Hi, I am man hin ivan yan or just ivan; but not just man, and not just hin. Alternatively, you may call me: yan man hin [eye-van]
[yuun]
[munn]
[heen]
(like van)
a condensed supplement to the portfolio titled: Peanut Butter & Ham Sandwiches are a Legitimate Comfort Food
Brooklyn Navy Terminal, New York City, United States of America
instructor
Alexandra Barker
school
partner
Max Sopher
Pratt Institute Graduate Architecture and Urban Design
t rash mac h in e
project
arch704 ‘Dsgn 4: Integrated Studio’ Studio ’
trash machine
– spring 2021
t rash mac h in e
What if instead of rejecting it, we embraced the lifecycle of waste, and our place in it? What if we partied with our trash?
Trash Machine - a waste-to-energy plant, recycling facility, and nightclub in Williamsburg, Brooklyn - juxtaposes the energetic flow of humans with the energetic flow of waste.
arch704 ‘Dsgn 4: Integrated Studio’ Studio ’
Urban life is circumscribed by an endless stream of waste. The fulfilment of our daily needs creates unsightly mountains of trash teetering on the edge of sidewalks. We like to avoid thinking about those piles of trash, but they are part of us. Humans are waste; waste is human.
– spring 2021
BUILDING+WATER
DANCE+RECYCLING
WASTE+DANCE
PEOPLE+TRASH
ROOF+GROUND
–
WINTER: NIGHT heating maintained in lounge/bar areas, lowered in dance spaces; crowd heat equalizes comfort
SUMMER: NIGHT nightclub filled; interior cooling increased to balance heat from crowd
spring 2021
SUMMER: DAY occupancy sparse; interior cooled to moderate, pleasant temperature
t rash mac h in e
arch704 ‘Dsgn 4: Integrated Studio’ Studio ’
WINTER: DAY heating increased so as to create comfortable conditions for visitors
Castle Mountain, San Bernadino County, United States of America
primary instructor Thomas Leeser
school
secondary instructors
Kai Uwe-Bergmann;Alican Taycan;Debora Mesa-Molina
Pratt Institute Graduate Architecture and Urban Design
So what if we embraced this damage rather than burying it? what if we used the methods of extractionism and the toiling of the immigrants to create a space of healing, remembrance, and exposition.
a scar red place.
project
History is filled with scars of humanity, whether it be the physical scarring of the landscape due to our anthropogenic extractionism or the cultural scarring of immigrant history, our current methodology of dealing with them is erasure. The current modus operandi of repairing open pit mines in California is backfilling, a physical act of erasure of the damage; and the Chinese immigrants who have came to the US that toiled on the railways and mines were almost erased from history through the metaphorical burying of their stories.
arch806 ‘Studio of Experiments:+AMBIGUITY-’
a scarred place.
– spring 2022
a scar red place. arch806 ‘Studio of Experiments:+AMBIGUITY-’
– spring 2022
Sunset Park, New York City, United States of America
instructor
Maria Sieira
school
Pratt Institute Graduate Architecture and Urban Design
sc h ool of cellu lar in du st r ial past
project
arch602 ‘Dsgn 2: Interiorities/Context’ Interiorities/Context ’
school of cellular industrial past
– spring 2020
It’s imperative to have an agency allowing the children to choose their places of gathering and make it their own, and have places they can choose to listen and share, spaces in which confidence and security can be instilled in them. In a middle school environment these two elements are integral to the understanding and growth of the students, as they enter a growth period in which a more rebellious yet curious mind starts to form, otherwise known as puberty, to respect the modes of gathering and listening to each other become pertinent to fostering a healthy environment.
sc h ool of cellu lar in du st r ial past
arch602 ‘Dsgn 2: Interiorities/Context’ – spring 2020
Education, learning, and schooling can be centered around two important motions of engagement. The first is gathering, the second listening. To gather is to prepare for the message, to listen is to absorb the knowledge that is passed forth. In a middle school environment these two elements are integral to the understanding and growth of the students, as they enter a growth period in which a more rebellious yet curious mind starts to form, otherwise known as puberty, and to respect the modes of gathering and listening to each other become pertinent to fostering a healthy environment.
Level 3
Level 2
Level 1
+48.0
+32.0
+16.0
fourth avenue
Level 4
+64.0
D
D'
C
C'
+0.0 B
A
-16.0
Level -1
0
8
16
24
scale = 1":32'
0
16
32
48
B'
Level 5
Level 4
Level 2
Level 1
+64.0
+48.0
+32.0
Level 5
+16.0
Level 4
+0.0
Level 3
+64.0
+48.0
+32.0
Level 5
Level 4
Level 3
+64.0
Level 5
+48.0
Level 4
+32.0
Level 3
D
D'
C
C'
+64.0
fortythird street
Level 3
A'
+48.0
+32.0
B -16.0
Level 2
+16.0
Level -1
Level 1
+0.0
-16.0
Level -1
Level 2
Level 1
+16.0
Level 2
+0.0
-16.0
Level -1
Level 1
0
0
8
16
24
scale = 1":32' 16
+16.0
+0.0
-16.0
Level -1 32
48
A
sc h ool of cellu lar in du st r ial past
Level 5
A'
arch602 ‘Dsgn 2: Interiorities/Context’ – spring 2020
B'
SUNY College ESF, Syracuse, United States of America
instructor
Cristobal Correa
partner Max Sopher
school
Pratt Institute Graduate Architecture and Urban Design
– fall 2021
Prefabricated CLT modules create cozy study, learning, and gathering spaces at a flexible small-to-medium scale. Partitioned by a dual layer of sliding door and curtain, modules can be connected to allow for classes or large groups or separated for individuals and small groups. A range of built-in furniture and shelving expands the utility of the existing library. Vertically stacked individual study carrels provide spaces of further focus and punctuate the grid of modules. Common circulation space connects modules to a large central atrium, where shelving, seating, and a cafe create a campus-wide destination for study, focus, and relaxation. Warm wood interiors throughout highlight the beauty and character of mass timber.
hygge pods
project
arch 770 ‘Constructing Complexity’
hygge pods
COMPONENT FABRICATION 1A. Pressure Molded CLT
1B. Raw Component CLT Piece
1C. CNC Detailing of Raw CLT
1D. Completed CLT Component
– fall 2021
MODULE ASSEMBLY
Notes II: MOLDED PLYWOOD SKIN
2A. Components Flatlay
2B. Components Assembly through Joinery
2C. Air/Vapor & Insulating Layer
2D. Exterior Rainscreen Installed
2
To produce the complex combination of molding component fabrication. purpose as an exterior
geometry through plywood through a and cnc finishing not disimilar to the The wood is then treated to withstand its finish.
Notes III: PROPOSED ROUTES
3
EXPANSION AND MOVEMENT
ARRIVAL
3A. Components Expansion Possibilities
4A. Installation of Unit on Site
3B. Shipping Methodology
4
Two fabrication routes are proposed: the first brings raw timber to be fabricated and assembled fully at Unalam, a regional mass timber specialist, with modules then trucked onsite to be craned onto the roof; the second, more direct approach brings raw timber directly to a nearby warehouse or vacant lot, where Unalam specialists and equipment can create a temporary fabrication site to assemble the compact components, stored, and assembled.
Notes IV: PLUG AND PLAY The prefabricated rooms are lifted into place, plugging onto a prepared foot and skirt, with heating and cooling provided through a mini-split system that connects multiple rooms into one unit, shielded by the curved spaces between the units.
hygge pods
The components are made from a two step process; first, pressure lamination molds the CLT "blank" into its rough overall form; then CNC milling produces the final finish and details of each component.
arch 770 ‘Constructing Complexity’
1
Notes I: COMPONENT FABRICATION
project
Macpherson Avenue, Toronto, Canada
instructor
Alexander Josephson
school
University of Toronto Daniels Faculty of Architecture, Landscape, & Design
– spring 2018
~
T H E
C H E F
~
~ THE ARTIST ~
t h e livin g t h eat re
arch361 ‘architecture studio III’cumulative III ’cumulative project
the living theatre
The Living Theatre is a house I would live in .
–
Se c t i o n A
Section B
Se c t i o n C
Section D
as microtesl 100
10 microteslas
1 m icc r o te s llaa s
spring 2018
site analysis and plan to disrupt Macpherson Avenue
The Building is Thrown onto the Site, Fig. 1.
Towards the City of Montréal, QC
Operat ional Times:
24 Hours, 7 Times a Week Frequen cy per Day: 0 to 30 trains
Went to the Site and Scribbled Section
Cut
The Building is Thrown onto the Site, Fig. 2 .
Sec tion Cut
B
00:00 — 05:13am
Night
05:13 — 05:47am
Astronomical Twilight
05:47 — 06:20am
Nautical Twilight
06:20 — 06:48am
Civil Twilight
06:48 — 06:51am
Sunrise
06:51am — 18:09pm
Daylight
18:09 — 18:12pm
Sunset
18:12 — 18:40pm
Civil Twilight
18:40 — 19:14 pm
Nautical Twilight
19:14 — 19:47pm
Astronomical Twilight
19:47pm — 00:00 am
Night
Sunpath & Time of Day as of March 5th, 2018
Sec tion Cut
D
Towards the City of Londo n, ON
C
Operat ional Times:
24 Hours, 7 Times a Week Frequen cy per Day: 0 to 30 trains
M a t e r i a l i t y
M a t e r i a l i t y
Ta d a o An d o Co n c re t e (? )
Fra n k Ge h r y Ho u s e Ch a in l in k Fe n c e (? )
A
C A 06:48 AM – SUNRISE
18:09 PM – SUNSET
D
12:00 PM – MIDDAY
t h e livin g t h eat re
Spurred on by an encounter during the site visiting where the lawyer next door told me to create a four story condominium with underground parking, the building responds as a stage of counterresponse declaring its existence and proposing that it has something to show.
arch361 ‘architecture studio III’cumulative III ’cumulative project
The Living Theatre was envisioned as a reactionary response and reflection that I realised that architecture was something that transcended civic duty to me - it was personal. Facing a particularly harsh season of my academic career the Living Theatre emerged as a declaration to create something disruptive, something that I wanted to do, something selfish.
– spring 2018
illustration of the Artistʼs progamming of the diptych The side allocated for the artist represented a more reclusive and meditative programming, housing the private quarters of the chef and the artist. When the guest observes the area of the artist, one may see him in a monastic state of work, glimpses of his performance that are interspaced by the gerberette structures.
interior plan
illustration of the Chefʼs progamming of the diptych The side allocated for the chef represented the more social and invitational aspect of the stage, creating a space that exhibits the chef and his ‘performance’, with areas to host guests while channeling the focus towards the chef and his kitchen.
t h e livin g t h eat re
arch361 ‘architecture studio III’cumulative III ’cumulative project
plan of the site and the Living Theatre House