// Saul Jerome E. San Juan

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ArtDesign +

Design1 The Mound // Professors Francisco Gomes & Russell Krepart // 2010

2 Collapsible Drawing Bench // Professor Ulrich Dangel // 2008

3 Parametric Vaults // Independent Exercise // 2012

4 Helsinki South Harbour // Bercy Chen Studio, LP // 2011

5 Eight Spaces // Professor Paul J. Armstrong // 2006

6 Collapsible Roof // Professor Ulrich Dangel // 2008

7 New Taipei City Museum of Art // Bercy Chen Studio LP // 2011

1 Th e Mound // Professors Francisco Gomes & Russell Krepart // 2010

Within the shelter of a mound, shaft s of light and air direct movement and repose in the public shower facilities and a park ranger’s private quarters along the waters of Lake Austin. Carved into the mound is an

amphitheater oriented around a stage on the shoreline, where the water meets the land and the architecture, providing space for

performers and audiences on both land and water.Th is one-week project was designed in collaboration with Jason Haskins.

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2 Collapsible Drawing Bench // Professor Ulrich Dangel // 2008

Th rough the introduction of collapsibility, the specifi c functional form

of the artist’s drawing bench morphs into other ways of seeing the act of sitting.

3 Parametric Vaults// Independent Exercise // 2012

Th is is an exercise in taking the underlying volumetric

geometry of an English Perpendicular Gothic Fan Vault to construct a parametric model in the Revit family editor environment that can be used in a Revit project as conceptual mass components on which to assign system families such as walls and roofs. Th e volumetric treatment that defi nes the fan vault form by the space it encloses results from the construction of the parametric model from simple boolean operations, allows easy deployment into Revit’s conceptual mass interface, and inspires the rethinking of the original masonry forms as concrete thin-shell structures constructed from the negative formwork. Experientially, quick in-house Revit renderings of the exercise readily reveal an expanded palette of direct and refl ected light resulting from the

variation of apertures interacting with the complex curvature of the forms, creating a luminous symphony ranging from defi nitely edged shards of light to atmospheric washes

of luminance.

Combining various scales of the fan vault unit in plan while keeping the sectional radius of the vault equal in numeric value results in an organic continuity in volume and elevation evocative of a “Gothic” formal system.

Varying the numeric values of the sectional radius of the fan vaults in constant proportion to the varying scale of the units results in autonomous forms in volume and elevation evocative of “Classical” formal massing.

The introduction of elements to interact with the fan vault surfaces such as walls and apertures discrete from forms resulting directly from the system expands and enhances the experiential expression of the formal exploration.

4 Helsinki South Harbour // Bercy Chen Studio, LP // 2011

In response to an ideas competition held for Helsinki’s South Harbour, Bercy Chen Studio

proposes a ribbon that, while perfectly elliptical in plan, undulates vertically according to specifi c conditions. Th e ribbon lift s up to varying heights to provide clearance for cars, trucks, boats, and ships, while it touches the ground to connect key points around the harbour. Th e new landscaped canopies girded by the ribbon extend the leisure activities and greenery of Tähtitornin Vuori park to the water’s edge, leaving current port operations undisturbed below. A mobile restaurant capsule rides the ribbon along an interior rail, off ering ever-changing views of the harbour for diners—a unique

reinterpretation of revolving restaurants ubiquitous in major cities around the world. Th is competition entry was completed in collaboration with Daniel Arellano and Calvin Chen.

5 Eight Spaces // Professor Paul J. Armstrong // 2006

On a restricted, sloping site, eight spaces of undefi ned uses are arranged according to prescribed relationships and degrees of privacy. Th e elimination of conventional stairs is

a self-imposed limitation that becomes an opportunity to rethink various ways circulation can defi ne spaces in this fi rst studio design

project at the beginning of architecture school.

6 Collapsible Roof// Professor Ulrich Dangel // 2008

A kinetic pavilion permits a range of visual and acoustic confi gurations for

performing arts of scales ranging from intimate chamber music on the edge of Lady

Bird Lake to explosive rock opera productions that draw crowds to the

grassy expanse of Auditorium Shores across from Downtown Austin.

7 New Taipei City Museum of Art// Bercy Chen Studio LP // 2011

In place of bland fl exibility, Bercy Chen Studio’s competition design for a museum of

contemporary art proposes a diversity of specifi cities to invite new

ways of displaying and viewing art. Art becomes both destination and journey as seven distinct promenade galleries connect the urban tissue of the park bike path and underground concourse levels with the destination programs of the upper fl oors. While the linear volumes link town to river, notches at their upper reaches send views down the river valley to the center of Taipei.

Th is competition entry was completed in collaboration with Daniel Arellano, Calvin Chen, and Agustina Rodriguez.

Art8 Domus Ecclesiæ // Professor Frank Vodvarka // 2005

9 ar_@_barton_ck // Professor Clay Shortall // 2012

8 Domus Ecclesiæ // Professor Frank Vodvarka // 2005

An underlying rhythm organizes

the form and content of this twelve-part series for the exhibition that culminates a four-year

studio art program at Loyola University Chicago.

9 ar_@_barton_ck// Professor Clay Shortall // 2012

For a studio course “based on the merger/collusion of the virtual and real world through augmented reality,” I chose the Barton Creek Greenbelt as my real-world site for a virtual

art installation inspired by the work of artist Antony Gormley. Th e virtual land art installation consists of a grid of fi gures centered on the viewer, who experiences the intervention through a device such as a hand-held smart phone. Th e fi gures are oriented relative to the fl ow of the Edwards Aquifer, which fl ows independently of Barton Creek even in drought, while they are deformed according to their position relative to the Creek. Th e Grasshopper 3D script places 0 at the center of the creek and 1 at the banks of the

creek, suggesting water erosion of the fi gures within the creek and a sense of longing

for water away from the creek. As the viewer walks around the Greenbelt, the fi gures

transform in orientation and proportion relative to the grid centered on the viewer.

1: Th e orthographic distribution of the fi gures in relation to the viewer at the center of the grid suggests a cartesian defi nition of the land by polar coordinates to aid in its survey and exploration.

2: Th e facial orientation of the fi gures towards the generalized underground fl ow of the aquifer invisible to the viewer brings awareness to the undulating path of the creek on the surface.

3: Th e planimetric deformation of the fi gures relative to the centerline and the banks of the creek petrifi es the fl ow of water in times of drought and evokes the longing for water away from the creek.

4: Th e varied elevation of the land infl ects the system, illustrating the reciprocal relationship between the topography of the landscape and the fl ow of water that shapes it and that it directs.

// Saul Jerome E. San Juan+1 (817) 773-1092 // sjsanjuan@gmail.com

Education Master of Architecture // The University of Texas at Austin // 2007 - 2012Music in Architecture - Architecture in Music Symposium Competition Europe Program/Studio ParisAlley Flat Initiative Design-Build

Bachelor of Art in Fine Arts // Loyola University Chicago // 2002 - 2006 Magna Cum Laude Honors Program John Felice Rome Center Study Abroad Program

Work Professional Residency Program // Bercy Chen Studio LP // Austin, Texas // 2011Worked under supervision of Founding Partner Calvin Chen in assisting in active construction job sites,composing text and assembling imagery for award submissions and marketing,giving design and presentation software workshops to new interns,feasibility studies and site analyses,building physical models for client presentations, drafting design and presentation drawings, and leading design competition teams

Teaching Design Assistantship // The University of Texas School of Architecture // 2012Assisted Professor and Associate Dean Nichole Wiedemann in engaging students in design discussions,giving software tutorials, and critiquing work in studio reviews

Visual Resources // The University of Texas School of Architecture // 2007 - 2009 Worked under supervision of Visual Resources Collection Director Elizabeth Schaub in photographic documentation of gallery exhibits, the creation and promotion of educational programming, digitizing physical slides in the archive, and photography dark room management Software AutoCAD, Grasshopper, Illustrator, InDesign, PhotoShop, Revit, Rhino, SketchUp

Languages Native speaker of English and Tagálog (Filipino) Conversant in French and Italian Proficient in Latin, Portuguese, and Spanish

Travel Austria, Canada, France, Germany, Iceland, Italy, Japan, the Netherlands, New Zealand, the Philippines, Spain, Switzerland, Thailand, and the United States of America