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YU, SZU-AN PORTFOLIO 2006-2011


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CONTENTS

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architecture projects [ SENSATION.RAR ]

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Unzip: Sensation.rar, by slowing down the speed 25

[ CYCLE: The Decline and Rebirth ] Cinemetrics International Workshop in Hong Kung

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[ Liquid Perception of Governor’s Residence ] Resident Artists Program in Governor’s Residence in Tainan County

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graphic design [ HUMANE CITIES ] [ CONCEPT CITY ] [ ANNVA’S PIANO RECITAL ] [ REC - RECord, REConstruct, RECode ]

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photography [ CONCEPT CITY ]

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painting [ Woman with blue hair ] [ Baku ] [ Baku ]

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information chronology resume

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{ architecture design }

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[ SENSATION.RAR ] Unzip: Sensation.rar, by slowing down the speed -THESIS PROJECT in fourth year of university / Jun. 2009

Before you can tell what that store around the corner is, you have already missed it. It is because you’ re moving too fast. Before you figure out the story of weeping girl in the novel that you are reading, you are halfway off your seat to get off the bus. It is because you’ re moving too fast. You wish to gain a few more minutes to think through all the things that happened today, but the bus has arrived at your stop. Someday you may like to spend thirty more minutes to go home, on a slow bus.

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SPEED Sometimes, the city is too fast for me to know it’s face; except the tenseness of people.

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SLOW MOVE I found that when I was moving in the city as usual; I was on a bus, going to the next destination. Slow and tortuous movements extended the time and the route of getting along with the city.

CONNECTED SPACE It is opposite to underground-traďŹƒc; the spaces could be connected rather than cut o and closed: inside/outside, near/distant. It is easy to connect with the spaces of a city by sight.

MESSAGES Lots of interesting things are happening everyday; the cities, streets, and people, they all have stories. And It is one if the best ways to observe them.

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MOVING/READING We are reading the city through the window of the vehicles while moving. People --> moving mode (first layer of space) --> city (second layer of space) With different moving mode there will be different interpretation.

SENSORY-MOTORS Take the moving mode of the bus as an example: Taking bus constrains people’s behavior from walking or moving to still sitting or standing position. Students or commuters in the bus are detached from their original task. They can do very little in this space for waiting until the bus arrive at their destination, and tend to slow down their pace. At this moment the sensory-motors of people become the vantage point with more thinking, hearing or seeing more the ignored things of the surrounding environment. People have more awareness of environment. Among these relationships, I categorize they into three states: internal, exchange, and external state.

PERCEPTION The sensation as the media connect people and the first layer of surrounding space, people explore and experience the space through their sensory-motor, with different interpretation generated by different perception, while different moving mode through will affect the reading process of the city. People --> perception --> space Especially the speed of physical or mental, high speed could weaken the sensibility, otherwise, low

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EXCHANGE

INTERNAL Internal state refers to one’s own state of mind or thinking activities. For example, a further idea about an event happened today, or thought of something which was ignored before. Because of the limit of the action, we could concentrate more on thinking or imagining and put ourselves into the state of self-reflection.

Exchange is the transition between the closed space and the space outside. The sound and smell outside will spread into the bus when door opens, the temperature and air flow in the car will be affected also. At this time, the inner space and the outside space will be linked and weaken the sense of closure to allow the external information to be passed. And when the door closes, the link is cut off and the space turns closed after a series of interchanges of the information.

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EXTERNAL External is the milieu outside ourselves. With our sensory-motor schema we could capture information from external events: listening the dialogue between the passengers next to you, seeing a new office building on the street , identifying one’s profile from the dress, or presuming the rush hour by the density of people on the bus. The building, people and weather are all embedded with message for our perceptions to interpretate.


ic Civ

d. Blv

d. ay W c Blv h i g i iv -H C

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http://ngmchina.com.cn/web/?action-viewnews-itemid-168884

SITE Taipei’s first east-west elevated expressway is the most important traffic line, shadowing a street used to be railway, now buried underneath. It intersects with the other major roads and overpass seven administrative districts.

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- Taipei, Taiwan


Fusing S.Rd

MRT - Muzha Line

Commerce Shops

Way d. - High Civic Blv . d Civic Blv

High Way

Civic Blvd.

MRT

High Way

Shops

Shops Park

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Shops


Commerce Shops

In the downtown area it intersects with the MRT system creating the high speed and high volume traffic flow and busy commercial districts.

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MRT - Muzha Line Fusing S.Rd Civic Blvd. - High Way Civic Blvd. Commerce Shops


DETACHED / RE-STRUCTURE In this high speed and high volume traffic flow, the site is on the traffic island area which is detached from high speed surroundings. In this context with slow paced space, three states of internal, exchange, and external are infilled into the site and re-structure the urban spaces through the interaction of perceptions.

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Internal Compression, closed, cohesive.

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Exchange Linked, conditionally changing.

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External Possibility of a variety of activity, message passing.

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Commerce Shops

ay W . lvd H .cB i d v lv Ci cB igh

i

Civ

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Commerce Shops

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observatory

live house / lounge bar

bookshop / gallery

walkway / telephone booth

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path / observatory

restaurant / coeeshop

gallery

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[ CYCLE: The Decline and Rebirth ] Cinemetrics International Workshop in Hong Kong 2009 - CINEMETRICS PROJECT / Mar. 2009

What role does the Central Market play at the bottom of Central-Mid-Levels Escalator and Walkway System in 21st century? How about the function of Central Market and walkways nowadays?

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CINEMETRICS In Cinemetrics International Workshop, we discussed the three directors who has different styles: Yasujiro Ozu, Jean Luc Godard, and John Cassavetes. The still camera frames Ozu’s cinema are just like architectural drawings. Directions of camera are perpendicular to each other. And these still camera frames creating images are similar to making elevations or sections in architectural skills. As to Jean Luc Godard, he used panning and tilting way. Through those techniques, the view is extended; and it follows the actions of people or events. And the third director, Cassavetes, was using hand-held camera skill. This makes the images more active, unstable, and close to humans’ sight. In addition to the styles of moving camera, we also practice “perception images (long distance)”, “action images (medium distance)”, and “affection images (close up)”. In perception images, we can realize the relation between people, objects, and space. Action images are going to show the behavior of human or objects clearly. Refer to affection images, it usually focus on someone’s face or particular objects to reveal the emotions or specific meanings.

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DEVELOPMENT / REDEFINED SPACE From the history of development in this site, it can be divided into three period: 1939, the central market was built; 1991, the Hang Sheng Bank appeared and 2003, IFC came out. Now there are two elevated walkways between the three buildings, which were established in different generations. Due to the emergence of new elevated walkway, the function of Central Market was redefined again by the new activities. In the past, there is as a market to sell vegetables and daily things. But nowadays, it doesn’t open any more since its decline. From the photos, we can discover that there are many imported laborers gathering on weekend even street performers, homeless and beggars. Thus their activities create the new space in Central Market and change its original function. They make the space in this area more vivid and dramatic.

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OVERLAP and FEEDBACK From the expanding new areas and the alteration of development focus in history, to the decline of Central Market and rebirth given by new activities, it shows an interesting phenomenon among them. Especially comparing to the cycle of people’s gathering and passing on weekend and weekdays, it shapes an overlap and a feedback. This project is to try to make a film using Ozu’s camera style and describe the characteristics of the space under the background given by above.

Ineternational Finance Centre

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Hang Seng Bank New Headquarters Building

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03 20 30

39

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Central Market


Ineternational Finance Centre

Central Market Hang Seng Bank New Headquarters Building

1939

DECLINE

1991

/

2003

REBIRTH

NO ACTIVITY

weekday

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OCCUPIED

weekend


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[Liquid Perception of Governor’s Residence] Resident Artists Program in Governor’s Residence in Tainan County - COMPETITION PROJECT / NOV. 2010 / cooperation work

Through this installation inspired from the thought of water, we expressed the concern of the relations between liquid perception, urban space, and daily life. And the images taken from the surrounding of Governor’ s Residence in Tainan County reflected the interactions between people and the spaces. We tried to provide a new aspect to understand the place where we were.

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Because of the extremely change of climate in recent years, the liquid perception of Taiwan becomes different with the collapse of the mighty nature. We want to make a series of experimental images and space-arts about the interpretation of liquid and reflect on the new perception and the possibilities of design by the relationship between body and different view level. We capture a variety of images and films about the liquid perception of Taiwan from the surroundings, such as the real urban space, the images of the city, the history of the city, and the changing information to represent the liquid perception. In this project, we use a new observing way to take the images of Tainan, the ancient governor’s resident, and its surroundings to present the relationship between the history and people’s lives.

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{ graphic design }

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[ HUMANE CITIES ] JAN.2012 420mm X 594mm Continuing the idea of “CONCEPT CITY”, a human-like shape is bearing the three tetrahedrons as his brain. The pyramids in the center are like fluctuation charts of brain waves.

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12/18 - 1/15 REC ᏄᝨᏕ᪠ᬌ῅ዯ᠈351ᾊ Concept City. ớᙞឈᏕ

time.

venue.

REC to. 70263 ᏄᝨᏕ᪠ᬌ῅ዯ᠈351ᾊ

STAMP HERE

by. ᓬᗏᎯ , ᚩᦀỖ , ᝖ូᑠ , ᱯ℆᣺ , ᱢᤇᔟ , ➑៽Ḵ www.facebook.com/RECoding

ᗴ␈/⇞╚ᶁ᳘

[ CONCEPT CITY ] Dec. 2011 150mm x 100mm A tetrahedron is a polyhedron with the minimum number of edges, which is the base shape in three-dimension. It means even a great city needs to construct from tiny elements. And the number of tetrahedrons is three, presenting the quantities of components of a city.

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www.facebook.com/RECoding free entry !

/ Bach / Prelude and Fugue No.18 g# minor, BWV 887 Beethoven / Piano Sonata No.27, Op.90 : First & Second movements Liszt / Rhapsody no.15 Rakoczy March Debussy / suite pour le piano :Toccata Witold Lutoslawski / Bukolische Weisen Chopin / ƚƵĚĞƐKƉ͘ϭϬEŽ͘ϵΘKƉ͘Ϯϱ͕EŽ͘ϵΗƵƩĞƌŇLJΗ time 12/19 Mon 19:30 venue REC ᏄᝨᏕ᪠ᬌ῅ዯ᠈351ᾊ artist ὾ᔔᓭ

1234567

Musician / Freelance Illustrator E<h͕ƌĐŚŝƚĞĐƚƵƌĞ͕dĂŝŶĂŶ Working Experience: Viola, The Chiayi Civil Orchestra/ Piano, The Chiayi Civil Choir/ sŝŽůĂ͕EĂƟŽŶĂůdĂŝǁĂŶhŶŝǀĞƌƐŝƚLJ^LJŵƉŚŽŶLJKƌĐŚĞƐƚƌĂͬ ĞƐŝŐŶĞƌ͕^'ƌŽƵƉ džŚŝďŝƟŽŶ͗ dDhŶĞdžƉĞĐƚĞĚŽǀĞƌ^ŚŽǁ͕dĂŝƉĞŝ͕ϮϬϬϳͬ ŚĞǁĂůů;ϵϱͿ͕dĞŶƚĞƌ͕dĂŝĐŚƵŶŐ͕ϮϬϬϲ

Annva Kay is a young musician, who is mystic but graceful as well as her music. She is leaving us for studying abroad in this Christmas season. It is just a beautiful solitude.

[ ANNVA’ S PIANO RECITAL] Dec.2011 140mm x 125mm, 420mm x 594mm

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1234567

/

Bach / Prelude and Fugue No.18 g# minor, BWV 887 Beethoven / Piano Sonata No.27, Op.90 : First & Second movements Liszt / Rhapsody no.15 Rakoczy March Debussy / suite pour le piano :Toccata Witold Lutoslawski / Bukolische Weisen Chopin / ƚƵĚĞƐKƉ͘ϭϬEŽ͘ϵΘKƉ͘Ϯϱ͕EŽ͘ϵΗƵƩĞƌŇLJΗ

www.facebook.com/RECoding

free entry !

㯈㤦姦

ㅯ儸彾ᾏ㵄

ⓦ朏彾

嬎朏彾ᾏ㵄

㷇䬞彾ᾏ㵄

ⓦ⵶姦

‣⬒姦

⇴う彾

time 12/19 Mon 19:30 venue REC ᏄᝨᏕ᪠ᬌ῅ዯ᠈351ᾊ artist

὾ᔔᓭ Musician / Freelance Illustrator NCKU, Architecture, Tainan Working Experience: Viola, The Chiayi Civil Orchestra/ Piano, The Chiayi Civil Choir/ sŝŽůĂ͕EĂƟŽŶĂůdĂŝǁĂŶhŶŝǀĞƌƐŝƚLJ^LJŵƉŚŽŶLJKƌĐŚĞƐƚƌĂͬ ĞƐŝŐŶĞƌ͕^'ƌŽƵƉ džŚŝďŝƟŽŶ͗ dDhŶĞdžƉĞĐƚĞĚŽǀĞƌ^ŚŽǁ͕dĂŝƉĞŝ͕ϮϬϬϳͬ ŚĞǁĂůů;ϵϱͿ͕dĞŶƚĞƌ͕dĂŝĐŚƵŶŐ͕ϮϬϬϲ

.san

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[REC – RECord, REConstruct, RECod ] Aug.2011 594mm x 420mm Memories of that moment will be retained; but when you see them, you will create a new one.

Ȟ๝ձ!!!!!!!!!!!!!!!!!!!!!!!ณࡣ!!౪ӵ

01 дࡦϡ 'ƌĂƉŚŝĐĞƐŝŐŶĞƌͬ&ƌĞĞůĂŶĐĞĚĞƐŝŐŶĞ

ĚƵĐĂƟŽŶ͗ EĂƟŽŶĂů<ĂŽŚƐŝƵŶŐhŶŝǀĞƌƐŝƚLJŽĨƉƉůŝĞĚ^ĐŝĞŶĐĞƐ ĚĞƉĂƌƚŵĞŶƚŽĨĐƵůƚƵƌĂůĂĐƟǀŝƟĞƐĚĞǀĞůŽƉŵĞŶƚ ǁĂƌĚ͗ EŽŵŝŶĂƚĞĚĨŽƌ'ƵŝĚĞůŝŶĞƐĨŽƌƚŚĞtŽǁ͊ĞLJĞdĂŝǁĂŶsŝĚĞŽŽŶƚĞƐƚͬŵƵƐŝĐ ǀŝĚĞŽͬϮϬϬϴ͕EŽŵŝŶĂƚĞĚĨŽƌϰĐƌĞĂƟǀĞǁĂƌĚͬƐƚƵĚĞŶƚdsŽŵŵĞƌĐŝĂů ͬϮϬϬϵ͕^ƚƵŶŶŝŶŐƉĞƌĨŽƌŵĂŶĐĞƐͬdŝŵĞƐĂǁĂƌĚƐ'ƌĂƉŚŝĐĂŶĚĚǀĞƌƟƐŝŶŐ ĞƐŝŐŶǁĂƌĚͬƐƚƵĚĞŶƚdsŽŵŵĞƌĐŝĂůͬϮϬϬϵ͕^ƵƉĞƌŝŽƌͬdŝŵĞƐĂǁĂƌĚƐ 'ƌĂƉŚŝĐĂŶĚĚǀĞƌƟƐŝŶŐĞƐŝŐŶǁĂƌĚͬĚǀĞƌƟƐĞŵĞŶƚͬϮϬϬϵ hŶŝǀĞƌƐŝƚLJĮŶĂůƉƌŽũĞĐƚȈ ĨĞŵĂůĞĚŽĐƵŵĞŶƚĂƌLJĮůŵͬĞůĞƉŚĂŶƚͬϮϬϭϬ tŽƌŬŝŶŐdžƉĞƌŝĞŶĐĞ͗ <ŝĚnjƚdŚĞŝƐĐŽͲŐƌĂƉŚŝĐĚĞƐŝŐŶĞƌ ,ĂŶĚŵĂĚĞĮůŵŵĂŬŝŶŐĐŽŵƉĂŶLJʹĂƐƐŝƐƚĂŶƚƉƌŽĚƵĐĞƌ

02 Ҡ޿ᑗ 'ƌĂƉŚŝĐĞƐŝŐŶĞƌͬWŚŽƚŽŐƌĂƉŚĞƌ ĚƵĐĂƟŽŶ͗ Edh͕'ƌĂƉŚŝĐŽŵŵƵŶŝĐĂƟŽŶƌƚƐ͕dĂŝƉĞŝ tŽƌŬŝŶŐdžƉĞƌŝĞŶĐĞ͗ ƐƐŝƐƚĂŶƚ͕&ŝůĞƐĞƐŝŐŶ'ƌŽƵƉͬ'ƌĂƉŚŝĐĞƐŝŐŶĞƌΘŽͲKǁŶĞƌ͕<ŝĚnjƚdŚĞ ŝƐĐŽͬWĂĐŬĂŐĞĞƐŝŐŶĞƌ͕,Žďͬ'ƌĂƉŚŝĐĞƐŝŐŶĞƌ͕W,Edŝ ǁĂƌĚ͗ DĂƐƚĞƌƉŝĞĐĞ͕WŚŽƚŽŐƌĂƉŚ/ŵĂŐĞƐKĨtŽŵĞŶtŽƌŬĞƌƐƐƐŽĐŝĂƟŽŶ͕ϮϬϬϵ͕ ^ƵƉĞƌŝŽƌ͕WŚŽƚŽŽŵƉĞƟƟŽŶ>ŽŵŽDĂƌŬĞƚ͕ϮϬϬϴ

03 ؇ᅞಹ ^ĐƵůƉƚŽƌͬDĞƚĂůΘ:ĞǁĞůƌLJĞƐŝŐŶĞƌ

ĚƵĐĂƟŽŶ͗ NCKU, Architecture, Tainan tŽƌŬŝŶŐdžƉĞƌŝĞŶĐĞ͗ ĞƐŝŐŶĞƌ͕E<hƌĐŚŝƚĞĐƚƵƌĞKĸĐĞͬdĞĂĐŚŝŶŐƐƐŝƐƚĂŶƚ͕E<hƌĐŚŝƚĞĐƚƵƌĞ KĸĐĞͬ/ŶƚĞƌŶ͕^ŚĞŶŐzƵĂŶ,ƵĂŶŐƌĐŚŝƚĞĐƚƐн&ŝĞůĚKĸĐĞ

ǁĂƌĚ͗ EŝĐŚĞǁĂƌĚ&ŝŶĂů>ŝƐƚ;KƵƚKĨϴϬϬŽŶƚĞƐƚĂŶƚƐͿ͕ϮϬϭϬͲϮϬϭϭͬ DĞĞŚͲzĂŶŐ&ŝƐŚŬŝŶ^ĐŚŽůĂƌƐŚŝƉŝŶDĞƚĂů͕ϮϬϬϵͬDĂdž'ĂƚŽǀǁĂƌĚ͕ϮϬϬϴ

04

֔ϛҁ ƌƟƐƚͬWŚŽƚŽŐƌĂƉŚĞƌ ĚƵĐĂƟŽŶ͗ hŶŝǀĞƌƐŝƚLJKĨƵŵďƌŝĂ͕&ŝŶĞƌƚ͕ĂƌůŝƐůĞ tŽƌŬŝŶŐdžƉĞƌŝĞŶĐĞ͗ ŝƌĞĐƚŽƌ͕ĂĚŐĞƌĂĚŐĞƌ'ĂůůĞƌLJͬWŚŽƚŽŐƌĂƉŚĞƌ͕dĂŝƉĞŝZĞƉƌĞƐĞŶƚĂƟǀĞ KĸĐĞ/ŶdŚĞh<͕ĚŝŶďƵƌŐŚKĸĐĞ džŚŝďŝƟŽŶ͗ ŝ͘ƚ͘dĂŝǁĂŶΘƌĂnjŝůdžŚŝďŝƚdžĐŚĂŶŐĞKĨzŽƵŶŐƌƟƐƚƐ͕dĂŝƉĞŝ͕ϮϬϭϭͬ'ĞŝƐĂŝ dĂŝǁĂŶηϮ͕dĂŝƉĞŝ͕ϮϬϭϬͬĂŶͲŽŚ&KZDK^͕tĞƐƚŵŝŶƐƚĞƌĐĂĚĞŵLJ͕ >ŽŶĚŽŶ͕ϮϬϭϬͬĂŶͲŽŚ&KZDK^͕ĂŶĚŝĚ'ĂůůĞƌLJ͕>ŽŶĚŽŶ͕ϮϬϭϬͬ'ĞŝƐĂŝ dĂŝǁĂŶ͕dĂŝƉĞŝ͕ϮϬϬϵͬƌƚŵƉĞƌŽƌzŽƵŶŐƌƟƐƚƐ&ĞƐƟǀĂů͕dĂŝƉĞŝ͕ϮϬϬϵͬ ĂƌůŝƐůĞƌƚ&ĞƐƟǀĂů͕ĂŶŬ'ĂůůĞƌLJ͕ĂƌůŝƐůĞ͕ϮϬϬϵͬĞŐƌĞĞ^ŚŽǁ͗dŚŝƐ^ŝĚĞ KĨ^ŽŵĞǁŚĞƌĞ͕ĂƌůŝƐůĞ͕ϮϬϬϵ

05 ‫܈ݓ‬ཏ &ĂƐŚŝŽŶĞƐŝŐŶĞƌͬ&ĂƐŚŝŽŶ^ƚLJůŝƐƚ ĚƵĐĂƟŽŶ͗ ^h͕&ĂƐŚŝŽŶĞƐŝŐŶ͕dĂŝƉĞŝ &/D͕&ĂƐŚŝŽŶĞƐŝŐŶ'ƌĂĚƵĂƚĞ͕> tŽƌŬŝŶŐdžƉĞƌŝĞŶĐĞ͗ ^ĂůĞƐ^ƚLJůŝƐƚ͕ĂŶĂŶĂZĞƉƵďůŝĐͬŽͲKǁŶĞƌ͕<ŝĚnjƚdŚĞŝƐĐŽ

džŚŝďŝƟŽŶ͗ ZĞƐŝĚĞŶƚƌƟƐƚƐWƌŽŐƌĂŵ͕dĂŝŶĂŶ͕ϮϬϭϬͬWŽƐƚĂďĞů͕,ƵĂƐŚĂŶϭϵϭϰ͕dĂŝƉĞŝ͕ϮϬϬϵ

07

ങ࡝ԡ &ŝůŵŵĂŬĞƌͬWŚŽƚŽŐƌĂƉŚĞƌͬƌƟƐƚͬ/ŶƚĞƌŝŽƌĞƐŝŐŶĞƌ

ĚƵĐĂƟŽŶ͗ NCKU, Architecture, Tainan tŽƌŬŝŶŐdžƉĞƌŝĞŶĐĞ͗ sŝŽůĂ͕dŚĞŚŝĂLJŝŝǀŝůKƌĐŚĞƐƚƌĂͬWŝĂŶŽ͕dŚĞŚŝĂLJŝŝǀŝůŚŽŝƌͬ sŝŽůĂ͕EĂƟŽŶĂůdĂŝǁĂŶhŶŝǀĞƌƐŝƚLJ^LJŵƉŚŽŶLJKƌĐŚĞƐƚƌĂͬĞƐŝŐŶĞƌ͕ ^'ƌŽƵƉ džŚŝďŝƟŽŶ͗ dDhŶĞdžƉĞĐƚĞĚŽǀĞƌ^ŚŽǁ͕dĂŝƉĞŝ͕ϮϬϬϳͬŚĞǁĂůů;ϵϱͿ͕d Center, Taichung, 2006

11 ྆ߎొ 'ƌĂƉŚŝĐΘŶŝŵĂƟŽŶĞƐŝŐŶĞƌͬ&ĂƐŚŝŽŶĞƐŝŐŶĞƌ

ĚƵĐĂƟŽŶ͗ zh͕ƌĐŚŝƚĞĐƚƵƌĞ͕dĂŽLJƵĂŶ ,^Eh

ĚƵĐĂƟŽŶ͗ Dh͕ŽŵŵĞƌĐŝĂůĞƐŝŐŶ͕dĂŽLJƵĂŶ :h͕ŽŵƉƵƚĞƌŝĚĞĚDĞĚŝĂĞƐŝŐŶ͕dĂŝŶĂŶ

tŽƌŬŝŶŐdžƉĞƌŝĞŶĐĞ͗ WŚŽƚŽŐƌĂƉŚĞƌ͕^ŽŌ>ŝƉĂdž:ĂďďĞƌůŽŽƉ>ŝǀĞ/Ŷ>ĞŐĂĐLJdĂŝƉĞŝͬWĂŝŶƚĞƌ͕DƵƌĂůKĨ ĞĞΘ<Ƶ͛Ɛ<ŝƚĐŚĞŶͬWĂŝŶƚĞƌ͕DƵƌĂůKĨŽīĞĞ/ŶŶͬ/ŶƚĞƌŝŽƌĞƐŝŐŶĞƌ͕WƌŽũĞĐƚKĨ ZŽLJĂůDŽĚĞůŽƚŚŝŶŐ^ƚŽƌĞͬ/ŶƚĞƌŶ͕͘ŵŽƌĞ^ƚƵĚŝŽ

tŽƌŬŝŶŐdžƉĞƌŝĞŶĐĞ͗ /ŶƚĞƌĂĐƟǀĞƌƟƐƚ͕dĂŝƉĞŝŽƵŶƚLJdƵƌŶŝŶŐKī>ŝŐŚƚƐĨŽƌ ŶǀŝƌŽŶŵĞŶƚĂůWƌŽƚĞĐƟŽŶͬ/ŶƚĞƌĂĐƟǀĞƌƟƐƚ͕dĂŝƉĞŝŽƵŶƚLJ^ƚĂƌƌLJ ^ŬLJ&ŝůŵ&ĞƐƟǀĂůͬdĂŝǁĂŶŶŝŵĂƟŽŶůůŝĂŶĐĞ/^ĞƐŝŐŶͬdĂŝǁĂŶ ůĞĐƟŽŶĂŵƉĂŝŐŶĚǀĞƌƟƐŝŶŐKĨKŶůŝŶĞŽŵŵĞƌĐŝĂůͬŵƐYƵĞĞŶĂ ŽƐŵĞƟĐƐ/ĞƐŝŐŶŶĚtĞďĞƐŝŐŶ

džŚŝďŝƟŽŶ͗ WƌŽĮůĞ͕^ŚĞůƚĞƌŝŶŐ^ŬLJ'ĂůůĞƌLJ͕dĂŝƉĞŝ͕ϮϬϭϬͬWŽƐƚĂďĞů͕,ƵĂƐŚĂŶϭϵϭϰ͕dĂŝƉĞŝ͕ ϮϬϬϵͬϭϬϮϬϯϬ͕,^Eh͕dĂŝƉĞŝ͕ϮϬϬϰ

08 ങᆰප WƌŽĚƵĐƚĞƐŝŐŶĞƌͬ&ƌĞĞůĂŶĐĞĞƐŝŐŶĞƌͬ^ƉĂƟĂů/ŶƚĞƌĂĐƟŽŶĞƐŝŐŶĞƌ ĚƵĐĂƟŽŶ͗ Edh^d͕/ŶĚƵƐƚƌŝĂůĞƐŝŐŶ͕dĂŝƉĞŝ tŽƌŬŝŶŐdžƉĞƌŝĞŶĐĞ͗ WĂŝŶƚĞƌ͕WĂŝŶƟŶŐWƌŽũĞĐƚdžŝŐ^ŝnjĞ džŚŝďŝƟŽŶ͗ ŝƚLJzĞĂƐƚƌĞĂƟǀĞdƌĂŶƐĨŽƌŵĂƟŽŶ͕'ŽŶŐ'ƵĂŶ^ŚŽƉƉŝŶŐŝƐƚƌŝĐƚ͕ϮϬϭϬͬƌĞĂŵ 'ĞŶĞƌĂƟŽŶWƌŽũĞĐƚ͕^ĂŵƉůĞ,ŽƵƐĞ͕dĂŝŶĂŶ͕ϮϬϬϵ

09 ஻ৠ⨍ /ůůƵƐƚƌĂƚŽƌͬƌƟƐƚͬ'ƌĂƉŚŝĐĞƐŝŐŶĞƌͬdŽLJĞƐŝŐŶĞƌ ĚƵĐĂƟŽŶ͗ ^s͕'ƌĂƉŚŝĐĞƐŝŐŶ͕Ez tŽƌŬŝŶŐdžƉĞƌŝĞŶĐĞ͗ &ƌĞĞůĂŶĐĞĞƐŝŐŶĞƌ͕WŚĂůĂŶdž^ƚƵĚŝŽͬ/ŶƚĞƌŶ͕K͘K͘W͘^͘KĸĐĞKĨWĂƵů^ĂŚƌĞͬ /ŶƚĞƌŶ͕ZƵŶŶĞƌŽůůĞĐƟǀĞͬĞƐŝŐŶĞƌ͕ŽŝŶŽŝŶƵŶŶLJƵŶ džŚŝďŝƟŽŶ͗ ϮϬϭϬ<ĂŽƐŚƵŶŐĞƐŝŐŶ&ĞƐƟǀĂů͕<ĂŽƐŚƵŶŐ͕ϮϬϭϬͬϮϬϭϬ^sͬ'ĞƉĂƌƚŵĞŶƚ ^ƉƌŝŶŐdžŚŝďŝƟŽŶΛ͕Ez͕ϮϬϭϬͬŶũŽLJZŽĚLJ͊͊džŚŝďŝƟŽŶŝŶdĂŝǁĂŶ͕dĂŝƉĞŝ͕ ϮϬϭϬͬtZdŽŽůƐ&Žƌ>ŝǀŝŶŐϮϬϭϬ^ƉƌŝŶŐtŝŶĚŽǁ͕^Ž,Ž͕Ez͕ϮϬϭϬͬϭϴŽƉƉĞƌ DĞŶ͕ŽůůĂďŽƌĂƟŽŶtŝƚŚWŝnjnjĂƵƚ&ŝǀĞ͕dĂŝƉĞŝ͕ϮϬϬϵͬdĂŝƉĞŝdŽLJ&ĞƐƟǀĂů͕dĂŝƉĞŝ͕ ϮϬϬϲͲϮϬϬϵͬ^ŝŶŐĂƉŽƌĞĞƐŝŐŶ&ĞƐƟǀĂů͕^ŝŶŐĂƉŽƌĞ͕ϮϬϬϳͬ,<ƐŝĂdŽLJƐdžƉŽ͕ ,ŽŶŐ<ŽŶŐ͕ϮϬϬϲ

džŚŝďŝƟŽŶ͗ 'ƌĂĚƵĂƟŽŶdžŚŝďŝƟŽŶŽĨŽŵŵĞƌĐŝĂůĞƐŝŐŶ͕dĂŝƉĞŝ͕ϮϬϬϵͬtŽƌůĚ sŝƐŝŽŶŚŝůĚWƌŽƚĞĐƟŽŶĚǀŽĐĂĐLJ͕dĂŝƉĞŝ͕ϮϬϬϴ ǁĂƌĚ͗ ϭƐƚ͕zŽƵŶŐdŝŵĞƐǁĂƌĚƐŽŵŵĞƌĐŝĂů'ƌĂƉŚŝĐƐ͕ϮϬϬϴͲϮϬϬϵͬ 'ƌĂĚƵĂƚĞĚϭƐƚ^ĐŚŽŽůKĨĞƐŝŐŶ͕ϮϬϬϵͬDĂƚĞƌƉŝĞĐĞ͕&ƌĞĞůĂŶĐĞ ŽŵŵĞƌĐŝĂů/ŶŶŽǀĂƟŽŶǁĂƌĚĨŽƌĞƐƚŽŵŵĞƌĐŝĂů'ƌĂƉŚŝĐƐ͕ϮϬϬϴͬ DĂƚĞƌƉŝĞĐĞ͕/ŶĨŽƌŵĂƟŽŶdĞĐŚŶŽůŽŐLJDŽŶƚŚWŽƐƚĞƌŽŵƉĞƟƟŽŶ͕ 2008

ᐙ‫ݓ‬ທ

ࠒჿທ

ࠒߞၯ

džŚŝďŝƟŽŶ͗ EŝĐŚĞǁĂƌĚ&ŝŶĂů>ŝƐƚ͕WĞŶŶƐLJůǀĂŶŝĂŽŶǀĞŶƟŽŶĞŶƚĞƌ͕W,/͕ϮϬϭϬͲ ϮϬϭϭͬDĞƚĂůDĞƚĂů^ŚŽǁ͕tĞƌďLJ'ĂůůĞƌLJ͕>ŽŶŐĞĂĐŚ͕ϮϬϭϬͬ^ƚƵĚĞŶƚ ^ŚŽǁ͕zƵŵĂ&ŝŶĞƌƚƐ͕zƵŵĂ͕ϮϬϭϬͬ^ŝĚĞLJ^ŝĚĞ͕Ƶƚnjŝ'ĂůůĞƌLJ͕>ŽŶŐ ĞĂĐŚ͕ϮϬϬϵͬ

10 ဨ‫֗־‬ DƵƐŝĐŝĂŶͬ&ƌĞĞůĂŶĐĞ/ůůƵƐƚƌĂƚŽƌ

‫܆‬ဎၯΙࢲ

06 ࠀࡦԊ WŚŽƚŽŐƌĂƉŚĞƌͬŶǀŝƌŽŶŵĞŶƚĂůĞƐŝŐŶĞƌͬƌƟƐƚ

җᆋၯΙࢲ

tŽƌŬŝŶŐdžƉĞƌŝĞŶĐĞ͗ &ĂďƌŝĐĂƚĞƵƐƚŽŵ:ĞǁĞůƌLJ&ŽƌdŚĞ/<K/<KŽƵƟƋƵĞͬdĞĐŚŶŝĐŝĂŶ͕DĞƚĂů >ĂďͬWĞƌƐŽŶĂůƐƐŝƐƚĂŶƚ͕<ĞůůLJELJĞ^ƚƵĚŝŽ

ՙߞၯΙࢲ

ĚƵĐĂƟŽŶ͗ ^h>͕DĞƚĂůŶĚ:ĞǁĞůƌLJĞƐŝŐŶ͕>ŽŶŐĞĂĐŚ

ϤԀທ

୊ஶၯ

12 ቓ‫ؘࣴ‬ WŚŽƚŽŐƌĂƉŚĞƌͬ/ŶƚĞƌŝŽƌĞƐŝŐŶĞƌ ĚƵĐĂƟŽŶ͗ zh͕/ŶƚĞƌŝŽƌĞƐŝŐŶ͕dĂŽLJƵĂŶ tŽƌŬŝŶŐdžƉĞƌŝĞŶĐĞ͗ &ƌĞĞůĂŶĐĞ/ŶƚĞƌŝŽƌĞƐŝŐŶĞƌͬ/ŶƚĞƌŝŽƌĞƐŝŐŶĞƌ͕dŝĞŶƐ^ƚƵĚŝŽ/ŶƚĞƌŝŽƌ Design džŚŝďŝƟŽŶ͗ ϮϭdžϮϭƌŽƐƐŽǀĞƌ͕ƐůŝƚĞyŝŶLJŝŽŽŬ^ƚŽƌĞ͕dĂŝƉĞŝ͕ϮϬϬϵͬ/ŶƚĞƌĂĐƟǀĞ ĞƐŝŐŶKĨ<ŝĚ^ƉĂĐĞ͕zh͕dĂŽLJƵĂŶ͕ϮϬϬϲͬĂŵ/ŶƐƚĂůůĂƟŽŶƌƚ͕ zh͕dĂŽLJƵĂŶ͕ϮϬϬϱ

13 ᙢ࿯ထ Photographer / Director

opening. 8/6, 14:00 period. 8/6-10/1, 2011 ƟŵĞ͘ϭϰ͗ϬϬͲϮϬ͗ϬϬ

venue. Ѯࠒѿ୊ஶၯΙࢲ351ဴ

6 REC

Sat.

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8/

/RECord, REConstruct, RECode

୊ஶၯ351ဴȂΙැᄂᡛ‫ܘޟ‬υȄ

଄ᓃȃ१ཱིಢᄺϞࡣ१ཱིጡጆȂ ҢӨՌ‫ߒޟ‬क़ȇ ӵѮࠒѿ୊ஶၯ351ဴȄ

ǁĂƌĚ͗ 'ŽůĚǁĂƌĚ͕ϮŶĚĞƐŝŐŶĞƌdŽLJŚĂƌĂĐƚĞƌĞƐŝŐŶŽŶƚĞƐƚ͕ϮϬϬϲͬ^ƵƉĞƌŝŽƌ͕ϯƌĚͲ ϰƚŚĞƐŝŐŶĞƌdŽLJŚĂƌĂĐƚĞƌĞƐŝŐŶŽŶƚĞƐƚ͕ϮϬϬϳͲϮϬϬϴͬ^ƵƉĞƌŝŽƌ͕ĞƩĞƌ dŽŵŽƌƌŽǁĞƐŝŐŶŽŶƚĞƐƚďLJŽĐĂŽůĂdždƌĞdžŝdŽLJƐ͕ϮϬϬϳ

45


ӵձζӵ!!!!!!!!٥၇!!Ο!!ȟ

/there

you are

///////////////////////////////////// photograph + graphic /

sian.yu

/there

you are

/////////////////////////////////////

sian.yu/REC

/there

you are

///////////////////////////////////// photograph + graphic /

sian.yu

06|sian.yu

03

13

04

05

10

09

07

11

01

12

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you are

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sian.yu

08 02

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/RECord, REConstruct, RECode

47


[REC – RECord, REConstruct, RECode ] Aug. 2011 594mm x 840mm, 184mm x 112mm The irregular polyhedron represents the aggregate artists, who all create and take REC as a topic but in different ways. The pointy part of this polyhedron is just like a pen which is writing/record and also a needle which is reading/reconstruct. There is an inverted image of the polyhedron; it means people will have reflections when they received the messages from our creations, and that is recode.

48


49


{ photography }

50


Barcelona, 2011 OLYMPUS OM-1 G.Zuiko 50mm F1.4 FUJIFILM X-TRA 400

51


Barcelona, 2011 OLYMPUS OM-1 G.Zuiko 50mm F1.4 PARADE 100

52


London, 2011 OLYMPUS OM-1 G.Zuiko 50mm F1.4 KODAK Tri-X 400TX

53


Barcelona, 2011 OLYMPUS OM-1 G.Zuiko 50mm F1.4 KODAK Tri-X 400TX

54


London, 2011 OLYMPUS OM-1 G.Zuiko 50mm F1.4 KODAK Tri-X 400TX

55


Tokyo, 2009 OLYMPUS OM-1 G.Zuiko 50mm F1.4 FUJIFILM X-TRA 400

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57


Tokyo, 2011 MINOX GT-E KODAK Tri-X 400TX

58


[ CONCEPT CITY ] Exhibition at REC, Tainan, Taiwan. Dec 18, 2011 to Jan 15, 2012

.4

Barcelona, 2011 OLYMPUS OM-1 G.Zuiko 50mm F1.4 PARADE 100 wood window frame, digital print SIZE: 490mm x 440mm x 50mm

London, 2011 OLYMPUS OM-1 G.Zuiko 50mm F1.4 KODAK Tri-X 400TX wood window frame, digital print SIZE: 490mm x 440mm x 50mm

Nantou, 2011 MINOX GT-E EFINITI UXI 200 Digital print SIZE: 650mm x 390mm x 50mm

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.2

India, 2008 OLYMPUS OM-1 G.Zuiko 50mm F1.4 FUJIFILM X-TRA 400 wood window frame, digital print SIZE: 660mm x 380mm x 50mm

.5

Barcelona, 2011 OLYMPUS OM-1 G.Zuiko 50mm F1.4 KODAK Tri-X 400TX wood frame, digital print SIZE: 710mm x 410mm x 220mm

.3 Tokyo, 2011 MINOX GT-E FUJIFILM S400 wood window frame, digital print SIZE: 530mm x 410mm x 50mm

.7

Tokyo, 2009 OLYMPUS OM-1 G.Zuiko 50mm F1.4 FUJIFILM X-TRA 400 wood window frame, digital print SIZE: 530mm x 410mm x 50mm

62


.6

Barcelona, 2011

Tokyo, 2011

OLYMPUS OM-1 G.Zuiko 50mm F1.4 PARADE 100 wood frame, digital print SIZE: 610mm x 410mm x 170mm

MINOX GT-E KODAK 500T wood frame, digital print SIZE: 460mm x 310mm x 100mm

63


Barcelona, 2011

Yilan, 2011

OLYMPUS OM-1 G.Zuiko 50mm F1.4 PARADE 100 wood frame, digital print SIZE: 410mm x 410mm x 130mm

MINOX GT-E KODAK Tri-X 400TX wood frame, digital print SIZE: 460mm x 310mm x 100mm

64


65


{ painting }

66


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Woman with blue hair, 2011 oil painting 320mm x 410mm

68


Baku, 2011 oil painting 530mm x 460mm

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Baku, 2010 oil painting 240mm x 190mm

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{ information } chronology resume

74


2006

75

year 3 physical model 1/100

[ LO, MAN-FEI MONUMENT ]

2008

year 3 physical model 1/100

[ RE-PROGRAMING GREEN BUILDING ]

year 2 physical model 1/100 3d model

[ CONGREGATE HOUSING ]

year 2 physical model 1/50

[ PROGRAMING – PROBLEM SEEKING ]

year 2 physical model 1/100

[ ARTIST PRIVATE HOUSING ]

year 2 physical model 1/50

[ DORMITARY – ADAPTIVE USE ]

2007

year 1 physical model 1/50

[ PUBLIC LAVATORY ]

CHRONOLOGY /

ACADEMIC DESIGN PROJECTS 2006 - 2009


76

year 3 physical model 1/500, 1/250, 1/100 3d model

[ SENSATION.RAR ]

year 4 physical model 1/50

[ ELDER, DOG AND PARK ]

2009

year 3 physical model 1/100 3d model

[ NCKU ART CENTER ]

year 3 physical model 1/200 3d model

[ ELEMENTARY SCHOOL ]

year 3 3d model

[ COUNTRY HOUSING ]

year 3 physical model 1/100 3d model

[ IDEAL PRIVATE HOUSING ]

year 3 physical model 1/100 3d model

[ COMMUNITY LIBRARY ]


CHRONOLOGY /

EXHIBITIONS, WORKSHOPS, COMPETITIONS 2009 - 20011

77

Advanced NCKU Achievements Books + Exhibition

Advanced Cinemetrics : Generating Space Form, Movement & Time Images TsuenWan, HK

2011

“Liquid Perception of Governor’s Residence ”

2010

INTA Idea for Action Kaohsiung Dynamic Eco-Patch

“ Party of Crossroad ” NCKU Architecture Graduation Exhibition

“ Post Babel ” Cheng-Kung, Chun-Yuan and Tung-Hai Architecture Graduation Exhibition

Cinemetrics International Workshop HK

2009


78

“ Concept City “

The Venice Biennial 13th International Architecture Exhibition Taiwan Pavilion

“ My Dear Crocodile “

“ REC – RECord, REConstruct, RECode ”


resume

EDUCATION Sep 2005 - Jun 2009 /

Bachelor of Science in Architecture, College of Planning & Design, National Cheng-Kung University (NCKU), Tainan, Taiwan

PROFESSIONAL EXPERIENCE REC Alternative Space & Curating Team / Visual Director Department of Architecture, NCKU / Project Assistant Sep 2010 – Jan 2011 / Department of Architecture, NCKU / Teaching Assistant Feb 2010 – Aug 2010 / Côte à Côte Café + Gallery / Service Stewardess Dec 2009 – Jan 2010 / KYLEYU Photography Studio / Assistant Jul 2008 – Aug 2008 / SHENG-YUAN, HUANG + FIELD OFFICE / Intern Aug 2011 – Present /

Nov 2010 – Jul 2011 /

WORKSHOP “ Advanced Cinemetrics : Generating Space Form, Movement & Time Images / TsuenWan, HK ” Mar 2011 “ Cinemetrics International Workshop / HK ” Mar 2009

COMPETITION The Venice Biennial, 13th International Architecture Exhibition, Taiwan Pavilion / Final List, Oct 2010 – Nov 2011 INTA, Idea for Action Kaohsiung, dynamic eco-patch / Honorable Mention, Jul 2009 – Oct 2009

EXHIBITION “ Concept City “ Exhibition of REC Dec 2011 – Jan 2012 “ My Dear Crocodile “ Exhibition of REC Oct 2011 –Nov 2011 “ REC – RECord, REConstruct, RECode ” Exhibition of REC Aug 2011 – Oct 2011 “ Liquid Perception of Governor’s Residence ” Resident Artists Program in Governor’s residence in Tainan County Nov 2010 – Dec 2010 “ Party of Crossroad ” NCKU Architecture Graduation Exhibition Jun 2009 “ Post Babel ” Cheng-Kung, Chun-Yuan and Tung-Hai Architecture Graduation Exhibition May 2009

EXTRACURRICULAR ACTIVITIES Team Leader of Propaganda, Associated Graduate Affairs Student Union 2009 Team Leader of Design and Activity Relevance, Summer Camp 2008 Chief of Girl Basketball Team, Physical Student Union 2008 Chief of Art and Design, Associated Student Union 2008

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YU, SZU-AN

Date of birth / 28 Sept, 1986 Address / 5F., No.107, Ln. 113, Donghu Rd., Neihu Dist., Taipei City 114, Taiwan (R.O.C.) Mobile / +886-912-583-010 E-mail / sanyu928@hotmail.com

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YU, SZU-AN PORTFOLIO 2006-2011


san_portfolio