Jonathan Sun, portfolio by Jonathan Sun

JONATHAN SUN Recent Work (2012-2015)

JONATHAN SUN Recent Work (2012-2015) Yale School of Architecture, 2015 Master of Architecture (M.Arch. I) H. I. Feldman Prize Nominee, James Gamble Rogers Memorial Fellow, Teaching Fellow University of Toronto, 2012 Bachelor of Applied Science (B.A.Sc. Hon.) Engineering Science (Infrastructure and Sustainable Energy)

Contents Studio 1 Research 165 Drawing 193 Installation 235 Writing 251 Publication 257 CV 262

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Contents

Studio 1 Research 165 Drawing 193 Installation 235 Writing 251 Publication 257 CV 262

Jonathan Sun 1

A campus of courtyards sensitive to memory Tianjin, China ** Nominated for the H.I. Feldman Prize for 2015 (Yale School of Architecture) ** Published in Retrospecta 39 (Yale School of Architecture, 2015) ** Published in Constructs (Yale School of Architecture, 2015) Part 2 The Campus Ward of the Hai River Master Plan takes the existing industrial fabric of the site and reconfigures it in a series of individual courtyards. Each of these courtyards is composed of a different combination of building types and programs. The courtyards are formed by architecturally combining existing and proposed buildings in unique and site specific ways. The courtyard model allows us to combine a typological study with preservation constraints. We propose that each of these courtyards is to be rented and occupied by a different entity suited to each courtyard. As such, the ward becomes a site for a number of collaborative satellite campuses for education, research, and technology development. The ward is centered on the existing shipyard area which is turned into a shared common zone for all of the campuses, comprised of a commercial building, an art zone and sculpture park, and a recreational facility. Additionally, the south-east courtyard adjacent to the central area becomes a shared, common facility which serves as a combined workshop and convention center, taking advantage of the existing warehouseâ&#x20AC;&#x2122;s scale. The four east campuses of the ward are defined programmatically as: educational, performance, research, and the aforementioned shared workshop and convention center. Part 1: Master plan for a ward-based linear city, Tianjin (In partnership with Mahdi Sabbagh.) (Yale School of Architecture, M.Arch. 2014 Fall Advanced Studio. Critic: Alan Plattus, with Andrei Harwell.)

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Model

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Plan Model detail

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Hand-drawn axonometric Model detail

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Model Axonometric detail

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Plan detail

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Plan detail

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Model detail Sections

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Diagrams

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Master plan for a ward-based linear city Tianjin, China ** Nominated for the H.I. Feldman Prize for 2015 (Yale School of Architecture) ** Published in Retrospecta 39 (Yale School of Architecture, 2015) ** Published in Constructs (Yale School of Architecture, 2015) Part 1 Sited adjacent to the Tangu station of the high speed Beijing-Tianjin Intercity Railway along the Hai River, this master plan is a proposal for a ward-based urbanism which utilizes the spatial characteristics of the industrial site in order to develop new urban patterns while remaining sensitive to site memory. By preserving and reusing a key number of buildings and footprints on the site, the existing industrial area is recontextualized into new urban uses and forms. The different wards allow for a variety of fabrics to be maintained and offers an opportunity for development that utilizes its site’s material characteristics, architectural language and property lines. The master plan follows a model of linear urbanization which develops along the Hai River, connecting Tianjin to Beijing, and connecting the River to the BeijingTianjin Intercity Railway. Responding to the river’s form, a number of dense centers are nested into the river’s inner riverbanks, with each center connecting to a sequence of wards on the opposite outer riverbank. The wards and centers along this linear city are connected by multiple modes of transportation: subway, light rail, water taxi, and road. This ward-based proposal is designed to maintain a lower density along the river’s edge, while allowing the surrounding area to develop. The industrial site adjacent to Tangu station becomes divided into six wards, whose boundaries are defined by the existing property lines of the site. Recontextualizing the existing properties of each site suggests a use for each new ward: campus, commercial zone, art center, urban village, neighborhood of row housing, and technology development hub. The wards are connected on the north end by a main arterial road with light rail transit, and on the river end by a system of water taxis. Part 2: A campus of courtyards sensitive to memory, Tianjin (In partnership with Mahdi Sabbagh.) (Yale School of Architecture, M.Arch. 2014 Fall Advanced Studio. Critic: Alan Plattus, with Andrei Harwell.)

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Site model

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Conceptual drawing of a Linear City Site model detail Next page: Master plan

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Master plan diagrams

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Speculative ward drawings Master plan diagrams

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Linear city systematic diagrams

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Concept of the Linear City

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The Layered Superquadra and Museum to Paranoazinho Paranoazinho (Brasilia), Brazil ** To be published in the YSOA Bass Fellowship Publication (2016) Paranoazinho is a satellite site near Brasilia which is being developed by UPSA, a company founded by Rafael Birmann, into a city for 150 thousand inhabitants. The Destination Passeio, a gently curving 800m artery in the center of the site will be the city’s commercial and cultural hub. As masterplanned by UPSA with Gehl Architects, this Destination Passeio will be the first part of Paranoazinho to be developed -- an anchor for Paranoazinho’s future population and an attraction for the region’s current one. The Layered Superquadra takes the premise of the typological Brasilia housing block, the superquadra, and attempts to create a mixed-use urban development along the Paranoazinho Destination Passeio by lifting the form of the superquadra onto a mixed-use institutional plinth that occupies one block of the Destination Passeio masterplan. This 100m x 100m block is situated at a major intersection between the Passeio and a cross street connecting Paranoazinho to Brasilia, and as such, a Museum to Paranoazinho is proposed for this key location. The two-storey plinth is composed of retail program lining the block at ground level, a horizontal open-plan office bracketing the second floor, and the two story museum occuping the center of the block. The museum is organized around three internal atria and a fourth open plaza which creates a monumental entry of axis into the museum. This monumental plaza functions both as an extension of the museum as an open sculpture garden, as well as an urban gathering space lined with restaurants. A theater within the museum can be accessed both directly from the plaza as well as from the interior of the museum. A small two-storey structure brackets this plaza and faces the Passeio. The structure contains retails spaces, a bar and restaurant, as well as a space for temporary museum exhibitions. The roof of the plinth is occupied by recreational amenities for the residential towers above, and functions as a private oasis for the residents of the block, therefore recreating the superquadra condition in an urban mixed-use context. The residential towers line the perimeter of the block and are accessed at ground level on two corners of the plinth. Elevator cores are expressed separately from the towers and pierce through the museum atria to provide a visual connection through the entire project and to celebrate the hyper-articulated elevator core -- a common theme in the Brasilia superquadra. The residential towers are 12m bars occupied by discrete residential units -- based on residential units from different superquadra blocks -- which widen based on the occupancy and size of the unit. Two-story units occupy all the ends of the towers, creating different unit arrangements along the tower and minimizing circulation space. (Yale School of Architecture, M.Arch. 2015 Spring Advanced Studio. Critics: Sunil Bald and Rafael Birmann.)

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Exterior axonometric

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Museum plaza perspective Exterior axonometric detail

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Ground level plan detail Ground level axonometric

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Ground level plan Ground level axonometric detail

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Second level plan detail Second level axonometric

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Second level plan Second level axonometric detail

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Roof level plan detail Roof level axonometric

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Roof level plan Roof level axonometric detail

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Residential level plan detail Residential level axonometric

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Residential level plan Residential level axonometric detail

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Passeio perspective detail Section through museum Passeio elevation study

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Museum plaza perspective detail Section through museum Museum plaza elevation study

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Sectional model 1:200 Full museum plaza perspective

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Full passeio perspective Site model 1:500

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Site model 1:500 Sectional model 1:200

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Comparison of views from two different streets

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Conceptual elevation Sketches

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Midterm sections and elevations

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1. The elevated Superquadra

Introverted typical Superquadra

Raise apartment blocks and Superquadra open space above the ground

Reorient towers to they are outward facing

Add amenities building connecting cores for additional value

2. Interstitial Mat

Start with solid mat

Carve into mat to create lightwells and open air for spaces below

Create a horizontal office tower around a loop of circulation

Add restaurant/bar at high value corner

Create urban room at intersection of passeio and major corridor

Assign general retail on ground level

Add â&#x20AC;&#x153;jewelâ&#x20AC;? institution, access to upper levels

3. Extroverted active ground plane

Split in 3 pieces

Midterm diagrams

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ding connecting cores

nt/bar at high value corner

stitution, access to upper levels

THE LAYERED SUPERQUADRA

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Midterm site model

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Previous: Conceptual section Conceptual section with programming Conceptual facade model

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Conceptual model Conceptual perspective

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QUARTOS URBANOS // URBAN ROOMS OF THE PARANOAZINHO PASSEIO ELENA BARANES & JONATHAN SUN This proposal seeks to establish the Passeio as a destination both in the immediate context of Paranoazinho and in the greater surrounding region by creating diversity of program and place along the street. In creating a vibrant and varied experience along the Passeio, this proposal breaks the street down into a series of open spaces, or urban rooms, that vary in orientation, elevation, and programmatic function. These rooms take the form of parks, plazas, elevated gathering areas, cafes, theaters, marketplaces, and courtyards, among a variety of other functions, and provide lively areas of gathering with varied identities throughout the Passeio.

IMAGINED VIEW OF URBAN ROOM

1. FAST-PROGRAM buildings develop along passeio.

2. FAST LANE pedestrian street winds through.

SITE PLAN 1 : 1250

3. URBAN ROOMS grow along fast lane.

4. SLOW-PROGRAM buildings develop around urban rooms.

PHASING

SHORT SECTION 1 : 250

Passeio competition poster (with Elena Baranes)

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Architec the private re which functio A park o development lane; more ra the urban roo This allo of the Passe finally of the s passeio follo rooms and po

he greater ence along the elevation, and places, and he Passeio.

Architecturally, these urban rooms extend the program of the building into the street, creating a transitional zone between the private realm of the buildings and the public realm of the Passeio. Each of these urban rooms connects to the fast lane, which functions as the Passeioâ&#x20AC;&#x2122;s spine, and as a direct circulation route through. A park on the west end of the site, a central market, and a business district on the east end of the site will anchor the development of the buildings along the Passeio. These buildings will be constructed in relation to the urban rooms and the fast lane; more rapid development will be directly connected to the fast lane, while long-term development will occur proximate to the urban rooms. This allows for two different phasing options. The first proposes a top-down approach, in which the design and identity of the Passeio are established through the construction of the fast lane first, followed by the addition of urban rooms, and finally of the surrounding buildings. The second phasing option proposes a bottom-up approach, in which the design of the passeio follows that of the buildings. Parcels with rapidly developing programs will be built first, along with associated urban rooms and portions of the fast lane, followed in a later phase by parcels that house longer-term programatic development.

1. SLOW ROOM LANE ROOM SLOW

2. FAST LANE FAST

3. FAST LANE ROOM SLOW

FAST LANE between SLOW-PROGRAMS buffered by URBAN ROOMS on both sides of passeio.

FAST LANE squeezed by FAST-PROGRAMS on both ends.

FAST-PROGRAM directly connected to FAST LANE.

URBAN ROOMS extend into building zone.

FAST-PROGRAM extends into passeio space.

SLOW-PROGRAM buffered by URBAN ROOM. URBAN ROOM extends into building zone.

STREET STRATEGY

SHORT SECTION 1 : 250

AERIAL PERSPECTIVE

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QUARTOS URBANOS

URBAN ROOMS

Our proposal for the Paranoazinho Passeio.

TRAFFIC CLEARANCE is added to the fast lane.

QUARTOS URBANOS

URBAN ROOMS

Diverse URBAN ROOMS create a vibrant street life.

A FAST LANE connects urban rooms and circulation through.

QUARTOS URBANOS

URBAN ROOMS

At ground level, urban rooms extend under buildings to create SHADED COLLONADES.

FULL FAST LANE, fully pedestrian but with clearance for traffic.

QUARTOS URBANOS

URBAN ROOMS

ANCHOR passeio around three major areas: PARQUE OESTE (WEST PARK), MERCADO CENTRO (CENTER MARKET), and MERCADO DISTRITO COMERCIAL (BUSINESS DISTRICT MARKET).

URBAN ROOMS

FAST PROGRAMS and SLOW PROGRAMS develop along FAST LANE and URBAN ROOMS, respectively.

Passeio competition diagrams (with Elena Baranes)

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QUARTOS URBANOS PHASING

A TOP-DOWN APPROACH Potential phasing strategy: design the street life and image of the passeio and its QUARTOS URBANOS first.

A BOTTOM-UP APPROACH Potential phasing strategy: design the passeio around organic building development along the passeio

1. DESIGN FAST LANE AND URBAN ROOMS FIRST

1. FAST PROGRAM DEVELOPS ORGANICALLY ALONG PASSEIO

QUARTOS URBANOS PHASING

A TOP-DOWN APPROACH Potential phasing strategy: design the street life and image of the passeio and its QUARTOS URBANOS first.

A BOTTOM-UP APPROACH Potential phasing strategy: design the passeio around organic building development along the passeio

2. DEVELOP SLOW PROGRAMS AROUND THE URBAN ROOMS

2. FAST LANE WINDS THROUGH FAST PROGRAM ANTICIPATING URBAN ROOMS

QUARTOS URBANOS PHASING

A TOP-DOWN APPROACH Potential phasing strategy: design the street life and image of the passeio and its QUARTOS URBANOS first.

A BOTTOM-UP APPROACH Potential phasing strategy: design the passeio around organic building development along the passeio

3. FILL IN FAST PROGRAMS ALONG THE FAST LANE

3. URBAN ROOMS FORM ALONG FAST LANE...

QUARTOS URBANOS PHASING

A TOP-DOWN APPROACH Potential phasing strategy: design the street life and image of the passeio and its QUARTOS URBANOS first.

A BOTTOM-UP APPROACH Potential phasing strategy: design the passeio around organic building development along the passeio

4. DEVELOP THE REST OF THE PASSEIO BUILDINGS

4. ... IN CONJUNCTION WITH DEVELOPMENT OF SLOW PROGRAM

QUARTOS URBANOS PHASING A BOTTOM-UP APPROACH Potential phasing strategy: design the passeio around organic building development along the passeio 5. THE REST OF THE PASSEIO BUILDINGS DEVELOP ORGANICALLY

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The Olympic Game: a proposal for a 2024 Boston Olympic Village ** Published in Retrospecta 37 (Yale School of Architecture, 2014) ** Exhibited in Outlook, the year-end exhibition of student work (Yale Architecture Gallery, 2014) Using video game design theory as a starting point, The Olympic Game is an athletic hyper-world, designed as a diverse urban environment, specialized for use by Olympic and recreational athletes. The athletic loop, a symbol of the athletic program, is used as the circulation unit on the site, creating an organizational framework for city-making based on the human scale. Defining each loop with a different program and architectural identity, this framework allows for the opportunity to create a diverse urban fabric by taking advantage of the variety of intersections created by the loops across the site. The unique combinations of loops and intersections also creates a highly navigable urban environment that strengthens oneâ&#x20AC;&#x2122;s personal narrative and cognition of the Olympic Village. The loop-based framework is replicable and expandable, allowing for the village to be fully integrated into the city after the Olympics. By recoding the city such that its organizational structure moves away from the traditional grid, the project tests the nature of the city and the plausibility of creating a new urban fabric. See also: Gaming Urbanism research Narratives through Boston research (In partnership with Tyler Pertman and Mahdi Sabbagh.) (Yale School of Architecture, M.Arch. 2014 Spring Urban Design Studio. Critic: Bimal Mendis.)

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Site model

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Plan Detail model

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Plan detail Stop-motion video frames

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Exploded axonometric diagram Diagram showing one potential path

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Model details

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Massing model (midterm) detail

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Studio Research Gaming Urbanism: Decoding the video game as a generative model for a new image of the city Game designers utilize the urban landscape as the milieu from which they draw their inspirations, helping to reinforce the realities they fabricate in their digital narratives. Here, the urban mimesis spawned from game designerâ&#x20AC;&#x2122;s imaginations speak back to the urban environment, thus feeding back to recodify the urban fabric. Ultimately, the game reality and the urban reality enter a dialogue through which the urban environment can develop. First-person, single-player video games follow an experiential model for environment design, one which is centered around creating the most stimulating, dramatic, unique, lucid and memorable physical environments from the point-of-view of the player. This creates environments at a human-scale, and avoids the pratfalls of overly formal, plan-based designs common in urbanism. The experiential model of design instead generates maps of incredibly dynamic and varied spaces. Decoding video game design theory creates an argument for an updated set of narrative and spatial elements that make up the image of the city, expanding upon Kevin Lynch's five original elements (path, edge, district, node, and landmark). These elements are as follows: playable character, non-playable character, choreographed path, tutorial/orientation, checkpoint, super-goal, timeline, non-linear path, gimmick, difficulty, hyper-world, district, level/area, quest, obstacle, edge, landmark, event, community, place, presence, and score. The definitions of these elements and their applications to urban design are presented in the publication. This research was used to decode Boston as a city of narratives, which was then applied to the design of an Olympic Village for Boston in 2024. (In partnership with Tyler Pertman and Mahdi Sabbagh.) (Research publication: booklet, 144 pages. Yale School of Architecture, M.Arch. Spring urban design studio 2014. Critic: Bimal Mendis.) (Additional images in Research section)

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Narratives through Boston: Decoding the city as a set of character narratives As part of a continuing research project in developing a new image of the city through video game design theory, the city of Boston is decoded as an application of the theory. Four intersecting and layered narratives in Boston are defined and tested based on the new elements of the city: playable character, non-playable character, choreographed path, tutorial/orientation, checkpoint, super-goal, timeline, non-linear path, gimmick, difficulty, hyper-world, district, level/area, quest, obstacle, edge, landmark, event, community, place, presence, and score. Each narrative is formed from the definition of a character. While in theory, characters are singularly defined with clear goals, in reality, each individual acts as many different â&#x20AC;&#x153;charactersâ&#x20AC;? in the city. This analysis attempts to isolate then integrate different character roles played by individuals. Following the character, the hyper-world of the character is mapped onto the city of Boston. Each character hyper-world is defined as the world which is tailored to the character, and contains districts (neighborhoods), each containing levels (buildings or smaller areas of the city). The analysis creates a narrative through a number of levels and districts for each character through their own hyper-worlds as well as others, taking into account the choreographed and non-choreographed path, checkpoints, super-goal, timeline, edge, landmark, and community. As the narratives become coded into the city, other character hyper-worlds are reintroduced to show the different adjacencies and overlaps between different characters and character worlds. The lessons from this analysis were applied to the design of an athletic hyper-world in the design of an Olympic Village for Boston in 2024. (In partnership with Tyler Pertman and Mahdi Sabbagh.) (Research paper. Yale School of Architecture, M.Arch. Spring urban design studio 2014. Critic: Bimal Mendis.) (Additional images in Research section)

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Center for the Advancement of Science in Space (C.A.S.I.S.) New York The new C.A.S.I.S. Headquarters is sited on a proposed development plinth along the East River in New York City, and requires a combination of exhibition space and research space. The proposed project extends the landscape of the adjacent park upwards to create a landscaped plinth. One enters into the building from the plinth, then moves upward or downward by program: ascending into the research space floating above the plinth, or descending into the exhibition space below. Both sequences circulate around a perforated central core which serves as an outer-space-like display volume for large-scale space objects, and can only be seen from the very top or bottom of the building, acting as the finale of each programmatic narrative. The scheme has a second entryway connecting to the street below. (Yale School of Architecture, M.Arch. 2013 Fall Studio. Critic: Joel Sanders)

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Interior light study

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Site model Diagrams

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Sections

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Sections

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Plans

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Section detail Site model

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Entry perspective Plan detail

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Section detail Model

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Section detail Lighting model

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Lighting model studies

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Lighting model studies Site model

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Sketch models Conceptual rendering

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Precedent study model (Perot Museum, Morphosis)

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Narrow-lot housing prototype Vlock Building Project Team C New Haven, CT ** Published in Retrospecta 36 (Yale School of Architecture, 2013) ** Exhibited in Thresholds, the year-end exhibition of student work (Yale Architecture Gallery, 2013) The 2013 Yale School of Architecture Vlock Building Project is a design-build studio, culminating in the construction of a single-family house in a low-income neighborhood in New Haven, in partnership with NHS New Haven. The 2013 Building Project addressed narrow lot housing, and called for a flexible housing prototype to be deployed on unused narrow lots in New Haven. The initial individual prototype explored the use of solid retaining walls to support enclosed private spaces, then using the resulting open spaces to house public spaces. A team proposal followed, for a scheme on a 1,500 square foot narrow lot at 32 Lilac Street in New Haven. Team Câ&#x20AC;&#x2122;s proposal was a single story scheme which utilized the entire length of the lot to create a series of alternating indoor rooms and private courtyards. The winning team scheme was constructed as an affordable housing development at 116 Greenwood Street, New Haven. All students of the Building Project worked in a studio-wide collaboration to solve the formal, spatial, and technical problems of realizing the project, then constructed the project on site. (Team Members: Leah Abrams, Boris MorinDefoy, Michael Miller, Nicholas Muraglia, Jeanette Penniman, Lauren Raab.) (Yale School of Architecture, M.Arch. 2013 Vlock Building Project Design-Build Studio.)

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Plan

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Model Plan detail

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Model Plan detail

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Section perspective

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Facade studies (individual) Diagrams (individual)

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Individual narrow-lot housing prototype New Haven, CT This project explores using solid retaining walls to hold enclosed private programs, and using the resulting open spaces to house public programs. (Yale School of Architecture, M.Arch. 2013 Vlock Building Project DesignBuild Studio. Critic: Alan Organschi.)

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Concept sketch

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Sketches

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Model Axonometric diagram

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Level 2

Level 1

Longitudinal section Transverse sections

Plans Sections

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Longitudinal section Transverse sections

Longitudinal sections

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Construction analysis diagrams

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Dance Machine: Alvin Ailey Theater The High Line, New York ** Exhibited in Thresholds, the year-end exhibition of student work (Yale Architecture Gallery, 2013) This project extends off of the High Line in New York to create a dance theater. The ribboning language of the project is coded on both sides to denote two distinct programs: performance and audience. Additionally, two monumental stairs, one for each program, wind around and pierce through the ribbon, allowing visual connections between performer and audience member as they move through their own spaces. (Yale School of Architecture, M.Arch. 2012 Fall Studio. Critic: Joyce Hsiang)

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Study model

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Persepective drawings

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Plans Sections Diagrams Sketch models

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Ribbon drawings

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Science Hill: Yale Peabody Museum Pavilion New Haven, CT ** Exhibited in Thresholds, the yearend exhibition of student work (Yale Architecture Gallery, 2013) This project is an on-going exploration in creating a variety of spaces using the unit of the circle. The program, a display pavilion for a natural history museum, inspires the implication of going underground, in order to be closer to the original resting place of the fossils to be displayed. (Yale School of Architecture, M.Arch. 2012 Fall Studio. Critic: Joyce Hsiang)

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Model

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Section Site diagram

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Site plan Plan

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Under Pressure New Haven, CT This project uses mathematical formfinding to create an inclined massing which mediates physically and visually between one space turned into two. (Yale School of Architecture, M.Arch. 2012 Fall Studio. Critic: Joyce Hsiang)

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Model perspective

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Model perspectives

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Orthographic drawings Model perspectives

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Study models

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Contents Studio 1

Research 165 Drawing 193 Installation 235 Writing 251 Publication 257 CV 262

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Piazza del Duomo, Italy (UNESCO)

What are we preserving when we preserve urban public space? A critical survey of landmarks and preservation systems at the municipal, national, and international levels Urban public spaces are an important part of the urban environment and supports the physical, social and mental health of an entire region. The promise of preservation and landmarking is to preserve what is historically significant to mankindâ&#x20AC;&#x2122;s heritage. Simply put, without preservation, public spaces are at risk. Preservation suggests that a site has historic significance, and surely while the primary goal of preservation is to preserve significant pieces of history, the greatest urban benefit of preserving spaces is that it also maintains the presence of these spaces in cities. In order to properly understand the implications of preserving urban public space, systems of preservation at municipal, national and international levels are studied. In this study, the municipal, national and international organizations studied are the New York City Landmarks Preservation Committee, the US National Historic Landmarks Program, and the UNESCO World Heritage Center, respectively. For each organization, the systems of preservation are surveyed. This includes the governing bodies, the defined criteria for historic significance, the legal status and protection responsibilities, and the benefits of designation. For each organization, relevant typological and unique case studies of designated urban public place landmarks are presented and analyzed. In order to successfully understand how or why spaces can be designated as landmarks, one must first understand the organizations of preservation and the implicit and explicit systems they use to evaluate significance. Without a proper education and understanding of how and why these spaces are valued by preservation organizations, we risk losing these ever-important players in our cities. Full paper available upon request. Advisor: Alan Plattus (Research paper: 75 pages. Yale School of Architecture, M.Arch. Independent Study. Spring 2015.) 166

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Dwight Hall (Yale)

Luck and Heritage: The Many Lives of Dwight Hall Dwight Hall is Yale’s second oldest surviving building. Although it is an iconic landmark on Yale’s Old Campus, the building is not known for its architecture. A poor Gothic imitation, Dwight Hall is significant to the campus because it still stands while many of Yale’s other, more beautiful buildings have been demolished. So why, then, has Dwight Hall survived? Today, it is the center for Yale’s volunteer social-outreach programs and houses a variety of religious and charitable organizations, but this is only the latest of the many lives of Dwight Hall. The history of Dwight Hall shows that its survival is due to a combination of luck and heritage, and illustrates how the ideals of preservation at Yale have developed to reflect how the university values and strives to protect its own history. Dwight Hall’s history, then, is inexorably linked to the history of Yale and Yale’s Old Campus. Why do certain historical buildings survive? Why are they preserved? Dwight Hall makes a strong case that it is not always due to a buildings architectural significance. In many instances in Dwight Hall’s history, its versatility in adapting to many different uses means that, sometimes, a building stands because it is lucky – it is in a situation where it is easier to adapt it and keep it standing than to destroy it. The most resounding reasoning, though, is that a building is preserved for its history. Dwight Hall’s historical significance is the reason why it still stands today. As architecturally lackluster as it is, Dwight Hall serves as one of the only surviving connections to a Yale that has been lost to time. Full paper available upon request. Advisor: Carter Wiseman (Research paper: 15 pages. Yale School of Architecture, M.Arch. Writing on Architecture. Fall 2014.)

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GRAFFITI CITY 1971: Mapping the Urban Development of New York City’s Graffiti Culture The emergence of graffiti culture in New York did not happen by accident, and it did not happen overnight. By tracing the growth of the graffiti scene from its early, infantile years as it developed and established its own place in the city, various stages of development can be defined and mapped. Through the lens of Kevin Lynch’s Image of the City, the graffiti community can be understood as its own urban structure, utilizing and taking advantage of New York’s existing infrastructure. Graffiti city – the urban structure of the graffiti community as it is referred to in this paper – can be defined by Lynch’s elements of the city: path, edge, district, node and landmark (Lynch 1960). New York’s path – its subway system – provided the perfect structure for the development of all the elements of graffiti city, in terms of growth, networking and place-making. In this sense, the establishment of graffiti city shows how an existing urban environment gives rise and opportunity for other urban environments to form. Full paper available upon request. Advisor: Dolores Hayden (Research paper: 32 pages. Yale School of Architecture, M.Arch. Built Environments and the Politics of Place. Fall 2014.)

Graffiti City mapping

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Gaming Urbanism: Decoding the video game as a generative model for a new image of the city Game designers utilize the urban landscape as the milieu from which they draw their inspirations, helping to reinforce the realities they fabricate in their digital narratives. Here, the urban mimesis spawned from game designerâ&#x20AC;&#x2122;s imaginations speak back to the urban environment, thus feeding back to recodify the urban fabric. Ultimately, the game reality and the urban reality enter a dialogue through which the urban environment can develop. First-person, single-player video games follow an experiential model for environment design, one which is centered around creating the most stimulating, dramatic, unique, lucid and memorable physical environments from the point-of-view of the player. This creates environments at a human-scale, and avoids the pratfalls of overly formal, plan-based designs common in urbanism. The experiential model of design instead generates maps of incredibly dynamic and varied spaces. Decoding video game design theory creates an argument for an updated set of narrative and spatial elements that make up the image of the city, expanding upon Kevin Lynch's five original elements (path, edge, district, node, and landmark). These elements are as follows: playable character, non-playable character, choreographed path, tutorial/orientation, checkpoint, super-goal, timeline, non-linear path, gimmick, difficulty, hyper-world, district, level/area, quest, obstacle, edge, landmark, event, community, place, presence, and score.

Metroid Prime video game map as Nolli plan

The definitions of these elements and their applications to urban design are presented in the publication. This research was used to decode Boston as a city of narratives, which was then applied to the design of an Olympic Village for Boston in 2024. Full paper available upon request. (In partnership with Tyler Pertman and Mahdi Sabbagh.) (Research publication: booklet, 144 pages. Yale School of Architecture, M.Arch. 2014 Spring Urban Design Studio. Critic: Bimal Mendis.)

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Single Playable Character

This represents the individual(s) that the gamer controls. From Pac-Man (“Pac-Man”) to Master Chief (“Halo”), playable characters are the difference between game and film. In multiplayer games, many different players each control their own Single Playable Character.

Non-Playable Characters

Districts / Worlds

The largest hierarchy of space within a game. Worlds are defined by shared physical, spatial, aesthetic and functional characteristics (eg. forest world, ice world, etc.). Within each world contains a number of lower-hierarchy game spaces. Worlds are important in allowing players to map a spatial organization identifiable by certain world-based characteristics.

Levels / Areas

This represents the individual(s) that the gamer does not controls. From Bowser (“Super Mario”) to Urdnot Wrex (“Mass Effect”), playable characters are the difference between game and film. In multiplayer games, characters controlled by other players are percieved as non-playable characters as well. The distinction here is that a programmed non-playable character is coded to follow a certain set of rules/logics, but a player-controlled NPC is essentially "human".

Lower hierarchy spaces within a world. Levels are generally employed in a linear narrative, where players must progress through a series of levels to progress through a world (eg. Sonic, Mario). Areas are employed in more open-ended narratives, but still functional as smaller spatial units (eg. specific buildings, caves, dungeons, etc.). Levels may contain a variety of different "areas" to travel through.

Choreographed path This is the path that the game

Quests mark specific micro-goals/objectives that players can or may pursue throughout the game. In narrative games, quests can be mandatory (eg. find all the keys to open a door) or optional to enhance the replayability of the game (collect all 8 red coins in Mario 64, or, simply, the collection of any coins in the Mario games can be seen as an optional quest). In open-ended narratives or multi-player games, quests may also be mandatory (will move a certain story along), or optional (side quests).

perscribes. Different games range in the degree of freedom for the player to explore, however the narrative is the binding path. The game will ensure that there is always a continual pull to the eventual finish and this is the choreographed path. It often consists of certain types of baiting in order to draw in gamers and there are also different ways in which players are queued to continue on the path. A restrictive path is generally referred to as a "linear" or "narrative" path, while a path with more freedom can be called an "open-ended" narrative.

Tutorial / Orientation

This is the phase of the game in which players get oriented to the new environment while also learning how to control the playable character. This is also the point where players are introduced to the game dynamics and any special non-real gimmicks the game proposes.

Checkpoint

These usually function as respawn points, transition points, or save points, but are primarily used as points in the game where activity is slowed, the playable character can take refuge, pause, while the gamer can return to their real-life without feeling like they stopped short, checkpoints generate a sense of accomplishment at having reached a certain point in the game.

Super-Goal / raison d'etre

This usually serves as the key to what generates the game's plot, the reason the playable character(s) embark on their journey, continue their plight or interact with the world around them.

Timeline

This is the component of the game which instills both urgency and expedience to the gamer. It also orients the gamer to the virtual reality, and sets a pace in the environment.

Non-Linear path / Freedom to explore

Although some game spaces defy time and gravity, all video games require a spatial path or track. The path can exist as a labyrinth, maze, cave or urban wasteland and the gamer is often able to navigate the path as s/he choses to which includes not following the path. Any other aspects that allow players to interact with the game world in a way that is not prescribed by the game designers - exploration of the game world, social interactions, physical manipulations of space, newly-defined ways to play the game. Open-ended games contain more freedom than linear games.

The Gimmick

This represents the character's speciality, unique personality and identity. It allows the gamer to exist as a super-human that is always distinct from other characters and thus appealing to the gamer.

Play Mode; Easy, Medium, Hard This represents the

gamer's ability to control the intensity, speed and difficulty of the gaming experience. It is a level of control that is both integral to the game and beyond the game's parameters.

Score

Quests

Obstacles

Any and all aspects which prevent the player from achieving his goals. Maybe be spatial/physical (platformer games), may be characters (enemies), may be temporal or event based, may be social, and other.

Edge (Boundary conditions)

Anything which defines the boundary to the area, district, world, or entire game. Can be used as a wall which bounds a physical area which cannot be passed by a player (wall, fence, river), or as a feature of the world which will kill the player if they try to venture past it (minefield, lava, water). Can also be a functional boundary which controls how a player acts within or interacts with the game world (eg. no jumping functionality, no communication abilities, preset set of actions, etc). Can also be the ""rules"" of the game. (Or the limits of the functionality of the game itself.) In multiplayer: Can also be a social boundary which affects how a player can act with other players (limited forms of communication as defined by the game programming), or defines boundaries between certain social circles (eg. a player from one class cannot communicate with a player from another class).

Landmarks (spatial/physical)

Essential in a player's cognitive mapping of the (physical) virtual space, which allows them to understand and navigate the game world. Landmarks are any spatial characteristic which allows a user to reorient themselves and understand where they are and where they need to go, or at least provide them with a point of reference when moving through a world. Landmarks must be unique, distinguishable, identifiable. Because the physical game world is always, in some way, confusing to allow for tension and drama, landmarks are important way-finding tools. Can also apply to way-finding tools such as signs or maps.

Events (social/temporal landmarks)

Events act as landmarks in the social/temporal dimension. If an event occurs at the same time every day, it allows players to determine the in-game time (which normally operates on a system different from real-time). In multiplayer games, events can be landmarks socially, as they can promote player-to-player interaction and mark moments of community building.

Community / Place / Presence

Anything which promotes a sense of place, inhabitation, or belonging within a player in relation to the game world. This includes: experiential - experience/familiarity within the game, physical - any changes a player can make to their environment, social - any interactions a player has with an NPC (computer or other player), self - any customizations a character can make to their own avatar to make them more invested in their own characters and therefore the game itself. All of this fosters an attachment to the game-world or the other players/characters in it.

Any point-system which keeps track or a player's progress or aptitude within the game. This can be an old-fashioned "score counter", or in more open-ended games or multiplayer games, this can manifest itself in experience points, player-wealth, etc. In some games, there is no explicit point system, but a player's gained knowledge of the world acts as an inherent (mental) point system.

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Narratives through Boston: Decoding the city as a set of character narratives As part of a continuing research project in developing a new image of the city through video game design theory, the city of Boston is decoded as an application of the theory. Four intersecting and layered narratives in Boston are defined and tested based on the new elements of the city: playable character, non-playable character, choreographed path, tutorial/orientation, checkpoint, super-goal, timeline, non-linear path, gimmick, difficulty, hyper-world, district, level/area, quest, obstacle, edge, landmark, event, community, place, presence, and score. Each narrative is formed from the definition of a character. While in theory, characters are singularly defined with clear goals, in reality, each individual acts as many different â&#x20AC;&#x153;charactersâ&#x20AC;? in the city. This analysis attempts to isolate then integrate different character roles played by individuals. Following the character, the hyper-world of the character is mapped onto the city of Boston. Each character hyper-world is defined as the world which is tailored to the character, and contains districts (neighborhoods), each containing levels (buildings or smaller areas of the city). The analysis creates a narrative through a number of levels and districts for each character through their own hyper-worlds as well as others, taking into account the choreographed and non-choreographed path, checkpoints, super-goal, timeline, edge, landmark, and community. As the narratives become coded into the city, other character hyper-worlds are reintroduced to show the different adjacencies and overlaps between different characters and character worlds. The lessons from this analysis were applied to the design of an athletic hyper-world in the design of an Olympic Village for Boston in 2024. Full paper available upon request. (In partnership with Tyler Pertman and Mahdi Sabbagh.) (Research paper. Yale School of Architecture, M.Arch. 2014 Spring Urban Design Studio. Critic: Bimal Mendis.) 172

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Rendering vs. Reality (Mark’s House by Two Islands)

The Image of Architecture: Banham’s New Brutalism and Baudrillard’s Simulacra The rate at which we consume information is exponentially increasing. The internet has created a global community, allowing for the sharing of architectural projects around the world, but at the same time, the massive flux of information means that we process and interpret information in a completely different way. The internet has caused an increase in available information but a decrease in attention.[1] It is changing the way we design, represent and consume architecture. In the age of the internet, everything is consumed instantaneously as small, bite-sized pieces of data. Everything is a piece of data and is treated equally – instantly consumed and just as instantly discarded and forgotten. Blogs and websites share as many projects as possible, as the rate of posting is linked to user activity and readership.[2] With this system, the internet has created a gamification of success, in the form of shares, likes, comments, and other social media tactics; it has created a system of evaluation that dispels expertise and gives agency to the everyman. On the side of the architect, the internet has created an infrastructure that provides every project the opportunity to be seen and shared. The result of the internet as the primary (and for some, only) system of distributing and consuming architecture, the architectural project has become an image rather than a built entity. The placelessness of the digital has created an architecture that, too, is without place. Online, the number of projects available to consume is infinite, and time is short. The internet has created a culture of fast-consumption, where a reader can scroll through a large number of projects in seconds, stopping only at what they see to be exciting or interesting or unique. In the world of the internet, there is no deepreading. We are in a world of immediate consumption followed by, if you don’t appeal to the reader, immediate dismissal.[3] With this system in place, we see the rise of a certain type of architecture, a new typology of architectural project. One that is not created for deep reading, but an architecture for fast-consumption. The new unit of architecture is design as a soundbite. It is a project distilled down to, or worse, designed as a one-liner. Anthony Vidler, in discussing the proposals for the architectural redevelopment of Ground Zero, highlights this growing issue, stating that “the public role of architecture has been gradually reduced to the symbolic and the emblematic.”[4] This is architecture as symbol. This is architecture as a distilled, abstracted and hollow version of itself. Of this new image-unit of architecture, two types of representation emerge - the rendering and the diagram. Both serve the internet-age as digestible, easy one-liners describing an architectural project. However, they are very different. The diagram is, ultimately, a representation or an attempt to represent some sort of truth.[5] It may be an abstracted truth, or a reduced one, but it is still an attempt to describe a truth. On the other end of the spectrum, the rendering is devoid of truth - it is a manufactured fiction used to create a false hyper-reality.[6] Regardless, today’s representation of architecture – the image of architecture, or the image of architecture as image, as diagram, as rendering – becomes the architecture itself. It is divorcing itself from the important, less-visible qualities of architecture, all in favor of the image. In the world of immediate consumption, architecture has turned from designing buildings to designing images. Full paper available upon request. Advisor: Marta Caldeira (Research paper: 15 pages. Yale School of Architecture, M.Arch. Architectural Theory II. Spring 2014.) 174

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Metropolis (film)

Technological Sublime and the Modern Metropolis At the beginning of the twentieth century, with the advent of technology and industrialization, a new type of sublime emerged in the human consciousness. The response to new technologies was a common feeling of wonder, awe and terror from large-scale applications of technical prowess, the Industrial Revolution and the Modern Metropolis. This new response became defined as the Technological Sublime. In an industrialized society, it is not Nature that is the most sublime, but the power, the promise and the potential of Technology. As technology quite literally overcomes nature in the metropolis, Technology also overcomes Nature as the greatest entity known to man. Technology becomes the new generator of the sublime. In the modern metropolis, a new sublime develops. In the late twentieth century, a new type of sublime begins to emerge: the Technological Sublime. Whereas the traditional attitude focused on the sublime qualities of nature, the new sublime is caused by technology. In American Technological Sublime, Nye argues that technological sublime is an American creation, beginning with the practices and attitudes of early American settlers. While the Europeans observed nature as the most powerful, and something to be admired, the early American settlers viewed nature as an obstacle to be overcome [5]. Their use of technology to create civilization in the American landscape inherently set up technology to be the conqueror nature, and therefore technology is viewed as more powerful than nature; in fact, it is the most powerful entity. Because of this, technology becomes the source of sublime. Nature becomes distanced from humanity’s fears and technology takes its place. Into the early twentieth century, technology becomes “the corollary to an expansion of human power and yet simultaneously [as] evoking the sense of individual insignificance and powerlessness. … as an extension and affirmation of reason or as the expression of a crushing, omnipotent force outside the self” [5]. With the onset of the Industrial Revolution, we see the true emergence of the technological sublime. The machine, with “almost religious-like reverence” supplants nature as the most powerful and terrifying entity, thereby creating a new type of sublime: the Mechanical Sublime. The machine evokes sublime through its power, and also fills workers with “an overpowering combination of dread and reverence” [6]. The rise of the machine leads directly into the development of the modern metropolis. In a similar manner, or perhaps as a development of the technological sublime, the modern metropolis creates a condition of sublime, which we can call the Metropolitan Sublime. Full paper available upon request. Advisor: Marta Caldeira (Research paper: 15 pages. Yale School of Architecture, M.Arch. Architectural Theory I. Fall 2013.)

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CIAM Grid Drawing

The Pursuit of Universals in the CIAM Grid Introduction Representation is the primary tool of representation for the architect. Not only must it present the idea put on it, but, at its best, the form and method of the representation itself also communicates the architect’s philosophy. Therefore, within the representation is a feedback loop containing the presentation of the end product, as well as the inherent design epistemology which generates the final output. The CIAM Grid is a critical example of a representational tool which not only presents design, but also contains, within itself, the philosophies of its creators. Throughout its various developments and iterations, a number of purposes and uses of the Grid are either defined explicitly, or emerge and develop. Through these iterations, it becomes clear that within the promise of the CIAM Grid lies the pursuit of three universals.

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1. ■ THE GRID AS A UNIVERSAL TOOL FOR THINKING: AN EPISTEMOLOGY. The Grid provides a method of thinking and designing. It becomes a method of structuring knowledge and reality within a set of prescribed values or categories. 2. ■ THE GRID AS A UNIVERSAL TOOL FOR COMPARISON: A SHARED PLATFORM. The Grid provides a method to unify all the projects and research at the CIAM conferences so they share the same factors and may be understood and compared by all, on the same terms. 3. ■ THE GRID AS UNIVERSAL TOOL FOR REPRESENTATION: A STANDARD. The Grid provides an efficient and standardized graphic system at CIAM congresses. A system for visually structuring and displaying information. The development of the Grid as three separate but linked universal pursuits can be traced as three overlapping but distinct narratives. The discussion and development of the Grid by the many various players of CIAM are linked at every point to the pursuit of one of these three universals. This narrative can then be deconstructed to observe each universal pursuit in isolation, and can show exactly where and why the Grid ultimately failed. Full paper available upon request. Advisor: Keller Easterling (Research paper: 15 pages. Yale School of Architecture, M.Arch. Universals. Spring 2013.) 176

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Diagram of molecular attraction

Ornament and the Cosmos: An overview of ornamental and scientific understandings of the cosmos Arguably, all ornament explains the order of nature and the world and is therefore related to the cosmos. Past ornament has represented cosmos using a variety of tools in a variety of ways. However, advances in science and technology have given us new understandings of the organizational logics of the universe, and an opportunity arises to describe our modern, advanced understanding of cosmos through ornament. The paper provides an overview of past ornamental cosmic theory and application, as well as some notable theories describing our understanding of the cosmos today. Part 1: Ornament and the Cosmos: Theory and Appliction The Order of the Universe Centrality and Manâ&#x20AC;&#x2122;s Place in the Cosmos The Atomic Micro-Cosmos Generating Operations Representation of the Cosmos in Ornament Part 2: Current Understandings of the Cosmos Atomic Structure Molecular Structure Galaxies and Galactic Etymologies The Shape of the Universe Full paper available upon request. Advisor: Kent Bloomer (Research paper: 15 pages. Yale School of Architecture, M.Arch. Ornament Theory and Design. Fall 2013.)

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Alhambra, Hall of Two Sisters A Geometric Analysis Geometric analysis attempting to understand the mathematical principles governing the ornament of the Hall of Two Sisters. Advisor: Kent Bloomer (Yale School of Architecture, M.Arch. Ornament Theory and Design. Fall 2013.)

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Contemporary micro- and macrocosmos as represented in a hyperbolic space, using the Poincare disc model The distributive geometry of a four-pronged hexagonal lattice in the hyperbolic Poincare model was the starting point of the ornament, combining the phenomenal generators of a four-pronged point (carbon atom) and a hexagon (carbon ring). The drawing of this hyperbolic system was based on constructive geometric techniques outlined in the paper “Compass and Straightedge in the Poincare Disk” by Chaim Goodman-Strauss, published in in the monthly journal of the Mathematical Association of America, issue 108 in January 2001. Following the generation of the Poincare disc to a certain number of iterations (as the model is fractal in nature), the disk was unrolled into a straight line. This created a system with repeating units. However, zooming into the linear system (and also the circular system) produced systems that were not as repetitive, and started to appear more dynamic. This was where the development of the system of ornament concluded in this project. The concept behind the fence was to create a transition between the ground and the sky. Due to the fractal nature of the unrolled Poincare model, there is an extremely dense zone of arcs which “disintegrate” to become less and less dense. The fence, therefore, places the densest zone of the ornament at the ground level, and disintegrates upward, creating a sort of density gradient between the ground and the sky. However, this is not entirely successful as it places the “cosmos” of the ornament at ground level. Upon post-review reflection, a more successful way to apply the linear system would be as a frieze located at the top of a rosom or building, above the viewer. Advisor: Kent Bloomer (Yale School of Architecture, M.Arch. Ornament Theory and Design. Fall 2013.)

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Geometry and Transformation: A formal analysis of Louis Khan's Meeting Place at the Salk Institute The Meeting Place at the Salk Institute is one of Kahn’s most meticulously designed unbuilt plans. While designing the Salk Institute laboratories (1965) Kahn developed a counterpoint to the laboratory design with the design of the Meeting Place. For Kahn, the Meeting Place would bring balance to the laboratories of the Salk Institute, and stated that “if the laboratories were the Salk Institute’s lungs, then the Meeting Place would be its brain.” Although the Meeting Place was not part of the original programmatic requirements for the site, Kahn became much more interested in the design of the Meeting Place than of the laboratories themselves during the design process, constantly visiting the design and at times neglecting the design of the laboratory spaces in favor of the Meeting Place. The Meeting Place was intended to be constructed; however due to lack of funds it was ultimately not built. In the Meeting Place, Kahn’s obsession with geometry and transformation becomes clear. Due to the unspecific programmatic nature of the Meeting Place, Kahn had much more freedom to experiment with its design than with the design of the laboratories. Perhaps Kahn used the Meeting Place as a way to approach and test various ideas and issues that arose when designing the laboratory space, because ultimately, the plan for the Meeting Place reads as a series of meticulous and deliberate studies in geometry and transformation, much more complex and experimental than the design of the laboratory spaces. Full paper available upon request. Advisor: Peter Eisenman (Research paper: 25 pages. Yale School of Architecture, M.Arch. Formal Analysis. Fall 2012.)

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Corner analysis of Bramante’s Santa Maria and Laurana’s Palazzo Ducale

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Composite church overlay showing emerging axial forms

Formal Analysis Advisor: Peter Eisenman (Yale School of Architecture, M.Arch. Formal Analysis. Fall 2012)

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Symmetry analysis of Serlioâ&#x20AC;&#x2122;s House of the King

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Urban axial analysis of Nolliâ&#x20AC;&#x2122;s Map of Rome and Piranesiâ&#x20AC;&#x2122;s Campo Marzio plan

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Generative Exponential Architectural Form ** Published in Retrospecta 37 (Yale School of Architecture, 2014) ** Exhibited in Drawing Architecture (Yale Architecture Gallery, 2014) The generation of a hypothetical, exponential massing strategy is documented as a ribbon wrapping around a core. The axonometric progression is overlaid onto a two-dimensional graph of the unwrapped ribbon. The drawing is an exploration of the ability that graphic representation has in representing generative and geometric concepts. (Yale School of Architecture, M.Arch. Drawing and Architectural Form. 2014. Critic: Victor Agran.)

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The preliminary design and development of a multi-modal, agentbased, microsimulation transportation model, using Oasys MassMotion B.A.Sc. Thesis, University of Toronto Abstract Current industry-level transportation simulation models are multi-modal, but pedestrian behaviour is neglected and simplified in favour of a well-developed automobile model. As a result, simulation results and data are not as accurate as they have the potential to be. The purpose of this design thesis project is to address this issue by investigating the potential of developing a multi-modal transportation simulation model using Oasys MassMotion, an advanced pedestrian simulation model. Namely, the investigation is directed at expanding MassMotionâ&#x20AC;&#x2122;s functionality to move from a building-scale environment to a neighbourhood-scale environment, and from incorporating only pedestrian agents to incorporating both automobile and pedestrian agents in the simulation. The development of a proof-of-concept model was broken down into three steps: a pedestrian-only design in a city block environment, an automobile-only design in a city block environment, and an integrated, multi-modal design in a city block environment. The proof-of-concept was successful in demonstrating MassMotionâ&#x20AC;&#x2122;s potential for further development, and further development is recommended. However, there are numerous further developments that must be made before MassMotion can be used as a fully-functional, accurate transportation model. Full paper available upon request. Supervisor: Dr. Eric Miller, Director of Cities Center, Professor of Civil Engineering, University of Toronto (B.A.Sc. Thesis: 75 pages. University of Toronto, B.A.Sc. in Engineering Science, Infrastructure. 2012.) 190

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Design through simulation: A proposal for the layout of the Pearson Airport Air Rail Link Terminal for optimal passenger experience The role of simulation is tested in attempting to determine the most appropriate design layout for the Pearson Airport Air Rail Link arrival terminal. The spatial layout of three major areas affects the movement of passengers that use the Air Rail Link: (1) the Air Rail Link (ARL) Light Rail Vehicle (LRV), (2) the ARL station platform and (3) the vertical transportation system (VTS) at the end of the platform. In addition to the ARL, the terminal also houses the station of the Airport People Mover (APM) monorail, a separate mode of passenger transportation. Through the use of pedestrian micro-simulation model Oasys MassMotion, a suitable design will maximize the efficient and comfortable movement of passengers throughout the system while also considering factors such as safety, ARL capacity and passenger amenities. This research is significant as it will ensure that the design of the overall ARL system at the Pearson Airport arrival terminal, including LRV, platform and VTS design, is as efficient and enjoyable for the ARL customers as possible. In order to ensure the development of an appropriate design layout for the ARL system, design alternatives were considered for each of the three major areas of the terminal, and a best alternative was chosen through a research plan comprising of the following steps: (1) The selection of design alternatives for the LRV and station platform, (2) The development of a thorough group of assumptions regarding the intended use of the LRV upon which to base the entire project analysis, (3) The establishment of appropriate scorecard for metric-based evaluation of the alternatives, (4) The analysis of design alternatives using a metric scorecard to determine the most appropriate designs, (5) The construction a pedestrian simulation model to test the design alternatives, (6) The analysis of the results of model to determine the most appropriate design, (7) The development a detailed plan of the most appropriate design layout, and (8) Support the design criteria of the most appropriate alternative through both metric-based analysis and simulation results. Full paper available upon request. (In partnership with Rob Dunlap and Lucy Yin.) (B.A.Sc. Capstone: 40 pages. University of Toronto, B.A.Sc. in Engineering Science, Infrastructure. 2012.) Jonathan Sun 191

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Contents Studio 1 Research 165

Drawing 193 Installation 235 Writing 251 Publication 257 CV 262

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Experiential map of Rome ** Exhibited in the Rome: Continuity and Change exhibition (Yale School of Architecture Gallery, 2014) ** Rome: Continuity and Change travel fellowship (Yale School of Architecture, 2014) The Experiential Map of Rome is the culmination of research and observation from the 2014 Rome: Continuity and Change travel fellowship program supported by the Yale School of Architecture. The project is an analysis of personal experiential perception of the urban environment of Rome. Walking through Rome, I mapped my intuitive, non-quantitative movements through the city on site. Throughout the project, special focus and attention were paid to how non-quantifiable factors, perception, and social presence influenced my decision-making. The resulting narrative map of the city foregoes absolute geographic scale in order to highlight relative perceptive and experiential scales instead. (Drawing: 8 plates. Yale School of Architecture, M.Arch. Rome: Continuity and Change Travel Fellowship. Summer 2014. Advisors: Alec Purves, Stephen Harby, and Bimal Mendis.)

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Selected sketches, Rome: Continuity and Change travel fellowship ** Sketchbooks exhibited in the Rome: Continuity and Change exhibition (Yale School of Architecture Gallery, 2014) First hand surveying and sketching played an integral part of my research in understanding of Rome as an urban experiential narrative network. A selection of sketches done in preparation for the Experiential Map of Rome is shown here. (Yale School of Architecture, M.Arch. Rome: Continuity and Change Travel Fellowship. Summer 2014. Advisors: Alec Purves, Stephen Harby, and Bimal Mendis.)

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Constructed Perspectives and Geometries ** Exhibited in Drawing Architecture (Yale Architecture Gallery, 2014) Hand-drawn studies of various methods for constructing and projecting perspectives and geometries, including: Piero's method for drawing perspective, Dr. Brook Taylor's method for drawing perspective, shadow-casting, axonometric rotation through space. (Yale School of Architecture, M.Arch. Drawing and Architectural Form. Spring 2014. Critic: Victor Agran.) 206

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Visualization II: Form and Representation ** Published in Retrospecta 36 (Yale School of Architecture, 2013) ** Exhibited in Drawing Architecture (Yale Architecture Gallery, 2013) (Yale School of Architecture, M.Arch. Visualization II. Fall 2012. Critics: Prof. Sunil Bald and Prof. Kent Bloomer.)

Visualization I: Observation and Representation ** Published in Visualization I: Observation and Representation, Student Work (Yale School of Architecture, 2012) ** Exhibited at the Yale School of Architecture Open House and NAAB exhibition (Yale, 2012) Hand drawings from on-site study and observation. Louis Khanâ&#x20AC;&#x2122;s Yale University Art Gallery Staircase and Dwight Chapel FaĂ§ade. (Yale School of Architecture, M.Arch. Visualization I. Summer 2012. Critics: Joyce Hsiang and George Knight.) Jonathan Sun 213

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Visualization IV: Processing and Presentation (Yale School of Architecture, M.Arch. Visualization IV. Summer 2013. Critics: John Eberhart and John Blood)

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Final drawing (Spray paint)

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Spray paint study

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The Spatial Fold (series, ink-wash paintings and drawings) ** Published in Retrospecta 37 (Yale School of Architecture, 2014) ** Exhibited in Drawing Architecture (Yale Architecture Gallery, 2015) A series of drawings and paintings studying the narrative and spatial implications of the folded surface. The series begins with a set of narrative drawings of folded paper and fabric, culminating in a set of large ink-wash paintings of abstract fabric landscapes. (Yale School of Architecture, M.Arch. Drawing Projects. Fall 2014. Critic: Turner Brooks.)

Ink wash paintings (24” x 40”) Next page: Final painting (72” x 108”)

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Ink wash painting Contour drawing

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Pencil drawings

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Figure drawing (Independent, 2010-2015.)

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Independent drawing of New York, 2012

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Contents Studio 1 Research 165 Drawing 193

Installation 235 Writing 251 Publication 257 CV 262

Jonathan Sun 235

The Light Column II (2014) New Haven ArtSpace ** Commissioned by New Haven ArtSpace for the 'Alternative Space' sitespecific exhibition at the New Haven Armory (2014) ** Selected for the New Haven ArtSpace curator tour led by Theresa Choi of Storm King, New York A tall, hanging column (35 feet in height) made of thin film passes through the central void of the staircase. This project heightens one's experience of the stairwell by both contrasting and emphasizing the existing characteristics of the space. The long column subverts the perception of gravity by inverting the structural forces at play. The column is supported by tension instead of compression; it is therefore an architectural element that serves no structural function, to contrast and draw emphasis to the practicality of the staircase. The hanging column is everything the staircase is not. Its purpose is to draw attention to the "unseen" - the ephemeral and vertical central space - which is normally overwhelmed by the heavy, blockiness of the stair. The translucency of the film picks up and activate the existing fluorescent light from the ceiling, as well as the natural light coming in from the window. The column glows, ethereal, compared to the solid, corporeal stair. The column is made up of a tension field lattice. The rhythmic nature of the lattice relates to the prescriptive rhythm inherent to any staircase. The rotation of the viewer around the hanging column creates a constantly changing view of the seemingly simple lattice structure, drawing attention to the everyday circulation one makes around the staircase. (Site-specific installation, 2014. New Haven Artspace commission. Cinegel film, wood, armory bricks, and found materials.) Press: CWOS, New Haven Independent, Art Agenda Special thanks and assistance: New Haven ArtSpace: Scott Schuldt, Grey Freeman, Helen Kauder, Sarah Fritchey, Shelli Stevens; Yale School of Architecture: Elena Baranes, Alissa Chastain, Stanley Cho, John Eberhart, Mun Hee Lee, Ben Pell, Mahdi Sabbagh, Ben Smith, Sarah Smith, Amy Su, Zach Veach, Perry Wexelberg 236

INSTALLATION

Jonathan Sun 237

238

INSTALLATION

Jonathan Sun 239

The Light Column I (2013) Yale School of Architecture ** Published in Retrospecta 36 (Yale School of Architecture, 2013) This installation creates an ephemeral continuous shaft (40 feet in height) which contrasts with the materiality of the concrete stairwell and the uneven cadence of its steps. Its light and airy structure is constructed out of layers of trace paper which demonstrate the effects of gravity as they stretch towards the ground. The installation reacts to these gravitational forces by displaying more structure at the top, where the tensile forces are the greatest. It was produced through a rapid digital fabrication technique in which stacks of trace paper were glued together and cut on the laser cutter. These parts were glued together and then unfurled to fill the open core of the stairwell. Designed by Jonathan Sun, Stanley Cho, Ben Smith, and Perry Wexelberg. Fabricated by Mark Peterson, Sarah Smith, Amy Su, and Jack Wolfe. (Site-specific installation. Yale School of Architecture, M.Arch. Visualization III: Fabrication and Assembly. Spring 2013. Critics: John Eberhart and Ben Pell.)

240

INSTALLATION

Jonathan Sun 241

Proposal for a Reconfigurable Tension Field Lattice Pavilion Adapting the tension field lattice developed in Light Column II for a hexagonal system, the sculpture study is a flat-packed system consisting of two triangular panels joined by the tension field lattice. Using the lattice, the plates may be configured and installed in multiple orientations, creating a variety of spatial and structural forms as shown. Multiple two-panel systems may be attached to each other for further possibilities. Earlier iterations of the system included a large-scale collapsible hyperbolic paper structure, as shown in the bottom set of images. (Yale School of Architecture, M.Arch. The Liquid Threshold Between Order and Chaos. Fall 2014. Critics: Neil Thomas and Aran Chadwick, of Atelier One, UK)

242

INSTALLATION

Jonathan Sun 243

244

INSTALLATION

Ishmael's Passage (2013) ** Published in Retrospecta 36 (Yale School of Architecture, 2013) Designed by Mark Peterson, Sarah Smith, Amy Su, and Jack Wolfe. Fabricated by Stanley Cho, Ben Smith, Jonathan Sun, and Perry Wexelberg. (Site-specific installation. Yale School of Architecture, M.Arch. Visualization III: Fabrication and Assembly. Spring 2013. Critics: John Eberhart and Ben Pell.) Jonathan Sun 245

246

INSTALLATION

Jonathan Sun 247

Branch construction (2013) Schematic drawings of the construction of a tree branch form in two methods: egg-crate and singlefolded sheet. With Zach Veach. (Yale School of Architecture, M.Arch. Visualization III: Fabrication and Assembly. Spring 2013. Critics: John Eberhart and Ben Pell.)

248

INSTALLATION

Jonathan Sun 249

250

WRITING

Contents Studio 1 Research 165 Drawing 193 Installation 235

Writing 251 Publication 257 CV 262

Jonathan Sun 251

Forgotten: An original musical theater song ** Performed at the Shen Concert, Jonathan Edwards Theatre, Yale School of Drama, December 2012. Workshopped at the Yale School of Drama. Lyricist and performer: Jonathan Sun Composer: Maxwell Ramage Advisor: Michael Korie (Tony-award winning lyricist, Grey Gardens) Course: Lyrics Writing for Musical Theater. Yale School of Drama and Musical Theatre (Shen Curriculum), Fall 2012. Forgotten is the opening number of a musical (in development) about a man trying to stop himself from vanishing in the after-life. After his remaining possessions are auctioned off by his daughter, recently-deceased Arthur Morton finds his soul split amongst each item as it goes into the possession of a new owner. Struggling to remember all aspects of himself, he must find a way to bring the items together again from beyond the grave, while grappling with the realization that his daughter may already be moving on from his death. Full score available upon request. 3

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Jonathan Sun 253

Fried Mussels: Three love stories in one act ** Workshopped for the stage at the Yale School of Drama, 2013. Playwright: Jonathan Sun Advisor: Deborah Stein (Drama Desk Award nominated playwright) Course: Microdramas. Yale School of Drama, Fall 2013.

MOTHER Oh stop.

WAITRESS Um. Ok. Great.

The WAITRESS walks by. The YOUNG MAN tries to flag her down.

SON I’m just saying. He would have been such a jerk.

WAITRESS exits. WAITRESS I’ll be right back.

MOTHER Henry. SON The order would have been three words. Tea. Steak. Two words. Rude.

MAN (relieved, relaxing) Alright.

YOUNG MAN Okay.

WOMAN Thanks.

MOTHER Henry. (stern look) He could have been nice here.

MAN What?

SON Maybe. Because the waitress is pretty. MOTHER So you think she’s pretty. SON I never said she wasn’t pretty. MOTHER She is pretty. SON I know. Yes. Well, they’re all pretty here. MOTHER

WOMAN For introducing me. MAN What I thought you knew her! So how did you know her? WOMAN Well. You dated. MAN What? So? That’s-- what. But I love you. WOMAN I know. I just mean-- well it’s kind of my job to know who you dated isn’t it.

So. SON So what. MOTHER

MAN We didn’t even date for that long. WOMAN Babe I don’t care.

So. SON Ma. Deb’s pretty. MOTHER I know. SON And Deb’s not a waitress. She’s doing great. You know that.

MAN I wouldn’t even call it-- I wouldn’t say we dated. WOMAN It’s fine. MAN Maybe almost dated. WOMAN You dated.

(YOUNG MAN looks offend that SON called WAITRESS a waitress) 13

MOTHER MAN It meant nothing.

I do.

SON Ma. Come on. What is it. MOTHER Nothing. I like Deborah.

WOMAN I know. MAN I love you. WOMAN I love you.

SON Good.

MAN Okay. WOMAN

WAITRESS enters and crosses the room.

Relax. MAN forces a smile at WAITRESS as we walks past. WAITRESS walks by and exits. MAN Okay. WOMAN Stop being awkward. MAN Okay. SON She’s not even that pretty.

(pause) You’re not jealous. WOMAN No. A little. MAN Come on. Why.

WAITRESS enters and crosses back.

WOMAN She’s pretty.

WAITRESS crosses room. WAITRESS to YOUNG MAN. MAN Babe. Come on, you’re beautiful. WOMAN I know.

254

WAITRESS Sorry about that. Everything okay? 14

WRITING

A son mourning the death of his father. A couple at the lowest point of their relationship. A mother trying to apologize to her son. All tied together by a waitress who is just trying to get through her shift. Fried Mussels explores the unconscious positive influence that people have on each other, and the effect of the super-positioning and simultaneity of their interactions as they each sit down for dinner at three adjacent tables in the same restaurant. Full play available upon request.

MAN Haha. Good. Okay.

YOUNG MAN Yeah. Look. Sorry about before. WAITRESS That’s okay. It’s alright. How was the salad? YOUNG MAN It was good. (beat) What was different? WAITRESS What? YOUNG MAN Oh. Uh. The salad. You said it was different? The-- the dressing.

SON I should have gotten the salad.

MOTHER Henry. Treat yourself once in a while. It’s good for you.

SON No. Salad’s good for you.

MOTHER You sound just like your father.

MAN I should have gotten the salad.

WAITRESS Oh. Um. I can ask.

WOMAN Why’s she waiting tables?

YOUNG MAN No, it’s okay.

MAN Oh come on. You used to wait tables too.

WAITRESS Okay. So. A coffee, decaf. Two sugars... right?

WOMAN I just wonder what went wrong.

YOUNG MAN (surprised - but a nice surprise) Oh. Um. I didn’t know I came here enough to be a regular.

MAN Hon, don’t be rude. Stop being jealous. WOMAN

SON How is that anything like dad? He’d -- he’d never get a salad.

Okay.

MAN (changing the subject) So, I had lunch with your dad the other day-WOMAN Did she graduate?

MOTHER Okay, Henry.

YOUNG MAN (smiling) Well, I’m glad I made the cut.

WAITRESS Yes-- well. You and your dad. Your dad’s a very funny guy. Memorable. I guess.

MOTHER You’re stubborn.

SON No I’m not.

WAITRESS I remember certain people.

MAN Hon. Come on. Of course she did. Cut it out, you’re being mean.

YOUNG MAN (immediately becoming distant again) -- Ah. WAITRESS But he’s not joining you tonight? It’s just you? 15

YOUNG MAN Oh. Um. Uh yeah. WAITRESS That’s weird.

WOMAN I know.

YOUNG MAN Yeah. Just me. Tonight. WAITRESS Oh. Well. Tell him I say hi. (pause) It ‘s just you two always come in together. You get a salad. He always has the steak. Right? YOUNG MAN I know. Uh. Yeah. Um, yeah. Well.

SON He would have definitely gone straight for the steak.

WAITRESS Yeah. So... that coffee?

MOTHER

YOUNG MAN Oh. Um. You know, I’ll have the steak. Actually. Is that okay?

Still. SON I’m being healthy.

She gives him a “see?” look. WOMAN He got the steak.

MOTHER It doesn’t matter what the reason is.

MAN Well he got wine, too.

SON I’m not like dad.

WOMAN We’re going for coffee.

MOTHER (dropping it) Okay, you’re not.

MAN I know.

WAITRESS Oh, of course. Salad wasn’t enough tonight? YOUNG MAN Haha... yeah. I guess not. And some white wine? WAITRESS Okay, great! She lingers. WAITRESS ... Anything else?

YOUNG MAN Um. No. WAITRESS Um... okay. Thanks. She exits. YOUNG MAN Thanks. 16

Jonathan Sun 255

256

PUBLICATION

Contents Studio 1 Research 165 Drawing 193 Installation 235 Writing 251

Publication 257 CV 262

Jonathan Sun 257

Visualization I: Observation and Representation (Yale School of Architecture, 2012) Editors: Aaron Dresben, Linda Lee, Lauren Raab and Jonathan Sun Journal of student work from the Yale School of Architecture Visualization I program (critics: George Knight and Joyce Hsiang). Yale School of Architecture: Yale Press, 2012 96 pages

258

PUBLICATION

Jonathan Sun 259

Retrospecta 36 (Yale School of Architecture, 2013) Editor-in-chief: Jonathan Sun Editors: Elena Baranes, PJ Nakamura and Tyler Pertman Graphic designers: Houman Momtazian and Sunny Park Advisors: Robert A.M. Stern, Dean, Yale School of Architecture; Michael Beirut, Pentagram, NY Yale School of Architecture, Office of the Dean, Robert A.M. Stern: Yale Press, 2013. 192 pages. ISBN: 978-0977236299. Available at Amazon, online and in-stores. 260

PUBLICATION

Retrospecta 36 is the 2012-2013 edition of the annual journal of student work at the Yale School of Architecture. Part historical record, part monograph, Retrospecta seeks to capture and record the current life of the school. Documenting one academic year, each issue contains exemplary work from both the design studios and support courses. The works from the school, including lectures, symposia, exhibitions, and studio reviews, are also published.

Jonathan Sun 261

Contents Studio 1 Research 165 Drawing 193 Installation 235 Writing 251 Publication 257

262

JONATHAN SUN CURRICULUM VITAE jonathan.sun@yale.edu / 203.645.8687 12L - 100 York Street, New Haven, CT, 06511 www.jonathan-sun.com

EDUCATION Yale School of Architecture Master of Architecture (M.Arch. I) H.I. Feldman Prize nominee, James Gamble Rogers Memorial Fellow, Teaching Fellow

2015 (expected)

University of Toronto Bachelor of Applied Science (B.A.Sc.) in Engineering Science, Honours Major in Infrastructure Engineering, Minor in Sustainable Energy Thesis: Design and development of a multi-modal, agent-based, micro-simulation transportation model

2012

TEACHING AND ACADEMIC POSITIONS Teaching Fellow, Yale School of Architecture Spring 2015 Junior Design Studio: Methods & Form in Architecture II (ARCH251), undergraduate design studio Instructors: Joyce Hsiang and Jennifer Leung Teaching Fellow, Yale School of Architecture Visualization II: Form and Representation (ARCH1015), graduate-level course Instructors: Prof. Sunil Bald and Prof. Kent Bloomer Teaching Fellow, Yale School of Architecture Visualization III: Fabrication and Assembly (ARCH1016), graduate-level course Instructors: John Eberhart and Ben Pell

Fall 2013, Fall 2014

Spring 2014

Structural Engineering Consultant, Yale School of Architecture The Liquid Threshold between Order and Chaos (ARCH2212), graduate-level course Instructors: Neil Thomas and Aran Chadwick of Atelier One

Fall 2014

Guest Critic, Yale School of Architecture Drawing and Architectural Form (ARCH1211), graduate-level course Instructor: Victor Agran

Fall 2014

Guest Critic, Yale School of Architecture Spring 2014 Junior Design Studio: Methods and Form in Architecture II (ARCH251), undergraduate design studio Instructors: Prof. Sunil Bald and Joyce Hsiang Admissions Committee, Graduate member, Yale School of Architecture Curriculum Advisory Committee, Graduate member, Yale School of Architecture Teaching Assistant, University of Toronto, Department of Engineering Linear Algebra (MAT185), Facilitated Study Group Program Instructor: Dr. Will Cluett, Former Chair of Engineering Science

2014-15 2013-14, 2014-15 Fall 2011, Fall 2012

Teaching Assistant, University of Toronto, Department of Engineering Spring 2011, Spring 2012 Systems Biology (BME105), Facilitated Study Group Program Instructor: Dr. Kevin Truong, Chair of Biomedical Engineering, Engineering Science

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JONATHAN SUN CURRICULUM VITAE RESEARCH M.Arch. Independent Research, Yale School of Architecture; Municipal Art Society of New York 2015 Title: “Shaping the shared experience: new strategies for public space preservation and development in New York City” Advisors: Prof. Alan Plattus, Director of Yale Urban Design Workshop, Prof. Bimal Mendis, Assistant Dean, Prof. Alexander Garvin; Mike Ernst, Municipal Art Society of New York + Establish a framework of evaluating performance of public space by perception and use through a variety of means, including big data and GIS + Understand development of public space through policy and zoning regulation, and affect policy improvements with the Municipal Art Society of New York M.Arch. Graduate Research Project, Yale School of Architecture 2014 Title: “Graffiti City 1972: mapping the urban development of New York City’s graffiti culture” Advisor: Prof. Dolores Hayden + Analysis of GIS, census, and NYC data combined with historical research to map the stages of growth of New York’s “graffiti city” on the existing infrastructure of the city. Rome: Continuity and Change Fellow, Yale School of Architecture; American Academy in Rome Title: “Experiential Mapping of Rome: a network of public spaces” Advisors: Prof. Alexander Purves, Stephen Harby, Prof. Bimal Mendis + Analysis of personal perception of the urban environment of Rome + Mapping of intuitive, non-quantitative movements through the city + Focus on how non-quantifiable factors and social presence influence decision-making

2014

B.A.Sc. Undergraduate Thesis, University of Toronto, Engineering Science, Infrastructure 2012 Title: “Design and development of a multi-modal, agent-based, micro-simulation transportation model” Advisor: Dr. Eric Miller, Director of Cities Center, Professor of Civil Engineering, University of Toronto + Development of multi-modal functionality and decision-making using Oasys MassMotion, an agentbased pedestrian simulation model + Focus on multi-modal interactions with automobiles and public transportation at street intersections and networks of intersections + Focus on crowd interactions with the built environment at the street level B.A.Sc. Capstone Design Project, University of Toronto, Engineering Science, Infrastructure 2012 Title: “Designing the Air Rail Link LRV and connecting Pearson Airport Terminal for Passenger Experience” + Use of agent-based pedestrian micro-simulation model Oasys MassMotion to determine the optimal design features of an Air Rail Link station for passenger movement and accessibility + Focus on crowd interactions with architectural elements and the relationship to trip performance Research Intern, University of Toronto, B.A.Sc. Professional Experience Year Hydro One Inc., Systems and Environmental Engineering Department, Toronto + Decision-making algorithms for route optimization, transportation cost-benefit analysis + Transportation network simulation and power distribution simulation modelling + Data analysis and visualization for optimizing power station maintenance and development

2010-11

Research Assistant, University of Toronto, Department of Physiology 2009-11 Brain Research and Integrated Neurophysiology, Laboratory of Dr. Hon Kwan, Professor + Evolutionary robotics and artificial intelligence + Genetic algorithm development for artificial intelligence in evolutionary autonomous agents + Neural network modelling of sensorimotor control and dyscontrol of movement, self-identification of egocentric place and destination recognition

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JONATHAN SUN CURRICULUM VITAE Research Assistant, University of Toronto, Leslie Dan Faculty of Pharmacy 2008-09 Neuronal and Cardiac Ionic Signals, Laboratory of Dr. Peter Pennefather, Professor + Development of data structures and descriptive metadata formats for medical and research data

AWARDS H.I. Feldman Prize nominee (to be awarded in 2015), Yale School of Architecture 2014 James Gamble Rogers Memorial Fellowship, Yale School of Architecture 2014 Rome: Continuity and Change Travel Fellowship, Yale School of Architecture 2014 New Haven Artspace commission, Light Column installation, New Haven Armory 2014 Teaching Fellowship, Yale School of Architecture 2013-15 Graduate Fellowship Award, Yale School of Architecture 2012, 2013, 2014 Graduate Dean's Scholarship Award, Parsons, Architecture (declined) 2012 Graduate Fellowship Award, Rhode Island School of Design, Industrial Design (declined) 2012 Graduate Fellowship Award, Stanford University, Civil Engineering (declined) 2012 Graduate Fellowship Award, University of Toronto, Civil Engineering (declined) 2012 Student Engagement in the Arts Award, University of Toronto Arts Council 2012 L.E. Jones Award of Distinction, for Outstanding Contributions to Engineering and the Arts University of Toronto, Department of Engineering 2012 Gordon Cressy Leadership Award, University of Toronto 2012 Engineers for the World (E4TW) Award, University of Toronto, Department of Engineering 2012 Engineering Society Award, for Skule Nite (accepted as Director), University of Toronto 2012 President’s Award for Best Production, Outstanding Achievement in Playwriting Award, for original play Dead End (accepted as playwright), University of Toronto Drama Festival 2010 Dean’s List, University of Toronto, Engineering Science 2007-2012 2007 Professional Engineers Ontario (PEO) Foundation for Education, Scholarship Award Admission Scholarship (Highest Level), University of Toronto, Engineering Science 2007 President's Scholarship Award, University of Waterloo, Architecture (declined) 2007

PUBLISHED WORKS JOURNALS Sun, Jonathan, editor-in-chief, with Elena Baranes, PJ Nakamura, and Tyler Pertman, eds. Retrospecta 36. Yale School of Architecture, Office of the Dean, Robert A.M. Stern: Yale Press, 2013, 192 pgs. ISBN: 9780977236299. Dresben, Aaron, Linda Lee, Lauren Raab, and Jonathan Sun, eds. Visualization I: Observation and Representation, Student Work. Yale School of Architecture: Yale Press, 2012, 96 pgs. PUBLICATIONS Sabbagh, Mahdi and Jonathan Sun. 2015 (upcoming). “Ward-Based Urbanism: A campus of courtyards sensitive to memory, Tianjin, China.” Constructs, edited by Nina Rappaport. Yale School of Architecture: Yale Press, Spring 2015. Sabbagh, Mahdi and Jonathan Sun. 2015 (upcoming). “Ward-Based Urbanism: Proposal for the urban development of a high-speed rail hub in Tianjin.” Retrospecta 38, edited by Cathryn Garcia-Menocal, editorin-chief. Yale School of Architecture: Yale Press, 2015. Sun, Jonathan. 2015 (upcoming). “Shaping the shared experience: new strategies for public space preservation and development in New York City.” M.Arch. independent research. Yale School of Architecture.

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JONATHAN SUN CURRICULUM VITAE Sun, Jonathan. 2014. “Goodnight moon” and “Magician.” Tweets by @jonnysun. In: “Playboy’s 50 Funniest Twitter Accounts of 2014, #10: jonnysun,” by Matt Shirley. Playboy.com, December 11, 2014. Sun, Jonathan. 2014. “Contradiction club.” Tweet by @jonnysun. In: Twitter: The Comic (The Book): Comics Based on the Greatest Tweets of Our Generation by Mike Rosenthal, 61. Chronicle Books, 2014. Pertman, Tyler, Mahdi Sabbagh, and Jonathan Sun. 2014. “The Olympic Game: 2024 Boston Olympic Village proposal.” Retrospecta 37, edited by Anthony Gagliardi, editor-in-chief, 63. Yale School of Architecture: Yale Press, 2014. Sun, Jonathan. 2014. “The Spatial Fold.” Retrospecta 37, edited by Anthony Gagliardi, editor-in-chief, 163. Yale School of Architecture: Yale Press, 2014. Sun, Jonathan. 2014. “Method for exponentially generative form-finding.” Retrospecta 37, edited by Anthony Gagliardi, editor-in-chief, 147. Yale School of Architecture: Yale Press, 2014. Cho, Stanley, Ben Smith, Jonathan Sun, and Perry Wexelberg. 2013. “Light Column I.” Retrospecta 36, edited by Jonathan Sun, editor-in-chief, 29. Yale School of Architecture: Yale Press, 2013. Peterson, Mark, Sarah Smith, Amy Su, Jonathan Sun, and Jack Wolfe. 2013. “Ishmael’s Passage.” Retrospecta 36, edited by Jonathan Sun, editor-in-chief, 29. Yale School of Architecture: Yale Press, 2013. Sun, Jonathan. 2013. “Dancers Tying Spatial Knots.” Retrospecta 36, edited by Jonathan Sun, editor-inchief, 28. Yale School of Architecture: Yale Press, 2013. Sun, Jonathan. 2012. Salt. Illustration. In: Turlova, Ekaterina, and Feng, Zhong-Ping. 2012. “Dietary salt intake and stroke.” Acta Pharmacologica Sinica 34: 8-9. Sun, Jonathan. 2012. Khan’s Yale University Art Gallery Staircase. Drawings. In Visualization I: Observation and Representation, Student Work, edited by Aaron Dresben, Linda Lee, Lauren Raab and Jonathan Sun, 61. Yale School of Architecture: Yale Press. Sun, Jonathan. 2012. Dwight Chapel Façade. Drawings. In Visualization I: Observation and Representation, Student Work, edited by Aaron Dresben, Linda Lee, Lauren Raab and Jonathan Sun, 32. Yale School of Architecture: Yale Press. Sun, Jonathan. 2012. “Design and development of a multi-modal, agent-based, micro-simulation transportation model.” B.A.Sc. thesis, University of Toronto.

PERFORMED WORKS Sun, Jonathan (playwright). Fried Mussels: three love stories in one act, original one-act play. Yale School of Drama, December 2013. + Advisor: Deborah Stein (Drama Desk Award nominated playwright) Sun, Jonathan (lyricist and performer) with Maxwell Ramage (composer). Forgotten, original musical theatre song. The Shen Concert, Jonathan Edwards Theatre, Yale School of Drama, December 2012. + Advisor: Michael Korie (Tony Award winning lyricist, for Grey Gardens) Sun, Jonathan (writer and director). Skule Nite 1T2, original engineering musical and comedy revue. 2012 Regular Season, Hart House Theatre, Toronto, March 2012. Sun, Jonathan (playwright). On Life: a collection of 12 original short plays. University of Toronto Drama Festival (performed out-of-competition), Hart House Theatre, Toronto, February 2011.

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JONATHAN SUN CURRICULUM VITAE Sun, Jonathan (playwright). Dead End, original one-act play. University of Toronto Drama Festival, Hart House Theatre, Toronto, February 2010. + President’s Award for Best Production, Outstanding Achievement in Playwriting Award

EXHIBITED WORKS Sun, Jonathan. 2014. Light Column II. Commissioned installation. Cinegel, wood and brick. In: The Alternative Space, New Haven Armory, New Haven Artspace. Sun, Jonathan. 2014. Study #12. Commissioned sculpture. Metallic film and acrylic. New Haven Artspace. Sun, Jonathan. 2014. Experiential Mapping of Rome. Drawings. In: Rome: Continuity and Change Travel Fellowship Exhibition, Yale Architecture Gallery. Sun, Jonathan. 2014. The Olympic Game: Boston Olympic Village proposal. Urban studio design. In: Outlook: Exhibition of Student Work, Yale Architecture Gallery. Sun, Jonathan. 2014. Center for the Advancement of Science in Space. Architectural studio design. In: Outlook: Exhibition of Student Work, Yale Architecture Gallery. Sun, Jonathan. 2014. Cube Descending Staircase. Drawing. In: Drawing Architecture (2014), Yale Architecture Gallery. Sun, Jonathan. 2014. Method for exponentially generative form-finding. Digital drawing. In: Drawing Architecture (2014), Yale Architecture Gallery. Abrams, Leah, Boris Morin-Defoy, Michael Miller, Nicholas Muraglia, Jeanette Penniman, Lauren Raab, and Jonathan Sun. 2013 Proposal for a narrow-lot housing prototype. Vlock Building Project design. In: Thresholds: Exhibition of Student Work, Yale Architecture Gallery. Sun, Jonathan. 2013. Dance Machine: A Theater on the Highline. Architectural studio design. In: Thresholds: Exhibition of Student Work, Yale Architecture Gallery. Sun, Jonathan. 2014. Center for the Advancement of Science in Space. Urban studio design. In: Outlook: Exhibition of Student Work, Yale Architecture Gallery. Cho, Stanley, Ben Smith, Jonathan Sun, and Perry Wexelberg. 2013. Light Column I. Installation. Trace paper and wood. Yale School of Architecture. Peterson, Mark, Sarah Smith, Amy Su, Jonathan Sun, and Jack Wolfe. 2013. Ishmael’s Passage. Installation. Wood. Yale School of Architecture. Sun, Jonathan. 2013. Dancers Tying Spatial Knots. Drawing. In: Drawing Architecture (2013), and Open House (2013), Yale Architecture Gallery. Sun, Jonathan. 2013. A prime-number based system for tiling and ornament. Drawing. In: Drawing Architecture (2013) and Open House (2013), Yale Architecture Gallery. Sun, Jonathan. 2013. Khan’s Yale University Art Gallery Staircase. Drawings. In: Drawing Architecture (2013) and Open House (2013), Yale Architecture Gallery. Sun, Jonathan. 2013. Dwight Chapel Façade. Drawings. In: Drawing Architecture (2013) and Open House (2013), Yale Architecture Gallery. Sun, Jonathan and Zachary Veach. 2013. Organic Fabrication Methods. Sculptures. In: Open House (2013), Yale Architecture Gallery. Jonathan Sun 267

JONATHAN SUN CURRICULUM VITAE Sun, Jonathan. 2010-2012. Figure drawings. In: Ontario College of Art and Design Showcase, Sharp Centre for Design, Toronto, ON. Sun, Jonathan. 2012. Childhood. Installation. Wood. In: Skule Arts Festival 2012, Bahen Center of Information Technology, University of Toronto. Sun, Jonathan. 2012. Community. Crowd-sourced installation. Acrylic on canvas. In: Skule Arts Festival 2012, Bahen Center of Information Technology, University of Toronto. Sun, Jonathan. 2011. Cube & Target: Varini perspectives. Installation. Tape. In: Skule Arts Festival 2011, Bahen Center of Information Technology, University of Toronto. Sun, Jonathan. 2010. The Monsters Under the Stairs. Installation. Acrylic on Wood. In: Skule Arts Festival 2010, Bahen Center of Information Technology, University of Toronto. Sun, Jonathan. 2010. The List. Sculpture. Pen on notebook paper, wood. In: Skule Arts Festival 2010, Bahen Center of Information Technology, University of Toronto. Sun, Jonathan. 2010. Self-Portrait of Man-Man. Painting. Acrylic on wood. In: Skule Arts Festival 2010, Bahen Center of Information Technology, University of Toronto. Sun, Jonathan. 2010. In Pursuit of a Higher Education. Painting. Acrylic on wood. In: Skule Arts Festival 2010, Bahen Center of Information Technology, University of Toronto.

ARTS POSITIONS Exhibitions Coordinator, Drawing Architecture exhibition Yale School of Architecture Gallery Installation Director, Skule Arts Festival Student Art Festival, University of Toronto

2013

2009-12

CREATIVE MEDIA NEW MEDIA @jonnysun, a personal comedy project on twitter 2013+ 7th Annual Shorty Awards Finalist for “Comedian of the Year” (New York, 2015) + Featured in Playboy Magazine (Playboy’s 50 Funniest Twitter Accounts of 2014, #10: jonnysun), Buzzfeed, Mashable (The 21 Weirdest Twitter Accounts), Twitter: the Comic, Thought Catalog, Mandatory, Medium + Over 75,000 followers and 30 million unique impressions as of December 2014 skulenite, a collaborative comedy and performance art project on youtube 2011-12 + Creator and director from 2011-12 + Over 5,000,000 views as of December 2014 + Viral videos “one test more - engineering musical flashmob” and “the worst test - an engineering flash mob” featured in CBC Online, Mashable, Buzzfeed, 9gag, Reddit

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JONATHAN SUN CURRICULUM VITAE THEATRE AND TELEVISION Contributing Writer, TripTank, television show, Comedy Central Contributing Writer, We Hate It Here, comedy television pilot Co-Director and Head Writer, Part Time Comedy Production Company Playwright, Fried Mussels, Yale School of Drama Lyricist, Forgotten, Shen Concert, Yale School of Drama Co-Artistic Director, Blank Slate Theatre Company Improviser, Comedy writing, character work and improvisation, The Second City, Toronto Director and Writer, Skule Nite 1T2, Hart House Theatre Head Writer, Toike Oike, humor publication, University of Toronto Playwright, On Life, University of Toronto Drama Festival (performed out of competition) Hart House Theatre Head Writer and Cast Member, Skule Nite 0T9, 1T0, 1T1, Hart House Theatre Playwright, Dead End, University of Toronto Drama Festival, Hart House Theatre

2014201420142013 2012 2011-13 2010-13 2012 2010-12 2011 2008-11 2010

VISUAL Commissioned installation artist, New Haven Artspace Photographer, Yale University, University of Toronto, freelance Rebranding director, University of Toronto Engineering Society Head of New Media Marketing, Nspire Innovation Network, Toronto Marketing Director, Engineering Science Student Organization Graphic designer, Skule Nite 1T1 Graphic designer, Sustainable Engineers Association Commissioned artist, University of Toronto Registrarâ&#x20AC;&#x2122;s Office Commissioned mural artist, The Monkey Vault gymnastics centre, Toronto

2014 20092011 2010 2010 2010 2010 2010 2009

MUSIC Lyricist and rapper, The J. Xity LP (2015), hip-hop mixtape with labguest (producer) Featured lyricist and collaborator, Animals EP (2015) by Slow No Wake (musician) Vocalist, Forgotten, Shen Concert, Yale School of Drama Vocalist, Skule Jazz Combo, University of Toronto Singer-Songwriter, Jonny Sun EP, Toronto performances Performer, Guitar, Piano (Grade 9 Royal Conservatory of Music)

201420142012 2010-12 20082006-

TECHNICAL SKILLS Software:

Rhinoceros 3D, Adobe Creative Suite (Photoshop, Illustrator, InDesign), Adobe Lightroom, Adobe Premiere, Adobe AfterEffects, Grasshopper, Maya, Blender, 3DS Max, Renderman, VRay, Maxwell, Revit, AutoCAD, AutoDesk SoftImage, Oasys MassMotion, Google SketchUp, EMME3, ArcGIS

Fabrication:

3D Printing (Makerbot, Dimension), Laser Cutting, CNC Tangent Die (Mimaki) Cutting, CNC Milling, Powermill (5-axis robotic arm), CNC Plasma Cutting, Water Jet Cutting

Languages:

C, C++, MATLAB, Verilog, Java, HTML5, Visual Basic, Processing

STUDENTS MENTORED Available upon request

REFERENCES Available upon request

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JONATHAN SUN

jonathan.sun@yale.edu / 203.645.8687 12L - 100 York Street, New Haven, CT, 06511 www.jonathan-sun.com

EDUCATION Yale School of Architecture, Master of Architecture (M.Arch. I) H.I. Feldman Prize nominee, James Gamble Rogers Memorial Fellow University of Toronto, Bachelor of Applied Science (B.A.Sc.) in Engineering Science Dean’s List; Major in Infrastructural Engineering, Minor in Sustainable Energy

2012 – 2015 2007 – 2012

ACADEMIC Teaching Fellow, Yale School of Architecture Junior Undergraduate Design Studio, Joyce Hsiang and Jennifer Leung Visualization II: Form and Representation, Sunil Bald and Kent Bloomer Visualization III: Fabrication and Assembly, John Eberhart and Ben Pell Guest Juror, Yale School of Architecture Drawing and Architectural Form, Victor Agran Junior Undergraduate Design Studio, Sunil Bald and Joyce Hsiang Admissions Committee, Yale School of Architecture Curriculum Advisory Committee, Yale School of Architecture Teaching Assistant, University of Toronto, Faculty of Engineering

Spring 2015 Fall 2013, Fall 2014 Spring 2014 Fall 2014 Spring 2014 2015 2014, 2015 2010-2012

PUBLICATIONS Retrospecta 36, Editor-in-Chief, Yale School of Architecture, Office of the Dean

2013

Visualization I: Student Work, Editor, Yale School of Architecture

2012

with Elena Baranes, PJ Nakamura and Tyler Pertman, editors with Aaron Dresben, Linda Lee and Lauren Raab, editors

PROFESSIONAL EXPERIENCE Engineering Intern, Hydro One Inc., Infrastructural Engineering Department, Toronto 2010 – 2011 Research Assistant, University of Toronto, Department of Physiology 2008 – 2010 Laboratory of Evolutionary Robotics and Artificial Intelligence, Dr. Hon Kwan, professor Installation Director, Skule Arts Festival, University of Toronto 2009 – 2012

AWARDS AND HONORS H.I. Feldman Prize 2015 nominee, Yale School of Architecture 2014 James Gamble Rogers Memorial Fellowship, Yale School of Architecture 2014 New Haven Artspace commission, The Light Column (installation), New Haven Armory 2014 Rome: Continuity and Change Travel Fellowship, Yale School of Architecture 2014 Graduate Fellowship Award for Industrial Design, Rhode Island School of Design (declined) 2012 Graduate Fellowship Award for Civil Engineering, Stanford University (declined) 2012 L.E. Jones Award of Distinction, Faculty of Engineering, University of Toronto 2012 Gordon Cressy Leadership Award, Office of the President, University of Toronto 2012 Engineers for the World (E4TW) Award, Faculty of Engineering, University of Toronto 2012 Engagement in the Arts Award, University of Toronto Arts Council 2012 2007-2012 Professional Engineers Ontario (PEO) Foundation for Education Scholarship Award

WORK FEATURED IN: New Haven ArtSpace (The Alternative Space exhibition); Retrospecta 36-38 (publications, Yale School of Architecture); Yale School of Architecture Gallery (various exhibitions); Yale School of Drama (The Shen Concert; playwriting workshops); Hart House Theater 2012 Regular Season (Toronto, as playwright and director of Skule Nite); Toronto Drama Festival (Hart House Theater, as playwright) 270