Mentor_pl2621_worksample

Graduate + Undergraduate

作品集

WORKS Po-Han Lin

目次 Contents 1 9

Undergraduate Zen House Ink Gallery

15 23 29

Graduate Cabinet of Lost and, Sometimes, Found Pier: Drawing the Skyline Library as Endless Space (cont.)

37

Fine Art

Zen House

B.A. in Architectural Studies, Spring 2015 The courtyard house has been a long tradition in Taiwanese architectural history; its rectangular typographical organization infers the philosophical feng shui (geomancy) of “天圓地方”, which translates to “orbicular sky and rectangular earth.” This concept came from the understanding of the universe through the Gaitian Theory (蓋天說), or the Theory of Canopy-Heavans, where the earth is supposedly square like the chess board while the sky covers the earth in a circular form. The resulting image looks somewhat like a circumscribed circle of a square.

In the early stages of developing the form of the house, both architecture and landscape design was taken into consideration as I believe there should be no distinction between living and surrounding. The internal designs of gardening for the courtyard resonate with the form of the theory, a reflective pool that delineates the earth, yet at the same time is surrounded by earth.

In Zen Buddhist Philosophy, mind and the universe are interconnected. When one reaches Śūnyatā (空性)–or openness, emptiness–he is free of an independent and substantial self; he immerses in the realms of the universe and is free of physical constraints. Within the Zen house, I wish its occupants find a connection to the deeper soul. It is a journey in search of the Self.

1

Site plan of the trapezoid location. Space is divided in to House and Garden.

2

Sketches of the view towards the courtyard from the garage.

Staircase detail, exploring the variation between staircase height and experience of compressed vs expanding space and light.

3

Exploded Axon revealing the form of the building, composed primiarly of the juxtaposition of rectilinear forms and circular ones.

4

East Elevation showing material of building: Concrete, Steel, Glass.

North Elevation showing material of courtyard house as both garden, living and strolling.

5

Roof

2F

GL

6

7

Sectional perspective showing the various activities within the house, with particular emphasis on the cave as the meditation zen space.

8

Ink Pavilion B.A. in Architectural Studies, Spring 2015

The Ink Pavilion is a combined calligraphy workspace and exhibition gallery that follows a plan expressesing the form of “enso”, a single stroke circle that captures the energy, or essence, of its master.

Sitting on a lake at the Fens Park in Boston, the center of the space, the studio, is isolated from the gallery and only visible space that is above water level, as seen in the plan. The rest of the gallery space is beneath the water, becoming the “ink” of the enso.

The philosophy of a circle is also strongly expressed in the plan; the interior negative space, symbolizing the paradoxical nothingness and wholeness at the same time, serves as the calligrapher’s studio space--a meditative state of mind. The outer rim of the studio, the gallery, captures the flow of the brush, as represented by the engagement of people walking around the pavilion.

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Site plan: Located on the lake at Fens in Boston, Massachusetts, the project bridges the two edges of the park.

10

Plan of the project showing the circular ramp of the gallery space. Drawings are located on both sides of the wall.

Model displaying materiality and light in the space: red oak wood cladding on walls against concrete floors.

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Perspective of the model documenting the experience o fthe space, generated by different roof material choices: bamboo, clear pc, and fabric.

12

Sketch of the interior studio space: a spiral staircase leads down to the central drawing room, enclosed by a endulating bamboo columns.

13

Section of the studio space and gallery space. Poche in this project is represented primarily as horizontal lines to explore the porosity of vision

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Cabinet of Lost and, Sometimes, Found M.Arch 1, Fall 2016 Located on the north-east corner of the intersection between Avenue A and 14th street, the project began as an exploration of the architectural drawing type: section. Examining sectional poche drawings of early castles and the section-driven designs of the contemporary architect Aires Mateus, the understanding of poche as a way to inhabit the IN developed.

What does it mean to inhabit the IN? What does it mean to be within walls instead of the space created by the enclosure of walls? What does it mean to be lost in poche?

With these interests in mind, the concept of niche came to mind. No longer a mere crease or a crevice on the wall or, architecturally, a hollowed space to hold decorative sculptures and statues, the niche in the project becomes the carving-in of spaces by lost objects, people, program, and light. Constantly entering, exiting, re-entering and re-exiting various niches in the project, men and object find themselves equally lost and, perhaps, found at times. The “wall” in front is merely an illusion—it is at essence, a space carved out from a greater volume of wall.

Extending from the underground, the subway level, to ground level, and then to above ground level, the rectilinear volume of the project is carved to form staircases, light wells and, ultimately, the cabinet. Becoming voluntary prisoners of poche, we are lost in the struggle to only rediscover ourselves. The project title—inspired by 18th century cabinet of curiosities—is Cabinet of Lost and, Sometimes, Found; for that you don't always find what you lost. Welcome.

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Concrete models of the project showing “carving out� of volumes as a way of designing through sectional poche.

Detail of Cabinet space and the niches on the walls at varying scales.

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Avenue A

14th Street

Site Map showing intervention of the project, on the in-between space between side walk and park.

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Underground

Ground

Roof

Underground, Ground and Roof plans showing connection to the underground and ground levels.

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DIagram showing the ways in which the “IN” is inhabited.

19

Collage showing the project in its site, operating on the green space of a community housing.

20

Cross section showing the interaction within the space: A lightwell is also a dumbwaiter carrying the objects to the sacred cabinet.

21

Section Perspective looking within the cabinet. Niche is a condition carved out by people, objects, light and interaction.

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Pier:Drawing the Skyline M.Arch 1, Fall 2016 Visualizing the project as a panorama, influenced by the East River’s vantage point of being in-between Manhattan and Brooklyn and its capacity to provide the skyline of both. Particularly interested in Robert Barker’s panoramic drawing of Edinburgh, the project seeks to re-introduce the New York skyline by granting a view of the skyline once drawn by architects and visionaries, a complete different universe.

Compiling a total of nine unbuilt projects conceived in New York, ranging from Buckminster Fuller’s Dome Over Manhattan to Paul Rudolph’s City Corridor to Charles Rollinson Lamb’s Streets High in the Air, the visitors, the city’s wanderers, are invited to enter the world of the drawn, or imagined, skyline, finding themselvles within at times.

Each “project” is recreated through an anamorphic illusion, where there is only a single point the project is “realized.” Through this process, the visitors witness the project in three different stages as they progress a singular ramp. As they first approach, a set of abstract geometries greet them. As they walk towards the vantage point, the geometries form the shape of the project over the skyline beyond, creating an illusion and, in an instant, bring them into the multiverse where the project “is”. Finally, as they walk pass, the project is deconstructed once again, returning to its stage of abstraction, signaling the return to our current universe.

At the destination of the ramp, a pie-shaped platform expands into the water, acting as a space to digest the reinterpreted skyline. Oriented towards a strip of Brooklyn less frequently imagined in the past, visitors of the pier are invited to begin drawing their own imagination of an unbuilt skyline of their own, perhaps in their heads, perhaps on the walls. Always remember: it can always happen.

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4.

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3.

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1.

9.

6.

8.

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New York Map documenting the location of nine unbuilt projects surrounding the site.

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Site plan of the city and its surrounding proximity.

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Section Axon showing the pier as an extension from the city to the water.

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Brooklyn Linear City, 1967

Welfare Island, 1961

Mcmillan, Griffis, and Mileto

Victor Gruen

Skyrise for Harlem, 1965

R. Buckminster Fuller, Shoji Sadao and June Jordan

Skyscraper Bridges, 1925 Raymond Hood

Dodger’s Dome, 1955

Norman Bel Geddes and R. Buckminster Fuller

From top left to right,Welfare Island (1961), Brooklyn Linear City (1967), Skyrise for Harlem (1965), Skyscraper Bridges (1925), Dodger’s Dome (1955)

27

Streets High in the Air, Undated Charles Rollinson Lamb

Hyperboloid, 1956

City Corridor, 1967

I.M. Pei

Paul Rudolph

Dome Over Manhattan, 1961 R. Buckminster Fuller

From top left to right: Hyperboloid (1956), Streets in the Air (Undated), City Corridor (1967), Dome Over Manhaattan (1961)

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Library as Endless Space (cont.)

M.Arch 1, Spring 2017. Project in Progress.

Library as endless space or, the endless library.

In his short story The Library of Bable, Borges conceived a library of the universe, a vast container of hexagonal rooms, each connected to another and each holding a collection of 410-page books written solely in twenty-five orthographic symbols—including the comma , period and space. Of course, however, we are not designing a library which volume resembles to that of the universe. The endless library is a response to the status quo of the 21th century library, acknowledging the threshold on which the library stands: the present. Ever since the beginning of the digital age, with each new invention—e-books, videos, images—a bookshelf is removed. As the desire of public collectivity grows, infesting libraries with new programs, a room of books disappears. The endless library, treating the past as an in-between space that structures the future, presents a spatial condition in which the future does not invade the past.

Through the gradation from blocks to planes, the library is considered horizontally, albeit its transformation not linear. Between each solid are voids that serve as collective spaces hosting new programs in constant motion, spaces of the future. As this rhythm of solid to void, interior to exterior and past to future repeats itself, the library elevates to become endless. Whether it is moving from an archive to a carrel, or meandering through shelves to reach the auditorium, the spatial transitions in the library are constant reminders of an experience that, hopefully, engenders the realization that any possible future is rooted in the past. After all, what is the endless library, but the library of the present.

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BOND ST. + FULTON WEST

DEKALB AVE. + FULTON EAST

FULTON WEST + BOND ST.

Site Analysis showing the one point perspective as a series of planes overlapping, and endless.

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DEKALB AVE.

A

B

FU

LTO N

ST.

GL5

Ground Level plan distinguishing the space of the past and future as served and servant spaces.

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10

25

DEKALB AVE.

A

B

FU

LTO N

ST.

2F 5

10

25

Second level plan showing catwalks that browse the content of the space.

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5F

4F 3F

2F

GL

A5

10

25

5F

4F 3F

2F 5F

GL

4F 3F

2F

GL

B5

10

25

Cross Section (above) and Long Section (below).

B5

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10

25

Block : Cafe : Auditorium

Ramp : Slow Circulation

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Stairs : Vertical Circulation : Fast Route

Stacks : Archives : Collections

Parti Wall : Structural Wall : Mechanical

Plane : Partition

Diagram of the transition from plane to block, as seen in the plane-perspective analysis and how these spaces can be used.

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The method of morphology in which the form of the design is generated, as a series of plane ultimately intersecting at the site.

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Model Photo: the opening reveal the endless experience of the design.

Plan view. Solid as occupied space and clear acrylic as circulation.

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“Male Portrait.” 18x24,Vine Charcoal on paper. 2014.

“Skeletal Anatomical Study.” 18x24, Graphite on paper. 2014.

“Skull Anatomical Study” 18x24, Graphite on paper. 2014.

“Equus Ferus Caballu Muscle Anatomical Study and Still Life.” 19x26, Graphite,Vine Charcoal and White Chalk on paper. 2015.

Master of Architecture (M.Arch 1) Columbia University, GSAPP 2016 - Present pl2621@columbia.edu Address: 235 West, 109th Street, Apt. 5A, New York, NY 10025