Ivan Yan Man Hin 2022 Architecture Work Sample

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