ANDREW KEUNG
UNDERGRADUATE SELECTED WORKS
ARCHITECTURE WORKS
LIST OF WORKS
1. 2. 3. 4. 5. 6.
DESIGNING THE IMAGE TORONTO ISLANDS LOOKOUT POINT WARD’S ISLAND FERRY TERMINAL FREE IN THE FOREST LIBRARY AS MUSEUM AEDAS LTD. 2014
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VISUAL ART WORKS 7. GRAPHIC MURALS 8. BLOOM 9. PAINTINGS AND PRINTMAKING 10. PHOTOGRAPHY
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DESIGNING THE IMAGE REPRESENTATION
STUDIO
III
2014
INSTRUCTOR: KATY CHEY
In this studio we were working in photoshop and learning to manipulate images to create atmosphere and construct architectural renderings. In this final assignment we were tasked to bring together a set of existing buildings and create our own scenes and spaces. Shown here is the final iteration.
In these pieces I wanted to create a sense of narrative with the composition and create certain atmospheres within the images, not only make beautiful compositions but ones that invoke a feeling in the viewer. After this, we had to convert our two dimensional images into three dimensional physical models.
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COMPOSITION OF IMAGE
For most of the compositions I begin with a sketch to generate a general idea of the placement of objects and also the atmostphere of the image. Above is a highly simplified diagram of the sort of working progress that each of the images went through. I chose this image as the final iteration because it was most dynamic in the composition and physical depth and the atmosphere was the strongest.
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FINAL ITERATION AT NIGHT
Amongst redwood trees, visitors wander the moonlit boardwalks to discover the places unseen.
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FIRST ITERATION
For this iteration I was playing with the perspective and using a higher vantage point to create the image. I tried to develop a narrative using the foreground, midground and background, using the entourage and setting to invoke the sense of winter village scene.
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SECOND ITERATION
This second iteration is more like a university campus setting with many large faculty buildings and built landscapes. I changed the season to summer to try to experiment with different moods as well as work with an image that has deeper contrast and more challenging exposure and lighting.
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When turning the image into a model, the challenge was in the accuracy of recreating the buildings without design drawings. Many of the buildings I had to redesign myself again in order to actually build them to fit the space
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The model itself was created using multiple different material manipulations such a scoring, peeling, layering and bending, I was able to imitate many building facade treatments. I focused on trying to maximize all the detail at the 1:200 scale requirement.
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TORONTO ISLAND LOOKOUT POINT DANIELS
DESIGN
STUDIO
III
2015
INSTRUCTOR: JAY POOLEY
The Toronto Islands are a set of islands south of the city that both house residents as well as are a seasonal recreation hub. they are the only place in the city with a skyline view of downtown Toronto. This lookout point activates the users with both the island and the city skyline.
By bending the landscape upwards on itself, it reengages the ground level with sloped amphitheatre space. The user engages the island by physically submerging themselves into the land before emerging onto the elevated viewing platform. The landscape roof of the structure allows for elevated internal island views.
DOWNTOWN TORONTO
INNER HARBOUR
CENTER ISLAND FERRY
LOOKOUT SITE
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TORONTO ISLANDS MAP
OLYMPIC ISLAND
CENTER ISLAND FERRY TERMINAL
OLYMPIC ISLAND SITE
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UNACTIVE SPACE
ACTIVATED SPACE
The site was chosen close to the highest traffic ferry terminal on Center Island and also close to the pedestrian path so visitors could easily locate it. In addition to this it, is visible by the ferry riders on their way to the island. The space that is activated on roof of the lookout point can be used as a sort of amphitheatre space for outdoor plays or performances.
SITE + CONCEPT DIAGRAM
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OVERHEAD
LOOKOUT
GROUND
BELOW
SECTION 1:80
Moving past the idea of simply creating forms, this studio also required us to think about the construction elements of the building like the foundation, steel framing, and a general idea of how the structure could be realized.
CONTRUCTION DRAWINGS
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WARD’S ISLAND FERRY TERMINAL DANIELS DESIGN STUDIO III 2015 INSTRUCTOR: JAY POOLEY
STUDIO PARTNER: VINCENT YUNG
Continuing with the Toronto Islands, this assignment was to replace the current ferry dock on Ward’s Island. Given specific programs, we were tasked to create a sort of rationale to organizing these in a site conscious manner. We decided to use food plating to approach this task.
None of the forms in this terminal were designed arbitrarily. Each manipulation of the program blocks was done with respect to either circulation, exposure, or to optimize the view of the Toronto skyline. We used a set of guidelines determined by the art of food plating to create a cohesive yet dynamic architectural language.
DOWNTOWN TORONTO
INNER HARBOUR
WARD’S ISLAND FERRY
FERRY TERMINAL
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m
EXISTING TERMINAL
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SITE
RESIDENTIAL COMMUNITY
WATER TAXI
WARD’S ISLAND FERRY
MA IN R OAD
WAITING ROOM
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VEHICLE
WAITING ROOM
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TO FERRY
CAFE
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ELEVATOR
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TO WATER TAXI
TO CAFE
TO CANOPY
PROPOSED TERMINAL
PROPOSAL + CIRCULATION
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A
B
C
D
A: PORTION - Assignment of the given GFA requirements to each program and grouping them according to ‘taste’. B: WASH - The program blocks orientations are optimized with respect to the skyline & pedestrian and ferry circulation. C: COOK - Each block was shaped to further optimize the circulation and view of the skyline. Vertical circulation added. D: SERVE - As the entire complex is set into the ground (shown above) a canopy (left) is added for unification with the site.
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FORM DIAGRAM
PUBLIC SPACE (MAINS) CAFE
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WAITING ROOM
75
SERVICE SPACE (SIDES)
WASHROOMS
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ADMINISTRATION
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M&E
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PERSONAL SPACE (GARNISHES)
INFO BOOTH
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BIKE STORAGE
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PUBLIC LOCKERS
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TOTAL
242 m 2
PROGRAM MENU
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A
A
-1.0m GROUND
-4.0m BELOW
SECTION A
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GROUND LEVEL
Inner courtyard view from waiting room
The courtyard in the heart of the terminal allows for natural light illumination of the space as well as a touch of vegetation. It occured naturally from the ‘food plating’ technique used to create organize the progams, all of which can be accessed through this space.
FERRY TERMINAL
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B
B
+3m CAFE
CAFE EXTERIOR MODEL PHOTO
SECTION B
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SECOND LEVEL + CAFE
Downtown Toronto view from cafe interior
The cafe space provides a full view of the harbourfront and serves as a secondary waiting space for visitors of the island. In the rendering above, the intentionally bright and open atmospheres of the ‘main’ spaces is highlighted.
NORTH ELEVATION
FERRY TERMINAL
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ROOF PLAN
Like gravy for potatoes and prime rib, the canopy structure unifies our entire terminal complex. As shown in the model, the cork floor of the roof is an extension of the landscape on the island. It accessible by both the eastern entrance ramp and the elevator.
SOUTH ELEVATION
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CANOPY ROOF ENVELOPE
WEST ELEVATION
EAST ELEVATION
FERRY TERMINAL
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FREE IN THE FOREST TOYO ITO TAMA ART UNIVERSITY LIBRARY CASE STUDY INSTRUCTORS: JAY POOLEY, ALEX JOSEPHSON DANIELS DESIGN STUDIO IV 2015
STUDIO PARTNERS: IAN POON, CHLOE LEUNG, LINDSAY WU
In this short term project, we were placed in groups of 4 to do a case study of the Tama Art University Library by Toyo Ito. We found that Toyo Ito’s uniquely designed arches referenced the roman and gothic arches in the sense that it activated the space within it. These arches created a space for the freedom of knowledge.
The entire building is actually sitting on a slope, and the ground floor continues this slope without reshaping the landscape. All the ground floor furniture is actually custom made to accomodate this slope. We wanted to further emphasize this aspect of the building with this elevation illustration.
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The library sits on the landscape with a surreal lightness among other university buildings. The building is built using concrete clad steel plates to create this illusion of ultra thin concrete construction.
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BUILDING ANALYSIS
The lack of representation of columns in the sketches by Toyo Ito above demonstrated the idea that the arches, aside from the major programmatic walls, did not divide up the space but actually allowed for there to be freedom of the use of each space.
TAMA LIBRARY CASE STUDY
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PRIMITIVE HUT ROMAN ARCHES
EMPIRE: HORIZONTAL ACTIVATION
GOTHIC ARCHES
RELIGION: VERTICAL ACTIVATION
This diagram depicts the Tama Art University Library’s arches within the scale of space and time.
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i.
The primitive hut was the beginning of architecture as we know it, the initial starting point of the idea of dwelling and shelter.
ii.
Roman arches in their aqueducts and fora were universally used throughout their empire and served as a language to expand their rule. We denoted this as a horizontal activation of space.
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Gothic arches were primarily used to emphasize the idea of a higher being in the Gothic Cathedrals, they were meant to connect the earth with the heavens. We denoted this as a vertical activation of space.
iv.
Toyo Ito’s arches are used to create an inifitude within the library space, allowing for freedom of knowledge and space. The distorted grid divided yet unified the space. We denoted this as an internal activation of space.
TOYO ITO ARCHES
KNOWLEDGE: INTERNAL ACTIVATION
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Shown on the top is our layout showing all of the digrams and models that we did for this case study. We had watercolor digrams to show the circulation and programs. We had chosen watercolor to demonstrate the flexibility of the program enabled by the design of the building. The sectional model shown above was done to emphasize the idea of the building sitting on the slope and it highlights the landscape that the building is situated on. On the left is an illustration to represent the idea of freedom of space that the library allows for its inhabitants. The furniture and people in the illustration go about their activities as if there is no divided space, they are ‘free in the forest’.
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LIBRARY AS MUSEUM STRACHAN
RAILWAY
INSTRUCTORS: JAY POOLEY, ALEX JOSEPHSON DANIELS DESIGN STUDIO IV 2015
LIBRARY
2015
STUDIO PARTNER: IAN POON
There is a large railway that cuts straight through the southern part of downtown Toronto that divides the core of the city from its harbourfront. We were tasked to design a library on that railway to activate the space that is rendered unused by the railway. We decided to create a library resting within an urban landscape park that celebrated the Canadian geography in its form. We decided to create a library resting within an urban landscape park that celebrated the Canadian geography in its form. The park is primarily used to connect the major streets that are divided by the railroad thus bonding the north and south and the library serves at the heart of it. The library looks to the idea of the museum to raise the idea of knowledge to that of art in how knowledge should be regarded in society
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LIBERTY VILLAGE
FORT YORK
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SITE MAP (RAILWAY AT STRACHAN)
LIBERTY VILLAGE
KING WEST
RAILWAY HARBOURFRONT
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S BUILDING TOPOGRAPHY DIAGRAM A study of the surrounding buildings of the site in a topographical manner. Looking at this we determined that our building resided within an urban valley and therefore it was imperitive for us to articulate that in a canyon or valley design language.
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SITE ANALYSIS
MAS SEY
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TRANSIT NODES T IFF S
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INTERRUPTED ROADS MAJOR ROADS PROPOSED ROADS PROPOSED FOOTPRINT
WES TERN BATT ERY RD
PIRA NDEL T LO S
SITE MAP DETAIL
The proposed footprint and roads intend to provide a connecting leisure space. As most of the demographic is comprised of young working professionals, we wanted to extend the space to not only a library but also a resting or gathering space. Shown on the right is a photo of the existing overlaid structure that currently has no use.
STRACHAN RAILWAY LIBRARY
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SITUATE
CUT
DISTORT
The basic inspiration for the urban park was the idea of canyon forms (above) and using the circulation informed carving for the design. Entrances and paths were made according to the interrupted roads.
TAPER
We also looked to the idea of landscape urbanism (above) in the 80’s as a basis for the landscape forms in our urban park. On the right is a preliminary sketch of the final landscape design
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FORM DEVELOPMENT
LIBRARY
LEISURE
PATHS URBAN PARK
ROADS E
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LIBERTY VILLAGE
In the final design shown in the above axonometric drawing, we developed in a more geometrically informed direction and used the library building as the bridge across our ‘canyon’.
STRACHAN RAILWAY LIBRARY
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LANDSCAPE FEATURES
To enter the library, a visitor must first traverse through the slowly elevating urban landscape. The terraced and faceted forms of the landscape call to the Canadian Geography and Geology with respect to strip mining and the Canadian Shield. The leisure spaces provide small water features, dog parks, and lookout points toward the Toronto skyline.
STRACHAN RAILWAY LIBRARY
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LIBRARY FEATURES
Top floor perspective of the gallery space where geological artifacts are displayed. Visitors can also use this space as a waypoint to walk from one side of the urban park to the other.
Ground Floor perspective showing the interior and exterior courtyards as well as the ‘Guggenheim-esque’ gallery ramp style display for books that continues throughout the three floors. Seating for reading is found in the interior of the ramp. There are exhibition spaces on each of the floors of this library.
STRACHAN RAILWAY LIBRARY
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STRACHAN RAILWAY LIBRARY
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AEDAS LTD, 2014 SUPERVISING DIRECTORS: KELVIN CHU, LUKE LU
This was a competition for MLP design in Foshan in China, the first assignment for my summer internship in 2014 at Aedas in Hong Kong where I was given opportunity to design with Rhino software. Top image shows the my design contribution to the hotel lobby and mall podium. The above photos show a model of the sunken plaza I designed that connected the subway system to the retail sector and street level. On the left is a rendering of an exterior staircase I designed. Model and images from Aedas Ltd Hong Kong
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AEDAS Âť FOSHAN COMPETITION
The second project I was responsible for implementing the redesign for a rather high profile mall rooftop terrace into a 3D Rhino Model as well as preparing the entire digital model file to be sent off to MIR for rendering. Images shown are visualized by MIR.
AEDAS Âť XIAMEN PROJECT REDESIGN
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AEDAS » CHONGMING ISLAND COMPETITION
Sample Ground Floor Plan
LUXURY WATERFRONT RESIDENCE DESIGN On my last project at Aedas I was given responsibility for a complex of luxury waterfront residences to design from the ground up as a part of a Mainland China Masterplan competition. The form of these were designed as such to maximize the ocean view for each apartment while maintaining privacy and a similar sleek oceanic style to the rest of the buildings in the project. Terracing in the south facing side of the building maximizes the amount of natural light that is allowed in each unit. There are roof terraces on each of the complexes that provide space for gatherings or other activities for the patrons. Apartment Viewing Diagram
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VISUAL ART WORKS
GRAPHIC MURALS , 2015 PUBLIC INTERVENTIONS , VISUAL STUDIES SUPERVISING PROFESSOR: SUSAN SCHELLE
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This is a public mural that I posted on the side of the Medical Sciences Building at the University of Toronto. This site was chosen because of its brutalist architecture. I wanted to work with themes of limitation and lack of control that people have over their own lives. We are often at the mercy of other people’s judgement and institutions that determine where we will go in the future. I wanted to capture the struggle of a student (this was during midterm season) within the school institution, and how it imposes itself on our lives.
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GRAPHIC MURALS
Mural installed at Bay St. and Adelaide St. outside the BMO/Carnegie Building close to the Toronto Stock Exchange and Toronto Dominion Centre. Similar to the previous mural, I wanted to further comment on the broken bureaucracy that we exist in and extend it to the financial world.
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BLOOM , 2014 INSTALLATION, VISUAL STUDIES INSTRUCTOR: SUSAN SCHELLE
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In Hong Kong in 2014 there was a large peaceful protest for democracy in the city. They called it the umbrella revolution. The students protesting used umbrellas to deflect tear gas shells and defend themselves from the crowd control weapons used by the Hong Kong Police. The flower that blooms from the umbrellas is meant to seem delicate and intricate with many parts and I wanted to touch on how delicate and complicated the political situation is between Hong Kong and China. I placed the flowers facing in perpendicular directions in the corner to emphasize the split duality of desires for the future of the city.
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BLOOM
I have always felt like this issue of the loss of freedom in Hong Kong was ignored by the rest of the world and no one really cared about it except for the people who lived there. However because of these protests the entire world now knows of these issues that have been present for so long and therefore the flowers display the blossoming of this issue on the global scale.
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‘It Is’ 2014 Acrylic on Canvas, 30 x 54
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PAINTING
‘Self Portrait’ 2014 Acrylic on Canvas, 50 x 36
PAINTING AND PRINTMAKING VISUAL STUDIES, UNIVERSITY OF TORONTO INSTRUCTOR: SHIRLEY WIITASALO (PAINTING) CHRISTY MACDONALD (PRINTMAKING)
(above) I was undergoing a state of self confusion in 2014 not understanding who I was and wanted to understand what had made me become this way. I decided to do a visual dissection of my body to see what I could find. I realized that this confusion I had for myself was out of place, and in fact what I found was that I was a blank slate of potential. A being that could adapt and change and grow. It was comforting. (left) This abstract painting was a manifestation of my overly stressed mindset and mood. I restricted myself to using only vertical brushstrokes to express the feeling of repetitiveness caused by the constant drone of school work. I had to become a machine that had one purpose, to do work endlessly and effectively. Thus for the painting I had become a machine that only understood two dimensions and two directions.
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‘Skin, Me’ 2014 Woodblock Relief Print, 22 x 20
Printed from 26 individually carved woodblock plates, I skinned and rotated a human head as a study of human identity and human biology. In a sense we are our skin, it is what defines us to other humans and by this it is our identity. Without skin we are simply human, but with it we become who we are.
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PRINTMAKING
(clockwise from left) ‘Laying, Leaning, Longing’ 2015 Digital Print Series, 11 x 17
PHOTOGRAPHY VISUAL STUDIES, UNIVERSITY OF TORONTO INSTRUCTOR: SUE LLOYD
Architectural sections are meant to convey the space within the building. In this photoset I wanted to approach that in a human scale along with my struggles to understand ‘human material’. I decided to make the inside ‘nothing’ to create ambiguity instead of clarity to emphasize my confusion and non-conclusive investigation.
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PHOTOGRAPHY
‘Up Series’ 2015 Digital Print Series, 17 x 24
This series is a progression of how earth has such power over humanity and how powerless we are. Alternatively although people are small and our actions relative to the earth are minuscule, we persist through nature’s forthcoming challenges, people are strong. My photographs highlight the scale of people and the scale of earth. To pay respect to both human persistence, and the might of earth.
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CONTACT
website: email: phone:
www.andrewkeung.com ahfkeung@gmail.com +1(416)857-4657
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