Embed Size (px)
DESCRIPTION
by Hyejin Yang
Citation preview
portfolio
HyEjin yaNg
Tolgoit Community Center, 2007
ULAANBAATAR, MONGOLIA
SEOUL, REPUBLIC OF KOREA
LONDON, UK
maP
Calligraphy written in Landscape_ Dis nc on MArch Architectural Design, The Bartle School of Architecture,University College London, UK, 2012
O
The project aimed to develop a hybridized drawing method inves ga ng the complementary rela onship between the hap c and the digital. The re-search began with an interest in calligraphy as a part of an East Asian brush pain ng form, drawn with only black ink and water. In Korean ink and wash pain ng the line is dynamic, con nuously rousing up vitality as if a living and breathing en ty in itself.
BREATHING LINES IN CALLIGRAPHY
FLYING WHITE
SPLASHED INK
In order to translate this line into a digital environment, a par cle system was adopted. Emi ng par cles, ac ng as the diff usion of ink on paper, start to move along a path indicated by the painter’s hand; then transformed by physical forces just as the line reacts to surrounding forces.
TRANSLATION
Chusa Kim Jeong-hui (1786-1856), one of the most important Korean calligraphy masters in the 19th century, managed to develop the Chusa style while exiled on Jeju Island. The calligraphic gesture in space illustrates the energy to shape a form reac ng with the forces of the environment. The rocks and wind of Jeju Island’s harsh environment were par cularly inves gated as the original canvas of the Chusa style. In this process, the digital tool was developed to simulate the interac on between gesture and environment, collision func ons as par cles as the gestures carve rock.
ANALYSIS OF CHUSA STYLE
DEVELOPMENT OF DIGITAL TOOLS
The site was dedicated as a trail connec ng Chusa’s house to an exis ng trail route in Jeju island . The calligraphic gesture derived from this trail describes four points of his harsh life story, such as loneliness, the heartbreak of the death of his wife, the crea on of his Chusa style and reaching. Wind and rock in each stage were defi ned and simulated according to the story line, carving with spe-cifi c pressure and speed derived from the formal analysis. Air born rock dust produced by the rock carving is used as the component for the ar fi cial space on site. First the rock dust is displaced by wind and stacked on site, crea ng the structure. Then, like the diff usion of ink on paper in calligraphy, the dust se les into the surrounding rock, and as me passes erodes as a natural phenomenon. Finally, the landscape of calligraphy evolves, changing itself gradually in rela on to the environment, as if the line of Korean ink and wash pain ng is breathing.
LANDSCAPE OF CALLIGRAPHY
PLAN
SECTION
Par cles of low density control land level, format regular steady pa erns, and provide benches that are designed for pedestrians to take a rest, especially those who pass through the trail o en.
High density par cle (Ink) plays as the main structural point. The highest density is supporters. The next density used is the point to handle the force from the roof. And the least low density par cle, for the diff usion of sunlight, is the space under the roof so that we can experi-ence the diff usion of sunlight and wind, while at the same me giving us the opportunity to have a visual experience that it looks like ink running on calligraphy.
The levels of the stone walls are determined by how the density of the par cles is high and the way it diff uses with strong winds from north. As men oned before, the stone walls can be considered as rough textural, architect materials.
Roof
Stone Walls
Benches and pa erns
ROOF / STONE WALLS / BENCHESIn order to defi ne the diff used space clearly, the grid is adapted. Superimposed on this mosaic is a stra fi ca on of layers, of meanings, of nature, and of diff erent rhythms.
Uiseong Chomunkuk MuseumO
BC 2000CENTER OFUISEONG
SKIN DESIGN
CONSTRUCTION DRAWINGS
ONational Museum of Contemporary Art
DESIGN CONCEPT
Cultural Flexible
Topography Site Contextual Flow
Step21912
Step22010
SHARING BUKCHON URBAN CONTEXT
PLAN
Public Space
EXPERIENCE OF DYNAMIC SPACE
SKIN DESIGN
Stone Wall
MODULE
BIPV
OYTN Media Center
Open to Green
Gallery
OPENINGS BY URBAN CONTEXT
PROGRAM
Core
CONCEPT
COMPOSITE SKIN DIAGRAM
INTEGRATION OF STRUCTURE
Curtain Wall
Space
Media
Media
Media
ODMC Landmark Tower
Axis
NewAxis
Tower
DESIGN CONCEPT
Hotel
PLAN / SECTION
Chilbo Water Theme ExploratoriumO
Room
Hall
Shop
2F PLAN
1F PLAN
WALL PARTIAL PLAN
PARTIAL SECTIONFRAME ELEVATION
PARTIAL ELEVATION
WALL DEVELOPMENT FIGURE
PARTIAL PLAN / ELEVATION
Tolgoit Community CenterO
SITE
CONSTRUCTION OF TOLGOIT COMMUNITY CENTER
oDanwol Church
SOUTH ELEVATIONWEST ELEVATIONNORTH ELEVATION
2F PLAN
1F PLAN
B1 PLAN
2 2
2
7
Wondang Youngrak Church_
O
2F PLAN
1F PLAN
2
7
7 Storage
FREE SANDING WALL PLAN
FREE SANDING WALL DEVELOPMENT FIGURE
W20 Joint
FACE FRAME PLAN
FACE FRAME ELEVATION
OSpazio Haan Wedding Shop
PROPOSAL FOR OPENING RECEPTION
MATERIAL STUDY WITH STEEL AND FABRIC
FLEXIBLE SPACE
oSketch Books
Route of PilgrimO
Sketches in travellingO
Hole to HoleO
