Issuu

The (Un)Broken Sea Salts Last Resort

Spring 2024 (9 Weeks)

DES 402: “Away”

Instructor: Lőrinc Vass

Location: Loay, Bohol, Philippines

Individual Work

Following the salt iodization mandate and the liberalization of import goods in the Philippines, the steady and communal livelihood of the Boholano indigenous salt making craft, Asin Tibuok (unbroken salt,) has diminished. Moreover, climate change and the storms that Bohol has experienced have further contributed to the breakdown of the craft. Despite these challenges and the labor intensive process, 74 year old Nestor Manongas is one of the last few Asin Tibuok artisans who continues to produce the salt.

With the development of a sensorial ecotourist resort, where visitors can experience the process of making the salt, the Manongas family can efficiently produce it, and teach new generations of salt makers, the project is conceived as their last resort to keep the tradition alive. Through a re-interpretation of the process of making Asin Tibuok, the resort serves to catalyze an irrepressible system, interrelating environmental change, inter-tidal ecologies, local livelihoods, recreation, tourists, and cultural pedagogies.

Fig 4.1 - System diagram

Fig 4.2 - Mapping of Asin Tibuok process and trade relations between other local crafts

Fig 4.1

Fig 4.2

Fig 5.1 - Governmental, environmental, and colonial entanglements leading to the near extinction of the craft

Fig 5.2 - Bohol province and watershed map

Fig 5.3 - Historical Asin Tibuok region and flood susceptibility

Fig 5.4 - Historical and new site(s), vegetation types

Fig 5.5 - Process of making Asin Tibuok

Fig 5.6 - Re-interpretation of the process as main design principles

Gathering coconuts & materials

2. De-husking coconuts

3. Soaking the coconut husks in sea water pools for 2-6 months

4. Chopping the soaked husks into smaller pieces

5. Drying the husks in the sun for 1-4 days

6. Slowly burning the husks to ash for several days

7. Filtering the ashes with sea water creating a salty brine

8. Cooking the brine in clay pots to a solidified salt

Step 1: Regenerating Step 3: Absorbing Steps 2, 4, 5, 6: Reducing

Devising a system to help regenerate local livelihoods and their dependent ecologies as sea levels rise

Absorbing the inevitability of SLR, utilizing salt intrusions to process and intertidal ecologies as buffers before reaching susceptible agricultures

Reduction to a multiplicity of smaller scales for evenness, consistency, and efficiency in adapting to climate change

Concentrations of water harvesting creating fresh, salt, & brackish water conditions to supply and supplement various ecologies & programs

Solidifying waste throughout the process as hard building materials

Mr. Manongas’ Current Asin Tibuok Hut Mangrove/Nipa

Fig 5.1

Fig 5.2

Fig 5.5

Fig 5.3

Fig 5.4

Fig 5.6

3. Smoke Shrines

4. The Filtering Field

5. Solidifying Sanctum

The 5 spaces each situate a particular step in the Asin Tibuok making process. The spaces accent the prominent senses of each step and its relation to nature and Filipino culture. Additionally, programs physically place one’s body amidst these natural entanglements, mimicking the material exchanges of the salt.

1. The Salt

Tourists arrive by bamboo raft at the re-purposed Spanish colonial ruin (Loay Watch Tower.) Historically used to prohibit invaders, the tower now welcomes visitors, and serves as the beginning of the Asin Tibuok process. The inter-tidal condition of the traditional ‘Paril’ (salt-beds), where the husks soak, is adapted through new mobile pool typologies, nestled between the mangrove trees and the watch tower.

The effect of precipitation on sea water and the soaking of the coconut husks: decreasing salinity and delaying the soaking process, is reflected in the concentrated sound of rainfall in the watch tower pool as well as the users’ capacity to float depending on the pools salt content

Spa

1. The Salt Spa

2. Sun Bathing Beds

Fig 6.1 - Final site isometric

Fig 6.3 - Husks sinking in traditional ‘Paril’ due to rain decreasing the salinity of the pool

Fig 6.1

Fig 6.2

Fig 6.3

Fig 6.2 - Husks floating in traditional ‘Paril’ (salt-bed) lined with coral rocks

7.1 - Floating coconut soaking, swimming, and ecological pools

Fig 7.2 - Section perspective vignette

Fig 7.3 - Isometric of Loay Watch Tower built in 1796 and restored in 2018 after damage from 2013 earthquake

Fig 7.4 - Section of watch tower pool and sea level rise

Fig

Fig 7.3

Fig 7.4

1. Recycled water barrels

7. Nipa thatch

3. Coral rocks

3. Coral stone tower

8. Sig-id vine

2. Woven nipa palm leaves

4. Temporal pool

2. Floating bamboo deck

4. Bamboo

6. Bamboo

5. Woven nipa

The watch tower is excavated, creating a temporal salt water pool and the roof is removed, welcoming in the serene sound of rainfall

Where the asinderos (salt farmers) leave the coconut husks to soak for months, visitors may also absorb the sea salt in an assortment of pools

2. Sun Bathing Beds

The space alludes to the interdependence of sunlight, humidity, and precipitation during the coconut husk drying stage. Both coconut husks and visitors can sun bathe on mobile beds, while woven nipa palm leaf structures condense water vapor and provide shelter from rain

As sea levels rise the addition of woven nipa blankets (mats) below converts the bed system into ecological habitats

Fig 8.1 - Husks drying on mats and the evaporation of water in the husks as exposed to the sun

Fig 8.2 - Isometric of the Sun Bathing Beds

Fig 8.3 - Vignette of the Sun Bathing Beds

Fig 8.1

Fig 8.3

Fig 8.2

1. Woven nipa mesh structure

2. Bamboo sun bathing beds

4. Floating mangrove & nipa palm nursery

3. Steel rails and waste ash/clay pot concrete columns

Reinforced through material procession (from coconut to ashes to solid), the smoke cleansing shrine is where the offerings are ‘received’ by good spirits

Attributing to indigenous Filipino cultural and spiritual beliefs, the act of smoke cleansing is performed to ward off evil spirits. Visitors are purified by the smoke from the burning coconut husks as they enter the space. Subsequently, the floating shrines reference indigenous spirit houses, which were destroyed upon discovery by Spanish settlers. Here tourists and locals may pray and make offerings of coconuts, woven leaf or vine baskets and mats, which are then re-used throughout the resort. Before leaving the space, visitors cleanse again at the smoke cleansing shrine, ensuring no evil spirits are following

3. Smoke Shrines

The smoke cleansing shrine utilizes the old watch tower roof as a pedestal. But as sea levels rise, the support is severed. The colonial remnant is submerged while the rest of the altar floats. A new faith towards nature is signified.

Fig 9.1 - Burning husks smoke repelling evil spirit

Fig 9.4 - Isometric of Smoke Shrines with roof cutouts on huts

Fig 9.3 - Exploded isometric of smoke cleansing shrine

Fig 9.2 - Section of floating offering shrines

Fig 9.5 - Vignette of the Smoke Shrines

Fig 9.4

Fig 9.1

Fig 9.5

1. Recycled water barrels

Ash & water mixture

Bamboo 2. Hardened ash offering table

Fig 9.3

Fig 9.2

During the filtering and collecting of the concentrated brine, the sense of sea water rinsing the salt through the coconut ashes is mimicked with showers. The space also exists as a seagrass, mangrove, and nipa palm nursery, in which seagrasses collect sediment and filter the field

Fig 10.1

Fig 10.1 - Section of the ashes filtered in the traditional ‘sagsag’ (funnels)

Fig 10.2 - Section perspective vignette of the Filtering Field

Fig 10.3 - Isometric of the Filtering Field

Fig 10.4 - Woven nipa dew harvesters and mangrove salt excretion

Salt excretions from the mangrove leaves slightly salinate the collected dew and rain runoff so rain can contribute to the process rather than hinder it

Fig 10.5 - Isometric of Floating showers

Fig 10.6 - Woven mats as seagrass nurseries

Fig 10.7 - Woven baskets as mangrove and nipa nurseries

1. Existing seagrass

2. Woven leaf/vine mat seagrass nurseries

3. Mangrove & nipa nurseries 4. Showers 5. Ashe filtering platform 6. Woven nipa dew harvesters

Recycled woven mat placed near existing seagrasses

Existing seagrasses colonize the mat

Basket placed in floating nursery

Mangrove grows in basket in nursery for a 1-2 years

Mat is relocated to new seagrass planting zones

Sapling re-planted in new mangrove planting zones

Mangrove/nipa palm propagules planted in recycled woven basket

5. Nipa leaf curtain

Water barrel

Nipa dew harvester

Bamboo

Clay freshwater vessel

Sig-id vine

Coconut ashe scrub

Molave hardwood

Fig 10.2

Fig 10.4

Fig 10.5

Fig 10.6

Fig 10.7

Fig 10.3

5. Solidifying Sanctum

Through steam saunas, visitors experience the high temperature and steamy conditions that occurs while cooking the salt. The steam of the Sanctum condensates on woven nipa roofs and the dew is collected and filtered through the clay pot walls, emulating the continuous act of replenishing the clay pots as the brine evaporates and solidifies during the cooking

Fig 11.1 - High temperatures and steamy conditions while cooking

Fig 11.2 - Isometric of clay pot walls

Fig 11.3 - Isometric of sauna stove

Fig 11.4 - Section of clay pot walls creating potable water from steam

Fig 11.5 - Section perspective vignette of the Solidifying Sanctum

HabagatWinds (Southwesterly)

AmihanWinds (Northeasterly)

Year 2100 (Sea Level +1m): Asin Tibuok remains afloat and unbroken

Fig 11.1

Fig 11.2

Fig

Fig 11.3

Fig 11.4

Play and Slay

Winter 2022 (5 Weeks)

DES 301: “Building Scale Synthesis”

Instructors: Mari Fujita & Ayme Sharma

Location: Pine Cres & W 37th Ave. Vancouver, BC

Work

Acknowledging the difficulty in experiencing a sense of belonging and maintaining positive mental health in Vancouver, largely due to feelings of social isolation, the project prioritizes the mental wellbeing of its residents and the broader neighbourhood. Beginning with a utilitarian conception of physical wellness (exercise, fuel, & recover,) a gym, a cafe serving nutritious food and smoothies, and a recovery spa is provided. The sense of play is then woven in to create a more warm and welcoming perception of the residential building’s public wellness spaces.

Fig 12.1 - Tenet diagrams

Fig 12.2 - Section isometric

& encounters lead to meaningful interactions

Tenet 2: Play-interacting Playful mood

Tenet 1: I’m Just Playing to We’re Just Playing Play and wellness spaces for the whole neighbourhood

Tenet 3: Play Shapes & Pathway to Stay in Shape Exercise and play for all ages

Fig 12.3 - Site strategies

massing creates

Terrace & play yard visibility from units

Undulating play structure circulation Calisthenic rail Trampolines Climbing wall

Fig 12.2

Fig 12.3

Fig 12.1

Fig 13.1 - Ground, first, and second floor plans

Gym

13. Green roof 10. Bike share 11. Car share 12. Trampolines

Cafe

Sauna

Hot tub

Ice bath

Recycling/maintenance

Mail room/lobby

Play yard

Universal change room

Roof terrace/seating

Fig 13.1

Fig 14.1 - Play yard, rain gardens, and green roof

Fig 14.2 - Section perspective

Fig 14.3 - Conceptual rainwater collection and distribution Fig

Fig 14.2

Fig 14.3

ROOTS

UBC NOMAS (6 Months)

Barbara G. Laurie Student Design Competition (Finalist)

Location: Albina, Portland, Oregon

Team: Alyssa Cheung, Cedric Li, Cynthia San, Deryck Bagui, Ellen McElroy, Esha Sodhi, Fabien Kwan, Hedric Bernardino, H Brogan-Gealey, Lizzy Ou, Marco He, McNeil Fiesta, Ming To, Miucci Yung, Sinnie Choi, Soha Heydarian, Vivian Kong

Families that called Albina home for generations found themselves displaced, their bonds severed, and their cultural roots wretched from the soil that had nurtured a sense of place and belonging. Unjust forces of gentrification systematically dismantled food systems, while simultaneously uprooting communities from places they once called home. Located on the former site of the Hill Block Building that had been the core of the business community, the design creates opportunities to reclaim spatial agency. This culturally rich, local hub supports a range of housing types while also centralizing amenities that can bring the community together. ROOTS rekindles and reconnects with cultural heritage through food, sharing stories in the face of adversity, and cultivating reciprocal relationships with local ecologies.

15.1 - Cultivating community and career diagram

Fig 15.2 - Exploded isometric/program types

Fig

Fig 15.1

Interwoven Circulations Activating Frontages

Cultivating Connections

Considering Access Nodes

Designating Public & Private Creating Spatial Gradients

The underground food hall offers lower-risk shared spaces for small business owners to come together and further facilitates diverse job opportunities on-site

Fig 16.3 - Rendered view of underground food hall

Fig 16.1 - Site strategies

Fig 16.2 - Rendered view of growth hub

Fig 16.4 - Site plan

Fig 16.1

Fig 16.2

Fig 16.3

Fig 16.4

Skybridge

Fig 17.4 - Unfolded site section: food journey through systems

Fig 17.2 - Rendered view of residential plots

Fig 17.3 - Terrace typologies Immersive Landscaping

Fig 17.1 - Affordable housing plan

Fig 17.2

Fig 17.3

Fig 17.4

Fig 18.5

Fig 18.2

Fig 18.5 - Rendered view of restaurant/jazz club interior

Fig 18.3 - Aerial view

Fig 18.4 - View of business incubator and restaurant

Fig 18.2 - Section of business incubator and food hall

Fig 18.1 - Site model in isometric view

Fig 18.3

Fig 18.4

(Re)Making Kitsilano’s Countercultural Center

Winter 2023 (6 Weeks)

DES 401: “Urban Systems Scale Synthesis”

Instructors: Cedric Jacques Yu & Rana Abughannam

Location: Delamont Park, Vancouver, BC

Individual Work

The project is an exploration into urban informalities, questioning how architecture can shift the nature of informality: as an unconformist means of necessity stemming from social and spatial constraints, towards authentic expressions of craft. Historically, Kitsilano has served as the center of the counterculture and hippie communities, where artist groups and young people would convert the older singlefamily homes into shared ‘hippie’ housing. Drawn by cheap rent, the neighbourhood became a platform where change was advocated through community and creative expression.

In Kitsilano, a creative center where such ‘informalities’ are encouraged does not exist. Thus, the project seeks to embrace the subtle expressions of art and craft found on site, creating a place of authentic production.

19.2

Fig

Fig 19.1

Fig 19.2 - Site plan

Fig 19.1 - Context map documenting informal art and crafts on site; spray paint and photos on acrylic sheet

Infill conditions between heritage buildings

Re-orienting the infill gaps towards the Greenway creating entry points

Filling those in and creating new infill conditions across for inhabitants to fill

Resulting inner work yard condition

Fig 20.1 - Parti diagrams: In-fill strategy

Fig 20.2 - Rendered view of shared art tools and storage space

Fig 20.3 - Connected front porch circulation

Fig 20.4 - Ground floor plan of retrofit heritage homes

The ground floor and basements of the existing homes are retrofit with artist studios and the front porches are altered to connect the in-filled common spaces between them

Fig 20.1

Fig 20.2

Fig 20.3

Fig 20.4

Fig 21.1 - Initial construction

Fig 21.2 - Site isometric: Incremental construction

21.3 - Event construction

Fig 21.4 - Rendered view along the Arbutus Greenway

Inspired by Vancouver’s Eastside Culture Crawl, a new annual visual arts festival in the west side is established. Street plaza and informal art gallery serve as spaces where inhabitants and the broader community can come together to construct a temporary pavilion for the event in June

Fig 21.3

Fig

Fig 21.4

Through commissions and informal additions, the deck is furnished with chairs and tables crafted by local creatives on site. A pre-emptive foundation is constructed enabling the addition of patio roofs and or interior expansions

Initial construction with portion of timber frame left empty

Teams able to fill up the frame allowing free expression along the Greenway

Interior exposed beams allow for the customization of lofts and levels

Potential rooftop access, and construction of terrace connecting adjacent studios

Initial construction of timber patio deck for Arbutus Coffee

Fig 22.4

Fig 22.3

Fig 22.2

Fig 22.2 - Rendered view of central work yard

Fig 22.4 - Section perspective

Fig 22.3 - Initial and incremental construction in team studios

Fig 22.1 - Incremental construction for cafe

Balcony railings are constructed with 2x4 studs to facilitate custom cladding or future extensions. In the case that the inhabitants wish to deconstruct the railings, the pieces can be re-used elsewhere

Common spaces between residential

are

to accommodate

during

units

designed

public gallery spaces

the Westside Culture Crawl

Fig 23.3

Fig 23.2

1. Common kitchen/ cocktail bar (event)

Common terrace/

(event)

Fig 23.2 - Rendered view of residential commons

Fig 23.3 - 1st, 2nd, 3rd, 4th floor plans of fragment

Fig 23.1 - Incremental construction in residential balconies

Fig 24.1 - Fragment Section

Fluidi(tea) Wall

Instructors:

Mari Fujita & Travis Hanks

Individual Work

Tasked to design a wall in which its user would sip a cup of tea and read a book, the project conceptualizes the shifting of a wall from static to fluid as outside phenomena enters and interacts with it. The wall conditions phenomena from outside to inside creating stark contrasts in perception as the user navigates the space.

Fig 25.1 - Form finding drawing through the act of sipping tea; charcoal on velvet tone film

Fig 25.2 - Process of sipping tea on the charcoal coaster

Fig 25.3 - Analysis of the marks

Fig 25.4 - Translating of the marks into spatial elements

Fig 25.5 - Final plan drawing

Fig 25.6 - Final section drawing

Fig 25.7 - Lighting conditions and corresponding body positions (top to bottom): Summer and Winter afternoon, Summer and Winter morning

3. Initial erasures from the tea dripping down the side of the cup

4. Tea spills + cup movement creating build up of charcoal

Fig 25.1

1. Drag marks from lifting and placing the cup on the charcoal

Tea spill erasures as apertures

Charcoal build up as poche

Cup position marks as walls

Drag marks as natural light entering the space

2. Marks from the cups placement position on the charcoal

Spring 2022 (2.5 Weeks)

DES 202: “Form”

Fig 25.2

Fig 25.5

Fig 25.6

Fig 25.7

Fig 25.3 Fig 25.4

Series of 11 x 17 in. Prints

VISA 340: Intermediate Photography I

Untitled, 2021 Through an experiment with photographic paper, the papers were manipulated through acts of scraping, spraying and encouraging flammable liquids, and igniting with an open flame. Exposed by the light of the flame, the prints were developed in a makeshift dark room at home, using the traditional black and white darkroom print developing process.

Diva Baby Bottle

Winter 2018 (3 weeks)

ENDS 231: “Thinking by Design”

Instructor: Leslie Van Duzer

Tasked to transform an everyday object into a different object using only materials from the original, the functional baby bottle is constructed from Diva Cup menstrual cups. The design utilizes the two cup sizes which vary in diameter as well as the way the Diva Cup prevents period leakage via suction seal.

Instructor: Matilda Aslizadeh

Cheap Rent

Winter 2022 (2 Weeks)

DES 301: “Building Scale Synthesis”

Instructors: Mari Fujita & Ayme Sharma

In collaboration with McNeil Fiesta Full animation can be viewed here

Prompted to create a two minute film, interpreting a floor plan of a housing unit, Cheap Rent is a satire on the insensitive materialism of Vancouver’s property market and the resulting spectacle of living there. The spectacle that is affordable housing in Vancouver, and the perceived wealth/ social image signified with owning or renting a home in the city. The peculiar window in the floor plan induced a consumerist conception of windows as displays, where interior objects perform to attract outside beholders.