Download - Karen Shueh 2012
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karen shueh infrathin
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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
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cLASS inStructor dAte
2011Design Studio Herwig Baumgartner Miami, FL, USA
LocAtion
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PLAN 1:800
INTERIOR RENDER
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INTERIOR RENDER
project performing arts center driver interstitial4|27
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cLASS inStructor dAte
2011Design Studio Herwig Baumgartner Miami, FL, USA
LocAtion
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3rd Theater Formulation Diagram
Envelope Diagram
EXTERIOR RENDER
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SECTION 1:800
project performing arts center driver interstitial6|29
SOUTH ELEVATION 1:800
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cLASS inStructor dAte
2011Design Studio Herwig Baumgartner Miami, FL, USA
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Primitive Brainstorm Diagrams
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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
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cLASS inStructor dAte
2012Design Studio Erick Carcamo Chicago, IL, USA
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Plan Sketches and Corresponding Unit Distribution
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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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cLASS inStructor dAte
2012Design Studio Erick Carcamo Chicago, IL, USA
LocAtion
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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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cLASS inStructor dAte LocAtion
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UNIT LEVEL PLAN
2012Design Studio Erick Carcamo Chicago, IL, USA
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housing mat adaptation14|37
project driver
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2012Design Studio Erick Carcamo Chicago, IL, USA
cLASS inStructor dAte LocAtion
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LONGITDINAL SECTIONSCALE 1:400
TRANSVERSE SECTIONSCALE 1:400
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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
housing mat adaptation16|39
project driver
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Design Studio 2012Erick Carcamo Chicago, IL, USA
ONE BEDROOm BSCALE 1:200
cLASS inStructor dAte LocAtion
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housing mat adaptation18|41
project driver
PHYSICAL mODEL
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2012Design Studio Erick Carcamo Chicago, IL, USA
cLASS inStructor dAte LocAtion
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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
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cLASS inStructor dAte
2012Cultural Studies Peter Zellner 05
Physical Model
Physical Model
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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
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cLASS inStructor dAte
2012Visual Studies Florencia Pita N/A
LocAtion
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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
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Physical Tile model
cLASS inStructor dAte
2011Visual Studies Florencia Pita N/A
LocAtion
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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
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cLASS inStructor dAte
2012Visual Studies Anna Neimark 11
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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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cLASS inStructor dAte
2012Design Studio Coy Howard 12
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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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cLASS inStructor dAte
2012Design Studio Coy Howard 13
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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
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cLASS inStructor dAte
2012Design Studio Coy Howard Los Angeles
LocAtion
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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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cLASS inStructor dAte
2012Design Studio Coy Howard Los Angeles
LocAtion
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There was an attempt to create different interior spaces for artists to respond to while showcasing their works.
Interior Render
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project
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Courtyard Render
outsider art museum
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cLASS inStructor dAte
2012Design Studio Coy Howard Los Angeles
LocAtion
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Exterior Render
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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
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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
project performing arts center driver design development38|67
0.0 M
+0.9 M
+0.6 M
ARTISTENTRY
CAR CIRCULATION
SITE OUTLINE
+0.9 M
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GROUND LIGHTING
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PEN
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2SCALE 1:1000SITE PLAN
LINCOLN LANE N
17TH ST
Xian ChiMorris NgaiXiangWei GaoKaren Shueh
March 8th, 2012
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SITE PLANSCALE 1:1000
Southern California Institute of Architecture
Herwig BaumgartnerJeff LandrethMatthew MelnykTom Wiscombe
Issue Date: 01/31/2012
960 East 3rd StreetLos Angeles, CA 90014
COMPANY NAME:
CONSULTANTS:
CLIENT:
SHEET TITLE:
DRAWN BY
DESIGN DEVELOPMENTISSUE: 01
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A02
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cLASS inStructor dAte
2012Applied Studies Herwig BaumgartnerTom Wiscombe
Miami, FL, USA
LocAtion
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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
12.4
7
A B E F G M NC I
March 8th, 2012
Xian ChiMorris NgaiXiangWei GaoKaren Shueh
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B.L.A.N.K.
Southern California Institute of Architecture
Herwig BaumgartnerJeff LandrethMatthew MelnykTom Wiscombe
Issue Date: 01/31/2012
960 East 3rd StreetLos Angeles, CA 90014
COMPANY NAME:
CONSULTANTS:
CLIENT:
SHEET TITLE:
DRAWN BY
DESIGN DEVELOPMENTISSUE: 01
DATE SHEET NUMBER
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
+6.5 M
RAMP TO LOBBY
BOH
FREIGHTELEVATOR
BACKSTAGESTAGE+6.5 M
4THEATER PLANSCALE 1:400
IC NMKJHGFEDBA
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Xian ChiMorris NgaiXiangWei GaoKaren Shueh
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B.L.A.N.K.
THEATER PLANSCALE 1:400
Southern California Institute of Architecture
Herwig BaumgartnerJeff LandrethMatthew MelnykTom Wiscombe
Issue Date: 01/31/2012
960 East 3rd StreetLos Angeles, CA 90014
COMPANY NAME:
CONSULTANTS:
CLIENT:
SHEET TITLE:
DRAWN BY
DESIGN DEVELOPMENTISSUE: 01
DATE SHEET NUMBER
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
THEATER:OCCUPANCY TYPE: A1(Assembly)FULLY SPRINKLERED
Occupancy: 240
THEATER:OCCUPANCY TYPE: A1(Assembly)FULLY SPRINKLERED
Occupancy: 800
THEATER EGRESS STAIROCCUPANTS: 8000.3" X 800 = 240"MINIMUM WIDTH: 20'
EXIT TO WASHINGTON AVE
11EGRESS DIAGRAM
EGRESS DIAGRAM 13
Xian ChiMorris NgaiXiangWei GaoKaren Shueh
April 8th, 2012
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Southern California Institute of Architecture
Herwig BaumgartnerJeff LandrethMatthew MelnykTom Wiscombe
Issue Date: 01/31/2012
960 East 3rd StreetLos Angeles, CA 90014
COMPANY NAME:
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CLIENT:
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DRAWN BY
DESIGN DEVELOPMENTISSUE: 01
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LIFE SAFETYEGRESS DIAGRAM
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COMPANY NAME:
960 East 3rd StreetLos Angeles, CA 90014
CONSULTANTS:
Issue Date: 01/31/2012
CLIENT:
Herwig BaumgartnerJeff LandrethMatthew MelnykTom Wiscombe
Southern California Institute of Architecture
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HVAC SYSTEM INTS
DESIGN DEVELOPMENTISSUE: 01
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
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cLASS inStructor dAte
Applied Studies
LocAtion
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3D STRUCTURAL AXONOMETRICN.T.S 7
BLANK
SHEET TITLE:
A14
960 East 3rd StreetLos Angeles, CA 90014
COMPANY NAME:
DRAWN BY
CLIENT:
DESIGN DEVELOPMENTISSUE: 01
DATE SHEET NUMBER
Herwig BaumgartnerMatthew MelnykTom WiscombeADDITIONAL CONSULTATION:Jeff Lindreth
3D STRUCTURAL AXON.T.S.
CONSULTANTS:
Issue Date: 04/08/2012
The Southern California Institute of Architecture
PRIMARY SKIN STRUCTURE - TRIANGULAR TRUSS
STEEL BEAM
A191
CONCRETE TRANSFER SLAB
METAL JOINT
CONCRETE COLUMN
STEEL COLUMN
Xian ChiMorris NgaiXiangWei GaoKaren Shueh
April 8th, 2012
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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
Xian ChiMorris NgaiXiangWei GaoKaren Shueh
April 8th, 2012
960 East 3rd StreetLos Angeles, CA 90014
B.L.A.N.K.
A19
3D CHUNKN.T.S.
Southern California Institute of Architecture
Herwig BaumgartnerJeff LandrethMatthew MelnykTom Wiscombe
Issue Date: 04/08/2012
SHEET TITLE:
CLIENT:
COMPANY NAME:
CONSULTANTS:
DRAWN BY
DESIGN DEVELOPMENTISSUE: 01
DATE SHEET NUMBER
MIA
MI P
ERFO
RM
ING
AR
TS C
ENTE
R
Mia
mi B
each
, FL
3313
9
2012Herwig BaumgartnerTom Wiscombe
Miami, FL, USA
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