Michael W. Kim Design Portfolio

8/18/2019 Michael W. Kim Design Portfolio

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Micha

Design Port


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Continuously evaluating and criticizing the world around me, the interest indesign came naturally. I constantly questioned how a purpose is fullled andthrough what processes?

I approach design as a pursuit for meaning, rather than chasing immediateresults. It is through this, often the method process behind the design becamemore important than the nal manifestation. The method of understandinga problem, the client or context became much more than an exercise, itbecomes a form of art in itself.

It is with this I seek constant insperation for new methods of designobservation, analysis, and experimentation. To me, the practice of creatingdesign became much more than just the built form; it has became about

producing meaning or stories through design.

Self Reection. C


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the gures on the horizon


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employer:Brown + Storey Architects Inc.

date: 2010

location: Lakeshore and Leslie, Toronto

(Ashbridges Bay)

project: TTC Landscape Design

Competition *winning entry

role: design assistant, 3D imaging, model

production, render production.

project information. This proposal is about a way to ‘capture the moment’ through a uid process of patterns, surfaces,gures, vegetation and habitation – to rst posit networks and elements that can become thesubject of dialogue with the community and the TTC, and to establish an overall organizationthat will become subject to how the community and the City can successfully ‘own’ this site inan integrated co-habitation with the City’s new streetcars and the TTC.

The elements of the Leslie Lakeshore ‘L’ are intended as agents for extension into the LeslieStreet neighbourhood as discreet elements that will create strings of intensity between theresidential area and its new public space amenity. The vocabulary of the vegetation, pathways,light and gures straddling the Leslie and Lakeshore intersection will signal a continuity that willbe established through use, intensity and design. individual layers.

the gures on the horizon


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horizon gures development.

the red frieze development.

+ =

To give verticality to the rather at landscape, besidesthe landscaped features, horizon gures were introduced.Inspired by the Leslie spit near by, perforated images arewrapped on to a frame in which building rubble will beencased. These gures act as markings to indicate distancerelationships as well as provide vertical landscapingthroughout the trail. The `Red frieze` was also introducedas acoustic panels to symbolize the TTC street car movementbeyond the wall. The patterns created by TTC street carswhile moving are pixilated and edited to give movement andvisually active background to the landscape.


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rm: Brown + Storey Architects Inc.

date: 2010

location: William and King, Chatham

project: Chatham Farmers ̀market +

Public Square

role: design assistant, 3D imaging, graphic

designer, client package production,

render production.

project information.What rst began as a Chatham farmers` market pavilion, became a general public squarefor Chatham. The proposal is a visionary work to encourage development in the particularintersection. The pavilion is meant to house events ranging from: small community events andgalas to large major concerts and festivals. This meant that the space must be exible enoughto transform from seating one thousand spectators to becoming an public open square with ease.

The strategy was to provide a large shelter, largely open and triangulated so that it requires onlythree legs to open up as much circulation and visual connections as possible. Spaces near eachleg provide a more intimate environment, where the feeling of enclosure is much more evident,where as the rest of the space, a large oating ceiling freely hovers over framing the streetscapenear by.

the lift


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date: 2013-2015

role: Executive Directorproject: BRIDGE centre for Arch. + Design

project information.

the design community

BRdigto art

BRphBRthecois medethe

BRIDGE is an organization that engages the students ofthe University of Waterloo School of Architecture, theUniversity of Waterloo itself, and the community of

Cambridge through both a digital and physical presence inthe promotion of architecture and design. As a completelyinclusive and transparent organization, BRIDGE invitesstudents, faculty, staff, and community members to getinvolved and provide a digital or physical space to maketheir vision happen.

First started off as post-its on a wall, BRIDGE began withgroup of architecture students and local communityleaders that were interested in building and fostering adesign/art interest for the city of Cambridge. We wereable to launch a website and secure a storefront to beginengaging with the design interested population. BRIDGEcontinues to evolve to not just be a platform for designevents but a hub for anyone interested in engaging withan active design community. The venture allowed us tosecure new partnerships throughout the city and providedfunds and networking opportunities for young visionarydesigners.


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Night of Postcards

Empty postcards were produced and distributed throughout the community asking them to drawwhat anything that represented their idea of the city. Recieved over +500 postcards back and hosteda gallery of all the postcards that were recieved.

BRIDGEcast

Started out with student applicants interestedin aquiring funding and space for their weeklydesign podcast. The podcast was approved andheld weekly live recordings with live pedestrianparticiapnts.

ART BATTLE

BRIDGE hosted an event where artists appliehave set time painting a series or single artcompetition or become eliminated.

BRIDGE Happenings...


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BRIDGE initiatives on localnews and community websites


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The landscunder layethe 6th Avsecond lay

form of thfrom 5th A

10course: 3rd year theory project

date: 2009

location: Rockefeller center, New York

instructor: Ian McBurnie

project: through the eyes of an architect

team: Michael Kim, Farah Kabir, Nicholas

Bouthin, Ela Koraqe, Kayeon Lee

role: project lead/designer

project information.To re-envision a master plan for the Rockefeller center through the vision of the rm FOA. Tobe not only inspired, but with understanding of the rm’s manifesto, research, and p rototypingmethods. Ultimately the project is to understand an architectural rm’s philosophy and methods.

With rockefeller center. The approach was, how can the iconic landscape be transformed andinterpreted through the eyes of FOA. The dynamic programming within the district, as well asthe vastly successful mix of each program. Major questions that were asked was: 1. How canthe pedestrian level be more interactive throughout the ground oor, underground, and aboveground oors. 2. How can the upper oors be more interactive between buildings. Making notonly the top or the ground oor most valuable, but increasing the in-between oors. Essentiallyexperimenting with the idea of “sky-lobbies”.

the leaning towers


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The circulation of a traditional skyscraper arelinear in motion. It is a simple vertical movement,accompanied by oor-basis horizontal circulation.The proposal is to introduce new circulatorypatterns throughout a skyscraper. Experimentingwith horizontal movement throughout differentoors on a exterior and interior condition.

Introducing new circulatory methods throughoutthe skyscraper, creates more diversity in oorvalue. Traditional skyscrapers have highest valueon the ground and upper oors, where as themiddle oors become stagnant and lack diversity.Once new horizontal and diagonal relationships areintroduced, the value of each oor increases on alllevels.

Programming a skyscraper in a traditional m ethod,was a direct relationship with its oor value. Whilethe middle oors lacked diversity, the highestprogramatic diversity concentrated on the groundoor. With new horizontal and diagonal movementthroughout the skyscraper, programming becomesmuch more diverse and can bui ld inner relationshipswithin the building itself.


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the natural ofce


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employer:Building Arts Architects Inc.

date: 2011

location: 40 Portman Square, London,

United Kingdom

project: Canadian Pention Plan Investment

Board, London Ofce Interior

role: Construction drawings, detailing,

assistance with nishes.

project information. The Canadian Pention Plan Investment Board Headquaters in London was to act as a prototypefor future CPPIB ofce interiors around the world. D esign detailing and materials selected werematiculously developed to be showcase what can be possible for their ofce interior. Tones andtextures selected for this ofce are natural and invoke a landscape within the interior of theofce.

The project was a big success, and many of the details and material selections developed throughthis project are now being used in new CPP IB ofce renovations in Toronto.

the natural ofce


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A play odetails.base ofwhile a

surface

Bringingenvirompeace.


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photographic journal


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What does form generated through rawfunction look like? Does it have character?Does it generate dialog? Does it set acertain atmosphere? There is a strangephenomenon in which pure functionalityreveals its ties with its aesthetic agenda.The two cannot be separated even at itsmost unconscious state.

function.



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The city streets are full of melody.Once architectural repetition can beidentied, a symphony of patterns andaccents, ood even the most averageor common sights into a masterpiece ofvisual melody.

melody.



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Often a secondary complement to analready existing structured conversation.Texture offers another layer of dialog.The form implies, and the texturereinforces. It plays a minor role as anindividual, but as a whole it becomes atide turning element.

texture.



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the serosa


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course: 3rd year Structures

date: 2008-2009

location: Toronto, Canada

instructor: Miljana Horvat

project: Canopy Design Competition

*winning entry

team: Michael Kim, Farah Kabir, Farhan

Durrani, Ela Koraqe, Kayeon Lee

role: project lead/designer

project information.The Distillery District is a heritage protected area in Toronto, Canada. The location attracts heavypedestrian trafc within the complex and its main circulation p athways. With heritage protecteddistillery style architecture in its exterior, the interiors are renovated in a contemporary loft designthat houses several entertainment, dinning, and commercial functions. Due to its strict exteriorfacade protection, the exterior pathways are bare and incapable of protecting pedestrians fromprecipitation. During the colder seasons, the exterior bustle and life suffers due to its lack ofcover above. The design challenge was to address the issue of designing a canopy structure thatwould make a welcomed addition to the d istillery distr4ict both functionally and aesthetically.Through this exercise, the design intent was challenged to contemplate what aesthetic would notonly benet but re-enforce the heritage value of the surrounding architecture.

First theidentiestrategywithin thwas desthe site,surrounddirect re

the serosa


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It was quickly realized that toimitate the style of the distillerydistrict is to take away from theheritage value of the site. Despiteits good intent to be respectfulto the context, it would competewith the distillery district’sfabric. Instead if the canopy is toarticulate itself differently in formand materialization, the structurevisually separates itself from itshistorical environment.

Three separate canopies weredesigned to be used in funnellingcirculation into the most activezones of the district.


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course: 4th year Thesis

date: 2009-2010

location: Chongqing, China

instructor: Ian McBurnie

advisors: Colin Ripley, Cheryl Atkinson,

Masha Etkind

project: Migrant Worker Housing

project information.The city of Chongqing is thriving with activity and economic growth, but with such rapid urbandevelopment there are always consequences.

Migrant workers are often the primary workforce for the economic boost that is fueling the rapidgrowth of cities in China. This population growing well over 160 million in total population areoften neglected of rights and care. Seen as a dispensable population, used almost to a levelof slavery, although unfortunate, has proven to be an extremely valuable workforce in areasof rapid growth, due to their acceptance of working in extreme conditions with low wages.These migrant populations resided in close proximity to cities creating migrant worker slums.These communities, often horizontal in nature, clustered, and made in a transient fashion, doesnot reect the often permanent unfortunate nature of the migrant worker population. Migrantworkers although transient at heart, are forced into a life of a permanence.

Migrant workers are being displaced from the city due to urban development, yet the city needthe labour force of the migrant workers, thus also needing a method of housing them.

the fortied sponge


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courtyard system ve

Migrant workers prefer arural arrangement of livingenvironment. A living typologythat emphasise community andgroup dynamics. Spaces areshared, social occurrences areencouraged, and dependence onone another is apparent. Thesesets of micro communities are ahorizontal fabric element, butdue to urban context, a newtypology is needed to turn ahorizontal fabric into a verticalone, without compromising theliving qualities preferred by the

migrant workers.

The vertical courtyard housing system would incorporate subcommons per each elevation, while maintaining a holisticcommunity as a building. The challenge was to create a verticalconnection through void and volume between each courtyardwithout compromising the courtyard of each oor.

concept.

challenge.


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“sponge” courtyards.

units.

The fortied sponge effect initiates fromthe ground, through a capillary fashion,local program, culture, and peopleare drawn up towards the building andltered throughout the journey within the“sponge”.

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The “sponge” is createdthrough a series of scaffolding-like structures.This gives the innards of thebuilding an organic ow to arigid and fortied exterior.The scaffolding structureare framed by a series oflters with different levelsof permeance, causingcertain spaces to becomemore private than others.

Although ultimately spacescreated through the“sponge” are communalspaces, different activitiesand levels of intimacy ofthese events are considered.Through this lter system,the street-scape of the localenvironment become apartof the building.

StreetPrograming


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Designing for the migrant workers wasto design with a play on contradiction.Their lives involve an understandingof permanence and a realization oftemporary state of being simultaneously.The architectural study attemptsto approach this not only in its nalresolution, but also through the techniquein which the architecture manifests itself.


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Through careful play of verticaland horizontal planes, the newfabric interweaves itself in theunderlying circulatory patterns ofthe site. The architectural exercisebecomes a method of parasiticarchitecture, a new intentionallyinvasive architecture that strengths

the contextual identify throughcontrast.


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Designing for the migrantworkers was to design with aplay on contradiction. Theirlives involve an understandingof permanence and arealization of temporarystate of being simultaneously.It is to be in a state ofpause between what wouldcommunicate permanence,and temporary.


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The architecture speaks notignorantly stating “I am hereto solve the conict” but withhumble gesture, it speaks ofunderstanding the conict.The intention is to allownot only the occupant tounderstand the architecture,but the architecture mustunderstand the occupant.


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date: 2009

role: Editor

project: new launch of 325 magazine

project information. 325 magazine is an annual architectural magazineproduced by the students of Ryerson Architecture. Thegoal of the magazine was not to simply be a “yearbook” ofworks of that year. After its re-introduction, the magazinebecame a critical thinking body of its own, critiquing the

trends and design movement that Ryerson students areproducing in design, technology, and ideas.

the architecture magazine


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The 325 magazine gave new lifeand enthusiasm to the school,having a clear new manifesto thatstudents can be proud to be a partof. The magazine’s overwhelminginterest in its launch gave us anopportunity to organize a openingevent in which the chair of thedepartment address how signicant

this magazine is in becoming a toolin which students can inuencewhere and how the school growsin its direction. Many students,sponsors, professors, and alumniwere in attendance, and had greatsuccess in selling out the limitedcopies that were printed.

After the success of the initiallaunch, the chair expressed thatsuch a signicant manifesto shouldbe available to their students forfree, providing a stable nancingagent to develop and grow themagazine. It was the rst time thata annual student run magazine wasmaintained and nanced as a part of

the curriculum. The most signicantachievement about the magazineis that the ongoing organizationcontinues to stay as a independentbody of the department, critiquingthe works and opinions made notjust within the school but also inthe broader perspective of the cityToronto.

Photos of 325 Magazine launch night


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0artistic appendix


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Michael W. Kim Design Portfolio

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