// Saul Jerome E. San Juan
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Design
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Art
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Design 1
The Mound // Professors Francisco Gomes & Russell Krepart // 2010
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Collapsible Drawing Bench // Professor Ulrich Dangel // 2008
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Parametric Vaults // Independent Exercise // 2012
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Helsinki South Harbour // Bercy Chen Studio, LP // 2011
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Eight Spaces // Professor Paul J. Armstrong // 2006
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Collapsible Roof // Professor Ulrich Dangel // 2008
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New Taipei City Museum of Art // Bercy Chen Studio LP // 2011
1 The Mound // Professors Francisco Gomes & Russell Krepart // 2010 Within the shelter of a mound, shafts of
movement and repose
light and air direct
in the public shower facilities and a park ranger’s private quarters along the waters of Lake Austin. Carved into the mound is an
where the water meets the land and the architecture, providing space for performers and audiences on both land and water.
amphitheater oriented around a stage on the shoreline,
This one-week project was designed in collaboration with Jason Haskins.
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2 Collapsible Drawing Bench // Professor Ulrich Dangel // 2008
collapsibility, the specific functional form of the artist’s drawing bench morphs into other ways of seeing the act of sitting.
Through the introduction of
3 Parametric Vaults // Independent Exercise // 2012
This is an exercise in taking the underlying volumetric geometry of an English Perpendicular Gothic Fan Vault to construct a
parametric model in the Revit family editor environment that can be used in a Revit project as conceptual mass components on which to assign system families such as walls and roofs. The volumetric treatment that defines the fan vault form by the space it encloses results from the construction of the parametric model from simple boolean operations, allows easy deployment into Revit’s conceptual mass interface, and inspires the rethinking of the original masonry forms as concrete thin-shell structures constructed from the negative formwork. Experientially, quick in-house Revit renderings of the exercise readily reveal an expanded palette of direct and reflected light resulting from the
of
variation apertures interacting with the complex curvature of the forms, creating a luminous symphony ranging from definitely edged shards of light to atmospheric washes of
luminance.
Combining various scales of the fan vault unit in plan while keeping the sectional radius of the vault equal in numeric value results in an organic continuity in volume and elevation evocative of a “Gothic� formal system.
Varying the numeric values of the sectional radius of the fan vaults in constant proportion to the varying scale of the units results in autonomous forms in volume and elevation evocative of “Classical� formal massing.
The introduction of elements to interact with the fan vault surfaces such as walls and apertures discrete from forms resulting directly from the system expands and enhances the experiential expression of the formal exploration.
4 Helsinki South Harbour // Bercy Chen Studio, LP // 2011
In response to an ideas competition held for Helsinki’s South Harbour, Bercy Chen Studio
a ribbon
undulates
proposes that, while perfectly elliptical in plan, vertically according to specific conditions. The ribbon lifts up to varying heights to provide clearance for cars, trucks, boats, and ships, while it touches the ground to connect key points around the harbour. The new landscaped canopies girded by the ribbon extend the leisure activities and greenery of Tähtitornin Vuori park to the water’s edge, leaving current port operations undisturbed below. A mobile restaurant capsule rides the ribbon along an interior rail, offering ever-changing views of the harbour for diners—a unique reinterpretation of revolving restaurants ubiquitous in major cities
world.
around the
This competition entry was completed in collaboration with Daniel Arellano and Calvin Chen.
5 Eight Spaces // Professor Paul J. Armstrong // 2006
On a restricted, sloping site, eight spaces of undefined uses are arranged according to prescribed relationships and degrees of privacy. The elimination of conventional stairs is
a self-imposed limitation that becomes an opportunity to rethink various ways circulation can define spaces in this first studio design project at the beginning of architecture school.
6 Collapsible Roof // Professor Ulrich Dangel // 2008 A kinetic pavilion permits
a range of visual and acoustic configurations for
arts of scales ranging from intimate chamber music on the edge of Lady Bird Lake to explosive rock opera productions that draw crowds to the grassy expanse of Auditorium Shores across from Downtown Austin. performing
7 New Taipei City Museum of Art // Bercy Chen Studio LP // 2011
In place of bland flexibility, Bercy Chen Studio’s competition design for a museum of contemporary art proposes a diversity of
art.
specificities to invite new
ways of displaying and viewing Art becomes both destination and journey as seven distinct promenade galleries connect the urban tissue of the park bike path and underground concourse levels with the destination programs of the upper floors. While the linear volumes link town to river, notches at their upper reaches send views down the river valley to the center of Taipei. This competition entry was completed in collaboration with Daniel Arellano, Calvin Chen, and Agustina Rodriguez.
Art 8 9
Domus EcclesiĂŚ // Professor Frank Vodvarka // 2005 ar_@_barton_ck // Professor Clay Shortall // 2012
8 Domus EcclesiĂŚ // Professor Frank Vodvarka // 2005 An underlying
rhythm organizes
the form and content of this twelve-part series for the exhibition that culminates a four-year studio
art program at Loyola University Chicago.
9 ar_@_barton_ck // Professor Clay Shortall // 2012
For a studio course “based on the merger/collusion of the virtual and real world through augmented reality,� I chose the Barton Creek Greenbelt as my real-world site for a virtual
art
art installation inspired by the work of artist Antony Gormley. The virtual land installation consists of a grid of figures centered on the viewer, who experiences the intervention through a device such as a hand-held smart phone. The figures are oriented relative to the flow of the Edwards Aquifer, which flows independently of Barton Creek even in drought, while they are deformed according to their position relative to the Creek. The Grasshopper 3D script places 0 at the center of the creek and 1 at the banks of the creek, suggesting water erosion of the figures within the creek
and a sense of longing
water away from the creek. As the viewer walks around the Greenbelt, the figures transform in orientation and proportion relative to the grid centered on the viewer. for
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distribution
The orthographic of the figures in relation to the viewer at the center of the grid suggests a cartesian definition of the land by polar coordinates to aid in its survey and exploration.
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orientation
The facial of the figures towards the generalized underground flow of the aquifer invisible to the viewer brings awareness to the undulating path of the creek on the surface.
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deformation
The planimetric of the figures relative to the centerline and the banks of the creek petrifies the flow of water in times of drought and evokes the longing for water away from the creek.
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elevation
The varied of the land inflects the system, illustrating the reciprocal relationship between the topography of the landscape and the flow of water that shapes it and that it directs.
// Saul Jerome E. San Juan
+1 (817) 773-1092 // sjsanjuan@gmail.com Education
Master of Architecture // The University of Texas at Austin // 2007 - 2012
Music in Architecture - Architecture in Music Symposium Competition Europe Program/Studio Paris Alley Flat Initiative Design-Build
Bachelor of Art in Fine Arts // Loyola University Chicago // 2002 - 2006 Magna Cum Laude Honors Program John Felice Rome Center Study Abroad Program Work
Professional Residency Program // Bercy Chen Studio LP // Austin, Texas // 2011 Worked under supervision of Founding Partner Calvin Chen in assisting in active construction job sites, composing text and assembling imagery for award submissions and marketing, giving design and presentation software workshops to new interns, feasibility studies and site analyses, building physical models for client presentations, drafting design and presentation drawings, and leading design competition teams
Teaching
Design Assistantship // The University of Texas School of Architecture // 2012
Assisted Professor and Associate Dean Nichole Wiedemann in engaging students in design discussions, giving software tutorials, and critiquing work in studio reviews
Visual Resources // The University of Texas School of Architecture // 2007 - 2009 Worked under supervision of Visual Resources Collection Director Elizabeth Schaub in photographic documentation of gallery exhibits, the creation and promotion of educational programming, digitizing physical slides in the archive, and photography dark room management Software
AutoCAD, Grasshopper, Illustrator, InDesign, PhotoShop, Revit, Rhino, SketchUp
Languages
Native speaker of English and Tagรกlog (Filipino) Conversant in French and Italian Proficient in Latin, Portuguese, and Spanish
Travel
Austria, Canada, France, Germany, Iceland, Italy, Japan, the Netherlands, New Zealand, the Philippines, Spain, Switzerland, Thailand, and the United States of America