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SHIRLEY YUEN Interior Design Selected Works


SHIRLEY YUEN

Architectural Designer shirleyuen16@gmail.com

PROFILE

issuu.com/shirleyuen16

vimeo.com/shirleyuen

EXPERIENCE

I am a 5th year architecture student at Pratt Institute interested in multimedia architectural design. I thrive on experimentation.

Production Facilities Shop Monitor

Pratt Institute // Jan 2016-Current • Assisting faculty and students with laser cutting, 3D printing and model making techniques

Assistant Designer

Dreamland Creative Projects // Aug-Sep 2017 • Assisted in DD & SD stages of Bayer Leaps Pavilion

SKILLS Digital

Freelance Model Maker

Opacic Architects // Jul 2017 • Developed a physical model for client presentation

Rhino 3D AutoCAD

Freelance 3D Modeling

V-Ray

Prof. William Katavolos // Jun-Aug 2017 • Updated CAD, 3D model and renders for presentation and construction

Photoshop Illustrator InDesign

COMMUNITY SERVICE

After Effects Lumion

Local Art Volunteer

Unity

Bangor Area School District // Sep 2010-June 2014 • Designed murals for local elementary schools • Provided teacher assistance in art projects • Assisted in theater set design

Model Making

3D Printing

207.478.1685

Laser Cutting

Wood

Metal

Communication

EDUCATION Pratt Institute School of Architecture

• English // Native • Cantonese // Working • Spanish // Limited

B. Arch with Minor in Interior Design // anticipated May 2019 • Presidential Merit Scholarship • President’s List // Spring 2015 - Fall 2018

INTERESTs

REFERENCES Janet Roseff

jsr@opacicarchitects.com 914.591.4306 x107

Rodrigo Guajardo

rodguajardo@gmail.com 718.399.4349

Opacic Architects Photography

Painting

Travel

Pratt Shop Manager


figures at fault

Awareness of Consumption

4-7

Spring 2018

technics 2.0

Furniture Design

8-11

Fall 2017

office textiles Fabric Interiors

12-15

Spring 2017

weight_wait

Airport Fast Food Spring 2018

16-19


figures at fault Awareness of Consumption "The body is the living representation of the offense." With our lack of recognition for over-consumption of cardboard, we wanted to inform the user through self-sacrifice. Like many religious fasting rituals, people do not eat or drink to atone for their sins. We wanted to raise awarness by putting the user through an uncomfortable ritual as their sacrifice for cardboard consumption. The user sees their own reflection using light and shadow. The light behind the user casts a shadow against the wall of cardboard, revealing they are the biggest player of cardboard consumption.

front row | Shelby Bourke, Beem Chansue, Ally Li, K back row | Tania Branquinho, Shirley Yuen, Caroline

01

int design 202 spring 2018 critic | tania branquinho 4


Khanh Linh Hoang, Suki Fu, Emily Du Santarelli, Taylor Long, Tom Hu, Su Ergeneli, Han Luu

studio team 5


VENDING MACHINES

16’-6”

ENTRANCE

B

15”

3’-6”

EXIT

A

16’ - 6”

MATERIAL USED IN INSTALLATION MODULES SMALL: MEDIUM: LARGE: ANGLED:

# 120 250 350 120

3 1 1

SQ. IN. 15,360 48,000 100,800 15,360 179,520

MORE THAN AVERAGE YEARLY USE

VENDING

ELEVATORS

ELEVATOR

SIZE [IN] 16X8 16X12 16X8 16X8 TOTAL

6


consumption. Instead of using mirrors, we decided on using light and shadow. The light shining behind the user creates a shadow in front of them, When they see their shadow hitting the cardboard, they can see how big their shadow is. This represents the fact that we are the biggest player of cardboard consumption. ELEVATION STANDING ELEVATION SITTING

ORK

through your g, and after

o prepare for

PLAN DISTANCE FROM WALL

DISTANCE FROM WALL

HEIGHT

HEIGHT

DISTANCE FROM WALL

WIDTH

3’-0”

3’-0”

5’-0”

3’-0”

3’-0”

8’-0”

5’-0”

3’-0”

3’-0”

8’-0”

3’-0”

5’-0”

5’-0”

5’-0”

3’-0”

8’-0”

3’-0”

3’-0”

3’-0”

5’-0”

3’-0”

8’-0”

8’-0”

8’-0”

3’-0”

3’-0”

13’-0”

3’-0”

13’-0”

3’-3”

6’-0”

s. Before, I’m yself mentally pirituality and bout the food god. During, I d at one point, gy and logic e point of the hese thoughts I try to always ehind the fast, ment of food is ulfillment and er the fast, it’s he day, then it d oneness for

3’-0”

13’-0”

3’-0”

13’-0”

3’-0”

13’-0”

13’-0”

DISTANCE OF LIGHT SOURCE TO LOCATION OF PERSON

DIRECTIONAL

amily isn’t too o normally I’m sually listen to ust take time e sure that my

VARIATIONS OF TEST

6”

2’

5’

10’

15’

D

C

6’ - 3”

A

B

C

10’ - 0”

5’ - 0”

2’ - 0”

6” 2’ - 6”

A

10’ - 0”

19 - 8”

B

D

LIGHT SOURCE

SHADOW LENGTH

SHADOW INTENSITY

NLINESS : TOXINS DETOXING PURIFIED

LIGHT & SHADOW ANALYSIS

D-D

B-B 7

B-D

20’


technics 2.0 Furniture Design

This was a beginner's course into furniture design for interiors. It began with structural studies before moving into functional pieces.

PROJECT 04_PROFILE CHAIR SHIRLEY YUEN FALL 2017 INT-517_FURNITURE DESIGN PROF. TED KILCOMMONS

An emphasis of the course was placed on the idea of function over form, which is often overlooked at a design school.

BACKING & SEATING 3/4� PINE BOARD

The course is in tune with other sustainability courses in understandng furniture marketing and cost of materials.

02

Furniture Design Fall 2017 critic | ted kilcommons 8


R 2” WOODEN DOWELS (1/4” DIA.)

INITIAL SKETCHES_FRAMING 23”

JOINT DETAIL

TOP VIEW

1:1

1:4

16”

25”

CHAIR PROFILE 3/4” PLYWOOD

SIDE ELEVATION

1:4

FRONT ELEVATION

1:4

individual 9


01

profile chair 2x4 plywood & pine boards 10


JOINT DETAIL

HIDDEN CRATE STRUCTURE

JOINT DETAIL

02

CARDBOARD CHAIR HIDDEN CRATE STRUCTURE 11


office textiles Fabric Interiors The course was divided into two parts: designing textiles and applying predesigned textiles to an office interior. The textiles I designed are based on the story of "Le Petit Prince" by Antoine de Saint-Exupéry for the theme of hospitality. The office is decorated to exude luxury by the microscopic noise of the textiles. SPIRIT

”People where you live grow five thousand roses in one garden yet they don’t find what they’re looking for... And yet what they’re looking for could be found in a single rose, or a little water...”

03

textiles for interiors spring 2017 critic | hazel siegel 12

”You alone will ha of the stars I sha And so it will be look at the sky a


WONDERMENT

ave the stars as no one else has them. In one all be living. In one of them I shall be laughing. e as if all the stars were laughing, when you at night. You--only you--will have stars that can laugh.”

TRANSIENCE

”All grown-ups were once children... but only few of them remember.”

individual 13


GENERAL OFFICE WALLCOVERING_WC1

BATHROOM WALLCOVERING_WC3

EXECUTIVE OFFICE WALLCOVERING_WC2

CH2

RESTAURANT

MAIL ROOM CH5

MAIN ENTRANCE CH5

S2 WAITING AREA S1

CH5 RECEPTION CH1

CH6

CONFERENCE ROM 2

INTERVIEW ROOM CH4

CH4

ADMINISTRATIVE ASSISTANTS

CONFERENCE ROOM 1 CH6 CH3

CH1 HUMAN RESOURCE DEPT.

ADMINISTRATIVE ASSISTANT CH4

SYS1&2

CH4

PRESIDENT

CH6

CH3

CH4

ACOUNTING DEPT.

INTERN/GUEST

VICE PRESIDENT

CH4

CH4 MEDIA PURCHASING DEPT.

CH5

CH4 STRATEGIC PLANNERS

SYS1&2

DEVELOPMENT EXECUTION

CH6 MEETING ROOM

MEETING ROOM CH5

SYS1&2

ACCOUNT SERVICE DEPT.

CH6

CH5

SYS1&2

ENCLAVES

CH6

CREATIVE DEPT.

WINDOW TREATMENT_WT1

14


KNOLL PFISTER SOFA_S1

KNOLL PFISTER LOUNGE CHAIR_S2

KNOLL LIFE CHAIR_CH1

HARTER STACK CHAIR: QUEST_CH2

HERMAN MILLER EAMES SOFT PAD CHAIR_CH3

HERMAN MILLER EAMES SOFT PAD CHAIR_CH4

TACK SURFACE_SYS2

HERMAN MILLER EQUA CHAIR_CH5

KNOLL TUBULAR BRNO CHAIR_CH6

STEELCASE MONTAGE SYSTEM: VERTICAL SURFACE_SYS1 SPRING 2017

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TEXTILES FINAL

PROF. HAZEL SIEGEL

SHIRLEY YUEN


weight_wait Airport Fast Food Plaster as a building material suggests density and weight, but it also has the ability to transform from a liquid to a solid mass, I used this property to suggest a boundary could capture a moment in time, thus becoming ephemeral.

A

Set up as a Dig Inn in a airport, the theme is transitional. It is a temporary place and a morphing piece of architecture that blurs the concept of time and use of space.

The framework that is typically concealed within a plastered solid wall is exposed. Rather than the plaster being the finish, it is acting as a structural boundary.

Boundaries tend to change over time. The plan deals with circulation in this manner It starts off directional and becomes a free layout with a light suggestion of movement. As you move through the space, the boundaries that the plaster sets changes from explicit instructions of "do not pass" to a suggested "you could pass" when the weight of the plaster does not reach the floor.

04

B

SECTION A

SECTION B

SECTION A

A

AS A FRAMEWORK

int design 202 spring 2018 critic | tania branquinho 16

AS A HA


A

B

A

Plaster, in its original liquid form, becomes an opportunty to bring an organic quality to how light passes through a screen.

SECTION B

ARDENING AGENT

B

A

The weight of the material is captured as the cast components are stacked upon each other

Plaster is a soft material before it dries. To capture a soft moment creates an ephemeral boundary.

SECTION A

B

SECTION B

SECTION A

SECTION B

1/2”=1’-0”

AS A SNAPSHOT

AS ITSELF

individual 17


A BAR SEATING SELF SERVICE

KITCHEN

BENCH SEATING

B

B COUNTER SERVICE

LOUNGE SEATING

QUEUE AREA COUPLE SEATING

1

CONCOURSE

A

entrance

exit

ELEVATION 1 (CONCOURSE) ROOF

DUCT SPACE RECESSED LIGHTING

SECTION A

WOOD FRAMING

CAST PLASTER STEEL REBAR

FACADE DETAIL

SECTION B

3”=1’-0”

18


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Shirley Yuen | Interior Design | Selected Works  

Selected works from Interior Design minor studies at Pratt Institute

Shirley Yuen | Interior Design | Selected Works  

Selected works from Interior Design minor studies at Pratt Institute

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