YIFAN WANG PORTFOLIO 2020

POR TFO LIO A RT + A RC H I T E C T U R E

YIFAN WA N G

© Y I FAN s t u d i o, 2 0 2 0

Architecture & Art Works

Š2020 Yifan Wang All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means whatsoever without express written permission from the author.

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Yifan Wang Portfolio

YIFAN WA N G M.Arch II, SCI-Arc B.Arch, XAUAT (323)336-4270 yifanstudio@yahoo.com https://www.yifan-studio.com/

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STAT EM EN T Page 2

Yifan Wang Portfolio

Yifan Wang graduated from Xi’an University of Architecture and Technology, China, a college with a robust architectural profession. With five years of study, he gained professional architectural knowledge and a unique aesthetic from his architectural background. He also graduated from SCI-Arc with a Master of Architecture(M.Arch II) degree in September 2020. He has studied in several studios with avant-garde design theory and romantic aesthetic.

During the master’s degree, Yifan was focus on the learning and design of digital projects. The guidance from professors has benefited him a lot. He is also very interested in games, visual effects, and other digital forms of art. By frequently visiting ‘Behance’ ‘ArtSation’ ‘Gnomon Workshop’ and Youtube art channels, he has learned several techniques and developed his aesthetic on digital artworks.

There will be some art-oriented architecture projects in this portfolio. The other part will be the learning and design which usually come from tutorials or digital courses and some of my experiments.

His ideal is to work in the CG entertainment industry, and gradually develop and design personal IP, conduct research and design on topics of interest, conceive concepts and produce digital artwork.

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01 EMOTIONAL GARDEN WORLD

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02 P L AY H O U S E

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03 FORMS OF KNOWLEDGE

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ESCAPE ROOM

05 R AMMED EARTH ART GALLERY

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06 CURIOSITIES

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07 C R E AT U R E S C U L P T I N G

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08 SWORD SCULPTING

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09 GEOMETRY STUDIES

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FAT E O R D E R N E RO

11 ROSELEAF WEDDING DRESS

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12 VISUAL STUDIES

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13 D R AW I N G & PA I N T I N G

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14 PHOTOGRAPHY

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01

EM O T IO N AL

G AR DE N

S C I- A rc Gr aduat e T h e sis 20 20

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WORL D

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The thesis is an aesthetic exercise on the disciplinary projects of the garden for Virtual Space. Trying to define new hybridity of nature and a synthetic landscape that contains within its existing flora and bizarre biosynthesis. By creating the flora which evolves not out of the aesthetic preferences of human (the traditional humanist garden) but out of the internal logic of a new code, the thesis wants to replace the process of human aesthetic selection with new thinking.

ADVISOR: M. CASEY REHM SEPTEMBER 2020

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Screenshot in Unreal Engine Level(World_Normal) & Illustrator

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No rma l wo rld

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Fe ar world In the World of Fear, disgusting creatures fill the entire terrifying scene. Bizarre rocks and plants deepen the complexity of the scene.

How to quickly find the portal? I was thinking of Nietzsche’s famous saying “if you gaze long into an abyss, the abyss also gazes into you.”

Screenshot in Unreal Engine Level(World_Fear) & Illustrator

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A ngry wo rld When you are in the Angry world, everything becomes very exaggerated and aggressive.

You can see the endpoint at the start position; however, it will be extremely difficult to control yourself return home (like calming down from anger).

Screenshot in Unreal Engine Level(World_Angry) & Illustrator

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S ad wo rld For the experience of being in the Sad world full of deadly silence, you can walk around to explore, but it seems to change nothing.

As the ice surface rises (time heals all wounds), we can finally return to the normal world.

Screenshot in Unreal Engine Level(World_Sad) & Illustrator

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Surprise wo rld The blooming crystals and the cheerful dynamic environment construct the Surprise world. You can see the nebula surrounds the dome.

Climb the transparent sphere elevator, or walk into the depths of the crystal to enjoy the relaxed atmosphere and a sense of spirituality.

Screenshot in Unreal Engine Level(World_Surprise) & Illustrator

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Render in Unreal Engine Level(World_Normal)

Landsca pe No rma l At the game start, what you can see is the most basic garden scene, which represents the normal inner mood, also helping you meditate better. Wandering here, you will explore the portals to other emotional worlds. By scanning and 3d modeling for things such as organism creatures and other elements of nature, I use a variety of programming languages to create a series of geometric languages, spatial structures, mechanism principles, and process pathways. After that, we can explore the connection between them and our emotional expression. These things are used as tool libraries to compose the levels and design.

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Yifan Wang Portfolio

This project attempts to create a new social game mode in which players can experience this virtual garden world that reflects the different emotional classification. These worlds are composed of remodeling objects, as main plants, rocks, landscapes, boundaries, and so on.

Through the studies of the emotional works, several immersive experiences in the world of different expressions keep changing and playing.

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Basic Texture in World Machine(Terrain_Angry)

Device View in World Machine(Terrain_Angry)

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Yifan Wang Portfolio

Render in Unreal Engine Level(World_Angry)

Landsca pe Angry I used World Machine to create a terrain similar to a crater. Rolling lava and exaggerated dancing materials together created this angry scene.

Players need to climb these weird aggregates and constantly explore the way to the end.

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Render in Unreal Engine Level(World_Angry)

Multiple Texture Layers in Substance Painter(Rock_Angry_Type_A)

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Ro ck _Angry _Ty pe_ A Use Substance Designer and Substance Painter to paint the material of flowing lava together.

At the same time, the detailed rock material and lava texture of bake are displayed in two layers. I only made the animation of the lava material in Unreal Engine.

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BaseColor Texture in Substance Painter(Landscape_Surprise)

Render in Unreal Engine Level(World_Surprise)

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Yifan Wang Portfolio

Landsca pe Surprise I want the enlarged crystal ore body to be the protagonist of this scene. At the same time, the ambient light will dim.

Players will experience the feeling of adventure in it. For this reason, I created a matching venue in World Machine. These materials full of interesting textures will glow each other cyclically.

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Render in Cinema4D & Octane (Use as HDRI background in Unreal Engine)

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By importing a large number of different VDBs, trying to imitate the layering of Nebula.

At the same time, the cold and warm light sources on both sides illuminate the transparent texture of the nebula.

Then I used it as a spherical DHRI map of Surprise to show a magical world.

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Make in Houdini & Render in Marmoset

Here I learned how to use Houdini to make crystals and associated filaments. The metal filaments are generated based on the surface of the crystal ore that has been formed. This makes their existence more reasonable.

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Render in Unreal Engine Level(World_Fear)

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Landsca pe Fear I want the enlarged crystal ore body to be the protagonist of this scene. At the same time, the ambient light will dim.

Players will experience the feeling of adventure in it. For this reason, I created a matching venue in World Machine. These materials full of interesting textures will glow each other cyclically.

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Multiple Texture Layers in Substance Painter(Rock_Fear_Type_A)

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Yifan Wang Portfolio

Ro ck _Fear_Ty pe_A Learned how to use Smart Material in Substance Painter to make this biological texture surface.

I used Zbrush to sculpt various tentacles and biological textures to replace the original rock geometry. The prominent blood vessels and the texture of the eyes are superimposed on the original surface material of the rock, while giving them a slow-moving animation. I think this will deepen the players’ experience of this horrible scene.

Render in Substance Painter(Rock_Fear_Type_A)

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Ro ck _Fear_Ty pe_C Learned how to use Smart Material in Substance Painter to make this biological texture surface.

I used Zbrush to sculpt various tentacles and biological textures to replace the original rock geometry. The prominent blood vessels and the texture of the eyes are superimposed on the original surface material of the rock, while giving them a slow-moving animation. I think this will deepen the players’ experience of this horrible scene.

Multiple Texture Layers in Substance Painter(Rock_Fear_Type_C)

Render in Substance Painter(Rock_Fear_Type_C)

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Render in Unreal Engine Level(World_Sad)

Landsca pe Sad The sad world should be the most artistic scene I designed in Thesis stage. The vertical distance between the snow and the ice lake is constantly changing until it floods all the Landscape.

The white flocculation attached to the surface of the geometry is the focus of the design. During the ascent time, players can observe their relationship with the huge dome and constantly observe their shape.

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BasicColor Texture in Substance Painter(Terrain_Sad)

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02 PL AY

HO U S E

S C I- A RC S p r in g 2 02 0 Vertical Studio Pita

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Yifan Wang Portfolio

Like a child’s game, the fabric of ‘play’ is formed by the intermingling of structures and oddities, realities and parodies, representations and misrepresentations.

This studio is focusing on ideas of ‘play’ as an entry into architectural language. We develop a vocabulary of forms and materials that will unravel living spaces and landscapes embedded with color, texture and ornament. For all that is odd and mundane, there is an architecture full of stuff, and an aesthetic of familiarity and cuteness.

The project for the studio is the design of the Colburn School Campus Expansion, going from the domestic scale of housing to the public sphere of music and theater venues.

INSTRUCTOR: FLORENCIA PITA GROUP MEMBERS: ANDREW STONE, ASYA NUR CELIK, YIFAN WANG APRIL 2020

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Oil Painting Brush Sunset Sea

Oil Painting Brush Prismatic Spring

Oil Painting Brush Sunset Sea

Oil Painting Brush Precious Coral

Oil Painting Brush Split Gem Trace

Final Paint Stro k es

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In varying the application of the paint, we created a series of individual strokes which each had their own characteristics in terms of color, pattern, and thickness.

These respective qualities later informed their application to the project, creating new interplay between the house and its parts.

Yifan Wang Portfolio

Oil Painting Brush Colorful Candy

Oil Painting Brush Red Grouper

Oil Painting Brush Goblin

Oil Painting Brush Ruby Rough Stone

Oil Painting Brush Flying Bubble

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B rush Go b lin

Render in Cinema4D with Octane

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Brus h S plit Gem Trace

Render in Cinema4D with Octane

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Brush Prismatic Spring

Render in Cinema4D with Octane

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Victorian House, 1344 Carroll Ave Angelino Heights

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Modeling in Rhino & Foucus on Details

In order to better study the Victorian houses, I chose the Angelino Heights area of LA to investigate and collect references.I chose a house that I personally like very much to study carefully. I took a lot of photos about architectural details to assist my modeling.

Later, I modeled in Rhino and restored a facade of this house. I focus more on the Victorian details of the houses, extracting their curves and surfaces to construct our architectural design.

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Elevation View in Rhino

Veranda & Tower View in Rhino

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Entrance Gable View in Rhino

Entrance Stairs View in Rhino

Gable Windows View in Rhino

Door in Rhino

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Catalog o f curves We used the Victorian precedence to introduce a catalog of architectural details that introduced a second unique set of characteristics. In applying the brush strokes to the Victorian details, we began developing more informed integrations between the brushes and a select set of Victorian profiles.

Selected Curves in Rhino

Render in Cinema4D with Octane

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Render in Cinema4D with Octane & Combine in Photoshop

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Yifan Wang Portfolio

Co ncert hall Section V iew b y c a nva s The section illustrates the transient circulation through the varying elements of the project based on how one arrives from two sides of the site.

Orienting the site and visitor around a large central canyon space. The smaller chunk model illustrates the transition from flat planar qualities of the Victorian Dollhouse to more volumetric massing of the new work.

The selected Victorian profiles created a more distinct framework for the later incorporated brushes. Withing the dollhouse is the further integration of all elements of the project, connected through a fluid open plan in which the Victorian house supplements the Various theaters in circulation and smaller gathering spaces.

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Render in Cinema4D with Octane

In the final interior, we begin to see how brushes transition between scale and collapse program, space, style, and decoration into more conglomerated architectural elements as one.

In certain views allowing the brushes and the background to be blended together and collapse the space to one.

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Blurring the line between what is read as the closer objects vs to background. Only separating them from one another due to the brushes having different characteristics in terms of texture like we initially aimed to.

Even with constantly blurring the lines between furniture and background the distinct characteristic brushes applied onto the different elements of the house allows the viewer to separate each object according to function.

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Render in Cinema4D with Octane

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Digital Model Render in Cinema4D & Octane

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03 FO RM S

OF

KN OWL E DG E

S C I- A RC 2 GBX S T UDIO

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Yifan Wang Portfolio

Libraries are sites of access, congregation, contemplation, discovery, dispute, research and secrecy that all weave in and out of each other (two containers).

Our argument spills over into a critique against multitasking and pleas for forms of attention associated with surfaces that don’t flicker.

One is lost in the in the canyon and oriented only by void and disoriented by the terrainshostile behavior of disintegrating the center.

INSTRUCTOR: RAMIRO DIAZ-GRANADOS GROUP MEMBERS: ANDREW STONE, YIFAN WANG APRIL 2019

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Render in Cinema4D with Octane

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Mo del a nimatio n

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Terrain BaseColor in Google Earth

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Terrain Studies We studied the very interesting terrains in the world and extracted their textures and elevation maps. Using the Mesh constructed by them to compose our space design is the focus of this project.

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Tower BaseColor Combine in Photoshop and Illustrator

Heightmap Combine in Illustrator

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Pat tern Studies On the basis of topography, we added the black and white relationship of graphics to interpret the changes in space. How these two interestingly combine to form the space design of our library is the core of our discussion.

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Towe r A

The information explosion is far away from serving the needs of the Burgeoning knowledge economy, intensifying the need for quality information and expertise that libraries and librarians have historically provided. This argument extends to the library’s need to foster information-laden forms of life itself.

Libraries are sites of access, congregation, contemplation, discovery, dispute, research, and secrecy that all weave in and out of each other (two containers). Our argument spills over into a critique against multitasking and pleas for forms of attention associated with surfaces that don’t flicker. However, it is important to recognize media revolutions of today as realignments rather than substitutions of library usage.

Combine in Photoshop & Illustrator

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Yifan Wang Portfolio

The information age chips away at the walls of the modern library despite library usage going up. The world has become a library given its access by our pocket-sized smart devices, but now what is the world of the library and its world making properties? The building is read as one cubic mass is not privileging any one side.

Schematically it was 3 steps that structure the articulated terrains. All arranged into the 4 square plan. The void between the square that can eventually be understood as this arrangement once one experiencing the building.

Combine in Photoshop & Illustrator

Tower B

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A person moves horizontally through the building in a variety of program dictated by furniture and framed by scales of spatial type. Toward the periphery one moves around a normative space whose only variation is between contained and scaleless (based on head height) to a manifestation of the terrain which ranges from Occupiable to furniture scale.

This architectural sequence can be read from the outside. The self-same qualities are read in the curtain glass corners while the self-similar articulation which is unique in articulation yet ambivalent to each side.

In plan, the terrain reinforces as well as destroys ideas of center in the 4 square sequences to convey moments of an open public plan to personal efficiency as the experience fluctuates from part to whole.

Combine in Photoshop & Illustrator

Towe r C

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Tower D

One is lost in the canyon and oriented only by void and disoriented by the terrain hostile behavior of disintegrating the center.

The most important aspect, however, is how these experiences create a platform of personal insight. That is to say, learning about the world is being in the world and how you might play a better role‌.it is a void space that establishes collection and rejection which privileges the emerging autodidact with a curated immersive world where one experiences inquiry with the experiential relevance of dream rather than entertainment‌hence, virtual reality allows us a place to return. Thus, the experience culminates in sensible knowledge which may now interface with reality.

Combine in Photoshop & Illustrator

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Render in Cinema4D with Octane

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Physical Model

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04 ES CAPE

RO OM

S C I- A RC Fal l 2 019 Ve rt i cal Studio Michael Rotondi

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Leonardo will time travel, using one of his inventions, a time machine, to Los Angeles, today. The Escape Room will be the portal to the present day and the gateway into the complex of labs and workshops (Project 2-see below) employing both atoms (matter) and bits (light) that will play his inventions and principles forward, with the help of collaborators. To escape the room the team of 6 players will need to learn about Leonardo and his works.

We define our indoor escape game as a loop that requires players to try to escape. If the player does not make certain choices, they will be trapped in a loop. They can only reach the next area if they do something in certain areas of the agency.

INSTRUCTOR: MICHAEL ROTONDI TEAM: YIFAN WANG, YIXIN ZHANG, JUNKAI LIU APRIL 2020

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05 R AM M ED

EART H

X AU AT 4 A S T UD IO

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ART

G AL L E RY

Yifan Wang Portfolio

Rammed earth construction in China has a long history and profound cultural heritage. It is the original intention of this project to design a rammed earth cultural exhibition hall with traditional and modern colors in the countryside with such historic background. Our research on the town of Merlin and the research on the architectural styles of the earth’s dwelling houses and surrounding dwelling houses draws on the local architectural style and materials for refining and redesigning, bringing the new buildings into a modern environment.

We use “rammed earth” as an element of space and art with ornamental value. Designing some interesting spaces in the streamlined spaces is something we constantly explore and improve. In the meantime, we also study a great deal about the effect of material and texture on architectural performance in this program.

INSTRUCTOR: JUN MU, WEI JIANG GROUP MEMBERS: YIFAN WANG, LIHUI HAO JANUARY 2016

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Fujian soil is mainly red soil, loess-based soil is very suitable for ramming the city walls, is the ideal building materials. Sticky, yellow sandy soil more sandy, can reduce the shrinkage to reduce the cracking of the wall; also suitable for firing tiles, strong wear-resistant, waterproof moisture.

Located in the subtropical region, superior hydrothermal conditions, texture and wood production. Cunninghamia lanceolata is the main species of the subtropical conifer, growing fast, fast material, high yield. Easy to process, good structural properties, wood-containing shirt can be anti-moth-eaten, better breathability, is the ideal building materials, a wide range Page 92

of applications. Millennium Chien Shan, underwater million years pine - Centennial pine as the basic material, fir construction superstructure.

We take “earth” as the basic material, “ramming” as the basic process, a lot of manual operation practice. Our pleasures with the emotions of natural materials and the construction itself lead us back to the arts and crafts as a hobby of our interest in architecture. At the same time, the traditional Chinese artisan spirit can take root in the hearts of our classmates.

Yifan Wang Portfolio

Meilin town is located in the northwest of Nanjing County, with a total area of 109 square kilometers. Three groups of streams from south to north into the book teach Creek, mountain long highway runs through the whole territory. Yuan, Ming and Qing Dynasties, Merlin is home Renli Merlin. The town has a more winding roadway, with the level of residential buildings on both sides scattered, giving visitors a very good experience. On this basis, the design should make people feel better around the unique style.

It has a long history and many cultural relics and historic sites. The town has more than 900 square earth-towers, which have been hailed as the “Earth Tower Kingdom”, the beautiful

“South Hua Yan”, the unique “Tianhou Temple” and the national heritage conservation unit “ House “and” Huaiyuan House “, has now been included in the” World Cultural Heritage. “ Meilin Town is close to the Tropic of Cancer (TGR). According to the analysis of the horizontal sunlight map, Meilin Town has abundant solar elevation change throughout the year, which is good for space design. At the same time, the height of the sun is high for a long time and shade and ventilation need to be considered.

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06 C U RIOSI T IE S S C I- A RC 2 G AX S T UDIO

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“The art of the plausible discloses consensus about the way things are; but it also can make a new reality sensible: accessible both to feeling and reason. It not only matches, but mobilizes Rancière’s model of fictions as ‘material rearrangements of signs and images...relations between what is done and what can be done.’”

INSTRUCTOR: FLORENCIA PITA GROUP MEMBERS:YIFAN WANG, JIAOYUE ZHAO OCTOBER 2018

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BaseColor Texture Combine in Photoshop & Illustrator

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Render in Cinema4D with Octane

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07 C REAT U RE

S CU L P T IN G

GN O MON WOR KS H OP Co urse b y Dominic Qwek

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AUGUST 2020

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Render in Cinema4D Octane & Combine in Photoshop

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Render in Cinema4D Octane & Combine in Photoshop

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08 SWO RD

SC U L PT IN G

Co n ce pt art wor k by Tosca K aiser

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OCTOBER 2020

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Geometry Render in Cinema4D with Octane

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Concept art work by Tosca Kaiser

Final Render in Marmoset

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09 GE O M ETRY

ST U DIE S

S C I- A rc S h an gh ai De s i gn Co urse

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INSTRUCTOR:STEVEN MA, XUANJI LI MAYA SCULPTING PROJECT JULY 2017

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Render in Maya with Keyshot

Geometry Evolution Make in Maya

Render in Maya with Keyshot

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Modeling & Render in Maya

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Modeling & Render in Maya

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3D Printing Processing

Original Modeling in Maya & Processing in Rhino

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10 FATE

ORD E R

N E RO

S C I- A rc S h an gh ai De s i gn Co urse

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INSTRUCTOR:STEVEN MA, XUANJI LI MAYA SCULPTING PROJECT JULY 2017 Order Pattern from Fate Extra Page 127

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Geo metry Fa mily Tree I created several line-based modules in Maya, and then used them to compose the library of the family tree of geometry.

It is very interesting and attractive to use the combination of these to design.

It is the research direction of this design to continuously create rich geometric bodies through mirrored tools and effectively combine different tool groups.

Render in Maya with Keyshot

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11

RO S ELEAF

WE DDIN G

S C I- A rc S h an gh ai De s i gn Co urse

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DR E S S

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INSTRUCTOR:STEVEN MA, HIMMEL WANG MAYA SCULPTING PROJECT AUGUST 2017

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Ge ome t ry Family Tree I created several line-based modules in Maya, and then used them to compose the library of the family tree of geometry.

It is very interesting and attractive to use the combination of these to design.

It is the research direction of this design to continuously create rich geometric bodies through mirrored tools and effectively combine different tool groups.

Render in Maya with Keyshot

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Prototype Modeling in Maya

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Growth and Variation of Geometry in Maya

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12 V ISUAL

ST U DIE S

P e r s onal Vis ual S t udies & Graphic Design

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2018 - 2020

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Modeling & Render in Cinema4D with Octane

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Phlegm D esi g n

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Modeling & Render in Cinema4D with Octane

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THe Light C av e

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Make & Render in Houdini

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Colo red Tra i ls

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Make & Render in Houdini

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M ic rocos mic l an ds c ape

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Modeling & Render in Cinema4D with Octane

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Dragon sculpture This is my first sculpture. I shaped the most primitive geometric shapes in Maya. Then I sculpted the details in Zbrush. Then I sculpted complex terrain for the effect of the scene.

Render in Cinema4D with Octane

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Render in Cinema4D with Octane

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Modeling & Render in Maya with Arnorld

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Storyboard by Yifan Wang & Jiaoyue Zhao

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MODERN LEVIATHAN What if ambiguity begins to behave like a human? What if the nonsense become necessity? Modern Leviathan is a metaphor of the evolution of slightness.

Rather than applying traditional architectural design philosophy, which pays more attention to context, the project goes to a critical perspective to amplify and intensify the feeling of ignored objects in our mundane life, which are essentially important to us.

Chaos stands for uneasy, subtle state between the real world and the imaginative era. Who can tell us the truth? Only the audience can nd out.

Combine in Photoshop & After Effects

Render in Cinema4D with X-particles & Cycles4D

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Make & Render in Cinema4D with X-particles & Cycles4D

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Make & Render in Cinema4D with X-particles & Cycles4D

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Make & Render in Cinema4D with X-particles & Cycles4D

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Make & Render in Cinema4D with X-particles & Cycles4D

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Make & Render in Cinema4D with X-particles & Cycles4D

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Make & Render in Cinema4D with X-particles & Cycles4D

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Render in Cinema4D with Octane

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Materia l and lighting In these rendering trainings, I downloaded the available models without materials for rendering. I did not do the Modeling.

I rendered the style map of the sports car theme, and tried to make carbon fiber material and car paint material here. Since the model provided is closer to a toy car, I also tried to build a miniature version of the scenery and environment.

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Render in Cinema4D with Octane

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Materia l and lighting In these rendering trainings, I downloaded the available models without materials for rendering. I did not do the Modeling.

I studied and made a style drawing on the theme of Dark Souls and practice on bronze statues. My work here is mainly dark style lighting and material production.

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13

D R AW I NG

& PAIN T IN G

P e r s onal Vis ual S t udies & Graphic Design

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A digitally created painting, based on some Cosplay photos and the original Saber Bride settings. On the left is the original draft of the painting.

2012 - 2020

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Pencil Sketch, Courtyard of Master of the Nets Garden

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Architecture & Art Works

Pen and Watercolor painting, Studio Design

Pen and Watercolor painting, the circular courtyard in the Chinese Tulou

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Pen and Watercolor painting, Museum Studies

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Pen Sketch, living room sketch

Pen Drawing, tree painting performance

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Pen Drawing, large indoor scene performance

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Marker painting, interior design

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Marker painting, Architecture & Landscape design

Pen drawing and marker pen painting

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Pencil Sketch

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14

PH OTOG R AP H Y P e r s onal ph otogr aphy wo rk s and practice

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Photography allows me to focus more on the understanding of color, light and shadow and space. Capturing a specific shot is also the deconstruction and re-cognition of complex scenes to me.

2018 - 2020

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Photography in Tibet, China

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Mount Everest under the Galaxy

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Architecture & Art Works

Snow-covered Sapporo city, Hokkaido, Japan

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Downtown, Tianjin / Night view of Mount Hakodate, Hokkaido

Golden Gate Bridge at sunset, San Francisco / Los Angeles night scene

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Architecture & Art Works

Artistic performance at the filming scene

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Architecture & Art Works

Thank y o u

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Š2020 Yifan Wang All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means whatsoever without express written permission from the author.

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