DIALOGUE BOROU (ANNA) YU YALE SCHOOL OF ARCHITECTURE MARCH II CANDIDATE / TSINGHUA UNIVERSITY, CHINA BACHELAR OF ARCHITECTURE / UNITED KINDOM ARB/RIBA PART I QUALIFICATION Thank you for reviewing ! EMAIL: anna.yu@yale.edu TEL: +1(203)8099236
DIALOGUE SCENE DESIGN @ YALE DRAMA SCHOOL
ILLUSIONS OF MOTION Film-making @ Yale Drama School
ARCHITECTURE DESIGN 1 TANZETHEATRE IN CHINA DANCING AND VIEWING 2 THE NEW ARCHIVE STUDENT CENTER AT GALLAUDET UNIVERSITY 3 LONELY COLLECTIVITY RECOVERY CENTRE FOR TRISTIMANIA 4 FLIPPED ROBOTIC ARM CUTTING PROCESS STUDY
DESIGNER vs DANCER ARCHITECTURE vs SCENE
5 SUCCEDANEUM OR REPLENISHMENT WANGFUJING CONFERENCE CENTRE 6 OTHER WORK
THE THREE PENY / LONDON / VERSION II Bertolt Brecht, 1928
SCENE DESIGN
Concept Design & Model Making @ Yale Drama School
Individual work Instructor: Professor Michael Hulcy Yeargen Professor Riccardo Hernandez Year: 2018
THE THREE PENY / LONDON / VERSION II Bertolt Brecht, 1928
ACT I
ACT II
ACT II
ACT III
THE GLASS MENAGERIE / NEW YORK Tennessee Williams, 1944
THE THREE PENY / LONDON / VERSION I Bertolt Brecht, 1928
THE THREE PENY / LONDON / VERSION III Bertolt Brecht, 1928
SALOME / GREEK Oscar Wilde, 1891
WHO’S AFRAID OF VIRGINIA WOOLF / NEW ENGLAND Edward Albee, 1962
PAGLIACCI / WATER TOWN IN CHINA Ruggero Leoncavallo, 1892
THE AMERICAN PLAY / WASHINGTON Suzan-Lori Parks, 1993
ACT I
ACT II
ACT I
ACT II
ONE FLEA SPARE / LONDON Naomi Wallace, 1995
ACT I
ACT I
ACT I
ACT II
TIMON OF ATHENS / GREEK William Shakespeare, 1605
ACT I
ACT I
ACT I
ACT III
THE CHERRY ORCHARD / WASHINGTON Anton Chekhov, 1904
ACT I
ACT II
ACT I
ACT II
ILLUSIONS OF MOTION Film-making @ Yale Drama School
Individual Work Instructor: Professor Wendall Harrington Year: 2018
Illusions of Motion is a short documentary intrigued by the New York Subway systems. Vehicles expand and compress our experience of time and space, illusions emerge from intersections of stillness and movement. In this film the illusions are categorized into four parts: Into the Dark Moving on the Track Abandoned Classicism Switch of Scenes. This film is on Vimeo: https://vimeo.com/328993097
1 TANZTHEATRE IN CHINA DANCING AND VIEWING Collaborative Studio Collaborators: Min Jiajian Instructor: Professor Wang Hui Year: 2016 My Work: Concept Design 70%, Research Study 70%, Modeling 50%, Rendering 40% TANZTHEATRE IN CHINA is designed as an innovative and experimental performance centre for modern dance in Shanghai, China. This project explains the way how dance matters in the combination of human experience and architectural space. The connection of space, events and movements of human being leads to form architectural interpretation. The documentary “Pina Bausch”, in memory of the First Lady of Modern Dance in Germany, is the basic foundation of the design. And the specific scenes from the documentary are prototypes of Pina Bausch’s choreography. The experiments from previous modern dancers lead to the translation from prototypes of Pina to architectural language. They are combined logically into sequences, then form a performance hall. At the same time, the auditorium is deliberately designed for creating the best place of watching the scenes of specific prototype. The balconies in the auditorium are connected with corridors, which stands for the editing process in documentary. As audiences could choose their own path of watching the performance, it is a process of personal interpretation of the performance and the building.
VIEWING THE CITY
VIEWING FROM THE CITY
PLAN The building is a place of viewing the city. The auditorium provide a perspective of viewing the city. Audiences could see the skyscrapers, bridges and the Huangpu River through the frame. Dancers view the common city life from the backstage. It's dramatic to see various events happening in the prototypes of the city in one building at the same time.
1 Performance Center 2 Gucheng Park 3 Oriental Pearl TV Tower 4 Shanghai Tower 5 Shanghai World Financial Center 6 Shanghai IFC
A pedestrian could enjoy different views before enjoying the performance. First, they enter the field from the street and see the facade of the theatre's backstage. When they pass the river in the field, they see the inner courtyard of the theatre. Finally, from the entrance at riverside, they get into the audience hall, and wait for the performance while facing the front stage.
DIALOGUE
CONSTRUCTION SYSTEM
Dance is a way of interpreting architecture.
Dance, dance, otherwise we are lost.
TANZTHEATRE WUPPERTAL PINA BAUSCH
ABSTRACT
PROTOTYPE
Unlike common theatres, the Tanztheatre in China provides abstract spaces for dancers. Those might provide them with more possibilities beyond familiar stages. The f irst step is to generate prototypes. In Red is not a color, Bernard Tschumi cited the four urban prototypes, including parks, streets, towers and skyscraper, blocks. Here in the documentary Pina Bausch, dance is performed in typical urban environments, including cafĂŠ, woods, tunnel, roof of building, city plaza and factory. T h e s e c on d s t e p i s t o m a ke former prototypes concrete and vivid. these typical scenes of dance sessions are transformed from dance to architecture. The special elements are concreted by architectural components in three dimensions.
In traditional aesthetics, Chinese paintings are always viewed horizontally. As the architecture locates in China, a traditional way of constructing is imitated. For the performance hall, parallel high walls perpendicular to the cornice are set up at first, then specific stages are embedded in, which provides the performing hall with a clinic extension. Finally the backboards are inserted to some parts of the hall, differentiating the arena and the backstage vaguely. The auditorium allows audience with a specific trajectory, limited by walls and ramps, while they can choose a custom way in the track. The changing process of walking leads to change of view in perspective and distance, thus changes the observed content. During the process, audience participate in the production of artistic meaning, with free interpretation to the dance theatre and modern dance.
STAGE AND AUDIUTORIUM DIAGRAM
WATER YARD Dancing Scenes
Dancing Scenes
Dancing Scenes
Dancing Scenes
Dancing Scenes
Dancing Scenes
In this project, the structure of layers, which is common in traditional architecture design, is blurred. The performance hall is divided vertically, and space for dance falls on flat interspersed plates. Forming the dance space, abstract prototypes those derived from Pina Bausch’s Tanztheatre connect logically as a sequence for movements and events. And adjacent prototypes lead to an integrated dance scene.
The water yard seems to remind people of Chinese traditional Garden. When Water yard mirrors the stage, the moonlight crosses the skylight window, they represent illusion scene in Chinese culture, which lead the audience to think whether they are stepping in others' dream, or others are dancing in theirs. Water yards put dancers and audience in different location, they could only get a view of each other but are unable to create communication.
DACING SCENES STAGES FROM PROTOTYPES
Tunnel
City Plaza
Kontakthof
Kontakthof—Mit Teenagern ab 14
Roof with Sunlight and Somber Room
Vertical Lines and Glass Box in Woods
Kontakthof and Cafe Muller
Kontakthof—Mit Damen und Herren ab 65
Regular Stage
City Plaza
Vollmond
Kontakthof—Mit Teenagern ab 14 and Vollmond
SECTIONAL PERSPECTIVE OF STAGE AND AUDITORIUM
+24.000 +20.000
River View Lobby +16.000 +12.000 +8.000 Changing Room
-0.500
Backstage
Equipment
+4.000 Âą0.000
Storage
The auditorium is deliberately designed for creating the best place of watching the scenes of specific prototype. And the balconies in the auditorium are connected with corridors, which stands for the editing process in documentary. As audiences could choose their own path of watching the performance, it is a process of personal interpretation of the performance and the building.
BACKSTAGE
BACKLIGHT
Performers chage scenes from the stage or through backstage. Citizens could view the backstage through the semi-transpanrent facede.
When viewing into the backlights, people see hazy scenes. And they yearn for seeing the performance. Everyone is a dancer in the city, along a personal path.
2 THE NEW ARCHIVE STUDENT CENTER AT GALLAUDET UNIVERSITY Collaborative Studio Collaborators: Taiming Chen, Justin Tsang Instructor: Professor Joel Sanders, Professor Sunil Bald Year: 2018 My Work: Concept Design 30%, Research Study 50%, Modeling 30%, Rendering 20% The New Archive is situated in the new heart of the Gallaudet’s development in Washington D.C., it is consisted of three major segments that are derived from the corresponding studies of three pairs of traditional and current activities, learnt from the university’s archive and campus. This project is interested in the revelation of Gallaudet’s past that informs the present, and how this might reinforce the relationship between the University and the surrounding neighbourhood.
RESEARCH MAP: CAMPUS, NEW HEART AND FRONT PORCH
gton D.C., three pairs of us. and how this urhood.
MIXED-USE (CAMPUS CONNECTOR)
MIXED-USE (CAMPUS CONNECTOR)
GATEWAY (“FRONT PORCH”)
UNION MARKET
UNIVERSITY USE
ENTERTAINING LIVING LEARNING EATING
Laundry Tradition when College Hall was still a dormitory for students, every weekend they would pass down their laundry along the staircase. Eventually, this became a traditional social event at Gallaudet.
1:30 p.m. Gallaudet Museum Exhibition Opening: Gallaudet at 150 and Beyond 8:30 p.m.-Closing, Light up
6 9 3
2
7
Gallaudet at 150 and Beyond Exhibition Take a photo with four colorful stained windows, on the wall with graffiti. An annual fundraising tradition for GU.
5
Gallaudet at 150 and Beyond Exhibition The Gallaudet University Museum (Chapel Hall) opens its permanent exhibition on April 8, 2014. DAWES HOUSE Formerly dorms for boys at Kendall school, now academic offices.
4
1
The events of 150 anniversary: 9 a.m. Opening ceremony 6:30 p.m. SBG's "Mindvolt" -ASL performance art
8
11:15 a.m.-Tree planting, Sustainable Gallaudet tours, Sorenson Conversation bike tours
11 a.m. GUAA Wreath-laying， Edward Miner Gallaudet statue
10:30 a.m. Campus Photo 2:30 p.m. Sesquicentennial cake
Noon Deaf Studies Digital Journal-Special 150 issue launch CAMPUS FUTURE PLAN AND DEVELOPMENT
PROTESE AGAINST JANE FERNANDES The protest in 2006 is lead by Tara, an 21 year’s old Gallaudet student. Students had crash with guard and locked down the campus.134 people were arrested on I. King Jordan’s order, On October 29, the Board fired Jane Fernandes, campus was re-opened.
GALLAUDET DANCE COMPANY PERFORMANCE The students performed at Elstad Auditorium. They learn dancing based on sign counts or following fellows who follow music.
MOVIE NIGHT Latest Hollywood releases are on display at Multimedia Theatre Room at I. King Jordan Student Academic Center on Friday and Saturday evenings.
TREE IDENTIFY WORKSHOP Students are trained to practice the tree ID skills at Student Academic Center by observing and inventorying trees around Gallaudet University.
TINKERLAB Fabrication lab at Washburn Arts Center hosts its first seminar. Students are trained to use machines and work on innovative projects in this lab
THE RAT FUNERAL The rat funeral is a tradition for all freshman. The funeral in 2017 is at Hanson Plaza. This is because the sign for freshmen is the same sign as rat.
GROW GARDEN Green Grow Organization is Gallaudet University's student-led sustainability advocates on campus. The garden is located at Hanson Plaza
CHARTER DAY FESTIVAL Held annually in April, Charter Day celebrates the anniversary of President Lincoln signing Gallaudet University's Charter in 1864. The celebration includes a variety of events including the annual Charter Day Brunch and Awards Program. It also includes 1-4 Exhibitions and presentations (student services, academic departments, student organizations, residence life).
3 PAIRS OF OLD + NEW ACTIVITES
Communication Platform
Discovery Platform
Growing Platform
3 Intersecting Organs - Bird View
Collage of Three Platforms
Arieal View
• Blue (Discovery) This connects the TinkerLab to the future development, with their discoveries, namely the products or techniques that could be applied to the public community. • Brown (Communication) This connection intends to provide visual access and orientation towards the existing digital stations that provide virtual platforms for all sorts of communication, where we can see that they are mostly scattered in the inner portion of the campus • Green (Growing) This connection is almost like a passage way, an invitation to the “Headquarters” of the original Grow Garden, and the Union Market, where produces will be brought in from 2 of the furthest points of the Gallaudet’s development.
These three segments are not only abstractly related to the surrounding site, it is also physically orientated to the direction of the past or present activities where they are available. The purpose of this configuration is not to erase the existing activities and to relocate them into the New Archive, but to enhance the relationship with the existing ones, and their corresponding architecture.
PLANS
UP
CAFE - 3.500m
LECTURE - 3.500m AMPHITHEATER - 3.500m
UP
STORAGE - 3.500m
KITCHEN - 3.500m
Underground Floor Plan DOWN
± 0.000m
UP
DOWN
UP
LIVE DEMO DOWN
+ 13.500m
DISCUSSING
MAKING + 13.500m
+ 4.500m EDITING + 12.000m
DOWN
+ 4.500m + 10.500m DOWN
DOWN
EDITING + 9.000m
READING + 9.000m
UP
+ 6.000m
+ 7.500m
+ 4.500m
GROWING + 3.000m ± 0.000m
+ 1.500m
EDITING
UP
± 0.000m ± 0.000m
Second Floor Plan
UP
GROWING
DOWN
MAKING MAKING
MAKING
+ 15.000m
+ 13.500m
+ 13.500m
DOWN
Ground Floor Plan
Third Floor Plan
Long Section
Short Section
3 LONELY COLLECTIVITY RECOVERY CENTER FOR TRISTIMANIA
Individual Study Year: 2014 The Lonely Collectivity is a recovery center for depressed patients. This design work is led by the inspiration of target users, depressed patients. The building is located at seaside, a lonely corner of the world with beautiful scenes. TRISTIMANIA, which used to be regarded as a minority, becomes a larger collectivity. A typical label for the depressed ones is lonely, which doesn't means they are uncommon or not a big group. It could be hard for the depressed patients, especially when we talk about the misunderstanding from others and the uncertainty from their mind. People who are ignored, should be paid more attention.
LOCATION
PLAN
Two axis with skylight constitute the whole space. A long staircase, with rooms for tristimania lining both sides leads to a high red granite wall. At the end of the staircase people follow the light on the floor and turn right in a narrow high corridor, which is a shorter axis of the building. After a few paces, the sea appears ahead.
In Greek mythology, Prometheus defied the gods by stealing fire and giving it to humanity. Thus he was locked on the Caucasus Mountains alone for thousands of years. I recognize Prometheus as a symbol of loneliness and as a champion of courage and intelligence of mankind. For these reasons, the site for the recovery center locates at the seashore of Greece, with the main axis towards the Caucasus Mountains, as well as a platform facing Mediterranean. The building locates at Ag. Marina, on coastal bluffs, which is a lonely corner of the world. The depressed people get together there, to live for a period and to get therapy.
SECTION OF STAIRCASE
The section for the wooden model of the staircase shows the main path for users in the building. The special relationship between the rooms and the staircase is shown. And the path connecting the rooms and the staircase is implied. Loneliness is the carnival for one person. Carnival is the loneliness for a collectivity.
SECTION OF LONELY
SECTION OF COLLECTIVITY
9 rooms for tristimania line on each side of the terrace. The room is a private place for users. Each room has a window open to the terrace, so the users could watch the activities happening in public space, meanwhile have a space of security.
Every 3 of the rooms make a group, connected with the terrace by a path. Every 3 rooms for users are connected by a short path, and the short paths are connected by a stair and an elevator. The paths are a semi-commonality space for the users, where they could enjoy the sunshine and the scene of the yard. However, if they hope to enjoy the sea by person, they have to leave the corridor and go through the main terrace.
SCENES FROM STAIRCASE
At the beginning of the staircase, they are able to see the sea through a window right ahead. The thirst for sea leads them to go forward.
At the end of the staircase, people are blocked by the red granite wall, here the feeling of uncertainty is at the culmination. Nevertheless, they just have to step ahead a little further, and a new path guided by light appears.
As they go ahead, height of their viewpoint become lower. While the sea disappears in horizon, they could only look up to the sky. The red granite wall appears to be bigger and nearer. An unknown force makes people want to turn back. However, if this happens, they would have no other access to the sea. Going ahead is the only way to find out truth.
People find themselves in a narrow high corridor, and the sky appears ahead again, unimagined.
When people are close to the end of the staircase, some part of the wall become glass, and sunlight comes in. In a poem by Birulmi, he said "See outside, and you will see the miracle by god. See inside, and you will see god." However, people couldn't access the sea here, and the path to the red granite wall is the only way.
Following the path and climb several stairs, the sea appears at the end of the corridor. A broad platform reaching to the sea is waiting.
No man is an island, entire of itself; every man is a piece of the continent, a part of the main. any man's death diminishes me, because I am involved in mankind, ——John Donne
4 FLIPPED ROBOTIC ARM CUTTING PROCESS STUDY Collaborative Studio Collaborators: Wu Zhiheng, Xu Yi , Tang Siqi Instructor: Professor Xu Weiguo Year: 2017 My Work: Concept Design 100%, Compariision of Form Capture Research Study 80%, Robot Arm Cutting 20% The Flipped is a parametric pavilion design, which is a place for musical band performance and miniexhibitions. I engage in the innovative process of KUKA robot arm cutting architecture component, which includes choosing material, comparison of various measures for 3d scanning and digital modeling for deviation check. These engage in the future of multiple production and fabrication.
FORM DEVELOPMENT
Original control points and lines were set according to site, sunlight and human scale. With adjustment to parameters, the form changes.
The pavilion is easily assembled and portable to different sites for small musical concerts or games and picnics. SCENES IN THE PAVILLION
DIGITAL MODEL DEONSTRUCTION FOR FABRICATION
1-1
1-6
1-2
1-7
COMPARISON OF DIFFERENT LIGHTNING ENVIRONMENTS FOR FORM CAPTURE
1-3
1-8
1-4
1-9
1-5
1-10
1
2
2-1
2-2
2-3
2-4
2-5
2-6
2-7
2-8
2-9
2-10
3-1
3-2
3-3
3-4
Low Brightness + High Contrast
High Brightness + Low Contrast
More Target Spots
Less Target Spots
THREE WAYS OF FORM CAPTURE 1.Agrisoft Photoscan 2.iSense 3.VXelements Comparison is made among iSense mesh model, VXelements point cloud model and VXelements mesh model.
3-5
COMPARISON OF MEASURES FOR 3D SCANNING AND DEVIATION CHECK 3
4
3-6
3-7
3-8
Process Division
3-9
4-1
4-2
4-3
4-4
4-5
4-6
4-7
4-8
4-9
4-10
5-1
5-2
5-3
5-4
5-5
5-6
5-7
5-8
5-9
5-10
5
Research is part of this project, based on the process of architectural component fabrication, and can be divided into two parts: subtractive manufacturing for fiber reinforced polymer, which leads to the basis of architectural components; process for composite material on the surfaces, which completes the structural function of the architectural components. Every time after the subtractive manufacturing process, it is necessary to model the basis of the aimed architectural components and to compare with the original design model. Without the analysis, next process could not be applied.
Deviation Check
Original Physical Model
Position with KUKA
FRP material cut by robotic arm, fixed on the end axis.
The original position setting of diital model and KUKA, in Rhino.
Agrisoft Photoscan
Agrisoft Photoscan is a measure of photo model. Photos are taken from different perspectives for the physical model, then import th the software and get a mesh model after hours.
iSense export mesh model, which is the most rough and uncomplete among the measures. the scale for the scanned model is inaccurate, for photo model lacks original distance informations.
iSense
iSense is a hand-hold 3d scanner for iPad. Hold the iPad towards the physical model in the same way of recording, and a mesh model is create immediately.
VXelements point cloud model
VXelements is a hand-hold 3d scanner, commonly used in industry.
Point cloud is imported as TXT, import the TXT to rhino, and draw a nurbs model.
The error between scanned physical model and original digital model is acceptable.
VXelements mesh model
VXelements is a hand-hold 3d scanner, commonly used in industry.
VXelements could also export a mesh model at the same time.
The error between scanned physical model and original digital model is the lowest, which makes this the best measure for the study.
iSense export mesh model, which is the most smooth and complete among the measures.
Import the scanned model into Rhino Comparethe form and position of the scanned model with the original design. The error between scanned physical model and original digital model is high, which comes from the rough mesh model, and could not be optimized. The error between scanned physical model and original digital model is high, which comes from automatic optimization of iSense.
5 SUCCEDANEUM OR REPLENISHMENT WANGFUJING CONFERENCE CENTER Individual Studio Instructor: Professor Cui Tong Year: 2015 This is a project of a Business Conference Center in an environment with contracts. WANG FU JING is a vibrant district of Beijing, with enormous department stores and five-star hotels. At the same time, it is a conservation district where locates large amount of traditional alleyways and courtyards that need to be protected. Experiments are taken to let the building co-exist with architecture of different sizes in perfect harmony. Thus small spaces with same dimension of alleyways and small yards are created through the seven huge buildings, with the use of inclined columns. At the same time, glass model making provides the design with transparent portrait. It is another way of interpreting the perception derived from contrast scales.
BETWEEN SMALL SCALE AND BIG SCALE
large city scale
Small Hutong Scale
Hutong Scale to Building
The site sits between the traditional courtyard houses and large hotels and shopping malls. I divide the volumes into separate parts and use the inclined column system, trying to create space of smaller scale. I believe the new projects should harmoniously exist with the original buildings, and provide innovative programs those contribute to urban renovation. This must not a segment of succedaneum, but a continuity of replenishment to the city.
GENERATION PROCESS
The original site
Form changing through development
The form of the margin derived from the context of courtyards
Seven buildings emerging into the site
Human scale transition
Landscape design
BUILDING AS A CITY
FIRST FLOOR PLAN In different directions, the building is facing different dimensions. Therefore, the dimension of itself should not be easily constrained to one of them. Seven buildings are set according to the existing texture of courtyards, and small atrium spaces are embedded into the buildings, supported by the structure system of batter-posts. These ways make the conference center harmoniously coexist with original context in human scale and landscape.
THIRD FLOOR PLAN The form of the buildings change through height. Platforms are designed among the buildings, and bush and turf provide comfortable environment up in the air.
STRUCTURAL SYSTEM
DETAILS
A dual-structure system is designed for the buildings. The concrete core tube and the joist steel consist the vertical structure system for western and eastern elevation. And the northern and southern elevation are designed with slant glass for better use of sunlight. The glasses are supported by the batter-posts system.
This picture provides the structure and constructions of the section. Glass
SECTION Office
Balcony
Office
Lobby
Balcony
The section shows the interior space, as well as the connection and relationship of people in buildings.In different directions, the building is facing different dimensions. Therefore, the dimension of itself should not be easily constrained to one of them. Seven buildings are set according to the existing texture of courtyards, and small atrium spaces are embedded into the buildings, supported by the structure system of batter-posts. These ways make the conference center harmoniously coexist with original context in human scale and landscape.
ORDOS 100+1 RENOVATION OF THE DISCARDED SITE
ELETRIC FIELD PARAMETERIZATION DESIGN STUDIO
Individual Study Year: 2017
Collaborative Studio Instructor: Professor Huang Weixin Year: 2014
STRAW MAZE DESIGN AND CONSTRUCTION
ZISHENG TEMPLE SURVEYING AND MAPPING
Community Empowerment in Taiwan Collaborative Public Welfare Project Xinhuo Project Year: 2014
Surveying and Mapping Historical Architecture Collaborative Studio Instructor: Professor Liu Chang Year: 2015
RAINWATER COLLECTION SYSTEM FOR SLOPE CRESTS User-based Design and Construction Collaborative Public Welfare Project Wuzhi Bridge Team Year: 2015