Emily Huang Creative Portfolio 2024

PORT FOLIO 2021 - presen t

Emily Huang Portfolio 2021-Present

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contents ACADEMIC WORK 04

sensorial density undergraduate thesis project CROSSMODAL CATALOGUES On my way! - A SHORT COMICS SERIES 90 rooms, 90 experiences rotational chaos house of the future

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designing multimedia experiences unity, 3D PRINTING, marvelous designer

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the canopy timber community center

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The Crossover Paralympics Cultural Center

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Community Day Designing for community

PROFESSIONAL WORK 36

post digital architecture Selected Illustrations

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DLR Group Selected Internship project

PERSONAL WORK 40

Hand Sketches Study Abroad in italy

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sensorial density undergradUATE b.arch degree THESIS USC SCHOOL OF ARCHITECTURE - PROFESSOR JIMENEZ LAI Spatial elements and environments that stimulate sensations beyond sight, fostering deeper connections between individuals and their built surroundings.

To study sensorial density in architecture is to understand ocularcentrism and its ranging impact on the five senses when designing space. The five-part project targets the sub-genres of sensory design, where accessible design, universal design, and sensory overload become the main topics in challenging the notion of limiting creativity. Documenting sensory receptions reveals the nature of sensorial density, allowing for a more integrated architectural experience. Activities like dining in family restaurants and attending perfume workshops illustrate how designed experiences heighten sensory engagement.

The research includes a reevaluation of the 1950s “House of the Future” by Alison and Peter Smithson, envisioning new interactions and engagements with space. Overlaying various sensory elements and reinterpreting the original design demonstrates how sensory misreadings inspire innovative spatial configurations. Both material and immaterial aspects in sensorial density invite a multi-dimensional engagement with space. Orientation itself becomes a sensory experience, leading to new interpretations of self-perception and spatial understanding. This work opens a conversation on prioritizing sensory experiences over visual aesthetics in architectural design, considering the impact of emerging technologies on enhancing sensory experiences.

RHINO / ILLUSTRATOR / PHOTOSHOP / PROCREATE / D5 RENDER

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PART 1 - ON MY WAY!: A story of two characters with various levels of seeing or hearing and their journey of struggles and reminiscences through public transportation, tactile studies, and their spatial understandings. Journey through public transportation and the importance of tactile design.

Full story available on: https://issuu.com/emiryh/docs/502_on_my_way_comics_official

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PART 2.1 - CROSSMODAL CATALOGUES: Personal experiences at a restaurant through screenwriting- like time frame diagrams. Time frame catalogue diagram of a dinner experience.

PART 2.2 - Time frame catalogue diagram of an experience at a perfume making workshop.

SPRING / 24

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PART 3 - 90 ROOMS, 90 EXPERIENCES: The 10 by 10 feet cubes contain various interior and exterior experiences of daily lives.

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Diagram close-up detail.

Individual room details.

SPRING / 24

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PART 4 - ROTATIONAL CHAOS: A rotational illustration of what occurs when sensory overload takes upon the familiarity of one’s surroundings. A plan and an elevation twists into an axonometric view of a study form, which the ordinary understandable space doubles as a wall or floor, opening various scales of interaction within one space. Illustration of a collage between an axon, a plan, and an elevation. The collected views can be individually identified with its scale with every 90 degrees of rotation.

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sen·so·ri·al den·si·ty /senˈsôrēəl /ˈdensədē/ noun

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1 Reintepretation of the House of the Future diagrammatic plan for modern adaptability.

2 PART 5 - HOUSE OF THE FUTURE: A reinterpretation of the House of the Future performs new levels of sensorial understanding within all people.

Plans and elevations become interchangeable and enhanced for synergistic movements, merging historical influences with contemporary innovation, and inviting exploration and interaction at every turn. Collaboration between eight “Houses” of re-reading the diagrammatic plan as new layers of information.

SPRING / 24

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House of the Future - Curated Chaos: Eight new “Houses” of reinterpreted routes of movements. Is it still a plan or are there new possibilities?

Physical model “top” view, a view that corresponds to the original plan drawing.

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Physical model detail. Model assembled by laser-cut acrylic pieces. 30” x 50”. 2024.

SPRING / 24

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Axonometric render of reinterpreted model.

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designing multimedia experiences selected work in 2D & 3D Design programs USC JIMMY IOVINE AND ANDRE YOUNG ACADEMY My minor in Designing Multimedia Experiences crosses multiple programs in 2D and 3D design, along with experimenting in motion graphics and fashion explorations. Building my interest in multimedia design, the courses in HTML/CSS coding, Adobe Premiere Pro, Adobe After Effects, Clo 3D, Marvelous Designer, and Unity are some of the examples where interactive media incorporates the design for humans across environment building, fashion design, filmmaking, extended reality design, game design, etc. My time at the Iovine and Young Academy enriches the roles of being a graphic designer, an architect, and a multidisplinary artist.

ILLUSTRATOR / PHOTOSHOP / CLO 3D / MARVELOUS DESIGNER / UNITY / LENS STUDIO / RHINO / FIGMA / PREMIER PRO / AFTER EFFECTS / VISUAL STUDIO CODE / 3D PRINTING / INDESIGN

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Product Design - a timer device proposal to introduce Pomodoro-style timer with Arduino coding in the toy design style of a roly poly.

SPRING / 24

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Deconstruction in Fashion - an exploration of fashion design through Marvelous Designer; inspired by Maison Margiela.

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Experiential Marketing - Developed with Marvelous Designer and animated through Blender, the strategy to promote the next .SWOOSH product series engages 3D billboards to locally design and matches promotional colors based on its targetted cities.

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Unity game design - screenshot of a playthrough in Escher and Monument Valley inspired game environment; modeled in Rhino.

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The CANOPY OAKWOOD COMMUNITY CENTER COMPREHENSIVE STUDY USC SCHOOL OF ARCHITECTURE - PROFESSOR ERIC NULMAN The structure of the project explores three different floor levels of experience when walking through the site. All timber structure is planned to be exposed in some way to allow the natural material to be seen. The aesthetic intentions of the structure relate to the various roof openings of the building, where the canopy area expands across to connect the two separated buildings - the pools on the northern end and the community space on the southern end.

Looking into the specifications of the span for the Olympic pool building, the structure consists of the primary structure of 12 bays with an overall length of 182 feet and a width of 81 feet and 4 inches. Using glue-laminated timber portal frames allows the timber to be more exposed inside, creating a simple aesthetic across the interior of the user space. Cross-laminated timber (CLT) is then used for the lateral system to secure the frames together. The more regulated and rectangular programs next to the pool with the gym and changing rooms would follow a standard CLT column and beam grid combination following the 30-foot grid guide from the initial design process. The same would be applied to the one-story community space on the opposite side of the canopy for an overall coordinated aesthetic.

RHINO / ILLUSTRATOR / PHOTOSHOP / D5 RENDER

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Longitudinal section perspective Construction physical model detail Public olympic pool interior view

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West elevation South elevation East elevation North elevation

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OAKWOOD AVE

GRAND ENTRY SECURITY OFFICE PUBLIC RESTROOMS COMMUNITY CENTER MULTI-USE ROOM COMPUTER CENTER COFFEE SHOP AND CAFE OLYMPIC POOL LEISURE POOL AQUATIC STAFF OFFICE DELIVERY DOCK IT ROOM TRASH/RECYCLING ROOM

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MECHANICAL ROOM STORMWATER PLANTERS STAFF PARKING BASKETBALL COURT CHANGING ROOMS JANITORIAL CLOSET FACILITY MAINTENANCE STORAGE SHARED STORAGE AQUATIC SECURITY ROOM GYM RECEPTION

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Ground floor plan Southwest axonometric view

1/8” = 1’ - 0” 1/32” = 1’ - 0”

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Transverse zoom-in section Zoom-in section details

1/2” = 1’ - 0” 1” = 1’ - 0”

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Canopy exterior view Main entry into community cafe interior view

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The Crossover Los Angeles Paralympics Cultural Center USC SCHOOL OF ARCHITECTURE - PROFESSOR SCOTT URIU Designing for a potential location to place a cultural center and basketball courts in the upcoming Paralympics hosted in Los Angeles, The Crossover involves a focus on balancing the continuation of ground floor commercial interaction from the main USC Village into the Great Lawn. By reconnecting the two courts, one on ground-level and one semi-underground, there is acommvunity space and an underground office space developed with the “gap” in the center of the project that allows nearby visitors to seek interest in not only the new community space, but the now more welcoming USC Village buildings that had been disconnected from the public due to security. Movement of solid and void are shown through the use of glass with the steel and wood structure to ensure sunlight and circulation throughout the various levels. Two separate courts are joined by a skybridge-inspired upper floor viewing space and an underground office area.

RHINO / ILLUSTRATOR / PHOTOSHOP / ENSCAPE

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Concept diagram

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Northwest axonometric view

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Progress planning sketch

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Physical model top view

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Court construction detail Physical model east elevation view

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North basketball court render view South basketball court render view

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The levels of transparency becomes essential when looking at places for shade, viewability, and semi-publicity through the various programs. Such design involves the consistent looping of the users’ experience, yet still distinguishable among nearby buildings with its neutral and raw use of exposed materials that grasp the attention of walking by visitors on a viewable scale.

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Northwest axonometric view

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Progress planning sketch

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Community Day temporal Mixed-Use Exhibition & Material Study USC SCHOOL OF ARCHITECTURE - PROFESSOR ROB BERRY Different scales of figures and drawings perform the main idea of human interaction in this structure, where the continued idea of pin-up boards are secured across, best for local artists to showcase their artworks. Metal joints are joined by various sizes of metal beams and columns, creating a uniform outlook for the two-story structure. Joined by three specfic locally found materials which are redesigned, texture are added with the additions of metal mesh, painted metal panels, and wood panels. The metal and wood panels create privacy to the programs, such as the reading room and the smaller galleries in the upstairs level.

RHINO / ILLUSTRATOR

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Interactions between figures and project in various scales

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Interactions between figures and project in various scales

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FREELANCE ILLUSTRATIONS digital illustrATIONS + marketing at post digital architecture PROFESSIONAL WORK As a freelance illustrator, I create digital architectural assets like CAD sets, isometric drawings, and detailed vector illustrations that merge technical precision with creative design. My work focuses on producing scalable, high-quality visuals for digital and print projects, adding value to presentations and multimedia designs. With expertise in Adobe Creative Suite and AutoCAD, I excel at translating complex architectural ideas into compelling, functional visuals. These skills position me as a future designer, ready to deliver innovative solutions tailored to diverse design needs.

AUTOCAD / ILLUSTRATOR

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Internship Work Exploration in Justice and Civic Sector at DLR Group PROFESSIONAL WORK Through my Summer Internship at DLR Group, I strengthened my knowledge with architecture through using 2D programs (Illustrator, Photoshop, InDesign, AutoCAD), along with making diagrams and reports for assigned projects. With additional 3D designing programs (Rhino, SketchUp), I was able to model and convert the existing CAD drawings into scaled Rhino model files. My summer was further enriched with sketching, 3D printing, and the further exploration into understanding how a firm designs for the humans. By following the Justice and Civic team closely with an on-going competition project, my participation greatly increased the knowledge of the various design stages in a design project, and how various team positions contributed their own voices into the consistent meetings with not only the client but also among themselves as well.

RHINO / SKETCHUP / AUTOCAD / ILLUSTRATOR / 3D PRINTER / REVIT / EXCEL

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ϭϮϬ ϴϬ ϭϵϮ ϭϵϮ ϭϵϮ ϭϵϮ ϭϵϮ ϴϬ ϭϵϮ ϴϬ ϰϴ ϴϬ ϰϬ

't Ͳd 't 't 't 't 't 't 't 't 't 't 't 't Ͳd

Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ

/^͖ tZ WEd WEd WEd WEd WEd WEd WEd WEd WEd WEd WEd /^͖ tZ

/^͖ tZ Wd Wd Wd Wd Wd Wd Wd Wd Wd Wd Wd Zd

/ Z Z Z Z Z Z Z Z Z Z Z Z Z Z Z Z Z Z Z Z Z Z Z Z

't d d d d d d d d d d d 't

ϵΖ Ͳ ϬΗ ϵΖ Ͳ ϬΗ ϵΖ Ͳ ϬΗ ϵΖ Ͳ ϬΗ ϵΖ Ͳ ϬΗ ϵΖ Ͳ ϬΗ ϵΖ Ͳ ϬΗ ϵΖ Ͳ ϬΗ ϵΖ Ͳ ϬΗ ϵΖ Ͳ ϬΗ ϵΖ Ͳ ϬΗ ϵΖ Ͳ ϬΗ ϵΖ Ͳ ϬΗ

t t t t t t t t t t Ͳ t t

& sW sW sW sW sW sW sW sW sW Ͳ sW &

,D ,DͲ^ > ,DͲ^ > ,DͲ^ > ,DͲ^ > ,DͲ^ > ,DͲ^ > ,DͲ^ > ,DͲ^ > ,DͲ^ > Ͳ ,DͲ^ > ,D

KDD KDD KDD KDD KDD KDD KDD KDD KDD KDD Ͳ KDD KDD

Ͳ ^' ^' ^' ^' ^' ^' ^' ^' ^' Ͳ ^' Ͳ

Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ

Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ

Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ

ϭ ;dŽƚĂůͿ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ ϭ

Ϯ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ

ϭ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ

Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ

Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ

Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ

Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ

ϳ͘Ϭϳϵ ϳ͘ϬϴϬ ϳ͘Ϭϴϭ

tŽƌŬƌŽŽŵ ƌĞĂ ^ƚĂĨĨ ƌĞĂŬ ZŽŽŵ >ĂĐƚĂƚŝŽŶ ZŽŽŵ ^ƚĂĨĨ ZĞƐƚƌŽŽŵ ĞŚĂǀŝŽƌĂů ,ĞĂůƚŚ ^ƚĂĨĨ ZĞƐƚƌŽŽŵ ^ĞŶŝŽƌ WƐLJĐŚŝĂƚƌŝƐƚ KĨĨŝĐĞ ^ŽĐŝĂů tŽƌŬ KĨĨŝĐĞ ƌĞĂƚŝǀĞ ƌƚ dŚĞƌĂƉŝƐƚ KĨĨŝĐĞ ŽƵƌƚ >ŝĂƐŽŶƐ KĨĨŝĐĞ WƐLJĐŚ WƌŽǀŝĚĞƌƐ KĨĨŝĐĞ D, ůŝŶŝĐŝĂŶƐ KĨĨŝĐĞ 'W ůŝŶŝĐĂů ^ƵƉĞƌǀŝƐŽƌ KĨĨŝĐĞ D,ͬ^t ĚŵŝŶ ĂŶĚ ĂƐĞǁŽƌŬĞƌƐ KĨĨŝĐĞ hŶŝƚ ŚŝĞĨ KĨĨŝĐĞ ĚŵŝŶŝƐƚƌĂƚŝŽŶ ^ƚĂĨĨ ƌĞĂ ^ŽĐŝĂů tŽƌŬ ^ƵƉĞƌǀŝƐŽƌ KĨĨŝĐĞ :ĂŶŝƚŽƌ ůŽƐĞƚ ^ƵďƐƚĂŶĐĞ hƐĞ ĚŵŝŶŝƐƚƌĂƚŽƌͬ ŝƌĞĐƚŽƌ KĨĨŝĐĞ KdW ŝƌĞĐƚŽƌ KĨĨŝĐĞ 'ĞŶĞƌĂů tŽƌŬƐƚĂƚŝŽŶƐ ƌĞĂ

't 't 't

Ͳ Ͳ Ͳ

WEd WEd WEd

Wd Wd Wd

Z Z Z Z Z Z

d d d

ϵΖ Ͳ ϬΗ ϵΖ Ͳ ϬΗ ϵΖ Ͳ ϬΗ

t t Ͳ

sW sW Ͳ

,DͲ^ > KDD ,DͲ^ > KDD Ͳ Ͳ

^' ^' Ͳ

Ͳ Ͳ Ͳ

Ͳ Ͳ Ͳ

Ͳ Ͳ Ͳ

Ͳ Ͳ Ͳ

Ͳ Ͳ Ͳ

Ͳ Ͳ Ͳ

Ͳ Ͳ Ͳ

Ͳ Ͳ Ͳ

Ͳ Ͳ Ͳ

Ͳ Ͳ Ͳ

ϳ͘ϬϴϮ ϳ͘Ϭϴϯ ϳ͘Ϭϴϰ ϳ͘Ϭϴϱ ϳ͘Ϭϴϲ ϳ͘Ϭϴϳ ϳ͘Ϭϴϴ ϳ͘Ϭϴϵ ϳ͘ϬϵϬ ϳ͘Ϭϵϭ ϳ͘ϬϵϮ ϳ͘Ϭϵϯ

/ŶĨŝƌŵĂƌLJ ,ŽƵƐŝŶŐ hŶŝƚ ^ĞĐƵƌĞ sĞƐƚŝďƵůĞ &ŽŽĚ Ăƌƚ ZŽŽŵ DĞĚŝĐĂƚŝŽŶ ŝƐƚƌŝďƵƚŝŽŶ ZŽŽŵ KĨĨŝĐĞƌ ^ƚĂƚŝŽŶ ^ƚĂĨĨ ZĞƐƚƌŽŽŵ ŽƌŵŝƚŽƌLJ ĞĚ ƌĞĂ ; Ϳ ĂLJƌŽŽŵ WĞŽƉůĞ ŝŶ ƵƐƚŽĚLJ <ŝŽƐŬƐ ƌĞĂ WĞŽƉůĞ ŝŶ ƵƐƚŽĚLJ ZĞƐƚƌŽŽŵ ĐĐĞƐƐŝďůĞ ^ŚŽǁĞƌ ZŽŽŵ WĂŶƚƌLJ ͬ ĞǀĞƌĂŐĞ ŽƵŶƚĞƌ ƌĞĂ EKd h^

ϴϬ ϴϬ Ϯϴϴ ϭϯ͕ϳϲϴ ϭϭ͕Ϭϭϰ Ϯϰ͕ϳϴϮ ϭϬϬ ϴϬ ϭϬϬ ϲϰ ϲϬ ϭϭϬϬ ϯϱϬ ϰϬ ϭϮϬ ϭϮϬ ϮϬ Ϭ

^ ^ ^ Ͳ 't Ͳd ^ ^ Ͳ ^ W Z/D Ͳ Ͳ

Ͳ Ͳ Ͳ Ͳ Ͳ Kyz Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ

Ͳ WhͲ KE Ͳ WhͲ KE Ͳ Zd Ͳ Ͳ /^͖ tZ /^͖tZ Ͳ WhͲ KE Ͳ WhͲ KE Ͳ Ͳ Ͳ WhͲ KE /^ /^͖tZ Ͳ Ͳ Ͳ Ͳ /Z͖ WyͲ Zz͖ Zd ^ 'Ͳ,> WEd Wd Ͳ Zd Ͳ Zd

/ / / Ͳ / / / Ͳ / / Ͳ Ͳ

^^ ^^ d Ͳ 't ^^ ^^ Ͳ ^ ^^ Ͳ Ͳ

ϭϬΖ Ͳ ϬΗ ϵΖ Ͳ ϬΗ ϵΖ Ͳ ϬΗ Ͳ ϵΖ Ͳ ϬΗ ϭϬΖ Ͳ ϬΗ DŝŶ͘ ϭϰΖ Ͳ ϬΗ DŝŶ͘ Ͳ ϵΖ Ͳ ϬΗ ϵΖ Ͳ ϬΗ Ͳ Ͳ

,DͲ^t &> ,DͲ^t ,> ,DͲ^t ,> Ͳ Ͳ ,DͲ^t & Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ ^^Ͳ WW W Ͳ^t WW Ͳ Ͳ Ͳ Ͳ

,DͲ^ > ,D ,D Ͳ ,D Ͳ Ͳ Ͳ ^^ ^^ Ͳ Ͳ

^>ͲD ^>ͲD ^>ͲD Ͳ KDD Ͳ Ͳ Ͳ ^>ͲD Ͳ Ͳ Ͳ

^ ' ^ ' ^ ' Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ

Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ ϭ Ͳ Ͳ Ͳ Ͳ Ͳ

Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ

Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ ϭ Ͳ Ͳ

Ͳ Ͳ Ͳ Ͳ ϭ Ͳ Ͳ Ͳ Ϯ ϭ Ͳ Ͳ

Ͳ Ͳ Ͳ Ͳ Ϯ Ͳ Ͳ Ͳ ϰ Ϯ Ͳ Ͳ

Ͳ Ͳ Ͳ Ͳ ϭ Ͳ Ͳ Ͳ Ϯ Ͳ Ͳ Ͳ

Ͳ Ͳ ϭ Ͳ Ͳ Ͳ ϭ Ͳ Ͳ Ͳ Ͳ Ͳ

Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ

Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ

Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ

KDD

^'

Ͳ

Ͳ

Ͳ

Ͳ

Ͳ

Ͳ

Ͳ

Ͳ

Ͳ

Ͳ

Ͳ ^ ' ^ '

Ͳ Ͳ Ͳ Ϯ ϭ ;dŽƚĂůͿ Ͳ

Ͳ Ͳ Ͳ

Ͳ Ͳ Ͳ

Ͳ Ͳ Ͳ

Ͳ Ͳ Ͳ

Ͳ ϭ Ͳ

Ͳ Ͳ Ͳ

Ͳ Ͳ Ͳ

Ͳ Ͳ Ͳ

ϳ͘ϬϱϬ ϳ͘Ϭϱϭ ϳ͘ϬϱϮ ϳ͘Ϭϱϯ ϳ͘Ϭϱϰ ϳ͘Ϭϱϱ ϳ͘Ϭϱϲ ϳ͘Ϭϱϳ ϳ͘Ϭϱϴ ϳ͘Ϭϱϵ ϳ͘ϬϲϬ

ϳ͘Ϭϲϲ ϳ͘Ϭϲϳ ϳ͘Ϭϲϴ ϳ͘Ϭϲϵ ϳ͘ϬϳϬ ϳ͘Ϭϳϭ ϳ͘ϬϳϮ ϳ͘Ϭϳϯ ϳ͘Ϭϳϰ ϳ͘Ϭϳϱ ϳ͘Ϭϳϲ ϳ͘Ϭϳϳ ϳ͘Ϭϳϴ

ϭ ϭ ϲ

ϴϬ ϴϬ ϰϴ ^ƵďͲdŽƚĂů E^&͗ ĞƉĂƌƚŵĞŶƚĂů ĨĨŝĐŝĞŶĐLJ &ĂĐƚŽƌ͗ ϴϬй ^ƵďͲdŽƚĂů '^&͗ ϭ ϭ ϭ ϭ ϭ ϭϬ ϭ Ϯ ϭ Ϯ ϭ Ϭ

ϭϬϬ ϴϬ ϭϬϬ ϲϰ ϲϬ ϭϭϬ ϯϱϬ ϮϬ ϭϮϬ ϲϬ ϮϬ Ϭ

ϳ͘Ϭϵϰ

ůŝŶŝĐŝĂŶΖƐ tŽƌŬƐƚĂƚŝŽŶ ƌĞĂ

ϭ

ϭϮϴ

ϭϮϴ

Ͳ

Ͳ

ϳ͘Ϭϵϱ ϳ͘Ϭϵϲ ϳ͘Ϭϵϳ

EƵƌƐĞΖƐ ^ƚĂƚŝŽŶ WƌŽĐĞĚƵƌĞ ZŽŽŵ /ŶƚĞƌǀŝĞǁ ͬ ŽƵŶƐĞůŝŶŐ ZŽŽŵ

Ϯ ϭ Ϯ

ϲϬ ϭϱϬ ϴϬ

ϭϮϬ ϭϱϬ ϭϲϬ

't ^ ^

Ͳ Ͳ Ͳ

η ŽĨ ^ƉĂĐĞƐ

^ƉĂĐĞ ^ƚĂŶĚĂƌĚ

dŽƚĂů EĞƚ ƌĞĂ

Z Z

d

ϵΖ Ͳ ϬΗ

,DͲ^t &>

,D

Z Z / /

d ^^ ^^

ϵΖ Ͳ ϬΗ ϵΖ Ͳ ϬΗ DŝŶ͘ ϵΖ Ͳ ϬΗ

Ͳ Ͳ ,DͲ^t sW ,DͲ^t &>

Ͳ Ͳ ,D ^>ͲD ,DͲ^ > ^>ͲD

Z ,/d dhZ > ϳ͘ϬϬϬ

,ĞĂůƚŚ ^ĞƌǀŝĐĞƐ

ϳ͘Ϭϵϴ ^ƵƉƉůLJ ͬ tŝŶƚĞƌ ŽĂƚ ůŽƐĞƚ ϳ͘Ϭϵϵ ^ŽŝůĞĚ >ŝŶĞŶ ůŽƐĞƚ ϳ͘ϭϬϬ ŝŽŚĂnjĂƌĚ ZŽŽŵ ͬ ^ƚŽƌĂŐĞ ϳ͘ϭϬϭ >ĂƵŶĚƌLJ ůĐŽǀĞ ϳ͘ϭϬϮ :ĂŶŝƚŽƌ ůŽƐĞƚ ϳ͘ϭϬϯ KƵƚĚŽŽƌ ZĞĐƌĞĂƚŝŽŶ /ŶĨŝƌŵĂƌLJ ,ŽƵƐŝŶŐ hŶŝƚ

ϭ ϭ ϭ ϭ ϭ ϭ

ϱϬ ϰϬ ϰϬ ϲϬ ϰϬ ϮϬϬ ^ƵďͲdŽƚĂů E^&͗ ĞƉĂƌƚŵĞŶƚĂů ĨĨŝĐŝĞŶĐLJ &ĂĐƚŽƌ͗ ϴϬй ^ƵďͲdŽƚĂů '^&͗

ŽŵŵƵŶŝĐĂďůĞ ŝƐĞĂƐĞ hŶŝƚ ϳ͘ϭϬϰ ^ĞĐƵƌĞ sĞƐƚŝďƵůĞ ϭ ϭϬϬ ϳ͘ϭϬϱ &ŽŽĚ Ăƌƚ ZŽŽŵ ϭ ϴϬ ϳ͘ϭϬϲ KĨĨŝĐĞƌ ^ƚĂƚŝŽŶ ϭ ϲϰ ϳ͘ϭϬϳ ^ƚĂĨĨ ZĞƐƚƌŽŽŵ ϭ ϲϬ ϳ͘ϭϬϴ ^ŝŶŐůĞͲKĐĐƵƉĂŶĐLJ EĞŐĂƚŝǀĞ WƌĞƐƐƵƌĞ ĞůůƐ ϰ ϮϬϬ ϳ͘ϭϬϵ ŶƚĞ ZŽŽŵƐ Ϯ ϭϬϬ ϳ͘ϭϭϬ EĞŐĂƚŝǀĞ WƌĞƐƐƵƌĞ Ğůů Ͳ ^ŚŽǁĞƌ ƌĞĂ ; Ϳ ϰ ϲϬ ϳ͘ϭϭϭ ĂLJƌŽŽŵ ϭ ϮϭϬ ϳ͘ϭϭϮ WĞŽƉůĞ ŝŶ ƵƐƚŽĚLJ <ŝŽƐŬƐ ϭ ϮϬ ϳ͘ϭϭϯ WĂŶƚƌLJ ͬ ĞǀĞƌĂŐĞ ŽƵŶƚĞƌ ƌĞĂ ϭ ϮϬ ϳ͘ϭϭϰ ůŝŶŝĐŝĂŶΖƐ tŽƌŬƐƚĂƚŝŽŶ ƌĞĂ ϭ ϰϴ ϳ͘ϭϭϱ WƌŽĐĞĚƵƌĞ ZŽŽŵ ϭ ϭϱϬ ϳ͘ϭϭϲ DĞĚŝĐĂƚŝŽŶ ŝƐƚƌŝďƵƚŝŽŶ ZŽŽŵ ϭ ϭϬϬ ϳ͘ϭϭϳ /ŶƚĞƌǀŝĞǁ ͬ ŽƵŶƐĞůŝŶŐ ZŽŽŵ ϭ ϴϬ ϳ͘ϭϭϴ ^ƵƉƉůLJ ͬ tŝŶƚĞƌ ŽĂƚ ůŽƐĞƚ ϭ ϱϬ ϳ͘ϭϭϵ ^ŽŝůĞĚ >ŝŶĞŶ ůŽƐĞƚ ϭ ϰϬ ϳ͘ϭϮϬ ŝŽŚĂnjĂƌĚ ZŽŽŵ ͬ ^ƚŽƌĂŐĞ ϭ ϰϬ ϳ͘ϭϮϭ >ĂƵŶĚƌLJ ůĐŽǀĞ ϭ ϲϬ ϳ͘ϭϮϮ :ĂŶŝƚŽƌ ůŽƐĞƚ ϭ ϰϬ ϳ͘ϭϮϯ KƵƚĚŽŽƌ ZĞĐƌĞĂƚŝŽŶ ϭ ϭϳϱ ^ƵďͲdŽƚĂů E^&͗ ŽŵŵƵŶŝĐĂďůĞ ŝƐĞĂƐĞ hŶŝƚ ĞƉĂƌƚŵĞŶƚĂů ĨĨŝĐŝĞŶĐLJ &ĂĐƚŽƌ͗ ϴϬй ^ƵďͲdŽƚĂů '^&͗ ^ƚĂĨĨ dƌŝĂŐĞ ϳ͘ϭϮϰ džĂŵŝŶĂƚŝŽŶ ZŽŽŵ Ϯ ϭϮϱ ϳ͘ϭϮϱ ^ƚĂĨĨ tĂŝƚŝŶŐ ƌĞĂ ϭ ϭϬϬ ϲϬ ϳ͘ϭϮϲ ^ƚĂĨĨ ZĞƐƚƌŽŽŵ ϭ ^ƵďͲdŽƚĂů E^&͗ ^ƚĂĨĨ dƌŝĂŐĞ ĞƉĂƌƚŵĞŶƚĂů ĨĨŝĐŝĞŶĐLJ &ĂĐƚŽƌ͗ ϰϬй ^ƵďͲdŽƚĂů '^&͗

6

4.

5.

^

WŚLJƐŝĐĂů dŚĞƌĂƉLJ WŚLJƐŝĐĂů dŚĞƌĂƉLJ ZŽŽŵ tŽƌŬƐƚĂƚŝŽŶ ƌĞĂ KĨĨŝĐĞƌ ^ƚĂƚŝŽŶ WĞŽƉůĞ ŝŶ ƵƐƚŽĚLJ ZĞƐƚƌŽŽŵ WŚLJƐŝĐĂů dŚĞƌĂƉLJ ^ƚŽƌĂŐĞ ZŽŽŵ ,ĞĂůƚŚ ĚŵŝŶŝƐƚƌĂƚŝŽŶ ůŝŶŝĐ ĚŵŝŶŝƐƚƌĂƚŽƌ KĨĨŝĐĞ ŚŝĞĨ WŚLJƐŝĐŝĂŶΖƐ KĨĨŝĐĞ EƵƌƐŝŶŐ ŝƌĞĐƚŽƌΖƐ KĨĨŝĐĞ KĨĨŝĐĞ ĚŵŝŶŝƐƚƌĂƚŝŽŶ tŽƌŬƐƚĂƚŝŽŶƐ ;hŶĂƐƐŝŐŶĞĚͿ ƌĞĂ ŚĂƌƚŝŶŐ ZŽŽŵ ůĞƌŝĐĂů ^ƚĂĨĨ tŽƌŬƐƚĂƚŝŽŶ ƌĞĂ /d ^ƵƉƉŽƌƚ KĨĨŝĐĞ /d ƋƵŝƉŵĞŶƚ ĂŶĚ tŽƌŬ ZŽŽŵ ^ƚĂĨĨ ŽŶĨĞƌĞŶĐĞ ZŽŽŵ DŝŶŝ ŽŶĨĞƌĞŶĐĞ ZŽŽŵ

ϳ͘Ϭϰϱ ϳ͘Ϭϰϲ ϳ͘Ϭϰϳ ϳ͘Ϭϰϴ ϳ͘Ϭϰϵ

5

,ĞĂůƚŚ ^ĞƌǀŝĐĞƐ

&/y Yh/WD Ed

tĂůů ŽŶƐƚƌƵĐƚŝŽŶ

/ŶͲ tĂůů

tĂůů &ŝŶŝƐŚ

&ůŽŽƌ

ϱϬ ϰϬ ϰϬ ϲϬ ϰϬ ϮϬϬ ϯ͕ϭϰϮ Ϯ͕ϱϭϰ ϱ͕ϲϱϲ

^ Ͳ Ͳ W Z/D ^ ^

Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ

Ͳ /Z͖ WyͲ Zz /Z͖ WyͲ Zz /^ Ͳ Ͳ

WhͲ KE WhͲ KE WhͲ KE WhͲ KE WhͲ KE KE Ͳ^

/ / / / / Ͳ

^^ ^^ ^^ ^^ 't KW

ϭϬϬ ϴϬ ϲϰ ϲϬ ϴϬϬ ϮϬϬ ϮϰϬ ϮϭϬ ϮϬ ϮϬ ϰϴ ϭϱϬ ϭϬϬ ϴϬ ϱϬ ϰϬ ϰϬ ϲϬ ϰϬ ϭϳϱ Ϯ͕ϱϳϳ Ϯ͕ϬϲϮ ϰ͕ϲϯϵ

^ ^ Ͳ 't Ͳd W^ W^ W Z/D ^ Ͳ Ͳ 't ^ ^ ^ ^ Ͳ Ͳ W Z/D ^ ^

Ͳ Ͳ Ͳ Ͳ Kyz Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ

Ͳ Ͳ Ͳ /^͖ tZ Ͳ Ͳ /^ Ͳ Ͳ Ͳ WEd Ͳ Ͳ Ͳ Ͳ /Z͖ WyͲ Zz /Z͖ WyͲ Zz /^ Ͳ Ͳ

WhͲ KE WhͲ KE Ͳ /^͖tZ WhͲ KE WhͲ KE /^͖tZ WhͲ KE Ͳ Ͳ Zd Zd Zd Zd WhͲ KE WhͲ KE WhͲ KE WhͲ KE WhͲ KE KE Ͳ^

/ / Ͳ / / / / / Ͳ Ͳ Z Z / / / / / / / / Ͳ

ϮϱϬ ϭϬϬ ϲϬ ϰϭϬ ϭϲϰ ϱϳϰ

't Ͳ 't Ͳd

Ͳ Ͳ Ͳ

WEd /Z͖ WyͲ Zz /^͖ tZ

Zd Zd /^͖ tZ

/ / /

ĞƉĂƌƚŵĞŶƚĂů ĨĨŝĐŝĞŶĐLJ &ĂĐƚŽƌ͗

dŽƚĂů E^&͗

dŽƚĂů '^&͗

ĞŝůŝŶŐ

ĞŝůŝŶŐ ,ĞŝŐŚƚ

ŽŽƌ

>ŝƚĞ

^

;ƉĞƌ ĞĂĐŚ ƐƉĂĐĞͿ

ĂďŝŶĞƚ

ĞŶĐŚ

,ŽŽŬ

'ƌĂď Ăƌ

ůŽĐŬ DŽĚĞƐƚLJ DŽŶŝƚŽƌ ; ŝŐŝƚĂůͿ WĂŶĞů

&ƌĂŵĞ

,ƌĚǁƌĞ

'ůĂnjŝŶŐ

ϵΖ Ͳ ϬΗ ,DͲ^t sW ϵΖ Ͳ ϬΗ ,DͲ^t sW ϭϬΖ Ͳ ϬΗ ,DͲ^t sW ϵΖ Ͳ ϬΗ DŝŶ͘ Ͳ Ͳ ϵΖ Ͳ ϬΗ ,DͲ^t ,> ϭϰΖ Ͳ ϬΗ Ͳ ϭϴΖ Ͳ ϬΗ ,DͲ^t &>

,D ,D ,D Ͳ ,D ,DͲ^ >

^>ͲD KDD ^>ͲD Ͳ ^>ͲD KDD

^ ' ^' ^ ' Ͳ ^ ' >'

Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ

Ͳ Ͳ ϭ Ͳ Ͳ Ͳ

Ͳ Ͳ Ͳ Ͳ Ͳ ϭ

Ͳ Ͳ Ͳ Ͳ ϭ Ͳ

Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ

Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ

DŝƌƌŽƌ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ

Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ

Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ

Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ

^^ ^^ Ͳ 't ^ ^^ ^^ d Ͳ Ͳ d ^^ d ^^ ^^ ^^ d ^^ 't KW

ϭϬΖ Ͳ ϬΗ ,DͲ^t &> ϵΖ Ͳ ϬΗ ,DͲ^t ,> Ͳ Ͳ Ͳ ϵΖ Ͳ ϬΗ ,DͲ^t & ϵΖ Ͳ ϬΗ ,DͲ^t ,> ϵΖ Ͳ ϬΗ ,DͲ^t ,> ϵΖ Ͳ ϬΗ W Ͳ^t WW ϭϰΖ Ͳ ϬΗ DŝŶ͘ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ ϵΖ Ͳ ϬΗ ,DͲ^t &> ϵΖ Ͳ ϬΗ DŝŶ͘ ,DͲ^t sW ϵΖ Ͳ ϬΗ ,DͲ^t ,> ϵΖ Ͳ ϬΗ ,DͲ^t ,> ϵΖ Ͳ ϬΗ ,DͲ^t ,> ϵΖ Ͳ ϬΗ ,DͲ^t sW ϭϬΖ Ͳ ϬΗ ,DͲ^t sW ϵΖ Ͳ ϬΗ DŝŶ͘ Ͳ Ͳ ϵΖ Ͳ ϬΗ ,DͲ^t ,> ϭϰΖ Ͳ ϬΗ Ͳ ϭϴΖ Ͳ ϬΗ ,DͲ^t &>

,DͲ^ > ,D Ͳ ,D ,DͲ^ > ,DͲ^ > ^^ Ͳ Ͳ Ͳ ,D ,D ,D ,DͲ^ > ,D ,D ,D Ͳ ,D ,DͲ^ >

^>ͲD ^>ͲD Ͳ KDD ^>ͲD ^>ͲD Ͳ Ͳ Ͳ Ͳ KDD ^>ͲD ^>ͲD ^>ͲD ^>ͲD KDD ^>ͲD Ͳ ^>ͲD KDD

^ ' ^ ' Ͳ Ͳ ^ ' ^ ' Ͳ Ͳ Ͳ Ͳ ^' ^ ' ^ ' ^ ' ^ ' ^' ^ ' Ͳ ^ ' >'

Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ ϭ Ͳ Ͳ Ͳ Ͳ Ͳ ϭ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ

Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ϯ ϭ ;^ƚŽƌĂŐĞͿ Ͳ Ͳ Ͳ ϭ Ͳ Ͳ Ͳ

Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ ϭ

Ͳ Ͳ Ͳ ϭ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ ϭ Ͳ

Ͳ Ͳ Ͳ Ϯ Ͳ Ͳ Ϯ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ

Ͳ Ͳ Ͳ ϭ ϭ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ

Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ ϭ Ͳ Ͳ Ͳ ϭ ϭ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ

Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ

Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ

Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ Ͳ

d d d

ϵΖ Ͳ ϬΗ ϵΖ Ͳ ϬΗ ϵΖ Ͳ ϬΗ

,D ,D ,D

KDD KDD KDD

^' ^' Ͳ

Ͳ Ͳ Ͳ

Ͳ Ͳ Ͳ

Ͳ Ͳ Ͳ

Ͳ Ͳ ϭ

Ͳ Ͳ Ϯ

Ͳ Ͳ ϭ

Ͳ Ͳ Ͳ

Ͳ Ͳ Ͳ

Ͳ Ͳ Ͳ

Ͳ Ͳ Ͳ

>ŽĐŬĞƌ ĞƉĂƌƚŵĞŶƚ ϭϮΗdžϭϮΗdžϭϮΗ

ϴ͘ϬϬ ϴ͘ϬϬ ϴ͘ϬϬ ϴ͘ϬϬ ϴ͘ϬϬ ϴ͘ϬϬ ϴ͘ϬϬ ϴ͘ϬϬ ϴ͘ϬϬ ϴ͘ϬϬ ϴ͘ϬϬ ϴ͘Ϭϭ ϴ͘Ϭϭ ϴ͘Ϭϭ

ϴ͘Ϭϭ

ϴ͘Ϭϭ ϴ͘Ϭϭ ϴ͘Ϭϭ

ϴ͘Ϭϭ ϴ͘Ϭϭ

ϴ͘Ϭϭ ϴ͘Ϭϭ

ϴ͘ϬϮ ϴ͘ϬϮ ϴ͘ϬϮ

ϴ͘ϬϮ ϴ͘ϬϮ ϴ͘ϬϮ ϴ͘ϬϮ ϴ͘ϬϮ ϴ͘ϬϮ ϴ͘ϬϮ ϴ͘Ϭϯ ϴ͘Ϭϯ ϴ͘Ϭϯ ϴ͘Ϭϯ ϴ͘Ϭϯ ϴ͘Ϭϯ ϴ͘Ϭϯ ϴ͘Ϭϯ

ϴ͘

ϴ͘Ϭ

ϴ͘Ϭ

Enlarged plans for specific programs Construction and finishes excel organization

,ĞĂůƚŚ ^ĞƌǀŝĐĞƐ

ĂƐĞ

ϴ͘ϬϬ

ϭϵ͕ϴϵϳ ϭϱ͕ϳϱϰ ϯϱ͕ϲϱϭ

Z ,/d dhZ >

7

6.

7.

,DͲ^t &> ,DͲ^t sW ,DͲ^t &

Physical model elevation view Physical model elevation view &/y Yh/WD Ed

;ƉĞƌ ĞĂĐŚ ƐƉĂĐĞͿ

ϴ͘Ϭ ϴ͘Ϭ ϴ͘Ϭ ϴ͘Ϭ ϴ͘Ϭ ϴ͘Ϭ ϴ͘Ϭ ϴ͘Ϭ

ϴ͘Ϭ ϴ͘Ϭ ϴ͘Ϭ ϴ͘Ϭ ϴ͘Ϭ

ĞŶƚƌĂ

ϴ͘Ϭ ϴ͘Ϭ ϴ͘Ϭ

ϴ͘Ϭ

40

Hand Sketches Italy Study Abroad Sketchbook Showcase PERSONAL WORK Sketches gathered from my Spring semester study abroad in Italy across 4 main cities: Rome, Florence, Venice, and Milan. The sketches explore various architectural elements in elevation views, corner studies, and exterior/interior perspective explorations.

PEN SKETCH

SPRING / 23

41

Emily Huang 1 (901) 833-9520 emilyhuanginfo@gmail.com