AAD_SU21_071

Are unchangeable spaces adapted to the rapidly changing society and cultural environment? Are all architectures customized?

Should architecture embrace the new mass production of entities that the technologies bring about? Is architecture the self-express of architects or the objective presence? Do words matter?

Graduation Portfolio by Chen Yang, GSAPP MSAAD 2020-2021

IS

Space is

STILL a social product.

?

- Henri Lefebvre

1 MIGRATE THE CITY Spaces that are Adapted to the Changing Environment

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Architectural Design- A Proposal for the Uncertainty of Migration Individual Academic Work in 2020 Fall at GSAPP Tutor: Marc Tsurumaki Site: Penn Station, New York City, USA

2 REOCCUPATION Spaces that are Influenced by the Development of Technology

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Mesign Design- A Virtual Platform for Vacancy Issues Group Academic Work in 2021 Spring at GSAPP Tutor: Jing Liu Site: Jackson Heights, Queens, NYC

3 HOUSEFAILArchitectural Design - A Gallery that Rethinks the Relationship betweern

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Curators and Visitors

Spaces that are Personal and Selfish

Individual Academic Work in 2021 Spring at GSAPP Tutor: Daniel Wood Site: Yingshang, China

4 OTHER WORKS Research, Generative Design, JAVASCRIPT

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Are unchangeable spaces adapted to the rapidly changing society and cultural environment? Are all architectures customized? Should architecture embrace the new mass production of entities that the technologies bring about? Is architecture the self-express of architects or the objective presence?

Do words matter?

MIGRATE THE CITY Individual Academic Work 2020 Fall Software: Rhino, V-ray, Photoshop, Illustrator, Indesign Tutor: Marc Tsurumaki Site: Penn Station, NYC, USA

Is space still a social production?

Full Documentation of This Project on:

Chen Yang

https://www.chenyang21.com/MIGRATE-THE-CITY-21b6f0892b074effa646cf00717fc1df

/ The Migration People migrate for different reasons. Such as crisis or daily commuting. Of all people who commute to work in New York City, only 23% drive alone and 9% walk to work. 54% of households in New York City do not own a car, and rely on public transportation. During Covid, there are many people leaving NYC. Some districts lost their 40% populations. In a long term, these people might migrate back to NYC because it still has its own financial and cultural attraction, which represents megacity’ s antifragility. But in a short term, how city react to a crisis still remains an uncertainty. Though there are not any hard numbers to show how many people moved out of New York City as a direct result of 9/11, almost 2 million moved away between 2000 and 2010, according to census data. It wasn’t until a decade later that the population started to grow once again. In fact, when there is no crisis, the annual growth rate of population in NYC is negative and presumably it will remain negative in the future. What's more, most parts of Manhattan undertakes the ongoing of gentrification or even the super-gentrification, including the midtown, which leads to that the vulnerable and middle class cannot afford to live here, and they commute from here to suburban everyday. On average, New Yorkers spend 1 hour and 27 minutes per weekday commuting with public transit. Of these, 31% ride for more than 2 hours every day.

The existing Penn Station is well-known by its dark and uncomfortable enviornment. This project is a response to the uncertainty of migration, a programatic intervention on the migration, and a solution to improving the existing environment. And the project studied how and why people migrate under a broad circumstances and background of rountine, diseases, climate change and gentrification.

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Chen Yang

Is space still a social production?

/ Program Analysis There are some fundamental principles, based on the analysis on Parc de La Villette, Plug-in City and National Library of France by OMA, to generate the method to deal with programs. And those programs come from the

/ Aerial View

previous analysis on the migration.

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/ The History and the Future of Penn Station From studying the histor y of Penn Station, we can know how the stadium was designed, the issues of the current station and the trend of the future ridership. The future diagram show the relative changing trend of commutors, migrators and vulnerables in the neighborhoods due to some events and crises, and it also indicates how the form and programs of the

2030

2035

2040

Economy recovers from the

Economy return to

Economy crisis occurs. The

pandemic. The vulnerable

normal . The changing

v ulnerable and migrators

decrease and the migrator

rate of population in three

increase and the commutor

and commutor increase.

kinds of people tend to

decrease. Some commercial

Vunerable housings

be gentle. The stadium is

spaces are taken down to fit more

are take down from the

used as NBA court.

vunerable housings. The stadium

b u i ld i ng . More p ub l ic

Is space still a social production?

Chen Yang

building reacts to this change.

is used as the voting spot.

infrastructures are added.

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2050

2055

Economy crisi ends

Sea level rises and part of

Sea level rises and part of the

gradually. The vulnerable

the city is flooded. The

city is flooded. . The only public

increase slowly and the

station is abandone d .

infrastructure is the ferry dock.

migrator and commutor

The lightwells are take

The vulnerable and the migrator

decrease. The stadium

dow n. The v ulnerable

increase,

is used as the Taylor’s 40

and the migrator increase

decrease almost to zero. The

years concert.

d r a m a t i c a l l y,

stadium is used as a temporary

and

c o m m u to r s d e c r e a s e .

and commutors

hospital.

The stadium is used as a refugee settlement.

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Is space still a social production?

Chen Yang

/ East- West Section

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Chen Yang

Is space still a social production?

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Is space still a social production?

Chen Yang

/ North- South Section 2

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Chen Yang

Is space still a social production?

Old Penn Station Building Inside 24

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Chen Yang

Is space still a social production?

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Is space still a social production?

Are unchangeable spaces adapted to the rapidly changing society and cultural environment? Are all architectures customized? Should architecture embrace the new mass production of entities that the technologies bring about? Is architecture the self-express of architects or the objective presence?

Do words matter?

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REOCCUPATION

Chen Yang

The representational form of the final project is VIDEO See Full Project Video on: https://www.chenyang21.com/REOCCUPATION-fff5344addc146b18961b901f83927e2n

Is space still a social production?

Group Academic Work 2021 Spring Collaborated with Yu-Jun Yeh and Taylor Urbshott Software: Rhino, Unreal, V-ray, After Effects, Photoshop, Illustrator, Indesign, Procreate Tutor: Jing Liu Site: Jackson Heights, Queens, NYC My Contribution: Research, Concept and Strategy, Deisgn, Modeling, Programming, and All Drawing shown in this portfolio

This collaborative project positions itself to tackle the New York City vacancy crisis through the virtual occupation of Jackson Heights, Queens. Beginning with an extensive research of character on-site, a sensorial language was developed in conjunction with a digital model of the region surrounding the 82nd. Street stop on the 7 train. From this, a collaborative virtual street is proposed, where community members can engage in-situ using Augmented Reality (AR) and global users can interface remotely using Virtual Reality (VR). This is intended to create a site specificity which celebrates the local community with a networked globe. Users will be able to contribute freely to create a guerilla occupation of the street catered to their passions and desires intended to create new opportunities for community building, interpersonal connectivity, and play. To more directly address the vacancy problems in Jackson Heights, this platform has been developed as a way for the community to re-claim vacancies currently shuttered to the public. Through foundational support, ground-level vacancies will be leased for the community. Then, through a public-vote competition which uses earnable tokens to reward those most engaged with the local community. grassroots 'sketches' of ideas within the virtual platform will be chosen for implementation on-site. Realized proposals will thus be community-centered, and could vary based in the needs and desires of the neighborhood. This is intended to democratize space in the aggressive real-estate market, elevate a disinvested region, give agency to the community, and create an optimism for productive change within the city.

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/ AR / VR AR/VR, as the technoogies that are in the progress of being widerspreadly used, have huge amount of potentials in terms of interactions in person or remotely. We used AR/VR as the tool to build a more interactive platform in order to build stronger collaborative memories for the local community.

Chen Yang

To build collaborative memories and solve the vacancy issues, the sensory components are essential for inhabitants. The idea of occupying is critical in this case. People are free to create or record what they see, hear, or smell on the virtual platform. And they can earn tokens from publishing, sharing, and commenting. The tokens can be used to vote for their favorite proposals in the competition process.

Is space still a social production?

/ Sensory Components and Layers of the Virtual Platform

/ Vacancy Catalog This digram shows the vacancy issues on the site near the 82nd subway station in Jackson Heights, Queens.

It indicates the history of the stores that were vacant and now the stores that are still vacant. It helps us analyze the severity of the issue on the site and how we cope with it.

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Chen Yang

Is space still a social production?

/ System Analysis based on Screenshots of the Video The final representational form of this project is VIDEO. So this diagram is to translate what is shown in motion into something that can be read in a still image. The diagram indicates how the competition runs, and who will and how they benefit from this competition system.

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Are unchangeable spaces adapted to the rapidly changing society and cultural environment? Are all architectures customized? Should architecture embrace the new mass production of entities that the technologies bring about? Is architecture the self-express of architects or the objective presence?

Do words matter?

HouseFail Individual Academic Work 2021 Summer Software: Rhino, V-ray, Photoshop, Illustrator, Indesign Tutor: Daniel Wood Site: Yingshang, China

Chen Yang

/ Fail Housefail utilized techniques of looking inward to unlock creative potential in the design of a private house. We did

Is space still a social production?

Full Documentation of This Project on: https://www.chenyang21.com/HOUSEfail-4f941785c9424019b4a594d5d4af6910

experiments on acoustic, visual and dreaming to approach our deepest unconsciousness and memories in associate with our life or experiences. The fail means despite of the failure in this process of exploration, we persist to work on translating the virtual and feelings to a material level that can be shown in an architectural form. This project is a priate house, which means that it is related to my most personal experience that might not be understood or perceived properly. But throught the failures, the vision is showing up more clearly. All achives related to this project can be found on https://www.chenyang21.com/HOUSEfail-4f941785c9424019b4a594d5d4af6910 .

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/ Memories Clips

/ Dream Drawing

This diagram shows the memories clips that are important to me in my childhood.

Waking up at 3am and drawing what I dream of helped me to approach the unconsciousness. I found that most drawings are related to the small

/ Translation & Retranslation

/ Site Plan

The memoriy clips can be translated into feelings that are represented by spaces. The relationhips between spaces can be retranslated into the

The site is a 15 by 50 meters rectangle. My grandmas’ house is on the site.

Is space still a social production?

Chen Yang

town where I spent most of the time before ten years old. That's why I chose my hometown as the site.

relationships between feelings inside me and the environment.

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Is space still a social production?

Chen Yang

/ Process Physical Model.

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Clay Massing

Dissolving

Flooded by Water

New Relationships

Is space still a social production?

Chen Yang

/ Water as a Medium to Translate Relationships in the Physical Model

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Is space still a social production?

Chen Yang

/ North- South Section

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/ West- East Section 2

/ Plan 2

Chen Yang

/ Plan 1

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Is space still a social production?

/ West- East Section 1

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Chen Yang

Is space still a social production?

/ Perspectives Light from other spaces penetrates through the water to affect the moods in one space.

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Chen Yang

Is space still a social production?

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Chen Yang

Is space still a social production?

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Chen Yang

Space is

STILL a social product.

- Henri Lefebvre

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?

Is space still a social production?

IS

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/ Screaming Room

Full Documentation of This Project on: https://www.chenyang21.com/SCEAMING-ROOM-0190ca736670477fb903d6802dc6901c

It is a JAVASCRIPT project that trys to promote virtual interactions during the Covid. It is a scream room in which when you start to send messages, you chat with others as well as feeling like you are screaming loud.

Other Works

1 Screaming Room Group Work Collaborated with Yuehui Du, En-Ho Chan

2 Controlled Shell Group Work Collaborated with Wan-Hsuan Kung, Liwei Guo, Nanjia Jiang, Tianheng Xu Tutor: Danil Nagy

Is space still a social production?

Chen Yang

Tutor: Dan Taeyoung

3 Section of the Hive Individual Work Tutor: Marc Tsurumaki

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/ Controlled Shell

Full Documentation of This Project on: https://www.chenyang21.com/CONTROLLED-SHELL-8a07017442c04b4ba04901de1130254a

This project involves a two-stage optimization process for a compression shell structure that is situated within the exhibition venue of Venice Biennale. The goal of this project is to design a compression shell structure that is generated based on both perceived obstacles (boundaries, columns, and exhibits) and projected constraints (circulation), to articulate a bespoken spatial experience aligned with site conditions. ​ The structure of a compression shell reaches optimum efficiency when it consists of catenary arches. Dated back to the 1600s, as noted by Robert Hooke “as hangs a flexible cable so, inverted, stand the touching pieces of an arch,” the inverted catenary curves present structure equilibrium (stability). The form finding of a shell structure, therefore, is subject solely to experiment or physics based simulation, to which the resulting form is inherently detached from the surrounding context and difficult to predict. In other words, factors such as programs or circulation under a shell structure will likely be driven by the form but not vice versa. Therefore, coupling simulator Kangaroo with Discover, this project takes place on complex site conditions, allowing visitor circulation and existing obstacles to be the driving factors that define the synclastic shell structure. ​ Circulation simulation, which initially specifies the site constraints and visiting experiences as input data, will be also implemented during the optimization process. By quantitatively showing the performance of spatial occupancy and streamline, this visual pedestrian simulation joins into the optimization iteration process along with structural simulation. And we are looking for some interoperable strategies between these evaluation criteria that could be generated in next steps.

Chen Yang

Is space still a social production?

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Is space still a social production?

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/ Section of the Hive

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THE END SPECIAL THANKS TO: ANDRÉS JAQUE, Director of MSAAD, Marc Tsurumaki, Jing Liu, Daniel Wood, My Friends and My Parents Lin Kang