PHARMACY/ URGENT CARE
KRISTEN YOUNG SELECTED WORKS
PORT ENTRY Boats enter through the port to provide imports for the city and allow people ocean access.
Delivery Zone The Delivery Zone allows packages and goods to travel from building zone to building zone, while remaining space is used for people.
OFFICE/ STORAGE
SERVICE CIRCULATION Service elevators allow goods to move throughout the various buildings.
VERTICAL CIRCULATION OF PE
Steel stuctures support the build and provide vertical circulation people through various building
GROUND ENTRY Ground entry allows access to the outside through building and service
Index //
Selected Works 2018 808.282.1796 kristenlsyoung@gmail.com 824 Hilgard Ave #104, Los Angeles, CA 90024
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Fire Station: Spectacle
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LA Screening House
16
Project Divergence
22
Top-Down, Bottom-Up, Middle Out
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Kawiloa Desing/ Build
30
Thomas Square
33
Clone
FIRE STATION: SPECTACLE University of California, Los Angeles In Collaboration with: Alex Abugov, Israel Ceja ARCH&UD 414 Spring 2017 Our project is about machine and spectacle. With highly visible routines at every level, movement between equipment and spaces becomes a spectacle once firefighters enters this machine for work. We’ve looked at the combination of machine and spectacle in a variety of typologies and projects. One is the early industrial factory in which a fixed, formalized, and centrally voided space creates a spectacle of the technology and engineering of machinery. Another is Price’s Fun Palace, in which the whole thing is spectacle and machine, flexible and indeterminate. And it’s a combination we also sense in contemporary big box warehouse stores like costco or home depot, and even ikea, in which the vastness, flexibility, and economy of interior environments with ability to move and organize goods and people produces a kind of spectacle.
Plan Oblique 1’-0” = 3/16”
4
5
1UP
5'-5"
4'-6"
13'-0"
Top of Parapet 56’- 0” Top of Roof 52’- 4”
45'-0"
Top of Dispatch Roof 40’- 3”
4'-7"
2'-2" 12'-0"
Top of Catwalk 26’- 10”
4'-2"
12'-0"
Top of Garage 20’- 0”
12'-0"
2'-6"
0972
HT
7
52'-0"
70'-0"
72'-0"
2'-6"
Our studio’s process began with specification diagrams that attempted to organize all the information one needs to design a fire station in a single image, as maybe in part a way to engage performative or functional design critically. Our fire station and its spaces are organized around equipment, activities, and mechanical systems, so the various functions of the firehouse can be broken down in order to evaluate optimal performance.
Section AA 1’-0”= 3/32”
8’-6”
35'-0"
Organization
18'-6"
R32'-0"
R42'-0"
R22'-0" 12’-0”
R32'-0"
6
7
16'-0"
2'-0"
LED Linear High Bay - 110W
Carrara Pietra Hexagon Honed Wall Tile
Radio Controlled Wall Clock - Plastic, 14"
Vin-Tak Bulletin Board with Aluminum Trim
Smooth Flush Hardwood Hollow Core Birch Veneer Composite Interior Door Slab
7'-0"
White 2.5" x 50' Double Jacket Fire Hose 15 Amp 3-Way Light Switch, White
1'-10" White Architectural 125 Volt 15 Ampere Tamper Resistant Duplex Receptacle
4'-5"
2'-10"
Fire Extinguisher Class ABC, 10 lb
2'-1"
12'-4"
1'-11"
Anodized Aluminum KRAV-810 Channel Frame
11'-8"
Honeywell FS10 Fire Sentry System
Cisco 7941 G IP Phone LED Linear High Bay - 110W
2'-1"
1'-11" 7"
Anodized Aluminum KRAV-810 Channel Frame
1'-3" 1'-11"
Certification of Accreditation
Fire Station Recognition Certification
Premium Lateral File Cabinet 2 Drawer Black
4'-5"
Patterned Laminate Tiles
White Architectural 125 Volt 15 Ampere Tamper Resistant Duplex Receptacle
1'-10"
2'-8"
2'-10"
1'-10" 1'-4" 4" 1'-4" 4" 1'-4"
Expo Low-Odor Dry Erase Markers
Potted Peace Lily
Standard Melamine Dry Erase Board
LED Linear High Bay - 110W
15'-5"
Fire Chief’s Office
38'-3" 11'-1"
4'-1"
4'-0"
4'-0"
4'-0"
4'-0"
4'-0"
3'-0"
3'-5"
Patterned Laminate Tiles
R Series 1-Light Warehouse Pendant Tempered Glass Panels
3'-8"
12'-2"
Honeywell FS10 Fire Sentry System
Stainless Steel Wall-Mounted Range Hood, Duct and Pipe
2'-4"
Wishbone Chair White Architectural 125 Volt 15 Ampere Tamper Resistant Duplex Receptacle
12'-2"
4'-11"
2'-8" 4'-8"
Faux Stone Wall Paper
Madera Modern Extendable Dining Table
Whirlpool Freestanding Electric Range
15 Amp 3-Way Light Switch, White
5'-3"
14'-10"
5'-3"
Honeywell FS10 Fire Sentry System
14'-7"
R Series 1-Light Warehouse Pendant
Madera Modern Extendable Dining Table
Smooth Flush Hardwood Hollow Core Birch Veneer Composite Interior Door Slab
4'-8"
4'-8"
Wishbone Chair La Martiné Goose Neck Kitchen Faucet w/ Sprayer
4'-4"
2'-8"
White Architectural 125 Volt 15 Ampere Tamper Resistant Duplex Receptacle
12'-2"
La Martiné - Goose Neck Kitchen Faucet w/ Sprayer
Fire Extinguisher Class ABC, 10 lb
3'-3"
White Architectural 125 Volt 15 Ampere Tamper Resistant Duplex Receptacle
Kenmore 50023 25 cu. ft. Side-by-Side Refrigerator Stainless Steel
Station keys
RTA Shaker Antique White Kitchen Cabinets
Cairns 1044 Helmet, Black, NFPA, OSHA
12'-2"
5'-2"
3'-6"
Vin-Tak Bulletin Board with Aluminum Trim
Fire Area Map
5'-5"
Honeywell FS10 Fire Sentry System
Faux Stone Wall Paper
13'-5"
5'-10"
5'-3"
5'-3"
8'-6"
38'-3"
Kitchen
Interiors & Exteriors The exterior of these modules are designed around a 4x8 panel and limited catalogue of standardized parts Module Specifications with an even exterior treatment 1’-0”= 1/4” whose austerity matches the blankness of the interior walls of the facade. This is intended to highlight the equipment, vehicles, and firefighter routine and response. In contrast, the interiors of the modules are all treated very specifically with various kinds of domestic finishes.
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9 Section AA 1’-0”= 3/32”
Cynthia Ave.
LA SCREENING HOUSE
1
University of California, Los Angeles ARCH&UD 415 Winter 2016
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3
4
6
5
7
8
9
61'-4" BB B 2'-5"
11'-3"
30'-7"
12'-5"
4'-9"
A
9'-3"
3'-11"
31'-8"
13'-1"
13'-7"
B + 9’ 8”
18'-1"
27'-9"
C DN 5'-0"
UP
D 30'-0"
5'-6" A AA
23'-7" 44'-2"
With the background and history of the 20th century house as a backdrop, this project focuses on the constraints and logics of grids, geometric prisms, and platonic spatial typologies within the context of an approximately 2,000 sf house located in Los Angeles. If there is a tension between the concept of the paradigm and the personal, then the project aims to explore and discipline this tension through rigorous exercises, clear methodologies, and an acute understanding of the properties and possibilities of steel.
UP
DN
My concept challenges the idea of a typical screening room. Instead of a separate space, made with only one programmatic use, the house as a whole becomes the screening room and the space can be utilized for other uses, when films are not being shown.
E
F
DN 6'-7"
6'-7"
43'-5"
G
15'-2"
6'-7"
17'-6"
7'-8"
5'-1"
66'-0"
B
2nd Floor Plan
N
2nd Floor Plan 1’=1/4”
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11
Exploded Diagram
East Elevation
Screening Room
The screening room is comprised of multiple viewing point throughout the house, which can view the large screen in the courtyard. The three main viewing areas are the courtyard, the 2nd floor porch and the rooftop decking, all accessible with the spiral staircase. However, from inside the house films can also be viewed, as glazing surrounds the courtyard facade of the second floor.
12
Short Section
Short Section
13
Steel and Facade
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The construction of the house is defined by a simple grid, where the steel columns and beams are exposed on the exterior. The walls are constructed with light gage steel framing and all windows are aluminum framed. The decking on the top floor is constructed with wood and light gage steel. The perforated screen seen on the east facade, is a water pressure cut aluminum spanning from the third to the ground floor. It acts to partially screen the decking and provide privacy and shade the second floor.
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PROJECT DIVERGENCE University of Hawaii at Manoa Seoul Studio Fall 2014 Seocheon, South Korea Project divergence in Seocheon, looks at order versus disorder, fragmentation versus unity and utilizes a methodology between these relationships to create space. Divergence means tending to be different or developing in a different direction. Like most architectural projects, the space was influenced by the history of the area. However, it diverges by challenging traditional spaces, programing and relationship to context.
The Seocheon area has an older history compared to other parts of Seoul and recently it has been undergoing a revitalization. The buildings in the area are being restored, rebuilt and reoccupied. My proposal seeks to create architecture through superimposition. It argues that spaces can be made through the layering of the city.
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Information Layers
Intersection Layers
ch
changdeok wall roofline
gyeongbok palace
third line of n/s grid
th
ne
changdeok palace north/ south grid
gyeongbok palace
negative space of palaces
gy
changdeok palace north/ south grid gyeongbok pavilions
pa
palace axis
gy
Two historical sites in the area of Seocheon are Gyeongbok palace and Cheongdeok palace. The site plan of these two palaces were overlaid onto the site and its surroundings. Along with these two site plans a North/South grid was also superimposed. Various elements were then overlaid where intersections occurred.
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gyeongbok roof lines
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Building Components Intersection layers helped develop where building components occurred. For example the rooftops of Cheongdeok palace became concrete slabs and where the North/South grid intersected these slabs, I-beams emerged to support glass roofs. The combination of these intersections created spaces and the spaces together became my design.
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21
Brick and Concrete
TOP-DOWN, BOTTOM-UP, MIDDLE OUT
The Indian Institute of Management
The Indian Institute of Management, built in 1962 and located in Ahmedabad, India. It is primarily a Brick and Concrete structure which is deployed at multiple scales to produce the buildings of the main campus, library, classrooms, offices and dormitory buildings. Brick and concrete remain the fundamental material for the construction of the complex and interact in an interdependent way through the project making it possible for Kahn to achieve his formal ambitions within a context of limited oversight and control.
University of California, Los Angeles In Collaboration with: Brian Lee, Israel Ceja ARCH&UD 401 Spring 2016 The paradigms of the top-down architect led design versus the bottom-up, do it yourself design are well established. Through the exploration of Kahn’s brick and concrete structures our project aims to identify a territory for “middle-out” design strategies that problematize the boundaries between the Architect and laborer.
Compressive Forces
Brick Geometry and Proportion
33°
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Compression Compression Tension Tension
Load transfer vertically down Load transfer vertically down
X
2X
Modular brick unit
iX
23 kY
Load transfer vertically down
Load fromfrom aboveabove Load
S
VARIE
90°
jY
Tension
hX
Compression
Y
Load from above
5Y 17.5"
3X 14 "
12Y 42"
32X 12'
The Screen
4 1/ 4"
9"
New Tie Design
INFILL
Infill
Used to enclose space
3'-0 1/ 4"
+ FRAME
Arch
Supports infill
+ Tie
While the aggregation of bricks may lend itself to a bottom up approach to building, Kahn’s brick and tie relationship at the IIM can be understood as a top-down design method, where the individual bricks are deployed towards a predetermined scheme. Taking the top-down v. bottom up paradigms as two extremes in a story that can be told through brick and concrete, our approach looks towards a middle-out solution. This middle-out solution seeks to provide variation and differentiation within a limited yet flexible set of outcomes, allowing for a multiplicity of design solutions to take place outside of the architect’s purview.
Restraining member for brick
New Screen Outcomes TIE 1'-1 3/ 4"
SCREEN
Manipulation of the Screen
79.2º
47.1º
28.8º
13.4º
Tie Intersection Outcomes
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25
A
30 º
B
C
90 º 60 º
Zoom In
A
B
C
Steel Cable Tie Concrete Tie End Wedge 5/8” Steel Threaded Rod Flat Aluminum Washer
Steel Spacer
5/8” Aluminum Nut
2” 6”
3” Steel Cable 3” Aluminum Nut Flat Aluminum Washer
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KAWILOA DESIGN/BUILD COMPETITION North Shore, Hawaii In Collaboration with: Danalli Ignacio, Cynthia Miao, Sven Bradley Spring 2014 For the challenge of designing a rain shelter, we thought it necessary first to consider the meaning of shelter. Shelter is commonly understood to be a place giving protection from danger, but in the Hawaiian language, the word for shelter, Wahi Lulu, can also be interpreted as Place of Calmness. With our design, we sought to create a place that not only acts to protects its users from the weather, but also to embrace the beauty of it. The roof structure is designed to shed rainwater onto the vegetated rock wall to remind the users that although we may need protection from the
Pavilion Components The construction process of the design incorporates simple wood framing techniques and standard slab-on-grade foundation. The vegetated rock wall follows typical gabian wall construction. Corrugated steel panels will be bolted onto the wood trusses as well as suspended by steel rods. The overall process is simple and could be managed by any contracting group.
gabion wall
corrugated steel
bamboo reeds wood structure
tension rods
seating
concrete slab
Rain Diagram
0
28
2
4
8
16
Our pavilion makes use of expansive overhangs to shield from both sun and rain. The open plan allows for air to flow freely through the space, maintaining a comfortable environment. Seating is placed to orient the users towards the windmills for convenience of presentation viewing.
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Each of the various components of the park contribute to the users experience. The pathways at the northern end of the park act as seating for various events. While the other pathways guide users to important event areas. Planters add additional seating and trellis’ and trees provide shade.
THOMAS SQUARE University of Hawaii at Manoa ARCH 203 Spring 2013
Leaves (Lau)
Stem (Ha)
Root (Kalo)
The concept for the park derived from the native Hawaiian plant, Kalo. It is used in various ways by the native Hawaiian people and has been an important resource in the Hawaiian culture. The plant is broken down into three parts, the root (kalo), the stem (ha) and the leaves (lau). Similarly the park is broken down into three parts the center represents the root or the heart, which holds the park together. The path ways become the stems connecting the root to the various parts of the park. Lastly, the leaves are represented by the three
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31
Hawaii ships more than 90 percent of its goods, therefore, the island has an abundance of shipping containers. The shipping container can be used as an inexpensive basic building block. It is easily transported, can withstand incredible stresses and can be used for both temporary and permanent structures. Not only would the container be highly cost efficient but would be easy to maintain.
corrugated plastic corrugated steel
wood trellis
wood shelves counters
glass window
corrugated steel
concrete slab
CLONE University of Hawaii at Manoa ARCH 101 Fall 2011
Though the general form and appearance of the container could be modified, my design tried to keep the container similar to its original form. This allows the general public to appreciate and be educated in the positive transformation of a sustainable design.
Container Plan
Each individual is unique and by understanding our own form, we begin to understand other forms. The 1:1 scale recreation of the body, allows repetition and sections to describe its composition. Using the life sized clone as a “site�, strips of bass wood and zip ties respond by creating a organic composition in the focal point of the clone.
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