Posts tagged with "SCHAUM/SHIEH":

Schaum/Shieh twists the norms of Texas architecture

Like many of the most exciting young firms currently practicing across the United States, Schaum/Shieh, based in New York City and Houston, owes its existence to the financial crisis of 2008. In the immediate aftermath of the meltdown, Schaum/Shieh principals Rosalyne Shieh and Troy Schaum found themselves working as collaborators on speculative urban projects while attending graduate school at Princeton, where the pair shared studio space. Attempting to figure out “what happens when you ask a question no one tells you to ask,” according to Shieh, the pair was driven toward the “protected space” of academic work by prestigious fellowships—Shieh at Taubman College in Michigan and Schaum at Rice University in Texas—in an effort to bolster professional experiences that included stints at Abalos & Herreros and OMA, respectively. After becoming licensed and spending their fellowship years incubating their practice, the pair fortuitously landed a spot exhibiting a project in the 2012 Venice Architecture Biennale, a platform that propelled their budding firm into the realm of client-based work. In the intervening years, a mix of bespoke design and meditative restoration work for institutional clients like the Donald Judd and Chinati Foundations—as well as commercially driven work for private clients—has kept the firm busy exploring multiple facets of architectural production. Driven by an intense curiosity and interest in the blend between high and low architectural culture, Schaum/Shieh continues to build its ever-elusive catalogue of offbeat work. Over time, the two architects have learned when to hold back. Schaum explains: “Restraint is [a] remarkable lesson for young architects to learn. [You realize] there are moments when we need to step back and not do certain things.” White Oak Music Hall One of the firm’s largest commissions to date is the White Oak Music Hall in Houston along Little White Oak Bayou north of the city’s downtown. Completed in phases between 2016 and 2017, the multistage music and event center features a pair of indoor stages that can house a combined 1,400 spectators, and a 3,800 capacity outdoor amphitheater built into the natural topography along the Bayou. The bar-shaped clapboard and wood plank-wrapped structure spans across the edge of its urban infill site and features balconies and open-roof decks that face toward the Houston skyline. An on-site industrial metal warehouse and steel tower were recently converted into a small music venue and bar as well. Transart The architects recently completed work on the 3,000-square-foot Transart Foundation for Art and Anthropology in Houston’s museum district, a complex that seeks to treat the “white box gallery as a problem” by introducing softness of form and visual instability to the otherwise staid building type. The private arts foundation and gallery is spread out across two structures, including a new three-story edifice crafted out of super-size stucco panels. The building’s stucco walls feature clipped corners and upturned edges that reveal triangular windows designed to bring direct light into the galleries and support spaces. The new structure is buttressed by a 1,200-square-foot studio and apartment located within an existing structure that was re-skinned with cement panels and a standing seam roof. Judd Foundation The multifaceted firm has worked for several years on collaborative projects involving the restoration and rehabilitation of several of Donald Judd’s studios and installed spaces in Marfa. What started as an effort to “responsibly finish and maintain” Judd’s architecture office quickly morphed into a wide-ranging collection of restorations and long-term planning efforts led by the Judd Foundation for more than a dozen buildings in the town. Over time, the high-profile, low-visibility restoration and conservation-focused work became an “invisible exercise that led to a conversation you can't ever see,” according to Schaum. The architects sought to create a “Texas model” for restoration that was flexible enough to include off-the-shelf components as well as innovative solutions that stand apart from prototypical, white-glove restoration work. 420 20th Street Always eager to take on diverse projects, the firm has also tried its hand at updating the ubiquitous strip mall. Their project at 420 20th Street in Houston aims for an understated refresh by converting an abandoned 1950s washateria into a collection of bespoke storefronts. For Shieh and Schaum—both children of American suburban landscapes—the discarded 5,200-square-foot laundromat represents a type of “common” architecture that many architects are too often happy to avoid. Instead, Shieh views strip malls like this one as “a type that can be transformed, developed, and worked with,” part of an amorphous urbanism that runs counter to “traditional urban legibility,” but in a good way. For the project, the team opted to replace the building’s storefronts with new components, including custom steel and wooden door handle elements. New planters were also embedded in each of the building’s exterior columns, while the structure’s historic brick detailing was brought out with new paint and a mural. Inside, each of the serially arranged shops is separated from the others by expanses of clear factory windows that allow views through the entire structure.

A stucco-paneled art center in Houston uses cuts to bring in light

The Transart Foundation for Art and Anthropology is now open in Houston. The art center, designed by New York and Houston-based SCHAUM/SHIEH, uses its sculpted stucco facade to strategically funnel light to the gallery space within. Transart is actually broken in two buildings; a 3,000-square-foot gallery and library, and the adjacent 1,200-square-foot studio and living quarters. The foundation was envisioned as a space for experimental art, performances, and lectures that cross the divide between art and anthropology. A large “living room” in the gallery building is broken into two exhibition spaces by a staircase-slash-library in the center that serves as a circulation core. The front-facing space is naturally lit and will be used for more traditional shows, while the dimly-lit back section will be used for digital pieces and performances that require precise lighting. The circulation core flows upwards into a second-floor salon that looks down on the spaces below, which is also accessible through a rounded acrylic-and-steel elevator. Visitors can also find a small room for mediation or one-on-one meetings on the second floor. The third floor’s core holds an administrative office, roof deck, and accompanying garden. "We introduced some playful moments into the otherwise taut plan," said SCHAUM/SHIEH in a statement. "There is a sink lathed out of a tree salvaged from Hurricane Harvey; a sculpted, cave-like nook tucked into the wall off the seminar area; and a galvanized steel beam is used as a bathroom countertop." The main building was framed with heavy timber like a “Dutch barn,” according to SCHAUM/SHIEH, with the white stucco facade curving around the building’s bones, akin to a billowing cloth. The thick timber walls were reinforced with closed-cell insulation, and combined with the swooping window cuts that restrict sunlight, the entire building was able to be passively cooled. The secondary building, a single-story standalone studio and living space for visiting artists and scholars, was created by renovating an existing photography studio. SCHAUM/SHIEH wrapped the building in cement planks and topped it with a new metal roof, creating an auxiliary space a stone’s throw from the main art center. SCHAUM/SHIEH is a small studio formed in 2010 in a joint collaboration between Rosalyne Shieh and Troy Schaum. They operate out of Houston and New York City, and the studio has been recognized for its built and unrealized projects, including by the AIA New York as part of its New Practices New York competition. The Transart Foundation can be found in Houston's museum district at 1412 West Alabama Street and was founded by artist, writer, and independent curator Surpik Angelini, a contemporary of John Cage and Gordon Matta Clark.

Product>Architects and designers share the surfaces they spec the most

Find out why these surfaces are architects' and designers' go-tos for the ceilings, the floors, and everything in-between.

Rosalyne Shieh Partner, Schaum/Shieh

We used Lilac Marble in a recent Brooklyn renovation. It is white with an intense inky black vein. We got the cement encaustic tiles from Mosaic House, but there are also other very good selections from Clé Tile and Granada Tile. For the kitchen, we mixed and matched within a range of colors based on a terra-cotta palette, but you can have custom tiles made from your own design. We used a more traditional Escher-pattern tile of the same type in the bathroom. ­

Paul Masi Principal, Bates Masi + Architects

We work with a range of products based on the project and client needs, but we like Corian for interior surfaces because it is adaptable, durable, and easy to clean. Corian can also be easily repaired and is stain-resistant, which is why we chose it for the integrated sink and countertop in the pantry as well as the walls, floors, and cabinetry in the restrooms of our newly completed office in East Hampton, New York.

Greg Mottola Principal, Bohlin Cywinski Jackson

We often use ApplePly from States Industries for casework, paneling, and custom furniture. I love that the material is humble, yet can be finished in a way that elevates it to a level of refinement, all the while revealing the nature of how it is made. The workstations and much of the furniture in our studio are made from ApplePly, and we did a great collection of furniture for the Ballard Library in Seattle. We also recently completed the first of many cafes for Blue Bottle Coffee here in San Francisco, and the millwork and display shelving makes extensive use of the material.

Benjamin Cadena Founder, Studio Cadena

I would have to say white paint—either a bright white like Benjamin Moore’s Super White or a slightly warmer toned white like Benjamin Moore’s Dove White. For me, white helps tie the room together while diffusing light into darker corners of a space. It also focuses attention into what occupies the room rather than the walls themselves—it makes other colors and materials really come alive.

Peggy Gubelmann Design Director, Pembrooke & Ives

We love to use Bendheim specialty glass in our kitchens. This material is durable and adds depth, texture, and glamour to our modern kitchens. We backlight all of our cabinets to highlight the gold mesh sandwiched between the glass and provide a nice glow and ambiance.

Kelly Wearstler Founder and CEO, Kelly Wearstler

I love using marble for walls, kitchen and bathroom surfaces, and furniture. Texture enhances any surface and utilizing natural stone with a marbling pattern creates dimension and depth, adding a layer of richness to a space. Ann Sacks is a favorite for marble tiles; ABC Stone in New York and Marble Unlimited in California are my go-to sources for marble slabs.

Finalists announced for 2017 MoMA/PS1 Young Architects Program

The five finalists for the 2017 MoMA PS1 Young Architects Program (YAP) are here. The annual competition provides a stage for some of the best up-and-coming architects in the world; the winning installation is built in the MoMA PS1's courtyard for its Warm Up music series of performances. "The Young Architects Program is committed to offering emerging architectural talent the opportunity to design and present innovative projects, challenging each year’s winners to develop creative designs for a temporary, outdoor installation that provides shade, seating, and water. The architects must also work within guidelines that address environmental issues, including sustainability and recycling," according to the MoMA PS1 website.
This year's finalists are:
Recent YAP winners include Escobedo Soliz Studio (2016), Andrés Jaque / Office for Political Innovation (2015), The Living / David Benjamin, CODA / Caroline O'Donnell, as well as MOS Architects, SO-IL, WORKac, HWKN, and SHoP.
The winner will be announced in February and the installation will be built in time for the Warm Up series that starts in June.
Finalists are nominated by prominent journalists and academics, and the selection of five is made by a panel including Glenn D. Lowry, Director of The Museum of Modern Art; Kathy Halbreich, Associate Director at MoMA; Klaus Biesenbach, Director of MoMA PS1; Peter Reed, Senior Deputy Director for Curatorial Affairs; Martino Stierli, Philip Johnson Chief Curator of Architecture & Design at MoMA, Sean Anderson, Associate Curator of Architecture at MoMA; and Jenny Schlenzka, Associate Curator at MoMA PS1.

AIANY’s New Practices New York exhibition features work from six emerging firms

The tenth biannual New Practices New York competition exhibition showcases its six winners with an unprecedented amount of diverse projects and approaches. The six firms chosen were Young Projects, Taller Ken, Studio Cadena, STPMJ, Schaum/Shieh, and MODU. The exhibition will be open through July 23. The firms, which had to be founded after 2006 and located in New York City, were tasked with responding to the theme “Prospect.” “Prospect” was chosen based on the very practical challenges of building in New York: “high costs of living, fierce competition, and minimal profit margins.” Through their portfolios and projects, the firms addressed heady questions such as: “How are you shaping our practice around the prospect of the future? What are the most important challenges that you see facing the city over the next three months? And in 30 years? What will you focus on? Where are you headed? How will you thrive?" The exhibition features the firms' answers through a series of presentations and "wonder boxes." The boxes were each made to showcase the firms' ideologies and varied from a literal box to more amorphous projects. Taller KEN Founded by Gregory Melitonov and Ines Guzman Mendez, Taller KEN is a New York– and Guatemala-based practice. Although Melitonov and Mendez’s latest completed project is the Dean & Dylan Baquet residence in New York, they have a variety of projects in Guatemala and have invited nine young architects from around the world to work on a design-build project with them there. “In order to capitalize on the enthusiasm of young designers just beginning their design careers, we invited them to Guatemala City to produce an intervention that provides a positive, lasting impact on the local community,” they said. Studio Cadena Brooklyn’s Benjamin Cadena founded his eponymous practice in 2013 and has already completed projects in Marfa, Texas, Chicago, Illinois, and Bogotá, Colombia. He still champions New York, however: “The lack of affordability plays a big part in limiting a broader range of people from living in New York City and this needs to be addressed to preserve the vibrancy and dynamism that makes the city interesting in the first place…The city is not dead, but it needs to find ways to attract and nurture a creative ecosystem to remain relevant.” STPMJ Although many young firms today are based in multiple cities, Mi Jung Lim and Seung Teak Lee’s South Korea–­­New York office stands out. “We aim for ‘Provocative Realism’—We design iconic architecture that stands out, not a part, that is visionary, not fantastical.” The firm’s projects, whether in Korea, California, or Kentucky, share a minimalism so precise that it borders on futurism, but with a playful, not cold, aesthetic. Young Projects Bryan Young’s design studio in Brooklyn has tackled everything from art and furniture to townhouses in Williamsburg and (most recently) a retreat and spa in the Dominican Republic. But he insists on maintaining work-life balance. “We limit the hours during the work week and we listen to Kanye,” he said, answering how he creates a creative atmosphere that can accommodate his variety of projects. Schaum/Shieh “In our practice, we attempt to sharpen the conceptual and representational tools to really see and describe the everything-up-until-now,” said Rosalyne Shieh and Troy Schaum in their statement. Each structure feels site-specific: A house in Lexington, Virginia, mimics the rolling Blue Ridge Mountains behind it while the Pop Music Center in Kaohsiung, Taiwan, articulates a varied spatial field as a reaction to the city behind it. MODU Directed by Phu Hoang and Rachely Rotem, MODU creates installations that are simultaneously artistic and poetic as well as hardcore scientific. Focusing on climate patterns and mathematical models of the weather, MODU creates installations that are “based on a two-way interaction between the public and the environment.” Its most recent project, Cloud Seeing in Holon, Israel, is a lightweight structure with 30,000 balls or “seeds” made from PET plastic from recycled water bottles that move with the wind across the structure’s ceiling. Similarly, the Doppelganger installation in Sydney, Australia, is a “flexing structure” that reacts to its surroundings and the wind to create a “micro-scale public space.”

AIA New York’s New Practices Committee Chooses Six Emerging Firms as Winners

New Practices New York, a distinguished competition that’s part of the AIA New York chapter, announced the six winners of its 2016 biennial competition on January 28. To qualify, the practices had to be located within New York City and founded since 2006; the competition was open to multidisciplinary firms, widening the talent pool. The winners are MODU, SCHAUM/SHIEH, stpmj, Studio Cadena, Taller KEN, and Young Projects. The panel of jurors selected the winners from 53 entries, the members are William Menking, AN’s editor-in-chief, Julian Rose, principal of Formlessfinder, Jane Smith, partner at Spacesmith, Martino Stierli, Philip Johnson chief curator of architecture and design at MoMA, and Ada Tolla, partner at LOT-EK. This year’s theme was Prospect and the jury evaluated the firms based on their ability to leverage multiple aspects of their projects and practices and the architecture profession as a whole. The firms will receive a stipend for an installation and exhibition at the Center for Architecture, which will open May 12, 2016, and will participate in symposia and lectures at the Cosentino Showroom, as well as travel to Spain with underwriter Cosentino. About the winners: MODU Codirected by Phu Hoang and Rachely Rotem, MODU is an interdisciplinary firm that focuses on directing people to their environments. The practice has won numerous awards and was given a commendation for “21 for 21” an award that recognizes “the next generation of architects for the 21st Century.” SCHAUM/SHIEH Founders Rosalyn Shieh and Troy Schaum established their firm in 2009 with an emphasis on the city at the scale of a building and the dialogue between projects and urban plans. They operate between Houston and New York City. stpmj Based in New York and Seoul, Seung Teak Lee and Mi Jung Lim founded their firm to explore new perspectives on material and structure with regard to our current social, cultural, environmental and economic fabric. Studio Cadena Benjamin Cadena founded his eponymous studio in Brooklyn; projects range from city planning and commercial projects to exhibitions, houses, and furniture. Taller KEN Part of the design team for the Whitney Museum of American Art, Gregory Melitonov and Ines Guzman founded their studio in 2013. The New York– and Guatemala-based firm’s work includes mixed-use development, residential projects, and installation design. Young Projects Bryan Young founded multidisciplinary design studio Young Projects in 2010 and projects include a retreat in the Dominican Republic, a townhouse in Williamsburg, and a Hamptons bungalow. The firm received the Architectural League Prize in 2013. The New Practices New York 2016 exhibition will be on view at the Center for Architecture, 536 LaGuardia Place, New York City from May 12, 2016.