Portfolio for MArch applications.
Bryan Yang Portfolio 2 Architecture New York / Paris Oxford Shirt Screen Changing Room Seating Atelier 1 Atelier 2 6 8 12 16 18 22 Undergraduate Work Ribbon House Underground House 26 30 Sculpture Ball Tension Structure Shape Resistance Bow Blow 34 36 38 40 42 44 46 3 4 Architecture New York / Paris New York / Paris is a year long architecture program at Columbia University. Students spend one semester in New York and one in Paris. The program focuses on design, with each assignment operating on a different scale ranging from personal body prosthetics to large scale public venues. The final assignment asks students to design a fashion atelier for Lincoln Center, New York, and for Opera Garnier, Paris. Undergraduate Work These works are from architecture studios taken at Rhode Island School of Designâ€™s Interior Architecture department and Brown Universityâ€™s History of Art and Architecture department. 5 Oxford Shirt 2012 Site: Orchard St. Critic: Jane Kim Deconstruct and reconstruct an Oxford shirt into a prosthetic device. I refashioned the shirt into static and mobile wings that track the wearer's movements as one moves through the given site, Orchard Street. The imbalance of mobility reflects the perception of both physical and visual obstructions found at the site. The wings track the disparate yet related movements of both arms and legs. 6 Top: Prosthetic in action on Orchard St Bottom: Diagram of arm and leg movement altered by prosthetic Opposite Left: Diagram of visual and physical obstructions Right: Elevation of shirt overlayed with two sections and elevations of the prosthetic 7 Screen 2012 Site: Flatiron Critic: Babak Bryan Restricted by the use of 1"x8" photos of the Flatiron, I explored the vertical frame that rendered certain subjects context-less; the objects within a photo lose meaning when its context is cut away by the frame. Reconfiguring panels inspired by Eileen Grayâ€™s Screen, the dynamic screen gives glimpses through slit openings. As the user manipulate the rotating panels, the angle and size of these slits change, producing a range of vertically framed views. 8 Left: Diagram of recontexualized 1"x8" photographs Right: Plans of two configurations of the screen Opposite Top: Photograph collage Bottom: Dynamic model Right: Model detail 9 10 Opposite: Elevation with depth gradient shading Right: Axonometric 11 Changing Rooms 2012 Site: Garment District Critic: Thomas De Monchau Exploring "Watch this space" and "Lack of Space", both chosen from Georges Perec's Species of Spaces and Other Pieces, I documented the movements of pedestrians as they become drawn towards a static window display and a woman's skirt as she navigates a busy sidewalk. While one phenomena shows a convergence of movement, the other shows a distortion of movement. I combined these two types of movement by weaving twine into the screen from the previous assignment in such a way to produce a changing room space that has strong points of formal convergence while distorting specific areas of the weave itself. 12 Top: "Watch this Space" diagram of pedestrian"s movements before and after they make visual contact with the garment in the store window. Bottom: "Lack of Space" diagram of the woman's skirt as she moves through the sidewalk. The lower half of the diagram is a combination of her distance from the sidewalk and the shape of her skirt as diagrammed above. Opposite Left: Collage of changing room space 13 14 Opposite Top: Weaving detail of model showing deformation of weave Bottom: Weaving detail of model showing convergence of weave Right: Section and plan of model 15 Bleachers 2012 Site: Bryant Park Critic: Eduardo Rega To combine the facade of Paris' Centre Pompidou with the New York site, Bryant Park, I investigated the visual density of the Pompidou's structural frame in comparison with the density of people moving in Bryant Park. Material studies of blue painter's tape led me to a flexible module with an aperture that varies in size and configuration. I created a skin that serves as bleacher seatings for Bryant Park by aggregating this module in varying sizes depending on the density required for the program. 16 Far Right: Density mapping of the Pompidou in relation to specific vantage points from Bryant Park Above: Bleacher seating models Right: Material study Opposite Top: Variations of modules Left: Diagram comparing two densities Right: Visual density mapping of the Pompidou's structure 17 Atelier 1 2012 Site: Lincoln Center Critic: Eduardo Rega In mapping the density of structure and the density of pedestrian movement and flow, I further explored site conditions regarding human usage of space and the relationship between these two actors. Through my diagrams I discovered an inverse relationship between pedestrians and the building: as the density of people increases, the density of the structure should decrease to allow for a more public and accessible space; as the density of people decreases, the density of the structure should increase to provide more privacy. Using this as the guiding principle behind the project, I designed a space that programmatically responds to the varying densities of pedestrian movement and flow. 18 The runway serves as the main circulation throughout the space, taking pedestrians into the Opera and back out around the studio/production facilities. This runway redistributes the densest nodes of pedestrian traffic (found at traffic choke points) to the least dense areas (found within the interior corner of the Metropolitan Opera House), achieving a balanced density of pedestrian usage of the site. The skin also responds similarly as a woven mesh that allows light in at varying densities depending on programmatic necessity. Section of the atelier Opposite Left: Movement and destination diagram overlayed on plan of the density of pedestrians Right: Flow diagram of my perceptions of the space overlayed on plan with important nodes 19 20 Above: Interior views of the atelier Opposite: Model of the atelier 21 Atelier 2 2012 Site: Opera Garnier, Paris Critic: Jane Kim With the Paris Opera Garnier as the site, I explored the visual impact of the grand opera house and the sightlines of visitors to the opera. The atelier is composed of separate screens that respond to the visual condition present in the foyer, namely the hiding and revealing aspects of the columns. Through material exploration of bristol, I discovered a technique that is transparent in one direction while remaining opaque in the other. This selective vision allows me to guide the viewer through the heirarchy of programs in the atelier. one determined by the referencing of flanneurism and spectacle of the opera, two prominent features of Parisian culture and of this Parisian landmark in particular. 22 The tunnel-like feel of the first floor entryway accommodates all the private programs such as the private office, storage, and studio/production facilities of the atelier that surround a main retail space. As visitors move through the retail space guided by screens, they are given fleeting glimpses into these private programs as they align with the angle of the apertures in the screen. The path reaches a climax on the second floor at the cafe and runway, two quintessential Parisian spaces. Top: Diagram of visual sightlines into the opera in section Above: Visual influence of the opera on the surrounding neighborhood Right: Diagram of visual sightlines into the opera in plan; a blown-up diagram of interior sightlines Opposite: Model of the atelier in the opera 23 24 Above: Plan of the atelier Opposite: Collages of interior spaces within the atelier 25 Link Hostel and Ribbon House 2010 Site: Westminster St., Providence, RI Critic: Janet Stegman The site is an old bank building sandwiched between Westminster St. and Fulton Plaza with two towers that houses a CVS in the lobby. The assignment is to convert one tower into a youth hostel and the other into private condominiums. In this conversion I connected Westminster St. and Fulton Plaza by turning the CVS lobby into a public thoroughway. The programs are dispersed on platforms that cantilever over the ground floor and the fourth floor connecting the two towers serve as tightly packed sleeping cars; light is brought into these dense rooms through the already existing sunroof. The condominiums are designed to separate private and public functions within the house, creating three zones: private, transitory (circulation), and public. To connect these three zones, a series of large ribbons runs perpendicular to these zones while changing height depending on the necessary functions: a bookshelf, a bath tub, a bench, and even the treads of the staircase. These functional ribbons also serve as walls themselves, separating spaces as they traverse through the house. 26 Left: Perspective rendering of Ribbon House entry Right: Interior view of private office Opposite Plans of Link Hostel Left to Right: Basement Lobby 2nd floor 3rd floor 27 28 Left: Ribbon house in perspective, from above Above: Ribbons isolated in perspective Opposite Left: Diagrams of building, vehicular, and pedestrian densities Middle: Plan of Ribbon House Right: Plan view of the isolated ribbons 29 Underground House 2011 Site: East St., Providence, RI Critic: Dietrich Neumann Designed as a home in a larger collection of 14 small houses, Underground House explores the act of directing natural light. The house is restricted on all sides by other small homes, each on a 16'x16' plot. In order to maintain privacy but have better control over the direction of light that pervades the interior spaces, the home is sunken three stories beneath ground level. Light is brought down through the use of specifically directed lightwells. The form of the home allows for two materials to be used in designating private space such as the living area and the bedroom (in warm bamboo) and social spaces such as the kitchen and dining areas (in cold concrete). The curved shape also allows more light in around the edges of each wall, maximizing the amount of light that reaches the lower levels. 30 Above: Model of house Right: Interior shots of model Opposite Model of house 31 32 Sculpture The following sculptures are from multiple visual arts courses taken at Brown University. As explorations of the different qualities, limits, and uses of materials, the pieces are simple and beautiful while calling attention to the varied possibilities of the material world around us. 33 Ball 2011 Wire 8 x 8 x 8 inches Ball is a kinetic sculpture that is composed of sixty five forked components. The components form pentagonal units that radiate from nodes of wire joints. Users are able to manipulate the form of Ball by snapping these nodes inward or outward, showcasing the kinetic possibilities of modular wire units. 34 35 Tension 2010 Basswood, tape, elastic string 10 x 10 x 10 inches Tension is an abstract geometric model comprised of 200 tensile modules that aggregate geometrically to form a ribbed dodecahedron. The pieces are placed in further tension as they are held together with elastic string, creating a tensile wooden sculpture with a surprising amount of flexibility. 36 37 Structure 2011 Collaboration with Fahmina Ahmed Ash wood, Plastic wrap, Tape, Elastic bands 13 x 8 x 4.5 feet Structure was installed in studio 4 of the Granoff Center for Creative Arts, designed by DS+R in 2011. Using left over ash wood from the buildings construction, I created a module with a surprising amount of tensile strength by wrapping the unit in plastic wrap. The final structure forms an inhabitable structure that further explores tensile units as a method of creating space. Structure accomodates eight people along with a tighter, more personal space for one. 38 39 Shape 2011 Sheet Aluminium 2.7 x 3 feet Shape explores the kinetics of lattice. Sheet aluminium was cut into strips and woven together in such a way to allow the piece to change its shape and form. Inspired by the protecting wings of a bird, Shape shelters those who interact with the peice. Exhibited in Brown Annual Student Show Spring 2012 40 41 Resistance 2011 Collaboration with Babatunde Doherty Mixed media installation 4 x 4 feet Resistance features a goldfish swimming peacefully in a fishbowl oblivious to the bowling ball overhead forcing it's way through a sheet of vinyl. The piece, as a material exploration of the limits of vinyl through heating and stretching, displays not only the physical resistance of the vinyl to the bowling ball, but also the emotional resistance between ethics and intervention cued by the life at stake. Exhibited in the Spring Arts Festival Spring 2012 42 43 Bow 2011 Foam/Cardboard cutouts, Sticky label frames, Shoelaces 15 x 12 feet Inspired by catenary curves, Bow consists only of materials found at the recycling center. The piece incorporates cardboard cutouts, which are inserted diagonally into leftover sticky label frames to create directional motion. The snake-like form is then tied together with over 150 shoelaces and hung from either ends to form parabolic curves. 44 45 Blow 2011 Styrene 4.5 x 4.5 x 4 feet Inspired by a handkerchief, Blow captures a freeze-frame moment in time as it mimics the flow and elegance of fabric. The piece is composed of twelve individually molded styrene sheets which were heated and hand-sculpted over a broomstick. The pieces were then assembled together in an explosive composition, giving the piece energy and vitality. Exhibited in Art//Show Spring 2012 46 47 Bryan Yang Brown University '12 BA History of Art and Architecture Architectural Studies track Byang920@gmail.com Work - 626.429.7934 Home - 626.732.2968 3314 E. Virginia Ave. West Covina, CA 91791 48 49