E Roon Kang YG8

  • Current Location: New York City
  • Originally From: Republic Of Korea
  • Studio: Math Practice

E Roon Kang lives and works in New York, where he operates an interdisciplinary design studio, Math Practice. He works in print, web, environmental graphics, as well as interactive installations, with interest in studying, evaluating, and criticizing complex systems and its consequential pointlessness of a pursuit of efficiency. E Roon is a recently appointed TED Fellow (2012), and was previously a research fellow at SENSEable City Laboratory of MIT (2009?2010) — following paths of trashed objects, imagining new form of public three-dimensional display, or taking part in re-inventing electronic bicycles. His work has been shown at many places in different contexts, including the Museum of Modern Art (MoMA), Platform 2009 of Seoul, Seattle Public Library, and the Architectural League of New York. He currently teaches Interaction Design at Rutgers University, studied graphic design at School of Visual Arts (BFA) and Yale University (MFA).

Portfolio Imagery:

  • Project 1 of 5


    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.


    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

  • Project 2 of 5

    MIT Media Lab Identity

    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.


    Collaboration with TheGreenEyl Creative Direction & Design: Richard The, E Roon Kang Programming & Design: Willy Sengewald

  • Project 3 of 5

    Manual: The Manual: Rethinking Inefficient Disciplines of Efficiency

    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.

  • Project 4 of 5

    Study: Additive White

    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. Naive 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.

  • Project 5 of 5

    The System: Mapped Out

    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.

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