PORTFOLIO 2018-2021 CELINA QIU
Rhinoceros, Grasshopper, SketchUp, AutoCAD, Revit V-Ray, Lumion, Enscape ArcGIS Pro, ArcMap, ArcGIS Online Photoshop, Illustrator, InDesign, Acrobat, After Effects
+ Currently a Master of Landscape Architecture candidate at University of Virginia and a design intern at Victoria Taylor Landscape Architect, Ontario + 2 years of professional experience designing and managing projects at a residential landscape firm.
AdobeGISRenderingCADCC
Design-Build Volunteer CAUKIN Studio, Batiki Island, Fiji Aug - Sep, 2019
HIGHLIGHTS OF QUALIFICATION
+ 2 years of student leadership experience coordinating and executing networking and professional development events within the school community.
+ Designed the floor layout and promotional materials for the company’s first architectural visualization conference.
EDUCATION EXPERIENCE
Architecture Visualization Artist KUNKUN Visuals, Bandung, Indonesia Sep - Nov, 2019
American Institute of Architecture Students 2017 - 2019 + Managed a team of 11 members to organize biweekly networking and professional development events in the faculty.
+ Generated $25,000 in corporate and institutional sponsorship for AIAS FORUM architecture student conference December, 2019.
CELINA QIU
SKILLS University of Toronto, Daniels Faculty of Architecture University of Virginia, School of Architecture Bachelor of Arts in Architectural Studies, Design and Theory Master of Landscape Architecture, Path III. GPA 3.64 Aug, 20212015Present-2019
+ Drafted and modified construction detail drawings for fabrication of landscape components and landscape design layout.
+ Designed and managed 20+ residential landscape design projects with consideration of client feedback and contractor approval.
Landscape Designer Sander Design Landscape Architect, Toronto 2019 - 2021
Chapter President and Partnership Director
+ Engaged in local village activities to exchange cultural practices and learn traditional craftsmanship.
Landscape Design Intern Victoria Taylor Landscape Architect, Ontario Apr, 2022 - Present + Created 3d models and collages used in the initial design phase of Base 31, an arts and culture venue in Picton, Ontario, for client presentations and design team meetings.
+ Contributed in all stages of rendering production including 3D modelling and photoshop in accordance to client requirements.
+ Collaborated with international volunteers to design and construct a coconut oil production facility using local building methods.
+ Conducted client meetings and site analysis to propose potential design ideas suitable for their outdoor living space.
AmplifyingHydrologicalMicroclimaticComplex Woodbine Beach: Borders and Infrastructure GansFerryWard’sResidenceIslandTerminalCONTENTS416 20 24 10 14
Location: Observatory Hill, Charlottesville Project Type: Academic, Studio
Date: August - December, 2021
Below Right: Hand sketches exploring potential landforms for design intervention.
Experiencing Microclimatic Variations
Microclimates have a profound impact on how we enjoy a space. They provide visitors retreats from intensified weather experience that blurs the notion of com fort and discomfort. They also provide ecological niches for specific species to thrive. These moments of microclimatic differences have fascinated me through out this semester’s studio project. I have meticulously documented their nuances, speculated on their factors of influence, researched their interactions with ma terial and topographical properties, and designed to enhance their performance and experience. With each exercise, I have delved deeper into their inner work ings and their potentials with altering their surroundings.
Right: Collage of retention pond cluster during fall.
Left: Map documenting ground coditions, tree canopy, and material clusters.
Below Left: Example study of documenting a fallen branch cluster that is overgrown with wood-decay fungus that will be preserved and designed around for engagement.
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In summary, three factors of microclimate generation – light, wind and hu midity – have driven the design process in creating variations in perceived temperature differences. They exist as gradients within a network that span the landscape, with certain directionality, magnitudes and frequencies that magnify when interfered with nodes of material accumulation. Rocks, fallen trees and leaf litter provide crevices for water to infiltrate, shelter from direct sunlight and obstacles to block wind flow, providing protection, nutrition and moisture for plant growth and species habitation.
The aim of the design proposal began with preserving these clusters discovered along a 1,000 foot long transect containing a stream and old reservoir on Observatory Hill, Charlottesville. With ecological and expe riential potentials, triangular landform prisms could surround it to frame, amplify, and provide points of observation for visitors. Purposefully placed across the site to minimize disruption and create the most meaningful points of engagement, a selection of plants and materials would also alter the perceived temperature around it. Plants would cool their surroundings by providing shade, moisture and wind turbulence whilst artificial materials with high thermal conductivity properties would warm up if exposed under direct sunlight. By specifically designing to enhance each cluster by the choices of landform, planting and materiality that can later the perceived temperature, a spectrum of microclimates can be experienced across the site. 7
Top Left: Landform, planting, and material palettes in sections.
Bottom Left and Right: Site sections exploring programmatic and microclimatic potentials of design intervention with ecological clusters.
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Left: Site plan overlayed with heat map indicating the diversity of temperature variations created by de sign.
Top: Collage of fern cluster during summer and collage of mushroom cluster during winter.
Right: Maps exploring microclimatic and performative potentials of design.
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The entire project was carried out by a group of international architecture and engineering students alongside local carpenters that encouraged a fertile ground for the exchange of local knowledge, ideas and experiences. Dealing with a considerably remote site and small budget came with its challenges as most construction methods had to be done manually with mostly hand-held tool-box equipment. With this in mind, it deemed sensible to create a monolithic structure composed of a series of trusses that can allow for expansion in the future when the time arises to meet higher demand.
The Island of Batiki needs a purposefully designed facility to house their produc tion of virgin coconut oil (VCO). As the main export and economic source of the island, the facility aims to provide a more efficient and sustainable solution for this growing industry that was once disjointed and interfering with communal spaces of the village. As a low-lying island limited in electricity and fresh water, the building had to be completely self-sustaining. By incorporating passive design element, such as so lar panels, a mono-pitched roof, composting toilets, and ocean facing windows, it encourages a closed loop system by relying on local resources and minimizing waste. Concrete sand and Fijian pine were shipped over from the main island whilst the window louvres and corrugated roof panels allows consistency with the traditional pacific vernacular style.
Date: July-Sept, 2019 Location: Batiki Island, Fiji Project Type: Design-Build Team: Caukin Studio (part of 22 person team)
Left: Exterior render of VCO Process Plant after construction.
Right: Design of VCO Process Plant based on site analysis and construction technique.
Bula Batiki Coconut Oil Process Plant
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Comprising of 5 main spaces positioned along an uninterrupted main cor ridor - the primary processing hall, an adjoining sterilization room, chang ing/toilet spaces and two external porches that bookend the facility would all be connected. The processing facility is designed to be a linear clear span, avoid of any internal columns to allow a smooth process of the coco nut oil production. The main hall follows an open floor plan where workers can congregate in groups, conversing whilst carrying out their tasks. Nar row 3 meter tall windows front the ocean to allow pacific breeze to flow inside, keeping internal conditions cool whilst shaded. The building is also designed in accordance with strict health and safety standards. Concrete was poured throughout the ground to seal the bottom gap whilst making the floor easy to clean and relatively cool to sit on. Large doors mark ei ther ends and the windows are wrapped with mosquito netting to avoid contamination of the products stored inside. Along with the alternating charred wood panels, the netting subtly reveals a pattern inspired by the traditional Fijian practice of mat weaving. By incorporating this detail onto the facade, the cultural symbol of the nation emerges across the whole building. visible to incoming ships and visitors.
Right: Plan of VCO Processing Plant showing program in accordance to produc tion line.
Left: Step-by-step construction process of VCO Process Plant. Below: Interior render during VCO production
Right: Program vignettes, plans and circulation diagram of proposed Ferry Terminal design
14 Date: July - August, 2018
During our site visit to Ward’s Island, we noticed that the ferry pier was in need of a renovation. One distinct thing was the shortage of infrastructure to accom modate the individuals waiting for the ferry who resorted to acquiring shade under the limited number of trees along the nearby beach, sitting on rocks and driftwood. This project would address the need of sheltering and welcome the visitors year-round whilst creating an inviting iconic structure that could boost tourism for Ward’s Island. Seeking inspiration from tensile architecture and thin shell concrete structures, we decided that the idea of creating a domed concrete roof would work for the bohemian island vibe. With its association with events, temporality and shelter, the design would reflect the atmosphere and program of the low-lying island as a tourist attraction. The final design consists of two parts: a permanent web-like canopy that is a hybrid of thin shell concrete and glass merged with an enclosed space at its core with three corridors that direct visitors to entrances and ex its. The structure will also separate the public beach from the private water taxi stand on either side. Most programs: a cafe, ticket booths, public washrooms and information booths will be placed under the main dome surrounding the glass oculus that acts as a snow globe in the winter. On the other hand, program for administrative services and maintenance facilities are located below grade via a ramp to prioritize service for visitors on the ground level.
Location: Centre Island, Toronto Project Type: Academic, Studio Team: Farwa Mumtaz and Celina Qiu
Left: Collages and section of proposed Ferry Terminal.
Ward’s Island Ferry Terminal
This exercise seeks to imagine an architecture and landscape synthetic strategy that can address the hydrological conditions of a site on Observatory Hill, Char lottesville. A temple like structure inspired by 19th century glass houses would be integrated with radiating linear ridges inspired by the landforms of Snohetta’s Max IV Laboratory in Sweden and edited to fit within the site’s challenging ter rain. Both modelled parametrically with Grasshopper, the design would address the potentials of computational design in coordinating the two disciplines in a shared vision.
Location: Observatory Hill, Charlottesville Project Type: Academic, Studio Team: Merna Agban and Celina Qiu
Hydrological Complex
Date: August - December, 2021
Below: Section demonstrating how synthesized design addresses the circulation of wa ter throughout the site
Left: Diagram explaining synthesis of building and landform with site.
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The site’s hydrological and topographical conditions would be the unifying element in bridging architecture which deals with enclosed spaces and landscape which surounds it. Taking into consideration the natural water cycle, the building will act as a cistern, containing the rainfall within a pool for intimate contemplation whilst the landforms would direct waterflow to a reservoir downhill. The ridges would also create uninterrupted paths that spread out from the cistern for different angles of observation of the hydro logical system. When principles of architecture and landscape are integrat ed here, it creates a dynamic intervention where water can be interacted with and appreciated across two contrasting atmospheric conditions, one within a theatrical space and another within a vast terrain of rolling hills.
Right: Axonometric of water collection and transportation through the landscape
Bottom: Building plan of cistern performance
Far Right: Exterior collage of water outflow into landscape.
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Date: January - April, 2021
Right: Plan oblique of Woodbine Beach and its programmatic zones.
Left: Timeline of Woodbine Beach from settlement to park establishment.
Woodbine Beach: Borders and Infrastructure20
at Woodbine, an urban beach situated within a 10 minute driving distance from Toronto’s downtown core, ensuring safety, accessibility and en joyment for all visitors has been at the forefront of beach management. How the beach can successfully serve all people and their various activities that create meaningful experiences and contribute to the identity of urban life is provided through the division of space. Traditional extents of a beach that include sand and water is designed within a vast landscape matrix that includes issues of transportation, private/public and program, all seperated by contrasting surface conditions, infrastructure and regulations. Design choices of individual “zones” encourages particular activities to take place and simultaneously influences the behaviour of visitors. Architecture orders space and ultimately people in a dy namic landscape “composed of shifting nodes of interaction.”
Location: Woodbine Beach, Toronto Project Type: Academic, Research Team: Gabriela Sciortino and Celina Qiu
Beaches as sites of recreation have extended its boundaries to more than just the limits of sand and water. Its sphere of influence on the surrounding land scape has altered the designed infrastructure and surface conditions including pathways, buildings and vegetation that takes advantage of the desirable atmo Particularlysphere.
Furthermore, to protect the neighbouring residential area from increasing threats of climate change, the beach is maintained to act as a buffer against flooding and storm surge. The extent of sand is enlarged towards the lake and a series
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Bottom: Timeline of shoreline development and photos of beach protection infra structure.
Left: Woodbine beach construction development and infrastructural components.
This set of drawings attempts to uncover the tangible and intangible strat egies that construct, regulate, and animate Woodbine Beach into a cultural attraction. Where both the experience of people is defined and natural processes are managed on a dynamic and synthetic terrain.
of hard and soft infrastructure act as walls protecting the inland from the water. These various engineering features and processes has transformed the beach from a natural coast into an artificially maintained and con structed landscape
Right: Vignettes of surface materials, infrastructure and signage that determine program and user behavior.
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Bottom: Post-construction photos in fall.
Right: Proposed plan and section of design including furniture, planting and materials.
Gans Residence
Decks are a staple in residential backyard design but are rarely used to fill the entire surface area. Through analyzing the existing site condition, we noticed an exuberant amount of hardscape with already delineated planting areas. We decided to cover the exposed poured concrete with an extensive deck that can connect the competing elevation of the house and shed entrance, whilst softening the harsh tones of the building’s facade. Planting beds would be squared off and filled with ground cover that overflow onto the deck. What we created is a backyard reminiscent of a forest boardwalk but fits as an intimate extension of the house.
Date: February - September, 2019
Location: 122 Walmer Rd, Toronto Project Type: Professional Team: Sander Design
Left: Nighttime programmatic collage.
Far Right: Daytime programmatic collage.
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CELINA QIU +1 (416) celinaqiu@gmail.com939-4837 Toronto, ON and Charlottesville, VA
