karen shueh
infrathin
project
performing arts center
The performing arts center houses three theaters: a traditional horseshoe theater, a shoebox, and an experimental theater. The experimental theater is essentially the negative space between the other two theaters — the third theater is the void between the other theaters. The third theater is also only partially enclosed, thus extending its acoustics to other circulation areas and lobby spaces.
PLAN 1:800
driver
interstitial
2|25
The envelope system varies in thickness in relation to the interior. For example, the envelope thickens near the third theater to also function as acoustic panels.
CLASS
instructor
date
location
Design Studio
Herwig Baumgartner
2011
Miami, FL, USA
03
PLAN 1:800
INTERIOR RENDER
project
performing arts center
INTERIOR RENDER
driver
interstitial
4|27
class
instructor
date
location
Design Studio
Herwig Baumgartner
2011
Miami, FL, USA
Envelope Diagram
3rd Theater Formulation Diagram
EXTERIOR RENDER
03
project
performing arts center
SOUTH ELEVATION 1:800
SECTION 1:800
driver
interstitial
6|29
class
instructor
date
location
Design Studio
Herwig Baumgartner
2011
Miami, FL, USA
Primitive Brainstorm Diagrams
03
project
housing
driver
I am intrigued by the potential of reading foreground and background interchangeably. In Rowe’s Collage City, he listed the two plans below as examples of the ground encouraging the reading of the figure as either object or space. I used qualities from the two plans to sketch a preliminary drawing that suggests
Parma
Site and surrounding buildings
ambiguous interplay
8|31
the reading of both figure and space. I then adopted the same technique with the site’s surrounding buildings, as an attempt to create an ambiguous plan that is relevant to Chicago and the immediate area.
Le Corbusier: project for Saint-Dié
class
instructor
date
location
Design Studio
Erick Carcamo
2012
Chicago, IL, USA
Plan Sketches and Corresponding Unit Distribution
04
project
housing
driver
This project, based on the mat topology, explores the incorporation of the streetscape, the scenery of the sidewalk, in a large housing complex. The buildings in the “mat� area are individual duplexes, providing its inhabitants privacy in the urban city of Chicago. The inhabitants in the tower have the benefit of the view of downtown Chicago.
Formal Evolution
site plan
mat adaptation
10|33
The privacy imbued in the townhouses reflect the current social atmosphere in present society. Much of the communication and interaction between people happen in one’s private via the internet, which signifies the necessity for privacy before one is ready to socialize. In essence, privacy encourages community engagement.
class
instructor
date
location
Design Studio
Erick Carcamo
2012
Chicago, IL, USA
Unit distribution
circulation
STRUCTURE
common area
04
project
housing
GROUND FLOOR PLAN
driver
mat adaptation
12|35
class
instructor
date
location
Design Studio
Erick Carcamo
2012
Chicago, IL, USA
UNIT LEVEL PLAN
04
project
housing
driver
mat adaptation
14|37
class
instructor
date
location
Design Studio
Erick Carcamo
2012
Chicago, IL, USA
Transverse section scale 1:400
longitdinal section scale 1:400
04
project
housing
driver
The project is composed of a tower with parking on the bottom first 2 floors, and a mat of duplex units. Most of the modules have a balcony. In Collective Form, Fumihiko Maki argued for a sequential developent form for house dwellings. The village form, the conglogmeration of forms is of essence. The intention of the balcony was to serve as the architectural element that serves as
one bedroom A scale 1:200
mat adaptation
16|39
a binding yet individualistic element. The duplexes are also designed in a manner so that the second story level is the place of activity across all the duplex units.
class
instructor
date
location
Design Studio
Erick Carcamo
2012
Chicago, IL, USA
one bedroom B scale 1:200
04
project
housing
PHYSICAL MODEL
driver
mat adaptation
18|41
class
instructor
date
location
Design Studio
Erick Carcamo
2012
Chicago, IL, USA
04
project
20|43
city for five million
Ambiguous Ground A city’s key component is its streetscape. The streetscape lines the scenery for the pedestrian and the automobiles; it is usually seen in passing, while one is moving or in movement. It is the red carpet that precedes the entering of a building. The streetscape, the public realm and its relationship to the private realm is an organizational strategy which in plan is represented as black and white. The traditional city, such as Parma, illustrates a figure ground plan where it is almost all black; and a modern city, such as Saint Dié as proposed by Le Corbusier, is an illustration of individual disparate figures’ placement in a large city of void. As Colin Rowe have so eloquently summed up, “in both cases, the fundamental ground promotes an entirely different category of figure – in the one object, in the other space.” The conception of buildings, in this case the figures, are inherently designed with more attention due to the nature of its scale and functions (plumbing and structure) than its counterpart, the void. An attention to the spatial organization of the two in the urban context would somewhat off-balance the disparity. For the void and the solid, the black and the white, to achieve a state of perfect ambiguity takes careful planning, and that forehandedness/circumspective planning offsets the ingrained inequality between solid and void. The “equality” of solid and void creates a more dynamically designed urban space that is relational to the architecture of the city. The next step would to continue the diligence between solid and void in plan to the city streets’ elevation. The proposed effectiveness in an urban continuum between public private spaces in plan, would only reach its full potential when also applied to the elevation, the façade of the streetscape. If the reverberation between plan and elevation is not enough, certain successful moments in elevation can be appropriated into plan. Thus the master planner’s omniscient birds-eye viewpoint and the pedestrian’s streetscape viewpoint are in dialogue. There have been investigations in the representation of the fourth dimension: the Cubists in painting, and Le Corbusier in architecture. The dialectical relationship between the ambiguity in plan and elevation may be the starting point of an exploration in what the fourth dimension in an urban context entails. If the ambiguity implies the reading of figure as both space and object interchangeably, in both elevation and plan, then the definition, placement and meaning of the ground may potentially also be revised and reinterpreted as ambiguous.
Helen Frankenthaler
Franz Kline
driver
affect / ambiguity
Plan View
Axonometric View
class
instructor
date
Cultural Studies
Peter Zellner
2012
Physical Model
Physical Model
05
project
faceted spherical void
Team Members: Nicholas Barger, Andrew Kragness, Michael Woodruff
The project is composed of two parts. Firstly, an investigation with the use of grasshopper to create geometric forms. Secondly, the translation and fabrication of the digital model to tiles. The original form was conceived in the beginning with a basic hollow form extracted from the idea of an atrium from another studio project. The hollow form was then packed with faceted tetrahedrons of the same scale. The tetrahedron form was then selectively boolean-ed out by irregular shaped spheres that also followed the original hollow form. The end result is a regular faceted form hollowed out by irregular spheres. Other than the contrast between regularity / irregularity, and spherical / faceted, the spheres also at times reveal voids from the original form. As a result, there are moments when the sphere’s negative becomes a figure in the void. The second part involves realizing the digital model in a physical form; and in this case — tiles.
driver
contrast
22|51
class
instructor
date
location
Visual Studies
Florencia Pita
2012
N/A
09
project
faceted spherical void
driver
physicality
24|53
Team Members: Nicholas Barger, Andrew Kragness, Michael Woodruff
The second part involves realizing the digital model in a physical form; and in this case — tiles. In the translation between digital and physical form, the exploration also expanded onto the exploration of the material itself, more specifically, the limitations and qualities of the tile.
PART 1: Tile Form (terra-cotta tile, thickness 1/8”) (1:1 drawing of tile profile. document to be printed @8.5x11)t
PART 2: Tile Pattern (Deco Tiles) a= 60
1”
2” 1”
TOTAL NUMBER OF TILES = 498
Projective Tile Layout
The intention of the physical model is to capture the essence of the original digital model; and in this case, the contrast between the faceted and the spherical. In the translation, the faceted tiles now delaminate into the spherical form, infusing a sense of movement into the still model.
b= 40
c= 78
d= 61
e= 63
f= 110
g= 86
class
instructor
date
location
Visual Studies
Florencia Pita
2011
N/A
Physical Tile Model
10
project
kremlin wall
driver
analogous object
26|55
Team Members: Ziba Esmaeilian, Zun Ren Xue, Pompay Zhu The seminar aimed to draw the existing urban condition of the Moscow Kremlin as pure form by describing it as a monumental object.
We reinterpreted the existing Kremlin by re-introducing and emphasizing certain relationships, such as the distance between cathedral and cathedral, or cathedral and tower.
class
instructor
date
Visual Studies
Anna Neimark
2012
11
project
“interesting” drawing
The drawing strives to be “interesting”. There are five basic requirements to achieve “interesting”: 1. extraordinariness 2. sense of movement 3. sense of mystery 4. manifoldness 5. sense of origination
28|57
class
instructor
date
Design Studio
Coy Howard
2012
12
project
shape painting
The painting originated from the practice of developing a personal shape vocabulary. Similar to the requirements for “interesting�, here are the characteristics of an interesting shape: 1. simple + complex 2. autonomous + responsive 3. scale 4. abstract + representational 5. multiple visual centers 6. sense of self generation 7. how it situates itself in its context / the world
Notebook Sketches
30|59
class
instructor
date
Design Studio
Coy Howard
2012
13
project
outsider art museum
Photographs of peripheral Los Angeles neighborhoods were used as source materilas and references.
photographs
32|61
class
instructor
date
location
Design Studio
Coy Howard
2012
Los Angeles
14
project
34|63
outsider art museum
From the travels to Los Angeles’ various peripheral neighborhoods, I personally believe I have observed and absorbed characterstics pertaining to the Los Angeles area. The project is a product of the earlier formal exercises and the newly acquired sensibility towards the locale.
Photographs of Los Angeles Neighborhoods
The project is located in Hollywood on Santa Monica Avenue and Kingsley St.
Texture Studies For the project, the existing taco stand was reinterpreted / reinvited through the use of materials.
Exterior Render
class
instructor
date
location
Design Studio
Coy Howard
2012
Los Angeles
14
Interior Render There was an attempt to create different interior spaces for artists to respond to while showcasing their works.
project
outsider art museum
Courtyard Render
36|65
class
instructor
date
location
Design Studio
Coy Howard
2012
Los Angeles
Exterior Render
14
performing arts center
design development
driver
COMPANY NAME:
B.L.A.N.K.
960 East 3rd Street Los Angeles, CA 90014
CONSULTANTS:
Herwig Baumgartner Jeff Landreth Matthew Melnyk Tom Wiscombe
CLIENT:
Miami Beach, FL 33139
MIAMI PERFORMING ARTS CENTER
Southern California Institute of Architecture
DESIGN DEVELOPMENT ISSUE: 01
Issue Date: 04/08/2012
SHEET TITLE:
COVER SHEET WITH 3D VIEW OF ENTIRE BUILDING DRAWN BY
Xian Chi Morris Ngai XiangWei Gao Karen Shueh
DATE
April 8th, 2012
SHEET NUMBER
A0
COMPANY NAME:
B.L.A.N.K.
960 East 3rd Street Los Angeles, CA 90014
CONSULTANTS: Herwig Baumgartner Jeff Landreth Matthew Melnyk Tom Wiscombe
CLIENT:
Southern California Institute of Architecture
ENTRY
GROUND LIGHTING +0.3 M
+0.9 M
+0.9 M
ENTRY
0.0 M
DROP OFF
WASHINGTON AVE
+0.9 M
TO PARKING
Miami Beach, FL 33139
GROUND LIGHTING
ARTIST ENTRY
MIAMI PERFORMING ARTS CENTER
17TH ST
PENNSYLVANIA AVE
project
+0.6 M +0.3 M
LINCOLN LANE N
DESIGN DEVELOPMENT ISSUE: 01
Issue Date: 01/31/2012
SHEET TITLE: SITE PLAN SCALE 1:1000
DRAWN BY Xian Chi Morris Ngai XiangWei Gao Karen Shueh CAR CIRCULATION SITE OUTLINE
SITE PLAN SCALE 1:1000
2
DATE
SHEET NUMBER
March 8th, 2012
A02
38|67
class
instructor
date
location
Applied Studies
Herwig Baumgartner Tom Wiscombe
2012
Miami, FL, USA
15 COMPANY NAME:
B.L.A.N.K.
Team Members: Xian Chi, Sean Gao, Lap Fat Ngai
960 East 3rd Street Los Angeles, CA 90014
B
C
D
E
F
G
Herwig Baumgartner Jeff Landreth Matthew Melnyk Tom Wiscombe
CLIENT:
Southern California Institute of Architecture
H
I
J
K
M
N
COOLING TOWER +19.5 M LEVEL 6 OFFICE +13.2 M LEVEL 4
+14.3 M LEVEL 5
12.47
THEATER RISER
PROJECTION
+9.4 M LEVEL 3
STAGE
Miami Beach, FL 33139
A
CONSULTANTS:
MIAMI PERFORMING ARTS CENTER
In Design Development, we are exposed to other aspects of architecture design that are not fully developed in studio. Topics include ADA accessibility, egress, structural system, cost estimate and many others. There is an appreciation towards figuring out how the building works in more detail.
BACKSTAGE +6.0 M LEVEL 2
CAFE
+2.5 M LEVEL 1
MUSIC LIBRARY
+0.0 M LEVEL 0
SUNKEN PLAZA
BOH
PARKING
-8.0 M BASEMENT LEVEL
DESIGN DEVELOPMENT ISSUE: 01
LONGITUDINAL SECTION A SCALE 1:400
9
Issue Date: 01/31/2012
SHEET TITLE:
LONGITUDINAL SECTION SCALE 1:400
DRAWN BY Xian Chi Morris Ngai XiangWei Gao Karen Shueh
SHEET NUMBER
DATE March 8th, 2012
A09 COMPANY NAME:
B.L.A.N.K.
960 East 3rd Street Los Angeles, CA 90014
CONSULTANTS: Herwig Baumgartner Jeff Landreth Matthew Melnyk Tom Wiscombe
A
B
C
D
E
F
G
H
I
J
K
M
N
CLIENT:
Southern California Institute of Architecture
13
12
THEATER LOBBY
11
BOH
9 FREIGHT ELEVATOR
OPEN TO BELOW
8
RAMP TO LOBBY STAGE
PROJECTION
7
BACKSTAGE +6.5 M
6
THEATER LOBBY +8.9 M
RAMP TO THEATER
+6.5 M
+8.9 M
5
BOH
+6.5 M
Miami Beach, FL 33139
MIAMI PERFORMING ARTS CENTER
10
4
3
2
1
THEATER PLAN SCALE 1:400
4
DESIGN DEVELOPMENT ISSUE: 01
Issue Date: 01/31/2012
SHEET TITLE: THEATER PLAN SCALE 1:400
DRAWN BY Xian Chi Morris Ngai XiangWei Gao Karen Shueh
DATE
SHEET NUMBER
March 8th, 2012
A04
performing arts center
driver
design development COMPANY NAME:
B.L.A.N.K.
960 East 3rd Street Los Angeles, CA 90014
CONSULTANTS: Herwig Baumgartner Jeff Landreth Matthew Melnyk Tom Wiscombe
EXIT TO 17th ST
CLIENT:
Southern California Institute of Architecture
EXIT TO WASHINGTON AVE
EXIT TO LINCLIN LN N THEATER: OCCUPANCY TYPE: A1(Assembly) FULLY SPRINKLERED
THEATER: OCCUPANCY TYPE: A1(Assembly) FULLY SPRINKLERED
Occupancy: 800
Occupancy: 300
THEATER EGRESS STAIR OCCUPANTS: 800 0.3" X 800 = 240" MINIMUM WIDTH: 20'
THEATER: OCCUPANCY TYPE: A1(Assembly) FULLY SPRINKLERED Occupancy: 240
THEATER EGRESS STAIR OCCUPANTS: 300 0.3" X 300 =90" MINIMUM WIDTH:7'5"
EGRESS DIAGRAM
11
THEATER EGRESS STAIR OCCUPANTS: 240 0.3" X 240=72" MINIMUM WIDTH:6'
EGRESS DIAGRAM
Miami Beach, FL 33139
MIAMI PERFORMING ARTS CENTER
EXIT TO PENNSYLVANIA AVE
13
DESIGN DEVELOPMENT ISSUE: 01
Issue Date: 01/31/2012
SHEET TITLE:
LIFE SAFETY EGRESS DIAGRAM
DRAWN BY
1
2
GROUND FLOOR PLAN MAX. DISTANCE TO EGRESS: 24 M
THEATER FLOOR PLAN
Xian Chi Morris Ngai XiangWei Gao Karen Shueh
MAX. DISTANCE TO EGRESS: 36 M SHEET NUMBER
DATE April 8th, 2012
A11 COMPANY NAME:
B.L.A.N.K.
960 East 3rd Street Los Angeles, CA 90014
CONSULTANTS: Herwig Baumgartner Jeff Landreth Matthew Melnyk Tom Wiscombe
CLIENT:
COOLING TOWER
ERV AHU
AHU 1 DISPLACEMENT VENTILATION AHU 2 MIXED AIR VENTILATION
AHU 3 MIXED AIR VENTILATION
AHU 4 DISPLACEMENT VENTILATION
PARKING AHU 1 VENTILATION
AHU 2
AHU 3
Miami Beach, FL 33139
Southern California Institute of Architecture
MIAMI PERFORMING ARTS CENTER
project
AHU 4
CHILLER PLANT
DESIGN DEVELOPMENT ISSUE: 01 SUPPLY AIR FRESH AIR RETURN AIR EXHAUST AIR
Issue Date: 01/31/2012
SHEET TITLE: HVAC SYSTEM I NTS DRAWN BY
HVAC SYSTEM
17
Xian Chi Morris Ngai XiangWei Gao Karen Shueh
DATE April 8th, 2012
SHEET NUMBER
A17
40|69
class
instructor
date
location
Applied Studies
Herwig Baumgartner Tom Wiscombe
2012
Miami, FL, USA
15 COMPANY NAME:
BLANK
960 East 3rd Street Los Angeles, CA 90014
CONCRETE COLUMN
CONSULTANTS:
Herwig Baumgartner Matthew Melnyk Tom Wiscombe ADDITIONAL CONSULTATION: Jeff Lindreth
CONCRETE TRANSFER SLAB STEEL BEAM PRIMARY SKIN STRUCTURE - TRIANGULAR TRUSS STEEL COLUMN
CLIENT:
The Southern California Institute of Architecture
METAL JOINT
Miami Beach, FL 33139
MIAMI PERFORMING ARTS CENTER
1 A19
DESIGN DEVELOPMENT ISSUE: 01 3D STRUCTURAL AXONOMETRIC N.T.S
7
Issue Date: 04/08/2012
SHEET TITLE:
3D STRUCTURAL AXO N.T.S. DRAWN BY
Xian Chi Morris Ngai XiangWei Gao Karen Shueh
DATE
April 8th, 2012
ALUMINUM FACESHEET POLYURETHANELL ROOF WATERPROOF LAYER AND INSULATION INTERGRATION
SHEET NUMBER
A14
COMPANY NAME:
B.L.A.N.K.
960 East 3rd Street Los Angeles, CA 90014
METAL ROOF DECKING FACETED IN ONE DIRECTION 300 x 150mm GALVANIZED STEEL FRAME
CONSULTANTS:
Herwig Baumgartner Jeff Landreth Matthew Melnyk Tom Wiscombe
CLIENT:
PRIMARY STRUCTURE JOINT - 500mm STEEL TUBE JOINT
STEEL RIB BEAM STEEL SPINE BEAM STEEL COLUMN
FLOOR FINISH - 20mm SOUTH AMERICAN ROSEWOOD PRE-FABRICATED CONCRETE SLAB
Miami Beach, FL 33139
MIAMI PERFORMING ARTS CENTER
Southern California Institute of Architecture
METAL DECKING
GYPSUM CEILING PANEL
DESIGN DEVELOPMENT ISSUE: 01
3D CHUNK N.T.S.
8.0
Issue Date: 04/08/2012
SHEET TITLE:
3D CHUNK N.T.S.
DRAWN BY
Xian Chi Morris Ngai XiangWei Gao Karen Shueh
GLASS BALUSTRADE
PRIMARY STRUCTURE - TRIANGULAR STEEL TRUSS
DATE
April 8th, 2012
SHEET NUMBER
A19