The translation of Paul Klee’s painting ww represents the transformation from Colors to Lines to Volume. Drawing: It is a study of translating the Colors to Line. Reading the painting as landscape, in the drawing, the vertical lines represent the color blocks arranging in light and loose composition and in light and dark colors. The 4 lightest yellow parts are read as the voids. The diagonal dash lines represent the diagonal edges defined by the color blocks in the painting. The dark lines going through the drawing following the outline of the lightest yellow blocks represent relationship between 2 dimensions and 3 dimensions. Models: This series of models show the study from Lines to Volume. The rectangular and L- shape patterns are the major language in the model. The movement happening in the volume can be read by the solid and can also be read by the void. The discontinuous solids lead the diagonal lines. Shadows of closing spaces indicate the depth and darkness. a. Final model 6’’x8’’x10’’ b. Series study translation drawings from Paul Klee’s Monument in Fertile Country 11’’X17’’ c. Final translation drawing from Paul Klee’s Monument in Fertile Country 18’’X24’’ d. Series paper study models translating drawing c into space e. phonecore model turing models in d to vulome f. Final stacking model 6’’x8’’x10’’ g. Final stacking model 6’’x8’’x10’’
Professor: Tony Patterson Project Duration: 3 weeks 2013 Fall
This is a study of solid and void based on half part of the stacking model above, by turning the voids parts of stacking model into solid, and solid parts into voids. The vital moment of the previous models, such as the “L shape”, the “voids”, are enlarged in this model and placed in harmony composition. The top and bottom views of this model reflect black gray white tone. It reflects the color blocks element from the original painting, which is in same color tone but separated by different saturation. a. Drawings of front and back of rockite model 6’’x8’’x10’’ the darkest blocks represent the hightest parts, the lightest blocks represent the deepest parts. b. Series axon drawings of the formworks. 18’’x24’’ c. Series pictures rockite model 6’’x8’’x10’’ d. Sections of rockite model 5’’x18’’ e. Axon drawing of rockite model 18’’x24’’ the blocks pulled out represent void space
Professor: Tony Patterson Project Duration: 2 weeks 2013 Fall
Program: theater, gallery (display artist: Paul Klee), sculpture garden, administration and service programs. The focus of the project is studying the light in the space and two-part circulation. This project starts with transforming the solid rockite model into building space. By considering solid and void, some spaces (theater, administration and service programs) are in solid spaces; some spaces (gallery, sculpture) are in the void spaces are defined by solids There are two skylights designed to bring light into space. One skylight brings light directly to the gallery part. The other skylight lights up the circulation on the bottom and two sides. The transparent walls on the two sides of one of the skylight correspond to Paul Klee’s Monument in Fertile Country. There are tree levels of transparency on the transparent wall: cut through, clear, frosted. The Up and Down circulations are separated as two parts in the building. The climbing down experience is tight and the climbing up experience released. a. Final model part 1 b. Light study of gallary space in different time of a day c. Final model part 1&2 d. Gallery space e. Final whole model f. Sections and Plan g. Detail of transparent wall and access to roof level
Professor: Tony Patterson Project Duration: 3 weeks 2013 Fall
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Site location: South University Ave, between Momo Tea and University Tower. Program: theater, gallery (display artist: Paul Klee), sculpture garden, administration and service programs. The Ann Arbor House of Culture is a vertical stack of indoor and outdoor galleries and gardens for 2D and 3D artwork. The entry experience, moving up, is slow and diagonal, while the exit experience, moving down, is quick and rational. Instead of designing one single space for a Sculpture Garden, it is spread throughout the composition making the circulation an experience about viewing sculpture while climbing through the Garden. Sculptures are dispersed through all of the spaces like sprinkles on a cake. The project also studies blurring the edge of outdoor and indoor space. The public zone of the city is invited inside and up through the gallery spaces. The experience of the circulation is carefully designed to influence movement through compression and release.
a. Final model 5x20x20 scale: b. Site plan c. Site model d. Study model of circulation e. Study drawing of circulation f. Final plan and section *orange represents the grass on floor *yellow represents light coming through g. Final model h.Series of detail pictures of final model with scale figure i.Final model j.Detail picture of final model with scale figure
Professor: Tony Patterson Project Duration: 5 weeks 2013 Fall
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This project gets the inspiration from the “Air” in Chinese landscape painting. As the series of Chinese paintings show, the black is mountain, trees, and the “Air” in Chinese painting is the white space, which include water, clouds, and fog. “Air” is free flowing around the mountain, and infinite. Sometimes it is shaped by mountain; sometimes it shapes mountain. This project treats the “Air” as void; the box is shaped by the air. The voids are built based on the floating and connecting character of the “Air”. a. Picture of interior of the model b. Diagram of inspiration c. Contour line drawing of void d. Contour line drawing of solid e. Plans cut in 4 levels with contour lines of voids f. Sections with contour lines of voids g. Detailed plan on ground level h. Detailed section i. Rendering of axon section j. Series of detail picture
Professor: Karl Daubmann Project Duration: 2 weeks 2014 Winter
This is series of Chinese painting by using ink, water, and color on a special kind of paper called “rice paper”. The relationship between white and black is important in Chinese painting just as the relationship between solid and void in architecture. Space and objects can be drawn by ink and also by white. Ink mixing with various amount of water leaves different effects such as dry, soft, light and etc. Some of theses paintings are based on imagination and some are based on sketches. a. Water fall 16’’x22’’ b. Long Chinese Landscape Painting 16’’X400’’ c. Guilin River and Mountain 24’’x32’’ 22’’ X 15’’ This is a series of Chinese landscape painting of Guilin in China based on sketches of the real landscape.
What looks usual is unusual. What is unusual is from usual. a. What suppose it to be? 3.5’’x4.4’’ Apple Cups by Mold making and Switch Casting b. Clay and Sound 8’’ x 36’’ This project studies the relationship between sound and clay. The big plates is a media to create different sounds, such as hitting, cracking, small clay drops dropping on the plates and finally break of the plates. c. Evolution of Banana Plates 13’’x13’’ Banana plates by mold making and slip casting d. Matching 3.5’’X4.4’’ Ceramic Cups in Switching Mold Study e. What is Fake? 15’’x15’’ Sometimes fake appears to be real and sometimes real looks fake. This project represents this idea by putting one ceramic egg and one real egg in a bird nest. f. Wood Eye with Black Tears 16’’x12’’ g. Leaf Face 8’’x11’’ Plaster Sculpture h. Metal Orchid 5’’*12’’ i. Self-portrait in Two Personalities 16’’x24’’ j. Chinese Heart “心” on Heart 3.6’’x5.2’’
Using stroke and color to narrate the beauty of life. a. Live Drawing of Bird 4’’x5’’ b. Hand and Foot Study 10’’X20’’ c. Text Drawing of Scrap of Paper 10’’X8’’ d. Branch and Stone in Fall 10’’x20’’ e. Skeleton Drawing 20’’x10’’ f. Boys swimming in the Cave 10’’x8’’ Carving ink printing g. River and Mountain 19’’x24 Screen printing h. Wistaria 24’’X36’’ i. Live Drawing of Bird 4’’x5’’