CULTURE OF DEFINING BOUNDARIES
M.ARCH
PORTFOLIO :SELECTED WORKS
2011-2014
NAME
SARAH CREE E-MAIL
CREE.SARAH.L@GMAIL.COM TEL
+1.604.364.2216 UNI
UNIVERSITY OF BRITISH COLUMBIA STATUS
M.ARCH CANDIDATE 2015
BACKGROUND My origins are in the Great Lakes rust belt, with family scattered around Buffalo like a
POR T -
fine magnetic dust. At the age of seventeen, I ventured out into the world, working in India and organic farming in Europe. In 2010, I graduated from Sarah Lawrence College, a small liberal arts college on the periphery of NYC. During those four years, I periodically studied military history and aesthetic theory, a potent cocktail that nurtured an interest in the covert agendas of programmable space, energy and co-opted memories. I studied architecture in Copenhagen and at the GSD Career Discovery summer program. In 2011, I began my M.Arch at the University of British Columbia, Sala with a candidacy on the near 2015 horizon.
NAME
SARAH CREE E-MAIL
CREE.SARAH.L@GMAIL.COM TEL
+1.604.364.2216 UNI
FOREGROUND
UNIVERSITY OF BRITISH COLUMBIA STATUS
I imagine the field of architecture to be suspended between two theories of practice: the first being within the realm of the techno-aesthete, which draws upon a Frankensteinian injection of equal parts
M.ARCH CANDIDATE 2015
nostalgia and creative invention and the second, a practice which plays against or within the labyrinth of political action through land-use policies, municipal by-laws, and funding rigmarole. The architecture of the moment is vaguely situated between these two conditions and , for the most part, my selected projects work within these boundaries. Alternative energies, legal loopholes, and camouflage in the art of the facade are all topics I have pursued and hope to explore in the future.
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F OL I O
S E L E C T E D
AWARDED COMPETITIONS
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STUDIO WORK
: [1-2]
TITLE
N U N AV U T F R O Z E N F U E L STUDIO
INDEPENDENT COMPETITION YEAR
FALL 2013
3 2 IN
TITLE
E L RIZ ND P ONA
RN TE
: [7-10]
ESCAPE (P)ARK
I AT
STUDIO
COMPREHENSIVE LANDFILL SITE YEAR
SPRING 2013 PROF
INGE ROECKER
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: [3-6]
TITLE
KICKSTART CULTURE STUDIO
MICROPATRONAGE YEAR
FALL 2013 PROF
TONY OSBORN
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C O N T E N T
HOBBY SHOP
6
: [17]
TITLE
THOUGHTS ON CORNERS STUDIO
ESSAY
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7
: [15-16]
: [18]
TITLE
TITLE
THE OFFICE, PARKED
GUILLOTINE CONSTRUCTS
STUDIO
SCULPTURE
SUBURBAN REDUX YEAR
SPRING 2012 PROF
BLAIR SATTERFIELD
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8
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: [18]
TITLE
TITLE
B E AV E R R I V E R C A M P
DUCK HOUSE
STUDIO
WEATHER REGISTER YEAR
FALL 2012 PROF
CV
CHRIS MACDONALD
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SECOND PRIZE + 3 DAY (UN)CONFERENCE
TITLE
N U N AV U T F R O Z E N F U E L STUDIO
INDEPENDENT COMPETITION YEAR
FALL 2013
THINK. SPACE.. Territories / Money
WHAT IF OUR CITIES WERE ABLE TO EVOLVE WITHOUT MONEY? HOW ECONOMIC FLOWS REFLECT IN THE CONFIGURATION OF CITIES? HOW IT WOULD LOOK LIKE A “RIGHT OF THE CITY” INITIATIVE IN A TAX HAVEN STATE? CAN WE DESIGN NEW TERRITORIES THAT OPERATE OUTSIDE THE TRADITIONAL ECONOMIC GUIDELINES? WHICH IS THE ROLE OF THE ARCHITECT WITHIN THIS SCENARIO [IF THERE’S ONE]?
The competition looks for a design proposal that tackles the present economic and territorial challenges in the present and future of the Arctic lands.
Jurors
ETHEL BARAONA POHL CESAR REYES NAJERA DAVID A. GARCIA KELLER EASTERLING PEDRO GADANHO
Now more than ever, the rough-hewn terrain of
356,000 square kilometers of land, approximately
a landscape unknown has been buffed and polished
19% of total land area. However, when mineral and
as developed countries contemplate and speculate
metal deposits enter into the equation, ownership
above and below its surface. To many, the Arctic
is again blurred in a vertical land division of surface
North is the next frontier for resource extraction
and subsurface rights. As in most cases, resources
and information storage; a hostile environment
are extracted and shipped back south, while little
now tempered and tamed by a warming climate
economic benefit is recirculated in local Nunavut
and infrastructural advancements. But to the few
communities
32,000 inhabitants of Canada’s northern-most territory of Nunavut, the Arctic North is familiarly
Nunavut is wealthy in resource extraction but poor in
called home, or in Inuktitut “Our Land.”
fuel and food sourcing which underlines the severe economic disparity between north and south. As the
As one might forecast, the ownership implied in
territory is 100% dependent on imported fossil fuels
“Our Land” is widely obfuscated and at times,
which is only re-stocked during summer months,
rendered mute. In the Nunavut Land Claims Agree-
residential electricity rates are astronomically high
ment of 1993, Nunavut was given Inuit title to
in comparison to the rest of Canada. In Pelly Bay,
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“Praised for it’s specificity, background knowledge, and sharp result, this project takes sides and creates an energy strategy linked to a legal loophole and a side-effect-energy-resource. The proposal is toned with pragmatism and even serious doses of realism, to offer an alternative energy source to a community “punished” by it’s isolation, where political and legal arm-wrenching has undercut any possibility from profiting from revealed resources.”
NU
-DAVID A. GARCIA NU
NU
NU
N
82
¢/K Wh Gri se Fiord
Baffin Bay
90
¢/K Wh
Resol ute
Da Nanisi vi k Arctic Bay
N U N A V U T
v is
Pond Inl et
Str
80
78
a it
¢/K Wh
¢/K Wh
69
Clyde Ri ver
¢/K Wh
Arc
tic
Cir
cle
Qikiqtarjuaq
67
Cambridge Bay
55
¢/K Wh
Taloyoak
80
¢ / K Wh
Kuglutuk
82
¢ / K Wh
68
90 ¢/K Wh
¢ / K Wh
¢/K Wh Iglool ik
79
¢/K Wh
Gjoa Haven
57
¢/K Wh
Hal l Beach
Pangnirtung
Pell y Bay
Umingmaktok
102 ¢/K Wh
52
75
¢/K Wh
¢/K Wh
Repul se Bay
Iqalui t
60 ¢/K Wh Cape Dorset
92 Kimmirut ¢/K Wh
54
61
¢/K Wh
¢/K Wh
87 ¢/K Wh
Hudson Strait
Coal Harbour
Baker Lake
Chesterfield Inlet Rankin Inlet
Nickel
80
Iron
¢/K Wh
Gold
70
¢/K Wh
Uranium Coal
Whale Cove
Arviat
Hudson Bay
Diamond Silver Base Metals
72 Sanikil uaq
100 % Imported Fossil Fuels [DIESEL]
¢/K Wh
Methane Hydrate Network Methane Hydrate Fields Resource Mines
09
¢/ K Wh
Diesel Summer Supply Route Residential Electricity Rate
Quebec
90
¢ / K Wh
10
11
¢/K Wh Ottawa
¢/ K Wh Montreal
one can expect the rate of 102 ¢/KWh, whereas in
as the harvesting of methane hydrate falls in the same category of
Montreal that rate is 10¢/KWh. Running parallel, the cost
local fishing privileges. The methane harvester is anchored above
of imported perishable food is equally as staggering. One
fissures in the ocean floor and traps escaping methane hydrate in its
head of cabbage can cost up to $12, a litre of orange juice,
pressurized tanks. Upon reaching capacity, the buoyant harvester
$15.
floats to the surface for collection. Collection practices vary according to the season. In the winter months, methane hydrate is collect-
The Frozen Fuel Network scrutinizes the recent
ed similarly to ice-fishing and the removable tanks are accessible
expansion of arctic industries made feasible by global
mer months, fishing boats are adequate vessels for transportation. (see ThinkSpace.org)
warming and finds an opportunistic regional measure
enough to be transported by snowmobile or snow sled. In the sum-
in the re-mapping and re-sourcing of Nunavut fuel and food sources. The Frozen Fuel Network, regionally owned and operated, locates methane hydrate fields off-coast of local communities and harvests the naturally releasing methane hydrate bubbles with a low-tech pressurized net. Surface and subsurface rights are not contested 2
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PROMOTIONAL ANIMATION: Crowdfunding vs. Patronage
TITLE
stills from “ The Gift”
http://vimeo.com/75663891
KICKSTART CULTURE STUDIO
MICROPATRONAGE YEAR
FALL 2013 PROF
TONY OSBORN
CONTEXT Vancouver’s cultural venues are often precariously positioned against soaring property values and foreign and local developmental interest.
While
Vancouver’s built cityscape is an ideal breeding
SM INTERVENTION: KICKSTART + Municipal Funding
ground for fast-track developments and the ubiq-
ART FOLD
uitous glass condo, its citizens have clamored for a re-evaluation of municipal values, namely the
a multi-use platform for the art of making
safeguarding of cultural venues. ARTFOLD utilizes a trade and skill sharing
Pop-up retail and festivals have become the
platform of exchange, acknowledging and
popular tools to push against a rigid top-down
giving a value to volunteerism. The platform
system. Pop-ups, when done well, can be a potent
is funded by a combination of municipal and
way of visualizing prototyping. However, pop-
Kickstarter awards, thus ensuring an active
ups inevitably pop-down, leaving a city virtually
public voice in the making of culture and art.
untransformed. They’re a valid tactic but not a valid strategy. Crowdfunding pushes the excitement of pop-up to a confrontational level. In garnering the support of a networked group of friends, a community, a district, and eventually support from municipal and national tiers, a crowdfunded cultural district steps beyond the vulnerable threshold; it becomes a movement that ultimately won’t pop-down.
SITE Our studio was given a derelict industrial site that is presently owned by the City of Vancouver. Ideally located along several modes of mobility, the Seawall, Skytrain, and Main street, its proximity could allow it to participate as part of a burgeoning Vancouver cultural nexus. The District is comprised of industrial grade warehouses. several of which have been leased out to small manufacturing business and is also leased out as a filming-friendly district. The two proposed interventions push even further this form of microleasing, while also forcing top-down and bottom-up approaches to coexist.
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LG INTERVENTION : Crowdfunding a Culture District
The Culture District is funded in a similar way to ARTFOLD, combining the efforts of both local municipalities and crowdfunding sources. The public* is given a master plan of the site, a relatively light intervention that keeps the industrial fabric in tact while injecting new service wings, but it is in the public’s power which wings and corresponding programs are crowdfunded and subsequently built. The service wings are also flexible enough to allow a continuation of crowdfunding, in the form of seasonal POP-UPS- cafes, galleries, installations. The combination of design and funding can ensure the longevity of a culture district, in both small and large measures.
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LEFT IMAGE
POP-UP GALLERY + SERVICE BELT
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TOP RIGHT IMAGE
OUTDOOR THEATRE AGAINST VANCOUVER SKYLINE BOTTOM RIGHT IMAGE
POP-UP CAFE + PEDESTRIAN SKYWAY
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3 TITLE
ESCAPE (P)ARK STUDIO
COMPREHENSIVE LANDFILL YEAR
SPRING 2013 PROF
INGE ROECKER
Co-Generator Facility
Electricity
Landfill Gas
Gas Flaring
Heat
Vancouver LandďŹ ll Methan Gas Reserve
CONTEXT Feeding off the waste of our disposable culture, the landfill site manufactures new environments while indirectly endangering existing ones. Rising sea levels, increasing pollution and resource extraction are threatening landscapes previously taken for granted...the Beach, the Hotspring, and the Picnic Field.
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SITE PLAN 2
COLLAGING LANDSCAPES MAN-MADE VS. THE NATURAL 3
SECTION THROUGH BEACH AND THERMAL SHOWERS 4
SECTION THROUGH BEACH AND THERMAL SHOWERS 5
METRO VANCOUVER LANDFILL SITE
The Escape Park proposes to encase these endangered landscapes as artifacts of the past to bear witness to their disappearance and fragility. This project attempts to turn the ironic gesture of the vitrine into a mechanism that protects existing living landscapes. On the surface, the museum is a leisure facility; however, the generated revenue funds a zero-waste research facility that incorporates the Landfill by-product, Methane, to power the entire park. In a bizarre twist of fate, our culture of consumption and leisure becomes self-propagating. 7
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ELEMENTS The Escape (P)ark filters and repurposes a toxic landscape into a visitors’ centre that celebrates garbage to a point of luxury.
While soaking in the thermal waters, visitors
contemplate a garbage world made visible. “Taking the waters” was considered within the gentleman ideals of rustic retreat, expressed within a pastoral mythology of leisure and pleasure. It also conveys an experience of a cleansing, holisitic ritual. In Escape (P)Ark we wanted to toy with this idea, making it not just about cleansing the body but purifying our reaction and action to the act of shedding material waste and garbage. Furthermore, water is collected on site by an in-roof filtration system and warmed by burning off the naturally-occuring methane on site. Water becomes both experiential and didactic throughout the park. The visitor’s path meanders towards the Beach and Hot Springs revealing subtly designed water features along the way: a pedestrian stream, a waterfall, and collection pond. As a whole, the centre is designed to allow the boundaries to appear permeable to the ebb and flow of
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Vancouver’s rainy climate.
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3
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RAINWATER TREATMENT PER YEAR
250 G U E S T S 15 PERMANENT STAFF 1597m3
RAINWATER ROOF CAPTURE
-890m3
SHOWER + SINK WATER USE
-1094m3 1984m3 5.4m3
BEACH WATER USE
TOTAL WATER TO NE SOLAR HEATED
TOTAL WATER TO BE SOLAR HEATED/ DAY
EARLY STUDIES : RAINWATER COLLECTION
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Rain Water Collection Tank 1:50
1 / Roof Assembly rainwater collection garden concrete top steel decking I-beam truss
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2/ Steel Girder W 760 x 284 3/ Glazing triple glazing ( U = 0.6 W/m2 K) 4 / Floor Assembly basalt in mortar surface concrete slab on metal decking 2
5 / Water trough PIP concrete with waterproofing sealant aluminum caps fiter into water tank 6 / Slab on raft foundation 7 / Beach Ceiling Assembly rainwater filtering garden drainage mat water proof membrane mineral board insulation steel decking open web steel joist 1200 mm electrical servicing and ventilation semi-transparent polycarbonate curved sheets
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8/ Rain Filtering Mesh 9/ Elevated Deck on Piers 10 /Lower Floor Assembly sand water proof membrane concrete slab extruded polystyrene insulation
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2
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PERMEABLE WATER BOUNDARIES: EARLY STUDIES 2
MASTER SITE PLAN 3
WATER CATCHMENT DETAIL 4
RENDER VIEW OF BEACH 5
RENDER OF RESEARCH VITRINES
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THERMAL SHOWERS
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: [7-8]
TITLE
B E AV E R R I V E R C A M P STUDIO
WEATHER REGISTER YEAR
FALL 2012 PROF
CHRIS MACDONALD
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CONTEXT The design of the Beaver River Camp is predicated on an understanding of an environment that oscillates between freeze and thaw, dark and light, accessible and inaccessible, and tradition and technology. Traditionally, resource extraction camps are exclusive islands, secured against harsh climate, wild beasts, and drug trafficking. However, due to these harsh security measures and insensitive design parameters, the site is usually rampaged and scarred and then abandoned five years later. We asked ourselves: How might an infrastructure be adaptable, responsive, and temporal? The BRC is a project that investigates, over a time frame of 25 years, infrastructural opportunities that maintain soft, multivalent local interventions, while addressing larger questions such as geographic scalability, environmental adaptability, and multi-use programmability. Within the first year, we establish a saw mill and selectively clear according to use. The majority of the workers’ hall and housing units are all manufactured on site with the exception of glazing, heating and plumbing fixtures, and finishing, which are supplied twice a year during thaw season. The units are also designed to encourage social Interaction (all units are connected via an elevated walkway) and to combat against the isolating depression that these conditions usually create, through mixed-use and programming. Above all the BRC amplifies the raw beauty of the Great North, while remaining sensitive to its fragile and severe environment.
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01 YRS
02 YRS
2
03
Iterative Truss Main Hall Construction
YRS
04 YRS
3
25 YRS
summer
cistern
winter
Sectional Model
thermal mass
4
Thermal Massing
1
BEAVER RIVER SITE 2
TOUCHING THE GROUND, LIGHTLY 3
VIEW ALONG TIMBER CORRIDOR 4
TIME-FRAME OF GENERATIVE CAMP
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WORKING CONDITIONS
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2 13
1
SECTION THROUGH MAIN HALL 2
MASTER SITE PLAN 3
BALSAM SECTION MODEL 4
MAIN HALL RENDER 5
BALSAM SECTION OF WORKERS’ UNITS
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4
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5 TITLE
THE OFFICE, PARKED
CONTEXT In the studio, Suburban Aftermath, we interrogated one of three suburban typologies (the office park, the big box store, and the residential cul-de-sac) and re-imagined their prospective participation within an increasingly mobile and intangible realm of social and economic values of exchange. We asked ourselves: How might suburban typologies make use of the spaces inbetween, or the excess created from a car-driven culture?
STUDIO
SUBURBAN REDUX
The project Office, Parked, pushes up against suburban hierarchies a picturesque nature,
YEAR
framed, spatial monotonies, opacity and embraces and antagonizes their attributes at will. It
SPRING 2012 PROF
BLAIR SATTERFIELD
repurposes the standard steel framing system and race-track circulation to provide opportunities that are flexible, social, and adaptable. Exchanges, either personal or professional, are designed to be fluid and permeable across typical design barriers. “Offices� puncture through an open mesh and seasonally planted envelope, while on the pedestrian level, foods trucks drive through, offering the rich and varied dynamics of the street. Over time, as the crises for affordable housing escalates, the Office, Parked can easily be retrofitted into residential units.
The concept of suburbia has neither been a fixed nor permanent condition; rather, it survives off of a constant turn-over and adaptability. The Office, Parked simply re-imagines the afterlife of the suburban office park.
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1
2
3 4
1
BURNABY OFFICE PARK 2
HACKED OFFICE BUILDING 3
OFFICE PARK COMPONENTS 4
RENDER OF INTERIOR COURTYARD 5
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MASTER SITE PLAN 6
SECTION
HOBBY SHOP
6 TITLE
THOUGHTS ON CORNERS STUDIO
ESSAY
defined. Rather, the primitive corner was a rough, crude meeting point of some suggestion of wall, ceiling, and floor and it was this moment, which informed the act of making shelter. It was not the right angle of which are so familiar with but it was some indentation or recess that was made distinct from the interior perimeter of the shelter. Offering security, warmth, and protection, the corner, in turn, transformed shelter into a space of immobility, a space where humankind was suddenly awakened to their subconscious. A corner is inherently contradictory. It is both interior and exterior. And these tensions that lie within the moment of a corner are inherently human. In the corner, one is both confronted by the material boundaries of the enclosing surfaces and it is at once liberated by these confines. The corner allows for the silent accumulation of dreams and visions but this is only made possible by the material boundaries of the corner and its seemingly exclusion from quotidian tasks. In order for us to open up to the vastness of our imaginations and subconscious, the security of the enclosure must be present. However, immobility is the most significant factor in the presence of corners. Without it, the corner dissolves, it’s particles swept away by the forward, staccato movement of a clock-orientated day. To be immobile allows for the resonance of the space to include us, as occupants. We, as occupiers of space, become shared matter of the present. There is a reason why we find dust and spider webs in the corner; there is an inference of stationary (interior) movement...
To speak of corners, one must first entertain the elusiveness of shadows. As we enter into the complexity of the corner, the more we fail to understand it and the more it escapes us. But there is an attraction of the corner in that it is finite and infinite, concave and convex, primordial and present. From the corner, springs a certain grain of potential, whose outlines are still clouded in mystery, but which suggests a certain fullness, nonetheless. “Every corner in a house, every angle in a room, every inch of secluded space in which we like to hide, or withdraw into ourselves, is a symbol of solitude for the imagination; that is to say, it is the germ of a room, or of a house (Bachelard, 41).” The moment of the corner is one of the most enduring and yet disregarded experiences of architecture. One may even argue that it is as old as architecture itself, which might offer up some explanation why it has, in a sense, been immured beneath centuries of architectural exploitation. When the Greek builders liberated the wall by way of the colonnaded stoa, the movement through rather than the moment of began to define the architectural consciousness of a civilization. The corner, though significantly resolved, stubborn in its supposed simplicity, receded into the backdrop. The corner receded, the column advances; and it is curious to note that humankind has been infatuated with the column ever since its inception as if it gained as much clarity and significance as the human “I.” When we consider the most primitive of shelters of humankind, corners abounded, columns unmistakably absent. That being said, would we, as a modern culture, even be capable of discerning the physical moment of a corner in a primitive shelter? The corners of our modern world (if they have not already been exaggerated or rejected in the quest towards deconstructing architecture) have been made increasingly precise as a result of our refining technology. To render the corner as seamless has been an enduring obsession, but in our definition of the corner, we have made it so apparent that is unseen and unfelt. The corner of the primitive shelter, on the other hand, was not so sharply
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TITLE
TITLE
GUILLOTINE CONSTRUCTS
DUCK HOUSE
2011 WOOD, PULLEYS, CARDBOARD 5’ x 17” x 16”
2014 WOOD 36” x 48” x 36”
The model home, standardized and efficient, has become an inflated dream
A two-day project to house six family
turned nightmare. Each of the four facades of a suburban Ethan Allen house
ducks. Wood slats bring in ventilation,
has been turned into four separate angled blades of a guillotine. Placed within
but keeps out local predators.
individual tracks, the facades manually operate as blades, implying a fatal separation of mind and body aspirations
9 TITLE
P R E S E R VA T I O N P R A C T I C E S THESIS : MID-POINT 2014 Excerpt
“This thesis is put forward as agitation to the current practice of preservation. As an aesthetic and historic manifestation, preservation extols an activity of ‘nothingness;’ there must be no movement, no physical displacement, no bat of an eye on the meticulously crafted façade of resistance. And yet, behind its flawless performance of slumber, a diffuse retinue of so-called preservationists broaden its claim.”
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CV EDUCATION
UNIVERSITY OF BRITISH COLUMBIA
VA N C O U V E R , B C C A N A D A
MASTER OF ARCHITECTURE, CANDIDATE 2015
S A R A H L A W R E N C E C O L L E G E
BRONXVILLE, NY USA
CAMBRIDGE, MA USA
BACHELOR OF ARTS / ARCHITECTURAL STUDIES, 2010
H A R VA R D C A R E E R D I S C O V E R Y ARCHITECTURE STUDIO, SUMMER 2009
DANISH INSTITUTE OF STUDY ABROAD
COPENHAGEN DENMARK
PRE-ARCHITECTURE STUDIO, SUMMER 2008
AWARDS
THINK SPACE
ZAGREB CROATIA
INTERNATIONAL TERRITORIES COMPETITION, 2014 FROZEN FUEL NETWORK SECOND PRIZE
EXPERIENCE
UBC DIGITAL INITIATIVES
VA N C O U V E R , B C C A N A D A
DIGITAL ARCHIVIST + CURATOR, 2011-2013
A R C H I T E C T U R E L E A G U E O F N Y
MANHATTAN, NY USA
BRONXVILLE, NY USA
EVENT INTERN + URBAN OMNIBUS INTERN, 2008-2010
S A R A H L A W R E N C E C O L L E G E VISUAL RESOURCES ASSISTANT CURATOR, 2007-2010
DANISH INSTITUTE OF STUDY ABROAD
COPENHAGEN DENMARK
ARCHITECTURE PROGRAM ASSISTANT, 2008
S A R A H L A W R E N C E C O L L E G E RESEARCH ASSISTANT TO ARCHITECTURE HISTORIAN PROFESSOR JOSEPH FORTE, 2006-2007
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BRONXVILLE, NY USA
PLACES I’VE CALLED HOME
Copenhagen DENMARK Va n c o u v e r , B C C A N A D A
Buffalo,NY USA Cambridge, MA USA NYC, NY USA
M a d u ra i I N D I A
SOFTWARE
AUTOCAD RHINO SKETCH-UP ADOBE CREATIVE SUITE MICROSOFT OFFICE CINEMA 4D LANGUAGES
ENGLISH FRENCH
HANDS-ON
MODEL-MAKING 3-D PRINTING
NATIONALITIES
LASER CUTTING
AMERICAN
KNITTING
CANADIAN
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NAME
SARAH CREE E-MAIL
CREE.SARAH.L@GMAIL.COM TEL
+1.604.364.2216 UNI
UNIVERSITY OF BRITISH COLUMBIA STATUS
M.ARCH CANDIDATE 2015
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