A Slade Portfolio 2015 by Andrew Slade

SELECTED WORKS

ANDREW SLADE

ARCHITECTURAL DESIGN B.Arch.S, M.Arch, MRAIC

SELECTED WORKS

ANDREW SLADE

ARCHITECTURAL DESIGN B.Arch.S, M.Arch, MRAIC

CURRICULUM VITAE WORK EXPERIENCE

SON ASSOCIATES | ARCHITECTS • 28. PdK ARCHITECTURE

2005.2012

• 24. ADAM

02. BSN ARCHITECTS • 20. TED HANDY & ASSOCIATES

02 – 32 II.

2010.2013

33 – 62 CARLETON UNIVERSITY

64 .

86. U RB

UNDERGRADUATE MATERIAL 2005.2009 (B.A.S)

] [!?

. UNSPA • 78 CE

PAKSAB

•

AN NT 8. • 9

MESA • 102.ALTEROT OPIA

93 – 103

•

2009.2012

PO .S

COMPETITIONS

. DS

OFFERINGS AN

85 – 92

• 72. PLA GI AT

63 – 84 IV.

SIS HE

AZRIELI SCHOOL OF ARCHITECTURE AND URBANISM  2010.2012 (M.ARCH)

NETT • 54. SPACELAPSE

III.

• 46. MARTIN • 52. BEN

34. HARRINGTON

RESIDENTIAL

ANDREW SLADE • SELECTED WORKS

Andrew Slade CURRICULUM VITAE

+ 1 (416) 300-7473 acbslade@gmail.com http://ca.linkedin.com/in/acbslade 18 West Street, Collingwood,ON L9Y 3T9

Profile Objective Summary + Skills

Programs

Currently working at Ted Handy and Associate Inc., Architect in Barrie, Ontario. 5 years of diverse work experience. Dedicated, hardworking, and organized with strong leadership and teamwork skills. Proficient with both graphic and design abilities yet resourceful and efficient with time. Fluent with many computer programs with a substantial background in construction documents, processes, and building sciences. Revit 2016 (360 Cloud), AutoCAD 2016, Cinema 4D R11.5, Rhino 4.0, Dynamo, SketchUp Pro, 3D Studio Max, CS5 Adobe Photoshop / Premiere / Illustrator / InDesign, Prezi: Presentation Editor, Microsoft Office Suite.

Experience Baird Sampson Neuert Architects Toronto, ON (7.2012 - 4.2015) http://www.bsnarchitects.com

Ted Handy and Associates Inc., Arch. Barrie, ON (5.2009 - 8.2011) *did not work while attending Master’s Program: 9.2010 – 4.2011 http://www.thandyarchitect.on.ca/portfolio_school-georgianhealthwellness.html http://www.thandyarchitect.on.ca/portfolio_work-simcoecountyadmin.html

Adamson Associates | Architects Toronto, ON (5.2008 - 8.2008) http://www.adamson-associates.com/projects/riverside-south-development-l-canary-wharf

PdK: Kariouk Associates Ottawa, ON (8.2007 - 1.2008) http://www.kariouk.com/projects/1/hurteau-miller-residence

Absolute Craftsmen Collingwood, ON (5.2007 - 8.2007) http://absolutecraftsmen.ca/index.html

education Carleton University: Azrieli School of Architecture and Urbanism Ottawa, ON (9.2005 - 5.2012) Awards:

Awards:

+ more

Memberships Sports + Activities Hobbies

Intern Architect Extensive experience gained in the departments of: design and detailing excellence, building envelope and environmental analysis and expertise (i.e. thermal separations and thermal mass simulations, solar modelling, wind rose analysis, rain water collection & cistern design, green roof detailing), material research & specification, code research, cost comparisons, complex 3D modelling, and high-quality visualizations. • Independent management, coordination, production of entire construction documents, administration and field review for multiple projects at a time while maintaining a strong collaborative role in the design with Partner-in-Charge. Architectural Designer Quick and eager to work independently on multiple different-sized residential, institutional and assembly type projects. • Productively designed and managed many projects through their entire process; from brief to deficiencies. • Successfully carried out key role in coordinating consultants working on site plan for a Healthcare Teaching Facility at Georgian College: This included two other architecture firms (Teeple & aTRM), Civil / Structural / Mechanical / Electrical Engineers, Landscape Architects, and City Planners (for Site Plan approval). Student Designer Assembled construction drawings for tower complexes in Canary Wharf, UK by RSH + Partners. • Teamwork and multitasking skills were immediately and strongly developed to cope with fast-pace projects. • Gained valuable schematic expertise through assistance in preparation of circulation, massing, structure, and work-space layout studies for a nine-storey office in Bangalore, India. Student Designer (Part-time) Fabricated 1:1 mock-ups for experimental building details (i.e. cladding system, light fixture). • Proficient with preparation of physical models for residential homes and cottages. Residential Construction Labourer Worked on primarily three custom homes ranging in cost from $1.2 - $3 million (3800-6800sq.ft). • Gained incomparable firsthand knowledge of various residential construction techniques and detailing. • Learned from framers, concrete workers, stone masons, electricians, plumbers, tilers, in-floor heating, etc. M.Arch. 1 of 9 graduate students in 2012 to be awarded with the Senate Medal for Outstanding Academic Achievement at Master’s Level. • Completed thesis, Reassessing Agency: Architecture and Public-Participation with Distinction in 2012. • Full-time Teaching Assistantship position; Scholarship Funding from 2010 - 2012. • Graduate Scholarship & Dean of Graduate Studies Entrance Scholarship for Domestic Students in 2010. B.Arch.Studies Attained Dean’s List academic standing while enrolled. Graduated with Distinction in 2009. • Stantec Architecture Prize for Excellence in the Comprehensive Studio Project, 2009. • Architecture ‘86 Scholarship for participation in Directed Studies Abroad program, 2008. Royal Architecture Institute of Canada (RAIC): 1 of 4 to receive RAIC Honour Roll Certificate in 2012. Ontario Association of Architects (OAA): All hours and exams complete. Licence to be processed in July. Kiteboarding, snowboarding, hockey, squash, tennis, rock-climbing, basketball, golf. Photography, video filming & editing, music production, 3D animation, hiking, traveling.

BACKGROUND My work experience begins . . . as a Technician at an Urban Planning firm where I became proficient with AutoCAD while exercising various zoning and regulation processes. My following position as a Construction Labourer for custom homes and chalets taught me priceless knowledge about materiality, three-dimensional detailing, assembly processes and generally how architecture is seen and produced from the builder’s perspective. During the first semesters of third and fourth year, I worked part-time for a Professor/Practicing Architect at the school, (Paul Kariouk). This position provided interesting opportunities to explore experimental designs by testing 1:1 mock-up details. Over the summer of third year, I moved to downtown Toronto to become a Student Designer for Adamson Associates Architects. This international firm introduced to me significant office experience of all kinds; from working on plans, sections and elevations in collaboration with large teams, to exploring zoning configurations, circulation models and office, parking and structural layouts. After I graduated in 2009 . . . I spent 14 months as an Architectural Designer at a smaller firm in Barrie, Ontario and an additional 4 months there over the summer of 2011. This experience provided me with a lot of independent responsibility and allowed me to see many different sized residential, institutional, commercial, and assembly type projects through their entire process. Some of my tasks included: creating schematic and multi-phased design proposals, preparing construction drawings and documents, OBC research and cost-estimates, assembling tender and permit packages, directing meetings, onsite problem solving and producing sketches for addenda, site instructions and change orders (with the training and assistance of the Principal Architect). My graduate studies . . . aided me with a flexible, yet rigorous, understanding of the theory and practice of architecture. Over the years these studies have ranged from improving diagramming, mapping, and communication skills with Carleton’s graduate director Roger Connah to practicing deconstructionist design-techniques with visiting professor Hannes Stiefle, (a former Associate of Coop Himmelblau). Most recently – and also most personally significant – I completed my thesis in 2012 which explored alternative and collaborative ways of practicing architecture with a local community centre in Ottawa. Currently . . . After spending 2 1/2 valuable years at Baird Sampson Neuert architects in Toronto, Ontario, I have returned Ted Handy and Associates Inc., Architect in Barrie, Ontario. I have completed my OAA internship experience hours and architectural exams and am will be finalizing my architectural licensure in July. Sincerely,

Andrew Slade B.A.S., M.ARCH, MRAIC

CURRICULUM VITAE

WORK EXPERIENCE 2005.2012

02 – 32 II.

RESIDENTIAL 2010.2013

33 – 62 III.

CARLETON UNIVERSITY AZRIELI SCHOOL OF ARCHITECTURE AND URBANISM pln 2010.2012 (M.ARCH)

63 – 84 IV.

UNDERGRADUATE MATERIAL 2005.2009 (B.A.S)

85 – 92 V.

COMPETITIONS 2009.2012

93 – 103

BSN ARCHITECTS Architectural Intern, 2012.2014 (Fulltime)

02- 19

TED HANDY & ASSOCIATES Architectural Designer, 2009.2010 (Fulltime) + 2011 (Summer)

20 - 23

ADAMSON ASSOCIATES Student Designer, 2008 (Summer)

24 - 27

PdK ARCHITECTURE Student Designer, 2007.2008 (Part-time)

28 - 31

ANDREW SLADE • SELECTED WORKS

architects Baird Sampson Neuert

GROUND FLOOR PLAN, A.SLADE (in part)

LEVEL 7 FLOOR PLAN, A.SLADE (in part)

SOLAR CHIMNEY SECTION PERSPECTIVE, 3D VISUALIZATION, A.SLADE WORK EXPERIENCE (2005.2014)

10 m

20 m

LEVEL 8 FLOOR PLAN, A.SLADE (in part)

York University, Expansion of School of Business BUDGET: $44M, SIZE: 9,936 m2 When I started at BSN architects, the York Schulich project was already past the schematic stages of design, and therefore the majority of my experience was spent in its design development and construction documents stages of the design. For me, this work involved the following tasks: • Preparing a system of window configurations and coordinating them to both aesthetically and practically fit with efficient fibrecement panel sizes. • Detailing washroom layouts to meet OBC barrier-free standards, maintaining visual privacy of the washrooms from all angles without using doors, researching, contacting, and comparing various acoustic baffle systems to help damper sound transmission – a result of extremely loud hand-dryers – detailing of sinks and countertops to be low-maintenance (easy to clean), barrier-free accessible, and compliment the minimal aesthetic throughout the rest of the building. • Design, detail, adjust, and confirm all dimensions in four (4) exit stairwells and two (2) feature staircases to meet OBC requirements. This primarily included researching various metal wire-mesh materials to be used for railing guards and walls associated with the stairs, but also involved other reconfigurations concerning minimum dimension requirements. • Coordinating exceptionally large mechanical equipment to fit between the structural layouts. All consultants, including Architectural, Structural, Mechanical, Electrical, Civil, and Landscape, were required to work in Revit (BIM - 3D Modeling) which meant that we had to not only had to learn new ways to synchronize our models but disseminate this systematic process to all the consultants on our team. Although it was technically a bit challenging, this led to a better understanding of the design (ie. from coordination of mechanical shafts, bulkheads, and solar chimney logistics to lighting and structural coordination in respect to office and furniture layouts.

C.o.S C.o. C. o.S o. S/ G.F. G.F. P PLA PLAN LAN LA N

NORTH-EAST ELEVATION, 3D VISUALIZATION, A.SLADE

3-STOREY SOCIAL GROUP SPACE, 3D VISUALIZATION, A.SLADE BSN ARCHITECTS • INTERN N ARCHITECT, 2012.2014

• Reviewing various OBC items; such as drawing fire separation plans and verifying travelling distances. However, a large part of my time was spent reviewing and designing the Barrier-free residential suites to the 2012 AODA standards. All these standards surpass the OBC’s requirements and thus required careful planning in an already cost/size restricted unit design. • Calculating room areas with the associate on the project to prepare very detailed cost analysis charts. In fact, at one point, we had to remove an entire floor from the residential tower design to achieve a cost-estimate

closer to the owner’s budget. As a result of this, we were challenged to squeeze an extra residential suite on each floor as a means of recovering the units we lost from the floor we removed. Design-wise, it was a difficult task, but overall, it was an impressive value-engineering revision. In the final weeks working on this project, the majority of my time was spent researching materials, products, manufacturers and their ecological/sustainable benefits in regards to the curtain wall system and solar-shade louvers used throughout the building envelope. The owner’s

goal is to achieve the highest LEED standard and therefore it was my job to accurately understand how these systems are detailed and connected to the adjacent walls, floors, and ceiling assemblies. As the project slowed to a halt – due to a project scheduling conflict within the University control – I mainly coordinated costing/sq.m material to the clients for presentations to the director of the school. Months later, and after a couple of rounds of fundraising, the project began to continue again. Unfortunately, however, the project no longer has its tower . . .

CLASSROOM & MEETING ROOM SECTION PERSPECTIVE (SOUTH), A.SLADE

EAST FACADE - CLASSROOMS & TOWER, A.SLADE

WORK EXPERIENCE (2005.2014)

SEMINAR ROOM, A.SLADE

TYPICAL BACHELOR SUITE (RESIDENCE), A.SLADE

SOLAR CHIMNEY DURING COOLING SEASON, A.SLADE

SOLAR CHIMNEY DURING HEATING SEASON, A.SLADE

STUDY SPACE, A.SLADE (in part)

SOLAR CHIMNEY LOCATION DIAGRAM, A.SLADE

CLASSROOM & MEETING ROOM SECTION PERSPECTIVE (NORTH), A.SLADE

SITE & CONTEXT PLAN, A.SLADE (in part)

CORRIDOR & COURTYARD BEYOND, A.SLADE (in part)

BSN ARCHITECTS • INTERN ARCHITECT, 2012.2014

Solar House II BUDGET: $1.7M, SIZE: 400 m2

Located on an 11-acre property within the Oak Ridges Moraine, Solar House II is designed to minimize disturbance of its environmentally sensitive site, maximize passive low-energy design opportunities, and enable family food production. Sited and ‘bermed’ into a valley edge, the house ‘opens’ southwest to provide panoramic views to pond and maximize opportunities for solar harvesting. Effective solar control for interior spaces is achieved by a number of techniques, including the preservation of existing mature trees which provide summer shading, the use of elongated roof overhangs, light shelves, and canopies above southfacing areas of glass. WORK EXPERIENCE (2005.2014)

Designed for a concrete contractor, this material is used throughout for its durability, thermal mass and rugged beauty. This includes the curved ‘solar scoop’ that extends across the north side of the home which brings in daylight and forms an integral part of the home’s passive solar and ventilation strategy. All walls are highly insulated and clad with durable materials, and carefully detailed to eliminate thermal bridging. Vegetable garden, chicken coop and fish pond all form part of the project vision and client’s lifestyle. As a final gesture to the site, a green roof extends across development footprint of house, mitigating development impacts and restoring storm water conditions to ‘predevelopment’ levels. The project was modeled using Ecotect simulation

WINTER PASSIVE SOLAR HARVESTING

software and developed through a rigorous approval process with the Toronto Regional Conservation Authority. Along with the Principle Architect in-charge, I was the only employee working on this project and maintained the role as primary contact for all the stages of its design. I began working on this project about half-way through the schematic design phase and continued to carry out the contract administration duties. Although this project is classified as a single-family residence, the Site Plan Approval (SPA) / Toronto Regional Conservation Authority (TRCA) approvals process and the owner-mandated selection of

SUMMER PASSIVE SOLAR SHADING

SUMMER PASSIVE STRATEGIES

WINTER PASSIVE STRATEGIES

1 RAINWATER COLLECTION (GREEN ROOF) 2 SOLAR CHIMNEY 3 INFLOOR COOLING (VIA GEOTHERMAL) 4 PREVAILING WINDS (NATURAL VENTILATION 5 EXTENDED ROOF OVERHANGS AND AWNINGS 6 OPERABLE CLERESTORY (NATURAL VENTILATION) 7 CENTRAL VENTS & SHAFT SPACE (INCREASED AIR FLOW)

1 RETRACTED ROOF OVERHANG 2 INFLOOR HEATING (VIA GEOTHERMAL) 3 WARM HOT COLLECTION & REDISTRIBUTION 4 MAIN FLOOR CENTRAL FIREPLACE 5 BASEMENT CENTRAL FIREPLACE 6 OPERABLE CLERESTORY (NATURAL VENTILATION) 7 CENTRAL VENTS & SHAFT SPACE (INCREASED AIR FLOW)

building materials have been far from any conventional residential construction I had experienced before. For a single family residence, this was my first experience working with civil engineers, structural engineers, and ecologists to prepare drawings, reports, and other material to address the concerns from the various authorities associated with the Site Plan Approval and Building Permit processes. The main reason for this is that the residence is located within the Oak Ridge Moraines region and therefore is affected by a variety of different governing Acts. Therefore, in the pursuit of utilizing and maximizing the natural elevations of the property (while meeting all zoning ordinances), the Principle Architect and I proposed to nestle the envelope of the house into the side of a sloping ridge that fractures the site. Other factors like Naturally Protected Wooded Areas (identified by City Planners during initial site visits) and nearby Protected Creek Beds left us with a small portion of the property defined as a ‘buildable area’. Coincidentally, our client was advised to make the house larger than they needed (in consideration of BSN ARCHITECTS • INTERN N ARCHITECT, 2012.2014

Along with the Principle Architect in-charge, I am currently the only employee working on this project and I have maintained the role as primary contact for all the stages of its design. I began working on this project about half-way through the schematic design phase and am now carrying out all contract administration duties. Although this project is classified as a single-family residence, the Site Plan Approval (SPA) / Toronto Regional Conservation Authority (TRCA) approvals process and the owner-mandated selection of building materials have been far from any conventional residential construction I had experienced before.

WEST FACADE (UTILIZES NEARBY TREE COVERAGE FOR SHADING), A.SLADE

For a single family residence, this was my first experience working with civil engineers, structural engineers, and ecologists to prepare drawings, reports, and other material to address the concerns from the various authorities associated with the Site Plan Approval and Building Permit processes. The main reason for this is that the residence is located within the Oak Ridge Moraines region and therefore is affected by a variety of different governing Acts. Therefore, in the pursuit of utilizing and maximizing the natural elevations of the property (while meeting all zoning ordinances), the Principle Architect and I proposed to nestle the envelope of the house into the side of a sloping ridge that fractures the site. Other factors like Naturally Protected Wooded Areas (identified by City Planners during initial site visits) and nearby Protected Creek Beds left us with a small portion of the property defined as a ‘buildable area’. Coincidentally, our client was advised to make the house larger than they needed (in consideration of King City housing market demands) and therefore balancing these factors together – while maintaining a strong ecological/sustainable approach to the design of house – led to number of challenging options that positioned the house across the restricted landscape.

KITCHEN, LIVING, DINING ROOM LOOKING SOUTH, A.SLADE

CONSTRUCTION PHOTO, FOUNDATION WALLS 50% COMPLETE

WORK EXPERIENCE (2005.2014)

SUPER PLASTICIZER CONCRETE

KITCHEN BOX FROM CORRIDOR & TOP OF STAIRS, A.SLADE

In the end, we found a location that all parties were able to agree on while maintaining a passive-solar house design that not only maximizes it south exposure but also utilizes the existing adjacent woodlot to provide shade from direct, uncontrollable, and unwanted west-facing sunlight. Returning to the non-traditional material mandate of the home, I should mention that this residence is entirely constructed out of exposed concrete and steel stud wall assemblies. Our client owns and operates a restoration and repair company that specializes in concrete work and therefore asked us to incorporate certain materials that

16 A6.2

CONC. ROOF OVERHANG CURB, TYP. 3/4” = 1’-0”

were readily accessible to him into the design. Along with these requests, the owner is also very cognizant and encouraging of incorporating best practices and advancing the building sciences of this home. As a result, many of the construction details required me to do a lot of research and development, calling of numerous competing suppliers and manufacturers, comparing of specifications, and even testing some details with simulation and modelling tools like EcoTect and Energy2d. Some examples of this research and coordination include: Detailing a thermal separator which

we developed with our structural engineers for a concrete roof overhang. The detail is similar to cantilevered concrete balcony in the sense that a significant amount of heat could be lost due to thermal transmission through the concrete slab. However, to prevent this from taking place we used a high-density reinforced plastic plate to separate the concrete slab from inside to outside. By creating very detailed material take-off schedules and collecting quotes from various suppliers, I confirmed that our thermal detail will be half the price of a comparable manufactured product; however, it is half as effective as well. On the bright side, it looks much nicer!

12 A5.1

SECTION OF CURVED ROOF/WALL 3/4” = 1’-0”

BSN ARCHITECTS • INTERN N ARCHITECT, 2012.2014

University of Ottawa, 100 Laurier Adaptive Re-Use/Renewal BUDGET: $24.5M, SIZE: 4,100 m2 Similar to the previous project I described, I was the only employee working on this project in assistance to the Principle Architect in-charge; however, there were a couple weeks (about halfway through my involvement on this project) where I had assistance from a co-op student who I was able to get some project management experience from by delegating and communicating a variety of work tasks. Nevertheless, the main task for me during this project was to prepare a programming/schematic design study for the University of Ottawa with the central focus being the adaptive re-use of a historically significant university campus building, (located on a highly visible street that acts as a gateway to the University). After piecing together all the existing documents, drawings, and photographs of the building to assemble a 3D model, I assisted the Principle Architect to prepare three (3) different spatial program layouts which included various levels of renovation and new design. Much of the thought behind these options was generated by the logistics of building this renovation / addition in phases and how it would impact the current occupants. This involved understanding university department’s needs and determining which conceptual gestures would have the largest impact on the school (ie. proposed atriums and courtyards). Although my central task was to prepare colour coded floor plans to communicate the reorganization of room programs in our study report, I was directed to spend a portion of time working out the façade (to add some visual confidence to our programmatic proposals) and spend another part of time working out the exit stairs (to confirm the practicality and certainty of these proposals). In fact, the schematic configuration of the stairs, which required that we provide a landing on each newly proposed floor level while maintaining access the existing building floor levels – which did not align for other more important reasons – was the most challenging stair designing I have completed to this date.

OPTION B - INTERIOR COURTYARD AND CENTRE FOR DIALOGUE, A.SLADE

OPTION A - CENTRE FOR DIALOGUE IN EXISTING UNIVERSITY BUILDLING, A.SLADE BSN ARCHITECTS • INTERN N ARCHITECT, 2012.2014

/ 11

OPTION B - URBAN INTEGRATION & PRESENCE, LIBRARY/CAFÉ (GROUND FLOOR), OFFICES & SEMINAR ROOMS ABOVE, A.SLADE

12 5

10 6 2

6 6

8 8

3 7

9 11

GROUND FLOOR PLAN, STREET LEVEL

FIRST FLOOR, PIANO NOBILE ROOM SCHEDULE

WORK EXPERIENCE (2005.2014)

EAST ELEVATION 1 CAFE 2 KITCHEN 3 NEW NON-ASSIGNED ACADEMIC SPACE

4 RECEPTION 5 SECRETARIAT OFFICE 6 SEMINAR

7 SERVICE 8 WASHROOM 9 CENTRE FOR DIALOGUE

10 CLASSROOM 11 SUPPORT 12 TRANSLATION

St. Elizabeth & Our Lady of Peace Catholic Schools, & Thomas L. Wells Elementary School, Full Day Kindergarten Additions and Renovations OUR LADY OF PEACE (OLP) BUDGET: $3.4M, SIZE: 370 m2

ST. ELIZABETH (STE) BUDGET: $1.3M, SIZE: 170 m2

THOMAS L. WELLS (TWL), BUDGET: $100K, SIZE: 150 m2 NEW WORK N EXISTING E

WASHROOM & MILLWORK RENOVATION, PHOTO

NEW READING PIT, PHOTO

WORK EXPERIENCE (2005.2014)

The reason these two projects (OLP & STE) are paired together is that they were both initiated at the same time. The two projects are of different scale and complexity; however they both deal with the same programmatic matter (adding additional kindergarten classes to existing school) and they both utilize similar construction techniques: brick veneer on exposed masonry construction with steel and hollow core slab floors.

WATERPROOF CAP SHEET

50mm RIGID INSULATION

2% MIN SLOPE

WATERPROOF BASE SHEET LAP AND SEAL WATERPROOF MEMBRANES TO ROOFING MEMBRANES

CONT. TERMINATION BAR

ROOF MEMBRANES TERMINATE W/ CONT. TERMINATION BAR SILICON SEALANT

125mm RIGID INSULATION IN THREE LAYERS w/ HORIZONTAL AND VERTICAL JOINTS STAGGERED (TYP.)

AIR / VAPOUR BARRIER W1

100mm RIGID INSULATION

GALV. STEEL BENT PLATE AS REQ'D TO SUPPORT PLYWOOD PRESSURE TREATED CONT. BLOCKING INSTALL @ 2% SLOPE

CONTINUOUS CANT STRIP

190mm FILLED SOLID MASONRY BLOCK, TYP.

R1 8.10

2% SLOPED HOLLOW CORE SLAB

Library Roof CONTINUOUS AIR BARRIER ON PARAPET

CUT BLOCK AND/OR USE BED OF NON-SHRINK GROUT TO ENSURE T/O PARAPET TO REMAIN AT CONSTANT ELEVATION AS INDICATED

The idea of hollow core slab came out of reaction to the tight construction schedules mandated by the School Board. As usual – and for good reason - the school boards tend to prefer to do as much work as possible during the summer months when the children, teachers, and staff are away on holiday. 2 months can move by very quickly! In the case of St. Elizabeth Catholic School (STE), the 2-classroom, 3-washrooms, and cubbies area addition was constructed over the summer quite effectively as the design was simply an add-on configuration. For both projects my roles were quite demanding and time-inclusive. Being the only person at the firm that had worked on these projects from the beginning and having relatively recent experience with a smaller Full Day Kindergarten Renovation the summer prior, many tasks were under my responsibility.

EXTERIOR GRADE PLYWOOD

20GA PREFINISHED ALUMINUM CAP FLASHING

FRAMING AS REQUIRED C1 BEAM, SEE STRUCTURAL

COLUMN BEYOND, SEE STRUCTURAL BULKHEAD

P1b

ROLLER SHADE PULL CHAIN BEYOND.

5 A602

SELF ADHERED FLASHING MEMBRANE AT PERIMETER OF WINDOW 100mm ONTO MASONRY BELOW ON ALL SIDES. LAP AIR BARRIER OVER FLASHING MEMBRANE & THROUGHWALL WINDOW HEAD FLASHING. WEEPER WITH MINIMUM 12mm GAP FOR VENTING WITH CONTINUOUS INSECT SCREEN. PREFINISHED METAL THROUGH WALL DRIP FLASHING. SLOPE TO DRAIN. VERTICAL END DAMS CUT TO TERMINATE BEHIND WALL CLADDING.

BOOKSHELF AND TACKBOARD BEYOND

12mm JOINT WITH CONTINUOUS RECESSED SEALANT & BACKER ROD.

CONTINUE FLASHING MEMBRANE ONTO INSIDE FACE OF OPENING. LAP VAPOUR BARRIER OVER AND TAPE. 12mm REVEAL JOINT WITH RECESSED CAULKING AND BACKER.

BEYOND.

EXTERIOR

LIBRARY 224

BULLNOSE PROFILE AT SILL, TYP. CONTINUOUS GALVANIZED BENT STEEL PLATE TO ANCHOR WINDOW, SEE STRUCTURAL

4 A602

Sim

W1a

WEEPER WITH MINIMUM 12mm GAP FOR VENTING WITH CONTINUOUS INSECT SCREEN.

92mm SOLID CMU BLOCK INTERPLY CONTINUOUS CANT STRIP R1

MODIFIED BITUMEN GRANULE SURFACES CAP SHEET

7 A604

Sim

250

MULTI-PURPOSE FLASHING CEMENT

600 TYP.

HIGH-DOMED, CAPPED, GASKETED FASTENERS AS REQUIRED APPROX. 300mm O.C.

150

To begin, the entire 20 sheet Arch D sized set for STE and 50 sheet Arch D sized set for OLP were 95% 3D modelled, drafted, annotated, and detailed on my on.

TYP.



FF4

F2 3.72 Second Floor



80% of the coordination with Structural, Mechanical, Electrical, Civil and Landscape consultants was my responsibility. I did not take much part in coordinating the abatement teams even though it was riddled through both schools.

WELDABLE BAR IN EACH GROUT, SEE STRUCTURAL. ENSURE 1-HR FIRE SEPARATION IS MAINTAINED 1-HR FIRE RATED BULKHEAD BEYOND, TYP. FOR ALL MOMENT FRAME BEAMS ON GROUND FLOOR. BASED ON UL DESIGN NO. N501 BEAM, SEE STRUCTURAL COLUMN BEYOND, SEE STRUCTURAL. PROVIDE 1HR FIRE-RATED GWB ENCLOSURE, TYP. BASED ON UL DESIGN NO. X528

P1b

FRAMING AS REQUIRED

I took part in some specifications research and sourcing however, this was primarily left to for the overseeing associate to coordinate with our spec writer.

UV1, SEE MECHANICAL

ALIGN

OLP - LIBRARY & CLASSROOM WALL SECTION, A.SLADE BSN ARCHITECTS • INTERN ARCHITECT,, 2012.2014

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A303

A401

+/-2855

A302 4 13 A601

+/-2190

730

VERIFY DIMENSION ON SITE

D106C

1275

2 1

D116B

165

A702

1660

245

970

1275

1500 VERIFY DIMENSION ON SITE

A702 14 P4

106B

FLOOR DRAIN, SEE MECHANICAL

GIRLS CHANGE

RAIN WATER LEADER; PAINT TO MATCH EXISTING ADJACENT

114A

115

116 FF3

8 A601

A704 22

CORRIDOR 4500

BOYS CHANGE MECHANICAL ROOM

2085 255

770 P1

CORRIDOR

WALL TO CEILING TACKBOARDS

2470

20 NEW CUBBIES EQUAL SPACING

3005

165

F1 FF1

12 A601

NON-FIXED MOVEABLE SHELVING UNITS

Sim

505

240

9 A601

1350

430

A702 24

285 115

4420

W1c

430

1650

825

FF2

Sim

RAD. CABINET, SEE MECHANICAL

1 A601

D112/3D W1

112/3B23

3230

RAIN WATER LEADER; PAINT TO MATCH EXISTING ADJACENT

CORNER GUARD 1435

290

BULLNOSE PROFILE

1625

1285

240

1725 680

A702 19

1545

VESTIBULE

430

6 A601

Sim

D112/3B

285

1650

Sim

112

1170

15 A601

KINDERGARTENS PT.1

1285 6005

6005

1650

KINDERGARTEN 3

WHITEBOARD 1600 X 1200, 600 AFF

D112/3E

A701 10

22 21

825

515

715

1170

W1A BELOW

FF2

345 P1

1275

1200

3300

SINK & STORAGE MILLWORK

12 A601

860

1370

D112/3A 1090

430

Sim

8 A601

BULL NOSE PROFILE AT2: 1220x610x50mm SURFACEMOUNTED TACKBOARD ACOUSTIC PANELS, SEE INTERIOR ELEVATION

CORNER GUARD

D112/3C

CONTINUATION OF PLAN ON SHEET 1 / A212

6815

240 TYP.

430

Sim

1 A601

A705

3495

1765

A701 14

112/3A

1740

410 790

RAD. CABINET, SEE MECHANICAL

W1A BELOW

1700

CORNER GUARD

STORAGE

WHITEBOARD 1600 X 1200 600 AFF

Sim

215

FF3

1545

830

3305 W1

3855

240

COLUMN; 1-HR FIRERATED GWB ENCLOSURE, TYP. BASED ON UL DESIGN NO. X528

12 A601

RAIN WATER LEADER; PAINT TO MATCH EXISTING ADJACENT

117A

SEE 18/A801

410

4055

Sim

12 A601

245

6 A601

A701 77

BULLNOSE PROFILE

10 NEW CUBBIES EQUAL SPACING

14 A601

125

D112

FF1

5 A601

CONTROL PANEL; REFER TO ELECTRICAL

113

TYP.

A702

KINDERGARTEN 4

5280

4 4

A701

D112A

3005

A702 34

2640

FF2

10 NEW CUBBIES EQUAL SPACING

245

FF2

2640

410 790 410

AT2: 1220x610x50mm SURFACEMOUNTED TACKBOARD ACOUSTIC PANELS, SEE 1 INTERIOR ELEVATION

FF2

1700

FOUNTAIN SINK BULL NOSE PROFILE NON-FIXED MOVEABLE SHELVING UNITS

410

A401

CONTROL PANEL; REFER TO ELECTRICAL 4

D113A

1780

6845

790

VERIFY DIMENSION ON SITE

+/-7950

3 ASK-01 A303 2

A702 28

610

2455

D113

A704

A602

1340

850

3315

11380

23105

750

3315

B/F

SINK & STORAGE MILLWORK

112A 5280

610

SIM. (NO INSUL.)

1340

B/F

113A 11 A601

3340

HOSE BIB, SEE MECH.

Sim

F.F.E = SAME AS EXISTING (133.94m)

BULL NOSE PROFILE

1290

1465

BARRIER FREE PUSH BUTTON DOOR OPERATOR, TYP.

EXISTING BENCHES RELOCATED AND MODIFIED TO SUIT NEW CONFIGURATION; PROVIDE NEW SUPPORTS AS REQUIRED AND AS SHOWN IN INT. ELEVATIONS. EXISTING DRINKING FOUNTAINS TO REMAIN EXISTING FIRE HOSE CLOSET TO REMAIN 3 PROVIDE NOTCH IN ALL SHELVES AND AREAS OF MILLWORK AFFECTED BY COLUMN. PROVIDE 1-HR FIRE RATED ENCLOSURE WITH A FINISH TO MATCH MILLWORK FINISH. WALL TO CEILING TACKBOARDS

625

D106

12 A601

106

W/C

A702 11

BULL NOSE PROFILE

760

FF3

D106A

TYP.

12 A601

COLUMN; 1-HR FIRE-RATED GWB ENCLOSURE, TYP. BASED ON UL DESIGN NO. X528

1500

D116

APPROX. EXTENT OF EXISTING BRICK

106A FF3

3480

+/-3480

VERIFY DIMENSION ON SITE

MOTION SENSOR BY OTHERS, TYP.; SEE ELECTRICAL

16 A601

D117A

280

VESTIBULE

FIRE ALARM MANUAL PULL STATION, TYP.; SEE ELECTRICAL

FF3

165

D106B

FF3

PATCH AND REPAIR EXISTING FLOOR AS REQUIRED BY ROOF DRAIN ROUTING; SEE MECHANICAL. RE-FINISH FLOOR AS INDICATED

Sim

8 A601

825

515

605

ALIGN

20 NEW CUBBIES EQUAL SPACING

165 305

245

8 1600

530

A702

FF3

1060

W/C

RAIN WATER LEADER, TYP.

A703 14 13

695

+/-5960

+/-7925

RAD. CABINET, SEE MECHANICAL

ALIGN

115

FF3

7620

+/-7620

VERIFY DIMENSION ON SITE

EDGE OF ROOF ABOVE

450

STORAGE

106C

VERIFY DIMENSION ON SITE

STORAGE

ALL EXPOSED COLUMNS TO BE PAINTED

4405

W1A BELOW

1155

1650

W1A BELOW

1155

1200

3 A601

430

6 A601

EDGE OF ROOF ABOVE

ENLARGED FLOOR PLANS - MAIN FLOOR PART 1

6 A801

300

270

FOR END ELEVATIONS SEE 16/A801

LIBRARY BOOK SHELF BEYOND

18 A8.1

ALIGN EDGE OF MILLWORK PANELS WITH FACE OF WB-1

MILLWORK - CUBBIES AXONOMETRIC NTS WORK EXPERIENCE (2005.2014)

914

FIXED SHELF

THUMBTURN ON INSIDE OF COAT STORAGE DOOR

A801

20 A801

150

PTD

WB-1

MILLWORK - CUBBIES TYP. 1:20

11 A8.1

(4) ADJUSTABLE SHELVES ON PIN FERRULES. MATERIAL AND FINISH TO BE 19mm BIRCH PLYWOOD VENEER, SOLID BIRCH NOSING WITH NATURAL CATALYZED LAQUER FINISH

FIXED SHELF

900 TYP.

FIN. FLOOR

11 A8.1

25mm x 150mm RECCESSED, TAPPERED CABINET HANDLES CENTERED BETWEEN STORAGE/COAT CLOSET DOORS; FOR EDGE PROFILE PLAN DETAIL, SEE

190

DRAWERS C/W FULL EXTENSION GLIDES. REFER TO SPECIFICATIONS

TEACHERS COAT CLOSET STANDARD CLASSROOM LOCKSET KEYED THE SAME AS CLASSROOM DOOR EQ

600

CONTINUOUS 25mm POST FORMED "D" EDGE 300

624

15mm BIRCH SPACER/REVEAL WITH 3mm SOLID EDGING 19mm BIRCH BACKER PANEL WITH 3mm SOLID EDGING MATERIAL AND FINISH TO BE 19mm BIRCH PLYWOOD VENEER 13 / A801 STEEL BENCH BRACKET PAINTED BLACK, 610 O.C. TYP.; SEE

RECCESSED, TAPERED CABINET HANDLES; FOR EDGE PROFILE DETAIL, SEE 8/A801

13mm REVEAL AT TOP WHEN MILLWORK AGAINST CEILING, TYP. BLOCK AND BRACE AS REQUIRED

(1) ADJUSTABLE SHELVES ON PIN FERRULES. MATERIAL AND FINISH TO BE 19mm BIRCH PLYWOOD VENEER, SOLID BIRCH NOSING WITH NATURAL LAQUER FINISH

FLOOR FINISH 25

1000

450 15mm BIRCH SPACER/REVEAL WITH 3mm SOLID EDGING

250

3 A801

1400

800

1660

AT2

PROVIDE LOCK ON ADULT SINK UPPER CABINETS

900

WALL MOUNTED TRIPLE HOOK, TYP.

300

900

2438

280

19mm BIRCH TOP WITH 3mm SOLID EDGDING 13mm REVEAL ALONG ALL EDGES AS INDICATED CEILNG TRIPLE HOOK, TYP.

WB-1

4 A801 3300

BLOCK AND BRACE AS REQUIRED

280

13mm REVEAL

AT2; TACKBOARD ACOUSTIC PANELS ON STRAPPING START CMU COURSING FROM THE TOP

585 MODIFY CMU WALL AND SURFACEMOUNTED TACKBOARD ACOUSTIC PANELS TO ENSURE ADJACENT FIRE RATED ENCLOSURE FOR COLUMN IS CONTINUOUS, WHERE APPLICATABLE; SEE INT. ELEV.

MILLWORK - SINKS & STORAGE ELEVATION 1:20

FIN. FLOOR 9mm REVEALS TYP. 100mm RECESSED WB-1 TYP. 9mm REVEAL AT ENDS AND WHEN AGAINST WALL

F LAP AIR BARRIER MEMBRANE ON TOP OF METAL FLASHING

WEEPER

Library Roof

ROLLER SHADE PULL CHAIN BEYOND. SELF ADHERED FLASHING MEMBRANE AT PERIMETER OF WINDOW 100mm ONTO EXTERIOR SHEATHING ON ALL SIDES.

8.10

M EXTERIOR

20GA PREFINISHED ALUMINUM COUNTER FLASHING REGLETED INTO MASONRY; SLOPE TO DRAIN. VERTICAL END DAMS CUT TO TERMINATE BEHIND WALL CLADDING.

W1b

ANGLED RESIN FILL OR FLASHING CEMENT AT ALL TERMINATION POINTS, TYP.

LAP AIR BARRIER OVER FLASHING MEMBRANE & THROUGHWALL WINDOW HEAD FLASHING.

20GA PREFINISHED ALUMINUM CAP FLASHING

+/- 433 125 MIN.

20GA PREFINISHED ALUMINUM FLASHING

VERIFY DIMENSION ON SITE

INSTALL EXPANSION JOINT FLUSH WITH T/O EXISTING SCHOOL PARAPET WALL

SHELF ANGLE & LINTEL; SEE STRUCTURAL

FIELD APPLIED SILICONE TO CONCRETE CORNER BEAD. (TYP)

WEEPER WITH MINIMUM 12mm GAP FOR VENTING WITH CONTINUOUS INSECT SCREEN.

REMOVE PART OF EXISTING METAL FLASHING AND BLOCKING AS INDICATED

PREFINISHED METAL THROUGH WALL DRIP FLASHING. SLOPE TO DRAIN. VERTICAL END DAMS CUT TO TERMINATE BEHIND WALL CLADDING. 12mm JOINT WITH CONTINUOUS RECESSED SEALANT & BACKER ROD.

ALIGN

REMOVE EXISTING SCUPPER AND INFILL OPENING ON EXISTING 200mm CMU BLOCK WITH 100mm BRICK VENEER PARAPET ASSEMBLY; REMOVE EXISTING RAIN WATER LEADER AND REPLACE WITH NEW; RAIN WATER LEADER ROUTING INDICATED IN RCPS. COORDINATE WITH MECHANICAL

CONTINUE FLASHING MEMBRANE ONTO INSIDE FACE OF OPENING. LAP VAPOUR BARRIER OVER AND TAPE.

ROOF DRAIN; TIE IN EXISTING ROOF MEMBRANE AND PROVIDE NEW ROOF FLASHING MEMBRANE

200

12mm REVEAL JOINT WITH RECESSED CAULKING AND BACKER. FILL WITH GAP FILLER SPRAY FOAM

FASTEN APPROX. 200mm O.C., TYP. BENT PLATE, THROUGH BOLTS AND INTERMITTENT SUPPORTS, SEE STRUCTURAL

WINDOW HEAD AT BRICK, TYP 5 1:5

7.45 WATERTIGHT FACTORY APPLIED SILICONE BELLOWS

SOLID BULLNOSE CMU SILL

Ex. Roof

PROVIDE CONTINUOUS STEEL ANGLE TO CREATE SURFACE FOR EXPANSION JOINT TO ADHERE TO

12mm REVEAL JOINT WITH RECESSED CAULKING 19mm SHIM SPACE BELOW WINDOW FRAME. FILL WITH GAP FILLER SPRAY FOAM. LAP FLASHING MEMBRANE ONTO TOP OF CONT. STRUCTURAL ANGLE

125mm EXPANSION JOINT BY EMSHIELD, SEISMIC COLORSEAL MICROSPHEREMODIFIED, 100% ACRYLICIMPREGNATED PRE COMPRESSED FOAM. (CONTAINS NO WAX OR WAX COMPOUNDS); PROVIDE SUPPORT TO ENSURE CONTINUOUS SEAL BETWEEN NEW AND EXISTING BUILDING

12mm REVEAL WITH RECESSED SEALANT & BACKER 26GA PREFINISHED EXTRUDED ALUMINUM SILL FLASHING WITH DRIP & END DAMS. FILE DOWN ALL EXPOSED EDGES AND LAP & SEAL ALL SEAMS. SLOPE MINIMUM 2% TO DRAIN. SECURED W/CONTINUOUS FLASHING HOOK STRIP FASTENED TO U/S OF MULLION NOSE AND CONTIN. GALV. 'J' CHANNEL AT TOP OF VERTICAL GIRTS SEAL FLASHING MEMBRANE TO WINDOW MULLION WITH CONTINUOUS AIR BARRIER SEALANT.

W1a

2% SLOPE

PROVIDE R-5 MIN. INSULATION AROUND RAIN WATER LEADER, TYP. PROVIDE R-30 MIN. INSULATION AROUND BEAM, TYP.

WINDOW SUPPORT; REFER TO STRUCTURAL

1-HR FIRE RATED BULKHEAD AROUND RAIN WATER LEADER FIRESTOPPING AT OPENING THROUGH EXISTING WALL

LIBRARY

LAP SELF ADHERED FLASHING MEMBRANE 100mm OVER AIR BARRIER MEMBRANE.

BEND FLASHING AS SHOWN TO ALLOW FLEXIBILITY AT EXPANSION JOINT

STAIR

224

125mm EXPANSION JOINT AT LIBRARY ROOF AND EXISTING WALL 2 1:5

WINDOW SILL AT BRICK, TYP 1:5

OND RICK

1 : 50 RAIN WATER LEADER FROM EXISTING SECOND STOREY ROOF AND RAIN WATER LEADERS FROM NEW ROOF TO BE CONNECTED TOGETHER AND CONTINUE TO GROUND FLOOR AS INDICATED; SEE MECHANICAL

GL1

1500

317

W1a

1218

1650

TYP.

1500

GL1

1650

GL1

BEYOND

GL1

250

1218 900

W1a

GL1

BEYOND

TYP.

1544

1650

TYP.

3000

1218

GL1

1456

GL1

CLEAN OUT CONNECTION AT RAIN WATER LEADER ELBOW; PROVIDE ACCESS PANEL. SEE MECHANICAL

2% SLOPE

P1b

MODIFY TACKBOARD & BOOKSHELF MILLWORK TO CONCEAL RAIN WATER LEADER

1218 318

1638

900

GL1

W1a

300

TYP.

BEYOND

GL1

W1a

BEYOND

WB-1; CONTINUOUS ACROSS ALL MILLWORK BASES LIBRARY BOOK SHELF WITH TACKBOARD ABOVE; TYP. VERIFY DIMENSIONS WITH SIT MEASURE TO ALIGN SHELF LENGTH WITH SPACE BETWEEN WINDOW OPENINGS MILLWORK - LIBRARY BOOK SHELF WITH DISPLAY

OLP - INTERIOR ELEVATIONS AND DETAILS, A.SLADE

Thomas L. Wells: This project was a fast-tracked job I was put onto after the school board decided to change its scope of work from two (2) kindergarten additions to two (2) classroom renovations. I had briefly assisted two fellow co-workers on the finalizing the original construction drawings (ie. annotating, dimensioning, and detailing) and therefore was semi-familiar with project when the new proposal began. There was little time/funding to design, so the new approach was settled on rather quickly and the majority of the schematic and design development phases were spent coordinating items with the mechanical and electrical consultants

working on the job while meeting the school board to established the standards and guidelines required. The main alteration to each of the classrooms was the addition of a new washroom stall. This required a fairly extensive understanding of the existing plumbing layout to determine where ‘patch and repair’ areas to the bulkhead would need to be called out in the drawings. With the direction of more senior intern architect on the job and the Principle Architect incharge, I completed the construction drawings which included detailing/ sourcing of materials for the reno-

vation of a ‘reading pit’ area, putting together various millwork drawings to match the existing elements in the classroom, and heavily annotating drawings to cover ourselves from foreseeable change order claims . . . The tender and award of the project was handled by the school board and therefore my involvement in the project was put on hold until the first ‘request for a change’ came in. Being used to the traditional RFI, SI, CCO/PCO, CO, CD system that I had learned from a previous office experience, I was quickly tested and questioned on all these standard practices.

BSN ARCHITECTS • INTERN ARCHITECT,, 2012.2014

/ 15

PERSPECTIVE OF NORTH ELEVATION (STREET VIEW), BSN ARCHITECTS

PERSPECTIVE OF SOUTH ELEVATION (COMMUNAL BACKYARD), BSN ARCHITECTS WORK EXPERIENCE (2005.2014)

Yellowknife Eco-housing BUDGET: $6M, SIZE: 1,350 m2 In this project, BSN architects were hired as the design architects and partnered with a local firm from the Yellowknife. A fellow intern architect worked on this project before me until it was put on hold. In the last couple month there has been some new interest in finishing the package and therefore I have been completing the contract documents to a 75% level. My scope of work has included, dimensioning and annotating plans, sections, and elevations, coordinating schematic mechanical ductwork and plumbing layouts, detailing vestibule entrances, assembling door and window schedules, and generally finishing off the layouts for sheets describing various unit plans for the residential section of the building. The project is different than any other projects I am working on right now because it is all combustible wood framing construction detailing each residential unit (and it’s corresponding mechanical/plumbing/electrical services) for a ‘modular building’ company to assemble. Additionally, there is a commercial leasable portion of the building below the residences which require not only a fire separation but a difference code analysis altogether. (Part 3 and Part 9 code reviews). Out of all the duties I have performed on this job, I am oddly most proud of making the exit stairwells in this project meet every single OBC code minimum. Having come on to the project late in its development, many factors related to the stair design were completely fixed, including a nearby structural column, a fixed floor to floor height, the maximum and minimum risers and treads were already used in the design, and various other constraints

WORKING DRAWINGS, ENVIRONMENTAL DIAGRAMS, AND ELEVATIONS, A.SLADE (in part) BSN ARCHITECTS • INTERN ARCHITECT,, 2012.2014

/ 17

Cloud Conservatory BUDGET: $500K, SIZE: 180 m2

My involvement on this project began around the third design meeting to which I attended amongst the Principle Architect in-charge, our greenhouse engineer consultant, and a number of representatives from the City of Toronto (including project managers and workers that maintain various systems of the greenhouse). I recorded the points from this discussion and distributed Minutes to those that attended. Based on the outcome of this meeting, I was directed to begin

researching various swing-stages, monorails, bosun chair, and singleman cage systems as a cost effective design solution to provide future maintenance access to the mechanical and electrical systems, misting lines, and green wall surfaces in the existing building. This involved meeting certain specialized swing stage suppliers to not only get an understanding of the technical requirements of their products and the estimated costs, but to also understand how the product is installed and who is licensed to do this work.

After spending an amount of time working out the ergonomics of this monorail and bosun chair system with the supplier, my role began to shift more into project management as my workload increased on another project. I did not have the time to advance the drawings or continue on all the material research required, so as a result, another (more recently hired) intern who had some extra time was pulled onto this job to help. Beyond the regular tasks of explaining the project and scope of

SCOPE OF WORK RENO CONTEXT DETAILS

WORK EXPERIENCE (2005.2014)

work required, a portion of my time was spent disseminating information that I would collect from specialist suppliers such as the swingstage maintenance access systems and greenhouse grow light companies and having my coworker look into the detailed specifics of how well the dimensions worked with our design constraints. Near the completion of the construction drawings, I began to consult with the city in regards to how building permits for city projects work, (ie. interdivisional transfers, and what all needs to be submitted, general commitment to review, etc.)

EXISTING ROLLER SHADE MOTORIZED TUBE & CABLES TO BE DISCONNECTED & REMOVED; DECOMMISSION AND REMOVE ALL ASSOCIATED CONDUITS AND BREAKER SWITCHES. EXISTING SUPPORT BRACKETS ASSOCIATED WITH ROLLER SHADE TO REMAIN REMOVE EXISTING BROKEN GLAZED PANEL & REPLACE TO MATCH EXISTING ADJACENT

EXISTING RACK & PINION SYSTEM TO REMAIN

TRUSS #6

TRUSS #5

TRUSS #4

TRUSS #3

TRUSS #2

TRUSS #1

EXISTING RACK & PINION MOTOR TO BE PROTECTED

LINE OF WALL BELOW

LINE OF EXISTING HSS

TRACK FOR LIGHTING LINE OF EXISTING RACK

& PINION DRIVE SHAFT

EXISTING ROLLER SHADE MOTORIZED TUBE TO BE DISCONNECTED & REMOVED, ASSOCIATED SUPPORT BRACKETS TO REMAIN

LINE OF EXISTING HSS

TRACK FOR LIGHTING

With the assistance of the Principal Architect in-charge on this project, I learned to put together a ‘Project Manual’ specifications package. This was my first time being in charge of assembling specifications and I found it both challenging and extremely interesting to learn how important these documents can be. This involved a wide understanding of material performances; such as special coating paints and how they react to various humidities and adhere to existing rusted surfaces, to revolving door repair subcontractors and the extent of work they can perform before reaching the limits of their liability.

DEMOLITION PLAN

1:100

TRUSS #6

TRUSS #5

EXTENT OF MONORAIL CANTILEVER. MANUFACTURER/PROVIDER TO ENGINEER SYSTEM TO SUPPORT INDICATED LENGTH

+/- 18404

+/-

EXTENT OF MONORAIL CANTILEVER. MANUFACTURER/PROVIDER TO ENGINEER SYSTEM TO SUPPORT INDICATED LENGTH

TRUSS #4

TRUSS #2

TRUSS #1

NEW MONORAIL STEEL SUPPORTS; ALIGN WITH EXISTING TRUSSES ABOVE, TYP., REFER TO STRUCTURAL FOR SIZING

TRUSS #3

LINE OF NEW ROOF SHADING SYSTEM PULLEYS; REFER TO GREENHOUSE ENGINEERING DRAWINGS & SPEC. COORDINATE EXACT LOCATION TO ACHIEVE ACCESS FROM NEW MONORAIL (ACCESS REQUIRED)

+/- 3321.5

+/- 1344

+/- 3321.5

+/- 1278

+/- 1146

+/- 1081

+/- 1015

LINE OF WALL BELOW

+/- 3321.5

+/- 3321.5 +/- 3321.5 LINE OF NEW MONORAIL LINE OF EXISTING HSS TRACK FOR LIGHTING LINE OF EXISTING WINDOW RACK/PINION DRIVE SHAFT

700 MAX.

+/- 1575

+/- 1212

° 87

LINE OF EXISTING WINDOW RACK/PINION DRIVE SHAFT BELOW (ACCESS REQUIRED)

700 MAX.

LINE OF NEW ROOF SHADING SYSTEM SHADE CURTAIN; REFER TO GREENHOUSE ENGINEERING DRAWINGS & SPEC. COORDINATE EXACT LOCATION TO ACHIEVE ACCESS FROM NEW MONORAIL (ACCESS REQUIRED)

+/- 220

LINE OF NEW MAINTENANCE ACCESS MONORAIL BELOW

LINE OF EXISTING HSS

TRACK FOR LIGHTING

EXTENTS OF NEW ROOF SHADING SYSTEM SHADE CURTAINS; REFER TO GREENHOUSE ENGINEERING DRAWINGS & SPEC. EXTENT OF MONORAIL CANTILEVER. MANUFACTURER/PROVIDER TO ENGINEER SYSTEM TO SUPPORT INDICATED LENGTH LINE OF NEW POWERED MAINTENANCE ACCESS MONORAIL BELOW; REFER TO GREENHOUSE ENGINEERING DRAWINGS & SPEC FOR POWER REQUIREMENTS

+/- 3320

EXTENT OF NEW FIXED SHADE CLOTH ON SUPPORT WIRES; REFER TO GREENHOUSE ENGINEERING DRAWINGS & SPEC.

+/- 3320

+/- 19175 OVERALL

TYP.

+/- 925

+/- 3320

+/- 925

+/- 3320

NEW MONORAIL STEEL SUPPORTS; ALIGN WITH EXISTING TRUSSES ABOVE, TYP., REFER TO STRUCTURAL FOR SIZING

+/- 925

+/- 3320

+/- 925

1575

+/- 925

LINE OF EXISTING HSS TRACK FOR LIGHTING LINE OF NEW POWERED MONORAIL

APPROXIMATE LINE OF NEW ROOF SHADING SYSTEM TORQUE TUBE; REFER TO GREENHOUSE ENGINEERING DRAWINGS & SPEC. COORDINATE EXACT LOCATION TO ACHIEVE ACCESS FROM NEW MONORAIL (ACCESS REQUIRED)

+/- 1000 EXTENT OF MONORAIL CANTILEVER. MANUFACTURER/PROVIDER TO ENGINEER SYSTEM TO SUPPORT INDICATED LENGTH

LOCATION OF NEW ROOF SHADING SYSTEM SHADE MOTOR; REFER TO GREENHOUSE ENGINEERING DRAWINGS & SPEC. COORDINATE EXACT LOCATION TO ACHIEVE ACCESS FROM NEW MONORAIL (ACCESS REQUIRED)

EXISTING RACK ARM +/- 200

NEW SHADE SYSTEM PULLEY (ACCESS REQUIRED)

ASSESS CONDITION OF EXISTING ROOF SHADE TRACKS ON SITE AND REMOVE UPON CONSULTANTS REVIEW

VARIES

EXISTING ROLLER SHADE TUBE TO BE REMOVED ASSESS CONDITION OF EXISTING ROOF SHADE TRACKS ON SITE AND REMOVE UPON CONSULTANTS REVIEW

MAX 700 @ FRAME #6

+/- 600

EXISTING HSS REMOVE ALL LIGHTS & CONDUIT (PAINT/MAKE GOOD EXISTING FINISH) COORDINATE TO ACHIEVE CLEARANCE BETWEEN EXISTING HSS AND NEW SHADE SYSTEM (TYP.)

EXISTING VERTICAL ROLLER SHADE TO BE REMOVED; (TYP.)

+/- 1075 @ FRAME #6 MAX. 700 @ FRAME #1

(ACCESS REQUIRED)

CONFIRM CLEARANCE @ FRAME #6

COORDINATE TO ACHIEVE CLEARANCE BETWEEN LOCATION OF NEW TORQUE TUBE 25mm PIPE AND EXISTING TRUSS CHORDS;

RUN CONDUIT FROM NEW LIGHTS TO REMOTE BALLAST LOCATION IN CONSERVATORY SERVICE ROOM P-10

475 MIN.

TORQUE TUBE; REFER TO GREENHOUSE ENGINEERING DRAWINGS & SPEC. (ACCESS REQUIRED)

STEEL ANGLE REFER TO STRUCTURE

EXISTING MISTING LINE (ACCESS REQUIRED)

R305

MONORAIL SYSTEM

419

102

63,33 R38

267

PAINT/ REFINISH NEW STRUCTURAL REINFORCING AND EXISTING STEEL AS INDICATED, (TYP.)

27°

R203

142

+/- 650 152

24°

EXISTING AND NEW STRUCTURAL STEEL TO BE PAINTED EXISTING MISTING LINE (ACCESS REQUIRED)

TYP. SECTION DETAIL AT B.O. TRUSS 1:20

REFER TO STRUCTURAL FOR STEEL PLATE AND ANCHOR SIZING

CLEVIS PLATE DIMENSIONS 1:5

OWNER SUPPLIED SINGLE MAN CAGE EXISTING MESH PANEL

REFER TO STRUCTURAL FOR STEEL SIZING AND CONNECTIONS INSTRUCTIONS

STEEL ANGLE REFER TO STRUCTURE EXISTING RACK & PINION DRIVE SHAFT WINDOW OPERATOR (ACCESS REQUIRED)

127

152

PAINT ALL NEW STRUCTURAL STEEL

WELD CLEVIS PLATE BETWEEN INTERMITTENT STEEL ANGLE SUPPORTS AND STEEL ANGLE AT END OF ALL SUPPORTS. FASTEN MONORAIL (PROVIDED BY OTHERS) TO FABRICATED BRACKET. SEE STRUCTURAL DRAWINGS FOR DETAIL

SEPARATE PRICE #7: NEW 1000W METAL HALIDE LIGHT, 50-100LBS EACH, TYP. ANCHORED TO EXISTING CONC. WALL. SEE A3.3 ELEVATION FOR DIMENSIONED LOCATIONS (ACCESS REQUIRED)

R38

EXISTING TRUSS SEAT TO REMAIN NEW ANCHOR PLATE FOR CLEVIS & TENSION ROD

900

+/- 2000

NOTE: STRUCTURAL ENG. TO VERIFY IF BEARING CAPACITY OF TRUSSES CAN SUPPORT MONORAIL SYSTEM & BOSUN CHAIRS, SWING STAGE, ETC. OR IF REINFORCEMENT IS REQUIRED

900

460

2000

NEW STEEL HSS REINFORCEMENT ON BOTH SIDES OF EXISTING TRUSS; SEE STRUCTURAL DRAWINGS. APPLY SPECIAL COATING TO NEW EXISTING TRUSS #1 (NORTH) AND EXISTING STEEL AS DESCRIBED IN THE EXISTING TRUSS #6 (SOUTH) SPECIFICATIONS. NEW SHADE CURTAINS (ACCESS REQUIRED)

EXISTING MISTING LINE (ACCESS REQUIRED)

NEW WELDED PLATE FOR CLEVIS CONNECTION TO BE ANCHORED BELOW EXISTING TRUSS SEATS. SEE STRUCTURAL AND ARCHITECTURAL DETAIL A4.1/2

NEW NON-MOTRORIZED MONORAIL SYSTEM & BOSUN CHAIR LINES; PROVIDED BY OTHERS. FACTORED LOAD 22.2KN (5,000LB) SWING STAGE SAFETY LINE WORKING LOAD SAFETY FACTOR OF, 4=17.8KN NOTE: CONTRACTOR TO MAINTAIN CLEARANCE DISTANCE BETWEEN MONORAILS AND ADJACENT LIGHTS. NOTIFY CONSULTANT IF THIS CANNOT BE ACHIEVED.

PROPOSED INCLINED MOTORIZED MONORAIL HEIGHT TO VARY With UNDERSIDE OF TRUSS. SHIM AS REQUIRED; PROVIDED BY OTHERS

COORDINATE TO ACHIEVE CLEARANCE BETWEEN LOCATION OF NEW CABLE RETURN PULLEY AND EXISTING RADIATOR FIN & STEAM LINE

EXISTING STRUCTURAL STEEL TO REMAIN (DO NOT PAINT)

+/- 300

EXISTING RACK & PINION DRIVE SHAFT (ACCESS REQUIRED)

EXISTING RADIATOR FIN & STEAM LINE (ACCESS REQUIRED);

SECTION DETAIL AT T.O. TRUSS #1

We received building permit rather quickly; however as a rare result, none of the City’s roster contractors bid on this project during its original tender. Since then, a re-tender package has been proposed; however, in between this time the City (Owner) asked us to review with all the suppliers we specified in our documents if they meet the City’s ‘Fair Wage and Unionized Labour Law’ requirements. This involved calling/emailing these companies and determining if they provided bids on the original tender. In almost all cases they did, unless they were uninterested for other reasons. Even though this process has been slightly odd, it has been very informative to me as a means of describing how contractors, subcontractors, and bidders prepare quotes for jobs and measure the value of these types of small and complicated projects. The City has now determined that both a longer bid period and longer construction schedule are needed for the re-tendering of this project.

1:20

WORKING DRAWINGS, A.SLADE (in part) BSN ARCHITECTS • INTERN ARCHITECT,, 2012.2014

/ 19

*All computer renderings by Teeple Architects

GEORGIAN COLLEGE: HEALTH AND WELLNESS CENTRE, NORTH-WEST FACADE RENDERING

GEORGIAN COLLEGE: HEALTH AND WELLNESS CENTRE, NORTH-EAST FACADE RENDERING

WORK EXPERIENCE (2005.2014)

INSTITUTIONAL PROJECTS: + Georgian College, Health and Wellness Centre, Barrie, ON. + County of Simcoe Administration Centre, Barrie, ON.

*Note: both projects listed above were completed in collaboration with Teeple Architects. aTRM Architects collaborated on G. C. / H & W Centre. Having spent over 16 months working at Ted Handyâ&#x20AC;&#x2122;s and Associates Inc., Architect, I was granted the opportunity to work on a vast range of projects. To provide a quick example, this included: (5) single-family residential homes, a Girl Guides lodge, and a cottage [which all involved extensive working drawings and detailing], (4) churches -- [taking two of these projects from concept to construction completion], (2) large institutional projects [involving contract administration, project management, and coordination roles, as well as team-drafting], a strip mall, ice cream store, bike shelter, and (2) 60-unit townhouse developments, plus many other partial-projects in between.

GEORGIAN COLLEGE: HEALTH AND WELLNESS CENTRE, MAIN FLOOR RENDERING *All computer renderings by Teeple Architects

The practice and skills learned from this diverse experience cannot be shown adequately in the following pages, so I will instead choose to focus on a few projects that differ from the other material contained in this portfolio. More detailed work examples will be updated shortly once received from employer; however, in the meantime, my tasks while working on the G. C. / H & W Centre were as such: i) primary contact for coordinating consultants working on achieving Site Plan approval. This included two other architecture firms, civil, structural, mechanical, and electrical engineers, landscape architects, and city planners. ii) revising and updating plans, sections, and elevations for bridge drawings associated with new H & W Centre. As well as preparing challenging details such as joints between new and existing buildings.

COUNTY OF SIMCOE, MAIN FLOOR PLAN

GEORGIAN COLLEGE: HEALTH AND WELLNESS CENTRE, SECOND FLOOR RENDERING TED HANDY & ASSOCIATES â&#x20AC;˘ ARCHITECTURAL DESIGNER, 2009.2010 + 2011

/2 21 1

*All photos property of Ted Handy and Associates Inc., Architect

COUNTY OF SIMCOE, PHOTO OF FRONT ENTRANCE

The role I took on with the C.o.S. Administration Centre was much less independent but involved a wider range of drawing, designing, and annotating experience with a team of 6 other active architects. The most exciting job is indicated in the photo above; that being, the opportunity to design the glass vestibule located at the main entrance of the C.o.S. building. This process involved many phone calls and product information research to determine which glass structure would be the most feasible and visually appealing negotiation. After preparing a number of different iterations, a suspended glass wall with spiderclips and inset aluminium frame was selected for construction drawings.

COUNTY OF SIMCOE, PHOTO OF LOBBY & COURTYARD BEYOND

The majority of my remaining hours were split between dimensioning, annotating, revising floor plans, and preparing sheets for enlarged stair, elevator, and washroom details, (in which many of these tasks involved quick updating in coordination with other architecture firms who were working on sections and elevations), and various tasks associated with the site plan (which involved creating custom site details concerning modifications to the exterior of the existing building). COUNTY OF SIMCOE, PHOTO OF TYP. CORRIDOR WORK EXPERIENCE (2005.2014)

ASSEMBLY PROJECTS: + St. Andrew’s Presbyterian Church Barrie, ON.

ST. ANDREW’S, PHOTO OF NEW ELEVATOR (WITH WINDOWS)

ST. ANDREW’S, PHOTO OF NEW A/V STATION

This church was the first project I started and fully completed on my own with the assistance and guidance of the principle architect. It was a 960 sq.ft. renovation which contained an assortment of challenging and diverse design obstacles. For example, the integration of barrier-free accessibility to the entire building (which led us to add [1] 3-storey piston-powered elevator lift and a few small ramps around the building where necessary), a new audio/video unit (to provide the space required for new technologies while visually complementing the existing ornament and detail in the church), the creation of a new entrance (that embodied an open and accessible image to the public), and various other improvements throughout the building (such as washroom renovations, new millwork and stair details, difficult fire separations solutions, and numerous material selections).

*All photos property of Ted Handy and Associates Inc., Architect ST. ANDREW’S, PHOTO OF NEW CONCRETE STAIRS AND STAINLESS STEEL RAILINGS TED HANDY & ASSOCIATES • ARCHITECTURAL DESIGNER, 2009.2010 + 2011

/ 23 23

all renderings property of RSH + Partners WORK EXPERIENCE (2005.2014)

Riverside South Development, Canary Wharf, London, England *Note: no working drawings for this project can be provided. The summer I spent at Adamson Associates | Architects was a brief, but very positive and valuable experience. The projects I worked on included a 9-storey office building in Bangalore, India, and a Riverside South development, in Canary Wharf (as seen on this page).

About halfway through the summer; after weeks of preparing programmatic and schematic layouts for traffic flow designs, structural systems, parking and office workspace grids, the Bangalore project was threatened by a series of bombings which immediately put its development on hold. At this time, my

job priorities quickly shifted towards a full-time position on the Riverside South team. I quickly learned how to work and communicate effectively with a large project team. There was about 20 employees working on this project at the time I began and therefore my assistance ranged significantly on a daily basis.

ADAMSON ASSOCIATES â&#x20AC;˘ STUDENT DESIGNER, 2008 (SUMMER)

25 /2 5

all renderings property of RSH + Partners

WORK EXPERIENCE (2005.2014)

Some days I would be helping coworkers put together typical office floor plans to accommodate new occupancy load requirements, other days I would be making adjustments to floor-to-floor sections to help reduce the overall building height. Nevertheless, the majority of my time was spent drafting parts of the ground floor and site plan. This primarily involved doing tedious tasks like adjusting structural components

and their casings or readjusting partition walls to accept revised building envelopes, for example. However, this task provided me with excellent AutoCAD practice and a thorough understanding of extremely complicated xref and nested xref structures, block uses, and various means of using layers and filters. Aside from the technical aspects, there was something potentially much more valuable learned from working

in this complex environment; that being, the ability to find ones’ voice within a team. Knowing not just ‘when to’ but ‘how to’ listen carefully helped me reduce the amount of questions I would need to ask. Likewise, knowing ‘when to’ and ‘how to’ speak up and make suggestions that could be beneficial to the entire team or project is a skill that I will always carry with me as part of my training at Adamson Associates | Architects.

ADAMSON ASSOCIATES • STUDENT DESIGNER, 2008 (SUMMER)

27 /2 7

Hill-Maheux Cottage, QC. What makes this product so fascinating is its close resemblance to other materials (like painted wood siding or metal panels, for instance), in combination with its slow-deterioration and noncorroding qualities. I prepared these wall assemblies to both test the workability of the material and design various flashing conditions. As one can see in the photo below, some ideas from these explorations made appearance in this featured home.

1:1 CONCRETE CLADDING MODELS, A.SLADE

*All photos and plans are property of Kariouk Associates

The two images to the left show the experimental 1:1 details I spent the majority of my time creating while working for Kariouk Associates. The material of interest used for these mock-up wall assemblies is called fibercementitious board (or Hardie Plank Siding). It has similar chemical qualities to gypsum and cement board; however, its durability, resistance, and strength sit approximately halfway between the two materials.

EXTERIOR PHOTO APPROACHING THE ENTRANCE

WORK EXPERIENCE (2005.2014)

INTERIOR PHOTOS OF FINISHED COTTAGE

The remaining photos in this section document the interesting homes that I helped prepare other 1:1 fabrications (i.e 6ft long pivoting wall based light fixtures), and physical presentation models for. Merely being a part of Kariouk’s design process was an asset in itself. All his projects seem to strongly represent the inner voice of his clients’ artistic beliefs and values. MAIN FLOOR PLAN

PdK ARCHITECTURE • STUDENT DESIGNER, 2007 + 2008 (PART-TIME)

29 /2 9

Hurteau-Miller Residence, QC. Although some may not agree with this statement, I personally felt that Kariouk’s most impressive quality lies in the fact that none of his buildings repeat an ‘architectural style’. Style, whether developed naturally over time or intentionally promoted for exposure, often out shadows the importance of clientarchitect relationships. Which bodes the questions: If a building does not represent its owner, its public, can it be considered ‘good architecture’? This question perhaps sets an unforgiving standard in my mind; one that favours the impure, inconsistent, and unpredictable side of architecture: for it is only from this perspective that architecture can both relate with its public audience, while also reflecting on its former self. With Kariouk Associates, it is truly difficult to identify the firm’s designs at first glance (due to the variations in form, space, and overall expression); however, upon closer inspection, there is an underlying quality, craft, and intelligence to the attention of detail that is undeniably a recognizable output of Kariouk Associates’ design process.

MAIN FLOOR PLAN WORK EXPERIENCE (2005.2014)

EXTERIOR PHOTO FROM BACK YARD

*All photos and plans are property of Kariouk Associates EXTERIOR PHOTO APPROACHING THE ENTRANCE PdK ARCHITECTURE • STUDENT DESIGNER, 2007 + 2008 (PART-TIME)

31 /3 1

CURRICULUM VITAE

WORK EXPERIENCE 2005.2012

02 – 32 II.

RESIDENTIAL 2010.2013

33 – 62 III.

CARLETON UNIVERSITY AZRIELI SCHOOL OF ARCHITECTURE AND URBANISM  2010.2012 (M.ARCH)

63 – 84 IV.

UNDERGRADUATE MATERIAL 2005.2009 (B.A.S)

85 – 92 V.

COMPETITIONS 2009.2012

93 – 103

HARRINGTON BEACH HOUSE Long Point Road, Split-Level, 3,500 sq.ft.

34 - 45

MARTIN’S SKI CHALET Osler Bluff Road, 2-Storey + Basement., 4600 sq.ft.

46 - 51

BENNETT`S RESIDENCE 7th Line (TOBM), 1-Storey + Walk-out., 5,000sq.ft,

52 - 53

SPACELAPSE Brophy`s Lane, 2-Storey, +/Basement, 1,800 sq.ft.

54 - 59

ANDREW SLADE • SELECTED WORKS / 33

HARRINGTON BEACH HOUSE CUSTOM RESIDENTIAL DESIGN

RESIDENTIAL (2010.2014)

BLUE MOUNT AIN

Long Point road, split-level 3500

sq.ft.,

$1.2m

This house is located on the boundaries of Collingwood and Town of the Blue Mountains, Ontario. It was independently designed over the summer of 2011 for a local residential contractor and his family of five. The set construction date is spring 2013 as it is currently pending approvals. Although there are numerous qualities that make this property a beautiful setting – like its unique location looking over the water back at Blue Mountain, for instance – the main reason this property was selected by the owners was for its wind-power! As one can see in the photo to the left, the wind here can be quite powerful at times, allowing thrill-seekers and other water-sport enthusiasts to enjoy the surrounding Georgian Bay. Needless to say, the house has been designed around this unique condition in multiple ways as well. For example, in attempt to maximize the view of the water and mountains beyond, a large, 14ft triple-pane curtain wall spans the south-west walls of the house. Aesthetically speaking, both from the interior and exterior, the main living and dining spaces are cantilevered 2ft – 4ft beyond the floor beneath to create the effect that the home (and people inside) is levitating above the water. As you will see on the following pages, discrete warm floor details are used to keep these sometimes vulnerable floor spaces well insulated, (without compromising the overall form of the house). Finally, since the house has windows at both the front and back ends and is a spilt-level that faces eastwest with straight halls connecting either side, natural-ventilation can be harnessed on a regular basis by simply opening a couple windows.

DESIGN DEVELOPMENT,3D MODEL,,JULY 2012

SUBSTANTIAL COMPLETION, JAN. 1ST,2014

HARRINGTON BEACH HOUSE • LONG POINT ROAD, SPLIT-LEVEL LEVE EV EVE VEL VE

/3 35 5

This was not the first house I designed with a Building Information Modelling (BIM) program; however, it was definitely the first time I could confidently say that I knew how to use the program well enough to benefit from its extreme efficiencies. For instance, once the general shape and layout had come to form, the three-dimensional views were extremely useful to communicate space to the clients; not to mention, quite impressive and detailed when converted to other 3D-modelling softwares.

At the same time, the program proved to be very beneficial for updating various changes asked by the clients. Requests to make the footprint smaller were much easier to accommodate with a 3D model as opposed to the common 2D line-based drawings. Similarly, changing wall, floor, and ceiling assemblies can literally happen before your clients eyes. What really makes BIM modelling so superior to conventional and computer-assisted drafting is the fact that numerous parameters

and parametrics can be set up to make quick changes that used to take hours of redrawing. These changes can now happen with the click of a button. This is perhaps what initially inspired an early thesis idea I developed in first-year Masterâ&#x20AC;&#x2122;s: entitled, Syntax of Ageing. Although, I eventually went beyond this research for my thesis, this house was the perfect scale for many of these ideas which focused on weathering and material transformations.

SHEETS INTERIORVIEWS

SPATIAL & MATERIAL DEV.

RESIDENTIAL (2010.2014)

RENDERINGS

In the axonometric floor plan below, one can see a variety of highlighted elements in green. The idea here is that seeing as the entire house is completely documented with a BIM model, one could use a computer program to both record and predict material lifecycles before damages occur. The theme with the beach house is to use as many naturally weathering materials as possible so that the home will not require much

maintenance at all. However, the value of recording these changes could help predict how the house will look after a certain number of years. Theoretically, one could link this information to a computer or mobile device through an interactive webpage, (as depicted below). From here, possibilities of linking your building information to related construction advice or weathering and deterioration analysis for example, would be virtually infinite.

AXONOMETRIC ROOF

PLANNING FOR MATERIAL TRANSFORMATIONS

SYNTAX OF AGEING

AXONOMETRIC MAIN FLOOR

AXONOMETRIC GROUND FLOOR

HARRINGTON BEACH HOUSE â&#x20AC;˘ LONG POINT ROAD, SPLIT-LEV SPLIT-LEVEL VEL

37 /3 7

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LOWER FLOOR -3' - 11" T.O FOOTING GARAGE -4' - 11 1/2"

T.O. FOOTING LOWER -8' - 6"

Section 1 1/4" = 1'-0"

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A4.2

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SECTIONS ROOF MAIN 19' - 5 1/4"

ROOF MAIN 19' - 5 1/4"

ROOF KITCHEN 12' - 5 1/4"

ROOF ENTRY 9' - 0"

MAIN FLOOR 5' - 0 3/4"

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MUDROOM -0' - 3 1/2" GARAGE -1' - 3 1/2"

LOWER FLOOR -3' - 11" T.O FOOTING GARAGE -4' - 11 1/2"

NORTH 1/4" = 1'-0"

EAST 1/4" = 1'-0"

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ROOF KITCHEN 12' - 5 1/4"

ROOF ENTRY 9' - 0"

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LOWER FLOOR -3' - 11" T.O FOOTING GARAGE -4' - 11 1/2"

SOUTH 1/4" = 1'-0"

LOWER FLOOR -3' - 11" T.O FOOTING GARAGE -4' - 11 1/2"

ELEVATIONS Aside from the Ageing Syntax idea, there were some other very interesting moments and principles applied to the spatial layout and sections throughout this home. For example, at every door, opening, hall, or abrupt change in direction, there is commonly a window (of various size) connecting the residents to the outdoors. Being a beach house, much of the activity on this property will occur outside; be it kiteboarding and swimming in the bay

WEST 1/4" = 1'-0"

or simply sitting by the pool and hot tub while watching the sun set over the horizon. This house not only programmatically and physically extends across its setting, but also contains architectural and structural features that complement this environment. This is primarily achieved by extending various supporting beams in the house through the building envelope and into the surrounding landscape. Also, one might notice,

that the columns supporting these elements have been detailed with a round tubular post, reminiscent to the surrounding trees that fill this site. As a final detail, the exercise pool at the back of the house includes an infinity disappearing edge, which visually connects one to the bay just beyond while simultaneously creating a small patio area just outside the pool where residents can peacefully listen to the water trickle behind them.

HARRINGTON BEACH HOUSE â&#x20AC;˘ LONG POINT ROAD, SPLIT-LEVEL VE EL

39 /3 9

FRONT ENTRANCE (DAY) RESIDENTIAL (2010.2014)

LOOKING WEST FROM ROAD, EAST FACADE

EAST FACADE, SCHEMATIC DESIGN RENDERING HARRINGTON BEACH HOUSE • LONG POINT ROAD, SPLIT-LEVEL VEL VE L

41 /4 1

KITCHEN, DINING, LIVING SPACES

It is hard to believe, but the construction of the Beach House began on December 1st, of 2012. Because of a very mild start to the winter season, Dave (Contractor) was able to frame the footings, erect the unconventional formwork, pour the foundations, build the main floor and close up the basement before the winter began. For the following winter months, wood framers work hard on

CONSTRUCTION PROCESSES RESIDENTIAL (2010.2014)

the warmer weeks of the winter, getting through substaintial amount of the building envelope before Spring. As the winter faded away, the construction activity exploded and within 5 months the house was complete for occupancy! As you can see from the photos (below left), the construction process was a very fruitful experience where man ideas were generated in the moment and base

on local opportunities. Perhaps the most memorable and visually interesting example of this would be the textured concrete foundations. Textured concrete was always part of the design, as was reveal channel wood siding and other materials that made it on the residence; however, it wasnâ&#x20AC;&#x2122;t until collaboration with the contractor began that the materials started to develop languages between each

INTERIORS, FINISHES, & DETAILS HARRINGTON BEACH HOUSE • LONG POINT ROAD, SPLIT-LEVEL VEL VE L

43 /4 3

FRONT ENTRANCE (NIGHT) RESIDENTIAL (2010.2014)

other. The original idea for textured conrete was to use random scaps of wood creating a bunker aesthetic. As I was working very closely with the contractor/owner , I quickly learned how time consuming a form like this would take (i.e. nailing random bits and pieces of wood to the forms). Fortunately, as Dave was looking into the reveal channel siding, he was informed of a of a load of siding that was not stored properly and was no longer good for sale. Dave realized at this moment that this discounted wood could be the perfect fit for the textured concrete we desired, see photos above. The result was impressive and unexpected. Not only did the concrete pick up the rough cut wood grain but it also provide a 1” x 1/2” ribbed that matched the reveal channel siding that was eventually installed above. The random bunker aesthetic might have worked, but there is no doubt that this solution brought more individual character to the home and at a lower cost as well. Another example, less tectonic, more architectural perhaps, was how the powder room got its height. In the original plans, a staircase was designed to provide access to a roof top terrace above the Master Bedroom and ensuite. The landing for this staircase was above the powder. A decision was made by the owner that access to the roof was not required and as a result we were left with a empty space above the washroom. Although the owner/contractor was fine to just close this space up entirely, I took this opportunity to exaggerate the idea of a ‘special powder room’ and instead make the powder room unique by using the residual space in the home. The result is what is seen above in the photos. A standard 5ft x 5ft powder room with 16ft ceiling that curls to collect the morning sun. As a final note, what is perhaps most intersting about this entire project - and marries the construction and design phases togeteher while returning us to the concept discussed at the outset of this section - is the fact that I am able to not only see this home on a regualr basis, but also live and experience it as well. How is this possible? Dave, the contractor/ owner is my father-in-law.

GARAGE AND WALKWAY FRONT DOOR ELEVATION

For the last 2 years I have been able to watch the home change, evolve, withstand and entertain a number of people. The concept of ageing syntax has unravelled itself in a variety of ways, from the low-matainence concrete walls to the rapidly weathering cedar siding. Harrington Beach House is a rare opportunity, one that I not only cherish but now use as a learning tool on a regualar basis. HARRINGTON BEACH HOUSE • LONG POINT ROAD, SPLIT-LEVEL VE EL

45 /4 5

Martin’s Ski Chalet

A G w E ea O th F S er N m OW an Y e) P I

PASSIVE SOLAR: TRADITIONAL

RESIDENTIAL (2010.2014)

Osler Bluﬀ Road, 2-Storey + Basement. 4600 sq.ft., $1.0m The Martin’s Ski Chalet was the first house that I fully designed and saw to be completed. This home is located on an attractive corner property at the base of Osler Ski Club in Town of the Blue Mountains, Ontario. It was designed over the summer of 2010, and was constructed from March 2011 to January 2012. As one can see in the images to the right, the 3D computer model proved to be a fairly accurate rendition of the actual construction. (top: 3D model, bottom: construction photo) What I was most impressed to find out when the house was eventually complete, was how accurate the solar heating and natural day-lighting predictions were in reality. The Martin’s chalet contains many traditional techniques of controlling seasonal heat gain and loss cycles, for example: the southeast and south-west facing walls are covered with large glass windows and doors beneath a 6ft deep roof overhang. Because the sun’s azimuth (angle of sun in relation to the earth’s surface) changes an average of 46.8º over the entire year, this roof is able to block unwanted solar gain in the summer months when the sun is up high (69.2º) and allow sun to penetrate beneath the roof during the winter when it is low (22.4º). Additionally, a stone wall (or Trombe wall) is used on this façade to retain any heat from the sunlight that hits its surface. Stone is a very conductive material and therefore is able to hold heat and reradiate it at night when the air is cooler.

DESIGN DEVELOPMENT AUGUST 2011

SUBSTANTIAL COMPLETION DATE SEPTEMBER 2012

MARTIN’S SKI CHALET • OSLER BLUFF ROAD, 2-STOREY + BASEMENT

47 /4 7

3 A4.3

Design Development

ROOF OUTLINE ABOVE

1' - 3 1/4"

DASHED LINE INDICATES AREA WHERE CEILING HEIGHT IS LESS THAN 6'-10" TWIN

NOTE: 1/ PROVIDE 2x4 STUD WALLS IN ALL LOCATIONS BELOW FLOOR PLAN CUTLINE EXCEPT FOR WALLS BELOW DORMERS: 2x6 STUD WALLS TO BE SUBSTITUTED (ALL EXTERIOR WALLS TO BE 2x6) 2/ ALL INTERIOR WALLS TO BE TYPE A UNLESS INDICATED OTHERWISE 3/ ALL EXTERIOR WALLS TO BE "TYPE 1" UNLESS INDICATED OTHERWISE.

DRESSERS

BUILT-INS FOR: CLOTHING STORAGE -DRAWERS -SHELVES -HANGING -DISPLAY

13' - 3 3/4"

MASTER BEDROOM

9' - 9"

207

1 A4.3 DN

2' - 2 1/2"

FLAT TRIMMED ARCH

4' - 8" 4' - 11 1/2"

207A

6' - 0"

206

7' - 10 3/4"

207B

202F

A4.2

7' - 4 1/4"

DRESSER

3' - 6"

LINEN CLOSET

MIRROR

2' - 0"

202E

1' - 8"

201A

BEDROOM 205

DN 4' - 11 1/2"

5' - 0"

4' - 4 3/4"

MASTER BATHROOM

A4.3

3' - 4"

207C

LINEN

206A

60" FREESTANDING TUB

24"x24"

2' - 5"

MIN. FLUE SIZE

207D

2' - 3 3/4"

30" x 64" TILED SHOWER WITH CLEAR TEMPERED GLASS WALL & DOOR

1 A4.1

HALL

7' - 2"

3' - 6"

BATHROOM 203

4' - 8 1/2"

TALL CABINET

1' - 4"

BEDROOM 204

4' - 11 3/4"

202A

202B

DRESSER A4.2

201

3 A4.1

202C

SHELF

2' - 0 1/4"

4' - 8"

DRESSER

BEDROOM

202

WOOD HANDRAIL & BAULASTERS; 3'-0" H

2' - 6 1/2"

202D

205A

2' - 1 1/2"

4' - 0"

2' - 5 1/2"

4' - 0"

3 A4.2

DASHED LINE INDICATES AREA WHERE CEILING HEIGHT IS LESS THAN 6'-10"

4' - 7 3/4"

4' - 9 1/2"

WINDOW SEAT

204A

10' - 2 3/4"

5' - 3"

5' - 0 1/4"

ROOF OUTLINE ABOVE

A4.1

A4.2

A4.3

SECOND FLOOR = 1403sf. + UNFINISHED (340 sf) + CARPORT & DECK ROOF (1318 sf) = 3061 sf.

7 1/2"

6' - 9 1/2"

7 1/2"2' - 4 3/4"

6' - 10 3/4"

11' - 2"

3' - 8 1/2"

6' - 1"

2' - 3"

3 A4.3

4' - 7 3/4"

14' - 6"

5' - 1"

HOOKS

10' - 9 1/2"

110

1' - 7"

110A

2'-6" x 6'-0" WOOD PILE AREA

A4.3

AWAY ROOM

10' - 2 1/4"

109A

109

2' - 10"

DESK

12' - 11 1/2"

HOT TUB 6'-6" x 6'-0"

6' - 6 1/2"

18' - 9 1/2"

109B

A4.3

3' - 6" OTTOMAN

2' - 3"

3' - 6 1/2"

13' - 4 3/4"

STORAGE - BIKES, LAWN FURNITURE, GARDEN TOOLS, ETC.

4 UP

A4.1

4' - 6"

HALL

3' - 6"

3' - 4"

10' - 7 1/4"

14' - 6 3/4"

108

14' - 2 3/4"

103

6' - 8 1/2"

LIVING

A4.3

2'-6" x 5'-0" ENCLOSED WOOD PILE BOX

108C

3' - 7 1/4"

3' - 0"

WALL MOUNTED 42" FLAT SCREEN

BUILT-IN FOR FILE DWRS, ENT. SYSTEM, BOOKS

9' - 2 1/4"

3' - 8"

6' - 1"

WOOD PILE

NOTE: 1/ ALL INTERIOR WALLS TO BE "TYPE A" UNLESS INDICATED OTHERWISE. 2/ ALL EXTERIOR WALLS TO BE "TYPE 1" UNLESS INDICATED OTHERWISE.

WINDOW WELL

HEATING UNIT: BASEBOARD HEATER

ANTE-ROOM

102B 101A

3' - 6"

1' - 9"

HOOKS, SHELVES, CUBBIES, RECYCLING BINS

MUDROOM

26' - 4 3/4"

6' - 0" DN

CUBBIES

104C

5' - 11"

3' - 8"

3' - 3 3/4" 3' - 9"

3' - 6"

3' - 4"

6' - 11"

DN 22' - 11 1/2"

6' - 0"

1' - 6"

1' - 2"

105

32' - 0" 7' - 0"

10' - 10 1/2"

4' - 7 1/2"

BATHROOM

FLAT TRIMMED ARCH

108A

6' - 0 3/4"

102A

1 A4.1

6' - 2"

10' - 9 1/2"

102

HEATED FLOOR

104D

3 5' - 4 1/2"

6' - 11"

5' - 4"

COATS

104B

7' - 0"

12' - 8 1/4"

104A

KITCHEN

107

106

5' - 10"

7' - 0"

2' - 0"

7 1/2"

DINING

6' - 0"

10' - 10 3/4"

104

F FOR KITCHEN DESIGN REFER TO DWG. _____, JUDITH GILMAN DESIGN ASSOCIATES

ENTRY

A4.1

MW BENCH

TABLE 3'-6" x 8'-0"

1 A4.2

1' - 9 1/4" LINE OF ROOF ABOVE

5' - 5 1/2"

5 A4.3

WINDOW WELL BELOW

6' - 10 1/2"

2' - 4"

7' - 0"

5' - 2 3/4"

9' - 0 3/4"

7' - 4 3/4"

3' - 8"

10' - 0 1/2"

10' - 0"

10' - 8 1/4"

7 1/2"

3' - 10 1/4"

1' - 7 1/2"

6' - 5"

11' - 4 3/4"

11' - 10 1/2"

BARBEQUE AREA

107A

17' - 6 1/4"

2' - 3 1/4"

1' - 2" 2

A4.1

A4.2

A4.3

MAIN FLOOR = 1660sf. + CARPORT (361 sf) + PORCH & DECK (922 sf) = 2943 sf.

7' - 5"

3' - 4 3/4"

17' - 10"

3' - 8"

4' - 4 1/4"

10' - 6" -6' - 0"

3' - 10"

3' - 2"

W001

NOTE: 1/ ALL INTERIOR WALLS TO BE TYPE A UNLESS INDICATED OTHERWISE 2/ ALL EXTERIOR WALLS TO BE "TYPE 2" UNLESS INDICATED OTHERWISE

T/O FOOTING

10' - 2 1/4"

3' - 5 1/4"

T/O FOOTING

WINDOW WELL HOOKS

-9' - 6 1/2"

008C

DESK

T/O FOOTING

14' - 7 1/2"

008

008B

18' - 0"

13' - 3 3/4"

18' - 10"

-9' - 6 1/2"

BEDROOM

1 A4.3 10' - 1 1/2"

4' - 5"

6' - 6"

3' - 4 1/2"

1' - 3 3/4"

17' - 6 1/4"

6' - 2 1/4"

4 A4.1 SKI STORAGE 001

UP 15' - 5 1/4"

10' - 5"

7' - 5"

5' - 0"

3' - 4"

HEATED FLOOR

2' - 6"

SHELF DN

WORK BENCH

002A

34' - 0"

007

WORK ROOM 002

25' - 2"

BEAM: CENTRAL VACUUM SYSTEM (14" DIA. x 40")

FAMILY ROOM

CUBBIES

DRYING RACK & SHELF

10' - 4"

A4.3

5' - 10"

ENTERAINMENT CABINET: SIZE TBD

6' - 5 1/2"

3' - 4"

BENCH

11 3/4" 9' - 10 3/4"

4' - 3 3/4"

007A

CAB.

FRONT LOAD WASHER/DRYER UNDER COUNTER WITH SINK

002C

HOOKS ABOVE 007D

007B

006

007C

WATER FILTRATON SYSTEM (19"x16"x18")

COLD . STORAGE UNIT

MECHANICAL 003

BATHROOM

TWIN SUMP PUMP (30"x30" EACH)

GAS BACK-UP GENERATOR (47 1/4"x28 3/4"x31 3/4")

BUNKROOM/OFFICE

005

004

12' - 3"

AMERICAN STANDARD: GASPOWERED WATER HEATER (66 3/4"x26 1/4"DIA.)

16' - 9 3/4" 5' - 10"

4' - 1"

60" TUB/SHOWER

004A

7' - 11"

10' - 0 3/4"

A4.2

LINENS

006A

INFINITY 96: GAS FURNACE (14 3/16"x24 1/2x33 1/3")

002B

FUR OUT WALL B TO MAKE FLUSH

BENCH

A4.1

FLAT TRIMMED ARCH

LAUNDRY

24" TALL CABINET WITH PULLOUTS

5' - 11"

STORAGE CUPBOARDS ABOVE

7' - 7"

11' - 4 1/2"

004B

HVAC SYSTEM (SIZE APRX.)

4 A4.3 -6' - 0" 7' - 6"

W001

2' - 0"

8' - 0"

2' - 1"

5' - 5 1/4"

A4.1

WINDOW WELL

T/O FOOTING

12' - 2 3/4"

11' - 0" 1' - 2" TYP.

WORKING DRAWINGS PLANS

4' - 6" 008A

3' - 6"

7' - 4 3/4"

2' - 8"

9' - 4"

2' - 0"

17' - 6 1/4"

1' - 2" TYP.

10' - 0 1/2" 2

A4.1

A4.2

BASEMENT = 1610 sf. + WINDOW WELLS (122 sf) = 1732 sf

RESIDENTIAL (2010.2014)

Construction Completion

* I was fortunate enough to be able to visit this chalet on a weekly basis as it was being constructed to both monitor and document its progress in detail. This condition allowed me to see how certain elements were physically assembled by various trades and the amount of time it took to complete these different tasks.

The images on this page show some of the earlier design development as some of these spaces, arrangements, and details changed slightly in the final set of working drawings. It is interesting to compare the subtle differences between these images and the photos on the following page.

MARTINâ&#x20AC;&#x2122;S SKI CHALET â&#x20AC;˘ OSLER BLUFF ROAD, 2-STOREY + BASEMENT

49 /4 9

* U/S OF CEILING 18' - 11 3/4"

U/S OF CEILING 18' - 11 3/4"

W205 W202

W202

W201

SECOND FLOOR 10' - 4 3/4"

W103

W104

W103

CONNECT FASCIA FROM CARPORT TO HOUSE EAVESTROUGH

MAIN FLOOR 0' - 0"

ELEVATIONS

BASEMENT -9' - 0"

U/S OF CEILING 18' - 11 3/4"

U/S OF CEILING 18' - 11 3/4" W204

W203

W206

SECOND FLOOR 10' - 4 3/4"

PROVIDE COUNTERTOP CABINETS FOR BUILTIN BBQ W101

W106

W105

PROVIDE DOORS TO MATCH BBQ

W101

3' - 0"

1' - 0"

W102

MAIN FLOOR 0' - 0"

BASEMENT -9' - 0"

1 3

A4.1

A4.2

A4.1

LONGITUDINAL SECTION - EAST-WEST 1/4" = 1'-0" 1

A4.2

A4.1

A4.3

VARIES

4 A4.3

U/S OF CEILING 18' - 11 3/4"

8' - 7"

A4.3 2' - 7 1/2"

2' - 7 1/4"

7 A5.1

SECOND FLOOR 10' - 4 3/4"

1' - 4 1/4"

T ecto i g n ri ht2 y p o C 7 0

9' - 0"

FOR ITCHEN DESIGN REFER TO DWG. UDITH GILMAN DESIGN ASSOCIATES

3' - 4"

1b*

MAIN FLOOR 0' - 0"

1' - 0 1/4"

HVAC

8' - 0 1/2"

HEATED UNDER SHEATHING IN MUDROOM

7' - 1 1/2"

SECTIONS

BASEMENT -9' - 0" B.O. FOOTING -10' - 4 1/2"

One half of the photos and drawings shown here focus on the stone wall and large glass doors as described earlier on in this chapter, whereas the other photos introduce another important traditional energy-saving feature. This is of course, the central fireplace (as seen in the centre photo on the right). Typically, many fireplaces are designed to be built on the perimeter wall of a house most likely

RESIDENTIAL (2010.2014)

LONGITUDINAL SECTION SOUTH-NORTH

because it is easier to construct in this location. However, the issue here is that half of the heat is lost through the back wall of the fireplace to the exterior. By placing the fireplace in the centre, heat is displaced evenly throughout the home. The renowned architect, Frank Lloyd Wright used this technique is every single house he designed: the fireplace was the hearth, the heart of every home.

BASEMENT -9' - 0" B.O. FOOTING -10' - 4 1/2"

Aside from the apparent sustainable aspects, what makes this fireplace so unique in the Martinâ&#x20AC;&#x2122;s chalet is its seethrough, double-sided design. The Great Room and Away Room have been intentionally separated by this element; however, this opening allows for these two rooms to be visually connected in a fashion that does not permit each room to disturb one another.

INTERIOR PHOTOS

MARTIN’S SKI CHALET • OSLER BLUFF ROAD, 2-STOREY + BASEMENT

51 /5 1

00" W N 9째 34' 492.13'

15000

8000

20' 15" N 72째 88' 2211.

(A1-233) ZONE

7TH LINE

(H) ZONE

26.905 ACRES

SCOPE OF SURVEYED AREA

274.16

275.78

273.65

275.33

274.52

273.89

(A1-233) ZONE

16R-10162 274.73

PART

273.92

273.08

274.54 274.38

CONCESSION

274.83

274.14 T-Bar

274.60

.. ..

274.07

273.44

275.51

275.47

LOT

275.15

272.78

(A1) ZONE

273.74

273.12

T-Bar 275.18

275.41

20' 15" N 72째 88' 2211.

274.15

275.06

274.11

274.54

274.62

\ H

275.44

274.59

275.68

TOWNSHIP

274.37

275.16

274.72

274.80

Wire Fence Post & \

Road

EXISTING

Bell 274.86

275.41

274.70

275.25

274.85

16R-10162

T-Bar 275.45

of Gravel

Driveway Proposed

272.83

274.90

273.44

275.08 275.34

273.75

Slope Top Of

Centreline H

274.68

275.05

274.86

275.19

274.69

275.19

N9^34'00"W

275.23

275.16

274.87

274.34

HP 274.75

275.12

275.22

of Ditch

274.72

274.90

274.98 Centreline

PART

8000

ROAD

150.00

275.85

273.66

273.42

275.63

274.96

T-Bar

N72^20'15"E

S.I.B.

CONCESSION LOT

(H) ZONE

274.60

ELEV.=

TBM OF S.I.B. METRES TOP 274.95

CONCESSION

273.51

275.17

674.18

00" W N 9째 34' 492.13'

30000

DIURNAL WEATHER AVERAGES

APPROXIMATE BOUNDARY OF HAZARD ZONE; SCALED FROM TOBM, KEY MAP SCHEDULE 'A1' BY-LAW NO.2012-3

SITE PLAN

A301

A401

1 A402

---

A402

1 160' - 0" 22' - 6"

19' - 0"

A SHOWER

20' - 6 1/2"

20' - 0"

MASTER BATH

2' - 0"

15' - 0"

16' - 0"

4' - 0"

65' - 0"

4' - 0"

14' - 6"

LAUNDRY 029

024 GUEST BEDROOM 025

HOT TUB DECK

MASTER BEDROOM

028

022

WALK-IN

WASHROOM

PIANO ROOM

026

009

8' - 10 5/16"

023

SHOWER

HALL 027 4' - 0"

18' - 0"

A402

ENTRY A303

A303

010 1

CHEST

ART HALL 011

OFFICE 013

KITCHEN

015

016

017

PANTRY .

DINING

5' - 0" 018

11' - 3"

10'-0" x 3'-0" TABLE; (MAX. 12'-0")

LIVING

QUIET ROOM

SUNRISE DECK

019

020

20' - 6 7/16"

20' - 0"

012

3' - 7 11/16"

MUDROOM

COATS

OUTDOOR STORAGE

3' - 0"

73' - 0"

22' - 0"

MAIN FLOOR FFE +276.40m

8' - 2 7/16"

E F

021

014 Curtain or sliding panels, or doors: frosted glass or solid?

4' - 0"

11' - 0"

HOBBY SUNSET DECK

MAIN FLOOR PLAN

RESIDENTIAL (2010.2014)

ANNUAL WIND ROSE ANNUAL WIND ROSE

SOLAR ANALYSIS SOLAR ANALYSIS 11:00 AM

September-21 6:08 AM

6:21 PM

ART HALL & STAIRS LOOKING SOUTH-EAST

7TH LINE (TOBM), 1-STOREY + WALK-OUT 5,000SQ.FT, $1.5M

HOBBY ROOM LOOKING SOUTH-EAST

LIVING, DINING, EATING LOOKING SOUTH-EAST

The Bennett’s Residence is currently a design in-progress planned for construction in Spring of 2014. The owners of the house both share a keen interest in designing a contemporary Frank Llyod Wright style home. As a result, many detailed design considerations have already been integrated into the design. As you can see from the renderings and diagrams above; this home is based on a combination of passive solar and prevailing wind patterns to maximize the owners’ time spent outdoors. In one of the most essential ways, the connection between interior and exterior is rooted in all FLW’s designs BENNETT’S RESIDENCE, CONTEMPORARY FLW • 7TH LINE TOBM, 1-STOREY + WALK-OUT BASEMENT

53 /5 3

SPACELAPSE

(INITIATED BY) VISITING PROFESSOR. TERESA SAPEY

urban rural

beach

suburban

desert

water? DB2 - 009 Structure Backyard facade

RESIDENTIAL (2010.2014)

DAYS REQUIRED TO ONLYY 2 D MBLE STRUCTURE! SEM ASSE

Brophy’s Lane, 2-storey + basement 2,400 sq.ft., $350,000

This project was initiated by a design studio in 2011 with a visiting professor, Teresa Sapey. Her studio course was entitled, Archipunctures and focused on a variety of ways of ‘selling architecture’. All the studio project choices she provided were actually on-going jobs she had already started with her firm in Madrid, Spain: Teresa Sapey :: Estudio de Arquitectura, which required a level of professionalism, realism, detail, and most importantly perhaps, an understanding of marketing and branding tactics. The project I selected was to prepare a design for a prefabricated luxury home that could be transported anywhere in the world in (2) shipping contains and assembled on site in (2) days. For the first three weeks, I came up with many fruitful models as I researched various contemporary products and companies on the market; however, shortly after, we had our first meeting with Teresa’s client who informed us of a structural system that had already been developed and therefore needed to be incorporated in our design. This folding structure (seen on the right) was extremely constraining for many students as it could basically only make a 2-storey, 10m x 10m building envelope no matter how you tried to integrate it. Even though I had already made a good start on other prefabricated design options, I decided to put them aside to take on this new challenging task as convincingly as possible.

“POP-UP” SHIPPING CONTAINER STRUCTURAL SYSTEM

1 1

2 A4.2

A4.2

1 A4.2

2 A4.2

ROOF 6375

ENTIRE HOUSE AND FINISHES FIT IN SHIPPING T2S JUST ERS!! AIN A CONT

SECOND FLOOR 3645

GROUND FLOOR 500

Section 1 1 : 50

Section 3 1 : 50

BASEMENT -2200 T/O FOOTING -2365

SPACELAPSE • BROPHY`S LANE, 2-STOREY, +/- BASEMENT EN NT

55 /5 5

RESIDENTIAL (2010.2014)

NARRATED SECTION-PERSPECTIVE RENDERING

SPACELAPSE • BROPHY`S LANE,, 2-STOREY,, +/- BASEMEN BASEMENT NT

57 /5 7

LOW,

PRICES!

EXTERIOR RENDERING FROM THE STREET 6

5 2099

3604

4297

1102

6175

5000

550

GARAGE

1175

103

2433

:25. %(1&+

ENTRY

BATHROOM

LAUNDRY

101

102

104

4000

325&+

A4.2

INTERIOR RENDERING OF MASTER BEDROOM 3200

11200

7488

DB2-009 STRUCTURE

KITCHEN 105 LIVING 106

7$%/( PP [ PP

1 A4.2

6(( 7+528*+ *$6 ),5(3/$&( PP :,'(

4000

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INTERIOR RENDERING OF KITCHEN/DINING ROOM

RESIDENTIAL (2010.2014)

MAIN FLOOR PLAN

The result was a very satisfying product that I feel embodied some true design merit in its balance between rationality and saleability. Design features are eloquent yet confined to a minimal; meaning that each feature must be composed in a way to make the biggest impact possible. The SPACELAPSE title and brand is important to this proposal in a couple of significant ways (aside from its obvious international adaptability). The first reason is that the key ingredient to this design based on the reinvention of standard living spaces. Given that there was such limited space in this home, it was necessary to be creative with the way that the programmatic spaces connected and extended into one another. Be it through sight, sound, smell, touch or any other sensorial quality; overlapping certain spatial conditions was an essential component of its design. The second reason is perhaps harder to see as it can only be noticed with time, but it is nonetheless an important factor that affected the layout of rooms throughout this house design. This idea was based on mapping the movement of family members and friends throughout the home at busy times of the day, (refer to images and diagrams on previous page). How do individual family member’s lives and personal spaces overlap? Can we plan for an improved atmosphere to host this type of interaction, or is this just another ‘false-hope’ modernist attempt at social engineering? Such questions are presumably impossible to answer without testing this proposal in reality. Fortunately, a modified version of this design has been prepared and considered for a small waterside lot in the Town of the Blue Mountains, Ontario. Ironically, the foldable structure (that defined so many constraints in this proposal) will not be necessary for this house design in reality.

INTERIOR RENDERING OF MAIN FLOOR OPEN PLAN

INTERIOR RENDERING OF 2ND STOREY LIVING SPACE & CONNECTION TO ROOFTOP PATIO

EXTERIOR RENDERING OF BACK YARD WITH POOL

Order your very own custom SPACELAPSE home today!! SPACELAPSE SPA SP S P PA ACE CEL EL LAP APS A PS P SE • BR BRO B BROPHY`S RO R OPHY PHY HY`S LA LAN LANE, AN A NE NE E,, 2 2-S 2-STOREY, -S S STOR T REY TO TOR EY, E Y, +/ +/- B +/BASEMENT ASE ASE T

59 /5 9

previous work + other on-going projects

renken’s addition

633 Sixth Street Collingwood, ON One-storey 2850 sq.ft. 2009 - 2010 (Construction Completion)

the workshop . . . future home

214 Brophy’s Lane, Town of the Blue Mountains, ON One-storey + Loft 3500 sq.ft. 2009- 2010 (Construction Completion, Garage Only)

Melville-Gray cottage addition/renovation Glen Rogers Road, Collingwood, ON One-storey 2850 sq.ft. 2012 - 2014 (On hold)

COLLINGWOOD’s FIRST EARTHSHIP

633 Sixth Street Collingwood, ON One-storey 2850 sq.ft. 2013 - 2014 (Pending Approvals)

RESIDENTIAL (2010.2014)

4' - 8 1/2"

7' - 0"

4' - 4 1/4"

5' - 8"

ROOF 13' - 3 1/2"

MAIN FLOOR 5' - 2 1/2"

GARAGE 0' - 6" GRADE 0' - 0" LOWER FLOOR -2' - 7" T.O. FOOTING -3' - 0"

3' - 6"

ROOF 13' - 3 1/2"

MAIN FLOOR 5' - 2 1/2"

GARAGE 0' - 6" GRADE 0' - 0" LOWER FLOOR -2' - 7" T.O. FOOTING -3' - 0"

3' - 11 1/4"

12' - 10 1/4"

14' - 0"

18' - 0"

30' - 0"

FRD. .

BUILT-IN CABINETS

5' - 6"

38' - 0"

14' - 0"

EQUIPMENT STORAGE (MIRROR FIN. ON DOORS)

FRZ. . UTILITY 105

KITCHEN / LIVING STUDIO

104 ENSUITE

POWDER

110

106

103

11' - 11 1/2"

5' - 6" CORRIDOR / GREENHOUSE

ENTRY

GARAGE

111

112

107

9' - 8 1/2"

7' - 6"

102 DW

MASTER

101

17' - 6"

. BEDROOM

123' - 9 1/2"

12' - 5 1/2"

PREVIOUS WORK & OTHER ON-GOING PROJECTS • RENOVATIONS, ADDITIONS, & CONCEPT DESIGNS

3' - 11 1/4"

/ 61

CURRICULUM VITAE

WORK EXPERIENCE 2005.2012

02 – 32 II.

RESIDENTIAL 2010.2012

33 – 62 III.

CARLETON UNIVERSITY AZRIELI SCHOOL OF ARCHITECTURE AND URBANISM  2010.2012 (M.ARCH)

63 – 84 IV.

UNDERGRADUATE MATERIAL 2005.2009 (B.A.S)

85 – 92 V.

COMPETITIONS 2009.2012

93 – 103

THESIS Reassessing Agency: Architecture & Public-Participation

64 - 71

PLAGIAT [!?] An Institute for Public Opinion

72 - 77

UNSPACE NSPAC Moving Waste: W A Student-Operated “Waste” (Re)moving Program

78 - 83

ANDREW SLADE • SELECTED WORKS / 63

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CARLETON UNIVERSITY (2010.2012)

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THESIS // ARCS 5909 //// INDEPENDENT RESEARCH

The following paragraphs are excerpts taken from my thesis; which conceptually began as early as December, 2010, but officially started in September, 2011 as I entered my second and final year of Master’s. The first paragraph is taken from the thesis prologue and represents the issues driving my research. The following paragraphs quote my abstract which continues to explore and test these questions and thoughts. “‘ALL ARCHITECTURE IS BUT WASTE IN TRANSIT!!’1 It was quite a perplexing discovery at the time. Did I understand this statement as some profound truism that all buildings eventually change and transform into an inevitable waste – a decree to the obvious? Or was it more likely that these words revealed my suppressed enjoyment in seeing someone so harshly ‘stick-it’ to architecture? Why would I be so interested in someone’s attack on architecture?* Whatever the true message behind this sentence, it strikes me now that these interpretations are in fact the same.”

“The Community Centre in Canada has a unique condition in both its architecture and its organisational structure. Aside from the administrative upkeep of social, recreational, and educational activities, these centres are also noticeably susceptible to inordinate amounts of public use and change. Due to this continuously shifting nature, the Community Centre embodies – and implies for architecture – a specific need for lifecycle and future use planning. From Alan C. Twelvetrees (Community Centres and Associations) to Jeremy Till (Architecture Depends) there is a shared belief that society – and architectural theory, especially – have been far too passive in their judgment of the conventional world: a reality that is unpredictable and thus full of critical opportunities, yet unfortunately, often only seen as a mundane environment in which buildings like the common Community Centre exists. How can the architect avoid this prejudgment? In pursuit of a more humanistic understanding of architectural production and its inherent contingencies, perhaps a reassessment of communication, collaboration, and ultimately learning from people and their spatial environments is our most useful task.”

Thesis Departure (Top), Diagram of Thesis Structure (Above) Site Plan, Heron Park, Ottawa, Ontario (Below), Existing Community Centre (Bottom)

3 3

THESIS • REASSESSING AGENCY: ARCHITECTURE & PUBLIC-PARTICIPATION TIO ON

/6 5 65

For more information please see,

http://heronpark.ca

*To watch a â&#x20AC;&#x2DC;Preziâ&#x20AC;&#x2122; presentation for this material, please visit the following link, http://prezi.com/bdugnlt7e8i8/thesis-process-channels-of-communication/

CARLETON UNIVERSITY (2010.2012)

The diagrams shown here represent two very different – yet interrelated -approaches to public-participation. The diagram on the left acts as an index for all the different types of participatory

processes that were used to collect information from the community centre members. For example, this included: Inter[Active] Discussions, informational case study comparisons (InfoBits),

Inter[Active] Designing with a BIG! Site Model, electronic surveys via Survey Monkey, and various other approaches to help formulate a needs assessment with people from the community.

The diagram on the right explains the resulting design process based on interpreting the collected participatory data gained from the previous processes. To focus on making the design communicate,

these design books are composed in a very straight-forward manner with wellbalanced text-to-image ratios on every page. Please take a closer look at the “Design Book Example” shown above to see how this participatory process works.

THESIS • REASSESSING AGENCY: ARCHITECTURE & PUBLIC-PARTICIPATION

/67

1-year of fundraising (2013) 5-years of fundraising (2017)

In total, there were 4 + 1 designs created by the Reassessing Agency thesis research. In fact, the + 1 proposal (Community Orchard) was created in collaboration with an executive member of the Heron Park Community Association (as shown in the large site plan to the right). It has recently received approval from City of Ottawa and volunteers have begun fundraising for a land survey and trees.

The remaining options are more focussed on suggesting public-participatory designs for a new or renovated community centre. The purpose of the thesis was to stay away from proposing one (idealistic) building; and instead offer a range of ideas that covered (1) different concepts as heard from various community members, and (2) different building sizes for cost purposes. A rough cost-estimate, along

with other important factors such as multiuse and phasing opportunities are shown with a bar graph on every design booklet cover to allow community members viewing these designs to quickly understand and compare some of the more important factors affecting these options. With some drive, determination, and a bit of luck, any design is unachievable; it just depends on how long the community can fundraise for.

To see each of these designs in full detail please see, http://heronpark.ca/2012/04/16/new-community-centre-design-options/ http://issuu.com/acbslade/docs/a.slade-reassessing_agency_2012_ds_/1

CARLETON UNIVERSITY (2010.2012)

_Refining

THESIS • REASSESSING AGENCY: ARCHITECTURE & PUBLIC-PARTICIPATION ON

/6 69 9

CONCEPTUAL PLANS GROUND FLOOR

SECOND FLOOR

PHYSICAL MODEL CARLETON UNIVERSITY (2010.2012)

ROOF PLAN

PRELIMINARY DETAILS 2 x 12 FLOOR JOIST ENGINEERED ROOF JOIST R45 BATT INSULATION

1/2" CEMENT BOARD 2 x 6 STUD WALL

VAPOUR BAR. 1/2" GYPSUM BOARD 1/2" ROOF SHEATHING ICE & WATER SHIELD (@EAVES & VALLEYS) STANDING SEAM METAL ROOF

*NOTE: ROOF ASSEMBLY OPENS IN THIS DIRECTION BY PIVOTING ON CENTRE JOINT

RUBBER MEMBRANE (AIR & MOISTURE BAR.) FASTEN STEEL FRAME(S) TO ROOF ASSEMBLY AND BLOCKING

YOUTH GAME ROOM 202

Upper Floor 9' - 2 1/2"

0' - 6"

EXTERIOR

0' - 1 1/2"

0' - 6"

1/2" GYPSUM BOARD 0' - 10"

0' - 11" 0' - 4"

HVAC DUCT VENTS MILLWORK CASING 1/2" WOOD TO MATCH CABINETS

3 x 14 ROOF JOIST

1' - 7 1/2"

MEETING EXTERIOR

102

1/2" x 2 T&G CEDAR SOFFIT C-CHANNEL (SEE STRUCTURAL) SEALANT & BACKING ROD 6" KAWNEER CURTAIN WALL (SEE MAUNFACTURER)

4" STONE VENEER MORTAR JOINT 1" AIRSPACE 2 x 6 STUD WALL WITH R20 BATT INSULATION 6 MIL POLY VAPOUR BAR.

KITCHEN 105

YOUTH GAME ROOM 202

PROVIDE 2 x 4 BLOCKING BEHIND CABINETS UPPER CABINET

7'-2 1/2"

BUILT-UP FASCIA SOFFIT VENT

1/2" SHEATHING

EXTERIOR

FLASHING LAP & SEAL VAPOUR BAR. TO AIR BAR. BLOCKING 1/2" SHEATHING 1/2" GYPSUM BOARD

Roof 13' - 1"

CARPET 1" PADDED CUSHION

AIR BAR.

*NOTE: FAN IN CENTER OF KITCHEN DIRECTS AIRFLOW TO RETURN AIR DUCTS AROUND PERIMETER OF ROOM OR CEILING DUCTS CAN BE OPENED INSTEAD TO ALLOW FOR NATURAL "STACK EFFECT" IF WEATHER PERMITS. (SEE CORRESPONDING DETAIL 2/A9.1)

1 A09

ROOF OVERHANG 3/8” = 1’-0”

2 A09

ROOF OPENING 3/8” = 1’-0”

3 A09

KITCHEN VENTILATION 3/8” = 1’-0”

LONGITUDINAL SECTION / A

CROSS SECTION / B

The design option shown here was entitled Kitchen Central: Connecting Social Space. During a brief design discussion around a ‘BIG! Site Model’ (4ft x 8ft at 1:100 scale) on November 23rd, 2011, the significance of a proper kitchen was a need heavily voiced by the five Heron Park Community participants. The resulting interpretive design option is primarily based on a member’s statement: “Large kitchen as sort of center node.”

This option began by looking at the question, How does the kitchen become a node? A series of sketches were drawn to look at ways of integrating the kitchen atmosphere with the entire Community Centre space. However, because all options in the thesis attempted to propose a complete solution, they each cover an arrangement of different architectural ideas along the way that are both guided and reviewed by the community.

THESIS • REASSESSING AGENCY: ARCHITECTURE & PUBLIC-PARTICIPATION

/ 71

PLAGIAT [!?] M1 STUDIO II: VISITING PROFESSOR. HANNES STEIFLE *former associate of Coop Himmelb(l)au

CARLETON UNIVERSITY (2009.2012)

An Institute[!?] for Public Opinion

The work represented on this page was developed over a six-week timeframe during semester II of first year Masters (2011). The course title was Plagiat [!?] – the noun of ‘plagiarism’ in French – and was unlike any other design studio I had ever experienced at Carleton University. I teamed up with a fellow classmate, Josh Armstrong, to propose an interpretive space, container, field, or atmosphere of architectural phenomenon per se, to address the lack of artistic, cultural, and expressional spaces throughout the city of Ottawa. The following text – which describes our proposal – was published in Building 22: Edition 11, by Beniot-Simon Legace, Vance Fok, and Kelly Crossman: “Ottawa has evolved into a city of politics, existing between the heavy hands of municipal and federal concerns and its citizens have in turn responded by becoming complainants dependent upon policing to solve even the most trivial matters. The ‘Institute [!?] for Public Opinion’ is a shell, a structure, a fabric which lends itself to the daily needs and desires of its surrounding people. It provides an incubator for the launch of an assault on conservatism . . . an insurgent architecture in the heart of snitch city.” The defining elements in this project began with methods of sampling, remixing, and reinterpreting common notions and strategies of design. Through this experimental approach, many unique programmatic combinations and unimaginable spaces and forms were revealed. The achievement of a resolved project was found by continuously filtering, editing and deconstructing the mass of ideas generated from this process. Similarly, the Institute [!?] itself is made as a host or an arena for the same type of experimental activities and thoughts.”

PLAGIAT [!?] • AN INSTITUTE FOR PUBLIC OPINION ION / 7 73 3

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The diagrammatic plans shown on the right side of the page indicate a range of spaces and passages through the Institute [!?] for Public Opinion. Each area offers extremely different experience es based on its experiences architectural form m and nd rel elat el ation to at relation peculiar moments tha at ta ake ke advan a ta an t ge that take advantage of different quali ities es e so tthe e site e. S ome qualities off th site. Some spaces frame views tha hatt juxtapose ha j xtapose ju that peace and serenity wit th tr ttraffic affic and with echoing noise while other spaces offer raised platf tfor tf orms or ms a n sunken pits nd platforms and for individuals to voice their opinions to crowds of varying sizes. CARLETON UNIVERSITY (2010.2012)

The notion of plagiarism is well-suited for Ottawa fora for a number of reasons; however, its intentiona al lack of originality is perhaps intentional the strongest stronge est value it holds for such a conservativ ve capital city. In Ottawa, conservative there is a definite urge for the city to represent Canadian C culture, but as many Canadian citizens know, this identity is potential lly too young to theorize. In potentially contrast, th he Institute [!?] (designed with the samples off other architectures) means nothing an nd everything; debate of its and cultural ap ppropriateness is irrelevant. appropriateness The building g is ultimately what the people decide to make m of it.

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PLAGIAT [!?] • AN INSTITUTE FOR PUBLIC OPINI OPINION ION / 7 75 5

LIONELâ&#x20AC;&#x2122;S NARRATIVE CARLETON UNIVERSITY (2010.2012)

A DECLARATION. â&#x20AC;&#x153;To Whom it May Concern, We are a voice for the citizens of Ottawa, who in their stupor have not the awareness of their abject realities borne of apathy, boredom, or the oppression of conservatism. We demand more.

We, the people of Ottawa, demand a space of our own, free from the tyranny of oppressive city planning guidelines and the stifling liabilities of correctness. We demand a place to make our space; a space to make our place.

We demand our own stage in the theatre of the city, through which we can speak through edifice, image, voice, and action. We demand more than a bus or train on which to stare at the floor as we pass by. We demand free-space; a new horizon. We will take it if we have to.

Sincerely,

Lionel Essrog Tooth CEO Public Relations Disinstitute of Public Opinion

For more detail please see, http://azrieliarchitectureinteractive.tumblr.com/page/3#9996740921 http://issuu.com/acbslade/docs/an_institute_for_public_opinion_-_booklet_web

PLAGIAT [!?] â&#x20AC;˘ AN INSTITUTE FOR PUBLIC OPINION ION / 7 77 7

iiiiiiiiiUNSPACEiiiiiiiiiii M1 STUDIO I: GRADUATE DIRECTOR. ROGER CONNAH *author of How Architecture Got its Hump (2001) CIRCULATION DIAGRAM_ A spiral ramp is used to maximize the amount of seating around the perimeter of the wall while bringing the students up into the vertical unspace of the Atrium. Also: -it creates a range of unique personal spaces. -it acts as a core structure to store computers and mechanical systems. -it creates an event of bringing students through the space and then back out where they can view the data projected on the exterior.

FLOOR PLANS_The experience begins on the ground floor. Students can access the mechanical core shaft (where data and coffee machines are located) without travelling up the ramp. As they ascend to LEVEL 2, they will find multiple seats and desks along the structureâ&#x20AC;&#x2122;s perimeter to sit and study. The mechanical shaft in the center houses computers and coffee machines and continues all the way to the top to provide easy access for the students. At LEVEL 3 the students have access to the system that projects the data (DataBox) into the University Centre. They can collaborate on how they would like to inform the space from this location. Finally, as the students exit down an exterior ramp, they can reflect on the information the have posted.

CARLETON UNIVERSITY (2010.2012)

Moving waste A STUDENT-OPERATED ‘WASTE’ (RE)MOVING PROGRAM This design scenario was proposed to the university as a suggestion to improve a deficient Student Centre space. The corresponding research and ideas were developed over the first semester of my Master Program (Sept. – Dec. 2010) and the following descriptive text was published in, Building 22: Edition 11, by Beniot-Simon Legace, Vance Fok, and Kelly Crossman: “The world we live in today is dominated by waste. Some would argue it is due to the forces of consumerism which cause us to produce more and more “stuff” in order to attain short-end financial gains, while others blame it on the ‘out-of-sight, out-of-mind’ effect. Waste, in the most literal sense, is usually equated with garbage; however, it can accumulate in many different forms: wasted resources, wasted materials, wasted space, wasted money, wasted time, and most often overlooked today; e-waste. The “Moving Waste” program is a multi-layered architectural expression which attempts to not only attract awareness to issues of waste, but also provide corrective solutions based on flexible structures and systems, reusable – or better yet – readapted materials and products, and the application of open-ended models of efficiency.” “Moving Waste” is a structure proposed for the University Center Galleria Building at Carleton University. Its purpose here is simple; to display an on-going digital and actual presence of waste in attempt to inform the students of activates, events, statistics, and most importantly, how the university could benefit from more efficient practices and designs (refer to A7.1,A7.3). The program and function of ‘Moving Waste’ is shaped by the intellectual interaction of the student body while its physical form is sculpted by their daily (and sometimes contradictory) actions. These external forces are constantly subject to change and thus the architecture must move, alter, and evolve to suit.”

Photocell posts are commonly used in commercial occupancies. This same system can calculate how many people are waiting in line for a restaurant to help inform students where to go eat.

By installing (4) photo-cells around the inner rim of a garbage can or recycling bin a toll can be collected on the amount of items thrown away versus recycled everyday.

Photocells could document the amount of traffic in different places at different times allowing for more efficient use of space. Ex. skateboards/bikes allowed in tunnels 10pm-7am.

Around midterm and final exams, quiet study spaces around campus become scarce. By keeping record of these spaces, it informs students not only what is available, but where to go.

UNSPACE • MOVING WASTE: A STUDENT-OPERATED WASTE (RE)MOVING PROGRAM AM / 7 79 9

Moving Waste acts as a hermitage for the students where they can access or project data in many different ways. The structure contains (4) DataAccess computers, (3) coin-operated coffee machines, and (2) rinse stations where the cups can be cleaned. All these systems have channels, wires, and pipes that funnel towards the bottom of the structure where they can be accessed, maintained and powered from the ground floor level.

CARLETON UNIVERSITY (2010.2012)

The system will carry a cistern tank to produce coffee on a daily basis; however electricity will need to be connected to the existing floor outlets in the Atrium. The section below, A8.1, illustrates a balance of mechanical and networking processes that are contained within the structure. A8.2, displays a series of details that explain how the stryofoam screen system works both structurally and electronically.

UNSPACE • MOVING WASTE: A STUDENT-OPERATED WASTE (RE)MOVING PROGRA PROGRAM AM / 8 81 1

As Robert Venturi describes in “Learning from Las Vegas”, a building can sometimes be used as a sign. What do signs do? Provide information! How do they do it? They begin by grabbing your attention. Moving Waste locates itself is a position where it can sit up high and be visible.

CARLETON UNIVERSITY (2010.2012)

The height of this structure is just low enough to travel underneath the beams carrying the roof structure of the University Centre This allows Moving Waste to explore all the unused vertical space in the Atrium.

Since this structure has the ability to move, it also has the ability to change its influence on the students. It’s creature like form gives it a range of personalities. It can be tucked in a corner -hiding from the public, it can be out in the open -- creating attention, or it can be right next to student traffic flow to increase use.

Although movement is an integra the practical and technical logistics too complex. However, another m be to adapt this system to one of t It therefore becomes a parasite that ing its expression much more icon up to the system could be removed that the system could only be seen

l part to this systemsâ&#x20AC;&#x2122; design, s behind its movement may be more permanent option could the columns within the Atrium. t attaches to the space a maknic. Perhaps the ramp leading d for certain periods of time so n but not used.

Not every student has their own laptop or simply the time sit down and turn it on. Therefore, a physical source is necessary for this system to operate effectively. The mechanical shaft is a open frame design to allow the mechanics within to change over time.

The students select the fields of data they would like to compare and this information is then displayed in the Atrium for a 1/2 hour interval via the styrofoam screen system. Much like a jukebox system, the data is played on a first-come, first-serve basis.

Personal spaces are located surrounding the perimeter of the Moving Waste structure. Students may can come to these spaces to review data wirelessly, study for school, or perhaps to just relax with a cup of coffee while observing the world around you.

Moving Waste is not a building; it is a system. Only the frame is built by a construction team while the rest of the system evolves with the students over time.

As shown in A8.2 details, the students will complete the system over time by adding their coffee cups in the chicken wire frame. This process will be quick!

The shell is complete now and students can begin to focus on the real purpose of this structure: view, download, extract, research, project, and compare data.

The existing Atrium is actually somewhat successful in the fact that it serves the students as a flexible space where many events and activities can occur. Moving Waste does not want to take away from this contingent-based quality. Instead, it builds on this concept by providing a new system that links the

students to more events (through its transfer of information), but does not permanently obstruct the physical space. As you can see in the figures above, this movement also leads to other unexpected experiences; from a more efficient use of the wasted vertical space to becoming a monument in a former space of void. For more detail please see,

http://issuu.com/acbslade/docs/unspace_moving_waste http://24.media.tumblr.com/tumblr_lrgt6gzUx61r26t1po1_1280.jpg jpg

UNSPACE â&#x20AC;˘ MOVING WASTE: A STUDENT-OPERATED WASTE (RE)MOVING PROGRAM AM / 8 83 3

CURRICULUM VITAE

WORK EXPERIENCE 2005.2012

02 – 32 II.

RESIDENTIAL 2010.2012

33 – 62 III.

CARLETON UNIVERSITY AZRIELI SCHOOL OF ARCHITECTURE AND URBANISM  2010.2012 (M.ARCH)

63 – 84 IV.

UNDERGRADUATE MATERIAL 2005.2009 (B.A.S)

85 – 92 V.

COMPETITIONS 2009.2012

93 – 103

? URBAN OFFERINGS School of the Arts

86 - 87

PAKSABA Dinner is Served: Interaction Trans. Experience

88 - 89

DISTANT STUDIES ABROAD Design Charrette, Models, Sketches Paris & Tuscan Region, Italy

90 - 91

ANDREW SLADE • SELECTED WORKS / 85

STUDIO III_PROFESSOR. GREG KRIKOR ANDONIAN

PERSONAL STUDIO II

PERSONAL STUDIO

CAFETERIA

LIBRARY ADMINISTRATION

CLASSROOM WEST LOBBY PHOTOGRAPHY STUDIO

DYE AND PRINT SHOP WASHROOMS (BEYOND) MULTI-PURPOSE ROOM WITH PARTITIONS

CARLETON UNIVERSITY (2005.2009)

CELEBRATORY SPACE LECTURE HALL

SCULPTURE AND CERAMICS STUDIO

ARCHITECTURAL DETAIL

SCHOOL OF THE ARTS. This urban design proposal was created in 2007 during the second semester of third year undergraduate studies. Ideas for this site (Cartier and Cooper Streets, Ottawa) and its connection to the city began early on in the process by analyzing various pedestrian and traffic patterns in the surrounding urban fabric. Nevertheless, after spending some time in the area, other interesting patterns started to emerge. By conducting a thorough on-site analysis, I was able to discover the spaces between the nearby apartments and imagine these areas becoming a unique path of their own. In a sense, this new path embodied a community-type characteristic; a market, park, or art exhibition space for example, could conceivably develop along this axis. As mentioned before, the opposing characteristic was already provided; that being, the existing urban fabric: a place for pedestrian and traffic movement and countless business transactions. With these two systems defined, the School of the Arts was able to become a central node of activity where the paths could collide. In fact, as you can see in the images to the right, the paths becomes helix ramps in the centre of the building which take people to the top of the school where they seamlessly switch directions (characters) and continue their journey on the opposing path. The intentional dialogue created here hopes to suggest that students and the public, the arts and urbanity can begin to learn from one another in this urban offering.

PRESENTATION ROOM

HELIX (MAIN CIRCULATION)

ROOF TERRACE

MAIN STAIRCASE

STUDY MODEL

? URBAN OFFERINGS â&#x20AC;˘ SCHOOL OF THE A ARTS RTS RT

7 /8 87

embark on.

use it had

so much

character

and poss

ibilities for

we choose a site that had a

us to

s immediately lured to that particular set

ting beca

ish Iw

Building space became an immediate issue as the project progressed. To some extent

given ou

rselves

a challe

ge. However, I wa

ur site,

I knew

restrictions of our loc

we had

ation. The first

Self Diagnostic: Andrew Slade. From the minu

te we chose o

• movement • play

• change

FULLY OPEN

CARLETON UNIVERSITY (2005.2009)

• mechanics • details • function

and built our pavilion. With a group of seven, our concepts varied but the main visions stayed true to the end. We chose our site for its challenging density and its unique topography. In the end, we produced an eloquent design that complimented the features of the site: Dense forest (pockets of voids), Levitation (floating above the river), Shadow texturing (painting with light). [*Received the 2007 Site Specific Award]

vere

d tha

t a lo

t of id

eas c ou

ld be

prod uced fr

Dinner is Served was my first team design project which took place during my first semester of third-year studies (2007). The event is held annually on the Friday prior to Thanksgiving. Architects, Engineers, Professors, and other specialists from the region come to enjoy a unique meal and an unforgettable experience orchestrated entirely by the architecture students. In a little more than a month, my team designed

timately I disco ul

little bit more freedom for design, b

tood and most important concept I learnt was duality of space. I had unders

it until th the idea in the past but

is project;

I didn’t re

ally

e tot

al experience

end th compreh

of transformin

space • atmosphere • quality of light •

FULLY CLOSED

PAKSABA • DINNER IS SERVE SERVED ED

89 /8 9

PARIS, FRANCE & AULLA, ITALY

The sketches here narrate a 4-week journey across Paris, France and the Tuscan regions of northern Italy which took place during my second semester of third-year. Distant Studies Abroad (DSA) is a guided program with the school where the studio professor acts as head chaperone and organizes the majority of outings related to the travel. Nevertheless, our year managed to squeeze in a 5-day outing to Paris before the trip began. The result was an unforgettable experience that not only inspired my architectural imagination, but also provided me the opportunity to significantly improve my sketching and photography skills, (mostly by learning techniques from friends). The images to the right include a series of separate drawings from various locations; however, they have all been collaged together in this format because it best represents the feeling and emotion that this trip holds in my memory; (not to mention, it also displays the size, quality, and complexity of these drawings best). If you look closely, you can see some of the specific places I travelled to, for example: Parc de la a (Paris), Villette (Pa P ris), Milan, Genoa, Florence, Ferrara, Torino, Pisa, Luca, Parma, last, and last s , but definitely not least, Cinque Terre â&#x20AC;&#x201C; a 5-town coastal village built alongside the Mediterranean Sea, connected mainly by a train and a few foot trails and roads that wind between endless terraces of lemon trees, grape vines, and vividly coloured buildings that topple over one another. Near the end of the trip, we took part in a 6-hour charrette to re-design an existing borough (mountain village) with the intention of promoting tourism in the Tuscany region of Italy. These drawings and ideas were presented to the Mayor and public of Aulla on our last day of travel and filmed for a local television station. CARLETON UNIVERSITY (2005.2009)

DISTANT STUDIES ABROAD • PARIS & TUSCAN REGION, ITALY Y

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CURRICULUM VITAE

WORK EXPERIENCE 2005.2012

02 – 32 II.

RESIDENTIAL 2010.2012

33 – 62 III.

CARLETON UNIVERSITY AZRIELI SCHOOL OF ARCHITECTURE AND URBANISM  2010.2012 (M.ARCH)

63 – 84 IV.

UNDERGRADUATE MATERIAL 2005.2009 (B.A.S)

85 – 92 V.

COMPETITIONS 2009.2012

93 – 103

SPONTANEOUS 2012 A’ Design Award & Competition

36 - 39

MESA CONDOMINIUMS 2009 Ottawa Urban Design Awards

32 - 35

ALTEROTOPIA Society of Unspace Architects: 2010 CCA Design Charrette

40 - 41

ANDREW SLADE • SELECTED WORKS / 93

COMPETITIONS (2009.2012)

Kinetic Kontraption

“Golden A’Design Award in Furniture, Decorative Items and Homeware Design Category in 2012-2013 period with design #25950: Spontaneous | Kinetic Kontraption - Multi-Functional Table”

A’ DESIGN AWARD & COMPETITION (2012):

“The relationship between architecture and furniture design is ubiquitous. From the careful selection of materials to the precise detailing needed to put together an assembly of parts; both disciplines require care for product durability, process efficiency, user contingencies, and most importantly perhaps, designer responsibility. Surely visual appearance, quality, and craft are important aspects as well, but these characteristics almost go without saying in today’s design market. As it seems there is always going to be an interest to create attractive new ideas, experiment with innovative technologies, and fundamentally challenge conventional standards. The point is, we live in a fastpace world where change and transformation is not only experienced and accepted, but becoming an increasingly valuable part of our daily lives. How do we build for change; for future use and our products’ lifecycles? Can design flow with our transforming world rather than resist it? Many companies today tend to talk about this issue through the lens of sustainability; by either promoting a scientific analysis of energy efficiency, or in contrast, a loose symbolic analogy to organic philosophies of nature. ‘SPONTANEOUS’, on the other hand, would like to ask; what happens if we simply think about the natural processes that effect our designs, like ageing and weathering for example?

SPONTANEOUS • 2012 A’ DESIGN AWARD & COMPETITION ON

95 /9 5

Creating a product for a person that is meant to last long and change with its users over time, opens up a range of unpredictable opportunities and design possibilities. For example, thinking about durability can help us question the types of joints and connections we make with materials. Is this product meant to last one, two, five, twenty-years, or an entire lifetime? These are indeed important problems to solve; however, solutions to design longevity can only be enhanced if we also consider the product’s future re-appropriations: COMPETITIONS (2009.2012)

While some designers aim for permanence (or ‘eternal beauty’) in their work (which actually resists change), ‘SPONTANEOUS: Custom Design’ follows quite a different approach. Multi-use and future appropriations are two main characteristics we feel are necessary for the contemporary home, work, or commercial environment and as a result all our products are designed to be used in a variety of different ways. For example, Kinetic Kontraption, has over eight other uses which not

only prolong its product lifecycle, but also make this design efficient in the sense that it can serve a range of functions that would have previously required multiple pieces of furniture. In addition, all materials selected for ‘SPONTANEOUS’ products are design to naturally age and weather. From the use of greying cedar panels to a selfhealing and oxidizing Cor-Ten steel (which becomes a beautiful earthy red colour), all our products are designed to transform aesthetically over time.

As a final point, the most important task for ‘SPONTANEOUS: Custom Design’ is to ensure that all our ‘design intentions’ are sincere. That is why all our products are donated to local Community Centres across Ottawa, Ontario to test and understand how our ideas are used and experienced by various people on a daily basis. Enjoy!” The information contained in this book describes the first product created by SPONTANEOUS Custom Design. [*Received Expected Award Status. Final judging, April 15th, 2013]

For additional information please see, PROMOTIONAL VIDEO: https://vimeo.com/42786391 PRODUCT INFORMATION: http://issuu.com/acbslade/docs/spontaneous_custom_design_-_kinetic_kontraption?mode=window&backgroundColor=%23222222

SPONTANEOUS • 2012 A’ DESIGN AWARD & COMPETITION ON

97 /9 7

COMPETITIONS (2009.2012)

OTTAWA URBAN DESIGN AWARDS (2009) This multi-unit housing project was created during the first semester of fourth year. It is the first housing project that I feel effectively and harmoniously integrated social, economic, and structural elements in its design. In addition, my own personal challenge for this project was to develop a sustainable LEED Platinum building by applying a Triple Bottom Line analysis to my design. By using many different techniques –

from traditional methods such as passive solar heating, heat retaining walls, natural ventilation, and grey water retention systems, to more technical processes like geothermal heating, time configured infloor heating, and low-emission materials – I was able to achieve this goal and promote the values of sustainable urban living. [*Received Stantec Architecture Prize for Excellence in the Comprehensive Studio Project, 2009.]

MESA CONDOMINIUMS • 2009 OTTAWA URBAN DESIGN AWARDS

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The spatial formation of this development was heavily influenced by the surrounding paths, courtyards, and alleyways that characterize the Byward Market. These spaces create a variety of unique atmospheric settings, yet each place shares a common sense of intimacy. Mesa Condominiums are designed to reflect these experiences and transcend these values into the everyday urban lifestyle. The idea is that every space within and around the complex is special in its own way: whether it be the place where one waits for the bus in the morning along with their colleagues or the set of stairs one shares with their neighbour as they return to their homes. These paths and spaces of gathering are what make a community whole; it is the glue that holds an entire development together, demonstrating the importance of public space within the overall design and every little important detail. COMPETITIONS (2009.2012)

MESA CONDOMINIUMS • 2009 OTTAWA URBAN DESIG DESIGN GN AWA AWARDS AW WARDS / 101

2010 Miscellaneous Panels & Competition Submissions was prepared in a competition style which focuses on the readability of the submission idea and the underlying design development that supports it. Perhaps, one day, a completion might find resonance with the content in these panels.

The panel on the right was included here because it was by far the fastest team-panel I have ever assembled. With a group of 5 students, we prepared a very unique (process-oriented) proposal for the 2010 CCA Alterotopia Design Charrette in under 5-hours.

ARCC 5100: PANEL - 02

ARCC 5100: PANEL - 01

The first two panels (shown below) were actually never submitted to a competition. In fact, they were both submissions for a technology course in the first year of my Masterâ&#x20AC;&#x2122;s program. Nonetheless, the layout used in these panels

COMPETITIONS (2009.2012)

ALTEROTOPIA • 2010 CCA DESIGN CHARRETTE / 103

2010 CCA Design Charrette

CURRICULUM VITAE

WORK EXPERIENCE 2005.2012

02 – 32 II.

RESIDENTIAL 2010.2012

33 – 62 III.

CARLETON UNIVERSITY AZRIELI SCHOOL OF ARCHITECTURE AND URBANISM  2010.2012 (M.ARCH)

63 – 84 IV.

UNDERGRADUATE MATERIAL 2005.2009 (B.A.S)

85 – 92 V.

COMPETITIONS 2009.2012

93 – 103

CONTACT: