Katie Yuan Portfolio 2024

LIU (KATIE) YUAN

LANGUAGES

EDUCATION

CONTACT INFORMATION

+1 (213) 706-2744 katieyuan0712@gmail.com

UNIVERSITY OF PENNSYLVANIA | Philadelphia, USA

MASTER OF SCIENCE IN DESIGN | Advanced Architectural Design

• GPA: 3.94 / 4.0

UNIVERSITY OF SOUTHERN CALIFORNIA | Los Angeles, USA

MASTER OF ARCHITECTURE

• GPA: 3.72 / 4.0

UNIVERSITY OF TORONTO | Toronto, Canada

BACHELOR OF ART | Specialist in Architectural Studies

• GPA: 3.61 / 4.0; “Dean’s List Scholar”

PROFESSIONAL EXPERIENCES

AUG. 2023 - PRESENT

AUG. 2021 - MAY 2023

SEP. 2017- JUN. 2021

Architectural Intern Beijing, China

• Developed site analysis diagrams and rendering for clients meetings

• Individually designed plan layouts for 2 resort projects

• Fabricated physcial models for 1 resident project and 1 pavilion project using 3D printing, CNC milling, and laser cutting

• Conducted a study on local architectural regulations and precedent case studies for presentation in internal meetings

UNIVERSITY OF SOUTHERN CALIFORNIA JAN 2023 - MAY 2023

Class Assistant

• Undergraduate first year studio course

• Hosted office hours twice a week for a section of 13 students

• Assisted students with design concepts and fabrication methods

• Answered questions from students about assignments and software issues

STUDIO AR & D ARCHITECTS

Architectural Intern

• Worked on construction drawings of 4 projects using AutoCAD and Revit

• Communicated with consultant on interior elevations drawings on construction site

• Created door jamb and head details drawing

2022 - AUG.2022

Los Angeles, CA, USA

• Prepared construction drawings, renderings, and booklets for Pre-Submittal Conference and MAJ Application to planning department for 5 single residential projects

EHRLICH YANAI RHEE CHANEY ARCHITECTS

MAR. 2022

Los Angeles, CA, USA Externship Experience

• Produced renderings for a museum expansion project using Revit and Enscape

• Generated interior cabinet detail drawings using Revit

• Researched relevant precedents for

• Created wind, sun, and climate studies using grasshopper

ACHIEVEMENTS

IMAGE PUBLICATION

Daniel K Brown and Michael Chapman, AD The Allegorical Architectural Machine; to be published by John Wiley & Sons, Inc.

USC GRADUATE THESIS AWARD

Master of Architecture Distinction in Directed Design Research - In recognition of distinguished graduate final degree projects MAY 2023

Work selected for the Bluerpint 2023 Exhibition at the USC School of Architecture

INTERSECTING ECHOES

Academic Group Work

Boston, MA, USA

SPATIAL CONTRADICTION

Academic Work

Fictional Site In Unreal Engine

IRRATIONALITY OF RATIONALITY

Academic Work

Los Angeles, CA, USA

PATHWAY OF DISCOVERY

Academic Work

Joshua Tree, CA, USA

UNDEFINED PARKING STRUCTURE

Graduate Thesis

Los Angeles, CA, USA

OTHER WORKS

Model of Assembly: Catheral of Servers

Acrylic Paintings/Sketches

INTERSECTING ECHOES: The Architecture of Immersive Interplay

Academic Group Work (Collaborated with Pei Zhi)

Course Name: ARCH 7050

Instructor: Carl D’Apolito-Dworkin

Project Location: Boston, MA, USA Spring 2024

What does the word “immersive” mean in immersive theater? This project attempts to redefine the meaning of “immersive” through exploring geometry of outside and inside, creating layers of surfaces, and a part to whole relationship. Hence, this project presents the word immersive as not only interaction of audiences with performances, but also a visual, spatial, and emotional interaction between all users in the building and around the building, including performers, audiences, occupants of the building, and people in the community/neighborhood.

The exterior and interior forms share a consistent language, using intersecting and stacking cones to create visual and acoustic extensions that invite sensory interaction. The layered surfaces, formed by stacking and offsetting cones, create thickness and dynamic spatial experiences, resulting in three theaters with individual fly systems, circulation spaces, and areas for structure and ventilation. The varied transparency and reflectivity of these layers enhance interaction and alter the visual and emotional experience within the building. The part-to-whole relationship is evident in the geometry, structural system, and site design, with the interior rooms reflecting the overall form and contributing to the building’s immersive narrative.

OUTSIDE & INSIDE

The geometry of both the exterior and interior form share similar language and form. The outside is constructed through a series of intersecting cones. While the inside is constructed from a series of cones stacked on top of each other. The geometry of the cone also creates both a visual convergence and acoustic extension, which can echo sound into the community to invite interaction with the building on a sensory level.

During the design process, experimental models were constructed to test the panelization methods for smooth surfaces, explore structural possibilities, and refine assembly methods for the final model. These models allowed for the testing and realization of the relationships between the exterior form, interior geometry, and structural elements.

PHOTO

PHOTO

PART TO WHOLE: “PART” RESEMBLES THE SURROUNDING SITE

The site of the project is located in East Boston, specifically in the Jeffries Point Neighborhood. This area is one of the most diverse neighborhoods in Boston and is home to many public infrastructure, such as beaches, libraries, and parks. The site plan shows how programs and circulation is integrated into the structural truss system. Ticket booth and coat checks are placed within the structure, creating different spatial experiences for users. Moreover the language of the cone also resembles the site. Exterior landscape stairs are also constructed from cones that blend into the site.

PART TO WHOLE: “PART” RESEMBLES THE OUTSIDE

The inside and outside geometry not only correspond in language, but the inner “part” also echoes the entire form. From the section perspective drawing, each theater room within the immersive building is both a self-contained unit with its own identity and a part of a larger whole. Hence, the shape of the interior room is an analogy of the whole building and each room contributes to the overall experience and understanding of the building design, which is similar to the concept of an immersive performance where different scenes are interconnected and contributes to the overall narrative.

LAYERS OF SURFACES

As seen in the section drawing, the whole building appears as a fly tower. The stacking cones first create a larger scale thickness, which divides the space into 3 separate theaters with individual fly systems. The layers also create medium scale thickness, which becomes circulations. Lastly, the layers then create smaller scale thickness, which becomes space for structure and ventilation pipes.

ATYPICAL ARRANGEMENT OF PROGRAMS

The layered surfaces also play an important role in the plan of the design. As seen in the plan, there are three types of hatches to separate back of house, front of house, and public areas. As the layering surfaces result in different room size and shape, the position of the backstage and frontstage is reversed. With the backstage being visible from the exterior and public, the boundary between frontstage and backstage is reestablished, which changes the relationship between all users in the building and surrounding site.

Green Rooms

Outside Sea�ng Steps

Coat Check

BLURS THE BOUNDARY BETWEEN PERFORMER / SPECTATOR / PUBLIC

The role of audiences, performers, and occupants is blurred and all users become an active participant who influence and transform each within the building and site. For example, when people sitting on the site look into the building, the transparent and reflective surfaces they are observing a performer engaged in an act, an audience member experiencing the show, or a local resident wandering around. enriches the experience but also challenges conventional perceptions of space usage, making the building itself a stage where every continuous, interactive performance.

Entrance

each other ’s experiences make it unclear whether This ambiguity not only every moment is part of a

LIGHTHOUSE IN THE CITY

Each layered surface exhibits varying degrees of transparency and reflectivity. As demonstrated in the model and renderings, these layers create dynamic spatial interactions among all building users. When the theaters are in use, they illuminate, and light transmits through the different layers, making the entire building appear like a lighthouse within the community.

Entrance

SPATIAL CONTRADICTION: MUSEUM OF EMOTIONS

Academic Work

Course Name: ARCH 705

Instructor: Jia Zhou Zhu

Project Location: Fictional Site in Unreal Engine Fall 2022

Animation for this project is included in application

How are spaces defined? How can spaces become different? How do spaces become more interactive? This project attempts to answer these questions through using artificial intelligence as co-pilots to explore different geometries and combinations of forms. The architecture is divided into 4 elements: skin (cladding), flesh (object and space), bone (structure), and tissue (poche and connection). While AI, such as Midjourney, have the ability to generate fascinating images, they lack critical thinking, and it is up to the designer to determine how the geometry is realized and rationalized in 3-dimensional space. By generating different interesting forms using inspirations from AI, the space is further rationalized to become an architecture about emotions. In this project, the difference between spaces are separated by two distinct emotions, overwhelming/suppression vs. free flowing/movement. In other words, walls are no longer elements that divide space, but rather elements that emphasize and reinforce the emotions one would feel within the space.

ARTIFICIAL INTELLIGENCE AS CO-PILOT

By imputing different “prompts” (image description text), the AI program Midjourney will generate images based on the words. I made different promtps for the four elements of my design: skin, flesh, bone, and tissue. Each iterations use slighly different prompts and certain commands are added in the prompts to create different forms. The commands changes how strong of a ‘stylization’ your image have and sets image prompt weight relative to text weight.

Final flesh form

Flesh and tissue combination

Flesh, tissue, and bone combination

04 Skin geometry formation

05 Transparency

06 Skin patterns

GROUND FLOOR PLAN

EMOTIONAL CONTRADICTIONS

People can experience two contradicting emotions within the spaces. Spaces colored in black are tight and closed, allowing people to feel overwhelmed and suppressed, while spaces colored in white are welcoming and open, allowing people to feel movement and relief.

SPACES AS EMOTIONS

Spaces that are more closed and angular become smaller gallery spaces for artworks that express tension and suppression. The geometry and form of walls allows them to also become floors for people to sit and use. The traditional definition of walls is transformed into a multifunctional element.

PART-TO-WHOLE RELATIONSHIP / INTERIOR-TO-EXTERIOR RELATIONSHIP

The conceptual form begins with the flesh objects that create the interior space. These objects become the “part” that creates the “whole“. The form of the enclosure (skin), structure (bone), connection space (tissue), and floor plates are designed in relation to the “part”.

The wired patterns on the surface of the building is developed using a curl noise pattern in Houdini to show movement and motion. The transparency of skin responds to the interior programs of the building. Private spaces, such as galleries, are more opaque, and public spaces, such as coffee shops and lobbies,are more transparent.

SKIN PATTERN MOTION

IRRATIONALITY OF RATIONALITY

Academic Work

Course Name: ARCH 605A

Instructor: Amanda Ortland

Project Location: Los Angeles, CA, USA

Fall 2021

Throughout the history of media production, film making, and animation creation, the “backstage” has always been a mysterious space that provokes wonder and interest. What must be done before a film or animation can be presented to the audience? What is the process of production and postproduction? Many unknown processes have taken place before the film and animation has brought upon the audiences. Accordingly, I hope to bring both the mysterious production and postproduction process done in the “backstage” into the light and into the “frontstage” through this project.

The extension building specifically offers spaces for the Film + Production Program. This program is chosen because it offers the most insights of what happens behind the scenes. The exterior form of the project transitions between rationality and irrationality, echoing the organized and orderly “frontstage” and the scattered and disordered “backstage”. The large multifunctional space expands across all three levels of the building, allowing transparency and breaking the wall between rationality and irrationality, and “frontstage” and “backstage”.

SITE

PEDESTRIAN CIRCULATION

The project site is located at the intersection of W Jefferson Blvd and McClintock Ave. The site is within the USC village and across from the USC main campus, indirectly becoming a boundary between campus and the surrounding community. The site map shows pedestrian circulation and pathways, and traffic intersections.

SPATIAL AMBIGUITY

The new 2.5 dimension allows the faces of the geometry to become new shapes or maintain their former 3-dimensional qualities. It is this functional uncertainty of the shapes that creates movement, multi-dimension relationships, and new spatial perception.

BEHINDTHESCENE

FRONTSTAGE

FRONTSTAGE

SPATIAL CONNECTION BETWEEN PROGRAMS

Irregular forms occurs not only in interior spaces, but also in exterior landscape, allowing both interior and exterior programs to form spatial interaction and connection.

DYNAMIC SPATIAL INTERSECTION

The triangular plates intersect and interlock with each other and rectangular volumes to create a dynamic and open space that connects all programs within the building.

PATHWAY OF DISCOVERY: EDUCATION CENTER IN JOSHUA TREE NATIONAL PARK

Academic Work Course Name: ARCH 418 Instructor: Douglas E. Noble

Project Location: Joshua Tree, CA, USA Spring 2023

The Pathway of Discovery is an inclusive and interactive project aimed at underprivileged children to discover the natural forces of the desert. The project is located in the Indian Cove Campground in Joshua Tree National Park, California. The project emphasizes the use of ramps as pathways, ensuring accessibility for all, including individuals with disabilities. The shape of the roof corresponds with the pathways, and the openings on the roof allow sunlight into the building, creating beautiful shadows. The concave roof in the activity space creates a semiexterior space that allows for the celebration of rain, a significant event in Joshua Tree. The interior of the building is designed to cater to the needs of children, with an open plan design, sustainable materials, and different zones offering unique experiences such as sensory rooms, interactive exhibits, and spaces to learn about local flora and fauna. The Pathway of Discovery provides a unique and educational experience for children, encouraging curiosity, inclusivity, and a love for the environment, representing an important step towards creating a more inclusive and sustainable future.

Design for Discovery

The window opens on the roof and walls provide different interesting moments to discover the desert and nature. The openings also provide an opportunity to experience shadow tracking throughout the day.

for Water

Design for Energy

The concave part of the roof not only creates a space for celebrating rain, but also captures water. The water is then recycled and used to water plants in the building and exterior garden, and this process allows children or students to understand the importance of saving water.

In the daytime, the small openings on the roof and in the walls provide sun and heat protection. At night, window openings serve as wind towers, allowing natural wind to ventilate the building and creating a gentle breeze.

SITE PLAN

Design

The Pathway of Design is an education center that provides a space for both learning, playing, and sleeping. The connectivity between spaces generates an interactive and integrated environment, allowing children to interact with both nature and each other.

for Change

Since the spaces within the building are very open and interactive, the building can be easily transformed into other facilities, such as visitor centers, research facilities, and camping centers.

Design for Ecosystems

When coming to Pathway of Discovery, the center provides electric buses as a means for transportation to reduce carbon emission. Moreover, the center also encourages individuals to use bicycles or electric scooters as a transportation option on site to minimize impact on the ecosystem.

Design for Integration

Design

Design for Economy

The roof of the building is made from prefabricated concrete and many of the pieces are repeated units, saving money for the construction and protecting further environmental damage to the site. The materials used for the building are long lasting and need very little maintenance. By using rammed earth as materials for the wall, the building can help maintain a comfortable indoor temperature without relying heavily on heating and cooling systems.

for Equitable Community

The circulation between all the programs and spaces within the building are connected through ramps. All stairs are replaced with ramps to ensure accessibility of all individuals and ensure safety within the building for children. The spaces are designed to maximize open space, encouraging community engagement and providing an inclusive environment.

Design for Resources

The material of the walls are rammed earth, which are extracted from the site. Since part of the building is underground, the extracted material of the ground is reused into the construction of the walls. This not only reduces the need for transporting materials from offsite but also minimizes the impact on the environment by utilizing the natural resources available on-site.

Design for Well-Being

The ramp pathways not only connect interior programs, but also connect exterior landscape with the interior. The exterior garden provides space for exterior activities, such as camp fire and snack booths, providing people an opportunity to connect with nature.

Design

UNDEFINED PARKING STRUCTURE

Graduate Thesis

Course Name: ARCH 793

Instructor: Yaohua Wang

Project Location: Los Angeles, CA, USA Spring 2023

The lines drawn on maps to define the borders of countries and territories may appear solid and definitive at a glance. However, when magnified and viewed at a larger scale, these lines are composed of segments, curves, and dashes that intersect, connect, and overlap. Lines are one-dimensional, but when given 3-dimensional qualities, they become less concrete and defined. In other words, when lines are given different width and height, they are no longer elements that separate or confine objects, but rather they embody multiple conditions that can become spaces, tectonics, connections, and circulations.

Formed through a series of intersecting, shifting, and offsetting lines, Undefined Parking Structure appears as an urban boundary that separates the UCLA campus and residential area at an urban scale. In this condition, the boundary becomes a partition wall. At an architectural scale, the parking structure becomes the destination for both entering and exiting the site. Yet simultaneously, the structure’s various programs (offices, classrooms, green space, ect.) blur the distinction between the university campus and the urban site. In this condition, the boundary becomes a destination. At a model scale, the volumes, ramps, walls, and planes are interlocked and joined together through the distinct tectonic elements of each individual piece. In this condition, the boundary becomes a connection.

Perhaps, lines or boundaries exist in multiple conditions and cannot be defined…

BOUNDARY AS SKIN; TECTONICS AS CONNECTION

Rem Koolhaas’ Junkspace highlights how modern buildings are becoming larger, disconnected, and meaningless. This concept corresponds to many modern architecture where there is a parametric patterned skin that covers the interior rooms and spaces, and there is no connection between the interior and exterior. In other words, the boundary between the interior and exterior is defined and separated by the skin. How can the relationship between inner and outer space be more interactive? How can the skin become not only the skin? Can the skin have multiple functions? The model, redesigned from Lane 189, attempts to redefine the function of the skin as the tectonics that connects the interior floor plates and circulation together. The model is also designed as a 3-dimensional puzzle set with each piece having its unique function. The skin binds all the pieces together and is stabilized by a key piece that interlocks the whole puzzle set. Hence, this project proposes a possible solution to the Koolhaas’ Junkspace phenomenon, generating connection and interaction between interior and exterior, and redefining the functions of the skin.

BOUNDARY AS NATURE. NATURE AS BORDERLINE. BORDERLINE AS CIRCULATION. How are borderlines drawn, where are borders placed, and what defines boundaries? Do boundaries need to be solid, should boundaries be unchanging, and can boundaries be shifting? The map collages attempts to suggest a possible way to redefine borderlines: that is, through the outline of natural elements, such as mountains, terrains, and rivers. Instead of artificial concrete lines, boundaries can be drawn based on, placed at, defined by natural geography, which changes with time and physical forces. A segment of the Mississippi River is used to represent a shifting (borderline) boundary that can change as the river responds to the environment. The different hatches implies the possible shifts in the boundary through time.Moreover, the magnetic grid lines also emphasize the concept of a shifting boundary. The shift or movement redefines the borderline each time it changes, the borderline becomes a part of nature, and nature becomes the boundary. Interestingly, each iteration of the movement becomes a pathway that resembles circulation within a space. In this case, the previous static boundary becomes more dynamic and free flowing. Yet, when boundary is seen as circulation, the question of whether circulation can also become a destination is something that I wish to explore in the third assignment.

BOUNDARY AS NATURE; BORDERLINE AS CIRCULATION

How are borderlines drawn, where are borders placed, and what defines boundaries? Do boundaries need to be solid, should boundaries be unchanging, and can boundaries be shifting? The map collages attempts to suggest a possible way to redefine borderlines: that is, through the outline of natural elements, such as mountains, terrains, and rivers. Instead of artificial concrete lines, boundaries can be drawn based on, placed at, defined by natural geography, which changes with time and physical forces. A segment of the Mississippi River is used to represent a shifting (borderline) boundary that can change as the river responds to the environment. The different hatches implies the possible shifts in the boundary through time. Moreover, the magnetic grid lines also emphasize the concept of a shifting boundary. The shift or movement redefines the borderline each time it changes, the borderline becomes a part of nature, and nature becomes the boundary. Interestingly, each iteration of the movement becomes a pathway that resembles circulation within a space. In this case, the previous static boundary becomes more dynamic and free flowing.

SITE CONDITION

the project is located at the borderline of where the UCLA campus meets with the residential area. So the project replaces the original green space along Hilgard Ave and joins the two existing parking structures through a series of ramps, massings, and walls.

Floor Plates

Space + Volume

FORM

DERIVED FROM LINE SEGMENTS/LINEWEIGHT

Lines are one-dimensional, but when given 3-dimensional qualities, they become less concrete and defined. In other words, when lines are given different width and height, they are no longer elements that separate or confine objects, but rather they embody multiple conditions that can become spaces, tectonics, connections, and circulations.

The programs within the structure are also scattered and not continued. The project not spaces throughout the structure. Starting with the fist program type, as you can see through different programs and circulation paths. Parking as one of the main programs space. The parking structure becomes the destination for both entering PROGRAMS

IN SEGMENTS

not only serves a parking structure, but also has educational related space and green in the plan, various parking lots are at different parts of the structure, interconnected programs of the project also transforms the structure into both a destination and circulation entering and exiting the site, and circulation for passing through the site.

PROJECT ON THE

From an urban scale, the structure appears as a continuous fortress or urban boundary structure wraps around the buildings in the university campus

THE URBAN SITE

boundary that separates the UCLA campus from the residential area. The shape of the campus and acts as a long uninterrupted partition wall.

OTHER WORKS: MODEL OF ASSEMBLY

CATHEDRAL OF SERVERS

Academic Group Project (Collaborated with Siyue Han)

Course Name: ARCH 7050

Instructor: Martin Fernandez

Project Location: New York, NY, USA Fall 2023

The Cathedral of Servers attempts to redefine boundaries as a unifying and transformative force. Our project marries different architectural styles through an innovative facade design and tectonic assembly. At its core, it seeks to transcend traditional binary conditions in architecture, fostering a dialogue between contrasting elements. The structure features a dual scale, distinguishing major structural components arranged in a systematic grid, from the minor, intricately detailed elements. These minor elements, flexible and dynamic, interact with the grid. This interaction echoes Eisenman’s concept of “betweeness”, where the boundaries between different architectural elements are neither strictly defined nor entirely dissolved.

OTHER WORKS: ACRYLIC PAINTINGS/SKETCHES

Individual Work Material: Acrylic on canvas Year 2016-2022

While photography can portray our world in a realistic representation, paintings have the ability to express different perspectives and emotions. Through acrylic paintings, I used vibrant colors and expressive brushstrokes to represent different sceneries and stories.