Katie Yuan Portfolio

katiely@upenn.edu | +1 213-706-2744

LIU (KATIE) YUAN Architecture Portfolio | Selected Works | 2021-2024

LIU (KATIE) YUAN LANGUAGES English Chinese

SKILLS ADOBE SUITE Illustrator Photoshop Indesign After Effects Adboe XD 3-D MODELLING Rhino SketchUp Houdini

CONTACT INFORMATION +1 (213) 706-2744 katiely@upenn.edu

EDUCATION UNIVERSITY OF PENNSYLVANIA | Philadelphia, USA

AUG. 2023 - PRESENT

MASTER OF SCIENCE IN DESIGN | Advanced Architectural Design • GPA: 3.90 / 4.0

UNIVERSITY OF SOUTHERN CALIFORNIA | Los Angeles, USA

AUG. 2021 - MAY 2023

MASTER OF ARCHITECTURE • GPA: 3.72 / 4.0

UNIVERSITY OF TORONTO | Toronto, Canada

SEP. 2017- JUN. 2021

BACHELOR OF ART | Specialist in Architectural Studies • GPA: 3.61 / 4.0; “Dean’s List Scholar”

PROFESSIONAL EXPERIENCES ASMAT OFFICE

Architectural Intern

MAY 2023 - AUG.2023 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

Class Assistant

JAN 2023 - MAY 2023 Los Angeles, CA, USA

• 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

MAY 2022 - AUG.2022 Los Angeles, CA, USA

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

Grasshopper RENDERING V-Ray Lumion Unreal Engine Enscape Keyshot BIM/CAD AutoCAD Revit OTHERS Microsoft Office Suite Midjourney Arduino

EHRLICH YANAI RHEE CHANEY ARCHITECTS

Externship Experience

MAR. 2022 Los Angeles, CA, USA

• 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

EXTRACURRICULAR ACTIVITIES USC CGSA Media Team Director

• Hosted weekly meetings to discuss event posters and tweets design • Managed social media accounts (instagram, xiaohongshu, LinkedIn); reached over 10,000 subscribers • Designed and produced 3 trophies for our singing competition event

Media Team Member

• Individually designed posters for tweets and received over 500 views • Organized and design club’s tweets posted on Wechat • Participated in club meetings and gave ideas on events and tweets’ content

MAY 2022 - JAN 2023 Los Angeles, CA, USA

JAN. 2022 - MAY 2022 Los Angeles, CA, USA

CONTENT 01

UNDEFINED PARKING STRUCTURE Graduate Thesis Los Angeles, CA, USA

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SPATIAL CONTRADICTION Academic Work Fictional Site In Unreal Engine

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IRRATIONALITY OF RATIONALITY Academic Work Los Angeles, CA, USA

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PATHWAY OF DISCOVERY Academic Work Joshua Tree, CA, USA

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CATHEDRAL OF SERVERS Academic Group Work New York, NY, USA

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OTHER WORKS

Facade Design: Voids and Shadows Furniture Design: All In One Acrylic Paintings/Sketches

katiely@upenn.edu | +1 213-706-2744

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.

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 How are borderlines drawn, where areon, borders andwhich what defines need to be solid, be drawn based placed at, definedplaced, by natural geography, changes with time andboundaries? physical forces. A segmentDo of theboundaries Mississippi River is used to represent a shifting (borderline) boundary that can change as the river responds to the environment. The different should boundaries be unchanging, and canshifts boundaries betime.Moreover, shifting?

The grid map collages to suggest a possible hatches implies the possible in the boundary through the magnetic lines also emphasize theattempts concept of a boundary. The shift or movement redefines the borderline each time it changes, the borderline becomes a part of nature, and way to redefine borderlines: shifting thatbecomes is, through the outline ofofnatural such ascirculation mountains, terrains, and rivers. nature the boundary. Interestingly, each iteration the movement elements, becomes a pathway that resembles within a space. In this case, the previous static boundary becomes more dynamic and free flowing. Yet, when boundary is seen as circulation, Instead of artificial concrete lines, boundaries can bebecome drawn based on,thatplaced at,in defined by natural geography, which the question of whether circulation can also a destination is something I wish to explore the third assignment. 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.

01 Floor Plates

02 Space + Volume

03 Walls

04 Ramps + Circulation

05 Structure

06 Railings

TRANSFORMATION OF LINES INTO ARCHITECTURAL LANGUAGE

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.

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01 Parking Strcuture 1 02 Study Hall 1 03 Classroom 1 04 Parking Strcuture 2 05 Study Hall 2 06 Exterior Garden 1 07 Classroom 2 08 Parking Strcuture 3 09 Parking Strcuture 4

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The programs within the structure are also scattered and not continued. The project n 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 program space. The parking structure becomes the destination for both enter

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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 ms of the project also transforms the structure into both a destination and circulation ring and exiting the site, and circulation for passing through the site.

PROJECT ON TH

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

HE URBAN SITE

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

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.

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web like lines in organic curved movement, AI HUMAN thin wire architecture structure stretched

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architecture wired organic structure, interAI HUMAN secting and overlapping, web like form

volumetric architecture with fractal forms to AI HUMAN show abstract emotions

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web AI like lines in organic curved movement, HUMAN thin wire architecture structure stretched AI HUMAN -- stylize 625

edges, AIvolumetric geometry with sharp HUMAN

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intersecting and overlapping, web like form AI HUMAN -- stylize 625

volumetric architecture with fractalHUMAN forms to AI show abstract emotions AI HUMAN -- stylize 625

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image + web like lines in organicHUMAN curved AI movement, thin wire architecture structure stretched

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image + web like lines in organic curved movement, thin wire architecture structure stretched -- iw 1

image + volumetric geometry with sharp edges, organic forms -- iw 1

image + architecture wired organic HUMAN structure, AI intersecting and overlapping, web like form

image + architecture wired organic structure, intersecting and overlapping, web like form -- iw 1

ARTIFICIAL INTELLIGENCE AS CO-PILOT

image + volumetric architecture with fractal AI HUMAN forms to show abstract emotions

image + volumetric architecture with fractal forms to show abstract emotions -- iw 1

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.

FLESH - SKIN -

01 Final flesh form

02 Flesh and tissue combination

03 Flesh, tissue, and bone combination

- BONE - TISSUE

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.

SECTION A-A

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”.

SKIN PATTERN MOTION

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.

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”.

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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.

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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.

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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.

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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.

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Design for Water

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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.

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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.

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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.

Design for Ecosystems

Design for Integration

Design for Change

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.

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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.

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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.

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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.

Design for Resources

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Design for Equitable Community

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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.

1 Double glazing 2 Window frame 3 Thermal insulation 4 Precast concrete panel 5 Waterproof membrane 6 Parapet coping 7 Rammed earth 8 Interior wall finish 9 Interior floor finish 10 Concrete slab 11 Gravel 12 Earth

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

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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.

CATHEDRAL OF SERVERS Academic Group Project (Collaborated by 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.

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Choisy Drawings of Mahanakorn Bank And Foxconn Headquarters A A D _ S T U D I O NEW YORK

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Critics: Martin Fernandez | TA: Amy Wu | Siyue Han, Liu (Katie) Yuan University of Pennsylvania_ Fall 2023

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Critics: Martin Fernandez | TA: Amy Wu | Siyue Han, Liu (Katie) Yuan University of Pennsylvania_ Fall 2023

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Exploded Axonometric Drawings of Mahanakorn Bank And Foxconn Headquarters Critics: Martin Fernandez | TA: Amy Wu | Siyue Han, Liu (Katie) Yuan University of Pennsylvania_ Fall 2023

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ANALYSIS OF BUILDING SYSTEM

Critics: Martin Fernandez | TA: Amy Wu | Siyue Han, Liu (Katie) Yuan University of Pennsylvania_ Fall 2023

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The chunk models from the previous two projects aim to uncover the intricacies of assembly and spatial configuration. By extending our modeling efforts beyond just the facade, we seek to initially explore the interconnections among various components (such as floors, ceilings, walls, structure, plumbing, and lighting) to comprehend how they collectively contribute to the overall assembly.

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Critics: Martin Fernandez | TA: Amy Wu | Siyue Han, Katie Yuan University of Pennsylvania_ Fall 2023

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Critics: Martin Fernandez | TA: Amy Wu | Siyue Han, Katie Yuan University of Pennsylvania_ Fall 2023

Details of Assembly of Floor Plates, Facades, Walls, and Roof

REINTERPRETATION OF ARCHITECTURAL ELEMENTS

From our precedent studies, different architectural element are then reinterpreted and reused in our new proposal to explore density, opaqueness or transparency, repetition, and assembly. This exploration is informed by the project’s foundational concepts, including the redefinition of boundaries, the integration of contrasting architectural styles, and the nuanced interplay between different scales of structural components

FRONT FACADE ELEVATION

The facade, inspired by Gothic architecture’s verticality and detailing, symbolizes a historical continuum, linking past and present. Contrasting this, the interior draws from industrial design, emphasizing functional elements like exposed steel and staircases.

PERSPECTIVE SECTION DRAWING

The building, designed primarily for servers, integrates modern, technological aesthetics, illustrating a fusion of historical artistry with contemporary digital design. The oscillating facade pattern, resembling an AI-generated design, exemplifies this blend.

MODEL OF ASSEMBLY

The Cathedral of Servers is a harmonious amalgamation of Gothic, industrial, and modern elements, achieved through intersections and interlocks.

MODEL OF INTERSECTION

These diverse architectural styles coexist, complement, and enhance one another, creating a space where boundaries are not just crossed but transcended.

PROCESS OF ASSEMBLY

DETAILS OF INTERSECTIONS + INTERLOCKS

OTHER WORKS: FURNITURE DESIGN ALL IN ONE: A MULTI-FUNCTIONAL CHAIR Individual Work Course Name: ARCH 564 Instructor: R. Scott Mitchell Fall 2022

This project attempts to design a multi-purpose chair that is a rocking chair, normal chair, and stool as the furniture piece is rotated. The furniture piece is constructed from plywood sheets and assembled with metal rods.

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.