DESIGN PORTFOLIO
BASIA O P IO L
C oll e c t i v e Wor k s
B ENDLESS INSPIRATIONS THROUGH TRAVEL Growing up between Poland and Canada, I have inherited a strong appreciation for the beauty and history of spaces both old and new. Design that captures the spirit of its origin, while presenting a unique new story is a quality that I always aspire to bring to my work. While the preservation and conservation of built environments is always on the forefront of my sustainable design philosophy, it is through my creative work that I am able to bring new design solutions and integration to existing spaces. In a growing world where we look to good design for shedding light on critical environmental issues, I believe the spaces in which we live and interact with daily should be designed responsibly, sustain-ably and complimentary to it’s existing land.
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OUT OF SCHOOL
IN SCHOOL
TA BL E OF C ON T E N T S
H E A LT H C A R E
C O MM E R C I A L
DESIGN EXPERIENCE
01 | _SCAPE URBAN EATERY COURSE: Commercial Design Studio B BCIT
02 | VISTA ASSISTED LIVING FACILITY COURSE: Healthcare Studio A BCIT
C U LT U R A L
03 | CULTURAL COLLECTION CENTER COURSE: Projekti I Metropolia University
P U B L IC
04 | THE MEETING PLACE COURSE: Capstone Project BCIT
05 | LIFE DRAWINGS COURSE: Life Drawings Metropolia University
VIDEOGRAPHY
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PHOTOGRAPH BY BASIA OPIOL
DE S IGN E X P E R IE NC E My most recent work experience has been volunteering my time to a design build research (DBR) initiative led by local architecture firm Michael Green Architecture. At the beginning of 2014 I participated in a collaborative student design-build project for the TED 2014 annual conference where I helped design, prefabricate and assemble the community theatre. A theatre that became an integral part of the conference and was used by past TED speakers, TED fellows, and was a part of the TED-Ed program. Later in the year I participated in another design build project proposal for the redevelopment of the Koret Lofts Courtyard space that runs along the Carrall Street Greenway in Vancouver’s historical Gastown. In this experience I was able to develop a leadership role amongst the group of fellow students and designbuild participants to help work towards realizing the project proposal. Leadership, project management, design and practical building knowledge are all requirements of successful practicing designers. This experience with DBR has helped me develop these essential skills necessary for tackling the real world situations ahead in my career. Both projects also allowed me to explore many other aspects of how design influences society and how the building grows the designer, such as: · · · · · · · · · ·
Social entrepreneurship Community engagement Creative activism Leadership skills Working as a team Getting your hands dirty Learning about the tools Design as a tool for change Kick starter as a tool to promote ideas Developing respect for those who build your projects
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PHOTOGRAPHY BY BASIA OPIOL
T E D T HE AT R E | DE S IGN B UIL D C H A L L E NGE Spring 2014 MGA | MICHAEL GREEN ARCHITECTURE Principal Architect: Michael Green Students: Andrew Heneghan, Andrew Tomchyshyn, Basia Opiol, Beatriz Olivia, Beverleigh Foster, Brent Wiebe, Chad Stewart, Chantelle Grills, Chris Huxtable, Daniel Nguyen, Emily Seider, Fiona Jones, Gourav Neogi, James Munns, Jochem Moerman, Kelsey Keddekopp, Lauren Ritz, Mingyue Zhang, Nikolai Kuchin, Ryan Arnold, Sahra Samnani, Sascha Eagleton, Sarah Burns
A group of 23 architecture and interior design students from the University of British Columbia, Kwantlen Polytechnic University, and British Columbia Institute of Technology spent the last 8 weeks designing and building the TED Community Theatre Stage. Our concept was to build 400 planter boxes made with donated wood from BC forests. The planter boxes are easily assembled as building blocks for the stage and backdrop. After TED 2014, they will be donated to school programs in Vancouver to encour-age the growing of plants and the sharing of ideas. Each planter has a TED talk quote, which, when spread throughout our community, will literally become the ideas worth spreading, connecting our communities back to the incredible talks that have taken place over the past 30 years.
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PHOTOGRAPH BY EMA PETER PHOTOGRAPHY
“
... Over the past 8 weeks the time I have spent with the entire team of students and Michael Green Architecture has been one of the most rewarding experiences a student could have during his/hers’ study periods. The opportunity to work amongst young design driven individuals on a project that brings such a positive message to the community has reminded me the value and importance in local responsible design. The dynamic and creative working environment that MGA provided really allowed me to explore different areas and tasks involved in the project.
“
- Basia Opiol
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T E D 2 014 | WOR K ING W I T H T HE C L IE N T Community Stage Design Solutions Client Presentation SKETCHUP DRAWINGS Drawn By: Basia Opiol
Meeting the client’s needs will not always happen on the first try. Preparing various preliminary design solutions can help get a feel of which direction the client is leaning towards. During my experience at MGA Design Build Research, I was involved in the developing design plans for the community stage. After presenting one solution to the client, and unfortunately not meeting their requirements, we were forced to step back and recreate something else. Being able to quickly draw up visuals in computer programs such as Sketchup and send it to the client promptly is the reality in the industry and I have experienced this first hand. Seen in the images are two different planter box stage configurations that I designed for the TED Theatre and were considered in the overall selection.
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DE SIGN BUIL D RE SE A RCH
PHOTOGRAPH BY BASIA OPIOL
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... Putting in late hours at the shop crafting each box, meticulously weeding our favourite TED quotes on vinyl and collaborating together on everything in between is something I will never forget. I want to thank Michael Green for teaching us the ways to shape a project through telling its unique story, and of course the entire group behind the scenes that came together to create such a memorable piece of TED’s next chapter.
“
- Basia Opiol
TED 2014
C OMMUNI T Y T HE AT RE
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C OMME R C I A L
_S C A P E UR B A N E AT E R Y | C OMME R C I A L 145 Water Street City of Vancouver Proposed Development OP I Desi gn Design Principal: Basia Opiol
THE STORY Sitting on the edge of Vancouver’s oldest waterfronts, local eatery “_scape” brings a cultured canvas of fresh sea cuisine to historic Gastown. Defined elements of line and repetition are directly used in the design to evoke the experience of flying into the city. Vertical forms throughout the space are designed with inherent details outlining the physical direction of course while landing. Black wooden panels descend from the ceiling and create an extensive motion of continuous undulating lines. Materials used in the space remain honest to Gastown’s roots with the focus on wood. Tributing the triumph of the “Great Vancouver Fire” in it’s history, Shou Sugi Ban, wood that has been charred in a traditional Japanese method, is used in the design. A monolithic facade of weathered Cor-ten steel builds up the interior volume as you enter the space, while a pairing with cold rolled steel surfaces extends to the bar design. Gentle curved forms on the interior break the seemingly hard surface materials, creating a softer, more balanced space. During day, the normally dim lit interior is filled with natural light passing through glass garage doors at the face of the eatery. At night the jet black wooden panels are illuminated from behind, highlighting the sinuous patterns while setting an intimate mood to the space. Uniformly framed seating booths line the eastern horizon providing guests with a much anticipated window seat to the urban landscapes of Gastown.
3 D M O D E L | CO NCE PT
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F LY ING IN T O T HE CI T Y
PATTE RN
REPET IT ION
M OT ION
LIN E
LAN DIN G
CON T IN U OU S
DECEN DI N G
Creating a continuous pattern of the landing strip path seen when long exposure photography captures planes flying into the city.
RE ST AU R A N T F LO O R P L A N S cale: Dra win g n ot t o s cale
DEPART I N G
C OMME R C I A L
The arrivals gate is a public place full of emotion and social interaction. The ambience of the eatery creates a similar place of social activity and connection.
S O C I A L LY
C O NNE CT I NG
G L O B AL LY & L O CAL LY
BU ILT M ODEL | PRESEN T AT IO N
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CORTEN STEEL
BA R F R O N T ELEVAT I ON
S cale : Dra w in g n ot to s cale
SHOU SUGI BAN WOOD
CONCRETE FLOOR
CURVILINEAR LINE DETAIL
C OMME R C I A L H OST ST A ND & D I S PLA Y ELEVATI O N Scale : Dr awing no t to s c a l e
BOOT H S E C T I ON
Scale : Dr awing no t to s c a l e 21
V
ÏSTA ASSISTED LIVING
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HE A LT HC A R E
V I S TA A S S I S T E D L I V ING FA C IL I T Y | HE A LT HC A R E 3638 W 28th Avenue City of Vancouver Proposed Development OP I Desi gn Design Principal: Basia Opiol
THE STOR Y
Inspired by the breathtaking journey through Norway’s majestic fjords, VÏSTA promotes the abundance of natural surrounding, creating a therapeutic link to its outdoor environment. The indoor areas reflect the close-knit communities often seen in Nordic fishing villages at points along the journey. The cozy ambience created comes from the familiar wood frame materials and warm primary colours of the small village homes. The distinct points along the journey act as benchmarks and stimulation for the residents. The space is organized around a core that allows circular wandering and a direct navigation. Varying angles in the horizontal planes exercise the resident’s cognitive exploration with a sense of adventure, while still allowing them to wander safely. As the natural currents would carry one through the fjord gates, the space conveys a sense of trust in passage to the community of residents. The relationship between communal openness and private intimacy mirrors the guiding voyage through the fjords. A collective stream of residents rooms layer the private corridors and are led to smaller and bigger social areas of gathering. The welcoming character of VÏSTA brings together a community that can in turn grow old together with dignity.
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FJ O R D S
My 95 year old grandpa always used to say go out and enjoy the outdoors. Take a hike, climb a mountain, just be outdoors because later you wont be able to. It’s a feeling of isolation not being able to get outside.
Wayfinding patterns are a key element in the design.
Key for elders in the early-later stages of cognitive functioning deficit, a common sign of aging.
N AVIGAT ION
C A L MN E SS
STI L L WATE R
LAN DM ARKS
L AY E RS
M OU N T AIN S
PRIVACY
C O MMU N I T Y
AN GLES
O PE NNE S S
Creating a sense of community within the facility connects the residents and keeps an active social life.
PU BLIC/OPEN PRIVAT E/CLOSED ST AIRS/ELEVATOR
CIRCU L ATI ON
HE A LT HC A R E F L OOR P L A N D RAW I NG - LEV EL 1 Scale : Dr awing no t to s c a l e
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ST A I RC A S E S E C T I ON D RAW I NG Scale : Dr awing no t to s ca l e
HE A LT HC A R E
EV I D E NCE B A S E D D E S IG N An evidence-based design approach was used to address some of the key concerns in designing for the aging demographic. The detail drawings shown below highlight a few elements that were incorporated into the staircase design to address the functional needs of the elderly population. BENCH REST A bench was designed at the halfway stair landing to give a place of rest for elders. LOWER RISER The stairs were designed with a more comfortable 7� riser height for elders. TACTILE NOSING Stair treads were designed with a tactile groove nosing strip to prevent slips/falls. HANDRAIL SUPPORT The stair handrail detail is an example of the support needed for mobility assistance in elders and can be seen all throughout the main corridors.
NO S I NG DETA I L DRAW I NG S c a l e: D r a w i n g n ot t o s c a l e
S T AIRC A S E D E T A I L D RAW I NG Sc a l e : Dr awing no t to s cale
H A NDRA I L DETA I L DRAW I NG S c a l e: D r a w i n g n ot t o s c a l e
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C ULT UR A L
C ULT UR A L C OL L E C T ION C E N T E R | C ULT UR A L V I S I B L E MU S E UM S T O R A G E FA C I L I T Y Teollisuuskatu 8 Raasepori, Finland Proposed Renovation and Redevelopment OP I Desi gn Design Principal: Basia Opiol
THE STOR Y Six local cities have stored their collections of cultural heritage in the Raasepori museum storage facility. By opening the facility to the public and creating a visible storage exhibit people will be given the chance to visit these collections filled with valuable objects that tell the community’s past. A flexible storage system was designed to allows users to discover and interact with these stored objects and artifacts in a constantly changing environment. A learning center space is explored while visitors enter the space and provides an interactive and friendly environment for those curious to peek in their heritage.
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P EGB OA RD S TORAGE
Allows for changing and ever growing collections.
F L E X I B ILI TY
OPI OPI DESIGNS
145 W ABBOTT STRE VANCOUVER, BC CANADA V61 2J7
CONTACT: BASIA OPIO PH: 604 548 6788
25 FEB 2015 -
PR ES EN T AT IO N P L A N
Sca l e : Dra w in g no t to s cale
MUSE
COLLECTIO TEOLLISUUSKATU RAASEPORI, FI
PRESENTATION PLAN ID 03
1:100
C ULT UR A L
KARKKILA Karkkila
Vihti VIHTI Lohja LOHJA
The 6 contributing cities and the history they hold. Raasepori
Hanko HANKO
RAASEPORI
Fiskars FISKARS
DISCOVE R CONNE CTI O N INSPIR E
With the community and sharing of stories and experiences.
People of all ages to learn about their cultural heritage.
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S ECT IO N D R AW I NG - No. 1 Sca l e : Dra w in g no t to s cale
S ECT IO N D R AW I NG - No. 1 b Sca l e : Dra w in g no t to s cale
S ECT IO N D R AW I NG - No. 2 Sc a l e : Dra w in g no t to s cale
C ULT UR A L STO R A G E S YS T EM S E L E VAT I ON D R AW I NG S S ca le : Dra w in gs n o t to s cale
S TO RA GE S Y S TEMS S ECTI O N DRAWING S c a l e: D r a w i n g n ot t o s c a l e
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P UBL IC
T HE ME E T ING P L A C E | P UBL IC VA N C O U V E R A R T G A L L E R Y B U I L DI N G 800 West Georgia Street Vancouver, BC Proposed Redevelopment OP I Desi gn Design Principal: Basia Opiol
THE STOR Y Vancouver has been ranked one of the most liveable cities in the world year in and year out by The Economist’s Daily Chart according to the Global Liviability Ranking. However more recently it seems to also have been singled out by the same source as one of the world’s most boring cities (National Post, 2015). With Vancouver’s urban environment seemingly becoming more and more disconnected, designing a quality public space that invites people to interact and engage is an essential key to restoring the city’s sense of community (Vancouver Foundation, 2012). This project proposal introduces the concept of redeveloping the existing Vancouver Art Gallery Heritage Building as a mixeduse, shared public space. The diversity of Vancouver’s public demographic if something that this project will aim to celebrate by creating an inclusive space that can be shared by all and used as meeting place in the heart of the city. The dialogue created between the old and new in this design proposal is what makes this project unique and true to the city’s spirit of place. Preservation of a historic building is a key part in achieving a sustainable and holistic overall design. Maintaining partial use of the building for the Vancouver Art Gallery will ensure the relationships the public has formed with the site are not diminished with the redevelopment project. Enhancing the space instead with different interior changes will add new user value to the site and present more opportunities for Vancouver’s public life to flourish. 35
T he M e e t in g Pl a c e M od e l Understanding the way people live in Vancouver was the first step to creating the vision for The Meeting Place. Through research and analysis The Meeting Place design model was established to support and guide the decisions made in the overall project objective.
Mixed-Use A mixed-use of functions in the space will invite all users to engage in different activities. The functions must provide for a mix of necessary, optional, and social activities.
Visual Connectivity A visual connection to the city will attract users to the space. Acting as an orientation and passage through the city, people will further connect to street networks and surroundings.
Comfort Creating a comfortable public space that is protected from bad weather conditions but also provides opportunity to enjoy the good climates.
Walk-ability Pedestrian values are favored and good walking experiences are facilitated. Accessibility for all types of users to circulate must be present within the space.
Natural Value A clear sense of connection to the natural surroundings which enhances the quality of life. The natural context creates valuable spatial experiences.
Local Identity By celebrating the local diversity people can identify and relate to a space. This will attract more users to interact with the space.
Heritage Embrace the history and culture of past building spaces. Combining the past and present creates a sense of place.
Human Scale Public spaces should be designed with human scale. Focus on intimate environments with details and materials that are designed to please the senses.
P UBL IC CAPTURE CORNERS & BUILDING EDGE
PASSAGE THROUGH THE CITY
OVERLAP MIXED-USE FUNCTIONS
INDOOR/OUTDOOR CONNECTION
OU T D OORS
FLEXIBILIT Y
T R A NSI T I ON
P U BL I C
I ND OOR S 37
D E S IG N PRO G RAMMIN G The illustrations shown explain the occupancy types and proposed design program of the space. The building’s first 2 levels with be the mixed use public space occupancy with the remaining upper levels to remain used by the gallery as visible storage. 3D sketches of the some of the elements within the space program give you a sense of the design intent.
1st LEVEL -
Mixed-Use Public Space Occupancy: Mercantile, Assembly, and Learning
2nd LEVEL -
Mixed-Use Public Space Occupancy: Mercantile, Assembly, and Dining
Open Public Space Open Green Space Washroom Facilities Stairs Elevators
P UBL IC
PROGRAM MATRIX - Level 1 The Meeting Place Project at Vancouver Art Gallery
PROGRAM MATRIX - Level 2 The Meeting Place Project at Vancouver Art Gallery
OPEN SPACES
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FLOOR PLAN - G r o u n d L e v e l S cale: Dra win g n ot t o s cale
POLYCARBONATE SHEET
HERRINGBONE FLOOR
CONCRETE FLOOR
CUSTOM TILE MOSAIC
P UBL IC
D E S IG N D E TAIL ING & MIL L WO RK
K I OSK E L E VAT I ON - G rou n d Level Scale : Dr awing no t to s cale
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FLORIST R EN D ER IN G - Grou n d L e v e l S c ale: D r awin g n ot t o sc a l e
FLOOR PLAN - G r o u n d L e v e l S cale: Dra win g n ot t o s cale
3D V I SU A L R EN DER I NG S The following 3D graphics show some of the interior spaces highlighted in the overall design. Both the Urban Garden Room/Arcade and the Grand Rotunda played key roles in creating unique public gathering spaces.
P UBL IC G RAND RO T U N D A R EN D ER I NG - G rou n d L e v e l S c ale: D r awin g n ot t o sc a l e
URBAN GAR D EN R O O M & A RC A D E R E ND E R I NG - G rou n d Level S c ale: D r awin g n ot t o sc a l e
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L I F E DR AW ING S Croquis drawings using mixed tools Life Drawing - Helsinki, 2015 Drawn By: Basia Opiol S KET CH ES Starting off in the BCIT program with a freehand drawing course is a fundamental step to getting us to gain practice in something we will forever use in our profession. Our ability to draw in perspective for the client, builder or ourselves not only makes things easier to visualize but is a key part of documenting our design process. While in Helsinki on my semester abroad I took a life drawing class which forever changed my outlook on sketching. Through the emphasis of our instructor I realized there is no perfection to this skill we all possess. Translating life and the human scale within our design work is essential to success of the user space. I firmly believe in practicing the skill of thinking with our hands when we design. So in order to develop a confident hand in drawing we should be routinely expressing our ideas by doing a quick sketch in our books, on the Sunday newspaper, or famously on that white square paper napkin.
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V IDE O GR A P H Y Personal Projects Iceland Travel Documentation SAMSUNG #momentofnote Campaign Oregon Coast Film Festival FILM & EDIT Director of Photograhy: Basia Opiol
Traveling has been my biggest passion since I can remember. My biggest disappointment when returning from a trip was not having captured the breathtaking landscapes I’d seen. This soon led to me purchasing a DSLR camera which had the bonus of Full HD video capability. Right away I began shooting both video and still photography, discovering a hidden talent I bestowed. Some recent successes with my work in videography include licensed work with Samsung in the Asia Pacific region for the #momentofnote Campaign and screening of one of my short films in the Oregon Coast Film Festival. Though I have considered pursuing Photography/Videography professionally, the pleasure I have from shooting is different than the accomplishment seeking drive I have from design. I have that ‘eye’ for photography, but more importantly the ‘taste’ for design, and I see myself shaping into the real deal with design. To view the videos I have made, visit www.vimeo.com/user8766332
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