B R I A N H .Y.

C H I N G
P O R T F O L I O
P O R T F O L I O

D E S I G N
4 FO R M AL SYS TE M S

RESEARCH
8
C H I N G

INFO R M E D SYS TE M S
B R I A N

H UMA N F I G U RE S TU DY 14
 R E P R E S E N T AT I O N
C O N T E N T
TECHNICS
16 S T R E TCH ING CA N O PY

GE NE R AT IV E S HA D OW S TU DY 18

E XP E R IM E N TA L D RAW I N G S 20

3
B R I A N C H I N G P O R T F O L I O
FORMAL

F O R M A L
APPROACHES
With the four formal design approaches,
linear, planar and solids elements as well as

S Y S T E M
techtonic relationships between them are
explored through rule based, components
aggregation based designs.

In these approaches, hierarchy of elements

are defined by scale, shapes, colours, and
ways of aggregation. Verb actions like
migrating, weaving, folding, interlocking,
forking, floating, cut-and-shifting and
morphing are excecuted.

ANALOG DRAWING MODEL

B A

MODEL MODEL MODEL ANALOG DRAWING MODEL

C A

5
B C D

ANALOG DRAWING MODEL

D A
B R I A N C H I N G P O R T F O L I O
FORMAL

F O R M A L
H Y B R I D
The formal hybrid is a hybrid of the formal

S Y S T E M
approaches B and C. It juxtapose diagonality
and orthogonality, planer and linear, as well
as challenge the solid and void relationship.

The formal hybrid fuses two formal

approaches by negotiating while preserving
important moments. It suggests circulation
of human, as well as reflection of light. The
colour coding of the inverted colour planes,
and basswood sticks suggests zoning and
relationships: blue plane and sticks versus
yellow planes and sticks.

This formal hybrid system was chosen to

be archived in Pratt School of Architecture
and to be featured in the INPROCESS 25, an
undergraduate architecture students’ work
catalogue.

ANALOG
ELEVATION
1”=1’
ANALOG
MODEL AXONOMETRIC

7
1” = 1’ VIEW
ANALOG
SECTION
1”=1’
B R I A N C H I N G P O R T F O L I O
 I N F O R M E D
SYNTHETIC
GROUND
Generating a synthetic ground site through
rule-based systematic abstract drawings.
The synthetic ground site is a translation

S Y S T E M
of 2D to 3D of the hybridized system of two
formal design approaches. It generates
disconnected steps, cantlievering and
tunneling conditions in both micro and
macro scales.

The site was then carefully crafted by foam

in the scale of 1” to 1’. Both analog and
digital approaches were used to analyze
the site: shadow studies, height study, and
geometrical studies.

DESIGN
A ANALOG
ISOMETRIC SITE
SITE PLAN SECTIONS
DESIGN FOAM MODEL ½”=1’
B ½” = 1’

9
ANALOG
DESIGN FLAT GROUND DIGITAL ABSTRACT
A+B HEIGHT STUDY SHADOW SITE
STUDY SECTIONS
⅜”=1’
B R I A N C H I N G P O R T F O L I O
 I N F O R M E D
I N T E R -
VENTION
Intervention to the synthetic ground
challenge the original performance of the
ground. Connected folding components

S Y S T E M
were introduced to extend the original
cantilever condition of the site, creating
an extended canopy. Angles are carefully
adjusted to frame views and provide flat
surface along the cantilever land.

The shape of the fold of the folding

component enable apertures of light. All
components radiate from a vanishing point,
creating a false perspective in the interior
space. Inhabitants can stand and sit under
the canopy, or on top of the canopy through
the aperture.

MODEL INTERIOR
PLAN
½”=1’
RENDERING
MODEL MODEL
1” = 1’ 1” = 1’

1 1
SECTION SECTION
1 2
SITE SKETCH ½”= 1’ ½” = 1’
½” = 1’ ½” = 1’

FLIP-OPENNING APERTURES ½” = 1’
P O R T F O L I O

INTERLOCKING-ARRAYS
CANTILEVERING COVERING
½” = 1’
C H I N G
B R I A N
 I N F O R M E D
INTERLOCKING-ARRAYS
2’ 1½”

F O L L Y
CANTILEVERING COVERING
The folly was created by extracting the most
½” = 1’ important moments of another intervention
of the synthetic ground. The 45° pivoting
rafters concept in the intervention was
transformed to 30° pivoting shades.

By a connection rule of three components

of different sizes of the shape of different
forms of open parallelograms; interior space

S Y S T E M
3’ 3’10”
is implies by the framework. With further
interpretation of frames and transformation
from frames to planes, interior space is even
ISOMETRIC PLAN more defined. The framework-plane system
frames view, mediates lights and provides
shelter for inhabitants to stand, sit and lay
down.

Inhabitants will have the feeling of the

mediated light inside the system. When see
from the outside, it can frame views from
different angles. Planar elements does not
completely block views, providing privacy
while not blocking light.
6’ 2” 8’ 5⅓”

INTERV. INTERV. FOLLY FOLLY

MODEL PLAN ISOMETRIC PLAN
1”=1’ ½”=1’ FOLLY ½”=1’ ½”=1’
PROPOSAL
MODEL

1 3
1” = 1’
INTERV. INTERV. FOLLY FOLLY
ELEVATIONs SECTION ELEVATION ELEVATION ELEVATION
½’ 3” 4’ 6¾” ½”= 1’ ½” = 1’ 1 2
1” = 1’ 7’ 3”
½”= 1’ ½” = 1’
P O R T F O L I O
STATIONARY STANDING ON STRETCHING UP TO EXTENDING OUT

½’ ½’
It accurately diagramed the
dimentions of the sationary human
figure as well as the extra space 3’3”
around as diagramed as the blue 6’5”
offset and blue annotations. 5’6” 6’5”
C H I N G

1’1”

2’8” 1’10” 6’1”

LYING SITTING REDISTRIBUTING BALANCING

AGAINST ON AROUND FOR
B R I A N

½’

5’7” 5’3” 6’5”

4’4”

1’8” 4’5” 5’2”

 TRANSITIONS 1” = 1’

H U M A N
FLATTERNING DOWN
TRANSITION
2’6” It accurately diagramed the
1’7” dimentions of the transforming
10”
human figure as well as the extra
space around. Overlapping of the
3’4” 5’ 5’7” transition denote the volume / area
SIT-WALK EVOLUTION FORWARD needed to complete programmed

F I G U R E
½’
movements.

6’5”
4’ 4’6”

2’9”

S T U D Y
1’3”

2’

5’7” LEANING DUAL-WAY

SQUATING UNDER
½’ ½’

5’
4’3”
3’7”
2’2”

1 5
5’3”
B R I A N C H I N G P O R T F O L I O
 T E C H I N C S
PSOSTHETIC
CANOPY
This moving canopy is a team work of three.
Stretchable bass wood and rubber bands
components of different sizes were utilized
in the project to create this canopy.Joints
and moving railing are carefully adjusted to
allow the intended movement.

The canopy can be attached to each

person, and be stretched and deformed,
challenging the limits and the performance
of the building material. It suggests a ways
of human movements while changing its
form with the movement.

The project won the Faculty’s Choice of best

Techics project of FA/18 and SP/19 at Pratt
Institute School of Architecture.

COMPO
NENT
A
UNSTRETCHED STRETCHED COMPO
POSITION POSITION NENT
B
MODEL
COMPO
(PLAN VIEW)

1 7
NENT
A

PHOTO SEQUENCE COMPO

NENT
B
B R I A N C H I N G P O R T F O L I O
 R E P R E S E N T A T I O N
GENERATIVE
SHADOW STUDY

COLLAPSED TIME

With the 5 chamfered cube setup, a

generative representation was created by
section cuts, hinging, alternating, grouping,
and shadow casting.

The shadow casting was done with a

strategic rule so that fanning ascending
and decending shadows can be casted in
different directions and overlap each other.
The directions can be read as the differnt
time of the day, collapsing time and space.
The shadow can be read as new solids
generated by the section cuts of the cube.

SHADOW STUDY
GENERATIVE

1 9
P O R T F O L I O
VANIS
F O L

This experimental
process of the des
different representa
system including diff
C H I N G

density, an

The vanishing point

“space” formed by
Different layers
concepts: shape, b
solid. Opacity differ
idea of vanishi
B R I A N

EXPERIMENTAL
DRAWING
A
 R E P R E S E N T A T I O N
SHING P R OT R U D I N G
L D S DIAGONALS

drawing shows the This experimental drawing uses

sign, as well as the
ations of the design
fferent scale, colours,
nd repetition.
indicates the origin of
folded components.
indicate different
boundary, movement,
rence emphasize the
ing and motion.
photography as a tool to capture the
different views (top, side, front, etc) of the
model. They are then layers in Photoshop
and manipulated to emphasize important
moments of the collapsed view.
The experimental drawing suggestions
directionality, hiearchy, and solid-plane
relationship.

SHAPES

EXPERIMENTAL
DETAILS
DRAWING
B

2 1
BOUNDARY
&
MOTION