Bloomington Grand Barbican is a public work of art that is a manifestation of the unique community from which it takes its name. Its character is aspirational, yet firmly rooted in local values. The Barbican is situated in a way that it acts as both a community beacon, as well as a public destination. As a beacon, its height, bright colored panels, and glowing light make it easily discernible from a distance, and thus provides public way-finding within the new Trades District. As a public destination, it provides a playful and inviting space of community in the heart of the new district.
Limestone seating, table height plinths and seating at the base of the beacon invites a range of activity from meeting up for tea and picnics during the workday to exercise, lounging and dreaming. The nearby larger area left open for flexible use; activities such as yoga, children’s birthday parties, athletic group meeting points, etc.
As the site is visible and accessible from many directions, it can serve as a reference point for where you are in the city. The purpose of the design is to reflect the artwork as a focus for pivoting around the site, while the shaping of the beacon itself suggests dynamic centrifugal force. Curved sheets of perforated steel stretch skyward as a bright, colorful, optimistic expression of renewal, hope and faith in a shared future. The Indiana limestone pedestals speak to the history and landscape surrounding Bloomington.
These materials are taken directly from the waste of local fabrication processes - had they not been used in the work of public art, they would have been consigned as scrap. This acts as a public expression of sustainability - demonstrating Bloomington’s commitment to preserving a better world for future generations - and it is a bold statement that powerfully connects this work of public art to the actual lives of the community that it will serve.
In the two centuries that Indiana University has proudly existed, the world has seen an ever increasing degree of change at all scales and in all contexts. One constant, during that period of time, has been Indiana University’s strong commitment to academic excellence and community service. Indiana University has consistently increased its reach and has continued to bring about positive progress through research, service, faculty, staff, and alumni – regionally, nationally, and globally.
The design of the Bicentennial medal reflects Indiana University’s strong network in Indiana, and its impact and trajectory outward to our country and the world. The initial concept of the medal manifests in two distinct images.
The first is the image of water drops that create a beautiful rippling effect on the surface of a body of water. This image lead me to think of the strong influence that each campus/center has in the state of Indiana, and the idea is exhibited by different sized circles and their intersections, which indicates the collaborative relationships among the academic and medical campuses, as well as the administrative centers.
The second conceptual image is of aviation routes that link all of the important gateways of the world. This reminded me of IU’s Global Gateway Network, which connects the community of Indiana University to the nation and beyond. The trajectory of the circles emphasizes our connection to the wider world.
Shadow of an Unknown Bird
Shadow of an Unknown Bird is a collaborative project with Cummins, IUCA+D and Indiana University. It is one of the largest 3D printed works of art in the world. To construct this immense sculpture the design team utilized recent innovation in 3D printing called BAAM (Big Area Additive Manufacturing).
The design team took on the challenge of responding to Columbus' legendary public sculptures, ultimate example of the progressive art of their time. Henry Moore's bronze sculpture, Large Arch (1971), exemplary of early modernist 19-20th century art and techniques is located in the plaza of the Cleo Rogers Memorial Library by architect I.M. Pei (Columbus, IN). And Jean Tiguely's Chaos (1974), a late modernist kinetic sculpture of found and repurposed still, speaks to the city's mechanics engineering legacy, located in The Commons renovated by Cotter Kim upon the original rame of Cesar Pelli.
Following those examples, Shadow of an Unknown Bird, reflects the technological and artistic advancements of our time using materials and processes of 3D printing, digital metrology, CNC milling and water-jet plasma cutting.
Jeeyea Kim; architect and IU faculty member, Jennifer Riley; artist, T. Kelly Wilson; architect and Director of IUCA+D; John Repp; Cummins engineer, Phil Shelton; Cummins engineer
Additive Engineering Solutions, Bybee Stone Co., Exhibit Columbus, and Sabic Innovative Plastic
FMRL - Ephemeral Permanence - is a completely modular limestone wall panel system, composed of 3 units that can be arranged in a nearly infinite array of layouts. Typically, the term modularity implies practical blandness, but FMRL wall panels prove it can be elegant and beautiful. Because the system is modular, designers are free to create their own composition, at whatever scale they like - reaping the cost benefits of a modular system, while producing a design that looks entirely custom.
The design intent of FMRL is to manifest a spatial and formal impression of ephemeral movement, captured in the immutable strength and timelessness of limestone. Our modern world is filled with touch screens that convey movement and materiality through pixels that have no physical relationship to the content they show, and this project inverts that relationship - conveying a sense of the flow of time through physically static material, and inviting you to run your hands across it.
Lake Baths/ ArkXsite Design Competition (2015)
When considering the design of a man-made environment in such a spectacular natural context, it is absolutely necessary for the design to speak the language of the landscape. If on listens to the Serra da Estrela, one hears an ancient narrative of potent folding tectonic forces, soaring and plunging masses of earth and stone, and beautifully shearing and eroding pressure.
The result is a dramatic landscape, whose folds and fissures create natural programs ideal for hiking and exploration. Our project speaks this same language of folding and bending, creating a series of spaces from the manipulation of a continuous strip of landscape that flows, follows, diverges, and returns to the terrain. It is at once a transformation of the landscape that emphasizes the very nature of Serra da Estrela, and a man-made space that is transformed by the landscape. Fault lines cut and fold the spaces along sight lines created by the landscape and the hiking trail leading to the site, affecting a space that neither blends in to the landscape, nor rejects it - but in fact, the Lake Baths are a conversation with the landscape.
Site Photo - Serra da Estrela, Portugal
Site Planning Diagram
Foliated Towers draws on a number of sources for inspiration: NYC icons like the Empire State Building and Chrystler Building, budding flowers, New York City’s long zoning code history, and Le Corbusier’s Plan Voison. From the icons, our project draws upon their sense of ornament and monumentality, while we are more literally inspired by the sense of movement and growth captured in the act of a budding flower. Since the Tenament Act of 1901, New York City has been a pioneer in the development of zoning codes that continue to shape the city, and Foliated Towers sets out to both conform to and challenge notions of building massing related to urban quality of life.
Our project lightly references Corbu’s Plan Voison - as an “Architectural Urbanism” module -but replaces its concrete geometric pragmatism with the surficial freedom allowed by a structural steel facade system, as well as replacing the notion of “public park” with “public garden”, and elevating it 15m above the street.
Building Typology Studies
Structure Plan View
Axon - Rendered
Axon - Structure
Attraction of Basin
Attraction of Basin is a prototype of a wash basin that is mainly formed using Corian (Solid Surface).
Designed with Ai Mitsufiji, Danika Voorhees, and Sofia Borges at UCLA AUD.
Prototype Model Photo
Early Design Studies
Design Transformation Diagram
Slip.page aims to produce a series of continuities and discontinuities, of light and shade, of articulated and non-articulate sequences all in an immersive environment. The library is derived from a topographic surface structured by three programmatic masses that act as attractors for the connective tissue of the unbound surface. The programmatic layout is derived from the drastic separation of programmatic components. The private and service elements are located at three discrete normative points on the site and connect through the implementation of public space through a topological tissue. The programmatic organization of the library exploits the in-between or interstitial space through the design of continuous topographic surface.
These spaces oscillate between the normative and interstitial ares of slippage that blur the boundary between the buildings interior and exterior. These slippage occurs where where the continuity is broken and produces interior courtyards, light wells, and skylights for of spaces for study and social activity within the building. The continuous surface is further dissolved through tessellating zones where normative and interstitial surface converge. The surface tessellation further responds to programmatic conditions by swelling contracting. The thickening and thinning not only orients the the user through the space but also promotes and/or restricts movement on the surface through enticing the user to explore.
On the exterior envelop the articulation emerges from the surface billowing toward the buildings programmatic elements and encouraging the spectator to engage with the surface, in the stack areas. After moving into the library, the articulation begins to vary in scale, providing multiple opportunities for bookshelves, seating, tables, and lighting. The moments of increased articulation and color correspond to the areas of the library where the user becomes fully immersed into the project. Now an active participant of the building, the user may linger, question, and explore.