J-H Yang MFA Interior Design 2017

NEW YORK SCHOOL

OF INTERIOR DESIGN

MFA

2017

JOE-HYNN YANG INTERIORS BY

“To me, buildings can have a beautiful silence

that I associate with attributes such as

composure, self-evidence, durability,

presence and integrity, ... and with warmth

and sensuousness as well ...�

Peter Zumthor

P D D G P

O R E L L

W E R E A M S I R E A M O R A Y

page 3 page 11 page 28 page 36 page 41

Interior Design Portfolio by

JOE-HYNN YANG

The Nancy P. Smart Memorial Scholar MFA (Interior Design) Graduated NYSID 2016. yang.joehynn@gmail.com 2

P O W E R

WIKILEAKS HEADQUARTERS Concept for Corporate Offices, 7600 sq. ft.

41 Madison Avenue, New York City 3

PARTI: CLOSED & OPEN HEXAGONS

In response to a design brief for office interiors for a non-profit organisation, recent events make WikiLeaks’ conjectural US presence highly charged with issues of security and technology in workplace design, sensitive response to site, and control of circulation.

WikiLeaks’ present HQ is a Cold War-era underground bunker in Sweden, featuring a floating glass conference room above climate-controlled servers in a rock cavern.

In response to the NYC glass-box skyscraper site, the concept proposed was to “invert the bunker.;” namely, to explore open-vs.-closed contrasts and natural-vs.-synthetic or raw-vs.-crafted textures.

SITE: 41 MADISON AVE, NYC

PLAN & PRIMARY CIRCULATION

The client’s mission for transparency in governance and appropriate data protection is served by an office layout with successive levels of access, balancing open plan against enclave and refuge workspaces, culminating in a multi-use assembly stadium below stepped coves of colorchanging LEDs inspired by the art of James Turrell.

REFLECTED CEILING PLAN

AXONOMETRIC

P O W E R

D ESIGN D E VELOPMENT

4

JAMES TURRELL

FRANCE-LANORD FRANCE-LANORD ARCHITECTS: ARCHITECTS: WIKILEAKS WIKILEAKS HQ HQ SWEDEN SWEDEN

FREEHAND PERSPECTIVE & WATERCOLOR MOOD & LIGHTING STUDY

“... color-changing LEDs in stepped coves, inspired by James Turrell’s installation at the Guggenheim, serve to reinforce an FF&E scheme with color palette drawn from flickering data servers ...” mPARTICAL

P O W E R

PR EC ED EN TS & MOODBOA RD

5

"... A designer knows that he has achieved perfection not when there is nothing left to add, but when there is nothing left to take away ..."

Antoine de Saint-Exupéry

R EC EPTION

ZAHA HADID: MOON SOFA & SEOUL DESK

P O W E R

LEFT: SECTION A-AA

ABOVE: CONCEPT SKETCH

D ESIGN D EVELOPMENT

6

CONCEPT SKETCH

LOU NG E

FREEHAND PERSPECTIVE

OP E N B E N C H I N G

P O W E R

D ESIGN D EVELOPMENT

7

SECTION A-AA: PRIMARY BENCHING

“... reflecting issues raised by Wikileaks on the transparency of governance and the security of data ... a succession of constrictive spaces, using a hexagonal module, open eventually to workspaces which maximise parkside views ...”

SECTION B-BB: LOUNGE & ENCLAVES

A

B C

AA

SECTION C-CC: ASSEMBLY STADIUM

BB

CC

P O W E R ELEVATIONS

8

CONCEPT SKETCH ARTWORK: PAUL COCKSEDGE V&A MUSEUM, LONDON

PUB L I C- P R IVAT E T R A N S IT IO N

“... furnishings with variable translucencies and colored light, infographics, topographical maplines, and faceted geometric forms reinforce the theme of energized free-flowing data ...”

KNOLL: INTERPOLE K-LOUNGE

WALL COVERING: MDC RIVIERA SAND CRV5545 GRANITE

MAGIS STOOL-1 & CHAIR-1

CARPET: INTERFACE MONOCHROME 101841 BLUE

ESTILUZ SISO T2996

TASKCHAIRS: MOMENTUM TETRA COBALT

RESIDENT HEX-BRASS

LOUNGE CHAIRS: CREATION BAUMANN ELUIS 668

NUUV TWOLVE

WALL COVERING: DESIGNTEX JM LYNNE CRUSH J279-102

COALESSE SW-1

CUSTOM BLINDS: MAHARAM SPIRAL 901882-001 CHALK

KNOLL 120DEG ANTENNA

COLUMNS: EXPOSED BOARD-FORMED CONCRETE

ZAHA HADID: CITGO SHELF

WALL DETAILS: ALUMINUM PERFORATED MESH

CUSTOM FLOOR: MURAFLOOR VINYL TOPOGRAPHIC PRINT

UPHOLSTERY: CUSTOM INDIGO TOPOGRAPHIC PRINT

PANEL DIVIDERS: CUSTOM DIGITAL HEXPATTERN PRINT

CUSTOM PRINT/TUFT CARPET: HEX-STARS SHAW HOSPITALITY

FU R N IT U R E & FINIS HES

9

ASSE M B LY STA D IUM

“... the hexagonal stadium is the true core, enabling amphitheater staff meetings and guest lectures against open views of the city, but also housing data servers in acousticand climate-controlled stacks; their visible centrality reinforces the corporate mission ...”

LEFT: LIGHTING PLAN CALLOUT ABOVE: CONCEPT SKETCH

P O W E R

D ESIGN D EVELOPMENT

10

D R E A M

In response to a design brief for full conversion of an industrial building to a hospitality concept, my proposal folded in the quest for effective sacred space-making. Escapist resort hospitality involves a retreat from urban chaos and the seeking of an otherwordly revitalizing experience; similarly, medieval monasteries like St. Gall & Clairvaux, or Zen temples, structure and enable these pursuits.

Within a derelict incineration plant on the waterfront in the Meatpacking District, the Platonic geometries of the Buddhist stupa symbol serve a three-pronged program: (i) a global affairs and governance center based on the study of, and dialog between, East-West philosophies (such as the Beggruen Institute); (ii) a secularly 'monastic' hotel for visiting diplomats and TED leaders to reside, meditate, study & escape; (iii) public outreach amenites to serve and educate.

Light, shadow, sound, water, and gardens are choreographed in space.

A waterfall stair in the former garbage ash-pit leads to an oculus-domed sanctuary whose roof canopy spreads over hanging gardens which face the waterfront and reject the city, The paired entrance towers recall cathedrals, minarets, and pagodas.

THESIS CAPSTONE: THE CRUCIBLE gLOBAL AFFAIRS CENTER & SECULAR MONASTERY Concept for Mixed Use Hospitality, 140,000 sq. ft.

Gansevoort Destructor Plant, Pier 53, New York 11

WHITNEY MUSEUM: PIA

NO

HIGH LIN

E: DILLER

THE STAN

DARD HO T

SCOFIDIO

+ RENFRO

EL: ENNE

PIER 53: GANSEV OORT DESTRUCT OR PLANT

AD PIER 55: T

HOMAS H

EATHERW

ICK (BY 2

018)

G A NSEVOORT P ENINSU L A FAR LEFT: CASE STUDIES: 1. THE STANDARD HOTEL, ENNEAD ARCHITECTS 2. THE CATHEDRAL OF CHRIST THE LIGHT, SKIDMORE, OWINGS & MERRILL 3. ASIA SOCIETY HONG KONG, TOD WILLIAMS & BILLIE TSIEN LEFT: FINAL MODEL - STUDY OF MASSING, CONTEXT & EXTERIOR LIGHTING ABOVE: MATTA-CLARK, DAY'S END (AT SITE IN 1975)

"... there is a confluence of history at the Gansevoort Peninsula which amplifies any potential site of escapist hospitality and sacred space-making at the New York waterfront ... this is where Herman Melville was customs inspector, where the Carpathia unloaded survivors of the Titanic, where the only instance of US Federal Govt. book-burning occurred, and where Gordon Matta-Clark made architectural art in decaying structures rife with gay trysts and protest grafitti in the 1970s ...”

D R E A M SITE A NALYS IS

12

BOULLEE: PROJECT FOR THE CHURCH OF THE MAGDELENE

CONCEPT SKETCH PROCESS: IDEATION TO SCHEMATIC LONGITUDINAL SECTION

TAKTSANG MONASTERY, BHUTAN

ANDY ANDY GOLDSWORTHY GOLDSWORTHY

“... therefore, within a derelict incineration plant, to explore the fusion of religious architecture and escapist hospitality at the New York waterfront,

to design a hermetic retreat from the chaos of the city ... to use

the pure geometries of the stupa, to create spiritually uplifting spaces

without overt iconography yet which are also replete with the

phenomenological resonance of water, stone, light, shadow ...”

D R E A M

KHAO LUANG TEMPLE, THAILAND

KAHN: EXETER LIBRARY

MoMA: RISING CURRENTS, 2010

PR EC ED EN TS & MOODBOA RD

13

LEFT: ST. PAUL’S LONDON, DURING THE BLITZ © GETTY IMAGES BELOW: MIGRANT REFUGEE CAMP CHURCH, CALAIS 2016 RIGHT: STUPA DIAGRAM, buddhism.org

[THESIS EXCERPT] “... The parti is derived from the Buddhist stupa, originally a reliquary for the Buddha’s hair and bones, but now simplified into a conceptual mandala, or thought-diagram, of stacked squarecircle-triangle. This imparts geometric purity to the building’s section, and the program’s divisions of function. The lower two floors use the vocabulary of the cube in the public outreach areas of auditorium, art galleries and restaurant. The worship sanctuary expresses the sphere, and rises full-height through an oculus to a tri-form roof canopy.

The fourth and fifth ‘monastery’ levels, with meditation hall & private ‘cloister’ rooms, echo this curvilinear language; while the intervening third floor has a distinct language of sliding planes, essentially an elision of the cube transforming into a sphere. This indicates the programmatic uniqueness of this floor, devoted neither to insular contemplation nor public education, but to active application of ethics through global conflict resolution.

Design solutions in this Crucible thesis are inspired by, and respond to, issues of phenomenology in architecture, particularly arising out of the writings of Juhani Pallasmaa, and its application to the development of sacred space. By focusing on a holistic conception of sensory response, and by challenging the binary oppositions of building-vs-occupant / structure-vs-volume / observer-vs-phenomenon, we edge towards a conception of place that is non-dualistic, almost Daoist in derivation. In other words, a broader philosophical conception where exterior-interior, material-immaterial, solid-void are intrinsically inseparable, simultaneous, and fundamentally univalent. Selected work by Peter Zumthor, Le Corbusier, and Louis Kahn shall be used as case studies, and the concept of ‘ma’ (space-time-interval) in classical Japanese architecture shall be discussed.

In the Eyes of the Skin, the Finnish architect Juhani Pallasmaa discusses his concern of the patriarchy or dominance of the eye over the creation of architecture. This ‘ocularcentrism’ privileges appearance and rationalized focusing over the more fundamental haptic senses. In order to counter the alienation we feel within built space, Pallasmaa calls for our vision to become more ‘unfocused’ and ‘peripheral,’ and for architecture to restore primacy to considerations of touch, sound, smell, taste and physical orientation. As one’s perceptions are “fused into the haptic continuum of the self,” one discovers that, “...my body is truly the navel of my world, not in the sense of the viewing point of the central perspective, but as the very locus of reference, memory, imagination, and integration.”

This reference to the omphalos, the navel of the world, is particularly resonant when discussing sacred space, since it is first used in reference to the Delphic oracle. Omphalos-stones were considered the power centers of the gods, and were set up in the adyton (the holy-of-holies) of the temple. One of the more famous modern usages of the term refers to the Foundation Stone of the former Temple of Jerusalem (destroyed 70 CE) enclosed within the Dome of the Rock, sacred to all three religions of the Book. Omphalos therefore integrates multivalent meanings: site of divine inspiration, site of temple foundation, site of generative power through the unity of phallus and uterus, the axis mundi, the fulcrum of the universe. By applying a phenomenological approach, the generative sacredness of any space may derive from the complete integration of the fully human into the built structure.”

D R E A M

PHEN OMEN O LO GY IN SAC R ED SPACE-MAKING

14

“Only in the vacuum lay the truly essential ...

The reality of a room, for instance, was to be found in the vacant space enclosed by the roof and the walls, not in the roof and walls themselves.”

Okakura Kakuzo The Book of Tea, 1906

THE GANSEVOORT DESTRUCTOR PLANT ORIGINAL RENDERING, A. SIGLER, 1940s

KAHN: THE SALK INSTITUTE, LA JOLLA, CA.

[THESIS EXCERPT] “... With this discussion of boundaries, interventions and place-making, we have almost come full circle to Norberg-Schulz’s discussion of the tangibility of thresholds. He quotes Heidegger, “A boundary is not that at which something stops, but as the Greeks recognized, the boundary is that from which something begins its presencing.”

In classical Greece, the boundary between the sacred and the profane was termed alsos, referring to sacred groves of trees growing at the mouths of caves thought to lead to the Underworld. The transition between one realm and another was therefore a physical thing; more specifically, living things of nature, which moved, changed, aged.

This is what makes gardens such powerful transitions, and Louis Kahn himself used groves of trees as transitions to the Salk Intitute, and to the Kimbell Art Museum, identifying these places as sacred realms (of art, of science, of humanism.) In praising the meditative outdoor room at Salk, which emphasizes the metaphysical by using horizon, ocean, and sun, as well as the silvery immateriality of the light-filtering cycloid vaults at Kimbell, Curtis writes, “... recently there has been a slogan of the ‘tectonic’ as a supposed answer to a world filled with arbitrary

CONCEPT SKETCH

images, but here again Kahn slips through the rhetoric. Kahn’s architecture is full of inversions: masses which seem suddenly weightless, materials which dissolve into immateriality, structures which reverse load and support, rays of light which reveal the realm of shadows, solids whch turn out to be voids.”

Simply put, Kahn reveals himself a master of phenomenological place-making.

Norberg-Schulz discusses the key poem ‘ein Winterabend’ by Georg Trakl as phenomenology in the making of a home, but his analysis of the door threshold is equally applicable to ‘wanderers’ who seek entry to divine illumination rather than mundane domicile: “To dwell in a house therefore means to inhabit the world. But this dwelling is not easy; it has to be reached on dark paths, and a threshold separates the outside room from the inside. Representing the ‘rift’ between ‘otherness’ and ‘manifest meaning,’ this threshold embodies suffering and “is turned to stone.”” Therefore to paraphrase Norberg-Schulz, “In the threshold, thus, the problem of (sacred place-making) comes to the fore ...”, namely, the embodying of ordeal-testing, symbolic passage and redemptive transformation.

By using the devices of phenomenology, ie. by recognizing intentionality, concretizing place, and by abolishing the binary oppositions of body-world / structure-space / observerobserved, we may be able to enhance the associations of sanctity and spirit in creating a sacred space. To do this, we draw lessons from classical Japan, from Zumthor, and from Kahn: (i) focus on thresholds, transitions and sequences of choreography; (ii) use shadows, silences, peripheral vision, evocative haptic materials, and somatic scale; (iii) introduce spatial-temporal off-breaks to heighten awareness of interrelatedness; (iv) consider negative space as an active presence whose tension and energy can be manipulated; (v) allow the truth of construction, ageing, and the intrinsic character of materials to show through.”

STD MODEL INCINERATION PLANT, 1950s MUSEUM OF THE CITY OF NEW YORK

‘FIVE ELEMENT’ STUPA (gorinto), JAPAN, KAMAKURA PERIOD, 13C-14C SEATTLE ART MUSEUM

FINAL MODEL: STUPA-SANCTUARY, HANGING GARDENS & REBUILT TOWERS

D R E A M

PHEN OMEN O LO GY IN SAC R ED SPACE-MA KING

15

“The Church Mediatory ... to foster civility ... GOVERNANCE CENTER, The Church Contemplative ... to foster discovery ... MONASTIC RETREAT, The Church Active ... to foster change ... PUBLIC OUTREACH.” The Crucible - Mission statement

PRIMARY & SECONDARY CIRCULATION OBSERVATION DECK AT PEAK OF REBUILT SMOKE-STACKS TOWERS RISE IN CONTRASTING VARIATION TO SIGNIFY ‘BELL’ & ‘DRUM’ RHYTHMS WITH PRECEDENTS OF PAIRED BUDDHIST PAGODAS AS WELL AS ASYMMETRIC GOTHIC CATHEDRALS AT AMIENS, CHARTRES & ROUEN

NATURAL LIGHT VIA OCULUS & CANOPY ROOF

SKYWALK TO TOWER OVER HANGING GARDENS

SECULAR MONASTERY ‘MONASTIC’ FENESTRATION CLOSED TO CITY, OPEN TO WATER

GLOBAL AFFAIRS CENTER REVISED ENTRANCE VIA WATERFRONT

PUBLIC OUTREACH AREAS

WATERFALL STAIR IN ORIGINAL INCINERATION ASH PIT

ABOVE: LONGITUDINAL SECTION STACKING DIAGRAM BY PROGRAM LEFT: MISSION, PROGRAM & OCCUPANCY ANALYSIS

D R E A M

D IV ISIONS OF US E

16

1

“A ray of light is not the same ray of light as came before ...

Space has tonality, and I imagine myself composing a space

lofty, vaulted, or under a dome, attributing to it a sound character

alternating with the tones of space, narrow and high,

with graduating silver, light to darkness.”

Louis I. Kahn, 1973

BELL TOWER & DRUM TOWER

2 MAIN RECEPTION 3 ART GALLERIES 4 WATERFALL GRAND STAIR 5 RESTAURANT 6 AUDITORIUM 7 RETAIL SHOP 8 LIBRARY / SCRIPTORIUM

25

1

1

9 SANCTUARY HALL 21

23

10 ADMIN. OFFICES 11 ELEVATORS & FIRE STAIRS

16

24

12 KITCHENS / SVC. SUPPORT 13 CONFERENCE HALL

16

18

14

14 CONFERENCE ROOMS

20

15 CAFETERIA

16

14 9

22

16 ‘CLOISTER’ SUITES 17 SPA / GYM

19

18 MEDITATION ROOM

3

18

6

3

16

19 MEDITATION GARDEN 20 SKYWALK

15

21 LOBBY CAFE

14

22 GUEST RECEPTION 23 LOBBY LOUNGE

TRANSVERSE SECTION

9

8

24 OBSERVATORY 25 OBSERVATION DECK

1 2

LONGITUDINAL PERSPECTIVAL SECTION

3

4

5

D R E A M

PLAN & S ECTION

17

RECE PTI ON

FRITZ WOTRUBA: HEILIGEN DREIFALTIGEIT KIRCHE, VIENNA

KATSURA PALACE, KYOTO: WAYFINDING & BOUNDARY DETAIL

"... to signal the transition from the city beyond, the public areas display a distinct vocabulary of

cuboid forms ... in the floor, glass-covered water rills

invoke the square geometry of the Persian 'chahar bagh'

(garden of paradise), as well as the 'cosmic mountain' of

Mahayana Buddhism ... these lighted channels impart

phenomenological stimuli and imbue wayfinding deeper within ...”

INSPIRATION :

INSPIRATION : MUGHAL ‘CHAHAR BAGH’ GARDEN OF PARADISE

COSMIC MOUNTAIN MANDALA

PLAN

FUDO MYO’O, JAPAN, KAMAKURA PERIOD, 13TH CENTURY. METROPOLITAN MUSEUM OF ART, NEW YORK.

SCALE 1-1/2”=1’-0”

FRONT ELEVATION SCALE 1-1/2”=1’-0”

ACCENT WALLS: BURNISHED BRONZE VENETIAN PLASTER PLAN SCALE 3/4”=1’-0”

AXIS MUNDI : LECTERN FURNITURE DESIGN, SPRING 2016 JOE-HYNN YANG, MFA[1] NYSID

SIDE ELEVATION

FRONT ELEVATION

SCALE 1-1/2”=1’-0”

SCALE 1-1/2”=1’-0”

CUSTOM FURNITURE DESIGNS FOR SANCTUARY LECTERN & MAIN RECEPTION DESK: USING BUDDHIST ‘COSMIC MOUNTAIN’ MANDALA & PERSIAN ‘CHAHAR BAGH’ GARDEN AS PRECEDENTS

AXIS MUNDI : RECEPTION DESK FURNITURE DESIGN, SPRING 2016 JOE-HYNN YANG, MFA[1] NYSID

FLOOR: STONESOURCE ST. MARC CLAIRE LIMESTONE HONED

CEILING: CUSTOM ACOUSTICAL TILE

D R E A M

D ESIGN D EV ELO PM ENT: 1ST FL

18

ABOVE: AUDITORIUM, UPPER LEVEL LEFT: ART GALLERIES BELOW: CONCEPT SKETCH

MAI N E NT RY

GALLERY DRAPERY: ZIMMER+ROHDE CRANBROOK

CUSHIONS: KRAVET PLEATED SILVER 33190-11

RECEPTION SEATING: MAHARAM ALLOY COVERT 466064-016

RECEPTION SEATING: VILLA ROMO COCO SHALE V1008/08

AUDITORIUM PANELS ALDECO NUGGET GOLD

AUDITORIUM SEATS: MAHARAM MOHAIR EXTREME LICHEN

AUDITORIUM ACCENT: WALKER ZANGER AMBRATO POLISHED

"... accented by enclosed courtyard gardens inspired by Mirei Shigemori, the reconstructed incinerator smokestacks are framed by glass curtain walls to indicate their restored nature. This diaphanous contemporary quality contrasts intentionally with the shadowed reception and galleries; and will only alleviate at the end of the choreographed sequence: at the sound-filled waterfall grand stair, and the light-filled four-storey volume of the 'sanctuary' hall; with shifting daylight via an oculus."

3

2

1

D ESIGN D EV ELO PM ENT: 1ST FL

19

ENTRY LEVEL & BAR (2ND FL)

FORGE R E STAU R A N T

LEFT: INSPIRATION & PROPOSED BRANDING

RESTAURAN T

DINING LEVEL (1ST FL)

MAIN ENTRY VIA BAR AREA

TO PRIVATE DINING ROOM

STAIRWELL WALLS: GOLDEN DUNE MARBLE POLISHED

WALLCOVERING: MAYA ROMANOFF BEDAZZLED GEODE

DINING BANQUETTES: EDELMAN LEATHER NIGHTLIFE VOLCANIC

BANQUETTE ACCENT CUSHIONS: FABRICUT ROMULUS-02

DINING CHAIRS; FABRICUT VELVET GLAM PURPLE 28

CHAIRS: FAUX SUEDE LELIEVRE SCOOP LAQUE H0441/09

BAR BANQUETTES: JERRY PAIR 3019/01 HOLY COW POPPY

D R E A M

D ESIGN D EV ELO PMEN T: 1ST & 2ND FL

20

11

25

21 15

22

20

14

23

13 10

11

16

3F:

8

5F:

GOVERNANCE CENTER

11

6F:

‘MONASTERY’ LOBBY

24

‘OBSERVATORY’ GARDEN

FULL EXTERIOR AXONOMETRIC

17

12 16

5

6

16 9

18 19

10

11

2F:

8

4F:

‘SANCTUARY’ HALL

‘CLOISTER’ ROOMS

12

6 5

3 4

7

1F

2

1

ENT RY LOB BY

8

: PUBLIC OUTREACH

6 AUDITORIUM

11 ELEVATORS & FIRE STAIRS

16 ‘CLOISTER’ SUITES

21 LOBBY CAFE

2 MAIN RECEPTION

7 RETAIL SHOP

12 KITCHENS / SVC. SUPPORT

17 SPA / GYM

22 GUEST RECEPTION

1

BELL TOWER & DRUM TOWER

3 ART GALLERIES

8 LIBRARY / SCRIPTORIUM

13 CONFERENCE HALL

18 MEDITATION ROOM

23 LOBBY LOUNGE

4 WATERFALL GRAND STAIR

9 SANCTUARY HALL

14 CONFERENCE ROOMS

19 MEDITATION GARDEN

24 OBSERVATORY

5 RESTAURANT

10 ADMIN. OFFICES

15 CAFETERIA

20 SKYWALK

25 OBSERVATION DECK

D R E A M

AXO N OMETRICS

21

MOISHE SAFDIE: HABITAT 67, MONTREAL

INCINERATOR ASH-PIT CONVERSION TO WATERFALL & GRAND STAIR WATERFALL FROM 1ST FL

LAWRENCE HALPRIN: SKYLINE PARK, DENVER

G R A ND STA IR MoMA: RAIN ROOM, 2013, BY RANDOM INT'L

"... to ascend, with mindful uncertainty, a 'tesseract' of floating cubes

and shimmering planes, some of glass, and others of water ...

to perceive water in its different moods, sometimes loud and crashing, or trickling and recessive; brimming over and draining into the incineration ash-pit ..."

1

128'-4 1/2"

87'-3 1/2"

51'-0 1/2"

32'-10"

2

'-7 1/2"

194'-9

"

25'-11 3/4"

PLAN & SECTION, NYC DEPT. OF BUILDINGS. INFOGRAPHIC: DANIEL C. WALSH, ENVIRONMENT, SCIENCE & TECHNOLOGY AUG 2002 ARCHIVAL PHOTO: GANSEVOORT DESTRUCTOR PLANT ASH-PIT, NYC MUNICIPAL ARCHIVES

D R E A M

CONCEPT SKETCH

D ESIGN D EV ELO PM ENT: 2ND FL BLOOMFIELD STREET

22

SAN CTUARY HALL

LEFT: SKETCHES FROM DESIGN JOURNAL TOP: WORM’S-EYE VIEW OF SANCTUARY HALL NOTE: FIBONACCI PHYLLOTAXIS IN STRUT DEVELOPMENT RIGHT: FOUNDATION STONE, THE DOME OF THE ROCK, JERUSALEM BOTTOM: THESIS EXCERPT - BUDDHIST ARCHITECTURE ALONG THE SILK ROAD: AJANTA, DUNHUANG & SEOKGURAM

"... early phase research on using the stupa as design parti focused on the transmission of Buddhist architecture along the Silk Road, examining Ajanta, India; Dunhuang, China; and Seokguram, Korea, particularly on the modular √2 proportions of the latter. Fibonaccian progression on the structural supports emphasizes organic growth: notable domes which use this include McKim, Mead & White's Gould Library in the Bronx, and the Dome of the Rock in Jerusalem. The use of raw stone as podium base recalls the phenomenological resonance of the Foundation Stone in the latter ..."

G OV ER NA NC E CE N TE R

LARGE LARGE CONFERENCE CONFERENCE ROOM ROOM

RECEPTION RECEPTION FOYER FOYER & & ENCLAVES ENCLAVES

LIBESKIND; ROYAL ONTARIO MUSEUM, TORONTO

LIBESKIND: 18-36-54 HOUSE, CONNECTICUT

“... the unique program of this floor is indicated by the vocabulary of sliding planes ... with Kahn and Libeskind as precedents, it signifies the dynamic transition from cube to pyramid to sphere, and requires energized spatial and mental engagement by users ... reserved for Crucible guests such as global affairs mediators and forum attendees, access goes both up to the residential guest floors and down to the main ‘sanctuary’ hall ...”

WALLCOVERING: MAHARAM DANSKINA DUNE 200130-122

UPHOLSTERY: MAHARAM HOBNAIL WOOL HAMPSHIRE

ACCENT WALLS: POL- ISHED CALACATTA PAONAZZO MARBLE

CAFETERIA SEATING: HERMAN MILLER NOBLE FELT CADET

CONFERENCE CHAIRS: HERMAN MILLER MCL LEATHER RED

SOFAS: MAHARAM HERRINGBONE STRIPE GRANITE

WALLS: ACID-ETCHED & DISTRESSED STUCCO

D R E A M

D ESIGN D EV ELO PMENT: 3RD FL

24

1

2

1. CAFETERIA, 3RD FL 2. MEDITATION STUDIO, 4TH FL 3. FORMAL GARDEN FROM SKYWAY

5

3

4

4. WATERFALL SOURCE, 3RD FL 5. TYP. SUITE, 4TH FL 6. BIRD'S-EYE VIEW OF GARDENS

D ESIGN D EV ELO PMEN T: 3RD & 4TH FL

25

JANTAR MANTAR, DELHI, 17TH CENT.

ROOF ROOF GARDEN: GARDEN: VIEW VIEW WEST WEST ACROSS ACROSS WATER WATER

LOBBY CAF E

LOBBY VIEW ON MAIN ACCESS

3

1

2

PERSPECTIVAL SECTION: 5TH FL GUEST LOBBY

D R E A M

D ESIGN D EV ELO PMENT: 5TH FL

26

LO BBY LO U NG E

PETERBOROUGH CATHEDRAL

FAN VAULTING AXONOMETRIC

RE CEPTI ON

"... to complete the stupa geometry, curves and spheres inform the upper floors,

culminating in glowing colonnades which rise twenty-five feet, and re-interpret Gothic fan-vaulting ... while a clerestory gives views of the roof garden whose celestial observatory forms echo the Jantar Mantars of Delhi & Jaipur."

ACCENT WALLPAPER: ZAK+FOX STRATA STUDY ARCHEAN

UPHOLSTERY: DEDAR PAISLIG T16019-004

PRIVACY PARTITIONS: CUNEIFORM WEAVE SANDWICH GLASS

CUSHIONS: ZOFFANY ARKONA VELVET TRAVERTINE 5654

RECEPTION DESK & FIXTURES: DESIRON GUNMETAL BRUSHED

CAFE BOOTHS: GOLDSTITCHED MAHOGANY BUFFALO HIDE

CAFE SEATS: HERMAN MILLER NOBLE FELT HEATHERED RED

D R E A M

D ESIGN D EV ELO PMENT: 5TH FL

27

D E S I R E

THE DARKE HOTEL Concept for Hospitality LOUNGE & BAR. 1800 sq. M. 21 OcEAN WAY, SENTOSA COVE, SINGAPORE 28

BRAND ING

ERWIN OLAF

GRANT ASSOCIATES: GARDENS BY THE BAY, SINGAPORE

IRIS VAN HERPEN & DAVID WIDRIG

ZAHA HADID: AURA 2008 LEBBEUS WOODS

THE DARKE THE DARKE

THE DARKE

ASIAN BESPOKE FEARLESS CARNAL CONFRONTATIONAL

PROPOSED BRAND TYPOGRAPHY HENDERSON SLAB SEMIBOLD (AMENDED) 36pt - 22pt - 14pt

GILLES & BOISSIER: BACCARAT HOTEL

In response to a design brief for a resort hotel and destination bar in Singapore, research indicated declining birth rate, social conservatism and prudishness, and ironically, simplistic attitudes due to lack of open discussion about sex. Therefore, the concept was present a bold interior based on our physical erogeneity and the unusual shapes of spinal vertebra. The elongated design of the lobby invites the sensation of passing through an esophagus, punctuated by glowing spongeal partitions. The drawings of Lebbeus Woods sparked interest in more intuitive forms than those generated by the parametric geometries of Zaha Hadid or David Widrig, to keep these partitions softer and organic.

MARK ZEFF: NIGHT HOTEL

Further contrasts of shiny and squishy, tight-binding yet yielding or perforated, led to great diversity in textural finishes, as inspired by Harry Clarke's 1923 illustrations of Poe's stories, to spark intrigue, frisson and thrill. As a project focused mainly on lighting calculations and fixture selections, the emphasis is on the creation of mood, the curation of contemporary art to support the concept, and the building of complexity in FF&E, rather than in spatial renderings.

D E S I R E

PR EC ED EN TS & MOODBOA RD

29

1

1

1ST FL PLAN ENTRANCE ATRIUM

2

ABOVE: SPINE VERTEBRA CONCEPT APPLIED TO SPACE PLAN & LOUNGE PARTITIONS

2

RIGHT: CONCEPT SKETCHES 1. ENTRANCE ATRIUM, 1ST FL 2. RECEPTION, 2ND FL 3. LOUNGE PITS, RAMP, & ART GALLERY, 2ND FL 4. DESTINATION BAR, 2ND FL

3

BELOW: 2ND FL PLAN RECEPTION, RETAIL, LOUNGE & BAR

4 3

4

SITE KEYPLAN

D E S I R E

D ESIGN D EVELOPMENT

30

CONCEPT SKETCH

RIGHT: LIGHTING PRECEDENTS: 1. SHENZHEN BAO'AN AIRPORT

BY STUDIO FUKSAS NOTE BACKLIT 'SKIN' PERFORATION 2. PASSENGERS PRODUCTION DESIGN

BY GUY HENDRIX DYAS NOTE LED-STRIP BASEBOARDS, REVERSE COVES, & WAYFINDING FAR RIGHT: LIGHTING PLAN CALLOUT

R EC EPT ION 2N D F L

ATRI UM 1ST F L

FORMITALIA SOFA MERCEDES BENZ

FLOORS CORBATA NERO VEIN-CUT & HONED

VON PELT ATELIER OSLOER TABLE USING UNIQUE METEORITE

SOFAS: ROMO LORIANO VELVET METALLIC TWILIGHT

ZANOTTA EVOLUTION WINGBACK

CUSHIONS: ZINC SHADOW MOUNTAIN FAUX FUR PALLAS

NEMO IN-THEWIND LAMP

COLUMNS: WRAPPED CUSTOM ALUMINUM GUNMETAL CHAINS

WALTER KNOLL FOSTER 520

ZUCO PERILLO

WALLS: CUSTOM-MOLD CONCRETE (BARNACLE

BY ELIOT PORTER)

LOUN GE 2N D F L

POLIFORM TRIBECA TABLE

ELEVATOR VESTIBULE: CONCERTEX NAPPATILE TERRANE MIDNIGHT

SOFTLINE A/S BASEL SOFA

LOUNGE CHAIRS: EDELMAN LEATHER CAVALLINI OLIVE

MAST ELEMENTS MANTA 3.0

RECEPTION: CALACATTA VAGLI ORO MARBLE POLISHED

FORMITALIA CHAISE MERCEDES BENZ

TILE: GILLES MILLER ALEXANDER TILE (ADJUSTABLE ANGLE)

SE LONDON: BY-THE-TREES TABLE & YOUNG-TREE LAMP

FEATURE WALL TIRES SALVAGED, WEAVEMOUNTED & BACKLIT

ORA-ITO ORA-GAMI CHAIR & OTTOMAN

ACCENT WALLS: ELITIS NATURE PRECIEUSE RM555-80

CUSTOM WALLPAPER: SURREALIEN BERLIN OPTICAL WARP

FU R N IT U R E & FINIS HES

31

PENDANTS: 'DROPLET' CUSTOM BY YELLOW GOAT DESIGN MOLDED ACRYLIC 17W & 14.5W LED E27 BASE (FLUO / HALO LAMPING OPTIONAL) COLOR CHANGING AVAILABLE

1 INSPIRATION: ERNESTO NETO, PANTHEON, PARIS OVERSIZE PENDANTS: BASKETS BY DAVID TRUBRUDGE, NZ POLYCARBONATE PETG /ALUMINUM/BAMBOO 25W LED,, E27 BASE

1

NB: "CRADLE" VERSION WITHOUT PETG DIFFUSER AS POSSIBLE FEATURE SEATING OPTION 2

3

YELLOW GOAT DESIGN: CUSTOM LIGHTING STAIR RAIL: LIGHTLAB SPECTRAGLASS COLOR CHANGING EDGE LIGHTING RAIL TEMPERED GLASS 14.5W/meter RGB LED 120deg BEAM SPREAD DIMMABLE

3

4

5 SECTION A-AA

MODEL: GLOW STICKS IN SUSPENDED SANDBAGS VIDEO WALL: CHRISTIE MICROTILE MOTION-SENSITIVE LCD MULTI-WALL DISPLAY CUSTOM TILE-MOUNTING AND GRAPHICS DRIVER

BY OTHERS (EG. NVIDIA QUADRO SYNC VIA PNY)

4 CUSTOM CONCIERGE & BAGGAGE CHECK DESKS: DUFFY LONDON ABYSS TABLE, BACKLIT GLASS REFLECTING POOL: IN-GRADE SUBMERSIBLE COLOR-CHANGING PHILLIPS C-SPLASH-2 25W (MAX) RGB LED UL LISTED & IP68 CERT CHLORINE-RESISTANT

5

SITE KEYPLAN

"... tactile sensory immersion is apparent from the entrance atrium: touch-sensitive video displays contrast with a feature wall of salvaged tire halves, mounted to resemble snakeskin or chainmail, while overhead a constellation of pendant orbs mixed with smaller glass reflectors creates a shimmering yet alien cascade ...".

PLAN

D E S I R E

LIGHT IN G: 1F EN T R ANCE ATRIUM

32

5 3

2

1

BARRISOL TENSILE ILLUMINATION FABRIC

4

ZAHA HADID: AURA, VILLA MALCONTENTA VENICE BIENNALE 2008

SECTION C-CC

MERCEDES BENZ: PROTOTYPE INTERIOR 2015 LIGHTING PLAN DETAIL

CUSTOM CHANDELIER: CHRYSALIS BY YELLOW GOAT DESIGN AUSTRALIA ALUMINUM & ACRYLIC 17W OR 14.5W LED BI-PIN ALTERNATIVELY: CUSTOM COMMISSION OF LAMPED MOVING SCULPTURE BY CHOE U-RAM 1

CHOE U-RAM: OPERTUS LUNULA UMBRA 2008

ADJUSTABLE SPOTLIGHTS IN INTEGRAL COLOR CHANGING CAVITY: PURE LIGHTING AURORA ACCENT SQUARE-EDGE 15W (MAX) RGB LED 10/15/25/30 deg BEAM AMBIENT RGB LEDS MTD IN SHALLOW COVE

COLOR CHANGING TAPE / FLEXIBLE STRIP PHILLIPS iCOLOR FLEX LMX gen2 RGB LED 1W PER NODE 50 NODES 4" APART

ADJUSTABLE RECESSED DOWN LIGHTS USAI LIGHTING beveLED 2..1 SQUARE 9W - 33W LED RANGE (WALL WASH AVAILABLE) WARM / COLOR CURVE DIMMING OPTIONAL

INVISIBLE-EDGE COLOR CHANGING COVE: PHILLIPS iCOLOR COVE MX POWERCORE 50W (MAX) RGB LED 50x70deg OR 125x150deg BEAM SPREAD

2

3

ARMATURE-MOUNTED IN BARRISOL VINYL FABRIC DIFFUSER 4

5

"... In lighting, the 'focal glow,' 'ambient luminescence' and 'play of brilliants' were all taken into consideration.

Target illumination levels of 5fc 10fc, and lighting power density calculations over the 688m2 of the lobby lounge governed the lighting plan and fixture distribution, including 12% reductions for LEED ... the floor ramp rise allows for conversation-pit lounge seating but also for reflecting pools with back-lit cascades"

CONCEPT SKETCH

SITE KEYPLAN

LIGHT IN G: 2 F R EC EPT IO N & LOUNGE

33

"... the sculpture gallery curation emphasizes contemporary Korean artists focused on body image, confrontation, and unexpected materials, such as slashed tires, painstaking wire-wrapping, and mechanized robotics ... comparison studies of color temperature & museum lighting options, including case lighting, by Zumtobel were examined ..."

LIGHTING PLAN

9/19/15, 1:17 PM C

SECTION

yong ho ji: hybrid human tire sculptures

SAFE DEPOSIT

1570

FITTING RM

150

4950

150

1600

4052

1100 150

OFFICE

OFFICE

aug 02, 2011

3043

STOCK

1000

1088

1000

CASHPOINT

1088

ELEV VESTIBULE RECEPTION

B

SECTION

RETAIL STORE

W3636

DW2436

1252

INDUCTION RANGE 3636

SB3636

SUSHI / OYSTER BAR

N

425

C

SV

ST

WATER FEATURE WITH SPLIT RISE IN FLOOR HEIGHT

1420

+1500mm A.F.F

80 1140

COCKTAILS / MIXOLOGIST RECEPTION 1209

TOILETS

520

+0mm A.F.F

4

1

+500mm A.F.F

6

LOBBY LOUNGE & ART GALLERY

1

3

+0mm A.F.F

889

TABLE SEATING SVC STN

LOWER LEVEL BANQUETTE SEATING

+500mm A.F.F

+0mm A.F.F

CAFE LOUNGE

5

+1500mm A.F.F

0m

3. KRIS KUKSI

+336mm

705

2

1. YONG HO-JI

+0mm A.F.F +1000mm A.F.F

WINE BAR

UPPER LEVEL STANDING COUNTER

1038

DJ BOOTH

+168mm

1m

2m

5m

10m

5. CHOE U-RAM

yong ho ji: hybrid human tire sculptures 15

96

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20

9

15 Share

StumbleUpon 13 1

‘wolf man 1′ (hybrid human) by yong ho ji

D E S I R E

2010 130 x 240 x 180 cm used tires, steel, synthetic resin image courtesy of gana art

http://www.designboom.com/art/yong-ho-ji-hybrid-human-tire-sculptures/

2. MATTEO PUGLIESE

Page 6 of 20

4. PHILIP BEESLEY

6. PARK SEUNG-MO

LIGHT IN G: 1F ART LOUNGE

34

VINTAGE CHANDELIERS & SCONCES: TOM GREENE FOR MONTEVERDI & YOUNG, 1970s FLAMED BRASS CHANDELIER: 12 x 60W A-LAMP (OR LED / HALO EQUIVALENT) SCONCE: 2 x 60W A-LAMP

4 1

1

2 6

SUSHI BAR & BANQUETTE PENDANTS: WONDERGLASS MOMENTO

BY NAO TAMURA GLASS & BRASS / ALUM 350mm OR 500mm DIAM. 1W OR 2W LED BI-PIN DIMMABLE GREY/CLEAR/SANDBLASTED GLASS OPTIONAL

2

WINE-BAR WALL TILING: Q STUDIO CHILE LUM REVETMENT SYSTEM MODULAR COPPER SHEET 420mm x 190mm EA. 12 FINISHES AVAILABLE 1W OR 2W LED DIMMABLE (ARRAY CUSTOMIZABLE)

4

SECTION B-BB

LIGHTING PLAN BAR DETAIL

3

COLOR-CHANGING WALL GRAZER & IN-WALL STAIR LIGHTING AT STEPS: PHILLIPS iCOLOR QLX POWERCORE 8W/FT RGB LED 70x105deg OR 115x110deg BEAM SPREAD

4

ACCENT FLOORLAMP UPLIGHTING: NERVOUS SYSTEMS HYPHAE ORBICULAR LAMP 3D-PRINTED NYLON 3W LED 6000K

5

BAR & VORTEX COLUMN: ARMATURE-MTD ACRYLIC DIFFUSER & FLEXIBLE LED TAPE LUMIVISION T300 RGBW LED 2.2W/FT OR 4.4W/FT UL LISTED FOR WET LOCATIONS 6

APHRODISIAC APHRODISIAC APHRODISIAC

“... playing on the idea of "descending into decadence," this 414m2 bar has an occupant load of 295, managed by four seating levels whose zonal separation is expressed by lighting and color saturation; the vortex bar masks a structural column, while anchoring the swirling effect of the entire space ...”

ABOVE: WATERCOLOR RENDERING INSPIRATION: PROPELLER PATENT DRAWING LEFT: PROPOSED BRAND TYPOGRAPHY TRAJAN SANS PRO (AMENDED) 36pt - 18pt - 10pt

LIGHT IN G: 2 F CO CKTAIL BA R

35

G L A M O R

VICTORIANA REDUX Concept for RESIDENTIAL Lounge, 475 sq. ft.

18 Bedford Square, London WC1B 36

NASH’S BRIGHTON PAVILION

S I TE

FLAVORPAPER MUSiCAL MANDALA

MOKUM

WHISTLER’S PEACOCK ROOM

BARRY'S BARRY'S REFORM REFORM CLUB CLUB

BARRY’S HOUSES OF PARLIAMENT

VICTORIA, 1897 ©CORBIS

In response to a design brief for adapting a traditional design style to the 21st century, the visual density and textural layering of the Aesthetic Style of the Victorians is evoked, but using furniture, artwork and materials generally from other periods.

“... shimmering tones of ink, lace and gaslight

bring to life the age of Anglo-Indian colonies, dandy aesthetes, and Freudian psychoanalysis, in a distinctly 21st century mode ....

Inspired by the age of Anglo-Indian colonies, dandy aesthetes, and Freudian psychoanalysis, as well as the shimmering tones of ink, lace and gaslight, the control of pattern in the interior design is achieved using a play of scale, restricted palette, and unifying themes of Rorschach blots and fractured faceting.

Book-matched burl veneers in the blockish case furniture is repeated in the mirrored wallpaper.

Shimmering Cubist planes and Pollock drips are echoed in ink-splotch carpets and by mica-flecked faux ostrich & snakeskin leather which could only be 21st Century.

The opulence of a 1740s green and white marble Palladian fireplace by William Kent plays off a Bacon triptych of equal grandeur. Ceiling paneling drawn from Whistler’s ‘Peacock’ Room is accented by Anglo-colonial ‘Moorish’ chandeliers invented from my own childhood in Kuala Lumpur.

SITE: 18 BEDFORD SQUARE, LONDON LATE GEORGIAN, 1775-86 THE ARCHITECTURAL ASSOCIATION’S SCHOOL IS NEARBY AT NO. 35

G L A M O R

PR EC ED EN TS & MOODBOA RD

37

NORTH ELEVATION

WEST ELEVATION

SOUTH ELEVATION

EAST ELEVATION

“... the furniture plan is intentionally dense and full of

detailed visual interest, to create an insular yet opulent lounge

replete with ‘gothick’ complexity in spatial animation and historical references; the main wallpaper is subtly reflective against a darker gloss-accented dado to open up the space ...”

G L A M O R CONCEPT SKETCH

ELEVATIONS

38

"... the design brief to reinterpret a traditional idiom uses the fractured forms of art masterworks against layered patterns of mica flecks, Rorschach blots, shiny brass, faux snakeskin & ostrich, bookmatched burlwood and damask matelassé ...”

PICASSO: CHICAGO MAQUETTE

RODIN: IRIS

BRANCUSI: MLLE. POGANY DUCHAMP: NUDE DESCENDING A STAIRCASE, No.2, 1912

MODEL PLAQUE OF AN 1847 CROWN (FIVE SHILLINGS) OF QUEEN VICTORIA BACON: THREE STUDIES OF LUCIAN FREUD, 1969

POLLOCK: AUTUMN RHYTHM #30

PALLADIAN GREEN & WHITE MARBLE MANTELPIECE ATTRIB. TO WILLIAM KENT, 1730s CARLTON HOBBS LLC, NY

AREA RUG: MARC PHILLIPS AQUAE DEEP

CURTAINS: EDITIONS BAUMANN SHEER CHIFFON SHINYGOLD

ITALIAN 19C WALNUT COLUMN-CABINETS

CABINETRY: BOOK-MATCHED OLIVE BURL VENEER

MILO BAUGHMAN OLIVE BURL CABINET, 1950s

SOFAS: EDELMAN LEATHER ROYAL HIDE PAPER WHITE

MAISON JANSEN BRONZE, SMOKY GLASS & LEATHER CONSOLES

CUSHIONS: KRAVET STARGAZER BLACK OPAL

PIERRE FORSELL LAMPETT SCONCES FOR SKULTUNA, SWEDEN, 1960s

CUSHIONS: MOKUM ANTIQUE LACE ANISEED

OTTOMANS: KRAVET ANIMAL ALLURE MICA SHIMMER

PHYLLIS MORRIS BRONZED & LACQUERED WOOD CABINET / LOW TABLE

CHAIRS: HOLLY HUNT LEATHER COLDBLOODED RAVINE

CLAUDE MERCIER BRONZE TABLE GALERIE MARTEL-GREINER, PARIS, 2014

WALLPAPER: FLAVOR PAPER MUSICAL MANDALA LICORICE

WALLPAPER: FLAVOR PAPER RORSCHACH SQUID INK

PICASSO: THE POET, 1911

HARVEY PROBBER HEXAGONAL OTTOMANS, 1950s

WALLPAPER: FARROW & BALL LARGE LOTUS BP2019

CARPET: ODEGARD CHARLOTTE BATIK FOR DERING HALL

FU R N IT U R E & FINIS HES

39

LOU NG E TOP: WHISTLER, HARMONY IN BLUE AND GOLD, 1877 FREER GALLERY OF ART, WASHINGTON DC ABOVE: REFLECTED CEILING PLAN

“... illumination targets of 30fc dimmable are achieved by chandeliers adapted from colonial Anglo-Indian pavilions (chhatri), in brass & smoky glass to recall gaslight ... below paneling derived from the ‘Peacock’ Room ceiling, originally by Thomas Jeckyll for Frederick Leyland, overpainted by Whistler ...”

ABOVE: PROPOSED CUSTOM MUGHALINSPIRED CHANDELIER, 26” DIAMETER RIGHT: KUALA LUMPUR RAILWAY STATION, MALAYSIA BY ARTHUR B. HUBBOCK, 1917

G L A M O R

D ESIGN D EV ELO PMENT: LIGHTING

40

P L A Y

IN THE BLOOD BY SUZAN-LORI PARKS Concept for THEATER SET DESIGN, 1600 sq. ft.

NEW YORK CITY CENTER, 131 W55TH ST, NEW YORK 41

©SILVERTREE PHOTO

©ANDREW L MOORE

S E T MODE L

©DAVID BULLOCK

In response to a design brief for a single-set production design, Pulitzer Prize-winner Suzan-Lori Parks' play "In the Blood" specifies its protagonist, a black single mother of five, lives under a bridge.

My proposal examines the dramatic exigencies of human vitality in the most interstitial and forgotten crannies of our urban landscape: the freeway underpass.

This contemporization of Hawthorne's "The Scarlet Letter" opens with Hester fitfully trying to erase the shameful 'branding' of graffiti on her wall.

By using precedents from homeless transients, with apparent necessities like salvaged mattress, shopping cart, and ballooning bags, this set allows the abuse and corruption of Hester to compel reassessment of the instinctive dehumanization of all these unseen homeless.

Huge translucent scrims draped overhead alter opacity under stage lighting to represent the undersides of concrete off-ramps. A municipal maintenance stair with industrial steel cage allows multi-level staging and a third act conversion into a church's pulpit with neon cross. The stair gantry straddles a dribbling runoff with raked gradient, and Hester's children scurry onstage through a hole in chain-link fencing.

Their five roles are doubled up with those of Hester's oppressors, hucksters, and molesters, thereby examining issues of church, state, sex, capitalism, and hope's elusiveness. As proposed, this narrative now occurs within an oft-ignored architectural space of orthogonal planes and penumbral corners which has been co-opted by the dispossessed.

P L A Y

PR EC ED EN TS & MOODBOA RD

42

PROFILE OF "HIGHWAY OFF-RAMPS" HUNG FROM FLIES ABOVE. TRANSLUCENCY & STRUCTURE TO DISCUSS WITH LIGHTING DESIGNER

+207" A.F.F.

C

+30" A.F.F.

B RAKED PLATFORM WITH "STORM DRAIN" RUN-OFF +30" A.F.F. TO +0" A.F.F.

ACCESS GANTRY ABOVE +207" (17'-3") A.F.F.

+30" A.F.F.

UPSTAGE RAMP FROM +30" A.F.F. TO +102" A.F.F.

P4 +30" A.F.F.

+102" A.F.F. +81" A.F.F.

E P3

INDUSTRIAL MAINTENANCE STAIR SYSTEM FORMING "PULPIT" FOR CHURCH. ACCESS GANTRY ABOVE AT +17'-3" A.F.F. VIA SPIRAL STAIR HIDDEN UPSTAGE

S2

ME +8 ETS 7/8 SL " A OP .F.F IN .T GR O A +0 KE "A .F.F .

+36" A.F.F.

F

SLOPING BERM SET WITH RUBBLE & ROCKS

S1 STAIR LANDING +72" A.F.F.

P2

RAISED PLATFORM +36" A.F.F. DRESSED AS CONCRETE BERM

SET MODEL: BIRD'S-EYE VIEW

FALSE PILLAR SUPPORTS FOR "HIGHWAY OFF-RAMP" ABOVE

5'-0"W x 3'-0"H EXIT TUNNEL FOR ACTORS THROUGH CHAIN-LINK FENCING & UNDER BERM STRUCTURE

D A

+36" A.F.F.

+0" A.F.F.

"... In 1999, over 100,000 families with children were homeless.

By 2013, 2.5 million children suffer homelessness

annually, ie. 1 in 30 in the US ...

43% of homeless families are African-American, 53% of homeless mothers had no high-school diploma, 92% of homeless mothers had experienced

severe physical and/or sexual abuse ..."

National Center on Family Homelessness

P1

GRAFFITI MARRED WALL

BY DIRT SLOPE SUPPORTING "HIGHWAY OFF-RAMP" ABOVE

+0" A.F.F.

+0" A.F.F.

PLAN

CLASS NAME: INSTRUCTOR: DRAWING BY:

DEBRA BRYANT

2003

DATE:

3/16" = 1'-0" 11/11/2015

DRAWING NUMBER:

JOE-HYNN YANG

A-001

UPPER GANTRY & STAIR COURSE SUSPENDED FROM FLIES: SEE SHOP DRAWINGS. 7'-6"

MODULAR PARTITION SYSTEM & DOUBLE DOOR: WIRECRAFTERS LLC. STYLE #840 10-GAUGE STEEL WIRE MESH & STD HARDWARE.

MODULAR PARTITION SYSTEM CAGE & LANDING: WIRECRAFTERS #840 10-GAUGE STEEL WIRE MESH & 2" X 2" 14-GAUGE POSTS.

FALSE RAMP SUPPORT SUSPENDED FROM FLIES ABOVE FINISH TO RESEMBLE CONCRETE.

©Steve Shelley

SCALE:

GROUNDPLAN

IN THE BLOOD by SUZAN LORI-PARKS

SCRIM ABOVE: HIGHWAY OFF-RAMP. DISCUSS WITH LIGHTING DESIGNER & CONTRACTOR

COMMERCIAL SPIRAL STAIR SYSTEM: ARKE 'EUREKA' K21005 HEAVY-DUTY ALUMINUM STAIR KIT, 4'-6" DIAMETER.

©Steve Shelley 2003

©Steve

Shelley

2003

©Steve Shelley 2003

DRAWING TITLE:

PROJECT TITLE:

SET DESIGN, NYSID, FALL 2015

2003 Shelley ©Steve

©Steve Shelley 2003 2003 Shelley ©Steve

©Steve Shelley 2003

8'-6" 6'-9"

6'-0"

JOIN TO BERM WALL #F

DRAWING NUMBER:

A-002

7'-5 5/8"

8'-3 1/2"

7'-9 5/8"

12'-0"

2'-9 5/8"

3/4 "

11/11/2015

12'-1 1/8"

2'-9" 3/4 " ALUMINUM TUBE CONSTRUCTION TYP. ALL

3'5

3/16" = 1'-0"

4'-1 7/8"

4'-3"

1'-2 1/4"

NOTE: FOR BOTH BERM WALLS #E & #F, SEE MODEL.

17'-3" 6'-0"

SCALE: DATE:

17'-3"

JOIN TO P3 RAKE MAX +14 1/4" A.F.F.

"

10'-5 3/4

12'-10"

3/4 " ALUMINUM TUBE CONSTRUCTION TYP. ALL

8'-3 5/8"

4'-0"

ROUTE OF ACCESS TUNNEL OFFSTAGE

+72" A.F.F.

F

UPSTAGE BERM WALL ELEVATION & PLAN

CLASS NAME: INSTRUCTOR: DRAWING BY:

SET DESIGN, NYSID, FALL 2015 DEBRA BRYANT JOE-HYNN YANG

7'-9 5/8"

JOIN TO BERM WALL #E

+207" A.F.F.

2'-0"

19'-7"

PRODUCTION STILL: "IN THE BLOOD" THEATER HORIZON, PENNSYLVANIA, 2015

2'-10"

5'-5 1/4"

3'-5"

6'-0"

3'-0"

JOE-HYNN YANG

SECTION (STAGE RIGHT)

6'-9" JOIN TO P3 RAKE MAX +8 7/8" A.F.F.

JOIN TO STAIR 2

9 1/4"

DRAWING TITLE:

MODULAR PARTITION SYSTEM DOUBLE DOOR: WIRECRAFTERS #840 10-GAUGE STEEL WIRE MESH & STD HARDWARE.

6'-10 1/8"

5'-0"

20'-3 5/8"

16'-0"

SECTION ON CENTERLINE

DEBRA BRYANT

IN THE BLOOD by SUZAN LORI-PARKS

ACCESS TUNNEL OFFSTAGE WITH REINFORCED STRUCTURE 6'-1 3/8"

7'-6"

29'-1 3/4"

Area partially obstructed by HVAC Ducts and Sprinkler System Pipes

DRAWING BY:

PROJECT TITLE:

3'-0"

2'-6"

7'-9"

45'-6"

PAINT FINISH: CONCRETE BERM LINE OF P3

E SET DESIGN, NYSID, FALL 2015

PAINT FINISH: DIRTY CONCRETE ROADWAY STAIR

8 7/8"

2003 Shelley ©Steve

©Steve Shelley 2003

PAINT & TEXTURE FINISH: RUBBLE & ROCKS

CLASS NAME:

2" PIPE TYP. CONSTRUCTION

7'-6"

PAINT & TEXTURE FINISH: RUBBLE & ROCKS

INSTRUCTOR:

COMMERCIAL SPIRAL STAIR SYSTEM: ARKE 'EUREKA' K21005 HEAVY-DUTY ALUMINUM STAIR KIT 4'-6" DIAMETER.

STEEL GRATING STAIR SYSTEM: PACIFIC STAIR CORP. #S600 15-STEP RUN: 9" RISE, 11" TREAD

FALSE RAMP SUPPORT SUSPENDED FROM FLIES ABOVE FINISH TO RESEMBLE CONCRETE.

PROJECT TITLE:

IN THE BLOOD by SUZAN LORI-PARKS

6'-3 1/4" 3'-0"

16'-10 1/2"

4'-0"

DOWNSTAGE BERM WALL ELEVATION & PLAN

DRAWING TITLE:

ELEVATIONS E - F

SCALE: DATE:

1/4" = 1'-0" 11/11/2015

DRAWING NUMBER:

A-004

SET ELEMENT: PLAN & ELEVATION NB: PIER COLUMNS TO "SUPPORT" FABRIC SCRIMS WHICH APPEAR TO BE FREEWAY OFF-RAMPS. ALSO, TUNNEL TO ALLOW STAGE ACCESS/EGRESS.

6'-1"

6'-1 3/8"

S1 CLASS NAME: INSTRUCTOR: DRAWING BY:

MUNICIPAL MAINTENANCE STAIR & GANTRY ELEVATION & PLAN

SET DESIGN, NYSID, FALL 2015 DEBRA BRYANT

PROJECT TITLE:

IN THE BLOOD by SUZAN LORI-PARKS

S2

ROADWAY ACCESS STAIR ELEVATION & PLAN

DRAWING TITLE:

STAIRS 1 - 2

JOE-HYNN YANG

SET ELEMENT: PLAN & ELEVATION NB: CAGE STAIR TO HAVE INTEGRAL LED STRIP LIGHTING TO CONVERT TO CHURCH PULPIT

SCALE: DATE:

1/4" = 1'-0" 11/11/2015

DRAWING NUMBER:

A-008

P L A Y

D ESIGN D EVELOPMENT

43

RIGHT: CHAPPAQUA CHILDREN'S LIBRARY PROJECT RENDERING BOTTOM: SELECTED FURNITURE DESIGNS BACK COVER: WIKILEAKS HQ PROJECT FREEHAND GRAPHITE PERSPECTIVE

JOE-HYNN YANG EDUCATION

Master of Fine Arts, 3-yr full-time program. Dean’s List 2014-16.

Inaugural Nancy P. Short Memorial Scholar, NYSID, 2016.

Robert B. Herring Travel Prize to Chandigarh & Dhaka, 2016.

Mark Hampton Scholarship, 2015. One of 3 chosen for NYSID Þrst Global Design Workshop with Beijing University, visiting ethnic museum & school sites in Yunnan, China, mid 2015.

NEWH Hospitality Scholarship, NEWH New York, fall 2015.

• PARSONS The New School for Design

CertiÞcate, 2012-13. Courses included Residential Interior Design, Furniture Design, Life Drawing, Fashion Trends, and Rhino.

• GRAYÕS INN Bar of England & Wales

Bar Examination, General Council of the Bar, London.

Called as a Barrister Member of GrayÕs Inn, London.

• OXFORD Brasenose College, University of Oxford

B.A. (Honors) in Jurisprudence (Law.) Oxford UniversityÕs Martin P. Wronker Prize for Jurisprudence (Philosophy of Law.)

• ArtVest Partners, TEFAF New York Design Coordinator

May 2016-current. Implementing Þt-out & installation of worldÕs biggest luxury art fair at Park Avenue Armory, using union & non-union crews, in historic Stanford White interiors. 93 Exhibitor booths by Tom Postma Design inaugurate bi-annual Spr/Fall fairs.

• Robert A. M. Stern Architects (RAMSA) Summer Internship Program

May-August 2015. FF&E schemes for luxury hospitality projects & mixed-use amenities for Ivy-League institutions. Led design charette team on Harlem Renaissance-inspired museum tower, presenting to Mr. Stern & his Partners as program culmination.

• Courage & Joy, Inc., Asian Art Advisory.

Founder & Principal

2009-mid 2013. Self-employed Asian art dealer, with exclusive gallery exhibitions & global advisory services. Member of AAD NY, a select by-invitation group organising Asia Week New York.

• ChristieÕs, Inc., Senior Vice-President Department Head, Chinese Works of Art

2008-mid 2009. Directed twice-yearly auctions at Rockefeller Center, including annual gross sales of $80 million in 2008.

Sourced Chinese art worldwide as primary expert & businessgetter, managed staff of six. Oversaw global client development & US growth strategy. Personally controlled all catalog layout & exhibition design. Directed US sale marketing and proposals.

• SothebyÕs, Inc., Vice-President Department Head, Chinese Works of Art

2001-2007. Grew sales from $2 million to a record $40 million NY season. Transferred as Cataloguer from Sotheby’s London.

SKILLS

• Full proÞciency: • Basic proÞciency:

INSPIRATION

917-4004393 yang.joehynn@gmail.com

• NYSID, MFA (Interior Design) New York School of Interior Design Class of 2016

WORK

INSPIRATION

121 West 72nd Street, #10C New York, NY 10023

AutoCAD (incl. Cad3D), Revit, SketchUp (incl. VRay), Photoshop, InDesign, & 3DsMax. Rhino, Adobe Illustrator. Excellent hand-drafting skills, especially in graphite & watercolor.

STRENGTHS

• • • •

SECTION-A

SCALE 1-1/2”=1’-0”

“HOUSE OF CARDS” BEN GRASSO, 2008

CONCEPT

INSPIRED BY CHARLES & RAY EAMES’ ADJUSTABLE MODEL FOR THEIR LOUNGE CHAIR, “SEMAE” IS “EAMES” INVERTED: THIS RECLINER ALLOWS FACE-DOWN SUPPORT TO RELIEVE BACK STRAIN & CRANIAL SINUS PRESSURE. FULLY-ADJUSTABLE SPROCKETS ENABLE THE STRUTS TO PIVOT FOR TALLER OR SHORTER USERS. ALL CUSHIONS - FILLED WITH TECHNO-GEL FOR MAXIMUM COMFORT - ALSO PIVOT TO ALLOW FOR TRADITIONAL FACE-UP USE.

FRONT ELEVATION FACE-UP SETTING SCALE 1-1/2”=1’-0”

FRONT ELEVATION

SIDE ELEVATION

SCALE 1-1/2”=1’-0”

SCALE 1-1/2”=1’-0”

PLAN

AXONOMETRIC

SCALE 1-1/2”=1’-0”

NOT TO SCALE

Fine Art expertise & curatorial skills. Deep proÞciency in both Eastern and Western art & architectural history.

Fast adaptation between all design programs. Outstanding verbal presentation & visual conceptualization skills.

Strong real-worldwide design sensibility; especially in luxury branding, catalog publishing, exhibition design.

High-level professionalism, with proven qualities in teamwork, global business-getting, and leadership.

INDICATION OF ADJUSTABILITY

SIDEBOARD, VINCENT DUBOURG, 2013

DESK, DAVID ROENTGEN, 1780s

CONCEPT SKETCH

LIGHTNING STRIKES TWICE

CABINET DESIGN, SPRING 2016 JOE-HYNN YANG, MFA[1] NYSID

A

SIDE ELEVATION

FRONT ELEVATION

SCALE 1-1/2”=1’-0”

SCALE 1-1/2”=1’-0”

SEMAE ERGO LOUNGE

UPHOLSTERY DESIGN, SPRING 2016 JOE-HYNN YANG, MFA[1] NYSID

C U R R ICULUM VITAE

44

NEW YORK SCHOOL

OF INTERIOR DESIGN

M FA

2017

JOE-HYNN YANG

121 WEST 72ND ST, #10C, NEW YORK, NY 10023 YANG.JOEHYNN@GMAIL.COM 917.400.4393