Posts tagged with "SCHAUM/SHIEH":
For SCHAUM/SHIEH, the city is not a mere backdrop for designing buildings. Instead, it is a source of productive potential and a platform for theoretical and built experimentation that has informed the firm’s relationship to design from its founding in 2010.
The studio’s founding partners, Rosalyne Shieh and Troy Schaum, first explored this interest in speculative projects for Detroit and the Taiwanese port city of Kaohsiung. Their early urban proposals for Detroit led to an installation at the 2012 Venice Architecture Biennale of a room that was also a staircase and public seating, one of many prototype structures they envisioned could infill the spaces between vacant homes in the city. This design, part of a larger project called “Sponge Urbanism,” challenged the divide between domestic and public space and confronted the broader narrative about vacancy in Detroit.
This intersection of urbanism, form, and identity is something that the studio has carried into its commissioned work, especially for cultural institutions and spaces with hybrid programs. These include the Judd Foundation’s buildings in Marfa, Texas; White Oak Music Hall in Houston; and most recently, the Transart Foundation, also in Houston.
While its Judd Foundation work is an exercise in restraint, aimed at preserving and restoring the artist Donald Judd’s vision for more than a dozen buildings in Marfa, projects like White Oak show how the designers play with form, massing, and landscape to create a distinctive destination for Houston’s music lovers and a new open space for the city as a whole. The main two-story concert hall, which contains multiple stages for different types of music and audience sizes, is part of a larger 7-acre complex which includes a lawn for outdoor performances and an open-air pavilion and bar, converted from an existing shed on the site.
Across the studio's diverse range of projects, abstract representation and diagrammatic processes are essential tools to generate concepts and collaborate with partners and clients. But, as Schaum explained, “We always like to come back to where that kind of set-making and pattern-making starts to break down and question its own set of possibilities, where the sets open up new possibilities for inhabitation rather than where they complete themselves in perfect studies of pattern or complex assemblages.”
This is evident in SCHAUM/SHIEH’s Transart Foundation (a 2018 AN Best of Design Awards Building of the Year). The project includes two structures comprising a private residence, art studio, and exhibition space, and is located across from the Menil Collection within a largely residential neighborhood.
Transart's white stucco facades, with their thick massing, look substantial, but are peeled away at the edges and corners, giving the overall appearance of lightness, like curled paper. The sculptural massing of the main building, juxtaposed against its relatively compact size— closer to a large house than a museum—also makes the foundation appear more monumental than it is, demonstrating the way SCHAUM/SHIEH works with scale to blur the lines between private and public space. This exercise in form and material produces unexpected moments and transitions that serve the multi-functional art space well.
But ultimately, the practice is most interested in its ongoing dialogue with the broader world. As Shieh explained, “I want the buildings that we make to belong to the world, and not to architecture. We don’t necessarily put them out there in a way that we hope that they tell architecture what they are, but that they somehow produce some kind of surprise.”
For SCHAUM/SHIEH, the city is not a mere backdrop for designing buildings. Instead, it is a source of productive potential and a platform for theoretical and built experimentation that has informed the firm’s relationship to design from its founding in 2010.Colloqate Design, a multidisciplinary, New Orleans–based “nonprofit design justice practice” founded in 2017 by Bryan Lee Jr.—Sue Mobley came on in 2018—with the goal of “building power through the design of public, civic, and cultural spaces,” is setting a different path relative to other design offices. … “We want to be the most radical design firm out there,” Lee said, “and we need to build buildings to do that.” FreelandBuck builds drawings. Not in the traditional sense of constructing what’s represented by a drawing set, but in the sense that its architecture directly evokes carefully constructed perspectives and painstakingly hand-drawn renderings. “We think about drawing at the scale of architectural space,” says partner Brennan Buck, “as an end product, not a means to build.”
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.
- Bureau Spectacular
- Ania Jaworska
- Office of III: Sean Canty, Ryan Golenberg, and Stephanie Lin
- Jenny E. Sabin
- SCHAUM/SHIEH: Rosalyne Shieh and Troy Schaum