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CONTACT KELVIN SHIU-KAI HUANG (c) 917.868.1791 (e) kelvsh@gmail.com
TABLE OF CONTENTS _PROFESSIONAL P 01
HEAVYBIT INDUSTRIES - HEXCELL STEEL IwamotoScott Architecture SOMA District, San Francisco, CA 2012 // BUILT
P 02
SCHINDLER UNIFIED CITY Neri&Hu Design and Research Office Jiading, Shanghai, China 2013 - 2014 // ONGOING
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FLAMINGO SHANGHAI Neri&Hu Design and Research Office Shanghai, China 2013 - 2014 // BUILT
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GUGGENHEIM HELSINKI COMPETITON Neri&Hu Design and Research Office Helsinki, Finland 2014 Spring // DEAD
P 05
MISSION MERCADO PLAZA Rebar Art and Design Studio Mission District, San Francisco, CA 2013 // ONGOING
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THE NIGHT CLUB Mesh Design Build Studio Albany, CA 2011 - 2013 // BUILT
_ACADEMIC A 01
THE PUBLIC ARTIFACT | VIRTUAL WORLDS UC Berkeley - ARCH 101 Instructor: Keith Plymale 2013 Spring
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CED GRADUATION CANOPY UC Berkeley - ARCH 269 Instructor: Lisa Iwamoto 2012 Spring // BUILT
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SHIH-YU LANG YMCA UC Berkeley - ARCH 100B Instructor: Lisa Iwamoto / Rudabeh Pakravan 2011 Fall
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SEQUENCE : STAIRS UC Berkeley - ARCH 100B Instructor: Lisa Iwamoto / Rudabeh Pakravan 2011 Fall
NOTE: *Given dates correspond to when I personally worked on each project.
P01 HEAVYBIT INDUSTRIES - HEXCELL STEEL IwamotoScott Architecture SOMA District, San Francisco, CA 2012 This project was an installation for HeavyBit Industries, a communal tech workspace in San Francisco. As the design-build installation lead for the HEXCELL STEEL, my responsibilities included conceptual design, design prototyping, material specification and sourcing, shop drawings, metal fabrication, metal finishing, electrical work, and final project installation. The design of light fixture echoes the logo of HeavyBit, a hexagon. The HexCell Steel light is made from thin, contoured, graphite-blackened, brake-formed steel with vintage Edison lightbulbs in the industrial spirit of the existing building. Concealed steel tubes that run along the top of the installation integrate structure and housing for the electrical wiring. In collaboration with: IwamotoScott Architecture Principals: Lisa Iwamoto and Craig Scott Photographs: Bruce Damonte, Craig Scott, Self Awards: AIA San Francisco 2013 Merit Award, Interior Architecture Category AIA California Council 2013 Merit Award Publications: Architectural Record, June 2013 ArchDaily, July 17 2013
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SCHINDLER UNIFIED CITY Neri&Hu Design and Research Office Jiading, Shanghai, China 2013 - 2014 // ONGOING The Schindler Unified City was a winning competition entry for the Asia-Pacific headquarters of the Swiss elevator company Schindler. It is a vision for an architecturally unified complex that houses factories, offices, showrooms, research & development, and a 200-meter tall elevator testing tower. Conceptually, the project is about a dialogue between the Chinese and Swiss traditions The dark, massive base celebrates native architectural typologies and materials. The three white box volumes that rest on the base represent Swiss precision with a finely-crafted channel glass facade and immaculate white interiors. I was tasked with designing the front circulation channel of the building, which moves people between the various buildings, terminating at a parking lot on each end. It also served as a showcase for Schindler’s moving walks. I developed a language of compression and decompression to break up the otherwise monotonous spatial sequence of an uninterrupted tunnel. Skylights, brick screens, and punched openings bring light into this massive space and allow occupants a moment for reflection. I developed the brick texture and brick screen details.I worked on detail drawings and construction documents for 1:1 full-scale mockups of the brick and glass facade details. In addition to assisting our design team with 3D studies and preparing construction documents, I also regularly attended meetings with the client; brick, glass, and metal suppliers; and structural, mechanical and facade consultants. In collaboration with: Neri&Hu Design and Research Office Architect in Charge: Lyndon Neri Design Team: Begona Sebastian, Nellie Yang, Lina Lee, Kelvin Huang, Evan Chen, Goncalo Lopes, Tony Schonhardt, Neri&Hu Rendering Team Drees&Sommer Facade and Mechanical Consultants Jiangnan Architectural Design Local Design Institute (LDI)
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FLAMINGO SHANGHAI Neri&Hu Design and Research Office Shanghai, China 2013 - 2014 ...Neri&Hu’s renovation of an industrial roof space in Shanghai into offices for a leading global insight and strategic consultancy Flamingo are inspired by these very paradoxical and enigmatic notions of the attic. Essentially a flat roof converted to occupiable space with the addition of a steel A-frame structure, the site itself was a main driver for the design intent, which was to exaggerate and enhance the experience of the existing condition, that is, of occupying the space within the eaves of a roof—like an attic. The insertion of house-like volumes into a landscape of concrete platforms breaks down the homogenous space, such that the roof is not just a singular element, but can be experienced on multiple levels, from various vantage points and on various scales. Traversing the open work area, one first experiences an extensive view of the original structures, while black metal mesh panels frame bright clerestory windows above. The exhibition area features a pure floating roof to encapsulate the space while leaving it open and flexible. The board room, on the other hand, is completely enclosed, but also captures the telltale double pitched roof and features lighting fixtures that mimic natural skylights. To culminate the attic experience, a narrow set of stairs brings you to a small mezzanine level, a hidden room nestled within the other larger ones, its windows offer stolen glimpses into other rooms—a moment to reflect in hindsight the spaces once occupied. **Text from the architect In collaboration with: Neri&Hu Design and Research Office Associate In Charge: Nellie Yang Design Team: Begona Sebastian, Jerry Guo, Anqing Zhu, Kelvin Huang, Brian Lo, Zhao Yun, Litien Poeng Photographs: Dirk Wieblen Publications: ArchDaily, July 2014 Dezeen, June 2014
P04
GUGGENHEIM HELSINKI COMPETITION Neri&Hu Design and Research Office Helsinki, Finland 2014 Spring // DEAD Responding to the ongoing debate in museum architecture—the neutral white cube vs. the spectacular object—this project takes a particular stance by placing onto the waterfront, a rather simple rectangular form. Shrouded in a lightfiltering layer of glass bricks, the rectilinear envelope reveals moments of the intricately carved concrete mass nestled within. Unlike the sterile white box, these curved gallery spaces quietly announce their architectural presence to the visitor. While the visitor engages deeply with the artworks in a focused way, their blurred peripheral vision encompasses Helsinki as a filtered backdrop of water, sky, park and city. Depending on the varying lighting conditions, the building is, at moments, solid and uncompromising, a grand monument to the art institution; other times it appears shimmering and ethereal, dissipating into its surroundings; and in the shadowy depths of Nordic winters, it glows gently, a beacon in the harbor and the city. **Text from architect My responsibilities as part of the competition design team included participating in internal design meetings and critiques; studying program, plan, and graphic representation style; and producing final competition board plans and diagrams. In collaboration with: Neri&Hu Design and Research Office Architect in Charge: Lyndon Neri Design Team: Nellie Yang, Christine Chang, Jiameng Li, Kelvin Huang, Xu Dan, Christine Neri, Neri&Hu Rendering Team
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1. Restaurant 2. Lounge 3. Private Dining Room/Lounge 4. Kitchen 5. Gallery
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SECOND FLOOR PLA N 1. Gallery 2.Curatorial, Exhibition Design, Publications, Archivist Offices 3. Administrative Offices 4. Marketing and Development Offices 5. Shared Work Room/Copy Room/ File Storage 6. Education Offices 7. Security Office/Control Room 8. Custodial Office 9. IT Server, Workroom, and Staff Offices 10. Storage 11. Conference Rooms 12. Staff Lunchroom/Lounge 13. Restaurant Bar (Access from 3F)
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1. Entry 2. Coat Check/Lockers 3. Visitor Services incl. Ticketing and Information Desk 4. Public Gallery 5. Escalator Atrium 6. Performance Space/Concert Hall 7. Cafe/Bar 8. Kitchen 9. Courtyard 10. Multifunction Classroom/Laboratory 11. Gallery 12. Bookstore 13. Atrium/Project Space 14. Museum and Design Store 15. Retail Office/Stock Room 16. Seating, Stage, and Equipment Storage 17. Dressing Room 18. Green Room 19. Control Room, Projection Booth, and Simultaneous Translation Booth 20. Technician Office
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**TO BE LOCATED IN BASEMENT 1. All Collections Storage and Management 2. Supply, Equipment, and Seasonal Furniture Storage 3. Landscape and Grounds Maintenance Equipment
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MISSION MERCADO PLAZA Rebar Art and Design Studio Mission District, San Francisco, CA 2013 - Present This project is a collaboration between the SF Planning Department, the Mission Community Market, and Rebar Design Group. The goal for the plaza is to create a flexible urban space that can provide opportunities for gatherings, meeting neighbors, and enjoying the vibrant life of the Mission District. The new space would also offer opportunities for community gatherings like the Mission Community Market, as well as smaller neighborhood activities, health fairs, fundraisers and play activities. The new Mercado Plaza would add permanent infrastructure to current market activities such as small business incubation and on-going presence of small local vendors, cultural performances, community events while still maintaining traffic access to this last block of Bartlett Street. The proposed design dramatically improves public safety through the addition of new street lights, a narrower road and traffic calming elements that also add greening and areas for street furniture. Highlights of the design are: wider sidewalks, new trees and stormwater management gardens, unique paving, movable seating and opportunities for local art. **text from SF Planning Department My responsibilities in this project included preparing 3D renderings for the proposal as well as for community meetings. In collaboration with: Rebar Art and Design Group Principals: John Bela, Blaine Merker, Matthew Passmore
P06 THE NIGHT CLUB Mesh Design Build Studio Albany, CA 2011 - 2013 This project is a multi-use playhouse, tire swing, chicken coop, and chicken run structure. It was named ‘The Night Club’ by the two girls you see in the photographs.This was the pilot project for meshDBS, which we took from the first conceptual design phases to design prototyping and 1:1 mockups to final full scale construction. We experimented with found materials and alternative construction techniques. Some of the “trash” that we used included an old shed, tires, steel sprinkler pipe, broken down pallets, billboard tarp, and two reclaimed 8x10 wood beams. Conceptually, the project consisted of three tube elements open to three rectilinear directions. The first was the “old shed,” an old shed that was left on the property which we deconstructed and rebuilt to make a chicken coop. We used billboard tarp as a weather screen. The second element is the “new shed,” which has a concrete-tire climbing wall and steel pipe as structure and wood from broken down pallets as a facade. The third tube is the ‘chicken run’, which provides a large open space for chickens to run around and scratch, which is essential for healthy chickens to clean the dead skin off their claws. Two large wood beams come out of the “old shed” and pierce the “new shed.” The also support an upper platform that can be reached by climbing up the tire climbing wall. The cantilever of the beams also supports a tire swing. The ground is filled with mexican pebbles to provide a safe, soft surface for children to play on. In collaboration with: Mesh Design Build Studio David Brown, Ferdilyn Ramirez, Jamie Copprell
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THE PUBLIC ARTIFACT | VIRTUAL WORLDS UC Berkeley - ARCH 101 Instructor: Keith Plymale 2013 Spring This project was a speculative exploration in dealing with the inevitable sea level rise on the waterfront of San Francisco with rur building program being a new digital arts and film institute, VIRTUAL WORLDS Pier 70 has a long history of shipbuilding. It was used during the second World War to build ships for the US Naval Forces. In recent years, our site, also known as Building 12, has sadly become a dilapidated impound lot for the SF Polive Department, completely inaccessible to the public. We saw Building 12’s rich history in the trusses, window frames, columns, and light fixtures. This old a rich composition of points, lines, planes, and volumes for us to re-draw, re-think, and re-design. Our proposal for Pier 70 is grounded in the desire to create a new space for public life in and around building 12 after the sea level rises, well above the flood plane. The sequence of walkways and plazas guide occupants on a spatial narrative into the past, present, and future. The synthesis of these experiences becomes THE PUBLIC ARTIFACT. Within VIRTUAL WORLDS, the building program includes lobby-admin, day-lit exhibition, black-box exhibition, studio, classrooms, and residences for visiting faculty. The program is spread throughout the public walkways. They are supported by a series of 5’ and 10’ thick freestanding walls that also double as circulation corridors and service spaces. The openings in the walls act as thresholds simulating a scene change in a film. The massive walls also enhance the feeling of this space as THE PUBLIC ARTIFACT, existing as a separate realm, disconnected from the outside world. The intention behind repurposing of the building 12 for public occupation was to use the existing shell as a membrane between the inside and outside world. Our Institute’s buildings, which are boxes clad in a corten and mirror facade, reflecting the image of the surrounding environment. The sawtooth facade shimmers and changes as the occupant’s relative position changes. In collaboration with: Alexander Davies
SITE PHOTOGRAPHS
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A02 CED GRADUATION CANOPY UC Berkeley - ARCH 269 Instructor: Lisa Iwamoto 2012 Spring The CED Graduation Canopy was the result of a semester long design-build course in the spring semester of 2012. The goal was to provide a canopy that would be put up every year during the College of Environmental Design Graduation. It consisted of a cloud of laser-cut mylar modules that expands to a volume of roughly 16’ W x 25’ L x 8’ D, but can be rolled up and stored. My classmate Casey Brehm and I designed and fabricated the steel for for the superstructure, which includes 1/4” cables, two 20’ steel pipe rods which act as guide rails for the canopy, and 12 attachments to the building and to the ground. We also provided the drawings for the contractors who installed the 1/2” wall steel angle attachments. We coordinated with a local rigging company to have all of the cables cut and swaged to the necessary lengths. Casey and I also designed the hoisting procedure, which involves using 8 bolted-in winches, separate hoisting cables, and a system of quicklink carabiners that allow us to relieve tension from either the permanent or temporary cable systems in order to put up or take down the canopy. In collaboration with: Casey Brehm, Natasha Bohm, Tiffany Kan, Kate Greenberg, Cyndy Alfaro, Jonathan Izen, Jason Campbell, Sherrilyn Mulyono, Melissa Sandoval, Peter Suen, Leslie Valencia, Carlos Sanodval Photographs: Jonathan Izen, Tiffany Kan, Cyndy Alfaro
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A03 SHIH-YU LANG YMCA UC Berkeley - ARCH 100B Instructor: Lisa Iwamoto / Rudabeh Pakravan 2011 Fall The project brief was to design a YMCA in the Tenderloin area of San Francisco. the 40,000 square feet of program were comprised of exercise, community, and service functions. large areas were devoted to a full-size basketball court and pool area, some other areas included a community garden, computer rooms, activity rooms, indoor exercise areas, locker rooms, and yoga studios. We were expected to develop both a strong conceptual logic and to consider practical matters such as structure and building performance. This project is about continuities and discontinuities. The formal logic of my building arose from an investigation of applying contouring methods to complex ruled surfaces. This striplike tectonic that is generated permeates through programmatic, circulatory, and performative aspects of the building. For example, discontinuous “ruptures� in the contours are used as thresholds between spaces, large openings for daylighting, and as wind catchers to provide natural ventilation between the high pressure windward side and low pressure leeward side of the building. less abrupt, continuous changes in the contours can act as stairs or slits for letting in filtered daylight. As for the relationship of the building to the urban context, the site is located in a very interesting place. It sits on the border between an area with many civic buildings (City Hall, art museums) to the south, and the Tenderloin, which is notorious for drug use, the north. the south side of the building opens up to McAllister as the building skin folds down in a receiving gesture while the north side of the building is meant to be less inviting.
A04 SEQUENCE : STAIRS UC Berkeley - ARCH 100B Instructor: Lisa Iwamoto / Rudabeh Pakravan 2011 Fall This assignment began with formal investigations by means of photomontage. The next step involved turning that photomontage into a line drawing. After that, we were asked to translate the spatial concepts we had explored in 2D into an occupiable 3-dimensional space that fits within a 6’ x 12’ x 24’ box. I wrote a script the Grasshopper plug-in for Rhinoceros 3D in order to generate a space based on parameters which I could control. I essentially saw the given box as a sum of volumentric pixels (or voxels) that would then be selective culled (or excluded) from the volume based on a radial distance from a free-form curve. The voxels exist at two sizes, 6” and 18” high to provide stair treads and seating conditions.
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