PORTFOLIO OF YAN MA

BODY PAST, PRESENT, AND ABSENTUncovering the Unfamiliar in the Familiar

PROPAGATING A FETISHAbstraction with Concept

SITE BODY/ARMOR ARCHITECTUREThe Analysis of the Particular Situation - a site

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CONTENTS

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BODY PAST, PRESENT, AND ABSENTUncovering the Unfamiliar in the Familiar

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The armpiece and the torso part are drawn by me. Missing the right part by my partner.

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The exploded axon is completed by me and my partner, and the “jellysh” reassemblage is my own work

SUPERSTRUCTURE

OBJECT

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STRUCTURE

The drawing on the right is reproduced by grasshoper by my partner

The essence of our object is in its dichotomy of softness as an additional skin and its hardness to serve the purpose of protection. With multiple sheets of different materials stitched together, the internal spaces in this “skin” are of interest. The superstructure is composed of two grids that come from the knitting pattern of its fabric. By blowing up the layers with hard wires strung through to form spaces mimicking the stitches, the model accentuates the dichotomy of the object and its striation.

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PROPAGATING A FETISHAbstraction with Concept

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This is the continuation of the rst problem, but we split up the groups. For this problem, we are each being asked to abstract (in essence, to edit while identifying, the more vital and salient elements) our re-assembled object from Problem 1, idealizing while re-sizing and re-proportioning it. We are not to duplicate the object, its structure, superstructure, and its site, but rather to idealize these elements; to represent an abstrac-tion of the essetion of the essential components of the construction.

Study of the relationship between object, superstructure, structure and site. Drawings on the bottom are rened design

SITE BODY/ARMOR ARCHITECTUREThe Analysis of the Particular Situation - a site

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This is the nal problem sequence. It will involve the analy-sis of the particular situation: a site; the development of a set of propositions: spatial, super-structural, material, and sequential; and the production of a nal proposal: an architectural con-struction to be placed within that site.

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Departing from the fetish and modify the structure in reaction to the site

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(Top right) Fall Creek, Pen on paper, (Bottom) Water Effect Model, Plasticene

MY FANNY PALMER CHARLES FRASER

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Also an LA 1410 Project. This project takes a two dimensional design and turn it into a three dimensional garden model. In this project, the works of the abstract expressionists are examined. In exploring their work, the point is to move away from the classical forms of pictorial representation to work with form, color, texture, and space in their most elemental sense. The task is to explore the principles behind the work of the artist, and to work within that modemode.

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Pedestal Table (1911)Georges BraqueFeaturing Analytical Cubism

Painting characteristics include: overlapping planes, shifting spaces, elusive forces, familiarity and repetitiveness, using earth colors (plus black and white) to create a neutral and natural space, thus empha-sizing the sense of space per se, and more air comes with more ambigu-ous painted surface space. The garden design features the same principle of multitude in space.

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This project explores the role of diagrams as a method to document landscapes as systems based on relationships in two and three-dimensional formats. The goal is to create an interven-tion to highlight or exploit a particular material condition within the limits of the site. The drawings demonstrate a process by which I reduce the site to the elements that are central to how I imagine the site and my intervention.

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The existing path could not lead to any close interaction with water, and the water erosion and sheeting is of interest. My intervention would actually mimic the water to “erode” the gorge on the side, thus creating a trail with close relation with the water.close relation with the water.

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The intervention gives visitors better chance to engage with the water and the small waterfall along the waterow.

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The project is designated to site and design a new viewing platform in the Cornell Plantations Mundy Wildower Garden. This structure is continuous, and open-aired with a roof, which is intended to give visitors the ability to engage multiple aspects experiences found within the context of the study area. The wild-ower beds, topography, site hydrology, streams, creeks tree canopy and the openings, and existing paths are taken into aaccount in designing the platform.

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Partition, loops, and circles are of interest. The paths, deer fences, and water streams part the existing wildower beds in an interesting way in that it offers different experiences to the visitors by associating different elements. The construction resonates with the loops and circles and gives differ-ent possibilities to engage the vegetation by opening up the platform selectively.

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This section contains drafting work from ARCH 1502 - Free-hand Architectural Drawing, also sketching samples I did during the past year. All draftings are done by pencil on 14’ * 17’ paper. All skectching samples are done by micron on 8’*11’ paper sketch book.

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Right + Left Hand Mirror Staggared Column39

Line Weight Ribbon Column

Spacing Ribbon Columns Deformed Spacing Ribbon Columns40

41Dancing Slinky (Left) Contours (Right)

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43Le Corbusier Painting Study (1-3)

44Bottle in Context

Barnes Hall at Cornell University45

Sage Hall at Cornell University46

47Martha Van Rensselaer Hall at Cornell University

ILR Building at Cornell University48

Minn’s Garden and Plant Science Building at Cornell University49

A.D. White House at Cornell University50

WORK OF YAN MA 2011-2012

Biological Sciences 13’College of Agriculture and Life SciencesCornell Universityyanma0802@gmail.com607-319-9061607-319-9061

Drawing on the cover: freehand deformed ribbon columns, pencil on paper,