Yifan Deng GSAPP MSAAD 19' Portfolio

Ex-pose

columbia university gsapp yifan deng

isn’t it fascinating to cut through to unwrap a building to see the space the flow the story happening to see its past to see its future

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1 bilateral spectrum 2 labor, govern, $ 3 hopi shelter i illusion of one WTC ii bandshell iii parallelogram chair iv event tool v time/sublime vi nature/animism/culture vii cantilever chair viii section of long museum

1 C:\GSAPP\SUMMER2018\Studio led by Daisy Ames

Bilateral Spectrum Yifan Deng, Yutong Li

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2 C:\GSAPP\FALL2018\Studio led by Bernard Tschumi

Labor, Govern, $ Museum of the ILO Yifan Deng, Jie Hu

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concept

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Shake-hand Excercise

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Final Review

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Group Axon

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3 C:\GSAPP\SPRING2019\Studio led by Kersten Geers, Andrea Zanderigo

Hopi Shelter

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midterm

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― ― ― ― ― ― ― ― ―       ―  ―   ―  ―  ―   ―  ―   ―  ―  ― ― ―  ― ― ― ― ― ― ― ― ― ― ― ― ― ― ―  ― ― ― ― ― ― ― ― ―      ―  ―   ―  ―   ―  ―   ―  ―   ―  ― ― ― ―  ― ― ― ― ― ― ― ― ― ―     ― ― ― ―  ― ― ― ― ― ― ― ― ―      ―  ―   ―  ―   ―  ―   ―  ―   ―  ― ― ―  ― ― ― ― ― ― ― ― ― ― ― ― ― ― ―          ― ― ― ― ― ― ― ― ―       ―  ―   ―  ―  ―   ―  ―   ―  ―  ― ― ―  ―  ―  ―  ―  ―  ―    ― ― ― ― ― ― ― ― ―  ― ― ― ― ― ― ― ― ―       ―  ―   ―  ―   ―  ―   ―  ―   ―  ―   ―  ― ― ―  ― ― ― ― ― ― ― ―    ― ― ― ― ― ― ― ― ― ― ―  ― ― ― ― ― ― ― ― ― ― ―       ―  ―   ―  ―   ―  ―   ―  ―   ―  ―   ―  ― ― ―  ― ― ― ― ― ― ― ― ― ― ― ― ― ― ― ― ― ― ―  ― ― ― ― ― ― ― ― ― ― ―        ―  ―   ―  ―   ―  ―  ―   ―  ―   ―  ―   ―  ―  ―  ― ― ― ― ― ― ― ― ― ― ―   ― ― ― ― ― ― ― ― ― ― ―  ― ― ― ― ― ― ― ― ― ― ― ― ― ―         ―  ―  ―   ―  ―   ―  ―   ―  ―   ―  ―   ―  ―   ―  ― ― ―  ― ― ― ― ― ― ― ― ― ― ― ― ― ― ― ― ― ― ― ― ― ― ― ― ―  ― ― ― ― ― ― ― ― ― ― ― ― ― ― ―     ―  ―   ―  ―   ―  ―  ― ― ― ―  ― ― ― ― ― ― ― ―  ― ― ― ― ― ―     ―  ―   ―  ―   ―  ―  ― ― ―  ― ― ―    ― ― ― ― ― ―  ― ― ― ― ― ―     ―  ―  ―   ―  ―   ―  ― ― ―  ― ― ― ― ― ― ― ― ―  ― ― ― ― ― ―      ―  ― ―  ―   ―  ―   ― ― ― ―  ― ― ― ― ― ― ― ―  ― ― ― ― ― ―    ―  ―   ―  ― ― ― ―       ― ― ― ― ― ― ― ― ― ― ― ― ―       ―  ―   ―  ―   ―  ―   ―  ―  ―   ― ― ― ―  ― ― ― ― ― ― ― ― ― ― ― ― ― ― ― ― ― ― ― ― ― ― ― ― ―      ―  ―   ―  ―   ―  ―   ―  ― ― ― ― ―  ―  ― ―     ― ― ― ― ― ― ― ― ― ― ― ― ― ―      ―  ―   ―  ―   ―  ―   ―  ― ― ― ― ― ― ― ―

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― ― ―       ― ― ― ― ― ― ― ― ― ― ― ― ―       ―  ―   ―  ―   ―  ―   ―  ―  ―   ― ― ― ―  ― ― ― ― ― ― ― ― ― ― ― ― ― ― ― ― ― ― ― ― ― ― ― ― ―      ―  ―   ―  ―   ―  ―   ―  ― ― ― ―  ― ― ― ― ― ― ― ― ― ― ― ―      ― ― ― ― ― ― ―      ―  ―   ―  ―   ―  ―   ―  ― ― ― ―  ― ― ― ―

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C:\GSAPP\SUMMER2018\Metropolis led by Ife Salema Vanable

Workshop Essay

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One World Trade Center or Freedom Tower, David Childs, Daniel Libeskind, SOM 2014-2015) It was my first time visiting the southernmost part of Manhattan. My first encounter with One World Trade Center was a random Google search of the keyword of its name and the Google map 3-D version of the southern part of the island. Pictures of the façade revealed that it was likely highly reflective. Like many façades of highrise buildings, it looked as though it would easily produce light pollution in the city. A look at the 3D version of the map reveals two sections of Manhattan where tall buildings are heavily concentrated. From these areas building heights gradually decrease until reaching a more uniform height across the island. One World Trade Center is in one of the two sections, among the most important parts of the City.

I planned to reach the building by the number 1 subway line, one of the oldest metro lines that connect the crucial points of this island from north to south. After getting up from the underground, I found myself in a typical and comfortable old style block in which buildings are made with brick façades and are typically not higher than 6 floors. Following the path that the map instructed me to take, suddenly the upper part of One World Trade Center appeared in sight, standing behind these relatively normal buildings. As I continued towards One WTC, the surroundings become more interesting: a spring pool decorated with Jeff Koon’s pink metal sculpture, beautiful graffiti, the aggressive World Trade Center Transportation Hub designed by Calatrava and the memorial pool.

The memorial pool gives a rather heavy tone but there are visitors surrounding everywhere in the site. Different elements are conflicting with each other in the site: old and new, heavy and light, high-rise and low-rise. It’s a public, sun-shined area with the sound of water and breeze going by. Countless visitors are passing by, talking and smiling. You know the place suffered a terrorist attack, but the security personnel and facilities, together with the solid podium standing at the site provide consolation and comfort.

Michael Kimmelman has described the design of One

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World Trade Center as nearly an impossible task: it should be a tower at once somber and soaring, open and unassailable, dignified but not dull.1 However, in some ways, David Childs and Daniel Libeskind managed to solve the “impossible task”. The tower is a combination of two contradictory elements, a detail-less, reflective, geometric top and a solid, cubic podium with a detailed transparent façade. It’s been said that the design has been denied by the public and changed for many times, a weird cubic podium have to be added to the elegant tower which makes no continuity at all is a pity, being pessimistic about these compromises architecture have made. But this contradictory feature inevitably exists in the building. Being the tallest tower in the area, it takes up the responsibility of acting as a scenic spot which has to be open and beautiful. But in the meantime standing on the exact ground where a tragic historical event took place, enough protection needs to be provided in order to comfort the public and the thousands of people who work inside the building. To me, one of the most interesting parts of architecture is the smart way seemingly conflicting issues are tackled. To meet different needs – openness and security at the same time, with specific tectonics and materials.

The tower plays with a series of conversions between openness and closed space. In the elevator of the building, animations are screened in the closed interface. It shows how the structure of the building dissolves and the scene that rising visitors would have seen in the sky. And as a part of the observation tour, in a dark and tiny space on the 102nd floor, a projection show is screened on the wall. After seeing a cut of a beautifully designed collaging animation projected, most visitors don’t realize that the gloomy room will suddenly get illuminated because of the rise of the wall. With a slight exclamation from the visitors, the real scenery of the New York City is totally unveiled in front of them through the transparent glass wall. The moment is a wonderful miniature of how One World Trade Center is playing with the sense of open and closed. The podium most successfully demonstrates this combination of the two seemingly contradictory concepts by creating a sense of “opened security”.

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The podium of the tower is a place where publicity and safety come together. The transparent glass podium façade is cut into more than 4000 small panels that are 13 feet by 2 feet, arranged through a series of vertical lines, each rotated at a specific angle. They form beautiful curves as a whole. The pleated glass panels give the impression of being light-weight. The delicate composition of it evokes the image of origami or a sequence of dynamic flying wings. By aligning the panels along vertical lines, the façade is giving out a growing up tendency. The vertical tendency seems to be an echo of the two traditional façade with vertical line standing by One WTC. It is a two-layer façade with white-horizontal louvers in the inner façade. The interesting thing is that the whole façade is divided into three layers - the Marble tiled base, the lower louver part and the upper smooth part with geometrically cut shapes. So when people look far from the building, the lower part is hidden by the other buildings so that only the smooth façade is seen with less detail. But when people come closer, since the proportion of scale and distance changes, there is much more detail in the lower façade so that it feels more pleasant. When at the bottom of the building looking upward, because of the perspective angle, the lower façade ends at a not noticeable height which had made a beautiful connection between the two parts.

what a traditional bunker might look like, instead of giving out a pleasant transparent look. But by noticing that one cannot see through the steel slats, you know there is a reliable base behind it, not a fragile glass wall.

By entering the lobby, the spatial experience is quite in sequence with the first impression of the façade. It is a lobby with a rather high height and the interior of it are all whitewashed, giving a delicate, light-weight impression. The vertical line is also introduced into the interior design through the thin, vertical windows emitting bars of sunlight and the white marble wall decorated with vertical steel stripes. Every detail in the lobby is persuading people to forget about the heavy, concrete feature of the base. When you turn your head up and notice the whole row of lights turned on in the middle of a sunny day, the truth that the lobby is still protected in an opaque barrier becomes realizable because it requires extra illumination to ensure enough brightness indoor. The tall, solid but whitewashed interior gives a special but pleasant feeling. With the light bars on the wall, it is giving a sense of transparent and the solid white wall is giving out a sense of security.

In conclusion, open and closed, the seemingly contradictory features are actually working together and made a consistency through the specific design method. A special experience of “opened security” is created within the base of One World Trade Center, working on the exterior and interior of the podium part at the same time. The opaque barrier gives a sense of closure and security while the light, transparent facade and the whitewashed interior give a sense of publicity and openness. These tectonics help One World Trade Center to fulfill the image which it is supposed to show to the public.

As it is introduced by the designer company, SOM, the podium is 186 feet tall and is clad in triple-laminated, low-iron glass and horizontal, embossed stainless steel slats. The podium’s heavily reinforced concrete walls serve as a well-disguised security barrier2. So the seemingly light-weight white louver inside is actually defensive steel slats. The glass façade dancing with delicate moves and with such a breathable arrangement are also protective three-layered masks of the base. Entrance to the building is limited. The one on the south side is closed and guarded most of the time, and the only entrance for the public is at the west side of the building with many people queueing for the observation trip. But because of the façade, it’s hard for people to realize at first glance that what stands behind the light-weight impression is a blast-proof concrete bunker, a solid podium. So the design of the façade is dissolving the resistant feature of

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[1] MICHAEL KIMMELMAN. (2014, NOV 29). A SOARING EMBLEM OF NEW YORK, AND ITS UPSIDE-DOWN PRIORITIES. THE NEW YORK TIMES (ONLINE) RETRIEVED FROM https://www.nytimes. com/2014/11/30/nyregion/is-one-world-trade-centerrises-in-lower-manhattan-adesign-success.html [2] “ONE WORLD TRADE CENTER / SOM” 14 SEP 2016. ARCHDAILY. ACCESSED 21 JUN 2018. <HTTPS://WWW.ARCHDAILY.COM/795277/ONEWORLD-TRADE-CENTER-SOM/> ISSN 0719-8884

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C:\GSAPP\FALL2018\Transformable Design Methods led by Matthew Davis

Bandshell Danielle Nir, Yifan Deng, Liu Chewei, Minjung Ku, Yifang Zuo, Chenxian Wu, Mengxi Liang, Xiaoxuan Su, Suheng Li, Yating Yang, Anqi Liang

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A transformable structure that could provide ample shelter while rapidly and efficiently being deployed. With this in mind, our team decided to design a rapidly deployable bandshell for performances. To achieve this goal our design had to incorporate multiple key elements â&#x20AC;&#x201C; it had to be lightweight, structurally supportive and portable while being visually interesting.

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Our vision foresees this structure being used as a stage for performances in natural settings, such as musical festivals or parks. The design also provides opportunities to incorporate performance lighting systems along the inside of the arched ribs.

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C:\GSAPP\FALL2018\Transformable Design Methods led by Matthew Davis

Parallelogram Chair Yifan Deng, Mengxi Liang, Xiaoxuan Su, Yating Yang

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C:\GSAPP\FALL2018\META TOOL led by Dan Taeyoung

Event Tool Yifan Deng, Shuang Bi

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If design always happening in a medium, what the medium usually is? For our modern people, it’s always on the computer screen. Hand drawing, drafting, physical modeling are gradually getting away from many of us. Inevitably, digital modeling brings a lot of convenience and new options, but it also let our primitive tools hands, being left out a little. The motion of cutting, pasting, measuring, drafting, rotating fulfilled by feeling and touching had been substituted by dull operations on keyboard and mouse, turns into array, offset, boolean and 3d print. We are trying to bring an experimental environment that is both high efficiency and “hand - inspired“, which can finally alter the design output.

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Developed in grasshopper with the support of PaperHopper, a medium for prototyping new architectural design tool.

A tool which can turn design process from the daily staring the 3d modeling software in the screen, hitting keyboard and clicking mouse to play with body and hands on a physical table environment. An event planning tool which user can select and arrange furniture from the side and put into multiple spaces. Criteria under each space turn from red to green if a certain condition is satisfied.

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Primitive Prototype Massing model design tool with hand gesture identified by leap motion.

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C:\GSAPP\FALL2018\Metroolitan Sublime led by Sandro Marpillero

Essay - the Time in Sublime

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The Time in Sublime Yifan Deng Metropolitan Sublimes December 19th, 2018

modern aesthetic tradition (and in the work of Newman): the sublime. It is the feeling of ‘there’.4 It’s in a sense of the Kantian sublime in which he suggests formlessness that is intrinsic in the sublime. Lyotard turns to Kant to form the basis of this argument that the sublime is the only mode of artistic sensibility to characterize the modern. When imagination fails to process what is seen, the mind tries to reconcile this failure with reason.5 Surrealist paintings are trying to get away from the constraints of figurative representation. The elements that1 are least defined have infinite compositions. In Kant’s Critique of Aesthetic Judgement, he states that one cannot response the power of infinite might or absolute magnitude within space and time because they are pure ideas. But one can at least allude to them, or ‘evoke’ them by means of this what he baptizes a ‘negative presentation’. 6 Lyotard also synthesizes Kant’s interpretation of “negative presentation”. We can manage to determine a color of a sound in terms of vibrations, by specifying a pitch, duration, and frequency. But timbre and nuance are precisely what escape this sort of determination.7 Timbre and nuance introduce a sort of infinity, the indeterminacy of the harmonies within the frame determined by this identity.

As Lyotard stated it in the article Newman: The Instant, there are different site of time relate to a picture. The time it takes the painter to paint the picture, the time it required to look at and understand, the time it refers to or tells, the time it takes to reach the viewer after the production, and finally, the time the painting is.1 In Newman’s essay The Sublime is Now, he says: the concern with space bores me. I insist on my experiences of sensations in time – not the sense of time, but the physical sensation of time.”2 Just as he said, the works from Newman are giving an unexpected answer to the question of time is the picture itself.

Newman describes his visit to the mounds built by the Miami Indians in south-west Ohio and the Indian fortifications at Newark, Ohio in August 1949. ‘Standing before the Miamisburg mound – surrounded by these simple walls of mud – I was confounded by the absoluteness of the sensation, by their self-evident simplicity.’ Beyond the site there is chaos, nature, rivers, landscapes…but here you get a sense of your own presence. Since then Newman gets involved with the idea of making the viewer present: the idea of “Man is present”.3 Newman’s space is not triticale of a sender, a receiver and a referent. The message ‘speaks’ of nothing; it emanates from no one. It falls from a prehistory, or from an a-history. It does not ‘recount’ on any existing event, nor referring figuratively to any scene known by the viewers. There are dimensions, colors, lines – but there are no allusions. What can one say on seeing these space? The ‘Ah’ for exclamation or the ‘Look at that’ for surprise. Expressions of the feeling which does have a name in the

Bernard Newman reaches the effect of sublime by evoking a sensation of time itself with an extremely simplified composition of color block and zips, while Edward Hopper is reaching another sense of sublime with his accurate catch, extract and express a specific instant of the American culture.

Interestingly, Hopper was included into the Ashcan school who painted and calling attention to slum conditions. But Hopper rejected the focus and never embraced the label. He states that his depictions of city streets were painted in a totally different spirit, “with not a single incidental ashcan in sight”.

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Edward Hopper, Nighthawks, 1942. Oil on canvas, 33¼ x 60 in. (84.1 x 152.4 cm), The Art Institute of Chicago

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George Bellows, Cliff Dwellers, 1913, oil on canvas.

Los Angeles County Museum of Art

Vincent van Gogh, Café Terrace at Night, 1888

An establishing shot from “Homer vs. the Eighteenth Amendment”, one of several references to Nighthawks in the animated TV series The Simpsons

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In responding to this, sarcastically I made a collage, inserting the “realistically coarse” figures and activities from George Bellows’ Cliff Dwellers, one of the most famous Ashcan School drawings into the Nighthawks. While breaking the deliberately edited clean, perfect street view in the original drawing, the contrast between these decent figures in the bar and the slum-based people is strong, conveying a strange sense of inappropriate. Through the collage, I attempt to “taking people back to the street” to simulate the possibly real condition of the scene. Real life lies in between Hopper and Ashcan School’s representation of American cities, for they respectively exaggerate the idealized, movie scene-like feature and the dirty, unbearable corner in them.

As Barter Judith described Hopper’s clarity of vision, it has become strongly associated with a particular brand of American realism, was the product of a rich and unexpected combination of influences. “Nighthawks merges qualities of French Impressionism, Postimpressionism, and Surrealism with a strong sense of American individualism born from the essays of Ralph Waldo Emerson and shaped in crucial ways by the populist politics, film noir, and hard-boiled fiction of the 1930s.” Hopper distilled all of these sources into the Nighthawks.8 Impressionism provided Hopper with an understanding of humanity and emotion lies in modern life. In Edouard Manet’s At the Cafe, for example, there is an ambiguity of connection and disconnection between the hero and heroine in the drawing. This ambiguity in relationship echoed in the Nighthawks where the beautiful woman and the handsome man are perching at the counter with the hand close to each other but not clear. Hopper’s chose of contemporary human behavior and city scenes are intermediating, recording, editing, and expressing the everyday world around him, and these scenes inevitably exist in every viewer’s world. In this way, he is able to evoke a certain

emotion among the audiences.

As for the scale within the drawings, Hopper eschewed the tall buildings and urban panoramas that other modernist painters such as Charles Sheeler and Georgia O’Keeffe portrayed. Instead, the small buildings around Greenwich and Seventh avenues, where he saw the all-night diner featured in Nighthawks,9 provided the appropriate scale for his paintings of modern American life, a scale close to human perceivable, a scale that is more evocative.

Post-impressionist experiments with color were another influence on Hopper. His admiration of Vincent van Gogh led to his powerful use of color.

The complementary colors are arranged to heightened their abilities to resonance with viewers. In a physical description of Nighthawks that his wife wrote, how vibrant colors play importantly as a hint of the narrative in the drawing are informed: Night + brilliant interior of cheap restaurant.

Bright items: cherry wood counter + tops of surrounding stools; lights on metal tanks at rear right; brilliant streak of jade green tiles ¾ across canvas at base of glass of window curving at corner. Light walls, dull yellow ocre door into kitchen right.

Very good looking blond boy in white (coat, cap) inside counter. Girl in red dress, brown hair eating sandwich. Man nighthawk (beak) in dark suit, steel grey hat, black band, blue shirt (clean) holding cigarette. Other figure dark sinister back-at left. Light sidewalk outside pale greenish. Darkish, old red brick houses opposite. Sign across top of restaurant dark Phillies 5¢ cigar, picture of cigar. Outside of shop dark green. Note: bit of bright ceiling inside shop against dark of outside street - at edge of stretch of top of window.10

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Apart from his use of color which creates a sense of emotion, Hopper incorporated mood and modernity through the use of architecture and angles that have a strong effect. His paintings resemble the early works of Giorgio de Chirico, whose strong architectural elements like sharp angles, details, and shadows, together with the simplification of the silhouette-like human figure are creating cinematic, haunting sensation.

As the poet Mary Oliver put it, in Emerson’s model of experience, “All the world is taken in through the eye, to reach the soul, where it becomes more, representative of a realm deeper than appearances: a realm ideal and sublime, the deep stillness that is, whose whole proclamation is the silence and the lack of material instance in which, patiently and radiantly, the universe exists.”11 To a profound extent, Hopper used the Emersonian language of “experience” to describe his own process of art-making. In a 1939 letter to the director Charles Sawyer, for instance, he reflected: “I am interested primarily in the vast field of experience and sensation which neither literature nor a purely plastic art deals with. My aim in painting is always, using nature as the medium, to try to project upon canvas my most intimate reaction to the subject as it appears when I like it most; when the facts are given unity by my interest and prejudices.

Why I select certain subjects and not others I do not exactly know, unless it is that I believe them to be the best mediums for a synthesis of my inner experience.”12 The style of popular gangster movies such as Scarface (1932) and etc. are profoundly influence Hooper’s composite of the drawing. All of these movies employed the cinematic techniques of early film noir, which included prominent use of angles, shadows, patterns of light, and scenes shot through and framed by windows and doorways. These films feature scenes set largely in bars, diners, and restaurants. Action takes place on wide streets with

sweeping corners and in front of store windows, all accompanied by soundtracks that are remarkable for their frequent, long periods of silence. If there should be a background soundtrack for Nighthawks, that might possibly sounds like a standard gangster movie.13 Hooper’s drawing is a kind of selected, filtered and modified realism. What lies in Hopper’s drawing is also having the feature of the Kantian sublime.

One drawing represents a fixed scene with a specified time, figure and location. But elements from a drawing are co-expressing an emotional sensation rather than a plastic ordinary corner in the city. The emotional sensation is evoking the infinite possibilities in the re-presentation of it. There was an establishing shot from “Homer vs the Eighteenth Amendment”, one of several references to Nighthawks in the animated TV series The Simpsons. It is one of the mass re-presentations which push the same diner scene forward to a contemporary one.

It seems that these scenes Hopper depicted could also be anywhere and anybody else, able to evoke a resonance with the viewer’s own experience. Or to say his works portraying seemingly trivia, ordinary slices of the city are following the same rule to reach a distillated capture of Americanness.

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[1.3.4.5.7] Lyotard, Jean-Francois. 1998. The Inhuman. Cambridge: Polity Press.

[2] Art In Theory. 2009. Oxford: Blackwell.

[6] Kant, Immanuel. 2013. The Critique Of Judgment. Lanham: Start Publishing LLC. [8.9.13] Barter, Judith A. 2007. Edward Hopper.

Paris: Flammarion.

[10] Hopper Record Book 11, Whitney Museum of American Art, 95.

[11] Mary Oliver, introduction to Emerson, Essential Writings, xiv.

[12] Hopper to Sawyer, October 29, 1939.

From top to bottom: Edouard Manet, At the Cafe, 1878, oil on canvas, Collection Oskar Reinhart “Am Romerholz” Giorgio de Chirico, The Mystery and Melancholy of a Street, 1914, oil on canvas, Private Collection Film still of Barbara Stanwyck and Fred MacMurray in Double Indemnity. 1944, Everett Collection

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C:\GSAPP\FALL2018\Metroolitan Sublime led by Sandro Marpillero

Nature/Animism/Culture

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Hinge #1

Yifan Deng

I interpret the animism mask into a deep sea fish that have a lamp in front of its head. Since there is hardly any light in the deep sea, this fish might be a leader of the fishes. As I am imaging myself wearing the mask, a co-exist of mine and the fishâ&#x20AC;&#x2122;s spirit is created. By taking the walk from Avery to Hudson River at dawn, I try to perceive things like how the fish would perceive. That is why I emphasize the light condition varies from each area, which it might be very sensitive to.

In the artifact, the coarse rugs represent natural conditions(trees, water) while the smoother fabrication represents the urban condition. Intersections of areas are hinted by brass bars, the golden balls indicate the light source while the transparent pins show the density of encounters during the walk. The orange lines are the visualization of the path and the direction of perception.

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C:\GSAPP\SPRING2019\Generative Design led by Danil Nagy

Cantilever Chair Yifan Deng, Guangyu Wang

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1. Geometry boundary

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4. Divide line to get inner nodes

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Section of Long Museum

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Submitted on May 15th, 2019 to the Graduate School of Architecture, Planning and Preservation at Columbia University in partial fulfillment of the requirements of the degree of M.S. Advanced Architectural Design Copyright by Yifan Deng and collaborators, 2019. yd2461@columbia.edu yifandeng.com

Ex-pose