otherworks Shasha Wang Portfolio 2022
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Shasha Wang shashawang@live.ca +1 778 855 5053 #1003 1258 W. Broadway Vancouver, BC V6H 0A9
Education 09.2019 - 05.2022
Master of Architecture University of British Columbia, Vancouver, Canada School of Architecture and Landscape Architecture • FaFa: Director (2021/22); Advocacy/Education (2020-21) • Equity, Diversity, and Inclusion Committee (2021-22) • ARCHUS: Treasurer (2020-21) • First Year AP Representative (2019-20)
Achievements
09.2013 - 05.2017
Judah Shumiatcher Memorial Award in Architecture (M.Arch thesis) Canadian Architect Student Award of Excellence Nominee (M.Arch thesis) 2nd place: UNI Eco-Chapel Competition (with professor Fionn Byrne + Gabriella Poncet)
Experience 01.2022 - 03.2022
Architectural Intern JIM Architecture Vancouver, Canada • Part of competition team for agricultural centre in South Korea: schematic design and presentation drawings
Applied Science Entrance Scholarship Student Contribution Award (B.En.D.)
Bachelor of Environmental Design (Honours) University of British Columbia, Vancouver, Canada School of Architecture and Landscape Architecture
09.2020 - 12.2021
Graduate Teaching Assistant: DES 220 University of British Columbia Vancouver, Canada • Lead weekly lab sessions for DES 220 students, giving tutorials and desk crits • Excellent communication and strong dedication to assist students with project iterations and progression
Skills
01.2020 - 03.2020
Highly adaptable Team player + positive attitude Critical thinking Adobe Creative Suite Illustrator Photoshop InDesign Premiere
• After school architecture teacher for kids ages 5-12 • Teach lessons and activities on a variety of architectural concepts and precedents through 2D and 3D exploration 04.2019 - 08.2019
Interests Visual arts, art history, public art Camping, hiking, kayaking All things food and drink
Architectural Intern ZAO/standardarchitecture Beijing, China • SD and DD for Rizhao Community Centre: studies and proposals in art gallery, material, and courtyard layout • SD for Rizhao housing development including massing studies, schematic plans, and presentation drawings • Preliminary research for furniture collaboration with Camerich furniture
Autodesk AutoCAD Revit Rhinoceros SketchUp VRay
Architecture for Kids Teacher Petit Architect Vancouver, Canada
09.2017 - 04.2019
Architectural Designer Studio for Architecture and Collaboration Inc. Toronto, Canada • Assist in a variety of projects from schematic design to construction administration • Presentation renderings, models, and drawings, construction/ permit drawings, project management with clients and contractors • Project contributions include: residential renovations/ new builds, mobile showers, restaurant, boutique hotel
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Preface: otherworks Otherworks is a collection of projects, imagined and built, academic and professional that highlight my passion in architecture: telling the stories of others, whether human or nonhuman through the language of the built environment. These projects question typical architectural methods while striving for designs that forefront an empathetic and responsible approach with sprinkles of spatial delight.
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Selected work 01 Sweet and Sour M.Arch thesis
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02 Under Stories Studio project
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03 AfterParly Studio project
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04 It’s Pink! Installation
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05 Shallmar StudioAC
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06 Rizhao Community Art Centre ZAO/standardarchitecture
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01 Sweet and Sour 7
The Zhang family arrive at the Golden Turtle Restaurant, Turtleford, Saskatchewan
Sweet and Sour M.Arch thesis project 2022 Advisor: Thena Tak Full presentation link Recipient of the Judah Shumiatcher Memorial Award in Architecture and the Canadian Architect Student Award of Excellence nomination How can architecture embody and empathize with what is being lost and desired as one moves across the globe? The rural Chinese restaurant has played an integral role in the lives of many immigrants for over a hundred years in Canada. The spoken stories of these families are often celebrated as a monolithic narrative of how hard work and perseverance will lead to success. However, personal anecdotes of these families often allude to immense hardships and sacrifices. This dichotomy between objective measures of success against the silent lived experience erases the unspoken desires, hopes, and dreams of these family members throughout history that could never be vocalized nor manifested as a product of time, cultural norms, and the need to assimilate. 8
This project reimagines an alternate history of one rural Chinese restaurant- the Golden Turtle Restaurant, a mere sliver of the many possible lost cultures, traditions, and imaginations that have graced these restaurant histories through time. Here, a multigenerational assemblage is built from the hardships, longings, and dreams of its inhabitants. In 2022, the Zhang family buys the Golden Turtle, becoming the fourth family of owners. They move to the small town Turtleford, Saskatchewan- population 600. Through a series of found letters and artifacts, three different generations of physical adaptations are uncovered.
Collection of letters found from three generations of families
1958, 1992, and 2005 wall slices with artifacts, photographs, and documentation 9
Left to right: 1952 Immigration Act - prohibiting any implementation of culture Picture of Mr. Xu’s family bathing in their hometown river Winters in Turtleford are unfamiliar for the family from Southern China
Perhaps I can build a typical garden shed behind the restaurant, one that all the locals have in their backyards. But instead of holding tools, it will hold four bathtubs, one for each of us.
Slatted bench staked into grated floors allowing for snow to melt of the body into a winter garden below
1958 1st family of owners Mr. Xu, 29, a father who longs for his family Mr. Xu arrives to Turtleford when the 1952 Immigration Act is still in effect, prohibiting immigrants from bringing any cultural rituals with them. Life in Turtleford is hard- it’s far too cold compared to the tropical climate of Southern China and he misses the daily rituals with his family that are now perceived as strange. And so he builds a melting room with a slatted bench just for thawing and hides a family bath in a typical garden shed. 10
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1992 Chan family buys the Golden Turtle from the Xus Mrs. Chan, 41, struggling with loneliness The Chans arrive from Hong Kong, amidst the anticipation of the handover back to China. Mrs. Chan, who is used to the layers of sounds and activity in the streets of Hong Kong finds herself struggling with the emptiness of Turtleford. She extends the restaurant walls over the sidewalk and redesigns 12
a table system, giving herself a spot at every table. At night, she cannot sleep from the deafening quiet and so she builds a new roof above her bed- one clad with wind shingles that drum against the roof with the prairie winds.
When people walk down Main Street they also walk into my restaurant. I can greet them, make conversation, overhear background chatter, all to add more texture to my daily routine.
Top to bottom: Local newspaper featuring the handover of Hong Kong back to China Detail sketch of Mrs. Chan’s wind shingles Interior of Mrs. Chan’s bedroom 13
I’m about to construct a new roof above the bedroom- one clad entirely with loose, movable wood shingles. Now, when the prairie winds blow, all the shingles will drum against the roof, loud enough to drown out the sound of my rapid heartbeats.
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Ground floor plan: 1958-present day alterations 16
Left to right: Lily and friend running through demolished hutongs in Beijing Piece of the dryer sheet clerestory from the vegetable drying shed Old photograph of Lily’s friends in a hutong
2005 Lee family buys the Golden Turtle from the Chans Lily Lee, 10, stuck between two cultures Lily arrives with her parents in 2005, after her family’s traditional courtyard house is destroyed in Beijing for the 2008 Olympics. Her parents are too protective of her in Turtleford- they know the kids make fun of them for drying their bok choy outside. She misses running carefree through the hutongs of Beijing with her friends. With the help of her dad, they convert the old bath-shed into a vegetable drying room. They make alleys within their homewhile these will never become how life was like before, Lily finds some solace in this new hyphenated identity.
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When everyone walks home from school and pass by our house, they pinch their nose and point at the drying bok choy my mom has hung between the house and the shed.
I’ll tell my parents to convert the old weird shed into a vegetable drying room. We’ll prop the roofs up with frames that hold scented dryer sheets quilted together to filter the smell.
I miss running through the small alleyways, chasing our other friends, greeting aunties. My dad and I are going to slice the house apart where the kitchen meets the bedroom- that way my parents can see me run around while they work.
A library was recently built next door and I will take the narrow gap between us to make as my space to roam.
The Zhang’s arrive at the Golden Turtle in 2022, inheriting the layers of its physical histories
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2022 Zhang family buys the Golden Turtle from the Lee’s Looking at the Golden Turtle now, the small family run Chinese restaurant in the small town of Turtleford, things begin to make a little more sense to the Zhang’s. With the restaurant, this new family would be inheriting the years of physical adaptations made to cope with moving to a new country. Its collection of mutations reflecting the various hardships, longings, and dreams that the three generations of inhabitants before have responded to- the longing for family rituals, the loneliness of a new country, the struggle to belong to two cultures. A collection of histories and experiences generally gone unseen. The Zhang’s wonder about not only their own hardships, experiences, and memories to come, but also the thousands of other stories throughout past and present sprinkled in these rural Chinese restaurants of this country- both sweet and sour.
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02 Under Stories 23
Conceptual site drawing: a fold in the landscape
Under Stories Comprehensive Design Studio Bathhouse, community centre, and hotel 2021 Instructor: James Huemoeller In collaboration with: Jedrik Mangahis
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This project asks how architecture can be used as an active medium to embrace change, subtlety, and slowness. The site is located at Britannia Beach within the Squamish region. It has a dichotomous identity where the site itself has a violent relationship with the land with a history of mining on site as well as acting as a symbol for the natural BC landscape. The building site finds itself at a boundary- between a new housing and an existing creek and forest.
Process models: chipboard and coffee filters
Because of these adjacencies, a low profile building is folded into the landscape that is sensitive to the recovering environment while acting as an active fabric for the future community. The project takes cues from the new changing community and existing landscape where it acts as a filter for different bodies, whether human or nonhuman elements such as air, water, and light to experience and eventually pass through. 25
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Ground floor plan
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Public bathhouse
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Hotel room interior
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Section A-A’ through bathhouse and hotel unit 30
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Left: Detail section of facade system Right: Exterior view of covered pathway Skin system composed of chainlink, mycelium panels, and UV panels 33
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03 AfterParly 35
Left to right: 1. Context map: the Port of Tacoma 2. Existing site plan and building 3. Future site plan: the eroding of building
AfterParly Vertical Studio Parliament building 2020 Instructors: Daniel Irvine + Chad Manley In collaboration with: Jedrik Mangahis Can risk and uncertainty become expressed architecturally? Democracy is an ongoing process, hinging on nonpassive dialogue between all participants whether human, machinic, or ecological where topics and issues need to be made visible and vulnerable to change. Parliament is a language of negotiation where thresholds oscillate, fostering spaces of exchange. This parliament is situated on the treaty territory of the Puyallup Tribe, in land that is now occupied by the Port of Tacoma- a landscape of machine, sediment, effluent, and water. The port is rich in industry and a much hidden ecology. The parliament is housed in the shell of the abandoned JM Martinac shipyard, offering a starting point to foster political and ecological dialogue. Thus, the parliament itself becomes a seed for active negotiation that is both spatial and political where sediment and water is given agency to begin to reclaim the site. The building becomes a space of uncertainty, risk, and instability through a language of architectural weakness. Mud, the primary element found on site is used as an active contributor to the architectural process. Mud reclaims the site in multiple ways, from a large scale reclaiming of site to micro engagements found in leaky walls and floors, and wall assemblies that allow for erosion. Parliament becomes a catalyst to political-ecological discussions and negotiations. 36
Section A-A’: a Parliamentary sequence choreographed
d to engage with the site’s ecological realities 37
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A’ 4
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Ground floor plan 1. Muddy vestibule 2. Informal lobby 3. Walkway 4. Parliamentary table: workshop and debate 5. Erosion ceremony 6. Disassembly space 7. Workshops 8. Meeting rooms
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Section through Workshops and meeting rooms
A collaborative entry door and informal lobby 40
Muddy thresholds
Wall assembly detail: eroded clay tiles that allow tide pools and benthic life to reclaim space
Erosion ceremony 41
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04 It’s Pink! 43
Interior of column looking out
It’s Pink! Vertical Studio Installation 2019 Instructor: Thena Tak In collaboration with: Zachary Morris Can architecture have a personality? Using the prompts “squish,pat,plush,” we designed and built a seemingly inconspicuous column (or is it a room?) nestled offset of a row of structural columns at the Laserre building as if it was a column that ended up astray, different from the others. This room puts discovery, playfulness, and delight at the forefront where one’s perceptions and expectations are tested.
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The room is upholstered on all surfaces and filled with polyester fiberfill. An ordinary door opens up to an all pink, plush, squishy interior providing both confusion and comfort as a body is hugged by this room- or is it a column?
Face window
Door
A stray column
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Sequence
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Laserre Building
Site plan 48
1/2” MDF
felt with polyester filling
1/4” sheathing
11’ 2”
2x2 framing
Construction Assembly
18”
18”
26”
Section
Plan
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05 Shallmar 51
Shallmar Studio AC Residential full gut renovation 3,517 ft2 Completed 2019 Role: SD, DD, CD, CA Project team: Jennifer Kudlats, Andrew Hill Photography: Jeremie Warshafsky A home for an art collector’s family. The sculptural “Judd Island” signals the heart of the house- the kitchen. Typology and form converses with program where white, totemic elements, reminiscent of a gallery now become the skeleton of domestic program. I was able to primarily work on this project from SD to CA, responsible for design proposals and presentations, permit drawings, millwork and costing packages, and construction drawings and coordination.
Ground floor plan
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Top: renders of different kitchen iterations Bottom: Photograph of final kitchen 55
4' ‐ 0"
MATERIALS: Laminam: Pietra Di Savoia Grigia Bocciardata 3.5mm drawers & cabinets 12mm counters Caesarstone: Blizzard White
3' ‐ 6"
4' ‐ 0"
3' ‐ 0"
14' ‐ 11 1/8"
LAMINAM: Pietra Di Savoia Grigia Bocciardata
3' ‐ 6"
4
A8.01g
1
2' ‐ 11"
A8.01g
2
3' ‐ 6"
0' ‐ 5"
1
0' ‐ 5"
2
2' ‐ 11"
1' ‐ 6"
0' ‐ 5" 5
2' ‐ 11"
FRIDGE
A8.01g
3' ‐ 6"
A8.03a
2 2' ‐ 10 5/8"
2' ‐ 6"
0' ‐ 11 5/8"
3' ‐ 0"
A8.01f A8.01d
5' ‐ 11"
3' ‐ 11 7/8" 1
A8.03d
A8.01f
CAESARSTONE: Blizzard White
1 2' ‐ 11"
0' ‐ 11 5/8"
LAMINAM
2
0' ‐ 2"
CAESARSTONE COUNTER: Blizzard White
A8.03d
3' ‐ 6"
A8.01d
UNDERCOUNTER FRIDGE/ FREEZER
OVEN
2
2' ‐ 6"
A8.01i
A8.01g
3' ‐ 0"
1 1' ‐ 4 1/2"
1' ‐ 0"
2' ‐ 0"
DISHWASHER
STORAGE WALL TREATMENT SEE A8.01i
0' ‐ 2" 0' ‐ 4 1/2"
2' ‐ 0"
4' ‐ 0"
3' ‐ 6"
EXTENT OF ORIGINAL HOUSE
7' ‐ 5 1/8" SITE VERIFY
14' ‐ 6" SITE VERIFY
KITCHEN- PLAN
42 Shallmar Blvd
Toronto, ON, Canada M6C 2J9
1/2" REVEAL
12/06/18
3/8" = 1'-0"
1' ‐ 6"
DRYWALL BULKHEAD
PULL OUT DRAWER
STOVE
PULL OUT DRAWER
OPEN
WALL OVEN pans/ skillets
PANEL READY WINE FRIDGE
PL1
ADJUSTABLE SHELVING OPEN GLASS SHELF
PULLOUTS
3' ‐ 0"
42" PANEL READY FRIDGE
PL1
5' ‐ 5 3/8"
6' ‐ 11 7/8"
OPEN
PL1
A8.01b
6' ‐ 11 3/8"
FROSTED GLASS BEHIND
8' ‐ 3"
1723
Plot Date
ADJUSTABLE SHELVING
ZEPHYR LUX CONCEALED HOOD
1' ‐ 3 1/8"
DRYWALL BULKHEAD
Project No. Scale
0' ‐ 0 1/2" 1' ‐ 2 5/8" 0' ‐ 0 1/2" REVEAL REVEAL
360 Dufferin St Unit 103 Toronto, ON, Canada M6K 1Z8 647.341.0066
WALL OVEN
pots
8' ‐ 6 1/8"
3
2
1
A8.03d
A8.03d
A8.03d
6' ‐ 7 3/8"
OPEN
OPEN PULL OUT: MEAT CUTLERY
0' ‐ 4"
5' ‐ 8 3/8"
KITCHEN BACK ELEVATION 3/8" = 1'-0"
42 Shallmar Blvd
Toronto, ON, Canada M6C 2J9
360 Dufferin St Unit 103 Toronto, ON, Canada M6K 1Z8 647.341.0066
Pages from millwork drawing set 56
3' ‐ 0"
0' ‐ 0" Level 1
3' ‐ 0"
ZEPHYR LUX CONCEALED HOOD ABOVE
ADJUSTABLE SHELVING
3' ‐ 0"
5' ‐ 8 3/8"
PL1 OPEN SHELVING NON ADJUSTABLE
FROSTED GLASS
PL1
PL1
ADJUSTABLE SHELVES‐ MEAT DISHES
2
3' ‐ 0" PULL OUT DRAWERS
0' ‐ 0 1/2"
PL1 OPEN SHELVING NON ADJUSTABLE
3' ‐ 6"
PULL OUT DRAWERS (SPICES)
1' ‐ 3 1/8" 0' ‐ 0 1/2"
*CHROME PULLOUTS W/ ADJUSTABLE SHELVES*
0' ‐ 11 5/8"
8' ‐ 6 1/8"
ADJUSTABLE SHELVING
ADJUSTABLE SHELVING PL1
OPEN
PL1
6' ‐ 7 3/8"
3' ‐ 11 7/8"
PL1
3' ‐ 6"
1' ‐ 6 1/4" 1' ‐ 5 1/4" 1' ‐ 6 1/4" 1' ‐ 5 1/4"
3' ‐ 6"
4' ‐ 0"
0' ‐ 4"
0' ‐ 11 5/8" PULL OUT DRAWER (SPICES & O/V)
KITCHEN WALL ELEVATION 3/8" = 1'-0" 1' ‐ 2 5/8" 0' ‐ 0 1/2"
1
3' ‐ 6"
3' ‐ 11 7/8"
4' ‐ 0"
0' ‐ 0" Level 1
KITCHEN ELEVATION Project No. Scale
1723
Plot Date
12/06/18
3/8" = 1'-0"
A8.01d
CAESARSTONE COUNTER: Blizzard White LAMINAM CUSTOM SINK: Pietra Di Savoia Grigia Bocciardata 12mm
LAMINAM CUSTOM SINK: Pietra Di Savoia Grigia Bocciardata 12mm
CAESARSTONE COUNTER: Blizzard White
" 1/8 ‐ 11 10'
LAMINAM: Pietra Di Savoia Grigia Bocciardata 12mm
1' ‐ 0"
11" 2' ‐
2' ‐ 0"
5" 0' ‐ 11" 2' ‐
2' ‐ 0' ‐ 2' ‐ 0' ‐ 2' ‐
2' ‐
11"
11" 2' ‐
5"
5" 0' ‐
11"
11" 2' ‐
5"
11"
iard
5" 0' ‐
3' ‐ 0"
5" 0' ‐
LAMINAM: Pietra Di Savoia Grigia Bocciardata 12mm
11"
" voia ‐ 11 12' a Di Sa r Piet
M INA LAM
3' ‐ 0"
1
occ ia B Grig
3 ata
m .5m
RS WE DRA
KITCHEN ISLAND FRONT
2
KITCHEN ISLAND BACK
KITCHEN ISLAND AXOS
42 Shallmar Blvd
Toronto, ON, Canada M6C 2J9
0' ‐ 3 1/8"
360 Dufferin St Unit 103 Toronto, ON, Canada M6K 1Z8 647.341.0066
BRODWARE FAUCET IN SINK
1723
Plot Date
12/06/18
A8.01e
LAMINAM: Pietra Di Savoia Grigia Bocciardata 12mm
1' ‐ 6"
LAMINAM CUSTOM SINK: Pietra Di Savoia Grigia Bocciardata 12mm
CAESARSTONE COUNTER: Blizzard White
Project No. Scale
2
KITCHEN SINK PLAN 1 1/2" = 1'-0"
CAESARSTONE COUNTER: Blizzard White
0' ‐ 4"
CAESARSTONE COUNTER: Blizzard White
0' ‐ 6"
1
0' ‐ 6"
0' ‐ 1 1/2"
2' ‐ 0"
0' ‐ 3 1/8"
A8.01h
0' ‐ 10"
0' ‐ 1 1/2"
1' ‐ 6"
2
SINK SECTION 1 1/2" = 1'-0"
42 Shallmar Blvd
Toronto, ON, Canada M6C 2J9
360 Dufferin St Unit 103 Toronto, ON, Canada M6K 1Z8 647.341.0066
LAMINAM: Pietra Di Savoia Grigia Bocciardata 12mm
3
SINK AXO
CUSTOM KITCHEN SINK Project No. Scale
1723
Plot Date
12/06/18
1 1/2" = 1'-0"
A8.01h
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06 Rizhao Community Art Centre 59
1:50 model
Rooftop terrace
Upper courtyards
Topography of public amphitheatre
Rizhao Community Art Centre ZAO/ standardarchitecture Community art centre 2525 m2 Status: under construction Role: SD, DD Project team: Zhang Ke, Mingming Zhang, Paolo Failla, Luciano Ricci, Tommy Wang Situated in a rural new development in Rizhao, China, this community art centre aims to be a cultural hub for the community. The open ground floor cascades with the topography, creating an accessible open air amphitheatre. A grand ramp leads to a gallery underground while a grid of indoor and outdoor courtyards create a multitude of meanderings on the top floor. A bridge connects people to the building via a roof terrace. During my time at ZAO, I was able to further develop the ramp, gallery, and courtyard spaces through form studies, material tests, and plan proposals. 60
Top to bottom: +2: Rooftop terrace +1: Upper courtyards 0: Ground floor amphitheatre -1: Basement art gallery 61
Sketches: art gallery entry
Art gallery entry iterations 62
Art gallery interior
Exterior view of community art centre 63
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Public amphitheatre: movie night
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