Issuu

e l i n a W a n g

SELECTED WORKS 2024

TABLE OF CONTENTS 01 IDEA EXCHANGE

LIBRARY

02 DWELL = wander + settle

PRIVATE RESIDENCE

03 CULTURAL HUB

FASHION MUSEUM

04 CABIN MICROHABITAT

TINY HOUSE

05 RINGS OF FIRE

NUCLEAR BOMB MEMORIAL

06 POPPIES’ PLAYLIST VALENTINE’S DAY CAMPAIGN

01 IDEA EXCHANGE LIBRARY

1153 Queen St W, Toronto, Canada Winter 2020, Partner project with Selina Deng Shared tasks: Design, building Models, Plan drawings, Detail drawings *All other drawings shown are done by me individually.

The Idea Exchange combines the traditional library typology with a community space. Designing with the gig-economy in mind, this project prioritizes individual and collaborative workspaces. The building is organized by cells of differentiated space scattered among the open floor plan. An atrium breaks up the long site and draws light in. Daylight is filtered through the wood mullions enclosing the atrium and creates a screen of privacy. The look of vertical battens is repeated again on the facade. Beside the main circulation paths, there are pockets of work space created by the sawtooth facade, which separates the functions of the open floor without using an enclosed room. On the ground floor, the entrances and circulation have been designed to maximize the library’s interaction with Queen St, while maintaining security and separation from the library’s quieter workspaces.

CONCEPT DIAGRAMS

BUILDING IS ORGANIZED BY ‘CELLS’ OF DIFFERENTIATED SPACE SCATTERED WITHIN LARGER ‘MEMBRANE’

CENTRAL ATRIUM WITH SKYLIGHT BRINGS DAYLIGHT INTO DEPTH & LENGTH OF SITE

OUTDOOR SPACE REACTS TO CONTEXT AND CONNECTS TO THE EXISTING SITE PATHWAYS & PARKS

AB RK

A RP

GROUND FLOOR PUBLIC GALLERY ENCOURAGES INTERACTION WITH STREET

THE SAWTOOTH PATTERN OF THE EXTERIOR FACADE CREATES POCKETS OF PROGRAMMABLE SPACE FOR STUDY & STORAGE

A ISG

E QU

PERSPECTIVE SHOWING SECOND FLOOR SOUTH HALLWAY

Queen St

GALLERY

RECEPTION AUDITORIUM/ MULTI-PURPOSE RM

CAFE

CHILDREN’S LIBRARY

FRONT DESK

UPSTAIRS

SELF-CHECKOUT

ELEVATORS

MAKERSPACE

STOP

CIRCULATION PATH

GROUND FLOOR PLAN with Major Circulation Paths The ground floor has various public multi-use spaces that require separate entrance/egress routes. The design of the plan allows for flexible circulation yet also maintains controlled points of security. This creates the opportunity for programming in different spaces to be run independently from each other.

RENDER SHOWING THE EFFECT OF SUNLIGHT FILTERING THROUGH THE WOOD MULLIONS (above) AXONOMETRIC DIAGRAM OF ATRIUM AND MAIN STAIRCASE (left)

SECOND FLOOR PLAN The library is organized in a free plan with ‘cells’ of differentiated space where building services or group-work rooms are located.

FRAGMENT PLAN 3RD FLOOR NORTH FACADE

ST U D Y MO STUDY MODEL 1

D EL 2

In Study Model 1, an earlier version of the exterior facade (inspired by Japanese Shoji screens) was tested. The desired contemplative and serene environment was achieved, however the Japanese appearance did not fit the site context. To create more usable space and allow for views to the outside, solid walls with narrow windows framed by vertical battens were used.

4mm ACM PANELS

Roof

14600

Level 3

9800

Cube Roof

8000

Level 2

5000

THERMALLY BROKEN DOUBLE GLAZE CURTAIN WALL

444

1500

50mm X 50mm TERRACOTTA BAGUETTES

8K1 OWSJ

W310 X 38.7 BEAM

200mm SQUARE HSS COLUMN BEHIND

1500

DOUBLE GLAZE WINDOW WALL

3500

50mm X 50mm TERRACOTTA BAGUETTES BEHIND

INT. ELEVATION

Level 1

1 250

SECTION

Level 1

50 12

The main library uses mass timber construction while the Makerspace differentiates itself with its steel and glass materiality. These details show how the materials intersect and resolve.

EXT. ELEVATION

Level 1

DETAILS:

PLAN

850

REFLECTED CEILING PLAN

Dwell

EAST ELEVATION

The and site is located in Sayward, Vancouver Island We dwell between earth sky.

EAST ELEVATION

02 DWELL = wander + settle PRIVATE RESIDENCE

Dwelling consists of settling but also wandering. EAST ELEVATION 1m

Different dimensions of dwelling: An individual dwells in the spaces within the house An individual dwells in their community (intangible social environ A house dwells in the landscape

Fall 2021 Individual Project

This project deconstructs the traditional idea of ‘house’ and uses ideas inspired by the philosophies of Heidegger, Schulz, and Adorno to understand what it means to live and dwell on earth. For Heidegger, we dwell in the sense that we stay on the earth and under the sky. We attain dwelling by building or settling in a place. Schulz agreed with the idea of settling but emphasized that wandering is the essence of dwelling. Adorno thought that we can dwell in cities and houses, but we also dwell among intangible things like neighbors and time. He believed that we are never truly at home and the only way to approach this is to accept the feeling of displacement in one’s home. In this sense, dwelling consists of settling but also wandering. Thus the house becomes a place that encourages the inhabitant to wander, but also provides spaces for an individual or group to settle.

world

community

individual

spaces

house

DWELLING DIAGRAM There are different layers in which something can dwell: A house dwells in its landscape. An individual dwells in the spaces within the house. An individual also dwells in the social realm, in a community.

ION A

Social Social Settle Settle Spaces Spaces

PROCESS DIAGRAMS

Social Settle Spaces

Primary & Secondary ‘Wander’ paths

Individual/Private Individual/Private Settle Settle Spaces Individual/Private Spaces Settle Spaces Communal ‘Settle’ spaces Social Settle Spaces

Individual/Private Individual/Private Settle ‘Settle’ Spaces spaces

Earth Earth&&Sky Sky Earth & Sky

Wander Wander&&Settle Settle Wander & Settle

Dwell Dwellin/around/on in/around/on Dwell the in/around/on thelandscape landscape the landscape

The form is split into an upper cantilevered Earth & Sky mass and a lower level that explores both the earth and the sky.

The house is organized by three types of spaces. Wander & Settle These spaces project out from the central mass and extend into the landscape.

The house also tries to dwell within the Dwell in/around/on the landscape

landscape by molding-to and showing off the site with its entry, openings, and paths.

Terrace

Mudrm CL

Deck

Living Rm

Bedroom

ing

Din W/R

Entry

Oﬃce

Den

Kitchen Pantry CL

GROUND FLOOR PLAN

The main entrance is on the cantilevered level of the building following a landscaped path. But there is also an option to split off the primary path and go straight to down to the Lower Level.

SECTION A This section shows one path of wander from the Kitchen through the Dining room and down to the back Entry that leads to the water. 1m

LOWER LEVEL PLAN

The hearth (located between the Dining and Den) is central to this floor and can be used as a landmark to orient oneself back to the primary path and communal settle spaces.

SECTION B The primary path is slightly raised to give it hierarchy in comparison to the sunken Den and Deck. Clerestory windows also illuminate the main path.

RENDER SHOWING SECOND FLOOR BRIDGE TO NORTH WING

03 CULTURAL HUB FASHION MUSEUM 450 Adelaide St W Fall 2018 Individual Project

The museum is designed to showcase the art of Iris Van Herpen, a fashion designer who is known for experimenting with innovative technology to create otherworldly sculptural pieces. Cultural activities such as going to an art gallery or museum, are a source for connection between people of diverse backgrounds. Located beside the historic St. Andrews Playground and centrally within a rapidly upward-developing neighbourhood, the museum building becomes a local landmark and sociocultural hub. In a fastchanging urban landscape, the museum can act as a centering presence that will become a foundation on which the neighbourhood can grow.

A PIECE FROM IRIS VAN HERPEN’S SPRING 2021 COLLECTION INSPIRED BY MUSHROOM GILLS

MASSING STUDIES - TESTING DIFFERENT FORMS

Having greater surface area for the East and West facades facing major circulation routes creates a more intuitive building entrance.

Building to the street edge defines the block and maintains a sense of regularity and order.

‘T’ massing creates awkward visual and pedestrian path in comparison to the linear street grid.

Matching the corner setback of the neighbouring building creates an incomplete block.

A lower massing (instead of a mid or high-rise) gives hierarchy to the neighbourhood’s central feature - the park. It also allows South light to enter the depth of site.

With a split mass, people are able to circulate through the museum as if it is a continuation of the park.

BRANT ST

MAUD ST

CAMDEN ST

ST. ANDREWS PLAYGROUND ADELAIDE ST W

MORRISON ST

SITE PLAN 1:200

SITE PLAN

LOADING/ DOCKING

JANITOR’S CLOSET

5 UP

WASTE & RECYCLING

STORAGE

CAFE FREEZER

CAFE STORAGE

10 7

1 CENTRAL ATRIUM 2 FRONT DESK/ TICKETS 3 PARK CAFE 4 COAT RM 5 ART ASSEMBLY/REPAIR SHOP 6 GIFTSHOP 7 FASHION LIBRARY LOUNGE 8 INTERACTIVE WORKSHOP 9 EVENT RM 10 EXHIBIT 1: SEIJAKU 11 EXHIBIT 2: LATEST COLLECTION

1:100

GROUND FLOOR PLAN

12 DOWN

DOWN

13 13

14 14

15 15 DOWN

DOWN

SECOND FLOOR 12 MULTIMEDIA RMPLAN 13 EXHIBITION 5: BETWEEN THE LINES 14 DRESS-UPRM AND RUNWAY 12 KIDS MULTIMEDIA 15 LUDI NATURAE 13 HANGING EXHIBITIONCOLLECTION: 5: BETWEEN THE LINES 16 4: VOLTAGE 14 EXHIBITION KIDS DRESS-UP AND RUNWAY 17 SYNTOPIA LUDI NATURAE 15 EXHIBITION HANGING 3: COLLECTION: 18 CIRCULATION CORRIDOR 16 SCENIC EXHIBITION 4: VOLTAGE 17 EXHIBITION 3: SYNTOPIA 18 SCENIC CIRCULATION CORRIDOR

PERSPECTIVE FROM CENTRAL ATRIUM LOOKING INTO EXHIBIT 1 The museum uses a neutral, simple material and colour palette and becomes a backdrop that allows the innovative science-fiction-like fashion pieces to take center stage. Classical proportions are used for the windows and arched openings. The openings frame the fashion pieces as well as the museum visitors themselves - blurring the line between what is considered the art versus the observer.

The cabin is able to be placed wherever space allows for it, and can function completely off-grid. The site could be a backyard, a forest, an empty lot, or even a rooftop. The use of minimal glazing allows for privacy even within densely populated areas.

04 CABIN MICROHABITAT TINY HOUSE Fall 2020 Individual Project The design of the tiny house was inspired by the idea of a microhabitat (a small, specialized habitat). A habitat is a place where an organism makes its home. As an organism evolves, so does its space - which must be flexible enough to adapt to different uses. The challenge of a tiny house is that it must maintain all the same characteristics of a habitat, but on a smaller scale. Due to limited space, furniture became a significant design variable. After analysing the key activities within a home, the table was found to be a fundamental piece of furniture, universally used for all functions. Thus, the design proposes a resolution of the tiny house by focusing on one essential piece of furniture - the table. The table moves on a sliding horizontal track through the cabin and can extend/retract. The inhabitant is able to define the function of the space through the position of the table.

m1 m5

deb

m1 m5

gnikrow

LONG-TERM STORAGE

m1 m5

deb

retnuoc gnikooc

deb retnuoc gnikeosoiccrexe

esicrexe

kcedesicrex2 e gnikrow m5

2 gnirkertonwuoc gnikgonoikcrow

rdeetb nuoc gnikoocesicrexdeeb m5

kcgendikrow

SECTION

= horizontal table plane

RAINWATER COLLECTION TANK

BOILER

LOUNGE EXERCISE WORK

SOLAR BATTERY

SLEEP COOK WORK

SHORT-TERM STORAGE

ikooc

SLIDING TABLE ADAPTS TO ALL ACTIVITIES

The tinyhouse orientation is designed to align with the sun. The bedroom receives morning sun from the East, while the living space can be illuminated by the more-constant South sun. The sunset from the West can be enjoyed in the evenings from the deck.

EAST MORNING SUN

BATHRM

BEDRM

KITCHEN / LIVING RM

2. PLAN

SOUTH DAYTIME SUN

DECK

WEST EVENING SUN

IS ATTACHED TO SLIDING TRACK 1. TABLE WHICH IS ATTACHED TO WALL

STEEL ROOF SKIN

PLYWOOD INTERIOR FINISH

SHELVING ALLOWS 2. WALL-MOUNTED FOR ADJUSTABLE STORAGE

LIVING SPACES

EQUIPMENT & BASE

BATHROOM HAS A COMPOSTING

3. TOILET

WHEN OPEN, DOORS ALIGN WITH OVERHANG TO CREATE A CONTINUOUS SIDEWALL FOR PRIVACY & SHADING

SOLAR PANELS RIBBED STEEL ROOF SHEETS FURRING STRIPS RIGID INSULATION OSB SHEATHING ROOF FRAMING, BATT INSULATION

PLYWOOD INTERIOR SHEATHING

FLOOR FRAMING, RIGID INSULATION

EQUIPMENT, SIDING PANELS

CUSTOMIZABLE FOUNDATION DEPENDING ON SITE

PERSPECTIVE LOOKING WEST

PERSPECTIVE LOOKING EAST

COMPETITION SUBMISSION POSTER

05 RINGS OF FIRE NUCLEAR BOMB MEMORIAL Winter 2022, Partner project with Selina Deng Shared tasks: Design Selina produced the plan drawing. *All other drawings shown are done by me individually.

This design of a nuclear bomb memorial uses a simple yet compelling motif of light to commemorate the scale and destruction of nuclear weapons. The columns mark the fireball radii of five previous nuclear bombs. They shoot massive light beams into the sky, which slice through the dusty desert air to create a somber tribute that can be seen for miles. As visitors enter the memorial, they are able to see the monumental light beams but not the source of light. At the halfway point in the journey, visitors are encouraged to climb the mountain to view the full vastness of destruction from the epicenter before continuing on to see the columns themselves.

SITE & PROCESS The Maralinga desert in Australia, a former British nuclear testing site in the 1950s, was selected for the site of the memorial. The Fireball Radii of five significant nuclear bombs were chosen to be marked for this memorial. To respect the site’s natural landscape, interventions were kept minimal: the radial paths are delineated with shrubs and in-ground lights, and the central mountain builds on existing earth.

Tsar Bomba - 2.3KM Castle Bravo - 1.42KM Teak - 0.75KM Operation Plumbbob - 0.28KM Fat Man - 0.1KM

PLAN OF FIREBALL RADII

AYERS ROCK, AUSTRALIA This natural formation was used as a precedent for the memorial’s mountain which aimed to have the same massive presence.

CATHEDRAL OF LIGHTS, ALBERT SPEER The architect for the Nazi party used light to create a strong and solemn effect.

The memorial used the Cathedral of Lights as a precedent. The consideration of light as a material was a major principle in the design of the memorial. The intended effect was to show power but with a solemn simplicity meant to incite a visitor’s self-reflection.

Visitors are able to witness the light exploding out from the column’s jagged cracks - another visual representation of the power and impact of the nuclear weapons.

Even during the day when the light beams are not visible, the tall columns can be seen from miles away. They are a stark contrast to the flat desert terrain, providing a reminder of the destruction they mark.

Valentines day joy

playlist music

thankful fun sweet crafted love

Community

bouquet

affection

flirty gift

attraction admirer

tender

creativity local family

retro

serenade

homemade

romance

love

smitten sweetheart care joy

darling vibrant memories passionate happiness handwriting

cute

adore

sing

visual

admirer

joy flowers nostalgic playful

crush

Mixed-tape

woo enamoured

young

neighbourhood

love

06 POPPIES’ PLAYLIST VALENTINE’S DAY CAMPAIGN Winter 2023 Bouquet concepts created by POPPIES. Social media campaign concept and creative direction, photography, and graphics done by me.

For Valentine’s Day, I worked on producing content for POPPIES’ Instagram. The concept was a 90’s Valentine’s Day Playlist, with bouquets inspired by those songs. The word cloud (above) includes the major values, emotions, and brand identity that were used as a starting point for ideas. The nostalgic element combined with the idea of a playlist inspired the imagery of cassette tapes and music player interfaces. The photoshoot styling and editing, as well as the graphic font choice were all chosen for their retro effect and to differentiate the playful charm of POPPIES from the other flower shops.

CLICK LINK HERE

VALENTINE’S DAY INSTAGRAM POSTS Colour was used strategically in the imagery. The Valentine’s Day selection included six different bouquets, each represented with a different signature colour which was always used in conjunction with the assigned bouquet. The colour palette consisted of the POPPIES’ brand colours (orange and pink) but also included purple and red. This helped differentiate the V-day posts from typical non-holiday posts.

Thank you! PLEASE CONTACT: melina.wang@torontomu.ca