YICAI CHEN

UNDERGRADUATE PORTFOLIOSelected Works 2010-2012

DANISH RESISTANCE MUSEUM

SHADE | LINE

THRESHOLDS IN MASSES | PLANES

LOST IN SYMMETRY | ASYMMETRY

THE THIRD BANK

to Nazi occupation during WWII. Visitors first enter into Occupation then flow into Adaptation and Resistance, past the darkest exhibit Terror and spiral up to Liberation back on ground level into the open.

left: Cite maps showing the angled yet curved-form of Kastelletright: Exterior rendering

Located on Kastellet, a well-preserved fortress with stunning landscape, the existing Danish Resitance Museum is resourceful but aged and unpopular. My goal is to recreate a museum that is bold but harmonious with the surrounding. The circular spirals are tailored to fit the five exhibitions that tell the story of the Danish resistance

DANISH RESISTANCE MUSEUMundergraduate studio II (study abroad in Denmark), spring 2012 instructor: Bo Christiansen

left: Only 20 percent of the museum surfaced above ground due to height regulations on Kastellet.above right: Entrance on ground level. below right: Exiting into the open follows the liberation exhibit.below: The section shows the underground portion.

left: Detailed plans including the exhibitions, information center, office, gift shop, and indoor/outdoor cafe.right: On the Resistance level, a ring of light is cast on the floor.

Hand drawing in architecture is vital as the hand serves as a link betwen the mind and the design. Shade and line are two drawing techniques that can be used individually and jointly. While shading/value drawing acquires a rough image of how a space feels and captures light and shadow quality, line drawing is precise and detailed.

When used together, line and shade emphasize different things.

left: Value drawings studying light quality of Guthrie Theater (Minneapolis) and Forest of Tombs Museum (Japan)right: Hybrid drawing of Steven Holl’s staircase in Rapson Hall (University of Minnesota)Collaboration with Feifei Zhang

SHADE | LINEintro to drawing in architecture, fall 2010 instructor: James Howarth

THRESHOLDS IN MASSES | PLANESundergraduate studio I, fall 2011 instructor: Martha McQuade

The project started with picking a “path” for analysis. My chosen “path” involves moving across levels, through cover and uncovered roof, narrower gap and wider opening. All these different thresholds from this path forms the basis for further model iterations in creating a new cite. The new cite is required to have to two flexible public spaces, a room for

utilities, and a path to go through. Characters of thresholds are explored through two materials: the mass of plaster and paper plane.

left: Sketch and model studying thresholds of the chosen “path”.right: Final combined paper-plaster model looking into the outdoor public space

above: Plaster study models exploring possibilities of transitional space through raised/recessed floor, push/pull wall and roof. below: The final plaster model features a straight path broken by thresholds, opening into two separated but linked open spaces.

above: Paper models study shifting wall and roof planes.These vertical parallel planes create flexible spaces with both calculated and uncalculated thresholds. below: Combined paper-plaster model. Shifts in roof, wall, and floor, along with transparant/translucent glasses panels break up space and defines programs.

Photo-drawing of the final paper-plaster model.

The project translates the language of a sailor knot into straight lines, planes and volumes through iterations of drawings, wire models, and corrugated cardboard-stack models. The sheepshank knot was chosen for its symmetry. However powerful symmetry is, it is natural and not as memorable as asymmetry.

With that in mind, the goal is to create something that is natural and symmetrical yet memorable and balanced.

above left: Rope steps.below left: Wire models studying symmetric and asymmetric interpretations of the knot.right: Final wire model (hand drawn) is asymmetrical yet the top and bottom halves reflect one another.

LOST IN SYMMETRY | ASYMMETRYdesign fundamental II, spring 2011 instructor: John Comazzi, Benjamin Ibarra-Sevilla, Adam Jarvi

left: The diagram shows where the cardboard-stack was cut through.right: The two halves of the model appear similar overall but differ greatly in details.

THE THIRD BANK undergraduate studio III, fall 2012 instructor: Mary Guzowski

and bikers (lower deck used for motor vehicles and future light-rails).The project aims to create a third bank with various student-oriented programs for both the summer and winter while still providing direct crossing for the daily large flow of pedestrians and bikers. Most important are the hidden, intimate “boxes” with nicely framed views waiting to be discovered throughout the bridge.above: Mississippi Riverbelow: Washington Bridge connecting the banks together.right: Rendering of the glowing “boxes” on a snowy night.

Washington Avenue Bridge crosses the Mississippi River in Minneapolis and connects the University’s East and West campus.The cite is 1130 feet long by 90 feet wide on the top deck used for pedestrians

above: Elevation shows the long span of the bridge and its relationship to the river.center: Program spaces alternating outdoor and indoor activities.below: Summer rendering (May to August) showing the green space being used.

(a)

(b)

various indoor programs (a) a small gallery as an extention to the Weisman Art Museum, (b) a covered performing space that also functions as a viewing deck when not in use, (c) a cafe (d) a reading room, and (e) a sky room. outdoor green space including a bocce ball court. covered walkway spans the entire length of the bridge linking indoor and outdoor programs. bike lane separated from pedestrian walkway.

(c)

(d) (e)

above: Concept sketches of the boxes oriented for the best views/different activities. below: View diagram of the reading room looking over both sides of the Mississippi.right (above and below): Model of the reading room showing exterior and interior qualities of the boxes. The picture below highlights the contrast between the wood boxes and the one metal box.

Interior rendering of the metal box.