The (Un)Broken Sea Salts Last Resort
Spring 2024
DES 402: “in the
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. Recently, the salt has gained global recognition as a result of numerous viral online posts and is now shipped overseas as a specialty product to retailers, hotels and restaurants.
With the development of a sensorial eco-tourist resort, where visitors can experience the process of making Asin Tibuok, and the Manongas family can efficiently produce the salt 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
Nestor Manongas
Fig 4.2 - Mapping of Asin Tibuok process and trade relations between other local crafts
Fig 4.1
Fig 4.2
middle”
& 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
8. Cooking the brine in clay pots to a solidified salt
Fig 5.1 - Mapping of 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, and attractions
Fig 5.5 - Process of making Asin Tibuok
Fig 5.6 - Re-interpretation of the process as main design principles
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 and storms, utilizing salt intrusions to process and inter-tidal ecologies as buffers before reaching susceptible agricultures
7. Filtering the ashes with sea water creating a salty brine Step 8: Solidifying
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
Fig
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.
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
1. The Salt Spa
1. The Salt Spa
2. Sun Bathing Beds
3. Smoke Shrines
4. The Filtering Field
5. Solidifying Sanctum
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
Where the asinderos (salt farmers) leave the coconut husks to soak for months, visitors can also absorb the sea salt in an assortment of pools
7.3 - Isometric of Loay
Tower built in 1796 and restored in 2018 after damage from 2013 earthquake
The watch tower is excavated, creating a temporal salt water pool and the roof is removed, welcoming in the serene sound of rainfall
Fig 7.1 - Floating coconut soaking, swimming, and ecological pools Fig
Fig 7.3
Fig 7.4
Fig 7.2 - Section perspective vignette: Salt soak
Fig
Watch
Fig 7.4 - Section of watch tower pool and sea level rise
1. Recycled water barrels
1. Recycled water barrels
7. Nipa thatch
3. Coral rocks
3. Coral stone tower
8. Sig-id vine
2. Woven nipa leaves
4. Temporal pool
2. Floating bamboo deck
4. Bamboo
6. Bamboo
5. Woven nipa
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 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 - Current method of drying the husks on mats on the ground 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
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 altar, 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 and recycling is signified
An existing tide pool is carefully expanded over time. The excavated soil (clay) is maneuvered to make multiple mounds/tide pools and harvested by traditional potters to make the various clay vessels on site
Reinforced through material procession (from coconut to ashes to solid), the smoke cleansing shrine is where the offerings are ‘received’ by good spirits
1. Husk burning hut 2. Floating offering shrines
3. Smoke cleansing shrine 4. Hardened ashe step path
Fig 9.1 - The burning husks and the smoke repelling an evil spirit
Fig 9.4 - Isometric of the Smoke Shrines with roof cutouts on huts
Fig 9.3 - Exploded isometric of the smoke cleansing shrine
Fig 9.2 - Section of floating offering shrines
Fig 9.5 - Vignette of the Smoke Shrines
Recycled water barrels
Hardened ash offering table
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
Recycled woven mat placed near existing seagrasses
Mangrove/nipa palm propagules planted in recycled woven basket
Basket placed in floating nursery
Mangrove grows in basket in nursery for a 1-2 years
Sapling re-planted in new mangrove planting zones
Existing seagrasses colonize the mat
Mat is relocated to new seagrass planting zones 1. Existing seagrass
2. Woven leaf/vine mat seagrass nurseries
Mangrove & nipa nurseries
Showers
Ashe filtering platform
Woven nipa dew harvesters
5. Nipa leaf curtain
Water barrel
Nipa dew harvester
Bamboo
Clay freshwater vessel
Sig-id vine
Coconut ashe scrub
Molave hardwood
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 10.1 - Section of the ashes filtered in the traditional ‘sagsag’ (funnels) made of nipa leaves and sig-id vines
Fig 10.3 - Isometric of the Filtering Field
Fig 10.2 - Section perspective vignette of the Filtering Field
Fig 10.4 - Woven nipa dew harvesters and mangrove salt excretion
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
Fig 10.1
Fig 10.2
Fig 10.4
Fig 10.5
Fig 10.6 Fig 10.7
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
11.1 - High temperatures and steamy conditions while cooking
Fig 11.2 - Section of the clay pots being replenished as the brine evaporates and solidifies
Fig 11.3 - ‘Laga-an’ (stove) constructed from hardened ashes; damaged parts patched with more ash
Fig 11.4 - Sounds of rolling boil and the firewood crackling
Fig 11.5 - Jewelry and coins removed and a prayer said before cooking
Fig 11.6 - Isometric of floating clay pot walls
Fig 11.7 - Isometric of sauna stove
Fig 11.8 - Section of clay pot walls creating potable water from steam
Fig 11.9 - Section perspective vignette of the Solidifying Sanctum
AmihanWinds (Northeasterly)
Year 2100 (Sea Level +1m): Asin Tibuok remains afloat and unbroken
Fig
Fig 11.9
Winter 2022
DES 301: “Building Scale Synthesis”
Instructors: Mari Fujita & Ayme Sharma
Location: Pine Cres & W 37th Ave, Vancouver BC
Individual 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.
The massing creates a public play yard space that is easily accessed through the main pedestrian traffic routes
Universal change room ceiling height is lowered providing views of the green roof garden on top from inside the recovery spa and gym
The undulating play structure and cafe occupy the play yard, attracting neighbours and passersby
Units above protrude the ground level spaces to make the play yard feel more spacious, and creating the main circulation path that oversees the play yard and encounters public terraces
Tenet 2: Play-interacting
Tenet 1: I’m Just Playing to We’re Just Playing
Tenet 3: Play Shapes & Pathway to Stay in Shape
Fig 13.1 - Play yard, rain gardens, and green roof
Fig 13.2 - Section perspective
Fig 13.3 - Conceptual rainwater collection and distribution
Fig 13.1
Fig 13.2
Fig 13.3
Historical Intersection
Spring 2023
DES 302: “Threshold”
Instructors: Fionn Byrne & Kaitlyn Pelletier
Location: New Westminster, BC
In collaboration with Ewuraba Essel-Appiah
All drawings and models shown by me
The site serves as a unique intersection of various phenomena. It is a place in which the Brunette River merges into the Fraser River, where industry meets nature, and correspondingly hardscapes conceal the pre-existing softscape. These peculiar relations led us to dig deeper into the history of the land for the incapacity to form a connection to place is much due to ignorance of the cultural and historical significance of it, leading to the abuse of the land. Tracing to extensive histories of industrialization and urbanization, the site’s barren character is a reflection of this conception.
By altering the current topography and concrete foundation of the site, Historical Intersection reveals the site’s true story. The interventions reference specific histories of detrimental land alterations as well as Coast Salish connections to the site. Moreover, they work to provide spaces in which local indigenous organizations may situate various cultural gatherings and classes, which may integrate into the experience of the parks visitors and passersby.
The gathering platform and the sunken saw mill circle serve as the main spaces for organizations such as the Spirit of the Children Society to host various programs including men’s and women’s support circles, basket weaving classes, Pow-Wow dance classes, song & drum groups, etc.
Existing topography
Widening of the Brunette River for logging Transport
Filling and meandering of the Brunette River alluding to its pre-colonial state
Traces of History on Site
& Urbanization Histories
Salish Histories
Mill foundation
Elevated Indigenous plant ecologies
mining site
Elevated gathering space referencing Coast Salish basket weave pattern slab foundation of the former saw mill expansion
Elevated viewing deck oriented towards the former reserve
Fig 14.5 - Concept diagrams
Fig 14.2 - Site long section
Fig 14.1 - Conceptual collage of historical transformation of the Brunette River for log transport
Fig 14.3 - Isometric of gathering platform
Fig 14.4 - Isometric of sunken saw mill fire circle Fig 14.2
Fig 14.1
Fig 14.4
15.6
Plank Deck
15.7
Fig 15.1 - Site plan
Fig 15.2 - Perspective of log water path and ecological habitat
Fig 15.3 - Section of sunken saw mill fire circle and connection to log water path
Fig 15.4 - Trees perspective of the site during Coast Salish Pow-Wow gathering and dance
Fig 15.5 - Site short section
Fig 15.6 - Material re-use strategy diagrams
Fig 15.7 - Conceptual perspective of the former reserve and current industrial conditions
Fig 15.8 - Left to right: sluice box mining device concept model, Coast Salish plank house study model, fragment model of viewing deck
Fig 15.4 Fig
Fig 15.8
Fig 15.5 Fig 15.2
ROOTS
UBC National Organization of Minority Architecture Students Barbara G. Laurie Student Design Competition (Finalist) Location: Albina, Portland, Oregon
Design 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 tightly knit 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 responds to the continuing inequities that percolate the neighbourhood by creating 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 emerges as a powerful response to the challenges posed by a history of displacement and gentrification, rekindling and reconnecting with cultural heritage through food, sharing stories in the face of adversity, and cultivating reciprocal relationships with local ecologies.
Fig 17.1 -
Fig 17.3 - Rendered view of underground food hall
Fig 17.2
Fig 17.3
Fig 18.3
Fig 18.4
Fig 18.4 - Unfolded site section:
Fig 18.2 - Rendered view of residential plots
Fig 18.3 - Terrace typologies Immersive Landscaping
Hall Growth Hub
Fig 18.1 - Affordable housing plan
Fig 19.5
Fig 19.5 - Rendered view of restaurant/jazz club interior
Fig 19.3 - Aerial view
Fig 19.4 - View of business incubator and restaurant
Fig 19.2 - Section of business incubator and food hall
Fig 19.1 - Site model in isometric view
Fig 19.3
Fig 19.4
(Re)Making Kitsilano’s Countercultural Center
Winter 2023
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/sincere expressions of craft. Historically, Kitsilano has served as the center of the counterculture and the hippie community, where groups of artists and young people, drawn by cheap rent, would convert older single-family homes into shared ‘hippie’ housing and advocate for change through creative expression. Contrarily, the site of Delamont park, where some of the oldest heritage homes in Vancouver reside, includes a long history of conservative middle-class residents opposing new development. Moreover, the site is currently filled with informal art that is displayed on trees, fences, benches, etc. It is in this sense that the site finds itself on the margin between authentic expression and its formal character.
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. Through an assortment of workshops and spaces that facilitate incremental building and ornamentation within a hybrid complex of heritage and newly infilled spaces, the neighborhood can cultivate a resourceful culture of making.
Current infill conditions between heritage buildings
Filling in those and creating new infill conditions across for
Fig 20.4
Fig
Building off of the Thingery equipment lending container, people may also ‘thrift’ scrap materials, objects and or pottery along the Arbutus Greenway 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 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
Fig 21.7 - Ground floor plan of retrofit heritage homes
Fig 21.6 - Circulation paths isometric
Fig 21.5 - Rendered view along the Arbutus Greenway
Fig 21.5
Fig 21.6
Fig
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
able to fill up the frame allowing free expression along the Greenway
Initial construction with portion of timber frame left empty
Initial construction of timber patio deck for Arbutus Coffee
Fig 22.4 - Section perspective
Fig 22.2 - Rendered view of work yard
Fig 22.3 - Initial and incremental construction in artist group and small firm studios
Fig 22.1 - Incremental construction for cafe and restaurant Fig 22.4
Fig 22.3
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 units are designed to accommodate public gallery spaces during the Westside Culture Crawl
Fig 23.3 - 1st, 2nd, 3rd, 4th fragment floor plans
Fig 23.1 - Incremental construction in residential balconies
Fig 23.2 - Rendered view of commons between residential units
Fig 23.3
23.2
Common kitchen/ cocktail bar (event)
Common terrace/ gallery space (event)
Common lounge/ gallery space (event)
Elevator
Incremental balcony
Fluidi(tea) Wall
Spring 2022 (2.5 Weeks)
DES 202: “Form”
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. Such perceptions include darkness and harsh light, compression and expansion, as well as the typically static activities of sipping tea/reading relative to observing a minimalist sculpture, which is how the book in the space is to be viewed.
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
1. Drag marks from lifting and placing
Drag marks as natural light entering the space 2. Marks from the cups placement position on the charcoal 3. Initial erasures from the tea dripping down the side of the cup 4. Tea spills + cup movement creating build up of charcoal
cup on the charcoal Tea spill erasures as apertures
Charcoal build up as poche Cup position marks as walls
Fig 25.1
Untitled, 2021
Series of 11 x 17 in. Prints
VISA 340: Intermediate Photography I
Instructor: Matilda Aslizadeh
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.
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.
