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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
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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.
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SEA MAMMAL EXHIBITION
OPENING. VIEW TO LOWER LEVELS.
OPEN LECTURE HALL
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YOGA/MEDITATION ROOM
MULTI-PURPOSE HALL
OPEN WATER AUDITORIUM
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ENTRANCE TO OPEN WATER AUDITORIUM
9GALLERY SPACE. LOBBY FOR MAIN ENTRANCE
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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
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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.
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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
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KKKKKAKAAAATKATATATKKAKAATKKKAKAKAKKAKAATTTTTSUSUSUSUSUSUSSUSUSUUUSU K4.K4.K4.K4.K4K4K4.K4KK4.K4K4.K4K4K4K444 TTTOTTTOTOOTONNONNNNTOTOTOT NNTTOONNNTONN NNNTONNNO KKKKK
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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
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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”
© BRIAN HONG
2501 Benvenue Ave. #27Berkeley, CA [email protected]