Lin, Yinong _Schoolfolio

Yinong Lin林伊侬 作品集Portfolio

2020 加入设计与艺术史字幕组并参与翻译艺术建筑类讲座多部 与另一位合伙人创建 anarchive 微信公众号 2019 于澳大利亚墨尔本大学获取建筑学硕士学位 在过去的两学期于墨尔本大学任职设计基础课导师 墨尔本 Fringe 戏剧节/墨尔本国际艺术节志愿者 胶片拍摄，商业摄影，并自己冲洗照片 2018 在Alan Pert教授和Scott Woods老师的指导下 进行了独立毕业设计并进入Bates Smart奖候选名单 独立制作茶几作品《弓桌》展出于墨尔本 Fringe 家具展并卖出 墨尔本 Fringe 戏剧节志愿者 第一学期去荷兰代尔夫特大学交换 2017 独立制作3.5米长装置《泳池》于学校展出并获奖 与另外四名队友和一个机械臂拍摄4分钟短片《融合》 2016 于澳大利亚悉尼大学获取建筑设计学士学位 独立制作4米高装置《沃尔什湾装置》于场地展出并荣登封面

熟练使用软件 Rhinoceros; Photoshop; Illustrator; InDesign; 熟练使用制作工艺与材料 激光切割; 3D打印; CNC切割; 石膏; 陶瓷; 软钎焊; 木工坊; 金工坊; 丝网印刷;

Project 1

13个天使守望者 13 Angel Catchers, 2019

John Hejduk; Architectural surrealism; Poetry; Venice; Bachelor machines; Angels

拥有自恋情结的房子 Narcissistic

Project 2 House, 2019

Domesticity; Paranoia; Jacque Lacan; Life style living; Everyday drama

Project 3 Pool, 2017

泳池 The Swimming

Architectural uncanny; Sigmund Freud; The abject; The corporeal

融合

Project 4 Mergence, 2017 (group)

Promenade ; Cross cutting; Notation; Robotic arm

弓桌 Bow

Project 5 Table, 2017

Western beech; Polyester cord; Nickel plated screw eyes; Tempered glass

游乐场 The

Project 6 Playground, 2016

Jean Baudrillard; White cube; Pompidou

末站 The

Project 7 Terminal, 2016

Dystopia; Concentration camp; Sharks; Lobsters

排房改造158 West Street Crows

Project 8 Nest, 2016

Plans; Sections; Elevations; Site analysis; Shadow studies

1994 十一月出生，现居北京，性别女 E: yinongmumu@163.com M: +86 13699109743 W: heythereannie

沃尔什湾装置 Installation on Walsh

Project 9 Bay, 2015

Aluminium sheets; Timber battens; Steel; Sun; Breeze

一个失调的机器 除了张力什么都不生产 卡夫卡的文字里的幻象 不在迷雾和梦境 而在最清醒的现实里 最可怕的迷宫 是没有牛头人的迷宫 圣马可广场的的钟声 只能用心底倾听 解剖台上雨伞 和缝纫机的偶然相遇 标志着爱情与死亡 《十三个天使守望者》 探究诗与建筑之间的平行 一场威尼斯式的随想

Project 1

13个天使守望者 13 Angel Catchers 海杜克;超现实主义;诗歌;威尼斯;单身汉机器;天使

John Hejduk; Architectural surrealism; Poetry; Venice; Bachelor machines; Angels

The project is a three-

dimensional reading of

Venice, the13-line poem written by John Hejduk.

Long wait; From blackness; To the blue; Anticipation; Of dawn; Morning breeze; Through; Dark windows; Chalk white; Waters; Frozen moss; Voices; Bird and man, now recomposed

and reinterpreted with a series of urban realities experienced and reimagined.

Like the capriccio paintings of Canaletto, each angel

catcher bears a picturesque element of Venice, and turns into a dysfunctional machine, a ritual, a tragic personal fragile truthtelling. That split second at dawn is now elongated into a long slow process of decay of the angel catchers.

13 Angel Catchers

Project 1

房子不等于家 房子是家在镜中的反射 房子是人渴望家的产物 家是房子的中心 家是房子中心 那个想要被填满的空缺 家不断地在房子中找回自己 但家从一开始就是只是空缺 根本无从谈起丢失 自恋情结 是家对房子发起的进攻 是一个当代的家 对自己进行的自我湮灭 《拥有自恋情结的房子》 是一种当代的生活图景 是我们对家的爱与怕

Project 2

拥有自恋情结的房子 Narcissistic House 家庭生活;妄想症;拉康;格调;日常抓马

Domesticity; Paranoia; Jacque Lacan; Life style living; Everyday drama

According to Lacan’s theory of paranoia, a case of motiveless crime is proposed.

Aimee, an unknown female admirer who attacked an actress at the exit of a theatre.

When questioned by the police, the admirer justified her attack by falsely claiming that the actress persecuted her.

This project is designing a type of contemporary domesticity through the lens of such crime, around three attacks in the mirroring between the actress and Aimee, namely House and Home.

The symbolic attack: Home attacks house in the most blunt and cruel manner by turning the inside out, outside in. The only thing connecting me and the person I dine with is the deep void we would share.

The imagined attack: Home claims being persecuted by the house. As we live through the screen of our phones, “world has shrunk down its size to this window” of which, we do not dwell on either side. We are simply detached from our direct environment.

The concrete attack: Home is sanctioned by its own undoing. Eventually what we perceive as home is returned to chaos, leaving only traces and effect. Home has accomplished the self-annihilation, and finally un-homed.

The narcissistic house proposes a contemporary domesticity that completes its violent act by the attempt to constitute a home, and its users are forever caught in between house and home, in and out, phobia of lack and emptiness, the permanence of wanting. The artefact is an epitome of such narcissistic crime, capturing the dialectical relationship of inside and outside, framing and being framed, comfort and discomfort, mass production and domesticated nature, irreducible sameness and wanting for lifestyle, silence and perpetual crisis, all being there, interlocking and self-absorbing.

Narcissistic House

Project 2

当特蕾莎站在镜子前 看着自己的身体 感到极其陌生 陌生然而又无庸置疑的是 这是只属于她一人的身体 所以说特蕾莎和她的身体 是什么关系呢？ 身体有资格被叫做特蕾莎吗？ 如果没有 那这个名字指的又是谁呢？ 是虚无缥缈的东西吗？ 弗洛伊德所说的诡异感 来自于那个消失很久 却突然出现了的东西 比如一个闹鬼的房子 是最熟悉又突然陌生的 被压抑又重新释放的记忆 《泳池》表现了书中描绘的 特蕾莎无法逃离的梦境 是她最恐惧的场景 一群身体同她一模一样的女人 唱着一样的歌 做着一样的动作 不停地围绕着泳池前行 这个场景外化了她的自我意识 分离了意识和身体 却模糊了自我与他人

Project 3

泳池 The Swimming Pool 诡异感;弗洛伊德;自我排斥;肉体

Architectural uncanny; Sigmund Freud; The abject; The corporeal

“The return of the body into an architecture that had repressed its conscious presence that would account for our sense of disquiet.”

- Anthony Vidler, The Architectural Uncanny This project is an architectural reinterpretation of a literature reference from Milan Kundera’s book the Unbearable Lightness of Being. It depicts Tereza’s quintessential image of horror: a group of naked women marching around a swimming pool in formation. All bodies are as identical as concentration camp uniformity.

The repetition and indifference of the corporeal body has triggered Tereza’s selfconsciousness. The maternal bond that she constantly tries to thrust aside is now returned. The line is crossed, between the Self and the Other. Memories and fantasies are intruded by the foreign bodies, the identical pure forms of house, the most familiar, conventional and banal, yet very much strange and unwelcoming.

The artefact is rendered unreal in order to provoke a subjective gaze. The audience enters the space by looking, reading and searching.

The Swimming Pool

Project 3

一个四分钟的短片 来展现一场校园音乐节的一天 是以视听语言表现建筑的尝试

Axonometric 1:1.5 Camera Trajectory

除了设计空间 人的活动和场地氛围 还设计了光影 配乐 拍摄视角 分镜头

Start point of trajectory S

Static Footages Camera Orientation

t

5 Z: 500

4t Z: 980

Transition Dropping

3

Z: 820

1 Z: 530.0 2 Z: 700

影片中四条并行的时间线 空间中活动的五个区域 相互交融组成了一场音乐节

6

7 Z: 980

Z: 530.0

时间空间与事件 视觉与听觉的融合 组成了一场建筑的漫步

17t

x: 0.0 y: 0.0 z: 0.0

Z: 980

Z: 199.20

Entrance

20t Z: 980

Z: 775

Z: 820

10 Z: 775.2

22c Z: 775

Z: 500

Project 4 融合（小组）

14t

9s Z: 980

8s 21c

20s

Mergence

Z: 775

19 Z: 820

12s

建筑漫步;平行剪辑;乐谱;机械臂

16

Promenade ; Cross cutting; Notation; Robotic arm 23c Z: 775 13 Z: 820

Mergence is a film project

that proposes a new pavilion for Shimmerlands, a two-month festival of music, film and dining at Melbourne University’s Concrete Lawn.

The 4-minute film synthesises sequential programmatic events into a prototype of one day such that these events unfold together in harmony.

We developed this film

sequence through using notation as a generative tool and paralleled that into the trajectory of cameras. Cross cut as filming technique is used to show storylines occurring simultaneously but in different locations which eventually merge into a resolution.

18

11

15s

Z: 510

24

Phase 2

Phase 3 25s

15s

34

15s

26s

26

35

36

32

28s 27s

31s

15s

29

30

Mergence

Z: 510

33

Project 4

《弓桌》是一个匠人属性的 茶几设计 基本没有实际用途 刚刚好能承载自重 可以说是 脱离了功利主义的低级趣味 而承载了很大的艺术价值 我曾自费搬去一个艺术节参展 标价950澳元 是我作为一个设计师的 匠心和时间 后来展览结束了 桌子也没卖出去 考虑到自己也是在外漂泊 没法给它一个归宿 就在朋友圈里出手了 以两块蛋糕成交

Project 5

弓桌 Bow Table 榉木; 聚酯纤维绳;螺丝眼;钢化玻璃

Western beech; Polyester cord; Nickel plated screw eyes; Tempered glass

This Bow Table has come

through a series of difficult experiments on structure, material and fabrication techniques. I have first discovered the tensegritystructure when playing with bamboo and decided to transform that into a coffee table.

Behind the traditional carpentry look, digital modelling and fabrication techniques were largely utilised for precise calculation and making props and scaffolds.

Bow Table

Project 5

游乐场不是一个剧场 游乐场不是一个画廊 游乐场不是一个公园 游乐场不是一个教堂 游乐场倾其所有不生产文化 游乐场仅仅一个交叉路口 朝向各个方向开放 鲍德里亚曾批判 蓬皮杜中心是文化的黑洞 是消费品主义的丰碑 是大众买卖文化的市场 是文化的葬礼和 一场集体性的悼念狂欢 他说建筑和站在建筑面前的人 应当是游戏和吸引的关系 而要做到游戏和吸引的方法论 便是缺席 游乐场所提供的 便是这种缺席

office

water

Project 6

游乐场 The Playground

exhibition

鲍德里亚;白盒子;反蓬皮杜

Jean Baudrillard; White cube; Anti-Pompidou

Culture is a site of the secret, of seduction, of initiation, of a restrained and highly ritualised symbolic exchange. - Jean Baudrillard, Simulacra and Simulation The playground is intended to produce nothing, or the cultural real, in response to Jean Baudrillard’s critique upon the Pompidou Centre. Theatre, art and museums have now become democratised and made fashionable. Reasons are abandoned and meanings have vanished. Therefore, this project is proposed to challenge the idea of whether producing culture is possible at all, since production is for consumers and antithetical to culture according to Baudrillard.

Located just in between the busiest area of Sydney CBD and the vastly open Domain, the Playground is a non-gallery that exhibits life itself, a non-theatre with a neverending show, a concrete non-garden for just staying, walking and talking, a nonmonument that celebrate the everyday life. It is intentionally un-programmed, but carefully staged for unexpected confrontation and engagement among the passers.

The street is altered into the architecture, it has become an intersection of the urban dramas. Now everyone is a performer, as everyone is too, an audience, the truly “We are in what we see, We are what we see.”

The Playground

Project 6

这个作品提出了一个新的叙事 在一个反乌托邦的世界里 死刑犯们被圈养 被消费 被食用 建筑如一个不停运转的绞肉机 满足着好人们的需求 维持着社会的秩序 这是一个犯人们和好人们 都无法逃离的叙事 末站是生命的终点 也是人性的终点

Project 7

Elevations with contexts

末站 The Terminal 歹托帮;集中营;鲨鱼;龙虾

Dystopia; Concentration camp; Sharks; Lobsters

The Terminal proposes

a type of narrative architecture that combines two randomly allocated programs, which in this case: a death row and an organic butcher shop.

Once someone gets into its cell, death is readily designed. During daytime, the butcher shop opens.

Customers come in as a nude fashion show will be put on stage, in the bright and flashy light coming from the atrium. The killing and dismembering happens in the lower part of the building, Bodies will be dissected right on the riverbank, so at night the tide goes up for a metre to clean up the area. In between is the living space, constantly surrounded by fear for death and wanting for a closure.

The Terminal

Project 7

West Stree

109 Burlington Street

排房是悉尼和墨尔本 在十九世纪人口爆发时期 诞生的特色建筑 多为宽四米的狭长户型 挤成一排 故名排房

HIGH RIDGE RL +89.210 ROOF RL +88.900

这个改造目的在 保留其历史价值的同时 尽量解决采光问题 并增加使用面积

ROOF RL +87.800 n. RC

W9 - BASIX

ex. RT

n. corrugated galvanised iron

ROOF RL +86.400 n. corrugated galvanised iron n. RC

n. RC

n. T

n. T

图纸是严格遵循了 当地政府要求的颜色编码 并且满足改造申请标准

n. RC ex. FB

GROUND FLOOR FFL +83.200

BURLINGTON STREET

160 WEST STREET

Name: Yinong Lin SID: 440064017

Issue: 16/09/2016 12/10/2016

B 158 WEST STREET CROWS NEST for BDES 3025 W8 - BASIX

780

W7 - BASIX

SOUTH ELEVATION new

5300

3330

200

100

2590 34850

200

finished floor level

existing

RL

relative level

timber

TF

timber flooring

RC

reinforced concrete

W

window

soft landscape

1400

200

158 WEST STREET CROWS NEST for BDES 3025 10030

3000

Name: Yinong Lin SID: 440064017

156 WEST STREET

DA DRAWING A32 1:100 @ A3

WEST STREET

2810

2810

W3 - BASIX

5135

3000

W2 - BASIX

100

3175 3685

W1 - BASIX

W6

n.

FFL

FFL +83.200 ex.

boundary

existing

BED

finished floor level

demolished

new

ex.

FFL +83.200 ex.

existing

200

n.

BED

ex.

W5

350 350 350 350 CORRIDOR

B

boundary

FFL +83.200 ex.

relative level

100

BATH

FFL +83.200 ex.

FFL

RL 83.350 RL 83.300 RL 83.250 RL 83.200

5300

LAUNDRY

timber flooring

200

2700

FFL +83.200 n. RC

RL

W4

glazing metal

KITCHEN

RL +83.100

demolished

COURTYARD

FFL +83.200 n. TF

TF

RL +83.400 n. T

concrete

LIVING

DINING

timber

window

window

COURTYARD reinforced concrete

W

reinforced concrete

RC

RC

timber flooring

W

soft landscape

relative level

TF

soft landscape

STORAGE/STUDIO

FFL +83.200 n. RC

RL

concrete

timber

A

glazing

1000

LONG SECTION

existing FFL +83.000 n. RC FFL finished floor level

demolished existing

VERANDA

metal

A

new

ex.

existing

DA DRAWING A21 1:100 @ A3

n.

boundary

Issue: 12/10/2016

排房改造 158 West Street Crows Nest 平面;剖面;立面;场地分析;影子分析

Plans; Sections; Elevations; Site analysis; Shadow studies

These development application (DA) drawings

concrete glazing

FFL +83.200

FFL +83.200 n. RC

FFL +83.200 ex.

BED

FFL +83.200 ex.

BED

W3 - BASIX

CORRIDOR FFL +83.200 n. RC

FFL +83.200 n. RC

FFL +83.200 n. TF

LIVING,DINING

W8 - BASIX

BATH, LAUNDRY, KITCHEN

W2 - BASIX

GROUND FLOOR PLAN 158 WEST STREET CROWS NEST for BDES 3025

DA DRAWING A11 1:100 @ A3

Name: Yinong Lin SID: 440064017

Issue: 16/09/2016 12/10/2016

FFL +86.100 FCL +85.900

metal

W7

W6

W65

STORAGE/STUDIO

glazed sliding doors

W4 - BASIX

FFL +86.100 n. RC

BED WITH ENSUITE FCL +88.700

FCL +87.600 timber frame glazing panels

158 West Street Crows Nest

Project 8

are alterations and additions to an existing Victorian terrace house.

This renovation is to improve natural lighting and increasing floor space.

The main strategy is to break the long, thin rectangle into three smaller boxes and two courtyards will be inserted in between. A second storey is added in order to achieve enough floor space and meet the site coverage requirement, while the east façade, two bedrooms, bathroom and chimney will still be well preserved.

Project 8

为悉尼的沃尔什湾 设计的艺术装置 是一个丰碑 一个捕捉阳光的仪器 介于沉重于轻盈之间 介于宏大于渺小之间 介于永恒于转瞬即逝之间 在一个温暖的上午 以坚定又几乎谦卑姿态 在港口的一个夹角的位置 捕捉那一缕阳光 又融化在空气里

Project 9

沃尔什湾装置 Installation on Walsh Bay 铝板;松木;钢结构;阳光;微风

Aluminium sheets; Pine wood; Steel bar; Sun; Breeze

In year 2, I took a paper

model to class telling my tutor that this would be a 3-metre tall structure, secretly hoping my tutor would reject it and suggest something else.

Unfortunately, instead of saying no, my tutor recommended me a steel workshop, a timber supplier and a warehouse where I can get aluminium sheets.

“It could be a bit expensive.” he said, “around 200. Is it going to be a problem?”

“Definitely going to be a problem” I answered. Then he said “Come on! I had spent 3000 on a project.

I just don’t eat for two weeks.” So this got made.

It bears the most significant meaning, marking the watershed of my creative life on throwing away money. It costs about 800 AUD, which now turns out to be the 7th most expensive model I have ever made.

Installation on Walsh Bay

Project 9