Portfolio_Karan_Pages

SELECTED WORKS
PORTFOLIO
KARAN SHARMA

PORTFOLIO KARAN SHARMA
Karan Sharma
Intern Architect, AAA
RHFAC Professional
Calgary, AB T2P 0V1
karansharma0308@outlook.com
587-973-9090
2

CURRICULUM VITAE SELECTED WORKS
PROFESSIONAL EXPERIENCE
AWARDS AND PUBLICATIONS
2020-Present
The marc boutin architectural collaborative inc, Calgary
William Hawrelak Park
Centennial Plaza
Kicking Horse Cafe
Rossdale Powerplant
Venice Biennale
Three Beaches House
2019-2020 Laboratory for Integrative design, University of Calgary
(May)
Apediment art installation
Livewire benches
Green Alley Project
Textura
2017-2018 Nuru design, Mumbai (NUDES)
(May)
Regal Shoe stores
Protostar Pavilion
Rath Pavilion
Museum of Writing
Housing for Billion
Cardboard cafe
COMPUTER SKILLS
Runner up
Winner
Winner
Winner
Winner
Winner
Winner
Finalist
Runner up
Runner up
Runner up
CTBUH 2020Design Comp(International)
Reinventing Gwalior Design Competition
RTF Architecture Festival
SD Sharma Sustainable Design Award
Delhi Architecture Festical RTF
Birla White Yuva Ratna award 2015
Society Interiors Design Competition
CTBUH 2019 Design Comp(International)
Indian Green Building Council Design
Junk Morphia Design Comp
Saint Gobain Transparence
Computation
and
Robotics
Grasshopper
Python
Processing
Robot Studio
Robo DK
Dynamo
Top-30
Top-50
Tiny House Design Comp
Film City Tower Design Comp
3D Modeling
Rhino 3D
Revit
3DS Max
Zbrush
Blender
3D Make
EDUCATION
2D
And
Graphics
Autocad
Archicad
Adobe Suite
Corel
Keyshot
Office
2018-2020
2012-2017
Masters in Architecture,University of Calgary,Canada
GPA 3.92/4.0
Bachelors in Architecture,NIT H,India
CGPA 8.49/10.0
Simulation
Karamba (Structural)
Ladybug (Environmental)
Kangaroo (Forces)
Butterfly (Wind)
1998-2012
High School,Sacred Heart Convent School,India
GPA 3.92/4.0
Honeybee (Energy)
Pachyderm (Acoustics)
Rendering
Vray
Corona
Lumion
Twinmotion
Keyshot
Thea
3

BARED SELECTED WORKS
REGAL SELECTED WORKS
2
2
Sun path
Carving along the path
Projected Sun path
Carved output
Above :Iterative process for allowing
more natural light inisde a conventional
building
Left (Next Page):Visualisation of
Bared with it’s relaton to the ground
NATOSI SELECTED WORKS
PROTOSTAR SELECTED WORKS
2
Land
Man
MEDIHUBS SELECTED WORKS
Above :Lan
explored th
Left:Parti e
flow conce
Left (Next
NATOSI wi
ground
PORTFOLIO KARAN SHARMA
ACADEMIC
Image Above: Visualization of Bared with it’s relation to the ground
02
MEDIHUBS
#Bared
Studio Research Project
Jan 2020 to Apr 2020
Location: Calgary, Canada
Bared” living with the exposed”, is an ongoing exploration
of building performance with mass timber.The building
proposes an argument of intersection of passive strategies
with mass timber solutions in order to encourage and support
healthy living, thus making a case for mass timber as
an alternate sustainable building material
BARED
The project also focuses on integration of Prefabricated
wood components which can help to solve many design
and engineeringchallenges producing a multitude of
benefits, including process efficiency.Bared tries to incorporates
naturalelements in the built environment, such as
wood, sunlight and plants within the realm of mass timber
architectural systems.
Image Above: Visualisation of NATOSI with it’s relaton to the ground
03
01
NATOSI
#Natosi
Indigenious Cultural centre
with Navjot Singh
Comphrensive Project
Jan 2019 to Apr 2019
Location: Calgary, Canada
The Moh-Kins Tsis Educational and Conte
Centre supports educating and reflecting
mense hardships endured by Aboriginal P
also serves to celebrate and teach individu
their rich culture, tradition and beautiful
After an emotional and inspiring talk with
from the First Nations community it led
alization of deep layers of meaning that u
inspired the main design concept.
The main design intent of the building i
Indigenous values related to ‘Natosi’ (Sac
Our architectural standpoint embodies t
inence of the Sacred Sun for Aborigina
and is heavily emphasized as an ancho
project. This element is significant due to
and beauty of touching all life on Mother
a result, it endeavors to uplift one’s spirit
through its innate sacredness and warm
the project is harmonized with varying gr
light fundamental to the symbolism of a jo
04
REGAL
Image Above: MediHubs being deployed around the city
BUILT
Left:Double skin facade of Regal
Andheri
Belowl(Left): ACP panels forming the
facde of Regal Guwahati
Below (Right):Interiors of Regal
bandra and Pune
Right(Next Page):Undulating facade
of Regal Guwahati
PROTOSTAR
#Protostar pavilion
with
Mercedes Benz Pavilion
Comission :All stages(from approach to built)
Image Above: Visualisation of NATOSI with it’s relaton to the ground
April 2017 to May 2017
Location: Mumbai,India
1 ST
The design of the “protostar” pavilion is inspired by the philosophy of the New E-Class
#Regal Mercedes Stores
Benz, undoubtedly a “Master piece of Intelligence”. The iconic Mercedes Benz
logo consists of a simple depiction of a three-pointed star that represents its domination
Prize
with of land, sea, and air. The protostar pavilion design celebrates the evolution of Mercedes
Benz across decades of innovation and cutting edge technology in space and time.
Commission : All stages(from The Protostar approach pavilion is in to its constant built) state of metamorphosis and is presented in a
specific instance frozen in time. The design process itself challenges the conventional
Jan 2017 to May 2018
thinking of materials and their properties. The process embraces high-end digital design
Location: Various locations and fabrication in tools India from the concept design to prototyping and fabrication stage
The pavilion reinterprets Felix Candela’s works with complementary hypar shells, which
are both highly structural and sculptural. As a concept contrasting the originals, the optimal
structural logic was partially broken by linking the three parts in the middles of their
surfaces, not at the edges.
Regal Shoes, have retained an element of “design surprise” which is often inspired by the
exclusivity of the region, where the store is located. For example, the Guwahati store has
wave like structures that resemble the tiered ground levels in tea estates, an integral part
of Assam.
05
The design brief consisted of a large number of stock keeping units (SKU’s). To mitigate
the high density of SKU’s, a central “wave” island display was introduced in most of the
stores. The central waveform is hybrid in nature, which consists of display and seating
functions. The island display is strategically configured to gradually reveal the products as
one meanders through the store
The store design projects further explores the concept of an urban in-fill within a deep
rectangular plot on a busy retail street in the picturesque city of the city they are situated
in.The interior is dominated by predominantly white and gray concrete aesthetics, providing
a neutral backdrop that highlight the products on display. Dynamic furniture objects
sparsely placed across the store interiors further extend the architectural narrative.
Image Above: Protostar Pavilion with the Mercedes Benz
4

KICKING HORSE SELECTED WORKS
3 BEACHES SELECTED WORKS
TABLE OF CONTENTS SELECTED WORKS
CENTENNIAL SELECTED WORKS
PORTFOLIO KARAN SHARMA
CENTENNIAL
07
Image Above: Rehabilitation of the Centennial Plaza into a multi sensory garden
08
CURRENT
06
ROSSDALE
Image Above: Visualization of the 3 Beaches House
3
BEACHES
09
WILLIAM
HAWRELAK
PARK
PROJECTS
Images Above: Rehabitating and Reanimation of various spaces of the plant for a cultural hub
VENICE
BIENNALE
10
Venice Biennale of Architecture Proposal Submission
Towards a Vernacular
of Resilience
Image Above: Heritage Features of the project
the marc boutin architectural collaborative inc.
03.21.2022
5

PORTFOLIO KARAN SHARMA
Sun path
BARED
LOCATION: CALGARY, ALBERTA
TYPE: MASS TIMBER
PHASE: SENIOR RESEARCH STUDIO
Projected Sun path
Bared” living with the exposed”, is an ongoing exploration of building
performance with mass timber.The building proposes an argument of
intersection of passive strategies with mass timber solutions in order
to encourage and support healthy living, thus making a case for mass
timber as an alternate sustainable building material
The project also focuses on integration of Prefabricated wood components
which can help to solve many design and engineeringchallenges
producing a multitude of benefits, including process efficiency.Bared
tries to incorporates naturalelements in the built environment, such as
wood, sunlight and plants within the realm of mass timber architectural
systems.
Carving along the path
Carved output
Image Above: Iterative process for allowing more natural light inisde
6

BARED SELECTED WORKS
Image Above: Visualization of Bared with it’s relation to the ground
7

PORTFOLIO KARAN SHARMA
22k m 3
10698115.8 KWh 144k
AREA RADIATION VOLUME
22k m3
12319610 KWh
141k m 3
AREA RADIATION VOLUME
22k m3
10193593.2 KWh 132k m 3
AREA RADIATION VOLUME
22k 3 10792296.9 KWh 168k m 3
AREA RADIATION VOLUME
Image Above: Relationship of Void vs Mass in the structure ; Iterations refelcting Sunlight and Volume calculations
8

BARED SELECTED WORKS
2
4
2
4
2
3
3
LVL+00
OLYMPIC WAY SE
5
2
4
4
3
1
4
Legends
1.Main Entry
2.Secondary Entry
3.Walkway
4.Landscape
5.Sidewalk
12 AVE SE
B’
3
3 3
6
A
7
4
5
A’
2
7
7
7
7
Legends
2
3
4
5
B
7
7
7
1.Lounge
2.Bedroom
3.Core
4.Kitchen
5.Bathroon
6.Laundry
7.Balcony
Image Above: Massing resulting into different configurations of each floor
9

PORTFOLIO KARAN SHARMA
CORES
AGGREGATION 1
Above :Presence of wood
enchances the spatial
qualities of Library,Apartments
and Public spaces
SUPPORTS
Left:Strucutural simulation
done to optimise the
strucuture
STRUCTURAL MEMBERS
SIMULATION
DISPLACEMENT
AGGREGATION 2
AGGREGATION 3
Below:Construction
sequence explainded using
kit of parts strategy
LOADS
INITIAL SUBSTRUCTURE
INITIAL SUPERSTRUCTURE
BRIDGING SUPERSTRUCTURE
ADDING STRUCTRAL TIES
ADDING SUBLAYERS
FINAL SUPERSTRUCTURE
Image Above: Strucutural simulation done to optimise the strucuture; Construction Sequence; Presence of wood enchances the spatial qualities of Library
10
FORCES

BARED SELECTED WORKS
Image Above: Coherence of Natural material, Natural Sunlight and Natural Vegetation
11

Land
Man
PORTFOLIO KARAN SHARMA
NATOSI EDUCATIONAL AND
CONTEMPLATION CENTRE
LOCATION: CALGARY, ALBERTA
AREA: 24 ha
PHASE: Comphrensive studio (Partner- Navjot Singh)
The Moh-Kins Tsis Educational and Contemplation Centre supports
educating and reflecting upon immense hardships endured by Aboriginal
People’s. It also serves to celebrate and teach individuals about their
rich culture, tradition and beautiful language. After an emotional and
inspiring talk with an Elder from the First Nations community it led to
the realization of deep layers of meaning that ultimately inspired the
main design concept.
This element is significant due to its power and beauty of touching all
life on Mother Earth. As a result, it endeavors to uplift one’s spirit and
heal through its innate sacredness and warmth. Lastly, the project is
harmonized with varying gradients of light fundamental to the symbolism
of a journey towards healing that is juxtaposed between reflection
and healing spaces.
Image Above: Parti exploration of the nature of flow concept
12

NATOSI SELECTED WORKS
Image Above: Visualisation of NATOSI with it’s relaton to the ground
13

MULTIPURPOSE
SPACE
(LVL 0M)
GALLERY
(LVL-
CONTEMPLATION SPACE
(LVL +2.4M)
PORTFOLIO KARAN SHARMA
15
W2
F1
SUN STUDY- Summer Equinox
Mar 21
W2
7 am
SUN STUDY-Winter Equinox
Sept 21
10
12
3 pm
3 pm
ish 19
s .25 mm
12.7 mm
W4
1.Interior Finish 12.7mm
2.Accoustic batt insulation
3 pm
3.Interior Finish 12.7mm
7 am
SUN STUDY-Summer Solistice
Jun 21
10
12
3 pm
e
nting mix
3 pm
LIGHT AND HEAT ANALYSIS
West
East
South
7 am
Image Above: Experential nature
10
of light in various sections 12 of the building 3 pm
SUN STUDY-Winter Solistice
Dec 21
SKYLIGHTS
Above :Self Contemplation
spaces showing relation to
light vs Healing contemplation
spaces with their
relation to nature
7 am
10
12
3 pm
14 Thermal Analysis
Left: Shadow study of
the site
3 pm
Left (Next Page):Tectonic
wall section of the conteplation
space
GLASS
SOUTH <50 %

MULTIPURPOSE
SPACE
(LVL 0M)
GALLERY
(LVL-
CONTEMPLATION SPACE
(LVL +2.4M)
NATOSI SELECTED WORKS
LEGEND:
2
3
9
1. Softscape
2. Secondary Major Entry
3. Courtyard / Gathering
Space
4. Mixed Landscape
5. Primary Entry
6. Water Feature
7. Stone Pavers
8. Outdoor Seating
1
3
6
8
9
8
9
8
ry
g
4
5
9
SKYLIGHTS
GLASS
LEGEND:
1.Main Lobby
2.Artifact Display Space
3.Visual & Audio Space
4.Lounge
5.Service Core#1 WEST< 4%
6.Visual Educational Display
11
7.Artifact Display Space
8.Residential School Victims Feature Wall
9.Interactive Kiosk Visual Space
10.Educational Wall
11.Feature Visual Wall
12.Seating
13.Art Display
14.Multi-Purpose & Ceremonial Space
15.Service Core #2
16.Healing Courtyard
17.Group Contemplation Space
18.Self Contemplation Space
19.Self Contemplation Space #2
20.Group Contemplation Space #2
SOLID
B’
15
17
16
18
14
A’
SOUTH <50 %
13
12
10
NORTH-High Thermal mass
9
6
2
7
1
8
3
A
4 5
B
GROUND FLOOR
Solid vs Void
CONTEMPLATION SPACE
19
20
11
LEGEND:
LIGHT AND H
1.Main Lobby
19
West
19
2.Artifact Display Space
17
3.Visual & Audio Space
16 16
17
4.Lounge
18
5.Service Core#1
20
18
6.Visual Educational Display
7.Artifact Display Space
8.Residential School Victims
Feature Wall
9.Interactive Kiosk Visual
Space
10.Educational Wall
13
11.Feature Visual Wall
12
12.Seating Thermal Analysis
13.Art Display
10
14.Multi-Purpose & Ceremonial
Space
9
6
15.Service Core #2
2
7
16.Healing Courtyard
1
17.Group Contemplation
8
3
Space
4
18.Self Contemplation Space
5
19.Self Contemplation
LOWER FLOOR
Space #2
20.Group Contemplation
Space #2
Light and Shadow
Image Above: Contextual Relationship of building with the earth and sky
MULTIPURPOSE
SPACE
North
GALLERY
ES FLOW LINES LEVELS CIRCULATION
15

PORTFOLIO KARAN SHARMA
W1
1.Charwood finish 19 mm
2.Furring Strips 25 mm
3.Insulation 100mm
4.Vapor barrier 12.7 mm
5. Sheathing
6.Glulam beam
7. Sheathing
W3 1. Charwood finish 19 mm
2. Furring Strips .25 mm
3. Vapor barrier 12.7 mm
4. Sheathing
5. Glulam beam
F3
1.Wooden Floor Finish
2. MS Pedestal
3.Concrete Structural Floor
F2
1. Concrete Tiles
2. Compacted gravel base
3. Silva root break out Zone
4. Non woven geo textile
5. Undisturbed Sub grade
F3
1.River Bottom Stone
2. Bio Retention Planting mix
3.Concrete sand
4.Washed Peastone
5.Crushed Stones
Image Above: Tectonic wall section of the gallery space
16

NATOSI SELECTED WORKS
Image Above: Visualization of the gallery with flow lines of ceiling with relation to the space
6
17
LVL 0 M

PORTFOLIO KARAN SHARMA
S.KOERA 12.3 CHINA 4.3
MEDIHUBS
LOCATION: CALGARY, ALBERTA
TYPE: COMPETITION
PHASE: CTBUH 2020 Runner up
MediHubs are a rapid-deployment health care skyscraper designed as
a response to the current Coronavirus pandemic. The idea is to create
temporary structures that could be deployed rapidly, like traditional
hospital tents, but with a high level of biocontainment to prevent the
spread of the virus .Transforming container ships (which are not in
service currently due to a halt in global trade) into hospitals, stocked
with medical equipment, provides more spaces to treat patients, not to
mention added privacy.
ITALY 3.2 USA 2.3
This also helps boost access to medical care, as the ships can be deployed
to different areas. This building pattern allows the skyscraper to
respond to the outbreak in a very short time and relieve the burden of
the existing health care infrastructure. All the programmatic boxes are
pre-manufactured in factories and need no extra time.
Image Above: Data refelcting Hospital Beds per 1000 People
18

MEDIHUBS SELECTED WORKS
Image Above: MediHubs being deployed around the city
19

PORTFOLIO KARAN SHARMA
1.NYC Zone
2.Active cases
3.Modular Healthcare services
4.Central Core for services
S
L
5.Habitable Shipping units
6.Pick and place
7.User Oriented units
8.Connection With context
Image Above: Medihubs deployement on the site; Connection of the tower with context
20

MEDIHUBS SELECTED WORKS
MEDICAL UNIT
INTENSIVE CARE UNIT TREATMENT UNIT QUARANTINE UNIT
S
M
L
XL
MEDICAL UNIT
TREATMENT UNIT
STEEL
STRUCTURE
UNIT
KNIFE PLATE STEEL CONNECTION
STRUCTURAL UNIT
RECREATION UNIT
Image Above: Use of container for different programs; Visulizations of the tower and interior conditons
21

PORTFOLIO KARAN SHARMA
CAPS
REGAL FLAGSHIP STORES
LOCATION: VARIOUS IN INDIA
AREA: NA
PHASE: Senior Research Studio
Y RIBS
Regal Shoes, have retained an element of “design surprise” which is often
inspired by the exclusivity of the region, where the store is located.
For example, the Guwahati store has wave like structures that resemble
the tiered ground levels in tea estates, an integral part of Assam.
The design brief consisted of a large number of stock keeping units
(SKU’s). To mitigate the high density of SKU’s, a central “wave” island
display was introduced in most of the stores. The central waveform is
hybrid in nature, which consists of display and seating functions. The
island display is strategically configured to gradually reveal the products
as one meanders through the store
The store design projects further explores the concept of an urban infill
within a deep rectangular plot on a busy retail street in the picturesque
city of the city they are situated in.The interior is dominated by
predominantly white and gray concrete aesthetics, providing a neutral
backdrop that highlight the products on display. Dynamic furniture ob-
Image Above: Exploded axo of the facade
X RIBS
22

REGAL SELECTED WORKS
Image Above: Regal Guwahati undulating facade out of ACP panels
23

PORTFOLIO KARAN SHARMA
Image Above: Various Flagship stores designed across India
24

REGAL SELECTED WORKS
5 6
4
2
4
3
1
Legends
1. Cashier
2.Display
3.Island Display + Seating
4.Mirror
5.Storage
6.Restroom
Image Above: Regal Mumbai Showroom Axonometric
25

thk MS
gular Con-
PORTFOLIO KARAN SHARMA
2.5mm thk Aluminium
Webbed
thk Alum
Webbed
60 mm Wide MS
Guide Rails
MERCEDES BENZ PAVILION
LOCATION: MUMBAI, INDIA
AREA: 16 sqm
PHASE: BUILT
C
B
O
B
O
A
A
1 2 3
C
X
Elevation
B
O
A
Y
Z
Wide MS
Rails
B
X
O
C
Z
B
X
O
C
Z
B
X
O
C
Z
The design of the “protostar” pavilion is inspired by the philosophy of
the New E-Class Main Mercedes Supporting Benz, undoubtedly a “Master piece of Intelligence”.
The iconic MS Ribs Mercedes Benz logo consists of a simple Bdepiction
O
of a three-pointed star that represents its domination of land, sea, and
A
air. The protostar pavilion design celebrates the evolution of Mercedes
Benz across decades of innovation and cutting edge technology in
space and time.jects sparsely placed across the store interiors further
extend the architectural narrative.
The Protostar pavilion is in its constant state of metamorphosis O and Z
B
is presented in a specific instance frozen in time. The design process
A
Y
itself challenges the conventional thinking of materials and their properties.
The process embraces high-end digital design and fabrication
EVOLUTION
tools from the concept design to prototyping and fabrication stage
Supporting
The pavilion reinterprets Felix Candela’s works with complementary
bs
hypar shells, which 3mm are thk both MS highly structural and sculptural.
Triangular Con-
X
B
O
O
C
A
Y
EVOLUTION
A
Image Above: Form generation logic of the pavilion
Y
5 6 7
C
X
Elevation
1 2 3 4
C
B
X
Y
C
A
Z
5 6 7 8
B
B
Y
X
O
Y
O
C
A
A
Z
Z
B
B
X
X
Y
Y
O
O
A
C
C
A
A
Z
Z
Y
A
Above
launc
Below
Left:Fo
pavilio
flexibi
Left (N
the Pa
26

PROTOSTAR SELECTED WORKS
Image Above: Protostar Pavilion with the Mercedes Benz
27

PORTFOLIO KARAN SHARMA
2.5mm thk Aluminium
Webbed
60 mm Wide MS
Guide Rails
Main Supporting
MS Ribs
3mm thk MS
Triangular Con-
Image Above: Axonometric of the Pavilion
28

ctural n reinterprets are and The both sculptural. pavilion Felix highly reinterprets Candela’s As structural a concept works Felix and contrasting with sculptural. Candela’s complementary the works As a originals, concept with hypar compleme the contrast optiwas
partially structural are mal both structural broken and highly sculptural. by logic structural linking was As partially the and a concept three sculptural. broken parts contrasting by As the linking a concept middles PROTOSTAR the SELECTED originals, contrast three of WORKS their pa
shell
ghly
ral logic mal was structural surfaces, partially not logic broken at was the by partially edges. linking surfaces, broken the three not by linking parts at the in edges.
the three middle pa
surfaces, not at the surfaces, edges. not at the edges.
Image Above: Protostar pavilion at the launch of E class
29

PORTFOLIO KARAN SHARMA
CENTENNIAL PLAZA
LOCATION: EDMONTON, ALBERTA
AREA: 3000 sqm
PHASE: DD
8
Centennial Plaza is located within the City of Edmonton’s downtown
core, and is a key site within Edmonton’s Civic Precinct that
also includes City Hall, Sir Winston Churchill Square, the Citadel
Theater and Stanley A. Milner Library
As a park space, the CPR looks to integrate an intelligentapproach
to urban design. This project is dedicated to the improvement of
the public realm and through the optimizing green space and integration
of existing structures to create a more holistic overall
experience on site. Taken together, the project has the capacity
to add new public realm to an area that is currently underutilized
and whose occupants are underserved with respect to public
spaces.
8 Centennial Plaza Redevelopment
Image Above: Existing Urban Characteristics of Centennial 30

CENTENNIAL SELECTED WORKS
Image Above: Rehabilitation of the Centennial Plaza into a multi sensory garden
31

4
3
1
2
1
2
2
1
3
3 2
1
PORTFOLIO KARAN SHARMA
s for
alscapes
ted
The Manipulated Topography
Inhabited Landscape
ated
The Animated Backdrop
Conversational
Intimate
Small meetups
The Canopy Structures
Animated
Illuminated
Interactive
Gathering
Socially complex
People watching
Microcosm 2
Microcosm 1
Microcosm 2
Microcosm 3
Images Above: Tools for socialscapes used for creating microcosms ; 1:1 mock up for the canopies
32

CENTENNIAL SELECTED WORKS
ITE
AYERING
Accessible green space which supports seasonal
planting and trees within the plaza
Animating the vertical plane with canopies and wrapping the
existing structures with interactive patterns
Existing structures
while enhancing sa
PEDWAY
STANLEY A. MILNER LIBRARY
Accessible green space which supports seasonal
planting and trees within the plaza
Animating the vertical plane with canopies and wrapping the
existing structures with interactive patterns
Existing structures utilize integrated lighting to animate the plaza
while enhancing safety and security
New circulation at the southeast corner creates a connection to judy
padua and expands the bounds of the plaza
The children’s play area and the daycare play space above the
ramp maintains security and allows for interaction with the plaza
A variety of types a
within the plaza to c
RAMP A
Cafe and Library
Entry
Indigenous
Gathering
Space
Maker
Space
Children’s Library
1 0 0 S T N W
2.0
New circulation at the southeast corner creates a connection to judy
padua and expands the bounds of the plaza
Architectural
+ Site Design
Bench
The children’s play area and the daycare play space above the
ramp maintains security and allows for interaction with the plaza
PAVILION A
Cafe Spill Out
Gathering Mound
Large
Activity
Space
Canopy
Structure
A variety of types and scales of gathering space are carved out
within the plaza to create a multifunctional public realm
Public Art
Location
Reading
Area
Children’s Play
Space
PAVILION B
9 9 S T N W
CITADEL THEATRE
Access Ramp
RAMP B
Daycare Play Space
(Above Ramp)
J U D Y P A D U A W A Y
Post Office
Clock Tower
the marc boutin architectural collaborative inc. | PFS Studio 44
Pavilion West Pavilion A
Gathering
Mound Mound
Pavilion East Pavilion B
Children’s
Play Area
Elevator
Lobby
Access
Stair
Storage
Space
Access
Stair
45
Image Above: Layering of the site ; Site plan for the plaza ; Site section
Centennial Plaza Rehabilitation Design Development Report | Architectural + Site Design
33

PORTFOLIO KARAN SHARMA
THREE BEACHES HOUSE
LOCATION: WHITESTONE, ONTARIO
AREA: 350 sqm
PHASE: SD
The Three beaches house is a second home to family of 4. Through
schematic design collaboration, the clients gravitated towards a concept
that would pull apart the volumes they required – the main bedroom,
living room, and guest suite – into three distinct pavilions.
A floating roof extends over this pavilion, strengthening its vertical presence,
and allowing for the inclusion of clerestory windows below. The
autonomous pavilions are linked together by corridors, creating a juxtaposition
of vacant and occupied space – the void versus the filled. Beyond
functional corridors, the transitional spaces between the pavilions
are also visual corridors, offering clear sight lines through the home.
The remaining interior spaces are kept quiet, cozy, and modest. Minimizing
clutter and thinking critically about daily routines, smart organizational
solutions are incorporated to simplify the couple’s lives and
encourage mental clarity
Image Above: Situating the house on the rocky terrain
34

3 BEACHES SELECTED WORKS
Image Above: Visualization of the 3 Beaches House
35

PORTFOLIO KARAN SHARMA
Image Above: Conceptual Section of the House
36

3 BEACHES SELECTED WORKS
Image Above: Visualization of the Guest bedroom
37

PORTFOLIO KARAN SHARMA
ework
design work for this project
established during the
ptual framework is defined
n conserving and celebrating
and providing the infrastructure
iving cultural hub. The
iding principles that inform all
n:
ROSSDALE POWER PLANT
constraints in the larger context
ultimately come to bear on the
e of the Power Plant (access,
LOCATION: EDMONTON, ALBERTA
AREA: 20,000 sqm
PHASE: SD
t honours its heritage and
od and interpreted within the
site planning and design
re success of the conservation
at the site development aligns
the Power Plant buildings by
Prominently situated on the banks of the North Saskatchewan
River below the downtown core, the Rossdale Power Plant was
designated as a Provincial Historic Resource in 2001 after an application
for partial demolition by then owner EPCOR Utilities Inc.
The power plant consists of three separate but interrelated structures:
the Low Pressure Plant, including the Turbine House and
Boiler House, the Administration Building, and Pumphouse No.1
patible in scale and hierarchy
ments the logic and order
rimary components (the LPP,
buildings and spaces in a
prets their historic role as
, translating them into spaces for
The reanimation and reoccupation of the Rossdale Power
Plant is anticipated to take several years and consist of multiple
capital improvement projects. The conceptual framework is
defined fundamentally by a balance between conserving and
celebratingthe Plant’s unique spatial essence and providing the
infrastructure xnecessary for it to function as a thriving cultural
hub.
erventions that address urgent
ct building code deficiencies,
use of the site for cultural events
upport, and help to inform
scenarios. Develop longer term
e site for adaptive reuse.
neutrality’ in the engagement
his ethos is founded on a ‘light
ack to the city in a way that
spirit and character of the Plant’s
ial culture.
Image Above: Rossdale Power Plant
38

ROSSDALE SELECTED WORKS
Halls Architectural/Heritage Design
ll is one of the Plant’s
ontrast to the Turbine
d by a greater intensity
le the boilers have been
ming that supported them,
the multi-storey boilers
ation mezzanine and
ain as strong markers of
ons.
Character Defi ning Element 01
Character Defi ning Element 02
Character Defining Element 15
Character Defi ning Element 14
Character Defi ning Element 13
Character Defi ning Element 12
ments
, including its relationship with the
ral riveted steel framing, non
e banding containing the dates
, pediments, capitals and other
tails such as pilasters, rectangular
oiler Hall capitals;
Character Defi ning Element 03
Character Defi ning Element 11
ht rolled steel windows and
ial components;
e scale of the industrial processes
modate equipment and
such as boiler supports;
t, such as pipes, breakers,
mes, ash-car rails in basement,
Character Defi ning Element 04
ipe rails, concrete and steel stairs;
doors, and metal clad safety /
elow;
nd industrial paint schemes used
olour of doors over time that are
lours used by Edmonton Power;
Character Defi ning Element 05
Character Defi ning Element 06
Character Defi ning Element 07
Character Defi ning Element 08
Character Defi ning Element 09
Character Defi ning Element 10
23
Image Above: Heritage Features of the project
39

PORTFOLIO KARAN SHARMA
Images Above: Rehabitating and Reanimation of various spaces of the plant for a cultural hub
40

ROSSDALE SELECTED WORKS
Festivals
Art Gallery
RPP AAPR
SD Report
Turbine & Boiler Halls Architectural/Heritage
Market
Design
Food Produce
Legend
Outside of Phase 01 Scope
Open to Below
Character defining guards to remain
Character defining guards to be removed
Decommissioning-era guards to be removed
Low Pressure Plant - Main Level NTS
Low Pressure Plant - Main Level Guards Historic Images
Image Above: Different Plan scenarios of the plant; Low Pressure Plant Axo and historic images
27
41

PORTFOLIO KARAN SHARMA
WILLIAM HAWRELAK PARK
LOCATION: EDMONTON, ALBERTA
AREA: 68 ha
PHASE: SD, DD , CD
William Hawrelak Park is a 68-hectare park with a 5-hectare lake,
agenerous expanse of irrigated turf, and a surrounding ring road
thatconnects to a single main point of entry accessible via Groat
Rd
Various facilities on site include the main pavilion, washroom
shelters,and boat pavilion - architectural relatives of each other.
As mentioned above, the park is also home to the Heritage
Amphitheatre, the Community League Plaza and the City Parks
Service Yard thatincludes a main service building, two storage
garages, an aggregate shed, and a quonset hut.
Shelter 1
Main Pavilion
Boat Pavilion
Heritage Amphitheatre
Shelter 3
WIL 110
Main Entry
WIL 109
Quonset Hut
WIL 111
Now over 50 years old, Hawrelak Park is in need of a series oflife-cycle
replacements to support its facilities, open spaces, and
infrastructure. This project serves as an opportunity to frame a
future
Community League Plaza
Shelter 2
Pedestrian Stair
Existing Site Plan, William Hawrelak Park
William Hawrelak Park Rehabilitation: Design Development Report | 1.0 Project and Site Information MBAC | PFS Studio 14
Image Above: William Hawrelak Park
42

HAWRELAK PARK SELECTED WORKS
llowing 4
Conceptual Lenses
pecies of
ad out over
iver, Hawrelak
quatic
ntonians, the
ecological
also fostering
.
of cultural
val; the Edmonton
ck
ony Under
ame a few).
ore
portant festival
ommunity
n ought to serve
eir programmatic
ral programming
Hawrelak
the ITU World
walking, ice
ing on the
f rehabilitation
improved ease
erse range of
design aspirations
Honouring Heritage
design aspirations
World-Class Recreation
design aspirations
scopes of work
design aspirations
design aspirations
scopes of work
scopes of work
scopes of work
design aspirations
design aspirations
scopes of work
Renewed Infrastructure
WHPR
Improved Open Space
scopes of work
scopes of work
Cultural Celebration
design aspirations
Renewed Facilities
scopes of work
scopes of work
scopes of work
Ecological Enrichment
design aspirations
design aspirations
design aspirations
reflects upon
rk was built,
own back in
k Park as it is
pal landscape
an-made
w more than
ecological,
wal is an
past, while
Image Above: Conceptual lenses used for the project
opment Report | 1.0 Project and Site Information
43

PORTFOLIO KARAN SHARMA
William Hawrelak Park Rehabilitation: Design Development Report | 2.0 Site Design
ark Rehabilitation: Design Development Report | 4.0 Architectural Design MBAC | PFS Studio 157
MBAC | PFS Studio
ark Rehabilitation: Design Development Report | 4.0 Architectural Design
William Hawrelak Park Rehabilitation: Design Development Report | 2.0 Site Design
MBAC | PFS Studio 196
MBAC | PFS Studio 94
Images Above: Main Pavilion snow visualization; Proposed Boardwalk along the lake; Redesign of shelters into Gender Neutral; New Playground
44

HAWRELAK PARK SELECTED WORKS
001 CAST IN PLACE CONCRETE
013 250mmØCONC. PILE, REFER TO STRUCTURAL 024 STANDING SEAM, COLOUR; MEDIUM BROWN 035 SS COUNTER
002 H.S.S WELDED PLYWD SHEATHING AND T&G DWGS
025 CORRUGATED METAL CLADDING, COLOUR; 036 STEEL ROLL-UP COUNTER DOOR C/W
CEDAR CLADDNG DR
014 HDG STEEL POST SADDLE EMBEDDED IN
LIGHT BROWN
INTERIOR SLIDE BOLT
003 38x89mm WOOD CLADDING FASTENED TO
CONC. PILE
026 CEDAR SHAKE; CLEAR
037 EXISTING MECH. GRILLE
6mm KNIFE PLATES, EXTENDED PAST
015 (2) STEEL TABS WELDED TO FACE OF STEEL 027 BOARD AND BATTEN CLADDING, COLOUR; SEMI 038 MODULAR 19mm BALTIC BIRCH SCREEN
PARAPET 1070mm TO FORM GUARD RAIL
BAR GRATING FOR REMOVABLE BOLTED
TRANSPARENT STAIN, DARK BROWN
(CNC'D)
004 GABION BASKET RETAINING WALL
CONNECTION
028 ALUMINUM FRAME GLASS DOOR
039 12.7mm BALTIC BIRCH PLYWOOD
005 38x89mm WOOD TOP RAIL FASTENED TO 016 REMOVABLE RUBBER TILE MATS ON
029 OVERHEAD INSULATED STEEL DOOR, FINISH 040 19x38mm WOOD BLOCKING
BACK OF CLADDING MEMBERS
MODULAR STEEL BAR GRATING
TO MATCH ADJACENT CLADDING
041 19mm AIR SPACE FOR LED LIGHTING
006 6mm STEEL PLATE SUPPORTING KNIFE 017 38x89mm WOOD MEMBER FORMING FEATURE 030 610x610mm LOUVRE, COLOUR TO MATCH
INSTALLATION; REFER TO ELEC. DRAWINGS
PLATES, ANCHORED TO WALL W/ 12.7mm
WALL, SEE FEATURE WALL MEMBER CHARTS
ADJACENT CLADDING
ANCHORS, MIN. 100mm EMBEDMENT
018 38x89mm WOOD BENCH MEMBERS FASTENED 031 INSULATED HOLLOW METAL DOOR, COLOUR;
007 190mm CONC. BLOCK
@ U/S TO CONT. STEEL PLATE
CHARCOAL GREY
008 TRANSPARENT GLAZING WINDOW
019 CONT. STEEL PLATE C/W TABS FOR CONNECTION 032 INSULATED HOLLOW METAL DOOR, COLOUR
009 WOODEN FENCE
TO CONC. BASE
TO MATCH ADJACENT CLADDING
010 TRANSPARENT STEEL FRAME DOUBLE DOOR 020 STEEL PLATE TABS EMBEDDED IN CONC.
033 1x3 CEDAR TRIMBOARD @ UNDERSIDE OF
011 MODULAR STEEL BAR GRATING BOLT
021 C.I.P. CONC. BENCH, SEE STRUCTURAL DWGS
EXISTING WOOD BMS & AROUND PROPOSED
FASTENED TO BE DEMOUNTABLE, REFER TO FOR FOUNDATION CONDITION
SERVICE WINDOW & KITCHEN DOOR
PLAN FOR SIZE
022 BOLTED CONNECTION
034 CONT. BASE; REFER TO ROOM FINISH
012 PT 240x240mm BEAM, 2400mm LG.
023 STANDING SEAM, COLOUR; CHARCOAL GREY
SCHEDULE
er/Freezer
Shelf
er
y Case
andwich Table
Station
Ledge
Base
it
r Refrigerator
penser
te Bin
asher
cet
lf
e Shelf
e Cooler
e Freezer
• The separation of distinct zones: (a) Cool zone; (b) Pantry
/ Dry Storage; (c) Hot zone; (d) Wash Zone; (e) Beverage /
Above
Point of Sale / Front-of-house zone.
Proposed Locker and Seating
• A range of cool appliances including an ice machine, upright
William Hawrelak Park Rehabilitation:
coolers, upright
Design
freezer
Development
(or walk-in
Report
freezer
| 4.0
as
Architectural
presented in
Design
option 2)
20
20
20
19
Our proposal for a reconfiguration of the commercial kitchen space
includes the following:
• A range of hot appliances including a deep fryer, flat top,
upright oven, gas range with oven
• Infrastructure to support a wide range of beverages including
an espresso / coffee area and an undercounter cooler / keg
storage area.
• A dedicated corner-mounted dish pit.
• Dish, glass, and plate storage.
• Front-of-house menu boards
• Expanded double door public access along the west glazing of
the facility.
• Jemi-clad wall finishes.
20
20
21
21
21
22
21 21
Legends
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
Reach in Cooler/Freezer
China Storage Shelf
Service Counter
Product Display Case
Refrigerated Sandwich Table
Warm/Holding Station
Pass Through Ledge
Combi Oven
Range w/Oven Base
Deep Fryer Unit
Coffee Brewer
Under Counter Refrigerator
Hot Water Dispenser
Fill Faucet
Compost Waste Bin
Upright Dishwasher
Pre-Rinse Faucet
Dish Rack Shelf
Hand Sink
Storage Shelf
Walk-In Storage Shelf
Walk-In Storage Cooler
Walk-In Storage Freezer
LINE DENOTES EXTENT OF
PROPOSED MENU BOARD C/W
1x3" CEDAR TRIMBOARD
LINE DENOTES EXTENT OF
GYPSUM CEILING BEYOND
DENOTES EXTENT OF 5-40" TV
SCREENS IN LIEU OF MENU
BOARD
BULKHEAD 20 FOR ROLL-UP
COUNTER DOOR @ INTERIOR OF
20
KITCHEN
21
23
23
20
20
Above
21
Main Pavilion, Cafe, Front-Of-House 20 Elevation, Option 2 - Board and Batten
1 KITCHEN ELEVATION - OPTION 1 22
SCALE: 1:20
A600 19
William Hawrelak Park Rehabilitation: Design Development Report | 4.0 Architectural Design
14 15
14 15
21
21
21 21
476
21
800
865 1343
2032
[6'-8"]
D##
T.O. W
MBAC | PFS Studio
13
11
12
16
17
18
EXTENT OF WALL,
REFER TO PLANS
13
11
12
16
17
18
7
15
8 9
10
5
4 6
1
2
7
15
8 9
10
5
4 6
1
2
3
A
A600
BOARD & BATTEN DETAIL - OPTION 1
SCALE: 1:10
3
Above
Main Pavilion Proposed Kitchen Plan
Above
Above
Main Pavilion Proposed Kitchen Plan
Main Pavilion Kitchen Plan Axonometrics
Above
MBAC | PFS Studio
Main Pavilion Kitchen Plan Axonometrics
William Hawrelak Park Rehabilitation: Design Development Report | 4.0 Architectural Design 152
Image Above: Axonometric and detail drawings developed for Main Pavilion Kitchen; Main Pavilion cafeteria visualization
William Hawrelak Park Rehabilitation: Design Development Report | 4.0 Architectural Design
MBAC | PFS Studio
149
45

PORTFOLIO KARAN SHARMA
Images Above: Physical mock up of the feature wall developed hands on ; Translating lessons learnt into Construction drawings set
46

HAWRELAK PARK SELECTED WORKS
XONOMETRIC OF FEATURE WALL AND NEW IRRIGATION PUMPHOUSE
OLD LOCATION
OF PUMPHOUSE
Image Above: Visualizations of the feature wall camouflaging the pumphouse
47

PORTFOLIO KARAN SHARMA
VENICE BIENNALE 2023
LOCATION: INVERMERE, BRITISH COLUMBIA
AREA:NA
PHASE: STAGE 2 FINALIST
Venice Biennalle 2023 proposal engages with Canada’s 400+
(and counting) year history of resource exploitation and that history’s
effects on community development with the aim of developing
an alternative path forward.
This project is a response to the context in which we find ourselves,
borne of a belief in the power of design to reshape the
way we live. The project team is a reflection of the breadth of this
ambition and an acknowledgment of the interconnectedness of
systems and structures that define our contemporary world.
The overarching aim, then, is to develop an exhibition that connects
people and creates a space for conversation about more
just, more resilient, and more viable community building practices.
48
Single Resource
Exploitation
Communities
Historical Context
Beginning with the earliest European settlers,
the history of community development in Canada
is inextricably linked with the history of single
resource exploitation economies.
While the character of these resource-based
economies varies considerably, there are
fundamental consistencies in their effect on
communities, Indigenous Peoples and non-
Indigenous groups, the Land, and the capacity of
the Land to support life of all kinds.
From an ecological perspective, these single
resource exploitation communities often suffer
from degradation or collapse of local ecosystems,
including poisoning of the Land, depletion of the
productive capacity of one or more resources, and
the creation of signifi cant amounts of waste that
threatens the long term health of many forms of
life.
From a cultural perspective, this model of
Image Above: Resource extraction around the borders of Canada
erasure, and forced relocation of Indigenous
Peoples, while simultaneously obliterating
traditional knowledges and ways of working
with (rather than against) the Land. It is also
characterized by investment in infrastructure
that is based on economic expedience and not
long term planning, often sacrifi cing intensive
operational and embodied energy costs for the
sake of minimizing capital investment.
Instead of encouraging and allowing for
generational roots to be established, these
communities are often built around a culture of
transience. Housing stock lacks a connection to
the material culture of the place it is built, and is
usually temporary in nature.
From an economic perspective, single resource
exploitation communities do not retain the value of
the resources they produce, surviving instead on
the residual (and usually minimal) re-investment
of extracted value back into the community. This
arrangement creates total economic instability;
communities are only viable as long as the
Our landscapes are littered with the consequence
of this model: ecosystems collapsed by overfi
shing or strip mining; cultures obliterated by the
insidious genocidal forces of settler-colonialism;
communities and infrastructures abandoned
once their productivity is exhausted; and workers
uprooted from their homes and forced to search
farther and farther afi eld for economic opportunity
The effects of this untenable economic model are
now being felt in all dimensions of our daily lives;
with the frailty of global supply chains and impacts
of climate change posing an undeniable threat
to global sustainability. Particularly, the ongoing
removal and displacement of Indigenous Peoples
as stewards of the land creates a critical cause fo
concern, appreciating their connection to the land
and water.

VENICE SELECTED WORKS
Venice Biennale of Architecture Proposal Submission
Towards a Vernacular
of Resilience
the marc boutin architectural collaborative inc.
03.21.2022
Image Above: Heritage Features of the project
49

PORTFOLIO KARAN SHARMA
6.0
Totemic Totemic ‘Animal
Totemic ‘Animal Ambassadors’
‘Animal Ambassadors’ from
Ambassadors’ from each
from each
community each
community greet
community greet visitors
greet visitors to
visitors to to the
to the pavilion.
the pavilion.
pavilion.
In
In In the
In the exhibit’s
the exhibit’s arrival
exhibit’s arrival zone,
arrival zone, maps,
zone, maps,
diagrams, maps,
diagrams, and
diagrams, and narrative
and narrative descriptions
narrative descriptions
illustrating descriptions
illustrating Canada’s
illustrating Canada’s historic
Canada’s historic depiction
historic depiction as
depiction as
a as
source
a source of
source of of resource
of resource exploitation
resource exploitation introduce
exploitation introduce
visitors introduce
visitors to
visitors to to the
to the conceptual
the conceptual context
conceptual context for
context for the
for the
exhibit.
the
exhibit.
exhibit.
50
Building a
Vernacular
of Resilience
Observe, Listen, and Collaborate towards
Creating a Visceral Context for Intervention
To generate a body of knowledges for each
community and their contexts, we will conduct
a series of collaborative investigations. We will
leverage resources created through and from
Indigenous Research Methodologies, First Nations
Principles of OCAP, and thought leaders in
collaborating with Indigenous Peoples:
• Photograph and Video Document the People
and the Place. Working closely with our
videographer, we will create a multi-media
of the people and the land as a point of
departure to understand the social, cultural,
58
natural, and constructed landscapes.
• Record the Stories of the Place. Collaborating
with local thought leaders, community
leaders, Elders, and story tellers, we will
create a repository of the stories that bridge
past, present, and future, and offers a path
forward for design thinking. MBAC will
ensure the necessary protocol is represented
52
and understood while collaborating with
Indigenous Peoples.
• Map to Reveal Essences and Patterns.
Building on the image-based surveys and
collected stories, we will create maps and
diagrams that reveal opportunities for new
spatial synergies, as well as integrated
energy solutions through the contribution of
our Sustainability Advisor.
VOICES
In
In In the
In the community
the community connection connection area,
connection area, visitors
area, visitors
and visitors
and community
and community members
community members engage
members engage in
engage in in live,
in live,
real live,
real time
real time dialogue
time dialogue as
dialogue as part
as part of
part of of the
of the exhibit’s
the exhibit’s
programming. exhibit’s
programming. Seating
programming. Seating commissioned
Seating commissioned and
commissioned and
created and
created by
created by members
by members of
members of of each
of each community
each community
forges community
forges a
forges material
a material cultural
material cultural connection
cultural connection
between connection
between Kangiqsualujjuaq,
between Kangiqsualujjuaq, the
Kangiqsualujjuaq, the Nuxalk
the Nuxalk
Nation, Nuxalk
Nation, Foremost,
Nation, Foremost, and
Foremost, and Venice.
and Venice.
Venice.
Moving Moving deeper
Moving deeper into
deeper into the
into the exhibit,
the exhibit, three
exhibit, three
‘Experiential three
‘Experiential Machines’
‘Experiential Machines’ communicate
Machines’ communicate
the communicate
the process
the process and
process and results
and results of
results of of the
of the co-design
the co-design
process, co-design
process, which
process, which each
which each machine
each machine focused
machine focused on
focused on
one on
one of
one of of the
of the three
the three communities.
three communities. The
communities. The machines
The machines
function machines
function simultaneously
function simultaneously as
simultaneously as framing
as framing devices
framing devices
for devices
for information
for information projected
information projected from
projected from within
from within the
within the
architecture the
architecture of
architecture of of the
of the machine
the machine itself
machine itself to
itself to to the
to the basrelief
basrelief
community
the basrelief
community map
community map on
map on the
on the wall
the wall opposite;
wall opposite;
as opposite;
as an
as an armature
an armature that
armature that displays
that displays models
displays models and
models and
drawings and
drawings of
drawings of of the
of the speculative
the speculative community
speculative community
design community
design work;
design work; as
work; as well
as well as
well as shelters
as shelters evocative
shelters evocative
of evocative
of of the
of the material
the material and
material and tectonic
and tectonic cultures
tectonic cultures of
cultures of of each
of each
community. each
community. They
community. They are
They are both
are both artefacts
both artefacts and
artefacts and
frames and
frames that
frames that help
that help to
help to to transport
to transport visitors
transport visitors from
visitors from
the from
the pavilion
the pavilion to
pavilion to to each
to each community
each community and
community and back
and back
again.
back
again.
again.
Intervene through Co-Design with the Purpose
of Developing a Resilient Vernacular
Working with community members, we will codevelop
speculative multi-scalar interventions
through collaboration that are based on the
previous explorations and the related deep
understanding of local climate, material cultures,
and craft conditions; recalibrate existing
infrastructure(s); and support the development of
diverse and self-suffi cient economic activities that
Develop Image a Above: Functional Methodology Program for Social, building a Vernacular help promote Resilience; social Exhibition and cultural Plan equity. for the Canada pavilion
Cultural and Ecological Resilience
Engage and Disseminate
Based on the collected stories that point to social
and cultural relations, and the maps and diagrams The speculative design work will be presented
59 59
59
59
59
that point to spatial relations, we will further
to the visitor as three related realms that build
collaborate with the community stakeholders to optimism around the agency of design. The first
generate programming that anticipates new, locally is an immersive experiential realm defi ned by the
grounded paradigms that frame the community’s interface of images, videos, and stories of the
future autonomy and in Indigenous communities, people and places endangered by our resource
legal right to self-determination.
exploitation economy. The second realm of
mapping and diagramming will offer connections,
realizations, and opportunities. Finally, the third
realm will once again immerse the visitor in

5.0
VENICE SELECTED WORKS
EXPERIENTIAL
MACHINES
NESTED MODELS +
LOCAL ARTIFACTS
6.0
6.0
60
Each of the experiential machines will function as an armature for the display
of models, drawings, and other artifacts of the co-design process with the
communities. Rather than serving as a neutral plinth for the presentation of
these design objects, the experiential machines will reinforce the tectonic and
particular places and stories, material cultural dimensions but of piece in of this design representation. case, the
stories will speak of an imagined (and possible)
future.
Engaging Indigenous Knowledges
6.0
Our proposal aspires to the creation of an
alternative model of economic and community
development to the one that has shaped our
settlements for centuries. This ambition will
necessarily be informed by a wide variety of
voices, including, critically, those of Indigenous
community FRAMING DEVICE members.
FOR
INHABITED TECTONIC +
MULTIMEDIA PROJECTION
MATERIAL CULTURE
Informing and underpinning all aspects of our work
is that we, as a team composed of both non-
Indigenous and Indigenous Peoples, do not have a
priori rights to Indigenous knowledges nor ways of
knowing. Moreover, we explicitly understand these
things NOT as resources to be appropriated and
exploited, but rather as unique cultural attributes
that must be respected and celebrated. If, and
Balancing the pavilion’s spatial constraints with the project’s aspirations to
create an immersive visitor experience that connects Venice with our three
only if, community members
partner communities,
choose
each experiential machine
to
is scaled
share
to allow both
occupation by two to three people while also allowing space to circulate
around and perceive the material and tectonic qualities of each machine.
knowledges and ways of knowing, will they be
folded into the process and product of the project.
The geometry of the experiential machines will be tuned to allow them to both
output and receive projected information. The machines’ surfaces and volumes
will also be modulated to frame views in, out, and through, enabling visitors to
experience the exhibition differently outside, inside, and looking through each
machine.
61
In order to facilitate a process that is open,
authentic, and one in which the decisions about
what is and is not shared are made by the
community, the team members responsible for
managing protocols around engagement with
Indigenous ways of knowing will be members of
the communities themselves. Each community
will be compensated appropriately for its time and
effort in this endeavour, and the community will
retain full autonomy as to how Indigenous ways
of knowing and being are incorporated into any
design work.
63
Image Above: Use of Experiential machines in the pavilions for creating space for gathering
71
VISIT
AMBASSADOR
COLLECT A PASSPORT
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SELECTED WORKS
THANK YOU
KARAN SHARMA
The above art made using generative procedural processes was inspired by Hartmut Böhm, who is a German artist whose work
on systematic mathematical and geometric principles, achieving in his works a dynamism and cinematic effects that often
times stand in contrast with the clarity of the original structures.
For more projects:
SHAPE GRAMMARS 3.0: https://www.yumpu.com/en/document/view/67989354/portfolio-sharma-karan
SHAPE GRAMMAR 2.0: https://www.yumpu.com/en/document/view/67989399/karan-sharma-pages
SHAPE GRAMMAR: https://www.yumpu.com/en/document/view/67989414/karan-sharma-cv-and-portfolio