YU, SZU-AN PORTFOLIO 2006-2011
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CONTENTS
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architecture projects [ SENSATION.RAR ]
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Unzip: Sensation.rar, by slowing down the speed 25
[ CYCLE: The Decline and Rebirth ] Cinemetrics International Workshop in Hong Kung
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[ Liquid Perception of Governor’s Residence ] Resident Artists Program in Governor’s Residence in Tainan County
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graphic design [ HUMANE CITIES ] [ CONCEPT CITY ] [ ANNVA’S PIANO RECITAL ] [ REC - RECord, REConstruct, RECode ]
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photography [ CONCEPT CITY ]
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painting [ Woman with blue hair ] [ Baku ] [ Baku ]
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information chronology resume
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{ architecture design }
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[ SENSATION.RAR ] Unzip: Sensation.rar, by slowing down the speed -THESIS PROJECT in fourth year of university / Jun. 2009
Before you can tell what that store around the corner is, you have already missed it. It is because you’ re moving too fast. Before you figure out the story of weeping girl in the novel that you are reading, you are halfway off your seat to get off the bus. It is because you’ re moving too fast. You wish to gain a few more minutes to think through all the things that happened today, but the bus has arrived at your stop. Someday you may like to spend thirty more minutes to go home, on a slow bus.
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SPEED Sometimes, the city is too fast for me to know it’s face; except the tenseness of people.
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SLOW MOVE I found that when I was moving in the city as usual; I was on a bus, going to the next destination. Slow and tortuous movements extended the time and the route of getting along with the city.
CONNECTED SPACE It is opposite to underground-traďŹƒc; the spaces could be connected rather than cut o and closed: inside/outside, near/distant. It is easy to connect with the spaces of a city by sight.
MESSAGES Lots of interesting things are happening everyday; the cities, streets, and people, they all have stories. And It is one if the best ways to observe them.
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MOVING/READING We are reading the city through the window of the vehicles while moving. People --> moving mode (first layer of space) --> city (second layer of space) With different moving mode there will be different interpretation.
SENSORY-MOTORS Take the moving mode of the bus as an example: Taking bus constrains people’s behavior from walking or moving to still sitting or standing position. Students or commuters in the bus are detached from their original task. They can do very little in this space for waiting until the bus arrive at their destination, and tend to slow down their pace. At this moment the sensory-motors of people become the vantage point with more thinking, hearing or seeing more the ignored things of the surrounding environment. People have more awareness of environment. Among these relationships, I categorize they into three states: internal, exchange, and external state.
PERCEPTION The sensation as the media connect people and the first layer of surrounding space, people explore and experience the space through their sensory-motor, with different interpretation generated by different perception, while different moving mode through will affect the reading process of the city. People --> perception --> space Especially the speed of physical or mental, high speed could weaken the sensibility, otherwise, low
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EXCHANGE
INTERNAL Internal state refers to one’s own state of mind or thinking activities. For example, a further idea about an event happened today, or thought of something which was ignored before. Because of the limit of the action, we could concentrate more on thinking or imagining and put ourselves into the state of self-reflection.
Exchange is the transition between the closed space and the space outside. The sound and smell outside will spread into the bus when door opens, the temperature and air flow in the car will be affected also. At this time, the inner space and the outside space will be linked and weaken the sense of closure to allow the external information to be passed. And when the door closes, the link is cut off and the space turns closed after a series of interchanges of the information.
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EXTERNAL External is the milieu outside ourselves. With our sensory-motor schema we could capture information from external events: listening the dialogue between the passengers next to you, seeing a new office building on the street , identifying one’s profile from the dress, or presuming the rush hour by the density of people on the bus. The building, people and weather are all embedded with message for our perceptions to interpretate.
ic Civ
d. Blv
d. ay W c Blv h i g i iv -H C
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http://ngmchina.com.cn/web/?action-viewnews-itemid-168884
SITE Taipei’s first east-west elevated expressway is the most important traffic line, shadowing a street used to be railway, now buried underneath. It intersects with the other major roads and overpass seven administrative districts.
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- Taipei, Taiwan
Fusing S.Rd
MRT - Muzha Line
Commerce Shops
Way d. - High Civic Blv . d Civic Blv
High Way
Civic Blvd.
MRT
High Way
Shops
Shops Park
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Shops
Commerce Shops
In the downtown area it intersects with the MRT system creating the high speed and high volume traffic flow and busy commercial districts.
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MRT - Muzha Line Fusing S.Rd Civic Blvd. - High Way Civic Blvd. Commerce Shops
DETACHED / RE-STRUCTURE In this high speed and high volume traffic flow, the site is on the traffic island area which is detached from high speed surroundings. In this context with slow paced space, three states of internal, exchange, and external are infilled into the site and re-structure the urban spaces through the interaction of perceptions.
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Internal Compression, closed, cohesive.
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Exchange Linked, conditionally changing.
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External Possibility of a variety of activity, message passing.
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Commerce Shops
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Civ
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Commerce Shops
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observatory
live house / lounge bar
bookshop / gallery
walkway / telephone booth
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path / observatory
restaurant / coeeshop
gallery
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[ CYCLE: The Decline and Rebirth ] Cinemetrics International Workshop in Hong Kong 2009 - CINEMETRICS PROJECT / Mar. 2009
What role does the Central Market play at the bottom of Central-Mid-Levels Escalator and Walkway System in 21st century? How about the function of Central Market and walkways nowadays?
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CINEMETRICS In Cinemetrics International Workshop, we discussed the three directors who has different styles: Yasujiro Ozu, Jean Luc Godard, and John Cassavetes. The still camera frames Ozu’s cinema are just like architectural drawings. Directions of camera are perpendicular to each other. And these still camera frames creating images are similar to making elevations or sections in architectural skills. As to Jean Luc Godard, he used panning and tilting way. Through those techniques, the view is extended; and it follows the actions of people or events. And the third director, Cassavetes, was using hand-held camera skill. This makes the images more active, unstable, and close to humans’ sight. In addition to the styles of moving camera, we also practice “perception images (long distance)”, “action images (medium distance)”, and “affection images (close up)”. In perception images, we can realize the relation between people, objects, and space. Action images are going to show the behavior of human or objects clearly. Refer to affection images, it usually focus on someone’s face or particular objects to reveal the emotions or specific meanings.
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DEVELOPMENT / REDEFINED SPACE From the history of development in this site, it can be divided into three period: 1939, the central market was built; 1991, the Hang Sheng Bank appeared and 2003, IFC came out. Now there are two elevated walkways between the three buildings, which were established in different generations. Due to the emergence of new elevated walkway, the function of Central Market was redefined again by the new activities. In the past, there is as a market to sell vegetables and daily things. But nowadays, it doesn’t open any more since its decline. From the photos, we can discover that there are many imported laborers gathering on weekend even street performers, homeless and beggars. Thus their activities create the new space in Central Market and change its original function. They make the space in this area more vivid and dramatic.
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OVERLAP and FEEDBACK From the expanding new areas and the alteration of development focus in history, to the decline of Central Market and rebirth given by new activities, it shows an interesting phenomenon among them. Especially comparing to the cycle of people’s gathering and passing on weekend and weekdays, it shapes an overlap and a feedback. This project is to try to make a film using Ozu’s camera style and describe the characteristics of the space under the background given by above.
Ineternational Finance Centre
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Hang Seng Bank New Headquarters Building
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03 20 30
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Central Market
Ineternational Finance Centre
Central Market Hang Seng Bank New Headquarters Building
1939
DECLINE
1991
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2003
REBIRTH
NO ACTIVITY
weekday
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OCCUPIED
weekend
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[Liquid Perception of Governor’s Residence] Resident Artists Program in Governor’s Residence in Tainan County - COMPETITION PROJECT / NOV. 2010 / cooperation work
Through this installation inspired from the thought of water, we expressed the concern of the relations between liquid perception, urban space, and daily life. And the images taken from the surrounding of Governor’ s Residence in Tainan County reflected the interactions between people and the spaces. We tried to provide a new aspect to understand the place where we were.
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Because of the extremely change of climate in recent years, the liquid perception of Taiwan becomes different with the collapse of the mighty nature. We want to make a series of experimental images and space-arts about the interpretation of liquid and reflect on the new perception and the possibilities of design by the relationship between body and different view level. We capture a variety of images and films about the liquid perception of Taiwan from the surroundings, such as the real urban space, the images of the city, the history of the city, and the changing information to represent the liquid perception. In this project, we use a new observing way to take the images of Tainan, the ancient governor’s resident, and its surroundings to present the relationship between the history and people’s lives.
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{ graphic design }
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[ HUMANE CITIES ] JAN.2012 420mm X 594mm Continuing the idea of “CONCEPT CITY”, a human-like shape is bearing the three tetrahedrons as his brain. The pyramids in the center are like fluctuation charts of brain waves.
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12/18 - 1/15 REC ᏄᝨᏕ᪠ᬌዯ᠈351ᾊ Concept City. ớᙞឈᏕ
time.
venue.
REC to. 70263 ᏄᝨᏕ᪠ᬌዯ᠈351ᾊ
STAMP HERE
by. ᓬᗏᎯ , ᚩᦀỖ , ូᑠ , ᱯ℆ , ᱢᤇᔟ , ➑Ḵ www.facebook.com/RECoding
ᗴ␈/⇞╚ᶁ᳘
[ CONCEPT CITY ] Dec. 2011 150mm x 100mm A tetrahedron is a polyhedron with the minimum number of edges, which is the base shape in three-dimension. It means even a great city needs to construct from tiny elements. And the number of tetrahedrons is three, presenting the quantities of components of a city.
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www.facebook.com/RECoding free entry !
/ Bach / Prelude and Fugue No.18 g# minor, BWV 887 Beethoven / Piano Sonata No.27, Op.90 : First & Second movements Liszt / Rhapsody no.15 Rakoczy March Debussy / suite pour le piano :Toccata Witold Lutoslawski / Bukolische Weisen Chopin / ƚƵĚĞƐ KƉ͘ ϭϬ EŽ͘ ϵ Θ KƉ͘ Ϯϱ͕ EŽ͘ ϵ Η ƵƩĞƌŇLJΗ time 12/19 Mon 19:30 venue REC ᏄᝨᏕ᪠ᬌዯ᠈351ᾊ artist ᔔᓭ
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Musician / Freelance Illustrator E <h͕ ƌĐŚŝƚĞĐƚƵƌĞ͕ dĂŝŶĂŶ Working Experience: Viola, The Chiayi Civil Orchestra/ Piano, The Chiayi Civil Choir/ sŝŽůĂ͕ EĂƟŽŶĂů dĂŝǁĂŶ hŶŝǀĞƌƐŝƚLJ ^LJŵƉŚŽŶLJ KƌĐŚĞƐƚƌĂͬ ĞƐŝŐŶĞƌ͕ ^ 'ƌŽƵƉ džŚŝďŝƟŽŶ͗ d D hŶĞdžƉĞĐƚĞĚ ŽǀĞƌ ^ŚŽǁ͕ dĂŝƉĞŝ͕ ϮϬϬϳͬ ŚĞǁ Ăůů ;ϵϱͿ͕ d ĞŶƚĞƌ͕ dĂŝĐŚƵŶŐ͕ ϮϬϬϲ
Annva Kay is a young musician, who is mystic but graceful as well as her music. She is leaving us for studying abroad in this Christmas season. It is just a beautiful solitude.
[ ANNVA’ S PIANO RECITAL] Dec.2011 140mm x 125mm, 420mm x 594mm
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1234567
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Bach / Prelude and Fugue No.18 g# minor, BWV 887 Beethoven / Piano Sonata No.27, Op.90 : First & Second movements Liszt / Rhapsody no.15 Rakoczy March Debussy / suite pour le piano :Toccata Witold Lutoslawski / Bukolische Weisen Chopin / ƚƵĚĞƐ KƉ͘ ϭϬ EŽ͘ ϵ Θ KƉ͘ Ϯϱ͕ EŽ͘ ϵ Η ƵƩĞƌŇLJΗ
www.facebook.com/RECoding
free entry !
㯈㤦姦
ㅯ儸彾ᾏ㵄
ⓦ朏彾
嬎朏彾ᾏ㵄
㷇䬞彾ᾏ㵄
ⓦ姦
‣⬒姦
⇴う彾
time 12/19 Mon 19:30 venue REC ᏄᝨᏕ᪠ᬌዯ᠈351ᾊ artist
ᔔᓭ Musician / Freelance Illustrator NCKU, Architecture, Tainan Working Experience: Viola, The Chiayi Civil Orchestra/ Piano, The Chiayi Civil Choir/ sŝŽůĂ͕ EĂƟŽŶĂů dĂŝǁĂŶ hŶŝǀĞƌƐŝƚLJ ^LJŵƉŚŽŶLJ KƌĐŚĞƐƚƌĂͬ ĞƐŝŐŶĞƌ͕ ^ 'ƌŽƵƉ džŚŝďŝƟŽŶ͗ d D hŶĞdžƉĞĐƚĞĚ ŽǀĞƌ ^ŚŽǁ͕ dĂŝƉĞŝ͕ ϮϬϬϳͬ ŚĞǁ Ăůů ;ϵϱͿ͕ d ĞŶƚĞƌ͕ dĂŝĐŚƵŶŐ͕ ϮϬϬϲ
.san
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[REC – RECord, REConstruct, RECod ] Aug.2011 594mm x 420mm Memories of that moment will be retained; but when you see them, you will create a new one.
Ȟձ!!!!!!!!!!!!!!!!!!!!!!!ณࡣ!!౪ӵ
01 дࡦϡ 'ƌĂƉŚŝĐ ĞƐŝŐŶĞƌ ͬ &ƌĞĞůĂŶĐĞ ĚĞƐŝŐŶĞ
ĚƵĐĂƟŽŶ͗ EĂƟŽŶĂů <ĂŽŚƐŝƵŶŐ hŶŝǀĞƌƐŝƚLJ ŽĨ ƉƉůŝĞĚ ^ĐŝĞŶĐĞƐ ĚĞƉĂƌƚŵĞŶƚ ŽĨ ĐƵůƚƵƌĂů ĂĐƟǀŝƟĞƐ ĚĞǀĞůŽƉŵĞŶƚ ǁĂƌĚ͗ EŽŵŝŶĂƚĞĚ ĨŽƌ 'ƵŝĚĞůŝŶĞƐ ĨŽƌ ƚŚĞtŽǁ͊ ĞLJĞ dĂŝǁĂŶ sŝĚĞŽ ŽŶƚĞƐƚ ͬŵƵƐŝĐ ǀŝĚĞŽ ͬϮϬϬϴ͕ EŽŵŝŶĂƚĞĚ ĨŽƌ ϰ ĐƌĞĂƟǀĞ ǁĂƌĚͬ ƐƚƵĚĞŶƚ ds ŽŵŵĞƌĐŝĂů ͬϮϬϬϵ͕ ^ƚƵŶŶŝŶŐ ƉĞƌĨŽƌŵĂŶĐĞƐͬ dŝŵĞƐĂǁĂƌĚƐ 'ƌĂƉŚŝĐ ĂŶĚ ĚǀĞƌƟƐŝŶŐ ĞƐŝŐŶ ǁĂƌĚ ͬ ƐƚƵĚĞŶƚ ds ŽŵŵĞƌĐŝĂů ͬϮϬϬϵ͕ ^ƵƉĞƌŝŽƌ ͬ dŝŵĞƐĂǁĂƌĚƐ 'ƌĂƉŚŝĐ ĂŶĚ ĚǀĞƌƟƐŝŶŐ ĞƐŝŐŶ ǁĂƌĚͬ ĚǀĞƌƟƐĞŵĞŶƚ ͬϮϬϬϵ hŶŝǀĞƌƐŝƚLJ ĮŶĂů ƉƌŽũĞĐƚȈ ĨĞŵĂůĞ ĚŽĐƵŵĞŶƚĂƌLJ Įůŵͬ ĞůĞƉŚĂŶƚ ͬϮϬϭϬ tŽƌŬŝŶŐ džƉĞƌŝĞŶĐĞ͗ <ŝĚnj ƚ dŚĞ ŝƐĐŽ Ͳ ŐƌĂƉŚŝĐ ĚĞƐŝŐŶĞƌ ,ĂŶĚŵĂĚĞ ĮůŵŵĂŬŝŶŐ ĐŽŵƉĂŶLJ ʹĂƐƐŝƐƚĂŶƚ ƉƌŽĚƵĐĞƌ
02 Ҡᑗ 'ƌĂƉŚŝĐ ĞƐŝŐŶĞƌ ͬ WŚŽƚŽŐƌĂƉŚĞƌ ĚƵĐĂƟŽŶ͗ Edh ͕ 'ƌĂƉŚŝĐ ŽŵŵƵŶŝĐĂƟŽŶ ƌƚƐ͕ dĂŝƉĞŝ tŽƌŬŝŶŐ džƉĞƌŝĞŶĐĞ͗ ƐƐŝƐƚĂŶƚ͕ &ŝůĞƐ ĞƐŝŐŶ 'ƌŽƵƉͬ 'ƌĂƉŚŝĐ ĞƐŝŐŶĞƌ Θ ŽͲKǁŶĞƌ͕ <ŝĚnj ƚ dŚĞ ŝƐĐŽͬ WĂĐŬĂŐĞ ĞƐŝŐŶĞƌ͕ ,Žďͬ 'ƌĂƉŚŝĐ ĞƐŝŐŶĞƌ͕ W, Ed ŝ ǁĂƌĚ͗ DĂƐƚĞƌƉŝĞĐĞ͕ WŚŽƚŽŐƌĂƉŚ /ŵĂŐĞƐ KĨ tŽŵĞŶ tŽƌŬĞƌƐ ƐƐŽĐŝĂƟŽŶ͕ ϮϬϬϵ͕ ^ƵƉĞƌŝŽƌ͕ WŚŽƚŽ ŽŵƉĞƟƟŽŶ >ŽŵŽ DĂƌŬĞƚ͕ ϮϬϬϴ
03 ؇ᅞಹ ^ĐƵůƉƚŽƌ ͬ DĞƚĂů Θ :ĞǁĞůƌLJ ĞƐŝŐŶĞƌ
ĚƵĐĂƟŽŶ͗ NCKU, Architecture, Tainan tŽƌŬŝŶŐ džƉĞƌŝĞŶĐĞ͗ ĞƐŝŐŶĞƌ͕ E <h ƌĐŚŝƚĞĐƚƵƌĞ KĸĐĞͬ dĞĂĐŚŝŶŐ ƐƐŝƐƚĂŶƚ͕ E <h ƌĐŚŝƚĞĐƚƵƌĞ KĸĐĞͬ /ŶƚĞƌŶ͕ ^ŚĞŶŐ zƵĂŶ ,ƵĂŶŐ ƌĐŚŝƚĞĐƚƐ н &ŝĞůĚ KĸĐĞ
ǁĂƌĚ͗ EŝĐŚĞ ǁĂƌĚ &ŝŶĂů >ŝƐƚ ;KƵƚ KĨ ϴϬϬ ŽŶƚĞƐƚĂŶƚƐͿ͕ ϮϬϭϬ Ͳ ϮϬϭϭͬ DĞĞŚͲzĂŶŐ &ŝƐŚŬŝŶ ^ĐŚŽůĂƌƐŚŝƉ ŝŶ DĞƚĂů͕ ϮϬϬϵͬ DĂdž 'ĂƚŽǀ ǁĂƌĚ͕ ϮϬϬϴ
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֔ϛҁ ƌƟƐƚ ͬ WŚŽƚŽŐƌĂƉŚĞƌ ĚƵĐĂƟŽŶ͗ hŶŝǀĞƌƐŝƚLJ KĨ ƵŵďƌŝĂ͕ &ŝŶĞ ƌƚ͕ ĂƌůŝƐůĞ tŽƌŬŝŶŐ džƉĞƌŝĞŶĐĞ͗ ŝƌĞĐƚŽƌ͕ ĂĚŐĞƌ ĂĚŐĞƌ 'ĂůůĞƌLJͬ WŚŽƚŽŐƌĂƉŚĞƌ͕ dĂŝƉĞŝ ZĞƉƌĞƐĞŶƚĂƟǀĞ KĸĐĞ /Ŷ dŚĞ h<͕ ĚŝŶďƵƌŐŚ KĸĐĞ džŚŝďŝƟŽŶ͗ ŝ͘ƚ͘dĂŝǁĂŶ Θ ƌĂnjŝů džŚŝďŝƚ džĐŚĂŶŐĞ KĨ zŽƵŶŐ ƌƟƐƚƐ͕ dĂŝƉĞŝ͕ ϮϬϭϭͬ 'ĞŝƐĂŝ dĂŝǁĂŶ ηϮ͕ dĂŝƉĞŝ͕ ϮϬϭϬͬ ĂŶͲ ŽŚ &KZDK^ ͕ tĞƐƚŵŝŶƐƚĞƌ ĐĂĚĞŵLJ͕ >ŽŶĚŽŶ͕ ϮϬϭϬͬ ĂŶͲ ŽŚ &KZDK^ ͕ ĂŶĚŝĚ 'ĂůůĞƌLJ͕ >ŽŶĚŽŶ͕ ϮϬϭϬͬ 'ĞŝƐĂŝ dĂŝǁĂŶ͕ dĂŝƉĞŝ͕ ϮϬϬϵͬ ƌƚ ŵƉĞƌŽƌ zŽƵŶŐ ƌƟƐƚƐ &ĞƐƟǀĂů͕ dĂŝƉĞŝ͕ ϮϬϬϵͬ ĂƌůŝƐůĞ ƌƚ &ĞƐƟǀĂů͕ ĂŶŬ 'ĂůůĞƌLJ͕ ĂƌůŝƐůĞ͕ ϮϬϬϵͬ ĞŐƌĞĞ ^ŚŽǁ͗ dŚŝƐ ^ŝĚĞ KĨ ^ŽŵĞǁŚĞƌĞ͕ ĂƌůŝƐůĞ͕ ϮϬϬϵ
05 ܈ݓཏ &ĂƐŚŝŽŶ ĞƐŝŐŶĞƌ ͬ &ĂƐŚŝŽŶ ^ƚLJůŝƐƚ ĚƵĐĂƟŽŶ͗ ^ h͕ &ĂƐŚŝŽŶ ĞƐŝŐŶ͕ dĂŝƉĞŝ &/ D͕ &ĂƐŚŝŽŶ ĞƐŝŐŶ 'ƌĂĚƵĂƚĞ͕ > tŽƌŬŝŶŐ džƉĞƌŝĞŶĐĞ͗ ^ĂůĞƐ ^ƚLJůŝƐƚ͕ ĂŶĂŶĂ ZĞƉƵďůŝĐͬ ŽͲKǁŶĞƌ͕ <ŝĚnj ƚ dŚĞ ŝƐĐŽ
džŚŝďŝƟŽŶ͗ ZĞƐŝĚĞŶƚ ƌƟƐƚƐ WƌŽŐƌĂŵ͕ dĂŝŶĂŶ͕ ϮϬϭϬͬ WŽƐƚ ĂďĞů͕ ,ƵĂƐŚĂŶ ϭϵϭϰ͕ dĂŝƉĞŝ͕ ϮϬϬϵ
07
ങԡ &ŝůŵŵĂŬĞƌ ͬ WŚŽƚŽŐƌĂƉŚĞƌ ͬ ƌƟƐƚ ͬ /ŶƚĞƌŝŽƌ ĞƐŝŐŶĞƌ
ĚƵĐĂƟŽŶ͗ NCKU, Architecture, Tainan tŽƌŬŝŶŐ džƉĞƌŝĞŶĐĞ͗ sŝŽůĂ͕ dŚĞ ŚŝĂLJŝ ŝǀŝů KƌĐŚĞƐƚƌĂͬ WŝĂŶŽ͕ dŚĞ ŚŝĂLJŝ ŝǀŝů ŚŽŝƌͬ sŝŽůĂ͕ EĂƟŽŶĂů dĂŝǁĂŶ hŶŝǀĞƌƐŝƚLJ ^LJŵƉŚŽŶLJ KƌĐŚĞƐƚƌĂͬ ĞƐŝŐŶĞƌ͕ ^ 'ƌŽƵƉ džŚŝďŝƟŽŶ͗ d D hŶĞdžƉĞĐƚĞĚ ŽǀĞƌ ^ŚŽǁ͕ dĂŝƉĞŝ͕ ϮϬϬϳͬ ŚĞǁ Ăůů ;ϵϱͿ͕ d Center, Taichung, 2006
11 ྆ߎొ 'ƌĂƉŚŝĐ Θ ŶŝŵĂƟŽŶ ĞƐŝŐŶĞƌ ͬ &ĂƐŚŝŽŶ ĞƐŝŐŶĞƌ
ĚƵĐĂƟŽŶ͗ z h͕ ƌĐŚŝƚĞĐƚƵƌĞ͕ dĂŽLJƵĂŶ ,^Eh
ĚƵĐĂƟŽŶ͗ D h͕ ŽŵŵĞƌĐŝĂů ĞƐŝŐŶ͕ dĂŽLJƵĂŶ : h͕ ŽŵƉƵƚĞƌ ŝĚĞĚ DĞĚŝĂ ĞƐŝŐŶ͕ dĂŝŶĂŶ
tŽƌŬŝŶŐ džƉĞƌŝĞŶĐĞ͗ WŚŽƚŽŐƌĂƉŚĞƌ͕ ^ŽŌ >ŝƉĂ dž :ĂďďĞƌůŽŽƉ >ŝǀĞ /Ŷ >ĞŐĂĐLJ dĂŝƉĞŝͬ WĂŝŶƚĞƌ͕ DƵƌĂů KĨ ĞĞ Θ <Ƶ͛Ɛ <ŝƚĐŚĞŶͬ WĂŝŶƚĞƌ͕ DƵƌĂů KĨ ŽīĞĞ /ŶŶͬ /ŶƚĞƌŝŽƌ ĞƐŝŐŶĞƌ͕ WƌŽũĞĐƚ KĨ ZŽLJĂů DŽĚĞ ůŽƚŚŝŶŐ ^ƚŽƌĞͬ /ŶƚĞƌŶ͕ ͘ŵŽƌĞ ^ƚƵĚŝŽ
tŽƌŬŝŶŐ džƉĞƌŝĞŶĐĞ͗ /ŶƚĞƌĂĐƟǀĞ ƌƟƐƚ͕ dĂŝƉĞŝ ŽƵŶƚLJ dƵƌŶŝŶŐ Kī >ŝŐŚƚƐ ĨŽƌ ŶǀŝƌŽŶŵĞŶƚĂů WƌŽƚĞĐƟŽŶͬ /ŶƚĞƌĂĐƟǀĞ ƌƟƐƚ͕ dĂŝƉĞŝ ŽƵŶƚLJ ^ƚĂƌƌLJ ^ŬLJ &ŝůŵ &ĞƐƟǀĂůͬ dĂŝǁĂŶ ŶŝŵĂƟŽŶ ůůŝĂŶĐĞ /^ ĞƐŝŐŶͬ dĂŝǁĂŶ ůĞĐƟŽŶ ĂŵƉĂŝŐŶ ĚǀĞƌƟƐŝŶŐ KĨ KŶůŝŶĞ ŽŵŵĞƌĐŝĂůͬ ŵƐYƵĞĞŶĂ ŽƐŵĞƟĐƐ / ĞƐŝŐŶ ŶĚ tĞď ĞƐŝŐŶ
džŚŝďŝƟŽŶ͗ WƌŽĮůĞ͕ ^ŚĞůƚĞƌŝŶŐ ^ŬLJ 'ĂůůĞƌLJ͕ dĂŝƉĞŝ͕ ϮϬϭϬͬ WŽƐƚ ĂďĞů͕ ,ƵĂƐŚĂŶ ϭϵϭϰ͕ dĂŝƉĞŝ͕ ϮϬϬϵͬ ϭϬ ϮϬ ϯϬ͕ ,^Eh͕ dĂŝƉĞŝ͕ ϮϬϬϰ
08 ങᆰප WƌŽĚƵĐƚ ĞƐŝŐŶĞƌ ͬ &ƌĞĞůĂŶĐĞ ĞƐŝŐŶĞƌ ͬ ^ƉĂƟĂů /ŶƚĞƌĂĐƟŽŶ ĞƐŝŐŶĞƌ ĚƵĐĂƟŽŶ͗ Edh^d͕ /ŶĚƵƐƚƌŝĂů ĞƐŝŐŶ͕ dĂŝƉĞŝ tŽƌŬŝŶŐ džƉĞƌŝĞŶĐĞ͗ WĂŝŶƚĞƌ͕ WĂŝŶƟŶŐ WƌŽũĞĐƚ dž ŝŐ ^ŝnjĞ džŚŝďŝƟŽŶ͗ ŝƚLJ zĞĂƐƚ ƌĞĂƟǀĞ dƌĂŶƐĨŽƌŵĂƟŽŶ͕ 'ŽŶŐ 'ƵĂŶ ^ŚŽƉƉŝŶŐ ŝƐƚƌŝĐƚ͕ ϮϬϭϬͬ ƌĞĂŵ 'ĞŶĞƌĂƟŽŶ WƌŽũĞĐƚ͕ ^ĂŵƉůĞ ,ŽƵƐĞ͕ dĂŝŶĂŶ͕ ϮϬϬϵ
09 ৠ⨍ /ůůƵƐƚƌĂƚŽƌ ͬ ƌƟƐƚ ͬ 'ƌĂƉŚŝĐ ĞƐŝŐŶĞƌ ͬ dŽLJ ĞƐŝŐŶĞƌ ĚƵĐĂƟŽŶ͗ ^s ͕ 'ƌĂƉŚŝĐ ĞƐŝŐŶ͕ Ez tŽƌŬŝŶŐ džƉĞƌŝĞŶĐĞ͗ &ƌĞĞůĂŶĐĞ ĞƐŝŐŶĞƌ͕ WŚĂůĂŶdž ^ƚƵĚŝŽͬ /ŶƚĞƌŶ͕ K͘K͘W͘^͘ KĸĐĞ KĨ WĂƵů ^ĂŚƌĞͬ /ŶƚĞƌŶ͕ ZƵŶŶĞƌ ŽůůĞĐƟǀĞͬ ĞƐŝŐŶĞƌ͕ ŽŝŶ ŽŝŶ ƵŶŶLJ ƵŶ džŚŝďŝƟŽŶ͗ ϮϬϭϬ <ĂŽƐŚƵŶŐ ĞƐŝŐŶ &ĞƐƟǀĂů͕ <ĂŽƐŚƵŶŐ͕ ϮϬϭϬͬ ϮϬϭϬ ^s ͬ' ĞƉĂƌƚŵĞŶƚ ^ƉƌŝŶŐ džŚŝďŝƟŽŶΛ ͕ Ez͕ ϮϬϭϬͬ ŶũŽLJ ZŽĚLJ͊͊ džŚŝďŝƟŽŶ ŝŶ dĂŝǁĂŶ͕ dĂŝƉĞŝ͕ ϮϬϭϬͬ tZ dŽŽůƐ &Žƌ >ŝǀŝŶŐ ϮϬϭϬ ^ƉƌŝŶŐ tŝŶĚŽǁ͕ ^Ž,Ž͕ Ez͕ ϮϬϭϬͬ ϭϴ ŽƉƉĞƌ DĞŶ͕ ŽůůĂďŽƌĂƟŽŶ tŝƚŚ WŝnjnjĂ Ƶƚ &ŝǀĞ͕ dĂŝƉĞŝ͕ ϮϬϬϵͬ dĂŝƉĞŝ dŽLJ &ĞƐƟǀĂů͕ dĂŝƉĞŝ͕ ϮϬϬϲ Ͳ ϮϬϬϵͬ ^ŝŶŐĂƉŽƌĞ ĞƐŝŐŶ &ĞƐƟǀĂů͕ ^ŝŶŐĂƉŽƌĞ͕ ϮϬϬϳͬ ,< ƐŝĂ dŽLJƐ džƉŽ͕ ,ŽŶŐ <ŽŶŐ͕ ϮϬϬϲ
džŚŝďŝƟŽŶ͗ 'ƌĂĚƵĂƟŽŶ džŚŝďŝƟŽŶ ŽĨ ŽŵŵĞƌĐŝĂů ĞƐŝŐŶ͕ dĂŝƉĞŝ͕ ϮϬϬϵͬ tŽƌůĚ sŝƐŝŽŶ ŚŝůĚ WƌŽƚĞĐƟŽŶ ĚǀŽĐĂĐLJ͕ dĂŝƉĞŝ͕ ϮϬϬϴ ǁĂƌĚ͗ ϭƐƚ͕ zŽƵŶŐ dŝŵĞƐ ǁĂƌĚƐ ŽŵŵĞƌĐŝĂů 'ƌĂƉŚŝĐƐ͕ ϮϬϬϴ Ͳ ϮϬϬϵͬ 'ƌĂĚƵĂƚĞĚ ϭƐƚ ^ĐŚŽŽů KĨ ĞƐŝŐŶ͕ ϮϬϬϵͬ DĂƚĞƌƉŝĞĐĞ͕ &ƌĞĞůĂŶĐĞ ŽŵŵĞƌĐŝĂů /ŶŶŽǀĂƟŽŶ ǁĂƌĚ ĨŽƌ ĞƐƚ ŽŵŵĞƌĐŝĂů 'ƌĂƉŚŝĐƐ͕ ϮϬϬϴͬ DĂƚĞƌƉŝĞĐĞ͕ /ŶĨŽƌŵĂƟŽŶ dĞĐŚŶŽůŽŐLJ DŽŶƚŚ WŽƐƚĞƌ ŽŵƉĞƟƟŽŶ͕ 2008
ᐙݓທ
ࠒჿທ
ࠒߞၯ
džŚŝďŝƟŽŶ͗ EŝĐŚĞ ǁĂƌĚ &ŝŶĂů >ŝƐƚ͕ WĞŶŶƐLJůǀĂŶŝĂ ŽŶǀĞŶƟŽŶ ĞŶƚĞƌ͕ W,/͕ ϮϬϭϬ Ͳ ϮϬϭϭͬ DĞƚĂů DĞƚĂů ^ŚŽǁ͕ tĞƌďLJ 'ĂůůĞƌLJ͕ >ŽŶŐ ĞĂĐŚ͕ ϮϬϭϬͬ ^ƚƵĚĞŶƚ ^ŚŽǁ͕ zƵŵĂ &ŝŶĞ ƌƚƐ͕ zƵŵĂ͕ ϮϬϭϬͬ ^ŝĚĞ LJ ^ŝĚĞ͕ Ƶƚnjŝ 'ĂůůĞƌLJ͕ >ŽŶŐ ĞĂĐŚ͕ ϮϬϬϵͬ
10 ဨ֗־ DƵƐŝĐŝĂŶ ͬ &ƌĞĞůĂŶĐĞ /ůůƵƐƚƌĂƚŽƌ
܆ဎၯΙࢲ
06 ࠀࡦԊ WŚŽƚŽŐƌĂƉŚĞƌ ͬ ŶǀŝƌŽŶŵĞŶƚĂů ĞƐŝŐŶĞƌ ͬ ƌƟƐƚ
җᆋၯΙࢲ
tŽƌŬŝŶŐ džƉĞƌŝĞŶĐĞ͗ &ĂďƌŝĐĂƚĞ ƵƐƚŽŵ :ĞǁĞůƌLJ &Žƌ dŚĞ /<K /<K ŽƵƟƋƵĞͬ dĞĐŚŶŝĐŝĂŶ͕ DĞƚĂů >Ăďͬ WĞƌƐŽŶĂů ƐƐŝƐƚĂŶƚ͕ <ĞůůLJ ELJĞ ^ƚƵĚŝŽ
ՙߞၯΙࢲ
ĚƵĐĂƟŽŶ͗ ^h> ͕ DĞƚĂů ŶĚ :ĞǁĞůƌLJ ĞƐŝŐŶ͕ >ŽŶŐ ĞĂĐŚ
ϤԀທ
ஶၯ
12 ቓؘࣴ WŚŽƚŽŐƌĂƉŚĞƌ ͬ /ŶƚĞƌŝŽƌ ĞƐŝŐŶĞƌ ĚƵĐĂƟŽŶ͗ z h͕ /ŶƚĞƌŝŽƌ ĞƐŝŐŶ͕ dĂŽLJƵĂŶ tŽƌŬŝŶŐ džƉĞƌŝĞŶĐĞ͗ &ƌĞĞůĂŶĐĞ /ŶƚĞƌŝŽƌ ĞƐŝŐŶĞƌͬ /ŶƚĞƌŝŽƌ ĞƐŝŐŶĞƌ͕ dŝĞŶƐ ^ƚƵĚŝŽ /ŶƚĞƌŝŽƌ Design džŚŝďŝƟŽŶ͗ Ϯϭ dž Ϯϭ ƌŽƐƐŽǀĞƌ͕ ƐůŝƚĞ yŝŶLJŝ ŽŽŬ ^ƚŽƌĞ͕ dĂŝƉĞŝ͕ ϮϬϬϵͬ /ŶƚĞƌĂĐƟǀĞ ĞƐŝŐŶ KĨ <ŝĚ ^ƉĂĐĞ͕ z h͕ dĂŽLJƵĂŶ͕ ϮϬϬϲͬ Ăŵ /ŶƐƚĂůůĂƟŽŶ ƌƚ͕ z h͕ dĂŽLJƵĂŶ͕ ϮϬϬϱ
13 ᙢထ Photographer / Director
opening. 8/6, 14:00 period. 8/6-10/1, 2011 ƟŵĞ͘ ϭϰ͗ϬϬͲϮϬ͗ϬϬ
venue. ѮࠒѿஶၯΙࢲ351ဴ
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/RECord, REConstruct, RECode
ஶၯ351ဴȂΙැᄂᡛܘޟυȄ
ᓃȃ१ཱིಢᄺϞࡣ१ཱིጡጆȂ ҢӨՌߒޟक़ȇ ӵѮࠒѿஶၯ351ဴȄ
ǁĂƌĚ͗ 'ŽůĚ ǁĂƌĚ͕ ϮŶĚ ĞƐŝŐŶĞƌ dŽLJ ŚĂƌĂĐƚĞƌ ĞƐŝŐŶ ŽŶƚĞƐƚ͕ ϮϬϬϲͬ ^ƵƉĞƌŝŽƌ͕ ϯƌĚ Ͳ ϰƚŚ ĞƐŝŐŶĞƌ dŽLJ ŚĂƌĂĐƚĞƌ ĞƐŝŐŶ ŽŶƚĞƐƚ͕ ϮϬϬϳ Ͳ ϮϬϬϴͬ ^ƵƉĞƌŝŽƌ͕ ĞƩĞƌ dŽŵŽƌƌŽǁ ĞƐŝŐŶ ŽŶƚĞƐƚ ďLJ ŽĐĂ ŽůĂ dž dƌĞdžŝ dŽLJƐ͕ ϮϬϬϳ
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ӵձζӵ!!!!!!!!٥၇!!Ο!!ȟ
/there
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sian.yu
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sian.yu/REC
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you are
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sian.yu
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[REC – RECord, REConstruct, RECode ] Aug. 2011 594mm x 840mm, 184mm x 112mm The irregular polyhedron represents the aggregate artists, who all create and take REC as a topic but in different ways. The pointy part of this polyhedron is just like a pen which is writing/record and also a needle which is reading/reconstruct. There is an inverted image of the polyhedron; it means people will have reflections when they received the messages from our creations, and that is recode.
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{ photography }
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Barcelona, 2011 OLYMPUS OM-1 G.Zuiko 50mm F1.4 FUJIFILM X-TRA 400
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Barcelona, 2011 OLYMPUS OM-1 G.Zuiko 50mm F1.4 PARADE 100
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London, 2011 OLYMPUS OM-1 G.Zuiko 50mm F1.4 KODAK Tri-X 400TX
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Barcelona, 2011 OLYMPUS OM-1 G.Zuiko 50mm F1.4 KODAK Tri-X 400TX
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London, 2011 OLYMPUS OM-1 G.Zuiko 50mm F1.4 KODAK Tri-X 400TX
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Tokyo, 2009 OLYMPUS OM-1 G.Zuiko 50mm F1.4 FUJIFILM X-TRA 400
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Tokyo, 2011 MINOX GT-E KODAK Tri-X 400TX
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[ CONCEPT CITY ] Exhibition at REC, Tainan, Taiwan. Dec 18, 2011 to Jan 15, 2012
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Barcelona, 2011 OLYMPUS OM-1 G.Zuiko 50mm F1.4 PARADE 100 wood window frame, digital print SIZE: 490mm x 440mm x 50mm
London, 2011 OLYMPUS OM-1 G.Zuiko 50mm F1.4 KODAK Tri-X 400TX wood window frame, digital print SIZE: 490mm x 440mm x 50mm
Nantou, 2011 MINOX GT-E EFINITI UXI 200 Digital print SIZE: 650mm x 390mm x 50mm
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India, 2008 OLYMPUS OM-1 G.Zuiko 50mm F1.4 FUJIFILM X-TRA 400 wood window frame, digital print SIZE: 660mm x 380mm x 50mm
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Barcelona, 2011 OLYMPUS OM-1 G.Zuiko 50mm F1.4 KODAK Tri-X 400TX wood frame, digital print SIZE: 710mm x 410mm x 220mm
.3 Tokyo, 2011 MINOX GT-E FUJIFILM S400 wood window frame, digital print SIZE: 530mm x 410mm x 50mm
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Tokyo, 2009 OLYMPUS OM-1 G.Zuiko 50mm F1.4 FUJIFILM X-TRA 400 wood window frame, digital print SIZE: 530mm x 410mm x 50mm
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Barcelona, 2011
Tokyo, 2011
OLYMPUS OM-1 G.Zuiko 50mm F1.4 PARADE 100 wood frame, digital print SIZE: 610mm x 410mm x 170mm
MINOX GT-E KODAK 500T wood frame, digital print SIZE: 460mm x 310mm x 100mm
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Barcelona, 2011
Yilan, 2011
OLYMPUS OM-1 G.Zuiko 50mm F1.4 PARADE 100 wood frame, digital print SIZE: 410mm x 410mm x 130mm
MINOX GT-E KODAK Tri-X 400TX wood frame, digital print SIZE: 460mm x 310mm x 100mm
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{ painting }
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Woman with blue hair, 2011 oil painting 320mm x 410mm
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Baku, 2011 oil painting 530mm x 460mm
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Baku, 2010 oil painting 240mm x 190mm
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{ information } chronology resume
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2006
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year 3 physical model 1/100
[ LO, MAN-FEI MONUMENT ]
2008
year 3 physical model 1/100
[ RE-PROGRAMING GREEN BUILDING ]
year 2 physical model 1/100 3d model
[ CONGREGATE HOUSING ]
year 2 physical model 1/50
[ PROGRAMING – PROBLEM SEEKING ]
year 2 physical model 1/100
[ ARTIST PRIVATE HOUSING ]
year 2 physical model 1/50
[ DORMITARY – ADAPTIVE USE ]
2007
year 1 physical model 1/50
[ PUBLIC LAVATORY ]
CHRONOLOGY /
ACADEMIC DESIGN PROJECTS 2006 - 2009
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year 3 physical model 1/500, 1/250, 1/100 3d model
[ SENSATION.RAR ]
year 4 physical model 1/50
[ ELDER, DOG AND PARK ]
2009
year 3 physical model 1/100 3d model
[ NCKU ART CENTER ]
year 3 physical model 1/200 3d model
[ ELEMENTARY SCHOOL ]
year 3 3d model
[ COUNTRY HOUSING ]
year 3 physical model 1/100 3d model
[ IDEAL PRIVATE HOUSING ]
year 3 physical model 1/100 3d model
[ COMMUNITY LIBRARY ]
CHRONOLOGY /
EXHIBITIONS, WORKSHOPS, COMPETITIONS 2009 - 20011
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Advanced NCKU Achievements Books + Exhibition
Advanced Cinemetrics : Generating Space Form, Movement & Time Images TsuenWan, HK
2011
“Liquid Perception of Governor’s Residence ”
2010
INTA Idea for Action Kaohsiung Dynamic Eco-Patch
“ Party of Crossroad ” NCKU Architecture Graduation Exhibition
“ Post Babel ” Cheng-Kung, Chun-Yuan and Tung-Hai Architecture Graduation Exhibition
Cinemetrics International Workshop HK
2009
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“ Concept City “
The Venice Biennial 13th International Architecture Exhibition Taiwan Pavilion
“ My Dear Crocodile “
“ REC – RECord, REConstruct, RECode ”
resume
EDUCATION Sep 2005 - Jun 2009 /
Bachelor of Science in Architecture, College of Planning & Design, National Cheng-Kung University (NCKU), Tainan, Taiwan
PROFESSIONAL EXPERIENCE REC Alternative Space & Curating Team / Visual Director Department of Architecture, NCKU / Project Assistant Sep 2010 – Jan 2011 / Department of Architecture, NCKU / Teaching Assistant Feb 2010 – Aug 2010 / Côte à Côte Café + Gallery / Service Stewardess Dec 2009 – Jan 2010 / KYLEYU Photography Studio / Assistant Jul 2008 – Aug 2008 / SHENG-YUAN, HUANG + FIELD OFFICE / Intern Aug 2011 – Present /
Nov 2010 – Jul 2011 /
WORKSHOP “ Advanced Cinemetrics : Generating Space Form, Movement & Time Images / TsuenWan, HK ” Mar 2011 “ Cinemetrics International Workshop / HK ” Mar 2009
COMPETITION The Venice Biennial, 13th International Architecture Exhibition, Taiwan Pavilion / Final List, Oct 2010 – Nov 2011 INTA, Idea for Action Kaohsiung, dynamic eco-patch / Honorable Mention, Jul 2009 – Oct 2009
EXHIBITION “ Concept City “ Exhibition of REC Dec 2011 – Jan 2012 “ My Dear Crocodile “ Exhibition of REC Oct 2011 –Nov 2011 “ REC – RECord, REConstruct, RECode ” Exhibition of REC Aug 2011 – Oct 2011 “ Liquid Perception of Governor’s Residence ” Resident Artists Program in Governor’s residence in Tainan County Nov 2010 – Dec 2010 “ Party of Crossroad ” NCKU Architecture Graduation Exhibition Jun 2009 “ Post Babel ” Cheng-Kung, Chun-Yuan and Tung-Hai Architecture Graduation Exhibition May 2009
EXTRACURRICULAR ACTIVITIES Team Leader of Propaganda, Associated Graduate Affairs Student Union 2009 Team Leader of Design and Activity Relevance, Summer Camp 2008 Chief of Girl Basketball Team, Physical Student Union 2008 Chief of Art and Design, Associated Student Union 2008
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YU, SZU-AN
Date of birth / 28 Sept, 1986 Address / 5F., No.107, Ln. 113, Donghu Rd., Neihu Dist., Taipei City 114, Taiwan (R.O.C.) Mobile / +886-912-583-010 E-mail / sanyu928@hotmail.com
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YU, SZU-AN PORTFOLIO 2006-2011