Ca rla Sa la s
Portfolio 2021
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table of contents cv setting polaris ascent water’s edge spider’s nest the textile core selected works
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my name is Carla Salas
I am a third year student at the University of Waterloo School of Architecture. I am passionate about storytelling and the way art, design, and architecture can create experiences out of narratives. I am seeking opportunities in which I can take part in effective and inspiring design, and to learn how to potentially achieve it through sustainable practices. I love snow, the movies, and employment! Please enjoy my portfolio and you happen to be interested in any of these too please contact me!
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Digital Skills Rhino 6 AutoCAD SketchUp Revit V-Ray (for Rhino) Microsoft Office
Adobe Creative Suite Illustrator InDesign Photoshop Lightroom
Manual Skills
Languages
Hand Drafting Physical Model Making Laser Cutting 3D Printing
English | Fluent Spanish | Fluent
Work Experience Architectural Intern ABBARCH Architecture Inc | Toronto, ON – Worked in AutoCAD and Sketchup, producing construction drawings for a variety of commercial and retail projects. – Edited and refined renders using Photoshop. – Contributed graphics and ideas to company brochure rework, and other marketing projects. – Received introductory training in Revit.
September - December 2020 January - April 2020
Summer Camp Counselor YMCA of Oakville | Oakville, ON Math Tutor Oakville, ON
July - August 2019 September 2015 - April 2017
Education Candidate for Bachelor of Architectural Studies, Honours University of Waterloo | Cambridge, ON
September 2018 - present
Awards & Scholarships McPhie Family Architecture Scholarship Outstanding high school record and involvement in extracurricular activites University of Waterloo President’s Scholarship Admission academic average between 90% - 94.9% HCDSB Father F. Fergus Duffy Award Outstanding achievement during the 2017-2018 school year
2018 2018 2018
Volunteering Experience & Other Activities
Interests
Treaty Lands, Global Stories (TLGS) Social Media Curator (2020-present) ͳ Creating and publishing content for the Instagram account of TLGS, a student-led initiative at the University of Waterloo School of Architecture that promotes discussions centered on place, diversity, and inclusion in the field of architecture and at the school.
Visual Art watercolour, acrylic, clay sculpture, pencil/graphite, charcoal drawing.
Orientation Leader + Food Coordinator (2019) Universiry of Waterloo 2019 Undergraduate Orientation | Cambridge, ON – Led groups of incoming first year students in orientation events as part of a team, establishing relationships and avenues to resources to better integrate them into the community. – Coordinated meals during the week and conducted organizational and creative tasks prior in preparation for events.
Film and Theatre
Reading and Writing Travelling
UWSA Open House Volunteer (2018 + 2019) University of Waterloo School of Architecture | Cambridge, ON
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January 22, 2021
To whom it may concern,
I am pleased to write this letter of recommendation in support of Carla Salas, BArch. I had the pleasure of working with Carla during her internship at ABBARCH architecture Inc., where I am a currently employed as a project lead. I posses over 15 years experience in commercial, institutional, fitness, and hospitality architecture. Over the past decade my responsibilities have included maintaining close professional and effective working relationships with clients, engineers/ consultants, building officials, and contractors; and coordination of all documentation and correspondence from these same groups. In addition I have provided mentorship and guidance for internal team members to ensure cohesive project focus and direction. Carla is easy to work with, likeable, approachable, and possesses great interpersonal skills. She is a very talented individual who provided me with excellent support on working drawing development, and consultant coordination. Carla understands design and construction concepts with ease – Even when challenged by an unknown, she is self motivated to find a solution or enhance her knowledge. I found her work to be highly dependable, and she required minimal supervision. In my personal experience I have found that these qualities and work ethics combined, translate to visible rapid growth of skill sets and responsibilities, and are found in individuals which have proven to excel in the field of architecture wherever they are. I strongly endorse Carla Salas without any reservation. I have no doubt that Carla will continue to prove to be an excellent asset and team member in her future endeavours. Please feel free to contact me if you have any questions or would like any additional information.
Sincerely, Juan Mejia
B.Arch.Sc. ABBARCH Architecture Inc. 2323 Yonge Street, Suite 700 Toronto, Ontario M4P 2C9 Email jmejia@bbarch.com | juan.o.mejia.m@gmail.com C 416.893.7907
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W2323 Yonge Street Suite 700 Toronto, ON M4P 2C9 416.340.8441 T abbarch.com W
Members of The Architectural Institute of British Columbia The Alberta Association of Architects The Saskatchewan Association of Architects The Manitoba Association of Architects The Ontario Association of Architects The Architects Association of Prince Edward Island The Architects Association of New Brunswick The Nova Scotia Association of Architects The Newfoundland and Labrador Association of Architects
April 17, 2020
RE: Letter of Reference – Carla Salas To Whom It May Concern: It was a pleasure for Abbarch to have had Carla Salas spend her first coop work term with us. Willing to tackle any task she did so with enthusiasm and the work which resulted was consistently well executed, thoughtful and complete. We would very much welcome Carla back if she wished to spend another work term with us. Yours truly, ABBARCH Architecture Inc.
Kenneth Grotsky, Principal Architect OAA, AIBC, AAA, SAA, MAA, AANB, NSAA, AAPEI, NLAA, MRAIC c.c. Employee file
_____FORM LTR 2020 03 17 Standard Digital Letter (Other) Rev 0.2 TOR.doc
VANCOUVER I TORONTO
Engaging DesignTM
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setting
2A Design Studio 2019 Supervised by Michael Fohring, Christie Pearson & Tracey Eve Winton
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Setting, as per its name, is a place for storytelling. It is an immersive theatre, a series of spaces designed to be journeyed through in a linear path, from one end of the building to the other. Each of these spaces creates a different atmosphere through different material, spacial and lighting conditions, meant to lend itself to specific moments and points in a narrative storyline. The model for this project is part of an in-progress project called “The Gallery,” a virtual interactive audiovisual art installation in collaboration with Green Room Sound Collective and Matthew Chapman.
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a
a
b
b
swept away from the city, swallowed into darkness low and enclosed, the black cut through with a knife, bleeding light across the floor surrounded, but isolated, look only at your guide, a silhouette, cut out of the white. they disappear into the fissure. engulfed by the crevice, emerge into light the world opens up and everyone is together meet the characters, the setting, the story beyond and within, there is darkness, you’re tugged into the journey. fragmented moments, pockets of time and space all at once whispered conversations, intimate moments, glances, rising action move in between, separate but weaving through from one to another until it all comes together time and space mirrored and folded back in on itself you’re back in the light, high above looking below, the centre you rotate around is here again all together, the characters, setting, story culminate in action. come down, rest and see your guide bid their goodbye. the story ends, the world opens up, and your path never deterring, you walk back out into it.
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circulation path
opening/prologue
narrative map & storyboard 12
exposition
main body & d
development
natural lighting strategies
climax
end/epilogue
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section bb
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model museum board 15
polaris
1B Environmental Building Design 2019 In collaboration with Stephanie Miller Supervised by Terri Meyer Boake
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Polaris is a small, off-grid research station located on the southeast arm of Yellowstone Lake, in Yellowstone National Park. Meant for two inhabitants, an astronomer and a photographer, it is designed to accommodate daily life as well as professional equipment such as telescopes and cameras. Due to Yellowstone’s geographic location and unique position on a raised plateau among the higher peaks of the Rocky Mountains, it experiences peculiar and extreme climate conditions such as almost year round winters with recorded temperatures below -40°C, as well as short, temperate summers. Polaris uses many passive design strategies such as a sloped roof, specifically located windows, and thermal masses, as well as active systems such as photovoltaics, its own grey water system, and radiant floor heating powered by the park’s natural geothermal wells to deal with its surrounding conditions. Ultimately, it is meant to be a small, unimposing building, for the occupants to fully experience Yellowstone’s National Park’s natural beauty.
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loft level plan
ground floor plan
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section aa
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1 solar panels 2 solar water heater 3 storage - solar battery and water tank 4 radiant floor heating 5 zero waste water system a gutter for rain and snow water b catchment bin c filter d main water tank e pump f filter e reverse osmosis filter
systems axonometric 21
north elevation
east elevation
south elevation 22
section bb
june 21st solar noon
march/september 21st solar noon
december 21st solar noon
ventilation through operable windows
ventilation through crawl space in summer 23
detail 1:5
detail 1:5 detail wall section 24
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ascent
2A Design Studio 2019 Supervised by David Correa & Derek Revington
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Exploring the relationship between cinema and architecture, Ascent creates an architectural promenade composed of 3 distinct spaces connected. Each of these seeks to replicate the atmospheres and affect evoked by 3 different films: The Mirror, directed by Andrei Tarkovsky, Blade Runner by Ridley Scott, and In the Mood for Love by Wong Kar-Wai. It is a journey though spaces of unique qualities achieved through lighting, material and space explored and achieved through model making.
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promenade section
It begins in a winding hallway that gently guides the occupant to wind through the rough, con becoming translucent as one turns into the next space.
Heavy walls tower above the occupant as they run up the flights of stairs, the single pointed lig
At the end of this rapid ascent, the occupant is met with a dark wall and is forced to turn and Warm and closer than the previous space, this last place invites the viewer to wander through point, and whose vision is obscured through light or screens in the next. 28
ncrete walls to see what lies beyond. This path eventually turns smooth and reflective, slowly
ght exposing in an otherwise dark room.
walk along a dark hallway towards the warm glow beyond, creeping around to the last space. h a scene of controlled views. Where the occupant can see directly through the room at one 29
The Mirror_Andrei Tarkovsky Tarkovsky’s film evokes an atmosphere that feels mystifying and confusing, carrying out into a prolonged process of discovery. The dimly lit setting evokes a cold feeling, the small room revealed to be wet and worn. However, these qualities are only exposed to the viewer as they are introduced to the character, and never in their full scope. From the beginning of the clip, the vision of character and viewer are obscured in a disorienting coming to. The size and peculiarities of the surroundings are slowly uncovered and navigated through in a daze in which as basic questions are answered, more complex questions arise.
Blade Runner_Ridley Scott There is a simultaneous sense of urgency and caution in this scene. The atmospheric light provides a dim and constant glow in the space while the constantly moving lights are searching and exposing in this otherwise dark setting. The grand size of this atrium-like space, shot from an angle that emphasizes its height, makes it feel open and revealing. Simultaneously, the heavy walls and decorated stairs and balconies add a new layer to the scene that somewhat enclose and structure the previously mentioned spacious setting. Together, the components of the room create a space that never feels small or limited, but rather lends places to hide and places to go.
In the Mood for Love_Wong Kar-wai In the Mood for Love feels delicate. Rather than inviting the viewer into this scene freely, its approach feels deliberate in its warmth and intimacy. The slow rhythm and warm colours are passively welcoming to the viewer, whilst the very close shots through mirrors and windows limit the viewer’s perception into this atmosphere. This intricate weaving of elements and scenes in a sort of montage make the scenes feel like smaller pieces to a larger, hidden story. The parallel imagery that exists in shots using reflections also contributes to this atmosphere and sense of limited display – both literally in the shot and emotionally in the characters.
final model 30
material and light studies concrete, cardboard, basswood, museum board, plexi glass, fabric 31
water’s edge
2B Design Studio 2020 Supervised by John McMinn
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Water’s Edge is a project situated at Falling Green Pond, a storm water management pond in Oakville, ON. It stems from a study conducted on the site as an ecosystem, infrastructure and recreational space that looked at how people, plants, animals occupy, use, and interact in it. Having found that, due to the geological conditions and lack of outdoor furniture and amenities, people tend to spend more time on the outskirts than at the heart of the site, this intervention seeks to change people’s relationship to the site. The goal of the interventions is to bring people closer to the shore, and by extension, the wildlife inhabiting it - thereby dissolving the harsh divide in the gradient across the site that keeps people ‘separate’ from nature.
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water fowl beavers (previous) foxes, raccoons birds people
occupancy
site activity
water flow 34
green space site plan 35
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a
site axonometric
“natural”
condition gradient
water’s edge
gradient diagram
section aa
section bb 36
urbanized
walking trail
property fence
elements catalogue bench/table
bench steps
partition/enclosure
invites birds to perch + make nests
ho ver t
rizo nta l sh e
ica
lve s
lm
em
be
rs inivites growth on climbing plants + eventually partitions from tree growth
vary in density according to site conditions and programatic demand 37
intervention b axo – – –
located at the edge of the water on the south end of the pond bench doubling as table under a canopy and screen sapplings have been planted behind this intervention, as they grow, they will envelope and grow around the screen, integrating it into the site.
intervention c axo – – –
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located on north end of pond step seating embedded in the slope, accessible through a ramp off of the walking trail screen and accompanying greenery will shield and minimize noise from busy street behind.
intervention a axo –
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Located on south end of the pond, on a flat strip of lawn on the most populated area of the site, closest to the ‘urban’ side of the gradient. Most intensive intervention, acting as a welcome space and one for public use.
intervention a plan –
consists of a semi partitioned multiuse space for public use, a prep area, accessible washroom, and storage.
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spider’s nest
1B Building Construction 2019 CISC Steel Competition 2019 In collaboration with Niara van Gaalen Supervised by Terri Meyer Boake
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Located in Wells Gray Provincial Park, British Columbia, Spider’s Nest is a lookout rooted on the rocky cliff beside Helmcken Falls. The platform is surrounded by a series of overlapping, woven steel cables that define the space within. At a distance they merge to form an intricate and illusive surface. In contrast, the light and open effect of the enclosure seen from within gives way to the natural views all around. Inspired by studies in biomimicry, such as bird and spider nests, the pavilion uses galvanized steel to blend with the cool tones of the rock below. The cantilevered design demonstrates the strength of steel and imitates the strength of spider silk in tension.
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back entrance elevation
front lookout elevation
top elevation 42
long & cross section 43
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detail axonometric 45
the textile core
1B Design Studio 2019 Supervised by Maya Przybylski & Cam Parkin
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Located on Dundas Street West, at the foot of the pedestrian bridge crossing West Toronto Rail Path, The Textile Core is what its name implies. Both library and textile studio in one spacious and graciously lit building, it is comprised of a series of staggered programmed floors that together create a space for reading, learning, working and creating. These levels are connected by a central core. An elevator core around which stairs wrap and climb to each level, surrounded by a metal system of bars and rails that house the building’s textile display - acting as storage of raw material and an exhibit of textile art and works.
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core + floor plates 48
structure + gla
azing envelope
screen envelope 49
site plan 50
fourth floor plan wet studio silk screening + fabric dyeing
third floor plan dry studio sewing + weaving + embroidery
second floor plan library + reading space
ground floor plan
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lecture + reading space
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section aa
front elevation
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composition, frame and facade models basswood, museum board, trace paper 53
core perspective section 54
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other works
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My interest in architecture and design are the result of and driven by my passion for storytelling and art - which I’ve been interested in and practicing since I was very young. The following are explorations and works from 2018 to 2021 in various mediums including watercolour painting, model making, photography, and charcoal drawing.
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Little Women (2019)
Ratched (2020)
Hannibal (2013) watercolour cinematopgraphy studies 58
model experiments in tension 59
photography 60
drawing study : body language as a non-verbal means of expression and storytelling in 2001: A Space Odyssey 61
T ha n k You!
csalas@uwaterloo.ca (289) 400 6804
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