vanessa sokic selected works 2018
c on t e n t s
earthenware artist’s residence
the gene kelly apartment
the riparian zone through vegetation
regal heights library
museum of impossible relationships
face to face / tête à tête
2A Cultural History Selimiye Mosque wormâ€™s eye view, hand-drafted In collaboration with Lily Tran and Salman Rauf
Hello, my name is Vanessa. I have an unrelenting passion to explore and create, all the while having the desire to learn through my experiences. I approach every challenge with dedication and eagerness. My exposure to design and my strong background in visual arts has fueled my passion to explore the world of architecture, what it means, and how it can make a positive impact on the surrounding social and natural environment. The following is a collection of my academic and co-op work, including a selection of my personal creative work. firstname.lastname@example.org +1 (416) 970 9896
e a rth e n w a r e a r t i st â€™ s r esi d e nce 1A Design Studio December 2016 Supervised by Rick Andrighetti The design of this combination of a studio and living space is visibly representational of its purpose. Mimicking the natural location of actual clay, this clay-making workspace is incorporated into the surrounding terrain. In contrast, the upper-level living space resembles a more traditional residential house by existing above the ground plane, and further contrasts the heavy entity below it through being diagonally offset and more sculptural in appearance. The entire building itself is setback from the road an disguised by the hill, allowing the artist some privacy and offering the illusion of a closer proximity to nature. However, it is not immune to the public as a result of the path cutting through the landscape and the river-side walkway running along the display window of the public gallery.
R nd Gra iver >
ve S Grand A original topography changed topography new topography
experimenting with sculptural roofs
th e ge n e k el l y a pa r t m e n t 1B Design Studio February 2017 Supervised by Donald McKay This concept of a small apartment complex is made entirely up of a set of stairs. A rise of 150 mm (6â€?) and a run of 400 mm (15â€?) result in an environment that Gene Kelly could comfortably dance in (as opposed to in the rain). Occupants of the house have adequate space on one level to rest, but are still able to travel with a convenient step to the next. The entire space depicted in this hand-cut model, from the couch, to the kitchen counter, to the desk, are all in line with and/or carved from the main set of 32 risers. My inexperience with designing stairs during my first semester of University prompted me to challenge myself to create a concept solely using this malleable building component. The goal is that even Fred Astaire can enjoy these stairs.
th e r i pa r i a n zon e t hr o u g h ve g e ta ti on 2B Design Studio Ongoing Supervised by Jane Hutton In collaboration with Laura Woodall and Kennedy Toivonen
Prior to designing on the site of a natural wetland along the Grand River in Ontario, the components that make up the landscape are being studied, with a focus on vegetation. The most prevalent ground speciesâ€™ life cycles were recorded in order of abundance alongside monthly water levels (in the diagram below) in order to get an idea of how the site will change over time. These species were used to create a dynamic model that depicts a compressed version of a section through the landscape. Inspiration was taken from microscope slides and each plant species has been presented as a specimen whose slide length corresponds to the height above the river at which it grows. Since the slides are interchangeable and follow the line of topography, one can use this model as a design tool by rearranging the specimens to create new sections. The model would indicate where each plant may grow within the landscape.
annual vegetation cycle and water level
1:1 compressed landscape model
view of model from below
r e ga l h ei g h t s l i b r a r y 1B Design Studio April 2017 Supervised by Donald McKay The focal point of this project is a shelf system inspired by the pattern of a certain sound-proofing material. It extends the height of all four levels, serving a number of different purposes throughout the building. A focal function of the shelf is when it acts as a shading device that doubles as a double skin faรงade on the South-facing park elevation. Visitors can access the path between the two walls, creating a continuous path on both the second and third levels. This allows for access to the books on higher shelves and establishes a connection between the library and park. In addition, this multi-purpose shelf serves as desks, doors, and windows.
A level 1
20 Northcliffe Boulevard
St. Clair Avenue West
double-skin wall section
m u s e um o f i m possi bl e r e l a ti ons hi ps 2A Design Studio December 2017 Supervised by Dereck Revington This atmospheric concept of a museum, created while we studied architecture that can influence emotion and feeling, consists of two halves that never converge, displays artifacts that are representative of love that could never be. Each half of the museum starts and ends at different locations within the collective assemblage, but the paths intertwine throughout. Hope thrives during the journey through the museum where glimpses of the opposite path are introduced; the possibility of reaching these unattainable spaces encourages visitors to continue searching for a means of arriving to them by continuing to explore the path that they are traveling on. Each intersection represents a different type of tragic love story and exemplifies how the couples from these tales struggled to reach one another. Visitors on opposite paths experience the same connections of tension that the lovers did as they themselves long to reach the inaccessible spaces. The Museum ends with a vast atrium space that forces the visitors from each path to be face to face at a dead end, although they are still too far to meet. As the visitors stand on either side of the void dividing them, for the first time during the course of this journey, they have to finally realize and admit that there is no possibility of accessing the other path. The visitors are forced to physically turn around and turn their back on the opposite path in order to exit the zone. In the end, the museum that has thus far only provided hope and longing, influences its visitors to give up and walk away.
Tristan and Isolde
Orpheus and Eurydice
Jack and Rose
Romeo and Juliet
no. 2 Anarkali and Salim Pyramus and Thisbe
fa c e to fa c e / t ê t e à t êt e Co-op April 2018 PLANT Architect Inc, Toronto, Canada This 2 m by 13.4 m public parklet has been installed on King Street in Toronto as a competition winner for the King Street Pilot Project. The goal of the Pilot is to make this downtown street more pedestrian and public transit friendly through limiting vehicles and reducing lanes. The resulting empty lanes have now been reserved for parklets and installations to attract more pedestrians to the area and to bridge the gap between the street and public realm. The two long tables have benches on either side, imitating a dinner table and in effect bringing people together; putting them ‘face to face’. Within the team, I helped to: determine dimensions that would be comfortable to visitors, choose colours, and not only participate in painting the constructed structure, but also organize and lead a community volunteer team to help paint as well.
view from above, photo by Steven Evans
plan with projected letters
painting with orange
sketching and sanding letters
painting with blue
photo by Steven Evans
s e le c te d a r t w o r k Graphite on Paper 9â€? x 17â€? March 2016 Having the ability to express myself through visual art is something that I absolutely could not live without. I feel that all art has meaning or significance, whether to the artist or to the viewer, and that oneâ€™s perspective, whether literal or mental, can be influenced by art. My favourite means of creating is through drawing, in pencil or pencil crayon, and I enjoy striving to include as much detail as possible.
The Trick of Perspective photographed acrylic on glass two of seven 8” x 10” photographs May 2016
pencil crayon on paper 14” x 17” May 2016
dried acrylic paint June 2014