cherry yang // portfolio rhode island school of design b.arch // b.fa
table of contents
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resume suspension sheep shearing competition anamorphic projection spongecake providence kaleidoscope egg tool
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resume
Rhode Island School of Design cyang03@risd.edu +1 (401) 286 4726 www.cherryyang.com
SKILLS
3D Digital Modelling Software | advanced in SketchUp, Rhino, AutoCAD and spatial thinking Design | proficient in InDesign, Illustrator, Muse for document design, logos, branding Processing | very proficient in Lightroom, Photoshop for photography and editing Microsoft Suite | very proficient in Word, PowerPoint, Excel and document design 3D Model Building | advanced in construction with Lasercutting, 3D printing, bristol, wood Special Skills | proficient written and communication skills, conversational Mandarin and French
STUDIO EXPERIENCE
Newhome NZ Ltd. | Intern | Auckland, NZ 2016 Assisted in design work from preliminary sketches to AutoCAD. Worked on property construction sites, helping with foundation, framing, cladding, interior, and finishing. City+Data STEAM | Student Designer | RISD, 2017 STEAM (STEM combined with arts and design) sponsored intensive workshop. Reconsider the idea of quantitative and qualitative data in the context of the city. Culminate in a gallery show, investigating the nature of big data and its representation of the city. Microsoft Inclusive Design, ID-2519 | Student Designer | RISD, 2016 Microsoft-sponsored Industrial Design studio course. Collaborated in team of four to brainstorm, research, ideate, and optimise design solutions. Created prototype navigation tool called 'Been' through digital fabrication techniques & wire-framing. Presented concepts and prototypes to members of Microsoft’s Industrial Design and Design Strategy teams. iLLumix Studio | Designer, Photographer, Founder | Auckland, NZ, 2014-2015 Liaised and built relationships with clients and university students. Designed layouts of iPhone apps & websites, posters, flyers, brochures as well as provide social media content. Clients: National Institute of Health Innovation, YouthLaw, Synergy NZ
WORK EXPERIENCE
Crimson Consulting | Tutor | 2014-present Initiated and tutored new SAT class schedule for students aiming for elite universities in the US. Provide students with one-on-one standardised test training and help them navigate the application process. Office of International Student Services | Front of House staff | RISD, present Provide services to international students seeking information about immigration and visa status. Help students maintain elligibility to study in the states by managing email correspondance and paperwork. Teaching Assistant for Spatial Dynamics | RISD, Fall 2016 Assisted professor in managing and running weekly classes. Provided critical feedback for students and assistance in their projects. Woodshop Monitor for Architecture Department | RISD, Fall 2016 Supervised students in using advanced woodshop machinery. Prevented disconnection of phalanges from metacarpels of students.
LEADERSHIP AND ENGAGEMENT
E’Ship Exec Committee, Project Manager, RISD | Providence, RI, USA, 2016 Entrepreneurship on-campus club. Organised workshops and events and liaised with prominent artists and designers for speaker series. One Salon, RISD Chapter, RISD | Providence, RI, USA, 2016 Spearheaded RISD’s Chapter of One Salon, weekly evening meetings centred on intellectual inspiration, emotional connection and experiential stimulation. Gathered prominent speakers from student, alumni and faculty bodies for mini TEDx-like meet-ups.
EDUCATION
Rhode Island School of Design, RISD | Class of 2020 | Providence, RI, USA Bachelor of Architecture | Bachelor of Fine Arts | Cumulative GPA : 3.906/4.00 St Cuthbert’s College | International Baccalaureate Diploma | Auckland, NZ 2008-2014 Final GPA: 4.00+ NZQA Scholarship Awards (Physics, History, Calculus, Art History): National top 3%
ART AWARDS
James Wallace Secondary School Art Awards New Zealand 1st place | 2014 Eden Arts Young Artists Awards Auckland Runner-up | 2014
INTERESTS
Photography, hiking, rock climbing, climbing rocks, piano
01
suspension making of design principles fall 2016 The first series of our Making of Design Principles allowed us to study a drop of ink in water and its spatial movement over time.
The ink’s dynamic character is seemingly random at first glance, but with repeated trials presents predictable behaviour.
01a 01b
A contĂŠ observation drawing of our chosen moment in time. First, the drop of ink shatters at the surface, as the main drop spirals downwards. This quickly decelerates, while smaller capsules of ink separate from its main body. The lighter strands of ink do not fall as quickly as the heavier capsules, resulting in arch-like arms. Eventually, the whole system slows down until it is suspended in a lethargic pirouette. The ink continues to pull itself apart until the jar is full of grey, amorphous threads.
Within a 12"Ă—12"Ă—12" frame, usestrings and 1/8" round dowels to recreate the dondition of the ink and water at a singular moment of suspension.Particular attention was paid to the structural abilities of the given materials; the wood can take compression force, whiel the string has tension capabilities.
Left: minimum number of sticks needed to recreate the condition of the ink and the water at a singular moment of suspension. I place the wood such that it is poised in position, balanced between the numerous tension of the strings.
Right maximum amount of sticks. By pushing this cube to the limits of how much wood can be inserted between the myriad strings, the overwhelming interplay of forces manifests.
01c
The quality of the line: by solely using lines in Rhinoceros modeling software with consistent line weights and shade, I reconstructed the ink characteristics.
01d
Reframing the quesiton of ink conditions, springboarded from previous line drawing.
Model condition of ink around a frame. No extra structure supports allowed; essentially, this means that no part of the model shoudl exist solely for structural purposes. Every part should contribute to exhibiting the ink.
The drawing reference is removed, as is the tension support from the paper. Bristol paper and string only. A language was invented to allow for sweeping bristol forms.
01e
The final representation of the ink condition removed any support from the frame. The entire model had to serve both the purpose of creating the space and movement of the ink, as well as providing the structural support. No element should be present solely for structural purposes. Language from the previous 2D frame iterations was carried through to this final model.
02
sheep shearing competition making of design principles fall 2016 This assignment focused on a ritual that required very specific circulation. Choosing a New Zealand sheep shearing competition as my ritual, I created a model of the spaces required by all members of the event (both humans and sheep). The model captures the dimensions, positions, orientations and overlaps of spaces. The mechanics of the ritual were revealed through the systematic spatial process of providing participants on stage with a sheep, removing said sheep from the stage, and transporting the removed wool to another part of the competition space for other events.
02a
The sheep ascends a steep ramp to wait in the hold behind the stage. The shearer would open the gate briefly to drag the next sheep onstage.
In the large open hall, sheep shearer participants are separated from each other. They perform within their own space.
After the shearer has cleanly shorn the sheep in record breaking time, he would push the sheep towards a chute that leads down into their own numbered compartment, awaiting further inspection from judges for shearing quality.
Meanwhile, out the front are workers quickly clearing the stage of wool, and merging together towards a more collective space as they transport the wool to the back of the hall.
02b
final site model We were given a part of Providence based on Roger Williams’ land plot divisions. A 1/8� model of the site was created and manipulated to produce spaces for sequence of access, movement and habitation.
I focused on the sectional quality of the sheep’s movement throughout the space. The sections also show the movement of the audience as they descend from the top of the hill and enter the ritual space through a series of stairs and platforms. These are arranged to give choice to the audience; they can observe the ritual from the upper seating area, descend directly into the ritual space and seating area underground, or continue up the stairs to the encircling platform. Ultimately, humans have dominance over the sheep through their gaze, as well as the actions occurring on stage.
A strong grid system defined the sheep space by reflecting the restricted, segregated paths each taken by the sheep.
Human space; those descending into the ritual space through the main stairs on the left are given opportunities for sectional views to observe the entire process.
Wall of actual building is treated as boundary between public and private spaces; perforated for a single entry point for sheep to transition from pick-up/dropoff point to the backstage of the ritual space.
Sheep separated into files, leading towards the stage.
The hold for post-shorn sheep, ready for inspection.
Human space; perspective of people descending into ritual space and sitting in audience areas, both above ground and underground.
03
anamorphic projection architectural projections fall 2016 A studio class to investigate the nature of the interrelationship between our projection onto the physical world, its projection
onto the human eyes, and our re-projection of our interpretation back onto physical or digital media.
Two still life drawings were painted back onto the still life so that the drawing can only be seen from the exact same view from which it was drawn.
I then invented tools to measure the shape and relative placements of the still life objects. The measurements were used to create the still life in a 3D modelling software (Rhinoceros).
Construction lines seen through my method of casting contours and tracing them into Rhino.
The still life undergoes another layer of interpretation. A section is taken from the rhino model and created as a real life model, twice the original scale. I was interested in the negative space within and between the vessels so I took contours of my Rhino still life spaced apart as proportionally as my cast contours. The section taken was at a 10 degree angle, which was also reflected through the model.
The course culminated in final line drawings by projecting from our 3D model which had gone through multitudes of projections and interpretations.
04
cake stadium
foundation studies; design spring 2016 Our design prompt was simply to use two Rhinocerus models downloaded off 3dwarehouse. sketchup.com and incorporate laser cutting.
The final consisted of a rocket ship pinata and a stadium made of sponge cake, granola crackers, Pocky sticks and marshmallows, glued together with icing.
We celebrated the holy matrimony of our professors to a "Lifetime of studio happineess".
05
urban collage
foundation studies; design spring 2016 We captured parts of our city through 50 drawings and modelled these into Rhino over one week. Together with 40 students (two combined classes) we built a massive open library of 3D models. We could take and manipulate any of the models to create a final piece of our choosing.
I was inspired to create a city that disregarded scale or the simple rule of gravity. Monolithic fire hydrants and picnic tables dwarfed nearby recognisable sky rises and apartments. This was a city contained within itself. Viewers are invited to peek through a small opening to discover the parallel universe of our city, kaleidoscopes into infinity.
06
egg tool foundation studies; spatial dynamics spring 2016 The limitations of this project were to create a tool that could pick up an egg, crack it, and whisk it. A bowl was provided but I wanted to create a system that could achieve all three steps. My final design was based off a teapot with layered systems.
The lid contains the claw mechanism which picks up the egg.
The cracked egg then drips through the holes down to the bottom layer. The egg shells remain on the upper layer.
The lid with the egg is then forced onto the spikes. The claws come down between the spikes.
The top can be swivelled or taken out completely.
Once in the bottom compartment, the handle can be rotated to activate the gears and whisk the egg.
The whisked egg is finally poured out through the spout.
thank you. contact
Cherry Xinlan Yang 401.286.4726 cyang03@risd.edu 2 College St, #1978 Providence, RI 02903