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HARVARD GSD M.ARCH I GENERIC SPECIFIC JUMP-CUT

GSD CORE 1 FALL 2016 // ADVISOR : ANDREW HOLDER

GSD CORE 1 FALL 2016 // ADVISOR : ANDREW HOLDER

HIDDEN ROOM

GSD CORE 1 FALL 2016 // ADVISOR : ANDREW HOLDER

SITE BUILDING RECIPROCITY

GSD CORE 1 FALL 2016 // ADVISOR : ANDREW HOLDER

YALE B.A. ARCHITECTURE ISLAND CEMETERY MUSIC HAVEN

SPRING 2015 // ADVISORS : STEVEN HARRIS, MARTA CALDIERA

FALL 2014 // ADVISORS : TURNER BROOKS, ADAM HOPFNER

GASTRONOMY SPACE ZONGZI BENTO

SPRING 2014 // ADVISORS : JOYCE HSIANG, SUNIL BALD

SPRING 2014 // ADVISORS : JOYCE HSIANG, SUNIL BALD

HEXAGON HOUSE

FALL 2013 // ADVISORS : BIMAL MENDIS, KATHERINE DAVIES

SECTIONAL VOIDS

FALL 2013 // ADVISORS : BIMAL MENDIS, KATHERINE DAVIES

HOUSE FOR A PLAYWRIGHT ANALYTIC MODELS

FALL 2013 // ADVISORS : BIMAL MENDIS, KATHERINE DAVIES

SPRING 2013 // ADVISOR : EMMANUEL PETIT

OTHER WORK ARTWORK

2009-2017

PROFESSIONAL WORK GRAPHIC DESIGN

2014-2016 // APICELLA + BUNTON ARCHITECTS

2014 // M.ARS DESIGN


GENERIC SPECIFIC GSD CORE 1 FALL 2016 ADVISOR : ANDREW HOLDER

This building is a cricket club designed utilizing a fragment extracted from a Baroque church and placed within a nine square grid. The cornice figure in the church Sant’ Andrea della Valle was selected for the interesting way that it negotiates the transition between nave and transept as well as its reparsing of the Latin inscription on the cornice line of the church. This figure was abstracted as a foam model, then used to generate the structure by scaling the figure to building height and placing it in the four corners of a nine square grid. This creates productive spaces of interstitial overlap between figures, as well numerous symmetries in both plan and section, which were adjusted to accommodate the cricket club program. Just as the cornice figure reparses the Latin phrase, the figure in my project analogously reparses and is reparsed by program.


This axonometric diagram demonstrates how spaces were created from the interstitial space between colliding figures. The building’s many symmetries in plan and section provided opportunities for creating different adjustments, or reparsings, of geometric motifs. The first floor of the building includes public spaces, such as an amphitheater, a snack bar, and two team meeting rooms. The second floor includes athletes’ spaces such as the locker rooms, gear storage, and training rooms, and the third floor has practice courts and coaches’ rooms.


JUMP CUT GSD CORE 1 FALL 2016 ADVISOR : ANDREW HOLDER

The jump-cut in film is an abrupt transition where an object jumps from one part of the frame to another. In this project, the building “jump cuts� through two incompatible sections which are bridged as part of the design exercise. Through the interpretation of section cuts as walls at a 60 degree angle from the cut, a system of geometrical rules govern the creation of rooms around a central triangular atrium. The atrium opens onto one side of the building on the lower floor, then rotates, is truncated, and emerges on the opposite side of the building. The urban condition generated by and for this building involves a series of these bricklike buildings arranged on 60 degree axes so that circulation can occur in hexagonal courtyards.


The building envelope utilizes the 60 degree motif to create differing facade patterns on the long and short ends of the structure. Two of the exterior walls have long, narrow slits angled at 60 degrees for light, while the short ends are glazed with a more porous facade pattern cut at 30 degrees. Doors on every level open onto from the short ends of the building, so that the long sides of the building create a triangular courtyard of private space.


HIDDEN ROOM GSD CORE 1 FALL 2016 ADVISOR : ANDREW HOLDER

Through the use of a series of crown molding profiles, a hidden room is disguised among four other rooms. The crown molding is treated as a surface condition, as opposed to a localized application of ornament, and is manipulated through a series of revolutions and extrusions. As one circulates through the first four rooms, it is ambiguous whether the crown molding exists as a two-sided, thin wrapper, or the surface of a thick mass. The hidden room is the interstitial space between the two crown molding profiles, which one can assume is poche until confronted with the possibility of occupying the space between the two wrappers. In the sequence of the four rooms, a looping circulation is made possible by ignoring the entrance to the hidden room, and returning through a staircase which leads back to the first room. This stair runs parallel to another stair, which tunnels through the poche of the building and leads from the hidden room to an exterior exit.

Axonometric Diagrams Not to Scale

Section Scale: 1/8” = 1’0”


Section Scale: 1/8” = 1’0”

Section Scale: 1/8” = 1’0”

Section Scale: 1/8” = 1’0”

The model is constructed to reveal a sectional cut through the stair leading from the hidden room to the exit. The sections are taken perpendicular to this cut, revealing interesting symmetries and asymmetries created by the revolutions of the crown molding.


SITE BUILDING RECIPRPOCITY GSD CORE 1 FALL 2016 ADVISOR : ANDREW HOLDER

In this project, a pair of houses populate a suburban neighborhood whose city plan is derived from Frank Stella’s Irregular Polygon series. The basic communal unit contains houses arranged in groups of four, which create communal space even as each house remains private in that its front door faces away from the others. When the grid is angled, the small central courtyard disappears and the possibility of a larger shared courtyard is created. When houses are oriented differently on each side of the street, this indicates that there is a cul de sac at the end, where the sharing of public space is translated into a literal conjoining of houses.

take quick photo of houses


ISLAND CEMETERY YALE SPRING 2015 ADVISORS : STEVEN HARRIS, MARTA CALDIERA

Through the contrast created between an organic tidepool ecosystem and hermetic concrete buildings, the cemetery evokes a scene of the eternal set among cycles of decay and regeneration. These columbaria rest as closed and pure objects in the field, as if the concrete cubes rose up from the island. However, when one enters one of these buildings, the scale shifts to that of a private room. The buildings face each other in pairs to conceal the entrance from the outside viewer, who approaches along axis to the central chapel and then branches off to the side.


axon of 3 different cubes

There are three types of columbarium structures, which are generated from the differing heights of the island topography. The columbaria nearest to the water’s edge have stairs ascending up, while those nearest the island center have stairs descending down. This distance of this stair allows for these structures to accommodate the burial of a body, while the structures with no stair and thin walls accommodate funerary urns.


MUSIC HAVEN YALE FALL 2014 ADVISORS : TURNER BROOKS, ADAM HOPFNER

Music Haven is an after-school program that teaches music to New Haven students, and is in need of a new headquarters which include both performance and pedagogical spaces. My design organizes this program into two L-shaped wings, one for performance and one for classrooms. These wrap around a hill which provides elevated seating to extend the performance hall, as well as sound insulation for the practice rooms which are buried in it. From the street, the performance hall is made highly visible to the public.


GASTRONOMY SPACE YALE SPRING 2014 ADVISORS : SUNIL BALD, JOYCE HSIANG

Near the terminus of the Farmington Canal Trail, the trail runs underneath Hillhouse Avenue on Yale’s campus. My design connects Hillhouse Ave and the trail by creating geometries from the intersection of their two grids, and planting these structures into the landscape. These forms are in dialogue with topography; land is squeezed between prisms, prisms press into land, and land flows into prisms. The model utilizes the language of plywood and the connotations of grain; landscape is signified by the topographical texture, while structural interventions are represented by the flat edge of the wood. Programmatically, the rotated square contains a dining hall and serves as the main structure in the compound, and it is surrounded by a below-grade kitchen and a small learning space.


ZONGZI BENTO YALE SPRING 2013 ADVISORS : SUNIL BALD, JOYCE HSIANG

The zongzi is a traditional Chinese dish created by molding sticky rice and meat inside bamboo leaves, which are wrapped in a tetrahedral shape. Inspired by the food’s tetrahedral geometry and the recipe’s focus on repeated folding and unfolding, my bento box transforms from a closed prism into a landscape defining a meal for two. The bento box contains pockets for zongzi, as well as four dishes which unfold like two leaves. Crafted from plywood with canvas joints, the bento box holds itself together through its weight and the nesting of its geometries.


HEXAGON HOUSE YALE FALL 2013 ADVISORS : BIMAL MENDIS, KATHERINE DAVIES

This house uses a kit of 9’ x 9’ parts to create a tightly connected series of hexagons resembling a molecule of bonded geometrical units. The large and smaller hexagons are intertwined together based on a modular unit which allows for complex spatial arrangements. On one side of the central hexagonal courtyard, the private wing culminates in the dead end of a bedroom, while on the other side, the more public wing delineates a progression of gathering spaces. The house is situated in a landscape which continues the hexagonal motif as it negotiates both organic and paved areas.


SECTIONAL VOIDS YALE FALL 2013 ADVISORS : BIMAL MENDIS, KATHERINE DAVIES

A series of sectional slices create the generating principle for designing a building which appears to be carved out from a 48’ x 48’ mass. The structure contains a central atrium set at 45 degrees from the grid of the cube, creating an empty pillar of space that can be seen through the series of rooms surrounding it. These rooms are carved around the atrium as an enfalade path which traces a counterintuitive journey through the building. Although locating the rooms by sight is simple in the atrium, it is unclear how to reach a room one sees, allowing for the productive juxtaposition between physical circulation and visual connections. The rooms’ relationships to each other is not transparent, but visual orientation is maintained through the pillar of space at the center.

photoshop into one full bleed image, fuck up shadows


HOUSE FOR A PLAYWRIGHT YALE FALL 2013 ADVISORS : BIMAL MENDIS, KATHERINE DAVIES

This house uses a kit of 9’ x 9’ parts to create a tightly connected series of hexagons resembling a molecule of bonded geometrical units. The large and smaller hexagons are intertwined together based on a modular unit which allows for complex spatial arrangements. On one side of the central hexagonal courtyard, the private wing culminates in the dead end of a bedroom, while on the other side, the more public wing delineates a progression of gathering spaces. The house is situated in a landscape which continues the hexagonal motif as it negotiates both organic and paved areas.


ANALYTIC MODELS YALE SPRING 2013 ADVISOR : EMMANUEL PETIT

As an analytic exercise, an existing building is modelled to investigate the massing, tectonics, contours, and programmatic design of the assigned project. I analyzed the formal geometries and modular systems that govern the seemingly irregular geometries of Paul Rudolph’s Tuskegee Chapel, a religious structure on a college campus built in 1969.


The tectonic model sheds light on the unique structural system of the roof, which is a hyperbolic parabaloid supported by cables in tension. The juxtaposition between thin elements, like these cables expressed as fins, and the massive elements, like the roof and floor plate, is coded through material selection. The massing model portrays the continous interior space as a composite of distinct geometrical volumes. The program model demonstrates the procession towards sacred space in the chapel, beginning from circulation and back of house areas and culminating in the tower behind the pulpit. The contour model expresses movement within the chapel, whether this is circulatory movement or movement of the viewer’s gaze.


ARTWORK 2009-2017

These personal projects and artwork completed for class assignments demonstrate a breadth of subject and media, including pencil, charcoal, ink, acrylic, and oil painting. Themes include still life and figure drawing completed as coursework, as well as portraits and landscapes from life.


INTERIOR STUDIES This series of paintings explores lighting on architectural interiors. Different areas of the same house are portrayed with attention to the various moods and atmospheres created by daylight.


PROFESSIONAL WORK APICELLA + BUNTON ARCHITECTS NEW HAVEN, 2014-2016

During the time I worked at Apicella + Bunton Architects, I aided in multiple residential and commercial projects, including single family homes, office renovations, and historic renovations of dormitories and libraries. I was involved in predesign, construction documents, and construction administration for the projects shown below.

D OFFLINE CAP MAINTENANCE F YNHH HOSPITAL LOUNGES

1

SK-08

ENLARGED FLOOR PLAN - 1.0 FIRST FLOOR OPTION D SCALE

A+B designed two lounges for the Yale New Haven Hospital. I aided in construction documents and finish selection for these projects.

1/4" = 1'-0"

APICELLA + BUNTON ARCHITECTS LLC PROJECT NAME

DRAWING NAME

Physician Lounge

FLOOR PLAN OPTION D

DURFEE HALL 75% CONSTRUCTION DOCUMENTS DURFEE HALL

I aided in the first of a two part renovation of a Yale dormitory, which included gut renovation of the washrooms and heating system. I was responsible for building the Revit model, and aided in construction documents and construction administration.

DR

GEN A00 A01 A02 A02

DEM A10 A10 A10

FLO A21 A21 A21

FLO A26

REF A31 A31 A31

VERIZON OFFICES

BUI A51 A51

A+B was engaged for renovations including new partitions, raised ceiling, a new cafeteria, and new furniture. I worked with the client on the cafe design, and was involved in construction documents, finish selection, and construction administration.

GENER INTE THE FOLLO A71 THROUGH A71 1.

WORKSTATION COUNT

1 SK-50

FLOOR PLAN - MASTER PLAN G SCALE

6X6 6X8 (68) (6) OPEN OFFICE 1 (16) (0) OPEN OFFICE 2 (38) (2) OPEN OFFICE 3 ---------------------------------------------(124) (8) TOTAL (25)

TOUCHDOWN

1/16" = 1'-0"

A31A BEDROOM

SHEET REFERENCE

APICELLA + BUNTON ARCHITECTS LLC

ROJECT NAME

VERIZON WIRELESS

2.

SALVAGE, MODIFY, AND REINSTALL CLOSET DOORS, TYPICAL

DATE

09/29/15 DRAWING NAME

PROJECT NO.

MASTER PLAN G

15024

A31B BEDROOM

B31D BEDROOM

B31C BEDROOM

D32B BEDROOM B31B BEDROOM

B31A BEDROOM

B32A BEDROOM

B32B BEDROOM

B32C BEDROOM

B32D BEDROOM

D31D BEDROOM

D31C BEDROOM

D31B BEDROOM

D31A BEDROOM

D32C BEDROOM

D32A BEDROOM

3.

SCALE

D32K BATH

1/16" = 1'-0" A31F BATH

DRAWING NO.

SK-50

B31G BATH

A390S STAIR A31 COMMON

DN

C390S STAIR

B390S STAIR

DN UP

UP

DN

B31 COMMON

B31E BEDROOM

D31G BATH

B32G BATH

B32 COMMON

DN

B32E BEDROOM

D31E BEDROOM

E31C CORRIDOR

5.

7.

UP

D31 COMMON

4.

6. E390S STAIR

D390S STAIR

UP

E31A BEDROOM

D32 COMMON

D32D BEDROOM

DN

UP

CONT 'EXIS

DOCU SCH DETE COOR A81 CONT A81 DRAW

AND R CONT COMP LOCA INSTA NOT I CONT LOCA SEE M PROT FOR E OF W PROT TO RE IT IS T BUILD GREA ALL C AND F COOR SUCH REMO EQUI TO O

E31 COMMON

DEMO MILLWORK CLOSET DOORS, TYPICAL

2 A101

DEMOLITION PLAN - THIRD FLOOR SCALE

1/8" = 1'-0"

SALVAGE, MODIFY, AND REINSTALL CLOSET DOORS, TYPICAL

A21A BEDROOM

A21B BEDROOM

B21D BEDROOM

B21C BEDROOM

B21B BEDROOM

A21F BATH

A290S STAIR A21 COMMON

DN

UP

B21A BEDROOM

B22A BEDROOM

B22B BEDROOM

DEMOLITION PLAN - SECOND FLOOR SCALE

1/8" = 1'-0"

D21D BEDROOM

D21C BEDROOM

D21B BEDROOM

D21A BEDROOM

B21J BATH

B22G BATH

D21G BATH

C290S STAIR

D290S STAIR

B21 COMMON

DEMO MILLWORK CLOSET DOORS, TYPICAL

1 A101

B22D BEDROOM

B290S STAIR B22 COMMON B21E BEDROOM

B22C BEDROOM

B22E BEDROOM

D21E BEDROOM

D21 COMMON

D22A BEDROOM

D22B BEDROOM

D22C BEDROOM

E21A BEDROOM

D22K BATH

E21C CORRIDOR

E290S STAIR

D22 COMMON

D22D BEDROOM

E21 COMMON

DEMO


GRAPHIC DESIGN M.ARS DESIGN ISTANBUL, 2014

During my summer internship at M.Ars in Istanbul, I worked on facade motifs and product design as part of a general rebranding effort.


www.jessicayuan.com jyuan@gsd.harvard.edu 1 (714)-588-7708

Jessica Yuan GSD M.Arch Portfolio  

portfolio of design work from Harvard GSD M.Arch Core 1, Yale BA in Architecture, and personal work

Jessica Yuan GSD M.Arch Portfolio  

portfolio of design work from Harvard GSD M.Arch Core 1, Yale BA in Architecture, and personal work

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