A|Q A R C H I T E C T U R E P O RT F O L I O
HELLO, My name is Andrea Quinn and I have recently obtained my Master of Architecture at the University of Waterloo School of Architecture, in Ontario, Canada. Whether for good or for ill, I believe in the power of architecture to be psychologically transformative and in the power of beauty in our physical environment to lift the human spirit. I am passionate about design, it’s relationship to our environment, and the way it can positively influence a society, not only addressing a basic human need, but also having the potential to break through differences to unite a common people. I love finding the potential in neglected, forgotten, or unattractive spaces and restoring or instilling beauty. The following is a collection of work from seven years of architectural study and three years of professional work. I hope you enjoy it.
[A]rchitecture’s greatest products are less individual than social creations; the offspring of nations in labour rather than the outpouring of men of genius; the deposit left behind by a nation; the accumulation of the centuries; the residue from the successive evaporations of human society; in short, a kind of formation. Each wave of time lays down its alluvium, each race deposits its own stratum on the monument, each individual contributes his stone. [...] Time is the architect, the nation is the builder. - Victor Hugo
[A]rchitecture offers societies a place for existential orientation. As representation of meaningful action, it contributes to an understanding of one’s place in the world. Through its sense of decorum it opens up a clearing for the individual’s experience of purpose through participation in cultural institutions. - Alberto Pérez-Gómez
CONTENTS
6
CURRICULUM VITAE
8
REFERENCE LETTERS
10
ACADEMIC M a s t e r s Th e s i s : Awa k e n i n g B e a u t y Te s t i n g G r o u n d s Th e B u r r ow Wo o dy E x p l o ra t i o n s Oasis Ju n k Th r ive
42
EMPLOYMENT studio|Brehaut EMI Cornerstone DVA D
52
P E R S O NA L D raw i n g C ra f t
CURRICULUM VITAE SKILLS Technical Revit Adobe Suite ( Photoshop, Illustrator, InDesign) Rhinoceros V-Ray Autocad Microsoft Office ( Word, Excel, PowerPoint) Sketchup
Physical/Fabrication Hand-drafting Hand-modeling Sketching and drawing Painting (acrylic, oil) Woodworking Laser Cutting 3D Printing (plastic)
Languages English French Italian
EDUCATION 2018-2020
Master of Architecture, University of Waterloo
Thesis Research and Design Top Achievement Award | 2019
2012-2017
Bachelor of Architecture Studies, Honours Co-op, University of Waterloo
Provost’s International Volunteer Award | 2016 ‘Junk’ project exhibited at Cambridge Galleries | Spring 2013 Merit Scholarship | Fall 2012
Jan - Apr 2019, Sept - Dec 2019
Graduate Teaching Assistant at University of Waterloo Cambridge, ON, Canada
Worked as a teaching assistant in two cultural history courses, one with Dr. Robert Jan van Pelt and the other with Dr. Tara Bissett.
Jan - Apr 2017, Oct - Aug 2018
Student Architect at studio|Brehaut Guernsey Cove, PE, Canada
Small architecture firm with majority of projects in residential design.
June - Aug 2016, Jan - Apr 2014
Junior Designer at Cornerstone Architecture London, ON, Canada
Medium sized architecture firm with projects in education, childcare, healthcare, and administration .
Jan - June 2016
Volunteer Architecture Intern at Engineering Ministries International (EMI) Kajjansi, Uganda
International non-profit development organization with offices around the world composed of engineers, architects, and other design professionals who donate their skills, providing design services for schools, hospitals, churches, orphanages, water/wastewater management systems, etc. which serve the poor in the majority world.
May - Aug 2015
Architectural Assistant at Derek Venter Architecture Design (DVAD) Whistler, BC, Canada
Small architecture firm with projects in retail and residential.
Sept - Dec 2014
Intern Architect at Kobayashi + Zedda Architects (KZA) Whitehorse, YK, Canada
Small architecture firm with a variety of projects from residential to healthcare to infrastructure.
EXPERIENCE
-6-
PERSONALITY Extroverted
Introverted
Intuitive
Observant
Thinking
INFJ
Judging
Feeling Prospecting
VOLUNTEER University of Waterloo St. George Parish Upper Room PEI St. Mary’s Parish EMI Ilderton Skating Club
Peer Mentor, Sustainability Collective, Waterloo Institute for Complexity and Innovation | 2018 - 2019 Various activities & events (including choir member, lector) | 2013-Present Co-founder of a young adult Christian ministry | 2018 Children’s choir director | 2018 Cherish Uganda High School (music instructor), Haven Preparatory School (art instructor) | 2016 CanSkate instructor, annual ice show set design and creation (3 years)
EXTRACURRICULAR/ INTERESTS Architecture
History and theory Sacred and religious architecture (especially Christian) Role of beauty and aesthetics Architecture’s reciprocal relationship to language, time, culture and memory Restoration and renovation of historic structures Psychological and social impact of architecture Integration of vernacular design with modern sustainability techniques Bamboo and timber construction, both traditional and contemporary
Music/Art
Vocal/Choral Music | 2004-Present Cellist | 2004-Present Drawing, painting, jewelry making, stone carving, woodworking
Travel
Poland, Austria, Germany, Spain, Italy, France, Ireland, UK, Uganda, Guatemala, Mexico, Dominican Republic, United States, Canada
Athletics
Figure Skating (competitive) | 1999-2014 Cross Country & Track and Field | 2004-2012 Gymnastics, running, hiking, cross-country biking, yoga -7-
Vanderford Design & Consulting (for Engineering Ministries International)
941.592.7579 Vander4d@yahoo.com February 15, 2017 Re; Andrea Quinn
To Whom it May Concern, This letter is to serve as an enthusiastic endorsement for my former Intern and good friend Andrea Quinn. From the summer of 2015 through the summer of 2016 I served as an Associate Staff Architect with Engineering Ministries International/East Africa. Andrea served as an Intern in the East Africa office for several months in the spring of 2016 as well. In addition to our official roles, my wife (who also worked for eMi as an administrator) and I took it upon ourselves to play host to the intern teams often taking them on outings or to social gatherings. We would also help assist them with some of the day-to- day challenges of living cross-culturally. As such we both became very close to Andrea and consider her a lifelong friend. I worked closely with Andrea nearly every day for the duration of her internship. We shared an office and as such were in almost constant collaboration. Our team spent a week together near the Rwandan border performing a site assessment and developing master planning concepts for Cherish High, a large boarding secondary school. We also worked together on the construction drawings for the Amazima Secondary School in Jinja, Uganda. Both of these projects were designed to accommodate over 500 students. During this time, I found Andrea to be extremely capable and a valuable team player. Working in a third-world environment often requires the design professional to step outside their comfort zone, many times being tasked with assignments far beyond their level of experience. Andrea never shrank from these challenges and consistently delivered professional results. As her immediate supervisor, I was required to perform a mid-term and end of term review. I am including a few excerpts from these evaluations for your review. • • • •
Excellent understanding of the need to balance good design with relevance and respect to the needs and desires of the client Excellent presentation skills! Displays good judgement with her comments and suggestions and is not afraid to speak up! Andrea is a terrific asset to eMi and the profession in general.
I also offer this summary from her end-of-term evaluation: “Andrea is a joy to work with. She is focused and competent, cheerful and hardworking. She is not afraid to speak up and offer her opinions when appropriate. Many of her concepts have been embraced by much more experienced team members, and her positive influence is evident in each project she has been assigned. I would gladly hire her for any position in the future.” In the course of my career, I have hired and supervised dozens of interns. I can tell you that Andrea is exemplary! I highly recommend her for any position for which she may be in consideration. Sincerely,
Scott A. Vanderford Registered Architect Arizona #30462 Tennessee #100757 (Inactive) -8-
-9-
AWAKENING BEAUTY: Meaning
in
Contemporary Catholic Architecture
Supervised by Dr. Anne Bordeleau Committee Members: Dr. Robert Jan van Pelt, Roberto Chiotti A Catholic church is unique among other places of worship because the space of a church forms the central place for the sacramental life of the Church, as Body of Christ, while also being an expression of it. With the exception of the Orthodox tradition, this is unique even among other Christian denominations. Catholic sacramental life is the path to holiness for any believer, providing the means by which one journeys from earthly to eternal life. Life as a Catholic means living within this tension between temporality and eternity, so the way architectural design negotiates past, present and future is a key consideration for any church. This thesis investigates several questions: What is a Catholic church, in essence, and how can its form be shaped by cultural and temporal context? How is meaning - manifest as beauty - instilled and communicated through architecture? How can a church be both contemporary, and an icon of eternity? In recent decades, the Catholic Church has struggled to develop a meaningful architectural language within our contemporary world. This failure to utilize architecture’s communicative power in such significant cultural and religious spaces presents problems not only in an evangelistic sense but leads to a ripple effect in the way society values and experiences our built environment, as a whole. In that sense, this topic extends far beyond Catholicism. An examination of Catholic architecture can lead to questions about the role and the value of architecture in the world and how its beauty (or lack thereof ) influences who we are as human beings. Within the context of Catholic sacramental life, the thesis is composed of seven reflections around time, ritual, and culture, exploring the ways meaning can be communicated through architecture, resulting in expressions of beauty.
CHAPTERS I Eucharist | Temporal Reckoning Orientation Cartographies of Time
V Anointing | In Praise of Light Amidst Darkness Play of Light and Shadow
II Baptism | Structure & Symbol in Caplutta Sogn Benedetg Nature, Ritual, Symbol A Simple Vessel
VI Ordination | Geometry & Ekklesia Many Parts, One Body The Sagrada Familia
III Confirmation | Material Significance Path to Sacredness The Humanity of Earth IV Reconciliation | Place of Memory Returning Home Notre-Dame de Paris Acts of Restoration
(Full thesis available online at UWSpace) - 10 -
VII Marriage | Poetic Narrative Meaning Through Metaphor Architecture as Narrative: Translating Experience
- 11 -
TESTING GROUNDS: E ducational O utposts
in
N ewfoundland
IN COLLABORATION WITH MADELEINE SLANEY 3B Design Studio, Lola Sheppard Education in Newfoundland has been growing and developing for the past 300 years, and in more recent history, their post secondary schools have been strengthened enough to compete with some of the best institutions in North America (particularly when it comes to marine studies). In this project, we are proposing to partner with the Marine Institute at Memorial University of Newfoundland to develop several outpost campuses, each exploring a specific area of marine education and research. These new campuses will be spread throughout the province and will partner with local industries to provide a unique educational experience. We have selected 6 sites based on either a strong existing presence or a need for improvement in certain industries, as a start. With a focus on hands-on learning at each specialized campus, the students will learn directly from, and work alongside, local experts like fishermen, craftsman, etc., while also introducing new economies based on innovative research and collaboration. A relationship with local communities is key to the design and development of this project. By partnering with locals as both educators and neighbors, we hope to engage the communities in each location and involve the students in community life. We are addressing the problem of low youth populations across Newfoundland by drawing young people into these new education hubs, introducing them to many different parts of the province, and helping them gain an understanding of the rich culture and wealth of knowledge to be found here. Through research and experimentation, the goal is to merge traditional knowledge and skills with modern technology to create new innovations in new, specialized areas of marine studies.
MAKING LAB SECTION VARIATIONS (DEPENDENT ON SITE)
MAKING LAB EXPLODED AXONOMETRIC - 12 -
The Making Lab is designed to show building as machine. It integrates machines for making directly into the architecture, such as a boat lift, moving hydraulic floor, rolling hydraulic pedestrian bridges, and a traditional lift system for material transport within the building. Combining the vernacular with a more modern architectural language, the shape of the building section mimics the traditional saltbox shape of Newfoundland architecture and uses wood as the main structural material, in combination with the modern minimalistic forms of the interior, and exterior glazing creating a strong relationship between interior and exterior space.
SITE PLAN (ARNOLD’S COVE, NEWFOUNDLAND)
- 13 -
The interior program spaces are attached to, and hung from a large wooden superstructure using steel cables, and can be reconfigured depending on program needs at each outpost location. The workshops and key making spaces are located within the larger interior space, with the supplementary programs being located within the more climate controlled hanging pods, such as meeting rooms, offices, specialized labs, etc. Views into the central making space were important in creating connections between interior spaces and are featured in every enclosed pod. Vertical circulation has been pushed to the outer edges of the building within the space frame, while horizontal circulation is threaded throughout the large open interior allowing pedestrian access at varying levels all around the making space. We designed three different building types to suit the needs of each outpost, a Land Lab, a Water lab, and a Making Lab. Each site would either have one of these buildings or a combination of two or more. The Land Lab focuses on land-based research and programming. Its physical relationship with the land was an integral part of the architectural design; how it cuts into the land, sits on the land, or rises above it depends on programming needs. Changing levels are articulated through interior spatial requirements and physical site. The main arterial spine is the key program area in the building, altering depending on site location and the curriculum focus of each outpost. Two additional bars can be added to the spine with supplementary program. The aquaponics lab cuts through all of the bands, creating a spatial relationship between the local people of Southbrook and the students. This public space throughout the building folds and bends along the bands flowing through laboratories, greenhouses, flume tanks, holding tanks, and finally ending outdoors at the waterfront. - 14 -
Green Roof System
Shou Sugi Ban Wood Cladding
Aquaponics Greenhouse
Vertical Spruce Paneling
Community Kitchen Holding Tank Net Loft Lounge Flume Tank
Salt Water Necropsy Laboratory Histopathology Laboratory Live Food Culture Laboratory
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- 16 -
- 17 -
THE BURROW: L odge
on the
B rough
of
B irsay
4B Comprehensive Design Studio, Andrew Levitt This design is meant to explore contrast, and the idea that an experience of one extreme environment can help you appreciate its opposite all the more. The lodge is placed in this specific location on the island to draw people to the cliff edge, with a new path being created from the building along the roughest and most extreme part of the site, where the winds are the strongest and the view extends infinitely out into the Atlantic, a place where visitors can feel the true raw power of nature. The lodge itself is meant to provide a very different experience, one of protection, comfort, and warmth, both in materiality and form. Inspired by the vernacular architecture of the Orkney Islands, the design combines what is relevant and applicable from traditional building techniques (built close to the earth along contours of land, deep set doors and vertical windows, made primarily from materials found on-site) and combines that with modern architectural/spatial values (like large windows, natural light, views outside, and high ceilings). The building is meant to look as if it grew naturally out of the earth, with local flagstone walls and earth covered roofs. The materiality is such that the spaces closest to the edge have more exposed stone, like the cliff edge (raw and wild), and as you move deeper into the ground and into the building, there is less stone and more wood, a material grown from the land, but also more technically altered as an engineered wood product (calm and created). This also allows for increased brightness in spaces with less natural light. There is an “outer” bar and an “inner” bar in the lodge, one being almost entirely buried in the ground, and the other with mostly exposed faces. The idea was to have part of the exterior path system pass through the middle of the building, between these two areas, hopefully bringing people through the building on their way around the island. The two bars are linked by an open communal room which features a large hearth in the centre, around which clothes can be hung to dry and laundry can be done, where the the inside and outside collide on a very practical and informal level. The outer bar of the building, located closest to the cliff edge is comprised of larger open spaces for communal activity like the pub, kitchen, and greenhouse. The drying room spills into the pub and kitchen with the bar doubling as reception. The windows of the pub are the first things you see as you approach the building from the top of the island, along the new path at the southwestern edge. The size of the windows corresponds with how private a space is meant to be, with larger windows in the more communal areas, and smaller ones in more private areas. On the opposite side of the building, in the inner bar, the spaces are smaller and more compact, designed for more individual activity, including the accommodations, washrooms, office, sauna, etc.. As you move deeper into the building, it is meant to feel as if you are burrowing into the ground. There are accommodations designed for those who want to be close to the cliff, with views out to the ocean, and others deeper in the building with no views to the landscape, but instead deep skylights to let in natural light and provide a view to the sky while still evoking the feeling of being underground. The archive is detached from the main building and sits on the small rock outcropping nearby, broken off from the main lodge, just as the piece of rock it sits on is breaking from the island. It is designed to entice people to come out to this most extreme point, extending the time people can stay out in the landscape by providing a place of retreat in this dramatic location. - 18 -
Brough of Birsay
Orkney Islands
SCOTLAND
PR IV AT E
COMMUNAL
PARTI
MAIN LODGE
ARTIST’S STUDIO
FLOOR PLAN
NE ENTRANCE
DRYING ROOM / PUB
BEDROOM - 19 -
GREENHOUSE
SECTION THROUGH GREENHOUSE
SECTION THROUGH BEDROOMS
SECTION THROUGH PUB AND DRYING ROOM - 20 -
= 1500 kW
• Nova Innovation in Shetland deployed the world’s first fully operational array of TIDAL POWER TURBINES in the Bluemull Sound between Unst and Yell Islands north of Shetland (3 turbines at 100kW capacity each) • Scotland has some of the most powerful tides in Europe • 110 % of energy in the Orkney Islands was renewable by 2015 • MyGen tidal stream project (currently in progress) between Caithness and Orkney
Summer Sun (59°) Solstice 4 AM - 10:30 PM
Winter Sun (10°)
Solstice 9 AM - 3:15 PM
Prevailing Winds - 21 -
WOODY EXPLORATIONS: B otanical G arden 2B Design Studio, Lola Sheppard Located on a quarry site along the Niagara Escarpment in Milton, Ontario, the typical format of the botanical garden is challenged in the function and layout of this design, focusing more on the plants as a resource as opposed to simply an aesthetic experience. The intention behind species selection relies upon its function as a resource, and the diversity of its uses. Combining bamboo and native Canadian tree species, a fully immersive experience is created for visitors, absorbing them into the life cycle of the plants from seed to final product. The architecture acts as an exhibition space and a centre for learning, with areas for cultivation and growth, alongside a research facility, treatment centre (including a wood workshop), and lecture hall as the main program elements. The purpose of the facility is to explore the new possibilities of the timber industry in Canada. Bamboo is a material with seemingly endless possibilities when it comes to commercial use, used for anything from structural framing to musical instruments to blankets, but unfortunately for Canadians, since we have a colder climate, bamboo does not grow naturally here. We have alternative tree species instead. However, the unsustainable use of wood products is an issue, and since trees do not have the same rapid growth rate of bamboo, the forests being cut down for timber are not being replenished quickly enough. The tree species located on this site, which are willow, cherry, tamarack, poplar, aspen, and birch, were selected because they all have similar characteristics to bamboo. They are fast growing and have a number of different uses, both in construction and other areas. Each type of wood and timber bamboo grown on the site is used in at least one part of the building construction.
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Woody ExPlorATions
BAMBoo And TrEEs - CollABorATion for diVErsiTy And susTAinABiliTy
ConsTruCTion: Timber Panels light framing CrAfT: Paper furniture Weaving Musical instruments Boats
ChinA south Western
VEnEzuElA
south Central
Eastern TAiWAn
ColuMBiA
MAlAysiA ECuAdor
ingEsTion: Medicine food
indonEsiA
guadua Angustifolia
gigantochloa Atter
Acidosasa Edulis
Phyllostachys nigra
fargesia dracocephala
Paper Birch
Trembling Aspen
Balsam Poplar
Tamarack
Peachleaf Willow
Black Cherry
PlAnTing disTAnCE
TEMPErATurE (° C)
rAinfAll (mm)
sunlighT
soil
60 <1000-1500 sandy
40
1500-2000
20
silty
0 2000-2500 Clay
-20
2500-3000
-40
Peaty
-60 3000-3500> Acidic
SPECIES INFOGRAPHIC - 23 -
GROUND FLOOR PLAN
Black Cherry Balsam Poplar Paper Birch Trembling Aspen Tamarack Guadua Angustifolia Gigantochloa Atter Acidosasa Edulis Phyllostachys Nigra Fargesia Dracocephala Peachleaf Willow
UPPER LEVEL PLAN - 24 -
TREATMENT PROCESS The treatment centre is where the wood and bamboo treatment and production would occur within the building. The room houses various machines for both wood working and bamboo production, including a cleaning station with power washers and scrubbing racks, drying and storage racks, corrugated press machine, particle board press, wood chip machine, bamboo splitting machine, a drill press, various saws (both hand-held and machine operated), and sanding machines. Below is a quick description of the harvesting and treatment process of bamboo.
#1 HARVESTING
#5 CLEANING
#2 CUTTING
#6 TREATMENT AND LEACHING
#3 CUT TO DESIRED LENGTH
#4 PUNCTURE NODES
- 25 -
#7 DRYING
#8 LABELLING
EXPLODED AXONOMETRIC
Strips of willow wood would be stretched across the top of the column, between the larger square frames of the bamboo, in a loose basket weave. In the gaps between the weave, ETFE (ethylene tetrafluoroethylene) would be used instead of glass, since it will still allow sunlight penetration, but also provides better insulation and is much less heavy than glass would be. - 26 -
CROSS SECTION
COLUMN PARTI DIAGRAMS
PHYSICAL COLUMN MODEL
WATER CIRCULATION
WELDED STEEL CONNECTION
WATER CIRCULATION
The main structural columns throughout the building are made of mostly bamboo, with a weaved willow element on the top of the structure. They were designed to be a water collection and ventilation system in addition to their structural requirements. There are split bamboo canes at the top of each column acting like an eaves-trough to drain rainwater or melted snow down through the bamboo poles and into the large water basin in the ground beneath the building. Each of the eight poles in the columns are coated with beeswax on the interior to prevent rot and decay, thus allowing for water collection while maintaining the integrity of the structure. - 27 -
OASIS
Relative Humidity
1B Environmental Design, Terri Meyer Boake
Dry-Bulb Temperature °C
AIR CIRCULATION DIAGRAM - 28 -
Humidity Ratio
Wet-Bulb Temperature °C Dew Point Temperature °C
Located in the lush rainforests off the coast of Gabon, Africa, in the province of Ogooué-Maritime, lies an oasis high up in the trees. This light, wooden structure, made of mostly bamboo is the perfect escape from the extreme heat and humidity of this African climate, which has an average yearly temperature of 26°C. As you climb the hanging ladder, you ascend into an open and airy space, high above the predators on the ground. You can choose to walk along the 360° lookout, or fall into a hammock to escape the many insects. No matter where you are in this oasis, you are open to the air. Each material used in this structure can be found in the surrounding rainforest. The roof is made of small pieces of bamboo, which allow the rising hot air to escape, while at the same time providing shade and protection from rainfall. The soothing sound of falling rain can be heard during the frequent showers in this area, which produce 1500mm to 2000mm of precipitation per year. It is meant to be the ultimate refuge for a jungle explorer, particularly one who likes to climb, and no matter where you are, there is always a view to the surrounding environment.
The bamboo used for the roof allows for maximum air circulation, while still providing protection from the rain and sun.
The bamboo walls are made up of rotating doors, which can be used to make the space either completely open or closed off. Even when closed, there are still gaps between the bamboo to allow for air circulation.
The ladder and hammocks are made of vines from the rainforest.
The mesh netting around the entrance provides a view straight down to the forest floor and gives the illusion of sitting or standing in midair. It also allows all the vines attached to the ladder to swing from the roof.
- 29 -
JUNK: M ulti - unit R esidential C omplex
IN COLLABORATION WITH CHARLES KIM, AMBER LECLAIR, AND NICOLE RATAJCZAK 1B Design Studio, Donald McKay Located in downtown Cambridge, ON, this project is composed of multiple self-contained residential spaces on a site that would otherwise be considered useless or “junk” space. In our design, we focused on providing the opportunity for a strong community life to develop among the residents, and on providing green space because we were on a parking lot site. As a result of these decisions, the inner courtyard became central to our design, and the point around which the entire project developed.
GROUND FLOOR PLAN
3rd FLOOR PLAN
- 30 -
2nd FLOOR PLAN
4th FLOOR PLAN
- 31 -
SITE SECTION
SECTION A
- 32 -
EXPLODED AXONOMETRIC
- 33 -
THRIVE: T imber O ffice T ower 3A Design Studio, Philip Beesley
Glulam Member Cross-Bracing (First two building floors)
Located in the Liberty Village region of Toronto, this high-rise timber building is designed to be a social hub for the area. With program including a public farmerâ&#x20AC;&#x2122;s market, large interior garden, cafeteria, restaurant, cafe and retail on the ground floor, a fitness centre, sky bar, public library, ballroom, multiple interior gardens, and multiple conference rooms, located throughout the three office towers, along with a number of roof terraces, there is somewhere for everyone to enjoy. Being constructed mainly out of mass timber, the materiality of the interior spaces are warm and aesthetically pleasing. It is an ideal location for large events such as weddings, conferences, galas, etc. because of its ability to hold high occupancy levels and itâ&#x20AC;&#x2122;s access to both interior and exterior event spaces (like the ballroom, conference rooms, roof terraces, and interior gardens). The schematic design of the building was intended to form interlocking spaces, with horizontal and vertical bars intersecting in plan to create feature amenity spaces at each intersection. I wanted to spread the public amenities throughout the towers, so the spaces for public interaction and community were not all concentrated on the first few floors. Integrating social space throughout the office towers is meant to encourage a healthy work habit with spaces both for solitary work, collaborative work, and leisure. There are places ideal for extroverted people, who work best in an environment surrounded by others, and also for more introverted people, who often work best in more solitary spaces or in small groups. It was important to me when designing to provide multiple types of office space to accommodate a wide variety of working styles, giving every occupant equal opportunity to succeed. Another key component of this design are the large number of green spaces both across the site and throughout the interior of the building. This area of Toronto currently has a very limited number of public green spaces, which is a problem given the high density residential population. I have provided open grassy spaces in the park for the many dog owners in the area to make use of, in addition to the more built-up landscaping. Given that we live in Canada, it was also important for me to include green spaces that can be accessed and enjoyed all year â&#x20AC;&#x2DC;round. There are interior gardens in every office tower, with the largest garden located on the ground floor running down the centre axis of the site from east to west. Almost every amenity space in the building has access to a garden, either inside or outside the building.
- 34 -
Mass Timber CLT Panels (Exterior)
Mass Timber CLT Panels (Interior)
Mass Timber CLT Panel Cores
Glulam Columns (500mm x 500mm)
Composite Floor Slabs (CLT mass timber panels and concrete slab)
- 35 -
MARKET GREEN SPACE RESTAURANT/CAFE
CORE
FLOOR PLAN PARTIS
PROGRAM
CORES
SHARED AMENITIES OFFICE
6TH FLOOR 4TH FLOOR
4TH FLOOR
5TH FLOOR
3RD FLOOR
3RD FLOOR
4TH FLOOR
2ND FLOOR
2ND FLOOR
3RD FLOOR
2ND FLOOR
GROUND FLOOR
CIRCULATION PATHS
GROUND FLOOR
GROUND FLOOR
- 36 -
SITE PLAN - 37 -
- 38 -
- 39 -
KEY MARKET SECTION DETAIL
- 40 -
SKY BAR FLOOR 1
SOUTH FACADE TOWER 2
NORTH FACADE TOWER 1
The South facades of every tower are composed of a curtain wall system, supported by large glulam columns. There are large pieces of timber attached on the exterior of the curtain wall system, acting as fins providing some solar shading and creating the pattern featured on the left.
Each of the North facades of the towers are a hybrid of the two systems used on the East/West or South facades. The north used tall vertical panels of CLT, increasing structural strength and reducing the amount of sunlight penetration.
WEST FACADE TOWER 3 On the East and West facades of each of the towers and the lower podium of the building, solid CLT prefabricated panels are used as lateral load-resisting elements. They each have specified openings cut out for windows throughout. These panels also block most of the undesirable solar radiation from the East and West, while still allowing some views throughout the offices in these directions.
TOWER 2 INTERIOR GARDEN
- 41 -
studio |BREHAUT Studio|Brehaut Architecture is a very small firm located on the southern coast of Prince Edward Island. My project involvement at studio|Brehaut involved several single family homes (new-builds and renovations), cottages, a warehouse renovation, and a small film studio in Charlottetown. I was responsible for digital models in Revit and collaborated on construction drawing packages, technical drawings, proposals, building permit applications, site visits, and building documentation.
The project I spent the most time on was Blake Guest Cottage.
After completing a cottage renovation for a client several years previous, the firm was hired again to design a guest cottage and artist studio on the same estate. I was put on the project just as it was beginning, and worked on the Revit model from start to finish, until construction began, collaborating on schematic design proposals, preparing the construction set, and eventually conducting site visits on occasion, when my boss was unable to go himself. The project was almost complete when I left the firm to begin my masters degree.
2
A3.0
1
A3.0
Simpson Strong Tie Wall Brace Typ. 2 Locations on 2"x4"Wall See Detail: 6/S1
A
P3 B2 P2 Joist Blocking @ 1/3 Points
B2 (Double Joist) Warehouse Area
3
A3.0
See Detail: 5/S1 for P1 Connection to Footing Typ.
DN
B3
See Detail: 1/S1 for Brace Connection
Joist Blocking @ 1/3 Points
Notes: 41' - 6"
- Ensure new walls are securely fastened to the concrete floor - See Simpson Manual for Strong-tie Wall Brace Type TWB installation Guidelines
Workspace Area
Loading: LL - 4.8 kPa DL - 0.95 kPa ( 0.25kPa allowance for Elect./Mech.)
57 Watts Ave., Charlottetown, PE
P1
B1
- For Construction
See Detail: 2/S1 for Mezz Brace
P1
UP
FilmPEI
38 x 286 @ 400MM O.C.
P2
C
38 x 286 @ 300mm O.C.
Storage
Joist Hangers: As required to be Simpson Strong Tie Hu212 (14 Ga.) OAE Fasteneing as per Manufacturer's Specifications
Office
All Free Ends of Joists Shall be Connected by a Rim Board (38"x284") All Joists Shall be Fully Blocked @ 1/3 Points Sound Stage/Rehearsal Room
Framing Schedule: Beams: B1 - 2 ply 44x297 Continuous LVL 2900 Fb 2.0E, flush mount B2 - 2 ply 38x286 SPF No.1/2, Flush Mount B3 - 2 ply 38x286 SPF No.1/2, Box Beam
W.R.
Entry
Post: P1 - 140x140 SPF No.1/2 P2 - 3 Ply 38x140 SPF No.1/2 P3 - 3 Ply 38x89 SPF No.1/2
W.R.
B Note: Match top of New Box Beam with top of Mezzanine Fl.
55' - 9"
38x286 Joists @ 400 O.C. Typ. Full Strength Joist Hangers Typ.
4
3
2
1 New 2"x4" Stud wall (Type 1)
2 Ply 38x286 Rim Joist
140x140 Timber Post (Below) Provide Blocking to Facilitate Connection of Brace
2 Ply Continuous 44x297 LVL (Beam B1)
38x286 BoxBeam Brace ( Beam B3) 200
4
Main Floor Framing Plan 1/4" = 1'-0"
2
Mezzanine Brace Detail 1" = 1'-0"
ISSUANCE
REVISION
Price Revisions: 12-12-18
Exist. 6" Slab
Fasten Post Base to Concrete and Post as per Manufacturer's Recommendation
End of Wall
Wall Brace Detail 1/2" = 1'-0"
Permit Changes: 11 - 02 -19
S1 38x286 BoxBeam Brace ( Beam B3)
19mm Ply Top & Bottom
New 38x140 Stud Wall
Provide Blocking to Facilitate Connection of Brace
2 38x140 Studs @ the Location of the Mezzanine Brace. Studs to be Securely Fastened at Top and Bottom of Wall.
End of Wall
6
Stair Revision: 03 -01-19
3
00° 45.
45. 00°
200
140x140 Timber Post (P1)
Steel Post Bracket Simpson Strongtie (BC60 Post base)
- 42 -
Stair Revision: 19 -12-18
200
New Type TWB Wall Brace by Simpson Strong Tie Typ. 2 Locations
324
New Type TWB Wall Brace by Simpson Strong Tie Typ. 2 Locations
5
Post Connection @ Floor
3
Cross Section of B3 1" = 1'-0"
1
Brace Connection 1" = 1'-0"
DATE
13-02-19
SCALE
As indicated
Drawn By
AQ, SJO
Checked By
LTB
TITLE
Mezzanine Framing Plan & Structual Details
S1
BLAKE GUEST COTTAGE & ARTIST STUDIO
1
A2.0
2
5
3
2' - 4"
3 A3.0 1 A3.0 Brick Terrace 2' - 4"
5 1/2"
3' - 0"
4' - 4"
Ceiling Open to Above
11' - 0"
8
3' - 6"
Fireplace 1
7 5 1/2"
B
A D/W
1' - 8"
6' - 0"
A
2151 Cape Bear Rd., Beach Point, PE
17' - 7"
Blake Guest Cottage
8' - 1"
3' - 2"
28' - 0"
7' - 9"
2151 Cape Bear Rd., Beach Point, PE
Blake Guest Cottage
43' - 6"
15' - 6"
7' - 9"
A4.2
Bedroom 1 6
SK0 DW
2' - 1"
W/D 3 1/2"
5 1/2"
2
2
Kitchen - Elevation 2 1/2" = 1'-0"
A2.0
10
2' - 4 1/2"
9
3"
3' - 1"
11' - 9"
3
UP
2
A4.2
Ceiling Open to Above
1
3' - 2"
11' - 0"
5 1/2"
4
D1
6' - 0"
11 2 SK17 A4.2
D9
14' - 8"
3' - 4"
12
34' - 0"
3' - 11" 1' - 10"
5 1/2"
Kitchen - Elevation 1 1/2" = 1'-0"
1
3 1/2"
7' - 9 3/4"
6' - 9 1/2"
D3 Entry Ceiling Open to Above
E
1' - 0"
SK14 W.R.1
D5
D4 CL
Bedroom 2
Brick Entry Terrace 2' - 4" 2' - 0"
F Cantilever Floor Above
2151 Cape Bear Rd., Beach Point, PE
F 2' - 5 3/4"
Mech./Elect.
5 1/2"
Blake Guest Cottage
3
3 1/2"
7' - 10 1/4"
1
2 1 SK17 SK16 5 1/2"
3 1/2"
D6
3 1/2"
4' - 10" Clear
FP
2 1
1 2 3
3 1/2"
A4.0
A4.1
3 1/2" 3' - 4"
CL
D8
6' - 9 1/2"
3 4 1
3
4' - 0"
D10
3 1/2"
Kitchen
3' - 10"
D7
3' - 9"
3 1/2"
4 3/4"
3 1/2" 2' - 6" 5 1/2"
2
22' - 0"
4
3 1/2" 12' - 1"
Living Ceiling Open to Above
4' - 2 1/2"
A2.0
2 1/4"
15' - 0 1/2"
4' - 2 1/2"
5 1/2"
5
Fridge
Ceiling Open to Above
5 1/2"
14' - 8"
D2
G
For Construction - 25-05-18
ISSUANCE
ISSUANCE
For Construction 6' - 1"
4' - 2"
5' - 3"
2' - 4"
3' - 0"
2' - 10"
11' - 9"
5' - 9"
For Construction
REVISION
2' - 4"
REVISION
31-01-19 : PDF Update 15' - 6"
1
8' - 2"
2 1
11' - 9"
1
3
A2.0 SK10 -
4
5
Notes: Baseboards - 1" x 6" Flatstock Pine DATE
14-01-19
SCALE Drawn By
Window and Door Casings - 1" x 4" Flatstock Pine
DATE
Drawn By
SJO, AQ LTB
TITLE
14-01-19
SCALE
1/4" = 1'-0"
Checked By
- 43 -
02-01-19: Railing Revision - Ref SK15
8' - 1"
1
Kitchen - Elevation 3 1/2" = 1'-0"
1/2" = 1'-0"
Checked By
SJO, AQ LTB
TITLE
Main Floor Plan
Interior Elevations - Main Floor
A1.1
A4.1
EMI: C herish H igh S chool While volunteering with Engineering Ministries International (EMI) in Uganda, I had the privilege of working on two secondary school designs. One of them was for a ministry called Cherish Uganda. Cherish works with HIV positive children, providing support, a safe home, and schooling, as well as helping the children reintegrate into their families and communities whenever possible. In addition to the health clinic, homes, and primary school they already run, Cherish is planning to build a new secondary school campus in Rakai, Uganda, near the southern border with Tanzania, which will educate up to 600 students, both from Cherish and from areas around the country and the rest of East Africa. This new campus is a boarding school (like most secondary schools in East Africa), meaning the design not only included regular and specialty classrooms and administration offices, but also boarding houses, a health clinic, a large covered gathering space, agricultural land, and recreational facilities. I had a chance to travel to the site with an international team of EMI architects and engineers, taking part in the initial schematic design concepts, participating in extensive discussions with our representative from Cherish, and later working on the specific programming and cost analysis, as well as the drawings, renders and other documents for the initial design proposal.
- 44 -
- 45 -
EMI: A mazima S chool The other secondary school design I had the opportunity to work
on with EMI was for Amazima Ministries. Amazima is a non-
profit organization who’s mission is to empower some of the
most vulnerable and impoverished people in Uganda through
sponsorship and education. The new Amazima School is a
secondary level boarding school located just outside of the town
of Jinja, Uganda, on a 67 acre site, and will eventually be the
ROOM FINISH SCHEDULE
#
home of 800 students and staff. The school opened its doors in
INTERIOR WALL FINISH
EXTERIOR WALL FINISH
CEILING FINISH
A/V ROOM
POLISHED CONCRETE
PLASTER
EXPOSED BRICK
TRUSS
STORAGE
POLISHED CONCRETE
PLASTER
EXPOSED BRICK
TRUSS
STORAGE
POLISHED CONCRETE
PLASTER
EXPOSED BRICK
TRUSS
904
STORAGE
NAME
POLISHED CONCRETE
PLASTER
EXPOSED BRICK
TRUSS
905
906
February 2017. The second phase of the project is currently under
FLOOR FINISH
901 902 903
COMMENTS
STORAGE
POLISHED CONCRETE POLISHED CONCRETE
STORAGE
PLASTER
EXPOSED BRICK
PLASTER
EXPOSED BRICK
907
STAGE
POLISHED CONCRETE
PLASTER
EXPOSED BRICK
908
BACKSTAGE 1
POLISHED CONCRETE
PLASTER
EXPOSED BRICK
909
BACKSTAGE 2
POLISHED CONCRETE
PLASTER
EXPOSED BRICK
910
CHAPEL ASSEMBLY AREA
POLISHED CONCRETE
TRUSS TRUSS TRUSS TRUSS TRUSS TRUSS
NOTES: FLOOR FINISH: POLISHED CONCRETE = GRIND AND POLISH CONCRETE SLAB, 125mm HIGH PLASTER WALL BASE BROOMED CONCRETE = CONCRETE SLAB WITH BROOM FINISH (NO SCREED), 125mm HIGH PLASTER WALL BASE PAVERS = 400x400x50 CEMENT/SAND PAVERS SCREED = FLOOR SLAB TO RECEIVE CEMENT / SAND FLOOR SCREED
WALL FINISH: EXPOSED BRICK PLASTER
= EXPOSED BRICK WITH POLYURETHANE COAT = PLASTER WITH LIME SLURRY AND PAINTED FINISH
CEILING FINISH: INSULATED ROOF TRUSS
= PROVIDE ADDITIONAL ROOF SHEET AND INSULATION BARRIER TO UNDERSIDE OF ROOF PURLINS = ROOM OPEN TO EXPOSED TRUSSES ABOVE
construction, with the remaining phases to follow. While working
with EMI, I had the privilege of collaborating on the detailed design
of buildings for phase two as well as completing the construction
drawings, including another regular classroom block, specialty
site visits to Jinja to check out the progress of construction with
(the feature building of the campus). I was able to make several
other members of our team during my work term, and participate
in several meetings with representatives from Amazima, including
A
classrooms (music, art, science), and the chapel and dining hall
the core faculty of the school. The images to the right are photos
from the first phase of construction (clockwise from top: completed
staff housing, completed classrooms, phase 1 site construction),
and the drawings below are for the chapel and specialty classroom
buildings in phase 2.
- 46 -
A1.1
Image property of Amazima Ministries
Image property of Amazima Ministries - 47 -
CORNERSTONE While working for Cornerstone Architecture in London, Ontario for my first co-op term, I had the opportunity to work on a renovation project at the Canada Games Aquatic Centre. I was asked to design the new front desk for the facility, which now stands as seen in the image to the right. I worked on several other projects during my two work terms at Cornerstone, photoshopping presentation renders, collaborating on a design award submission package, as well as building documentation and construction drawings, and proposing several design schemes for a retirement home dining hall renovation and tile pattern designs for a kindergarten classroom.
- 48 -
- 49 -
DVAD My time at Derek Venter Architectural Design (DVAD) consisted mostly of Revit modeling for several of our residential projects but also included site visits, client meetings, photoshopping renders, writing specs, working on construction sets, topography studies, collaborating on the design of new Passive House connection details for a multi-unit residential Passive House project (Indigo Villas), and participating in material testing. The firm specializes in high quality, energy conscious designs in Whistler, BC and surrounding area.
2 TS 1.3
BCBC 2012 PART 9
3
SL 38
TS 1.3
4 TS 1.3
Unit: 40 Street #: 4700 Street Name: GLACIER DR PID #: 015‐743‐586 Folio #: 502065.042 Legal: PLAN VAS2065 LOT 42 DISTRICT LOT 3903 NEW WESTSMINISTER DISTRICT GROUP 1 ZONING: LUC
SL 39
SCOPE OF PROPOSED WORK
LOT 40
SETBACK LINE
SETBACK LINE
PROPERTY LINE
SETBACK LINE
LOT 39
SETBACK LINE
SETBACK LINE
LOT 38
PROPERTY LINE
SL 40
lot 38 - MAIN FLR (666.90 m a.s.l.) 3.82 lot39 - SUITE FLR (666.33 m a.s.l.) 3.25
UNIT 40 lot39 - T/O MAIN FLOOR +663.55 m lot 38 - LOWER FLR (663.78 m a.s.l.) a.s.l. 0.70 0.47
‐ Replace a number of windows on main floor with larger windows that are in keeping with the existing style, matching neighboring units ‐ Bump out walls on small balcony on main floor to align with existing exterior walls ‐ Replace existing fireplace with smaller fireplace ‐ Replace interior windows on upper floor (see notes on upper floor plan) ‐ Renovate existing deck ‐ Create more open space in front entryway
lot 38 & 39 - base point (0' 0" = 663.08m a.s.l.) 0.00 lot 40 - MAIN FLR (662.02m a.s.l.) -1.06 lot 40 - base point (0' 0" = 661.21 m a.s.l.) -1.87 lot39 - LOWER FLR (660.78 m a.s.l.) -2.30
lot39 - B/O FTG -3.32
TS FRONT ELEVATION GRADE
SETBACK LINE
PROPERTY LINE
SETBACK LINE
PROPERTY LINE
SETBACK LINE
1 : 75
PROPERTY LINE
1
1 SW PERSPECTIVE DD 1.0
7/7/2015 1:38:41 PM
DVAD
inc. DEREK VENTER ARCHITECTURAL DESIGN P: +1.604.962.1177 F: +1.604.962.1178 info@dvad.org P.O.BOX 794 Whistler BC, CANADA, V0N 1B0
2
DESIGN PROPOSAL FOR STRATA REVIEW 7 JULY 2015
LOT 40 4700 GLACIER DR, WHISTLER
COVER
Lot 38
3
1 : 125
Lot 39
4
1 : 125
Lot 40 1 : 125
DD 1.0
PROPOSED TOPOGRAPHY EXISTING TOPOGRAPHY
Scale
7/31/2015 3:29:46 PM
No.
Issued
1. ISSUED FOR DP APPLICATION 2. ISSUED FOR BP APPLICATION 3. ISSUED FOR BP UPDATE 4. RE‐ISSUED FOR DRIVEWAY WIDTH ‐ pg. 1.0 & 1.3 only
5. RE‐ISSUED FOR BP UPDATE
- 50 -
Date
25/06/2014 02/07/2014 03/10/2014 19/12/2014 06/03/2015
Rev. A A B C
By JH JH JH RMB MB
No.
Issued
6. UPDATED ‐ STRUCTURE
Date
24/05/2015
Rev.
By MB
‐ These drawings are drawn based on the BCBC 2012, PART 9 (Occupancy Class C) ‐ These drawings are copyrighted and should not be copied or reused without the express written approval of the architect. ‐ Any conflict or error should be reported to the architect before material is ordered or construction is started. ‐ For any material ordered or if construction is started the contractor assume all responsibilities regarding these drawings with conflicts or errors there in. ‐ These drawings should not be scaled, and are not shop drawings. ‐ These drawings should be read in conjunction with the Structural Drawings, Specifications of all appliances, materials, equipment and any other related documentation applicable to this project. ‐ All quantities, dimensions and levels should be verified on site before materials are ordered or construction is started. ‐ Quantities are for reference only, the general contractor and every trade should verify the quantities themselves. ‐ The contractor should coordinate his equipments water, gas, electrical, backing etc. requirements with the other trades before construction starts and material is ordered.
Designer Drawn By MB & AQ Checked By MB
FRONT ELEVATION Scale As indicated TS 1.3 LOT 39 8476 BEAR PAW TRAIL, WHISTLER RAINBOW DEVELOPMENTS inc.
REV. D PROJECT #1452 31 JULY 2015
TOPOGRAPHY STUDY DVAD inc.
DEREK VENTER ARCHITECTURAL DESIGN
P: +1.604.962.1177 F: +1.604.962.1178 info@dvad.org P.O.BOX 794 Whistler BC, CANADA, V0N 1B0
INDIGO VILLAS
- 51 -
DRAWING / CRAFT
Andrea Quinn, Ceiling of the Pantheon
Andrea Quinn, The Baths of Caracalla
- 52 -
- 53 -
THANK YOU
andreaquinn94@gmail.com | 1-519-319-0794