Lana J.Yuan SCI-Arc Architecture Portfolio by lana j yuan

“Homogenious and Heterogenious”

SEL THESIS. 20 FALL. LANA YUAN. 2GA

The idea is fabric could become a field space, object-like elements could host volumes within the larger volume. 2

The Happy Life of the “Columes”

To be more specific, I am looking at aggregation of parts... within a larger building envelop, where the envelop always try to pull the parts back in to being in one single space. Its not unlike the circus, where many many events simultaneously happening always under one single big roof.

Within the section of the floors, there are six evenly spaced bean-shaped column-volumes on the interior. Let’s call them “Columes”. They are rooted deep down underground to support their own weight, as well as the floors that are mounted onto them with space truss. 4

The “Columes” first appear as slender columns, taking their initial location on the ground from the column grid, but then they begin to deviate as they move up — they expand in unexpected ways to become gradually larger volumes that displace space on each progressive floor. In this way they are producing difference on the grid, while initially grew from the grid.

They are more heterogeneous as they become figural and unpredictable, there are now multiple smaller interiors within the overall larger interior.

The second half of my study is maximizing amount of light and air through for the need of a designer work space. here is my attempt trying to capture the sensibilities of the textiles materials, soft forms, curves volumes, during the day.

The project is sited on an empty parcel next to the warehouse/factory by Frank Gehry and south of the VitraHaus of Herzog & deMeuron. It reinforces the overall, orthogonal layout of the campus but introduces a sectional object into the ensemble.

I was curious when transferring 2 dimensional singular big flat non-structural soft surface - to spatial volumes and structural forms, how well can the architectural iteration hold on to the material idea of pliable softness.

Lana Yuan Russell Thomsen HT 2521-01: Between the Lines of Engagement 27 April 2021

Current Interests and Relational Observing in Architecture Discourse Architecture is vast and slow. Placing the current interest in architecture academia’s timeline, “the discourse moves fast”(David Ruy, April 15, discussion with Russell Thomsen’s seminar class on zoom), it doesn’t stay in one place and is constantly evolving- previous theory builds on then form the current interests, current pedagogy contributes to future pedagogies, serving as foundations and forming relations with each other. My relationships with the ideology and pedagogy in the discourse is I try to make sense of why certain architects make design decisions the way they do and how that serves their project and enhances their philosophy as well. Then, I try to break down and test out pieces from the whole chain of logic that have the potential to work well with my design tendency in my projects. I am not confident enough to say I have formulated my own position in the discourse just yet, but I am thinking hard about my position as I observe my own design tendency. I work from intuition, and I struggle to rationalize it. I am sensitive to materiality and textures. I tend to spend lots of time tweaking about the form and I care deeply about the trivial details like the curved edges on the corner of the building. I care and study about the occupant’s use/need of building to make sense of the spaces I am creating for them. I try to look for clues from others’ design solutions and am always excited when discovering slight relevance with my architect peers in the discourse. Previous to SCI-Arc I am interested in “atmospheric space” from Peter Zumthor and “Non-Referential Architecture” by Valerio Olgiati- But these are drastically different positions than my current interests in formalism, which is influenced by SCI-Arc discourse. Three tendencies: The idea of “Soft architecture” and “qualities of material” is something that I am intentionally sensitive to and have been studying closely at. This is influenced by Peter Zumthor’s “atmosphere architecture”, “A Way of Thinking Architecture” and Valerio Olgiati’s “Experience of the Space, Oneness, nowness, sensemaking” in his theory “Non-Referential Architecture”. This is not to say that intuition is not an important reliance when making design decisions - although might not be a good habit. In terms of design pedagogy, my current interest lies heavily on formalism, more abstract formalism right now simply because I do not know how to use most of the tools for speculative, simulations and surrealism, yet. I am open to learning Python, Houdini, Unreal, etc as well and would like to make a project with those techniques before I feel comfortable to discuss them. Tools and techniques are strategy, they are not the main bone of discourse. Methodology and techniques is one way that some of us architect’s approach to design solutions; whereas pedagogy, philosophy, ideology and theories are adding so much more to enrich the conversations. This is a big brain bomb that I am constantly getting reminded in this seminar with Russell and peers. Objects and it’s relations. “heterogeneous and homogeneous” is a topic that I am searching for answers and relevance within the architecture discourse. “Object” seems significant especially in my SCI-Arc education, because it never fails to pump discussions. Therefore the thinking of 2GA Devyn Weiser + Russell Thomsen’s “homogeneous and heterogeneous” pedagogy gives endless explorations- because it is looking at the relational strategy of objects in space- and there could be so many ways to engage both the objects and theories, depends on the subjective viewpoint.

In the writing °I am for Tendencies. Jeff Kipnis & Peter Eisenman: Jeff has an interesting debate about discourse and our architecture education. Having a pedagogy makes having conversations about building and it’s making techniques easier, therefore a few of the most popular architects have pedagogy, and those debates then shifts and shapes back to the pedagogy, to make the architect become a better architect. I question what else makes a good architect? How to form my own pedagogy(while maintaining certain relevance with the other pedagogies? How to push an interest like “soft architecture” and an intuition such as “materials and textures” to a pedagogy that makes sense in an architectural way? I have to trace back to my intuitions in textures, in materials and color, my initial interest in “spaces that engage senses”. I look to Zumthor for an answer because he was the one mysterious yet intellectually initiates my architecture thinking. He believes that emotions and feelings of a space when first walking in is the only way to verify if the space is sensually engaging or not. To build a space like this relies heavily on intuition, yet the build up of those intuition needs rigorous training and crafting to back up. I question if intuition is by training? Is there a way to build up by smarter methodology such as “arranging a series of heterogenous objects on a field or a grid to then form an interesting space? Zumthor also seems to support that those training and crafting needs to have a rationale, a logic or an “order”. Through this he turns senses to rationale? Feelings or crafting? emotions to logic? Can rigorous training create intuition? I doubt this because I seem to believe that intuition is largely by birth, also by art pieces that one designer surrounds himself or herself with. I have been testing this methodology myself, in my projects and the way I practice design. But really, can rigorous training create intuition that works for designing space? In zumthor’s pedagogy and his practice work, a space that makes sense is heavily occupant experience based, it is feeling and senses based, could work so well and make so much sense. I found it very different from SCI-Arc and American academic architecture, very similar with Japanese architects which also emphasizes crafts. By emphasizing on labor, repetition of work, and repetition of tectonicity and texture modules, Zumthor’s project internalizes the making process of a design idea. In this way Zumthor’s pedagogy(or more like methodology) introverts his project, I find it a bit relatable to Marcelo Spina “Muted Icon” and Graham Harman’s theory of looking at relationships of objects and art. In Marcelo’s work he introverts the use of form, he is the most introverted formalist i seen. He breaks down larger geometries to smaller geometries, when scale is broken into smaller geometries he then is able to make his form more concealed and “muted”. However when I study more of Marcelo’s projects, it also makes me look a lot at envelope texturing, tectonic or materials and structures, as well as facade treatment. Most of the envelopes and forms are internally extroverted and screams for attention. I think that is his purpose- by “muting” his “object”(building), he makes things not so “legible to read”, so viewers have to go closer, and look for longer times, more patiently, thus those objects then becomes more interesting because it is sustaining more of attentions, promotes more discussions, and so then becomes actually “louder”. More connections and comparison about reading of envelopes is also made through pair reading of °Zaera-Polo, Alejandro. The Politics of the Envelope. Log 13/14 (Anyone Corporation, 2008) And °Frampton, Kenneth. Rappel à l’ordre, the Case for the Tectonic. (Princeton, 2011). A space has to make sense first(Peter Zumthor and Valeiro Olgiati would say). To build up, enrich it with more value and more opportunities for conversations, Andrew Zago’s miss registration in a way is a well-rounded strategy to make architecture more interesting and to promote lots of discussions around the discourse. When studying a project and it’s pedagogy I always tend to analyze it as a human, and relate the pedagogy with it’s author’s personality. I am not sure if that makes sense for others. For example: Introvert a project can bring curiosity, whereas extrovert a project makes appeal thus attracts attention to a project. Andrew Zago’s project and pedagogy is interesting and sustains a long lasting amount of interests because it is simultaneously introvert and extrovert. It takes readings and guesses to figure out what he wants and the works have almost bipolar nature- both introvert and extrovert quality thus the works inherent multiple reading opportunities. The extroverted quality can be seen from the “awkward position” and “strange object”, where zago made the forms to be possibly read as objects that’s humanized thus its position,

posture, motions, and skin all become contributing factors for the conversations. It is as if the objects and positions are sending a message of being comfortable with the uncomfortableness. When relating Andrew Zago’s miss registration of his envelop and his tectonics with David Eskenazi’s queer aesthetics. We see that they both are opening up a new way of understanding architecture, new way of interpreting space and form, new way of using and occupying a space, thus more new experiences(that make sense as well- referring back to Zumthor- for example at Eskenazi’s lecture about how the design is based on the gay couple’s activities and privacy needs around the house), for example Zago’s Anvelop where he cuts then tilts the top of the house, or slot rounded objects into the boxed and textured envelop, thus disrupts the space to form new experiences, to introduce new opportunities, new potentials for a way of living in certain space. I am loving the attitude from both architects because their design gestures signal a more embracing and accepting gestures to the odd/ the awkward/ the strangeness or unfamiliar. Their work thus has potential to give occupants and viewers an eye opening, mind broadening experience. And it also makes me question if architectural thinking should be mainstream? Or it could be other than mainstream. In Zumthor’s text “A way of looking at things’’, I am sending a rigorous attitude that is selectively achieved because it is difficult and requires lifelong efforts. However in both zago and Eskenazi’s approach I am seeing a more broadening effect, not to say they are not rigorous or not disciplined. I can’t help to realize all three, actually maybe all architects mentioned and studied, all have mainstream yet not mainstream qualities. Queering or mainstreaming, familiarizing or de-familiarizing, envelops tectonics muting or announcing, introvert-ing or extrovert-ing the personalities of buildings, are not about superficial, but introducing an attitude that is comfortably opening to otherness and accepting another way of seeing and appreciating buildings and spaces. From my reading and understanding of Zumthor’s work, I suspect that Zumthor is not taking sides about form and content, but believes being through senses and feelings and prioritizing of occupant experiences, form and content can both be achieved. I believe Susan Sontag can agree with that. (Referring to “Against interpretation” where I learn and realize that form and content might not be contradictory). So can we be more accepting of formalism? Can we say formalism is becoming the new mainstream and way of introducing new ways of seeing architecture? Allowing much more richness and opportunities to occur? Perry Kulper is the one I would like to pair with Michael meredith, if purely based on visual representation techniques, they are hot and cold: Kulper is hot hosts who likes to gather a lot of “objects” to party on a drawing(mostly 2d recently moving to 3d modeling), whereas Meredith is more cool, the blues and purplish shadows to monotone and emphasis the light and shadows and the flattened perspective. But when further analysis of their work and listening to them talk, the temperature seems to be reversed. Meredith becomes the warm one even when he is talking about indifference, he is actually searching for multiple solutions to approach design questions, and he is looking at things with relation to other things(for example the carefully curated 44 low resolution houses in his project that he mentioned in conversation with Mark Foster Gage at the Cooper Union, video is available on youtube) - which is just as Kulper! Whereas Kulper seems including on the surface but when carefully examined, the objects are all carefully selected, and have particular relations to other things. Not all views would be able to understand what is the logic, frankly I think, but he knows when to stop putting ingredients into the soup to make the whole piece of work to consist of just the perfect amount of contents and flavors, while each individual contents has either homogeneous, or heterogeneous, or both qualities. Looking at Meredith(MOS), white models, material and construction, low resolution and all objects all equal, “dumb” forms, roughly made and put together. ( Here I also think that is a good comparison with Zago’s “rude forms” ,or “awkward posture”). But the sense of almost inability to look at things just by itself but have to situate objects(his designed houses, for example) within content and with a bunch of other things. Then through comparison and contradiction he could then learn and represent more about the relationship between all objects?(emphasis on relation? On the convention and the collection of homogenous/ collection of the heterogenous). Or could I also say, then the emphasis is actually placed on equaling the objects, homogenizing

the object so each of them becomes less heterogeneous, but more homogeneous? intrinsic quality of each individual thing?(emphasize on objects?) From studying MOS’s collections, the coldness in the indifference towards the whole individual(naming convention: house 1, house 2, etc), reveals how much he cares about technology, digital ai, social equality, then he becomes a more warm architect. Following this thinking thread, I think of Harman & Lavin: Do All Objects Matter Equally? I wonder how Meredith and Harman would talk about this topic, and I wonder if Kulper would tell us how he curates his objects, and how he would answer this question. I suspect that Zago would take a more accepting position towards this question of objects, and Kulper, to our surprise, might be more selective and more exclusive of objects. I also wonder how they all understand the homogeneous and heterogeneous qualities in their relational thinking and curations, and how they make decisions on which qualities to allure and which qualities to conceal. I have so much more thinking about my three above interests, but I am finding it overwhelming to organize and relate, because they are all so tightly and unexpectedly related. I am thinking that is the beauty and excitement of our discourse, and I am appreciative of the privilege to access, understand, question, and eventually participate in this vast discourse of wisdom.

References I mentioned are all course readings listed by Russell Thomsen 01/14/2021: °Ahmed, Sarah. Queer Phenomenology: Orientations, Objects, Others. (Duke, 2006). °Cohen, Preston Scott. Contested Symmetries. Laurence King (2001). °Eisenman, Peter. The Formal Basis of Architecture. (Lars Müller Publishers, 2006). °Eisenman, Peter. Post Functionalism. Oppositions 6 (IAUS/MIT Press, 1976) °Eskenazi, David. Very small or very large. Arch League, NY (2020). Interview with the Architecture League °Eskenazi, David. It Droops. See/Saw No. 2 (2020). See/Saw No. 2 °Frampton, Kenneth. Rappel à l’ordre, the Case for the Tectonic. (Princeton, 2011). °Gage, Mark Foster. Speculation vs. Indifference. Log 40 (Anyone Corporation, 2017). °Gannon, Todd, et al. The Object Turn: A Conversation. Log 33 (Anyone Corporation, 2015). °Kipnis, Jeffrey. I am for Tendencies. Log 28 (Anyone Corporation, 2013). °Kipnis, Jeffrey. The Cunning of Cosmetics. El Croquis (1984). °Kipnis, Jeffrey. Towards a New Architecture. AD 63 Folding in Architecture (1993). °Kulper, Perry. https://offramp.sciarc.edu/articles/the-precision-of-promiscuity °Kulper, Perry. A World Below. Drawing Architecture (John Wiley & Sons, 2013). °Kulper, Perry. Silver Parrots: Mischievous Characters and Feathered Aerialists. AD 88 (2018). °Holl, Steven, Pallasmaa, Juhani. Questions of Perception: Phenomenology of Architecture (William Stout, 2007). °Meredith, Michael. Indifference, Again. Log 39 (Anyone Corporation, 2017). °Sontag, Susan. Against Interpretation. (Picador, 2001). °Spina, Marcelo. https://offramp.sciarc.edu/articles/interview-with-marcelo-spina °Spina, Marcelo. Mute Icons. ACSA Journal (2015). °Young, Michael, et al. MMM: Multiple Resolutions. °Zaera-Polo, Alejandro. The Politics of the Envelope. Log 13/14 (Anyone Corporation, 2008). °Zago, Andrew. Awkward Position. Perspecta 42 (Yale/MIT Press, 2010). °Zumthor, Peter. A Way of Looking at Things. Videos °Andrew Zago: Three Projects and Notes (2020) (https://www.youtube.com/ watch?v=MYQExnb4udA) °Harman & Lavin: Do All Objects Matter Equally? (2020) (https://www.youtube.com/ watch?v=s-qd4So9mic) °Pier Vittorio Aureli: Can Architecture be Political? (2014) (https://www.youtube.com/ watch?v=8dd73Sd0xpU) °David Eskenazi: Architectural League Prize (2020) (https://archleague.org/article/ lp2020night2video/) °What is Architecture? (series): (https://www.whatisarchitecture.cc/) °Tom Wiscombe: Objects, Models, Worlds (2019) (https://www.youtube.com/ watch?v=y6bgCsZBwWU) °Discussions in Architecture: Peter Eisenman with PS Cohen (2013): https://www. youtube.com/watch?v=TiKQJCOxLt0 °MMM: Multiple Resolutions (2019) https://www.youtube.com/watch?v=Kn8SExRkcnE

Animation Screenshot - Concrete pouring

Design Development The Design Development project used the content of Design Studio, through professors' instruction, we group of six members finished the design of the structure, materials, MEP in design development phase. The final deliverable was a video that analyzed the rendering, structure selection, construction sequences, architecture details, MEP and misc. Leader/Animation: Guanyu Gerry Tao Architecture: Lana Yuan Modeling: Mike Huang Simulation: Yifan Li Environment/MEP: Damon Li MEP: Ji Cao Checkout the Design Development Video: https://vimeo.com/540040898 -2-

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Animation Screenshot - Column Beam Connector Detail

ETFE Super Structure

Structure Tree joint

Glazing Base Detail

A-A Section

ETFE + Glazing

Roof Planter Detail

Floor at Edge Detail

Structure Tree joint

1/8" = 1'-0"

Floors + Bubbles

ETFE Super Structure 1/4" = 1'-0"

A-A Section

3 6

Column-Ground Detail

Column-Beam Detail

Floor at Edge Detail

1/8" = 1'-0"

Roof Planter Detail 1/8" = 1'-0"

Steel Framing

A-A Section

Glazing Base Detail 1/8" = 1'-0"

Basement

Section

This project located in Vitra campus in German, serving as a office building. T h e b u i l d i n g h a s s t e e l f ra m i n g structure with ETFE envelope. In the eariler phase, we produced 2D detail drawings, which was guiding the 3D modeling and construction animation.

Project

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Column-Beam Detail

1/16" = 1'-0"

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Column Ground Detail 1/16" = 1'-0"

Animation Screenshot - Floor Edge Detail

Animation Screenshot - Roof Top Planter Detail

Animation Screenshot - Floor Edge Detail

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Animation Screenshot - ETFE Structure Detail

Solar Analysis

Fire Simulation

Animation Screenshots - Exterior Render

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Animation Screenshots - Interior Render

1. Lana Yuan (1994- ?) Line Drawing with grasshopper: rigged furniture dropped and freeze with grasshopper script and rhino. SCI-Arc 2gb. With Devyun Weiser and Andrea Cadioli 2. Lana Yuan (1994- ?) Line Drawing with grasshopper: rigged furniture dropped and freeze with grasshopper script and rhino. 28

29 Grasshopper, Rhino, Adobe Illustrator, photoshop

31 Grasshopper, Rhino, Adobe Illustrator, photoshop

33 Grasshopper, Rhino, Adobe Illustrator, photoshop

35 Grasshopper, Rhino, Adobe Illustrator, photoshop

1. Lana Yuan (1994- ?) Line Drawing with grasshopper: rigged furniture dropped and freeze with grasshopper script and rhino.

2. Lana Yuan (1994- ?) Line Drawing with grasshopper: rigged furniture dropped and freeze with grasshopper script and rhino.

SCI-Arc 2gb. With Devyun Weiser and Andrea Cadioli

Grasshopper, Rhino, Adobe Illustrator, photoshop

1. Lana Yuan (1994- ?) Line Drawing with grasshopper: rigged furniture dropped and freeze with grasshopper script and rhino.

2. Lana Yuan (1994- ?) Line Drawing with grasshopper: rigged furniture dropped and freeze with grasshopper script and rhino.

SCI-Arc 2gb. With Devyun Weiser and Andrea Cadioli

Grasshopper, Rhino, Adobe Illustrator, photoshop

Design studio with Gordon Kipping ArtCenter in New York City

Perspective in site

Sectional Perspective

Interior Render: Scene 1

Interior Render: Scene 2

A brief Investigation Genroku Scroll Paper Cover page imageabout credit... Lana Yuan November 29, 2020 Marrikka Trotter, Megan Meulmans

Ekphrasis Observations: Lana Yuan September 30, 2020, wk3 The image is telling a story of a scenario of a regular common day of life in an ancient traditional group of Asian residents in a residential house. It is visually narrating since it shows clips of story plots, it expresses a tranquil quality based on its color palette as well as its thin line weight and gentle line types. Sequential spatial observations below:

her dress. She could be a servant or mistress. The three of them is on top of a one floor stair. To the right of them there is a younger and more chubby women. She has shorter black hair, tied up in two braids on the upper side of her head. Her hands are reaching out or holding something from the wash basin. And she is kneeing down. She seems to be a servant too. There are a lot of white boxes behind her, 7 boxes to be exact. Tied up on the upper levels of the shelve behind the last servant. On the bottom layer of the stacked shelve behind the last servant. There are two stacks of brown paper. To the right of her there is a wall. The connection/circulation space:

A brief Investigation about Genroku Scroll Paper Lana Yuan November 29, 2020 Marrikka Trotter, Megan Meulmans Hishikawa Moronobu’s “A Paper-Making Workshop, from Craftsmen of Various Trade” c.1688-1704, is a typical Genroku era technical scroll drawing. In this essay of my investigation of the history of Japanese technical drawing, my research focuses on the production and the trade of the medium- the scroll paper. Overall about the scroll paper, of the Genroku era within the Edo period. Where are they produced? How are the papers being made? Who made them and what were the main purposes? What do people do with the paper? What are they used for? Where are they traded internationally and locally? What quality is evaluated and emphasized in the scroll paper when producing and crafting? More importantly, how are paper quality being influenced by and influenced the Japanese craftsmanship in the Genroku era Japan and internationally? The drawing is done on a long piece of brown paper. The paper does not feel shiny, it has no reflection or refraction, non glossy, strangely unlike smooth printing paper that could be easily found at stationary store these days, the paper seems unpolished, and rough with tiny textures, with a muted quality, despite being smooth and ink-absorbing overall. The frame of the whole drawing appears to be on the upper and lower outside of the light brown paper. When zoomed in, the paper has tiny light texture and wrinkles. Not tiny bumps like sandstone, but a lot like smooth limestone that is polished without wrinkles. From outside to inside, the visual hierarchy is very clear and logically well organized: The drawing shows a group of 7 craftsmen inside a house.

From outside to inside. The drawing is done on a long piece of brown paper. The paper does not feel shiny, is seems smooth. The frame of the whole drawing appears to be on the upper and lower outside of the brown paper. The drawing showing a group of 7 human inside a house. The house is divided into 2 rooms and it is covered by a thin roof made out of bamboo pieces. On the left hand side of the house is room right, there are 4 people in there. On the right hand side of the house is room left, there are 3 people inside. From left to right. In the room on the left, there are in total 4 person. There is a women in red, long black hair, folding towels. Last one towel to be folded, white towels, not sure what material, linen or canvas? To the right next to her is a man. Half way bold, black hair, drinking water or tea from a white cup. Cup is made out of ceramics? He is in a blue overall long traditional asian style overall. It is v-neck. The man sits in the room in a very relax posture and did not wear socks. To the upper right of the man. There is another woman in black long hair. Tied up. She is handing out the cup or waiting for the man to finished drinking and give her back the cup. She is wearing socks. She has one hand reaching out for the cup and her other hand holding her long white colored overall up. Her dress seems very old and broken, so there are patches on

The wall is also shared with the room on the right. In this room there is no furniture or furnishing. There is three people. A little girl on the left, a middle aged women in the middle and a man on the most right. The could be in a family or a group of friends or relatives. they looks like they are finishing off a project with panels. Window panel or door panel? There is 7 pieces of panel looking object. Four of them leaning on the wall. Two of them been held by a man and one of them being glued or taped on by the women in the middle. Three of them wearing not broken but plain cloths comparing to the group in their neighbor room. The man does not have socks on and the girl has socks on. The younger girl and the man are looking towards the middle at the women, while the women is focused on staring at the panel and glueing white piece of preprocessed paper on to the frame, to make the panel. Panel is supported by two basket, wooden, both laying on the floor. To evaluate the quality of the overall drawing, it seems very quiet, calming, has a story telling and narrating quality.

The house is divided into 2 rooms and it is covered by a thin roof made out of bamboo pieces. On the left hand side of the house is room right, there are 4 people in there. On the right hand side of the house is room left, there are 3 people inside. Visually, above implies a visual sequence with hierarchy, thus brings out a story-telling and narrating quality of the paper as the presentation medium. One might notice that the fiber texture of the paper is contributing to the atmospheric of the paper making story. I am paying special attention to the handle and quality of the scroll paper, how unique they are used as a medium of presentation. Unlike what we found in art stores today, it seems long and continuous, like a scroll. It is unclear why and how the both end of the paper is extending, and does not have a frame. The wrapping style of the paper makes the top and bottom edges protected, and only top and bottom edges protected instead of all four. According to Brooks and Khan Academy, it is called “Hōsho(奉书)”, the thick kind, made of natural fiber, with mulberry fiber the most common, blend in with mitsumata and gampi fibers, blended together with diluted thin glue mixture, pressed and air dried on wooden frames like the second room. Isn’t it fascinating that the paper making process is exactly like how it is described in the drawing? In this case the paper as a medium becomes a showcase product example of the paper making process that is being described in the drawing. It is like some kind of insider coded story-telling. Together like ceramic, textiles, woodblock prints, traditional Japanese arts make

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The two rooms that elent are nextaudandelia to each other imply a story telling narrating to the scroll.dolo Both the andre, the secabo. techniques molor spatial adit sequence quae sumque excomposition excest as make the story on paper convincing, but of course that is to the extreme care and Nequid es re dus coribus dolorio nsequi comnisque attention to the intricate details to thank. pores venihicabo. Nam essum corum excestibusae One might find it surprising but also satisfying when they arrive at their epiphany dolut offic tessiti onecatempe necea digenimint rerum at this point. That the Edo period, especially the Genroku era craftsmanship style, faceaque nonsed maximaio sendempor aut cares more about naturalism. For the artistsmoluptae and painters care more about producing work that issa getting much details realistic as possible, insteadte of making a ipsam, cus,ascone remand volores ercideroreic nonse total fuss about being 200 percent scientifically accurate to the perspective or the eum inright. pra dolenda volore, quamusda simpos eribus view point enihillaccum quoditae nim quatistiae mo endaeped Rather than calling it a perspective mistake, they have their own logical belief in que volesciis volorepudi dis es aut quis ut et fuga. Ut their one point perspective. Taking great influence from Chinese technical drawings, which has a completely different mechanical thanet theomni western am European acestrum doluptae odipid eosprocess alicilit fuga. perspective system. The Edo ukiyo-e ruikō (浮世绘类考) that Hishikawa Moronobu is Ut et eosa ipitio te nos aut laborrum es suntent profamous for creating is more similar as the Chinese perspectival drawings. reprat am eosandia quiam, ulloria simus non nobis This specific drawing happens to fall into this category of special logic as the other por recum rehende nonse mo quam re et molor sequo ukiyo-e. As we studied last semester from Marrikka Trotter’s lecture, traditional et ea sin nusdrawings et, inctectatia vent utandvolores asian perspectival are different from theomnimus, one we use today are more flat. cuptati orerit est, omniet et volorument enti dolorep use of natural materials and take places in daily life. Here, if one zooms in and looks close to high resolution, even the photographed copy cannot erase the layering to extremely thin yarn fiber textures and soft casted background patterns on the scroll paper. The way of craft explains the muted quality of scroll paper. 1 In the contrary, the textured and muted fibers compliments the craft and content so well like wine and cheese. How helpful the paper texture is in conveying the traditional atmosphere. That at the time is thought of as modern and revealing the mysteries of the paper-making factory.

A brief Investigation about Genroku Scroll Paper Lana Yuan November 29, 2020 Marrikka Trotter, Megan Meulmans

A western scholar or art critic like David Hockey, would very likely call it “not that good ‘’. He would very likely urge the viewer to use “reverse perspective” to read the Japanese scroll just like how he suggested in the “A Day on the grand canal with the Emperor of China” when he first encountered Chinese scrolls. In here the “pictorial surfaces’ ‘ 3 and the flattened perspective might have connection with paper in its quality, its making techniques, even the paper texture makes the foreground and background more burr and less special. In close reading of this scroll at the first place, the viewer notices how the hosting structure of the two rooms sort of disappears to the edges and fades away, the space seems flat like the chinese perspectival. There is no one clear vanishing point. In between the two rooms, there are no doors for the second room at all, although they are connected and one might think they must be connected. Also the front facade of the space gets cut off and taken away, making the scenes look like a sectional cut, or like a showroom. In Moronobu’s drawing, the scene of a paper making workshop is from a series of two scrolls, content is about the artisan’s 52 trading activity in the Edo time. In this full series there are a total of 52 artisans showcasing activities including brush making, dyer dying, street entertainers performing, sword polishers, sake makers and florists, etc. Moronobu’s specialty is that he pioneered the Ukiyo-e scroll paper painting and wood block prints. In this project, he takes up the theme of ‘scenes of craftsmen’ ( shokunin-zukushi ) in both paintings and illustrated books. His purpose is mainly focused on capturing and documenting the art activities, as clearly and as detail-orientated as possible. This explains why he takes away the front facade, and does not make any clear note on how to circulate from one room to the second room. In this case the architecture and space is the container and hosting structure of the activities, thus the edges of the space disappears and fades away. He is mainly documenting, thus he is observing big relationships as well as small details of people’s activities. It is not his first priority to make “architecture perspective drawing” anyways. This explains why he is more focused on the detail and story documentation, instead of getting the spatiality accuracy and perspective relationship completely correct. To make sense of the Moronobu’s style of brutally detailed drawing techniques, which described every moments of artisan while dissecting the front facade of architecture. Let us look at it in the Japanese Edo period social context. At the Moronobu’s time, “Seibutsu-ga (静物画)”(still life drawing) is a famous foundation drawing course content. This training system are more about capturing the shape and forms of geometries, the composition, the shadows made of very thin line hatches, intricate lineworks. Clearly the capturing the spatial relationship is not yet one of the biggest judgement criteria of the competition, there is not much sense of background and foreground like that of tonal drawing. At this time period, Japanese scroll drawing, just like the other type of traditional crafts, is more of a show off for the craftsmanship aspect of a drawing. It is deeply connected with Chinese ancient crafts and drawing in terms of methodologies. 4 In the case of Hishikawa Moronobu’s paint work as well as wood block print, he prioritizes line work much more than tonal drawing. That gives reasons of why he uses wood and thick scroll paper as medium. Because they both allows for clear and

thin details line work.

The Happy Life of the “Columes”

At this time social culture advocates the “style” 5 . “Social Elites” are recognized as “ga”(雅,could be translated as high-class, elegant nobles), which is contrasts as “zoku”(俗, could be translated as lower class or average daily people with no social class). 6 Examples of “ga” would be “oboshi”(大奉书) 7 , Utagawa school(an art school), wood-block prints by Utamaro 8 , Utagawa Kuniyoshi (歌川国芳)’s prints and drawing, or Collection-based literature. (poem) 9 . These are all linear instead of tonal. They commonly have a degree of flatness, with thin detailed line works, have a focus on people and story, fable, or theme. The architecture or space were never the main focus, they always are the hosting structure that fades or blends away to the edges. Early Edo technical drawings, woodblock printing and carving contents are more about landscapes, nature, everyday people activities. Hishikawa Moronobu being one of the most famous painters and influencers of ukiyo-e painters and print designers. His work of ukiyo-e is seen as the “successor to the yamato-e style”. “A Paper-Making Workshop, from Craftsmen of Various Trade” being one of the examples. Genroku ears being the later sub-period of the long-lived Eno period. It is the most flourishing period of time of the art and craft movement in Japan, where artisans and merchants communicating in the Tokyo area made possible the vibrant urban culture development in the city of Edo(Tokyo today) and Kyoto. It is being referred to today in most academic articles as Japan’s “Early modern” era, largely because it is trading activities of artisan works makes possible the international communication of Japanese art. Through “visual brokers” and “sermon exchange”, art trading activities existed in 1766 and after, of the Japanese scroll paper artwork. The existence of “visual brokers” and “sermon exchange”, allows the distribution of paper internationally. 10 International exchange then makes a big impact and contribution to the culture distribution in the Sirimono and paper material scrolls. 11 . Starting with distribution to Korea, trading activities were first placed through the embassy. Through this political advantage, cultural impact of the Japanese to Korean culture also accelerated the spread of paper scroll as material and as an art and craft style. 12 . This scroll, “A Paper-Making Workshop, from Craftsmen of Various Trade”, is one of the earliest work of Moronobu style, together with the most famous “Totoya Hokkei” (魚屋北渓), that are distributed to the west 13 . International trades of the scrolls, together with the Kan-ei screen, Ukito-e No.5 in 1964. (浮世绘艺术) 14 also made possible the appreciation of ancient asian cultural prints. Japanese drawing techniques, methods, were then soon learned by foreigners, adopted, thus helping distribution of scroll papers as culture and drawing medium 15 . Today until today, the japanese art school still have this kind of scroll paper, the craftsmanship and attentions to detail still is emphasis on art and crafts, through paper making, cooking, baking, sewing, knitting, origami folding of Japanese traditional paper, pattern drawing on the paper, wood block hatching. The full series of the artist’s technical drawing on scroll paper, as well as the woodblock printing are available through the British Museum website.

Bibliography 1. Brooks, Kit. “Something Rubbed: Medium, and Texture in Japanese Surimono, a dissertation by Kit Brooks.” http://nrs.harvard.edu/urn-3:HUL.InstRepos:40046397 . (April 2017) 2. Hickman, Money L. “Views of the Floating World.” MFA Bulletin 76 (1978): 4-33. Accessed November 3, 2020. http://www.jstor.org/stable/4171617 . 3. Toby, Ronald P. “Carnival of the Aliens. Korean Embassies in Edo-Period Art and Popular Culture.” Monumenta Nipponica 41, no. 4 (1986): 415-56. Accessed November 3, 2020. doi:10.2307/2384862. 4. Betty Y. Siffert. “”Hinagata Bon”: The Art Institute of Chicago Collection of Kimono Pattern Books.” Art Institute of Chicago Museum Studies 18, no. 1 (1992): 86-103. Accessed November 3, 2020. doi:10.2307/4101580. 5. Lane, Richard. “Ukiyo-E Paintings Abroad. A Review Article.” Monumenta Nipponica 23, no. 1/2 (1968): 190-207. Accessed November 3, 2020. doi:10.2307/2383113. 6. KhanAcademy. “ A brief history of the arts of Japan: the Edo period” ( https://www.khanacademy.org/humanities/art-asia/art-japan/japanese-art/a/abrief-history-of-the-a rts-of-japan-the-edo-period ) 7. JAANUS, an online dictionary of terms of Japanese arts and architecture. ( http://www.aisf.or.jp/%7Ejaanus/ ) 8. Nobuo Tsuji, translated by Nicole Coolidge Rousmaniere. “History of Art in Japan” Tokyo: University of Tokyo Press . (2019) 9. Richard Bowring, Peter Kornicki. “The Cambridge Encyclopedia of Japan” New York: Cambridge University Press . (1993) 10. David Hockey, “A Day on the grand canal with the Emperor of China” 11. Tanaka Maho, “Rethinking David Hockney’s ‘Reverse perspective’: The acceptance of Japanese art in the 1970s and 1980s”. Waseda University, Tokyo. ( http://www.bigakukai.jp/aesthetics_online/aesthetics_21/text21/text21_tanakamaho.pdf )

PTCC Woven Blankets 2019 Fall Los Anngeles, CA Academic

In this project I am looking at materials, their qualities, and ways they can be assembled(stacking, piling, weaving, etc), their potential and their constrains. I made a material: a woven part that can be piled, stacked, joined or interwoven into many parts. The quality of this woven material module is: soft, flexible, versatile, comes in matte surface finish. How does the weaving modules behaves as assemble parts? How they can be assembled? How they fold and form into a volume?

April 2020, Lana J.Yuan

Process

Axonomatric blocking of programms. Textured and contoured to represent different functions that each types of spaces serves: Transparent contoured boxes are exhibitions and info centers(informational; serving outside culture group ppl); Opened boxes are classrooms(educational; serving culture group ppl); Closed boxes are facilities and community office workers(functional; serving ppl).

Process

Axonomatric blocking of different programms that based on user types and function expactations: Clipping plane transition from top floor to bottom floor revealing textures and materials as well as functions. Colors in this diagram represents different functions and corresponding user groups. Two main masses groups are being simplified and clarified.

April 2020, Lana J.Yuan

Process

Above: Diagram of woven material modules and construction method of woven blankets.

PTCC Woven Blankets 2019 Fall Los Anngeles, CA Academic

Philippine Town Cultural Center(PTCC) is located in Los Angeles. It is known as its town blankets. Above: Top bird eye render of PTCC Blankets.

April 2020, Lana J.Yuan

Process

Ideas of how “blankets” get married on top of two main massing groups. Perspectives from different angles to help better understand, organize and refine final design.

Site Plan 1/32 2019 Fall Los Angeles, CA Individual Academic

April 2020, Lana J.Yuan

Floor Plan 1/32 2019 Fall Los Angeles, CA Individual Academic

April 2020, Lana J.Yuan

Pin up

Worm eye axonomitric of PTCC Blankets, zoom in on textures.

April 2020, Lana J.Yuan

Process

Front elevations of PTCC Blankets facades details.

Process

Continuing pursuing previous “woven module” study interest in looking at how a volume and a surface can be joined by multiple woven modules through one construction method in this project. The woven modules which are flexible, versatile, when flew along surfaces or geometries, materiality were challenged, thus bent into different shape and forms. This quality allows them to perform in two different ways: 1 stretched into protection(tucked in of stairs and ramps, as disguis also as way finding) or provide soft supports(drapped to floor from top facade).

April 2020, Lana J.Yuan

Lana Yuan (1994- ?) Images: Vray presepctive render. SCI-Arc 1ga. With Matthew Au

Pin up

Above: Front elevation render of PTCC Blankets.

April 2020, Lana J.Yuan

1. Lana Yuan (1994- ?) Line Drawing: SCI-Arc Bldg In A Cube Front Oblique with contour; Cneter line

SCI-Arc 1ga. With Matthew Au

2. Lana Yuan (1994- ?) Line Drawing: SCI-Arc Bldg In A Cube .

Plan Oblique without contour; Center line.

Design Studio practice: SCI-Arc Bldg In A Cube 2020 SPR Los Angeles, CA Academic Studio Scolari reading: Marrikka Trotter, Liz Hirsch 1gb Theory 2020 SPR Los Angeles, CA Academic Non-studio

In Scolari’s writing, he made traditional Chinese taste of aesthetics in architectural drawings into easterns taste of architectural drawing’s enemy. He also made oblique drawing to be renaissance perspectives’s competitor. Renaissance perspective was the most realistic system of representation, and was studied by the generations of scientists and mathematician. Whereas parallel oblique and atmospheric perspectives were methods invented by uneducated rural artists to create some art piece purely for the Son of Heaven’s visual pleasure. Purpose of creation of the two drawing techniques are drastically different, that’s why lead to different outcomes in different culture environments.

The use of parallel oblique was seen as dull and devoid of life, because it lacked of depth cue and primary view point. But in ancient China’s eyes western dark shadows are violent and with bad luck. A really skillfully dream perspective drawings that contains some tonal shadows that Ricci brought in to the Emporer, for his was probably like a can of soup that has a piece of pepper inside- he will not be able to eat any of the soup. As Scolari mentions in the end parallel projection is a sort of symbolic form, but again the realistic and naturalistic sense was never any emphasize for ancient Emporar, that was why sadly it never found fortune in Chinese painting before modern.

April 2020, Lana J.Yuan

1. Lana Yuan (1994- ?) Line Drawing: SCI-Arc Bldg In A Cube Right view

1. Lana Yuan (1994- ?) Line Drawing: SCI-Arc Bldg In A Cube Top looking down clipping plane.

SCI-Arc 1ga. With Matthew Au

2. Lana Yuan (1994- ?) Line Drawing: SCI-Arc Bldg In A Cube .

Top view.

Bottom looking up clipping plane.

Design Studio practice: SCI-Arc Bldg In A Cube 2020 SPR Los Angeles, CA

FInal pin up drawings. Purpose of creation of the two drawing techniques are drastically different, that’s why lead to different outcomes in different culture environments.

April 2020, Lana J.Yuan

1. Lana Yuan (1994- ?) Model: Resin casted 3d print model. SCI-Arc 1ga. With Kristy Balliet and Matthew Au 2. Lana Yuan (1994- ?) Render: Rhino and VRay recreated photoshooting scene.

Left: Cannon photo of resin casted 3d print model Below: line drawings, contours of knuckle cubes After: photoshop manipulation Right: Rhino Vrray recreat of scene. Project pocess: 1. 3d lines in space, formed into interlocking cubes, composition in rhino, contour line drawing of details and overall geometry; 2. Carefully picked one of the best composed knuckle(3*3”), 3d printed in prusa, dipped in resin dyed coating, clear coating and spray painted. Photographed in Cannon, image manipulated in Lightroom and photoshop; 3. Photography and post production in photoshop of actual knuckle model; 4. Scenes recreated in rhino, rendered with vray; 5. Final pin up results: One zoom in(13*19) details the behind the scenes, one zoom out(19*26) render revealing the whole setting.

Visual Representation: Lilttle knuckle

Included in this series or Visual Representation techniques: vr space drawing, photography, physical model making, representation line drawings, contour line tonal drawings, rhino model and vray recreation, illustrator and photoshop image post-production.

April 2020, Lana J.Yuan

1. Lana Yuan (1994- ?) Contour line Drawings: Rhino and Adobe Illustrator SCI-Arc 1ga. With Kristy Balliet and Matthew Au 2. Lana Yuan (1994- ?) Contour line Drawings: Spapatially composed and recreated cubes. VR, Rhino and Adobe Illustrator SCI-Arc 1ga.

Visual Representation: Lilttle knuckle

Line drawings, contours of knuckle cubes. left: photoshop manipulation Above: Rhino Vrray recreat of scene.

2. April 2020, Lana J.Yuan

1. Lana Yuan (1994- ?) Phhotography: Cannon EOS, Adobe Photoshop. SCI-Arc 1ga. With Kristy Balliet and Matthew Au 2. Lana Yuan (1994- ?) Photo montage: Adobe Photoshop SCI-Arc 1gaw.

2. Visual Representation: Lilttle knuckle

Cannon photo of resin casted 3d print model.

Visual Representation: Lilttle knuckle

Model Photoshop Documentation. Manipulated with Adobe Photoshop.

April 2020, Lana J.Yuan

Thoughts on Peter Eisenmen and his pedagogy: Lana Yuan. 2019 HT2100 Introduction to Contemporary Architecture Theory tutor: Erik Ghenoiu

Post-Modernism and Post Functionalism from Eisenman In Eisenman’s article, he claimed that post-functionalism is a term of absence, just like the claim that “we have entered the era of post-modernism” is absurd. The conversation asserts the oppositions of form and function, with step by step proofs. The historical background is in the time of modernism in architecture, when the field is questioning the next direction to go in architectural design. Eisenman’s writing is being part of the debate of function or form. In the beginning of the article, Eisenman compares “Architectetura Razionale” exhibition at Milan Triennale of 1973 and the “Ecole Des Beaux Arts” exhibition to high light their two contrasting directions for modern architecture: outmoded functionalism and obsessive formalism. He points out the two projects of and diagnoses of modern architecture: function or program; as well as form or type. 1 He then brings out “humanism” from the 500 years ago. Eisenman uses examples from Colin Rowe, of the French Parisian hotel and the English country house,2 to prove that humanist practice could be a dialect between type and function within pre-industrial time. However, the balance was disrupted after industrialization, and therefore produced a “form-follows-function formula”. Eisenman goes on and talks about functionalism, which sets his opinion apart from most of the other people at the time. Eisenman here says that “This neo-functionalist attitude with its idealization of technology, was invested with the same ethical positivism and aesthetic neutrality of the prewar polemic. However, the continued substitution of moral criteria for those of a more formal nature produced a situation which now can be seen to have created a functionalist predicament, precisely because the primary theoretical justification given to formal arrangements was a moral imperative that is no longer operative within contemporary experience.” He is very bold in making this statement, despite the fact that within the historical content, functionalism has a solid foundation and almost farthest influence, with loyal audience and practitioners. Immediately following the “displaced positivism” and “failure of humanism within a broader culture context” he brings up the ideal of “modernist sensibility”. He uses the two exhibitions again to proof that the problematic idea is not “functionalism per se”, it is more of the “modernist sensibility” to blame. 3 These are strong tones according to my opinion, but he has a point. Eisenman then quickly states that “the modernist sensibility” is because of the whole “new culture attitude” and that is because people are shifting away from humanism, and “theory or modernism” became abstraction, and it has to do with the new believe that “objects are seen as ideas independent of man”. 4 We are now towards the end of the conversation and it is now completely focusing on oppositions of form and function, for the “new theoretical base changes the humanist balance of form/function to a dialectical relationship within the evolution of form itself.” With this bring the high end of discussion of abandoning form and function by introducing the dialect into two tendencies. One being “presume architectural form to be transformation from some pre-existent geometric or platonic solid” also the humanist; while the other is “sees architectural form in a temporal, decomposition mode, as something simplified from some pre-existence set of non-specific spatial entities.” and when both tendencies put together, “began to define modern dialectic, the inherent nature of the object in and of itself and its capacity to be represented”, for they “begin to suggest that the theoretical assumptions of functionalism are in fact cultural rather than universal”. So in this last words, post functionalism does not and should not exist, for it limits us architects in coming up with and designing our own “label”. Eisenman, Peter. “Oppositions Reader” Page 9. Second 1. paragraph. “What is interesting is not the mutually exclusive character of

these two diagnoses and hence of their solutions, but rather the fact that both of these views enclose the very project of architecture within the same definition: one by which the terms continue to be function (or program) and form (or type)” 2. Eisenman, Peter. “Oppositions Reader” Page 9. Third paragraph. “In a comparison first suggested by Colin Rowe, of a Friench Parisian hotel and an English country house, both building from the early nineteenth century, one sees this opposition manifested in the interplay between a concern for expression of an ideal type and a concern for programmatic statement, although the concerns in each case are differently weighted. The French hotel displays rooms of an elaborate sequence and a spatial variety born of internal necessity, masked by a rigorous, well-proportioned external façade. The English country house has a formal internal arrangement of rooms which gives way to a picturesque external massing of elements. The former bows to program on the interior and type on the façade. The latter reverses these considerations.” 3. Eisenman, Peter. “Oppositions Reader” Page 10. Second to last paragraph. “For functionalism, no matter what its pretense, continued the idealist ambition of creating architecture as a kind of ethically constituted form-giving. But because it clothed this idealist ambition in the radically stripped forms of technological production, it has seemed to represent a break with the pre-industrial past. But in fact, functionalism is really no more than a late phase of humanism, rather than an alternative to it. And in this sense, it cannot continue to be taken as a direct manifestation of that which has been called “the modernist sensibility.” Eisenman, Peter. “Oppositions Reader” Page 11. Second to last paragraph. “Modernism, as a 4. sensibility based on the fundamental displacement of man, represents what Michel Foucault would specify as a new episteme. Deriving from a non-humanistic attitude towards the relationship of an individual to his physical environment, it breaks with the historical past, both with the ways of viewing man as subject and, as we have said, the ethical positivism of form and function” and he therefore proofed that “it cannot be related to functionalism.” A Closer Look at Pinerba Condominium from Peter Eisenmen

In his lecture in Brown University in 2018, Eisenman talked about things that he is really proud being the building has a special site in Milan and it is important for his design to go along with the tripartite Milanese housing typology. In order to balance this typology with Eisenman’s material proposal and his “abstraction” concept, he is using the simplified function as his suggestions. He says that “Milan has a layered look.”, and later in his design it shows the layers though clever use of three different materials. On top of that it provides a solution of this problems of balancing clients needs, program needs and urban context need. The south tip of the structure incorporates a historic building, it blends in with the travertine. Eisenman, later, in his climax of his writing proves that humanist practice, despite its potential to be a dialect between type and function within pre-industrial time before the balance got disrupted after industrialization, are still worth looking at. In this Piazza Erba project, the concept including its typology and program are efficient, it serves its people, it stays connection with its urban context. He stated in the last page of his writing that “Modernism, as a sensibility based on the fundamental displacement of man, represents what michel foucault would specify as a new epitome”, that breaks from the individual to his physical environment and its historical past, and thus it cannot be related to functionalism. On the project website it states that this is another “architecture of resistance”. Just like Eisenman’s writing “Oppositions Reader”, opposed the overly obsessions of “outmoded functionalism” and “obsessive formalism”, correctly interprets the humanism(occupants and context needs), and defined a modern dialect, “the inherent nature the object in and of itself and its capacity to be represented”.

In Peter Eisenman’s article “Culture Reader” (Eisenman, Peter. “Oppositions Reader”), he claimed that post-functionalism is a term of absence, just like how he does not believe in the claim that “we have entered the era of post-modernism”. The conversation is a statement piece of Pieter Eisenmen’s work during modernism time, for it strongly asserts the oppositions of obsessive form and function, with arguments about humanism, functionalism and formalism. At the time of this essay, the architecture field is questioning the next direction to go in architectural design, but he points out that overly obsess with form and function is a failed statement and is closing doors on architects’ own future opportunities. In the time of modernism, while others are agreeing with the old philosophy, Eisenman’s writing is one of the few that jumped out and questioned that part of the debate of function or form. I respect him a lot as a designer that maintains a clear gaze, an open mind and knows to continue making progress on architectural philosophies. After closely read his paper I want to analyze his architectural design project “Pinerba Condominium”(will refer it as Piazza Erba project), how his projects follow through his writing as well as how his writing echoes his design practice. The Piazza Erba project is a realization in its attempt to combine and interset two of the genealogies: abstraction and phenomena. (“Abstraction here refers to any aspect of architecture which is embedded in a syntactic structure, while phenomena is grounded in the material presence of the architectural object. “)In first sentence statement one can already understand that this is a project with ambitions and daring for it is not scared of being criticized and discussed. Going along with Eisenman’s theory in “Oppositions Reader”, I would say concept of this housing project for Piazza Erba in Milano is successful in “Oppositions Reader”’s viewpoint because it demonstrates a new typology. The concept claims that its abstraction is from the outer shell form while its phenomena is from the combination of material used(roman travertine, metal case, Carrara marble serves as syntatrual indications of a three part milanese typology). During the whole project concept statement, throughout the design details, the form is not being overly obsessed, or overly stressed. It was barely mentioned and covered with “abstraction” and that is it. It fits the internal functional requirements of the “tripartite Milanese housing typology” but it is not overly obsessed with its functions. In his writing Eisenman high lights the two contrasting directions for modern architecture: outmoded functionalism and obsessive formalism, which he strongly against opon, at the beginning of the article. “Function of program, as well as form or type” are the diagnoses of modern architecture.

Works Cited 1. K, Hays, Michael. A Journal for Ideas and Criticism in Architecture. New York: Princeton Architectual Press, 1973-1984. Print. Eisenmen, Peter. “Oppositions Reader” Page 9 -12. 2. https://eisenmanarchitects.com/Pinerba-Condominium-2019 3. https://www.architecturalrecord.com/articles/14282-residenze-carlo-erba-by-eisenman-architects-and-degli-esposti-architetti April 2020, Lana J.Yuan

Philips Exeter Academy Library: Facade Intervention Proposal Presentation of proposal for Exeter Library

Group work: Lana Yuan , Megan Keith, Tianze Lee

GroupI am Project by Li, Megan Keith, and Lana Yuan responsible for Tianze the rhino model, line drawing andMaterials animation work. AS3100 and Tectonics 1GA, SCI-Arc, Instructor: Pavel December 2, 2019

Removal of load-bearing brick facade Steel beams and columns to support existing slabs Curtain wall glazing with aluminum rods attached to steel beams and columns Stainless steel mesh layer with operable louvers Regulation of heat transfer Regulation of UV rays to protects books Ability to regulate sunlight/UV through stainless steel mesh louvers Ability to control temperature with automation of stainless steel mesh louvers Energy efficient Aesthetically brings building into 21st century

30 Existing Slab

Steel Beam Steel Column Glazing with Hollow Aluminum Framing Hollow Aluminum Framing for Mesh Stainles Steel Mesh Stainless Steel Mesh Operable Louvers

Elevation with existing facade on left and proposed facade on right

Stainless Steel Mesh Louvers

Hollow Aluminum Framing

Glazing

Aluminum Window Framing

Axonometric Rendering

Steel Columns

Steel Beams

Section Detail

Existing Slab

April 2020, Lana J.Yuan

Perspective image: VRay render, Rhino modeled.

STUFFY ALIENS BATHHOUSE

Spring 2020 1GB DS Margaret Gririffin

Stutuffed Alien Bathhouse 2020 SPR Los Angeles, CA Academic

Instead of a crisp and loud material quality, exterior facade of Monster bathhouse has a soft and puffy puff first impression which would be unexpected of a monster theme, to contrast interior massy mass graphic language. The resulting unified big baggy monster concept has an animated characteristics. Inside it the unworldly bathing experiences that are inspired by sensory therapeutic and constantly influx quality of water. The resulting unified big baggy monster concept has an animated characteristics. Inside it the unworldly bathing experiences that are inspired by sensory therapeutic and constantly influx

April 2020, Lana J.Yuan

Above: Vray on Rhino Perspective render

Stutuffed Alien Bathhouse 2020 SPR Los Angeles, CA Academic

Stuffed alien bathhouse has a part-hard part-soft quality. Located in the heart of tenderloin district of sfo, between crosswalk of 903 Oferrall and Polk, it has a monumental quality among sfo bathhouses. Instead of a crisp and loud material quality, exterior facade of Monster bathhouse has a soft and puffy puff first impression which would be unexpected of a monster theme, to contrast interior massy mass graphic language.

The resulting unified big baggy monster concept has an animated characteristics. Inside it the unworldly bathing experiences that are inspired by sensory therapeutic and constantly influx quality of water. The resulting unified big baggy monster concept has an animated characteristics. Inside it the unworldly bathing experiences that are inspired by sensory therapeutic and constantly influx

April 2020, Lana J.Yuan

Sofotware: Rhino6, Grasshopper All images done by Lana Yuan.

1. Lana Yuan (1994- ?) Diagram: Grasshopper Profiles made by Constrcutred curves. SCI-Arc 1gb. With Maragret Griffin and Matthew Au 2. Lana Yuan (1994- ?) Diagram: Grasshopper Profiles made by Constrcutred curves. SCI-Arc 1gb.

36 This is a discussion about profiles from constrcuted curves, grasshopper and digital parametic manipulation of forms, boolean add and subtract geometries. Stuffed alien bathhouse has a part-hard part-soft quality. Located in the heart of tenderloin district of sfo, between crosswalk of 903 Oferrall and Polk, it has a monumental quality among sfo bathhouses. Concept formed out of booleaned added and subtracted geometries, extruded w constructed curves and profiles. Then through another series of Boolean operations and another to carefully look at and study unexpected spaces within unique space within another space, in order to create unworldly bathing experiences. Instead of a crisp and loud material quality, exterior facade of Monster bathhouse has a soft and puffy puff first impression which would be unexpected of a monster theme, to contrast interior massy mass graphic language. The resulting unified big baggy monster concept has an animated characteristics. Inside it the unworldly bathing experiences that are inspired by sensory therapeutic and constantly influx quality of water. Studio work done with Profrofessor Maargaret Griffin from SCI-Arc at 1gb Year1 of Master of Architecture. Digital software with mentors from Professor Matthew Au. 1.

2. April 2020, Lana J.Yuan

Lana Yuan (1994- ?) Axon Poche: Boolean concept 1. Boolean Mass V. 1: Rhino Boolean Union 2. Boolean Void V. 1: Rhino Boolean Difference 3. Boolean Mass V. 2: Rhino Boolean Union 4. Boolean Void V. 2: Rhino Boolean Difference

1. Lana Yuan (1994- ?) Site plan, background image screengrabbed from google maps.

SCI-Arc 1gb. With Margaret Griffin

SCI-Arc 1gb. With Maragret Griffin and Matthew Au 2. Lana Yuan (1994- ?) Poche Diagram: Axon exploded to show parts. Final conceptual result.

2. April 2020, Lana J.Yuan

Below images: Varariations of different boolean union and boolean difference results combination.

Below images: Varariations of different boolean Surface texture and materials..

Process to Concept

Massy mass and puffy puffs.

April 2020, Lana J.Yuan

Lana Yuan (1994- ?) Rhino Screengrabs: Concept to details. 1. Cut Poche V. 1 study 2. Cut Poche V. 2 study 3. Cut Poche V. 3 study 4. Cut Poche V. 1 study with mass and interior 5. Cut Poche V. 2 study with mass and interior 6. Cut Poche V. 3 study with mass and interior SCI-Arc 1gb. With Margaret Griffin

Operations Clipping plane sectional cuts. Purpose is to study interior section as a deisgn tool. Lookooing and comparing drawings and renders.

April 2020, Lana J.Yuan

Image: Back elevation render. Modeled with Rhino 6 rendered with VRay.

April 2020, Lana J.Yuan

Image: Seecond level floor plan. Done by adobe Illustrator.

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Floor plan trying to convey part soft part hard quality while storytelling how visitors navitage through spaces.

April 2020, Lana J.Yuan

Image: First floor grand entrance plan. Done by adobe Illustrator.

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Floor plan trying to convey part soft part hard quality while storytelling how visitors navitage through spaces.

April 2020, Lana J.Yuan

Image: Third floor vvrooftop plan. Done by adobe Illustrator.

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Floor plan trying to convey part soft part hard quality while storytelling how visitors navitage through spaces.

April 2020, Lana J.Yuan

Image: North facing first long sectional cut drawing. Done by Adobe Illustrator.

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Sectional drawings are very important tools to figure out and showcase the interior experiences and spatial arrangements of imagined spaces.

April 2020, Lana J.Yuan

Image: North facing second long sectional cut drawing. Done by Adobe Illustrator.

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Sectional drawings are very important tools to figure out and showcase the interior experiences and spatial arrangements of imagined spaces.

April 2020, Lana J.Yuan

Process

In this project I wanted to explore the spatial possibilities and potentials of 2d sheet materials within a bounded constrain. The challenging of this project was make (limited) 4 sheets of bristol papers spatially engaging, breathing, stretching, pulling, interacting while occupying the framework constructed of metal studs. Under concentrated light, shadow reflection of objects was expected to form interchangeable solid and void with complex levels of reflectivity. By investigating the juxtaposition of the physical objects with its projected image through sketches and photographs, I concluded the project by capturing

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Perspective shots from multiple views reveals the experiences looking at and being in the bath house.

April 2020, Lana J.Yuan

1. Lana Yuan (1994- ?) Line Drawing with grasshopper: constrcuted letter.

3. Lana Yuan (1994- ?) Line Drawing with grasshopper: reduced letter.

SCI-Arc 1gb. With Anna nna Neimark and Matthew Au

2. Lana Yuan (1994- ?) Line Drawing with grasshopper: constrcuted letter folded.

4. Lana Yuan (1994- ?) Line Drawing with grasshopper: reduced letter folded.

Grasshopper, Rhino, Adobe Illustrator

1GB Vistual studies project is to work with rhino vray grasshopper in discusstion of constrcuted grid, transformed grid, transformed object, and how architectural objects get trasnferred through rigid means of measurement. Project pocess: 1. Constructed grid in rhino with grasshopper;

2. Construct letters based on circles as measurements for curves and grid lines for straight lines. 3. Constrcuted folded grid; With grasshopper, project letter on grid then results in folded letter. 4. Reduce constructed letter and folded letter preserving important characteristic features. 5. Folded reduced letter.

i 1

1 a

i 9

c c

c 8

8 c

c c

i 9

a b

April 2020, Lana J.Yuan

1. Lana Yuan (1994- ?) Line Drawing with grasshopper: constrcuted grid folded.

3. Lana Yuan (1994- ?) Line Drawing with grasshopper: combined letter form front view.

SCI-Arc 1gb. With Anna nna Neimark and Matthew Au

2. Lana Yuan (1994- ?) Line Drawing with grasshopper: Two folded grid set up axonomtric view.

4. Lana Yuan (1994- ?) Line Drawing with grasshopper: combined letter form front view.

Grasshopper, Rhino, Adobe Illustrator

Project pocess: 6. Make another set of constrcuted letter and reduced letter folded with grasshopper. 3. Set up two transformed grid in rhino with grasshopper plugin. 3. With Grasshopper, extrude abstracted letters and get intersecting part of volume. 4. Front view and perspective side view. Take away: This approach creates flexible and unexpacted spaces, that have animated characteristic. This is the same approach to designing volume(space) used in Design Studio work “Sttuffed Alien Bathhouse“.

Visual Representation: Letter Form

April 2020, Lana J.Yuan

HT2101_SP2020_Weekly reading response_Lana_Yuan HT2101 Theory_ SP 2020 Lana Yuan. 2020 Marrikka Trotter, Liz Hirsch

HT2101_SP2020_Weekly reading response_Lana_Yuan HT2101 Theory_ SP 2020 Week #2: Panofsky Lana Yuan Marrikka Trotter, Liz Hirsch

The aesthetic and mathematic debate in art and architecture has always been as frequent as the debate in aesthetic and function in design. In this article most of the discussions focus on perspective drawing and evolution of the method of making the perspective. I am surprised to see that a lot of mathematician started and contributed to the drawing system. Debate ends with saying: “‘aesthetic space’ and ‘theoretical space’ recast perceptual space in the guise of one and the same sensation: in one case that sensation is visually symbolized, in the other it appears in logical form.“ But from previous paragraphs author seems to emphasize the construction of the space, then it is not a given space that is aesthetically appealing or needs to be aesthetics.

HT2101 Theory_ SP 2020 Week #4: Neimark, Atwood Lana Yuan Marrikka Trotter, Liz Hirsch

HT2101 Theory_ SP 2020 Week #5: Scheerbart, Mertins Benjamin Lana Yuan Marrikka Trotter, Liz Hirsch

Neimark and Atwood’s writing, different than Kostof’s writing, introduced a rather modern produce method of axonometric. It is more simple but not less academic.

Benjamin offered a helpful advice and critical eyes on us new generations in looking at Scheerbart’s utopian idealism of glass architecture.

Spiritual awakening always have ancestor-like value in the architecture field, readers got reminded of this in Kostof’s reading. But in Neimark and Atwood’s book they try to screen the meaning out, this way we can all use a much simpler and critical eyes to look at architectural drawing. I think what they put on the table is worth not less the discussions, just like mountains and whales.

page 57 and “no.9 - projected apertures from the bounding diamond, and we we were wrong, ,promptly admitted it. “. I agree and respect this a lot, especially in the context of looking for new way to draw, and to design, and to produce, this attitude is admirable. In drawing method, the use of grid are from history, they still used the grid even when they turned drawing into diamond bounding box. I found myself learning a lot from there too.

This questions and technical solution of turning three dimensional spaces to two dimensional, seems to be the forever topic and central idea of this article. When author proves that “in a sense perspective transforms psychophysiologic space into mathematical space. “ he states one method of looking and making the perspective. When he use the “window” analogy, describing how the perspective is changing a canvas into a space with depth and more spatial possibilities, he states and uses another method of looking and making the perspectives, and another meaning of the perspective drawing in academic architecture world.

HT2101 Theory_ SP 2020 Week #5: Scheerbart, Mertins Benjamin Lana Yuan Marrikka Trotter, Liz Hirsch

We looked at the science behind and output of perspective drawings and the photography distortion of the perspectives in this articles, and they all proves that perspective drawings are important to architecture for its accuracy at the beginning, but more of its aesthetics and representation purpose towards more modern.

Benjamin offered a helpful advice and critical eyes on us new generations in looking at Scheerbart’s utopian idealism of glass architecture.

The use of pace guido hauck’s drawing, (which is reproduced as figure 3), proofed that perspective drawings towards the later are more used as a mean of representation techniques instead of really all for the accuracy as the mathematician pursuit of perspective drawing making. For otherwise “Strictly speaking, even the verticals would have to submit to some bending”, but it was never drawn as bend. On page 36, “on perspectiva artificialis developed in the mean time that tried to provide a serviceable method for constructing images on two dimensional surfaces, it is saying that it is only possible when it is abandoning the angle axiom but that would not be accurate anymore. “ author uses another example to proof the same point, that perspective as more for representation of an (architectural or artistic or design) idea, because strict accurate perspective never exists and is impossible to make, just like how “a sphere obviously cannot be unrolled on a surface”.

Scheerbart’s writing is like a scientists who is excited at his new inventions, his giving introductions about his excited invention. He is also like a product designer who is giving formal instructions on how the later architects in the field should work with glass as a material. Scheerbart’s writing is inspiring just like utopia, despite “glass architecture” was an overwhelming proposal or overly unrealistic ideal. Benjamin’s writing offered a much calm and more practical way to look at Scheerbart’s “glass manual”. He is also from much later in the timeline in architecture. At this point people had already gotten over the “new intervention” and “utopian dream” of glass material-ed architecture. At the end of Benjamin’s comments he calls Scheerbart a ”poet” and a “priest” which charactered Scheerbart of an unrealistic and romanticism poet. I think it is a very proper description and offered a very unique reading of Schceerbart.

Scheerbart’s writing is inspiring just like utopia, despite “glass architecture” was an overwhelming proposal or overly unrealistic ideal. Benjamin’s writing offered a much calm and more practical way to look at Scheerbart’s “glass manual”. He is also from much later in the timeline in architecture. At this point people had already gotten over the “new intervention” and “utopian dream” of glass material-ed architecture. At the end of Benjamin’s comments he calls Scheerbart a ”poet” and a “priest” which charactered Scheerbart of an unrealistic and romanticism poet. I think it is a very proper description and offered a very unique reading of Schceerbart. I think the relation of these two paired reading is about how we look at “traditional” and “new” architecture and how they compliment and argue with each other. Just like if we analyze new micro scaled architecture with Gothic religious architectural elements, we found that new are always inspired by the old; old(Gothic) never dies and will always have some marks and essences left in the new(micro). In terms of writing style I like Bucher a little better, not only because he inserted more images that makes it much easier and convincing to believe, but also because he also pin points the details and exact points of example like the “three tower reliquary removed from the top cathedral type represented by the shrines of st taurine and of novellas”(82, Butcher). Kipnis on the other hand is more advocating style, “towards new architecture” sounds more like a speech that is trying to advocate and reflect on current. Kipnis is less practical and detailed, this makes him less convincing than Bucher. I am glad they are complimening each other instead of competing. Nonetheless Kipnis did named names like Gehry, Hadid, Libeskind’s chamher works in Germany etc, but he is less specific to exactly which point in that architecture was good or not good (because of new or not new). But I did enjoyed reading both, I feel especially inspired and motivated to create after feeling Kipnis’s spirit from the reading.

I think it makes him sound more convincing when he mentions the Sceno -graphia on Vitruvius ten books of architecture, and Aristotle who finally with a basically quite unmethematical transfer of qualitative categories to the realm of the quantitative, attributed six dimensions. These not only make author sound more convincing but makes this paper more academically packed. It was a hard reading with a lot of googles and notes, but I enjoyed reading and learning from it.

April 2020, Lana J.Yuan

Lana Yuan 507, 300 S. Santa Fe Ave, Los Angeles 90014 c: 401-612-3187 e: jyuan@alumni.risd.com

April 2020, Lana J.Yuan