BRYSON WOOD— Selected
Works
Containing— CV, 03 ACADEMIC works, and 03 PROFESSIONAL works
Table of Contents
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Information CV..........................................................04 Personal Statement..........................06
Work (Academic) However Long I Stay.........................07 Finding The Forest.............................23 Veil/ Village.............................................35
Work (Professional) The Row (P.R.O.Brooklyn, NY)..............................47 Zama House (Junya Ishigami + Associates)............51 NYCHA Houses (P.R.O. Brooklyn, NY).............55
CV
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i. EDUCATION
CV 2015- 2020
BRYSON WOOD
Carleton University, Azrieli School of Architecture & Urbanism Bachelor of Architectural Studies With Distinction, Ottawa, ON. Canada
ii. WORK EXPERIENCE ........................................... BORN October 09, 1996 London, ON. Canada
........................................... CONTACT (CURRENT) 14 Ross Street, Toronto ON 519 476-1303 bryson.hwood@gmail.com
........................................... INTERESTS Photography, Furniture Design Music, Architecture, Graphic Design + Interior Design
........................................... REFERENCES Recommendation Letters + References available upon Request
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04.2019-07.2019 Kilogram Studio Toronto, ON. Canada. Intern Design Assistant (4 month period), duties focused on schematic and design development of various residential+ retail projects. Coordination with clients, site analysis + construction document prep.
09.2018- 04-2019 Peterson Rich Office. (P.R.O.) Brooklyn, New York. Design Assistant (8 month period), duties including production of design + construction drawings, computer + physically modeled massing studies, competition + lecture focused graphics/ visualizations.
05.2018- 07-2018 Junya Ishigami + Associates Tokyo, Japan. Design Intern, participated in conceptual design process of competition and commissioned projects, physical/ digital modeling, concept/ schematic design + visualizations + on site landscape assistance.
05.2017- 08.2017 Architects Tillmann Ruth Robinson London, ON. Canada. Design Intern, produced design + working drawings, computer models for massing studies/ visualizations, Adobe Suite+ Vray visualizations.
iii. LEADERSHIP + VOLUNTEER
09.2017- 04.2018
Kosmic Chroma Annual event for students of Azrieli School of Architecture + Urbanism. Over saw all creative direction + promotion for the team.
2016-17 + 2019-20
Azrieli Architecture Student Association, Promotion + Socials Operated Student Association’s social media presence, produced graphics + promoted student ran events + facilitated communication between faculty and student body.
iv. AWARDS + ACHIEVEMENTS
05.2020
Carleton University Faculty Choice Award Nomination, issued for However Long I Stay + Finding the Forest
01.2020 Carleton University’s Barry J. Hobin Prize 4th Year Housing Studio Finalist, issued for However Long I Stay (pg. 07)
06.2018 KooZA/rch Featured Publication + Interview, issued for Veil + Village: Kaigan Community Center (pg. 23)
09.2017 Carleton University Murry + Murry, Director’s Choice Merit, award issued for Containment/ Confinement
v. PROFESSIONAL SKILLS
Present
Adobe Illustrator, Adobe Photoshop, Adobe InDesign, Adobe Lightroom, Sketchup Pro, Rhinoceros 6.0, V-ray, AutoCad, (Developing Skills in Autodesk Revit + Grasshopper).
Personal Statement
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As a recent graduate from my Bachelor of Architecture Studies at Carleton University, I pride myself on being a hardworking and self-motivated individual. Through architecture I have developed a passion for all areas and scales of design. With my personal and academic studies I look to approach ideas that exist comfortably within the design world. I continue to find that I am not always interested in creating spaces that we know already work. I try to approach each project as an opportunity to test new ideas and positions, all without forgetting that we are ultimately designing for people. I am always striving to learn and grow, not only through my individual experiences but through listening to others within the studio environment. Personal Statement
However Long I Stay— Fall 2019, (Academic)
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However Long I Stay is housing exploration located within a transit oriented zone alongside Ottawa Ontario’s Via Rail Station. However Long I Stay is situated on Ottawa’s newest addition to the LRT railway system. Connecting new users and attracting younger demographics to previously out-of-reach and undesrieable areas within the city. However Long I Stay is a name which references the commoditization of residential units within mass developments. However Long I Stay is our attempt at designing a quality of life. However Long I Stay is a proposal about creating the best possible conditions for all users. c/o James Caruso
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However Long I Stay—
LRT STATIONS TREMBLEY SITE
Ottawa, ON
However Long I Stay
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Gridded Block
Density Distribution Through Site
Vehicular + Pedestrian Circulation Through Site
Introduction of Elevated Pathway, Site Connection + Defining Ring
Greenscape Filter At North + South Edges of Site
Ring Relationship to Ground, Plinths + Plazas
Pedestrian Filter Through Middle Block
Pushing + Pulling Ring to Form Distribution of Public Programing
Approach to Building Heights in Relation to Site Surroundings
Site Approach/ Planning Parti
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North Building
However Long I Stay—
South Building
Site Oblique (Looking North)
However Long I Stay
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Conceptual Site Section (Looking East)
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However Long I Stay—
However Long I Stay
View of South Building from Public Park
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View from East Approach
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However Long I Stay—
Master Site Plan
However Long I Stay
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Elevational Detail (North Building)
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However Long I Stay—
Mixed Use Ground LVL (North Building)
Residential LVL (North Building)
However Long I Stay
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Elevational Detail (South Building)
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However Long I Stay—
Mixed-Use Ground LVL (South Building)
Typical Residential LVLs (South Building)
However Long I Stay
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Typical Unit Plan (South Building)
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However Long I Stay—
South Building Unit Looking South
North Building Unit (Looking West)
However Long I Stay
South Building Section (Looking W)
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North Building Section (Looking East)
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However Long I Stay—
South Building Section Details
North Building Section Details
Finding the Forest— Winter 2020, Academic
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At the beginning of the studio, I set out to explore the techniques and methods of casting. Means for creating heavy, tactile, and grounded things. These techniques began to create a series of objects; not yet at a specific scale or program, but rather objects focused merely on mass. It was not untill I had created a near catalog of cast forms did their identity in terms of use come to fruition. It was clear that they could be markers. Markers to be discovered; Markers either devoid of all context or ones which held hyper-specific relationships to their surroundings. This series of tests was the groundwork that established the direction for the project. I then began to ask where home was for these masses. Casting as Point of Departure
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Finding the Forest—
Test Casts
Finding the Forest—
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Sitting on the Eastern edge of Germany’s Black Forest, roughly an hour and thirty minutes soutwest of Stuttgart sits Rottwaser. The meadow town comprised mainly of grassed fields and small summer cabins— is a breath of openness in the traditionally dark canopies of the Black Forest. As the site for project the series of collection markers attempts to exist in equilibrium between the specificity of their surroundings (Rottwaser) and the arbitrary nature of their forms. In each spontaneous condition, markers create an experienced and specific connection through the contrast to its surroundings. Though independent and autonomous in their own right— each marker operates by turning your focus to its immediate context. This redirection acts as a catalyst for seeing and experiencing the places in which you move through— conditioning both attentiveness and rediscovery. Hoping to be found or discovered each collection site stands out in the landscape. But by creating an intimate relationship to the context in which it exists— each marker is cast into the landscape, belonging as much as it stands out.
Marker Sites— Rottwaser, Germany
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Finding the Forest—
The Black Forest, Germany
Rottwaser, Germany
Finding the Forest—
Each collection site holds qualities unique to its immediate context. Whether they sit sunken below the canopy of the trees, stand tall as a signaled look out to the landscape, or frame curated views beyond Rottwaser, all operate autonomously while maintaining firm contrast to the landscape that is the Black Forest. They are all positioned within relative proximity to one another but not close enough to make visual connections.
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Rather than leading people on a treasure hunt of sorts— each discovery is hoped to be as spontaneous as the one that came before. While Marker 01 sits centrally located within the meadow as a loose wayfinding device, the others sit quietly waiting to be found.
Site Plan— Rottwaser, Germany
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Finding the Forest—
Marker Sites:
Collection Markers 01-05
Finding the Forest—
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01— Lookout Sitting atop the wooded hill in the middle of Rottwasser’s meadow, marker 01 contrasts the other markers stading as a quasi way-finding device. The tall lookout pierces above the dense canopy and projects a view over the Black Forest’s rolling hills. Focusing vertically– the spire centres a spiral stair directly through the heart of the thick perimeter and up to the viewing platform.
Site Plan— Marker 01
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Detail Plan— Marker 01
Section— Marker 01
Detail Section— Marker 01
Finding the Forest—
Plan— Marker 01
Collection Marker 01
Finding the Forest—
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02— Bothy Embedded under the thick canopies central to the character of the Black Forest, marker 02 sits quietly. The three carved masses create semi spaces of shelter (if that is what you are in search of). If shelter is not your need or desire– then they provide a beautiful place to pause, sit and reflect as you look up through to the canopy.
Site Plan— Marker 02
Plan— Marker 02
Section— Marker 02
Detail Section— Marker 02 Collection Marker 02
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03— Grid Marker 03, again embedded under the thick canopy sits in contract to the business of trees which populate the area. The heavy gridded mass lies sunken into the soil and provides an area to gather and pause. Focused neither inwards or outwards the form is meant to blend into the rhythm of the trees while standing out physically.
Finding the Forest—
Site Plan— Marker 03
Plan— Marker 03
Section— Marker 03
Detail Section— Marker 03 Collection Marker 03
Finding the Forest—
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04— Frames Marker 04 sits as a gesture to the rolling landscape that is synonymous with the breaks in the Black Forest. Existing in the meadowed grasses of Rottwaser and out of the trees, two tall frames focus your view beyond. Simply redirecting your perspective towards the landscape they allow for moments of solitude.
Site Plan— Marker 04
Plan— Marker 04
Section— Marker 04
Detail Section— Marker 04 Collection Marker 04
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05— Hut Riffing off of the German vernacular, marker 05 sits sunken into the grassed meadow. While in the traditional use– users inhabit the space created underneath the pitched roof, here visitors sit atop in an act of blurring scale and use. Drawing on axial lines that reach outwards and perpendicular to Rottwasser’s meadowed fields beyond, it focuses views both away and towards the woods.
Finding the Forest—
Site Plan— Marker 05
Plan— Marker 05
Section— Marker 05
Detail Section— Marker 05 Collection Marker 05
Veil/Village— Winter 2018, Academic
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03 The project looks to stand as a stepping stone for change in the rundown Tokyo shipyards of Kaigan. Rather than proposing a top-down master-plan for the site and subsequently wiping out the local fisheries and shipping ports for total redevelopment, the project shows what is possible in the area. It operates and embraces the natural grittiness of the site, allowing the community to grapple with the change and incrementally move forward. When approaching the site, I thought it was important to directly address the building’s role within the public realm. With the design process I decided to challenge the traditional typology of a community center and address the idea that a public building such as this should operate with equally public spaces. The program elements of a dojo, library stacks, theater, and rowing club take the form of autonomous masses. The masses which operate separately from one another are arranged within the site parameters and covered by a large geometry which is the veil. This veil, comprised of a sun-shading fin system creates a sense of enclosure in an otherwise open building. The open-aired nature of the building highlights the residual spaces between the masses. These then negotiable spaces which take the form of seminar rooms, study spaces, social areas, and gathering nooks along with the array of columns help suggest space as well as help filter circulation from the street’s edge to the waterfront. This loose act of wandering is coupled with the sense of discovery which ensures that no one is left with a false sense of intrusion within the public site.
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Veil/Village—
Site Plan, Minato-ku Tokyo, Japan
Veil/Village— Kaigan Community Centre
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Veil/Village— View From Street
Veil/Village— Kaigan Community Centre
OF CIRCULATION
info
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dojo
stacks
theatre
FILTER THROUGH SITE: CITY TO SEA
Informal Circulation Path(s) Through Loose Programmatic Massing
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Veil/Village—
Ground Level Plan
Level 2 Plan
Veil/Village— Kaigan Community Centre
PRIVATE STUDY
GROUP DISCUSSION
GATHERING
Informal Seating as Objects
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SEMINAR
View from Cage
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Veil/Village—
Exploded Assembly Detail
Veil/Village— Kaigan Community Centre
View in Community Space
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View from Under Theater
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Veil/Village—
Concept Plan
Veil/Village— Kaigan Community Centre
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SE, Isometric
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Veil/Village—
The Row, P.R.O.— April 2019, Professional
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Design studies of a retail space for The Row. “The Row was established in 2006 by Ashley Olsen and Mary-Kate Olsen. Focusing on exceptional fabrics, impeccable details, and precise tailoring, the house combines a timeless perspective with subtle attitudes which form an irreverent classic signature. The Row’s collections also explore the strength of simplistic shapes that speak to discretion and are based on uncompromising quality.” - The Row
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The Row—
Sketch
The Row, P.R.O.
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Plan
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The Row—
Model Photo
Hanger Options
Zama House, Junya Ishigami + associates— June 2018
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A private home by Junya Ishigami + Associates. Work done during internship within the Tokyo office, summer 2018. The following spreads are sourced from Junya Ishigami’s published work Freeing Architecture for Fondation Cartier pour l’Art Contemporain, (March 30/18 Paris, France). - Junya Ishigami + associates
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Zama House—
Spreads from , Junya Ishigami : Freeing Architecture
Zama House, Junya Ishigami + associates
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Roof/ Garden Plan
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Zama House—
Block Plan with Sun Study
Roof x Roof, P.R.O. — October 2018, Professional
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Research project focusing on new strategies for addressing the current state of New York City’s affordable housing, in particular that of New York City Housing Authority. Completed during internship period with P.R.O. in Brooklyn, NY. “Roof by Roof proposes a strategy to combine the large -scale provision of new affordable housing with the repair, renovation and future proofing of existing stock, with the aim of bringing value to NYCHA as a housing provider and benefiting existing and future residents alike. The fundamental premise of Roof by Roof is to ask how the demand for new affordable housing and requirements for extensive repair and renovation of NYCHA’s existing stock can be met as a part of a combined approach, in the face of large-scale federal funding cuts.” - Peterson. Rich. Office.
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Roof x Roof—
Current NYCHA Housing Condition
Roof x Roof, P.R.O.
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Concept Collage
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Roof x Roof—
Building Section
Building Plan
Roof x Roof, P.R.O.
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View of Upper Intervention
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Roof x Roof—
Typical Block Floorplan
Roof x Roof, P.R.O.
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Interior View
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Roof x Roof—