Hsieh Yi-Ting by Hsieh Yi-Ting

HSIEH , YI • TING 2011-2021

INTERIOR DESIGN

PORTFOLIO

WALK INTO SPIRITS 2021

ACADEMIC WORK

AURA 2021

S P IIDA S

PAUSE.

VOICE.

2020

P P

2011

MICRO-CITY 2012

RESIDENCE D. 2016

PROFESSIONAL WORK

SINGLE UNIT 2017

RESIDENCE L. 2017

Thesis Project Red Hook, Brooklyn 2021 |

WALK INTO THE SPIRITS Exploring the possibility that perception and cognition can be influenced by the form and content of interior space and the psycho-spatial relationship between the subject and the object.

Primary Software/ Rhino Sketchup Enscape AutoCAD Photoshop Illustrator

“Consciousness, the world, and the human body as a perceiving thing are intricately intertwined and mutually engaged.”1 However, one’s body is not only an object; it’s the indispensable condition of human experience and a constituent of one’s perceptual openness to the world. Exploring the nature of experience, Walter Benjamin developed the concept of Aura2, a desirable though perpetually elusive state of cognition. Aura encapsulates the eternal moment when an individual appreciates the beauty in an object or a work of art, unique to that time and space. Aura includes the connection that arises in the distance between the work of Art, the viewer, and the experience of their perception. In “Eye and Mind,” Maurice Merleau-Ponty suggests that experiencing Art illustrates the act of viewing the world with both openness and immersion. This interaction between the body and the world is a genuine representation of the continuum of existence. Merleau-Ponty also references the body as the medium of consciousness. On the other hand, museums, the building intended to store and exhibit objects of artistic and cultural interest, are generally seen as the medium of Art. This proposal will investigate the perceived relationships between the body and the museum and between consciousness and Art. The subjectivity of the body in space will be explored through a series of spaces and conditions involving oppression, spatial tension, and physical movement through different scales of space. By opening up the enclosed silo system, the building invites people to use their bodies as a means to engage with the site. Likewise, this reveals the nature of the spaces within the site. Movement through space affects both the perception of the space and of the Art within the space. Rethinking the museum or gallery environment to test how the body and the mind react through the space itself provides a unique experience. By creating space where people encounter art pieces through the deliberate behavior of the body as it adapts to its quality, scale, and amenity, users will experience the art in relation to its current spatial context and in relation to their own position in it. “I do not see [space] according to its exterior envelope; I live in it from the inside; I am immersed in it. After all, the world is all around me, not in front of me . . . ” ——— Maurice Merleau-Ponty. Eye and Mind

1 Merleau-Ponty, Maurice. “Phenomenology of Perception” England: Taylor & Francis, 2013. 420. 2 Benjamin, Walter. “The Work of Art in the Age of Mechanical Reproduction”, 1935. 15.

Site Description

The Met Cloisters

The Metropolitan Museum of Art

The Met Red Hook

The program of this thesis is an extension of The Metropolitan Museum of Art. The Museum’s locations are all located in Manhattan, New York City. In this new program, the site will be put in an atypical area for an Art Museum by placing the Museum into a comparative remote and industrial area to raise visitors’ awareness of art in an unusual condition. Bring the new location to Red Hook, Brooklyn, and allow the Museum to interact with the public from a different perspective. Red Hook Grain Terminal was built in 1922, the construction was completed in about a year.

Roof

Second Floor

The concrete elevator is 408 feet in length and about 70 feet in width. The structure is primarily composed of fifty-four circular silos with a combined capacity of two million bushels; each cylinder is 90 feet tall, resting on foundations. The reinforced concrete bins are connected to each other in order to create one a massive continuous system. The building ing wihis designed to process grain, startting with weighing, cleaning, collecting, and transporting through the canal system. First Floor

Design strategy

Subtraction | Testing the spatial relationship with the body and the surroundings, put the body into spaces with various scales, degree of oppressions, and diverse directions of the fenestration. Using the oppression that the continuing silo system can given from above of human body and beneath human body to define two forms of immersive space, and cut off the mass from the existing silo system. Subtracting from the enclosed building given people access get into it, allow people starting to understand the building.

9” 5ʼ up

3ʼ

Opening Up | Open up the cylinder continuum from the various widths of openings to create the circulation in the grain bin structure. The various openings from the existing system gave people the experience from typical hallway scale to the narrowest one that is acquiring the sideways from their bodies, and to the expanded openness from the full height cylinder.

Changing Vertical Relationships in an Enclosed Space | Through a series of vertical differences, people experience the experience that approaches artwork, with the continuing movements to provide more perceiving angles. And to put the different types and sizes of artworks to give people the unique experience of cognition from art. In the bigger scale, the cut off from first floor ceiling allow the vertical movements in the cylinders. By inserting the stairs and elevator to bring the circulation to the second and third floor.

1ʼ6”

4ʼ

9ʼ up

Open Hours

Programming This program will bring the new location to Red Hook, Brooklyn. Moreover, bringing some of the Art collection in The Metropolitan Museum of Art to Brooklyn, it allow visitors to encounter Art in a very spatial relationship comparing to the existing location. Nevertheless, this location has more freedom to include Art pieces from diverse culture and new form of Art. By reason of the unusual spatial condition of the site, the main gallery space are divided into seven rooms. Each gallery has its own character and has different scale that invite visitor to explore inside of the Museum, seeing the familiar Art pieces in a new space giving visitor different perception from the work of Art. And the cylinders with various width of the opening also provide different ways for the bodily experience, give visitor the interaction with the structure in the previous grain silo from standing, sitting, and lying in it. The main part of it is the gallery spaces, however; lobby is another immense space. With hundreds of column the function of Museum lobby is placed in the existing structure, several seating are put in that has numerous forms. The studio for the workshop and Art therapy is designed to provide a safe space for users to engage with the course with the costumed table that react to the columns. The restroom in this program also challenge the usual approach, one set of lavatory is placing in a silo with two form that provide an exclusive experience in the restroom, where people usual expose their body and spend time with themselves. People associate with different activities in this program but keeps the connection to experience that perform in the site.

Gallery Program

Studio Program

Hospitality Program

Supporting Program Operation Program

Space

Quantity

Area

Accupancy

Gallery A

3300 sqft

Gallery B

Gallery C

Content / Activities

Gallery A

Gallery C

Photography | Ho Fan

Painting | Vilhelm Hammershoi

Max 60 persons

Photogrphy | Ho Fan

To put the giant photography Artworks into the gallery with the standard ceiling height (9’) to correspond to the realism from the work of Ho Fan.

Vilhelm Hammershoi’s still and slow paintings are placed in a linear space. The continuity of his works of art can reverberate in it.

1390 sqft

Max 35 persons

Painting | Pablo Picasso

1000 sqft

Max 25 persons

Painting | Vilhelm Hammershoi

Gallery D

3600 sqft

Max 40 persons

Woodcuts/ Wood Sculpture | Félix Vallotton / Alexander Calder

Gallery E

1095 sqft

Max 20 persons

Painting | Egon Schiele Fig. 5-15 Sun Rays. Ho Fan, Hong Kong Yesterday. Modernbook Editions , 2018.

Fig. 5-20 Interior with Young Woman from Behind Fig. 5-21 Interior from Strandgade with Sunlight on the Floor Fig. 5-20, 5-21 Vilhelm Hammershoi. Wikiart. Accessed May 30, 2021. https://www.wikiart.org/en/vilhelm-hammershoi

Gallery F Gallery G

1 1

1355 sqft 9440 sqft

Max 10 persons Max 120 persons

Max 150 persons

Sculpture | Greek and Roman / Alberto Giacometti Interactive Art | Olafur Eliasson Painting/ Sculpture/ Calligraphy | Mark Rothko / Barnett Newman / Tong Yang-Tze

Gallery H

14000 sqft

The Cylinder A

243 sqft

Bodily Experience | Standing

The Cylinder B

325 sqft

Bodily Experience | Standing

The Cylinder C

250 sqft

Bodily Experience | Standing

The Cylinder D

325 sqft

The Cylinder E

325 sqft

Bodily Experience | Sitting

The Cylinder F

325 sqft

Bodily Experience | Standing

The Cylinder G

325 sqft

Bodily Experience | Sitting

Studio Workshop

Total 1250 sqft

Max 9 persons

Creative Space

Group Workshop

Total 2540 sqft

Max 35 persons

Creative Space

Individual Art Therapy

Total 1250 sqft

Max 9 persons

Creative/ Therapy Space

Group Art Therapy

Total 2540 sqft

Max 35 persons

Creative/ Therapy Space

Lobby

13200 sqft

150 persons

Max 8 persons

Woodcuts/ Wood Sculpture | Félix Vallotton / Alexander Calder

Art pieces, including paintings and sculptures of Pablo Picasso, are exhibited in the square space with a high ceiling that concentrates the viewer’s awareness of the masterpieces.

Both created by the wood element, the woodcuts from Félix Vallotton and Wood Sculpture from Alexander Calder are displayed in the gallery that embodies two types of spatial condition from the existing silo system

Gallery G

Painting | Egon Schiele

Interactive Art | Olafur Eliasson - The Weather Project

The intense and bold Art from Egon Schiele is placing in the linear space with different widths of ends and a noticeably high ceiling to enhance the strong consistency of the subject and the style of the Artist’s pieces.

Employing the characteristic that people can perceive the changing levels of the oppression from the ceiling, the interactive artwork - The Weather Project can be experienced in the unusual space

Fig. 5-24 Seated Woman with Bent Knee Fig. 5-25 Schiele’s Room in Neulengbach Fig. 5-24, 5-25 Egon Schiele, WikiArt Visual Art Encyclopedia, Accessed May 30, 2021. https://www.wikiart.org/

Fig. 5-28 Your Blind Passenger, Tate Modern, London, 2010. Photo: Olafur Eliasson

Entrance/ Ticketing / Information

Gallery F

Gallery H

Rest Room

To place the Sculpture from the Roman period and Alberto Giacometti in the gallery that owns two separated space quality, flooring material, and the width of the opening from the wall. Bringing the distinguished appearance of the Art pieces to the distinguish space condition.

Total 31 persons

Gift Shop

1160 sqft

40 persons

Sell Museum Merchandise

Caf’e

1160sqft

60 persons

Dine, Resting

Stair/ Elevator

325 sqft

Sculpture | Greek and Roman / Alberto Giacometti

Fig. 5-2 The weather project, Tate Modern, London, 2003. Photo Credit: Andrew Dunkley & Marcus Leith

Painting/ Sculpture/ Calligraphy | Mark Rothko / / Tong Yang-Tze To placing the Art pieces that allow viewers to walk in a massive gallery with the motion of walking through different heights, the various size and genres of Art pieces from Mark Rothko, Barnett Newman, and Tong Yang-Tze can represent different perspectives to abstract Art.

Vertical Circulation

12436 sqft 6531 sqft

Painting / Sculpture |Pablo Picasso

Gallery E

Total 2440 sqft

Gallery D

Fig. 5-22 The Demonstration (La Manifestation). Félix Vallotton Fig. 5-23 African head. Alexander Calder Fig. 5-22, 5-23 The Met Collection. Accessed May 30, 2021. https://www.metmuseum.org/art/collection

Office

Gallery B

Fig. 5-17 Head of a Woman Fig. 5-18, Woman in White Fig. 5-19, Arm Fig. 5-17, 5-18, 5-19 Pablo Picasso. Wikiart. Accessed May 30, 2021. https://www.wikiart.org/en/pablo-picasso

Bodily Experience | Lying

Rest Room

Left Out Space

Fig. 5-16 Approching Shadow. Ho Fan, Hong Kong Yesterday. Modernbook Editions , 2018.

Closed Hours

N/A 28 persons

Adminstration

Fig. 5-26 Fragmentary colossal head of a Fig. 5-27 Tall Figure. Alberto Giacometti youth. 2nd century B.C. Fig. 5-22, 5-23 The Met Collection. Accessed May 30, 2021. https://www.metmuseum.org/art/collection

Fig. 5-30 Light Red Over Black. Mark Rothko. Kate Rothko Prizel and Christopher Rothko/ DACS 2021

Fig. 5-31 Onement V. Barnett Newman. Wikiart. Accessed May 30, 2021. https://www.wikiart. org/en/barnett-newman

Fig. 5-32 The Sayings of Laozi and Zhuangzi.Tong Yang-Tze. May 30, 2021. https://en.tongyangtze.com/works?id=96

Existing Condition

New Arrangement | Open Hours

New Arrangement | Closed Hours

Final Design Scheme Exterior View

Ground Floor Plan

Second Floor Plan

The methodology of subtracting different scales from the existing building provides a variety of rooms for users to experience. Concrete cylinders with different widths and heights let people feel the interaction between their body and the site. The dynamic verticality within an enclosed space corresponds to the building’s purpose of making the human body approach the Art. The way that people encounter and interact with objects in this project is both physical and experimental, within a world created specifically to accommodate and amplify the span of perception. In this changing space, the user’s awareness of their physical surroundings, including the Art, cultivates an individual’s experience that becomes a memory and a method for a conscious exploration of alternative visual perspectives and spatial worlds. Longitudinal Section Looking South-East.

Third Floor Plan

I. The Information booth is the first thing that visitors see after they step into the Museum. A half-transparent glass counter with the light in between the layers enhances the contrast between the existing column system and the add-in furniture. Hanging on the ceiling is the campaign of the ongoing exhibitions.

II. The staircase brings visitors to the second floor to allow people to experience the vertical movements in the silo system. Attached with the columns are the various benches that correspond to the column system on the first floor.

II. I.

Lobby I. Studio A view of the biggest Studio, the rectangle table with curvy edges that correspond to the column is attached to the ceiling and floor with steel cylinders. The unidirectional glass provides the sense that a mirror can give when the studio light is on. The lighting fixtures are embedded into the existing metal hopper that is used to transport the grain.

II. The Met Store/ Cafe Place giant steel displaying case in the middle of space to separate The Met Store and Cafe. The lighting fixture is dropping from the concrete ceiling with a noticeable height difference. Behind the black steel displaying table is the stainless steel counter.

II.

Studio/ The Met Store

I. With the standard ceiling height, the gallery exhibits the giant photography from Ho Fan, the works of Art are embedded into the silo wall by the carved-out slots. The steel mesh flooring and ceiling allow people to look up and down into the silo.

II. Through the enclosed silo system openings, visitors can travel between the inside and outside of the arc wall.

I. II.

Gallery A I. Pablo Picasso’s paintings and sculptures are placed in the gallery subtracted by the square void and with the ceiling height that is double the standard ceiling. All the walls that exhibit art pieces are carved out to a certain degree based on the dimension of Art’s works.

II. The significant painting of this gallery is placed in the middle of space, embedded into the narrow straight wall.

II.

Gallery B

I. Gallery E The view looks into linear space from the wider opening end to the narrow direction. The ceiling is raised to exaggerating height that enhanced the consistency of the intense Art pieces from Egon Schiele. The carved-out part of the walls starts from the bottom of the silo system to the top of the roof beyond the whole gallery space. Layers of drapery are hanging from the ceiling to isolate the galley from other spaces.

II. Gallery F Through the narrowest opening from the wall, visitors can see the Art piece in the silo but can only approach it through a wider opening. Replacing the metal mesh with rusty metal flooring but keeping the metal mesh in a single silo gives people a specific spatial experience with the changing flooring. By the means that space is the only way that people can pass by to approach the works of Art to manipulate the perception from a solid flooring to a hollow flooring that can look down to the silo.

II.

Gallery E/F I. Performing the interactive art from Olafur Eliasson in the larger scale of gallery space, enduring the progressive tighten or release from the top but with a flat flooring will enable people to sit and lay on it.

II. Using the character that space owns a curved ceiling that brings the oppression slowly down to attached to the floor to allow people walking in it to experience the project with space.

II.

Gallery G

II. I. Placing the various scale of Art pieces in the gallery with layers of height difference, using the character of space that allows viewers to perceive works of Art from multiple heights and angles. With the giant fenestration from the exterior wall, viewers can walk from the enclosed side of the gallery to the side that is opened to the surrounding. II. The massive gallery allows viewers to walk through different heights to perceive Art pieces’ various sizes and genres from Mark Rothko, Barnett Newman, and Tong Yang-Tze. The dramatically sunken silo system is beneath the continuous slopes that connect with all the blocks to give viewers the experience of getting closer and away toward the tremendous Art pieces. III. Mark Rothko’s painting is hanging inside the wall that is fenestrated with the attention to exhibits it with the city view that is industrialization. Along with the slope that leads people to the paintings are more Art pieces in

III.

Gallery H

AURA

Primary Clinic Project Chicago, Illonis

2021 |

Full Renovation + Partial Renovation Group Project Second Place Winners of the 2021 IIDA Student Competition

Primary Software/ Revit Enscape AutoCAD Photoshop Illustrator

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Branded Food Space Project Manhattan, NY 2020 | Adapting business to sustain through pandenic and beyond

Published on Pratt News

Primary Software/ Sketchup AutoCAD Photoshop Illustrator

Branded Food Space

Pause

Blue Hill is an integrated food service organization with an affectionate zeal towards the environment, and a commitment to derive the natural flavor from all the produce on the land. This design proposal reflects this passionate philosophy for the environment, sustenance, materials, and objects that should be integrated into everyone’s lifestyle. In order to expand the 'Blue Hill Food Philosophy' to a greater degree, this concept proposes a unique and accessible public space that will reflect the atmosphere and sensibility of the Blue Hill brand.

N Hanging Rack

Pause

18TH STREET

COLD ROOM

FREEZER

FIFTH AVENUE

BAKERY

FLOUR STORE

Baker's Oven

KITCHEN

BAR

FREEZER

WINE& BEER

REST ROOMS GARBAGE ROOM

PRODUCE STORAGE

This design proposal reflects the passionate philosophy for the environment, sustenance, materials, and objects integrated into everyone’s lifestyle. Under the pandemic, New York City and most of the world are pausing. We finally heard some good news that the environment has become better since humans stopped most industrial activities at this stressed moment. And this is the inspiration of this extension named Blue Hill Pause. Here, we can rebuild the relationship with food. To strengthen the reach of Blue Hill, this design proposal for a Bakery and Café is a logical brand extension. The space was divided into four areas; the first one is Blue Hill Story; in this area, the philosophy of Blue Hill will be introduced to people in an exhibition way. Allowing people to know a little more about the chef Dan Barber’s ambitious farmstead restaurant Blue Hill at Stone Barns. At Blue Hill Groceteria, customers can purchase quality products from Blue Hill Farm and selective objects of Blue Hill Market. To address the pandemic condition, customers can buy the ingredients from the Blue Hill ‘To Go’ window, with the goal of providing customers with a unique and delicious experience at home. The third area, Blue Hill Goods, allows customers to bring the Blue Hill experience home with selective objects from ceramics tableware, wooden containers, and tools that you can use in daily life, even antique furniture. Finally, customers can also be immersed in the philosophy of Blue Hill by having a meal to experience a food journey connected to the land. Within the social distancing concern, individual groups are divided with the hanging fabric.

View From Fifth Avenue

Blue Hill Story

Blue Hill To Go Window

Blue Hill Story

Renderings

Blue Hill Groceteria

Blue Hill Story/ Goods

Renderings

Blue Hill Goods

Blue Hill Dining Room

Renderings

VOICE.

National Collegiate Spatial Design Competition; Co-exist Taichung, Taiwan 2011 | Group Project Honorable Mentioned Award

Primary Software/ Sketchup AutoCAD Photoshop Illustrator

The public route

starting point

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The development of the plan is based on the corresponding distances which were inferred by the formula, and the limitation of the original columns in the site. To initiate from the starting point, extending to second sound field and the third one so on and so forth, all the sound fields gradually scatter over the site.

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Define the first sound field by the public route in the Taichung Culture & Creative Industries Park, setting this sound field as the starting point. Three types of sound fields voice with 60dB, 70dB and 80dB is placed into the site. According to the size of the sound field, the quantity of each sound field was settled.

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Slightly raise the floor from outdoor into the interior, digging up the ground at the voice points that were positioned, and forming the half-opened underground space as a sound field. People can use the device in the sound fields to play music. 60

The terrain is slowly fluctuant followed by the distribution of sound fields, to open the corresponding position second-floor slab, we place the new curvy ceiling which has a sound absorption effect.

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All the curvy ceilings are fixed by the structure that extends from the third-floor slab, the curvy ceilings generate respective gaps between itself and the second-floor slab in different angles. People who are wandering on the second floor can sit and lie on the specific ceiling they like, and hearing the music came from downstairs.

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First Floor

Second Floor

Sound absorbed curvy ceiling Sound Field The raising floor is connecting outdoor and indoor space

The gap let the music leak upto second-floor

2F. Public Space

1F. Voice Platform

Architecture Is Music In Space, As It Were A Frozen Music - Friedrich Wilhelm Joseph von Schelling

VOICE.

Undergrad Graduation Project Taipei, Taiwan 2012 | Undergrad Graduation Project Taipei, Taiwan 2012 | Group Project

Group Project

Primary Software/ Sketchup V-ray AutoCAD Photoshop Illustrator

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GROUND FLOOR / STREET LEVEL

FIRST FLOOR

SECOND FLOOR

01 Lecture Room 02 Plaza 03 Stage 04 Live Band Bar 05 Artistic book store 06 Artist Studios 07 Open-air Gallery 08 Gallery

09 Flower Studio 10 Handmade Studio 11 Lomo Studio 12 Furniture Studio 13 Coffee Studio 14 Clothes Sutdio 15 Info Room

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MON

education lecture room

education

exhibiton

artist studio artist residence

commercial communication

exhibition gallery plaza

commercial

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50％

100％

public area

medium area

private area

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34％

12％

caf’e bread shop flower shop clothes shop furniture shop organic shop cd shop lomo shop live band bar book store

communication plaza meeting room rest area

artist studio artist residential area

Artist Studio/Gallery Caf’e & Bar Open-air Cinema Performance Holiday Bazaar Arts & Culture Seminar

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The green hidden in the hustle bustle city, it provides the space to gratify daily life with any character people can find in themselves, we intent on build an ideal community that people do not pursuit art but to interact with it.

MICRO-CITY

People can have interaction with art by being a part of the process of art creation through observation. Moreover, they can have contact with the artists. To enhance the overall integrity, we place in artists’ residence, galleries, artistic shops, lecture rooms, cafes, an open-air cinema and an artistic bookstore.

MICRO-CITY

WALK INTO SPIRITS 2021

ACADEMIC WORK

AURA 2021

S P IIDA S

PAUSE.

VOICE.

2020

P P

2011

MICRO-CITY 2012

RESIDENCE D. 2016

PROFESSIONAL WORK

SINGLE UNIT 2017

RESIDENCE L. 2017

HSIEH

YI•TING