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J O E - H Y N N YA N G mfa interior design 2017 n y s i d
J O E - H Y N N YA N G mfa interior design 2017 n y s i d
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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 P D R R D G D
O L R E H E L R
W E R A Y E A M A S O N Y T H M S I R E A M O R A M A
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interior design portfolio by
J O E - H Y N N YA N G
the nancy p. short memorial scholar mfa (interior design) graduated NYSID 2016. yang.joehynn@gmail.com
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P O W E R
WIKILEAKS HEADQUARTERS Concept for Corporate Offices, 7600 sq. ft. 41 Madison Avenue, New York City
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“... 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 ...�
top parti - closed & open hexagons middle site - 41 madison ave, new york bottom axonometric
top plan & primar y circulation bottom reflected ceiling
P OWER
DESIGN DEVELOPMENT
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JAMES TURRELL
FRANCE-LANORD ARCHITECTS: WIKILEAKS HQ SWEDEN
mPARTICAL
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. 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 color-changing LEDs inspired by the art of James Turrell.
above freehand perspective & watercolor
P OWER
PRECEDENTS & MOODBOARD
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RECEPTION
concept sketches left reception middle assembly stadium right enclave rooms & lounge
P OWER
DESIGN DEVELOPMENT
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top section A-AA - primar y open benching middle section B-BB - enclave rooms & lounge bottom section C-CC - assembly stadium & data servers
“... 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 ... finishes with variable translucencies, infographics, topographical maplines, and faceted forms reinforce the theme of energized free-flowing data ...”
A
B C
BB
CC
AA
P OWER
ELEVATIONS
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ASSEMBLY STADIUM above lighting plan callout below concept sketch
“... 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 acoustic- and climate-controlled stacks; their visible centrality reinforces the corporate mission ...�
P OWER
DESIGN DEVELOPMENT
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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 the walls themselves ... Okakura Kakuzo The Book of Tea 1906
OPEN BENCHING OPEN BENCHING
top knoll interpole k-lounge, zaha hadid moon sofa + citgo shelf + seoul desk bottom magis stool-1 + chair-1, estiluz siso t2996, resident hex-brass lamp, nuuv twolve lamp, coalesss sw-1, knoll 120deg antenna benching opposite freehand graphite perspective
DESIGN DEVELOPMENT
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top lounge & enclave rooms middle assembly stadium & data servers bottom paul cocksedge, a gust of wind, ceramic installation, v&a london 2010
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WALL COVERING: MDC RIVIERA SAND CRV5545 GRANITE
CARPET: INTERFACE FLOR MONOCHROME 101841 BLUE
TASKCHAIRS: MOMENTUM TEXTILES TETRA COBALT
LOUNGE CHAIRS: CREATION BAUMANN ELUIS 668
WALL DETAILS: FORMS+SURFACES LINQ BONDED MESH
CUSTOM BLINDS: MAHARAM SPIRAL 901882-001 CHALK
COLUMNS: EXPOSED BOARD-FORMED CONCRETE
WALL COVERING: DESIGNTEX JM LYNNE CRUSH J279-102
CUSTOM FLOOR: MURAFLOOR VINYL TOPOGRAPHIC PRINT
UPHOLSTERY: CUSTOM INDIGO TOPOGRAPHIC PRINT
PANEL DIVIDERS: CUSTOM DIGITAL HEX-PATTERN PRINT
CUSTOM PRINT/TUFT CARPET: HEX-STARS SHAW HOSPITALIT Y
P O W E R
DESIGN DEVELOPMENT
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P L A Y
LIBRARIE DULAC CONCEPT FOR CHILDREN’S LIBRARY 17,000 SQ. FT., CHAPPAQUA, NEW YORK
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ROOF
LIGHTFORMS
1FL MAIN ENTRY
COURT YARD & LIGHTDOMES
MEZZ
STAFF ADMIN
RAMP TO 1ST FL
PLAY & CRAFT ROOMS
-1FL
TOILETS
MEDIA THEATER BELOW STAIR
top concept sketch, section development above exploded axonometric & form development process opposite precedents & moodboard
VENNESLA LIBRARY
In response to a design brief for a children’s library, the concept was inspired by Hans Christian Andersen’s “The Little Mermaid,” and in particular the evocative watercolors of Edmund Dulac, published in 1914 during the ‘Golden Age’ of children’s book illustration. Solid-void studies of the key illustration, with its strong diagonal descent, led to plan and section. Key features which enhance the undersea fantasy are the strong overhead color, stylised manta ray & octopus lightforms, lily-pad decks with dominant curling ramp, pearlescent rooms and undulating media screens or standing shelves. A full height wall-light installation echoes the laminar foliaceous growth of coral reefs and heightens childhood awareness of ocean warming, marine science, and the joy of storytelling & play.
P LAY
DESIGN DEVELOPMENT
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top reception, view on entr y middle reading room, below ramp bottom view of stair & mezzanine pads opposite top view from grade level opposite below axonometric, plan & program by floor
1FL
MEZZ
-1FL
P LAY
DESIGN DEVELOPMENT
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READING ROOM
BB
A
AA B top section A-AA & section B-BB above site keyplan right mood rendering
P LAY
DESIGN DEVELOPMENT
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SCALE 1-1/2”=1’-0”
SIDEBOARD, VINCENT DUBOURG, 2013
DESK, DAVID ROENTGEN, 1780s
SECTION-A
“HOUSE OF CARDS” BEN GRASSO, 2008
INSPIRATION
LIGHTNING STRIKES TWICE
CABINET DESIGN, SPRING 2016 JOE-HYNN YANG, MFA[1] NYSID
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SIDE ELEVATION
FRONT ELEVATION
SCALE 1-1/2”=1’-0”
SCALE 1-1/2”=1’-0”
INSPIRATION
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
CONCEPT SKETCH INDICATION OF ADJUSTABILITY
SEMAE ERGO LOUNGE
UPHOLSTERY DESIGN, SPRING 2016 JOE-HYNN YANG, MFA[1] NYSID
A designer knows that he will have achieved perfection not when there is nothing left to add, but when there is nothing left to take away ... Antoine de Saint-Exupéry
INSPIRATION :
COSMIC MOUNTAIN MANDALA
PLAN
FUDO MYO’O, JAPAN, KAMAKURA PERIOD, 13TH CENTURY. METROPOLITAN MUSEUM OF ART, NEW YORK.
SCALE 1-1/2”=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”
INSPIRATION : MUGHAL ‘CHAHAR BAGH’ GARDEN OF PARADISE
FRONT ELEVATION SCALE 1-1/2”=1’-0”
PLAN SCALE 3/4”=1’-0”
AXIS MUNDI : RECEPTION DESK FURNITURE DESIGN, SPRING 2016 JOE-HYNN YANG, MFA[1] NYSID
P LAY
FURNITURE DESIGN
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D R E A M
In In response response to to aa design design brief brief for for full conversion of an industrial full conversion of an industrial building building to to aa hospitality hospitality concept, concept, my proposal folded my proposal folded in in the the quest quest for for effective effective sacred sacred space-making. space-making. Escapist Escapist resort resort hospitality hospitality involves involves aa retreat from urban retreat from urban chaos and the the seeking seeking of of an an otherwordly otherwordly revitalizing experience. revitalizing experience. Similarly, Similarly, medieval medieval monasteries monasteries like like St. St. Gall Gall & & Clairvaux, or Zen temples, structure Clairvaux, or Zen temples, structure and and enable enable these these same same pursuits. pursuits. Within Within aa derelict derelict incineration incineration plant on the plant on the waterfront waterfront in in the the Meatpacking District, the Meatpacking District, the Platonic Platonic geometries geometries of of the the Buddhist Buddhist stupa stupa serve a three-pronged serve a three-pronged program: program: (i) (i) aa global global affairs affairs and and governance governance center based on the center based on the study study of, of, and and dialog dialog between, between, East-West East-West philosophies philosophies (such (such as as the the Beggruen Beggruen Institute); (ii) a secularly Institute); (ii) a secularly 'monastic' 'monastic' hotel hotel for for visiting visiting diplomats diplomats and and TED leaders to reside, TED leaders to reside, meditate, meditate, study study & & escape; escape; (iii) (iii) public public outreach outreach amenites to serve and amenites to serve and educate. educate. Light, Light, shadow, shadow, sound, sound, water, water, and and gardens are spatially choreographed gardens are spatially choreographed throughout. throughout. A A waterfall waterfall stair stair in in the the former garbage ash-pit leads former garbage ash-pit leads to to an an oculus-domed oculus-domed sanctuary sanctuary whose whose roof roof canopy canopy spreads spreads over over hanging hanging gardens which face the gardens which face the waterfront waterfront and and reject reject the the city. city. The The paired paired entrance towers recall entrance towers recall cathedrals, cathedrals, minarets, minarets, and and pagodas. 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
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whitney museum of art renzo piano
the high line diller scofidio+renfro
the standard hotel ennead architects gansevoort destructor plant pier 53, nyc pier 55 project, 2018 thomas heatherwick
GANSEVOORT PENINSULA
above model for massing, sightlines & exterior lighting opposite top gansevoort destructor plant , 1940s, museum of the city of new york; standard model incineration plant , 1950s, nyc municipal archives; square footage allocation opposite bottom sources: map, daniel walsh, environment , science & technology, aug 2002; plans, nyc dept. of buildings; land use, hudson river parks development
32'-10" 51'-0 1/2" 87'-3 1/2" 128'-4 1/2"
30'-7 1/2"
22'-11" 21'-7 3/4" 21'-5 1/4" 21'-3 3/4"
HUDSO N RIVE
25'-11 3/4"
30'-7 1/2"
R
194'-9 3/4"
143'-5 1/2"
25'-11 3/4"
"... there is a confluence of history at the Gansevoort Peninsula which amplifies any potential site of escapist hospitality and sacred space-making at the PLAN: 2F &customs 3F New York waterfront ... this is where Herman Melville was inspector, FLOORS 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 ...� 60'-9 1/4"
152'-0 3/4"
2 BLOOMFIELD ST
225'-3 1/4"
THE GANSEVOORT DESTRUCTOR PLANT
DR E AM PLAN: 1F FLOOR
32'-10"
51'-0 1/2"
SITE ANALYSIS
87'-3 1/2"
128'-4 1/2"
0 5' 10'
20'
30'
50'
100'
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top case studies: 1. the standard hotel, ennead 2. the cathedral of christ the light, s.o.m 3. asia society hong kong, tod williams & billie tsien bottom buddhist architecture along the silk road: ajanta, dunhuang & seokguram (thesis excerpt) opposite inspiration (clockwise): etienne boullĂŠe, la madeleine, project khao luang temple, thailand andy goldsworthy, earthworks louis kahn, exeter library taktsang monastery, bhutan
DR E AM
PRECEDENTS & MOODBOARD
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left st. paul's london, during the blitz © getty images bottom migrant refugee church camp, 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 square-circle-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 / structurevs.-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 70CE) 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.”
DR E AM
PHENOMENOLOGY IN SACRED SPACE-MAKING
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above louis kahn, salk institute, la jolla, california opposite concept sketch process: ideation to schematic - longitudinal section bottom 'five element' stupa (gorinto), japan, 13th-14th cent., seattle art museum
[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 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 spatialtemporal 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.”
“... 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 ...�
DR E AM
PHENOMENOLOGY IN SACRED SPACE-MAKING
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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
‘MONAST CLOSED T OPEN TO
GLOBAL AFFAIRS CENTER REVISED ENTRANCE VIA WATERFRONT
PUBLIC OUTREACH AREAS
WATERFALL STAIR IN ORIGINAL INCINERATION ASH PIT
TIC’ FENESTRATION TO CIT Y, O WATER
above floor plans & circulation below primar y (public) & secondar y (guest) circulation opposite longitudinal section & program adjacencies
the church contemplative | to foster discovery | Monastic Retreat the church mediatory | to foster civility | Governance Center the church active | to foster change | Public Outreach the Crucible center - proposed mission
DR E AM
PROGRAM & CIRCULATION
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1F 6 5
3 4
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1 1
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BELL TOWER & DRUM TOWER
2 MAIN RECEPTION 3 ART GALLERIES 4 WATERFALL GRAND STAIR 5 RESTAURANT 6 AUDITORIUM 7 RETAIL SHOP 8 LIBRARY / SCRIPTORIUM 9 SANCTUARY HALL 10 ADMIN. OFFICES 11 ELEVATORS & FIRE STAIRS 12 KITCHENS / SVC. SUPPORT 13 CONFERENCE HALL 14 CONFERENCE ROOMS 15 CAFETERIA 16 ‘CLOISTER’ SUITES 17 SPA / GYM 18 MEDITATION ROOM 19 MEDITATION GARDEN 20 SKYWALK
A ray of light is not the same ray of light that 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 Kahn, 1973
21 LOBBY CAFE 22 GUEST RECEPTION 23 LOBBY LOUNGE 24 OBSERVATORY 25 OBSERVATION DECK
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4F
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SECTION & AXONOMETRIC
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RECEPTION
ENTRY LOBBY
top left precedents 1. fritz wotruba, heiligen dreifaltigeit kirche, vienna 2 . katsura palace, kyoto - wayfinding & boundar y details 3. alhambra, granada - 'chahar bagh' division & water rills
“... the public areas display a distinct cuboid vocabulary to signal the transition from the city beyond. Glass curtain walls frame reconstructed incinerator smokestacks; this diaphanous contemporary quality asserts their restored nature and contrasts intentionally with the shadowed lobby ... 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 ...�
DR E AM
ENTRY SEQUENCE
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top entr y view to lobby, between rebuilt smokestacks with courtyard gardens middle auditorium, upper level bottom art galleries
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RECEPTION SEATING: VILLA ROMO COCO SHALE V1008/08
ACCENT CUSHIONS: KRAVET PLEATED SILVER 33190-11
GALLERY DRAPERY: ZIMMER+ROHDE CRANBROOK
AUDITORIUM PANELS: ALDECO NUGGET GOLD
ACCENT WALLS: BURNISHED BRONZE VENETIAN PLASTER
FLOOR: STONESOURCE ST. MARC CLAIRE LIMESTONE HONED
AUDITORIUM ACCENT: WALKER+ZANGER AMBRATO POLISHED
AUDITORIUM SEATS: MAHARAM MOHAIR EXTREME LICHEN
RECEPTION SEATING: MAHARAM ALLOY COVERT 466064-016
DR E AM
1F PUBLIC SEQUENCE
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MAIN DINING
FORGE R E STAU R A N T
top proposed branding | entr y from upper level & bar above view of rear wall & stair vestibule below section detail
MAIN ENTRY VIA BAR AREA
TO PRIVATE DINING ROOM
STAIRWELL WALLS: GOLDEN DUNE MARBLE POLISHED
G
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
DR E AM
1F RESTAURANT
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middle precedents: moishe safdie, habitat 67, montreal | lawrence halprin, skyline park , denver bottom concept sketch | archival photo, gansevoort receiving pit , nyc municipal archives opposite study model: adaptive re-use of receiving-pit to waterfall stair
1F VIEW
2F VIEW “... to ascend, with mindful uncertainty, a 'tesseract' of floating cubes and shimmering planes, some of glass, 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 ...�
DR E AM
GRAND STAIR DEVELOPMENT
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below fibonacci phyllotaxis | foundation stone, dome of the rock , jerusalem | worm's eye view of sanctuar y to roof canopy opposite concept sketch, indicating internal stair & bridge | frame structure study
“... the oculus roof canopy allows shifting daylight to dictate the mood of the sanctuary, whose four-floor volume echoes the modular √2 proportions of Seokguram, Korea. its frame structure utilizes fibonaccian progression to emphasise organic growth, similar to other notable domes such as Mckim, Mead & White's Gould Library, and Jerusalem's Dome of the Rock. the latter's foundation stone influences the use of raw stone as podium base ...”
SANCTUARY HALL
DR E AM
2F SANCTUARY HALL
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GOVERNANCE CENTER
WALLCOVERING: MAHARAM DANSKINA DUNE 200130-122
UPHOLSTERY: MAHARAM HOBNAIL WOOL HAMPSHIRE
ACCENT WALLS: POLISHED CALACATTA PAONAZZO MARBLE
CAFETERIA SEATING: HERMAN MILLER NOBLE FELT CADET
CONFERENCE CHAIRS: HERMAN MILLER MCL LEATHER RED
SOFAS: MAHARAM HERRINGBONE STRIPE GRANITE
“... the unique program of this floor is indicated by the vocabulary of sliding planes ... with Louis Kahn and Daniel Libeskind as precedents, it signifies the dynamic transition from cube to sphere, and signals special engagement by its users - global affairs mediators and forum attendees - both spatially and mentally ...�
above large conference room below reception foyer & enclaves
WALLS: ACID-ETCHED & DISTRESSED STUCCO
DR E AM
3F GOVERNANCE CENTER
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top 3F governance center cafeteria, with waterfall source down to grand stair middle 4F meditation room | 4F typical guest suite bottom 5F skywalk | bird's eye view of gardens
top design journal page | archival photo, jantar mantar of ram singh, delhi (17th cent.) middle model: illuminated bell tower, drum tower, & sanctuar y hall bottom 6F roof garden & celestial observator y, view west across water
4F & 6F GREENSPACE
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above 5F plan below perspectival section A-AA
A
AA
LOBBY CAFE
“... 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 echoes the forms of the Jantar Mantars of Delhi and Jaipur ...�
DR E AM
5F RESIDENTIAL GUEST LOBBY
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LOBBY LOUNGE
CAFE BOOTHS: GOLDSTITCHED MAHOGANY BUFFALO HIDE
CAFE FLOOR: ABCSTONE VEINED ITALIAN CREMA BRUSHED
top reception & guest check-in above view from access elevators
CAFE SEATS: HERMAN MILLER NOBLE FELT HEATHERED RED
COLUMNS: ROTOCAST OR FILAMENT-WOUND COMPOSITE FRP
WALLS: STONESOURCE CORBATA NERO VEIN-CUT HONED
LOUNGE SOFAS: CORTINA LEATHER CALF ISSIMO BLUEPRINT
ACCENT WALLPAPER: ZAK+FOX STRATA STUDY ARCHEAN
PRIVACY PARTITIONS: CUNEIFORM WEAVE SANDWICH GLASS
CARPET: INTERFACE FLOR FEELIN' GROOVY PURPLE 1157-49
UPHOLSTERY: DEDAR PAISLIG T16019-004
CUSHIONS: ZOFFANY ARKONA VELVET TRAVERTINE 5654
RECEPTION DESK & FIXTURES: DESIRON GUNMETAL BRUSHED
DR E AM
5F RESIDENTIAL GUEST LOBBY
61
0’
32’
64’
DAYLIGHTING & FENESTRATION
R E A S O N
MONTICELLO PRECEDENT & DESIGN ANALYSIS CHARLOTTESVILLE, VIRGINIA
Memory, Reason and Imagination were library categorizations used by Jefferson; ‘memory’ for books of history, ‘reason’ for books of philosophy and the natural sciences, and ‘imagination‘ for those related to the creative arts, including architecture. These divisions seem equally applicable to an assessment of Monticello, his self-avowed ‘essay in architecture.’ Despite never having visited, precedent analysis included not only massing and repetition of units, but also master-slave separation, use of color, and interior innovations. The building represents Jeffersonian Palladianism at its most autobiographical. The half-century of its construction reflects his major life events but reveals the private man rather than the public statesman. In its ideals and inspired experimentation, the house embodies not just the genius of an amateur, but the spirit of a young nation. It remembers the past, but surveys a brave new world. 63
ENTRANCE AFTER 1796
ENTRANCE BEFORE 1796
NEO-PALLADIAN REVISION PRE- vs. POST-1786
0’
FLOORPLANS
32’
64’
0’
16’
32’
APPLICATION OF GOLDEN MEAN RATIO SITE - BUILDING - INTERIORS
0’
100’
R EASON
DESIGN ANALYSIS
65
200’
T YPICAL SINGLE-FAMILY SLAVE DWELLING TO SCALE 12’ x 14’ PLAN
0’
adapted from beiswanger, monticello in measured drawings, HABS 1990
PRECEDENTS
16’
32'
0’
32’
64’
PARTI key features of parti 1. strong overall symmetry using key massing units; the square, octagon and golden rectangle. 2. concentric hierarchy of mountaintop site conveyed by horizontal lines of progressive length and varying weight. 3. dark bar represents grade level and strong separation between master/served and slave/service areas. this is only broken by two vertical white bars representing the paired stairs but which also echo portico columns.
4. clear separation between Jefferson’s ‘sanctum sanctorum,' represented by a golden rectangle, and all other public or family space, as he intended. 5. overlapping dotted octagons show interpenetration of indoor-outdoor space at the faceted ‘piazzas.’ 6. hairline delineation of dome room and attic floor indicates how roof balustrade and fretwork railings unify the facade.
R EASON
DESIGN ANALYSIS
67
R H Y T H M
WARISAN ISLAM MALAYSIA LLP Concept for LEGAL Offices, 18,000 sq. ft. 1095 SIXTH Avenue, New York City
69
In response to a design brief for US head offices for a Malaysian firm specializing in Islamic finance and international law, the concept was to evoke the veils of opacity and humidity in the Malaysian rainforest, while also using its multi-racial heritage to draw inspiration from Malay shadow puppetry, Indian dance, and Peranakan architecture. The latter characteristics include the use of reticulated screens and grilles, internal ‘green lung’ airwells and shadowed seating under overhanging verandas. The use of slanted screen partitions, each with layered opacity from combinations of etched glass, electrochromatic technology (‘smart glass’) & perforated grilles, creates the privacy required in a legal office, but retains the open circulation flow and clustered benching of division teams. Sightlines are occluded along the N-S axis, but open along the E-W axis, allowing daylighting from Bryant Park to illumine the volume. Entry is from the upper floor, descending down a bifurcated stair to an open atrium plaza, reminiscent of village squares (‘maidan’). Conference rooms cantilever over shadowed lounge areas to encourage quiet enclave meetings beneath. A skybridge to the cafe evokes adventure bridges in the rainforest canopy as it skirts four structural columns clad in lattice frames of subtly-torqued vortices which rise like swaying trees.
3
5
1 2 3 4
3
6
10 4 4
4
7
4
2
4 4
8 9
4
35FL
4
1
4
5 6 7 8 9 10
RECEPTION SM. CONFERENCE LRG. CONFERENCE CASE ROOMS (TO MERGE AS REQ’D) CAFE / LOUNGE LAW LIBRARY HR / ACCTG / ADMIN PRINTERS / I .T. TECH MAIL ROOM OPEN ATRIUM
36FL above partition study & axonometrics bottom plans opposite precedents & moodboard
DESIGN DEVELOPMENT
71
ATRIUM FROM SKYBRIDGE
AIRWELL WITH LIVING GREEN WALL
SKYBRIDGE
“... both the rainforest canopy and the undulating motion of Malay dance are expressed by columns clad with swaying vortices ... overlapping veils of etched glass, electrochromatic smartglass, and perforated grilles create open sightlines along the E-W axis, but close them N-S for privacy, and filter light to animate the open plan ...”
ALL CASE ROOMS HAVE FOLDING NANAWALL
top left NS axial section: open sightlines along E-W bottom left EW axial section: closed sightlines along N-S top right worm’s-eye axonometric study of vortices
R HYT H M
DESIGN DEVELOPMENT
73
top atrium from grand stair middle enclave seating below cantilevered conference rooms bottom cafe lounge & skybridge
RECEPTION SEATING: HBF SOLID COMFORT PLUM JAM 852-77
ENCLAVE SEATING: MAHARAM SUDDEN LARGO 463000-020
ATRIUM SEATING: MAHARAM ARIA GATHERING 459950-058
WALL MESH DETAILS: FORM+SURFACES INC LINQ FLUX CROSSLINQ
ENCLAVE ACCENT: MAHARAM 9297 JOSEF HOFFMANN PEACOCK
ATRIUM ACCENT: MAHARAM MASSIVE PAISLEY GOLD 465915-002
ACOUSTICAL WALLCOVERING: CARNEGIE XOREL KALEIDOSCOPE
ACOUSTICAL PANELS: CARNEGIE XOREL ZIPPER 6209-52
ACCENT WALLS: WALKER+ZANGER BOTTICINO FIORITTO
SCREEN PERFORATION / ETCHING: TESSELATION GRADIENT BY NEIL BORSTAD CUSTOM ETCH WITH OPACITY GRADIENTS, FORMS+SURFACES INC., VIVIDGLASS
74
R HYT H M
DESIGN DEVELOPMENT
75
D E S I R E
THE DARKE HOTEL
Concept for RESORT LOUNGE & BAR. 1800 sq. M. 21 OCEAN WAY, SENTOSA COVE, SINGAPORE
77
PROPOSED BRAND IDENTITY
ERWIN OLAF
IRIS VAN HERPEN & DAVID WIDRIG
GRANT ASSOCIA
LEBBEUS WOOD
THE DARK THE DARKE THE DARKE
PROPOSED BRAND T YPOGRAPHY HENDERSON SLAB SEMIBOLD (AMENDED) 36pt - 22pt - 14pt
ASIAN BESPOKE FEARLESS CARNAL CONFRONTATIONAL
ZAHA ZAHA HADID: HADID: AURA AURA 2008 2008
ATES: GARDENS BY THE BAY, SINGAPORE
DS
KE
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 to 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 Edgar Allan 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.
DESIRE
PRECEDENTS & MOODBOARD
79
1
2
3
4
1
2
3 above vertebra concept: plan & partition process right concept sketches: 1F entrance lobby 2F reception | 2F art lounge & ramp | 2F cocktail bar top left 1F plan: entrance lobby bottom left 2F plan: bar, retail, art lounge & reception
4
DESIRE
DESIGN DEVELOPMENT
81
above vertebra concept sketch right lighting precedents: 1. studio fuksas shenzhen bao'an airport , backlit snakeskin perforation 2 . guy hendrix dyas, passengers production design, LED baseboards, reverse coves & wayfinding strip lighting far right 2F lighting plan callout
2F RECEPTION
1F LOBBY
FORMITALIA SOFA MERCEDES BENZ
VON PELT ATELIER OSLOER TABLE USING UNIQUE METEORITE
FLOORS: ABC STONE CORBATA NERO VEIN-CUT & HONED
SOFAS: ROMO TEXTILES 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)
POLIFORM TRIBECA TABL
ELEVATOR VESTIBULE: CONCERTEX NAPPATILE TERRANE MIDNIGHT
2F ART LOUNGE
LE
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
ACCENT WALLS: ELITIS NATURE PRECIEUSE RM555-80
ORA-ITO ORA-GAMI CHAIR & OTTOMAN
CUSTOM WALLPAPER: SURREALIEN BERLIN OPTICAL WARP
FURNITURE & FINISHES
83
PENDANTS: 'DROPLET' CUSTOM BY YELLOW GOAT DESIGN AUSTRALIA & USA MOLDED ACRYLIC 17W & 14.5W LED E27 BASE (FLUO / HALO LAMPING OPTIONAL) COLOR CHANGING AVAILABLE
1 OVERSIZE PENDANTS: BASKETS BY DAVID TRUBRIDGE, NZ POLYCARBONATE PETG / ALUMINUM / BAMBOO 25W LED, E27 BASE NB: "CRADLE" VERSION WITHOUT PETG DIFFUSER AS POSSIBLE FEATURE SEATING OPTION
2 STAIR RAIL: LIGHTLAB SPECTRAGLASS COLOR CHANGING EDGE LIGHTING RAIL TEMPERED GLASS 14.5W/meter RGB LED 120deg BEAM SPREAD DIMMABLE
3 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 REFLECTING POOL: IN-GRADE SUBMERSIBLE COLOR-CHANGING PHILLIPS C-SPLASH-2 25W (MAX) RGB LED UL LISTED & IP68 CERT CHLORINE-RESISTANT
5
CONCIERGE & BAGGAGE-CHECK DESKS: DUFFY LONDON ABYSS TABLE GLASS & MARBLE CUSTOM BACKLIT GLASS ADAPTATION
6
“... tactile sensory immersion is apparent from the entrance lobby: touch-sensitive video displays contrast with a feature wall of salvaged tire segments, mounted to resemble snakeskin or chainmail, while overhead a constellation of pendant orbs mixed with smaller glass reflectors creates a shimmering cascade ...”
1
3
4
6
5
top right section A-AA top left lighting inspiration: ernesto neto installation, pantheon, paris yellow goat design custom fixture | glowstick & sandbag model above site keyplan & 1F plan - entrance lobby detail
DESIRE
LIGHTING: 1F ENTRANCE LOBBY
85
2
1 CHOE U-RAM: OPERTUS LUNULA UMBRA 2008 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
INVISIBLE-EDGE COLOR CHANGING COVE: PHILLIPS iCOLOR COVE MX POWERCORE 50W (MAX) RGB LED 50x70deg OR 125x150deg BEAM SPREAD
2
ADJUSTABLE RECESSED DOWN LIGHTS USAI LIGHTING beveLED 2..1 SQUARE 9W - 33W LED RANGE (WALL WASH AVAILABLE) WARM / COLOR CURVE DIMMING OPTIONAL
3
ADJUSTABLE SPOTLIGHTS IN INTEGRAL COLOR CHANGING CAVIT Y: PURE LIGHTING AURORA ACCENT SQUARE-EDGE 15W (MAX) RGB LED 10/15/25/30 deg BEAM AMBIENT RGB LED MOUNTED IN INTEGRAL COVE HOUSING
4
COLOR CHANGING TAPE / FLEXIBLE STRIP PHILLIPS iCOLOR FLEX LMX gen2 RGB LED 1W PER NODE 50 NODES 4" APART ARMATURE-MOUNTED IN BARRISOL VINYL FABRIC DIFFUSER
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 art lounge governed the lighting plan and fixture distribution, including 12% reductions for LEED ... the ramp rise in the floor allows for conversation-pit lounge seating as well as reflecting pools with back-lit cascades ...”
3
4
C
SECTION
5
SAFE DEPOSIT
150
150
4950
150
1600
4052
1100 1570
FITTING RM
OFFICE
OFFICE
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
80 114
RECEPTION 1209
TOILETS
520
DJ BOOTH
+1000mm A.F.F
+0mm A.F.F
+336mm
WINE BAR
UPPER LEVEL STANDING COUNTER
+500mm A.F.F
LOBBY LOUNGE & ART GALLERY
top section B-BB middle lighting inspiration: zaha hadid, aura, venice biennale 2008 mercedez benz prototype interior 2015 barrisol tensile illumination fabric above site keyplan & 2F plan detail 1038
+168mm +0mm A.F.F
0
COCKTAILS / MIXOLOGIST
705
+0mm A.F.F
889
TABLE SEATING SVC STN
LOWER LEVEL BANQUETTE SEATING
+500mm A.F.F
+0mm A.F.F
CAFE LOUNGE
+1500mm A.F.F
0m
1m
2m
5m
10m
DESIRE
LIGHTING: 2F RECEPTION & LOUNGE
87
2
above 2F lighting plan below sample art selections yong ho ji: hybrid human tire sculptures
9/19/15, 1:17 PM
aug 02, 2011
1. YONG HO-JI
3. KRIS KUKSI
yong ho ji: hybrid human tire sculptures 15
96
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20
9
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StumbleUpon 13 1
‘wolf man 1′ (hybrid human) by yong ho ji 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
1
4
6 5 3 1
“... the sculpture 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 museum lighting options, including color temperature and case lighting by Zumtobel, were examined ...�
5. CHOE U-RAM
DESIRE
6. PARK SEUNG-MO
2F ART LOUNGE
89
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
1 1
SUSHI BAR & BANQUETTE PENDANTS: WONDERGLASS MOMENTO BY NAO TAMURA GLASS & BRASS / ALUM 350mm OR 500mm DIAM. 1W OR 2W LED BI-PIN DIMMABLE 3 GLASS FINISHES: GREY, CLEAR OR SANDBLASTED 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)
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 PROPOSED BRAND T YPOGRAPHY TRAJAN SANS PRO (AMENDED) 36pt - 18pt - 10pt
4
2 6
4
“... playing on the theme 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 ...”
top section C-CC above (L to R) 2F plan bar detail watercolor | lighting inspiration: propeller patent drawing
DESIRE
LIGHTING: 2F BAR
91
G L A M O R
VICTORIANA REDUX CONCEPT FOR RESIDENTIAL LOUNGE, 475 SQ. FT. 18 BEDFORD SQUARE, LONDON WC1B
93
opposite precedents & moodboard (clockwise): queen victoria, 1897 © corbis | john nash, brighton pavilion | charles barr y, westminster palace thomas jeckyll & james whistler, ‘peacock’ room for frederick leyland | rorschach blot below (clockwise) custom mughal-inspired pendant fixture | arthur hubbock , kuala lumpur railway station, malaysia | peacock room ceiling detail | reflected ceiling plan
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. Inspired by the age of AngloIndian 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 veneer 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 micaflecked 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.
GLAMOR
DESIGN DEVELOPMENT
95
above elevations (clockwise): north, west , east , south below site & exterior: late georgian, 17 75-86 opposite concept sketches | view on entr y
“... 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 ... creating opulence through ‘gothick’ complexity not just in visual interest or placement, but also in historical references and material texture ...”
GLAMOR
DESIGN DEVELOPMENT
97
“... 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 ...”
PALLADIAN GREEN & WHITE MARBLE MANTELPIECE ATTRIB. TO WILLIAM KENT 1730s. CARLTON HOBBS LLC
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
CUSHIONS: KRAVET STARGAZER BLACK OPAL
MAISON JANSEN BRONZE, SMOKY GLASS & LEATHER CONSOLES
CUSHIONS: MOKUM ANTIQUE LACE ANISEED
PICASSO: CHICAGO MAQUETTE
RODIN: IRIS
BRANCUSI: MLLE. POGANY
DUCHAMP: NUDE DESCENDING A STAIRCASE, 1912
MODEL PLAQUE OF 1847 CROWN (FIVE SHILLINGS) COIN OF QUEEN VICTORIA BACON: THREE STUDIES OF LUCIAN FREUD, 1969
POLLOCK: AUTUMN RHYTHM #30
PIERRE FORSELL LAMPETT SCONCES FOR SKULTUNA, SWEDEN, 1960s
OTTOMANS: KRAVET ANIMAL ALLURE MICA SHIMMER
PHYLLIS MORRIS BRONZED & LACQUERED CABINET / LOW TABLE
CHAIRS: HOLLY HUNT LEATHER COLD-BLOODED 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
ART, FURNITURE & FINISHES
99
D R A M A
IN THE BLOOD
SUZAN LORI-PARKS
BY CONCEPT FOR THEATER SET DESIGN, 1600 SQ. FT. NEW YORK CITY CENTER, 131 W55TH ST, NEW YORK
101
In response to a 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. This contemporization of Hawthorne’s “The Scarlet Letter” opens with Hester fitfully trying to erase the shameful ‘branding’ of graffiti on her wall. My proposal examines the dramatic exigencies of human vitality in the most interstitial and forgotten nook of our urban landscape: the freeway underpass. 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 offramps. 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.
above image credits: portland mercur y news silvertree photography | andrew moore | david bullock opposite set model: foamcore construction by hand
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 USA ... 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
DR AMA
PRECEDENTS & MOODBOARD
103
UPPER GANTRY & STAIR COURSE SUSPENDED FROM FLIES: SEE SHOP DRAWINGS.
SCRIM ABOVE: HIGHWAY OFF-RAMP. DISCUSS WITH LIGHTING DESIGNER & CONTRACTOR
7'-6"
©Steve Shelley
2003
FALSE RAMP SUPPORT SUSPENDED FROM FLIES ABOVE FINISH TO RESEMBLE CONCRETE.
COMMERCIAL SPIRAL STAIR SYSTEM: ARKE 'EUREKA' K21005 HEAVY-DUTY ALUMINUM STAIR KIT, 4'-6" DIAMETER.
©Steve Shelley 2003
©Steve
Shelley
2003
©Steve Shelley 2003
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.
2003 Shelley ©Steve
©Steve Shelley 2003 2003 Shelley ©Steve
8'-6" 6'-9"
1'-2 1/4"
JOIN TO BERM WALL #F
3'-5
3/ 4"
2'-9 5/8"
12'-0"
DATE:
7'-5 5/8"
8'-3 1/2"
12'-10"
3/4 " ALUMINUM TUBE CONSTRUCTION TYP. ALL
8'-3 5/8"
4'-0"
ROUTE OF ACCESS TUNNEL OFFSTAGE
+72" A.F.F.
2'-0"
19'-7"
CLASS NAME:
F
INSTRUCTOR: DRAWING BY:
SET DESIGN, NYSID, FALL 2015 DEBRA BRYANT
7'-9 5/8"
JOIN TO BERM WALL #E
3'-5"
6'-0"
A-002
2'-10"
5'-5 1/4"
+207" A.F.F.
UPSTAGE BERM WALL ELEVATION & PLAN
11/11/2015
DRAWING NUMBER:
7'-9 5/8"
17'-3"
SECTION (STAGE RIGHT)
4'-1 7/8"
4'-3"
12'-1 1/8"
2'-9" 3/4 " ALUMINUM TUBE CONSTRUCTION TYP. ALL
6'-0"
IN THE BLOOD by SUZAN LORI-PARKS
3'-0"
2'-6"
7'-9"
NOTE: FOR BOTH BERM WALLS #E & #F, SEE MODEL.
3/16" = 1'-0"
JOE-HYNN YANG
17'-3"
JOIN TO P3 RAKE MAX +14 1/4" A.F.F.
10'-5 3/4"
JOIN TO STAIR 2
3'-0"
DEBRA BRYANT
SCALE:
6'-9" JOIN TO P3 RAKE MAX +8 7/8" A.F.F.
6'-0"
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"
DRAWING BY:
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
INSTRUCTOR:
PROJECT TITLE:
PAINT FINISH: DIRTY CONCRETE ROADWAY STAIR
8 7/8"
Shelley
2003
©Steve Shelley 2003
©Steve
©Steve Shelley 2003
45'-6"
PAINT FINISH: CONCRETE BERM LINE OF P3
E SET DESIGN, NYSID, FALL 2015
2" PIPE TYP. CONSTRUCTION
7'-6"
PAINT & TEXTURE FINISH: RUBBLE & ROCKS PAINT & TEXTURE FINISH: RUBBLE & ROCKS
CLASS NAME:
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.
4'-0"
DRAWING TITLE:
PROJECT TITLE:
SCALE:
ELEVATIONS E - F
IN THE BLOOD by SUZAN LORI-PARKS
6'-1"
DATE:
INSTRUCTOR:
11/11/2015
DRAWING NUMBER:
A-004
6'-1 3/8"
S1 CLASS NAME:
1/4" = 1'-0"
JOE-HYNN YANG
PROFILE OF "HIGHWAY OFF-RAMPS" HUNG FROM FLIES ABOVE. TRANSLUCENCY & STRUCTURE TO DISCUSS WITH LIGHTING DESIGNER
6'-3 1/4" 3'-0"
16'-10 1/2"
DOWNSTAGE BERM WALL ELEVATION & PLAN
DRAWING BY:
SET DESIGN, NYSID, FALL 2015 DEBRA BRYANT
S2
MUNICIPAL MAINTENANCE STAIR & GANTRY ELEVATION & PLAN
ROADWAY ACCESS STAIR ELEVATION & PLAN
DRAWING TITLE:
PROJECT TITLE:
STAIRS 1 - 2
IN THE BLOOD by SUZAN LORI-PARKS
SCALE: DATE:
1/4" = 1'-0" 11/11/2015
DRAWING NUMBER:
JOE-HYNN YANG
A-008
+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
FALSE PILLAR SUPPORTS FOR "HIGHWAY OFF-RAMP" ABOVE
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
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.
GRAFFITI MARRED WALL BY DIRT SLOPE SUPPORTING "HIGHWAY OFF-RAMP" ABOVE
P1 +0" A.F.F.
+0" A.F.F.
CLASS NAME: INSTRUCTOR: DRAWING BY:
SET DESIGN, NYSID, FALL 2015 DEBRA BRYANT JOE-HYNN YANG
DRAWING TITLE:
PROJECT TITLE:
SCALE:
3/16" = 1'-0"
DATE: GROUNDPLAN IN THE BLOOD by 11/11/2015 DRAWING NUMBER: SUZAN LORI-PARKS top section on centerline | set element construction details
above plan
left bird’s eye view of model
A-001
JOE-HYNN YANG EDUCATION
121 West 72nd Street, #10C New York, NY 10023
917-4004393 yang.joehynn@gmail.com
• NYSID, MFA (Interior Design) New York School of Interior Design Class of 2016
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.)
WORK
• 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:
AutoCAD (incl. Cad3D), Revit, SketchUp (incl. VRay), Photoshop, InDesign, & 3DsMax. Rhino, Adobe Illustrator. Excellent hand-drafting skills, especially in graphite & watercolor.
STRENGTHS
• • • •
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.
CURRICULUM VITAE
105
NEW YORK SCHOOL
OF INTERIOR DESIGN
M FA
2017
J O E - H Y N N YA N G 121 WEST 72ND ST, #10C, NEW YORK, NY 10023 YANG.JOEHYNN@GMAIL.COM 917.400.4393