Caleb Kung Architecture Portfolio

K U N G ,C A L E BMASTER OF ARCHITECTURE, 2012BACHELOR OF SCIENCE OF ARCHITECTURE, 2010

S E L EC T E D WO R KS

2012 /

m a ST E R O f a RC h i T EC T u R E T h ES i S

4 / pROjECTS FROM My gRAdUATE STUdIES AT

THE University of CinCinnati ARE INCLUdEd

IN THIS SHORT pORTFOLIO. THEy REpRESENT My

pERSpECTIvE ON FORMAL pROpORTIONS, SCALES,

AFFECTS ANd pHENOMENA wITHIN THE COMpLEx

SOCIAL CONTExT OF TOdAy. THEy SHOULd ALSO

INdICATE A MASTERy OvER dIgITAL pROCESSES

AS wELL AS gRApHIC REpRESENTATION ANd

COMMUNICATION IN CREATIvELy dISSECTINg THE

ARCHITECTURAL OppORTUNITy AT HANd.

THESE wORkS SHOULd dEMONSTRATE A THINkINg

ANd wORkINg pROCESS RESULTANT FROM

CONvERSATIONS wITH pROFESSORS ANd pEERS

ANd ARE CREdITEd TO THEM AS SUCH.

Af L E E t i N Gr E G i s t E r

AN A U t i C A L L A N D s C A P E

A NA s s A i L i N GA P P E A L

01 /

0 2 /

0 3 /

0 4 /

Ar E f L E x i v E C o N tA i N E r

m a ST E R O f a RC h i T EC T u R E T h ES i S

LYC E u m CO m P E T i T i O N E N T RY, 2 0 1 1

m i L a N E x P O S i T i O N 2 0 1 5 E L EC T i v E ST u D i O

faC TO RY S Q ua R E a RTS f EST i va L i N STa L L aT i O N


2012 /

Af L E E t i N Gr E G i s t E r11-12, SEPT-Maym a ST E R O f a RC h i T EC T u R E T h ES i S

| D

IRE

CT

OR

’S C

HO

ICE

AW

AR

D |

01 /

Paul Virilio opens his book The Aesthetics of Disappearance with a quote by the Biblical Paul of

Tarsus: “The world as we see it is passing.” It was his aim, as well as the objective of this thesis to illustrate the

human world as increasingly unstable, uncertain and ephemeral. This reality is observed through various scenarios and phenomena that within this discussion

is referred to as disappearance. Disappearance occurs most apparently in hyper-accelerated urban conditions,

complex metropolises that are constructed over systems of transferences. One such metropolis is the semi-

independent city of Hong Kong.

Hong Kong’s emergence as a powerful economic entity mingled with its political struggles has complexified its

search for an identity. Simplified representations slowly take over potentially more encumbering analyses of

the city’s nature, painting over the city’s elaborate web of relationships with easily descriptive generalizations.

Borrowing from the process of film construction, primarily WONG Kar-Wai’s 2046, this thesis became an attempt to develop an approach towards the design

of space within Hong Kong that at once participates in and critically documents the progress of the

phenomenon ofdisappearance.

01.0 aerial of victoria harbor

A f L E E t i N G r E G i s t E r01 /

master of architecture thesis

01.1 DAAPworks final show, june 2012

01 / 4


01 / 5


KOWLOON PENINSULA,

VICTORIA HARBOR

aND

HONG KONG ISLAND

Map of hong kong二〇一二

KOWLOON PENINSULA,

VICTORIA HARBOR

aND

HONG KONG ISLAND

Map of hong kong2012二〇一二

D



KWCDthe west kowloon cultural district

has been designated as a cultural center in response to “the need for the

core arts and cultural facilities”.

15 performing arts venues, <3 hectares of open space, “cultural institutions” and

an exhibition center will find themselves on wkcd beginning

2015.

wEST kowlooN culTural DiSTricT

01 / 10



01.6 concept image, the intervention as document of

the city

to register the process of disappearance, a zipline system was proposed for the site, synthesizing the ideas of displacement, speed, and altered perspective, while accomodating needs for start-up arts and the role of media in such a phenomenon. the success of the endeavor lie in the capacity of the intervention to at once induce disappearance upon the site while disappearing alongside the site; this simultaneous occurence draws attention to the nature of the decline of the cultural space in the city.

01 / 12

01.7 the mast stands 100’ tall, holding two platforms that each hold two zipline courses. features a truss core and a steel panel clad network of square tube steel scaffolding

01.8 hooks hold up the safety canvas - chainmail assembly


01 / 13

01.9 grips hold the mid-point of the zipline and acts as a velocity reducer and direction turning mechanism. only experienced in mid-air

01.10 theater space that extends into the dock. equipment storage facility


01 / 14

01.11 the location of structures deal with the nuance happenings of the site, including manifestations of boundaries that intrinsically signify ideas of privacy and protection

01.12 the vastness of the site is in contention with the slim verticality of the structures that formally present both a contradiction and a foreshadow of the forest that is to be implemented


01 / 15

01.13 towering above and over, the structures attempt to present a threatening instability that is tell-tale of the stand off it creates. it attempts to suggest the transitory nature of the site

01.14 beneath the gargantuan structures the space of the site is quickly changed, and the vertical void that was once present quickly dissolves


01 / 16


01.115- 01.20 three structures close-up

01 / 17


01.21 - 01.26 site model close-up

01 / 18



01.27 componental axon for ‘mast’ zipline tower

01 / 20


01 / 21


01.28 zipline system site plan

of the city andthe intervention

THe cO-DISAPPEAR

INgpROCess


01.29 rendering of disappearing site, city and intervention

of the city andthe intervention

THe cO-DISAPPEAR

INgpROCess


THe cO-DISAPPEAR

INgpROCess


THe cO-DISAPPEAR

INgpROCess


01.30 concept image, a tension of site and sight

Ar E f L E x i v EC o N tA i N E r , 2 / 611, SEPT-DEcfaC TO RY S Q ua R E a RTSf EST i va Li N STa L L aT i O N

02 /

A gray area seem to exist between reality and fiction that is akin to the occasional inability to distinguish

between the physical and the conceptual element. This six person / six week long installation project attempted to

trigger conversations on relative topics to installation art, construction, spatial formations, and concepts relevant to

the individual project.

Being possessed by the idea that architecture is the marriage of a reality[physical] and a mental fabrication[conceptual constructions], the installation responds to its predecessor

by imitating its form, placed in a new orientation, and exposing the light source that had so dimly glowed the week

before. the light was then recreated as a bed of fire that dons its own character, charring the pristine salt blocks on

their backs.

After each week, a meal followed the installation presentation; it was the activity in which the conversation

was hosted, and with which the space engages.

02.0 agricultural salt block, the building material

reacting to the

mOduLAR

tAPERINg fORm

LIGHT

01

02

03

&

01.1 installation before ignition

mOduLAR

tAPERINg fORm

LIGHT

01.3 week two installation

01.2 week one installation, by vincent sansalone

02 / 4

ThE mEaL iS SETuP, POSiTED aT ThE CENTER Of ThE iNSTaLLaTiON,

hOvERiNg aLSO aT ThE CENTER Of ThE SPaCE.

ThE mEaL iS ExPOSED, iTS CONTENTS

DiSTRibuTED fROm ThE CENTER OuTWaRD.

maNY DOmiNaTE ThE SPaCE.

ELEmENTS buiLD CONCENTRiCaLLY

aROuND ThE PivOT POiNT.

ONE DOmiNaTES ThE SPaCE.

ThE iNSTaLLaTiON iS a bED Of maNY aND ONE fiRES, hOLDiNg

humaN aCTiviTY WiTh iTS PivOT.

A r E f L E x i v E C o N tA i N E r02 /

01.4 - 01.9 the meal in space

02 / 5

ThE fiRES aRE PREPaRED.

ThE SPaCE iS hELD bY ThE fiRE, a STagE fOR

ThE bODY.

auDiENCE SuRROuNDS STagE.

fiRES aRE igNiTED ONE bY ONE.

bODY ENTERS STagE.

ThE EPhEmERaL LighT LaSTS 1.5 hOuRS.

factory square arts festival installation

01.10 - 01.15 space as stage at night

02 / 6


02 / 7


01.16 process of construction, duration = 5 hours

02 / 8



01.17 plans of salt block formation with cooker

01.18 installation aflame

AN A U t i C A LL A N D s C A P E11, JaN-Marlyceumcompetitionentry

03 /

Considering the potency of a landscape as abstract as the

Bonneville Salt Flats, this competition asks for a response to the site in the

form of a highway rest stop. The beauty lay in its paradoxical nature,

being so unique in its atmosphere but also readily absent, eluding all forms

of representation.

A Nautical Landscape is the driver’s mirage, turning the flatness of the salt into the surface of the sea and himself

into a sailor. Here all restrictions on the vehicle are unchained as it treads

at first slowly on to the salt, then realizing the absolute buoyancy the vehicle is loosed into a sea of white. The docking yard acts as a lookout

that holds most of the public facilities of the rest stop, while individual

cabins are hosted by ridges of salt and are opened to the expanse of absence.

02.0 agricultural salt block, the building material

03 / 2

A N A U t i C A L L A N D s C A P E03 /

lyceum competition entry

03.1 concept & site plan03.2 site section

03 / 4


VOId AS

pLATfORm for

the Re-

ImAGINed&


03.3 rendering, rest-stop looks out on to expanse

VOId AS

pLATfORm for

the Re-

ImAGINed

abstract

salt flats

nautical

03 / 6


A NA s s A i L i N GA P P E A L10, SEPT-DEcmilanexposition2015

04 /

Reacting to the contrivance of an event as blatant as the world exposition, this project studied the idea of architectural space as a propagandic / advertisement instrument. Borrowing from the

Chinese industrial farming movement of the sixties, the project is a scaffold shell that houses an

exhibition of installations and artworks.Spatially, the sub-terranean structures attempts to

evoke the frustration of a maze that is indicative of an inherent complexity, tampered with the

surreality of the virtual which is the nature of any propagandic regime. This spatial product is the branding agenda of the China Pavilion design

featured here. Time plays an important role towards the construction of the structure and is key to the execution of the project’s conceptual

bearing, that is, the inevitability of nature’s consumption of human feats.

04.0 atmospheric image, introspection and lost

04 / 2

A N A s s A i L i N G A P P E A L04 /

04.1 precedent, the maze of maximum contrivance, at the palace of knossos

04 / 3

milan exposition 2015 elective studio

04.2 plan, the stomach of the structure, where installations and exhibits are held

04 / 4



10m 5m

stage 1, structure posited within a field of wheat

stage 2, wheat overtakes structure

stage 3, wheat is dying, structure is dug open revealing scaffold and

allowing elements to enter body

stage 4, the abandoned structure breeds a wild growth

expo start

mid-expo

expo-end

expo-afterlife

04.4 diagram, metamorphosis of structure in time

04 / 6



04.5 model demonstrating the variability of the construction

process

04.6 generative model of an exhibit chamber, mapping human

movement and information movement

04 / 8

mouth

SuRREaLiTY

PROPagaNDa

throat

ThE CavE

ThE mazE

foyer :: surreal nature and the introduction of the event as propaganda

corridor :: cave-like control of the human body, structured by the formation of an invisible maze


04 / 9

stomach exit

QuaNTiTY WEb RE-PROPagaNDa

SYSTEmaTizED DECONSTRuCTiON

DuST TO

DuST

atrium :: information installation, featuring quantities of material, interprettion zone

rear garden :: memory / reflection, social media documentation, structure awaits return to the

earth after event


elusive forms

and

propagandic

architectures


elusive forms

and

propagandic

architectures


04.19 rendering, abandoned structure returning to the earth, lingering as a display / memory of 60’s propagandic ideas coming to terms with the present

-513- 910 6460CALEBkUNg @ gMAIL.COM


2012 / K U N G ,C A L E B

Caleb Kung Architecture Portfolio

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