2017 - 2020
architecture portfolio
cherry yang
B.Arch + B.FA
Rhode Island School of Design
contents 01 02 03 04 05 06 07 08 09
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make, play, display
p. 004
self-sufficient living
p. 014
between earth and sky
p. 024
assemblage of the piazza
p. 032
integrated building systems
p. 038
professional work
p. 044
volumetric light, tangible shadows
p. 046
{re}position curation
p. 052
fine arts
p. 054
education
work experience
Rhode Island School of Design (RISD) Providence, RI, USA Bachelor of Architecture. 2020 Bachelor of Fine Arts. 2019 Minors: Nature, Culture + Sustainability, Scientific Inquiry GPA: 3.86 Academic Honors
Berliner Architects. Architectural Intern. Los Angeles. Summer 2019 Actively engaged with projects alongside principal and project managers, producing drawings, models and concept designs for major client presentations in Adobe Suite, Rhino, AutoCAD and Revit. Won an internal design competition for an ongoing project. Directly met with with the client, contractor and stakeholders to see the design through.
ETH Zürich Fall 2018. Zürich, Switzerland Timber Behaviourology Studio w/ Momoyo Kaijima CAAD Theory and Practice w/ Ludger Hovestadt Unlearning the City and Portrait of a Tree w/ Christophe Girot
Friedrich St.Florian Architects. Architectural Intern. Providence. Winter 2018 Designed and solved details of a project, creating drawings, plans, sections, axonometric diagrams, perspectives and interior renderings with Rhino, Photoshop and Illustrator. Teaching Assistant in Architecture Department. RISD. Fall 2017 - Fall 2019 Core Studio: Architectural Design w/ James Barnes. Spring 2019 Core Studio: Architectural Design w/ Lauren Bordes. Spring 2018 Architectural Projection w/ Petra Kempf. Fall 2017 Office of International Student Services. Front Desk. RISD. 2017 - 2020 Provide services to international students seeking information about immigration and visa status while providing the office with administrative support in paperwork processing and management.
skills
other experience
3D Software SketchUp, Rhinoceros, V-Ray, CloudCompare
Maps & Stories in Rome. RISD Summer program. Summer 2017 Scholarship for 3-week study abroad in Rome, analysing a portion of the city spatially and historically and experimenting with analytical means of representation to communicate multi-layered information.
2D Software AutoCAD, Revit, Arc GIS Programming Grasshopper, Processing P3
Microsoft Inclusive Design. Industrial Design Course. RISD. Winter 2016 Collaborated in team of four to brainstorm, research, ideate, and optimise navigation tool that was presented to members of Microsoft’s Industrial Design and Design Strategy teams.
Adobe Suite Illustrator, InDesign, Lightroom, Photoshop
leadership
Model Making Laser-cutting, 3D printing, wood, cardstock, CNC
AIAS President. RISD. Fall 2017 - Spring 2020 Spearhead student committee to initiate, plan and market events to Architecture student body by leading weekly meetings with structured agendas, managing logistics and mediating communication between faculty and student body.
Hand Drawing, drafting, woodworking, intaglio, watercolour, oil Presentation Photography, graphic design, type setting, book layouts, board layouts Microsoft Suite Word, PowerPoint, Excel Language Excellent written and communication skills, conversational Mandarin, written French
Senior International Orientation Leader. RISD. Fall 2017 Equip incoming undergraduate community with knowledge + skills to transition into the US by working with other SIOLs to organise and lead training programmes for Orientation Leaders.
awards + exhibitions Co-curator. {re}position exhibition. Gelman Gallery. 2020. Exhibition. RISD Architecture Triennial. 2019. Publication. VISIONS, RISD-Brown University Student Magazine. 2018, 2019. Exhibition. RISD Printmaking Exhibition. 2018. Finalist. Ken Roberts Delineation Competition. Student Hand. 2017. Scholarship Award Winner. Rome: Maps and Stories Intensive Summer Course. 2017. 1st Place National. James Wallace Secondary School Art Awards. 2014.
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00 resume
St Cuthbert’s College 2008-2014. Auckland, New Zealand International Baccalaureate Diploma: 44/45 GPA: 4.00+ NZQA Scholarship Awards: Physics, History, Calculus, Art History
Pickard Chilton Architects. Architectural Intern. New Haven. Summer 2018 Worked on competitions in teams, producing plans and visualisations in AutoCAD, 3D digital models in Rhino, Photoshop, Illustrator, Revit for presentations; collaborated in model shop using laser cutting and 3D printing for client meetings.
01 make, play, display Timber Behaviourolgy with Professor Momoyo Kaijima, Atelier Bow-Wow // Fall 2018, ETH ZĂźrich
Make, Play and Display investigates the actor network of a project, reaching beyond the direct users of the final architectural product. Where do the building materials from? Who builds the project? How is the community involved in its construction? How does this project affect those beyond the immediate environment? My site is situated in Mikawa in the Gifu prefecture, West of Tokyo. The small town holds 800 people with a depopulation trend. Along the river in the valley is a thriving Timber Industry with locally sourced Hinoki Cyprus wood as well as a timber market, log market, timber mill and workshops for local carpenters. To bring people back to Mikawa, I proposed a wooden toy campus with a path in the forest. My project aims to connect the timber industry with the Mikawa community, the nursery school in the old town and the abandoned rice paddies on the. Ultimately, this wooden toy campus expands the existing timber industry of Mikawa, reactivates old rice fields, and reinforces a stronger relationship with the forest.
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actor network handdrawing
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The museum or showroom on the upper rice paddy has interactive wooden toy displays that allow visitors to engage with the toys. Next is a professional workshop for the production of wooden toys by local woodworkers, as well as a community workspace for people who want to learn basic woodworking skills or use the machinery and make their own woodworks. Among the trees are wooden platforms that allows people to play with larger toys and interact directly with the tree. The path winds through the forest so that visitors can have a closer relationship with the original natural source of the toys. This is incorporated with a path leading into the forest to connect treehouses to bring people into the forest and reconnect them with nature, while teaching visitors about the importance of the original source of the natural material for their wooden toys. 007
actor network site plan and diagrams
Programmes are placed in pavilions along the path to address the making, playing and displaying of wooden toys.
make - workshop
play -
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display - museum
01 plan
treehouse
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Structure model at 1:50, showing the timber construction and beam/column hiearchy, bringing traditional Japanese methods into modern architecture. Triangular trusses are arrayed in irregular 5-sided beam system to reflect the canopy of the forest. The irregular roof naturally wraps around the existing rice paddy structures as the organic shapes lead to the forest.
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member sizes rafters 50mm x 300mm beam 130mm x 180mm beam 150mm x 200mm beam 100mm x 250mm column 350mm di. column 150mmx150mm
floor beam 150mmx70mm floor joists 100mmx50mm
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1:50 + 1:20 models
Partial model at 1:20 scale, showing further details in timber construction as well as joinery, insulation, materiality and hiearchy. To reinforce the connection to nature, raw hinoki logs are sanded and polished without milling so that the roof structure reflects the branches of trees above.
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section + elevation
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02 urban weave Urban Ecologies with Critic Laura Briggs // Fall 2017
Urban Weave is a residential village at the intersection of Manton Avenue and Hartford Avenue. Rather than breaking the residential area from the town centre of Olneyville, Urban Weave is a threshold, connecting the roads by extrapolating the weft and warp of the city. The site is one block West of the commercial centre of Olneyville Square, and a few blocks away from the rest of residential Olneyville.
community. The project focuses on three methods of sustainable living: energy collection, water reuse, and collective food farming. To prevent isolation from the rest of Olneyville, the project draws its grain from its immediate surrounding street grids, acting as an active urban threshold between busy streets to connect the commercial to the residential areas.
The intent is to create a sustainable, selfsufficient housing to both respect the environment and empower the residential 014
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perspective
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sketch models + ground plan + section
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The non-regular grid of the street is brought into the unit at a 45 degree angle through the common living areas first (the living room and kitchen). As users continue into the unit, the grid rotates back to an orthogonal one, providing regularity in areas of rest (bedroom).
2-bedr units
3-bedr units
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2-bedr and 1-bedr units
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unit types + unit plan
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unit perspectives + section + detail
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axonometric
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03 between the earth and sky Advanced Studio with Professor Chris Bardt // Spring 2019
Between the Earth and the Sky is a siteless house of imaginative excursions. Through the making and playing of materials, we find a confluence between the eye and the hand. An initial surface exploration pounded the clay, grounding an imaginative site. A second operation appears when plaster is poured into a pounded clay mould with a latex sheet of separation. In mediating the in-between of the earth (clay) and sky (plaster) the geometries are picked up in a fabric and trangulated in the hanging of the stars. The house
mediates the space between the earth and the sky. A grounded life on the earth is lifted into the imaginaries of the stars as we gaze into the sky of infinites, dreams and possibilities. A storm descends. Sheets of rain envelope the volume of the house. Light wells penetrate into the house as small descensions of clouds. The house is pulled into a tension between the earth and the sky. The plane of living and resting is poised somewhere between the grounded living of perfunctory acts and the dreams of imaginations.
Swinging from Where the sky And the earth The ground is
the stars presses down pounds against the sky. stomped on, so she pushes back.
When TÄ ne separated Ranginui (sky father) and The house appeared in the In-Between As an impression perforated by the pressures So that the sky can taste the earth. The house is suspended between the earth and Anchored by the weight of the world And hung from constellations. Sweep, scrape, sud, scrub The humdrum beat fills our ears, So we return our gaze to the clouds.
Dwelling in mediation between the earthly lif
Swing from the stars Where the sky presses down And the earth pounds against the sky. The ground is stomped on, so she pushes back. When Tane separated Ranginui (sky father) and Papatuanuku (earth mother) The house appeared in the In-Between As an impression porforated by the pressures of both worlds So that the sky can taste the earth. The house is suspended between the earth and the sky Anchored by the weight of the world And hung from constellations. Sweep, scrape, sud, scrub The humdum beat fills our ears, So we return our gaze to the clouds. Dwelling in mediation between the earthly life and our dreams. 024
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between the earth and sky
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part 1: surface
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part 2: finding the in-between
03 process
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plans + section perspectives
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sections + 1/4" scale model
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04 assemblage of the piazza Advanced Studio with Visiting Critic Julian von der Schulenburg // Fall 2019
Assemblage of the Piazza is an artist residency in residential New Jersey. An existing warehouse contains the Boris Lurie Foundation headquarters and archives. The artist residency is an intervention to attract new artists to the creation of contemporary art, juxtaposed with the archive and display of an artist and his memories. The urban intervention of the site is based on the piazzas of Rome with an inviting, pedestrian-based plaza. The long bar is of light steel frame with insulated glass, containing the public programmes of galleries, cafe, bookstore, as well as the artists' studios that can be opened for display. Within the heavier, solid mass that reflects the surrounding neighbourhood gabled housing of New Jersey are housed the artist living quarters and office administration. This studio involved the creation of a 1/8" anatomical model study and a 1/2" photographic model to capture the atmosphere of the design.
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1/8" model on concrete site model
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1F
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2F
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1/2" photographic model + plans
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concrete #6 rebar @ 16" O.C. GFRP WYTHE tie as provided w/ system CIP rigid insulation
expansion anchor joist hanger
window specs as provided blocking
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flashing waterproofing blocking
oblique drawing, sections + structure
plywood rigid insulation concrete + metal decking thermal break LED strip lighting W 12 x 53 batt insulation Schรถck Structural Thermal Break sealant + backing rod LED strip lighting insulated glass system concrete + metal decking LED strip lighting thermal break
batt insulation Schรถck Structural Thermal Break W 12 x 53 LED strip lighting
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05 speculative office design Integrated Building Systems with Visiting Critic Elizabeth Hedde // Fall 2019 This project focused on the design of the circulation system, structure, environmental systems, and enclosure for a speculative office building, with +/- 60,000 gross square footage.
with rainscreen baguettes heavily used on the south facade for sun shading and more glazing on the nothern facade for lighting penetration into the floor plate.
The first floor accommodates a lobby, cafe space, and loading dock. The rest of the “net� space created are devoted to open office layouts for a multi-tenant building.
Drawings were created in Revit with renderings from Rhino + V-ray. Final Wall section at 6" = 1' was completed with AutoCAD.
Our building system, which was decided for us, was steel frame with rain-screen skin and centralised core. Research of zoning codes were sourced from IBC, RIBC and QBPDP. Through iterations of massing we arrived at a 3-storey office building
Our speculative office project is located in Quonset, Rhode Island and was undertaken with Reishan McIntosh, Joyce Kim and Dong Eun Lim. The following pages show drawings from our final CD set.
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Final page: 6" = 1' model of detail and wall section final printed at 6"=1'.
Site plan
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Structural diagram
W 12x45 W 6x25 W 12x53
glazing system on N wall CMU core
rainscreen system
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integrated building systems
W 12x96
Long section at core
Short section at 9
North elevation
West elevation
South elevation
East elevation
Egress ground plan
Egress typical plan
MEP ground plan
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Roof plan
plans, sections, elevations
Typical plan
Ground plan
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details
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07 professional work Selected work from internship at Berliner Architects // Summer 2019
VERIFY 8"
TOP RUBBER PROVIDED BY SCHWEISS DOORS
TUBE STEEL FRAME PROVIDED BY SCHWEISS DOORS WATERPROOFING SEALANT 20 GAUGE GALVANIZED PAINTED SHEET METAL FLASHING WITH 1" OVERLAP #10 SMS SCREWS @ 12" O.C. MINIMUM
5/8" TYPE 'X' GYPSUM BOARD FINISH PER INTERIORS
5/8" TYPE 'X' GYPSUM BOARD FINISH PER INTERIORS
3-5/8" CONTINUOUS HORIZONTAL METAL STUD FRAMING @16" O.C. TO TUBE STUD DOOR FRAME. PROVIDE ADDITIONAL HORIZONTAL FRAMING FOR STO EIFS ATTACHMENT PER MANUFACTEURE'S RECOMMENDATION
20 GAUGE GALVANIZED CONTINUOUS METAL ANGLE 3-5/8" METAL STUD FRAMING @16" O.C. TO TUBE STUD DOOR FRAME. PROVIDE ADDITIONAL HORIZONTAL FRAMING FOR METAL PANEL ATTACHMENT PER MANUFACTEURE'S RECOMMENDATION
3-1/2" / R-15 BATT INSULATION
3-1/2" / R-15 BATT INSULATION
3/4" MARINE PLYWOOD SELF-HEALING MEMBRANE
20 GAUGE GALVANIZED SHEET METAL FLASHING
16 GAUGE GALVANIZED STEEL PAINTED METAL SHEET
BACKER RODE AND SEALANT
20 GAUGE GALVANIZED CONTINUOUS METAL ANGLE 1/16" SPACER
20 GAUGE GALVANIZED PAINTED SHEET METAL FLASHING CONTINUOUS Z-CLIP @ 24" O.C. MAXIMUM
SELF-HEALING MEMBRANE
BOTTOM RUBBER BY SCHWEISS
16 GAUGE GALVANIZED STEEL PAINTED METAL SHEET SCREWED TO PLYWOOD W/ 1/16" SPACER BEHIND
HANGAR DOOR - HEAD DETAIL 6":1'
HANGAR DOOR - GROUND DETAIL 6":1'
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14'-10" DOOR HEIGHT
3/4" MARINE PLYWOOD STRUCTURAL STEEL FRAME AND COMPONENTS PROVIDED BY SCHWEISS DOORS
1.5" / R-5 MINIMUM INSULATION BOARD 14'-10" DOOR HEIGHT
1.5" / R-5 MINIMUM INSULATION BOARD
Selected work from internship at Friedrich St.Florian // Winter 2018
07 Berliner Architects + Friedrich St.Florian Architects
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07 volumetric light, tangible shadows Architectural Analysis with Assistant Prof. Aaron Forrest // Spring 2017
A hand-drawn x-ray section oblique drawing of the Convent of La Tourette in Eveux, France, by Le Corbusier, focusing on the structures that control the way natural light pours into the interior space. Rather than simply rendering lighting conditions within the space, the structures and apertures which allow the light to pass through are emphasised by manipulating lineweights and extrapolating construction lines.
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Materialising light. La Tourette is filled with direct parallel light (sun) freed and yet restricted to a strange parameter of entering the structure only at right angles to each facade, without diffusion. In the top analysis, light is given solid form the moment it passes the aperture and into the building, halting once it reaches any physical boundary (walls, floors, stairs, columns). In the center analysis, the light carves out the structure that it reaches -- the parts of the building struck by direct light. The bottom final analysis are the remainders of La Tourette, left in darkness.
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extrapolating light
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07 analysis ​​ section imposed on a plan. Two A floors of the south wing are taken to explicitly examine the way light finds its way through Le Corb's carefully designed mullions and brise soleils, falling onto the various different parts of the interior (walls, floor, desks & columns here). Tones of grey show where the light is traveling through space, while the white of the paper demonstrates where the light reaches its destination, illuminating the structure.
Medium: graphite powder Size: 48"x60"
Selected as finalist in KRob Delineation Competition, Student Hand category. 051
08 {re}position curation curatorial statement: {re}position is a point of entry into a conversation that addresses how a western canonized pedagogy has impacted our positionality as artists and designers and gives individuals a space to reflect on the ways they have engaged with their non-western narratives. Our current training in the field of art and design is a direct result of previous colonial and unequal power structures. While we are both beneficiaries and victims of this past, we must acknowledge that academic institutions today and throughout history have had a great influence on the personal practices of artists and designers. We as students of RISD explore how this position of existing in an inherently western institution informs the way we recover, revise or reinvent histories and knowledge of art and design lost during colonial rule. We intend to provide a space for artists, designers and viewers to reflect and acknowledge our participation in the educational system of the west, which has been and still is exclusionary. We would want to acknowledge that our work is a product of the dominant western canon within our education system but also intends to break free from it by referring to an alternate canon - our own lost histories and our attempts of recovering it. It is this hybrid of lost and enforced knowledge that has to lead us to {re}position our practices. We intend to embody the process as a part of curation. The opening evening begins the exhibition as a mark of celebration. Rather than concluding a problem, the curation intends to initiate a conversation, and allow for the audience to discuss and debate their own relation to pre-existing canons in their own fields. On that account, the closing of the show will allow for open discussions with invited guests as a departure into future conversations. The work in the show is a result of open call submissions and reaching out to every department at RISD. We acknowledge the limitations of the method may not have best represented every student’s voice especially in response to the prompts we set to explore as a collective. The open call allowed us to reflect on whose voices are represented and whose are not in this show and in this institution. The show is curated by three architecture undergraduates: Jisu Yang a Korean-Indian, Namrata Dhore an Indian and Cherry Yang a Chinese-New Zealander. 052
our process Collaboration was at the core of this exhibit. The intention is to involve artists and designers in the curatorial process to create a more transparent curation strategy, as opposed to a closed group of curators selecting works in order to explore their own interests. As a result, we decided to hold an open call to invite varied voices across the campus into the conversation.
The three discussions held as well as the transparency established among the group of curators and participating artists raised some important questions about the concept of {re} positiong. We invite the audience to further reflect upon it. - How do we form collective confidence in questioning what the canon is and what it means to us and our practices? - How do we discover and engage with references outside of the canon in our individual fields of study? - What does the process of aggregating alternate references with the mainstream precedents look like in the context of academic curriculums? - How do we bring attention to the need for re-archiving alternative canons that are supported at an institutional level? - How do we develop a language of respect to discuss canons that are outside of mainstream academic systems?
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08 {re}position curation
Over the course of the curation process since May 2019, we held three discussions with peers interested in reflecting on their positionalities within their fields of study and their relations with canons circulated in the classroom and the media. Through the process of discussions, we aimed to formulate and hone in on the theme and aim of the show.
09 fine arts
Cement casting of the inverse brick wall. This is the absence of the bricks. Memories fill the voids. What are the stories told and untold within and without the brick wall? What is embedded and lost in the in-between? Based on the standard dimensions and proportions of standard bricks.
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09 playing + line drawing
A drop of ink in water is captured in a drawing of 100,000 lines. The characteristics and forces acting upon the ink is more important than the shape and form of the ink itself. Lines created in Rhino maintain the same weights, wherein their overlapping and angles create illusions of depth and space. 055
The limitations of this project were to create a tool that could pick up an egg, crack it, and whisk it. All processes were encapsulated into a single, isolated system. My final design was based off a teapot with layers of compartments.
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egg tool
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thank you
contact Cherry Yang cyang03@risd.edu 2 College St, #1978 Providence, RI 02903 USA