YU-CHEN CHANG COLLECTION OF WORKS 2007-2012
YU-CHEN CHANG COLLECTION OF WORKS 2007-2010
Richard Deutsch Studio Santa Cruz, California
Internship at Dean/Wolf Architects, New York, New York Produced digital models and renderings.
Technology, Flavors, and Fragrances Innovatrium Dundee, Michigan
People living around Cabela’s don’t realize that they are actually controlled by a unique urbanism. People are living in the artificial area but they think that this area has always existed there. People do not realize this area actually is growing up under the control of Cabela’s. People think this area is developing in the “natural” way and they do not know that there are different layers in this urbanism. Another condition that exists in this urbanism is the relationship between the density of buildings and the power which these buildings have. The area which has low density of buildings has more power to control this perimeter and controls a large territory, for example, Cabela’s. On the other hand, the area which has high density of buildings has less power to influence this perimeter and controls a small territory, for example, the residential area. My project in this perimeter studio wants to tell people about these conditions in this unique urbanism. This project tries to lead people to explore their living environment. All experience will be controlled by the images, the closed garden, the public garden and the fragrance in this building. People walk through the various spaces and experience the difference between artificial fragrance and natural fragrance and feel the level of density in their environment.
blurred area
nature?
artificial landscape
artificial area
sunlight
natural fragrance
artificial fragrance
experience the difference between artificial fragrance and natural fragrance
greenhouse
garden low density of plots + strong fragrance
high density of plots + slight fragrance
garden
underground garden
remote garden
greenhouse track
underground garden
IN-muscle-OUT Human Body
The goal for this project is to use Rhino script to run an organic form for a human body, then study and build a structure system to create this form. Learning how to use this structure system for architecture is crucial for this project. This human body is represented by two different conditions: Cleidocranial dysostosis (body without bones) and Fiber Hypertropphy (over muscular body) According to the result of the study of the distance between the outline of muscle and the bone, we use Rhino Script to calculate the new outline of muscle on the diseased body.
original body line Fiber Hypertrophy (over muscular body)
body building line
body building line
Cleidocranial dysostosis (body without bones)
no-bones line
B: body building script
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N: no-bones script
0B 0N
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0B 4N
1B 0N
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2B 0N
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3B 0N
3B 1N
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Sections of Body
6
5
7 8
9
4 3 2
5
6
1 7
0 8
4
9
3 2 0
1
6 7
5
8 9 4 3 0
2 1
Rebuilding Sections and Connecting Body Lines
Body Lines
New Body Lines
+
bodybuilder body building script
Right Forearm Right Upper Arm Left Forearm Left Upper Arm
2B 1N 2B 1N 2B 1N 2B 1N
Right Thigh Right Calf Left Thigh Left Calf
chef no-bones script
1B 1B 1B 1B
Chest Back Abdomen
1B 1N 1B 1N 1B
Legs
Abdomen
Left Arm
study models
museum board
polypropylene
polystyrene
museum board
final model museum board 6’ height
SHARED FILED ERASED REMEMBERED: A HOTEL ROOM Thesis Studio
Architects design buildings, and other people make buildings into architecture. Michel de Certeau said a place is an instantaneous configuration of positions. It implies an indication of stability, but space is a practiced place; it occurs as the effect produced by the operations that orient it, situate it, temporalize it, and make it function. Today, architects do not design space. Architects design place for the objects, and other people use their emotion, movement, daily life, and memory to create their own space. Shared, Filed, Erased, Remembered: a hotel room investigates how people’s emotion, movement, daily life and other elements like time, events and culture change the perception of individuals when they create this memory and how that memory is then replayed within new context and experiences.
“Memories tie us to that place... It’s personal, not interesting to anyone else, but after all that’s what gives a neighborhood its character.” - a woman living in the Croix-Rousse quarter in Lyon, interviewed by
Pierre Mayol,Michel de Certeau, The Practice of Everyday Life, P108
In this thesis, the structure of memory consists of three elements: container, trigger, and projector. Container, generally means the buildings. It saves people’s memory in a specific place. Because of people’s memory, this “place” becomes “space” for these people. Trigger, means some special objects can wake up your memory in some places, they might be food, fragrance, or just atmosphere. People do not need to go to specific spaces, the container, to see their memory. The trigger will pull people’s mind back to the space. But the memory will still save in the container. Projector, means people’s perception of a space when the trigger wakes up your memory which happened in a container. Projector usually shows on your subconscious movements and these movements also create people’s territory of their own life. When people identify architecture in their memory, using these three elements, these perceptions create what I am calling a new “memory scale” of architecture.
storage
a hotel room
PILOT daily life BOY dependence STALKER subconscious movement + blind spots INTERNETAHOLIC compulsive movement + habit BUSINESSPERSON acculturation + rules DEPRESSION PATIENT emotion + disease MURDERER event + moment + five senses MAID reaction + reflection
A hotel room operates, controls and stores different people’s memory scale. Pilot, Stalker, Boy, Internetaholic, Businessperson, Murderer, Depression patient, and Maid; different characters have their own personalities and stories. This difference makes them activate their own memory scale on the objects which do not belong to themselves to create their own space. People use their own memory scale on the same objects; after they leave, their memory scale is erased by maid. But people will remember what they did for different memory scale and they can imagine another hotel room before they go to the next one. Their memory scale is filed and shared with other people in this hotel room.They temporarily use their own memory scale to make this hotel room become their own room.
People now create their own memory scale for different buildings and make them into architecture, their own space. It seems like architects do not need to design for users. In this thesis. different memory scale have various architectural issues: daily life, subconscious movement, blind spots, dependence, habit, compulsive movement, rules, acculturation, event, moment, five senses, emotion, disease, reaction and reflection. These issues are represented in various diagrams and spaces on this drawing. Unfold these spaces: these spaces created by memory scale could be real architecture: a perfect one or a phobic one. They could be a room, a closet, a hospital, even a jail.
Act Loading dock, Art and Architecture Building / team project with Evan Hall and Therese Roche
This project investigates how people react when they are doing a normal thing in an unusual space. For example: watching a movie in an uncomfortable space. This abstract brain theater is located at the loading dock. People will feel crowded and hot in this space. When people sit on one side and look into the model, they also will see other people’s heads from the other sides of this model. The scene from American Buffalo is projected into the interiinteri or space of the model. The audience is encouraged to move freely around the model creating shadows that will play with the idea of duality within the two theaters, interior and exteexte rior of the model. Simultaneously the “set” of found images from reuse shops in both Ann Arbor and Los Angeles are projected on the exterior of the model. The scene chosen from American Buffalo is the ending scene and was chosen for intense range of character dialogue and interaction and ability to showcase each character’s traits.
The Long Drawn Out
Evacuations
Appropriated space gas station
Event Score table tennis
Versions
Eco-Logics Representation
This project is to develop techniques of presenting processing and organization. By selecting a single element of dandelion, this project works through a series of transformations. This project considers the components of the environment, like sunshine, rain, wind and animals, and develops a pattern of interaction with these components. This pattern has the light sensor on the surface and opens and closes following the daylight. The rain will help the seeds grow in the seed cup and spread with the wind and birds.
Digital Fabrication team project with Adam McCallum and Wiltrud Simbuerger
Voronwall
Digilamp
Variation I Variety Theory and Criticism
Variation and variety seem similar but actually they have different processes and cause various results. In “Atlas of Novel Tectonics,” Reiser and Umemoto think repetition and quantity are important elements to create the variation and variety. They think variety is like difference and variation is more like self-similarity. When people have enough quantity and people can control the repetition, they can generate variation or variety. But the argument is that these are not the most important reasons to define variation or variety. “Variation” is to transfer one thing to other things and make them have more differences. These differences are usually visible, like shape, form and color. But the important thing is that “variation” does not change the major core. These transformed things just change the skin but they do not change their hearts. Using architecture for example, an architect can use the same context of structure but develop different façades or material for skin. These buildings look all different, but their inside space and structures are still the same. “Variety” seems similar to “variation,” but actually they have different definitions. “Variety” also involves transferring one thing to other things and makes them have more differences. But the difference from “variation” is that “variety” changes the major core. The tricky thing is that “variety” does not always change the visible elements. Sometimes the two things look the same but their components are totally different. For example, no one can distinguish identical twins from the way they look but actually they are two completely different people.
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degree ? moment if your friends can tell who is behind this mask if your friends can tell who is behind this mask some people think no one can live by himself/herself result we just have a wrong decision try to use the improper element for your work p concentrating on your work some people think no one can live by himself/herself keep extending your work try to use the improper element for your work do you notice that your footprint already spread everywhere in this wo result try to use the improper element for your work we do not have a bad result so we should try to make it go slowly to enjoy every moment try to make decisions by yourself try to use the improper element for your work these are all your dinners, but there are all different kinds of food if your friends ca some people think no one can live by himself/herself try to use the improper element for your work degree do you notice that your footprint already spread everywhere in this w error but you need to know when should stop it these are your dress color in a week, but you are always the same person otherwise, it style the ch u notice that your footprint already spread everywhere in this world do you notice that your footprint already spread everywhere in this world otherwise, it will be too abstract and people will misunderstand your original work keep concentrating on your work this is what we need to avoid some people think no one can live by himself/herself atlas of novel tectonics if your friends can tell who is behind this mask keep exte do you notice that your footprint already spread everywhere in this world keep concentrating on your work we do not have a bad result that feeling is so good, isn’t? 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[
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Style is not following the trend. Style is your own spirit for your work. One day, you will have all the proper reasons to talk about your work and people will also understand your spirit. That is your style.
Is abuse one kind of mistake? Reiser and Umemoto think some projects over use the data, logic, history, etc. and that this causes some influences. This influence is usually bad, but these experiences might help designers have more backgrounds to cover their ideas. The process has its pros and cons.
[ See [error]
Björk
Frank Gehry Walt Disney Concert Hall Los Angeles, California, 2003
[ Nothing is perfect, but we can avoid the reason which will make the thing worse. Many people just see the result and then think that is an error. Instead we should care about more on the reason which cause this result. That is the real error.
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Difference from the extensive, refrain usually happens out of control. People can stop the extensive but something they can just refrain it. It will not stop but will go slowly. This will cause the different result or control the different end timing.
] See [abuse]
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See [individual]
]
Leaning Tower of Pisa Pisa, Italy, 1372
refrain the emotion
Is it a good thing to keep extending your design? It will be good if it stops at a good time. At that moment, people can clearly see your spectacular work. If it is over design, that will be an error.
See [abuse] [error]
See [error] [extensive] [intensive]
Territory is not a shape. It is a relationship between you and this world. It can be visible or indivisible. It can be just yours or public. It is a system running everywhere. Where is something connected with you, that is how far your territory goes.
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Martha Schwartz Jacob Javits Plaza New York, New York, 1992 relationship with the world
See [individual]
[
[
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In this communicated world, people need to work with other people to live. They do not notice that they actually all have different personalities. We have six billion in this world, so we have six billion personalities in this world.
See [style] [territory]
[
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Variation cannot change the original part. It can make something beautiful or flat; dark or light. But people still can see the pure part. The original inside goes with different outside, and vice versa.
Tokyo, Japan
twins?
See [style] [variety]
] Some architecture is cold. People cannot feel the energy inside because they cannot get the passion from the architect. “Less is not always more.”
Something is flexible, but it does not mean it is not important. Something is multiple, but it does not mean you do not need it. Go to the same goal different ways.
[
See [abuse] [error]
Tadao Ando Church of the Light Osaka, Japan, 1989
brothers and sisters?
See [extensive] [style] [variation]
]
Liberty National Lobby Jersey City, New Jersey
Professional work at Lindsay Newman Architecture & Design Rendering: Collaborated with New York Architectural Renderings
Upper East Side Apartment New York, New York
Professional work at Lindsay Newman Architecture & Design
Croatia Guest House Bathroom Rendering
Baracija, Croatia
Schoharie Porch Schoharie, New York
Professional work at Lindsay Newman Architecture & Design
YU-CHEN CHANG yuchench@gmail.com
Education
Experience
2007 - 2010
Master of Architecture Taubman College of Architecture and Urban Planning (TCAUP), University of Michigan, Ann Arbor, MI, USA
2001 - 2005
Mar, 2011 present
2011
Bachelor of Landscape Architecture Tunghai University, Taichung, Taiwan
“Inverte Architec • Drawi
2010
“Univer AnnArb • Projec
Lindsay Newman Architecture and Design, New York, New York Junior Designer • Contribute design concept and perform original design work utilizing specifications, sketches and ideas on developing designs. • Preparation of architectural plans, elevations, sections, and detail sheets. • Create concept diagrams, digital models, and renderings. • Preparation and administration of construction documents.
2009
TCAUP • Projec
2008
TCAUP • Projec
2008
TCAUP • Prese
2005
Tungha • Exhibi
2004
Tungha • Desig
Sep, 2010 - Mar, 2011
Dean/Wolf Architects, New York, New York Internship • Created concept diagrams, digital models, and renderings.
Nov, 2010
Situ Studio, Brooklyn, New York Internship • Assisted with the project “reOrder“ for Brooklyn Museum exhibition.
2005 - 2007
CITY Environment Engineering Consulting Company, Taichung, Taiwan Design Assistant • Assisted with site investigation and analysis. • Preparation of landscape concept diagrams, site plans, and construction drawings.
Exhibitions / Press
Activities
ed Warehouse/Townhouse, Dean/Wolf Architects” ctural Record online, February 2011 ings of Project “Inverted Warehouse/Townhouse” posted
Honors
rsity of Michigan architecture school opens state of the art digital fabrication lab” bor.com, by Tom Perkins, January 28, 2010 ct “Voronwall” posted
P Theory and Criticism Exhibition 2009 ct “Variation I Variety“ exhibited
P Annual Architecture Student Exhibition 2008 ct “Cook Show“ exhibited
P Study Abroad Program: Brazil Studio entation to Mayor of Belo Horizonte, Brazil
ai University Commencement Exhibition 2005, Taiwan ition Director
ai University Student Organization of Landscape Architecture, Taiwan gn Director
Languages Skills
2009
Best Cover Art in Theory and Criticism class • Project “Variation I Variety“
2007
TCAUP Student Scholarship
2004
Tunghai University Academic Honors Chinese and English Photoshop, Illustrator, InDesign, Rhinoceros, V-Ray, 3ds Max, Sketchup, AutoCAD, Revit, Vectorworks, CorelDRAW, Microsoft Office, Mastercam