Karen Shueh 2012

karen shueh infrathin

project performing arts center driver interstitialThe 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.

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.

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PLAN 1:800

cLASS inStructor dAte

2011Design Studio Herwig Baumgartner Miami, FL, USA

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PLAN 1:800

INTERIOR RENDER

INTERIOR RENDER

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3rd Theater Formulation Diagram

Envelope Diagram

EXTERIOR RENDER

SECTION 1:800

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SOUTH ELEVATION 1:800



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Primitive Brainstorm Diagrams

I am intrigued by the potential of reading foreground and background inter-changeably. 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

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.

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project driverhousing ambiguous interplay

Parma

Site and surrounding buildings

Le Corbusier: project for Saint-Dié


2012Design Studio Erick Carcamo Chicago, IL, USA

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Plan Sketches and Corresponding Unit Distribution

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.

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.

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project housing mat adaptationdriver

FORmAL EVOLUTION

SITE PLAN



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UNIT DISTRIBUTION CIRCULATION

STRUCTURE COmmON AREA

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project driver

GROUND FLOOR PLAN

housing mat adaptation

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UNIT LEVEL PLAN


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project driver



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LONGITDINAL SECTIONSCALE 1:400

TRANSVERSE SECTIONSCALE 1:400

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 Collec-tive 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

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.

ONE BEDROOm ASCALE 1:200


project driver

Design Studio 2012Erick Carcamo Chicago, IL, USA

ONE BEDROOm BSCALE 1:200


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project driver

PHYSICAL mODEL



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project city for five million affect / ambiguitydriver

Ambiguous GroundA 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 move-ment. It is the red carpet that precedes the entering of a building. The streetscape, the public realm and its relation-ship 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 am-biguity 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 Axonometric View

Plan View


2012Cultural Studies Peter Zellner 05

Physical Model

Physical Model

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.

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project faceted spherical void driver contrastTeam Members: Nicholas Barger, Andrew Kragness, Michael Woodruff


2012Visual Studies Florencia Pita N/A

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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.

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 de-laminate into the spherical form, infusing a sense of movement into the still model.

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project

1”

1”

2”

TOTAL NUMBER OF TILES = 498

PART 1: Tile Form (terra-cotta tile, thickness 1/8”)(1:1 drawing of tile pro�le. document to be printed @8.5x11)t

PART 2: Tile Pattern (Deco Tiles)

d= 61 e= 63 f= 110 g= 86c= 78b= 40a= 60

Projective Tile Layout

physicalityfaceted spherical void driver

Team Members: Nicholas Barger, Andrew Kragness, Michael Woodruff

Physical Tile model


2011Visual Studies Florencia Pita N/A

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project kremlin wall driver analogous 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.

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The seminar aimed to draw the existing urban condition of the Moscow Krem-lin as pure form by describing it as a monumental object.

Team Members: Ziba Esmaeilian, Zun Ren Xue, Pompay Zhu


2012Visual Studies Anna Neimark 11

project “interesting” drawingThe drawing strives to be “interesting”. There are five basic requirements to achieve “interesting”:

1. extraordinariness2. sense of movement3. sense of mystery4. manifoldness5. sense of origination

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project

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shape painting

Notebook Sketches

The painting originated from the practice of developing a personal shape vo-cabulary. Similar to the requirements for “interesting”, here are the characteris-tics of an interesting shape:

1. simple + complex2. autonomous + responsive3. scale4. abstract + representational5. multiple visual centers6. sense of self generation7. how it situates itself in its context / the world


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project outsider art museumPhotographs of peripheral Los Angeles neighborhoods were used as source materilas and references.

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photographs


2012Design Studio Coy Howard Los Angeles

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project

From the travels to Los Angeles’ various peripheral neighborhoods, I personally believe I have observed and absorbed characterstics pertaining to the Los Ange-les area. The project is a product of the earlier formal exercises and the newly acquired sensibility towards the locale.

The project is located in Hollywood on Santa Monica Avenue and Kingsley St.

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Photographs of Los Angeles Neighborhoods

Exterior Render

For the project, the existing taco stand was reinterpreted / reinvited through the use of materials.

Texture Studies

outsider art museum



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There was an attempt to create different interior spaces for artists to respond to while showcasing their works.

Interior Render

project

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Courtyard Render

outsider art museum



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Exterior Render

April 8th, 2012

Xian ChiMorris NgaiXiangWei GaoKaren Shueh

DESIGN DEVELOPMENTISSUE: 01

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COMPANY NAME:

960 East 3rd StreetLos Angeles, CA 90014

Issue Date: 04/08/2012

CONSULTANTS:

CLIENT:

SHEET NUMBER

Southern California Institute of Architecture

SHEET TITLE:

Herwig BaumgartnerJeff LandrethMatthew MelnykTom Wiscombe

DRAWN BY

B.L.A.N.K.

COVER SHEET WITH 3D VIEW OF ENTIRE BUILDING

A0

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0.0 M

+0.9 M

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ARTISTENTRY

CAR CIRCULATION

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GROUND LIGHTING

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2SCALE 1:1000SITE PLAN

LINCOLN LANE N

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2012Applied Studies Herwig BaumgartnerTom Wiscombe

Miami, FL, USA

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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.

STAGE

+6.0 MLEVEL 2

SUNKEN PLAZA

+19.5 MLEVEL 6

-8.0 MBASEMENT LEVEL

+9.4 MLEVEL 3

+13.2 MLEVEL 4 THEATER

BACKSTAGE

+2.5 MLEVEL 1

RISER

BOH

OFFICE

MUSIC LIBRARYCAFE

PARKING

PROJECTION

+0.0 MLEVEL 0

+14.3 MLEVEL 5

COOLING TOWER

9SCALE 1:400LONGITUDINAL SECTION A

D H J K

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A B E F G M NC I

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LONGITUDINAL SECTIONSCALE 1:400

+6.5 M

PROJECTION

BOH

OPEN TO BELOW

RAMP TO THEATER

THEATER LOBBY

+8.9 M

THEATER LOBBY+8.9 M

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RAMP TO LOBBY

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BACKSTAGESTAGE+6.5 M

4THEATER PLANSCALE 1:400

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THEATER PLANSCALE 1:400





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A04

Team Members: Xian Chi, Sean Gao, Lap Fat Ngai

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2MAX. DISTANCE TO EGRESS: 24 M1 MAX. DISTANCE TO EGRESS: 36 M

THEATER EGRESS STAIROCCUPANTS: 2400.3" X 240=72"MINIMUM WIDTH:6'

EXIT TO 17th ST

EXIT TO PENNSYLVANIA AVE

THEATER FLOOR PLAN

THEATER EGRESS STAIROCCUPANTS: 3000.3" X 300 =90"MINIMUM WIDTH:7'5"

GROUND FLOOR PLAN

THEATER:OCCUPANCY TYPE: A1(Assembly)FULLY SPRINKLERED

Occupancy: 300

EXIT TO LINCLIN LN N


Occupancy: 240


Occupancy: 800

THEATER EGRESS STAIROCCUPANTS: 8000.3" X 800 = 240"MINIMUM WIDTH: 20'

EXIT TO WASHINGTON AVE

11EGRESS DIAGRAM

EGRESS DIAGRAM 13


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HVAC SYSTEM INTS


DRAWN BYXian ChiMorris NgaiXiangWei GaoKaren Shueh

April 8th, 2012

17HVAC SYSTEM

AHU 2 AHU 3 AHU 4

DISPLACEMENT VENTILATION

AHU 1

MIXED AIR VENTILATIONAHU 3

AHU 1

MIXED AIR VENTILATION

COOLING TOWER

CHILLER PLANT

AHU 2DISPLACEMENT VENTILATION

EXHAUST AIRRETURN AIR

SUPPLY AIR

VENTILATION

ERV AHU

AHU 4

PARKING

FRESH AIR

project performing arts center driver design development


Applied Studies

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3D STRUCTURAL AXONOMETRICN.T.S 7

BLANK

SHEET TITLE:

A14


COMPANY NAME:

DRAWN BY

CLIENT:


DATE SHEET NUMBER

Herwig BaumgartnerMatthew MelnykTom WiscombeADDITIONAL CONSULTATION:Jeff Lindreth

3D STRUCTURAL AXON.T.S.

CONSULTANTS:


The Southern California Institute of Architecture

PRIMARY SKIN STRUCTURE - TRIANGULAR TRUSS

STEEL BEAM

A191

CONCRETE TRANSFER SLAB

METAL JOINT

CONCRETE COLUMN

STEEL COLUMN


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STEEL SPINE BEAM

STEEL RIB BEAM

PRIMARY STRUCTURE JOINT - 500mm STEEL TUBE JOINT

GYPSUM CEILING PANEL

METAL ROOF DECKING FACETED IN ONE DIRECTION

POLYURETHANELL ROOF WATERPROOF LAYER AND INSULATION INTERGRATION

ALUMINUM FACESHEET

300 x 150mm GALVANIZED STEEL FRAME

GLASS BALUSTRADE

METAL DECKING

PRE-FABRICATED CONCRETE SLAB

FLOOR FINISH - 20mm SOUTH AMERICAN ROSEWOOD

STEEL COLUMN

PRIMARY STRUCTURE - TRIANGULAR STEEL TRUSS

8.0N.T.S.3D CHUNK


April 8th, 2012


B.L.A.N.K.

A19

3D CHUNKN.T.S.




SHEET TITLE:

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COMPANY NAME:

CONSULTANTS:

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2012Herwig BaumgartnerTom Wiscombe

Miami, FL, USA

Karen Shueh 2012

Documents

experimental theater

mat area

usahousing mat

mat topology

urban city of chicago

arts center houses

view of downtown chicago

traditional horseshoe