Andrew Han SCI_Arc 2 Â 014-16
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Design Studio
Visual Studies
General Studies
Cultural Studies
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1B 2A 2B
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1B 2A
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Statement
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s a second-year undergraduate student, my understanding of architecture is still premature. But the two years did give me reason and meaning towards my work and future. My preconception of architecture before school was neither wrong nor invalid, but simply limited. Through the instruction of practicing architects and the support of school peers, I am indulging in this architectural world. I believe in a certain universal architecture, in which almost anything can be architecturally analyzed. But the difference between good and bad architecture come from design. Design should be able to answer questions. And those questions can derive from many directions. Being able to tackle a system of problems through conceptual solutions is what drives my designs. What do I find most intriguing? Well, I like to interpret space in as many different ways that I can. Through abstract studies of grids and frames, I was able to study ambigous spaces by 2-D to 3-D transformations and vice-versa. Through intentional misreading and abstraction, I am able to create visual and spatial illusions. I like to think architecture is essentially a magic show full of tricks, directing the observer.
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1A Design Studio
Material Strategies for the Physical World Instructor / Mira Henry Fall 2014
Everything failed to subdue me. Soon everything seemed dull: another sunrise, the lives of heroes, failing love, war, the discoveries people made about each other. The only thing that didn’t bore me, obviously enough, was how much money Tim Price made, and yet in its obviousness it did. There wasn’t a clear, identifiable emotion within me, except for greed and possibly, total disgust. I had all the characteristics of a human being–flesh, blood, skin, hair–but my depersonalization was so intense, had gone so deep, that the normal ability to feel compassion had been eradicated, the victim of a slow, purposeful erasure. I was simply imitating reality, a rough resemblance of a human being, with only a dim corner of my mind functioning. Something horrible was happening and yet I couldn’t figure out why–couldn’t put my finger on it. The only thing that calmed me was the satisfying sound of ice being dropped into a glass of J&B. Eventually I drowned the chow, which Evelyn didn’t miss; she didn’t even notice its absence, not even when I threw it in the walk-in freezer, wrapped in one of her sweaters from Bergdorf Goodman. We had to leave the Hamptons because I would find myself standing over our bed in the hours before dawn, with an ice pick gripped in my fist, waiting for Evelyn to open her eyes.
At my suggestion, one morning over breakfast, she agreed, and on the last Sunday before Labor Day we returned to Manhattan by helicopter. Everything failed to subdue me. Soon everything seemed dull: another sunrise, the lives of heroes, failing love, war, the discoveries people made about each other. The only thing that didn’t bore me, obviously enough, was how much money Tim Price made, and yet in its obviousness it did. There wasn’t a clear, identifiable emotion within me, except for greed and possibly, total disgust. I had all the characteristics of a human being–flesh, blood, skin, hair–but my depersonalization was so intense, had gone so deep, that the normal ability to feel compassion had been eradicated, the victim of a slow, purposeful erasure. I was simply imitating reality, a rough resemblance of a human being, with only a dim corner of my mind functioning. Something horrible was happening and yet I couldn’t figure out why–couldn’t put my finger on it.
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1B Design Studio
Conceptual Strategies for the Physical World Intstructor / Anna Neimark Spring 2015
A secret always has a strengthening effect upon a newborn friendship, as does the shared impression than an external figure is to blame: the men of the Crown have become united less by their shared beliefs, we observe, than by their shared misgivings–which are, in the main, externally directed. In their analyses, variously made, of Alastair Lauderback, George Shepard, Lydia Wells, Francis Carver, Anna Wetherell, and Emery Staines, the Crown men have become more and more suggestive, despite the fact that nothing has been proven, no body has been tried, and no new information has come to light. Their beliefs have become more fanciful, their hypotheses less practical, their counsel less germane. Unconfirmed suspicion tends, over time, to become wilful, fallacious, and prey to the vicissitudes of mood–it acquires all the qualities of common superstition–and the men of the Crown Hotel, whose nexus of allegiance is stitched, after all, in the bright thread of time and motion, have, like all men, no immunity to influence. A secret always has a strengthening effect upon a newborn friendship, as does the shared impression than an external figure is to blame: the men of the Crown have become united less by their shared beliefs, we observe, than by their shared misgivings–which are,
in the main, externally directed. In their analyses, variously made, of Alastair Lauderback, George Shepard, Lydia Wells, Francis Carver, Anna Wetherell, and Emery Staines, the Crown men have become more and more suggestive, despite the fact that nothing has been proven, no body has been tried, and no new information has come to light. Their beliefs have become more fanciful, their hypotheses less practical, their counsel less germane. Unconfirmed suspicion tends, over time, to become wilful, fallacious, and prey to the vicissitudes of mood–it acquires all the qualities of common superstition–and the men of the Crown Hotel, whose nexus of allegiance is stitched, after all, in the bright thread of time and motion, have, like all men, no immunity to influence.
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LACA 1B Final Project
He stood over the body in the fading light, adjusting the hair and putting the finishing touches to the simple toilet, doing all mechanically, with soulless care. And still through his consciousness ran an undersense of conviction that all was right—that he should have her again as before, and everything explained. He had had no experience in grief; his capacity had not been enlarged by use. His heart could not contain it all, nor his imagination rightly conceive it. He did not know he was so hard struck; that knowledge would come later, and never go. Grief is an artist of powers as various as the instruments upon which he plays his dirges for the dead, evoking from some the sharpest, shrillest notes, from others the low, grave chords that throb recurrent like the slow beating of a distant drum. Some natures it startles; some it stupefies. To one it comes like the stroke of an arrow, stinging all the sensibilities to a keener life; to another as the blow of a bludgeon, which in crushing benumbs.
Storage
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Archive
Exhibition Space
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O ce CafĂŠ
Lecture Hall CafĂŠ
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Exhibition Space Book Store
Lecture Hall
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2A Design Studio
Formworks: Sites and Contexts Instructor / Jake Matatyau Fall 2015
He buried her beside her husband. After the services were over and the few mourners had gone, he stood alone in a cold November wind and looked at the two graves, one open to its burden and the other mounded and covered by a thin fuzz of grass. He turned on the bare, treeless little plot that held others like his mother and father and looked across the flat land in the direction of the farm where he had been born, where his mother and father had spent their years. He thought of the cost exacted, year after year, by the soil; and it remained as it had been—a little more barren, perhaps, a little more frugal of increase. Nothing had changed. Their lives had been expended in cheerless labor, their wills broken, their intelligences numbed. Now they were in the earth to which they had given their lives; and slowly, year by year, the earth would take them. Slowly the damp and rot would infest the pine boxes which held their bodies, and slowly it would touch their flesh, and finally it would consume the last vestiges of their substances. And they would become a meaningless part of that stubborn earth to which they had long ago given themselves. He buried her beside her husband. After the services were over and the few mourners had gone, he stood alone in a cold November wind and looked at the two graves, one open
to its burden and the other mounded and covered by a thin fuzz of grass. He turned on the bare, treeless little plot that held others like his mother and father and looked across the flat land in the direction of the farm where he had been born, where his mother and father had spent their years. He thought of the cost exacted, year after year, by the soil; and it remained as it had been—a little more barren, perhaps, a little more frugal of increase. Nothing had changed. Their lives had been expended in cheerless labor, their wills broken, their intelligences numbed. Now they were in the earth to which they had given their lives; and slowly, year by year, the earth would take them. Slowly the damp and rot would infest the pine boxes which held their bodies, and slowly it would touch their flesh, and finally it would consume the last vestiges of their substances. And they would become a meaningless part of that stubborn earth to which they had long ago given themselves.
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Precedent Study: Robin Hood Gardens Team: Reina Lin / Andrew Han
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Desert Institute of the Arts 2A Final Project
What was I after all? Near enough what Conchis had had me told: nothing but the net sum of countless wrong turnings. I dismissed most of the Freudian jargon of the trial; but all my life I had tried to turn life to fiction, to hold reality away; always I had acted as if a third person was watching and listening and giving me marks for good or bad behaviour – a god like a novelist, to whom I turned, like a character with the power to please, the sensitivity to feel slighted, the ability to adapt himself to whatever he believed the novelist-god wanted. This leechlike variation of the super-ego I had created myself, fostered myself, and because of it I had always been incapable of acting freely. It was not my defence; but my despot. And now I saw it, I saw it a death too late. What was I after all? Near enough what Conchis had had me told: nothing but the net sum of countless wrong turnings. I dismissed most of the Freudian jargon of the trial; but all my life I had tried to turn life to fiction, to hold reality away; always I had acted as if a third person was watching and listening and giving me marks for good or bad behaviour – a god like a novelist, to whom I turned, like a character with the power to please, the sensitivity to feel slighted, the ability to adapt himself to whatever he believed the novelist-god.
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2B Design Studio Frameworks: Program Instructor / David Ross Spring 2016
He buried her beside her husband. After the services were over and the few mourners had gone, he stood alone in a cold November wind and looked at the two graves, one open to its burden and the other mounded and covered by a thin fuzz of grass. He turned on the bare, treeless little plot that held others like his mother and father and looked across the flat land in the direction of the farm where he had been born, where his mother and father had spent their years. He thought of the cost exacted, year after year, by the soil; and it remained as it had been—a little more barren, perhaps, a little more frugal of increase. Nothing had changed. Their lives had been expended in cheerless labor, their wills broken, their intelligences numbed. Now they were in the earth to which they had given their lives; and slowly, year by year, the earth would take them. Slowly the damp and rot would infest the pine boxes which held their bodies, and slowly it would touch their flesh, and finally it would consume the last vestiges of their substances. And they would become a meaningless part of that stubborn earth to which they had long ago given themselves. He buried her beside her husband. After the services were over and the few mourners had gone, he stood alone in a cold November wind and looked at the two graves, one open
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Front
Back
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Ceiling
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Right
0.21”
3.23”
0.19”
10.44”
0.21”
4.38”
8.36”
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40˚
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8”
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Coop Himmelb(l)au UFA Cinema Center Dresden, Germany 1993-98
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59.2’
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Seats Area Exits Rake Screen
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413 5091 SF 3 2/9 56’ x 30.4’ 77
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1B Visual Studies
Fabrications and Delineations Instructor / Emily White Spring 2015
Looking back on those incidents, he was always appalled by the memory of his passivity, hard though it was to see what else he could have done. He could have refused to pay for the gravy damage to his room, could have refused to change his shoes, could have refused to kneel to supplicate for his B.A. He had preferred to surrender and get the degree. The memory of that surrender made him more stubborn , less willing to compromise, to make an accommodation with injustice, no matter how persuasive the reasons. Injustice would always thereafter conjure up the memory of gravy. Injustice was a brown, lumpy, congealing fluid, and it smelled pungently, tearfully, of onions. Unfairness was the feeling running back to one’s room, flat out, at the last minute, to change one’s outlawed brown shoes. It was the business of being forced to beg, on one’s knees, in a dead language, for what was rightfully yours.
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2A Visual Studies Technologies of Description 1 Instructor / Mira Henry Fall 2015
The point was we took this shit very seriously. They had taken away our flowers, our summer days, and our bonuses, we were on a wage freeze and a hiring freeze, and people were flying out the door like so many dismantled dummies. We had one thing still going for us: the prospect of a promotion. A new title: true, it came with no money, the power was almost always illusory, the bestowal a cheap shrewd device concocted by management to keep us from mutiny, but when word circulated that one of us had jumped up an acronym, that person was just a little quieter that day, took a longer lunch than usual, came back with shopping bags, spent the afternoon speaking softly into the telephone, and left whenever they wanted that night, while the rest of us sent e-mails flying back and forth on the lofty topics of Injustice and Uncertainty.
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2B Visual Studies
Technologies of Description 2 Instructor / Jackilin Bloom Spring 2016
When a woman withdraws to give birth the sun may be shining but the shutters of her room are closed so she can make her own weather. She is kept in the dark so she can dream. Her dreams drift her far away, from terra firma to a marshy tract of land, to a landing stage, to a river where a mist closes over the further bank, and earth and sky are inseparate; there she must embark towards life and death, a muffled figure in the stern directing the oars. In this vessel prayers are said that men never hear. Bargains are struck between a woman and her God. The river is tidal, and between one feather-stroke and the next, the tide may turn.
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1A General Studies
Humanities 1: Premodern to Modern Instructor / Jill Vesci Spring 2015
Humans Drawing Humans Throughout the ancient civilizations of Egypt, Greece, and Rome, humans have always appeared in their practices of art and drawing. One of the earliest drawings of humans is from 1375 BCE. Within the Book of the Dead is the Egyptian drawing “Judgment by Osiris.� It is apparent that this picture is aspective, totally two-dimensional having no depth at all. There also is a hierarchy within Egyptian drawings regulated by scale. These simple flat human depictions develop more as time goes on. The human drawings have spread amongst the world, including Greece. In 600 BCE, Greeks were drawing and sculpting humans just as Egyptians. Their style and technique can be compared to the Egyptians as it seems the Greek have learned directly from them. The Kouros Figure stands similarly to an Egyptian god. The still-life style and noback structure seem evident in which the statue represents a
human, but a static and lifeless one at that. The Kouros Figure is a step above the Egyptians drawings, having a third-dimensional understanding of a human body. The Romans have truly extenuated the human representation through their art and sculpture. The Dying Gaul is a great representation of a human in which emotion and feeling is brought upon the art. The fallen gladiator is shown defeated and depressed, also showing sympathy towards the artist and the Romans. From 220 BCE of the Dying Gaul to 90 CE, there is only so much you can improve. The Young Flavian Woman is a bust sculpture, showing off the popular hairstyle back in the day. But this hairstyle was constructed so delicately, capturing every curl and braid up to the stray hairs on her neck. Only a hundred years later came the sculpture, Emperor Commodus as Hercules. This statue also holds similar delicacy as the Flavian Woman. But Com
modus is far more complex. His hair is very detailed and what not, but so is everything else including his face, chest, lion, and especially the base. But the Romans not only sculpted, but also painted as well. A beautiful mosaic in the Basilica of San Vitale from 547 CE is Emperor Justinian and his attendants. Surprisingly, the most recent of these six images is ironically not the most realistic nor most detailed. Instead this painting, seems to be very primal and two-dimensional on purpose. By the use of simplifying the mosaic, the artist is able to give clear hierarchy starting from the emperor as the front. And by overlapping people, he can give a clear representation of who is more important. The mosaic is drawn intended to float in space and be weightless, have less dimensionality and no perspective. From 1375 BCE to 547 CE, the first and last drawings are the most similar. Well, it is true that over time, human 117
representation in art has developed into a detailed and almost exact replica to the person. But even such skill in replicating humans does not stop artists from depicting them in different ways. Abstracting the human form is a formal choice in which the artist takes a stance and attitude towards. Humans have become so aware of themselves and their image, that it is only natural to abstract the body after being able to perfectly replicate it.
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Young Flavian Woman 90 CE Rome, Italy
Emperor Justinian and his Attendents 547 CE Basilica of San Vitale, Rome, Italy
During the riegn of Flavian emperors, aristocratic Flavian women developed a trend of hairstyle with large ornamented curls and braids.
Within the church’s side walls hold a mosiac of the Emperor Justinian as Jesus and his attendents as his apostles. The emperor stands out with being front-most and by wearing purple. A clear hierarchy is given with the use of overlapping.
Dying Gaul 220 BCE Rome, Italy This Hellenistic sculpture shows the deafeat of the Galatians. Having such emotion within the fallen gladiator, shows Roman sympathy towards the defeated.
Emperor Commodus as Hercules 191-192 CE Rome, Italy Commodus became emperor of Rome in 180 CE, succeeding his father. He is portaryed as Hercules in order to show his strangth and greatness.
Italy
Greece
Kouros Figure 600 BCE Greece - Archaic Period In Greek, “Kouros” means youth, boy, espeacially of noble rank. These statues would typically be in tombs and sanctuaries.
Mediterranean Sea
Judgment by Osiris from the Book of the Dead 1375 BCE Egypt After a death, Egyptians practice “Judgement” in which Osiris, the god of the afterlife, is to determine whether the dead is worthy of “eternal life” or thrown to a “devourer” - a modern equivalent to heaven and hell.
Egypt
Andrew Han
Humanities Assignment 1 / 2015
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1B Cultural Studies
History of Architecture 1: Premodern to Modern Instructor / Michelle Paul Spring 2015
Places of Peace Athena Nike, the Greek goddess of victory, highly resembles the catholic angel with her wings and majestic presence. Much like them, buildings can also be compared through many aspects. The Temple of Athena Nike is still standing in the Acropolis of Athens since around 420 BC. The Cathedral of our Lady of the Angels was recently completed in the spring of 2002 in the US city, Los Angeles. A temple for Nike and a cathedral for Mother Mary, two very similar buildings, are essentially places of worship. Aesthetically on opposite spectrums, these landmarks contain similarities among programmatic and political stances. Many would say a temple and a cathedral is a very private and personal space to worship and pray. But unlike many churches, these buildings would disagree. The Temple of Athena Nike served as a monument to commemorate and worship Nike through a cult
statue. Ironically, this statue did not include her wings making her more human and less angel. But this giant statue sat in the center of the structure, known as the cella, overlooking Athens and all her followers. This structure is also very open, leaving only four columns between Nike and the world. Because of its transparent openness, worshipers may come in and out casually, as a more public space, while some may remain and praise as a private space. Much like the temple, the Cathedral of our Lady of the Angels also provides the same functions. “I wanted both a public space,” said Moneo, “and something else, what it is that people seek when they go to church.” Professor José Rafael Moneo is the Spanish mastermind architect behind the cathedral. He had two main intentions: the Light of God and the sense of journey alone and together. This cathedral being one of LA’s greatest landmarks creates a lot of foot traffic other than
churchgoers. Through Moneo’s design of colonnades, plazas, staircases, and an unusual entry, he was able to create a comfortable combination of public and private space. Having such large public landmarks have political and social effects as well. The Temple of Athena Nike holds much symbolism for Athens and its acropolis. The temple’s construction began around 450 BC, but was rudely interrupted by the Peloponnesian War. It was during the Peace of Nicias in which the temple was finally built. Also known as the Fifty-Year Peace, the Peace of Nicias was a treaty between the cities Athens and Sparta. The acropolis was actually built during the same time of its residing shrines, including the temple of Athena Nike. The temple is also a symbol of harmony between the Ionian and Dorian people while they lived in the acropolis under Athenian rule. Not only is this temple an architectural landmark of peace; its statue of Nike literally holds a symbol 121
of peace, a pomegranate tree branch. In her opposite hand holds a symbol of war, a helmet. Nike held the hopes for victory in peace and power. The Cathedral of our Lady of the Angels does believe in peace as well as harmony. The city of Los Angeles, originally founded by the Hispanics, is now a blended mix of ethnicities and cultures. In order to accommodate the social environment, the architect did not want to take on any certain style of past architecture; instead he went on into a more contemporary style in the post-modern field. Through such design and functionality brings people together from passers-by to worshipers. This cathedral came just in time for Los Angeles, as LA recovers from the 90’s riots. In times of war and riots, two monuments stand together, thousands of years apart, in need of peace. Becoming a symbol of the people and their unity helps society grow for the better. Through the buildings functionality, this 122
coming together of the people can happen. With such great public space, many people are able to access and wander with one another. There are also thousands of people simply viewing these large monuments. The temple being located in the front of the Acropolis and the cathedral being located right next to the Hollywood freeway. From opposite sides of the world, these two buildings are not only a place of worship but a place of peace as well.
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