MA Architecture Portfolio

MA Architecture portfolio

Sheryl Beh Wei Shan

Human / Nature

MA Architecture / 1st Year Sheryl Beh Wei Shan

In northeastern Siberia, in the Sakha Republic, sits Pleistocene Park: the Zimovs’ large-scale biological experiment to restore the steppe grassland ecosystem in an attempt to stop the rapidly thawing permafrost.

Meanwhile, in the southern Sakha-Yakutia region lies one of the largest nomadic Evenki areas of Russia. Here is a region traumatised by industrialisation and, significantly, is part of the site of the construction of the Baikal-Amur Mainline: an event that drove young herders to suicide with the dramatic changes imposed on their lands, reinforced by feelings of irrelevance in terms of their traditional skills and knowledge.

Historically, scientific and indigenous Knowledge have been at odds. But we can find the complementary nature of these different bodies of knowledge highlighted in a detailed, co-produced document between an anthropologist and an Evenki reindeer herder, a book that analyses and supplements complex concepts related to the Evenki way of seeing and understanding nature in tandem with western scientific knowledge.

In recent years, an increase in snow anomalies is alarming the nomads. And as we live through these uncertain landscapes and the consequences of industrialisation, perhaps a union between scientific and indigenous knowledge is a starting point to both re-imagine relationships between humans and nature and to preserve this jeopardised cultural landscape. Revolving around mobility and transience, this project explores a possible union between the Evenki and Pleistocene Park via a carefully planned route that is as cyclical and transient as Evenki knowledge, an architecture that, too, can disappear without a trace.

Animal grazing area

timber and straw animal shelter

Laboratory / discussion area

Sleeping area with timber pole and canvas partition

Central stove / cooking / socialising area

Additional storage area

Site of the BaiKal aMur Mainline

Here is a region laden with Evenki culture and history, but traumatised by industrialisation. And, significantly, is part of the site of the construction of the Baikal-Amur Mainline: the last major Soviet industrialisation project. An event that drove young herders to suicide with the dramatic changes imposed on their lands, reinforced by feelings of irrelevance in terms of their traditional skills and knowledge.

Site

Following a detailed, co-produced documentation of Evenki knowledge by an anthropologist and Evenki reindeer herder, the focus of the design project turned to the Evenki peoples.

The route begins in the village of Iyengra. Located in the southern Sakha-Yakutia region, one of the largest nomadic Evenki areas of Russia.

1 / the route

Revolving around mobility and transience, this design project explores a possible union between the Evenki and Pleistocene Park via a carefully planned route that follows the cyclical Evenki calendar of mobility; and a cyclical architecture that, too, can disappear without a trace.

The proposed project is to be carried out in two phases, following the core principle of Evenki nomadism which emphasises the importance of not exhausting a landscape’s resources by allowing it time to replenish, untouched.

checKPoint 2 / KnoWledge exchange & co-oBServation area Accustomed herbivores will be moved to this area to be released into the wild also as to not deplete the resources in Checkpoint 1. These are very temporal gathering points where scientists and the Evenki can exchange knowledge and co-observe the results of the animals on the landscape.

2 / a cyclical ice tent

Drawing inspiration from traditional Evenki construction techniques, it is a structure that can be erected quickly during times of need. But one that melts when it is not in use in the summer. And lastly, when the project is over, one that can be dismantled. Leaving only traces of a union that might have been to dissolve into the landscape.

a utu M n 2 W inter S P ring 1

As inspired by traditional Evenki heating methods, a central hearth is used as a keystone to which a translucent membrane with ice pockets is attached around a timber deck with lightweight timber poles and canvas as partitions.

In winter, the lower bottom of the structure can be encrusted with pykrete - a wood pulp reinforced ice - for additional insulation. Snow can also be compacted at the sides.

The pykrete and individual ice pockets gradually melt as the seasons warm.

Water drainage

a utu M n

In the summer, the membrane functions as a basic shelter for the items stored in the tent when it is not in use.

checKPoint 1 / Monitoring & aniMal care area Main ice tent location where the newly introduced herbivores can adapt to the surroundings under intensive human care and observation between scientists and the Evenki.

ulan : In the winter, water flows under the ice for drinking.

Eventually, when the entire project is over, all that remains are the timber decking and fences to be dissolved into the landscape.

EVENKI LAND

区

the DiAlectic kitchens

域 厨 房

Ma architecture / 2nd year

Sheryl Beh Wei Shan

Chinese dialects begin around the table - from the cooking of food to the prepping, to the sharing of it. It takes place in any setting, any space between communities. In short, these dishes, created with and through dialects, are a way of life. They are spoken heritage devoid of a writing system, birthed within the home. The dynamics and motions that dialects incur across the table through the rituals of food sharing and cooking is a culture shared amongst the Chinese diaspora.

This project positions London’s Chinatown as an urban artifice to investigate ways that architecture could navigate questions of heritage, and the loss of dialectic and food diversity in the face of racial capitalism. The project aims to create a space for these Chinese dialects through first, the rituals of food sharing and cooking. And secondly, through the architectural typology of the Kitchen, the street & the teahouse. Located in London’s Chinatown, the project seeks to work with gentrification and once more, bring back the disappearing Chinese community by reviving Chinatown as a place of life through a series of design interventions.

[ proposal ] - M A sterpl A n u s AG e & c ircul Ation

Traditionally, dialects are not limited to the architectural constraints of a ‘restaurant’. The restaurant is a concept that spills onto the streets, the alleys between homes.

In the morning rush hour, smoke and aromas fill the air. Here, the street becomes both a kitchen and a dining space. A long continuous table is set up underneath the wooden beams: where people are cooking, eating and conversing all at the same time.

In this alley in Chinatown, as festivals come about, the kitchen comes alive. Sometimes days in advance. In the use of this kitchen, it is the rituals of cooking and prepping that begin these dialectic conversations. For in the village, these are dishes made together, throughout the day.

Beginning in the morning, people start trickling in with food. Tables are brought from the surrounding restaurants. People start prepping. By noon, smoke can be seen arising from the middle of the space. Prep tables become eating tables during the lunch service when the public can be invited to share a meal. Dinner preparation comes around. And finally, these hollow stone slabs could host coal - either as heating elements at night / winter or for the ritual of smoking.

Some of the restaurant kitchens could also be utilised in the winter as cooking schools.

I made a regional Hakka dish in my apartment to map and study these movements in the space. This proposed re-arrangement became the first constant throughout the design.

The Staff Kitchen is a support kitchen for the staff of the surrounding restaurants. It is inaccessible to the public. It caters for the quick dishes that are generally called for in this modern era of production. The beginnings of conversations drove this design: beginning with these restaurants’ back doors, from the greetings of the staff, to their gathering and cooking in the middle of the space.

Stone counters enable people to converse while cooking and sharing a quick meal. Or, if time permits, tables can be brought in from the surrounding restaurants for staff to share food amongst their peers in this dining area.

To sum up, ultimately, dialects is about community, co-living and adaptation in terms of materiality. This design takes inspiration from traditional Chinese courtyard houses: the courtyard is the centre to village and communal social life and hence, dialects. This intervention takes inspiration from the idea of a vertical village - outfitted with temporary lodgings for the staff, community meeting rooms, storage, fluid meeting areas and tea areas, all around a public courtyard. The roof again, is of a form of fabric- its translucency offers a view of the courtyard to the surrounding context buildings as well.

[ IV ] - the l o DG in G temporary lodging for staff, outfitted with public tea / community sports area, and public courtyard.

It is a quiet, leisurely morning when communities gather for a round of tai chi. Staff are just arising from their temporary lodgings, chatting and having breakfast across its terraces. A crowd trickles in around noon, gathering around the public courtyard to eat lunch from their takeaway.

The Urban Oasis

BSC ARCHITECTURE / 3RD YEAR SHERYL BEH WEI SHAN

THIRD YEAR FINAL PROJECT

In recent years, the increase in Chinese tourists had greatly contributed to Morocco’s economic growth. However, the country struggles with the lack of Mandarin-speaking tour guides, and a big lack of Chinese restaurants - an important factor to attract Chinese tourists.

During the day, this oasis is a place of rest, information and solace for Chinese tourists. In conjunction to that, it also has offices for the tour agencies, and spaces for Chinese-language learning for the locals. At night, in conjunction to the vibrant local food scene at Djemaa el-Fna Square, the thick wall that surrounds its tranquil courtyards open up to form a street food market, performance space, and dining area for the public.

Inspired by traditional Chinese and Moroccan courtyard houses, as well as the smoky spectacle of the outdoor food market that comes alive at night at the Djemaa el-fna square (that my site faces), the reason behind the skylights is to allow the entry of sunlight into the interior spaces as well as to turn the building itself into a spectacle: with angled vents for the puffing of smoke from the night market.

Through food, language and culture, this project aims to create more opportunities for cultural exchange and learning between t he locals and the Chinese. And in the process, help vitalise the Morocco’s tourist industry and economy.

The project revolves around 3 main concepts:

1/ the Refuge & Prospect Theory - suggests that people prefer the edges, rather than middles of spaces as one feels more secure.

2/ Visibility - within the oasis and from the outside

3/ A transformational aspect of the project that mirrors that of the Djemaa el-Fna Square.

The existing building is retrofitted to become office spaces, Chinese language learning spaces, and a Chinese restaurant. Beyond that, the project inhabits an additional wall: a thick adobe ‘refuge’ space that encircles an urban oasis of peaceful courtyards by day that turn into a food market by night, in conjunction to the transformation of the Djemaa el-Fna Square. Inspired by the maze of the local souks, timber screens protect divide the wall into private enclaves for visito rs to rest and enjoy the [exterior porspect] Square’s transformation and the [interior prospects] courtyards.

Site Context 8am 10am 4pm 10pm

exiSting BUilDing on Site

Site

Djemaa el-fna SqUare

the USage of the Djemaa el-fna SqUare throUghoUt the Day