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
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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