Portfolio for Graduate Studies in Architecture

Dan Yunni

creative portfolio

Master of Architecture Candidate 1

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Shoshin | from motion to structure

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Inside and Out | rearrangement of an egg carton

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Syncopation | origami works

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Crescente | a sculpture

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Natural instinct | composing

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Past project 1 | vertical

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Past project 2 | poster for the collective exhibition “Graffiti. Maze�

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Past project 3 | logo design for Whyoceans

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Other works

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shoshin

from motion to structure

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shoshin

Figure 2. Movements of the upper arm, the forearm and the katana while performing a soburi

Simple as it seems, the soburi can only be deemed fair had it met criteria of aspects including decorum, speed, precision among others. The following group of diagrams illustrates the moving tracks of the upper arm, the forearm and the katana separately in the said order. (see Figure 2) The strike will then be analyzed based on certain parameters, as is shown in Figure 3.

Figures 1a, 1b, 1c, 1d

Observation: Take the first kata (set of movements) of iaido, “Mae (front strike)� as an example. The strike starts from a static position with the katana (Japanese sword) above the head (see Figure 1a), which will then be thrown to the front in order to perform the strike (Figures 1b and 1c) and rest slightly lower than the bended right knee (Figure 1d).

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Parameter: Force in the small fingers (shade: force+)

Parameter: Katana tip height (shade: height-)

Parameter: Katana tip angle changing frequency (shade: frequency+)

Parameter: Katana speed (shade: speed+)

Attacking amplitude (in shade)

Parameter: Force in elbows (shade: force+)

Figure 3. Strike span according to various parameters

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shoshin

Creating the model: Each one of the single cardboard band signifies one practice strike, by accumulating which an element is formed which connotes both hard work, the only way to achieve excellence and the streamlining movements where the elegance of the art is embedded. Once assembled, the bands will then be joined by a comb shaped connecting piece, thus forming a unit which will then grow into an arch by serial accretion.

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inside and out

rearrangement of an egg carton

Walls are built to separate, barricade, in subjective terms, to close out what doesn’t belong to a certain site. Most of the times, walls are vertically built in order to stand firmly, occupy less space, save costs and be compatible to assorted objects and usage.

What if a wall is not conventional and consistently built, but rather curvy with inbuilt caves? Such “walls� can be seen in the nature as a result of certain geological composition and exposure to wind, water, salts and other matters. Beyond their said basic functions, these unordinary walls perform differently in transmitting and reflecting light, sound and heat. The model inspired by nature explores the functional possibilities neglected in most cases to support, conserve and adapt on one side, while on the other the humility is remained.

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inside and out

Rearranging the sequence: Single egg holders are cut off cartons to be built into a new wall. With the original order broken and space incorporated, the work has evolved in its rhythm and breaths and has become, above these, more active functionally.

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syncopation origami works

Origami and music share a lot of common characteristics, of all the most particular being the limitation of media and the infinitive possibilities therein.

The project starts off as an exercise in creating facets of 3D origami works. During the course of the study, however, a correlation is established between the model and the music played at the moment of its creation. The results of folding, thus, become readable as reflections of the music.

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syncopation

Arvo Part, Magnificat | parchment paper, 2014

Austra, Beat and the Pulse | parchment paper, 2014

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syncopation

Eleni Karaindrou, Eternity Theme | Eternity and a Day, parchment paper, 2014

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Maurice Ravel, Miroir | parchment paper, 2014

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crescente

crescente a sculpture

This first attempt of clay sculpting is created with the intention to capture the torso movement of a female forwarding against great opposing forces.

Crescent clay, 12.4cm (height) 2014

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natural instinct

composing

Natural elements have been introduced into architecture as a symbol of comfort, tranquility and originality. However, the real nature offers a lot more than these qualities, a lot times being it their contrary. In transforming the planet, we expect to have everything in our favor and at our service. We ourselves have posed as the subject and taken the rest of the world as manipulatable objects.

These works are created to examine the relationship between humans and the nature with a switch of positions. Interesting results turn up as the awe for ourselves is ascribed to nature and the worship for epicureanism and convenience suspended.

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natural instinct

How deeply would one rely on comfort and how far would one go for convenience?

Commercial society has it: by promoting autism and private ownership.

The concept behind these two ideas is simple: beauty does not come to us, we go to it. No matter if it is a chair on the hill top with a view of the tree crown, or a theatre set in a decaying cave, in order to appreciate the beauty, one is obliged to undertake the risk and the struggle.

When the value reveals itself in the form of experience, it becomes unmeasurable due to the peerless natural of occurrence. It is, after all, within the randomness and the notion of perishability that beauty is conceived.

Ink on paper, size varied, 2014

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natural instinct

Mixed media on papersize varied, 2014

Departing from the conditions nature impose on us, the following ideas further explore the limits of human surrender by redressing facilities devised and applied by our civilization with metaphorical natural sets.

A court of law where the justice seats in front of no emblem but a tree and the defendant falls literally “into the hands of the mass�; a weaved prison just above a swamp where an inmate moves further away from the danger of falling in but gains altitude and risk at the same time; a cemetery dispersed into an archipelago, where every isle rests a tomb and every tomb is a lighthouse.

None of these ideas is hardly possible to be put into practice, they shall just remain ideas; how we reflect the dumbing convenience in life, however, could be the real game changer.

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natural instinct

Mixed media on paper, size varied, 2014

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natural instinct

A Noble Favela mixed media on paper size varied, 2014

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Inspired by the Brazilian slums, the motive is to create a condominial system while integrating all community functions and make the most out of a given space in crowded urban areas, respecting the diversity of their habitants.

When reviving an old neighborhood, it is essential to consider its own system and characteristics. In such circumstances, an architect’s work should find its base in discovering the potentials and preserving life of the residents, in order to improve it.

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past project 1

Vertical mixed media on paper 18*210cm, 2013

past project 1 vertical

A bed plank found in the street is both the canvas and the source of inspiration of this work.

Using watercolor, acrylic, pastel pencils and pastel pigments, I intended to develop a story out of the texture of the plank by perceiving and reinventing its patterns.

This work is displayed at “Beyond Words�, a collective plastic exhibition for the Macau Literary Festival, 2013.

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past project 2

past project 2

past project 2 Poster for the collective exhibition “Graffiti. Maze”

One of the participating artist myself, I had the pleasure of creating the illustration for the event’s printed materials.

Structured basing on the site plan, the illustration transforms these particularly mounted walls into fluid motions, thus contriving a dreamy scenery. The disarticulation between characters connotes the independency between artists as the deformed mosaics imply the theme of maze.

Illustration: pencil on paper, 27.5*35.5cm, 2014

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past project 3

past project 3 logo design for Whyoceans

Illustration: ink on paper, 27.5*35.5cm, 2013

WhyOceans is a post rock band whose musical works are created with notions of sentimental amplification, secrecy and infulfilledness.

In designing an image to suit the the band’s traits and the members’ personality, I paired a set of impossible prisms to two tangled deers to represent the complex repercussions of the band’s sentimental and somehow vague messages.

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other works

Rui charcoal on paper 29.5*41.8cm, 2014

Old woman pencil on paper 14.8*20.9cm, 2013

Lady and the cat, mix media on paper, 29.3*13.9cm, 2014

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other works

Annunciation mix media on paper 46*38.3cm, 2014 Backstage of a dress rehearsal mix media on paper 36.5*38.3cm, 2014

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other works

Dionysus pencil on paper 35.5*27.5cm, 2014

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Artemis pencil on paper 35.5*27.5cm, 2014

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other works

St. Agostinho Church, mix media on paper, 25.2*17.6cm, 2014 | A hybrid kiosk, pencil on paper, 25.2*17.6cm, 2014

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other works

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Dan Yunni Rua Central n. 33, Edf. Kam Long 4B, Macau S.A.R. yunnidan@gmail.com | (+00853)63595436

PROFESSIONAL EXPERIENCE Legal Translator and Interpreter, C&C Lawyers, Macau, S.A.R., 2011 - present time INTERNSHIPS CCTV-News, editing assistant, 2011 Beijing Investment Promotion Bureau, office assistant, 2011 ACADEMIC INFORMATION: Beijing Foreign Studies University (BFSU) - B.A. in Portuguese Language and Literature, 2011 ART EVENTS GRAFFITI, MAZE - Collective Creative Exhibition, Ox Warehouse, Macau, S.A.R., 2014 BEYOND THE WORDS - Collective Exhibition, Old Court House, Macau, S.A.R., 2013 LOVE FABLES - solo illustration exhibition, Café Xina, Macau, S.A.R., 2012 Illustration/design projects for local musicians INTERESTS Iaido Chinese Calligraphy Culinary

All the works are done at home, except for the last 3 photos.

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Dan Yunni

yunnidan@gmail.com 52

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