2008.12.Tectonic2007InternationalStudentDesignCompetitionExhibition,Eindhoven2007.12.StudioworkschosenforAbstract,GSAPP06,07,08,09SOFTWARECAPABILITIESAutodeskRevitArchitecture2010CertifiedAssociateAutodeskMaya,3dsMax,AutoCAD,EcoTechAdobeIllustrator,Photoshop,AfterEffect,InDesignRhinoceros,Grasshopper,MaxwellStudio,FlowPath,Mastercam,SolidWorks

Portfolio

Documents

environmental data

dpon weve

environmental sensors

direction of color flow

color spectrum

speed of color flow

environmental perception

data feed