FAN YANG ARCHITECTURE PORTFOLIO
4th year b.arch
5th year b.arch
2018.7-2019.12 kpf
two-semester thesis
research on design method
tiber institute
p1
theater
crematorium
p5
my design methodology p30
p12
huamu lot 10
design development coordination & CA
p25
TIBER MUSEUM & INSTITUTE
rome, italy
instructors: david sabatello & simone bove | pantheon institute | collaborated with Barbara Gudeljevic | fall 2016
program & site This project proposes a new bridge structure across the Tiber river, containing a river museum and a river research institute. The range of intervention includes the river wall, the garden of Villa Farnesina, and the existing building between Palazzo Farnese and the river.
Villa Farne
sina
Via Co
via
rsini
→ villa farnesina
traffic
sewer
research institute
sewer
museum
traffic
building
(support)
a giuli
existing
palazzo farnese
Piazza Navona
Regola Palazzo Farnese
ll i H m u l Janicu
view of the tiber from sixtus bridge before the construction of the river wall (e.roesler franz): the gardens of villa farnesina (left)
Trastevere
Villa Farnesina
Tib
er palazzo farnese seen from the tiber during the construction of the river wall (1890)
directional conflict As shown below, there exists a directional conflict between the two neighborhoods (Regola and Trastevere) on both sides of the river.
source of the two images above: roma.andreapollett.com
Regola rests on a floodplain, with most of its urban pattern align to the direction of the river; Trastevere, on the other hand, rests on a narrow sloped ground squeezed between the river and the Janiculum hill, which has a greater impact to its urban pattern.
alienation between the river & city The consequences of the unprecedented flood in 1870 led to the construction of the Tiber embankment in the late 19th century. The river wall, along with the new boulevard & tree on top of it, had caused the alienation between the river and the city.
1870 flood line villa farnesina
pre-1870 riverfront
palazzo farnese
1890s reverfront
TIBER MUSEUM & INSTITUTE
2
FAN YANG PORTFOLIO
←B
A
→ public corridor bring people to the riverfront
private / semi-public zone
maintain limited degree of interaction (museum & research institute) next page
narrative: the internalized spatial order In terms of urban mass, “two bridges” intersect with each other. However, when the conflict is internalized, it forms one fragmented yet continuous interior space, symbolizing the reconciliation of the conflict.
A. the internalized conflict & the symbolic reunion
TIBER MUSEUM & INSTITUTE
3
B. the extension of the farnese axis & the conflicting structural order
FAN YANG PORTFOLIO
i orsi n
entrance & lobby ticketing bathroom bookshop indoor restaurant outdoor restaurant kitchen coat room
14 14
15
to v
1. 2. 3. 4. 5. 6. 7. 8.
ia c
service
14 14 14 13 3
museum 9. museum (river environment) 10. river view point & temporary exit 11. museum (river history) 12. temporary exhibit & public corridor
13 13
2&4
12 13
research institute 13. classroom 14. office 15. document center 16. research lab
12
10
left
9
11
6
3 5 7
existing
public corridor
(temporary exhibition)
TIBER MUSEUM & INSTITUTE
museum - river environment (view of riverfront condition)
farnese axis
temporary exit
8
buildin
g page 2
museum - river history (view of skyline)
4
riverfront park
first floor FAN YANG PORTFOLIO
RIVERFRONT THEATER FOR FESTIVAL D’AVIGNON avignon, france
instructor: hal hayes| carnegie mellon university
individual work | spring 2017
program & site This theater is designed for the Festival d'Avignon, an annual arts festival held in the French city of Avignon every summer. It includes one 500 seats regular theater and one riverfront dining theater. The site is a peninsula of open land, bounded by the two branches of the river on two sides and the heavily trafficked Pont de l’Europebridge on the northeast.
impact of this project
location of the proposed ferry terminal
the reflection on the design process of this project motivated & inspired me to explore design method in a deeper level through my 5th-year thesis
palais des papes
avignon old town
e
r
n ho
ct io n2
overview
conceptual challenges
• circulation of different groups of user
• adapt to the spirit of drama festival
• geometry of auditorium: sightline / lighting angle / etc.
level 2: for audience indoor venue
indoor venue
level 1: for staff
• incorporate site experience river
level 0: for all audience
outdoor venue
n1 io ct
• respond to the context (history of avignon & gothic heritage)
se
• fly loft configuration
se
technical challenges
outdoor venue
river
plan
section1 (same as the section model below)
section2
fly loft
the 500-seat indoor venue
entry hall for the indoor venue
responding to gothic heritage
backstage
the riverfront outdoor venue
stage entry hall for the outdoor venue
operates during the festival season every summer.
THEATER
6
arrival river cruise from the old town
FAN YANG PORTFOLIO
process
• engage the site & river (outdoor venue)
the nature of the drama festival & the site conditions demands that the new venue need to:
• be festive • respond to avignon
• unfinished path toward the river riverfront grotto (core experience)
• the old town & the defined view of the water as the backdrop of dance show
1
view
• surreal spatial identity arrival new river cruise
core experience • accessibility • arrival experience riverfront grotto
3
2 view
core experience + secondary experience
core experience
reorient the grotto to face the old city & extend both wings into riverfront corridors
secondary experience
ew
4
vi
4
concretize the core experience in the most abstract manner
core experience
• arrival sequence: rhone river cruise • cultural identity: respond to gothic heritage & metaphoric dry dock
introduce notion of dry dock & arcade
• seasonal adaptation (removable canvas vs. permanent roof) • pavilion oriented: shrinkage of enclosed interior space • diversify waterfront conditions
5 integration
THEATER
7
FAN YANG PORTFOLIO
narrative • surreal spatial identity of the destination
surrealist expression features the element of surprise, unexpected juxtapositions, channeling the unconscious as a means to unlock the power of the imagination. gateway? drydock? theatre?
• destination of the proposed rhone river cruise
making use of the sightseeing value of the river providing a new mean of transportation for the visitors during the festival season
THEATER
8
FAN YANG PORTFOLIO
2 3 6
7
22
21
front of house (audience)
back of house (artist / technician)
1. lobby 2. ticketing 3. coat check 4. restroom 5. patron lounge 6. bar 7. indoor dining 8. outdoor dining 9. kitchen 10. storage
11. rehearsal room 12. dressing room 13. shower 14. wardrobe 15. green room 16. scene shop 17. loading dock 18. shop & storage 19. catwalk for outdoor theater 20. office 21. light & sound booth
level 2
1
performance space
4
(11)
4
22. 500-seat auditorium 23. stage & backstage 24. riverfront seating 25. riverfront stage
5
30
service 26. ferry terminal 27. marina 28. marina service 29. mechanical room 30. pedestrian path
17 20
16
18
18
18
18
10
20
18
4
6
10
29 26
6
20
20 20
1
20
19
level 1
22
23
24
the big section model
19 12 15
13
4
4
13
12
4 10
11
9
4
25
level 0
8 7
14
28
THEATER
4
9
27
FAN YANG PORTFOLIO
B ct io n se river
n
io
ct
se A
section A
level 2
level 1
level 0
THEATER
section B
10
FAN YANG PORTFOLIO
THEATER
11
FAN YANG PORTFOLIO
THESIS - NEW CREMATORIUM
gifu, japan
instructors: mary-lou arscott & christine mondor | carnegie mellon university I proposed this project to further develop my design method, using the same program and site of one of toyo ito's crematorium in gifu, japan.
impact of this project
self-defined design agenda for the first time multiple spatial schemes for the first time
individual work | spring 2018
overview why crematorium?
crematorium design is demanding in terms of both the qualitative and quantitative dimensions, in terms of both the experiential quality and technical performance. therefore, it's an ideal typology for the investigation of design method.
did I planned to tear down toyo ito's crematorium?
no. this is a hypothetical project, borrowing only the program & site information from the existing project existing crematorium by toyo ito
source of site images: gifu perfecture official website
e tiv ta ali
ive
at
qu
tit
an
Site
qu
Program
cemetery in valley
Expression
qualitative challenge the emotional need of mourner
qualitative expression
Research
quantitative challenge
the main access to the site & valley
technical requirement of crematorium pond
quantitative research
13
FAN YANG PORTFOLIO
quantitative research
quantitative program - crematorium entry ceremony committal
variance of category variance of flow/adjacency variance of size (F): flexible size (V): can be vertically distributed
baumschulenweg crematorium berlin, germany
waiting enshrinement
kaze no oka crematorium oita, japan
woodland crematorium stockholm, sweden
variance from induction: precedents
variance variance of quantitative program provides room for adaptation & qualitative expression (area for further study)
variance from deduction: internal logic
variance of flow/adjacency all possible combinations
A1
A2
A3
A4
A5
A6
B1
B2
B3
B4
B5
B6
C1 C2 C3 C4 C5 C6
A
B
C
relation between different groups of user
each square = 1 square meter
european crematorium
THESIS - CREMATORIUM
japanese crematorium
16
1
2
3
4
5
6
sequence & experience of one group of user
FAN YANG PORTFOLIO
qualitative research & expression
qualitative program - narrative of death in general
I created these models based on the intuitive understanding of the narrative of death. They are the very first rough translation that bridge the meaning & the form.
what does pure qualitative mean?
default image of death: natural, solemn, instant
Although these models can be measured, there's nothing being quantified at this stage. All dimensions are subject to change.
why so platonic? because these expressions are narrative-oriented and therefore present only the most default state (e.g. symmetry) for any other irrelevant aspects
view
death become a individual matter & a gradual process
schema 1
schema 2
schema 3
transition | partition | consolation forest as barrier
reflection | nothingness | life cycle circular movement | concentric order
metaphor of the acceptance of one’s mortality through an abstract representation of the final journey (existentialist perspective)
schema 4 metaphor of purgatory (christian perspective)
mechanism front/back/top: mirror left/right: panel with zigzag opening covered by red paper
THESIS - CREMATORIUM
14
FAN YANG PORTFOLIO
qualitative research & expression
qualitative site - narrative of death in japanese culture
japanese specific funeral features source of all precedent images on this page: Heathcote, Edwin. Monument Builder : Modern Architecture & Death, Wiley, 1999 enshrinement room kaze no oka crematorium oita, japan
enshrinement room
cremation is an ancient tradition in Japan. After the cremation, the family of the deceased will collect the ashes into a jar and eventually stored in buddhist temple
furnace entry
ceremony
committal
committal room
waiting
In Japanese crematorium, the mourners will witness the final departure in the committal room (which is inaccessible in western crematorium)
enshrinement
qualitative expression
schema 5 - committal room metaphor of ascension
from the reflection above, the casket looks like its ascending to a brighter space as it is moved into the crematory
hierarchy of procession
the casket proceeds through the central “bridge” while the mourners proceed along the sides
reflection in the top mirror committal room, urawa crematorium, saitama, japan
THESIS - CREMATORIUM
15
FAN YANG PORTFOLIO
design process overview unrestricted interpretation
These schemata can be interpreted as stage2 or stage3 and even stage 1, not depending on what they look like, but depending on what I take from them to the next design phase.
quantitative research
stage 1
schema 1
transition | partition | consolation
spatial identity
4 spatial schemes (see next page)
impression & cognitive map highest degree of abstraction
matrix
week 3
stage 1 spatial identity - diagram
schema 2:
circular movement | concentric order
week 10
stage 2 spatial character character of path & place preliminary abstraction
filter
schema 1 schema 2 week 3
stage 2 spatial character- 1/1000 model
schema 5 - committal space
metaphor of ascension & completeness
week 11
stage 3 concrete experience 100% perceivable content specification of: form / style / materiality / tectonic strategy & etc.
schema 5
week 5
17
stage 3 spatial scheme - 1/200 final model
week 12
stage 1 spatial identity
impression & cognitive map | highest degree of abstraction | week 10
A1 lake bridge
B1&2 distant shrine
A2 lake shrine
C1 serialization
Meta-schema path / moving pattern (goal directed attention)
Type
Segmental
Shrine
interaction / focus / event (stimulus driven attention) support / backstage program Feature Threshold
Narrative
Partition
matrix of spatial identity
Respect & Reflection
type of space & narratives
2
Site experience Meta-schema 1 Meta-schema (please refer to page 32 for detail)
cemetery
A: lake zone
dary
un e bo
sit
main entry
B: b
Site A: Lake zone
site schemes
ottle
nec
(water experience)
k
A: lake zone
moutain
bounda
ry
B: bottleneck
(linearity & dualist)
C: plain
THESIS - CREMATORIUM
18
Tranqu
3
2 Sequential Segmental Sequenti 1 Type Type Segmental ShrineShrine centripetal segmental Corrido Corridor respect & partition Feature Threshold N/A A1 A2Centripetal Feature Threshold Centripetal reflection Lake bridge Lake shrine Narrative PartitionRespect Respect & Tranquiliz Narrative Partition & Tranquilize A1 lake bridge A2 Reflection lake shrine Reflection
Site Site experience Site experience B: Bottleneck
C: plain
Centripetal
Sequen Corrid
Site C: Plain A: Lake Site Site A: Lake zonezone (water experience) (water experience)
B1&2
1 1 2 2
B1&2 distantshrine shrine Distant
3 3B3 Gorge
C1 serialization
C3 N/A A1 A2 PORTFOLIO FAN YANG N/A N/A A2 Soothing Lake bridge Lake shrine Serialization Lake bridge Lake shrine path C1 A1
stage 2 - spatial schemes
furnace
spatial character & order | 1/1000 model | week 11
entry
ceremony
committal
waiting
enshrinement
these schemes integrate the previous quantitative research on program
A1 lake bridge
A2 lake shrine
the concentric spatial order facilitates reverence & reflection the sky view gradually expands as people move along the circular path
the lake as partitions & symbolic gateway of the valley of death
influenced by schema2: notion of reflection | nothingness | life cycle
influenced by schema1: notion of transition | partition | consolation
THESIS - CREMATORIUM
19
FAN YANG PORTFOLIO
stage 2 - spatial schemes
furnace
spatial character & order | 1/1000 model | week 11
ceremony
entry
committal
waiting
enshrinement
these schemes integrate the previous quantitative research on program
B1&2 distant shrine
C1 serialization
B1&2 was chosen to be developed to the stage 3
the stratified spatial sequence symbolizes the journey to the after life
influenced by schema1/ schema2 / schema5
THESIS - CREMATORIUM
influenced by schema1: notion of transition | partition | consolation
20
FAN YANG PORTFOLIO
stage 3 concrete experience 100% perceivable content specification of: form / style / materiality tectonic & technical aspects based on spatial scheme B1&2
1
2 5
3
4
7 6
9
8 11
funeral sequence
9
1. Entry 2. Oratory 3. Commital room 4. Waiting room (1~2 hr) 5. Enshrinement (0.5 hr)
10
13 staff area 6. Crematory 7. Control room 8. Storage 9. Office 10. Mortuary 11. Mechanical
services 12. Bathroom 13. Kitchen 14. Drop off area
12 14
8
narrative
climax
prelude
In the committal room, the mourners witness the final departure of the deceased. The committal space symbolizes the gateway to the afterlife: from the mirror reflection above, the casket looks like its ascending to a brighter space as it is moved into the crematory.
The experience starts from the oratory, where the farewell ceremonies take place. The disconnected path and the double arch above them create crossing a boundary that separates the incoming "sacred space" and the exterior world.
epilogue
During the process of cremation, the mourners will be in the waiting room, where the unobstructed lake view & privacy facilitate the process of reflection and tranquilization.
THESIS - CREMATORIUM
When the cremation is finished, the mourners will be notified to collect the remain of the deceased in the enshrinement room, which presents a metaphor of mountain burial.
23
(reflection in the top mirror)
Within 49 days after the cremation, the remain will be buried in the cemetery.
FAN YANG PORTFOLIO
thesis exhibition miller gallery, carnegie mellon university | apr. 19th - apr.25th, 2018 photos provided by magaret cox
structure of experience
6 spatial schemes
THESIS - CREMATORIUM
qualitative expression final design
24
FAN YANG PORTFOLIO
HUAMU LOT 10 shanghai, china
kohn pedersen fox, new york & shanghai team size: 5 to 20
my involvement:
interior SD & DD (7months) facade tender drawing set (5 months) facade tender review & CA (10 months, expected)
this image is by plompmozes
HUAMU LOT 10
office lobby - SD & DD
lift indicator
HUAMU LOT 10
stone fin
reception desk
26
feature wall design options & detail
FAN YANG PORTFOLIO
Address 地址
1800
facade tender & coordination 1715
575
250
example: sky gallery soffit
T.O.F.F.+87.900M
3
900
F.O.M
F.O.G
240
F.O.M
610
F.O.M
350
select soffit material (titanized sstl) & supplier
T.O.PARA
夹层 L17M INTERSTITIAL T.O.F.F.+85.975M
100
1450
T.O.M
2100
上海市浦东新区花木路10号 Huamu Road, Lot No. 10, Pudong, Shanghai
办公 L18 OFFICE
2325
Client 业主 上海保利房地产开发有限公司 上海市延安西路1566号龙峰大厦21楼 Shanghai Poly Real Estate Development Co., Ltd No.1566, West Yan'an Road, Shanghai Tel 电话: +86 021 52588210 Fax 传真: +86 021 64695735
650
B.O.M
brushed finish
B.O.MULL
01 A-3631.1
4
部分剖面 PARTIAL SECTION T1-6
F.O.M
B.O.COL
1315
embossed finish
Design Architect 建筑设计顾问 Kohn Pedersen Fox Associates PC Architects & Planning Consultants 美国纽约市42街11号 11 West 42nd Street, New York, NY 10036 USA Tel 电话: +1 212 977 6500 Fax 传真: +1 212 956 2526
Local Design Institute 本地设计院 3 A-3110
同济大学建筑设计研究院(集团)有限公司 上海市杨浦区四平路1230号 Tongji Architectural Design (Group) Co., Ltd 1230 Siping Road, Shanghai Tel 电话: +86 021 65987788 Fax 传真: +86 021 65985121
VT + Traffic Consultant 竖向交通与交通顾问 上海科进咨询有限公司 上海市长宁区新华路643号 WSP 643 Xinhua Road, Shanghai Tel 电话: +86 021 80306000 Fax 传真: +86 021 80306001
01 A-3636
Façade Consultant 幕墙顾问
REMOVABLE COVER 可拆卸盖板 BMU DAVIT SOCKET 擦窗机固定支座插杆
M-1
T.O.SLAB
T.O.F.F.+87.900M
M-1
1825
M-2
办公 L18 OFFICE
150
F.O.M
575 500
F.O.M
F.O.G
240
F.O.COL
B.O.FIN
F.O.M
610
SCALE 1:50
T1-7
625 242 F.O.G
350
400 700 F.O.G
350
700
夹层 L17M INTERSTITIAL
50 M-2
T.O.F.F.+85.975M
T.O.SLAB
1375
M
M-2
M-1
3
B.O.CLG
M-2
MULL
M-8
LIGHTING BASELINE: LUMINOUS CEILING LIGHTING ALTERNATE: LUMINOUS BAND 灯光备用方案：发光区域带
G-12
review details developed by facade consultant
CEILING AND SHADE DESIGN GUIDELINES BY KPF KPF提供天花及窗帘设计导则
M-8
G-7
1 A-3111
Signage Consultant 标识顾问 枞建 香港干诺道中122-124号 OFGA 122-124 Connaught Road Central, Hong Kong Tel 电话: +852 39564408 Fax 传真: +852 39564409
3 2 1
No.
MONORAIL BMU 单轨擦窗机
100% TD REV 4 100% TD REV 3 100% TD REV 2 100% TD REV 1 100% TENDER DOCUMENTS 75% TENDER DOCUMENTS 50% TENDER DOCUMENTS 100% DESIGN DEVELOPMENT 75% DESIGN DEVELOPMENT 50% DESIGN DEVELOPMENT 100% SCHEMATIC DESIGN Issue
04 SEP 2019 31 JUL 2019 15 JUL 2019 28 JUN 2019 31 MAY 2019 19 APR 2019 11 MAY 2018 28 FEB 2018 26 JAN 2018 17 NOV 2017 08 SEP 2017 Date
Key Plan
SILL
空中画廊 L17 SKY GALLERY T.O.F.F.+78.45M
T.O.SLAB
M-1
50
1950
M-2
M
2 A-3111
M-3 M-1
890
夹层 L16M INTERSTITIAL T.O.F.F.+76.500M
T.O.SLAB
M-7
M
SOFFIT
F.O.G
1240
1 produce tender drawing
视觉交互事务所 美国纽约市沃思街40号 Office for Visual Interaction, Inc (OVI) 40 Worth Street, New York, NY 10013 USA Tel 电话: +1 212 206 8660 Fax 传真: +1 212 206 8661
0
150
M-8
Lighting Consultant 灯光顾问
10 9 8 7 6 5 4
M-8
SOFFIT LIGHTING 外天花灯光 01 A-3632
澳派景观设计工作室 上海市黄浦区局门路519号 ASPECT Studios 519 Jumen Road, Shanghai Tel 电话: +86 021 53028555 Fax 传真: +86 021 53020815
coordinate with lighting consultant
2
灯光主要方案：发光天花板
6000
01 A-3631
法国阿爱法建筑结构设计（上海）有限公司 上海市徐汇区汾阳路138号轻科大厦四层 RFR Shanghai 138 Feng Yang Road, Shanghai Tel 电话: +86 021 54665316 Fax 传真: +86 021 54665317
Landscape Consultant 景观顾问
01 A-3631.2
M-2 M-3
M
MULL
shot finish
上海浦东土地控股（集团）有限公司 上海浦东新区丁香路716号E座 Shanghai Pudong Properties (Group) Co., Ltd No.716, Dingxiang Road, Shanghai Tel 电话: +86 021 68540077
部分立面 PARTIAL ELEVATION
B.O.MULL
9075 1100
2
SCALE 1:50
T1-A
SILL
M
mirrored finish
Client 业主
℄
01 A-3637
3
部分剖面 PARTIAL SECTION
1
SCALE 1:50
3
部分立面 PARTIAL ELEVATION SCALE 1:50
Date Created
8 SEP 2017
Project No.
2492
Scale
1:50
Drawn By
E.E.
Checked By
M.L.
TOWER WALL TYPE SKY GALLERY CANTILEVER 塔楼墙身 图纸-空中大堂悬挑
A-3110
© 2018 KOHN PEDERSEN FOX ASSOCIATES PC. All rights reserved.
provided by facade concultant RFR
revise design based on feedbacks from consultants
provided by lighting consultant OVI
by lighting consultant ovi HUAMU LOT 10
27
FAN YANG PORTFOLIO
construction administration visual mockup unit & lighting test review
select 4 soffit materilas to install on visual mockup
HUAMU LOT 10
check lighting fixtures
28
finalize soffit material & lighting fixture
FAN YANG PORTFOLIO
STATEMENT OF PURPOSE investigation on design methodology
At the beginning of my one-semester exchange to Rome, the most eye-
Up until then, I was mainly focusing on the relation between the initial design
As many KPF projects demonstrate, the design processes are not always
catching elements were the murals and sculptures in the basilica, Corinthian
concepts and the subsequent development, while the generating process
linear, and very often the investigation on detail and material can profoundly
order, pilasters, and travertine everywhere. It’s only after one month or two,
of the design concept itself was still in a black box, as always. Even though, I
influence the overall character of the design. Sometimes these specific
when I got used to the decoration, style, and material, that I started to be
was greatly inspired by the strategy of abstraction and parameterization, and
elements can be so perfectly integrated, almost become like the gene of
more impressed by the underlying spatial logic in some of the works. For
since then I had the ambitions of managing and maximizing design inspiration
the project. Even though, I cannot deny the value of abstraction, and I think
instance, although most of the palazzos look like orthogonal grid in plan,
from the very beginning: building a new system of language to define and
what I need is a critical re-examination & integration, not an overthrow. I
the spatial sequence in different palazzos are quite diverse. (The opposite
guide the design process from the earliest design stage, a new system in
hope to combine my new understanding of the profession with my (previous
being some of F. L. Wright’s early houses, which are topologically similar yet
which various kind of mental representations will be constantly abstracted
and future) investigation on design method, and see what kind of chemical
geometrically diverse)
and aggregated, just like how gears increase and decrease the load among
reaction will follow. In general, I expect my learning experience to be like
different spindles in a machine. My thesis was the first attempt I made for
dialogues, dialogues between my established systems and that of faculty and
Since then, I started to use a new perspective to observe, a spatial and
these ambitions, and this experience has left me with many valuable thought
students, and dialogues between theory and practice.
topological perspective which focuses on the abstract character of space
structures and hypotheses to guide my future explorations.
and path, and which transcends specific form and specific concerns. This new perspective offered inspiration to solve one major design challenge
As I finished my thesis, my fear has become that I might get stuck in the
I’ve identified so far: As the rigor and complexity mounted, as the concerns
abstract world and all my theories will always remain as theories. With
for detail and practicality dominated the design process, design could
the hunger for the direct knowledge of the real-world practice, I joined a
become soulless. My hypothesis is that, if I somehow apply this abstract
corporate firm when I graduated. During my time at KPF, I’ve been able
and spatial perspective in the design method, I will be able to preserve
to work on the same project (Huamu Lot 10) and witness multiple different
what I considered as essential: the narrative of space. With this in mind, I
phases of it, including interior SD and DD, facade tender and CA. From this
started my experimentation in my subsequent studio projects in Carnegie
experience, what influence me the most are the emphasis and rigorous
Mellon, combined with my ongoing investigation on the theory of cognitive
methodology on craft exercised in this firm. As our president J. V. Klemperer
psychology and epistemology. As my theater project demonstrated, the
stated in his essay, “A great idea is worthless unless it is embodied in materials
design concept (the “riverfront grotto”) was identified as abstract parameters
and details that properly support its original thesis.” Although I will not say
(instead of formal character), which maintained the integrity of the design
that I completely agree, but I did find it necessary to re-examine the dualism
concept during the subsequent design stage, while still allowed considerable
I once proposed. Can the abstract space really be so clearly isolated from
room for expression and adaptation. (Portfolio page 7)
other design aspects?
SOP
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FAN YANG PORTFOLIO
DESIGN METHOD SUMMARY
qu ali ta t iv
A. maximize the expression of narrative in architectural design
Site
ive at tit
what's my motives?
Program
an qu
e
origin & development
B. preserve initial design intent from the encroachment of pratical constraints
Expression
how does my design method contribute to my goal?
phase A: catharsis
Research
my design method is characterized by 2 phases: A. catharsis, facilitating the expression of the narrative by bridging meaning & form. B. comprehension, interpreting & integrating the fresh ideas & researches from phase A.
what's the nature of my design method?
phase B: comprehension
spatial scheme
it's a system which is still being developed it's a tentative mode of operation, not a strict code to follow
application on each project
observation
application
two dimensions of design
two research approaches
experience (qualitative)
mechanism of perception phase A: catharsis unrestricted expression based on the intuitive understanding of narrative
phase B: comprehension process & integrate the fresh and chaotic ideas from phase A
METHOD
tiber institute
method
2016
subconscious
theater
2017
crematorium
2018
semi-conscious
conscious
qualitative expression
unplanned
planned
performance (quantitative)
quantitative research
instructed
planned
3 stages of perception
3 stages of design
unplanned & subconsious (summarized afterward)
planned & semi-conscious
from concrete to abstract
from abstract to concrete
unplanned & unconsious (not applicable)
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FAN YANG PORTFOLIO
DESIGN METHOD SUMMARY spatial scheme = spatial identity + spatial character
stage1 stage2 stage3
user
SD
DD
CD
builder
spectrum of specificity
path / moving pattern (goal directed attention)
abstract
interaction / focus / event (stimulus driven attention)
subconscious long-term memory
barrier / partition / threshold
sequence of design
stage 1
spatial identity
impression & cognitive map highest degree of abstraction "existential perspective" architecture experience is subjectively defined, subjectively oriented, and is organized through subjective mental schemata of path, place & domain. source: christian norberg-schulz | cognitive psychology
analysis of venetian spatial identity
stage 2
spatial character
character of path & place preliminary abstraction spatial character is based on the egocentric orientation system, defining the degree of enclosure and rough sense of materiality (examples: soft / hard / cold / warm) source: yoshinobu ashihara | environmental psychology
sequence of perception
analytical model of the venetian spatial character
stage 3
concrete experience
100% perceivable content specification of: form / style / materiality / tectonic strategy & etc. (can be considered as the equivalent of "schematic design")
concrete
conscious long-term memory
the path of venice METHOD
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FAN YANG PORTFOLIO
DESIGN METHOD SUMMARY basic categories of spatial scheme
Based on my research & travel experience, I categorized 8 most common types of space, in terms of the most abstract level of spatial identity. The implication of this categorization is that when we iterate our design based on the different types of spatial identity, our design proposals can be diversified in the most fundamental sense.
path / moving pattern (goal directed attention) interaction / focus / event (stimulus driven attention)
spatial identities paths & interactions
translation spatial implication
naming
transit
community
worship
participate
secluded modules
congregation
sequential
?
airport train station bathhouse
couryard residence
musuem temple mausoleum
restaurant casino market & shop
hospital hotel office prison
church theater classroom stadium
museum library gallery supermarket
garage warehouse factory studio supermarket
based on behavior, not geometry
examples
METHOD
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FAN YANG PORTFOLIO
DESIGN METHOD SUMMARY importance of spatial scheme
The spatial scheme is designer's self-made zoning law. A spatial scheme defines the key parameter and key ideas of a design concept. These parameters define the range of flexibilities in the following design stages, (those must persist vs. those can be forsaken) By doing so, the spatial scheme helps maintain the integrity of the intial design intent / narrative throughout the whole design process, while still leaving enough room to adapt to different practical constraints in reality,
• broken path & partition
• technical constraints • economic constraints • legal constraints
spatial scheme
• riverfront grotto
spatial scheme
• economic constraints • legal constraints • etc.
• facing the old town • wings as riverfront corridors • dock for river cruise
theater
METHOD
• shrine as the destination • metaphor of ascension
• etc.
• technical constraints
• circular movement
crematorium
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FAN YANG PORTFOLIO
DESIGN METHOD SUMMARY future development
(area for further study, refer to theater project )
spectrum of hierarchy
utilization of phase A
utilization of phase A
(qualitative)
hierarchy of core secondary rest of experience experience experience experience
how to digest the qualitative expressions
...
(quantitative)
how to digest the quantative research
specificity of experience
explore(d) through academic research
explore(d) through professional practice
stage 1 spatial identity
subjects:
representation semiotic / index etc.
individual research client project team consultant
stage 2 spatial character
character of path & place preliminary abstraction
spatial restricting factor
spatial scheme
quantitative research datebase
categories:
stage 3 concrete experience
100% perceivable content specification of: form / style / materiality / tectonic strategy & etc.
METHOD
source:
preliminary restricting factor
parametrize
unrestricted interpretation
qualitative expressions
spectrum of specificity
impression & cognitive map highest degree of abstraction
+
+
detailed survey
program site code budget schedule etc.
integration
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FAN YANG PORTFOLIO
DESIGN METHOD SUMMARY bibliography
method / framework Groat, Linda. Architectural research method, John Wiley & Sons, 2015 Hale, Jonathan. Building Ideas - An Introduction to Architectural Theory, Wiley, 2000 Reuter, Wolf. Architectural Design Methodology, China Architecture & Building Press, 2012
spatial composition Ashihara, Yoshinobu. Exterior design in architecture, Van Nostrand Reinhold, 1975 Hanlon, Don. Composition in architecture, John Wiley & Sons, 2009 Unwin, Simon. Analysing architecture, Routledge Press, 2009 Zhu, Lei. Operation of space, Southeast University Press, 2015 Zevi, Bruno. Architecture as space, China Architecture & Building Press, 2006
psychology Anderson, John. Cognitive psychology, Worth Publishers, 2009 Lang, Jon, Creating Architectural Theory, Van Nostrand Reinhold, 1987 Lawson, Bryan. The language of space, China Architecture & Building Press, 2006
phenomenology Husserl, Edmund. The Crisis of European science, Northwestern University Press, 1970 Norberg-Schulz, Christian. Existence, Meaning and Architecture, Praeger Publisher, 1971 Rasmussen, Steen. Experiencing architecture, The MIT Press, 1964 Sokolowski, Robert. Introduction to phenomenology, Cambridge University Press, 1999 Stumpf, Samuel. A history of western philosophy, McGraw-Hill, 2007
METHOD
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FAN YANG PORTFOLIO
CV
EDUCATION
Carnegie Mellon University, Pittsburgh, PA
Bachelor of Architecture Graduated with college honors Thesis paper: On the existential dimension of spatial perception Thesis: Reconstruction of sacred space with a new design method
Pantheon Institute, Rome, Italy
Study Abroad Semester Explored abstract typologies beyond architectural styles
WORK EXPERIENCE
2013 - 2018
Fall 2016
AWARDS
Fourth Year Design Award
Burdett Assistantship - $5000 Juried by all CMU faculty Awarded for all personal design works since freshman year
EPIC® Metals Design Competition
3rd place - $600 Designed a metal pavilion, 2-person & 3-day competition
Kohn Pedersen Fox, New York / Shanghai
Junior Designer Project: Huamu Lot 10 - Business & cultural complex in Shanghai Reference: https://www.archdaily.com/907606
July 2019 - present, Shanghai Tender review & construction administration • Reviewed bidder's submission & issued tender query • Reviewed & finalized choice of material & fixture
July 2018 - June 2019, NYC Facade - Tender documents (4 months) Interior - Schematic design & Design development (7 months) • Prepared SD presentations & DD drawing package • Coordinated with LDI & consultants
in:Flux architecture, Beijing, China
Summer 2017
Summer 2015
Summer Intern Project: A mountain resort next to the Beijing section of Great Wall • Developed conceptual schemes & interior schemes for the reception hall • Made physical models
April 2017
July 2018 - Present
April 2016
Front Studio Architects, Pittsburgh, PA
Summer Intern • Developed conceptual schemes for Warhol museum expansion & etc. • Conducted survey on existing building
CONTACT fyang@kpf.com francisfanyang.com
Room 201, 37#, 202 Lane, Tianshan Rd, Changning District, Shanghai, China
CV
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FAN YANG PORTFOLIO