Master’s of Architecture Candidate | Class of 2024
University of Southern California
1
WORK | Architecture
Selected Projects
Mirrored Mirage, Visitor Center
Merge Point, Timber High-Rise
The Veil, Urban Bath House
Valley Club Residence, Residential
Under One Roof, Co-living Housing
2
WORK / Design
Selected Projects
Double Curvature, Pyramidal Panelization Study
X-verse, Digital Installation Series
3
ABOUT ME
Richie Luu
Work Process / Interests
Experience/Resume
MIRRORED MIRAGE
Visitor Center at Oasis of Mara
Joshua Tree National Park
The “Mirrored Mirage” is a project led by a precedent-based approach as the incorporation and implementation of spatial concepts.
A Visitor’s Center located at the trailhead to the Oasis of Mara in Twenty-nine Palms, CA, adjacent to the north entrance to Joshua Tree National Park serves as the program and site for the project.
The “Mirrored Mirage” aims to generate an almost ephemerallike feeling when being approached. Almost camouflages with the environment, the center draws from stories and experiences of mirages and its mysterious nature providing an image of a haven in the desert environment.
USC SCHOOL OF ARCHITECTURE
ARCH 505B: DESIGN I
INSTRUCTOR: KATE CHIU
FALL 2021 Location
Project Length Oasis of Mara, Joshua Tree National Park, CA 5 Weeks
OASIS OF MARA
JOSHUA TREE NATIONAL PARK
COME SEE THE MIRRORED MIRAGE
U.S. NATIONAL PARK SERVICE
1’ = 1/16”
1’ = 1/16” PLANS
LONGITUDINAL SECTION
TRANSVERSE SECTION
1’ = 1/16”
TRIPTYCH
Three renderings showing the structure situated on the site
|| Rhino 7; Adobe Photoshop ||
PRECEDENT DIAGRAMS
Diagrams developed from the Brazil Pavilion in Osaka, JP and the Danish National Maritime museum. The “Mirrored Mirage” was developed using the triangulated grid in plan and undulating movement of the pavilion in section.
A scene viewing the visitor center upon arrival at the from the parking lot north of site displaying the light, lifted roof structure.
When consulting with Joshua Tree Park rangers, a frequent mention was the need for a shaded open structure. The mirrored mirage has a mostly subterranean program, taking advantage of cool shade and optimizing passive cooling. At ground-level, the roof provides shading and indirect light to generate a less-harsh environment for flora to thrive. At the tail-end of the ground level program, an outdoor amphitheatre, bathrooms, showers, and drinking fountains are provided for hikers.
TwinMotion
SITE MODEL
This 1/16” site model shows the structure adjacency to the existing parking lot.
Its simple materials and laser-cut details places emphasis on the lightweight characteristics of the mirror-clad roof surface.
|| Laser-cut Chipboard, Museum Board, Silver foil ||
INTERIOR MODEL
An experiential shot depicting a view which a visitor may see when entering the subterranean center
Beneath the triangulated roof, the subterranean programs consist of bathrooms, a library, an open art gallery, and office areas for staff. This view in the position of the visitor as they are standing in the gallery approaching the library.
||
|| Chipboard, Museum Board, Acrylic Paint
MERGE POINT
All-Timber High Rise Social Justice Center
Situated at the confluence of two major cultural hubs in downtown LA, Chinatown and Olvera Street, Merge Point offers a sprawling lot that has been repurposed for the benefit of the local community in its pursuit of social justice. The site features a public gathering space strategically located on a street corner that draws ample foot traffic and serves as a versatile platform for events, talks, and protests. To provide respite from the sun’s harsh rays, a building to the south of the gathering area offers additional shade, while an area with native trees and planters doubles as shaded seating, a feature lacking at the nearby bus stops and gathering spots.
As a new community gathering space, Merge Point brings together a diverse range of cultures and communities in LA, celebrating the richness and native lands of the area. Through its provision of social justice services and research, it stands as a vital addition to the urban landscape.
EXPLODED AXONOMETRIC PLAN
Merge point consists of a cafe and open plan at ground level, with upper levels providing offices, resource spaces and public venues.
Each ”triangular” floor “switches back” providing natural shade and passive cooling as each cantilever extends over the balcony in the floor below.
MEP are all consolidated to one area of the structure, allowing ease in regard to the grey and black water system, which collects rainwater and recycles it throughout the building. In the basement, water processing cycles grey water back into the building’s toilets, while blackwater is processed for fertilizer and distributed to the site’s native gardens.
The design is a timber high-rise, consisting timber floors, structural members, and facade louvers. Additionally, a greywater and rain collection system recycles rain and grey water, distributing the processed water back into the green site and across rear terracotta louvers facing the prevailing wind to achieve passive cooling.
|| Rhino 7; Adobe Illustrator ||
Basswood, Museum Board, 3-D printed PLA and Wood-fiber
STUDIES
Site and solar studies were heavily considered in order to revitalize green spaces and achieve a design that could earn a LEED Platinum rating
Merge Point’s approach in social justice extends beyond an office building for services.
With a focus on the site and surrounding community, the project aims to return a sizable plot of land to the community by reintroducing public green spaces to an area where greenery and public gathering spaces are non-existent. Native drought tolerant plants were selected and arranged in a way to assist with the building and site’s gray and black water system. The building itself is oriented to provide shade in public seating areas while allowing sunlight fall on green spaces.
This urban bath house is situated in Venice Beach, CA in a high pedestrian traffic and tourist area near the beach. The veil was designed to explore divisions in intimate spacesdivision of gender, as well as public vs. private.
In examining the boundaries of privacy, frosted polycarbonate was considered in terms of materiality. A material division that allows viewers to partially see what’s on the other side, but still obscuring the subject enough provide a level of privacy. In terms of program, a public cafe is inserted into the center of the bath house, allowing customers to observe the activity within, perhaps drawing enough curiosity to where they would choose to enter the bath house themselves.
USC SCHOOL OF ARCHITECTURE
ARCH 505A: CORE STUDIO II
INSTRUCTOR: KATE CHIU
SPRING 2021
Location Project Length 7274 MARKET ST, VENICE CA 5 Weeks
PRECEDENT DIAGRAMS
The Veil implements a curved wall plan on a grid system to generate a sense of flow and compression/ expansion.
“The Veil” utilizes curved frostedpolycarbonate walls that are almost labyrinthine is plan. To consider movements generated by the walls, the grid plan and circulation of The Glass Museum at the Toledo Museum of Art by SANAA was diagrammed. The Veil Implements a similar flow of movement, beginning with a grid system to allow quick understanding of the program layout, with curved walls that generate a sense of flow and contraction/ expansion to the visitors.
SECTION OBLIQUE
Semi-transparent material combined with curved labyrinthine walls cut off lines of sight, providing a sense of mystery and wonder.
The semi-transparent walls garner a sense of voyeurism without overstepping the boundary of privacy. Curved labyrinthine walls cut off the viewers line of vision without delineating a specific termination point. This wall layout is juxtaposed with the walls materiality, allowing viewers to develop a new line of sight, through the polycarbonate dividers.
|| TwinMotion ||
MODEL
Representing the “veil” qualities of the design, sanded acrylic and corrugated acrylic were selected to emphasize the visual qualities of the bath house.
A chunk model was presented, showing 1/3 cut of the building where the public cafe and private bath interact. The panel can be pulled upward to reveal the private program hidden behind the visual boundary.
Conceptualized as a contemporary ruin that could have existed in this location for centuries, a series of earthen walls serve as the primary organizational element and a means of creating a sense of solidity and rootedness to the physical site.
Spread over more than 2 acres, these rectilinear walls stand as powerful, grounding elements that create a sense of connectivity between the four independent structures that make up the property. Crafted from rammed earth, they anchor the building to the site, instilling the project with a profound sense of rootedness and belonging. This connection to the land bestows the architecture an effortless sense of belonging and a timeless quality.
ANACAPA ARCHITECTURE
TEAM:
Dan Weber (Principal)
Lila Boyce (Project Manager)
Shahab Parsa (Architectural Designer)
Nicole Robinson (Interior Designer)
Tete Ramirez (Interior Designer)
Richie Luu (Architectural Designer; Model-Maker)
Location
Project Stage
Project Type
Ojai, CA
Design Development
High-end Residential
INTERIOR RENDER
Delicate roofs are elegantly inserted between the parallel walls, providing shelter while allowing nature to seep in. The roofs, interior wooden walls, and delicately crafted screening elements counterbalance the mass of the rammed earth walls. They bring the scale down to a more human level, creating spaces that are functional and exude a sense of subtle drama as the day unfolds.
|| TwinMotion; Adobe Photoshop ||
Rammed Earth Residence offers a sense of belonging and warmth through its carefully crafted interior and robust exterior.
Marrying the strength of earthen walls and the rugged beauty of local stone with the site’s wild landscape, the project is a testament to the harmonizing of elements. The organic and rectilinear acting as compliments to one another as this contemporary ruin ensures its place in time.
|| TwinMotion; Adobe Photoshop ||
FLOOR PLANS
An uncomplicated linear floorplan that takes advantage of the residence’s integration with the landscape
|| Revit; Morpholio Trace ||
ELEVATIONS
To emphasize the natural flow of the design, we opted to present conceptual elevations in a watercolor-like format
|| Revit; Adobe Illustrator; Adobe Photoshop ||
MAIN 1F
MAIN 2F
POOL HOUSE GUEST HOUSE
Inside these monumental walls, the interior spaces serve as a calming sanctuary, reconnecting the occupant with nature, light, and shadow as a means of breaking from the frenetic pace of daily life.
|| Morpholio Trace ||
MODEL
Echoing the rooted yet lightweight basis of the residence, a clean and genuine approach was taken to build a representative model. Polished cut oak was selected to represent the roof, with handmade rammed-earth wall created with rockite and soil collected from the site. The model rests upon a Santa Barbara sandstone slab.
|| Oak, Rockite + Local soil, Sandstone ||
See How It’s Made (Link)
UNDER ONE ROOF
Co-Living Housing for Migrants and Refugees
UNDER ONE ROOF approaches co-living housing designed for migrants and refugees arriving in a new country. The design draws from existing vernacular architecture of the Hakka community in China, which consisted of a defensive circular walled structure, with shared central programs. The approach takes the existing form and maintains/emphasizes the communal qualities, especially the shared commons and central courtyard. The original “defensive wall” is lifted, almost like a veil, to create a permeable perimeter, blurring the lines between public and private which in turn, encourages the interaction between residents among themselves, as well as visitors. Underneath the roof reveals public programs like public markets which the residents can staff, learning centers, and workshop spaces (for the market) all to accommodate those moving into a new culture and community, allowing them to share their skills and crafts. Learning centers provide opportunities and education to generate a path in which residents can further integrate into a new society, while celebrating the extraordinary melting pot, all under one sweeping roof.
USC SCHOOL OF ARCHITECTURE
ARCH 605A: GRADUATE DESIGN II
INSTRUCTOR: LISA LITTLE
FALL 2022
Location
Project Length
Project Detail
Hillcrest Country Club (existing site)
10000 W Pico Blvd, Los Angeles, CA 90064
10 weeks
25000SF co-living housing consisting of 5 “pods” accommodating 50 residents (10 individuals per pod)
*25% of SF must be dedicated to a public program for work and business
POD and UNIT PLAN
With limited program space provided, 2-floor units were chosen to help open up the space, especially since there was not a height limitation. The upper floor boasts a balcony overlooking the site outside of the housing project, while the lower floor opens up to a semi-private balcony shared amongst residents in each 10-person housing pod.
FULL SECTION and WORM’S EYE
2-floor living units with a shared semi-private balcony overlooking a central courtyard
Opting for a Tulou-style layout for the housing pods allows the negative space to generate semi-private courtyards and platforms for the existing residents. Each pod incorporates shared communal spaces on the ground floor that open to the courtyards, facilitating social interactions among all residents while providing semiprivate utilities for each pod. The exterior of the radial design is open to the public, featuring shaded storefronts for the sale of goods and services. Vertical space on the site is utilized for private living units, establishing a public-to-private hierarchy. This layout seamlessly connects a gradient of social spaces, promoting natural interactions and community cohesion.
|| Rhino 7; Adobe Illustrator ||
PHYSICAL MODEL
Although this project was not comprehensive and did not require detailed specifications for structure and materials, I was inclined to explore the constructibility of the design.
Considering the complex geometry of the roof structure, fiber-reinforced polymer (FRP) was selected for its sustainable traits, including light weight and ease of transport. Steel was proposed for the framing due to the structure’s organic shape. When paired with FRP, the need for steel in the framing would be significantly reduced, resulting in less material waste and lower embodied carbon in the construction process.
Under One Roof circumscribes a central open community courtyard, undulating and lifting to encourage socialization in the green space.
The roof structure is lifted at points throughout the space, providing access in and out of the shared courtyard and allowing interaction between the public shopping space and the semi-private space within. Greenery and public amenities are provided to allow residents to gather, socialize, and share cultures amongst each other encouraging interaction and integration within a new culture and community.
|| Rhino 7, Adobe Illustrator ||
DOUBLE CURVATURE
Pyramidal Panelization Study
PROMPT
Generate a double curved object and approach its panelization from a building construction standpoint (quad plane, truncated pyramid, pyramid, etc.)
TEAM:
Richie Luu
Etulan Joseph
When exploring double-curvature surfaces, I was interested in panelization in triangular/pyramidal forms as opposed to a quad-plane. This approach to constructing curvature was an attempt to bring features that tend to be concealed or diminished in the foreground. Instead of paneling non-planar surfaces in the most discreet way possible, I wanted to place emphasis on the curves — presenting the features as almost a freestanding work on its own.
USC SCHOOL OF ARCHITECTURE
ARCH 564: COMPUTATIONAL GEOMETRY
INSTRUCTOR: MATTHEW CONWAY
FALL 20221
X-VERSE Digital Installation Series
by Ryoji Ikeda
CREDITS
Concept | Composition:
Ryoji Ikeda
Project Management | Production: Richard Luu
Programming: Norimichi Hirakawa
Tomonaga Tokuyama
Satoshi Hama
Ryo Shiraki
Commissioned by:
Audemars Piguet Contemporary
Special thanks to The Vinyl Factory
X-verse” by Ryoji Ikeda is an immersive audiovisual installation that marries art with technology, showcasing Ikeda’s exploration of sound and light within the digital realm. These works transform data into captivating aesthetic experiences, utilizing monochromatic visuals and intricate soundscapes. Ikeda plays with concepts of the infinitesimal and the infinite, challenging sensory perceptions.
The installation symbolizes the intersection of the unknown, science, and art, embodying the convergence of the digital and tangible. “X-verse” invites viewers into a meditative contemplation of the unseen digital forces, highlighting the beauty and complexity of data in our contemporary world.
MAY 20 - SEP 18, 2021
180 Studios, 180 The Strand, London, UK
SEP 24-26, 2021 Art Basel Unlimited 2021, Basel, CH
APR 16 - AUG 28, 2022 Hirosaki Museum of Contemporary Art, Hirosaki, JP
MAY 12 - DEC 30, 2023
“Yet It Moves!”, Copenhagen Contemporary, DK
MAY 11 - NOV 24, 2019
|| DCI-4K DLP projector, computer, speakers ||
Venice Biennale, Venice, IT
RICHIE LUU
Richie Luu is an art producer and designer based in Los Angeles. He received his Master’s of Architecture degree at University of Southern California in 2024 with distinction.
He holds degrees in Art History/Conservation and Criminology from University of California, Irvine. From 2016 to 2020, Richie served as a project manager and producer in Kyoto, Japan, collaborating with renowned Japanese visual and sound artist Ryoji Ikeda. His responsibilities included overseeing performances and exhibitions at esteemed international venues such as The Paris Opera (FR), Centre Pompidou (FR), Museum of Contemporary Art, Tokyo (JP), the 2019 Venice Biennale (IT), and the United Artists Theatre (US).
Richie has a fondness for photography, graphic design, acrylic/watercolor painting, and digital illustration. Complementing his personal interests, his professional journey has naturally cultivated a deep fascination with the interplay of light and sound. He continuously integrates this passion into his architectural design work, where he explores the aesthetic intricacies of transparencies and reflections, as well as the nuanced relationships between shadow and acoustics within the built environment.
WORK PROCESS
In my approach to design, the incorporation of tactile, analog techniques is important, particularly with the aim of understanding natural light patterns in forms. I tend to create multiple study models and utilize photography to document the interplay of light and shadow. Sketching serves as an essential tool for studying these elements, helping further the development of my designs
ABOVE: Chair prototype and blueprints utilizing CNC cutting and paracord weaving techniques
BELOW: Fabrication experiments of an organic shape
(3D print, concrete cast of Vacuformed mould, CNC highdensity foam, Water-jet cut and heated glass
In architectural design, a dichotomy traditionally exists between the tangible constructs of solid and void, addition and subtraction. However, within this binary framework lies a nuanced, yet underexplored, domain: a realm characterized by the absence of materiality, yet still holding purpose and significance. This liminal space, between tangible and intangible, could benefit from a deeper examination of its potential and function within architectural discourse.
This research aims to examine and articulate the role of nontangible mediums in architecture and design, with a particular focus on the ephemeral and elusive qualities of light projections, illusions, spatial voids, and the “membrane” that is created when the intangible converges with tangible architecture.
Treating light (and Absence of light) as a material, can its ratio and effect be translated into a distinct visual image?
ABOVE: architectural light photographs are translated into a unique “thumbprint” for the project.
ABOVE:
The study of projection mapping images to reinterpret and reformat existing physical geometries
ABOVE:
Immersive light model where light appears and responds to human touch and movement
RICHARD LUU
EXPERIENCE
Designer | Administrator
ANACAPA Architecture | Santa Barbara, US | 02/2021 - 08/2023
- Assisted project manager with: document submissions, concept booklets,arranging/preparing for client meeting, etc.
- 3D modeling, rendering, and construction document revisions for projects
