— f s o a r k

Interior Design




An asymmetric caesura opens toward a moment of stillness. The amber glow from the hearth warms up the granite pavers, which define the boundary of a semi-enclosed pavilion. Nested in a sports arena, the pavilion opens onto the fabric sky through a sliver along the central axis. It is a space surrendered to light: when the day is spent, the amber ascends, and darkness fades into the deep. The tea master and the guests sit cross-legged in the continuity of this deep horizon, searching for the moment between solemn ritual and sensuous discovery.

A-M-B-E-R is a tea pavilion designed exclusively for the ceremony conducted by tea master David Tsay, and doubles as a tea ware exhibit space for wood-fired pottery master Chengtai Tian, both are well-known artisans in Taiwan and China. The exaltation of the tea pottery is a manifestation of the wood fire kiln technique, an ancient method that demands direct, physical engagement with the intensity of fire. Subject to repeated scorching, and the consummation with wood ash deposit, the clay develops a unique sheen unmatched by artificial glazing, all the more enriched by the amber warmness suspended from within.



Commissioned by: LHDS 2018
Tea Ceremony by: Master David Tsay
Pottery by: Master Chengtai Tian
Constructed by: Prado Construction Group
Sponsored by: Dexter Natural Stone, Canex Building Supplies





















Entitled “X”, the Tokyo Exchange feature designed for the Interior Design Show (IDS) Vancouver 2017 is shaped in its namesake. Landmarking the entrance of the convention hall, the design is conceived as two linear elements arching diagonally above the exhibit space, touching ground only at their terminal ends. The lower bar is characterized as a bridge, the upper bar as a pier: by means of these infrastructures we metaphorically connect East and West. Products from Japanese designers We+ and Design For Industry are showcased.

Trade show booths often rely on perimeter enclosure to maximize exposure. X turns completely outside in instead, creating four wedge-shaped approaches that visitors engage and interact all around. The horizontal planes generate a vast emptiness surrounding the products, giving each piece the space it needs to tell its story.



Commissioned by: IDS Vancouver
Curated by: Design Milk
Product Designers: We+ | Design For Industry
Constructed by: Great Northern Way Scene Shop
Material Sponsor: InterWorld Development
Graphics Sponsor: East Van Vinyl
Flooring Sponsor: Sojitz


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TokyoX Model 900x900

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In an Nōgaku 能楽 theatre, the stage is constructed as an independent roofed structure within a generic performance space, not dissimilar to how a wooden altar is enshrined within the temple. With no proscenium and curtain, the stage and the upstage bridge are completely open to view, blurring the line between inside and outside, the spectators and the spectated. The sense of “oneness” unique to this classical Japanese dance-based drama is further reinforced by the fact that the actors share the stage with the musicians, the chorus and the stagehands throughout the performance. By means of positioning, lighting and colours, a subtle hierarchy of the roles of various performers is established.

We apply the principles of the Nōgaku theatre to the design of a 130-seat cafeteria, asking ourselves the possibility of instilling an overarching ambience that brings together all occupants – including the customers and three different food vendors – to share a unified spatial-gastronomic experience. To that end, we propose an open kitchen presented as a horizontal scroll along the entire length of the cafeteria.  This “stage” is framed by the wood slat ceiling above, and dark granite floor below.  A line of illumination hovering above the serving counter highlights the shared moment when the chefs and the customers are brought simultaneously into the play.


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It would seem an unorthodox pairing for a donut café, where hues associated with fried dough and sugar glazing naturally come to mind. But for the new Cartems Donuterie at Kitsilano – a beachside neighbourhood sprawling with small retail, multicultural eateries and organic food markets, we digress from the typical gourmet or nostalgic aesthetics of similar establishments, and instead juxtapose the warm, colourful confection with a pared-down interior, restricting the palette to a few shades of gray. Besides the hanging plants, the only colours that stand apart are from Cartems’ conspicuous red paper boxes, and more importantly, the richly crafted pastry.

The study of synaesthesia - a neurological phenomenon in which stimulation of one sensory or cognitive pathway leads to automatic, involuntary experiences in a second sensory or cognitive pathway (wikipedia) – may shed some light into this unconventional approach. In the architect’s mind, the muted palette does not serve to dilute, but rather to heighten our gustatory perception, by visually underlining the warmth and sweetness of donuts with a hint of cool, almost tannic aftertaste. To that end, gray - a colour that is often considered achromatic or “without colour” – is preferred because of its tendency to recede and withdraw, building a deeper and more complex dimension when it is sensuously associated with tasting.

Raw, unfinished and everyday materials are used to compose our palette, adding tangible textures to the colour as well as drawing reference to how donuts, an understated snacks for commoners, have become a staple of vernacular food in North America since the First World War, when homesick soldiers were served donuts to lift their morale. Exposed concrete, unglazed shower tiles, rough bricks, unstained plywood, galvanized and stainless steel have found their way into our project, giving the space a utilitarian, almost factory appearance.

In A Wild Sheep Chase (羊をめぐる冒険 Hitsuji o meguru bouken, 1st published 1982), Haruki Murakami says “whether you take the doughnut hole as a blank space or as an entity unto itself is a purely metaphysical question and does not affect the taste of the doughnut.” On the subject of interior design, it may seem the contrary is also true: sometimes food tastes better when you strip away the surrounding inessentials and redundancies, so that one’s mind can be still and focus on the eating. The new Cartems Donuterie signifies the continuing commitment of FSOARK to search for the kind of essentialism in design that, by way of distillation and purification, one finds deeper meanings in the mundane and the ordinary.


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