Portfolio (2019-2023)

About Me

My name is Cezzane Ilagan and I am a recent graduate of the Master of Architecture program at the University of Toronto, where I also did my undergraduate degree in Architectural Studies, specializing in the Technology of Architecture, Landscape Architecture, and Urbanism.

Despite specializing in technology, my recent research and design interests focus on architectural history and theory, investigating hidden histories of urban sites and building with and upon them. My graduate thesis focused on the codependencies of informal and formal economies in Metro Manila to give informal settlers the right to the city by giving them the right to stay

My desire to create impactful spaces to allow communities to flourish extends outside of my design process. Throughout my academic career, I have been involved in several extracurricular activities within the Daniels Faculty of Architecture, Landscape, and Design student community. I have held positions on both the undergraduate and graduate student unions at the Daniels Faculty, representing my cohort. I hope to keep using these skills and interests I have gained during my studies into architectural practice as well.

Mabuhay: Resilience in Metro Manila’s Informal Settlements

ACADEMIC | ARCHITECTURAL DESIGN STUDIO: RESEARCH I & II

Thesis Advisor: Jeannie Kim

September 2022 - April 2023

Mabuhay is a greeting in Tagalog meaning “long live” or “welcome.” The root word, buhay has several definitions including: life, to be alive, existence, and a source of living. It is these definitions of buhay that this thesis and research aims to respond to.

Population estimations by the Philippine Statistics Authority predict that the population of Metro Manila will continue to rapidly increase and densify. By July 2025, the population would increase to 14.5 million people and reach a density of about 23,500 persons per square kilometre. Most of the population growth is concentrated in areas where the urban poor live and at least 35 per cent of Metro Manila’s population are living in parts of the region that are inaccessible to basic needs. Furthermore, many of these informal settlements are vulnerable to flooding and slum clearance for gentrification, especially those living along waterways.

How can urban poor communities navigate the anticipated globalization of Metro Manila as they get pushed out of the city in tandem with being particularly vulnerable to climate change?

Mabuhay explores the relationship and interdependency of informal and formal economies in Metro Manila. The informal economies investigated are: the garlic peeling informal economy; street vending; waste picking; jeepney-driving; and charcoal production. This thesis speculates how the actions of today and the recent past affecting these informal economies may change the landscape of Metro Manila in 2100. Maps and drawings at various scales are accompanied by speculations taking the form of different publication typologies to demonstrate that giving back the right to the city to informal settlers starts by giving them the right to stay. More drawings, diagrams, and research can be found on mabuhay.cargo.site

^ Thesis Exhibition

Each informal economy had accompanying regional- and urban-scale maps, drawings depicting a day-in-the-life of an informal worker, publication typologies associated with the corresponding speculative futures, and the daily earnings of the informal worker in Canadian Dollars.

< Map of Flood Projections

Aside from pollution, Metro Manila is at risk of severe flooding with the region being swallowed by water from the Manila Bay and Laguna de Bay. Manila proper, the centre of politics and economy and where most of the urban poor live, will be entirely flooded in 2100, displacing millions.

^ 2100 Future Speculation: Garlic Peeling

I imagined that the Philippines returns to favour domestic garlic and no longer imports from China. The revival of domestic garlic sparks interest in the total use of the plant. Here, a set of recipe cards demonstrates how different parts of the garlic can be used in food and in supporting the home, to be passed on from generation to generation.

^ Informal Economies of Metro Manila

For each informal economy, a set of maps at the global and regional scale were made. Each informal economy also had accompanying sets of drawings describing a day-in-the-life of an informal worker inspired by real stories.

The complete set of maps and drawings can be found on mabuhay.cargo.site/Informal-Economies

Donuimon Village

ACADEMIC | VISUAL COMMUNICATIONS

Instructor: Miles Gertler

September 2020

This complex isometric drawing adopted the binocular vision in traditional Asian art, here used not only as a method to demonstrate physical distance, but time as well. The past, present, and future of Donuimun Village and Seoul as a city are depicted in the drawing with time progressing as the viewer’s eyes travel up the image.

The depiction of Donuimun Gate is an image taken from an augmented reality app which used archival photographs and records to digitally restore the now demolished gate. The hanok houses simultaneously demonstrate the past and present. Taking sections of selected hanok houses expose how they were used and what types of people had access to them in the past, while the images of the site parallel to the houses denote the evolution to what it is today.

The imagined future at the top of the image is a collage of skyscrapers and high-rises built

as a result of Seoul’s high population density, all overlaid on top of an ink painting of presentday Seoul from the 17th century. Chaekgeori, the Korean form of still-life painting which was popular in the Joseon era, also served as an inspiration with the objects reflecting the identities of their users and changes in Korean culture over time.

Darting Anthropomorphic Plywood

ACADEMIC | TECHNOLOGY STUDIO IV

Instructor: Tom Bessai

Studio Partner: Afsah Ali

April 2019

In this studio, we were challenged to create deployable architecture using various techniques of bending plywood. My partner and I combined the geometry of Lawrence Lek’s work and the darting techniques of “fabricwood,” developed by PRODUCE Workshop for Herman Miller as the main techniques of fabrication into our concept.

We decided to create a meditation pavilion atop a mountain whose form was generated through a series of Rorschach tests and built with modules using darted geometries akin to Lek’s. Our triangular modules were created parametrically and are assembled with zip-ties in a way that allows for complete modules to be easy to transport to the site.

It induces the sense of touch through the atypical bending of plywood caused by the darting technique and the uncut zip ties at the nodes where multiple modules connect to each other.

“Kangaroo,” a Grasshopper plug-in, and 3-D scanning were used to develop a threedimensional model of our pavilion. CNC-milling was used to carve the mountainous landscape that the pavilion rests upon. A 1:1 component of the pavilion was made to test if the fabrication methods were translatable at larger scales.

There are four modules used in our design: a small triangle, a medium triangle, a big triangle, and an anthropomorphic module we nicknamed as the “alien.” For each “lung” there are 2 small triangles, 4 medium triangles, 3 big triangles, and 6 aliens. After learning that the wood grain was affecting how the module was skewing the bending, we broke the modules into 3-4 pieces so that the grain would be parallel to the bending direction. As the width of the triangles increases, the interior darting angles increases by 5°. Once darted and assembled, the modules become anthropomorphic, looming over viewers.

^ Module at 1:1

Each piece of the module is first soaked in warm water for 10-15 minutes before zip-tying . Then the 3-4 pieces are loosely zip-tied to make the module collapsible for transport. Once on-site, the zip-ties can be tightened.

< Model at 1:12

Between the modules is a translucent stretchy fabric that is gradually layered to create a notion of privacy the further north one travels, before they arrive at the lookout point over the mountain. The image on the left of one of our initial models best demonstrates the effect of the layered fabric inside the pavilion.

Weaving Histories

ACADEMIC | DESIGN STUDIO II

Instructor: Tom Ngo

April 2021

The concept for my design for the Haudenosaunee Centre of Excellence weaves together some aspects of feminine and masculine Indigenous history through materiality, circulation, and form. While the women of the Mohawk nation were known for their basketry, the men were known for being skillful high-steel ironworkers. The men usually took to the task of riveting, which was one of the most difficult, albeit high-paying, positions in ironworking.

After the fall of the Quebec Bridge in 1907 which resulted in the deaths of half of the Mohawk ironworkers at the time, the Mohawk women urged them to seek work at various locations to prevent more Mohawk deaths at a single site. Many of these ironworkers helped build the skyline of New York City and worked on iconic sites such as the Empire State Building and the Chrysler Building.

The men would usually live in New York City during the workweek, drive 8-10 hours back to their reserve after their shifts on Fridays, spend the weekend with their families, and then drive back to the city on Sunday nights for their Monday shifts. Today, not many Mohawk ironworkers make this journey anymore and the tradition has waned.

The process of weaving around a mold was interpreted in both materiality and form. Burlap and metal mesh, representing the wood and steel from basket making and ironworking respectively, were used as the frames to weave metallic ribbon and white cotton twine through. The ribbon represented steel and was woven through the burlap, while the twine represented the black ash splints and was woven through the metal mesh. Through this, the laborious traditions from both the Mohawk men and women to help provide for their families are woven together.

^ Material Detail

^ Burlap material at 1:50, creating a slumping effect

INTERSECTING Secondary Space PARALLEL Circulation FLARED Gathering Space

^ Form Diagram

The form in plan is inspired by the motion of weaving around a mold and then slowly abstracting it to allow for circulation and defining program boundaries. In the diagrams above, the green represents the burlap frame with metallic ribbon weaving and the beige represents the metal frame with twine weaving throughout.

1 Lobby

2 Storage

3 Office

4 Civilization Exhibit

5 Sculpture Garden

6 Contemporary Gallery

7 Workshop

^ 1:200 Section Perspective

From left to right, this section perspective shows the Contemporary Gallery, Civilization Exhibit, and Lobby of the Haudenosaunee Centre of Excellence and

1:10 Physical Model>

In this studio, we were encouraged to work exclusively in physical models and to emulate the material realities of our designs. Embracing the slump and rigidness of the materials emerged from this approach. Playing with light and shadow demonstrated the reflection and translucency of the two materials.

shows the use of the two different woven materials.

Hidden Histories

ACADEMIC | DESIGN STUDIO IV

Instructor: Maria Denegri

Studio Partner: Haadiah Khan

April 2021

This new Climatorium aims to reveal the hidden histories of some of the people who built New York City, often unwillingly. These people have continued to be marginalized and their stories hidden beneath the “concrete jungle” that the City has turned into. Not surprising is that these same people have been leaders and advocates in the fight against climate change, while simultaneously being the most affected by it.

The histories we focused on are: the Lenape, the indigenous people of Lenapehoking, the traditional name of the land that Manhattan is a part of; New York’s African-American slave history, which continued even after abolition; and the Mohawk, who made long journeys from their homes to help build New York City’s modern skyline. With all eyes on the Climatorium as an anchor point location in the fight for climate change, we aim to reveal these hidden histories to decolonize environmental activism.

We aim to incorporate their histories and environmental practices through site, program, and form, focusing on public and shared spaces as generators for story telling, learning, and collaboration. This is manifested by a man-made river that collects and filters stormwater onsite with flexible programming at ground level depending on the season referencing the way the Lenape moved along the Delaware River as the seasons changed.

The materiality also responds to the histories of the Lenape, Black New Yorkers, and the Mohawk through the use of wood, brick, and steel respectively. We intend to use reused brick to create a circular economy between construction and demolition sites in the city. However, beyond just the reuse of material, these bricks help layer the story of all other sites in New York City, except this time, it is used to acknowledge the invisible hands that built it.

The Lenapes, or “common People” live on land they call Lenapehoking They first migrate to the New York City region roughly 3000 years ago. Algonquians recognize them as the first Algonquian-speaking peoples.

Prior to European contact in the 1600s, the Lenape population was estimated to be 20,000. By the end of the century their population is less than 3000 and they are forced to migrate.

c. 975

Some of the first people from Africa are directly brought to New Amsterdam and forced into slavery by the Dutch. Slavery continues under British rule with more Africans coming from the Caribbean.

The first slave market in New York opens from 1711-1762, but the slave trade continues well into the late 19th century despite slavery abolition in 1827.

The architects Church the original were not Much of built

architects of Trinity rented slaves to build original church, but they not paid for their labour.

of New York City was built using salve labour.

1698

New York’s large skyscrapers and major infrastructural projects are built during the 20th century.

Since 1916, Mohawk men would travel from Quebec to New York City as ironworkers and help construct some of New York’s iconic buildings. Ironworking becomes a tradition among Mowhawk men, but has waned in recent years.

1970s

Section Perspective

Re-used brick cladding manifests the concept of our building, which is to reveal hidden histories. In this case, the brick responds to New York’s historical slave industry.

Because we are using brick as our main cladding material, water control will be of utmost importance.

TYPICAL WALL ASSEMBLY

CLT Wall (300 mm)

Air/Vapour/Water Barrier

Mineral Rock Wool Insulation (150 mm)

Brick Ties (spanning from structure to brick cladding, placed every 5 bricks)

Shelf Angles (placed every 6 m to support bricks along curved surfaces)

Air Gap (25 mm)

Recycled Brick Cladding (112mm)

TYPICAL FLOOR ASSEMBLY

CLT Panel (170 mm)

Concrete Topping with Radiant Heating (75 mm)

Curtain walls are used to reveal moments in the building with floorto-ceiling trusses. The trusses are necessary for structure but also respond to the Mohawk history of iron working in New York City.

CURTAIN WALL ASSEMBLY

Triple-Pane Glass Curtain Wall

Mullions (placed every 2 m to align with floor-toceiling trusses)

SOFFIT ASSEMBLY

Concrete Topper wit Radiant Heating (75 mm)

CLT Decking (170 mm)

Air/Vapour/Water Barrier

Mineral Rock Wool Insulation

Air Gap (34 mm)

Exterior Plywood Sheathing (13 mm)

Brick Soffit Panel Cladding (34 mm)

^ Concept Model Render

Reused brick was used as the primary focus in our material story. Since New York was not full of plantations as it was in the south, slavery was manifested through intense labour in constructing buildings and infrastructure in New York City. For example, slaves built the first hospital and state prison in New York. Furthermore, New York’s first slave market was a few blocks away from the building in Wall Street. We use curtain wall glazing to reveal moments of circulation as a response to how their presence was only limited to mainly interstitial spaces and aim to celebrate circulation space.

Interior Render >

We believe that there should be a relationship between the different types of programming throughout the Climatorium and that circulation spaces are not static, but rather double as a learning space to allow visitors to stop, sit, reflect, and share ideas. Throughout our building there are stairs, mezzanines, and elevated walkways to allow for more storytelling spaces as well as views into other spaces below. The circulation in our building begins as a defined space on the ground and begins to merge with the other programmed spaces to create a more open floor plan on the upper floors.

Interlacing Thorncliffe

ACADEMIC | DESIGN STUDIO III

Instructor: Laurence Holland

Studio Partners: Reem Abdelaal, Angela Gou, Yvonne Tran

April 2021

In this Integrated Urbanism studio we were organized into small groups to investigate sites along the Eglinton LRT and responding to translate the goals of the Green New Deal. My group chose Thorncliffe as our “Design Action Zone” to respond to the affects of climate change of the site and creating blue-green strategies throughout Thorncliffe. We proposed a heat relief loop to mitigate the affects of urban heat caused by the large amounts of impermeable surfaces in the area by increasing street trees, cooling stations, and increasing public transportation within the site. In the winter, these stations turn into heating stations. Lastly, we were interested in the concept of multigenerational housing and co-living in response to recent articles about ways to solve the housing crisis. Each member of the group focused on a smaller site of intervention within Thorncliffe, with my site located in an under-used portion of land in the north.

I was particularly interested in the concept of cultural exchange brought by multigenerational housing. Hair braiding, an mundane tradition of the largely South Asian community of Thorncliffe was used as the main concept of my proposal. The three strands weaving around each other are: multigenerational housing, mobility, and stormwater management.

The massing of the buildings are long and skinny in response to the site itself. They are divided into three different clusters that decline in density, height, and distance as they approach the ravine, surrendering to nature. Furthermore, the groundfloor amenities gradually extend to the outdoors. The two mobility paths of pedestrian and bike/ skateboard wind around each other and then run parallel eastward. Their intersections become bioswales for stormwater management that overflow into each other and move to the facility in the northeastern side of the site.

Site Plan Detail

^ Program Diagram

^ Detailed Residential Plan