CASSANDRA BEAUDRY SELECTED WORKS
CASSANDRA BEAUDRY | B.Sc Civil Engineering | LEED GA T: (917) 755 - 0846 cassandrabeaudry@gmail.com www.cassandra-beaudry,com EDUCATION
SKILLS
Parsons the New School of Design New York, NY M.Architecture | August 2014 - May 2017
3D modelling, Photography, Concept Design, Rendering, Project Management, Graphic
Queens University Kingston, ON, Canada B.Sc in Civil Engineering | 2009-2013 GPA 3.98 University of Melbourne Melbourne, VIC, Australia Study Abroad Program | Spring 2012 Architecture, Environmental Engineering
Design, Branding Proficient in: Rhino Vray Studio 3Ds Max Autocad Adobe Creative Suite Working knowkedge of:
WORKSHOPS | COURSES
Web Design (HTML & CSS)
Ontario College of Art and Design | Fall 2013 Web Design, Model Making, Drawing
Sketch-Up
Parsons the New School for Design | Summer 2013 Summer Studies in Constructed Environments Lighting Design, Interior Design, Architecture
WORK EXPERIENCE
VOLUNTEER EXPERIENCE | AWARDS
Young Projects | Winter Internship 2015 Brooklyn, NY - Lead Designer for the Snow Queen, part of the publication on the architecture of fairytales, to be published in Spring 2015
Queen’s Solar Design Team | 2009-2013
Parsons Brinckerhoff | Project Associate July 2013 - July 2014 | Toronto, ON - Developed capital strategies for various buildings -Participated in building investigations and contributed to technical reports Lafarge North America | Environment and Public Affairs Intern | Summer 2011 | Toronto, ON -Developed environmental emergency response plans for all construction material plants acriss Ontario and Quenec
Civil Manager - Designed and tested a grey-water recycling treatment system, in a net-zero home, to compete in the 2013 International Solar Decathlon Engineers Without Borders | 2009-2012 Queen’s University | Finalists in The Green Hospital Project Design Competition 2009 Provost Scholarship 2014 | Parsons, the New School for Design Visual Arts Award and Scholarship 2009 | T.A Blakelock High School
PARSONS
01
02
03
UNIVERSAL PRE-K
SNOWQUEEN
A FINE LINE
STUDIO 1 LOCATION: New York, NY PROGRAM: Kindergarten
YOUNG PROJECTS (Internship) LOCATION: New York, NY PROGRAM: Fairytale Architecture
STUDIO 1 LOCATION: New York, NY PROGRAM: Material Studies
04
05
06
NAVY YARD (IN PROGRESS)
PLAY
GANSEVOORT EXHIBIT
STUDIO 2 LOCATION: Brooklyn, NY PROGRAM: Housing
STUDIO 1 LOCATION: New York, NY PROGRAM: Playground Structure
SUMMER PROGRAM LOCATION: New York, NY PROGRAM: Exhibit Hall
07
08
09
KING WEST
WARD ISLAND
BODY LANGUAGE
SITE ANALYSIS LOCATION: Toronto, ON
SITE ANALYSIS LOCATION: Toronto, ON
CONCEPTUAL DESIGN LOCATION: Toronto, ON
10
11
12
TOY STORIES (IN PROGRESS)
MAISON TZARA
UNIVERSITY CENTER
REP & ANALYSIS LOCATION: New York, NY
REP & ANALYSIS LOCATION: Paris, 1967
REP & ANALYSIS LOCATION: New York, NY
INDEPENDANT
REPRESENTATION
01 UNIVERSAL PRE-KINDERGARTEN STUDIO 1 | Fall 2014 LOCATION: New York, NY PROGRAM: Kindergarten ADVISOR: Bryan Young
This year, more than 40,000 beaming 4 year olds will embark on the first day of free, full-day, citywide prekindergarten. It is an accomplishment in itself that all these children will have a head start on a lifetime of learning, exploring and playing – a milestone of education reform in New York City. Architecture in this case must act as a contributor to the actions of these children. The remarkability of children of this age is their fascination with one and other, and so the concept of play was further explored through design. The objective was to create a thriving, looping environment for them, mitigating the pedagogy of an effective learning environment with a playful and exploratory one. To represent this programmatic juxtaposition, volumes of program are pushed into one another to mutually benefit each environment. Play is suggested not only through space, but also through visual connections. The resulting environments encourage moments of play voyeurism.
01.1
Interior Render
Program runs around a central circulation (inner street). There are two learning environments, of two levels each. Each learning environment and shares a collective exterior play environment, an extension to their learning environments. Within each learning environment there are 2 classrooms and 2 interior play zones. The classrooms connect directly to their play zones. The faรงade is a reflection of the interior program, and floods in appropriate conditions of natural light. Articulation of the faรงade peak into the walls, amplifying the interior space, creating an intimate quiet learning hub and in contrast, an exciting play sculpture.
Learning environment 1
Level 2
Interior circulation
Level 3
01.2
Interior and exterior render
Formal element of facade “The Bind” exterior playzone
Push pull action shown in floor plans
01.3
Long section
Final Models
Cafe with garden open to exterior
01.4
Interior render of cafe
01.5
“The flake of snow grew larger and larger; and at last it was like a young lady, dressed in the finest white gauze, made of a million little flakes like stars. She was so beautiful and delicate, but she was of ice, of dazzling, sparkling ice.�
02 SNOW QUEEN Internship | Spring 2015 LEAD DESIGNER: Cassandra Beaudry FIRM: Young Projects PROGRAM: Fairytale Architecture
To gaze through Hans Christian Andersen’s window in “The Snow Queen”, is to see a world that is shifting between the real and unreal. It is space of constant formation and reformation. Neither solid nor liquid. In his words “faces were so distorted that they were not to be recognized”. At times it is changing scales. At times, objects and figures emerge slowly through an ambiguous landscape that is wonderfully dark and chilling. Black clouds and white bees.
“Many a winter’s night she flies through the streets of the town, and peeps in at the windows; and they then freeze in so wondrous a manner that they look like flowers.”
Material studies
02.1
Material studies and ice experiments
02.2
White bee detail
it begins with a small material morsel that has been conceived with intense form finding principals, which in turn suggests techniques for propagating the morsel into clusters, groupings, or in this case swarms. The material breakthrough in our exploration on “The Snow Queen” occurred when we created a single “white bee” by pouring resin at the precise moment magnetic filaments began to push and pull towards a source. The solidifying resin allowed us to freeze the magnetic forces, our white bees, which in our interpretation of the narrative would typically shift between phase states, as an indeterminate flow around the Queen. This is also why in our representations of her gown, you find both moments of distinct particles and moments of blurring or melting surfaces.
02.3
Development of swarm network
Considering how a Hans Christian Andersen’s “white bee” might be structured in contrast to the branching six arm crystals of snowflakes, which are geometrically determined by temperature and humidity within the immediate surroundings.
Unlike snowflakes, a flurry of “white bees” grows and swarms in response to the disposition of the Snow Queen. She not only controls changes within the immediate climatic atmosphere, but through forces akin to magnetic fields she creates a radiating cloak of variable density and direction. A “white bee” develops three dimensionally, biased towards forces of attraction and repulsion, as opposed to the symmetrical plate formations of snowflakes.
White bee clusterl
02.4
Swarm render
02.5
03 A FINE LINE STUDIO 1 | Fall 2014 LOCATION: New York, NY PROGRAM: Material studies ADVISOR: Bryan Young
Sketch model
The distortion of a line is studied through the deflation of a balloon. As a constant, all narratives began from a pure spherical form of the balloon, while changing variables included the type of string used and the binding skin existing between the balloon and the string. These experiments aim to challenge our perception of line, from our static, controlled and linear beliefs to something more organic, fluid, and dynamic. The slow death of the balloon gives immediate life to the lines, where they morph into something we perceive as not only line, but form and volume.
Top: Sketch model Bottom: Final model
03.1
Final lasercut drawing
03.2
04 LIVING ALONE TOGETHER (IN PROGRESS) TEAM: Cassandra Beaudry & Kenny Garnett STUDIO 2 | Spring 2015 LOCATION: Brooklyn Navy Yard, NY PROGRAM: Housing ADVISOR: Brian Phillips Exterior render
Brooklyn Tech Triangle
Site (red)
Site plan with model
Sited adjacent to the Brooklyn Navy Yards, this project reenvisions workers housing for 21st centy New York.
How do we rethink the workforce living in light of new forms of industry and changing patterns of living? Where it once made sense to sepertae residentional neighbourghoods from heavy industrial zones, there is now the opportunity for more intergration. Where housing was once desgined for nuclear families, shifting demographics have left New Yorkers in need of many more apartments for singles and unrelated adults. Today, the Brooklyn Navy Yard is positioned to become a sustainable innovative industrial hub revitalizing the surrounding neighbourhoods and giving new rise to the need for light industrial worker’s housing. Along with Dumbo and Downtown Brooklyn, the Navy Yard is part of the “Brooklyn Tech Triangle�, due to employ 9,628 people in the technology sector, generating $13 billion in annual economic output. This statistic is poised to double over the next three years, making Brooklyn waterfront a prime site for speculation on new forms of workers housing. Architecture is an ethical act that requires a high level of intellectural reasoning.
04.1
Hackingr
Chosen Company (normalized unit)
Unrelated Workers (live and work)
The Start Up (open concept with opt. private exp. to adj. unit)
Privacy Natural light infiltration
Typical duplex, suggested 3 ways
Exterior render, access and public space
As the site takes a shift in repurposing their waterrfont, land and buildings, we have the oppotunity to repurpose appartment living in New York. The objective is to offer flexibility for the residents and future workers of the Navy Yards by applying the concept of “hacking”1. Beginning at the microscale, we analyze one unit for 3 different living scenarious; chosen company, unrelated workers, and a start-up. Using sun exposure and privacy, program is suggested differently for each scenario, with bathrooms (the most private area), remaining constant. With the idea of a simple, dynamic partition wall, every “suggested” unit, can be further modified.
Collboration, public space: ground floor, 2nd floor, 3rd floor
04.2
Gradient formation
Flexibility in donut
Donut formation
Circulation Communal hubs/light wells
A cube is modified to a donut to increase the exposure, internal visual connections and external to the waterfront and streetscape. Terraces are revealed as floors bagin to shift back, creating a declining gradient to the waterfront. Shifting to the macroscale, the public space from the ground floors leaks into the residential floors, poking out units, to create voids, and communal gathering hubs. A more private layer to the collaborative zones of program on the first 3 floors.
RESIDENTIAL FLOOR PLANS
Typical residential floor plans, communal hubs/light wells in red
GYM TERRACE OPEN TO BELOW
EGRESS
FOURTH FLOOR 1/1’0” = 1/16”
Section
EGRESS
TERRACE
OPEN TO BELOW TERRACE
EGRESS
FIFTH FLOOR
TERRACE
EGRESS
TERRACE
OPEN TO BELOW TERRACE
TERRACE
EGRESS
SIXTH FLOOR
Section
1/1’0” = 1/8”
04.3
Final model
Site Plan
05 PLAY STUDIO 1 | Fall 2014 LOCATION: New York, NY PROGRAM: Children’s play structure ADVISOR: Bryan Young
Model, entrance to crawl zone
The objective was to engage play through design. We were to create a play object located in a park adjacent to a public elementary school (PS40), for children from the ages of 3-5 years old. The form was directly derived from a historic river which previously ran through the site. The sun exposure and shadow distribution from the existing trees, divide the fluid plan into 3 zones of activity; crawling, climbing and riding/free circulation, the most common types of activity observed on site.
Exterior render
Curves are lifted to the scale of the children, and create a louver effect to allow a constant visual connection into the structure, not only improving the safety of the structure but also creating visual interactions points throughout the structure.
05.1
Model
05.2
06 GANSEVOORT EXHIBIT Parsons SSCE| Summer 2013 LOCATION: Meatpacking, New York, NY PROGRAM: Exhibit Hall ADVISOR: Nick Brinen
The Gansevoort Exhibition Space is located at a buzzing intersection in the Meatpacking District, directly across from the Highline and the Standard Hotel.
The objective of the GES is to invite the public to engage with the arts and culture in New York City. The building holds an exhibition space from the Alamo, an outdoor sculpture by Bernard (Tony) Rosenthal located on Astor Place in the East Village, Manhattan. The building contains a sculpture court, a reading room and a market cafĂŠ as well as a restoration lab in the basement.
The Alamo, collage
The Alamo, collage driven by sunlight
The Alamo, collage driven by movement
06.1
Sketch models 1’ = 1/16”
Model of exhibit hall 1’ = 1/8”
06.2
Exterior render, from the Highline
Interior render, entrance
Exterior render, private couryward from reanding room
06.3
07 BEST SEAT IN THE HOUSE KING ST. WEST ENTERTAINMENT DISTRICT SITE ANALYSIS | Spring 2014 LOCATION: Toronto, ON
The Toronto Entertainment District is rapidly changing due to an enormous amount of construction developments. Favorite restaurants and entertainment venues are being torn down along with the heritage buildings they occupy. There is something about the sound that vibrates from a historic building that is honest, and leaves an impression on the city and its inhabitants. As we forget physical traces and first associates of the buildings themselves, what remains is a different impression, a deeper feeling, a consciousness of time and an awareness of human activity that have charged these walls with a special aura.
Left: Restaurant Row, King St West. To be demolished in 2014
The flaws and character of these special buildings are part of the charm.
Wohmer Street detail
Duncan St, perspective
Royal Alexander Theatre, 1907. King St. West
07.1
Acoustic intensity
Age of buildings
Intersections
Final collage
The project begins at yhe conversation between the restaurant owners and community volunteers fighting to keep the strip alive. A site analysis is derived from locations of heritage buildings, proposed condo developments and existing entertainment venues. Horizontal lines represent acoustic intensities and vertical lines represent ages of buildings. The intersecting disruptions convey a message and invoke curiosity. The rhythmical composition presents the rules that have governed this entertainment district.
07.2
08 WARD ISLAND SITE ANALYSIS | Spring 2014 LOCATION: Toronto Islands, Toronto, ON
The depth of the existing community is mysterious: filled with shadows ad dark dingy corners. There is a whimsical quality of life here, one of fantasy and history. I walked by tiny houses and explored narrow paths that led to brightly colored painted doors. My eyes grew accustomed to the light peeking through the weaves of branches. The branches separate to allow striking views into the city.
The island gives you the cohesive thought of being in the city you live in while longing to travel and be somewhere else.
Texture and materiality exploration
I have a passion to design structures that in time will grow naturally into their landscape. Structures which complement the existing community and are built from locally sourced materials, with the intention of being recycled or repurposed.
08.1
Treehouse concept development
Branches are extended from the arms if the trees to give a special expansion of the core. Vertical orientation of the material brings a sense of gravity to the structure, connecting it to the earth.
By rooting the structure into the existing content, the treehouse is not something new to the island, but something that is part of the new whole.
Exterior render
Exterior render
08.2
09 BODY LANGUAGE REPRESENTATION & CONCEPT DESIGN
As a dancer, it is difficult for me to separate fabric, rhythm and the experience. Memories of dance strengthen my role as an artist and at times, guide me through the design process. Beauty lies in things that do not carry direct messages, allowing humans to discover and rediscover the meanings of things themselves. Skin caressing a piece of suspended fabric, invokes a private dialogue. The skin carries the weight of the fabric.
Final model
The series of images are dark and mysterious, invoking an intangible architecture of the senses. Deep shadows and darkness are essential, as they dim the sharpness of vision and invite unconscious emotion.
Edges of Styrofoam is rounded to soften the sharpness without losing the elegance and form of the intended pieces. The form retains the body, and triggers a sense of warmth and lightness, inspired by the images.
Sketches and sketch model
09.1
10 TOY STORIES REPRESENTATON & ANALYSIS | Spring 2015 ADVISOR: Bryan Young
The evolution of software and virtual making, is closely aligned with the development of the physical attributes of our world. Using acoustic measures, the process of pulling the trigger on a toy gun is documented and virutally constructed. The drawings study the internal organizationand dialogue of the interior gears. Scale is represented by the acoustic intensity of the particular detail.
Exploded axon
Lasercut plexiglass model
Section and elevation drawings
Acoustic narrative digital development
10.1
Lasercut model represents linear gear development Top: Render
Acoustic orbits in 7 second time frame
10.2
11 TZARA HOUSE REPRESENTATION & ANALYSIS | Fall 2014 ADVISOR: Luben Dimcheff
Sketches (ink)
11.1
Sketch model
Collage, light vs. shadow
Collage , public vs. private
11.4
Final drawing , overlay of final model,
Final model
11.5
The drawing aims to use various windows as departure points from which the viewer enters the house, through a series of dark moments. These moments integrate the viewer narratively through the main floor of the Tzara House. “Concept Raumplan; where each architectural environment is sensitive and honest, decorated for its inhabits, allowing them to take possession of them with limits. Every interior space has its own dimension relative to its intended nature and purpose. The ceiling heigh is constant and small differences in levels with steps, communicate functionally complementary areas.� The Raumplan occurs almost exclusively on the main floor of the house.
Visitor experience at exhibit
11.6
Experience in stills
11.7
Video stills
12 UNIVERSITY CENTRE REPRESENTATION & ANALYSIS | Fall 2014 Study of a staircase
Perspective collages
Elevation and section
12.1