linda liu portfolio
DESCRIPTION
Architecture PortfolioTRANSCRIPT
LINDA LIU PORTFOLIO // 2012
PROFESSIONAL
Geoform Design Architects Sydney, Australia Graduate Architect03.11 - 11.11
LINDA LIUFlat B, G/F
Green Field Court17-21 Seymour Rd
_Produced design drawings, animations and construction documents for Dufken House: a new three level, four bedroom residence. _Developed design drawings, visualisations, and construction documents for Alton House: additions and alterations to exisiting two-level terrace house, including furniture layout. _Assisted in research, proposals, budgeting, administration, analysis and presentations.
T 852 9541 3288E [email protected]
01.08 - 03.08PTW Architects Beijing, China Architectural Intern
11.07 - 01.08
Poongjin Interior Design Beijing, China Architectural Intern
_Developed schematic drawings, created presentation models and produced visualisations for projects: London Handball Arena, Haier Showroom. _Engaged in production of drawings and construction documents, and specifications.
_Produced drawings and animations for two residential projects. _Assisted in research, specifications, materials and presentations.
EDUCATION
University of New South Wales Sydney, AustraliaBachelor of Architectural Studies
The Pennsylvania State University State College, PAArchitecture Exchange
University of New South Wales Sydney, AustraliaMaster of Architecture
07 - 09
10 - 11
09 - 10
AWARDS.HONORS
Dean’s List The Pennsylvania State Univeristy
SKILLS
AutoCAD, Sketch-Up, Revit, Photoshop, Illustrator, InDesign, Microsoft Office, Ecotect, oil painting. Fluent in English, Mandarin and some rudimentary French.
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09 International Exchange Scholarship University of New South Wales
CONTENTSdufken house2011
alton house2011
milsons point train station2011
translations2010
barnes foundation2009
dufken house2011
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dufken house2011
DUFKEN HOUSE
site // Rutherford Avenue, Burraneerprogram // new residence
This new, three storey, four bedroom, north facing residence is located in Burraneer, along the South coast of Sydney. Sited on a long block, it replaced a small older style single level house and had to be skilfully designed to adhere to local approving authority’s view sharing policy and ensure minimal view loss to the neighbours behind. It was designed to take maximum advantage of outstanding water views, push external connections and evoke relaxed recreational environment.
Taking a lyrical approach to architecture, the design attempts to keep the space fluid and continuous. Ideas of ‘as found’ coastal materiality and ‘erosion’ are absorbed into space to create drama and depth through subtle material mix, priotitizing interdependency of and between forms.
Use of mixed timbers, translucent glazing, concrete sheets and steel roofing highlights the assembly and spatial sequences, prioritising connestions ‘through and beyond’ the space to emphasize volume and ideas of continuum.
8 DUFKEN HOUSE floor plan: basement level
9floor plan: ground level
10 DUFKEN HOUSE floor plan: first level
11sections
SECTION FF SECTION GG
12 DUFKEN HOUSE physical model and longitudinal section
SECTION BB
mapping: n-s line
alton house2011
15ALTON HOUSE
site // Regent Street, Paddingtonprogram // alterations and additions to existing residence
This project is a major renovation and extension to an original two-level 1930’s terrace house in Sydney’s inner-east. Reacting to the established convention of residential extension which prescribes a jarring juxtaposition of existing ‘old’ and introduced ‘new’ architectural elements; the design offers an alternative proposition; that of a blurring between ‘old’ and ‘new’ to produce a hybrid. Gradually transitioning from the vernacular to the contemporary, the division of architectural elements are deliberately ambiguous, producing a unique formal and visual language.
Viewed from the street, the house appears largely unchanged, with a strip window the only hint of reconfiguration. Both internally and externally; moving through the house, new materials, spatial characters and formal language is progressively introduced. By the time of arrival in the back yard, the house has evolved into a different building; no longer recognizable from its original starting point; an architectural ‘rabbit in a hat’.
16 ALTON HOUSE design sketches
A two-storey house built over a long ground plan, with a garage at the rear and a sloping roof, two bedrooms with amenities facing to the north and delineating the common living area with extends to the exteriors through sliding doors and larch wood shutters.
Reflecting the formal strategy of transition, rooms at the front of the property are left largely unadulterated, remaining more enclosed. On the other hand, living spaces to the rear are progressively more open and interconnected embracing the courtyard garden. These varied spaces respond to different ‘modes’ of living, with different volumetric, acoustic, and light qualities. Whilst these spaces are linked to a greater or lesser degree, they are not ‘open plan’ in a conventional sense, rather configured in a more nuanced distribution of distinct spaces and functions.
17floor plans
FIRST FLOOR PLAN
GROUND FLOOR PLAN
18 ALTON HOUSE longitudinal section
SECTION AA
19courtyard visuals and longitudinal section
SECTION BB
20 ALTON HOUSE section and physical model
SECTION CC
21section
SECTION DD
milsons point train station2011 BRIDGING CENTRE | PERIPHERY?
RE-CONCEPTION OF A TRAIN STATION
23MILSONS POINT TRAIN STATION
site // Milsons Point station, Sydneyprogram // train station
The freeways, tracks, power grids, and concrete rivers originally designed to connect a horizontal city, often deliver the opposite: the piecemeal city, with infrastructure as a consistent obstacle to the integration of the disparate civic parts. At Milsons Point the viaduct has become a scar in the landscape. The solution: re-conceive the train station by multiplying the purposes of its infrastructure. To build over, under, and through the viaduct and tracks, to use the existing rights of way as the foundations for a series of new, infrastructure-scaled conceptions of building form, habitation, and public and private purpose generated by its patterns of connectivity and disconnectivity.
24 MILSONS POINT TRAIN STATION
from left // green spaces and harbour, areas with access to green areas by foot, green spaces and major/minor roads, green spaces within 15 minutes walking radius of train stations.
mapping: n-s line
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from left // walking distances from train station, peak hour bus routes, peak hour road usage, traffic light locations.
mapping: n-s line
26 MILSONS POINT TRAIN STATION
from left // progression of the station catchments up to 15 minutes walking distance.
mapping: walking distances
27mapping: infrastructure vs. activity
This mapping identifies the spatial relationship between the green areas and harbour, against the transport infrastructure that supports them, the 20 minute walking distance from the station to the green areas, and the routes of the ferries on the harbour. From this we can treat both the land and water as a continous urban fabric.
By identifying the entry points to the stations, we see that the stations in CBD are living organism on their own, with thier own network. When compared to the main train stations in various cities around the world, we recognise the Sydney train system as been still very sparse; with the landscape dominating.
28 MILSONS POINT TRAIN STATION mapping: land-use
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Abstracting the regional map from St Leonards to Redfern station, the different land uses in the areas served by the stations have been singled out, resulting in an ‘exploded’ view of the station surorundings. These areas are read in reference to the station, and the result is a mapping that is a fragmentary description of each particular station through a number of individually-biased points of views (x-axis), or as cumulative articulations of certain urban phenomena through their role in locations of differing scale and purposes (y-axis).
30 MILSONS POINT TRAIN STATION
The figure ground map of Milsons Point, Kirribilli, and Lavender Bay, helps to identify the different land uses in the areas, and their relationship to the Milsons Point station and the harbour. It is clear that the viaduct and highway (dark grey) cuts through the site like a scar in the landscape, seperating the site into two distinct parts - the residential in the East and the mixed-use and commercial in the West.
mapping: land use
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station catchment area
freeway major roads
residential
mixed use commercial
school
heritage and amusement
open space
waterfront public space
waste space
open space
Breaking down the figure ground map into individual types, the highlighted areas are read in reference to the station, and the result is a mapping that is a fragmentary description of the areas land use in relation to the viaduct, the water body and the station.
32 MILSONS POINT TRAIN STATION opportunities and constraints
viaduct as impermeable structure
viaduct as porous - structure as space
current linear circulation and small station frontage
modulated circulation and larger station frontage
These diagrams position the context (urban, social, and topographical) against the very idea of infrastructure and the actuality of a functioning train station. The core value of this analysis is to link the underlying opportunities of the site with the imagination and vision to interpret the meaning of mobility/infrastructure. They pose questions: to connect or not to connect? when where and how? by what? patch together or periphery-as-project? create a trains stations as process of typological re-formulation?
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existing pedestrian accessexisting station catchment + street activations
shift catchment focus north, merging Milsons Point and North Sydney stations
existing views
opportunities for views pedestrian access opportunities
current street fabric grid views concentrated on Sydney Cove and city
twisting street fabric grid to create views to Lavender bay
OPPORTUNITIES
EXISTING
34 MILSONS POINT TRAIN STATION
A // INTERVENTION PROPOSAL- envisioned as a series of moments along the viaduct
False work for Fiztroy Street arch
B // A NEW TYPE FORM?- room type- solid vs voids / positive vs negative
design development
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C // AN OPEN INDEPENDENT STRUCTURE- station into social condenser- decentralise and permeable- relate the divided context
D // DIAMOND FORMS - clarity of one structure- a series of crystals hanging from the viaduct
36 MILSONS POINT TRAIN STATION massing model
37
The station becomes an absorptive and permeable structure in the landscape, recognised by the series of crystals perched along the edge of the viaduct. Within the viaduct a whole new series of carved out public spaces come to life, with both station functions and public functions inter-related.
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1. OUTDOOR THEATRE2. CAFE SEATING3. POOL ENTRY4. CAFE5. ADMINISTRATION
6. CHANGING CABINS7. SHOWERS8. COMPETITION POOL 9. TECHNICAL SYSTEMS
FLOOR PLAN SUNKEN GARDEN RL-4000.00
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Alfred Street
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Broughton Street
1. OUTDOOR TERRACE2. RETAIL3. STORAGE4. DINING AREA5. EXHIBITION AREA6. RESTING AREA
7. BAR8. STATION ENTRY9. OFFICES10. CINEMA LOBBY11. TICKET BOX12. CONVENIENCE STORE
13. RESTAURANT DINING14. CAFE.RESTAURANT15. KITCHEN16. COURTYARD17. BOOKSHOP
FLOOR PLAN GROUND RL0.0
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FLOOR PLAN CINEMA RL9000.00
1. CONCOURSE ACCESS2. CINEMA LOBBY3. CANDY BAR4. RESTING AREA5. OFFICE
6. VIEWING PLATFORM7. STORAGE8. CHANGING ROOM9. RUNNING TRACK
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Bradfield Highway
1. CONCOURSE ACCESS 2. PLATFORM
FLOOR PLAN PLATFORM RL12000.00
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FLOOR PLAN CONCOURSE RL19500.00
1. RESTING AREA2. ACCESS TO CINEMA3. KIOSK4. BATHROOM5. CONVENIENCE STORE
6. ACCESS TO PLATFORM7. CONCOURSE8. SKY LOUNGE BAR
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Ground level // operative schemas
building as walls (supporting)
buildings as object-walls
buildings as objects
building as walls (supporting)
buildings as object-walls
buildings as objects
operative shemas
Cinema level // operative schemas
Concourse level // operative schemas
open space
pivot point
half rooms
enclosed rooms
bridge/slab
raised podium
hinge space
figurations of positive space
figurations of buildings
layered field crossings
promenade
delayed passages
figurations of buildings
figurations of buildings
layered field crossings
promenade
delayed passages
figurations of buildings
building as walls (supporting)
buildings as object-walls
buildings as objects
figurations of buildingslayered field crossings
promenade
delayed passages
figurations of buildings
44 MILSONS POINT TRAIN STATION
SECTION AA WEST-EAST
sections
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SECTION BB WEST-EAST
46 MILSONS POINT TRAIN STATION distribution of openings on facade
cinema
light sensitive areas light welcoming areas
lounge areas, retail public programconcoursecirculation
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The outer envelope of the building is actually a kind of incised wrapper, capable of unfolding to form a flat surface again.
unfolded skin
translations2010 SPACE BETWEEN DRAWING AND BUIDLING
51TRANSLATIONS
site // Lawrence Hargrave Park, Elizabeth Bay, Sydneyprogram // a contemporary art space
The project explores the relationship between a range of representational strategies and embedded content in the work of SANAA. The assignment is to interrogate one chosen project by these architects via meticulous studies and examine potential drawn conversations in and between these projects, and make a personal projection for a contemporary art space at an inner Sydney location.
52 TRANSLATIONS52
Study models of the ‘stacked boxes’ in the New Museum, New York by SANAA.
interpreting the New Museum
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Study models of New Museum, New York by SANAA.
re-modelling the New Museum
A series of careful re-drawings and modelled translations of the New Museum in New York by SANAA: particular focus is placed on the relationship between the architectural diagram and the construction detail, and the capacity of architecture to embody urban aspirations with a particular attitude to its program.
The drawn and modelled interpretations are then transferred into a new physical and adjusted programmatic context, creating a speculative construction containing a spatial itinerary drawn from the New Museum. Parameters from the re-drawings and models such as the urban properties the stacked program explores, the structural story of the building, the attitude the building demonstrates towards its material detail, all serve as generators for the new construct.
54 TRANSLATIONS54
RELATIONSHIP TO CONTEXTAND URBAN ISSUES
The urban context of the area is low rise dwellings, retail outlets and restaurants. The streets are mainly pedestrian and provide a relaxing setting for strolling and shopping.
STREET CONTEXTBasic zoning makes massive static bulk. By shifting floors the scale is refined.
BUILDING HEIGHTSBuilding heights in area is varied, with no apparent consistency. A vertical datum is selected by identifying a median building height.
FACADE RELATIONSHIPNew building facade forward of existing buildings. Split facade to reduce scale, connecting with pedestrian movement.
exploring contextual relationships
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Directed, linear sequential path. Open-ended path, guided by change in height and lighting conditions.
Open-ended path, guided by changing views.
CIRCULATION
Identifying the ways that people move through and interact with the gallery helps to develop a floor plan that allows continuous movement while minimizing the necessity to retrace one’s steps, allowing a visitor to see each work in a sequential, natural fashion.
PROGRAM
The gallery is directed towards large scale installations, providing large exhibition spaces lacking in other Sydney galleries. The internal volumes are shifted within the envelope to best suit the project programme and environmental site conditions. This approach produced a defined facade which related purely to the accommodated use within. CAFE
100 m2
EXHIBITION SPACE
180 m2
LARGE SCALEEXHIBITION SPACE
350 m2
STORAGE SPACE
240 m2
OFFICES
120 m2
MULTI-MEDIA INSTALLATION
SPACE
80 m2
REST AREAEVENT SPACE
250 m2
2 m
4 m
6 m
8 m
room heights
setting up the framework
56 TRANSLATIONS56 elevations and section
WEST ELEVATION
EAST ELEVATION
SECTION
The main challenge of this project is the imagination of a particular relationship between architecture and the city and between architecture and art. The art space is conceived around the exhibition possibilities of contemporary large-scale installations, and its relationship to the diagrammatic description of program and the urban context of the chosen site.
barnes foundation2010A BUILDING OF ANTICIPATION
59BARNES FOUNDATION
site // Benjamin Franklin Parkway, Philadelphia USAprogram // a new art museum for the Barnes Foundation
The project is modelled on the competition brief for a new building for the Barnes Foundation. Currently housed in a villa gallery in suburban Philadelphia, Barnes art collection wills relocate to the Benjamin Franklin Parkway in Center City, Philadelphia. The design of contemporary museum can be characterized by two polar approaches. On the one hand buildings which aim to be works of art in themselves, independent sculptural objects, on the opposite end of the spectrum are museums as containers, as beautiful jewel boxes, treasure chests whose sole purpose is to be filled with art. This project is a neutral frame for the display of art a catalyst for a new experience. The main challenge of this project was resolving a contemporary method of preserving a historical icon within a historical urban context.
SECTION
60 BARNES FOUNDATION view of internal courtyard
The circle imposes an invisible centre to the building – and at this focus is the courtyard. The continuous glazed façade offers views to the periphery as well as inverts vistas through the entire building. This building is a simultaneous act of enclosure and invitation, allowing the landscape to flow through the entire site, while tenuously capturing and containing rooms for art. The museum is not a privileged domain, but an open field. This physical intrusion of the outside into the building helps to orientate the visitor, offering both day lighting and a centrality – it becomes a fluent border between public and museum zone.
61sectional model
62 BARNES FOUNDATIONWhile maintaining the intimate character of the original, distinctive layout has been the foremost priority for this project, it was necessary to decentralise the exhibition spaces as it moves to a much more urban site. The exhibition spaces are fragmented into numerous gallery towers embedded within a circle with a transparent edge. At the most basic level, one continuous glass wall wraps around as it defines a continuity of interior spaces and corridors that function as the transition spaces for the visitors, remaining introverted and grounded. The boxes appear like neutral containers for the artworks, scattered around and dispersed by classrooms, resting areas and an archival library. There is no defined circulation path, but flexibility in museum routing with a specificity of gallery spaces. A sky bridge that appears to float becomes the supporting structure for the program of the two main galleries, and connects the first level galleries. Visitors become every conscious of the transition between museum and public spaces, stimulating their emerging awareness.
63floor plan: basement
1. TEMPORARY EXHIBITION2. STORAGE3. THEATRE4. SUNKEN COURTYARD5. BATHROOM
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64 BARNES FOUNDATION
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floor plan: ground level
1. LOBBY2. CLOAK ROOM3. GIFT SHOP4. EXHIBITION SPACE5. COURTYARD
6. EDUCATION CENTRE7. ARCHIVE ROOM8. LIBRARY9. LOUNGE10. ADMINISTRATION
11. STORAGE12. CAFE13. KITCHEN
65floor plan: first level
1. GALLERY TOWER2. SKY BRID
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66 BARNES FOUNDATION east elevation
67unfolded skin
