E Roon Kang lives and works in New York, where he operates Math Practice – an interdisciplinary design and research studio, with interest in studying, evaluating, and criticizing complex systems and its pursuit of efficiency.
E Roon is a TED Fellow, was previously a research fellow at SENSEable City Laboratory of MIT, and received Young Guns award from Art Director's Club. His work has selected as an inaugural project of LACMA's Art + Technology Lab, received NSF Science and Engineering Visualization Challenge, and shown in places including the Museum of Modern Arts (MoMA), Seattle Public Library, and the Architectural League of New York.
He gave talks and lectures at MIT, TED Conferences and Cannes Int'l Festival of Creativity, among others, and taught courses at Bauhaus-University Weimar, SUNY Purchase, NYU ITP, and Rutgers University. He holds an MFA in graphic design from Yale.
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— Contacteroon.kang(at)gmail.com info(at)math-practice.org |
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Yale MFA Thesis Show, Lux et Veritas, went to Basel, Switzerland, at New Jerseyy gallery. 11/27–12/19
Trash Track, a project with the SENSEable City Lab is open to public at two locations:
Seattle Public Library: 9/19–10/11
Architectural League of New York, Toward the Sentient City Exhibition, 9/17–11/7
Yale MFA Thesis Show, Lux et Veritas, went to Berlin, Germany, at Chert Gallery. 2/13–2/20, 2010
Study: Additive Circle participated in the group exhibition, Bibimbop: Unexpected Transformations in New York, hosted at Allegra Laviola Gallery.
Yale MFA Thesis Show, Lux et Veritas, went to Seoul, Korea, at Space Hamilton. 2/28–3/27, 2010
Subcurrents is shown at Project No.8 and No.8b in Lower East Side, New York City, as a part of Mannam exhibition series, curated by Hoon Kim and Andrew Sloat. From 2/28 to 3/27, 2010
Received ADC Young Guns 8 award from The Art Directors Club of New York, recognizing fifty creatives under 30. The Young Guns 8 exhibition will be open through October 22, 2010 at ADC Gallery, 106 West 29th Street, NYC.
Tribute to Mandelbrot is exhibited, along with the works of twelve invited designers and design studios. #2 Calvin Street, London E1 6NW, UK, 10/30–11/4, 2010.
Backtalk, a project with the SENSEable City Lab, is included in Talk to Me at the Museum of Modern Art, New York, NY. 7/24–11/7, 2011
A project with SENSEable City Lab, Trash Track, wins 1st place in National Science Foundation (NSF)'s Visualization Challenge. – Science Magazine
Selected as one of eight recipients of Next Generation Design Leader grant, provided by Korean Institute of Design Promotion (KIDP) and Ministry of Knowledge and Economy of South Korea.
Talk at TED@Cannes, Cannes Lions: 59th International Festival of Creativity – Summary Video of TED@Cannes
Talk at TED Salon 2012:Exploring Possibilities, hosted at the Unicorn Theater, London, UK. – A recap on Designmind
Talk at Thailand Creative & Design Center (TCDC), as a part of Design Sharing 2012 conference, organized by Korean Institute of Design Promotion.
Selected as one of ten noteworthy designers, by Monthly Design Magazine, published in Korea. — Monthly Design
Student exhibition of the outcome from A+–×=B workshop will be presented at Ernst-Thälmann-Str. 19, Weimar, Germany. — Facebook
Guest lecture at Fundamentals of Visual Communication class, offered in Spring 2013 at the MIT Media Lab.
New work and first collaboration with Ahrong Han, is going to be projected in public at the New Museum's facade. Change of State is commissioned by New Museum for 2013 IDEAS CITY Festival, organized by Nuit Blanche New York (NBNY). — Event Postponed
New graduate level class, based on the A+–×=B workshop at Bauhaus-Universität Weimar is now being offered for Fall 2013 semester at New York University's Interactive Telecomunications Program (ITP).
New visual identity for Anyang Public Art Project, open to public.
The new visual identity of the 4th APAP proposes to expand the temporal and spatial experience of the project by encouraging the participation of the surrounding environment and the audience in the real-time broadcasting system that has been set up to enable the simultaneous perception of the “now” of Anyang from anywhere in the world.
Participating as a "future worker" in designing future junk mails, in The Extrapolation Factory's Junk Mail Machine project hosted at The Storefront for Art and Architecture, NYC.
APAP's long awaited exhibition is opening in Anyang on 3/28, with posters and banners we designed.
The exhibiton of the 4th APAP opens this 28th of March. Since early spring of 2013, the 4th APAP has undergone art productions with 26 artists and/or groups invited to Anyang. After nine years since APAP started building it upon Anyang Amusement Park, we invite you again to Anyang Art Park, Anyang.
MIT Shape Change, a collaboration with Self-Assembly Lab for MIT Technology Review, will be given away at the TED2014: The Next Chapter
In Search of Personal Time, a colloborative project with Taeyoon Choi, is selected as one of five recepients of Los Angeles County Museum (LACMA)'s Art + Technology Lab grant.
The Art + Technology Lab at LACMA is hosting a workshop lead by Taeyoon Choi and E Roon Kang, a part of I—S—O—P—T.
Participated in the Revolution:Evolution Exhibition, curated by the graphic / interaction design faculty at the College for Creative Studies.
Week-long workshop and talk at University of Seoul, Graduate School of Design. From 2/23 to 2/27, 2015
A participatory performance/workshop held at Los Angeles County Museum of Art – as a part of the ongoing project I—S—O—P—T.
Talk about the project I—S—O—P—T, at TEDx CarnegieLake hosted at Princeton Public Library, Princeton, NJ
In the capitalistic system we live in, almost every event of daily life consequently leaves a trace as a revenue or expenditure. Since it is possible to track one’s behavior pattern by investigating those traces, this documentary piece is intended to geographically patternize the money spending of myself.
It is a part of the 'self-observation series' and it tracks down every transaction that was made through my debit card in the year of 2006. Based on the banking history of the Bank of America, account balances and each transaction details are described on the top panel. The bottom two panels of map represent the location of the transaction with red strings connecting each transaction to the physical space of it.
The work was shown at the Meet by Accident (2007) at Space 35 Gallery, Chelsea, New York.
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Inkjet Print on Newsprint, Maps, Map Tacks and Strings
40 x 40 inches
A workshop at Yale with Karel Martens on 'Real'.
On the day of 9/11/2007 (6 years later from the event), page one to ten of New York Times and the top ten search terms from Google Trends were displayed alongside, page by page, to draw a comparison between what we are being told on a traditional media, and what we actually are.
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Laser Print
8½ x 11 inches
Yale School of Art, Fall 2007
Motion Graphics
720 x 480 pixels
Yale School of Art, Fall 2007
Introduction to Advanced Visual Digital Basic Intermediate Introductory Medium-Format Color Graphic Figure Design Drawing Thinking Mold-Making Color Sculpture Image Typography Printmaking Photography Painting Video as Object Basics Studio 1 2
Gallery signage for the exhibition of the student works from the undergraduate art classes at Yale 2007. The name of each art classes were broken down into words and reconstructed together to create a new name that covers the entire class disciplines of Yale School of Art. Overprinted on the Art section of the course catalogue of 2007.
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Laser Print on Newsprint
205 x 107 inches, 35 x 72 inches
Yale School of Art, Fall 2007
Collaboration with Rachel Berger
Hundred Days workshop with Michael Bierut.
To capture the fragments of 8pm on any given day, three photographs were taken – one straight up, another straight down, and a screenshot of my laptop (sometimes connected to an external display). Photographs were displayed in chronological order with headline articles pulled off of New York Times to see how my daily life is alienated from variety of events of outer world.
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Digital Photos and New York Times Headline
1280 x 1024 pixels
Yale School of Art, Spring 2008
Observed by Design Observer, February 18, 2008
The Second iteration of the Event Project at Yale with Susan Sellers and Keira Alexandra.
To avoid the perpetual activity, books are cut into same height to simulate a situation of books being de-characterized and becoming an indistinguishable part of the system.
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Books
24 x 36 inches (poster)
Yale School of Art, Spring 2008
One of the sketches of the Event Project at Yale with Susan Sellers and Keira Alexandra, focusing on the repetitive but pointless aspect of the activity that’s shown in Double Standard. The frustrating repetitive events in our life are written on cards and put in between mirrors to simulate infinite loop of the event.
The work was shown at the Qompendium Time Capsule Series featuring Manystuff (2008), Qompendium Workshop, Berlin, Germany
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Laser Printed Cards on Mirrors
12 x 12 x 12 inches
Yale School of Art, Spring 2008
List of 50 words in response to the email from Paul Elliman:
“The question I’m asking has long term implications for your practice: What are the main themes, interests, formal recurrences, motifs, motivations, grinding axes, personal obsessions and spectral autisms inherent in your own work?”
Using Visual Thesaurus, 50 keywords are connected each other when they have common thesaurus and groupped into four categories by their relationships. Interestingly the word 'clear' had the most connections (meaning that is the most unclear) and 'awareness' was the only one in its category.
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Laser Print
24 x 32 inches
Yale School of Art, Spring 2008
The weather application for any given zipcode, translating the current weather condition to an ascii visual representation.
Starting from the idea of me being affected and bothered by the weather, two major parameters – wind speed and humidity – are processed and used to draw and animate the visual.
http://ernie.art.yale.edu/~eroonkang/networks/03/weather.php (deleted from the server)
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Yahoo! Weather RSS, PHP with Javascript
1280 x 960 pixels
Yale School of Art, Spring 2008
A letter to all graphic designers at Yale, sharing printers.
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Screen Captures
480 x 480 pixels
Yale School of Art, Spring 2008
Gallery signage and posters for the undergraduate senior projects show at Yale:
The show consisted with the works of graduating students from four departments, panting and printmaking, sculpture, graphic design and photography. Each disc with four colors were attached onto a motor and individually controlled by a motion detector.
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Inkjet Print and Motors
205 x 107 inches, 35 x 72 inches
Yale School of Art, Spring 2008
Collaboration with Yeju Choi
Second iteration of the 50 Words in Relation, initiated by a questionnaire given from Paul Elliman.
Exploration was started with the idea of putting 50 keywords in a three-dimensional field by each of their relation to my mind. Later development was aimed to establish a navigational system of a virtual brain, inspired by Johnny Lee’s Wii Remote Projects.
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Processing with WiiRemote, Infrared LEDs and Constrction Helmet
800 x 600 pixels
Yale School of Art, Spring 2008
Gallery signage for the show of returning students who are MFA candidates of 2009.
There were both hesitation and excitement about getting closer to the end of school phase of their life.
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Laser Print on News Print
205 x 107 inches, 35 x 72 inches
Yale School of Art, Fall 2008
Collaboration with Yeju Choi
For much of the past two decades artists have luxuriated in an abundance of resources new and old, and in mixing and quite often deliberately mismatching them in exemplary ways. An alternative also exists. Neither a return to the purist traditional concept of “truth to materials” nor to the purist modernist one of “less is more” such an approach tends towards pragmatic invention with whatever may be at hand, and responds imaginatively to the relative quantity or scarcity of it. It can be an art of “muchness” or an “ultra povera” art of extreme spareness, it can be lasting or totally ephemeral. In essence, though, it consists of anything the artist chooses to do while making do with with a given material of their choice. Those anyway are the loosely conceived rules of the game we have asked five artists to play at the Green Hall Gallery where they will come to work in situ for a week.
– Robert Storr, Dean Yale School of Art
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Laser Print, Vinyl and Cellophane Films
205 x 107 inches, 35 x 72 inches
Yale School of Art, Fall 2008
Collaboration with Yeju Choi
The idea started from a conversation with Rachel Berger, how circles are organic and rectangles are artificial. Circles are easy to find in the nature but rectangles are hardly seen. Also, the circle was the easiest thing to draw when thinking about drawing a shape with machines. So the simplest setup to draw circles (spirals) was set up to explore possibilities of the spiral drawing-machine and hopefully find an answer to the rectangles.
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Toy RC Car and Lego Mindstorm with Sharpie
Sizes vary
Yale School of Art, Fall 2008
Collaboration with Yasser Suratman
Workshop with Roel Wouters
Overly complicated setup to create a white projection: The most neutral color – white is projected on a white wall using three projectors connected to three computers, each displaying not-so-neutral red, green, and blue.
The work was shown at Platform in Kimusa (2009), Seoul Korea.
Study: Additive White is part of the self-initiated project that investigates the common misbelief of the technological advancement. It is typically assumed that technology’s mission is to direct us toward a more efficient state, and that this will result in a more efficient environment. However, the more I looked into the promises of systems, the more I saw their failures and flaws: some were funny, others ridiculous, and all of them a function of a kind of unavoidable inefficiency. I found irony, stupidity, excessive effort when none was required, unnecessary complexity, pointless acceleration, speed at the cost of solvency. This overly complicated setup to project nothing on a wall tries to demonstrate this futile aspect of a system, while using three different computers and projectors each displaying red, green and blue in synchrony to recreate white. Naïve assumption was made that this setup will project a complete white – as advertised by its manufacturers and as written in the first chapter of color theory books.
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3 computers with 3 Projectors,
1280 x 1024 pixels
Yale School of Art, Fall 2008
Photo from Samuso
MacBook Pro and OS X Password Dialogue
Yale School of Art, Spring 2009
Poster for the visiting critic Paul Elliman. Quoting from his email a year ago.
The low-tech poster is unable to finish its revolution and repeatedly pulled down by gravity.
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Inkjet Print on Newsprint and Disco Ball Motor
24 x 36 inches
Spring 2009, Yale School of Art
Catalogue Raisonné
A book, by its definition, may not have changed very much over the past decade but the environment around it dramatically have. Most of my books are no longer from the corner bookstore but delivered home by Amazon through UPS. Same approach was applied to my MFA thesis book, a partial requirement for the degree, to submit three copies.
The process was designed to have the book purchased from Amazon and delivered through UPS to three different destinations on the due date: the graphic design administration office at Yale School of Art, Haas Family Arts Library Special Collections, and Yale MFA Graphic Design Show.
This book is available exclusively through Amazon.com and available for pre-order starting March 30, 2009. The shipping materials delivered with this book are considered parts of the book.
The specifications of this book were derived from the average values of the one thousand most recent paperback publications available through Amazon.com as of February 15, 2009. For purposes of production and distribution, the dimensions are rounded off to the closest standard (A5) and the page count to the closest multiple of four.
— Preface, Manual: The Manual
The book was designed using LaTeX and printed by LuLu with their on-demand printing service. After purchasing copies from Lulu, they were shipped to Amazon's warehouse. The ISBN is generously given by the Winterhouse in order to have the book officially sold in Amazon. Due to the complex logistics and miscalculation, the production cost exceeded the MSRP. Therfore only handful of copies were produced, sold and purchased. Amazon's product detail page is still up and indicates that there is one more copy of the book in its warehouse.
Thanks to Jessica Helfand and William Drenttel to make this happen.
Another study on additive colors.
See Also: Study: Additive White
The work was shown at a group exhibition, Bibimbop: Unexpected Transformations (2010), Allegra Laviola Gallery, New York.
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Two projectors with color wheel
1024 x 768 pixels
“Nobody wonders where, each day, they carry their load of refuse. Outside the city, surely; but each year the city expands, and the street cleaners have to fall farther back. The bulk of the outflow increases and the piles rise higher, become stratified, extend over a wider perimeter”
– Italo Calvino, Invisible Cities
SENSEable City Lab's Project Page
http://senseable.mit.edu/trashtrack/
Why do we know so much about the supply chain and so little about the 'removal -chain'?
Imagine a future where immense amounts of trash didn’t pile up on the peripheries of our cities: a future where we understand the ‘removal-chain’ as we do the ‘supply-chain’, and where we can use this knowledge to not only build more efficient and sustainable infrastructures but to promote behavioral change. In this future city, the invisible infrastructures of trash removal will become visible and the final journey of our trash will no longer be “out of sight, out of mind”.
Elaborated by the SENSEable City Lab and inspired by the NYC Green Initiative, TrashTrack focuses on how pervasive technologies can expose the challenges of waste management and sustainability. Can these same pervasive technologies make 100% recycling a reality?
TrashTrack uses hundreds of small, smart, location aware tags: a first step towards the deployment of smart-dust - networks of tiny locatable and addressable microeletromechanical systems.These tags are attached to different types of trash so that these items can be followed through the city’s waste management system, revealing the final journey of our everyday objects in a series of real time visualizations.
The project is an initial investigation into understanding the 'removal-chain' in urban areas and it represents a type of change that is taking place in cities: a bottom-up approach to managing resources and promoting behavioral change through pervasive technologies. TrashTrack builds on previous work of the SENSEable City Lab in its exploration of how the increasing deployment of sensors and mobile technologies radically transforms how we understand and describe cities.
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The project has been exhibited at MoMA (2011, BalkTalk), Seattle Public Library (2010) and the Architectural League of New York (2010), and also a recipient of NSF International Schience & Engineering Visualization Challenge (2010, First Place).
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Participated as a Designer and Research Fellow, 2009–2010
Project of SENSEable City Laboratory of MIT
Images/Videos courtesy of SENSEable City Laboratory
This project explores the cultural significance of data frequencies. Four projection surfaces display data feeds describing the intersections between seemingly mundane aspects of our collective everyday experience.
Numbers, colors, and complementary word pairings are scraped from Twitter, isolated from their original message context, and displayed in real-time, generating visual and temporal patterns intrinsic to the data. Each display represents a single dataset, juxtaposing past and present, the individual and the multitude, the frequent and the infrequent. The outcome is a conversation, and a space for contemplating the connections that may emerge from the overlooked moments in our lives.
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Installed at Project No.8 and Project No.8b
through March 2010 as part of the Mannam exhibition series, organized by Hoon Kim and Andrew Sloat.
Collaboration with Christian Marc Schmidt
AGWF is a curatorial group based in Brooklyn, New York. It works to arrange shows on a variety of themes and types of artwork. As working artists themselves, AGWF works to discuss topics both in and outside the field of art.
Beginning with the affirmation that artists and their audience often overlap, AGWF surrenders the theater of a gallery’s display for the comfort and comradery of a studio visit. Being among peers underscores the desire to present a place for thought, action, and construction. Here a role of cultivation takes the form of progressive conversation. We are hoping to carry ourselves with a healthy and unburdened expectation.
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Co-organizer, 2010
Benoît B. Mandelbrot (20 November 1924 – 14 October 2010) was a French American mathematician. [...]
Mandelbrot worked on a wide range of mathematical problems, including mathematical physics and quantitative finance, but is best known as the father of fractal geometry.
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Vinyl Letters
30 x 50 inches x 2
Exhibited in a group show, Between, at Between-Between London. (2010)
The new visual identity of the MIT Media Lab is inspired by the community it comprises: Highly creative people from all kinds of backgrounds come together, inspire each other and collaboratively develop a vision of the future.
This unique offering of the MIT Media Lab is reflected in the logo design. Each of the three shapes stands for one individual's contribution, the resulting shape represents the outcome of this process: A constant redefinition of what media and technology means today.
The logo is based on a visual system, an algorithm that produces a unique logo for each person, for faculty, staff and students. Each person can claim and own an individual shape and can use it on their business card a personal website. The design encompasses all collateral, business cards, letterhead, website, animations, signage etc. A custom web interface was developed to allow each person at the Media Lab to choose and claim an own individual logo for his/her business card, as well as a custom animation software which allows to create custom animations for any video content the lab produces.
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Collaboration with TheGreenEyl
Creative Direction & Design: Richard The, E Roon Kang
Programming & Design: Willy Sengewald
The freedoms necessary for creative pursuits are not easily evoked when they are confronted with official institutions exterior to world of art. Bureaucracy, careerism and superficiality become intimate when cultural praxis becomes not only a spiritual, or psychological drive assumed within artistic subjectivity but instead enters it as a concrete variable, irregardless of the artist's motive. The works exhibited will radiate this dilemma not simply within the poetics of their appearance, but as anxieties that perforate the daily life of their authors.
The first curation work of AGWF, placed at the first AGWF gallery space, the White Flag.
http://thewhiteflag.org
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Co-curation, 2010
An AGWF Exhibition
A headgear that reflects and detours light, thus making subject transparent.
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Mirror, Wood, and Helmet
approx 20 x 20 x 20 inches
Realized with 1609 Dekalb Studio
Another major curation of AGWF. A three-day journey of Exhibition and Workshop.
Exhibition
The exhibition champions the accomplishments and impending struggles of international artist currently residing in New York. The gloom of administrative and quotidian preoccupations can make the life of artists brash and tiresome. Depending on the circumstances of each artist, achieving status and recognition in the US can injure the development of creativity. Status! Status! Status! signals a superficial difference between friends, which can be overcome.It is then the goal of this exhibition to present friends with cordiality. A respect for amity results in a tolerance of stylistic dis-ambiguities. Therefore, we present work from individuals sharing in a common contingency. The works exhibited will radiate not only with the poetics of their appearance, but with commonalities that perforate the daily life of their authors.
Workshop
When individuals are confronted with large scale administrative problems, a Do-It-Yourself, or a tutorial are not always enough. Instead, we suggest: Do-It-Together! Working together avoids the isolation and muteness that often accompanies international artists throughout their practice. Thus, the purposed events jettison these dismal situations for the opportunities of friendship, mutual aid, and problem solving.Status! Status! Status! workshop is focused on cooperatively solving the mundane and logistical problems confronting international artists. We want a potluck of information on the process from both professional and personal experience; a moment for sharing tips, hints, tricks and advice among participants. Those involved are encouraged to bring anything which may be helpful. Together we can come to solutions, which are unexpected, innovative and empowering.
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Co-curation,
An AGWF Exhibition, in collaboration with Interstate Projects
Proposal for the Clyfford Still Museum's inaugural event, projecting what's behind the museum building to its facade, creating illusion of the disappearing.
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2012
Poster/invite designed for Cheonpyo Lee's solo exhibition at Interstate Projects, Brooklyn, NY.
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Newsprint
2013
Visual identity for Copenhagen Wheel, a wheel that turns ordinary bikes into a smart electrick hybrid. Started as a research project at the SENSEable City Laboratory of MIT, is now available for free order at superpedestrian.com.
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Design Intern: Steve Choi
2013
Mission patch designed for The Society of Speculative Rocketry, following the tradition of mission patches for space exploration. Floating human figures are designed after the mesmerizing drawings of the legendary rocket pioneer Konstantin Tsiolkovsky. The Society for Speculative Rocketry held their inaugural meeting at Eyebeam, Chelsea, New York City on March, 15-16th 2014.
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The Society of Speculative Rocketry is a project of Chris Woebken and Sascha Pohflepp
2014
Anyang Public Art Project (APAP), by Anyang Foundation for Culture and Arts, is a public art festival held in the city of Anyang, Korea. E Roon Kang / Math Practice designed a real-time visual identity of the 4th edition of the event, developed the digital archive of the past and current commisions as well as posters and walls for the exhibition.
Customizable on-demand APAP catalogue is in the works, with small run of special editions to be physically printed.
See also
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Design Director: E Roon Kang
Designer: Hyo Kwon, Yejin Cho, Wonyoung So
Programmer: Wonyoung So
Design Interns: Steve Choi, Yujin Lee
Video: Ahrong Han
Time-lapse Photography: Jonchul Lee
Exhibition Photography: Cheolki Hong
2013
Anyang Public Art Project (APAP), by Anyang Foundation for Culture and Arts, is a public art festival held in the city of Anyang, Korea. E Roon Kang / Math Practice designed a real-time visual identity of the 4th edition of the event, developed the digital archive of the past and current commisions as well as posters and walls for the exhibition.
Customizable on-demand APAP catalogue is in the works, with small run of special editions to be physically printed.
See also
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Design Director: E Roon Kang
Designer: Hyo Kwon, Yejin Cho, Wonyoung So
Programmer: Wonyoung So
Design Interns: Steve Choi, Yujin Lee
Video: Ahrong Han
Time-lapse Photography: Jonchul Lee
Exhibition Photography: Cheolki Hong
2013
Graduate level course offered in Fall 2013, at New York University, ITP, based on the curriculum developed for the previously taught course at Bauhaus Weimar. Aesthetics of Automation is a full-semester studio exploration. Student works are documented, printed and bound to a book.
From Movable Type to the Internet, our desire to automate the work has been a major driving force behind many technological advancement. Thanks to these technologies, we are living the world that is extremely efficient and scalable, but as a result, we became alienated from the process of making. Often, we find the process humanly impossible to comprehend, due to our lack of sense for such scale or complexity.
In this fast-paced studio/theory class, we will try to dissect the world of automation and understand its implications. The work to be produced during the course will be a direct outcome of such effort, with its topic include: repetition, abstraction, scale, data, privacy, security, and power structures, etc.
Students:
Aaron Cohen, Alana Abbitt-Mcgregor, Eojin Chae, Hannah Mishin, Jing Zhao, Michelle Cortese, Omer Shapira, Mack Howell, Yang Wang, Yucef Merhi, Jorge Brake
Guest Lecturers:
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Class offered in Fall 2013, at New York University, ITP
Course Wiki
Photography by Ahrong Han
2013–2014
One-day installation at the ICP Museum, covering the museum walls and ceilings with various projections to invite viewers to engage with ICP's massive archive of photography dating back to 1800s.
Interactive projections were installed throught the gallery – some reacting to the noise level, others overlapping each other to cast shadow of viewers to reveal the archival photograph underneath.
Large ceiling projection was designed to run throughout the photographs from the archive chronologically, with each decade represented by a 6 minute time slot of two-hour event. The number of images shown during each slot proportionally represents the number of photographs acquired by the museum during the decade, creating a time-based, quantitative experience of ICP archive.
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Space design in collaboration with Leong Leong for International Center of Photography
Projection mapping by NBNY
Video & Photo Documentation by Ahrong Han
2013
Anyang Public Art Project (APAP), by Anyang Foundation for Culture and Arts, is a public art festival held in the city of Anyang, Korea. E Roon Kang / Math Practice designed a real-time visual identity of the 4th edition of the event, developed the digital archive of the past and current commisions as well as posters and walls for the exhibition.
The introduction of the new wordmark of the 4th APAP starts with the online broadcasting of the sculptural work featuring the four letters A, P, A, P installed in the sunny, southern part of the Anyang Pavilion, which will be shot continuously. The rising and setting of the sun as well as its trajectory that changes with the seasons will cast a different light on the four letters and create shadows of varying shapes and depths. Just as many civilizations referred to the sun to determine locations and perceive time, the ever-shifting shadows will serve as a visual mediator that reveals the temporal and spatial nature of the APAP that is happening “here/now.”
The sculpture is installed on the outer wall of the Anyang Pavilion facing the sky, and as such, it is open to the changes in the weather of Anyang, visits by its natural surrounding such as falling leaves and insects, and the intervention and participation of the visitors to Anyang Pavilion.
Customizable on-demand APAP catalogue is in the works, with small run of special editions to be physically printed.
See also
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Design Director: E Roon Kang
Designer: Hyo Kwon, Yejin Cho, Wonyoung So
Programmer: Wonyoung So
Design Interns: Steve Choi, Yujin Lee
Video Editing: Ahrong Han
Time-lapse Photography: Jonchul Lee
Exhibition Photography: Cheolki Hong
2013
Transformative-type experiment designed in collaboration with Self-Assembly Lab of MIT. The acronym MIT, made of a single strand of shape-memory alloy, blooms into various geometries which were pre-programmed in oven using extreme temperatures.
The envelopes containing the letterform were handed out to the guests of a private dinner hosted by MIT Technology Review at TED2014 in Vancouver. Warm water triggers the instant transformation back to its programmed shape and the process is repeatable indefinitely.
Commissioned by MIT Technology Review &
MIT Office of Philanthropic Partnerships for TED2014.
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Self-Assembly Lab, MIT
in collaboration with E Roon Kang / Math Practice
Self-Assembly Lab Team:
Skylar Tibbits, Carrie McKnelly, Tyler Crain & George Varnavides
Video by Self-Assembly Lab
Photography by Ahrong Han
2014
I—S—O—P—T is an attempt to live unreal time in real-time world. The project, in collaboration with Taeyoon Choi, aims to leverage subjective temporal perception against master time, facilitating a multitude of flows of time rather than bolstering the universal standard.
Project Website: i-s-o-p-t.com
Read more on:
LACMA Unframed Blog: Artists Choi and Kang Bend Time at LACMA
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Collaboration with Taeyoon Choi
2014–2015, Art + Technology Project,
Los Angeles County Museum of Art
Yet another gallery signage for the first year MFA students’ show of Yale School of Art. By revisiting the basic functionality of a gallery signage – inviting people in to the space – display type has rendered in wrong perspective so that one can see the right perspective view on the inside of the gallery.
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Spary Paint and Paint
205 x 107 inches, 35 x 72 inches
Yale School of Art, Fall 2008
Collaboration with Yeju Choi
A full-semester wokshop at Bauhaus-Universität Weimar, resulted in a exhibition of student works and a collectively designed book.
From Movable Type to the Internet, technology and graphic design have a complicated relationship. While the field of graphic design benefits greatly from technological advancement such as desktop publishing revolution of the 1980s, imagination of graphic designers are often hopelessly limited to the tools that are within their immediate reach.
This workshop investigates this duality inherent in the relationship between technology and design. By substituting the familiar technologies to unfamiliar one, or other times through a broad survey in adjacent disciplines in order to re-discover the essence of graphic design and re-define or re-imagine the act of designing of today.
Our exploration will focus on automation, especially on how to comprehend its pervasiveness and its request to change the role of a graphic designer. We’re surrounded by the products of highly automated processes, that are often humanly impossible to understand due to our lack of sense for such scale or complexity. However, the outcomes of these processes are there for us to be seen, to be touched and to be used every day. How can we bring these automated processes (or its products) to the human level where it can be understood? Or how do we go by design a such processes without being overwhelmed?
“Technology is anything that wasn’t around when you were born”, said Alan Kay, an American computer scientist and pioneer of graphical user interfaces. This line of thinking encapsulates the ‘present (nowness)’ inherent in technology, and at the same time implies the challenge in understanding it. It has always been something that you’re not native with, but is novel and unique to the era. This is how technology affects graphic design – through its quirky promises and unresolved aesthetics, but with wide possibilities to the new and unknown.
This workshop has been held at Bauhaus-Universität Weimar during the January of 2013 with generous help of Markus, and all other GD faculty, including Matthias and Michael.
Students:
Marc Bredemeier, Felix Egle, Frieder Oeleze/Lukas Krause, Dan Sauerbrey, Viola Kristin Steinberg, Johannes Siebler, Julia Wagner, Skye Zhang
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Class offered at Graphic Design department of Bauhaus-Universität Weimar
Photography by Ahrong Han
2013
The third iteration of the Site Project at Yale with Sheila de Bretteville. Based on the assumption of myself being in the vent-like situation – in between English and Korean speaking culture – a vocabulary test was made using New York Times and Wall Street Journal. The words that I don’t know were blacked out to simulate the experience of not knowing those words while reading a newspaper followed by an additional cheat sheet with the words in the same position with Korean translations.
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Inkjet Print on Newsprint
18 x 24 inches
Yale School of Art, Fall 2007
A Book designed for the national branding workshop at Yale, held by Daniël van der Velden.
Djibouti once has been nominated as one of the most effected countries from the climate crisis, but has virtually no participation in occurring the crisis. The book is divided into two parts, first part being a factual data and the second part being a statistical prediction about what will happen, such as losses and remainders of the country after being effected.
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Laser Print on Graph Paper and Lab Notebook
8½ x 11 inches
Yale School of Art, Fall 2007
Video for a large scale projection for the New Museum in NYC, in collaboration with Ahrong Han.
Press Release:
Curated and produced by NBNY, “Change of State” is a follow-up to NBNY’s projection project “Let Us Make Cake,” a feature of the inaugural Festival of Ideas for the New City in 2011. Change of State features twelve building-scale works by notable artists and architects. Contributors will activate the building facade with imagery drawn from a variety of mediums—from painting and animation to text and video.
Change of State is a moment of transformation—physical or social, perceived and actual—and a visual challenge to the symbolic power of the built environment. Change of State disrupts perceptions of architectural form to investigate the possibilities inherent in transitions. Through this ephemeral intervention, Change of State illuminates the untapped potential of the building facade and calls for a heightened civic consciousness in public space.
The projection will be on public view on the façade of the museum on May 4, 2013, with projections emerging at 8 p.m. and continuing until midnight. Change of State is a one-hour program, beginning on the hour each hour. New artists features and information have been released at www.changeofstate.org
Participating Artists:
Cecil Balmond, Agathe de Bailliencourt, Diller Scofidio + Renfro, Nicolas Guagnini, E Roon Kang & Ahrong Han, Sara Ludy, Virginia Overton & Motoko Fukuyama, Jeff Preiss, Martha Rosler, Nicolas Sassoon, Krzysztof Wodiczko, Ben WolfFree and Open to the Public
One-hour program begins every hour, on the hour.
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Collaboration with Ahrong Han
Scale models built in help with Cheonpyo Lee and Yunwoo Choi
Commissioned by the New Museum for IDEAS City, with system design and technical sponsorship from The Media Merchants and real-time playback system courtesy of Float 4 Interactive.
The event has been postponed due to unexpected NYC permitting issues. More
Sketch of a small rod that enables tactile communication via push and pull across continents.
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Development in Progress
The first presentation of the Event Project at Yale with Susan Sellers and Keira Alexandra.
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Bookshelf and Masking Tape
720 x 380 pixels
Yale School of Art, Spring 2008
Each of the sixteen students at MFA Graphic Design Program at Yale School of Art gave a presentation of their thesis topic on September 2008. To reinterpret everyone else’s thesis topic to mine, I set up a blog using WordPress, parsed those scripts into smallest unit, so that one can rearrange them and find out interesting combination of units for their own purposes.
Visit 16x16 (forbidden)
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Everyone’s Thesis Presentation Script and WordPress
1280 x 1024 pixels
Yale School of Art, Fall 2008
Workshop with Linda van deursen
Gallery signage for the Yale School of Art's First year MFA student exhibition. The works shown were chosen by second year MFA students, so their names were overprinted on top of the first year student's to screen them using red cellophane film.
Inkjet Print, Cellophane Film Rolls and Static Electricity
205 x 107 inches, 35 x 72 inches
Yale School of Art, Spring 2008
Collaboration with Yeju Choi
A – "moving" – B is a visual identity for the TED Fellows Retreat 2013, with a theme of "Fellows Moving Mountains." The fellowship program started in 2009, and the number of TED Fellows groew over 300 globally, with most of whom never had a chance to meet each other. The retreat in Whistle, BC was intended to provide time to spend altogether and conspire, with strong emphasis was on getting people introduced to each other.
The visual identity is tailored to each TED fellow by matching them with a carefully chosen object representative of their work, to aid the process by providing a context in the conversation.
Designs for various objects/screens were made, including the Fellows Book featuring each 300+ fellows headshot for their own copy, in collaboration In-house International.
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Design Interns: Steve Choi, Yujin Lee
Sound designed by Blue Brain, Hays Holladay & Ryan Holladay
Fellows book in collaboration with In-house International, Lope Gutiérrez-Ruiz
2014
An exploration to indiscriminateness through a YouTube Search based on the monologue from Japanese animation, Paprika (2006, Satoshi Kon).
The monologue is by a chief director whose brain is completely taken over by his own dream while developing a machine that can control someone else’s dream. The sentencing of the monologue is completely random but I found myself trying to make connections among those words even though they are meaningless combinations.
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YouTube Videos
640 x 480 pixels
Yale School of Art, Spring 2008
A publication designed for Roadshow: Korea, organized by Taeyoon Choi and Natalie Boseul Shin. The project examines the changing environment of Korea, focusing on the impact of Four Major Rivers Project. The book was designed as a chronological archive of the trips, as well as a repository of related essays and images by participating artists.
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Published by Total Museum of Contemporary Arts.
Photography by Ahrong Han
2013
