Selected Works 2018

PO-HAN (BRIAN) LIN Selected Works 2015-2018 M. Arch 1 Candidate Columbia University, GSAPP

DEFINING LINES 1

‘Elsewhere is a negative mirror. The traveler recognizes the little that is his, discovering the much he has not had and will never have.’ -Italo Calvino

PO-HAN LIN M.Arch 1 Candidate, 2016 - 2019 Columbia University, GSAPP Contact: pl2621@columbia.edu

CONTENT 4 22 38 50 56 62 66

Graduate Park for All Eight Worlds The Endless Library Pier: Drawing the Skyline Cabinet of Lost and, Sometimes, Found Four Screens Greenpoint Flex Theater Undergraduate Zen House Ink Pavilion Other Fine Arts Resume

PARK FOR ALL M.ARCH 1, COLUMBIA UNIVERSITY GSAPP, SPRING 2018 COLLABORATOR: WO WU INSTRUCTOR: NAHYUN HWANG

The park as campus and community spine

The project began with the interpretation that aging, whether it be that of people or of society, is a process, and not a state. Looking into the Metabolists of the 1950s as an understated influence, we are interested primarily in the flexibility of housing in this flux of aging, namely the capacity of addition and subtraction, or upsizing and downsizing.

Considering these factors as the essence of the design, we began with the “part”—the unit. Inspired by the typical row house unit, a typology capable of variation through one direction, its length, our units operate on a structural grid of 5meters by 5 meters, or 16’ - 5” by 16’ - 5”, where one dimension is always fixed to an axis as the other expands or contracts. Thus, each unit—the micro (5x5), the studio (5x10), the one bed-room (5x15), and the two bed room (5x20)—is formed by one or more of the three smaller standard units, which we consider as the bare necessities of a house: the core unit, with a kitchen and bathroom, the clock unit, with a pivoting flexible wall, and the zero unit, with programmable open space.

Then, as we turn to the whole, the grid of the unit—the structure—extends from the unit scale to the whole site. Within this system, we divided the site, a mega block of lost scale, with a nine square grid, forming, at the scale of a larger “part”, eight blocks, with one block void in the center, each connecting the site to its context, each at a unique location and orientation. On the other hand, at the whole scale, the nine square grid is a microcosmic view of the site, consisting of nine blocks, with our site in the center. The morphology here naturally led to the idea of a courtyard, containing eight different worlds, eight parts, with the central courtyard uniting the eight to create the ninth world—the whole.

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Concept Collage: The bridging of small businesses in Chinatown as a network

Concept Model: Sara D. Roosevelt Park and the small businesses of Chinatown reimagined as a campus.

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POST-DISASTER EDUCATION Playground: Outside-In

Temporary Housing

Elementary School

PLAYGROUND-FOR-ALL in Minamisouma

Sports Club: Inside-Out

2011 Tōhoku Tsunami: HOME-FOR-ALL On March 11, 2011, a magnitude-9 earthquake shook northeastern Japan, unleashing a tsunami. With more than 120,000 buildings destroyed and 15,000 people hurt, Japan is still recovering even now. The “HOME-FOR-ALL” project was initiated by a group of seven architects, including Toyo Ito, Kazuyo Sejima, Riken Yamamoto. These community houses are built in areas of temporary housing to support the regeneration of communities with flexible programming such as play spaces for children, bases to rebuild the agriculture and fishing industry and community areas.

PARK-FOR-ALL in Kamaishi Temporary Housing Sport Field

Three classrooms as One Room

Thai Temple

Hospital

Existing Schools

Bann Huay San Yaw School in Ching Rai

2014 Mae Lao Earthquake: Rebuilding Nine Schools The Mae Leo Earthquake on May 4, 2014, registering 6.3 on the Ritcher scale, rocked Chiang Rai, a province in Northern Thailand. While the casulaties and damage were fortunately minor, nine schools were destroyed and hundreds of children displaced without space for education. In response, as showcased in the Thailand Pavilion of the 2016 Venice Bienelle exhibition “The Class of 6.3 : Rebuilding Nine Schools”, nine architects were called in emergency to develop nine prototypes for earthquake resistant and immediate elementary schools.

Classrooms + Veranda Space: Continuity

Children Dormitory

Existing Schools

Baan Nong Bua School in Ching Rai

Three classrooms: Formal/Informal Temporary Housing

2013 Typhoon Haiyan: Active School Project The typhoon, one of the strongest tropical cyclones ever recorded, devastated the Philippines and portions of Southeast Asia from November 3 to 11, 2013. The typhoon brought attention to the ClassAct foundation, whose chief designer Aya Maceda, then a GSAPP faculty, sought to design a prototype school that utilizes local construction and advanced engineering. The proposed school focuses on flexibility, with on and off hours available to benefiaciaries and vocational programs.

Make-shift Classrooms

Active School Prototype

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HIDDEN CAMPUSES

A.

BROADWAY EDUCATION CAMPUS

D.

BROADWAY T U A S RICHARD R.GREEN O B F Y WCAMPUS HIGH SCHOOL OF TEACHING EDUCATION

BROADWAY EDUCATION CAMPUS

HE

RBAN

F

USINESS

SSEMBLY OR

BROADWAY EDUCATION CAMPUS

THE URBAN ASSEMBLY SCHOOL OF BUSINESS FOR YOUNG WOMEN

CHOOL

OUNG

OMEN

B. THE URBAN ASSEMBLY SCHOOL

THE URBAN ASSEMBLY SCHOOL OF BUSINESS FOR YOUNG WOMEN

C.

RICHARD R.GREEN HIGH SCHOOL OF TEACHING

Flexible walls as pinup/gallery/reception space

RICHARD R.GREEN HIGH SCHOOL OF TEACHING

OF BUSINESS FOR YOUNG WOMEN

BROADWAY EDUCATION CAMPUS

BROADWAY EDUCATION CAMPUS

THE URBAN ASSEMBLY SCHOOL OF BUSINESS FOR YOUNG WOMEN

RICHARD R.GREEN HIGH SCHOOL OF TEACHING

BROADWAY EDUCATION CAMPUS

THE URBAN ASSEMBLY SCHOOL OF BUSINESS FOR YOUNG WOMEN

RICHARD R.GREEN HIGH SCHOOL OF TEACHING

RICHARD R.GREEN HIGH SCHOOL OF TEACHING THE URBAN ASSEMBLY SCHOOL RICHARD R.GREEN OF BUSINESS FOR YOUNG WOMEN HIGH SCHOOL OF TEACHING

Cornell AAP NYC Studio

C. B. A.

D.

Mechanical courtyard readapted as gym

1924 26 Broadway, Standard Oil Building Commercial

The Standard Oil Building, first built in 1885 and then redesigned completely by Thomas Hastings from 1921-1928, contains, beyond its law firms and business associates offices, a variety of schools. On the ground floor to its seventh floor, the building is home to what is called the “Broadway Education Campus”, a campus consisting of three public schools of the NYSCA: the Richard R. Green High School of Teaching (1-3), the Urban Assembly School of Business for Young Women (45) and the Lower Manhattan Community Middle School (67). Above, the New York Film Academy’s new location opened in 2014, with an entire floor dedicated to the school at 45,000 square feet. Adjacent, the Collective School of Music is also in the building. On the top floor, Cornell University’s AAP NYC studio uses the entire 20th floor of about 11,000 square feet for its art and architecture students who come here for a one semester exchange.

Cultural Informational

Richard R. Green High School The Urban Assembly School of Business for Young Women Lower Manhattan Community Middle School

Broadway Education Campus

A.

D. Leaking/Connected learning space

B.

E.

C.

F.

A.

B.

Knugenx Learning Center

D. C.

F.

E.

Individual desks for calligraphy

Multiple Locations, Chinatown Cram Schools The terminology “cram school” is used to describe private institutions to meet particular goals--normally for entrance examinations of highschools or universities--by simply “craming”. The Chinese version of it, also known as Buke, similar to its Korean equivalent Hagwon or the Japanese schools called Juku, thrives as a hidden educational network in Manhattan’s Chinatown. From driving schools and language schools to SAT prep schools and special skills training schools, these individual educational nodes, hidden in Chinatown’s diverse and low-rise cityscape, are a catalyst of the neighborhood’s student population.

Considering places such as Kung-Fu Tea (beverage shop), internet cafes, public libraries or art galleries as functionally similar to the typical campus’ dining halls, libraries and study centers, the network of cram schools can be considered as a campus with its schools utilizing the existing fabric as locations of intersection and encounter.

Mencius Society of Calligraphy Commercial

Maximum occupancy

Cultural Informational

Academy of Literary Circles

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From bottom to top: School of Entrepreneurship School of Construction and Applied Technology School of Urban Agriculture School of Culinary Arts 8

From bottom to top: School of Nursing School of Cosmetology School of Urban Manufacture School of Urban Pedagogy 9

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Plan: The School of Entrepreneurship, connecting to the adjacent school complex, transforms the second floor of the school as a shared space, acting as a catalyst and at the same time a bridge to the park.

0

10 5

20

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Section Axon: School of Entrepreneurship as a bridge connecting to the second floor of the adjacent school, a complex of two ESL high schools and one ESL middle school. The ground floor preserves the recreational programs at the same time adding new gathering spaces.

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14

0

10 5

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Plan: School of Urban Agriculture as an experimental bed exploring the capacities of various farming methods.

The school becomes part of a park experience as one ascends from the subway station, paving to a vast greenery.

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Section Axon: School of Culinary Arts (left), School of Urban Agriculture (right) and School of Construction and Applied Technology (right) showing the underground connected to the park.

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1

0

2

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Section Axon: School of Urban Manufacture (down) and School of Urban Pedagogy (up), with open space at cross-road intersection and diverse programs .

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Collage: View of waiting room of School of Nursing.

Collage: View of School of Urban Pedagogy with New Museum Idea City festival.

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Collage: View of skate park and School of Cosmetology

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EIGHT WORLDS:

A MICRO URBAN AN ARCHIPELAGO OF HOUSES

M.ARCH 1, COLUMBIA UNIVERSITY GSAPP, FALL 2017 COLLABORATOR: KUAN HE INSTRUCTOR: ADAM FRAMPTON (ONLY-IF)

Eight Worlds: A Micro Urban, an Archipelago of Houses

The project began with the interpretation that aging, whether it be that of people or of society, is a process, and not a state. Looking into the Metabolists of the 1950s as an understated influence, we are interested primarily in the flexibility of housing in this flux of aging, namely the capacity of addition and subtraction, or upsizing and downsizing.

Considering these factors as the essence of the design, we began with the “part”—the unit. Inspired by the typical row house unit, a typology capable of variation through one direction, its length, our units operate on a structural grid of 5meters by 5 meters, or 16’ - 5” by 16’ - 5”, where one dimension is always fixed to an axis as the other expands or contracts. Thus, each unit—the micro (5x5), the studio (5x10), the one bed-room (5x15), and the two bed room (5x20)—is formed by one or more of the three smaller standard units, which we consider as the bare necessities of a house: the core unit, with a kitchen and bathroom, the clock unit, with a pivoting flexible wall, and the zero unit, with programmable open space.

Then, as we turn to the whole, the grid of the unit—the structure—extends from the unit scale to the whole site. Within this system, we divided the site, a mega block of lost scale, with a nine square grid, forming, at the scale of a larger “part”, eight blocks, with one block void in the center, each connecting the site to its context, each at a unique location and orientation. On the other hand, at the whole scale, the nine square grid is a microcosmic view of the site, consisting of nine blocks, with our site in the center. The morphology here naturally led to the idea of a courtyard, containing eight different worlds, eight parts, with the central courtyard uniting the eight to create the ninth world—the whole.

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Models: Massing model in cite context expressing the nine square grid.

Models: Massing model in cite context expressing the nine square grid.

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6. TYPOLOGY B+C

7. TYPOLOGY A

1. TYPOLOGY C 2. TYPOLOGY B

5. TYPOLOGY A

3. TYPOLOGY A+B

4. TYPOLOGY A+B

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A. MULTI-FAMILY HOUSING

B. 3-4 FAMILY HOUSING

C. SINGLE FAMILY HOUSING

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A

B

GROUND LEVEL PLAN 0

Plan: Ground Level.

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1m

5m

10m

A

B

TYPICAL FLOOR PLAN 0

1m

5m

10m

Plan: Typical Level.

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Models: Eight different typologies, partially under construction revealing the modular facade.

In furtherance, to concretize and justify the presence of eight worlds, we investigated eight typologies in reference to their suitability to the site’s various factors; demographics, light and air exposure, orientation, context. Starting from the south-east corner going clockwise, the terrace, as the propylaea to the complex, the dormitory, for students, the duplex, for families in business in the neighborhood, the balcony, for single families, the micro-apartment, for day to night workers, the elderly housing, for elders, the single-mother housing, for single mothers in need of daycare and play-

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ground for their children, and, finally, to the courtyard that is the prototype.

As the typical house unit adapts to these different typologies, changes begin to form in and out of the units, through the capabilities and necessities of the aging body.

Programmatically, within each world, the ground level hosts different spaces that diversify the world and its residents from the others. The third level, a continuous strip of open space, acts as the threshold that connects the residents of different worlds.

Perhaps, for us, the housing project is not to design as simply as eight different worlds but to design eight “parts” that together become the “whole”, each impacting another in symbiosis, each becoming a part of the other. It is, ultimately, eight worlds, at the same time, one—a micro urban, an archipelago of houses.

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DUPLEX WORK/LIFE UNIT

The Duplex Unit functions as an expandable and contractable live and work space. The adjacent lot, produced with the same modular dimensions, can become workspace for small businesses or additional living space.

TERRACE UNIT

The Terrace Unit operates as the park as home. With community plantable green space above, adjacent and under the units, the community here forms a linear park that is vertical in motion. Teeming encounters flood the block.

STUDENT DORMITORY

The Student Dormitory is an exclusively inward facing space. The central courtyard, housing a community library with an overhanging roof, serves the entire community. Horizontal strips of student-shared spaces allow interaction and activity.

MICRO APARTMENTS

The Micro Apartments are designed to accomodate workers, manufacturers who operate at various hours of the day. The unit is designed to include an additional member with a customizable wall facing the hall to showcase profession, or taste.

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SENIOR HOUSING

The Senior Housing function as metabloic units that occupy two to three grid spaces linearly, accomodating life from accompanied (m id) to singular living (late). The additional spaces are shared gardens with neighbors when unoccupied.

BACLONY UNIT

The Balcony Unit is a single family unit. The central courtyard is designed to be an experience upon entrance while being enjoyable by the community.

The idea behind is a community forming public space that defines the typology and its people. Balconies allow physical interactions.

SINGLE PARENT UNIT

The Single Parent Unit plays on the idea of a shared corridor by all units and a playground for each floor. Walls are designed to interact with children.

While one family’s parent is gone to work, the shared spaces allow survaillance of chaperones from other families to ensure safety.

COURTYARD UNIT

The Courtyard Unit is the most direct representation of the courtyard typology. The private and public, informal and formal spaces are separated by vertical louvers that allow only opposing interactions. The 30m span of the courtyard reveals the inhabitants only in silhouettes.

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Section: Two sections cut through the housing complex showing indoor spaces and outdoor spaces and the typological differences among the worlds.

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SECTION A 0

1m

5m

10m

5m

10m

SECTION B 0

1m

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Elevation Perspective: The Eight Worlds under construction, constantly metabolizing.

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Perspective: View of central courtyard, the convergence of worlds.

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THE ENDLESS LIBRARY M.ARCH 1, COLUMBIA UNIVERSITY GSAPP, SPRING 2017 INSTRUCTOR: MIMI HOANG (NARCHITECTS)

Endless: The Library of the Present

“Once I am dead, there will be no lack of pious hands to throw me over the railing; my grave will be the fathomless air; my body will sink endlessly and decay and dissolve in the wind generated by the fall, which is infinite. I say that the Library is unending.”

The Library of Babel, Jorge Luis Borges (1941)

The Endless Library or, Library as endless space. In his short story,The Library of Babel, 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 only 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.

Plan: Roof Level.

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 shelves disappears. The endless library, treating the past and the future as an in-between space that structures the present, presents a spatial condition in which the past and the future coexist.

Plan: Underground Level.

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Plan: Ground Level.

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BOND ST. + FULTON WEST

DEKALB AVE. + FULTON EAST

FULTON WEST + BOND ST.

Concept: X-ray drawings of each persective on its corresponding street; the morphology is informed by this study.

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Models: Study models exploring material, circulation, form, and structure.

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Drawing: Axonometric showing the two sides of the library and their views.

Horizontally, the architecture of the library is two sets of planes: on the side perpendicular to Fulton Street, the planes grow in repetition with slight variations in spacing, increasing from narrow to wide in west to east orientation; on the opposite side, perpendicular to Dekalb Avenue, the planes run inversely. The inverse on the two sides of the building generates an experience in which the variation is existent but slight, as if almost nothing.

Linking the spaces together are eight sets of staircases, four on each side of the library running from the underground to the above ground. Expanding from each staircase, smaller landings for spontaneous reading and larger

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landings, for more collective engagements, teeth out to meet the opposing landings. The two sets of teething landings only intersect at five layers of the building; otherwise, they are intersections of the sightline, observing one another at various heights.

Drawing: Axonometric showing the change in the vertical axis of the library.

Vertically, the library is the container of the past and the future, spanning above ground and underground almost equally in distance, with the gradation from paper to pixels as the library grows taller. The structural, whitesteel column and beam grid follows the same path; from the thickened columns of the underground, bearing the load of books to the thinned columns of the highest level, the experience within the library is a journey of expansion—visually and physically, seeing the snippets of the city through widening apertures and experiencing the shift from smaller to larger landings.

The experience of the constant slight changes in the library, the constant reading of infinite reading spaces, all together an experience possible to deem endless, are all but the background of the library. With endless comes the acute realization of everything that is different: in the library, that which is different is the sightlines of people, and the intersection of these sightlines.

We may call books as the product of the past, and new technologies as the invented future. Yet, what is ever so present in library, the very members that activate its spaces, is its people. Find each other. What is the endless library, but the library of the present?

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Section: Long section; light and shadow, density of books and density of collectivity.

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Perspective: Exterior perspective of library, the reflective surface becomes a visual play of context.

Section: Cross section; density of books changes as library progresses vertically.

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Model: Final model of library.

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Model: Final model showing underground.

Model: Final model showing reverse side.

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Perspective: Underground library, the container of past.

Perspective: Above-ground library, the container of future.

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PIER:

DRAWING THE SKYLINE

M.ARCH 1, COLUMBIA UNIVERSITY GSAPP, FALL 2016 INSTRUCTOR: CARRIE NORMAN (NORMAN KELLEY ARCHITECTS)

Pier X: The New York never built.

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.

Site Plan

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, a place less imagined in the past, visitors of the pier are invited to begin their own imagination of an unbuilt skyline; it happens, perhaps, in their mind, or, on the walls of concrete canvases. I hope, in some form, one will see the next Tower of Babel, a edifice known for its non-existence.

Plan

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1. Streets High in the Air 2. Hyperboloid 3. Dome Over Manhattan 4. Skyrise for Harlem 5. Welfare Island 6. Brooklyn Linear City 7. Dodger’s Dome 8. Skyscraper Bridges 9. City Corridor

4.

5.

3.

2.

1.

9.

6.

8.

7.

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

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Drawing: Section Axonometric showing the pier as an extension from the city to the water.

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Model: Anamorphic Illusion state, mislignment.

Model: Anamorphic Illusion state, project realization.

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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)

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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 (19

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CABINET

OF LOST, AND, SOMETIMES, FOUND

M.ARCH 1, COLUMBIA UNIVERSITY GSAPP, FALL 2016 INSTRUCTOR: CARRIE NORMAN (NORMAN KELLEY ARCHITECTS)

Cabinet of Wonders: Find yourself lost

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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Inhabitation of “IN”

Underground

Ground

Roof

Plans: Under, ground, above-ground and interaction with context.

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Drawing: Perspective Section of Cabinet.

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Drawing: Cabinet of Lost and, Sometimes, Found in context.

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Model: Cast concrete as exploration of subtracting modeling and texture.

Model: Cast concrete of all volumes.

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Section: The interaction among underground, ground, and above-ground.

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FOUR SCREENS M.ARCH 1, COLUMBIA UNIVERSITY GSAPP, FALL 2016 INSTRUCTOR: CARRIE NORMAN (NORMAN KELLEY ARCHITECTS)

Four Screens: The Sublime is always imagined.

Four Screens began as a project on a corner across Union Square Park on 14th St. with its purpose to emphasize the greenery of the park. Like an oasis in the ubiquitious concrete jungle of Manhattan, Union Square Park, like every other park that intersects the city’s major avenues, is an entrance to another realm, a dimension distant from the city. But simply emphasizing the park through visual means is insufficient; the question is to seek to realize that other-worldly dimension in architectural means.

In Kirigami, where a piece of paper sliced with patterns become a three dimensional form, void is a means of becoming the whole. It is precisely this paradoxical relationship existent in the axonometric that inspired the core concept of fragmentation in this project.

What is beyond the visual? I believe it is imagination, the mind.

With imagination, the onlooker reconstructs a fragmented whole into a completely new image in his mind, a drawing reimagined based intimately on his experiences and memories. And in this case, when a visitor sees Union Square Park’s greenery in fragmented pieces, Union Square Park becomes more than a mere park in the concrete jungle.The scene imagined from a fragmented tree, potentially, even for a split second, becomes a forest. The forest manifests itself and develops further, paving road for the visitor to another dimension; all of this is done in the mind through imagination.

And that is merely one possibility.

With the project’s intention to invite its visitors to go beyond the visual and imagine the subliminal- very much like the mythical scenes protrayed in Japanese Byobu Art (Art of folding screens)-the form of it finds resemblance to screens. A corner is no longer two walls marking an intersection, or an end, but four screens establishing an entrance to the mind through fractals.

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Fractalization: The power of imagination.

Drawing: Imagination to move one from the city to nature.

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Model: Four Screens inspired by Chinese and Japanese Pin-feng (Byobu Screens)

Model: Four Screens unfolded.

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Drawing: Corner condition.

Drawing: Screens unfolded.

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GREENPOINT FLEX THEATER

3 - 1/2” CONCRETE ON METAL DE

FIRE PROOFING

3 - 1/2” CONCRETE ON METAL DEC

M.ARCH 1, COLUMBIA UNIVERSITY GSAPP, FALL 2017 COLLABORATORS: JIAXIN LI, YVETTE LIU, CHASCE TANG

FIRE PRO

A theater on four columns Four Screens began as a project on a corner across Union Square Park on 14th St. with its purpose to emphasize the greenery of the park. Like an oasis in the ubiquitious concrete jungle of Manhattan, Union Square Park, like every other park that intersects the city’s major avenues, is an entrance to another realm, a dimension distant from the city. But simply emphasizing the park through visual means is insufficient; the question is to seek to realize that other-worldly dimension in architectural means.

TYPICAL COMPOSITE SLAB CONSTRUCTION

WELD, GRIND SMOOTH

WELD

W14X730

In Kirigami, where a piece of paper sliced with patterns become a three dimensional form, void is a means of becoming the whole. It is precisely this paradoxical relationship existent in the axonometric that inspired the core concept of fragmentation in this project.

What is beyond the visual? I believe it is imagination, the mind.

With imagination, the onlooker reconstructs a fragmented whole into a completely new image in his mind, a drawing reimagined based intimately on his experiences and memories. And in this case, when a visitor sees Union Square Park’s greenery in fragmented pieces, Union Square Park becomes more than a mere park in the concrete jungle.The scene imagined from a fragmented tree, potentially, even for a split second, becomes a forest. The forest manifests itself and develops further, paving road for the visitor to another dimension; all of this is done in the mind through imagination.

And that is merely one possibility.

With the project’s intention to invite its visitors to go beyond the visual and imagine the subliminal- very much like the mythical scenes protrayed in Japanese Byobu Art (Art of folding screens)-the form of it finds resemblance to screens. A corner is no longer two walls marking an intersection, or an end, but four screens establishing an entrance to the mind through fractals.

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WELD

WELD

Four columns welded to form one UP FOR TYPICAL COLUMN CUSTOM BUILD

Rendering: Exterior view of theater showing the floating concrete box.

Rendering: Interior lobby rendering

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SEATING WAGON STORAGE THEATER

BALCONY

OPEN OFFICE

MEETING BOOTH

REHERSAL

MEZZANINE

RESTAURANT

OPEN KITCHEN

WATER CLOSET

BALCONY

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CHAN ROO

WATER CLOSET

Roof 75' - 0"

SEATING WAGON STORAGE

Catwalk 62' - 0"

BALCONY 4th Floor (Theater) 47' - 0"

MEETING BOOTH

OPEN OFFICE BALCONY 3rd Floor (Studio) 32' - 0"

NGING OM GROUND LEVEL LOBBY

2nd Floor (Mazzanine) 17' - 0"

TICKETING

1st Floor 4' - 0" 0' - 0"

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C

B

A

CALLOUT 01

ROOFING MEMBRANE STEEL GUARD ANGLE RIGID INSULATION STRUCTURAL STEEL FACIA

Roof 75' - 0''

4’ - 5” STEEL TRUSS

PRECAST INSULATED CONCRETE PANELS

THEATER

Catwalk 62' - 0'' 0’ - 1 1/5” STEEL TENSION ROD

SEATING WAGON/ STORAGE

3’ STEEL RAILING

4” CONC. ON METAL DECK STRUCTURAL STEEL CABLE PIN

4th Floor (Theater) 47' - 0''

01

CALLOUT

03

CALLOUT

1” = 1’ 0”

OFFICE CALLOUT 02

STEEL ANGLE 12” CCHANNEL

1/2” METAL PLATE

3rd Floor (Studio) 30' - 0"

1 1/2” CEILING PANELS 1” Glass Fin

2nd Floor (Mezzanine) 17' - 0''

LOBBY

CALLOUT 03

12” CONCRETE BASE 3’ FILL

1st Floor 4' 0 0' - 0"

1A 76

Partial Section at East Elevation 1/4” = 1’ 0”

1” = 1’ 0”

STEEL GUARD ANGLE WATER PROOFING

RIGID INSULATION @ 3” + ROOFING MEMBRANE

SLOPED RIGID INSULATION 4’ - 5” STEEL TRUSS STRUCTURAL STEEL FACIA

PRECAST CONCRETE PANELS

eater)

01

CALLOUT 01 1” = 1’ 0”

SPIDER FITTING WOOD PLANK FLOOR LINEAR FLOOR GRILLE

udio)

END PLATE

SPIDER FITTING

STEEL ISOKORB

12” CONCRETE SLAB

CONCRETE ON METAL DECK

Mezzanine)

CONTINUOUS INSULATION (SOFT) AIR DUCT FOR GRILLE (DIFFUSER)

3’ GRAVEL AND STONE FILL UNFIXED TRANSOM SUSPENDED PLASTER GYPSUM

03

CALLOUT 03 1” = 1’ 0”

02

CALLOUT 02 1” = 1’ 0”

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ZEN HOUSE B.A. IN ARCHITECTURAL STUDIES, SPRING 2015 INSTRUCTOR: LEE ROBERT, P.Y. LIN (TOKYO UNIVERSITY, PH.D)

Zen House: A place of contemplation The courtyard house has been a long tradition in Taiwanese architectural history; its rectangular typographical organization infers the philosophical feng shui (geomancy) of Tian Yaun Di Fang. which translates to “orbicular sky and rectangular earth.” This concept came from the understanding of the universe through the Gaitian Theory 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 resembles the superimposition of rectilinear forms and circular forms; the basic geometric simplifies the space through more complex operations in scale differences.

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 Sunyata–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.

Exploded Axonometric showing access around the house at three levels: Ground, Roof, and the in-between.

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Site plan: The relationship between the house and the courtyard as a journey to one another.

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Perspective: Light and Shadow as the visitor moves through the house.

Staircase Detail: Compression of space through gradation of height.

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Drawing: The idea of the vertical cave with sky light.

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Section Perspective: The relationship between house, nature, and what is in-between.

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Plans: Roof, Second, Ground level.

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Elevation: Drawings of East and North side.

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INK PAVILION B.A. IN ARCHITECTURAL STUDIES, SPRING 2015 INSTRUCTOR: LEE ROBERT, P.Y. LIN (TOKYO UNIVERSITY, PH.D)

Ink Pavilion: A Drawing on Water

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 is the 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 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.

The pavilion is an attempt to, using the circle as a starting to point, explore the possiblities of engaging what is contained and what is containing. The layers of the pavilion is in constant tension between each other layer it is containing or it is contained by.

Space in this project is conceived constantly as an active journey. Whether it be the calligrapher who ventures through the water to enter his studio down a bamboo curtained staircase or his visitors who stroll through the single helix-form ramp, architecture in this project, like the very act of calligraphy, is a performance.

“Enso”. The movement of the brush, with its particular indentations resulting from the way one holds the drawing instrument, is emphasized in a single stroke.

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Plans: Plan and Site plan of the pavilion.

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Corridor Study: Polycarbonate roof light condition.

Corridor Study: Bamboo weaving light condition.

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Corridor Study: Fabric Light condition.

Corridor Details: Wood cladding as a wall for installation.

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Drawing: The journey of the spiral staircase to the gallery.

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Section: Exploring the way in which light penetrates the concrete.

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

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

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

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

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PO-HAN LIN M.Arch 1 Candidate, 2016 - 2019 Columbia University, GSAPP Contact: pl2621@columbia.edu