UC Berkeley B.A. Architecture 2016
EDDIE YU
CONTENTS
ARCH100B Legg Young
ARCH100D
Sarah Hirschman
PRECEDENT STUDY GOOD FOOD
CATALOG DECONSTRUCTED AIR FORCE 1 DISPLAY STRATEGY CONCEPT STORE
ARCH100A
SAN FRANCISCO TENDERLOIN LIBRARY
AITOR THROUP
PRODUCTION WORK
PERSONAL WORK
ILLUSTRATION
Dominique Price
New Object Research
DIGITAL COLLAGE DISRUPTIVE PATTERN MATERIAL FASHION PHOTOGRAPHY AND STYLING
ARCH100B | PRECEDENT ANALYSIS GRANOFF CENTER Brown University, Providence, RI Diller, Scofidio + Renfro Granoff Center features a central operational sheer wall down the center which divides the building and shifts the creative production spaces half a floor apart. This invites visual connectivity along the axis of the split. To explore the significance of the cutting plane, the facade is projected into the building at an axis perpendicular to the plane, terminating at the first interior division that it meets. Red signifies an effect by the plane while the black illustrates elements that remain ‘untouched.’ The final diagram represents the spatial conditions within the building as a singular volume divided by the scanning facade and the continuous ‘flow’ of users facilitated by visual connectivity.
ARCH100B | GOOD FOOD ‘Good Food’ is a building that houses a comprehensive set of programs related to food culture within San Francisco. It features food cultivation centers, research labs, community-accessible commissary kitchens, theaters, classrooms, and a ground-level farmer’s market space. This project addresses the mixed-use program by adopting the operative half-floor split from the Granoff Center precedent along two axes to split the building into 4 quadrants, each with a view into other adjacent programs. The east side becomes dedicated to food production and the west to ‘consumption’ of food and food knowledge. The split also allows, from top to bottom, a view following the step-by-step production of food, from the farming and research, to the cooking and consumption (on the consumption side, research to education to eating!). The form of the building is created through subtraction which yields a leftover poche space--this then serves to house structure, services, and results in a hidden back of house area that uses food as a software to facilitate the mixing and cross-informed nature of the building. The poche is what exposes the ‘dirty’ side of making food-nested within it are soil beds, service elevators linked to channels that optimize delivery of ingredients to the kitchens, plumbing, etc.
EXTERIOR RENDER
PLANS
SECTIONAL MODEL: 3/16” = 1’
SS1
SS2
SERIAL SOLID/VOID DIAGRAM
LS1
STRUCTURE + FACADE RELATIONAL DIAGRAM
OPERATIVE “SPLIT+SHEAR” VS. VISUAL CONNECTIVITY DIAGRAM
SECTIONAL MODEL + OPERABLE FABRIC FACADE: 3/16” = 1’
ARCH 100D | OBJECT LESSONS CATALOG An excerpt from a catalog of ‘all things I own,’ compiled for Architecture 100D studio whose premise is ‘Object Lessons.’ Creation of this collage invoked an analysis of what can be classified as ‘ownership’ and my own personal relationship with the objects I own. Here in these pages is a collection of garments. Some kept, some sold, but all having passed through my hands, their image and features rigorously documented either for the purpose of sale or through careful observation as I am clothed in them. My definition of what can be considered ‘my objects’ is then established as those things I have a mental ownership of, through an understanding of their function and being.
ARCH 100D | OBJECT LESSONS DECONSTRUCTED AIR FORCE 1 After cataloging all the objects within my possession, the next task became to understand the production process behind a smaller selection of them. Here, the archetypical basketball shoe, the Air Force, is taken apart to learn how 3D form can be constructed and shaped by flexible 2D pattern pieces.
PHYSICALLY DECONSTRUCTED PATTERN PIECES
RESCALED PRODUCTION IN PAPER AND MESH
ANALYTICAL DIAGRAM
ARCH 100D | OBJECT LESSONS DISPLAY STRATEGIES After investigating the Air Force 1, the next object of interest became the clothes hanger—the fixture that functions as an abstraction of the human body in its role of “filling” and storing clothing. With clothing being designed specifically in response to human anatomy, the question shifted towards display strategies that would more accurately simulate a garment in its intended “worn” state. This take on the ‘clothes hanger’ shows jewelry mounted on thermoplastic casts—1 to 1 recreations of my hands. In applying this concept to the resulting building project of the ‘sneaker boutique,’ this strategy was shifted to the legs and feet, providing a visually innovative display and structural element that holds up the ‘sneaker catwalk.’
ARCH100D | OBJECT LESSONS CONCEPT SNEAKER BOUTIQUE
Usually when customers enter a store to buy shoes, the product is handily laid out before them, neatly in order for clientele to best browse and select what to buy. But what if obsessors like me? Me and so many other sneakerheads out there. I want to see what those joints look like on feet—in fact, I can spend hours looking at videos on youtube about just that. Or what if I want to compare the many Jordan retros to see which one is really worth my money? What’s the difference between the 1994 ones, the 2001 release, the 2006, 2015 remastereds? And then what if you just want to talk to other people who love this just as much as you do? This sneaker store brings it all to the forefront and encapsulates the whole of sneakers: the culture, the history, and the community. It socks vintage deadstock pairs as well as the newest releases. As a client approaches from Telegraph Ave, they’re confronted with a sneaker catwalk, masked and raised so that as one walks by, all that’s visible is shoes. Shoes on the mannequins that hold up the platform and the heat that people walking on it are packing. As you get to the back entrance you’re then faced with a giant sneaker wall, which acts not only as a stock holder but also a device to see what’s in demand, what’s sold, and a tool to illustrate the many different iterations of whatever shoe you might like throughout the years. Once you get inside, you’re invited to try on any pairs you might have liked on the wall. View guest sneaker collector’s exclusive collections as you stroll across the catwalk, contributing to the street view of sneakers, and then, if you spot something so rare it’s not for sale, you can negotiate at the private tables right after getting off the walk. There’s also a lineup area for the most exclusive drops and, if you’re feeling like a real baller, some basketball courts for you to break in your new cops.
LS1
PLAN
1. OUTDOOR LINEUP AREA 2. STAFF DESK 3. STORAGE 4. CATWALK 5. OUTDOOR ENTRANCE 6. CLASSROOM 7. ALTERNATE STORAGE 8. NEGOTIATIONS ROOM 9. BATHROOMS 10. BASKETBALL COURTS 11. LOCKER ROOM
SS1
SS2
DS1
DS2
DS3
STREET VIEW FROM TELEGRAPH - CATWALK
STREET VIEW FROM BACK ENTRANCE - SHOECASE
ARCH100A | SAN FRANCISCO TENDERLOIN LIBRARY
First and foremost, the library is a public building. And with this comes a capacity to house and facilitate social spaces and functions. Contrary to the traditional view of the library as a static setting for the consumption of information, today’s library reinvents itself as an urban space that encourages dynamic social use. It can be home to anything from multimedia and new forms of information storage to media playgrounds for children and adolescents, to collaborative spaces for people working on projects of any sort. This library encapsulates this idea of socio-cultural ‘movement’ through a continuous circulation pathway that is carved from the exterior of the building. Visitors are invited to traverse this pathway until they peer into each space and find their niche demographic, whether that be fellow children, their teenage friends, or some fellow readers of any age. These stairs and ramps also serve as an intermediary condition as they cut through the walls of the central library volume, opening up the programmed space to the outside and challenging the library’s ordinarily indoors nature. Throughout the library, this circulation retains its public nature, but also penetrates directly into the heart of the building, taking the public stair into the private rooms, opening a connection between adjacent spaces and mixing the different users in a social vortex that facilitates intergenerational—so the building grows as does its occupants.
2LS
1F
1LS
2F
3F
4F
5F
O’FARRELL
6F
7F
8F
O’FARRELL
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1
3
3 6
1TS
6
2TS
OLIVE
1. LOBBY 2. ADMIN OFFICES 3. REFERENCE AREA + BOOK DISPLAY 4. CHILDREN’S READING AREA
OLIVE
5. COMMUNITY MEETING ROOM 6. YOUNG ADULTS SPACE 7. VIEWING TABLES, BOOK STORAGE, COMPUTERS 8. VIEWING TABLES, BOOK STORAGE, COMPUTERS
AITOR THROUP | NEW OBJECT RESEARCH ‘VEIL JACKET’ Remastered form based on the archetypical swedish army jacket. Reinterpreted using cutting-edge technical materials and production techniques such as power mesh, taped seams, micro-seam allowances, and laser cut panels. Responsibilities included drafting seam allowances, laying patterns, cutting and preparing fabric, setting and pressing tape, trimming, applying hardware, pulling seams, and sourcing fabrics and bonding. Produced 6 of 8 pieces sold worldwide for $4200 USD and served as consultant for iterative changes in tape application.
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PERSONAL WORKS ILLUSTRATION
PERSONAL WORKS DIGITAL COLLAGE
PERSONAL WORKS DIGITAL COLLAGE | DISRUPTIVE PATTERN MATERIAL A selection of images which begin with a fashion photo and, through processing and layering, become an expansive visual collage. All graphics are produced through operative means from only the original image—the self-contained nature of the collage inviting viewers to see the fantasy in the real, not only in the subject matter but also in light of the production process. Drawing inspiration from military camouflage and disruptive pattern material, the layering of the self-similar imagery also allows for a controlled obfuscation of the figure, confronting the audience with fashion figures that are not eager to be ‘seen.’
PERSONAL WORKS FASHION PHOTOGRAPHY AND STYLING In regards to fashion and personal style: particularly compelling are the juxtapositions of high and low, the rebellions against overly saccharine glamour, violent visual confrontations between the highbrow and ‘trash.’ Intricately layered pieces of realness and pure, aspirational representation that form a visual, physical, and social interface between one’s self and their surroundings—the end product being an intensely personal ‘fabric’-ated agglomeration illustrating how one distributes their effort and earnings and where one would place their identities and allegiances. How do people try and accrue social value for themselves through their clothing? Will you become a martyr for your dress? How does image factor into the creation of meaning for oneself? Fashion’s potential lies in its ability to be telling, honest, aspirational, relatable, and empowering on both an anthropological and personal scale.