I'm speaking with Hannah Kim, who is a Class of '22 architecture major at Pratt Institute. We talk about designing for a community, world building, ego in the field, and where she finds inspiration.
This interview was conducted in my apartment on February 13, 2020.
I: Welcome to Dezign Skool, where each week I interview a different student in a different major about what it is we do here and why. My name is Isabel and I'm a quote unquote, graphic designer. Whatever that means. And I'm here today with Hannah Kim, junior architecture major. Yeah, could you introduce yourself?
H: Hi. I'm a third year architecture student.
I: A third year! Yes. That makes more sense. It’s a five year program. Fantastic. Could you briefly define your major meaning, like what it is that you actually do as an architecture student? It could be curriculum or class projects.
H: Yeah! So to get accreditation, as a school, we need to learn professional aspects of architecture, like construction documents, how to make your own firm, and obviously design. But there's also a representational aspect of it, we learn graphic design in a sense. How to represent information on a page without using words, or how to communicate with other architects in a way so we don't have to use words. And visual aspects, like how you can present a 3D object in 2D, explain how to make it or how to construct it. We also learn a lot about world building. A lot of architects delve into this world of almost… game development or even movies in a sense, because of how they work. Yeah. So I think that's what we learn here at Pratt. A lot of design, theory, and form.
I: It never occurred to me that a lot of what you guys are doing is essentially graphic design. And how to hand off your ideas to someone else. So, in your third year right now, what are you focusing on?
H: So we're designing a community center that's supposed to transform into an emergency shelter because it's in a flood zone. It's a mass housing situation, it used to be dorms, but now it's live/work generational or micro-housing. It was like two different projects for sure. But now it's delving into the real world, where we have limitations, like zoning, structure, and MEP, which is mechanical, electrical and plumbing. It's very boring... You probably never need to know that in the future. It's real-world problems.
I: How does that compare to your second year? The first year?
H: Oh, my God. OK. So first year was totally abstract. You're just thinking about form and how to occupy it. So… circulation. I remember one of the activities we did was, “body in motion.” You track yourself for a day, and then you have to either make a design proposition that's about an addition or subtraction or a component system, modularity and stuff like that. And that was also built into the second year. Second year was using everything we learned from first year, but applying it to an actual program. Like, how do we use what we learned in first year to make a gallery? Yeah, it kind of sandwiches on top.
I: OK. That makes sense. Well, thank you for that breakdown. OK. So my first real question is,
What is it that led you to architecture? Maybe in a bigger sense, why are you interested in design?
H: Well, the real answer is… my dad. He was a carpenter in Texas. I remember him dragging me to work with him when I was growing up. I always asked him, “who's your boss? Who would you listen to if you didn't work alone?” And he'd always say “The architect.” So that planted the seed in my head. I wanted to be my dad's boss. But I think he low-key manipulated me. I don't think he would have answered to an architect.
I: Maybe not directly.
H: Yeah. But it just stuck. And then I was in middle school, so you know, the psychology of middle school...Yeah. I just kept doing it, and I thought it was a good negotiation between art and design. If I told my parents I wanted to go into design or art, they would not like that. So I negotiated a middle ground.
I: Where do you think the line would have been? Had you proposed graphic design, or industrial design...
H: I think industrial design would have been ok. But I remember right before I came into Pratt, the summer-of I was spending a lot of time with my friends making art. And they're all into 2D animation. And I thought, “this is so cool” because it’s basically world-building. They get to make their own characters and make their own fantasy. I really wanted to do that. But I got really lucky that I liked it when I got here. Even though first year was pretty hard and... abstract.
I: So to kick things off, this is a fun, quick little segment. I have this game that I fully stole this other podcast, but it's a really good concept. It's called "Swipe Right/Swipe Left." So it's just: "I like this," or "I don't like this." This is the architecture edition. And for anyone unfamiliar with this format, a swipe left is a rejection and a right is acceptance, approval. So these are some basic architecture terms that I pulled from my brain. The first one is: the Bauhaus, the school.
H: Super like! We learned about it my first semester here and I was, right away, “this is so cool.” I loved learning about that. I was obsessed with textiles for a short moment because we were learning about it.
I: I didn't really know about it until foundation year. Our professor was basically explaining that the Pratt Foundation year models the Bauhaus. OK. The next one is Brutalism. Could you first define it for us?
H: Oh, my God, no. I just know Brutalist architecture is simplified, formal expressions and material-wise, it's concrete. The Met Bruer is a perfect example of Brutalism. But I think it's the most simplified version of design. It's ugly but beautiful.
I: It is. Yeah. No, I like it. It's very divisive, I know. So a quick Google search summarizes it as a style that emerged out of the 50s. It grew out of the early 20th century modernist movement characterized by a massive, monolithic and blocky appearance with a rigid geometric style and a large scale use of poured concrete. To me, I look at it and it kind of says… prison, or something super institutional.
H: No, I understand. There’s almost no life to it.
I: But at the same time, it's... history.
H: I guess, yeah, it's not inviting.
I: So that's a right swipe. My next one is Archigram.
H: That’s a right too! There were a collection of architects that tried to further architectural theory. They made zines, they began that culture in architecture: going off-script and offering another way of spreading ideas and messages. I think that's super important to the history of architecture. I think they’re super cool. Yeah, great designs, even though they're not feasible at all.
I: An early example of speculative design.
H: Yeah, it led to one of my favorite buildings, the Kunsthaus Graz. It's this blob-i-tecture thing. It's like this huge alien ship. It's so funny. It looks like an axolotl, kind of.
I: The next one I wrote down is Frank Gehry.
H: Ooh. That’s a left.
I: Why? I'm always interested in why people like his work or don't.
H: I mean, it was revolutionary. He was one of the first people to utilize 3-D modeling software. Not a big fan. I don't know why. I don't like the notion of “Star-chitects,” even though he did something cool.
I: I have a friend that totally agrees with you. The way he phrases it is, “his buildings overpower everything else around them. And the city or location suddenly becomes about him.”
H: A lot of architects have God complexes. And I don't want to be one of them. But I think he's definitely a “Star-chitect.” The notion of the Star-chitect is very… gross. Because a lot of the buildings architects make or seem to neglect the occupant, who it’s designed for, and where it is.
I: That makes sense. How would you define Star-chitect?
H: People like to say that it’s when an architect becomes a household name. People who have made big strides in architecture, and everything they do is either critiqued or loved by everyone. It's a weird notion.
I: It becomes about the individual.
H: Yeah, exactly. I enjoy a collective effort.
I: My nextone is TWA Hotel.
H: I love it. I want to go. Let's go.
I: This one is super interesting to me because it is literally a blast from the past. It's directly from the past. I love this one because I think it's just very interesting seeing something so directly pulled from the 60s.
H: And the architecture is just beautiful.
I: It’s Eero Saarinen, right? The flight center, quote unquote, was designed by him. It's stuffed with his furniture too. The terminal itself was designed by him as well.
H: I remember a design professor once told me it's like an umbilical cord. It's a subtle curve, and it’s concave. He manipulates the view of the occupant. It’s amazing.
I: Yeah. I wish every building in New York was like that. No, that’d be a nightmare, actually. Which brings me to the next one: skyscrapers.
H: I hate them.
I: So that’s a left.
H: Yeah, all the luxury towers.
I: There was one that was proposed to go adjacent to Central Park, right, but if they were to build it, the shadow casted would totally disrupt the park.
H: Yeah. They're just empty, half the time. Yeah. They're massive buildings that take up a lot of vertical space and intrude on the skyline for no reason. Just, wealth.
I: Yeah. Ok, this next one is a special edition of Fuck Mary Kill: the Empire State Building, The One World Trade Center, and the Chrysler Building.
H: Oh, my God. OK. I'd marry the Empire State. I have weird memories from my youth of visiting there with my parents. I guess I would fuck the One World Trade Center, because I don't think I could kill her. I kill the Chrysler.
I: Yeah, I guess that's fair. I think the Chrysler Building is very beautiful, But... I don't know, I guess you can’t kill the One World Trade Center… that’s just not an option. Ok. I'm gonna skip ahead to the Pratt-themed ones. Okay: Pratt architecture as a whole. As one unit.
H: Left.
I: If you could sum it up with one reason, what would it be? What's your least favorite thing about it?
H: The administration. They are really bad. I've had to deal with them for the past two years as a [student] rep[resentative], and they just don't do anything. One time we had to complain about a faculty member who was conducting his studio in a way that was highly inappropriate and nothing got done. Being racist, just being the worst person. And it didn't get solved until a teacher complained about him.
I: That’s awful. So that’s a left. The next one is Higgins.
H: Left! Left!
I: Higgins is in the works of either being replaced or gotten rid of, right?
H: Yeah. I'm reporting her, actually. Not even a swipe left.
I: The next one is: studio culture.
H: I like it. I think. I really love studio culture. We're so close, everyone knows each other. Yeah. It's almost all my friends. It feels nice to be part of a bigger whole, for sure. Yeah.
I: Is there any part of studio culture that becomes toxic?
H: Oh, yeah. When people start actually getting competitive. because studio culture is all about sharing what you’ve learned if your peers have not yet. Like, I'm all about skill sharing. I like helping my peers a lot. And I think it's really rewarding to help other people. But, Pratt Architecture has this Instagram page, it's really gross. They post work of selected people, and it's not very diverse in who they post. And it makes people feel bad. We also have an archiving system that chooses the top two of every design studio, which is productive but also really toxic. Because it's all based on one person's opinion.
I: Yeah. I can imagine what that would be like if it was implemented in [Communication Design]. The chaos that would ensue. I don't know whether or not the system is still in place, but a couple of years ago when I was a sophomore, there was a rumour that our junior or senior year we would all be ranked in the department, whatever that means. So everyone would get a number, and I guess it would represent how you are perceived by the department. I have no idea how that would have even worked. But just hearing about that… everyone was immediately talking about it, like, “where do you think so-and-so that would fall...”
H: It's like the archiving madness. It's really weird. Well, a system of rewards can also be good. I don't know where the middle ground is.
I: Yeah. This one is relevant to junior year: partner work?
H: I think I’m swiping right. It's nice to have someone you trust. And people to go up and present with you. It's like it's nice to have someone else just share the experience and also the burden. I'm not freaking out alone because someone else is in on it too. But I got lucky with the partners I have. I feel like we’re very much on the same page. I've also slept a lot more since I've had partners.
I: It’s another very divisive aspect of architecture from what I've heard. That's very good, though. All right. Thank you for playing! So I guess returning back to your personal interest in architecture:
I want to know if there is a current passion project of yours, or if there's been one in the past. What is your ideal project?
H: I think what I’m doing right now is a good passion project of mine. Designing a community center. Community-oriented design. Especially the site, East Rockaways. There’s a ton of mass housing and you know and it's great to have to also consider the occupant. I’m discovering things about New York that I never knew. And it's in a point where you have to deal with politics, architecture, art in the same capacity. It’s something I'm interested in. It's something a lot of architecture neglects, actually a lot of architecture here in New York. And like a lot of people actually say architecture is not meant to address these problems. I want to do that, but I don't know if that's possible.
I: Yeah, it's definitely possible. In any field there's an intersectionality within it. I don’t think anyone is exempt from that.
H: I want to exist at that point of intersection.
I: Is there anything you've worked on in the past that was sort of a completed project that you really enjoy?
H: It's funny, it was my first class that did not consider architecture at all. It was a rendering and representation class. It was second year. The prompt was to world-build around a single object and then do like a set of renders to take the consumer on a journey. Tell a story from my start to end. I realized, "oh, I’ve learned skills that I can do something with other than architecture." So I chose an arcade machine. It was really fun.
I: That must have been a nice reminder, “I'm not stuck in this world if I don’t want to be.”
H: Yeah! And a lot of my peers don't want to become architects, which is funny. One of them wants to do jewelry design, another wants to do like 3D printing. Another wants to open up her own restaurant. But she's learning how to become a designer first. I think that's incredible.
I: Is there anyone or anything that you're currently fascinated with? Or learning about?
H: Oh, yeah. So I like this guy, he came to a lecture. His name is Olalekan Jeyifous and he is a Nigerian American. And he actually got his BFA in at Cornell for architecture. He's a visual artist. And so he does installations for Coachella… His work ranges from sculpture, illustration, and even board games. I admire him so much. He does things that are tangential to architecture, or architecture. He also exists at the point of convergence of art, architecture, and politics. He does sculpture work about Black Lives Matter... It's super cool and inspiring. I remember hearing him talk; it was the first time I was like, “oh, I don't have to do boring markups for the rest of my life.”
I: That’s a wide variety of areas to produce stuff for.
H: Yeah. “The Master of Everything” of it all is super enticing. I want to try everything.
I: Dream job time. If you could do whatever you want, wherever you want, what would it be and why?
H: I couldn’t specifically tell you who. Because a lot of big firms aren’t… super big fans of women. Even firms that are led by women, like DS+R, who did The High Line. They’re a married couple but the wife is the face of it all. I would like to do urban design. I'm super interested in 3D modeling, and seeing where architecture in the virtual world can lead me. Even movies, like Into the Spiderverse, where they manipulate buildings and cityscapes… it would be cool to be a consultant on a project like that. World-building.
I: That’s something I hardly ever think about until I see a movie like that. There must have been a whole team of people just doing that.
H: There are also firms like 2x4, who are doing sets for fashion week, and smaller projects that are also really cool. That’s an interesting world, too.
I: Yeah. So we talked a little before about what made you specifically interested in architecture, but:
Was there on piece of art or design that sparked your interest in art, in a more general sense?
H: Well… Minecraft. It’s a tool that anyone can use to design, and experience your own design, iterate, and develop a better perception of space. And it has parameters, you can do additive design, or subtractive design. Like, if you make your house in a cave, that’s subtractive design. We learned this our first year at Pratt. I also took a trip to Europe in high school. My dad made me go to the Louvre, and the Eiffel tower. I think I was more aware of the significance of the insignificant places around me. It wasn’t just about the big destinations, but what was surrounding them. Nameless buildings.
I: Do you have one specific building or country you were blown away by?
H: The Netherlands. And Rome. Obviously it’s very old, and we don’t do ornamentation like that any more. I lived in a suburb in Texas my whole life, and going to Rome… it was a whole other world.
I: I want to close out by saying thank you for coming today! Thank you for making this happen!