Architecture Portfolio_small

BRIAN HONG ARCHITECTURE PORTFOLIO

2006~2009

BRIAN HONG ARCHITECTURE PORTFOLIO

2006~2009

2501 Benvenue Ave. #27Berkeley, CA [email protected]

A.B in Architecture, 2007University of California, Berkeley

PROFESSIONAL EXPERIENCEIntern, Lawrence Berkeley National Laboratory- Facilities Division MOLECULAR FOUNDRYJune. 2003~ Aug. 2003High School Student Research Participation Program (mentor: Joseph Harkins)+Assisted the project management

Junior Architect, VBN Architects, Oakland, CA Sept. 2007~ June 2008SILICON VALLEY RAPID TRANSIT, Santa Clara Station, Berryessa Station +Used Revit and AutoCAD to prepare Construction Documents (65%~85% completion)+Produced Renderings and Animations of the interior spaces.+Created Flash Presentations for meetings with the SVRT Authority and the city.

Designer/Project Manager, MadFish Development, San Francisco, CA June 2008~Nov. 2008Franchise Development for LITTLE MADFISHLittle MadFish Dublin, Little MadFish Vacaville, Litle MadFish Fremont+Collaborated with the client to create the franchise’s brand identity.+As a buyer, set up relationships between Mad Fish and vendors.+Prepared construction documents for the city, contractors, & Alcoholic Beverage Control.+Managed the construction process

Architectural Designer, PKNG Architecture, Hong Kong June. 2009~July. 2009+Created 2 schematic designs for laboratory high-rise for CENTURY EPITECH using Revit _and Sketchup.

Junior Architect, VBN Architects, Oakland, CA Feb. 2009~Oct. 2009PRE-CONSTRUCTED CLASSROOM PROTOTYPE+In Revit, developing a prototype of stick-built classroom that can replace the portables in _Californian schools that is pre-DSA approved.MILTPITAS BART STATION (with Amy Trachtenberg Artist)+Physical model in 1/2”scale of the interior of the platform level and 2” scale model of _artwork column. Helped create a cohesive presentation to the Milpitas Art commissionOAKLAND AIRPORT CONNECTOR+Assisted in comprehensive proposal of light rail connector from the Colliseum to Oakland _Airport. _Airport. _

Graphics Assistant for Richard Bender June. 2009~Nov. 2009+Special Projects: archiving, compiling and updating work+Graphic Design for Urban Construction Laboratory publications.

Design Assistant and Teaching Assistant for Frederic Schwartz Aug. 2009~Nov. 2009+Created proposal for TAIPEI POP MUSIC CENTER International Competition.+Modeling and Renderings for the MUMBAI SCIENCE CENTER.+Created a reading list and class website for Arichtecture 201: BAY BRIDGE STUDIO at _Univeristy of California at Berkeley assisting Frederic Schwartz, the Esherick Professor.

01Los Angeles Film School

Architecture 101 Honors StudioUC Berkeley, Summer 2007Instructor: Carol Buhrmann

02Kinetic Landscape

ENYA Competition- Personal2008

03Pixel Gallery

Architecture 100A StudioUC Berkeley, Spring 2006

Instructor: Cass Calder Smith

04San Francisco Cultural Center

Architecture 100B StudioUC Berkeley, Summer 2006

Instructor: Michael Bogan

05

06

07

08

09

10TaiPei Pop Music Center

Competition2009

Partners: Frederic Schwartz

Weather WearSelf Initiated Independent StudySpring 2007Partners: Lily Chung, Monty Suwannukul, Monica Chang

Spatial Mapping of FilmArchitecture 101 Honors StudioFall 2006Instructor: Anthony Burke

Sushi as Fast Food - Little MadFishProfessional- Client: MadFish DevelopmentRole: Project Manager, Franchise Developer, Designer2008Equal Partner: Lily Chung

Silicon Valley Rapid Transit Professional- VBN ArchitectsRole: Junior Architect - designer, drafter, renderer, modeler2007~2009

1 1Art WorkPersonal2006~2009

Century Epitech LaboratoryProfessional- PKNG ArchitectureRole: Lead Designer2009

CONTENTS

LOS ANGELES FILM INSTITUTEREINVENTING THE DOWN-TOWN LOS ANGELES BUILDING FORMULA

PARKING PLAZA BUILDING

TYPICAL LOS ANGELES BUILDING

CONTROL POINTS CONTROL POINTS

SELF CONTAINED UNIT

01

It is rare to see pedestrians in down town los angeles. This is because the buildings are not built to the human scale. Instead they are built to the scale of the automo-bile. The general organization of the building follows the parking to plaza to building. This allows great security because access

to the building is easily controlled. However, the combination of car oriented city and buildings designed for security makes a city that is cold and unfriendly to the people. One of other characteristics of the la building is that it contains all the amenities that everyone needs without

going outside. So each building is its self-contained world. Another characteristic is that each building acts as a huge billboard. Each building tries to compete with one another to draw the car in the distance. For example, the famous cathedral lady of angels has a giant cross that is visible

from a mile away and morphosis’s iconic cal-trans building has made it’s building number five stories high. The goal of LAFI was to try to make the idealized the la style building that hold its characteristics while eliminating its flaws.

PR

IVA

TE

PU

BLI

C

PR

IVA

TE

PR

IVA

TE

PU

BLI

CP

UB

LIC

PROGRAM VALUE SCALE

CITY STUDYFORMAL STUDY

FORMAL STUDY

DIFFERENCE IN FORM

PROGRAM DIAGRAM

PROCESS

FORMAL STUDY

Architects often mistake that the world that they represent in drawings is the way everyday people understand the world. It is my intent to try to understand how real people see the their world. I believe that people in different cities will visualize each city dramatically different depending on the city and their intention of being there. For example, a tourist will visualize the city through the important tourist spots of the city, while a person who works there might only care about the roads that take him home. In la, i believe that the most dominant feature of the whole city, the highways system, creates a completely unique way people understand the city.

1. The physical distance is a non factor. Only time the it takes to travel matters and the highway is hugely influential.

2. The environment is understood through sections. When one is on the highway, the road signs tells us where to exit. When we are on that exit, we can expect that the place is parallel to us.

3. When we are on a car, we only have one directionality, and that often leads to looking at the environment one dimensionally.

METHOD OF EXPLORATION

SHOPPING\PLAZA

LOBBY/DISTRIBUTION

SINGULAR ACCESS POINT

THEATRE

STUDIO/SPECIALIZED STUDIO

GREEN SPACEDINNER/ OBSERVATION DECKPARKING

COMBINATION

CLASSROOM STUDENT LIVINGMULTIPURPOSE STUDIO/ LIBRARY/ HALL

ADMINISTRATION, STAFF,AND FACULTY

FACULTY

STAFF

ADMIN

PROGRAM DISTRIBUTION DIAGRAM

PROGRAM DISTRIBUTION

PARKING

ACCESS THROUGH PARKING

OBSERVATION DECKOBSERVATION DECK

STUDIO/ SPECIALIZED STUDIOSTUDIO/ SPECIALIZED STUDIOCLASSROOM

STUDENT LIVING

STUDENT SERVICESSTUDENT SERVICES

MULTI-PURPOSE STUDIOMULTI-PURPOSE STUDIOMULTI-PURPOSE STUDIO

ACCESS PEDESTRIANACCESS PEDESTRIAN

The buildings of downtown los angeles are self-contained units with circulation system of parking to plaza to main building. The main building has multiple functions in it. The functions are separated by each floor. The circulation is through the elevator. The new formula will have a series of horizontal skyscrapers that are grouped with similar programs. While in the traditional skyscrapers the programs are often divided and limited by the floors, the new paradigm has large horizontal connected spaces that can mix within each programs. I wanted large unorganized spaces instead of highly organized spaces where the programs are set.

Large open hall for multiple activities to co-exist. It was my goal to group programs into large groups instead of specifying a lot of individual spaces in the program. Let the people develop the programs with in the large space.

The plaza will also have an open space for multiple activities to co-exist just like the large halls in the building. The space will contain a shopping area that will attract people as well as open plaza for skate boarders and other activities. This is a huge contrast the other down town la building where the access to the plaza is highly controlled. At LAFI anyone can access it and enjoy it.

CCC DDD FFF

EEE

GGGCLASSROOMCLASSROOMCLASSROOM THEATRETHEATRE

RESTAURANTRESTAURANTRESTAURANTOBSERVATION DECKOBSERVATION DECKOBSERVATION DECKOBSERVATION DECK

STUDIO SPACESTUDIO SPACESTUDIO SPACE

EXHIBITION SPACEEXHIBITION SPACEEXHIBITION SPACESTUDIO SPACESTUDIO SPACESTUDIO SPACESTUDIO SPACE

FILM ARCHIVEFILM ARCHIVEFILM ARCHIVEFILM ARCHIVEMULTIPURPOSEMULTIPURPOSEMULTIPURPOSE

PARKING

GARDENGARDENFILM ARCHIVEFILM ARCHIVEFILM ARCHIVEADMIN

AAA BBB

CLASSROOMCLASSROOMCLASSROOMCLASSROOM CLASSROOM

MULTIPURPOSEMULTIPURPOSEMULTIPURPOSEMULTIPURPOSEMULTIPURPOSEMULTIPURPOSEMULTIPURPOSEMULTIPURPOSEFILM ARCHIVE

PARKINGPARKINGPARKINGPARKING PARKING

COMPUTER COMPUTER COMPUTER MEDIA LABMEDIA LABMEDIA LABMEDIA LAB

FACULTY OFFICEFACULTY OFFICEFACULTY OFFICEFACULTY OFFICE

The design process was driven by the section instead of the plan. This allowed the form of the building to have a dynamic shape. While the sections look very complex, the plans that resulting it are relatively simple, creating large opening continuous space for program to thrive.

KINETIC LANDSCAPECOMMUNITY CENTER AND GALLERY FOR SEAMEN’S CHURCH INSTITUTE 02

KINETIC LANDSCAPETHE KINETIC LANDSCAPE CAPTURES THE CHANGES IN THE TIDE TO CREATE DYNAMIC FORMS THAT BRING AWARENESS TO OUR SURROUNDINGS. IT CONSTRUCTED OF TRIANGULAR GLASS MODULES THAT ARE CONNECTED BY TUBE PINS AND HINGES.

URBAN STRATEGYI PROPOSE A GREEN AREA AND KINETIC LANDSCAPE AS A TRANSITION AND AN INTRODUCTION TO THE COMMUNITY CENTER. THIS WILL ALSO SERVE AS A PUBLIC PARK SPACE THAT WILL BRING PEOPLE TOGETHER AND REJUVENATE THE SOUTH STREET SEAPORT AREA. IN ORDER TO PRESERVE THE VIEWS, WE KEPT OUR BUILDING HEIGHT TO THE MINIMUM AS THE BUILDING WILL BE SUBMERGED UNDER GROUND LEVEL. AT HIGH TIDE A THIRD OF THE BUILDING WILL BE SUBMERGED UNDER WATER. THIS ALLOWS OUR BUILDING TO BE HAVE A DYNAMIC FORM WHILE NOT DISTURBING THE EXISTING URBAN FABRIC.

PROGRAM STRATEGYTHE GALLERY AND SANCTUARY ARE LOCATED AT THE EDGE OF THE STRUCTURE TO MAXIMIZE THEIR VIEWS. THE CLASS ROOM AND DAY-CARE CENTER ARE LIMINAL SPACES BETWEEN THE SEMI-PUBLIC AND PRIVATE.

OPEN PARK GREEN SPACE

BUILT ENVIRONMENT

Most of the coast of the island has parks around it so that people can come enjoy the ocean. Our site is a warehouse district where green development hasn’t occurred yet. It is our plan to improve this area by creating a park that can draw people to the coast. It is our intention to make this area only pedestrian.

NEW YORK CITY GREEN MAPPING

NEW YORK CITYPARK LOCATIONS

VIEW AVIEW A

VIEW A

KINETIC ART AND PARKThe park serves as a beacon that funnels people from the inland to the ocean for the main building that is hidden by the overpass and the surrounding buildings. The park is a resting area for the busy citizens of new york. The park is centered around a kinetic art piece. The general principle is the same. A triangulated surfaces propped up by buoyant columns. The result is that when the tide is high, the surface will change accord-ingly. In order to do this we must bring water in from the ocean. It is my hope that this kinetic art piece will bring awareness to the oceans that we take for granted and perhaps be a marker for the rising ocean levels due to global warming.

4

7

95

6

10

23 1

1

2

3

4

SEA MAMMAL EXHIBITION

OPENING. VIEW TO LOWER LEVELS.

OPEN LECTURE HALL

5

6

7

8

YOGA/MEDITATION ROOM

MULTI-PURPOSE HALL

OPEN WATER AUDITORIUM

8

ENTRANCE TO OPEN WATER AUDITORIUM

9GALLERY SPACE. LOBBY FOR MAIN ENTRANCE

10

11

11

SEA LIFE EXHIBITION

OFFICE SPACE

NEIGHBORING BUILDING

SEA LIFE EXHIBITION

OFFICE SPACE

NEIGHBORING BUILDING

SITE: THE SITE IS ON THE WATER AND IT IS IMPORTANT FOR THE BUILDING TO UTILIZE THIS FEATURE TO ITS MAXIMUM POTENTIAL.

BARRIER: FDR DRIVE ACTS AS A BARRIER TO THE OCEAN AND TO OUR SITE.

GREEN PARK: THE PECK STREET IS A DEAD END TO THE OCEAN AND DOESN’T MUCH VALUE AS A STREET. IT WOULD BE BETTER UTILIZED AS A OPEN SPACE.

GENERAL POPULATION

SITE CONSTRAINTS

111111

WE START WITH A RECTANGLE

HALF OF IT’S SOLID AND THE OTHER HALF IS SOFT HALF OF IT’S SOLID AND THE OTHER HALF IS SOFT

THERE ARE MULTIPLE WAYS OFDIVIDING THE RECTANGLE IN HALF.THE COMBINATION OF ALL IS THE CURVE

PIXEL GALLERYWURSTER HALL REDEVELOPMENTWURSTER HALL REDEVELOPMENTWURSTER HALL REDEVELOPMENT

SITE STUDY:BERKELEY CAMPUS

CAMPUS GATEWAYS

SITE

RESIDENTIAL AREASPROCESS

AC

BD

NEW FACADE

WURSTER HALL

0303

WURSTER HALL

There are more than 30,000 people entering and exiting the berkeley campus each day. While the berkeley campus is quite porous and thus exists numerous access points, there are five major access points that most of the people use. Our site happens to be one of them. It serves as the main access points for the unit 1 and 2 dormitories, clark kerr campus dormitories, the ida louis jackson graduate student housing, and all the living

A,B,C,D are four major nodes in our site.

A= college ave. B= gate to berkeley campusC= bancroft & piedmont ave. D= access to bolt hall parking lot.

There are more than 30,000 people entering and exiting the berkeley campus each day. While the berkeley campus is quite porous and thus exists numerous access points, there are five major access points that most of the people use. Our site happens to be one of them. It serves as the main access points for the unit 1 and 2 dormitories, clark kerr campus dormitories, the ida louis jackson

A

B

C

VISUAL SPAN

Count of people passing each node in one hour period from 2:00pm-3pm:

A= 12 exit, 105 enter B= 20 exit, 21 6 enter C= 85 exit, 108 enter D= 0 exit, 1 enter

Total of 421 people passed by the court yard. Only 4 people rested in the area (around the fountain). None in the grove. None on the benches.

quarters for the fraternities located on “frat row,” all of which are located to the south east of the campus, constituting 20% of the totally volume of students using the campus. Since most of the students destinations are located beyond our site, our site only serves as a gateway and not an area of resting, despite the numerous benches, an open court yard and a beautiful eucalyptus grove.

SAN FRANCISCO CULTURAL CENTERRE-INTERPRETING THE DISPLAY OF CULTURE THROUGH SPATIAL RELATIONSHIPSRE-INTERPRETING THE DISPLAY OF CULTURE THROUGH SPATIAL RELATIONSHIPS

04

FORMAL TRANSFORMATION

CONCEPT DIAGRAM

ART

ART?

SITE

INTERACTION BETWEEN THE WINGS

BUILDING LOOKING INTO ITSELF

In the world, there are eudemonic orders that place people in relationships to one another and one to a space. For example, there are separate bathrooms for men and women and only handicapped people are allowed to park on the handicap parking spots. One thing that i love about architecture is its ability to reorganizes this spatial order to create new relationships.In a gallery the relationship between artist, art, the viewer, and the pedestrian are very simple. Artists are detached from the viewing experience, the art is passively hung on the wall, the viewer looks at the art, and the pedestrian is totally separated from the gallery. By changing the simple relationship between a picture frame and its viewer, i tried to create a space where all the relationships are more complex. The pedestrians look at the viewers as a piece of art. The spectator becomes a cultural artifact as well, thus showing the full complexity of culture.The interior of the building is mostly open, only to be divided by picture frames. Almost from everywhere in the building another portion of the building can be observed. The building is thus very transparent and gives the user the sincerest cultural experience.

TRADITIONAL MODE OF OPERATION OF ART WORK

SUGGESTED MODE OF OPERATION OF ART WORK

ARTIST

INTENION1

INTENION 2

INTENION 1’ARTWORK A INTERPRETOR B

INTERPRETOR C

ARTWORK B

INTERPRETOR A

INTENTION 1’’

ARTIST

INTENION1

INTENION 1’’’

INTENION 1’

INTENION 1’

INTENION 2’’ARTWORK A INTERPRETOR E

INTERPRETOR F

INTERPRETOR D

INTERPRETOR CARTWORK B

INTERPRETOR A

INTENTION 1’’INTENTION 2

INTENION 2’

FILTER

GUNMETAL FRAME

ART WORK

HIGH TENSION CABLE

CABLE LAYING ROLLER

MUSEUMGLASS

SUSPENSIONSPRING

STRUCTURAL CORES

SLABS

THEATRE LEVEL STRUCTURE OVERHANGS

CORTEN STEEL

1/4” SKATELITE PRO SHEETHING

GLASS

ENTRANCE

GALLERY BGALLERY A

THE GLASS WILL BE HANGING FROM THE OVERHANGS AND WILL NOT HOLD ANY FORCES

FF

F

LIGHT GAUGE STEEL FRAMELIGHT GAUGE STEEL FRAME

CONCRETE CONSTRUCTED

PLYWOOD SHEETING

HIGH TEMP ICE/WATER SHIELD

FORM AND STRUCTURAL STRATEGY

Because SFCC has a layer of frames hanging on the outside, we need to create a structure that can support them. Instead of creating a superficial structure only used to hang the artwork from, we decided to turn the top floors of theatres as overhangs that can fulfill this requirements.

Another important aspect of the building is the large windows that are uninterrupted by the mullions. In order for this happen, we need the top theatre overhangs to be self support without the support of the window frame as structure. If the theatre overhangs need support the support will ruin the openness of the building.

OFFICE

COURTYARD

COURTYARD

RESTROOM

GALLERY

GALLERY

GALLERY

FRAME

THEATRETHEATRE

GALLERY

MULTIPLE PURPOSE

ELEVATOR

THEATRE

ELEVATOR

PROJECTIONROOM

No windows in theatre floor allows us to have theatres that are open for people to wonder in and out

Galleries are large open space that can be configure for multiple uses.

The courtyard serves as a outdoor cafe and green area.

ENTRY VIEW

05

TAIPEI POP MUSIC CENTER

This Competition was done with Frederic Schwartz Architects of New York City. The software used are 3ds Max, Sketchup, Illustrator, and Photoshop.

Physical Record Sales (2008)Record Music Sales (2008) Digital Record Sales (2008) Performace RIghts (2008)

USA

Europe

Asia

Latin America

7,309 USD

4,977 USD4,773 USD

THINK GLOBAL:Locating Taipei Pop Music Center in a global contextGlobal Music Market Break Down: 18 billion dollar global market

In Comparison:US Music Market:

$ 4.7 billion

population: 304million population: 127million population: 23 million population:1.3 billion

Japan’s Music Market: $ 4 billion

Taiwan’s Music Market: $ 170 million

China’s Music Market: $ 90 million dollars

(future projection $1.9billion)

Cost of Construction $108millionof Taipei Pop Music Center

3138 USD

5808 USD

3600 USD

430 USD

3138USD

750USD

1783USD

62.6USD54.8USD

$5808USD

3600USD

25.7USD

2.54 Hectares

In a global market, it’s important to look beyond the city of Taipei and look at the world. Compared to other nations holding major music markets, Taiwan’s music market is quite small. Furthermore, the market's growth is significantly limited despite plans for expansion due to the city's limited population. It is our intent to create a Pop Music Center that goes beyond a simple concert hall. We propose a center that facilitates Taiwan’s involvement in the international music market, drawing capital from other countries and expanding Taiwan’s cultural reach beyond the city's physical borders.

ACCESS

PUBLIC GREEN

PARKING

BIOSWALE

8-trackAMPHITHEATHER

PROGRAM STUDYAdditional Programs

Live House

Shop

Office

Recording

Rehearsal

Residential

Main Concert Hall Added Programs

Programs Organization

Stage

Audience

Support

Control

Tech/Support

Public

Pop Music Hall of Fame

Exhibition

ThemedRestaurant

Iibrary

Admin

Collection

Outdoor Performance Space

Stage

Audience

Public

MAIN HALL

HALL OF FAME

OUTDOOR CONCERT

MAIN HALL

Chunghwa Telecom Building

ChunghwaDigital Music Distribution Center

FUTURE

The Hall of Fame will showcase key players in the advancement of Taiwanese pop culture, whether they are the artists themselves or important figures in music production. This is an opportunity for visitors to glimpse the tremendous effort that goes into the production of, for example, an iconic concert and personally relate to the behind-the-scenes workings of pop culture in the making. Celebrating production as an essential part of pop music actively engages the visitor's imagination and inspiration.

Focusing on the music production of cultural manufacturing heightens the scope of the Taiwan Pop Music Center to a global scale. We will add additional music production programs into the building (such as dance studios and recording booths), as well as residential units for an artists-in-residence program.

SECTION BSECTION A

SECTION B

OFFICE

SHOPPINGSHOPPINGSHOPPINGSHOPPINGSHOPPINGSHOPPINGSHOPPINGSHOPPINGSHOPPING

SECTION A

SHOPPING

LIVE HOUSE OFFICE OFFICEOFFICEOFFICEOFFICEOFFICE

MAIN HALL

TELECOM TELECOM TELECOM TELECOM TELECOM OFFICETELECOM OFFICEBUILDING

LED

STAGEOUTDOOR PERFORMANCE SPACEOUTDOOR PERFORMANCE SPACEOUTDOOR PERFORMANCE SPACEOUTDOOR PERFORMANCE SPACEOUTDOOR PERFORMANCE SPACEOUTDOOR PERFORMANCE SPACEOUTDOOR PERFORMANCE SPACEOUTDOOR PERFORMANCE SPACEOUTDOOR PERFORMANCE SPACEOUTDOOR PERFORMANCE SPACEOUTDOOR PERFORMANCE SPACEOUTDOOR PERFORMANCE SPACEOUTDOOR PERFORMANCE SPACEOUTDOOR PERFORMANCE SPACEOUTDOOR PERFORMANCE SPACEOUTDOOR PERFORMANCE SPACEOUTDOOR PERFORMANCE SPACEOUTDOOR PERFORMANCE SPACEOUTDOOR PERFORMANCE SPACE

OUT DOOR DANCE PRACTICETAICHICOMMUNITY ACTIVITIES

Outdoor Concert Main Hall

In the beginning of the design process, instead of viewing the site as a barren piece of concrete plane, we decided to view the site as a green landscape. It was our intent to make the architecture rise out of the greenscape as rocks, borrowing from the natural landscape of Taiwan and abstracting it to fit the urban context. Providing over 2.54 Hectares of green space for the public, Taipei Pop Music Center will provide a green environment for the hectic Taipei City life, and set a precedent for all future developments to happen in the vicinity. The bioswales and the green space will act as a filter of Taipei. Placed as part of the green park, The Outdoor performance space is a large canopy that provides shades and protection for outdoor concerts as well as other outdoor community activities. Architecturally, our forms are simple yet iconic. The large surfaces will be a canvas that will reflect the people, nature, the sky, light and culture. Inside the large masses are life and activity, jam packed to set a stark contrast to its exterior. The building is more about the activities that happen inside the building, instead of the building itself. By putting the Main Concert Hall above all the other programs on a pedestal, we protect it from the hectic cityscape while allowing it to be the main iconic focus of the site. Underneath the Main Hall are the shopping malls and the live houses which are more public and will need to be more readily accessible. It was our intent for these programs to act as a buffer for the Main Hall. People can choose to enter the concert hall through the buffer of shopping and other public activities or through the pedestrian overpass, designed for direct main hall access. HoF will celebrate all aspects of pop culture. However, instead of celebrating only the final product, we intend to celebrate the production of it. The production of culture is what gives people their identity and their heritage. Also, the generating a culture of creation and production is a necessary and important step in setting Taiwan up as a major player in the cultural war in South East Asia and in the world. In order to accomplish this we merged the exhibition and library and merged it with open to public recording and dance studios to allow tourists to experience the full experience of pop music production. This is an opportunity for visitors to glimpse the tremendous effort that goes into the production of, for example, an iconic concert and personally relate to the behind-the-scenes workings of pop culture in the making. Celebrating production as an essential part of pop music actively engages the visitor's imagination and inspiration. Coupled with shopping, live house, concerts, Taipei Pop Music Center will provide the ultimate pop music experience.

WIND WEAR

MONTY SUWANNUKUL

WIND WEAR

LILY CHUNG LILY CHUNG

WIND WEARRAIN WEAR

BRIAN HONG BRIAN HONG

RAIN WEAR RAIN WEARRAIN WEAR

MONTY SUWANNUKUL MONICA CHANG

WEATHER WEARENVIRONMENTAL INSPIRATION - FASHION THROUGH ARCHITECTURE

0606

Water Collection Coat Reverse Icicle Poncho

Everyday we ignore and try to have the least amount of contact with the discrepencies in the weather. It is our intention to create conceptual clothing that can help us be more aware of the weather. This project funnels the rain water in the back pocket, so that we will know how much water we were in contact with.

An independent study under Raveevarn Choksombatchai. The class was trying understand fashion through architecture and vice versa. I wrote the class syllabus, class readings list, and coordinated meetings. Our team produced 8 pieces of clothing that were inspired by architecture and weather. Our collection was called “Weather Wear,” and it was reviewed by Professor Choksombatchai and Professor Nicholas de Monchaux.

SPATIAL MAPPING OF FILM Martial Arts Scene from “Heroes” between Jeti LI and Donnie Yen

0606

In every human interaction there is a space that is generated in between. The space is dictated by the activity of the people and it will have a specific characteristic that is only related to that specific activity. For example, a space created by the interactions in a tennis match will be different from a space created from a boxing match--one can imagine that a space from the tennis match will be larger with swooping ends while a space from the boxing match will be jagged and much smaller. These spaces are created by the specific protocols in activities. In a tennis match there is a ball (a medium) that prompts the player to move according to the ball; the protocol then makes the person change the ball's trajectory which will prompt the other player to move accordingly. The space between will have a constant motion untill a ENERGY GRAPH

FIGHT SCENE

person simply cannot continue on with the protocol. Meanwhile, the space will have a constant fluctionation that reflects these motions. The martial arts scene we chose to map has a similar, dynamic fluctuation of space. The protocol goes as follows: Attacking is a process of putting the deadly end of a weapon into the body of the other. Defending is a process to prevent this from happening by dodging and blocking the weapon. While a person attacks, the other will only defend. When attacking, the person will move towards the opponent and when defending one will move away from the attacker. These simple rules create a predictable space that will be

constantly maintained.Our goal was to go one step further and find specific emotions and characteristics of points in time and see how they change throughout the clip. Of course there are other variables. For instance, actions depicted by the camera manipulate and help to portray the situation. Studying how the film manipulates the depiction of space adds an extra level of complexity to our analysis. By mapping the space, camera angles, and contact points as a base line, our goal was to generate a spatial language that captures the fight's qualities (eg. tension) and highlights its spatial characteristcs.

COMBINATION DIAGRAM

OVERALL GENERATED ENERGY

BLOW BY BLOW GENERATED ENERGYBLOW BY BLOW GENERATED ENERGY


BLOW BY BLOW GENERATED ENERGY

COMBINATION DIAGRAMCOMBINATION DIAGRAM





































100 (sec) 20 30

SUSHI AS FASTFOOD - LITTLE MADFISHDESIGN AS PART OF A BUSINESS- IDENTITY, INTERIOR, AND OPERATIONS FOR A SUSHI FRANCHISE

IDENTITY DESIGN

IDENTITYOPERATION

FOOD

FRANCHISE = IDENTITY + OPERATION + FOOD = $350,000

INTERIOR + GRAPHICSSCOPE OF WORK

SUSHI WORKSPACE + EQUIPMENT

Originally assigned to roddy creedon of uc berkeley, this project holds dear to my heart because it was the first project i was fully in charge of. My colleague lily chung and i worked directly with the ceo of madfish development to achieve his goals.The client wanted an identity for his prospective chain of casual japanese restaurants, which would replace over 40 different pick-up-stix locations across northern california. It was our responsibility to create a recogniz-able interior and graphic scheme as well as viable operation strategies that are easily adaptable to new locations. The design and operations were to be

desirable only for the customers but also for the prospective owners as well. While investing a little over $30,000 for a single restaurant, it will generate value for the over $350,000, yielding a gross revenue per day of $6000 or more. For the developer this will yield over a 1000% in profit; maximum value for the minimum amount of money. The restaurants that we completed will act as flagship stores that would serve as models for future restaurants. We have completed 3 restaurants in a 6 months period in fremont, dublin, and vacaville and 3 more are scheduled to open this year.

08

ARTWORK

BECAUSE THE LIMITATION OF THE BUDGET AND SPACE, THE MOST EFFECTIVE WAY OF CREATING A BECAUSE THE LIMITATION OF THE BUDGET AND SPACE, THE MOST EFFECTIVE WAY OF CREATING A BECAUSE THE LIMITATION OF THE BUDGET AND SPACE, THE MOST EFFECTIVE WAY OF CREATING A DESIRABLE AMBIANCE WAS BY MAKING ATTRACTIVE ART WORK. DESIRABLE AMBIANCE WAS BY MAKING ATTRACTIVE ART WORK. DESIRABLE AMBIANCE WAS BY MAKING ATTRACTIVE ART WORK.

THE ART WORK ARE INSPIRED BY THE JAPANESE DRINKS OF LITTLE MADFISHTHE ART WORK ARE INSPIRED BY THE JAPANESE DRINKS OF LITTLE MADFISHTHE ART WORK ARE INSPIRED BY THE JAPANESE DRINKS OF LITTLE MADFISH

EACH ARTWORK HAS A PARTICULAR SAKE BOTTLE WITH A PARTICULAR THEME AND COLOR SCHEME.EACH ARTWORK HAS A PARTICULAR SAKE BOTTLE WITH A PARTICULAR THEME AND COLOR SCHEME.EACH ARTWORK HAS A PARTICULAR SAKE BOTTLE WITH A PARTICULAR THEME AND COLOR SCHEME.

SMALL ROLL PARTY PLATTER (SERVES 3-4 PEOPLE)CALIFORNIA, SPICY TUNA, CRUNCH CALIFORNIA, BAY BRIDGE, AND SPIDER ROLLS

LARGE ROLL PARTY PLATTER (SERVES 5-6 PEOPLE)CALIFORNIA, SPICY TUNA, CRUNCH CALIFORNIA, BAY BRIDGE, SPIDER, PHILADELPHIA, SHRIMP IN-N-OUT, DRAGON, RAINBOW, AND LION KING ROLLS

SASHIMI PARTY PLATTER

NIGIRI PARTY PLATTER

25

50

70LARGE

70LARGE

35SMALL

35SMALL

SASHIMI MIX EDAMAMESMALL ROLL PARTY PLATTER TEMPURA MIX

PARTY PLATTER

P1.

P2.

P3.

P4.

TEMPURA ICE CREAM

DESSERTS

5.00DS1.

SOFT DRINKS PEPSI, DIET PEPSI, SIERRA MIST, ROOT BEER, LEMONADE, ICED TEA

BOTTLED WATER

BEVERAGES

1.50

1.50

ALL BOXES ARE SERVED WITH SOUP, SALAD AND STEAMED RICE

SPECIAL BENTO BOX 3 PC NIGIRI SUSHI (TUNA, SALMON, YELLOWTAIL), MIXED TEMPURA, 2 PC GYOZA, CHICKEN TERIYAKI AND BEEF TERIYAKI, AND CHICKEN KATSU

CHICKEN TERIYAKI AND TEMPURA BOXCHICKEN TERIYAKI, 2 PC GYOZA, MIXED TEMPURA, 4 PC CALIFORNIA ROLL

BEEF TERIYAKI AND TEMPURA BOX BEEF TERIYAKI, 2 PC GYOZA, MIXED TEMPURA, 4 PC CALIFORNIA ROLL

SALMON TERIYAKI AND TEMPURA BOXSALMON TERIYAKI, 2 PC GYOZA, MIXED TEMPURA, 4 PC CALIFORNIA ROLL

CHICKEN TERIYAKI BOXCHICKEN TERIYAKI, 2 PC GYOZA, 4 PC CALIFORNIA ROLL

BEEF TERIYAKI BOX BEEF TERIYAKI, 2 PC GYOZA, 4 PC CALIFORNIA ROLL

SALMON TERIYAKI BOXSALMON TERIYAKI, 2 PC GYOZA, 4 PC CALIFORNIA ROLL

CHICKEN KATSU BOXDEEP FRIED CHICKEN BREAST WITH TON KATSU SAUCE, 2 PC GYOZA, 4 PC CALIFORNIA ROLL

TON KATSU BOXDEEP FRIED PORK TENDERLOIN WITH TON KATSU SAUCE, 2 PC GYOZA, 4 PC CALIFORNIA ROLL

TEMPURA BOX6 PC SHRIMP TEMPURA, 2 PC VEGETABLE TEMPURA

BENTO BOXES

9.95

8.95

8.95

9.50

8.95

8.95

9.50

8.95

8.95

8.95

B1.

B2.

B3.

B4.

B5.

B6.

B7.

B8.

B9.

B10.

KID ’S MEN U 5.95

* FOR CHILDREN 12 AND UNDER* N T K O T I* NO TAKEO TAKENO TAKETAKETAKEKAKEAKAKEKE-OUT SERV- ICESSESERSERVERVEDERVEDVED WIRVED WIERVED RVED WRVED WEDWISERSE WWED WWISER ED WWID WVE WIED THTHH H SHRSHRH IHH IH IMPMPH SHSHRIMPMPTHH SHRIMPMTT HRIMPTHH RIMHRIMTH SHRIRIMPH SHRIMP DANANAND VEGEAND VEGEAND VEGAND VE AND VEGEVEGD VE AND VEGE AND VEGEGEA VD VEGE NAND EGEANDND G TABLE TEMTABLTT BLBL TTEMEMMTABLE TEMABLBLEABLE TEMTABLE TEMTABLE TEMEMAABLE TEE TABLE PURA, PUPURA, SALPURA,PPPPUUURA, UUURA,URAPP AD, AND RICECHOOSE 1 CCCHHHHHOHOHOOOOSEOOSE 1111 C OOSOOSECCHH OSEOSE H OSE OSE CCHHHHH 1HHOHOOOCHHHOOOO OOF THE FOOF THE FOOF THE FOF THE FOTHE FOTHE FOTTHE FOTHE FOEE FFOFOFOO OHF THE FOOFO LLOWING:LLOWING:LLOWING:LLOWING:LLOWIOWLOWOWIOWILOWINLLOWING:NNGNGGG:LLLOWING:NG:OW GOWNG:

KEKEKEKEKEKENKEEKENKENKENKENKKENKEKENNKENEKENKENKENKEKENNNNKENKENKENKENKENKENNNNNN TER TERTTTETE TER TTTTTTTERTTTTTTTETERTERTETTETERTETERTEREERTERTTETERERRTERTERTETERETETERERER TTTERERERRTERTERTTETT R TTETETER TERTERTTTETETEERI KKKKKKI KI KKKKKKKKKKKAKIYAKIYAKIYAKIYAKKKKKIYAKAKAKKKIYAKIYIYAKAKKIYAKKIYAKYAYAKYAKKYAKIYIYAKIYAKAKAKAKIYIYAKKAKIYIYIYAYAKIYAKIYAKIYAKI AAYAYAKAKIIIYAAYAAKIYAKKIYAKYY IIIIIIIIIIIIIIIIIIIIIIIIIIII KK K1KKK1111.1.K K1.K1..1.1K1.KK K11.K11 CCCCCCCCHCHCHCHHHCHICHICHICHICHIHICCHICCC IIICCCHCHICHIHII CCHCHCHHHIICHIHICCCKCKCCKCKCKCKCCK

TEETETETETETTTETETETETETEEETTETETETETTTETTTTTTTTTTTT RIYRIRIYAIIIYAIYARIYARIYAIYARIYARIYARIRIYARRIYARIYARIYARIYARIYARIYARIYAR YARR YAAYAR YAAAR AAAI AKIKIKKIKIKIKIKKIKIIKIKIKIKIKIKIKIKKIKKKIKIIKIIKIKKKIKKKI K2. K2 K2KK2.2.K2.K22.2.2.K .. BEE BEE BEE BEEBEEBEEBEEBEEEEEE BBEEEEBEEBEEEEEBEEBEEEFFFFFFFFFFFFF FFFF F F

OOOOOOOONN N N N NOOOOONOOOONOOON OOONOOONOOOOOOOOOOOOO TTTTERITETETEERIERIERIRIRRIIIRITTEERIRIIRIT IERIERIEERITEERIIYAKIYAKIYAKYAKIYAKYAYAYAKYAKKAKYAKYAKYAKYAKKIYAKIIIYAKIYAKIKIYAKIIYYAKIIYAKYAKIAKIKIKIKIYAKKYAKIKIKIYA IKIAKKKIKAKKKKIIYAYAKKIIIKKIIIIIYAKIIIKIII K3 K3K3.K3.KK3.K3.KKKKK S SASSSSA SSASA SASAALLLLLSSASALSALALS LLALLA MMMMMMOMOMMMOMMOMMMMO

KKKKKAKAAAATKATATATKKAKAATKKKAKAKAKKAKAATTTTTSUSUSUSUSUSUSSUSUSUUUSU K4.K4.K4.K4.K4K4K4.K4KK4.K4K4.K4K4K4K444 TTTOTTTOTOOTONNONNNNTOTOTOT NNTTOONNNTONN NNNTONNNO KKKKK

AAAAAAAAAAAAAAAAAAAAAAAAAA K K5.K K5.5.5.K5K5.K55 GY GY GY GYO GYOGYGYOGYOGYOYOYOOOOOOO GYGYO GYOYOOOZZAZAZZAZZAZZ

CATERPILLAR ROLL

SPARKLING WATER

JUICE ORANGE, APPLE

RAMUNE SODA (MARBLE SODA)

1.75

2.00

3.00

SERVED WITH MISO SOUP

CA + NIGIRI CALIFORNIA ROLLS WITH MAGURO, HAMACHI, SAKE, UNAGI, AND TAMAGO NIGIRI

COMBINATION SUSHI MAGURO, HAMACHI, SAKE, UNAGI, TILAPIA, TAMAGO, TOBIKO

COMBINATION SASHIMI HAMACHI, SAKE, MAGURO, ALBACORE

CHIRASHI SUSHI ASSORTED SASHIMI OVER SUSHI RICE

HAE DUP BAP ASSORTED SASHIMI OVER RICE WITH CHILI SAUCE

SUSHI + SASHIMI COMBO

8.50

9.00

12.00

7.00

7.00

SS1.

SS2.

SS3.

SS4.

SS5.

LITTLE MADFISH MENU LITTLE MADFISH UNIFORM

FryerFryer Sushi Bar

FryerFryer

Fryer Stove

Fryer Sushi Bar

Fryer Sushi Bar

Sushi Bar

FryerFryer Sushi Bar

Customer

Customer

Customer

Customer

CustomerCustomer

Customer

Customer

Customer

Customer Customer

Customer

Fryer

Sushi Bar

Sushi Bar

Sushi Bar

Charbroil Grill

Mad Fish Specia Rolll

Philadelphia Roll

NigiriCaterpiller Roll

Rainbow Roll

Spicy Garlic Salmon

Spider Roll

Tempura

Futo MakiFuto Maki Beef Katsu Donburi

Caterpiller Roll

Charbroil Grill

Sushi BarWaitressStation

Freezer

Sushi Show Case

Freezer

Front

Fryer

Walking Freezer

Storage

Stove

Freezer

Charbroil Grill

Nigiri

Drink

Utensils Sushi Roll

Teriyaki Chicken

Curry

Udon

Ramen

Tempura Teriyaki Beef

Unagi

Arms Reach

Arms ReachBehind The Scene

Access

Sushi Bar

OPERATIONS STUDY

Curry

Unlike a traditional sushi restaurant where all the ingredients for a roll is located all in the sushi showcase, the fusion style sushi restau-rant has a lot of freshly cooked ingredients that are made in other parts of the kitchen. Because of the complexity of some of the dishes and the fact that each cook has his specific role and equipment, it is important to organize the operation in the kitchen in a stratgic manner for maximum efficiency.

Freezer

FryerTempura

DUBLIN LITTLE MADFISH

The interior of Little MadFish was focused on generating the most value. Our strategy was creating a modern design through a simple color scheme, art work, and Nelson Bubble Lamps to create an attractive environment. It was my responsbility to prepare all the drawing and documentation for all the permits for construction.Our goal for little madfish was to construct the interior as quickly

and efficient as possible and it was a challenge managing all the subcontractors to come in such a small time frame. The construction for each job took approximately two weeks. The scope of work included, paint job, lighting installatation, kitchen reorganization, equipment installa-tion, furniture installation, as well as purchasing of the china, uniform, artwork, signage, and utensils.

INTERIOR DESIGN AND CONSTRUCTION MANAGEMENT

FREMONT LITTLE MADFISH

Outside Dining PeRmit:CalifOrnia Alcohol And Beverage CoNtrol CiTy Of FrEmonTDesign Of

Sushiman WoRkspace :Sushi ShowcaseCUstom Refrigeration UnitHand Sink

Design OfCashier/wAitress WoRkspace:Register Pos System C Oordination

COokIng Equipment:Charbroil GrillSprinkLer Modi�cation

Dish WAshing

Blue Room Design:

CUstom ArT WoRk

Refrigeration

Inside Dining:New Chair & TAbles- VaRied: StandarD And COunter Height FInishing-WAll, TIlesNew UpholsterY Of Banquest Style SeatingCUstom Lighting

Main EntrancE

OuTOutsidE DICaLCCCCCCCCCCCCCCC IfOrnia ACItY OF FReMReReReReReReEReReReEReERRReEReRRRRE

UNiT

SpaCe:

On

GHT

NQuest StYLe SSSSSEaEEEEEEEEEEEEEE TinIT G

MAIn EnTRANCe

CENTURY EPITECH LABORATORY

0909 SOUTH SIDE

NORTH SIDE

SOFT NORTH LIGHT NORTH LIGHT

SOUTH LIGHT

Vegetation

PV Screen

SOFT NORTH LIGHT NORTH LIGHT NORTH LIGHT

glass

Solar Skin DevelopmentBuilding Scheme

Cover Glass

Oxide Film

PVB

Back Re�ector

StructuralFrame

SILICON VALLEY RAPID TRANSIT16.3 MILES OF EXTENSION OF BAY AREA RAPID TRANSIT TO SAN JOSE16.3 MILES OF EXTENSION OF BAY AREA RAPID TRANSIT TO SAN JOSE 1010

SANTA CLARA BART STATION

PLATFORM

CONCOURSE

ROOF

STRUCTURE

The SVRT project consists of three above and three below ground bart stations. VBN architects are in charge of the three above the ground bart station- Milpitas Station, Berryessa Station, and Santa Clara Station and are design consultants for the under-ground stations that include Downtown San jose Station. My job consisted of designing and putting together construction documents through autocad and revit as well as preparing presentations for the governing authorities such as the cities that the project passes by and the SVRT authorities.

THIS BUILDING WAS MODELED USING AUTODESK THIS BUILDING WAS MODELED USING AUTODESK REVIT ARCHITECTURE 2008. THE CONSTRUCTION REVIT ARCHITECTURE 2008. THE CONSTRUCTION DOCUMENTS WERE DONE IN REVIT AND AUTOCAD.DOCUMENTS WERE DONE IN REVIT AND AUTOCAD.

THE IMAGES WERE RENDERED ARTLANTIS AND PHOTOSHOP.

DOWNTOWN SAN JOSE STATION

BERRYESSA STATION

PLATFORM

CONCOURSE

MODELED IN AUTOCAD 3D AND RENDERED IN VRAY AND PHOTOSHOP.

MILPITAS STATION

MILPITAS STATION PUBLIC ARTS COMPONENT

ART TILE CONCEPT ARTIST-MADE TILES

HAND-GLAZED PHOTOGRAPHIC

The significance is that not only was i able to work on the station on a larger scale as a architectural designer, i was able to view the project in an artist’s perspective in a more sensual abstract level.Working with artist Amy Trachtenberg, we were able to come up with a comprehensive concept of the platform level of the milpitas station. Drawing from the rich history of the Silicon Valley, Amy Trachtenberg conceived of artwork on the columns which consists of strips of colorful tile work with photgraphic historical tiles to give the work some context. The overall color scheme of the platform level will also reflect the colorful tile work of the columns giving the riders a sense of place when they arrive at the station. My role was to assist the artist in developing the concept, building the presentation model and sketch models, helping her with the color scheme, preparing the presentation boards, as well as being the overall interface between her an the project manager and designer, answering all of her inquiries regarding the architecture of the station.

ART WORKSELECTED PERSONAL WORK 1 1

“Transitional Art”Inspired by Amy Trachtenberg

Lily’s SlumberWood Sculpture25”h x 20w” x 20d”

Construction DocumentWood Sculpture18”X24”

Architectural DetailPencil Drawing

24”x22”

RestingPencil Drawing36”x24”

Still LifePencil Drawing

36”x24”

Before the Clean UpPen and Ink

30”x24”

Architectural DetailPencil Drawing

24”x22”

Architecture Portfolio_small

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