W O N

S H I M

2 0 1 2

E-mail

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won shim

0:01

CONTENTS

1:00 / PRologue

1:03 About1:04 Axioms

2:00 / CORE STUDIO

2:07 Eleven Years Forest2:21 Framescape Citadel2:39 Turtle’s Back 2:59 Lot #4

3:00 / select COURSEWORK

3:89 Enormous Plastic Rain Flower !3:99 Mushroom Tripod3:105 Stringray3:115 New Brick

4:00 / personal work

4:127 Aralog 4:137 KneadThisDough.4:143 Detroit Bot City4:153 Strict Co.

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ABOUT

/ EDUCATION

2009-2011 University of California, Berkeley Berkeley, CA Master of Architecture 20112007-2009 University of Utah Salt Lake City, UT Bachelor of Science in Architectural Studies Attended on full scholarship (UOS)

/ PREVIOUS

2011-2012 Strict Co. Brooklyn, NY Founding Member Salt Lake City, UT Partner2008-2009 Offi ce of Sustainability / University of Utah Salt Lake City, UT Intern Campus Net-zero Energy Initaitive strategy Presentation Kit Design Specialist 2007-2008 Maricq Neuroscience Lab / University of Utah Salt Lake City, UT Lab Technician2005-2009 Private Tutor Salt Lake City, UT Writing English Guitar + Bass2003-2005 Photo Hot Spot Salt Lake City, UT Senior Manager Photography Special prints processing Color calibration2004 Rafi i Molecular Bio Lab / Cornell University New York City, NY Intern Lab Technician

/ KEY PROFICIENCY

Digital Analog AutoCAD Illustrator Word Graphite Rhinoceros Indesign Charcoal Grasshopper Photoshop Ink Modo Excel Watercolor V-ray Premiere Prismacolor Revit Painter Fabrication Language Rhinocam/Technoise 3d printer Stitching English (native) Full shop experience CNC mill Korean (fl uent) Laser cutter Ceramics

1:03

axioms

Hello and thank you for viewing my work. My name is Won Shim, and I’m an M.Arch graduate. My professional goal is to seek licensure whilst work-ing for and learning from a leading architectural fi rm. These are the quali-ties that are important to me:

1 / cultural visibility Propogating further intersection of the inconspicuous architectural discipline and popular culture: the rise of a cultural design ethos.

2 / Material investigation

Innovative upcycling and/or non-traditional use of materials.

3 / if it isn’t broken Contemporary reinterpretation of vernacular aesthetics, technology, and typologies.

4 / onward Exploration of new aesthetics, technology, and typologies for the sake of design. Constant evaluation of the fi ne line between true improvement and deceptive placation: permanent cures vs temporary treatments.

5 / a different kind of green

A market-informed and economically-aware practice. Architecture does not happen in an experimental paper-concept vacuum: it requires proactive business strategies and funding.

6 / direction Firm branding and marketing/social intersection: generally, these items are treated with minimal importance by many in the discipline. Architecture and design needs to further engage the general population and not just a small number of potential clients: see #1.

7 / and Good people, good work.

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C O

R E

S T U

D I O

ELEVEN YEARS FOREST

Trat Province, ThailandEpigenetic Landscapes: Energy Farm + Eco Tourism Resort R. Choksombatchai StudioFall 2009

The Eleven Years Forest is a strategy for a sustainable, multi-tier energy producing landscape. Using a phased cycle that aligns every ten years, the strategy ends with a year’s rest. When a total of eleven years has passed, the cycle--and the forest--start anew.Situated along the eastern shoreline of the Gulf of Thailand in the Trat Province, this lush forest is designated for industrial development. Amata Power Limited has entered into contracts to develop the area to supply energy to multiple partners. The current course of action would destroy the forest and the relatively untouched wilderness in the area, producing energy through invasive processes that pro-duce toxic waste.Rather than the common practice of simply harvesting the forest or destroying it and placing industry in the area, this alternate proposal aims to produce energy and industry in a phased system that can sustain itself and minimize ecological impact. The resulting setting provides a unique opportunity for tourism and out-doors activities. This proposal calls for the forest to be grown and groomed into a fi eld of wind-collecting venturi tunnels. The large bamboo in the area grows extremely rapidly, taking only three years to reach full maturity. Once a a culm is cut, the direction in which it grows can be controlled as it matures. Using this method, the entire forest is essentially turned into a a series of vaulted tunnels that create pressure-differentials, maximizing wind-fl ow in a carefully controlled system. The areas designated as ‘lanes’ and ‘tunnels’ are harvested in phases to mini-mize ecological damage. The resulting biomass is then sold off to traditional energy farms. In the negative space left behind under the fi eld of vaults, portable windbelt generators are placed in strategic locations to utilize the wind to gener-ate energy. The chart shown starts from year one as if starting from a blank slate, demon-strating that such an alternative system could be replicated in other compatible locations. After eleven years, the staggered cycles of the lanes and tunnels meet, giving the forest a year of rest from any harvesting. The forest then begins its eleven-year cycle once again. Not simply a fi eld of static windmills, the Eleven Years Forest is a dynamic, shift-ing landscape that produces multiple bounties; providing two forms of continuous energy, awareness through tourism, and a replicable model for a new typology of energy generation. Sustainable energy-industry in a unique National Park-like experience is the end goal.

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YEAR

1YEAR

12YEAR

2YEAR

3YEAR

4YEAR

5YEAR

6YEAR

7YEAR

9YEAR

8YEAR

10YEAR

11YEAR

14YEAR

15YEAR

13

CA B CA B CA B CA B

CA B CA B CA B

Cycle 1 Cycle 2 Cycle 3 Cycle 4

Cycle 1 Cycle 3Cycle 2

LANES (zones harvested)

TUNNEL (zones harvested)

GROWTH A

GROWTH B

GROWTH C

GROWTH C

GROWTH B

GROWTH A

Eleven year cycleThree year’s birth AYear’sRest

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LANE ZONE 1 LANE ZONE 3LANE ZONE 2

YEAR 13 YEAR 15YEAR 14

TUNNEL ZONE 1 TUNNEL ZONE 3TUNNEL ZONE 2

B

A

A

C

B C

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Windbelt Fan Concept

Bamboo Planting AreaArch Volume Air fl ow Density

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potential windbelt fan placement groundplane plan of bamboo wind direction and paths arch members

ne tunnel sw tunnel ne tunnel sw tunnellane lane lane

N

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a

b

c

d

e

a

b

c

d

1 2 3 4 5 1 2 3

1 2 3 4 5 1 2 3 4 5 1 2 3 4 5

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4 5 1 2 3 4 5

1 2 3 4 5 1 2 3 4 5

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FRAMESCAPE CITADEL

Barrios Altos, Lima, PeruMuseum of The Built Environment (MotBE)R. Davids StudioSpring 2010

The Framescape Citadel is a museum with telescoping extrusions along its lin-ear pathway. The quiet, insular procession interrupted by squares of light and glimpes of the outside world solemnly reveals a history replaced by poverty and apathy. Situated along Lima’s forsaken Rimac river, the museum rises from the ground as the only standing monument to an era long-forgotten. This neighborhood of Lima, Peru known as Barrios Altos is now a barren shanty-town, a sad degeneration of propserity in a place once called the ‘City of Kings.’ It was the starting point of the Spanish Colonial Era in the 16th century, giving birth to many historic land-marks and bountiful gardens. Today, the police seldom enter, tourists are discouraged from visiting, and the locals refer to it with a mixure of disgust and a subdued, romantic fascination as ‘The Lost Orchard.” Old manors and prominent architectural constructs dot the neighborhoods, abandoned remnants of the past. Still, the poverty-stricken have managed to build a small community here, ignored by the city center and everyone else just miles away. There is no funding for preservation, or more importantly, aid for the poor.The museum seeks to reverse these conditions by bringing positive attention and traffi c back through the area. Housing contemporary art and highlighting land-marks, it aims to propogate interest in both the present and the future, while stand-ing as a reminder of a disappearing past.Though the traditional tower elevates its tenant to a single point and looks across a wide landscape, the museum’s linear pathway performs more like a guided tour. As a visitor walks through the dim museum, the telescoping platforms bring in a warm, focused light, calling to attention the select landmarks that they frame. Each ‘telescope’ has a specifi cally shaped extension that frames its selected landmark, capped with a seamless smart-glass panel displaying an interactive, electronic overlay.As a visitor approaches the museum’s towering leg and takes an elevator to the top, he is slowly and completely encased by the museum, separated from the city below. As he walks the path and sees the proud past through the museum’s lenses, he periodically comes upon emergent art and culture of the present. At the end of the circular path, he is led to the roof to look upon the entire city, this time without framed constructs. Having taken in the view, he proceeds back down the path and into the elevator, descending again to the ground below. He re-enters his city, seeing with new eyes the quiet story that it harbors.

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1 >> Still inhabited by the original sisterhood upon which it was found-ed in 1606, the once-wealthy fi rst convent of the former City of Kings now survives on faith and humble earnings.

2 >> In Lima’s prime, this meeting point of the fi ve main streets marked a major converging point for the activity of the city. It’s hardly recognizable as any sort of landmark now, instead marking the heart of a poor and dan-gerous neighborhood.

3 >> A national monu-ment, this historic bull-ring is the oldest exising in the Americas, and falls only one slot to second in the world to Spain’s La Maestranza.

4 >> The site of a small observatory museum and the highest point in the city, a massive cross stands at its peak, ever-overlooking the gray city below it. This hill was the battleground for many conforntations be-tween the Spanish and the indigenous popula-tion in the 16th century.

5+6 >> Lima’s largest cemetary and crypt. An unfathomable portion of the landscape is covered in this enormous white maze of stone and grass.

>>THE LOST ORCHARDBarrios Altos

4 >> CERRO SAN CRISTOBAL

1 >> CONVENTO SANTA CLARA

3 >> PLAZA DE TOROS DE ACHO

5 >> CEMENTERIO GENERAL EL ANGEL north

2 >> CINCO ESQUINAS

6 >> CEMENTERIO GENERAL EL ANGEL south

2:25

KEIKO >> Keiko, Keiko, Keiko.

The lettering is plastered across all of Lima. From buildings in the heart of the city to small shacks on the outskirts and even the countryside, this polit-cal campaign persists. The nature of the surface doesn’t matter--inhabited, uninhabited, ruins, pub-lic, private, it pervades the entire city. Always identical, and somehow with a palpable pre-sense reminiscent of Big Brother, the series of this name became a system of nodes within the city. The MoTBE, then, uti-lizes this system of nodes within a new framework, telescoping back out to the landscape and framing new nodes. The overlays, reminiscent of the lettering documented above, cover the city in a new campaign. One of history, information, pride, and ultimately--power in the knowl-edge and reacquaint-ance with a lost past.

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Section A

Section B

>ROOF PLAN

>MAIN PLAN

GALLERY 4 GALLERY

GALLERY 3

GARD

ROOF GALLERY 8

3

4

5

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Y 5 GALLERY 6

GALLERY 2 GALLERY 1

DEN GALLERY 7

12

6

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>SECTION A

RIO RIMAC

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>SECTION B

GALLERY 5 GALLERY 2GARDEN GALLERY 7

RIO RIMAC

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Extended Cone Vision

Free Radial Vision

Projected Frame Vision

>>Sather Tower

>>Space Needle

>>MoTBE

Uni-directional Focus

No Focus

Subject-Specific focus

>>TOWERS AND LANDSCAPES

2:35

>>Small Opening

>>The Projected Frame

>>Large + Deep Inset Large Openings

>>Small + Setback Large Openings

>>Large + Setback Large Openings

>>Large Opening

A standard window opening. The cone of vision theoretically extends infinitely upon exiting the frame. At large distances, the visible subject material is not much less than a large opening such as condition B.

A large window offers a wider frame of initial vision. More information is available to the viewer along the beginning edges of the cone, though this information will generally be sky and ground.

The setback interior window pane stops the viewer at a tixed proximity from the exterior window pane, effectively narrowing the cone of vision when compared to the identically sized condition B.

This combination tests the idea that the cone of vision is affected by one general factor (the solid material defining the edges of the cone), which can be altered by two basic criteria: a) the distance of the viewer from the opening, b) the size of the opening

Condition E demonstrates that through a deep inset, the cone of vision can be controlled to be narrower than identically sized condition C, and even the smaller pane of condition D.

A

B

C

D

E

F

D

E

A deep, appropriately angled and sized set of openings frames a specific target area in the landscape. This is the primary component of the landscape display windows + data overlays which are the fundamental element of the MoTBE.

A

C

>>FRAMESCAPES1 2

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TURTLE’S BACK

The Mission, San Francisco, USAPool & Community CenterR. Creedon StudioFall 2010

The Turtle’s Back is a pool and community space with a roof designed to produce light and aural ephemera inspired by underwater caves. The protrusions bring in focused channels of natural light to specifi c areas. Utilizing the smooth surface, the ceiling highlights a seldom desired and uniquely present visual phenomena: glare. In this case, the shimmering, ever-changing glimmers of light produced by the water’s refl ection.San Francisco’s Mission Pool and Playground is the last remaining outdoor pool in the city. Situated in the historic Mission District, the building remains with its original full-length murals across the facades facing 19th Street and Linda Street. A unique community space for its neighborhood, the lot features basketball and tennis courts as well as a playground and space for youth rec. agendas. Cur-rently, this much-appreciated but ill-funded space is in need of repair and revi-talization. The Turtle’s Back is a project proposal to rethink and regenerate the program.The new proposal calls for a few key changes: 1) Improved interaction between interior/exterior of pool space in relation to the sidewalk 2) A retractable roof for all-weather swimming and improved cross-venti-lation for passive environmental controls 3) A larger designated space for small community gatherings and youth rec. programsThe design uttilizes tilted skylights extruding from a shell-like slab roof. The mono-lithic construction and low-hanging nature of the roof reproduce the aural quality one my hear within a small, water-fi lled cave: cavernous but not enormous, with the sound of water and the silent weight of stone. The closed-off corner of the old building is opened into a wet patio, strengthening the social potential of the pool and embracing the sidewalk. The mural of neigh-borhood people and playing children is replaced with a real display of people and playing children: the hard brick is replaced with wall-length glass showing the main pool space. The old Mission Pool has always been known as a sort of “neighborhood living room.” The Turtle’s Back pool stays true to this critical social utility, while introduc-ing elements that stray from what is often a very mundane pool experience.

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Hello!Hi!

Hello!Hello!

Hey! Hola!Hello! Hi!Hello!

HIDDEN COURT / SUNNY DAYS ONLY

NEIGHBORHOOD LIVING ROOM / YEAR ROUND

GLARE VS SHIMMER

A COOL BREEZE, A SHARED CONVERSATION

??

Nice sky!

> The existing neighborhood pool and recreation spaces are, in fact, not very neighborhood-friendly. They creates an inclusive, secluded inner-block: a strangely shrouded gesture for a public space. The roof is the only open plane, which makes the pool unusable in much of San Francisco’s weather.

> The new proposal extends the public program out to its surroundings, a transparent architecture that facilitates communal use. The roof design makes up for its lower % of sky opening by creating protrusions that are like mirrored sections of the pool. Raising the skylight up to the height of surrounding buildings allows it to capture and reflect light into the interior, but also provides a striking frame for pure, uncluttered sky. With a roof, the pool is now available for use year-round.

1 The smooth, white interior of the roof protrusion reflects the captured light down into the pool space.

2 This dispersed light bounces off the water’s surface up to the protrusion surface.

3 The surface becomes a canvas for the rippling light reflected off the water. This phenomenon is an avoided distraction in most buildings--a glare. A pool is a unique opportunity in which glare can be magnified to its advantage. The ceiling and the water’s surface mirror each other, magnifying the unique shimmer of the water’s surface.

> The operable glass panels at the Front and Side Lounges perform two functions: They open as a gesture encouraging interaction with neighborhood passersby, and also facilitate cross-ventilation. Water is a massive heatsink, and humidity is a common problem with indoor pools. With the introduction of the operable panels, the societal responsibility solves an architectural technicality.

?

1

2

3

???

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>MIRROR SECTION

The sectional lines of the pool are reflected to create the lines of the roof. after adjustments are made for light and view, the shape is altered.

>REFLECTED POOL

Once the adjustments are made and the surface is smoothed, the pool is literally cast as a reflection upon the interior surface.

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THE NEIGHBORHOOD MYSTERY

> The existing Mission Pool and neighborhood center. The setback attempts to provide a corner park, but instead makes for a silent, brooding sort of architecture. The playground is hidden, the recreation area is more a storage unit, and the inner-block thurway is an awkard, pinched condition. The building’s front face is pulled forward.

PUSH

> The neighborhood intersection, the children’s playground, and the athletics courts to the south provide the major site conditions that must be addressed. The form is pushed back and opened to allow for a space that acts as a buffer between the first two conditions and the building. The straight edge at the south end of the form is maintained to leave the courts as a semi-contained, self-functioning entity.

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PULL

> The spaces pushed in are then reconnected outwards, manifested as an extended pool deck and sun lounges. Transparent and directly abutting the public programs around them, the pool becomes an open connection to the neighborhood. The thruway to the inner-block is widened, now sitting side by side with the building entry. They function as a sort of gateway, a fork in the road to the inner-block. The face of the southern facade is inset to reveal the program.

THE TRANSPARENT LIVING-ROOM

> The completed pool is essentially two private volumes tied by glass and covered by a singular roof. Visibility through the building allows the new corner space to function as a transparent neighborhood living room and beacon for communal recreation.

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19th STREET

LIND

A S

TREE

T

> Soccer Field

> Basketball Court

> Tennis Courts

> Pocket Park

> Children’s Playground

> Mission Pool

> Parking

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19th STREET

LIND

A S

TREE

T

A

B

C D

A > LobbyB > Reception + OfficeC > Men’s Locker RoomD > Women’s Locker RoomE > Pool LoungeF > Side LoungeG > Front LoungeH > Civic AuditoriumI > KitchenJ > Staff RoomK > First Aid L > CustodialM > MechanicalN > Men’s RestroomO > Women’s restroomP > Rear Corridor

E F

G

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K

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SECTION A SECTION B

19th STREET

LIND

A S

TREE

T

A

B

C D

A > LobbyB > Reception + OfficeC > Men’s Locker RoomD > Women’s Locker RoomE > Pool LoungeF > Side LoungeG > Front LoungeH > Civic AuditoriumI > KitchenJ > Staff RoomK > First Aid L > CustodialM > MechanicalN > Men’s RestroomO > Women’s restroomP > Rear Corridor

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SECTION A SECTION B

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> SECTION A

> SECTION B

Front Lounge Reception + Office Skylight Pool LoungePool Lounge Skylight

Lobby

Lockers Corrider Entry

Lockers ExitLockers SkylightReception + Office

Reception + Office Skylight

Lockers Entry

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Rear Corridor Staff + First Aid Restroom

Side Lounge Civic AuditoriumSide Lounge Skylight

Civic Auditorium Skylight

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> EAST ELEVATION

> WEST ELEVATION

> NORTH ELEVATION

19th Street

Linda Street2:55

> SOUTH ELEVATION

19th Street

Linda Street

Linda Street

Playground Thruway

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LOT #4

Wudadao Historic District, tianjin, ChinaResidential + Mixed Use Lot Redevelopment R. Chow Thesis StudioSpring 2011

Lot #4 is a mixed-use development featuring an elevated ‘New Ground’ level that holds a park and a running track. Commercial and recreation-al programs occupy the ground level, while the sleek, fl owing aesthetic continues onto a residential complex above. The program typology is a reinterpretation of traditional Chinese space.This lot is part of an investigative research seminar and studio conducted with support from the Tianjin Ubran Planning and Design Institute (TUPDI) and the Deparatment of Architecture Charles W. Moore Endowment for the Study of Place. The culmination is a coordinated group thesis: a theoretical from-scratch redevelopment of a set of lots in Wudadao Historic District, a neighborhood in Tianjin, China. Each lot is designed in conjuction with a set of research-based parameters and assigned programs that are designated based on the needs of the masterplan. Lot #4 is a mid-block condition containing a mid-rise residential structure, a park with a running track, and a gym/rec. center. The design spans two main axes: The elevated New Ground level in the NE/SW direction, and the resulting canyon-like thru--block in the NW/SE direction. This thru-way accomodates and encourages a cross-grain activity between downtown Tianjin and the abandoned Wudadao Historic District. These axes are intended to function as circulation that allows for multiple break-off points along their lengths. The resulting ‘Horizontal Continuity’ doesn’t simply link elements or network circulation paths, but rather understands the New Ground as a prominent datum that serves as an anchor for urban legibility.Traditional Chinese space--that which borders the private and the public, the nodal and the circulatory--is reinterpreted as the collective park and the transi-tional passage. Lot #4 is an attempt to take these ideas as foundational strate-gies for creating an architecture that is representative not of Asian architecture in its physical manifestation, but its cultural use of space as it has been represented throughout history.

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LOWINCOMERESIDENTIAL

BUSINESS +LIGHT COMMERCIAL

WUDADAO HISTORICDISTRICT

1

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3

45

6

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AB

StormwaterInfrastructure as opportunity. Rather than running traditional

methods of water collection, treatment, and plumbing, the

proposed new water system is tied directly to the New Ground.

This is physically manifested as a singular element in some

cases. This allows for each designer to work in ideas such as

small-scale water and plant + filtration ecosystems into portions

of the New Ground without having to introduce radically different

or unfeasibly proprietory infrastructure technologies to the

overall system.

Maximum 40% BuiltThe secondary building zone within each lot. Lower heights in

this zone allows for light to enter into each primary zone building

of the adjacent lot. [See A, B] This zone is typically where

non-residential programs are introduced: commercial, recrea-

tional, social, government, etc. Through virtue of the porosity of

this zone, some designs incorporate more of the green associ-

ated with the New Ground into the program.

New GroundThe critical new element to be introduced into Wudadao. An

elevated ground level serving as a public space, its specific

programs may vary along its length. As a whole, it becomes a

singular element promoting ‘horizontal continuity’ within the

district. It is imagined as a pedestrian strip of green that brings a

unifying connectivity to the otherwise disjointed fabric of the

area’s urbanity.

Minimum 60% Built The primary building zone within each lot. Being situated along

the southwestern edge as the highest structures within the lot

provides these zones with the Southern daylight access

required by Chinese building codes. At 60% minimum, most of

these zones are comprised of residential programs, with light

mixed-use programs integrated where necesssary.

Combined ParametersDistrict-wide planning of baseline parameters. These guidelines

ensure a smarter, more relevant way to design. Lighting, density,

and scale specifics are discussed and decided on. Designs for

individual lots then follow these guidelines, but can also include

special conditions upon negotiation with neighboring lots. The

overall use of zones and programmatic allocations are also

discussed and decided, resulting in a planned, balanced

distribution of all design elements.

PARAMETER STRATEGY

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1 2

5 6

INITIAL PARAMETERSThe initial parameters are given volume and adjusted for height

regulations. The 60% minimum zone is highest, while the 40%

maximum must meet flush with the adjacent building at a determined

height to allow for light penetration. The stormwater zone must meet

the level of adjacent lots as a piece in the prerogative for continuity.

THROUGH-BLOCK PASSAGEThe 60% minumum and 40% max zone are spread to create a

passageway through the block, promoting circulation and program

connecting the two sides of the city split by Wudadao.

FLOORPLATE ROTATIONThe floorplates are increasing stepped via a clockwise rotation. This

helps again with light, but is done mainly to offer views towards the

city to the North.

CORE + PASSAGEIssues have been created by the steps thus far: there is no straight

vertical space for an elevator core, and the height of the building

determined by sq. ft. requirements overshadows the passage.

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3 4

7 8

OPTIMIZED PARAMETERSThe Stormwater and Green zones are combined to create a ‘New

Ground’ that seamlessly connects lots 3 and 5, while also extending

sloped surfaces directly to the two sides of the city.

LIGHT SLOPEThe Southwestern face of the building is sloped back to allow for

stepped floorplates, which in turn help increase access to natural

light for the residential units.

FINAL FLOORPLATES The floorplates are altered to compensate. A space suitable for a

core is created, and the Southeastern corner is pushed back to allow

more light.

LOT 4

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LOT 4

LOT 5

LOT 3

YU

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CHEN

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OAD

GUI LIN ROAD

ROOF PLAN

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TIER 0

TIER 1

TIER 3

TIER 2

TIER 4

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2

4

5 13

TYPICAL FLOORPLATE PLAN

1 NEW GROUND

2 COMMUNAL HALL

3 APARTMENTS

4 COMMUNAL BALCONY

5 PRIVATE BALCONIES

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GROUND LEVEL PLAN

1 GALLERY

2 GYM

3 PRIVATE PARKING/BICYCLE

4 OFFICE/STORAGE CORE

5 OFFICE/DRESING ROOM CORE

6 GYM PATIO

7 RESTROOM CORE

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A B C

DE

A B C

DE2:75

WEST ELEVATION

EAST ELEVATION

D E

AC BD

D E

AC BD2:76

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D

A B

CDE2:79

SOUTH ELEVATION

NORTH ELEVATION

C D E

AB2:80

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s e l

e c t

c o u r s

e w o r k

Enormous plastic rain flower !

Wurster Courtyard, CED, Berkeley, CaliforniaUrban Water Seminar: Upcycled Rainwater Collector + Urban SculptureM. AndersonFall 2009

Constructed out of reclaimed plastic bottles, EPRF is a sheltering structure designed to capture, fi lter, and hold water for potable consumption. An ex-ercise in upcycling materials to create a socially responsible installation, the fi nal product costed nothing save for time and transportation. Just days after the opening party, the bottles claimed from a recycling center proved true to the cyclic process of the project--the entire structure had been dismantled by the local homeless population to be sold to the recycling center once again.EPRF has been featured in national social publications such as Curbed SF, Notcot, and Green Diary.

“This is what I am thinking: EnormousPlasticRainFlower. We shall build an enormous plastic rain fl ower that will capture and purify drinking water from the sky. It will look ridiculous of course, and signifi cantly so. Beautiful and grotesque, our fl ower will further serve as a wide-spreading public umbrella tree drawing people to gather under its shelter, protected from the sky’s harsh-ness even while succored by its fruit. Like a fl ower blossoming from cow dung, this machine-fl ower of human sustenance will blossom from the fertile waste of excessive human consumption. Our fl ower will be constructed purely of plastic water bottles, sugared beverage containers, and other scrap plastic constructions, stitched together with screw-top cap bolts and structurally lay-ered as translucent, crystalline pistils and petals funneling sunlight and rain drops into corded plastic stems of tuberous fi ltration drawing downward into threaded, clinging roots spitting small fountains of sweet rainwater sucked freely by passersby delighted by the novelty of drinking water cut free from intercontinental transport, commerce and cash. That’s it, simple and pure—one material, multi-purpose, full with questions and possibilities. How tall can this reach and how far can it spread? What will it look like and where might it grow? Did I mention that this is a seriously purposeful study in structure, construction and materials—EPRFTM, and all of that?”-Prof. M. Anderson

Team: Seminar peersKey Involvement: General process, Construction, Documentation

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Screens from construction timelapse (available on Youtube)

Opening night party

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Mushroom tripod

Wurster Courtyard, CED, Berkeley, CaliforniaMaterial Geometries: Tectonic Installation + CNC Fabrication Study L. Iwamoto Spring 2010

The Mushroom Tripod is a shading installation designed using an ‘inverse tripod’ mechanic. This tectonic study is an attempt to create a tripod that, rather than meeting in the center using compression, pulls from the center using tension. This balances the tripod in what may be considered to be an inverse of a traditional tripod.An exercise in design fabrication, the tripod is composed of 192 CNC milled and lasercut MDF pieces. The construction is a glueless, joint-based method that consists of panel pieces and connector pieces.

Team: S. Brummond, S. Park, E. Privot, W. Shim, G. WilsonKey Involvment: Tectonic concept, Visuals, Panel modeling

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PILLAR:

SELF STANDING

TRIPOD:

COMPRESSION DEPENDENT

REVERSE TRIPOD:

TENSION DEPENDENT

TECTONIC TYPOLOGIES

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3

2

1

COMPONENT AGGREGATION

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TOP

FRONT

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REVERSE TRIPOD

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STINGRAY

Wurster Hall, Berkeley, CaliforniaWall Installation: Lighting + Surface Tile Ceramics StudyR. RaelSpring 2010

The Stingray is a slip-cast porcelain tile inspired by the translucent qualities of jellyfi sh. It can be multiplied and attached to a grid structure to serve as an ar-ticulate surface wall. Ceramics have been used in architecture for centuries, though its prominence as a cladding material has faded in contemporary use. An extremely durable material that is immune to rot and weather conditions, it provides opportunities for contemporary architectural expression that have only been explored to a limited degree.The initial mold is cut from a plaster block by a CNC mill. The mold is then fi lled using a slip-cast clay procedure, which produces a semi-hard tile that can be dried out and baked in a ceramics oven.

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the new brick

Wurster Hall, Berkeley, CaliforniaAggregate Component: Porcelain Vessel + Arch’l BrickR. RaelSpring 2010

The New Brick is a porcelain vessel that can be stacked and arranged in a variety of confi gurations. This object is a secondary study to the Stingray tile, extended to three dimensions and prototyped in a 3d printed concrete mix which was then used to create the two-part mold.Both a material study as well as a hand-crafted ceramics primer, the factors of modularity and scale present a variety of experimental and experiental possibili-ties. As a brick, the vessel steps up from a role as simple surface cladding and into the realm of thickened-wall construction and all its complexities and oppor-tunities.

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Section Detail

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A B

1

2

Possible Configurations

2

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p e r s

o n a l

w o

r k

analog

Various Media

Shrink & Blink / digital paint

Chapel for The Departed Scene 1 / pen + watercolor

Chapel for The Departed Scene 2 / pen + watercolor

Select Sketchbook Works / graphite + pen

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KNEAD THIS DOUGH..

Personal WeblogSince 2010

KNEAD this dough is a personal blog comprised primarily of images. These are mostly related--but not limited to--design, fashion, pop culture, art, and architecture. Beyond being a conveniently managed and maintained archive of im-ages, it acts as an information feed for popular culture, design, and social trends. Material from different categories can be cross-referenced and viewed in relation to trending ideas. Following many established sources, the blog acts as a sort of digital crystal ball for pop culture. In the fast-paced and overly saturated market of today‘s society, there is an abundance of excellent work that doesn’t receive enough attention or visibility. Access to a wide fi eld of vision and smart analysis is key to successfully understanding where certain projects or products should or can stand. Following trends isn’t necessarily important--but knowing them and why they are, is.

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DEtroit bot city

Gallery MC, New York City 2012 D3 Natural Systems International Competition Select Exhibit

Detroit Bot City is an entry that was submitted to the D3 Natural Systems exhibit and was selected to participate as part of the fi nal exhibit in 2012, held at Gal-lery MC in New York City.A theoretical proposal presented in an experimental comic book-style narrative, it tells the story of a Detroit City rebirthed by the spirit of the city, employing the machinery left-behind in the remains of its booming industrial heyday.

Perhaps the most antithetical condition to the American Spirit—thepast synergy of American ingenuity and innovation—exists in the postindustrialcities of the United States. Detroit, the Motor City, stands as a monument to the height of American manufacture as a product of successful systems logic—a memory of the collective efforts of both a city and a country. Our submission critiques the seemingly nonsensical juxtaposition of rawmaterial, typological distribution, and expanse of urban open space in present-day Detroit while confronting the urban food and population crises the City faces through a narrative device. In this storyline-as-architectural-intervention, the Spirit of Detroit, lamenting the loss of energy, production, and inhabitants of the City, becomes a catalyst for the animation of Detroit’s once-useful, but now aban-doned, industrial machines. As they observe their once-great City, the machines realize that the distribution of material and people does not logically correspondwith the latent potential Detroit still possesses. The machines investigate further. They see that more resilient life formsthan humans still thrive in Detroit. They stumble upon ant colonies, and catalog a system of effi ciency unusually reminiscent to the one the machines themselves used to participate in, when people still constituted Detroit’s Spirit. Understanding issues of physical proximity, material categorization, and the ants’ closed-loop production system, the industrial ghosts of Detroit devise a plan.

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They compare the development pattern of Detroit to other urban centersand the lessons learned from the natural system of ants. They begin to send scouts to the outskirts of the City, and bring homes, rendered islands through foreclosure and demolition, closer to the City core. The machines understand that American cities which have avoided Detroit’s fate often fared better due to natural bounda-ries, and by utilizing available resources in an effi cient manner. The machines salvage all they can. What cannot be repurposed or recycled, they compile into a mound defi ning an upper limit to the City. Detroit is now clear, physicallycontained by the river and the hill. Free of idiosyncratic dwelling, the outskirts of the previous Detroit havebeen recompiled into mass open space. A previously repressed potential of American farmland is now released. The machines leave enough remnant utility limbs from the City to provide electricity and irrigation, but prevent development follies of the past. Irrigation will provide water for the crops, and repurposed natu-ral gas lines will reverse polarity, returning methane to the City for energy. Inside the City limits, the human inhabitants are now poised to assume stewardship oftheir City following the network and cooperative logic demonstrated by the ant biological system. Electricity fulfi lls the machines’ potential to facilitate design ingenuity, as it allows them to recede to the new countryside, once again becom-ing the industrial production engine for the City. The machines offer a City’s future without hunger.

Team: J. Batty, C. Bolos, S. Lofgren, D. Nee, C. StoreyKey Involvement: Layout, Graphic style, Concept development, Storyboarding

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OUR CITY DROWNS--

--THE VOID CONSUMES IT--

THE HALLS OF INDUSTRY--

IT’S BEEN LONG SINCE THE LAST MAN LEFT.

BUT THE SPIRIT REMAINS.

--RELICS OF AN EMPIRE.

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--IT LEAVES LITTLE STANDING:

A DISCARDED SHELL.

OUR CITY BURNS.

AN EMPTY HOME.

THE SPIRIT WEEPS.

--A SILENT BREATH,

“NOW THE LORD IS THAT SPIRIT: AND WHERE THE SPIRIT OF THE LORD IS, THERE IS LIBERTY.”

METAL TWISTING,

2 CORINTHIANS (3:17)

FIRES BURNING,

BODIES FUSING--

A STEADY PULSE--

--MUTED STEPS.

THE CITY IS PATIENT.

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WE FIND PERSEVERANCE.

WE MUST GATHER,WE MUST ORDER.

LIMITS BECOME OUR LOGIC,THEY BECOME OUR STRENGTH.

WHERE DID THEY GO? WE LEARN.

WE SEARCH THE VOID.

THEIR UNITY,THEIR PROXIMITY,THEIR RESOURCEFULNESS

THERE IS ORDER IN THEIR EFFICIENCY.

THERE IS STRENGTH IN THEIR PROXIMITY.

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WE MUST GATHER,WE MUST ORDER.

LIMITS BECOME OUR LOGIC,THEY BECOME OUR STRENGTH.

WE STAND POISED.

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strict co.

Founding Member / Partner Est. 2012

Strict Co. was founded as an outlet for creative design endeavors. Backed by a comprehensive approach combining design and production, the resulting objects are planned with actual market goals. Premium carry goods and designed objects produced in small runs make up the current product lineup. The economy of the architectural profession today is in constant turmoil: design needs and wants are checked and rechecked by funding. There exists an alarming gap between academia and professional practice, theory and physical manifestation. Many potentially successful ideas never make it out of a sketch-book. Furthermore, the fi eld is abundant with companies and oversaturated ideas; but carefully curated, clearly identifi able brands are rare. Strict Co. is a way to utilize a shared interest in popular-culture and de-sign to study and counter the aforementioned disparities. Ever since America’s throw-away materialism unexpectedly met the startling economic decline of late, consumers are once again turning towards passionately designed and skillfully crafted goods that perform as long-term investments and not short-term, temporary satiations.

(In Progress)Key Involvement: Initial strategy, Creative direction: branding/identity, Logo, Font

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SUPER FATFATCBA

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E-mail

Mobile

Address

E-Folio

Personal Blog

Strict Co.

wonshim@gmail.com

1.801.573.9464

1309 E. Royal Troon Dr. #10 SLC, UT 84124

issuu.com/wujuu

kneadthisdough.tumblr.com

strictblog.tumblr.com

won shim

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T h a n k y o us o v e r y m u c h.

-Won

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