EVELYN LO Honours B.AS 2009 University of Waterloo LEED AP Canadian Green Building Council
SELECTED WORKS 2006-2011
CONTENTS ACADEMIC
GALLERY FOR THE CANADIAN ARTS 04 DON VALLEY COLOMBARIUM 10 OPEN AIR ANTI-MUSEUM 14 PIAZZA DE CINQUECENTO 16 HUMBER RIVER PAVILION 20 CHAIR FOR E.E. CUMMINGS 26
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PERSONAL
ITALIAN SKETCHES 28
COMPETITION
PROFESSIONAL
KEW BEACH TENNIS CLUB 12
LANG TANNERY REVITALIZATION 08 FERGUSON COTTAGE 22
EVELYN LO SELECTED WORKS 2006-2011
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GALLERY FOR THE CANADIAN ARTS PROJECT CATEGORY ACADEMIC University of Waterloo School of Architecture
COURSE
ARCH 493 Comprehensive Design Studio
DATE
Summer 2009 Semester 4B
The gallery is intended to be quiet, the low-laying marks that man leaves on the landscape bearing a constant connection with the changing horizon, a structure that will be stained with the passing of time, the overgrowth of nature, the patina of the elements... The building acts as mediator between man and the natural world. Although comprised of massive concrete construction, the building sits quietly in the landscape. Site disturbance is reduced to a minimum, existing trees are maintained on site and indigenous native vegetation is planted abundantly around - replacing the asphalt pavement of the parking lot that currently occupies the site. The native vegetation will contribute to promoting habitat conservation and biodiversity in an area so close to the Grand River in Cambridge, Ontario. Natural cycles are celebrated; whether it be daily, seasonal or annual. Gallery spaces are naturally lit by the sun, filtering through slots in the roof, leaving some spaces in shadow and others starkly lit, the pattern always in flux - the spaces always changing. Light is used as a conscious narrative to draw the visitor throughout the spaces. As humans, we are always drawn towards the light, whether it is manifested as an intense flash, or a soft waning glow. Light has many characters and can enter a space with such strength and fervour, it in itself becomes an object in the space to move towards and around. As the natural light is almost always entering from above, the insulated concrete walls maintain a high integrity of enclosure as well as high thermal mass, lowering greatly the temperature differential between the interior and exterior spaces despite the extreme climactic conditions. An infiltration trench is featured in the open court of the project site, this process treats stormwater runoff by removing contaminants & pollutants by filtration through long grasses, crushed rock, sand and filter fabric to provide for groundwater recharge. Designing sustainably was integral to the concept of the building as the project is to tread lightly on the earth both conceptually and in practice. from top to bottom: -view of infiltration trench/open court from corridor -east and west elevation -north-south section -east-west section -materiality: entry rammed earth wall with long grass planting
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GALLERY FOR THE CANADIAN ARTS
left: -detailed wall section at corridor above: -view of corridor; summer/winter EVELYN LO SELECTED WORKS 2006-2011
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top left: -context plan top right down: -view along riverside path; walls lead down into public court,vegetated gallery roofs provide new landscapes -view of public retail/cafe entrance, rammed earth wall leads to gallery foyer -public court ; entered from riverside path along ramp or stairs
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GALLERY FOR THE CANADIAN ARTS
The gallery is designed to entice the body. Walls and roofs that convey weight, density, lightness, temperature and texture- to provide the occupant with a heightened awareness of their own existence, their own body, their own senses. One moves through the gallery with a sense of slow discoveryyou move, to understand, the art, the space, and the world around you. Everything is slow to reveal themselves, for one moves in a gentle zig-zag meandering formation. Time is still, and you use your body to measure the spaces you find. The roof above the head varied from complete heaviness, gravity pulling you down towards the earth, but then drawn towards the light, a double height space, open to the sky, one feels almost as though levitating- one moment spent in the depths of the earth and the next floating in the heavens. One cannot help but run their fingers along the walls; walls of concrete, rammed earth, limestone... the dappling textures that change with age and time, and the warmth of the stone on a hot day. This is meant as a reminder of the lost senses, those so often forgotten in our everyday lives.
top left to right: -photographic light studies: ramp up to second floor, second floor gallery, single-storey gallery with slotted skylights left: ground floor plan EVELYN LO SELECTED WORKS 2006-2011
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LANG TANNERY REVITALIZATION PROJECT CATEGORY PROFESSIONAL Raw Design
DATE
Fall 2009 - Fall 2010
TEAM
Roland Rom Colthoff (supervising architect) Vanessa Fong Evelyn Lo Kenzie Thompson The Lang Tannery is a series of historical warehouse buildings in Kitchener, Ontario. Toronto Developers Cadan Inc., were looking to revitalize and refurbish the buildings in hopes of creating a technological hub involving office and commercial spaces as well as artists lofts and live/work studios. The project involved intense documentation of the original building and structure, to determine how to retain the majority of the elements for both sustainable reasons as well as to maintain the historical relevance and integrity of the site, while at the same time creating contemporary interior spaces that would appeal to large technology companies such as RIM and Google.
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OFFICE OPEN AREA 209
15 A601 sim
Note: This drawing is the property of the Architect and may not be reproduced or used without the expressed consent of the Architect. The Contractor is responsible for checking and verifying all levels and dimensions and shall report all discrepancies to the Architect and obtain clarification prior to commencing work.
OFFICE #2
www.rawdesign.ca
One of the major spaces was redeveloped to become a Digital Media Convergence Centre. The design for this included a number of ‘pod’ spaces for as private meeting rooms, and ‘cave’ spaces for secure virtual gaming and film screenings.
9 A601 typ
NOT PART OF SCOPE OF WORK SERVICE OFFICE SERVICE #2 AREA OFFICE OPEN OFFICE OFFICEOPEN 154 206 153 AREA 209
14 9 A601 sim A601 typ
EXISTING CORRIDOR
CAFE
15 A601 sim
105
017
NOT PART OF SCOPE OF WORK
section SCALE= 1:75
SERVICE OFFICE 153
SERVICE OFFICE OPEN AREA 154
EXISTING CORRIDOR
CAFE 105
14 A601 sim
017
ISSUE RECORD
1 A452
section SCALE= 1:75
REVISION RECORD
1 A452
2
section
A452
SCALE= 1:75
top to bottom (next page): -plan detail of curved wall -rendering of view towards ‘cave’ -vied towards ‘cave’ after project completion top left: -view of ‘cave’ under construction
top to bottom (this page): -view from mezzanine after project completion -existing exterior view -existing interior view -longitudinal sections
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2
section
A452
SCALE= 1:75
LANG TANNERY REVITALIZATION
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section
A452
SCALE= 1:75
D55
D53
D50
D55
D53
D50
2009-12-23
Building Permit
2010-02-01
Permit Resubmission
2010-02-01
Tender
SPECIFIC RESPONSIBILITES+ CONTRIBUTIONS The scale of this project was so immense that it required intense colloboration and dedicated work ethic from all team members involved. With guidance from both Raw Design director, Roland Rom Colthoff, and practicing architect Vanessa Fong, I was given the opportunity to partake in all aspects of the project from its conception to final construction. Specifically, I was assigned with the task of designing and developing the concept for both ‘the cave’ as well as the ‘meeting pods’ to be scattered throughout the otherwise open concept warehouse space. The design for these curved, non-euclidean geometry pods were determined through various 3d modeling studies and renderings completed with Rhino 3D modelling and Vray Rendering sofware. What began as an idea of a hovering blob in space, faced with issues of privacy, constructability and most importantly budget, eventually resolved itself in a ‘jelly bean’ profile in plan which would be extruded upwards with a non-euclidean geometry incosistency. This solution satisfied all parameters while maintaining both visual and spatial interest. The next step was to integrate this form into the current drawings in both plan, sections, elevations and most importantly plan and section details. Steel studs would be used and would be installed vertically at varying angles, insulated and intially conceived to be clad with individually curved plywood panels - this was eventually replaced with drywall for time and costing issues. Along with the above mentioned specific task, I was responsible for producing a number of renderings for client and marketing purposes, as well as heavily involved in producing the drawings for all phases; permit, tender, and construction sets. I also participated in selecting many of the interior design features such as ; lighting fixtures, paint colours, furnishings, millwork drawings and detailing and material finishes. * all photos courtesy of Raw Design EVELYN LO SELECTED WORKS 2006-2011
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DON VALLEY COLOMBARIUM PROJECT CATEGORY ACADEMIC University of Waterloo School of Architecture
COURSE
ARCH 393 Proteus Moves: Durational Space of Architecture and Time
DATE
Fall 2007 Semester 3B
To understand the fragile nature of fire, that which can blaze so deeply only to be smothered into sparsely glowing embers, gasping for life. To understand flame only as a tenuous vessel for the energy of fire to pass through, in one fleeting breath of air. Until all that remains, is the ash of the flame that once burned so brightly. So like that of the human life, each one a transient encounter between man and earth, until death - that great equalizer stifles the breath and all that is left is the memory of he who once was. These memories are the waning embers of the dead. This is a proposition to create a place so still and so quiet, to allow for one to face death of those unknown. A place that reflects the turmoil of dying and the heartlessness that persists with the loneliness of loss. It acknowledges that the life could not have lasted - that no life can; this is as it should be. A place to encounter, winding down from above the unknown undergrounds of the earth, to emerge again renewed in spirit and to find repose in the memory of the loss. Traversing through spaces of intense reflection, suffocating darkness dappled with light, stalking through tunnels unknown, dimly illuminated - revealing nothing of what may lay ahead, and finally, finding the quietly glowing stillness of peach.
top to bottom -conceptual illustration of project site and context -materiality and lighting experiments to convey the ephemeral motion of a flame (wire mesh + candle light) -materiality and lighting experiments to explore interiority conditions of the space (wire mesh + wax) -views of model illustrating how the unfurling geometry of the project appears to transform as one moves around it
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DON VALLEY COLOMBARIUM
The architecture itself becomes a delicate screen for which the mystics of our universe are to project themselves on to. It is a stage for which sunlight can dance and it across, a veil for the shadows of our trees to cast themselves upon - a celebration of our ever changing natural world.
top to bottom -model view illustrating scale of project/ conceptual section studies -model view of public pedestrian walk illustrating the permeability of the walls allowing the shadows of the trees to create the the spatial quality of the interior -model view of colombarium illustrating lighting condition changes and how it affects the interior atmostpheric conditions EVELYN LO SELECTED WORKS 2006-2011
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KEW BEACH TENNIS CLUB PROJECT CATEGORY COMPETITION Kew Beach Tennis Club Open Call for Submissions
DATE Summer 2010
TEAM Evelyn Lo Arnold Ortiz
The Kew Beach Tennis Club is an integral component of the tennis community in downtown Toronto and with ten playing courts and an rapidly increasing number of members to the club, the clubhouse is in dire need of expansion. In the form of an ideas competition, KBTC sent out an open-call for submissions from architects and designers across Toronto. The existing clubhouse is a one-storey brick building which houses one meeting room, two changerooms and a small kitchenette. The building planning for our proposal was greatly driven by the existing building. The intent was to preserve most of the memory of the place without compromising the future of what the building wants to achieve for its patrons - connections to the courts, the neighbourhood, the adjacent park and the lake. The south and west walls of the existing building were retained, while the north and east opened up as a deliberate gesture to reinforce the connection to the neighbourhood and the courts, with glazing and pivoting doors encouraging the ow of activity between the interior and exterior. Minimal site disturbance was to be implemented, taking great care to maintain the existing grand trees surrounding the site - to the extent of notching out the building to conform with the vast girth of the existing tree trunks.
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top to bottom -view of proposed from street -view of existing building -site plan bottom left -context plan KEW BEACH TENNIS CLUB
below: -upper floor plan -sectional perspective illustrating sustainable strategies
CIRCLES REPRESENT EXISTING TREES MAINTAINED ON SITE
CHANGE RM. OPEN TO BELOW CHANGE RM. TERRACE TERRACE
MEZZANINE GRAND STAND
OFFICE
MAINTAINING ALL EXISTING TREES ON SITE TO MAINTAIN SITE BIODIVERSITY AND TO PROVIDE ADEQUATE SHADING DURING SUMMER MONTHS
GREEN ROOFING
USING DROUGHT RESISTANT/NATIVE INDIGENOUS LANDSCAPING
VERTICAL LOUVRES
A POROUS CURTAIN WALL SYSTEM
TO PROVIDE NECESSARY SHADING FROM WEST FACING SUN EXPOSURE
ALONG THE EAST FACADE, WITH A VAST NUMBER OF OPERABLE WINDOWS AND DOORS TO ENCOURAGE NATURAL VENTILATION AS WELL AS VISUAL AND PHYSICAL ACCESS TO THE TENNIS COURTS
OPERABLE WINDOWS TO ENCOURAGE NATURAL CIRCULATION
‘THE HEARTH’
WITH INTEGRATED FIREPLACE, STORAGE, AND TV FACING THE GREAT HALL
GRANDSTAND TERRACE
WITH INTEGRATED SEATING, PROVIDING EXPANSIVE VIEWS TOWARDS THE COURTS
EXISTING BRICK WALL
RETAINED WHERE POSSIBLE FOR MATERIAL REUSE AND HISTORICAL REFERENCE
OUTDOOR PATIO
TROPHY WALL + STORAGE
GREAT HALL RADIANT FLOOR HEATING
MINIMIZES ENERGY REQUIRED FOR HEATING DURING WINTER MONTHS AS ONLY OCCUPIED SPACES ARE HEATED
renderings (clockwise from top left) -view of grandstand overlooking tennis courts -interior view of open concept interior -view towards lake showing permeability/flow between proposed and tennis courts EVELYN LO SELECTED WORKS 2006-2011
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OPEN AIR ANTI-MUSEUM PROJECT CATEGORY ACADEMIC University of Waterloo School of Architecture
COURSE
ARCH 492 Design Studio Rome, Italy
DATE
Fall 2008 Semester 4A
‘DON’T YOU WANT TO PRESERVE OLD THINGS?’
‘But you can’t, Anthony. Beautiful things grow to a certain height and then they fail and fade off, breathing out memories as they decay. And just as any period in our minds, the things of that period should decay too, and in that way they’re preserved for a while in the few hearts like mine that react to them. That graveyard at Tarrytown, for instance. The asses who give money to preserve things have spoiled that too. Sleeply Hollow’s gone; Washinton Irving’s dead and his books are rotting in our estimation year by year - then let the graveyards rot too, as it should, as all things should. Trying to preserve a century by keeping its relics up to date is like keeping a dying man alive by stimulants.’ - F. Scott Fitzgerald The Beautiful and the Damned
This is the anti-museum, celebrating the beauty of the decaying ruin, the passing of time, and the imminent destruction of all things beautiful and ugly. An outdoor museum, artifacts placed inside a rammed earth constructed wall, a contemporary colonnade with niches for statuary exposed to the weathering of elements, a passage underground until reaching the climactic open air atrium where only a portion of the majestic floor mosaic is visible, inch by inch, as the sun traverses across the sky, revealing and concealing as it moves.
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OPEN AIR ANTI-MUSEUM
EVELYN LO SELECTED WORKS 2006-2011
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PIAZZA DE CINQUECENTO PROJECT CATEGORY
ACADEMIC University of Waterloo School of Architecture
COURSE
ARCH 492 Design Studio Rome, Italy
DATE
Fall 2008 Semester 4A
This project explores the idea that the city is in fact a palimpsest; a series of scratchmarks and etches of the collective past. A proposition that the earth beneath our feet, the asphalt that we tread upon has both a will and retains memories of its own, not to be tamed by that of man’s. This is greatly inspired by the following poem by Frederich Kiesler: Life is short, art is long, architecture endless From lava hypnotized into new stone, And soon, oh so very soon, From stone to dust to death. Repeat, repeat little man, Your noble try approximate Prometheus, Repeat endlessly, Defy the fate of failure. Dust, fibres, crystals, heated, molded, condenses, Into steel, glass, beton; and Atom-smashes again by the grinding of the wind, The mellow spring rain, the sensous nagging of time, So undisturbed, So totally undisturbed, By the strivings of man to manidest himself into eternity, Architecture will be crackling tenderly, soon brutally, And finally open up all her thights, To the devastating love-making of the elements To transform her again to dust, and Become nature once more July 11, 1958
top to bottom - perspectve view towards termini station with existing remnants of the Servian Wall to the left - site plan as a palimpsest: the project is derived from historical overlays - a means to give the invisible lines of the past a physical presence in today’s present - aerial view highlighting location of project
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PIAZZA DE CINQUECENTO
top left to right: -light model illustrating interior lighting conditions bottom: -conceptual sections through underground museum EVELYN LO SELECTED WORKS 2006-2011
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top to bottom - first level underground floor plan - second level underground floor plan
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PIAZZA DE CINQUECENTO
The project is an exercise in recalling the history of the site through dilligent research into the history of every purpose, artifact and intention the site had ever once encompassed. Through a series of overlaying of historical maps and research, major landmarks were located; the water cistern that once sat at the north east of the site that provided water for a large part of the surrounding area, the Servian wall of which remants are still visible today, as well as all the various villas and estates with all their carefully planned pleasure gardens and paths. Everything notable and significant was traced over and noted to provide meaning for the future project. The site plan of the entire project was conceived as a series of fractures in the ground, constantly shifting and cracking not unlike the ice floes in our arctic seas. These fractures, they guide and direct us to follow in the very steps of our ancestors. The program called for a museum which was placed underground - so that each visitor could relive the experience of unearthing these Roman treasures buried underground, for themselves. The spaces of these underground catacombs align with the fissures above, thus allowing light to pass through and alight the spaces below - every moment with the movement of the sun, a different statue is struck with light, bringing it to life for the viewer, while others recede once again into the shadowy darkness. The ground above, which is still to serve as a traditional Roman Piazza is left devoid of impediments in its entirety, except for the varying rising and falling of the ground planes throughout, creating levels conducive for seating and gathering. clockwise - photo: ice floes *courtesy of flickr - perspective views of piazza above, showing fissures and cracks in the ground plane EVELYN LO SELECTED WORKS 2006-2011
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HUMBER RIVER PAVILION PROJECT CATEGORY ACADEMIC University of Waterloo School of Architecture
COURSE
ARCH 293 Design Studio
DATE
Summer 2006 Semester 2B A homage to traditional boat building techniques, only primitive construction techniques were used; lashing and weaving as sole methods of errecting the organic and parabolic structure that forms the shell-like pavilion. Located within the Humber River Conservation Area in the west end of Toronto, the pavilion is an inviting place of restorative dining, a surprising diversion off the nature trail, the enticing menu returns to traditional methods of steaming with a cedar crafted steam box, allowing the natural fragrance to permeate into the surrounding area. The gently sloping curve hovers slightly above ground, encompassing a strong sense of belonging in its natural surroundings, views are framed in every direction while the subtly woven shell allows both nature and light to percolate within the enclosed space. *A collaborative effort shared between six peers
top to bottom (this page) -pavilion nestled into its lush surroundings - group effort construction of pavilion - bound saplings and twigs, the sole raw material used for construction -root cuttings carved into to serve as candle holders next page - interior of pavilion laden with mats and cushions for comfortable seating with cedar steambox for cooking
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HUMBER RIVER PAVILION
EVELYN LO SELECTED WORKS 2006-2011
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FERGUSON COTTAGE PROJECT CATEGORY PROFESSIONAL Raw Design
DATE
Fall 2010 - Winter 2011
TEAM
Roland Rom Colthoff (supervising architect) Evelyn Lo
This is a cottage for Ken and Linda Ferguson to be located in the Gravenhurst region of Muskoka, Ontario, along the secluded Pine Lake in a heavily treed area. An important topographical element is that of a large rock which the clients became quite enamoured with. The proposal was to highlight the experience of the rock while reducing site disturbance to an absolute minimum. This involved a tree specialist indicating which trees on site were the oldest, grandest, and were integral to the surrounding biodiversity and ecosystem. As such, along with the shoreline development setbacks the design evolved into a series of pavilions that would conform to the site with respect to tree locations, all connected by a large glazed corridor that would act as spine following the contours of the great rock.
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top to bottom -conceptual illustration of the cottage within its natural surroundings -context plan FERGUSON COTTAGE
top to bottom -photo: showing topography and heavily forested surroundings -photo : view from lake looking back at site -ground oor plan -perspective view showing how the form of the pavilions relate to the topography of the site EVELYN LO SELECTED WORKS 2006-2011
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SPECIFIC RESPONSIBILITES+ CONTRIBUTIONS With a tight budget, and even tighter time constraints, after working briey with Roland to develop the concept and parti for the cottage, I was left largely on my own to develop and realise the project from those initial sketches into a buildable form. Beginning with frequent client meetings and discussions, the project took form through various exercises in 3d modelling studies. The scale of the structure was important- the client insisted the cottage remain modest and lay-lowing at single-storey, so to appear nestled into its surroundings. The program, proportion and number of pavilions was carefully studied, along with roof heights and roof slopes, as these details would give character to the overall project. In constant contact with the client, I was responsible entirely for producing all the drawings required for site plan approval, permit and construction, as well as the selection of all exterior cladding materials. All elevations were carefully considered, with respect to the amount of fenestration vs. cladding. This involved many elevations studies conducted simultaneously while in contact with the window supplier for availability and pricing. Typical building details were developed through frequent dialogue between myself, the client and his contractor to ensure buildability and a clean aesthetic.
top: -perspective showing cottage as viewed from the lake bottom left photos: -foundation/ framing/ window installation right: -typical section
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FERGUSON COTTAGE
top to bottom details: -typical roof detail/typical deck detail/typical foundation detail top right photos: -view towards glazed corridor running parallel with the line of the topography/rock formation -interior photo showing view through corridor towards rock formation EVELYN LO SELECTED WORKS 2006-2011
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CHAIR FOR E.E. CUMMINGS PROJECT CATEGORY ACADEMIC University of Waterloo School of Architecture
COURSE
ARCH 365 Structural Design Build Workshop
DATE
Fall 2007 Semester 3B
Inspired by the poetry of e.e. cummings, the chair is designed to be suitable for a writer, a poet, an artist and a lover. The chair strikingly simple, made from salvaged cardboard and wooden dowels; is intended to be lightweight and portable, comfortable and ergonomic, sustainable and with an organic form to mimic the natural world. Its beauty is in its ability to transform, beginning from a simple geometric form, it can be a chair for one person (for contemplation and inspiration), a chair for two people (for company and intimate conversation), and a chair for kissing and lovemaking.
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CHAIR FOR E.E. CUMMINGS
EVELYN LO SELECTED WORKS 2006-2011
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ITALIAN SKETCHES
top to bottom: - Museum of Roman Walls - Columns at Paestum - Hadrian’s Villa
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ITALIAN SKETCHES
top to bottom: - Staircase at Gubbio - Columns Duomo, Sienna - Church Interior EVELYN LO SELECTED WORKS 2006-2011
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SKETCHES: front cover: Baths at Caracalla back cover: Hadrian’s Villa
CURRICULUM VITAE AND LETTER OF MOTIVATION ATTACHED SEPARATELY