Portfolio
Anna Beznogova M. Arch, BAS
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Table of Contents Material reclamation and re-use
M. Arch Thesis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Sophrosyne Spa
Comprehensive building design In revit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
The Evidence Room
Venice Architecture Biennale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Slip-Cast in Card
Design-Build Workshop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Alpaca Sweater
Intensive Side Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Pop-up Workshop
3B Studio, Data-Driven Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Wind and Current
3B Studio, Data Visualization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Revit/Shopping Mall
Co-op, Design Drawings in REvit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Urban Typologies
Co-op, Design Research . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
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On the path to material Re-use M.Arch Thesis / 2016 Skills used: material and product research, sustainable 4 design, Policy research, InDesign, Illustrator, Photoshop
sustainability can be practiced. In the latter part of my The aim of this thesis was to understand how to thesis I focus on material re-use as an underrepresentdefine sustainability holistically, and how architecture ed approach to material sustainability, and study the can contribute to holistic sustainability by way of opportunities and barriers in practicing it, particularly its material form. I conducted a literature review of in the context of Southern Ontario. I propose that definitions for sustainable development, looking for a monitoring tool that draws on public data sources a holistic definition that addressed common attitucould relieve one barrier to using reclaimed materials dinal barriers to its practice. It became apparent that by making it easier to find available sources. I find it’s useful to study sustainability under a systems Beznogova Friday, January 15, 2016 of 5 that material re-use can Page be an2architect-driven way to science framework that takes environmental, social, practice material sustainability, it conveys a message and psychological sustainability as interdependent about the problems of materialism in our society, and variables. In accordance with this, I reviewed different it provides challenging but fulfilling craft-based work. approaches to material sustainability in architecture, the lifecycles of several common building materials, The full thesis can be viewed at https://uwspace.uwaand the links between material industries, to estabterloo.ca/handle/10012/10874. lish a system-based understanding of how material
Material Reuse
LEED Canada NC 1.0 # of projects
LEED NC 2.1 (US) % of projects
# of projects
LEED NC 2.2 (US) % of projects
# of projects
LEED NC 2009 (US) % of projects
All registered projects 5% reuse
16 3% of 523
26 1.8% of 1451
227 2.4% of 9274
All registered projects 10% reuse
10 2% of 523
12 0.82% of 1451
129 1.3% of 9274
Platinum projects 5% reuse
2 9% of 23
9 12.8% of 70
65 18.8% of 346
Platinum projects 10% reuse
1 4% of 23
5 7.1% of 70
40 11.6 % of 346
# of projects
% of projects 96 0.08% of 10913
unknown
unknown
24 10.9% of 221 unknown
unknown
and rapidly renewable materials were similarly under 10%.2 In the Table showing number of projects meeting the Material Reuse credits United States, the percentage projects meeting at the in theof LEED program in the5% US.reuse This information helps to show that 3 Platinum level was 19% and for 10% 11.6%. However, material re-useitiswas an under-represented andonly perhaps not well-understood approach sustainability. Table author. 2.4% of all registered projects mettothe lower credit, onby par with Source: GBIG database. Canadian statistics. Although these statistics are only taken from one 5 certification system, LEED, it is notable that this is the most widely-
Material Industry design development schematic design
feasibility study (optional)
contract documents (drawings and specifications)
ARCHITECTURAL DESIGN Building Code
product packaging
procurement / bid / tender
material processing and manufacturing
construction
MATERIAL MANUFACTURING public info (permits, lots, construction dates, street views, photos)
MUNICIPAL RECORDS
scrap yards speciality companies Craigslist Kijiji
information portal (Open Data, Google, etc.)
PUBLIC DATA discover building to be demolished
sell materials/goods through salvage market
ASTM CSA
installation, use, maintenance
SALVAGE INDUSTRY
raw material acquisition
final disposal / demolition
undertake audit; identify materials and goods of value
WASTE INDUSTRY landfill
direct use separation of materials clean/refurbish as necessary
liaise with reclamation or demolition contractor purchase and remove goods to salvage yard
scrap yards back yards
identify products to make from recycled materials
identify/develop manufacturing processes for recycled materials
RECYCLING AND MANUFACTURING INDUSTRY
identify types and sources of “waste� materials
Material industries and points of their overlap. 6
collect/prepare materials for manufacturing process
manufacture recycled content products
sell recycled-content products as alternatives to new products
Approaches to Material sustainability
New Material Inventions
Dematerialization
Industrial Ecology
Renewable Resources
Recycling
Design For Disassembly
Local Materials
Cradle to Cradle
Adaptive Re-uSe
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Material Re-Use
Nepal relief shelters; Shigeru Ban
Salvaged Ring; a21 Studio
C.K. Choi Building; Matsuzaki Architects Inc.
SOS Children’s Center; Studio Gang
Villa Welpeloo; Superuse Studio
Omega Center; BNIM Architects
Hanil Visitor Center; BCHO Architects
Kaap Skil Maritime Museum; Mecanoo
Aptos retreat; CCS Architecture
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Third Wave Kiosk; Tony Hobba Architects
House in the Garden; Cunningham Architects
Pavilion 4; HMA Architects & Designers
“Recycloop;” Superuse Studio
Templestowe Football Pavilion; Phooey Architects
Glass Chapel; Rural Studio
“Wikado;” Superuse Studio
Ningbo Historic Museum; Amateur Architecture
Wat Pa Maha Chedio Kaew temple
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Sophrosyne spa Comprehensive building design / 2013 Skills used: Revit, Photoshop, Illustrator, InDesign, 10 design, space planning, detailing, material sustainable and product research
privacy // peace // dim light // otherworldliness // mind activity // bright light // air // temporality // cycles // body services // transition // public realm
11 22 33 Positive: onon the site Positive:Buildings Buildings the site
Negative: Gardens formed byby the building Negative: Gardens formed the building 1. 1. Cool, lush, walled garden - public Cool, lush, walled garden - public 2. 2. Spa courtyard - private Spa courtyard - private 3. 3. Hot, productive, open garden - public Hot, productive, open garden - public
yoga studio on the second floor is also located in this swath (yellow). There is a sense of observation – looking outward at nature and other people. This is an important precursor to the next swath. The experience of cyclical extremes on the body puts you into a state of being in the body instead of focused inward on the mind. It allows the letting go of any mental chatter, putting the mind into a more neutral state. The blue swath represents re-entry into the mind and a sense of inwardness. It includes insular program such as the treatment rooms and saunas, as well as a meditation room and an office space for staff. After the spa, one exits back into the world physically and mentally refreshed. The goal of the introspective journey of the spa is to emerge more balanced, enough detached from the world to look at it with fresh eyes.
The design for this spa is based around an experience of cycles which help to find balance in the body and mind. An exposure to the natural environment is one important example of a cycle – the changes of seasons, fluctuations in water levels, and shifting qualities of light all play the role of a reminder of temporality. As such, the building is organized with a circulation path around a courtyard as a metaphor for an introspective journey, using nature as a focus point. Entering the spa and walking down a corridor with limited windows represents the letting go of the outside world (red swath in diagram). After changing, you transition into the realm of the body, where you enjoy cycles of sauna, hot tub, plunge pool, and solarium, followed by a cup of tea at the cafe; the focus is on the cyclical character of the natural world, which is represented by the courtyard; the
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DN
DN
Second floor plan
-1500 -1000
-500 0
500 1000 0
-500
Ground floor plan 12
Movement Studio
Saunas Change Rooms
Solarium
Hot vs. cold - north and south Design: program is arranged in a loop around an internal courtyard which provides a private outdoor space for spa functions such as the plunge pool and hot tub. Energy: Hot program is oriented directly south to take advantage of solar heat gains through glazed walls (and to a lesser degree, through the solid wall assemblies). Cool program is oriented to the north. It doesn’t need to be quite as warm because people will be moving to generate their own heat. Thus, more heat losses through the north-facing wall are acceptable.
winding circulation - buffer Design: hallways wind around the interior courtyard of the spa, the circulation serving as a metaphor for an introspective journey Energy: hallways on the exterior faces of the building are naturally ventilated and daylit. They act like an environmental buffer, especially on the west faces of the building which get a lot of solar radiation in the summer.
Corridors
Treatment Rooms
berming Design: private program is set into the berm Energy: the berm reduces temperature flux because the earth has a more stable temperature than the air. In winter, the earth is warmer than air, whereas in summer it’s cooler; thus it reduces heat loss and heat gain during both heating and cooling seasons, respectively.
Saunas Practitioner’s Residence
River vs. street - east and west Meditation/Workshop Office
Reception Mechanical & Services Change Rooms
Design: Meditation space and staff room oriented towards the river, with views of tree canopy, in order to create a peaceful atmosphere. Reception and service spaces are oriented to the street for ease of access. Energy: Rooms facing east (to river) are protected from late afternoon solar gain and glare by the corridor which faces west. Service spaces, which face west - to the street, mostly have a solid wall facade which is more efficient at reducing heat gains and losses.
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North elevation
South elevation
Elevation facing river (below)
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Section through courtyard
Elevation facing street (below)
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I chose structural systems that allow for the desired qualities in each of the three “swaths” of program. Concrete is used as a retaining wall against the berm as well as providing a solid, cave-like enclosure. Steel is used in the middle “swath” to allow for large spans enclosed with sliding glazed walls. Wood is used in the front “swath” as a warm and welcoming material. Wood is also used on the second storey. Although the structure could have been, for example, all steel, it was desirable to use wood as part of the sustainability strategy - it is a renewable resource, and one that sequesters carbon. The rendered diagrams are made in Revit.
1// Foundations and retaining wall
3// steel
2// slab on grade
4// first-floor walls
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5// first floor roof / second floor floor
7// second floor roof
6// first floor roof sheathing / second floor walls
8// second floor roof sheathing
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PRODUCED BY AN AUTODESK STUDENT PRODUCT 1
A07-02
SIM
19
22
CONCRETE PAVER BALLAST FILTER FABRIC 250mm OF POLY-ISO INSULATION, STAGGERED IN BOTH DIRECTIONS 19mm DRAINAGE BOARD ROOF MEMBRANE 19mm EXTERIOR SHEATHING WOOD SLEEPERS CUT SLOPED AT 2% (TWO MEMBERS PER BOARD) 102mm COMPOSITE CONCRETE DECK (38mm-DEEP CORRUGATIONS)
T.O.P. 8665
SLOPE 2%
680
BI-FOLDING DOOR HARDWARE
CEILING
W200x19 BEAM - TOP CHORD OF TENSION TRUSS
FAN-COIL UNIT
8000
SUSPENDED WOOD PANEL CEILING
BI-FOLDING WOOD SCREEN
700
STEEL ROD - BOTTOM CHORD OF TENSION TRUSS
4000
3800
HORIZONTAL STIFFENER ON NANAWALL APPLICATIONS HIGHER THAN 2600mm
NANAWALL, TOP-HUNG (PER PRODUCT SPECS)
2600
4670
HORIZONTAL STIFFENERS ON BIFOLDING WOOD SCREEN
STEEL CABLE GUARDRAIL ON STAINLESS STEEL POSTS
19mm BAMBOO FLOORING ON 2"x4" SLEEPERS POLYETHYLENE MEMBRANE 102mm COMPOSITE STEEL DECK (38mm-DEEP CORRUGATIONS)
LEVEL 2 4000
700
LEVEL 2
1"x1" WOOD SLATS CONCEAL FANCOIL UNIT BUT ALLOW AIR TO CIRCULATE THROUGH
W610x551; HEAVY SECTION TO ENSURE LESS THAN 1/4" DEFLECTION (PER NANAWALL PRODUCT SPECS)
BI-FOLDING WOOD SCREEN
PRODUCED BY AN AUTODESK STUDENT PRODUCT
690
ARCHITECTURAL STEEL CHANNEL FASTENED THROUGH TO SUBSTRUCTURE MOISTURE BARRIER 19mm EXTERIOR SHEATHING 152mm STEEL STUD WITH FIBERGLASS BATT INFILL
610mm OPEN-WEB STEEL JOISTS
LOCATION OF FIN-TUBE RADIATORS, ALTERNATING WITH AIR DIFFUSERS (BETWEEN OPEN-WEB STEEL JOISTS)
740
JB
PRODUCED BY AN AUTODESK STUDENT PRODUCT
METAL CHANNEL STRUTS PERPENDICULAR TO OPEN-WEB JOISTS @ 32" O.C. 19mm EXTERIOR SHEATHING AIR, VAPOUR, AND MOISTURE BARRIER 250mm WOOD STUDS @ 32" O.C. with 250mm WATER-BLOWN SPRAYFOAM INSULATION 19mm MEDIUM DENSITY OVERLAY BOARD, PAINTED BLACK WOOD SLATS WITH 12mm REVEALS, FASTENED WITH FINISH NAILS
TOP OF BERM 1400
SUSPENDED EXTERIOR LIGHTING FIXTURE
LEVEL 1 0
TOP OF BERM 1400
PRODUCED BY AN AUTODESK STUDENT PRODUCT
Detail elevation of yoga studio facade
Detail section of yoga studio facade
LEVEL 1 0
18 PRODUCED BY AN AUTODESK STUDENT PRODUCT
PRODUCED BY AN AUTODESK STUDENT PRODUCT
PRODUCED BY AN AUTODESK STUDENT PRODUCT
PRODUCED BY AN AUTODESK STUDENT PRODUCT PRODUCED BY AN AUTODESK STUDENT PRODUCT
CANT FLASHING OVER STEEL STUD LOOKOUT FIRST THREE COURSES OF CONCRETE PAVER BALLAST INSTALLED OVER FLASHING
SLOPED RIGID INSULATION
19
BUILT UP STEEL STUD LOOKOUT FOR TOP-HUNG BI-FOLDING WOOD SCREEN, WITH BATT INSULATION INFILL
16
SLOPE 2% MIN.
STEEL CABLE GUARDRAIL ON STAINLESS STEEL POSTS
130
8" GROWING MEDIUM 50mm DRAINAGE SPACE FILTER FABRIC/ROOT BARRIER 250mm POLY-ISO INSULATION 19mm DRAINAGE SPACE FULLY ADHERED ROOF MEMBRANE 19mm EXTERIOR SHEATHING WOOD SLEEPERS CUT SLOPED AT 2% (TWO MEMBERS PER BOARD) 89mm CLT SLAB, FINISHED ON INTERIOR CANT
LEVEL 2
130 130
CEILING
8000
W200
PRODUCED BY AN AUTODESK STUDENT PRODUCT
130
BI-FOLDING DOOR HARDWARE
OPEN
130 130
130
STEEL ROD BOTTOM CHORD OF TENSION TRUSS; CLEVIS PIN CONNECTION TO WELDED STEEL PLATE
130
STEEL PLATE WELDED ONTO GIRDER,
2130
WOOD SLATS CONCEAL FAN-COIL UNIT ABOVE
BI-FOLDING WOOD SCREEN, SUPPORTED ON TREATED WOOD MEMBERS SUPPORTED ON FOOTING
OPEN
MIN. 200
130
SUSPENDED WOOD PANEL CEILING SYSTEM
75mm CONCRETE TOPPING WITH RADIANT HEATING PIPES 150mm CONCRETE S.O.G. MEMBRANE (WATER, AIR, VAPOUR CONTROL) 150mm RIGID INSULATION GRAVEL BED
LEVEL 1
0
130
CEMENT BOARD on 2x4 TREATED STUDS @ 600 O.C. with RIGID INSULATION INFILL 152mm RIGID INSULATION 19mm DRAINAGE GAP MEMBRANE (WATER, AIR, VAPOUR CONTROL) 300mm CONCRETE FOUNDATION WALL
LEVEL 0 - Bedrock ARCHITECTURAL STEEL CHANNEL FASTENED THROUGH TO SUBSTRUCTURE
-1200
PLYWOOD SHIM, AS REQ'D
FLASHING HORIZONTAL STIFFENERS, AS REQ'D
PRODUCED BY AN AUTODESK STUDENT PRODUCT
Detail section of yoga studio parapet
Detail section of main lobby wall
PRODUCED BY AN AUTODESK STUDENT PRODUCT
19
PRODUCED BY AN AUTODESK STUDENT PRODUCT
SHIM, AS REQ'D
PRODUCED BY AN AUTODESK STUDENT PRODUCT
PRODUCED BY AN AUTODESK STUDENT PRODUCT
4000
The Evidence ROom Research Assistant / 2016 / UWaterloo Team Skills used: Prototyping, Material Research, Digital 20 Traditional Fabrication in Plaster, fabrication, leadership
The Evidence Room project started out with an invitation from Alejandro Aravena to Robert Jan van Pelt to make an exhibition about the libel trial where he provided expert testimony on the likelihood that some of the buildings at Auschwitz were intentionally constructed as gas chambers and crematoria. Robert Jan’s testimony helped defend Deborah Lipstadt, who had publicly called out a Holocaust denier in one of her books. The recent movie “Denial� revolves around this trial and how it was resolved. The Evidence Room exhibit pulls on various evidence presented in court during that case by Robert Jan to prove that Auschwitz was designed to kill, and therefore that Deborah is not guilty of libel when she calls someone who attempts to discredit the deaths at Auschwitz a denier. I got involved early in the project when Anne Bordeleau, one of the principals of The Evidence Room team, asked me to explore how 2D drawings and photographs could be translated into molds that could be cast with plaster. I researched and learned how to cast plaster well and with consistent results, and experimented with several modes of digitally fabricating the molds. Only later did I find out the full extent of the planned exhibition. For about three months, I worked intensely with the team, which had grown to include several more graduate and undergraduate students, to continue prototyping the molds and casting methods and then to cast over 70 plaster plaques. At the same time, parts of our team were focused on building reconstructions of key architectural elements that enabled the execution of thousands of prisoners. In May of 2016 I had the opportunity to travel to Venice with the team in order to help install the exhibition and attend the vernissage. For me, the project was an opportunity to do what I love best, which is figure out how to make something and then make it. But it was also incredibly meaningful work which brought me much closer to the significance of historical events which may seem so far behind us, but in fact continue to be a battleground. Finally, it was a great lesson in forensic architecture, which shows how architectural drawings and elements can tell a story. In this case the evidence tells a story of large-scale and deliberate killing made possible with the help of architects. Website: http://www.theevidenceroom.com/ Project photos: Fred Hunsberger, Carol Kaifosh, Siobhan Allman, Piper Bernbaum.
Process images: mold preparation, casting, installation, and touch-ups. 21
A finished cast of a letter reporting the capacity of the gas chambers at Auschwitz. 22
�
122
Prototyping several ways of making molds from photos. These are the cast results of those prototypes. 23
fig. 71 (72)
fig. 72 (71)
The three “monuments� / pieces of evidence that we reconstructed for the exhibition: a gas column from witness accounts and aerial photos, a gas hatch and ladder from witness accounts and architectural drawings, and a door into the gas chambers based on photos of original evidence, with a wire cage over the peephole on the inside of the door.
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A close-up of one of the walls of casts. This wall includes a WW2-era gas mask and several drawings by a survivor, David Olère.
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Slip-cast in Card Design-build Workshop / 2014 Skills used: Prototyping, Material Research, Digital 26 Traditional fabrication in clay slip fabrication,
The project brief asked for the design of a screen wall for a new workshop space at Grymsdyke Farm in London, UK, and building or prototyping this wall using casting techniques. I chose to work with clay slip because clay stood out to me as a weather-resistant material, often traditionally used for making roof or floor tiles that must withstand moisture. In the form of “slip,” clay is fluid enough to be used as a casting material. Traditional slip-casting uses plaster molds. My innovation was to use cardboard molds, which was driven partly by my lack of skill with plaster at this point in time, and partly by the fact that prototyping could be done much faster. Plaster molds have to prepared and then completely dried prior to casting: up to a week’s drying time. So far as I am aware, no one has cast clay slip in cardboard before, or if they had, their work isn’t published. The biggest task for me then, was to calibrate the clay slip in relation to the cardboard I found, to decide on time the clay is left in the mold, and to design the mold so that the individual tiles could be strung together to form a screen.
Traditional slip-casting. (Diagram by others.)
My first trials with slip-casting in cardboard led me to believe it could work if it was refined. 27
The screen wall is designed as a series of frames which support the hung slip-cast tiles. The wall is intentionally designed with lines of vertical and horizontal continuity to facilitate “weaving� it together.
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Calibrating Viscosity Starting Weight (g) incl. cup
Starting Weight (g) exl. cup
Sodium Silicate (drops) added each time
Total drops
Sodium Silicate density (drops/ g)
Sodium Silicate density change
1
1497
1437
3
3.00000
0.00209
2
1213
1153
3
5.40710
0.00469
0.00260
275
3
938
878
3
7.11746
0.00811
0.00342
208
284
4
730
670
3
8.43132
0.01258
0.00448
91
5
639
579
2
9.28617
0.01604
0.00345
71
568
508
2
10.14745
0.01998
0.00394
51
517
457
6
Sodium Silicate density (drops/g)
Piece Weight (g)
0.02000 0.01500
Value Axis
Trial #
0.01000 0.00500 0.00000
1
2
3
4
5
6
Category Axis
Interpolating to Control Viscosity Trial #
Starting Weight (g) incl. cup
Starting Weight (g) exl. cup
Sodium Silicate Total drops (drops) added each time
Sodium Silicate Sodium Silicate density (drops/g) density change INTERPOLATE
3
0.00448
0.00811
208
3.25 601.955471132054 541.955471132054
5
0.00923
3.5 543.313448514022 483.313448514022
5
0.01035
0.00112
3.75 496.122978233519 436.122978233519
5
0.01146
0.00112
0.01258
0.00112
4
Piece Weight (g)
0.00112
91
1
I calibrated the viscosity of the clay slip by testing incrementally more fluid mix, and tabulated the results to interpolate within the most promising range.
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Once I had control over the medium, I went through several iterations of the mold to create “keys” and “bumps” so that the tiles could interlock and have rotational stability. I made re-usable pegs which were quick to assemble for each mold.
My workbench at the end of the two-week intensive workshop at Grymsdyke: mold prototypes, viscosity tests, a series of tiles in their final configuration (about twenty from one day of casting), fired pieces (center; bright white) from earlier in the week, and a hanging proof-of-concept.
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Tiles in the kiln (upper left), with other students’ work.
Stringing the tiles together.
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Alpaca Sweater Side Project / 2016 Skills used: Prototyping, Self-Motivation, Ongoing Skill32 building, Material Research, Detailed design with client
In 2014, a friend asked if I would make her boyfriend a sweater if she brought me alpaca wool spun from the herd on his farm. I thought it sounded like a fun idea—I’m an avid knitter and I enjoy working with materials whose story and provenance I know. A year later, she brought me the yarn as promised, and I got started. After reviewing available men’s knitting patterns I decided I needed to design my own in order to meet my friend’s wishes for how the garment looks, my own wishes for how it is constructed, and the wishes of the yarn itself (based on its thickness and drape for example). I opted for a top-down construction that permitted the sweater to be tried on while it was still under construction. Since I’m not an experienced designer, trying the sweater on was the best way to tell if it was going to be the right size. I prototyped a mini sweater, knit swatches of the pattern, and discussed what would happen if I ran out of yarn: where did my client think it was acceptable to add in a non-matching yarn? This led to the inclusion of colour-blocking in the design, not as an afterthought but a conscious design feature. After figuring out the basic construction, I had to go through several iterations of the shoulder sizing, undoing my work and reknitting it each time. It was very important to me that it come out the right size, so that it can be a joy to wear for its recipient. To this day, I hear that I have been successful, and the sweater is getting a lot of wear. A side project, the sweater was nevertheless a design exercise, a learning curve, and a lesson in prototyping and persistence. It is full of small construction details that make it a functional, beautiful final product.
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34
Some of the process work in designing and making the sweater. I went through several iterations to find the right fit, especially in the shoulder.
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Pop-up WOrkshop 3B Studio / 2011 Skills used: Digital and traditional rendering, Research36 Rhino, Grasshopper based design,
The pop-up textile workshop focuses on bringing out and celebrating some of the many ethnic group that have settled along Queen Street. The street has long been a place where waves of immigrants have settled down. Over the years people have moved out and new people have moved in, shifting the cultural mix, but the process of immigrants moving out has been accelerated recently because of efforts to “gentrify” the area. This increases land values and discourages immigrant groups moving in, while encouraging large corporate presence and upper-scale living. The immigrant ethnic groups have a lot of fascinating culture to bring to Queen Street, and to share. I want to bring out this sharing aspect through the medium of craft. This map is a representation of the dominant mid-population groups. Working from the 2006 census, and 126 ethnic origin categories, the list was culled of ethnic groups with populations that would overwhelm the entire map. This left about 18 ethnic groups which were analyzed on a block-by-block basis, to find the top three populations in each block. In the first phase of the pop-up, pavilions are located along Queen Street wherever there’s a pattern of clustering of an ethnic group, or where there is a single culture which stands out. They are designed to fit in a parking spot on the street, working off the precedent of the Bixi bike racks. This allows it to be flexible – to be deployed anywhere on the street, with the possibility to be deployed again with each new census. In this phase, the pavilions can be a source of public outreach, as well as artisan space. The celebration of these different cultures and skills comes together during the second phase of the project at Nathan Phillips Square as a weekend festival. The pavilions help to activate the periphery and make it more inviting, as well as giving the pavilions a strong street presence to help draw people in. In this way they address both the street and the square, tying the two despite the walkway’s divisive quality. The public celebration which happens at Nathan Phillips is also in the midst of the homogenizing process of gentrification, as evidenced by the amount of corporate business presence in that area.
Nathan Phillips detail plan 1:25
Nathan Phillips section-elevation 1:25
Plan, section, and rendering of the pop-up workshop within Nathan Phillips Square walkway.
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Jan
Feb
Bay
Yonge
University
Spadina
c
Bathurst
De
No v
non-corporate corporate
businesses:
Mar
Oct
Apr
May
t
July
e
Jun
Au g
Sep
Ukrainian pavilion
Korean pavilion
Ethiopian pavilion
Jamaican pavilion
Bangladeshi pavilion
Vietnamese pavilion
Queen St. W.
Queen St. E.
Welsh pavilion Tibetan pavilion NATHAN PHILLIPS SQUARE Ukrainian pavilion
Dutch pavilion
0 125 250
Digital tapestry of minority ethnic groups, based on census data.
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500
750
1000 m
1800mm
2600mm
1800mm
5900mm
Section and plan of the pop-up workshop installed along Queen St. W. Queen St. Plan 1:25
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wind and current 3B Studio / 2011 / two-person project Skills used: Data visualization, Rhino, Grasshopper, Data analysis 40
This project looks at the interaction between wind and water current forces, as observed from four strings hung from a bridge. With a partner, I recorded, mapped, and analyzed (extensively) the motion of the strings. One aspect of the analysis looks at modeling the velocities of several points on one of the strings through time. The process (or “recipe�) for that process can be described as follows: For each time period starting at the second time period:
1.
For each point in the time period:
1. Subtract the coordinates of the point at time=0 from the current point; this represents the speed and direction of the point as it moved from the first time period to the current time period i.e. its’ velocity
2. Draw the resulting point
3. Next (go to the next point)
4. Interpolate the curve between all the points representing velocity
Store the curve in an array
2.
3.
5. Next (go to the next time period) 6. Loft the surface between all the curves in the array, in order; this is a 3D representation of the velocities on the string through time.
4.
5.
6.
41
plan
x 293.2 378.5 462.7 543.8 623.3 700.9 776.6 855 945.4
y 09'01 2474 2500 2526 2553 2580 2615 2655 2692 2703
1021
2707
LINE A
endpoint
z
x
y 09'10 2460 2484 2510 2537 2567 2600 2641 2687 2703
401.9 356.6 309.1 257.4 202.9 150.5 99.52 50.33 9.74
293.7 380.3 465.4 547.9 627.1 704.6 779 852.9 940.3
-5.35
1028
0.5 1.8 2.7 4.1 3.8 3.7 2.4 -2.1 -5.1 7
0
endpoint
z
x
y 09'20 2465 2487 2510 2534 2561 2591 2630 2685 2704
419.8 375.9 330.3 280.4 227.5 173.6 121.2 71.73 26.57
293.7 380.1 464.9 547.9 628.2 706 782.6 854.6 946
2707
2.53
982.7
2707
09'10 – 09'01 -14 -16 -16 -16 -13 -15 -14 -5 0
17.9 19.3 21.2 23 24.6 23.1 21.68 21.4 16.83
0.5 1.6 2.2 4.1 4.9 5.1 6 -0.4 0.6
09'20 – 09'01 -9 -13 -16 -19 -19 -24 -25 -7 1
7.88
-38.3
0
z
front elevation
x
-2.52
293.7 379.4 465.2 550.3 633.9 714.5 791.7 862.4 949.1 1046 1047
y 10'01 2481 2503 2524 2546 2570 2595 2628 2682 2704 2710 2709
-20.7 -20.8 -21 -19.7 -18.6 -21 -21.13 -13.62 -6.97
0.5 0.9 2.5 6.5 10.6 13.6 15.1 7.4 3.7
2.84
26
381.2 335.8 288.1 237.7 184.3 129.5 78.39 36.71 2.77
z
x
y 10'10 2478 2501 2524 2550 2578 2607 2640 2684 2701
411.1 364.6 317.8 270.2 220.7 167 112.9 68.01 24.49 1.93 0.73
293.7 379.2 464.1 547.7 629.7 710.2 788.6 864.4 952.4 1043
2706
10'01 – 09'01 7 3 -2 -7 -10 -20 -27 -10 1
9.2 8 8.7 12.8 17.8 16.5 13.38 17.68 14.75
0.5 0.7 1.4 3.9 6.4 9.3 12 9.4 7
10'10 – 09'01 4 1 -2 -3 -2 -8 -15 -8 -2
2
6.08
22
-1
z
x
-5.68
293.7 379.7 465.2 549.1 631.1 711.3 789.9 866.2 954.6 1052 1062
y 10'20 2479 2501 2525 2551 2579 2608 2641 2685 2701 2706 2707
1 -0.2 -0.3 3.1 7.8 8.2 6.88 7.81 5.51
0.5 1.2 2.5 5.3 7.8 10.4 13.3 11.2 9.2
-0.33
41
402.9 356.4 308.8 260.5 210.7 158.7 106.4 58.14 15.25
z
x
y 11'01 2490 2514 2536 2559 2584 2611 2643 2689 2708
398.7 352.9 306.7 259.1 209 156.9 105.1 56.92 14.27 -6.12 -6.73
293.7 378.2 463.1 547.5 630.3 711 789.9 866.7 958.1 1017
2711
10'20 – 09'01 5 1 -1 -2 -1 -7 -14 -7 -2
-3.2 -3.7 -2.4 1.7 6.1 6.4 5.58 6.59 4.53
0.5 -0.3 0.4 3.7 7 10.1 13.3 11.7 12.7
11'01 – 09'01 16 14 10 6 4 -4 -12 -3 5
0
-1.38
-4
4
z
x
-2.25
293.7 379.4 465 549.7 632.5 713.4 793.1 869.9 958.1 1055 1068
y 11'10 2485 2509 2533 2556 2581 2610 2642 2684 2705 2711 2711
-16 -18.4 -18.9 -15.9 -11.6 -11.5 -12.96 -8.24 -1.78
0.5 0.9 2.3 5.9 9.2 12.5 16.5 14.9 12.7
3.1
47
385.9 338.2 290.2 241.5 191.3 139 86.56 42.09 7.96
z 396.3 350.8 305.2 257.1 207 155.8 104.5 56.75 15.46 -5.54 -6.5
x 293.7 378.7 463.6 548.3 632.7 714.2 791.9 868.5 956.1 1053 1054
y 11'20 2479 2501 2523 2545 2569 2599 2637 2683 2706 2712 2712
11'10 – 09'01 11 9 7 3 1 -5 -13 -8 2
-5.6 -5.8 -3.9 -0.3 4.1 5.3 4.98 6.42 5.72
0.5 0.2 0.9 4.5 9.4 13.3 15.3 13.5 10.7
4
-1.15
33
z
x 394.1 346.1 298.2 250.1 201.8 152.6 102.6 57.45 16.08 -5.87 -5.95
293.7 379 464.4 548.4 631.3 713.2 792.4 869.3 955.7 1052 1058
11'20 – 09'01 5 1 -3 -8 -11 -16 -18 -9 3
-7.8 -10.5 -10.9 -7.3 -1.1 2.1 3.08 7.12 6.34
0.5 0.5 1.7 4.6 8 12.3 15.8 14.3 10.3
5
-0.6
37
y 12'01 24 24 25 25 25 25 26 26 27 27 27
12'01 – 09'
42 11'01 – 10'20 delta t= 0.37 x
y 0
11'10 – 11'01 delta t= 0.3 z
11
Magnitude -12.8
16.88
As function of max 0.85
Speed
x
y 0
11'20 – 11'10 delta t= 0.33 z
-5
Magnitude 10.4
11.54
As function of max 0.63
Speed
x
y 0
z -6
Magnitude -2.2
6.39
As function of max 0.49
Speed
-
side elevation
renders
Legend 09’01 09’10 09’20 10’01 10’10 10’20 11’01 11’10 11’20 12’01 12’10 12’20 13’01 13’10 13’20 14’01 14’10 14’20
474 495 514 538 563 589 624 670 700 711 711
z 396.2 348.5 300.1 251.3 201.3 150.2 100.1 55.65 16.27 -5.45 -5.96
x 293.7 379 464.3 548.5 631.4 713.3 793.8 872.2 957.6 1052 1080
y 12'10 2472 2492 2511 2534 2558 2583 2615 2657 2687 2704 2707
'01 0 -5 -12 -15 -17 -26 -31 -22 -3
-5.7 -8.1 -9 -6.1 -1.6 -0.3 0.58 5.32 6.53
0.5 0.5 1.6 4.7 8.1 12.4 17.2 17.2 12.2
4
-0.6
59
z 409.6 361.7 313.1 264 213.8 162.2 112 66.76 24.63 -2.7 -6.18
x 293.7 379.7 465.4 550 631.8 711.8 791.6 869.2 951.4 1045 1083
y 12'20 2451 2470 2491 2512 2538 2570 2606 2648 2684 2703 2707
12'10 – 09'01 -2 -8 -15 -19 -22 -32 -40 -35 -16
7.7 5.1 4 6.6 10.9 11.7 12.48 16.43 14.89
0.5 1.2 2.7 6.2 8.5 10.9 15 14.2 6
0
-0.83
62
z 412.5 365.5 318.4 269.2 218 167.2 119 72.03 28.75 0.03 -5.85
x 293.7 380.1 466.1 551.2 634.4 715.4 792.9 867.6 947.3 1040 1082
y 13'01 2446 2464 2482 2503 2528 2557 2595 2642 2685 2705 2710
12'20 – 09'01 -23 -30 -35 -41 -42 -45 -49 -44 -19
10.6 8.9 9.3 11.8 15.1 16.7 19.48 21.7 19.01
0.5 1.6 3.4 7.4 11.1 14.5 16.3 12.6 1.9
0
-0.5
61
z 415 368.1 320.5 272.2 222.7 171.8 121.4 74.31 32.62 1.71 -6.28
x 293.7 381 467.6 553 636.9 718.4 796.6 871.7 949 1040 1081
y 13'10 2444 2461 2479 2499 2521 2546 2582 2630 2677 2701 2707
13'01 – 09'01 -28 -36 -44 -50 -52 -58 -60 -50 -18
13.1 11.5 11.4 14.8 19.8 21.3 21.88 23.98 22.88
0.5 2.5 4.9 9.2 13.6 17.5 20 16.7 3.6
3
22.88
60
z 414.1 368.7 322.2 274 223.9 171.9 121.4 75.52 33.87 1.74 -4.93
x 293.7 380.5 466.8 552.1 636.1 718.3 797.7 871 947.9 1039 1077
y 13'20 2437 2455 2475 2497 2519 2542 2573 2622 2671 2697 2704
13'10 – 09'01 -30 -39 -47 -54 -59 -69 -73 -62 -26
12.2 12.1 13.1 16.6 21 21.4 21.88 25.19 24.13
0.5 2 4.1 8.3 12.8 17.4 21.1 16 2.5
0
0.42
56
z 414 367.7 321.3 273.9 224.4 172.5 120.1 73.65 33.22 2.73 -4.59
x 293.7 380.5 466.7 552.1 636.5 719.4 800.1 875.7 948.1 1038 1086
y 14'01 2446 2461 2477 2495 2516 2539 2568 2612 2667 2696 2704
13'20 – 09'01 -37 -45 -51 -56 -61 -73 -82 -70 -32
12.1 11.1 12.2 16.5 21.5 22 20.58 23.32 23.48
0.5 2 4 8.3 13.2 18.5 23.5 20.7 2.7
-3
0.77
65
z 419 371.8 323.4 274.6 225.1 174.3 123 75.15 34.5 2.95 -5.85
x 293.7 381.8 467.7 552.2 635.6 717.5 797.8 876 950.3 1039 1085
y 14'10 2445 2462 2479 2498 2519 2542 2570 2606 2659 2692 2699
14'01 – 09'01 -28 -39 -49 -58 -64 -76 -87 -80 -36
17.1 15.2 14.3 17.2 22.2 23.8 23.48 24.82 24.76
0.5 3.3 5 8.4 12.3 16.6 21.2 21 4.9
-3
-0.5
64
z 423 378.9 330.8 280.5 229.6 177.2 124.2 74.21 33.23 2.43 -6.29
x 293.7 381.7 468.5 553.9 637.6 719.5 799.1 875.6 949.8 1040 1083
y 14'20 2446 2461 2475 2492 2514 2539 2568 2608 2661 2689 2698
z
14'10 – 09'01 -29 -38 -47 -55 -61 -73 -85 -86 -44
21.1 22.3 21.7 23.1 26.7 26.7 24.68 23.88 23.49
0.5 3.2 5.8 10.1 14.3 18.6 22.5 20.6 4.4
14'20 – 09'01 -28 -39 -51 -61 -66 -76 -87 -84 -42
20.3 20.5 20.5 23 27.4 27.9 26.08 24.92 24.56
-8
-0.93
62
-9
-1.55
422.2 377.1 329.6 280.4 230.3 178.4 125.6 75.25 34.3 2.05 -6.9
43 12'01 – 11'20 delta t= 0.37 x
y 0
-5
wind unit veCtors
12'10 – 12'01 delta t= 0.3 z
Magnitude 2.1
5.42
As function of max 0.41
Speed 14.79
x
y 0
12'20 – 12'10 delta t= 0.33 z
-2
Magnitude 13.4
13.55
As function of max 0.78
Speed
x
y 0
z -21
Magnitude 2.9
21.2
As function of max 0.94
+ DESIGN CONCEPT
setback property line
0
the property line is offset by setback limits to create the building footprint
3
back end of mass is pulled away to create a prominant secondary entry
1
building form is extruded to maximize FAR + square footage
4
circulation spine carves through the volume forming connections to both entries with access to shopping and allowing light from above
existing new structure
2
corner of mass is pulled up to create a welcoming and vibrant public square and to create an iconic architectural element
5
new structural columns tie seamlessly into existing foundations and columns
Co-op / 2012 / Kasian Architecture - Vancouver Skills used: Revit, Illustrator, Schematic Design, Design Development, Detailing
retail games cinema
6
retail occupies the first 4 floors and is visually accessible to pedestrians and users cinemas are placed above the games/entertainment floor which overlooks the retail below
9
dynamic landscaping configurations allow for exciting potentials on both the roof and ground floor the carved spaces within the atrium creates an exciting invitation into the shopping centre within
I worked on several different projects during my 8-month co-op work term with Kasian Architecture, and got a wide variety of experience starting from design proposals all the way through to site review during construction. I was involved on a retirement community, two transit projects, and this shopping mall.
7
8
I joined the team for the Yuankai Shopping Mall during the Design Development phase of the project. During this phase I was involved in finalizing the design of the building and diagramming the final scheme as a means of communicating with the client. I also helped to produce and develop construction drawings, including floor plans, sections, and details. In the end we issued two packages: a design package and a construction document package.
the roof is peeled up to bring light into the banquet hall and to create an exciting park landscape on the roof
While at Kasian I received Revit training. This is one of several Revit projects I worked on during the 8-month term. Although I worked extensively on construction drawings for the projects I was involved in, I’ve chosen an example of “design” drawing for the purpose of this portfolio. The base for these drawings was also done in Revit using the “design options” feature. I went on to make extensive use of Revit in school projects.
a depression in the mass creates a seating and viewing area on the north side of the roof scape
45
Co-op / 2011 / Inferurban - Toronto Skills used: Sketchup, Illustrator, Design Research
I had a unique work experience with InferUrban, who are not a team of architects, but a team of inventors. I helped them to illustrate their ideas for the workings of a patented method for their use in presentations with potential clients. Working with another student, I did extensive research on building types and categorization, as well as the implications that these have on
urban planning issues. I then illustrated two of those building types extensively, and created a Prezi presentation which gives an overview of the invention. Most of the work that I did is confidential, having to do with the workings of the invention.
47
The End
Thank you 48