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Michael W.

Kim

Design Portfolio

2016

Self Reflection.
Continuously evaluating and criticizing the world around me, the interest in
design came naturally. I constantly questioned how a purpose is fulfilled and
through what processes?
I approach design as a pursuit for meaning, rather than chasing immediate
results. It is through this, often the method process behind the design became
more important than the final manifestation. The method of understanding
a problem, the client or context became much more than an exercise, it
becomes a form of art in itself.
It is with this I seek constant insperation for new methods of design
observation, analysis, and experimentation. To me, the practice of creating
design became much more than just the built form; it has became about
producing meaning or stories through design.

Contents.
the figures on the horizon

1.

photographic journal
TTC Landscape design competition
*winning entry
2010

the lift

2.

Chatham
Farmers` market + Public Square
2010

Rebranding BRIDGE centre for


architecture + design
2013-2015

2009-2010

8.

Migrant worker housing


2009-2010

the architecture magazine


Through the eyes of an Architect
2009

the natural office

5.

7.

Canopy Design Competition


*winning entry

the fortified sponge

the leaning towers

4.

2010-2013

the serosa

the design community

3.

6.

Architectural Photography

9.

New Launch of 325 Magazine


2009-2010

Artistic Appendix
Canadian Pention Plan Investment Board
London Office - Interior Renovations
2012

10.

Sketch Record
2006-2012

Michael W. Kim
e. michael.kim.w@gmail.com

contacts.

the figures on the horizon

project information.
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.

the figures on the horizon

The L shaped figure of this site at Lakeshore and Leslie, formed by


streets and new built form requirements of the new Streetcar facility
for the TTC, is also a landscape that is still undergoing a continual
protean evolution of topography + elevation, of ruins, of marshes, of
habitation, of freeways, occupying a unique position in the city. As a
landscape, it is in a constant state of becoming.
This proposal is about a way to capture the moment through a fluid process of patterns, surfaces,
figures, vegetation and habitation to first posit networks and elements that can become the
subject of dialogue with the community and the TTC, and to establish an overall organization
that will become subject to how the community and the City can successfully own this site in
an integrated co-habitation with the Citys new streetcars and the TTC.
The elements of the Leslie Lakeshore L are intended as agents for extension into the Leslie
Street neighbourhood as discreet elements that will create strings of intensity between the
residential area and its new public space amenity. The vocabulary of the vegetation, pathways,
light and figures straddling the Leslie and Lakeshore intersection will signal a continuity that will
be established through use, intensity and design.

Programmatic planning was done through patchwork process, where a


single element of programming were mapped according to relationship
of distance from one another. After the various different elements
were layered, the different layers were put together on top of one
another, to map the relationships between the different elements.
The created pattern was then edited to develop a landscape which is
conscious of its linear programming.
individual layers.

all the layers put together.

To give verticality to the rather flat landscape, besides


the landscaped features, horizon figures were introduced.
Inspired by the Leslie spit near by, perforated images are
wrapped on to a frame in which building rubble will be
encased. These figures act as markings to indicate distance
relationships as well as provide vertical landscaping
throughout the trail. The `Red frieze` was also introduced
as acoustic panels to symbolize the TTC street car movement
beyond the wall. The patterns created by TTC street cars
while moving are pixilated and edited to give movement and
visually active background to the landscape.

horizon figures development.

the red frieze development.

The proposal was very much about


giving the area a sense of presence.
Due to its flat and linear landscape,
verticality was key in creating a sense
of place to mark significant moments
along the walk throughout the
landscape.

the lift

project information.
firm: 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.

the lift

What first began as a Chatham farmers` market pavilion, became a general public square
for Chatham. The proposal is a visionary work to encourage development in the particular
intersection. The pavilion is meant to house events ranging from: small community events and
galas to large major concerts and festivals. This meant that the space must be flexible enough
to 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 only
three legs to open up as much circulation and visual connections as possible. Spaces near each
leg provide a more intimate environment, where the feeling of enclosure is much more evident,
where as the rest of the space, a large floating ceiling freely hovers over framing the streetscape
near by.

the design community

project information.
date: 2013-2015
role: Executive Director
project: BRIDGE centre for Arch. + Design

the design community

BRIDGE is an organization that engages the students of


the University of Waterloo School of Architecture, the
University of Waterloo itself, and the community of
Cambridge through both a digital and physical presence in
the promotion of architecture and design. As a completely
inclusive and transparent organization, BRIDGE invites
students, faculty, staff, and community members to get
involved and provide a digital or physical space to make
their vision happen.

BRIDGE website
digital platform for BRIDGE
to engage globally to the
art and design community.

First started off as post-its on a wall, BRIDGE began with


group of architecture students and local community
leaders that were interested in building and fostering a
design/art interest for the city of Cambridge. We were
able to launch a website and secure a storefront to begin
engaging with the design interested population. BRIDGE
continues to evolve to not just be a platform for design
events but a hub for anyone interested in engaging with
an active design community. The venture allowed us to
secure new partnerships throughout the city and provided
funds and networking opportunities for young visionary
designers.

BRIDGE storefront
physical
platform
for
BRIDGE to engage with
the
immediate
local
community. The storefront
is used as a physical
medium
for
fostering
design and art interest in
the city of Cambridge.

BRIDGE Storefront Renovation

BRIDGE Happenings...

Night of Postcards
Empty postcards were produced and distributed throughout the community asking them to draw
what anything that represented their idea of the city. Recieved over +500 postcards back and hosted
a gallery of all the postcards that were recieved.

BRIDGEcast
Started out with student applicants interested
in aquiring funding and space for their weekly
design podcast. The podcast was approved and
held weekly live recordings with live pedestrian
particiapnts.

ART BATTLE
BRIDGE hosted an event where artists applied to participate in live painting contest. Artists would
have set time painting a series or single artwork - where audiences vote who moves on to win the
competition or become eliminated.

Other Happenings...
BRIDGE hosted or financially supported art/
design/architecture projects all thoruhgout
the community. The storefront and the website
fostered design interest and helped the
community realize their artistic visions.

BRIDGE initiatives on local


news and community websites

the leaning towers

9:00 am

The landscape of the site can be seen as two layers. The lower
under layer is the plate that starts from the underground of
the 6th Avenue and slopes upwards towards 5th Avenue. The
second layer is landscape created by the height of the built
form of the site. This layer is a plate that slopes upwards
from 5th Avenue, towards 6th Avenue.

project information.
course: 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

To re-envision a master plan for the Rockefeller center through the vision of the firm FOA. To
be not only inspired, but with understanding of the firms manifesto, research, and prototyping
methods. Ultimately the project is to understand an architectural firms philosophy and methods.
With rockefeller center. The approach was, how can the iconic landscape be transformed and
interpreted through the eyes of FOA. The dynamic programming within the district, as well as
the vastly successful mix of each program. Major questions that were asked was: 1. How can
the pedestrian level be more interactive throughout the ground floor, underground, and above
ground floors. 2. How can the upper floors be more interactive between buildings. Making not
only the top or the ground floor most valuable, but increasing the in-between floors. Essentially
experimenting with the idea of sky-lobbies.

10:30am

2:00pm

4:30pm

March

the leaning towers


June

December

12:00 pm

5:00 pm

The circulation of a traditional skyscraper are


linear in motion. It is a simple vertical movement,
accompanied by floor-basis horizontal circulation.
The proposal is to introduce new circulatory
patterns throughout a skyscraper. Experimenting
with horizontal movement throughout different
floors on a exterior and interior condition.

Introducing new circulatory methods throughout


the skyscraper, creates more diversity in floor
value. Traditional skyscrapers have highest value
on the ground and upper floors, where as the
middle floors become stagnant and lack diversity.
Once new horizontal and diagonal relationships are
introduced, the value of each floor increases on all
levels.

Programming a skyscraper in a traditional method,


was a direct relationship with its floor value. While
the middle floors lacked diversity, the highest
programatic diversity concentrated on the ground
floor. With new horizontal and diagonal movement
throughout the skyscraper, programming becomes
much more diverse and can build inner relationships
within the building itself.
The
ground
condition
was
envisioned through a collage
of past FOA works. Using the
method of creating a integrated
landscape throughout the ground
and underground floors, the urban
landscape is transformed from a dull
and flat interface to a integrated
and open to variety of program and
occupant relationships.

the natural office

The focus of the design was to create a working


environment that promotes efficient design with
clean lines.
All the offices have glazing and are transparent,
this is to depict the companys philosophy of
transparency of their inner workings.
Many of the design intentions come together in
the details. The way the glazing meets the door
frame, how the ceiling meets the wall, millwork
and adjacent partition integration, are just some
examples of how meticulously each detail has
been thought out to create this professional yet
inviting atmosphere.

project information.
employer: Building Arts Architects Inc.
date: 2011
location: 40 Portman Square, London,
United Kingdom
project: Canadian Pention Plan Investment
Board, London Office Interior
role: Construction drawings, detailing,
assistance with finishes.

the natural office

The Canadian Pention Plan Investment Board Headquaters in London was to act as a prototype
for future CPPIB office interiors around the world. Design detailing and materials selected were
maticulously developed to be showcase what can be possible for their office interior. Tones and
textures selected for this office are natural and invoke a landscape within the interior of the
office.
The project was a big success, and many of the details and material selections developed through
this project are now being used in new CPPIB office renovations in Toronto.

A play of natural materials were used for millwork


details. Bold and dark stone was used to clad the
base of several millwork to give a firm anchor,
while applying the warm gluelam wood on any
surfaces that the human touch might occur.
Bringing in bold natural textures in an office
enviroment gives the place a sense of calnm and
peace.

photographic journal

function.
What does form generated through raw
function look like? Does it have character?
Does it generate dialog? Does it set a
certain atmosphere? There is a strange
phenomenon in which pure functionality
reveals its ties with its aesthetic agenda.
The two cannot be separated even at its
most unconscious state.
photographic journal

melody.
The city streets are full of melody.
Once architectural repetition can be
identified, a symphony of patterns and
accents, flood even the most average
or common sights into a masterpiece of
visual melody.
photographic journal

texture.
Often a secondary complement to an
already existing structured conversation.
Texture offers another layer of dialog.
The form implies, and the texture
reinforces. It plays a minor role as an
individual, but as a whole it becomes a
tide turning element.
photographic journal

movement.
Since architecture is a product of balance
in forces, movement of forces upon the
structure often become a part of the
visual experience. This movement is
often stretched, fabricated, and forced,
to make the laws of physics abide by the
laws and principles set by the architect
for the intention of the design.
photographic journal

the serosa

project information.
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

the serosa

The Distillery District is a heritage protected area in Toronto, Canada. The location attracts heavy
pedestrian traffic within the complex and its main circulation pathways. With heritage protected
distillery style architecture in its exterior, the interiors are renovated in a contemporary loft design
that houses several entertainment, dinning, and commercial functions. Due to its strict exterior
facade protection, the exterior pathways are bare and incapable of protecting pedestrians from
precipitation. During the colder seasons, the exterior bustle and life suffers due to its lack of
cover above. The design challenge was to address the issue of designing a canopy structure that
would make a welcomed addition to the distillery distr4ict both functionally and aesthetically.
Through this exercise, the design intent was challenged to contemplate what aesthetic would not
only benefit but re-enforce the heritage value of the surrounding architecture.

First the active locations of the distillery district was


identified. The identifications of active hubs allowed a
strategy of promoting a particular circulatory pattern
within the site. The canopy intervention very early on
was designed to distinguish itself purposefully from
the site, and not to have a direct relationship with the
surrounding structures themselves, but to become a
direct reflection on the circulatory patterns instead.

Using space frame technology,


the canopy is able to take a more
unconventional form. The joints
of the structure are modulated,
and by giving the web of the joints
different angles and lengths, the
space frame system becomes
extremely versatile in taking on
any form. Each individual nodes are
constantly under compression and
tension, making steel the most ideal
materials for each component of the
structure.
It was quickly realized that to
imitate the style of the distillery
district is to take away from the
heritage value of the site. Despite
its good intent to be respectful
to the context, it would compete
with
the
distillery
districts
fabric. Instead if the canopy is to
articulate itself differently in form
and materialization, the structure
visually separates itself from its
historical environment.

Three separate canopies were


designed to be used in funnelling
circulation into the most active
zones of the district.

Silicon Weather Seal


Plexiglass
Steel Node
Steel Web
Steel Tubing
Steel Tubing
Steel Web
Steel Node
Steel Plate
Concrete Footing
Concrete Anchor Bolt

the fortified sponge

project information.
course: 4th year Thesis
date: 2009-2010
location: Chongqing, China
instructor: Ian McBurnie
advisors: Colin Ripley, Cheryl Atkinson,
Masha Etkind
project: Migrant Worker Housing

the fortified sponge

The city of Chongqing is thriving with activity and economic growth, but with such rapid urban
development there are always consequences.
Migrant workers are often the primary workforce for the economic boost that is fueling the rapid
growth of cities in China. This population growing well over 160 million in total population are
often neglected of rights and care. Seen as a dispensable population, used almost to a level
of slavery, although unfortunate, has proven to be an extremely valuable workforce in areas
of 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, does
not reflect the often permanent unfortunate nature of the migrant worker population. Migrant
workers 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 need
the labour force of the migrant workers, thus also needing a method of housing them.

The challenge of the thesis was to design an appropriate


housing type for migrant workers. Seen both as a permanent
and temporary phenomenon within the city fabric, brought
unique opportunities to explore clashes of typology that
migrant workers were exposed to. Through study of
the migrant workers roots in communal culture, while
understanding contemporary urban conditions and context,
the intention was to develop a building typology which would
encompass series of horizontally layered communities, into a
vertically layered series of communities. With this intention,
the architectural abstract thought begins to develop with an
understanding of its occupants and their condition.
The architectural response:

M
1. Permanence vs.
transient ambiguity

2. Migrant worker
housing typology

courtyard system vertically stacked.

concept.
Migrant
workers
prefer
a
rural arrangement of living
environment. A living typology
that emphasise community and
group dynamics. Spaces are
shared, social occurrences are
encouraged, and dependence on
one another is apparent. These
sets of micro communities are a
horizontal fabric element, but
due to urban context, a new
typology is needed to turn a
horizontal fabric into a vertical
one, without compromising the
living qualities preferred by the
migrant workers.

challenge.
The vertical courtyard housing system would incorporate sub
commons per each elevation, while maintaining a holistic
community as a building. The challenge was to create a vertical
connection through void and volume between each courtyard
without compromising the courtyard of each floor.

Two structural systems at work,


exterior being made up from
permanent, rigid frame, while the
interior courtyard and the floating
secondary commons are supported
by a flexible material.
Bamboo scaffolding is explored
as the choice in material for
the interior support, due to the
form and material suggesting
temporary yet being used in a
semi-permanent matter.

methods of improving vertical relationships.

The sponge is created


through a series of
scaffolding-like structures.
This gives the innards of the
building an organic flow to a
rigid and fortified exterior.
The scaffolding structure
are framed by a series of
filters with different levels
of permeance, causing
certain spaces to become
more private than others.

sponge courtyards.

units.

The fortified sponge effect initiates from


the ground, through a capillary fashion,
local program, culture, and people
are drawn up towards the building and
filtered throughout the journey within the
sponge.

Although ultimately spaces


created
through
the
sponge are communal
spaces, different activities
and levels of intimacy of
these events are considered.
Through this filter system,
the street-scape of the local
environment become apart
of the building.

Street
Programing

Individual
units
are
designed
to
accommodate up to two people per unit.
Each dwelling unit are much smaller than
the average dwelling units of an apartment.
This was done to have the dwelling unit
exclusively for most private affairs and
rest. Other traditional activities that are
usually associated with dwelling units such
as kitchen, living room, etc. are shared
by the building commune. This method
of programming creates larger communal
spaces for the structure and its occupants.

Designing for the migrant workers was


to design with a play on contradiction.
Their lives involve an understanding
of permanence and a realization of
temporary state of being simultaneously.
The
architectural
study
attempts
to approach this not only in its final
resolution, but also through the technique
in which the architecture manifests itself.

Through careful play of vertical


and horizontal planes, the new
fabric interweaves itself in the
underlying circulatory patterns of
the site. The architectural exercise
becomes a method of parasitic
architecture, a new intentionally
invasive architecture that strengths
the contextual identify through
contrast.

Designing for the migrant


workers was to design with a
play on contradiction. Their
lives involve an understanding
of
permanence
and
a
realization
of temporary
state of being simultaneously.
It is to be in a state of
pause between what would
communicate permanence,
and temporary.

The architecture speaks not


ignorantly stating I am here
to solve the conflict but with
humble gesture, it speaks of
understanding the conflict.
The intention is to allow
not only the occupant to
understand the architecture,
but the architecture must
understand the occupant.

the architecture magazine

sample spreads.

project information.
date: 2009
role: Editor
project: new launch of 325 magazine

the architecture magazine

325 magazine is an annual architectural magazine


produced by the students of Ryerson Architecture. The
goal of the magazine was not to simply be a yearbook of
works of that year. After its re-introduction, the magazine
became a critical thinking body of its own, critiquing the
trends and design movement that Ryerson students are
producing in design, technology, and ideas.

Peter Zumthors
Visual Aesthetic

After the success of the initial


launch, the chair expressed that
such a significant manifesto should
be available to their students for
free, providing a stable financing
agent to develop and grow the
magazine. It was the first time that
a annual student run magazine was
maintained and financed as a part of
the curriculum. The most significant
achievement about the magazine
is that the ongoing organization
continues to stay as a independent
body of the department, critiquing
the works and opinions made not
just within the school but also in
the broader perspective of the city
Toronto.

essay year represented

The 325 magazine gave new life


and enthusiasm to the school,
having a clear new manifesto that
students can be proud to be a part
of. The magazines overwhelming
interest in its launch gave us an
opportunity to organize a opening
event in which the chair of the
department address how significant
this magazine is in becoming a tool
in which students can influence
where and how the school grows
in its direction. Many students,
sponsors, professors, and alumni
were in attendance, and had great
success in selling out the limited
copies that were printed.

by: First Name Last Name

Shortly after the announcement of Peter Zumthor as this years


Pritzker Prize winner, critics took aim
at the Swiss architects focus on the
aesthetic and experiential qualities of
space and his apparent lack of politics or confrontation with the myriad
crises at hand today. Examples include
Christopher Hawthornes assertion that
Zumthors work has nothing to do
with social activism, disaster relief,
sustainability, new design software,
mega-cities, affordability or infrastructure -- all of which have crowded
together recently near the top of the
professions agenda -- [his winning is]
a boost for the idea that architecture is
fundamentally an aesthetic rather than
a political profession. James S. Russell calls the winner a Swiss Hermit
and says the jury avoids contemporary
challenges and left me wishing it had
been more adventurous. Clay Risen

325 | 8

Photos of 325 Magazine launch night

goes furthest in his call to Fix the Pritzker, stating, theres a real opportunity
to reorient architecture toward more
humane, socially engaged goals. Getting
rid of the Pritzkerat least as we know
it todaywould be a good start.
Additional, less-critical coverage includes Paul Goldberger fairly
typical portrait of Zumthors Quiet
Power, Richard Lacayos coverage
in Time Magazine, Thomas de Monchauxs essay on The Mystery of Peter
Zumthor and interviews with Zumthor
at The Architects Journal, with Blair
Kamin and with Edward Lifson.
Im interested in addressing
the critiques linked in the first paragraph above, ones that think Zumthor is
not a political architect because he does
not deal with what are held to be political issues, such as those mentioned by
Christopher Hawthorne. Politics in these
cases is defined one way, an engagement with government and its policies.
Architects are always dealing with
government, even if they are building a
relatively insignificant structure like a
hot dog stand, because they are follow-

ing codes, zoning and other rules established by governments. But Hawthorne
and others want architects to go beyond
this and engage governments in their
choice of commissions and their working
process, leading to buildings that formally express this engagement. I would
argue that these three parts of architecture (project selection, process, formal
product) are political in Zumthors work,
though not in
Shortly after the announcement of Peter Zumthor
as this years Pritzker Prize winner, critics took aim at the Swiss
architects focus on the aesthetic and experiential qualities
of space and his apparent lack
of politics or confrontation with
the myriad crises at hand today.
Examples include Christopher
Hawthornes assertion that
Zumthors work has nothing
to do with social activism, disaster relief, sustainability, new design software,
mega-cities, affordability or infrastructure -- all of which have crowded
together recently near the top of the

professions agenda -- [his winning is]


a boost for the idea that architecture is
fundamentally an aesthetic rather than
a political profession. James S. Russell calls the winner a Swiss Hermit
and says the jury avoids contemporary
challenges and left me wishing it had
been more adventurous. Clay Risen
goes furthest in his call to Fix the
Pritzker, stating, theres a real opportunity to reorient architecture toward more humane, socially engaged
goals. Getting rid of the Pritzkerat
least as we know it todaywould be a
good start.
Additional, less-critical coverage
includes Paul Goldberger fairly typical portrait of Zumthors Quiet Power, Richard
Lacayos coverage in Time Magazine,
Thomas de Monchauxs essay on The
Mystery of Peter Zumthor and interviews
with Zumthor at The Architects Journal, with Blair Kamin and with Edward
Lifson.
Im interested in addressing
the critiques linked in the first paragraph
above, ones that think Zumthor is not a
political architect because not deal with

what are held to be political issues, such


as those mentioned by Christopher Hawthorne. Politics in these cases is defined
one way, an engagement with government and its policies. Architects are
always dealing with government, even
if they are building a relatively insignificant structure like a hot dog stand, because they are following codes, zoning
and other rules established by governments. But Hawthorne
and others want architects
to go beyond this and engage governments in their
choice of commissions
and their working process,
leading to buildings that
formally express this engagement. I would argue
that these three parts of
architecture (project selection, process, formal product) are political in Zumthors work, though not in
Shortly after the announcement of Peter
Zumthor as this years Pritzker Prize winner, critics took aim at the Swiss architects focus on the aesthetic and experiential qualities of space and his apparent
lack of politics or confrontation with the
myriad crises at hand today. Examples

include Christopher Hawthornes assertion that Zumthors work has nothing


to do with social activism, disaster relief,
sustain

325 | 9

10

artistic appendix

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etch

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artistic appendix
A daily record of activities, inspiration,
and ideas rigorously recorded everywhere
I find them.
The habit of constantly sketching and
thirst for creative expression still
continues today. Everyday thoughts,
sketches of gestures, creative ideas,
design experiments, etc. were all
recorded and logged. It became so much
a part of my life that it became an
integral daily routine to pack my sketch
book and my favorite pens, much like
putting on a shoe.

At times simple sketches become ideas


for a new artistic pursuit. concept for
a painting came to mind while looking
at post modern architecture. Instead
of a traditional senses of architecture
imitating nature, I wanted to experiment
what it would be like if nature was to
imitate
contemporary
architecture.
Natural forms and organic shapes
make effort to emulate architectural
characteristics. The particular example
is a painting of natural rock formations
imitating Frank Ghery.

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