michael shyu portfolio
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michael shyums4187@columbia.edu978.204.8722
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Site location
Megablock autonomy and its control of the urban edge
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startarea 1reorientates spaces 90 degreessee blinding light tall height space. rotates the space on its side.
beams become !eld of columns columns with cornices and base
SPEED WALLPHASEWALLTETHER
tall space with structure sailing above
wall in front. pattern to the right . very tall ceiling that you can’t see the end of with bright light shining through series of trusses that look like columns abovespeeds through space of semi organized columns
that were orignally beeams. organization is not totally symetrical. space is winding. the minor details are ignored. all you see is the obstactle. the white begins to take over. you spot a larger than normal column. you make a sharp right and switch to the dark.
you let the dark take over. you begin to see through the wall that was in front of you before. the path seems clear. you begin phasing through a series of walls and take niches. The view slows down. you pass by a series of the objects that you saw before in the other room. however they are no consequence. the phase begins to be a travel through thresholds.
space of darkness with rays of light
what was once a larger than life column is now a larger than life beam. in fact there is just enough room to run on. you realize the depth of the space below. the beams above seem endless and the space that you once occupied looks like a chasm below you.the dark begins to creep in just as the light. violent
tendencies begin to take hold. you have to switch. there is a larger space up a head. the object
room of niches and patterns
the room is a in fact a ledge. and the room is similar to the !rst except the beams have broken o". you begin to notice the patterning. and you realize you are able to channel your self and
with the warping ability. the patterns begin to peel themselves o" the wall in front of your eyes. to the point that it is all you see.
the room begins to highlight itself to you. you begin to warp and tether yourself to to a pattern accross the room. and it allow for a high ground view. your movement changes you spot an opening 4 bays below. you warp and tether and zig zag to each spot. as you do. the pattern begins to change and you begin to feel overwhelmed. you have to change.
area 2the switch to the light you !nd yourself ignoring the patterns you once used to tether yourself to. and you !nd yourself less aware of the surrounds as much as your feel the urge to run. you are no longer limited to the tethering and you utilize the openess of the space.
you race towards the created void now open to you. the space seems endless. the patterns that you once used to tether yourself to have become hazards that begin to extrude themselves out of the ground. you soon realize that they were the columns that you were trying to avoid in the !rst room. the room is activated.the space is being created around you as a result.
the blowout of your vision begins to take over you have to switch.
you !nd yourself using the momentum to switch from tethering and immediatly invert to the light.
the space has frozen when you changed. the columns. the patterns remain half extruded. in a bizarre space of !eld of
the !eld of patterns now occupy the top of the columns. which have become beams as you reorient your vision of the space. the tethering becomes spatialized as they have removed themselves o" of the wall. the columns themselves begin to despatialize as that is all you begin to obssesively see.
as you make your way through you begin to see end to the !eld.
you let the dark take overoccupying the pattern transforms the columns into a tunnel which is the occupied space of the beam.
area 3you !nd yourself racing through the tunnel which the pattern acted as the gateway to. you soon realize that the columns are a series of networks. the space that you tethered yourself to as well as raced past has now become an inverse negative space.
you begin to see the goal however are impeded by the labyrinth of tunnels and patterns.
the dark begins to take over. you make choose to make a stop at the end of one of the tunnel. you
you !nd yourself in a room of gorges. your inverse switch turns the gorges into tunnels
recovering from the exploded pattern pieces. you gather yourself. and are forced to the light.the shattered pattern seem to have deactivated the space and is no longer reacting to your presence.
you race yourself through the gorges have become light shafts. you begin to see the light of the space from each of the tunnels. the space feels endless. and every left turn and right turn somehow beings you back to the main path. with the same deactivated patter beneath your feet
inverse of the light. you pass through one of the deactivated patterns and it brings you back to the main hall however the as
area 4with visions of the dark you immediatly see past the illusion of the tunnel.
you begin to visualize the end. the patterns begin to shatter around you. you push past it all and make it to the end
you explode the large pattern at the end and you !nd yourself at the begining.
the tether is active now. however you now !nally see clearly. you see a hidden pattern below your feet and you activate it. it then begins to extrude up and carry you out.
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STORYBOARD
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!"#$%&!'()*+'!,!(
PERSONAL TERRITORY SPACE OF THE PROJECTED IDENTITY.DOMINANT FOCUS NO LONGER ON THE PHYSICAL.
TRANSITIONAL ADJACENCY. SWITCHING BETWEEN PROJECTED AND REAL IDENTITY
!"#$%&!'()*+'!,!(
LOGI
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FEB. 23. 2009 FEB. 24. 2009
12:00AM12:00AM
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12:00AM
6:00 AM 12:00 PM 6:00 PM
FEB. 25. 2009
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FEB. 26. 2009
Music->Classical ->Vivaldi (1678-1741)
Movies->Romantic Comedy ->Notting Hill (1999) Directed by Roger Michell. With Julia Roberts, Hugh Grant,
Literature-> Science Fiction -> Enders Game, Orson Scott Card (1985)
Sports-> Soccer-> Real Madrid, Spanish La Liga
Interests-> Architecture
12:00AM12:00AM
6:00 AM 12:00 PM 6:00 PM
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FEB. 27. 2009 FEB. 28. 2009 MAR. 1. 2009 MAR. 2. 2009
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FEB. 23. 2009 FEB. 24. 2009
12:00AM12:00AM
6:00 AM 12:00 PM 6:00 PM
12:00AM
6:00 AM 12:00 PM 6:00 PM
FEB. 25. 2009
12:00AM 12:00AM
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FEB. 26. 2009
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sortingFEB. 23. 2009 FEB. 24. 2009
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Music->Classical ->Vivaldi (1678-1741)
Movies->Romantic Comedy ->Notting Hill (1999) Directed by Roger Michell. With Julia Roberts, Hugh Grant,
Literature-> Science Fiction -> Enders Game, Orson Scott Card (1985)
Sports-> Soccer-> Real Madrid, Spanish La Liga
Interests-> Architecture
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sorting!"#$%&'(%&$)#)!$!
!"#$%&'()#"'*
!!
SPORTS
MUSIC
FILM
LITERATURE
FOOD
!"#$%&'!(&')*"*+)+
!"#$%&!'()*+'!,!(
!"#$%&'()#"'*
section A
!"#$%&'$(")%
DIDACTIC:
Architecture!"#$%&'()$*+,-$',#$*+,-$./01)2+2+/,$
!"#$%&'()*+,$"-&.)*+."/(*0,1$()*2314")
3+2)4$2"-3(!$('5*67)$
1"/-"'04$8"4$(!!"'1*0-3""9)
#)3+-,$5"+)67$
89'"+'$9/,2)33/"+7$:+3(/;)"<$/6$2=)$.=+
8"4$(!!"'1*(.,-&$1"4*1!*/&!(.*"4*$(&-314:*$3(*&/!$'&-$*$3'",:3*$3(*-"4-'($(*&4.*&99"%14:*$3(*#'((.";*"#*14<(!$1:&$1"4*&4.*9(&'414:*$3'",:3*$3(1'*!,''",4.14:*(4<1=*'"4;(4$!*&4.*"/>(-$!*%1$314*$3(*!?&-(!)*8@*"/>(-$1<(*#"'*$31!*?'">(-$*1!*$"*-'(&$(*&*.1.&-$1-*&'-31$(-$,'(*14*%31-3*$3(*/,19.14:!*&!?(-$!*&4.*!@!$(;!*/(-";(!*&*-"4-'($(*$""9*14*$3(*8"4$(!!"'1*.":;&)
!"#$%&!'()!*&+,-(
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-'),
!"#$%&!'()!*&+,-(
!"#$%&'()*(+
$,(--*..+%/*.)*(+
!"#$%&!'()!*&+,-(
REFINING:
Landscape!"#$%&'()*!"#$%&'()!'$*+),"-#+()./-0$(
!+$(,*.$%/+1#+23)45(*
-'".'&/,*.+1-'+0#-&6)&0')7$828+2%-&6()
0(!+.1*2'+(#)*
9/+)'+1-:0)1#&2#+');-#/)#/+)&0&6<1-1)$=)$>+0)1>&%+1)&0')#/+-2)>2$:2&81)-0)#/+),$/$)?-1#2-%#)$=)4+;)5$2@)7-#<()9/+)%$0%6"1-$0)'2&;0)=2$8)#/-1)-1)#/&#)$>+0)1>&%+13)>&2#-%"A)6&26<)>&2@13)&2+)$*B+%#1);-#/-0)#/+)"2*&0)=&*2-%)&0')#/&#)>2$C-'+)2+6-+=)=2$8)#/+)%-#<)-#1+6=(
9/+)8&-0)'+1-:0)8$C+)=$2)#/-1)>2$B+%#)-1)#/+)=$6'-0:)$=)#/+)6&0'1%&>+);/-%/)-0)#"20)*+%$8+1)#/+)8$0"8+0#&6)=&%&'+)2+>2+A1+0#-0:)#/+)$*B+%#);-#/-0)#/+)"2*&0()9/+)$>+0A)0+11)$=)#/+)C-+;1)#$;&2')#/+)D"'1$0).-C+2)&2+)C+2<)-8>$2#&0#)-0)%2+&#-0:)&)>+21$0A)&6-E+')C-+;)&0')&)6+C+6)$=)>2-C&%<)0$#)=$"0')-0)
$*B+%#)*&%@)-0#$)#/+)"2*&0)=&*2-%(
!"#$%&!'()!*&+,-(
!"#$"%& !%"'(
!"#$%&'
!"#$%&!'()!*&+,-(
Illuminating the Domestic
!"#$%&'()!"#$%&'!()*&+(,'!-."/0'!(1&23!4)$*3
!$*+,"-.',(#)
!,$()!506/7)53'!89:!
+(!,/0-.',(#)-
;%!135$<%$%<!=&>*!5?/735!$%!*#3!7&%*3@*!&>!63#/2$=$.*/*$&%!&>!)62/%!>/26$7'!*#3!A/$%!<&/=!$5!2=3%1$%<!
/%!/$6!$%*&!*#3!3@$5*$%<!B/63.!#&)53!2)$=1$%<:!C#$5!$%$*$/=!A&D3!/==&B31!>&6!*#3!A/$%!135$<%!&??&6*)%$*0!>&6!*#3!2)$=1$%<:E0!135$<%!$13/!73%*3631!/6&)%1!*#3!?)5#$%<!&>!*#3!1&A35*$7$*0!&>!*#3!=&>*!?6&<6/A!&)*!$%*&!*#3!/*6$)A!5?/73!*#6&)<#!*#3!A3*/?#&6$7/=!$13/!&>!*#3!F7=&*#35.=$%3G:!C#3!$13/!&>!>/26$7!%/*)6/==0!2=&B$%<!$%!*#3!B$%'!763/*31!/!135$<%!)%$*0!B$*#!2&*#!*#3!<633%!*37#%&=&<0!*#3A3!&>!*#3!135$<%!5*)1$&!/%1!&>!*#3!?6&<6/AA/*$7!*0?&=&<0!&>!*#3!1&A35*$7!=&>*!5?/73:
!"#$%&!'()!*&+,-(
Interior Atrium Elevation
!"#$%&'%()$*+$%&*,
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!"#$%&!'()!*&+,-(
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Advanced Building Systems!"#$%&&#"'(!"#$%&'()*#!)*+),
)%*+'(#-(..%,#/0,.(1"#23(,#-)**%#!(0*%"#405,6#7(#$0+"#$%8&'()*#9':5
&#$),*"%'#;5<0/;-"#='%,0&).05>"#?8=(:"#;10@)#95%<)
!"#-"*+'(
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&%),<#(,1#),3%.0,A),<(**:#F.%),1*:"
G5.#<)(A#)H'(5><%3)*:#(,(*:I)1#<')#)H%><%,6#@5%*1%,6#>:>8<)AJ#(,1#&0A@%,)1#<')A#C%<'#05.#%,F0.A(<%0,#0F#<')#),3%8.0,A),<(*#>%<)#&0,1%<%0,>#(,1#6.)),#@5%*1%,6#<)&',0*06%)>"#K)#6(%,)1#(,#)H<),>%3)#+,0C*)16)#0F#6.)),#.00F>J#C%,1#<5.8@%,)>J#<.0A@)#C(**>J#>0*(.#D(,)*>J#(,1#D0<(@*)#C(<).#&0*8*)&<%0,#(,1#%,&0.D0.(<)1#<')A#%,#(#>).%)>#0F#<')0.)<%&(*#(11%<%0,>#&0A@%,)1#C%<'#&0><#A(,(6)A),<"
!"#$%&!'()$*+$,%'*)-&./*.,0)!"!1'2!(
!"#$%&'($)
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green roof
Water Retention
!"#$%&!'()$*+$,%'*)-&./*.,0)!"!1'2!(
!"#"$%&'%()%#*($&+,#-.&/0%1"-*,(
!"#"$%&'%()%#*($&/"2-&/0%1"-*,(
Kanaga House!"#$%&&'#()*+,#"-.+!"#$%&'()*+
*%)/+/%&'0(%".+$,(-.&/,++,0-1
&#$1,)"%.&2*1)#234&56-.)78()*94&:;5,<4&2=)>8&/*-18
2"#0")3.+589-=8.1-,?&@)*984&,.=&A,(081-.B&C()+)9,?4
&'1%.+D+91,18&$8E&%)(04&
2"'3)"4+"%&2#(&'5'*'1'%&.+3(,F1-.B4&"G18.9-H8&I;3&A)=8?-.B4&58.=8(-.B&
/%&'0(+6#(6%21.&!68&=89-B.&-=8,&>86-.=&16-9&(89-=8.78&-.&*+91,18&$8E&%)(0&E,9&1)&,>91(,71&168&1)+)B(,+6<&?-.89&E6-76&E)*?=&168.&F)(J&168&+?,.&)F&168&6)*984&!68&9+,1-,?&8.7?)9*(8&E,9&>,98=&).&168&.*J8()*9&B(,-.&9-?)9&-.&168&,(8,4A<&K)>&-.&16-9&+()K871&E,9&1)&E)(0&).&168&E)(0-.B&=(,E-.B9&)F&168&6)*98&,.=&>,(.L&E6-?8&,1&168&9,J8&1-J8&=89-B.-.B&168&B,(,B84&!68&J,-.&=89-B.&J)H8&E,9&168&91).8&H8;&.88(&97(88.&16,1&1E-918=&1)&>87)J8&168&=89-B.&J)J8.1&,?).B&168&J,-.&=(-H8E,<4
!"#$%&'()*+,&+()-.//0)123,
!"#$%&'()*+,&+()-.//0)123,
!"#$%&'()*+#,-,."/.
!"#$%&'()*+,&+()-.//0)123,
NYS-OGS Food and Metrology Laboratory!"#$%&&'#()*+,#"-.+!"#
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/%&'0(+2#(2%!1.+67'&+899:+;'*<%"+!"#=%21+'&+17%+(%,+*)5#>")1#"4+#$+?%,+@#"-+;1)1%+A##/+)(/+B%1"#*#04+8)5#")1#"4.+:(.;2<2=>*%E*.8(*E.51>*2B*J(%=8.E*,)1*.8(*1(E%=)*.(,L*5E(1*.8,.*,E*.8(*L2.%-,.%2)*B2;*32.8*.8(*L,EE%)=*,)1*.8(*1(E%=)*2B*.8(*L,%)*E25.8*(<(-,.%2)/*ME%)=*.8(*%1(,*2B*.8(*J(%=8.&(1*E7,<(*,)1*725).(;*3,<,)7(*J(*5E(1*.8(*8(,-%)(EE*8%=8&3,>*,)1*72).;,E.(1*%.*J%.8*.8(*;,%E(1*,.;%5L/*N8(*-(;.%&7,<*E5)E8,1(E*;8>.8L*,E*.8(*)2.78(E*2)*.8(*E7,<(*J8%<(*.8(*,.;%5L*,)1*8%=83,>*,..(L9.*.2*3,<,)7(*(,78*2.8(;/*
!"#$%&!'()$*+,-.//0,123)
!"#$%&''(
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!"#$%&!'()$*+,-.//0,123)
Cooper Medical School of Rowan University!"#$%&&'#()*+,#"-.+!"#
*%)/+/%&'0(%".+#$%&'()*!+,,-'.*/0/1
&#$1,)"%.*#23$41*/)+52*67$421*6824%&791
2*'%(1.+#+:'.*;.$32(<$4=
!"#0")3.+>2)$%'?*6%&++?*@7$?)$.A1
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/%&'0(+2#(2%!1.+N&2*)2<$A.*%2.42(2)*+.*%+-5$.$.A*3'($+7<*%+.42J47'?*2?2-2.4<*,(+-*4&2*<$42*:&$?2*'4*4&2*<'-2*4$-2*5'?'.%$.A*4&2*<+9&$<4$%'42)*9(+A('-*2?2-2.4<*9'%82)*$.4+*4&2*9(+H2%41*
!"#$%&!'()$*+,-.//0,123)
!"#$%&''(
!"#$%&!'()$*+,-.//0,123)
)*"$%&''(
Marketing Proposals
!"#!$%&'()*'+,&+-$.'-,&+/0'12/,321-
!"#$%&'()*+,&-.+(/.-'
!"#$%&!'()$*+,-.//0,123)
!"#$%&'()
Chicago, IL. USA
Chicago, IL. USA
!"#$%&'()
!"#$#%&'()(*
Marrakesh, Morocco
London, England
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