Portfolio of Yifan Deng 2016-2019 by Yifan Deng

portfolio yifandeng 2 0 1 6 2 0 1 9 Columbia University GSAPP M.S. Advanced Architectural Design South China University of Technology Bachelor of Architecture

01 perpetual spring the climate-correcting 09 bilateral spectrum an affordable housing + water + commu 25 labor, govern, $ museum of the ILO / 2018 F 43 hopi shelter a city container / 2019 Spring / Instr 63 theatrical sacredness through taming the nature a nature-sens 75 the wave ice skating stadium / 2016 87 cylinder maze home & co-working space / 2017 Winter / Re 99 the new era theremin interactive music arranger / 2017 Spring / Instru

109 illusion of one WTC Metropolis Workshop E

115 bandshell An Easy-Carry Shelter / 2018 Fall / Transforma

127 parallelogram chair 2018 Fall / Transformable De 133 event tool A Hand Inspired Model Planning Tool / 2018 Fall /

143 time/sublime Essay / 2018 Fall / Metr

151 nature/animism/culture 2018 Fall / Me

163 cantilever chair A Generative Process for Optimized Design / 2019 Sprin

173 section of long museum 2019 Spring / Seminar o

g machine / Professional / 2019 / OBRA Architects

unity / 2018 Summer / Instructor: Daisy Ames / Collaborator: Yutong Li

Fall / Instructor: Bernard Tschumi / Collaborator: Jie Hu

ructor: Kersten Geers, Andrea Zanderigo / Individual Work

sitive experience center / 2017 Fall / Instructor: Wendy Teo / Collaborator: Junyi Ding Fall / Instructor: Yimin Sun / Individual Work

edefining the Concept of Thresholds in Architecture / Individual Work

uctor: Gang Song / Collaborator: Yifan Deng, Mengyu Wu, Xianfan Yang, Xinyu Yan

Essay / 2018 Summer / led by Ife Salema Vanable

able Design Methods / Instructor: Matthew Davis / Team Work

esign Methods / Instructor: Matthew Davis / Team Work META TOOL / Instructor: Dan Taeyoung / Collaborator: Shuang Bi

roolitan Sublime / led by Sandro Marpillero

etroolitan Sublime / led by Sandro Marpillero

ng / Generative Design / Instructor: Danil Nagy / Collaborator: Guangyu Wang

of Section / Instructor: Marc Tsurumaki / Individual Work

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Perpetual Spring

The Climate-Correcting Machine Work of OBRA Architects

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Obra Architects' Perpetual Spring is a demonstration pavilion currently on view at the National Museum of Modern and Contemporary Art in Seoul, Korea. Opened to the public on September 21, 2019, the "Climate-Correcting Machine" is a public urban space open to all, accompanied by a virtual platform viewable on www.perpetualspring.org. This project is ongoing until April 2020. The aims of Perpetual Spring include: —pointing to the power of architecture to draw our attention and awaken consciousness —opening up social barriers by democratizing access to the museum as a public platform for public and personal expression —embodying the potential promise of a "climate-correction machine” There will be more and more public events (organized by the people of Seoul), as this public infrastructural prototype is utilized. OBRA are recording and archiving certain events, and will keep the website updated as an ongoing "live project."

Design Team: Obra Architects - Pablo Castro, Jennifer Lee, Jinkyung Cho, Lianyuan Ye, Margherita Tommasi, Danchu Cho, Yifan Deng, Alejandra Ahrend, Ruby Kang, Song Gan,— www.obraarchitects.com Front Inc. - Michael Ra, Hwan Kim — www.frontinc.com Obra Abim - Hojoong Kim, Anna Na — www.obraabim.com Moohan Global - Sang Jun Kim — www.moohanglobal.co.kr Mahadev Raman, Arup, Princeton University Dongsimwon Landscape & Design Construction Co. - Gye Dong Ahn, Namjin Lee — www.dongsimwon.com Supermass Studio - Taewook Cha — www.supermassstudio.com Alan Woo — www.alanwoo.ca O-un — www.o-un.kr Location: Seoul, Korea My Work: Assist Detailed Structural Modeling and Drawing, Check Correspondence of Structure Shop Drawing (DD, CD), Graphic Design of Foldout Poster, Assist Diagram Drawing, Assist Product Research

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PERPETUAL SPRING Obra Architects' Perpetual Spring is a demonstration pavilion currently on view at the National Museum of Modern and Contemporary Art in Seoul, Korea. Opened to the public on September 21, 2019, the "Climate-Correcting Machine" is a public urban space open to all, accompanied by a virtual platform viewable on www.perpetualspring.org. This public project is ongoing until April 2020.

영원한 봄 오브라 아키텍츠의 국립현대미술관 서울, 미술관 마당에 자리한 영원한 봄 파빌리온은 사회교류와 커뮤니티를 위한 도시 실험의 장소로 계획되었다. 2019년 9월 21일부터 2020년 4월까지 영원한 봄은 열린 행사 장소이자 기후 교정의 기계로 가상플랫폼인 www.perpetualspring.org 과 연동된다.

Please see Perpetual Spring's instagram page @perpetualspringspace for ongoing events programmed by the public, for the public. The aims of Perpetual Spring include: —pointing to the power of architecture to draw our attention and awaken consciousness —opening up social barriers by democratizing access to the museum as a public platform for public and personal expression —embodying the potential promise of a "climate-correction machine” It specifically involves both the physical platform, located in C I R C U L A R W I N D OW E X HAU ST FA N the Museum Madang, open 10-6pm Sunday thru Thursday and 10-9pm Friday and Saturday, together with the virtual platform, found at the website address: www.perpetualspring.org

영원한 봄 인스타그램 페이지 @perpetualspringspace 에서 시민들이 기획한 공공에 의한, 공공을 위한 행사 프로그램을 찾아볼 수 있다.

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Over the course of the next few months, there will be more and more public events (organized by the people of Seoul), as this public infrastructural prototype is utilized. We are recording and archiving certain events, and will keep the website updated as an ongoing "live project."

영원한 봄의 목표는: —공공의 주목을 이끌며 의식을 일깨우는 건축의 힘 (영향력?) —공공과 개인의 표현을 위한 공간으로 미술관로의 접근을 민주화 하여 사회적 장벽을 여는 것 —"기후 조정 기계"의 가능성을 구현

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Note: If you would like to meet Pablo Castro or Jennifer Lee at the museum, they are in town until Wednesday morning November 13. Please contact Jennifer Lee at 010 7625 3868. Please let us know if you have any questions. Thank you!

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일요일부터 목요일까지 10-6시까지, 금요일에서 토요일에는 10-9시까지 열린 미술관 마당에 위치한 물리적으로 실재하는 공간과 가상 공간의 웹사이트 주소 www.perpetualspring.org 이 동시에 운영된다. 노트: 파블로 카스트로 또는 제니퍼 리를 미술관에서 만나고 싶으시다면, 11월 13일 아침까지 서울에 있으니, 제니퍼 010 7625 3868로 연락을 주기 바란다. 궁금한 점이 있으면 알려주시기 바랍니다. 감사합니다.

인스타그램 please join us @perpetualspringspace

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Design Team Obra Architects - Pablo Castro, Jennifer Lee, Jinkyung Cho, Lianyuan Ye, Margherita Tommasi, Danchu Cho, Yifan Deng, Alejandra Ahrend, Ruby Kang, Song Gan,— www.obraarchitects.com Front Inc. - Michael Ra, Hwan Kim — www.frontinc.com Obra Abim - Hojoong Kim, Anna Na — www.obraabim.com Moohan Global - Sang Jun Kim — www.moohanglobal.co.kr Mahadev Raman, Arup, Princeton University Dongsimwon Landscape & Design Construction Co. - Gye Dong Ahn, Namjin Lee — www.dongsimwon.com Supermass Studio - Taewook Cha — www.supermassstudio.com Alan Woo — www.alanwoo.ca O-un — www.o-un.kr Other Professor Alex Taek-Gwang Lee, Kyunghee University 이택광 교수, 경희대학교 Professor Sebastian Seung, Princeton University, Samsung NY AI Lab 승현준교수, 프린스턴 대학교 Cameron Beccario — earth.nullschool.net Sangam Lee, Namhyundang Guesthouse

Special thanks to: CJ Foundation Dongkuk Steel Eagon Gami Designlab, Ougun Jung 감이디자인랩 정우건 Global Green Growth Institute Green Drinks Seoul

Hanwha Q Cells Hyunji Industry Co., Ltd., Junyoung Lee 현지산업 이준영 Sammyung Tech SeAH Steel Shawoo Studio, Changwook Pak 샤우 디자인 사무소 박창욱

And to the following individuals: Christel Adamou Orestes Anastasia Charles Busada Insouk Cho 조인숙 Theresa Cho & Andrew Yi Catherine Germier Justine Harris & Jack Youngelson Tracey Hummer David Karlin Li Ke Wonsook Kim & Thomas Clement

Ahyeon Lee 이아연 Ali Kim & Haeseung Lee Jisoo & Chongdoo Lee Sunghee Moon Heyonn & Stephane Mot Dietmar Offenhuber Helen Park Tim Partridge Peter Simmonds Michele & Jose Torrecilla Sooryun Youn

공간 사용 신청 Submit a proposal to use this public space www.perpetualspring.org

1 C:\GSAPP\SUMMER2018\Studio led by Daisy Ames

Bilateral Spectrum

An Affordable Housing + Water + Community Yifan Deng, Yutong Li

Following a collective examination of the city’s affordable housing shortage and fatigued water management systems, we proposed this housing project on Roosevelt Island which simultaneously pushed back on existing models of living and outdated water management systems. The Bilateral Spectrum proposal promotes gathering and interaction between young and elderly populations with a winding pathway throughout the site alongside pocket spaces that support a variety of activities. The concept of bilateral symmetry was applied as a tool to inform their design of the site's main axis, pathways, and water management system. Bilateral symmetry is a design tool that we have used in three ways: as the main axis,as the path, and for water. The axis in the Roosevelt Island becomes fluid, allowing the two areas to communicate with each other. The new axis is a path in the site. Lots of “pockets” are arranged along the path, where a variety of activities could happen. Then the public areas for entertainment was defined. Each area has a different feature in water. We are using the axis and the path in different ways of symmetry. We use the main axis to mirror solid buildings into solid and we use the path to mirror solid buildings into patio.

Fuzzy Symmetry Location: Roosevelt Island, New York, NY My Work: Site Investigating, Conceptual and Architectural Design, Axometric Section Modeling and Drawing, Model Making

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SYMMETRY: SOLID - SOLID

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SYMMETRY: SOLID - PATIO

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2 C:\GSAPP\FALL2018\Studio led by Bernard Tschumi

Labor, Govern, $ Museum of the ILO Yifan Deng, Jie Hu

The International Labour Organization (ILO) has a tripartite governing structure that brings together governments, employers, and workers. The ratio of representatives of the three-part is not equal (2:1:1) and the reality is that the labor is still undergoing a lot of problems. the issue of labour is very complex. Situation differs in different country and during different decades. The role of employer and employee are not static. Movements, strike, unemployment tide happens, the dominant role in the play also changes frequently. One may also have compounded identity of government, employer or employee. So the boundary of each part are actually blurring. By revealing the chaos under the seemingly well-organized envelope, we also want to criticize and propose a future of equality between the three parts. We tried to translate the notion of labour into architectural language. Different geometries represent stakeholders in the play.When geometry meets, some may compromise and some may manipulate the other. In this way, they starts â&#x20AC;&#x153;negotiatingâ&#x20AC;? the program. The path is a protagonist in the program who goes through and links up all the circumstances, from the ground level to the top floor.

Concept and Authorship - World Museum Block Location: Manhattan, New York, NY My Work: Conceptual and Architectural Design, Grasshopper + Rhino 3D Modeling, Raw Rendering, Collaging, Section Perspective Drawings, Physical Modeling

This perspective under the dome is showing the end of the linear sequence. By cutting off a big corner from the dome and widen the path into big stairs, we aim to propose a future that workers and employers can really have an equal voice with governments in its deliberations.

The three kind of geometries in the building were originally serves as the three part of the governing structure in the organization. But when they are clashing with each other, complicated circumstances and transition moments are created. Then they serves as a unity to show the complexity of the real status of labour.

The Red line leads the Internal Exhibition Path. When it ends at the rooftop, the Blue Line - External Path connects. The Internal path is more linear with mostly one direction, while the external path is more dynamic.

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Hopi Shelter

A City Container

The studio was looking into a show called "Small Museum for the American Metaphor" which was on display in REDCAT in 2014. 42 objects were selected by OFFICE KGDVS. All of them are consciously blurring the distinction between object and representation. The metaphor is a base for a possible architecture that blurs the distinction between building and object, collapses different scales. The studio is to design something in the middle of nowhere - the desert. In 1982 Reyner Baham published Scenes in America Deserta, in which he depicted his trips around America West. and for our studio trip we were trying to cover the same route as Reyner had. During the trip we encountered various culture, extreme climate and also, for sure, the endless nothing. Each design in the studio is an enormous one single building that can contain the whole city. In Geerâ&#x20AC;&#x2122;s term, a "vacuum cleaner" that can absorb all the existing environment into one form, becoming a practical utopia.

America Deserta Location: Hopi Reservation, AZ Individual Work Lucille Smyser Lowenfish Memorial Prize

The object is composed of three stacked boxes. They are made of wood board and painted white. Each has a shape similar to a cube, but not exactly. The bottom box is a truncated pyramid that is roughly under a meter. Each side of the prism, except the top and bottom, have square indents, with pieces of paper that read either “miet mich” or its English translation, “rent me,” handwritten in black ink. The base cuboid exhibits a number of quadrilateral and triangles that are brown, dark green and light blue. In one side in particular, there is a yellow background color. The middle box of the stack is a simple extrusion roughly half the height of the bottom one. It also contains some triangles wrapping around the top of it, colored light blue, light cyan and a small amount of dark green. Finally, the box that crowns the whole sculpture is roughly half the height of the middle box, shaped as a cuboid with round edges. Each of its sides has a nail from which little plastic rackets are hung - the red one with white thread, and the blue one with twisted black wire. Through these joyful, saturated color - red, blue, green, yellow, this object is some how recalls a memory from the 1980s. Shared old school cheap toys for entertainment is already a history. Nowadays we always own a private racket. But the collective memory of childhood would always exist, and thus recorded in this piece.

The size of the model is small and colored with desaturated green color similar to the color of concrete. The model can be broken up into five parts and the overall geometry consists of circular, triangular, square, and hexagonal shape. The pedestal is square shaped with a thick cylinder with spiral ramp goes on top of it. Above these, are six round columns that together prop up a hexagon box with tiny square openings on its façade. The next layer is a thick cylinder with half of its façade covered in a black color pattern. Crowning the sculpture is a white translucent part with triangle grid ceiling, covering the space.Overall, the proportion and geometry are very restricted in the model, but each part of the mass has visually distinct language from one another. The consice in geometry form and sequence of each part let the building creat a delicate stacking order. Looking from above, three geometry - circle, hexagon and circle each fully filled the outer geometry.

The process project is an artistsâ&#x20AC;&#x2122; studio composed of stacking layers origin from different prototypescorrespondance to their functions. Using differentiate geometries which have inner porpotion relationship but distorted and inscribed with each other, the program is made up of (from below to above) storage level, open gallery, glazed gallery, round studio and the living space for the artist. There is a sequence to transparency that goes from light to heavy from below. Raadical colors are used in some of the inner surfaces.

Six sites were assigned, in which the population range from 700 to 10,000. This project is in the first mesa of the Hopi Mesas and the population is 1,500. I found spiral and concentric Circles are one of the symbols in Hopi culture. In their origin story, They are instructed to walk to the world's farthest corners, to learn the earth with their feet and to find their Center Place.

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― ― ―       ― ― ― ― ― ― ― ― ― ― ― ― ―       ―  ―   ―  ―   ―  ―   ―  ―  ―   ― ― ― ―  ― ― ― ― ― ― ― ― ― ― ― ― ― ― ― ― ― ― ― ― ― ― ― ― ―      ―  ―   ―  ―   ―  ―   ―  ― ― ― ―  ― ― ― ― ― ― ― ― ― ― ― ―      ― ― ― ― ― ― ―      ―  ―   ―  ―   ―  ―   ―  ― ― ― ―  ― ― ― ―

The shelter have a diameter of 500 meters, supported by a set of concrete skeleton and covered with transformable textile. In response to the climate, this design can act as a shelter for the city inside. With openings at the bottom and at the top center, this structure also helps ventilation in the area, letting in cool air from the bottom and hot air goes up and away, creating a comfortable breeze in it. The construction view of the building shows the dome with a diameter of 500 meters, supported by a set of concrete skeleton and covered with transformable textile. In response to the climate, this design can act as a shelter for the city inside. With openings at the bottom and at the top center, this structure also helps ventilation in the area, letting in cool air from the bottom and hot air goes up and away, creating a comfortable breeze in it.

4 C:\Academic\FALL2017\Studio led by Wendy Teo

Theatrical Sacredness through Taming the Nature A Nature-Sensitive Experience Center Yifan Deng, Junyi Ding

Irregular-Section & Soft Interface

The subtle relationship of Nature and human-made nature has always been a topic. The Project is about imitating nature and reproduce the sensory field from the antelope valley. The walls are designed not solid, simulating the soil property on the site, is sensitive to nature and can be eroded by the water flow. The river is designed to be able to flow through the project so the underground space made by human will be filled with sediment, so the human-made space will be given back to nature. The design is not only about the spacial experience for visitors but also a conversation about man-made environment and nature. The material of the wall undertakes the medium of the dialogue. The Sensory Field of the Native Environment Location: Page, AZ My Work: Site Research, Conceptual and Architectural Design, Grasshopper + Rhino 3D Modeling, Raw Rendering, Axometric Section Drawings, SketcFab Real-time VR Experience Setting

Relationship With The River and Bank

Interface Prototype Varieties

Mechanical System Design

G I

A K

A - Main Pipeline B - Main WaterLine C - Maintenance D - Sewage Control System

E F

Control the flow amount with in the system

E - Underground Waterfalls Artificial waterfalls created by the system, changing by time and water level

F - Outfall

Drain water back to the Colorado

G - Water Inlet

Extracting water from the Colorado

H - Reservoir

Underground reservoir for excess river water storage

I - Flitration System J - Vault K - Spraying System

Passageway Section

L T

L - Retractable nozzle

The retractable water jet nozzel is buried in the rammed earth wall layer. As the layer is been washed thinner, the nozzel will retract into the wall.

M - Motor Equipment

Providing pressure for the water jet washing system

N - Water Inlet O - Diches

U Q P

Ditches are designed on the side of the passageway to guide water and sediment downstream.

P - Outfall Q - Sewage Control R - Walkway S - Concrete Wall T - Rammed Earth Layer U - Original Soil Layer

Sectional structure design Ditches are designed on the side of the passageway to guide water and sediment downstream. There is a concrete layer on the outside of the rammed earth wall. The main motor equipment and the main pipe is also fixed here. The sprinkler pipe is buried inside the rammed earth wall, allowing the wall to be slowly washed and deformed over time by the jet of water.

1 2 3 4 5 6 Narrative Space Sequence for Visitors 1 / The Lure 2 / The Entrance 3 / Exploration 4 / The Crack 5 / Redemption - Looking up from the bottom of the Hall 6 / Reborn

5 C:\Academic\FALL2016\Studio led by Yimin Sun

The Wave

Ice Skating Stadium

Summer / Roller Park

76 Winter / Skating Stadium

Located on the northern side of the Beijing Olympic Center, the purpose of the design is to make the venue a connector into the logic of the site, the communication of green spaces, residential areas and large-scale buildings. At the same time in the form of intent to reflect the characteristics of the curve of the ice skating movement charm. SCUT 2016 Fall Option Studio 2022 Winter Olympic Stadium Location: Beijing, China Individual Work

Site Plan

Reference Curve

The Relation Between Figure and Ground

Functional Distribution

Morphological process

A - The warm-up site differs from the main ice surface in terms of the appropriate span of the structure. B - The two ice surfaces are brought together and the two structures are merged and graded on a scale. C - The integrated angle is adjusted so the building's scale has been reduced, taking up less space. And there are more possibilities in morphology arrangement.

Section Render

Structure Concept Model

81 5m

15m

35m

Membrane and Steel

Shaped Steel Plate Steel Frame

Membrane

Main Column

Sub-Membrane

Sub Column

Curtain Wall

Exploded Axon

Grand Seat &VIP Balcony

Platform Level Spectator Area

Ice Level Function Area

Underground Parking &Athlete Area

Platform Level Plan C-Event management Area C-1. Storage Room C-2. Office C-3. Boardroom D-VIP Area D-1. Storage Room D-2. Office D-3. Olympic Family Lounge D-4. Dining Area D-5. VIP Entry E-Security personnel Area E-1. Security person Dorm E-2. Office E-3. Controll Room F-Sponsor Area F-1. Sponsor Entry F-2. Restroom F-3. Lounge Bar F-4. Controll Room G-Broadcast Compound G-1. Media Entry G-2. Dining Area G-3. Controll Room G-4. Venue Media Centre G-5. Interviewing Room G-6. Rebroadcast area H-Spectator Area H-1. Storage Room H-2. Inquiry Office H-3. Food and Beverage H-4. Retail Room H-5. Display Room

Ice Level Plan 1.Warm Up Area 2. Ice Hockey /Multi Pirpose Area 3. Ice Track 4. Office 5. Controll Room 6. Mobile Communication Room 7. Medication Station 8. Storage Room 9. Lounge 10. Bus Station 11. TV Broadcasting Integrated Area 12. Parking Lot 13. Equipment Room 14. Grand Stands 15. Official Stands 16. Observer Seating A-Athlete Area A-1. Athlete Entry A-2. Gym A-3. Medication Station A-4. Athletes Tunnel A-5. Changing Rooms A-6. Storage Room B-Venue operation Area B-1. Storage Room B-2. Office B-3. Controll Room B-4. Medication Station B-5. Changing Rooms B-6. Restroom

6 C:\Academic\WINTER2017\Studio

Cylinder Maze

One Type, Two Projects - Home & Co-working Space

YAYOI KUSAMA Dots Infinity, 1995

YAYOI KUSAMA Polka Dots, 1994

To what extent can the limits of the building be simplified? Can architectural elements be simplified to just "cylinders"? To what extent can "cylinder" be presented in a building? Can an program be previously decided in a certain kind of system that creating the form, without the consideration of function, and then let a certain kind of suited function to be injected into the system? Taking the inspiration from Yayoi Kusama's polka dots art works from different periods, the system is made up with a three dimensional version of the polka dots—— a repetition and variation of vertical column-like constructions. So different layers of space are created. Larger columns derive into space instead of merely structure, and sequences of columns which is another form of breathing wall , bringing light and space. When a small-scale cylinder is used as a structural component in the usual sense, a medium-sized cylinder is given some furniture function by me, while a larger-sized cylinder becomes the space itself and provides a new layer for the whole system —— A space. 2017 Winter Option Studio Redefining the Concept of Thresholds in Architecture Individual Work

House Axonometric Line Drawing

Co-working Space Axonometric Line Drawing

House Plan

Co-working Space Plan

diameter(mm) function

φ125 Structure

diameter(mm) hole ratio

φ1300 0%

diameter(mm) function

φ125 - φ400 Balcony

diameter(mm) function

φ300 Structure

φ500 Structure

φ800 Storage

φ1300 25%

φ150 - φ 5000 Library

φ4300 15%

φ125 - φ400 Display hall

φ800 Storage

φ4300 25%

φ2500 - φ7200 Washroom

φ1500 Office cell

φ2000 Office cell

φ5000 5%

φ150 - φ1500 Office

φ500 - φ 6000 Dining hall

φ2100 Shelf

φ5000 15%

φ150 - φ3200 Office

φ 900 - φ 8700 Entertainment hall

Derivation of Typology / Function - Diameter - Composition

φ2100 Office cell

φ5000 Reading cell

φ5000 30%

φ150 - φ3000 Main Office

φ7200 Washroom

φ5000 45%

φ5000 25%

φ150 - φ4300 Main Office

φ 200 - φ 5300 Conference hall

Light Well / Reading Room / Home

Light Well / Meeting Hall / Co-Working Space

Conceptual Model / Teahouse

Conceptual Model / Co-Living

The points on the two-dimensional plane correspond to a vertical cylindrical component in my building system. The components reach the space confinement in the size and alignment changes, and the cylinder becomes a porous wall. When a small-scale cylinder is used as a structural component in the usual sense, a medium-sized cylinder is given some furniture function by me, while a larger-sized cylinder becomes the space itself and provides more for the whole system A space level. In addition, when the interface of each cylinder is given a different expression, the cylinder not only encloses the space but also becomes a member for guiding the light. At the same time the expression on the cylinder is also in the cylinder and in the cylinder through the streamline, people see through or not brought more possibilities.

7 C:\Academic\SPRING2017\Studio led by Gang Song

The New Era Theremin

Interactive Music Arranger

Yifan Deng, Mengyu Wu, Xianfan Yang, Xinyu Yan

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Visual Program flowchart in vvvv Theremin,an electronic musical instrument controlled without physical contact by the performer

Since we are now entering a Post-digital age, material that makes up space can also be things without entity property, such as the light. The installation of an interactive arranger shown is a small attempt to the digitally augmented environment. The installation provides a interactive environment that is responsive to specific human movements, can affect the pattern and music of the environment. With or without the installation, the property of the space is altered from a monotonous room to an activated one, the light is the medium and the trigger of the space. Location: Guangzhou, China My Work: Visual Programming using vvvv, Leap Motion Programming, Graphic&Animation Design, Gesture Design, Construction, Video Editing

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Installation Instructions

Real Time Video Snapshots

Sensor: Leap Motion

Motion Related to Main Background Music

Opening Process

Motion Related to Drum Sound Effect

Motion Related to Direction of Hand

Theoretical Analysis

Music theory analysis & VVVV Visual Programing Flow Chart

C:\GSAPP\SUMMER2018\Metropolis led by Ife Salema Vanable

Workshop Essay

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One World Trade Center or Freedom Tower, David Childs, Daniel Libeskind, SOM 2014-2015) It was my first time visiting the southernmost part of Manhattan. My first encounter with One World Trade Center was a random Google search of the keyword of its name and the Google map 3-D version of the southern part of the island. Pictures of the façade revealed that it was likely highly reflective. Like many façades of high-rise buildings, it looked as though it would easily produce light pollution in the city. A look at the 3D version of the map reveals two sections of Manhattan where tall buildings are heavily concentrated. From these areas building heights gradually decrease until reaching a more uniform height across the island. One World Trade Center is in one of the two sections, among the most important parts of the City. I planned to reach the building by the number 1 subway line, one of the oldest metro lines that connect the crucial points of this island from north to south. After getting up from the underground, I found myself in a typical and comfortable old style block in which buildings are made with brick façades and are typically not higher than 6 floors. Following the path that the map instructed me to take, suddenly the upper part of One World Trade Center appeared in sight, standing behind these relatively normal buildings. As I continued towards One WTC, the surroundings become more interesting: a spring pool decorated with Jeff Koon’s pink metal sculpture, beautiful graffiti, the aggressive World Trade Center Transportation Hub designed by Calatrava and the memorial pool. The memorial pool gives a rather heavy tone but there are visitors surrounding everywhere in the site. Different elements are conflicting with each other in the site: old and new, heavy and light, high-rise and low-rise. It’s a public, sun-shined area with the sound of water and breeze going by. Countless visitors are passing by, talking and smiling. You know the place suffered a terrorist attack, but the security personnel and facilities, together with the solid podium standing at the site provide consolation and comfort. Michael Kimmelman has described the design of One

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World Trade Center as nearly an impossible task: it should be a tower at once somber and soaring, open and unassailable, dignified but not dull.1 However, in some ways, David Childs and Daniel Libeskind managed to solve the “impossible task”. The tower is a combination of two contradictory elements, a detail-less, reflective, geometric top and a solid, cubic podium with a detailed transparent façade. It’s been said that the design has been denied by the public and changed for many times, a weird cubic podium have to be added to the elegant tower which makes no continuity at all is a pity, being pessimistic about these compromises architecture have made. But this contradictory feature inevitably exists in the building. Being the tallest tower in the area, it takes up the responsibility of acting as a scenic spot which has to be open and beautiful. But in the meantime standing on the exact ground where a tragic historical event took place, enough protection needs to be provided in order to comfort the public and the thousands of people who work inside the building. To me, one of the most interesting parts of architecture is the smart way seemingly conflicting issues are tackled. To meet different needs – openness and security at the same time, with specific tectonics and materials. The tower plays with a series of conversions between openness and closed space. In the elevator of the building, animations are screened in the closed interface. It shows how the structure of the building dissolves and the scene that rising visitors would have seen in the sky. And as a part of the observation tour, in a dark and tiny space on the 102nd floor, a projection show is screened on the wall. After seeing a cut of a beautifully designed collaging animation projected, most visitors don’t realize that the gloomy room will suddenly get illuminated because of the rise of the wall. With a slight exclamation from the visitors, the real scenery of the New York City is totally unveiled in front of them through the transparent glass wall. The moment is a wonderful miniature of how One World Trade Center is playing with the sense of open and closed. The podium most successfully demonstrates this combination of the two seemingly contradictory concepts by creating a sense of “opened security”.

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The podium of the tower is a place where publicity and safety come together. The transparent glass podium façade is cut into more than 4000 small panels that are 13 feet by 2 feet, arranged through a series of vertical lines, each rotated at a specific angle. They form beautiful curves as a whole. The pleated glass panels give the impression of being light-weight. The delicate composition of it evokes the image of origami or a sequence of dynamic flying wings. By aligning the panels along vertical lines, the façade is giving out a growing up tendency. The vertical tendency seems to be an echo of the two traditional façade with vertical line standing by One WTC. It is a two-layer façade with white-horizontal louvers in the inner façade. The interesting thing is that the whole façade is divided into three layers - the Marble tiled base, the lower louver part and the upper smooth part with geometrically cut shapes. So when people look far from the building, the lower part is hidden by the other buildings so that only the smooth façade is seen with less detail. But when people come closer, since the proportion of scale and distance changes, there is much more detail in the lower façade so that it feels more pleasant. When at the bottom of the building looking upward, because of the perspective angle, the lower façade ends at a not noticeable height which had made a beautiful connection between the two parts. As it is introduced by the designer company, SOM, the podium is 186 feet tall and is clad in triple-laminated, low-iron glass and horizontal, embossed stainless steel slats. The podium’s heavily reinforced concrete walls serve as a well-disguised security barrier2. So the seemingly light-weight white louver inside is actually defensive steel slats. The glass façade dancing with delicate moves and with such a breathable arrangement are also protective three-layered masks of the base. Entrance to the building is limited. The one on the south side is closed and guarded most of the time, and the only entrance for the public is at the west side of the building with many people queueing for the observation trip. But because of the façade, it’s hard for people to realize at first glance that what stands behind the light-weight impression is a blast-

proof concrete bunker, a solid podium. So the design of the façade is dissolving the resistant feature of what a traditional bunker might look like, instead of giving out a pleasant transparent look. But by noticing that one cannot see through the steel slats, you know there is a reliable base behind it, not a fragile glass wall. By entering the lobby, the spatial experience is quite in sequence with the first impression of the façade. It is a lobby with a rather high height and the interior of it are all whitewashed, giving a delicate, light-weight impression. The vertical line is also introduced into the interior design through the thin, vertical windows emitting bars of sunlight and the white marble wall decorated with vertical steel stripes. Every detail in the lobby is persuading people to forget about the heavy, concrete feature of the base. When you turn your head up and notice the whole row of lights turned on in the middle of a sunny day, the truth that the lobby is still protected in an opaque barrier becomes realizable because it requires extra illumination to ensure enough brightness indoor. The tall, solid but whitewashed interior gives a special but pleasant feeling. With the light bars on the wall, it is giving a sense of transparent and the solid white wall is giving out a sense of security. In conclusion, open and closed, the seemingly contradictory features are actually working together and made a consistency through the specific design method. A special experience of “opened security” is created within the base of One World Trade Center, working on the exterior and interior of the podium part at the same time. The opaque barrier gives a sense of closure and security while the light, transparent facade and the whitewashed interior give a sense of publicity and openness. These tectonics help One World Trade Center to fulfill the image which it is supposed to show to the public.

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[1] MICHAEL KIMMELMAN. (2014, NOV 29). A SOARING EMBLEM OF NEW YORK, AND ITS UPSIDE-DOWN PRIORITIES. THE NEW YORK TIMES (ONLINE) RETRIEVED FROM https://www. nytimes.com/2014/11/30/nyregion/is-one-worldtrade-center-rises-in-lower-manhattan-adesign-success.html [2] “ONE WORLD TRADE CENTER / SOM” 14 SEP 2016. ARCHDAILY. ACCESSED 21 JUN 2018. <HTTPS://WWW.ARCHDAILY.COM/795277/ ONE-WORLD-TRADE-CENTER-SOM/> ISSN 0719-8884

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C:\GSAPP\FALL2018\Transformable Design Methods led by Matthew Davis

Bandshell

An Easy-Carry Shelter Danielle Nir, Yifan Deng, Liu Chewei, Minjung Ku, Yifang Zuo, Chenxian Wu, Mengxi Liang, Xiaoxuan Su, Suheng Li, Yating Yang, Anqi Liang My Work: Parametric Design, Grasshopper + Rhino 3D Modeling, Constructing Drawings, Constructing

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A transformable structure that could provide ample shelter while rapidly and efficiently being deployed. With this in mind, our team decided to design a rapidly deployable bandshell for performances. To achieve this goal our design had to incorporate multiple key elements â&#x20AC;&#x201C; it had to be lightweight, structurally supportive and portable while being visually interesting.

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Our vision foresees this structure being used as a stage for performances in natural settings, such as musical festivals or parks. The design also provides opportunities to incorporate performance lighting systems along the inside of the arched ribs.

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C:\GSAPP\FALL2018\Transformable Design Methods led by Matthew Davis

Parallelogram Chair Yifan Deng, Mengxi Liang, Xiaoxuan Su, Yating Yang

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C:\GSAPP\FALL2018\META TOOL led by Dan Taeyoung

Event Tool

A Hand Inspired Model Planning Tool Yifan Deng, Shuang Bi My Work: Conceptual and Design, Grasshopper + Rhino 3D Modeling, Grasshopper Scripting / Debugging

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If design always happening in a medium, what the medium usually is? For our modern people, it’s always on the computer screen. Hand drawing, drafting, physical modeling are gradually getting away from many of us. Inevitably, digital modeling brings a lot of convenience and new options, but it also let our primitive tools hands, being left out a little. The motion of cutting, pasting, measuring, drafting, rotating fulfilled by feeling and touching had been substituted by dull operations on keyboard and mouse, turns into array, offset, boolean and 3d print. We are trying to bring an experimental environment that is both high efficiency and “hand - inspired“, which can finally alter the design output.

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Developed in grasshopper with the support of PaperHopper, a medium for prototyping new architectural design tool. A tool which can turn design process from the daily staring the 3d modeling software in the screen, hitting keyboard and clicking mouse to play with body and hands on a physical table environment. An event planning tool which user can select and arrange furniture from the side and put into multiple spaces. Criteria under each space turn from red to green if a certain condition is satisfied.

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Primitive Prototype Massing model design tool with hand gesture identified by leap motion.

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C:\GSAPP\FALL2018\Metroolitan Sublime led by Sandro Marpillero

Essay - the Time in Sublime

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The Time in Sublime Yifan Deng Metropolitan Sublimes December 19th, 2018 As Lyotard stated it in the article Newman: The Instant, there are different site of time relate to a picture. The time it takes the painter to paint the picture, the time it required to look at and understand, the time it refers to or tells, the time it takes to reach the viewer after the production, and finally, the time the painting is.1 In Newman’s essay The Sublime is Now, he says: the concern with space bores me. I insist on my experiences of sensations in time – not the sense of time, but the physical sensation of time.”2 Just as he said, the works from Newman are giving an unexpected answer to the question of time is the picture itself. Newman describes his visit to the mounds built by the Miami Indians in south-west Ohio and the Indian fortifications at Newark, Ohio in August 1949. ‘Standing before the Miamisburg mound – surrounded by these simple walls of mud – I was confounded by the absoluteness of the sensation, by their self-evident simplicity.’ Beyond the site there is chaos, nature, rivers, landscapes… but here you get a sense of your own presence. Since then Newman gets involved with the idea of making the viewer present: the idea of “Man is present”.3 Newman’s space is not triticale of a sender, a receiver and a referent. The message ‘speaks’ of nothing; it emanates from no one. It falls from a prehistory, or from an a-history. It does not ‘recount’ on any existing event, nor referring figuratively to any scene known by the viewers. There are dimensions, colors, lines – but there are no allusions. What can one say on seeing these space? The ‘Ah’ for exclamation or the ‘Look at that’ for surprise. Expressions of the feeling which does have a name in the modern aesthetic tradition

(and in the work of Newman): the sublime. It is the feeling of ‘there’.4 It’s in a sense of the Kantian sublime in which he suggests formlessness that is intrinsic in the sublime. Lyotard turns to Kant to form the basis of this argument that the sublime is the only mode of artistic sensibility to characterize the modern. When imagination fails to process what is seen, the mind tries to reconcile this failure with reason.5 Surrealist paintings are trying to get away from the constraints of figurative representation. The elements that1 are least defined have infinite compositions. In Kant’s Critique of Aesthetic Judgement, he states that one cannot response the power of infinite might or absolute magnitude within space and time because they are pure ideas. But one can at least allude to them, or ‘evoke’ them by means of this what he baptizes a ‘negative presentation’. 6 Lyotard also synthesizes Kant’s interpretation of “negative presentation”. We can manage to determine a color of a sound in terms of vibrations, by specifying a pitch, duration, and frequency. But timbre and nuance are precisely what escape this sort of determination.7 Timbre and nuance introduce a sort of infinity, the indeterminacy of the harmonies within the frame determined by this identity. Bernard Newman reaches the effect of sublime by evoking a sensation of time itself with an extremely simplified composition of color block and zips, while Edward Hopper is reaching another sense of sublime with his accurate catch, extract and express a specific instant of the American culture. Interestingly, Hopper was included into the Ashcan school who painted and calling attention to slum conditions. But Hopper rejected the focus and never embraced the label. He states that his depictions of city streets were painted in a totally different spirit, “with not a single incidental ashcan in sight”.

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Edward Hopper, Nighthawks, 1942. Oil on canvas, 33Â¼ x 60 in. (84.1 x 152.4 cm), The Art Institute of Chicago

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George Bellows, Cliff Dwellers, 1913, oil on canvas. Los Angeles County Museum of Art

Vincent van Gogh, Café Terrace at Night, 1888

An establishing shot from “Homer vs. the Eighteenth Amendment”, one of several references to Nighthawks in the animated TV series The Simpsons

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In responding to this, sarcastically I made a collage, inserting the “realistically coarse” figures and activities from George Bellows’ Cliff Dwellers, one of the most famous Ashcan School drawings into the Nighthawks. While breaking the deliberately edited clean, perfect street view in the original drawing, the contrast between these decent figures in the bar and the slum-based people is strong, conveying a strange sense of inappropriate. Through the collage, I attempt to “taking people back to the street” to simulate the possibly real condition of the scene. Real life lies in between Hopper and Ashcan School’s representation of American cities, for they respectively exaggerate the idealized, movie scene-like feature and the dirty, unbearable corner in them. As Barter Judith described Hopper’s clarity of vision, it has become strongly associated with a particular brand of American realism, was the product of a rich and unexpected combination of influences. “Nighthawks merges qualities of French Impressionism, Postimpressionism, and Surrealism with a strong sense of American individualism born from the essays of Ralph Waldo Emerson and shaped in crucial ways by the populist politics, film noir, and hard-boiled fiction of the 1930s.” Hopper distilled all of these sources into the Nighthawks.8 Impressionism provided Hopper with an understanding of humanity and emotion lies in modern life. In Edouard Manet’s At the Cafe, for example, there is an ambiguity of connection and disconnection between the hero and heroine in the drawing. This ambiguity in relationship echoed in the Nighthawks where the beautiful woman and the handsome man are perching at the counter with the hand close to each other but not clear. Hopper’s chose of contemporary human behavior and city scenes are intermediating, recording, editing, and expressing the everyday world around him, and these scenes inevitably exist in every

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viewer’s world. In this way, he is able to evoke a certain emotion among the audiences. As for the scale within the drawings, Hopper eschewed the tall buildings and urban panoramas that other modernist painters such as Charles Sheeler and Georgia O’Keeffe portrayed. Instead, the small buildings around Greenwich and Seventh avenues, where he saw the all-night diner featured in Nighthawks,9 provided the appropriate scale for his paintings of modern American life, a scale close to human perceivable, a scale that is more evocative. Post-impressionist experiments with color were another influence on Hopper. His admiration of Vincent van Gogh led to his powerful use of color. The complementary colors are arranged to heightened their abilities to resonance with viewers. In a physical description of Nighthawks that his wife wrote, how vibrant colors play importantly as a hint of the narrative in the drawing are informed: Night + brilliant interior of cheap restaurant. Bright items: cherry wood counter + tops of surrounding stools; lights on metal tanks at rear right; brilliant streak of jade green tiles ¾ across canvas at base of glass of window curving at corner. Light walls, dull yellow ocre door into kitchen right. Very good looking blond boy in white (coat, cap) inside counter. Girl in red dress, brown hair eating sandwich. Man nighthawk (beak) in dark suit, steel grey hat, black band, blue shirt (clean) holding cigarette. Other figure dark sinister back-at left. Light sidewalk outside pale greenish. Darkish, old red brick houses opposite. Sign across top of restaurant dark Phillies 5¢ cigar, picture of cigar. Outside of shop dark green. Note: bit of bright ceiling inside shop against dark of outside street - at edge of stretch of top of window.10

Apart from his use of color which creates a sense of emotion, Hopper incorporated mood and modernity through the use of architecture and angles that have a strong effect. His paintings resemble the early works of Giorgio de Chirico, whose strong architectural elements like sharp angles, details, and shadows, together with the simplification of the silhouette-like human figure are creating cinematic, haunting sensation. As the poet Mary Oliver put it, in Emerson’s model of experience, “All the world is taken in through the eye, to reach the soul, where it becomes more, representative of a realm deeper than appearances: a realm ideal and sublime, the deep stillness that is, whose whole proclamation is the silence and the lack of material instance in which, patiently and radiantly, the universe exists.”11 To a profound extent, Hopper used the Emersonian language of “experience” to describe his own process of art-making. In a 1939 letter to the director Charles Sawyer, for instance, he reflected: “I am interested primarily in the vast field of experience and sensation which neither literature nor a purely plastic art deals with. My aim in painting is always, using nature as the medium, to try to project upon canvas my most intimate reaction to the subject as it appears when I like it most; when the facts are given unity by my interest and prejudices. Why I select certain subjects and not others I do not exactly know, unless it is that I believe them to be the best mediums for a synthesis of my inner experience.”12 The style of popular gangster movies such as Scarface (1932) and etc. are profoundly influence Hooper’s composite of the drawing. All of these movies employed the cinematic techniques of early film noir, which included prominent use of angles, shadows, patterns of light, and scenes shot through and framed by windows and doorways. These films feature scenes set largely in bars, diners, and restaurants. Action takes place on wide

streets with sweeping corners and in front of store windows, all accompanied by soundtracks that are remarkable for their frequent, long periods of silence. If there should be a background soundtrack for Nighthawks, that might possibly sounds like a standard gangster movie.13 Hooper’s drawing is a kind of selected, filtered and modified realism. What lies in Hopper’s drawing is also having the feature of the Kantian sublime. One drawing represents a fixed scene with a specified time, figure and location. But elements from a drawing are co-expressing an emotional sensation rather than a plastic ordinary corner in the city. The emotional sensation is evoking the infinite possibilities in the re-presentation of it. There was an establishing shot from “Homer vs the Eighteenth Amendment”, one of several references to Nighthawks in the animated TV series The Simpsons. It is one of the mass re-presentations which push the same diner scene forward to a contemporary one. It seems that these scenes Hopper depicted could also be anywhere and anybody else, able to evoke a resonance with the viewer’s own experience. Or to say his works portraying seemingly trivia, ordinary slices of the city are following the same rule to reach a distillated capture of Americanness.

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[1.3.4.5.7] Lyotard, Jean-Francois. 1998. The Inhuman. Cambridge: Polity Press. [2] Art In Theory. 2009. Oxford: Blackwell. [6] Kant, Immanuel. 2013. The Critique Of Judgment. Lanham: Start Publishing LLC. [8.9.13] Barter, Judith A. 2007. Edward Hopper. Paris: Flammarion. [10] Hopper Record Book 11, Whitney Museum of American Art, 95. [11] Mary Oliver, introduction to Emerson, Essential Writings, xiv. [12] Hopper to Sawyer, October 29, 1939.

From top to bottom: Edouard Manet, At the Cafe, 1878, oil on canvas, Collection Oskar Reinhart “Am Romerholz” Giorgio de Chirico, The Mystery and Melancholy of a Street, 1914, oil on canvas, Private Collection Film still of Barbara Stanwyck and Fred MacMurray in Double Indemnity. 1944, Everett Collection

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C:\GSAPP\FALL2018\Metroolitan Sublime led by Sandro Marpillero

Nature/Animism/Culture

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Hinge #1

Yifan Deng

I interpret the animism mask into a deep sea fish that have a lamp in front of its head. Since there is hardly any light in the deep sea, this fish might be a leader of the fishes. As I am imaging myself wearing the mask, a co-exist of mine and the fishâ&#x20AC;&#x2122;s spirit is created. By taking the walk from Avery to Hudson River at dawn, I try to perceive things like how the fish would perceive. That is why I emphasize the light condition varies from each area, which it might be very sensitive to. In the artifact, the coarse rugs represent natural conditions(trees, water) while the smoother fabrication represents the urban condition. Intersections of areas are hinted by brass bars, the golden balls indicate the light source while the transparent pins show the density of encounters during the walk. The orange lines are the visualization of the path and the direction of perception.

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C:\GSAPP\SPRING2019\Generative Design led by Danil Nagy

Cantilever Chair

A Generative Process for Optimized Design Yifan Deng, Guangyu Wang My Work: Conceptual Design, Grasshopper + Rhino 3D Modeling, GH Scripting, Animation, Chart Drawing

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Our goal is to design a chair by creating a cantilever structure in such way that maximizes stiffness and stability while ensuring that no members exceed their structural capacity. The "intuitive" solution in our design space is a chair constructed with a normal truss with inner nodes evenly distributed in the centerline of the geometry. After the process of computation design, we found a better solution which is lighter and less displacement, at the same time the utilization rate of every component doesnâ&#x20AC;&#x2122;t exceed 50%.

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1. Geometry boundary

2. Define outer nodes

5. Redistribute inner nodes

6. Nodes of the structure

3. Find inner line

7. Connect all nodes

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4. Divide line to get inner nodes

8. Eliminate components that are too long

INPUTS

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Displacement

Point Distribution

Utilization

simulation

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Weight 0

Color: ID of Designs

2525

Size: Number of Generation hollow points represent invalid designs

1.2

0.9

Number of inner nodes

(Utilization rate of component exceed 50%)

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0.8 0.7 0.6 0.5 0.4 0.3

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0.2 0.2

0.1

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2.2kg 27

21 4.4kg 20

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C:\GSAPP\SPRING2019\Seminar of Section led by Marc Tsurumaki

Section of Long Museum

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Long Museum West Bund / Shanghai, China Long Museum West Bund is located at the bank of Huangpu River, Xuhui District, Shanghai Municipality, the site of which was used as the wharf for coal transportation. Before the commencement of the design, a Coal-Hopper-Unloading-Bridge of about 110m in length, 10m in width and 8m in height, which was constructed in the 1950s, is remained with a two-storey underground parking completed as early as two years ago.

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Atelier Deshaus / 2014 The new design adopts the cantilever structure featuring “vault-umbrella” with independent walls while the shear walls with free layout are embedded into the original basement so as to be concreted with the original framework structure. With the shear walls, the first underground floor of the original parking has been transformed to an exhibition space with the overground space highlighting multiple orientations because of the relative connection of the “vault-umbrella” at different directions; besides, the electrical & mechanical system has been integrated in the “vault-umbrella” structure.

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