Portfolio_Yuyi Si_2021 by Yuyi Si

PORTFOLIO YUYI SI Rhode Island School of Design Master of Design Interior Architecture | Exhibition and Narrative Environment Class of 2021 Contact / ysi@alumni.risd.edu Resume | Portfolio | LinkedIn

PERSONAL PROJECT - INTERIOR AND EDUCATION

PERSONAL WORK, CURIATE AND DESIGN

GOOD NIGHT

YOURS TRULY

Location: CIT Gallery, Providence, RI,U.S. Duration: 2020 Advisor: Prof. Heinrich HERMAN

Location: Yale British Art Gallery, Newheaven , U.S. Duation: 2019/9 - 2019/12; Tutor: Prof. Francesca LIUNI

TERMINAL

Through the “windows” of a tram car museum Location: Dalian City, Liaoning Province, China. Duration: 2021 Advisor: Francesca Liuni, Wolfgang Rudolf

In the design of the tram city museum, the DL6WA carriage is transformed into a collective way for residents and visitors to enhance understanding of Dalian City. This participatory and interactive exhibition project focuses on people and perspectives to critique the typical frozen city museum program.

Located in the Yale British Art Gallery, this exhibition shows artifacts sent as gifts. Display cases and navigational “ribbons” complement Louis Kahn’s modular architecture. The project also focuses on sustainable materiality since it is a temporary exhibition.

PERSONAL WORK

ARTWORKS

62 66

11 19 27 33 43 32 PERSONAL PROJECT - INTERIOR, TECHNOLOGY AND EDUCATION

PERSONAL WORK STORYTELLING AND DETAIL

DON’T YOU SIT DOWN

“KIN”

Connecting Nature in the Providence Public Library

LEONARDO

-- For All the Things I Would Have Done Theme Exhibition Design

Installation projects

Location: Providence Public Library, Providence, RI,U.S. Duration: 20201 Team: Yaminay Chaudhri, Michael Grugl, Chufan He, Wolfgang Rudorf, Yuyi Si, Ni Tang, Liliane Wong

Location: Providence Public Library, Providence, RI,U.S. Duration: 2020 Advisor: Prof. Hannah LIONGREN, Alex HORENSTEIN

Location: 1,2,3 Exhibition Hall,Tsinghua University Art Museum, Beijing,China Duation: 2017/9 - 2017/10; Area: 229 Advisor: Prof. YANG Dongjiang

Duration: 2017, 3/2020 - 6/2020 Tutor: Prof.. TU Shan, Prof. Alban BASSUET

This immersive exhibition focus on narration. It includes analyses, curation and the design of space, along with detailed proposals on digital/physical interaction activities, lighting, material and installation.

Design with computer and handcraft

TEAM WORK - DESIGN AND IMPLEMENTATION

Shades of Jim Crow 1960 -

“Don’t You Sit Down” is a small exhibition of the four stools from the 1960 Greensboro Sit-In. It is the story of the common bond between Jeffrey Fletcher and Ezell Blair (now Jibreel Khazan) in having experienced Jim Crow laws firsthand, but 53 years apart.

Using Rhino for modeling, and Lumion, Enscape for rendering, my proposed redesigning of the Providence Public Library’s first floor into a permanent educational space for daily learning and practice integrates architecture and library function with interactive, live camera and hologram technology.

PERSONAL WORK FABRICATION AND SKILLS

CRYPTIDS

ART WORKS

Gifts and stories -- Yale University Art Gallery Collection

INSTALLATION & FABRICATION

Museum of Bedtime Stories

The design follows the idea of creating an intimate domestic environment that evokes people’s emotional memory and helps with immersing the audience in different scenes; it will lead to more understanding of the idea of this bedtime story moment.

PERSONAL PROJECT - THESIS

"Leonardo ● I -- For All the Things I Would Have Done" -- Theme Exhibition of Da Vinci’s Manuscript BJ, CN. Advisor: YANG

2021

Don’t you Sit Down -- Shades of Jim Crows 1960-

Location: Providence, RI, US. Team members: Yaminay Chaudhri, Michael Grugl, Chufan He, Wolfgang Rudorf, Yuyi Si, Ni Tang, Liliane Wong

. 2017 Dongjiang

This immersive exhibition focus on the story of Da Vinci’s life, audience will encounter him as a company in AI, and help him to collect his manuscript story through each chapter of the exhibition. It integrated with various experiences, including lighting, material and installation design.

“Kin” -- Connect Nature in the providence Public Library

2021

Location: Providence Public Library, Providence, RI,U.S. Advisor: Prof. Hannah LIONGREN, Alex HORENSTEIN

Terminal -- Through the windows of a tram car museum

“Yours Truely” Location: Yale British Art Gallery, Newheaven , U.S. -- Gifts and their stories, Yale University Art Gallery Collection

Location: Dalian, Liaoning Province, China Instructor: Francesca Liuni, Wolfgang Rudolf

Shore Stream Inn -- Rural Reform and Landscape Construction

Advisor: HUANG Yan

2021

Good Night -- Museum of Bedtime Stories

A building reuse project transforming a traditional building into a hotel, focusing on the relationship with nature and tourists’ experience. Use Revit, SketchUp, Photoshop to produce model, drawing and rendering.

2020

Advisor: Prof. Heinrich HERMAN

2019

Located in the Yale British Art Gallery, this exhibition . shows artifacts sent as gifts. Display cases and “ribbons” are modular to Louis Kahn’s architecture. It also focuses on sustainable materialities since it is a temporary exhibition.

11 2017

Fabrication Projects

Duration: 3/2020 - 6/2020 Tutor: Prof. Alban BASSUET

The Jim Crow laws were a collection of state and local statutes that legalized racial segregation. They originated in the post-Civil War era and lasted for about 100 years. On February 1st, 1960, Ezell Blair, Franklin McCain, David Richmond and Joseph McNeil, four Black freshmen from North Carolina A & T State University in Greens boro, NC, frustrated that African Americans were not allowed to sit at the counter of the Woolworth store, politely sat down on the stools of the lunch counter and asked to be served. This nonviolent act of protest for civil rights came to be known as the Greensboro Sit-In.

In 1964, President Lyndon Johnson signed the The Civil Rights Act that prohibited dis crimination based on race, color, religion, sex and national origin.

#DontYouSitDow n @ShadesofJimCrow1960

In October 2013, at a Starbucks in New Haven, CT, Jeffrey Fletcher, an African American police officer in uniform (and collector of arte facts of African American history), was denied the bathroom key after it had just been given to a white customer before him.

Jeffrey met members of the faculty from RISD’s Department of Interior Architecture in February 2020. As a department with a graduate degree in Exhibition and Narrative Environments, we heard his story of Jim Crow and felt compelled to use our discipline to share it with the RISD community and the world. These are four of the stools from the 1960 Greensboro Sit-In that belong to Jeffrey. This is his story and the story of everyone who has experienced segregation, past, present and future

www.Dont YouSitDown.risd.edu

Location: Providence, RI, US.

Shades of Jim Crow 19601

Team members: Yaminay Chaudhri, Michael Grugl, Chufan He, Wolfgang Rudorf, Yuyi Si, Ni Tang, Liliane Wong Jiarui Wu

SITE While our story is about north carolina and new haven, it actually resonates right here in providence. We plan for an exhibition in the museum multi-purpose room. But we have also extended it across the street to the market square, because of the history of market house and the square itself.

Story in 1960

DESIGN Our exhibition consists of two faces of the window: The north main street window will

Quote

Introduction

QR Code

display the mirror silhouettes and quotes from people who participate in the stories in Story in 1960

Story in 2013

Title Wall

(a.) 15 1/2W

Here we also collect stories told by

Same technique

As for typography, we use Evanston

faculty (the

inches seat

people from the 1960’s Woolworth

here for the

Tavern for title, it is the font that was

will have a more in depth understanding of

team)asking

diameter

store, talking about the same event

2013 incident, a

being used in many segregation sig-

the exhibition with the support of the video.

questions about

(b.) 31 7/10L

from different perspectives. There

more complete

nage during the 1960s. It’s inspired

Every stool and character will have a QR

Jim Crow Laws

inches from the

were not only four young men who

story will be find

by the years that prefaced the ratifi-

code, from where people can access the au-

to Jeffrey and

back of the stool

made history but also other people

on the website

cation of the 18th amendment, this

dio and more details of the stories, since the

Ezell (Jibreel)

to the base to

(who joined in these acts of resis-

page.

typeface mimics the signage com-

the floor

tance); everyone is the protagonist

monly seen outside of saloons, tav-

in the story of Greensboro

erns and alehouses. It was designed

1960 and 2013, with a more highlighted dis-

Interview and

Greensboro’s

play of the stools from the Greensboro sit-in.

Introduction

Stools

exhibition and an interview window featuring

Students and

the talk with Jibreel and Jeffrey. Audience

The south wall will have introduction of the

quotes will only provide a few clips without characters’ name to draw people’s curiosity.

with a geometric figure. 3

STORIES AND GRAPHICS

The stories on Market Square span a broad time

middle, tell stories of historical events that occurred

frame of Black resistance to Jim Crow Laws. The

in Providence. The group of six benches tell stories

nine benches on Market Square are divided in two

of life in the Jim Crow era and the persistence of

groups, 6 and 3 according to the square’s layout.

racial disparity today.

The exhibition continues across the street in Market Square, an architecture, which along with adjacent Market House, was directly implicated in the business of slavery a hundred years before its reprogramming into RISD’s campus. Market House and Square were built in the 18th century, at a time when Rhode Island merchants controlled sixty to ninety per cent of the American slave trade. These sites represent the civic architectures of colonial settlements in New England, whose prosperity was dependent on both the trade of black bodies and commodities central to slavery, as well as on the displacement of indigenous peoples from their land. These sites are symbolic of the continued erasures of history, and Black life in Providence.

There will be a panel on the exterior wall of Market House, that talks about the history of the transat-

The exhibition’s core stance that while Jim Crow

lantic slave trade and its connection to the building

laws have been legally removed, soft apartheid still

to provide context for racial discrimination in the

exists in this country.

United States. The group of three benches in the

“

That’s just wrong. Colored water fountains, white water fountains. And so we have to stand up when we go to eat. One day, I will sit down at the lunch counter with white people and I’m going to drink out the white water fountain.

””

— Ezell Blair Jr.

“ “

If there is something that you want to do and in your heart, you know that needs to be changed, modified, or turned upside down, go ahead and do it

— Franklin McCain

And the counters—toothpaste and toilet items that we bought were just across from the other counter. I think it was Ezell, he said, ‘I beg your pardon, but you just served us at this count er Why can’t we be served at the counter right here?’ They refused to serve us.

— David Richmond

”

“

In a very real sense you do what you have to do. And my feeling was if we received no attention at all, that just the act of doing what we felt necessary to do was the im portant thing. If others noted what we were doing, and chose to be a part of it, fine. If no one chose to be a part of it, it was still important for us to make that statement.

”

— Joe McNeil

“

What do you boys want? Why don’t you boys go and stand up over the colored lunch counter like other people?

”

— Waitress

“

We’re closing the store. Everyone’s got to leave. — Manager

”

“

I am just so proud of you. My only regret is that you didn't do this ten or fifteen years ago.

”

— Elderly Lady

”

— Jeffrey’s Colleague

“

That's really strange. She gave this white guy just before you came in the key to the bathroom

I'm sorry. I don't have the key. The key is in the safe. — Starbucks Barista

”

“

...as a black police officer in uniform, to be told that I can’t use the bathroom ..it just brought back so many memories of the early years of civil rights.

”

— Jeffrey Fletcher

People passing by hear and read the stories and reflect on these two incidences.

Photo by Yuyi Si

As humans, we share instincts to look at a mirror and sit on a chair, and the feeling when it’s denied. We hope people can position themselves and the site context in the stories, not only through words.

Photo by Jo Sittenfeld

The mirror material also reflect the present and the Market Square.

Photo by Jiarui Wu 7

Photo by Jo Sittenfeld

Photo by Jo Sittenfeld 9

EXHIBITION ON GOING

We have a website and Instagram account that are keep posting, for example, the process of the exhibition, or the audience’s feedback and our responses. #DontYouSitDown @ShadesofJimCrow1960www.DontYouSitDown.risd.edu

Another comment from anonymous

Anonymous students made memorials and comments on top of all the graphics and benches. This is one of them.

“ We are listening. Thank you for your voice, your feedback and your participation. We have learned a lot in the process of researching and making this exhibition. We are not perfect, maybe not even close, but we are getting better and strive to create a space for voices like yours. “ -- From the team

GOOD NIGHT

Museum of Bedtime Stories

Location: Providence, RI, US. Duration: 2020 Tutor: Prof. Heinrich HERMAN

How do you spend your bedtime? Read a book, listen to audio, or catch someone else’s sleeve for another story? This is an exhibition about bedtime activities. Bedtime stories not only happen between parents and children -- Through observing different forms and themes of bedtime stories told by various people, audiences will see them as a way of making the connection, to both others and oneself, throughout an individual’s life. A wild imaginary world reflects the growth of a person’s mind -- how people prepare for sleep reflects numerous information about perception and growing up. For example, parents comfort children with educational fables; companies strengthen their relationship by sharing their desire; adults seek audiobooks to help with insomnia. The bedtime stories include great adventures of an imaginary world and reveal how the relationships settled during the process.

Room 0 Living Room: Why bedtime story?

Visitors encounter the living room area that talks about the purpose and philosophy reason behind bedtime stories. There are cultural differences and similarities, and they vary in individuals.

PROJECT OVER VIEW

Recording Room

Room of Company

Room of Meomory

Room of Individual

Room of Mind

EXHIBITS Part1 Bedtime story turned into famous novels/book Part2 Most popular stories told as bedtime stories Fairy Tales, Fables, Novels

Discussion Room

Part3 Anonymous Collection: Story, Nationality/Culture, Who tells (mother, father,brother, sisters..) , To whom (daughter, son, girlfriend..etc) Maybe some captions Part4 Recordings Part5 Guide on how to create a bedtime story?

Entrance Story Collection

Living Room

CIRCULATION

Exhibition Preface

Room of Company

Room of Mind

Room of Individual

Exhibition Title Wall

Room of Meomory

Recording Room

Experience Room

Living Room Entrance Exit

Book shelf

AUDIO

CIRCULATION

TEXT PANEL

Exhibition Entrance

Story Collection

“Once Upon a time...”

Don’t forget to listen; the audios are telling old stories.

The props -- books and cabinets are for exploration. Lights are the hints for explorative areas.

ROOM1 | ROOM OF MEMORY This room collects educational stories, reveals family relationships between parents, children, and their siblings. This is a section for children to enjoy and adults to recall memory.

You can sit down and spend time reading any story or article you find.

The cabinets can be open, lights inside will be triggered to help with your exploration.

ROOM 2 | ROOM OF MATURE As people enter adulthood and face the real world, a story is something soothing and relaxing. There are news, gossips, ASMR, audiobooks that help insomnia and daydream syndrome.

Film The Metropolitan inspired me; the ticking clock also emphasizes the resignation of adulthood.

The props -- books and cabinets are for exploration. Lights are the hints for explorative areas.

Sit and listen

“I can’t sleep...” 16

The entrnace of each room will be illuminated

ROOM 3 | ROOM OF MIND

ROOM 3

This is a section for pace change, it features oneself’s imagination world and talks about how stories are created.

The description of each room is on the outside wall.

The audios feature authors talking about their creative process.

“There was a time...” 17

Fluorescent paints

There are audios hidden in the built structures across the whole exhibition space, whispering different stories.

Two different styles feature two distinct characteristics.

“...Happily ever after...?”

ROOM 4 | ROOM OF COMPANY We experience different life periods with the company of stories and people we encounter. This room features adult stories and their creative processes.

Explorative area cen find different stories.

PERSONAL PROJECT - INTERIOR, TECHNOLOGY AND EDUCATION

“KIN”

Connecting Nature in the Providence Public Library 2020

Location: Providence, RI, US. Instructor: Alex Hornstein, Hanna Liongoren

| COASTAL READING ROOM DIVE INTO THE OCEAN OF KNOWLEDGE! BLOCK ISLAND SEAWALL (BLOCK ISLAND, RI) ESTURAINE COAST

| WETLAND BIRD OBSERVATOR TAKE CARE OF THE BIRDS AUDUBON SOCIETY FEEDER (BRISTOL, RI) PALUSTRINE WETLAND

“By kin I mean those who have an enduring mutual, obligatory, non-optional, you-can’t-just-cast-that-away-when-it-gets-inconvenient, enduring relatedness that carries consequences. hol I have a cousin, the cousin has me; I have a dog, a dog has me. “ W

——Donna Haraway

EXHIBITION LAYOUT This proposed redesigning of the Providence Public Library’s first floor into a permanent educational space for daily learning and practice integrates architecture and library function with interactive, live camera and hologram technology.

The intervention follows the shape of the original space to create a subtle transformation while using curves to differentiate the add-ins and original structure.

The plan is arranged in the same typography as live camera’s geographical position and each habitat’s distribution.

| FOREST HIDE AND SEEK

SPACE TRANSFORMATION

WATCH CAREFULLY AND KEEP SOCIAL DISTANCE

The three learning/reading areas feature three nature reserver in Rhode Island. In each section, people will learn to treat wildlife and protect the natural environment through ambient interactions.

GEORGE WASHINGTON WILDLIFE MANAGEMENT AREA FOREST CAMERA

r (BURRILVILLE, RI) O n

ENTRANCE

GET THE SCOP FROM THE FRONT DESK

TEST HOW IT WORKS

WILDLIFE HABITATS AND MAIN EXHIBITS

START TODAY’S EXPLORATION Palustrine(wetland)

Estuarine(coast)

Upland (forest)

MATERIAL

Live Cam in RI FOREST HIDEA ND SEEK George Washington Wildlife ManagementA rea Forest Camera (Burrilville, RI) Uperland forest)

WETLAND BIRD OBSERVATORY Audubon Society Feeder (Bristol, RI) Palustrine wetland

COASTAL READING ROOM Block Island Seawall (Block Island, RI) Esturaine coast

The plan is arranged in the same typography as live camera’s geographical position and each habitat’s distribution.

ORIGINAL SHELL

Materials was selected according to the original building structure. The scoop was transformed from recycled products.

ZOOM

SCREEN

FLASHLIGHT

ORIGINAL SHELL

LEARN

ILLUMINATE 22

Graphics for reading materials and posters. The nearer you are, the less you will see.

COASTAL READING ROOM Just like reading books, marine life need space and quietness.

PRACTISE TO GET ALONG WITH MARINE E LIF

LOOK AROUND TO EXPLORE

BLOCK ISLAND WIND FARM BAS E

TAKE YOUR SEAT AND ENJOY READING

WALK SLOWLY AND KEEP QUIET 24

FOREST HIDE AND SEEK

The closer the distance, the less you will see. Forest wildfires are supposed to be watched with a distance; as long as you stay still on your desk or keep your distance, you will get the chance to encounter surprises and observe animals through your scoop.

WETLAND BIRD OBSERVATORY

a live holographic camera on the feeder at the Audubon Society in Bristol. Frequented by resident and migratory birds throughout the year Species vary depending on the season.

SEE HOW THE BIRD NESTING

FEED IN EARLY SPRING

BIRDS NEED HELP IN WINTER

BIRD MIGRATION

| WETLAND BIRD OBSERVATOR TAKE CARE OF THE BIRDS

AUDUBON SOCIETY FEEDER (BRISTOL, RI) PALUSTRINE WETLAND

WINDOW FOR HIDING EQUIPMENT GAPS

PUSH IN THE DRAWING TO SEND OUT THE FOOD

IF IT DOES NOT WORK -THAT’S THE WRONG FOOD!

WATCH CLOSER THROUGH THE LARGE TELESCOPE

Location: Yale British Art Gallery, Newheaven , U.S. Duation: 2019/9 - 2019/12; Tutor: Prof. Francesca LIUN PERSONAL WORK, CURIATE AND DESIGN

YOURS - TRULY

Gifts and stories Yale University Art Gallery Collection 27

PARTIII GIFTS FROM THE ARTISTS G9

G10 G11

G12

MEDIA WALL

LIGHTING SYSTEM + INSTALLATION The installation is construct with arcrylic, illuminate the street space.

PARTII A WARM WELCOME A seat with heating system, welcome everyone from the cold winter street. This is also a way of attracting people go inside.

PARTI HISTORY &CULTURAL DYNAMICS G7

DESIGN CONCEPT DESIGN CONCEPT f 20

t f 10

t 5f

t 2

f .5

Modular System according to Louis Khan’s architecture

The material and scale of display cases are inspired by gift box and wrap

DISPLAY CASE

DISPLAY FOR 2D

DISPLAY FOR 3D

TEMPORARY TEMPORARY LI DISPLAY FOR 2D

The light fixture and sitting system are inspired by ribbon and the stair cone in the building.

TEMPORARY LIGHTS 29

& SEATS

“GIFT BOX”

DISPLAY CASE COROPLAST

TRANSLUCENT PAPER

DISPLAY FOR 2D

DISPLAY RECEIVER VIEW FOR 3D ARCRYLIC GIVER VIEW RED PAPER GLOSS PROTECTION

DISPLAY WALK BY F WIEW OR 2D

COROPLAST LIGHT BOX

DESIGN DETAILS

TEMPORARY LIGHT RIBBON

PLAN OF SHOWCASE

LIGHT CHAIR

SHOWCASE TYPE1 SECTION

SHOWCASE TYPE2 SECTION

SHOWCASE DETAIL SECTION

SHOWCASE TYPE3 SECTION

SHOWCASE TYPE4 SECTION

The exhibition open after dawn during the Chirstmas season.

“ Ribbon” Lights

Translucent recycled paper with section information

Defination of “Gift”

Self-illuminated “ Gift Box” with exhibit’s information

“ Ribbon” Seats

White polycarbonate board 32

5 33

Participatory Section

Exhibition Section

Rest Area

Exit

TERMINAL

Through the "Windows" of a Tram Car Museum Thesis Project 2021 Location: Dalian City, Liaoning Province, China. Advisor: Francesca Liuni, Wolfgang Rudolf, Fletcher Bach

C URATOR I AL People, Culture, Life and City

After interviewing the citizens, I decided that, just as com-

the past, and to explain how we ended up with the 8city of today.”

muters’ destinations relate to home, leisure, work, school,

daily life, and the moment of transportation itself, the content of this mobile city museum would tell stories from these

“What if the historical societies,de-emphasizing history and put-9

categories, not only drawing the past closer to them but also

ting place - and the people who care about that place - front and

encouraging their participation of the present and the future.

center?” 2

“We want the cities we share to be like. In this light, history is useful to help us understand what worked and didn’t work in 45

8 Tisdale, Rainey. “From the Guest Editor: City Museums and Urban Learning.” The Journal of Museum Education 38, no. 1 (2013): 3-8. Accessed Feb 14, 2021. http://www.jstor.org/stable/43305765.W. 9 Tisdale, Rainey. City Museums and Urban Learning.

C I TY LIFE

EXHIBITIO N P RO G RAM

New ceiling material

Old public phone station

Changed light fixtures

Installation New floor material layer Added transparent screen Building / structure facade The program of the tram car museum has three parts: The adapted DLW300 tram car itself served

Exterior Graphic

as guidance running along the regular line on Weekends and Monday to Friday at noon and night; The other two parts spread out into the city, transforming old phone booths into the participatory station, and adding installations that served as virtual recognition component and intro panel to the building facade.

Driver Room

Adaptation of DLW300

EXHIBITIO N L AY O UT Public space Participatory station Tram rail

Interactive area

Ticket station

Participatory area

Map and mail

G ue s t R oo m

S h a rin g A n d Wa y F in d in g S ta tio n

Window Entrance

Peer Wo r k i n g Room

C u ltu re

M a rk e t

Food

S q u a re

S tre e t

C o u rt

Driver room

I N TER IORS

Sea shell

Existing interior

Exterior Darker, seaside wooden trestle rail, public space

Interior light, intimate. Seashore, sand and shallow water.

G U ES T RO O M

PEER WORKING ROOM

C U LT U R E

MARKET

F OOD

S QU A R E

STREET

C OU R T

Driver room

MAT ER IA LS A N D IN S P IR ATION 49

LE ARNI NG

This space aims to immerse people in the peer working culture of the city by setting up a library-like learning environment. You can pick up and borrow books from the space and read. The reading area was designed in pairs;

Peer Working Room

visitors will have to share one pair of earphones. Some books are participatory prompts; by selecting the particular book, you can listen to different stories of the city’s past. There are also “books” with hidden contents that individuals contributed. 50

XXX-XXXX

H OME

Kàng (炕) is a kind of traditional bed in the living room area in the Northeast region of China. In this space, you can take off shoes and have a cup of tea, listening to the story told by different people. Some are the host of historic residential build-

Guest Room

ings; some are local people and their stories about home and living. You can find numbers in the number book, dia it, and call another person from a different time or place. Be prepared for joy, tears, anger, sorrow, and everything.

S H A R IN G

Spread out in the public spaces, old public phone stations were abandoned not only in Dalian but also in many other cities. The sharing system proposes to use these phone booths as stations on site; you can dial a number to hear others’ stories or contribute your own, or dial the number of your virtual guide continues the story of the place.

EX I T

Leaving and sharing

When you get off the tram, you can pick a map on the shelf for fur-

ther guidance and look at the messages, pictures, photos contributed

by other people’s letters. Besides the maps, a small post office can

use your ticket as a postcard and share/exchange your thoughts

others.

with

IN TE R A C TIO N The interactive pole system corresponds explicitly with the car’s original technical structure (door

60in

pole), the need for safety in mobile spaces, and

40in

human randomness. If people decide to focus on the window sight to learn more about the city, they can go to the window interaction part of each section. When the Transparent screen

car stops, people will be reminded to put on the earphone devices. The audio and content are customized according to the position that people grab on the pole; if the rod was not grabbed properly, no extra information and sound would show up. The seating/experience area’s interaction works similarly to the window interaction.

“老对儿”

Fig. 3 Demostration of the environment, see the animated mock-up here: https://editor.p5js.org/yuyi/present/jVyQYhB2N

As for the content, the characters are assigned randomly according to people’s height to guide eyes to look at essential parts. The other infor-

LǎoDùier

Fig. 1 Live Camera, Amazon.com, accessed May 23, 2021, https://www.amazon.com/Creative-Live-Vista-Webcam73VF042000000/dp/B001BTWNZY. Fig. 2 Transparent Display Screen, Prodisplay.com, accessed May 23, 2021, https://prodisplay.com/products/ transparent-oled-screen/.

mation and explanation will be in their view as well. Another function of the assigned character is to continue the journey outside of the tram. The character has a number so that you can call them again in the phone booth program spread out in the urban space and get more information about the place with a continued audio experience. This part can be found on the full proposal of the tram

Besides the assigned guides,

museum.

the window content also interacts with the actual urban spaces physically. The extra content component works with urban intervention. The live camera recognizes the color frames and shows virtual contents accordingly. Different colors represent different sections in the car that resonate with various slices of life -- in different sections, people will see other aspects of the same street view. 53

7 PERSONA WORK,

SHORE STREAM INN

Rural Reform and Landscape Construction Duration: 2018 Tutor: Prof. Yan HUANG

TRANSFORMATION

OLD AND NEW

INTERIORS

1' - 6"

WIDTH PARAM. 1' - 2"

0' - 2"

1' - 6"

DEPTH PARAM.

LEVEL1 T 8' - 10"

L-1

2' - 0"

TOTAL DEPTH

www.autodesk.com/revit

DEPTH PARAM.

PUBLIC KITCHEN

BAR T-2

134 SF

176 SF

T-2

GLAZED PANEL

T-1 7 A4

1' - 4"

Consultant Address Address Address Phone

Sim

CAPTION: CHAIRS AND TABLE ARE COUNTED AS A GROUP

Consultant Address Address Address Phone

LEVEL 1 0' - 0" 0' - 10"

BAR TABLE AND CHAIRS, PLAN 5 1" = 1'-0"

OUTDOOR TABLE AND CHAIRS, PLAN 6 1" = 1'-0"

Consultant Address Address Address Phone

INTERIOR ELEVATION, LEVEL 1, BAR 1 1/2" = 1'-0"

11 1' - 6"

1' - 3"

0' - 2"

0' - 11"

1' - 3"

TOTAL DEPTH

TOTAL WIDTH

0' - 2"

2' - 0"

2' - 0" 1' - 2"

HEIGHT PARAM.

GLAZED PANEL

0' - 2"

1' - 3"

SOLID PANEL

0' - 2"

1' - 4"

1' - 6"

B-1

CA-1

LEVEL-2 LEVEL 2 10' - 8"

CA-1

L-5

FAMILY ROOM

257 SF

154 SF

S-1 W-1

Description

DOUBLEROOM BATHROOM

BATHROOM

36 SF

W-1

157 SF

184 SF

U.O.LEVEL 2.CLG 19' - 6"

L-5

DOUBLE ROOM

YUYI SI

BATHROOM 12 37 SF

W-1

REVIT FINAL PROJECT

W-1

L-6

LEVEL 2 10' - 8" L-5

L-5

LXI

LXI L-1

BATHROOM

28 SF

29 SF

T-1

DINING ROOM 3

T-1

567 SF

L-3

2 134 SF

T-1

Sim

T-2

L-1

ELEVATIONS, SECTIONS

U.O.LEVEL 1.CLG 9' - 10"

PUBLIC KITCHEN

7 A4

T-2 K-1 7 A4

Sim

Project Number LEVEL 1 0' - 0"

Date Drawn By

Base -3' - 0"

Checked By

BUILDING SECTION 1/4" = 1'-0"

GLAZED PANEL

Date

SOLID PANEL

L-5

HOST BEDROOM

257 SF

B-1

No.

INTERIOR ELEVATION, LEVEL 2, FAMILY ROOM 3 1/2" = 1'-0"

L-7

S-1

0' - 2"

1' - 8"

OUTDOOR TABLE AND CHAIRS, ELEVATION 8 1" = 1'-0"

FAMILY ROOM

SINGLE FLUSH WOOD DOOR 36" X 80"

W-1

L-7

DEPTH PARAM.

BAR TABLE AND CHAIR, ELEVATION 1" = 1'-0"

Consultant Address Address Address Phone

1' - 8"

HEIGHT PARAM.

2' - 9"

TOTAL HEIGTH 1' - 6"

TOTAL HEIGHT

4' - 1" 2' - 10"

HEIGHT PARAM.

2' - 10"

3' - 11"

HEIGHT PARAM.

3' - 3"

0' - 2"

1' - 2"

U.O.LEVEL 2.CLG 19' - 6"

DEPTH PARAM.

0' - 2" 0' - 2" 0' - 10" 0' - 2"

SOLID PANEL

2' - 0"

WIDTH PARAM.

Consultant Address Address Address Phone

LEVEL 2 R 20' - 6"

L-5

TOTAL HEIGHT

0' - 8"

DEPTH PARAM.

1' - 3"

DESIGN DETAILS

0' - 2"

SOLID PANEL

GLAZED PANEL

Scale

FINAL 12.7.2020 Yuyi Si Kylie Bodiya

As indicated

12/7/2020 5:47:17 PM

1' - 3"

L-1

L-3

0' - 2" 2' - 0"

TOTAL DEPTH

1' - 3"

SOLID PANEL L-2

2' - 0"

TOTAL WIDTH

0' - 11"

1' - 3"

GLAZED PANEL

WIDTH PARAM.

0' - 2"

4' - 4"

5' - 0"

WIDTH PARAM.

0' - 11"

1' - 2"

1' - 6"

1' - 3" DEPTH PARAM.

1' - 4"

0' - 2"

TOTAL DEPTH

DEPTH PARAM.

MODEL 61

FABRICATION

CRYPTIDS

Digital & Fabrication Skills

Duration: 2016 - 2020 Tutor: Prof. Alban BASSUET, Prof. Shan TU, Prof. Ernesto APARICIO

FABRICATION

GRASSHOPPER AND RENDERING