FAN YANG ARCHITECTURE PORTFOLIO Content

FAN YANG ARCHITECTURE PORTFOLIO content

unconscious semi-conscious conscious 3rd year 4th year 5th year two-semester thesis

the start of the awareness of inductive exploration deductive exploration method

precedent analysis design norberg-schulz

tiber institute 2 theater 7 design process crematorium 14

cognitive phenomenology epistemology my design theory psychology existentialism kant methodology 1

istanbul morocco tibet travel rome / italy

2016 2017 2018 MY DESIGN METHODOLOGY

what's my design goal? quantitative narrative oriented design Program Site maximize the potential of architecture as the medium of expression PHASE

qualitative how does my design method contribute to my goal? A my design method is characterized by 2 phases: CATHARSIS A. catharsis, facilitating the expression of the narrative by bridging meaning & form. B. comprehension, interpreting & integrating the fresh ideas & researches from phase A. Expression Research

PHASE what's the nature of my design method? it's a system which is still being developed spatial scheme B it's a tentative mode of operation, not a strict code to follow COMPREHENSION

application on each project

observation application mechanism of perception method tiber institute 2016 theater 2017 crematorium 2018

PHASE CATHARSIS two dimensions of design two research approaches subconscious semi-conscious conscious facilitate the expression of the experience (qualitative) qualitative representation unplanned planned A narrative performance (quantitative) quantitative representation instructed planned PHASE PHASE PHASE A 4 A 8 A 15 PHASE COMPREHENSION 3 stages of perception 3 stages of design unplanned & unconsious unplanned & subconsious planned & semi-conscious process & integrate (not applicable) (summarized afterward) the fresh idea and from concrete to abstract from abstract to concrete B research from phase A PHASE PHASE PHASE B B 9 B 17 FAN YANG PORTFOLIO 1 instructors: david sabatello & simone bove | pantheon institute fall 2016 TIBER MUSEUM & INSTITUTE team project | collaborated with Barbara Gudeljevic rome, italy program & site This project proposes a new bridge structure across the Tiber river, containing a river museum and a river research institute. The range of intervention includes the river wall, the impact of this project garden of Villa Farnesina, and the existing building between Palazzo Farnese and the river. the first project complex enough in both qualitative & quantitative dimension The traffic of the riverside boulevard will run through the new underground tunnel instead.

Villa Farnesina

Via Corsini

via giulia →

existing palazzo farnese villa farnesina traffic sewer sewer traffic building (support)

research institute MUSEUM 2 urban context

directional conflict As shown below, there exists a directional conflict between the two neighborhoods (Regola and Trastevere) on both sides of the river. alienation between the river & city Regola rests on a floodplain, with most of its urban pattern align to the direction of the The consequences of the unprecedented flood in 1870 led to the construction of the Tiber river; Trastevere, on the other hand, rests on a narrow sloped ground squeezed between embankment in the late 19th century. The river wall, along with the new boulevard & tree on the river and the Janiculum hill, which has a greater impact to its urban pattern. top of it, had collectively caused the alienation between the river and the city.

picture A: view of the tiber from sixtus bridge before the construction of the river wall (e.roesler franz): the gardens of villa farnesina (left) Piazza picture B: palazzo farnese (top right) seen from Navona the tiber during the construction of the river wall (1890) it clearly shows the cut through the old buildings that stood along the river Regola

Palazzo Farnese

Villa Farnesina Trastevere

Tiber Janiculum Hill Janiculum

From Google map B TIBER MUSEUM & INSTITUTE roma.andreapollett.com 3 observation application APPLICATION ON THIS PROJECT PHASE two dimensions of design two research approaches subconscious CATHARSIS DESIGN METHOD experience (qualitative) qualitative representation (summarized afterward) how was my method applied in this project? A performance (quantitative) quantitative representation PHASE unplanned & unconsious B COMPREHENSION 3 stages of perception 3 stages of design (not applicable)

PHASE qualitative expression quantitative research A site program urban pattern & traffic categories & size

farnese axis + = pavilion

support

water center

axis of Palazzo Farnese implied as a observation deck of river museum void cutting through the building bridge

via corsini

the relation between new and the old a corridor which bring people to the riverfront

PHASE B (not applicable)

This design aims to represent & reconcile the conflicting urban order and reintroduce the river as the unifier of urban life. TIBER MUSEUM & INSTITUTE FAN YANG PORTFOLIO 4 narrative

the internalized spatial order In terms of urban mass, “two bridges” intersect with each other. However, when the conflict is internalized, it forms one fragmented yet continuous interior space, symbolizing the reconciliation of the conflict.

B ←

A →

public corridor bring people to the riverfront

private / semi-public zone maintain limited degree of interaction (museum & research institute)

Page 6

A. facing SW - the internalized conflict & the symbolic reunion B. facing NE - the extension of the farnese axis & the conflicting structural order TIBER MUSEUM & INSTITUTE FAN YANG PORTFOLIO 5 program TIBER MUSEUM & INSTITUTE (temporary exhibition) public corridor museum -riverenvironment (view ofriverfront condition) temporary exit

farnese axis museum -riverhistory (view ofskyline) riverfront park

16. researchlab 15. documentcenter 14. office 13. classroom research institute &publiccorridor 12. temporaryexhibit (riverhistory) 11. museum &temporaryexit 10. riverviewpoint (riverenvironment) 9. museum museum 8. coatroom 7. kitchen 6. outdoorrestaurant 5. indoorrestaurant 4. bookshop 3. bathroom 2. ticketing 1. entrance&lobby service existing building existing 3 6 7 5 12 first floor 2&4 3 14 14 14 14 14 9 10 page 2 12 11 15 FAN YANG PORTFOLIO 8

13 to via corsini 13 13 13 left 6 instructor: hal hayes| carnegie mellon university spring 2017 THEATER FOR THE FESTIVAL D’AVIGNON individual work avignon, france program & site impact of this project This theater is designed for the Festival d'Avignon, an annual arts festival held in the the reflection on the design process of this project motivated & inspired me to explore French city of Avignon every summer. It includes one 500 seats regular theater and one design method in a deeper level through my 5th-year thesis riverfront dining theater.

Location of the new ferry terminal

Palais des Papes

Avignon old town

from google map 7 observation application APPLICATION ON THIS PROJECT PHASE two dimensions of design two research approaches semi-conscious CATHASIS DESIGN METHOD experience (qualitative) qualitative representation unplanned how was my method applied in this project? A performance (quantitative) quantitative representation instructed PHASE unplanned & subconsious B COMPREHENSION 3 stages of perception 3 stages of design (summarized afterward)

PHASE qualitative expression quantitative research (group work) A front of house (audience & staff) program mapping narrative finding process category of program size of program adjacency of program engage site accessibility new river cruise (outdoor venue) arrival experience nature of drama festival engage river unfinished path toward the river (destinationism) riverfront grotto the old town & the defined view of the respond to avignon (spatial scheme) water as the backdrop of dance show surreal spatial identity

riverfront grotto (core experience) temptation to go into detail during phase A, which was resisted shortly after auditorium back of house (artist / technician / manager)

NEW THEATER FOR THE FESTIVAL D'AVIGNON FAN YANG PORTFOLIO 8 PHASE

A program mapping site mapping category of program traffic system size of program formal system adjacency of program enviromental system

core experience quantitative research riverfront grotto (see page 8) PHASE theory: page 30~31 B priority & hierarchy of experience

stage 2 spatial scheme: spatial character core experience core experience + secondary experience the spatial character of grotto? reorient the grotto to face the old city & extend both wings into riverfront corridors

stage 3 concrete secondary experience sihoutte experience arrival sequence: rhone river cruise dry dock & open dining theater cultural identity: respond to gothic heritage & metaphoric dry dock integration seasonal adaptation (removable canvas vs. permanent roof) rationalize & modularize pavilion oriented: shrinkage of enclosed interior space diversify waterfront conditions

NEW THEATER FOR THE FESTIVAL D'AVIGNON FAN YANG PORTFOLIO 9 narrative

arrival

• destination of the newly conceived rhone river cruise making use of the sightseeing value of the river providing a new mean of transportation for the visitors during the festival season

• surreal spatial identity of the destination (gateway/ drydock/ theatre) "surrealist expression features the element of surprise, unexpected juxtapositions and non-sequitur, channeling the unconscious as a means to unlock the power of the imagination."

NEW THEATER FOR THE FESTIVAL D'AVIGNON FAN YANG PORTFOLIO 10 this project includes 2 venues: narrative • the 500-seat indoor venue, which operates during the whole year; • the riverfront dining theater, the "grotto", which is mostly for the festival season every summer.

B→

A→

A - riverfront dining theater: hosting ongoing summer carnival; having the river as the stage & backdrop; B - the bridge (the front of house for the indoor venue) provides visual connections to the medieval Ambiguous & surreal spatial identity (gateway/ drydock/ theatre) (see page 10) heritage of Avignon, bringing all audiences up to witness the dialogue between the old and the new A. grotto theater B. sky corridor

NEW THEATER FOR THE FESTIVAL D'AVIGNON FAN YANG PORTFOLIO 11 program front of house (audience) 2 1. lobby 3 2. ticketing 3. coat check 6 4. wc 5. patron lounge 6. bar 7 7. indoor dining 8. outdoor dining 9. kitchen 10. storage 22 21 1 level 2 general distribution back of house (artist / technician / manager) front of house (audience)

11. rehearsal room 4 4 (11) 5 12. dressing room back of house (artist / technician / manager) 13. shower 14. wardrobe performance space 30 15. green room 16. scene shop vertical circulation 17. loading dock 18. shop & storage (costume & equipment) 19. catwalk for outdoor theater 20. office 17 21. light & sound booth 10 4 4 10 29 20 16 18 18 18 18 18 20 26 performance space 6 6 20 20 1 22. 500-seat auditorium 23. stage & backstage 20 20 19 24. riverfront seating 25. riverfront stage

24 25 service 23 22 level 1 big sectional model level 0 26. ferry terminal 27. marina 28. marina service 29. mechanical room 19 8 4 4 30. pedestrian path 4 4 12 13 13 12 11 10 9 7 section a 15 14 (next page)

section b

28 27

NEW THEATER FOR THE FESTIVAL D'AVIGNON FAN YANG PORTFOLIO 12 program

section A

level 2

level 1

level 0

section B NEW THEATER FOR THE FESTIVAL D'AVIGNON FAN YANG PORTFOLIO 13 instructors: mary-lou arscott & christine mondor | carnegie mellon university spring 2018 THESIS - NEW CREMATORIUM individual work gifu, japan I proposed this project to further develop my design method, using the same program and site of one of toyo ito's crematorium in gifu, japan. impact of this project why crematorium? the first project completed with self-defined design agenda crematorium design is demanding in terms of both the qualitative and quantitative dimensions. the first project with multiple spatial schemes (experiential quality and technical performance)

existing crematorium by toyo ito

valley | cemetery | pond 14 observation application APPLICATION ON THIS PROJECT PHASE two dimensions of design two research approaches conscious CATHARSIS DESIGN METHOD experience (qualitative) qualitative representation planned how was my method applied in this project? A performance (quantitative) quantitative representation planned PHASE planned & semi-conscious B COMPREHENSION 3 stages of perception 3 stages of design

PHASE qualitative expression A qualitative program - general narrative of death & funeral rites qualitative site - narrative of death & funeral rites in japanese culture

schema 1 schema 2 schema 4 - committal room transition | partition | consolation reflection | nothingness | life cycle metaphor of ascension hierarchy of procession forest as barrier circular movement | concentric order From the reflection above, the The casket proceeds through casket looks like its ascending the central “bridge” while the to a brighter space as it is mourners proceed along the moved into the crematory sides

reflection in the mirror

note: nothing was quantified at this phase features of japanese funeral: • household night vigil • short farewell ceremony in the crematorium in a small oratory • the mourners witness the final departure in the committal room • cremation & enshrinement in Japan is an ancient tradition

The origin & connotation of cremation in Japan:

THESIS - NEW CREMATORIUM FAN YANG PORTFOLIO 15 PHASE quantitative research A quantitative program - crematorium variance of size (F)= flexible size (V)= can be vertically distributed 150+ = minimum size program mapping category of program variance size of program variance adjacency of program variance variance of flow Possible combination program - categories A1, A2, A3, A4, A5, A6 B1, B2, B3, B4, B5, B6 C1, C2, C3, C4, C5, C6 VARIANCE

variance of quantitative program provides explore variance through deduction: internal logic room for adaptation & qualitative expression explore variance through induction: precedent analysis area for further study A B C relation between different groups of user

1 2 3

1square = 1 square meter

4 5 6 sequence & experience of one group of user program - size & adjacency

quantitative site - gifu, japan

circulation / traffic system formal / morphological system environmental system overlay - foundation of the master plan master plan The quantitative research of the site is characterized by the creation of patterns. This process is an objective reflection of the site condition, in terms of form, flow, and environment. The end result of this process will be a series of overlapping pattern and even the start of rough massing. (application: page 18)

THESIS - NEW CREMATORIUM FAN YANG PORTFOLIO 16 PHASE B overview program mapping site mapping category of program traffic system size of program formal system adjacency of program enviromental system theory: page 31 unrestricted interpretation quantitative research These schemata can be interpreted as stage2 or stage3 and even stage 1, not depending on what they look like, but depending on what I take from them to stage 1 the next design phase. 6 spatial schemes spatial identity impression & cognitive map schema 1 highest degree of abstraction transition | partition | consolation

area for further study

stage 1 spatial identity - diagram week 10

week 3 stage 2

schema 2: spatial character circular movement | concentric order character of path & place preliminary abstraction

schema 1 filter

schema 2

stage 2 spatial character- 1/1000 model week 11

week 3 stage 3 schema 4 - committal space metaphor of ascension & completeness concrete experience 100% perceivable content specification of: form / style / materiality / tectonic strategy & etc.

schema 4

week 5 stage 3 spatial scheme - 1/200 final model week 12 17 PHASE B stage 1 backstage program / support path / moving pattern spatial identity impression & cognitive map material access highest degree of abstraction week 10 impression / stimulus / engagement threshold / partition / beat

A1 A2 quantitative site research

matrix of spatial schemes area for further study spatial identities

Metatheory-sc:h pageem 28a B1&2 B3

Type Segmental Shrine Sequential Corridor Feature Threshold Centripetal

Narrative Partition Respect & Tranquilize Site Reflection experience 1 2 3 ? site schemes C1 C3 A1 A2 N/A Site A: Lake zone Lake bridge Lake shrine (water experience)

B1&2 B3 Site B: Bottleneck Distant shrine Gorge (linearity & dualist)

C1 N/A C3 Site C: Plain Serialization Soothing path

THESIS - NEW CREMATORIUM FAN YANG PORTFOLIO 18 PHASE B stage 2 - 6 spatial schemes these 6 schemes were adjusted spatial character & order week 11 based on the quantitative research experience diagram

A1 lake bridge A2 lake shrine influenced by schema 1 influenced by schema 2

the concentric spatial order facilitates reverence & reflection the lake as partitions & symbolizes gateway of the valley of death the sky view gradually expands as people move along the circular path

B1&2 distant shrine B3 gorge influenced byschema 1,2 & 4 influenced by schema 3

B1&2 was chosen to be developed to the stage 3

the order of the mountain & the lake characterize the path the enshrinement experience is a metaphor for the burial in the mountain

C1 serialization C3 soothing path influenced by schema 1

the stratified spatial sequence symbolizes the journey to the after life the continuity & outwardness of the path dominates the spatial order, which encourages people to move on THESIS - NEW CREMATORIUM FAN YANG PORTFOLIO 19 PHASE B stage 2 - 6 spatial schemes spatial character & order character of path & place | 1/1000 model | week 11 A1 lake bridge A2 lake shrine influenced by schema 1 influenced by schema 2

B1&2 distant shrine B3 gorge influenced byschema 1,2 & 4 influenced by schema 3

C1 serialization C3 soothing path influenced by schema 1

THESIS - NEW CREMATORIUM FAN YANG PORTFOLIO 20 PHASE B stage 3 concrete experience 100% perceivable content specification of: form / style / materiality tectonic & technical aspects based on spatial scheme B1&2 week 12

21 program

3 5 1 2 3 6 14 4

funeral sequence 1. Entry The entry sequence features a broken path, leading people to the 2. Oratory distant destination, where the monument-like commital room. 3. Commital room As people make circular movement around the "monument", the notion 4. Waiting room (1~2 hr) of homage is reinforced. 5. Enshrinement (0.5 hr)

staff area 6. Crematory 7. Control room 9

8. Storage 9 9. Office 8 10. Mortuary 9 11. Mechanical 8

services 5 7 12. Bathroom 11 10 13. Kitchen 5 14. Drop off area

6 15. Cemetery 14

15 2

12 4 12 13 1 4 2 4

1/200 THESIS - NEW CREMATORIUM FAN YANG PORTFOLIO 22 narrative

prelude The experience starts from the oratory, where the waiting farewell ceremonies take place. The disconnected path and the double arch above them create crossing a boundary that separates the incoming epilogue "sacred space" and the exterior world. During the process of cremation, the mourners will be in the waiting room, where the climax unobstructed lake view & privacy facilitate the In the committal room, the mourners witness the process of reflection and tranquilization. final departure of the deceased. The committal space symbolizes the gateway to the afterlife: from When the cremation is finished, the mourners the mirror reflection above, the casket looks like its will be notified to collect the remain of the ascending to a brighter space as it is moved into the deceased in the enshrinement room, which crematory, and the hemispherical space presents presents a metaphor of mountain burial. a metaphor of life & afterlife as 2 incomplete & Within 49 days after the cremation, the remain inseparable parts of a greater whole. enshrinement entry will be buried in the cemetery.

cremation burial THESIS - NEW CREMATORIUM 23 thesis exhibition miller gallery, carnegie mellon university | apr. 19th - apr.25th, 2018 photo credit: magaret cox

6 spatial schemes

qualitative expression

final design structure of experience

THESIS - NEW CREMATORIUM FAN YANG PORTFOLIO 24 MY DESIGN METHODOLOGY

what's my design goal? quantitative narrative oriented design Program Site maximize the potential of architecture as the medium of expression PHASE

PHASE what's the nature of my design method? it's a system which is still being developed spatial scheme B it's a tentative mode of operation, not a strict code to follow COMPREHENSION

application on each project

observation application mechanism of perception method tiber institute 2016 theater 2017 crematorium 2018

PHASE CATHARSIS two dimensions of design two research approaches subconscious semi-conscious conscious facilitate the expression of the experience (qualitative) qualitative representation unplanned planned A narrative performance (quantitative) quantitative representation instructed planned PHASE PHASE PHASE 26 27 A 4 A 8 A 15 PHASE COMPREHENSION 3 stages of perception 3 stages of design unplanned & unconsious unplanned & subconsious planned & semi-conscious process & integrate (not applicable) (summarized afterward) the fresh idea and from concrete to abstract from abstract to concrete B research from phase A PHASE PHASE PHASE 28 31 B B 9 B 17 25 PHASE observation A experience & performance: the 2 distinct dimensions of architecture design experience performance CATHARSIS qualitatively, we observe architecture as experiential quantitatively, architecture can be objectively observed realities in relation to the mind and body, as carriers of and measured. it is the aggregation of different systems meaning and medium for communication. which aim to solve different types of problem. qualitative quantitative

this model: crematorium

crematorium = temple + factory emotional need technical performance

26 PHASE flow application program A how to deal with the 2 dimensions accordingly? experience performance CATHARSIS equipment example: tiber institute - page 4 theater - page 8 crematorium - page 15 structure qualitative quantitative unrestricted expression - pure qualitative representation representation representation

I created these models based on the intuitive understanding of the narrative. They are the very first rough translation that bridge the meaning & the form. 3 ways to convey the notion of program mapping "outdoor waterfront performance" what does pure qualitative mean? category of program Although these models can be measured, there's nothing being quantified at size of program this stage. All dimensions are subject to change. index - the form signifies the adjacency of program meaning through index. why so platonic? because these expressions are narrative-oriented and therefore present only area for further study quantitative research the most default state (e.g. symmetry) for any other irrelevant aspects

site mapping ambiguity traffic system I do not know: formal system incompleteness • the scale of this corridor enviromental system • the exact type of this tree ? The quantitative research and representation method is already well developed, but the equivalent for the qualitative dimension is not.

One major obstacle is that whenever we think about the qualitative aspect, we're quantifying it at the ? same time.

27 PHASE observation B the underlying structure of experience: spatial scheme 1 COMPREHENSION source: my travel experience (inductive) 2 3 qualitative quantitative

rome

similar style & different spatial scheme different style & similar spatial scheme

tibet basic categories of spatial scheme area for further study

control variables Based on my research & travel experience, I summarized 8 most common types of space, in terms of the most abstract level of spatial identity. The implication of this categorization is that when we iterate our design based on the different types of spatial identity, our design can be diversified in the most fundamental sense (first applied in the crematorium project, page 20).

morocco

turkey

courtyard 28 PHASE stage1 stage2 stage3 SD DD CD observation user builder B the underlying structure of experience: spatial scheme spectrum of specificity COMPREHENSION source: theory (deductive) & precedent analysis abstract subconscious spatial scheme: spatial identity + spatial character long-term memory sequence of design stage spatial identity impression & cognitive map highest degree of abstraction "existential perspective" architecture experience is subjectively defined, subjectively oriented, and is organized through subjective mental schemata of path, place & goal directed attention path / moving pattern 1 domain. this model: place to stay / focal point analysis of venice stimulus driven attention barrier / partition / threshold source: christian norberg-schulz cognitive psychology

stage spatial character & order character of path & place preliminary abstraction

spatial character is based on the egocentric orientation system, defining the degree of enclosure and rough sense of materiality 2 (e.g.: soft / hard / cold / warm)

source: bryan lawson yoshinobu ashihara

the path of venice stage concrete experience 100% perceivable content specification of:

sequence of perception form / style / materiality / tectonic strategy & etc. (typically called as "schematic design") concrete conscious 3 long-term memory 29 PHASE observation B hierarchy of experience this model: 1 COMPREHENSION the simulation of how a venetian place evolve through linguistic / additive approach different stages (as if it is in the mind of the designer) 2 the 2nd direction to dissect experience 3 qualitative quantitative

spectrum of hierarchy a patio hierarchy of experience α β γ leading to a dock followed by a patio followed by a plaza core secondary rest of dead-end experience experience experience structure of ... covered a coveredwhich isdead-end surroundeda by continuous secondarywhich is surrounded space path (e.g.passing by shops) secondarya through dead-endwhich space is surrounded tunnel(e.g. shops) followed by secondarya covered by whicha spacepatio isdead-end surrounded (e.g. shops) tunnelby secondarya covered followed corridors dead-end by a patio a covered dead-enda a deadend experience stage 1

spectrum of specificity spatial identity impression & cognitive map highest degree of abstraction

stage 2

spatial character character of path & place preliminary abstraction

spatial scheme stage 3

Concrete Experience 100% perceivable content specification of: + + form / style / materiality / tectonic strategy & etc. integration β α γ γ β β α α stage 2 stage 1 stage 2 stage 1 what change at each step? 30 PHASE The spatial scheme is designer's self-made zoning law. application A spatial scheme defines the key parameter of a concept / narrative. These parameters B define the range of flexibilities in the following design stages, and by doing so they help future development maintain the integrity of the design concept / narrative throughout the whole design process. COMPREHENSION

area for further study area for further study area for further study area for further study

utilization of phase A hierarchy of utilization of phase A experience (qualitative) α β γ (quantitative) how to digest the qualitative expressions how to digest the quantative research structure of core secondary rest of experience experience experience ... experience how? how? stage 1

spatial identity impression & cognitive map preliminary source: highest degree of abstraction restricting factor individual research client unrestricted interpretation project team consultant

PHASE PHASE A stage 2 A quantitative qualitative spatial character spatial character of path & place expressions preliminary abstraction restricting factor research datebase

spatial scheme parametrize subjects: categories: representation program semiotic / index stage 3 site etc. code concrete experience budget 100% perceivable content detail survey schedule specification of: + + etc. form / style / materiality / tectonic strategy & etc. integration

example: crematorium - page 17 theater - page 9 crematorium - page 17 theater - page 9 31