Daniel Abad - Architecture Portfolio 2020 by Daniel Abad

DANIEL ABAD ARCHITECTURE PORTFOLIO 2020

Hello, My name is Daniel Abad, I have recently completed my graduate degree in Architecture from the University of Waterloo. Through each of my projects I use my design interventions as an opportunity to delve deep into research and formulate a question regarding our roles as designers and the effects we have in communities and our environment. I hope you enjoy my work.

CONTENTS 2

CURRICULUM VITAE

STUDIO WORK 4

SIX EMPTY SHELLS Master’s Thesis

MUSEO PARCO DEL POMERIUM Rome Studio

PUBLIC STORAGE TO PUBLIC PRODUCTION Employment Lands

EL CHALTEN OUTPOST Comprehensive Building Design

OTHER WORK 32

PLANETERRAEUM Toronto Nuit Blanche Installation

ENCLAVE Materiality and Temporality

WORK EXPERIENCE 36

PRODUCTION ASSISTANT Adrian Blackwell

ARCHITECTE DE, CHARGÉ DE PROJET Studio Vincent Eschalier

18 months

STUDENT ARCHITECT Diamond Schmitt Architects

4 months

12 months

ARQUITECTO PASANTE Marotta Basile Arquitectura

4 months

DANIEL ABAD +1 416 655 1383 dabad.arch@gmail.com Toronto, Canada

EMPLOYMENT ADRIAN BLACKWELL ARTIST TORONTO, CANADA Apr 2019 - Nov 2019

UNIVERSITY OF WATERLOO CAMBRIDGE, ONTARIO Jan 2018 - Dec 2018 STUDIO VINCENT ESCHALIER PARIS, FRANCE Jan 2016 - Aug 2017

DIAMOND SCHMITT ARCHITECTS INC. TORONTO, CANADA Jan 2015 - Aug 2015 Sep 2013 - Dec 2013 MAROTTA BASILE ARQUITECTURA BARCELONA, SPAIN Apr 2014 - Aug 2014 ADRIAN BLACKWELL PROFESSOR AT THE UNIVERSITY OF WATERLOO TORONTO, CANADA Jan 2012 - Aug 2012

PRODUCTION ASSISTANT

-- Created design, construction and presentation materials for three large art installations presented at the 2019 Chicago Architecture Biennial and the 2019 Toronto Biennial of Art. -- Collaborated in the construction of the 36’x36’ main gathering space at the primary venue of the TBA.

TEACHING ASSISTANT -- ARCH 392 - Complex Urban Building Design Studio. Adrian Blackwell -- ARCH 442 - Contemporary Architectural Theory. Tara Bissett

ARCHITECTE DE, CHARGÉ DE PROJET (PROJECT MANAGER) -- Independently managed projects coordinating directly with clients, consultants, material suppliers and contractors in French. -- Designed, wrote specifications, budgeted, tendered and followed site progress for a 1100m2 office interior design in Boulogne-Billancourt, France. -- Introduced Revit workflow and innovative methods of representation to the studio including VR rendering, 3D printing.

SENIOR STUDENT ARCHITECT -- Took a key role on various projects, in all stages, from schematic design, design development, construction documents and contract administration. -- Acquired experience managing complex drawing sets in AutoCAD and Revit always maintaining self-imposed rigorous drawing standards and a seamless work flow.

ARQUITECTO PASANTE (INTERN) -- Spearheaded a masterplan design competition for an urban redevelopment in an old industrial neighborhood of Milan. -- Worked on projects at various scales from high-end interior design to a large community centre.

ARCHITECTURAL RESEARCH ASSISTANT -- Assisted in the design of a complex seating structure, finding solutions to produce a complex ramp abiding with OBC and accessibility regulations. -- Produced 3D models, technical drawings, and renderings for a series of urban furnishing in Nathan Phillips Square, Toronto.

EDUCATION UNIVERSITY OF WATERLOO CAMBRIDGE, CANADA 2017-2019

UNIVERSITY OF WATERLOO CAMBRIDGE, CANADA 2011-2016 UOFW ROME STUDIO ROME, ITALY Fall 2016

MASTER OF ARCHITECTURE -- Thesis titled: Six Empty Shells, Contextualizing the Ambitions of Mexican Modernity through the Tlatelolco Housing Complex. -- Conducted research about modernist public housing typologies and policies at the National Autonomous University of Mexico as a visiting researcher. -- Thesis has been nominated for commendation, and was 1 of 2 projects selected for the annual Masterworks exhibition.

HONOURS BACHELOR OF ARCHITECTURAL STUDIES, CO-OP -- Graduated ‘with distinction’ for academic merit. -- Courses Taken on Design Studio, Building Construction, Structural design, Environmental Design, Acoustics and Lighting, and Cultural History. -- Immersed in a four month in-situ study of the architectural history, urbanism and development of western culture, in Rome and the Italian Campagna.

EXTRACURRICULAR galt. PUBLICATION CAMBRIDGE ON 2017-2018 BRIDGE CENTRE FOR ARCHITECTURE AND DESIGN CAMBRIDGE ON 2017-2018

WASA CAMBRIDGE ON 2014-2016

FEDERATION OF STUDENTS UNIVERSITY OF WATERLOO WATERLOO ON 2012-2013

EDITOR

-- Worked with a team of 10 editors to produce the first edition of galt. publication, an independent student-run journal tasked with linking student-produced work with contemporary architectural discourse.

MANAGING DIRECTOR, EDITOR AND AUTHOR

-- Fundraised and managed the budget of a complex volunteer-based association. -- Co-ordinated various social and cultural events for and by the student body, to anchor the school of architecture in the Cambridge community. -- Hosted an ‘On Empathy’ lecture recounting personal experiences of social inequality in Latin America, and how this is manifested in urban form.

PRESIDENT -- Elected president for the Waterloo Architecture Student Association for four school terms. -- Restructured the schedule and scope of the student governing body to maximize the amount of funds spent on improving student experience.

ARCHITECTURE FEDERATION ORIENTATION COMMITTEE -- Planning and management of all university orientation programing at the School of Architecture and Faculty of Engineering. -- Facilitated communication with other faculties’ FOC, staff members, the Federation of Students, and the Student Success Office.

AWARDS 2018 2018 2018 2018 2017 2016 2014, 2015

-- Ontario Graduate Scholarship - University of Waterloo -- Graduate International Experience Award - University of Waterloo -- President’s Graduate Scholarship - University of Waterloo -- Faculty of Engineering Graduate Scholarship - University of Waterloo -- Graduate Scholarship - University of Waterloo -- Co-op Award (‘Outstanding’ evaluation on all six CO-OP placements) -- Undergraduate International Experience Award - University of Waterloo

INSTALLATIONS AND EXHIBITIONS 2019 2018 2018 2016 2014 2013 2012

-- Remembering what is to come. - Riverside Gallery, Cambridge, Canada -- Projects Reviews - Riverside Gallery, Cambridge, Canada -- Trace Exhibition - BRIDGE Centre for Architecture + Design -- Rome Show - BRIDGE Centre for Architecture + Design -- Planeterraeum - Toronto Nuit Blanche, Toronto, Canada -- Enclave - Riverbluffs Park, Cambridge, Canada -- Frame, Frame, Frame - 22 Gleebe Gallery, Cambridge, Canada

SKILLS software AutoCAD languages +1 416 655 1383 dabad.arch@gmail.com Toronto, Canada

experience in

Revit

Rhino

Adobe CC

SketchUp

V-ray

-- Workplace experience and fluency in written and spoken Spanish -- Workplace experience and proficiency in written and spoken French -- Schematic Design -- Design Development -- Construction Documents

-- Budget and Contract Negotiation -- Construction Administration -- Site Management

SIX EMPTY SHELLS CONTEXTUALIZING MEXICAN MODERNIST ASPIRATIONS THROUGH THE TLATELOLCO HOUSING COMPLEX MASTER’S THESIS SITE: TLATELOLCO, MEXICO CITY, MEXICO (2018-2019) SUPERVISOR: ADRIAN BLACKWELL

During the 1950’s, the Mexican federal government pursued an ambitious plan to modernize the country. With the growing apparatus of government and facing a demographic explosion, the capital, Mexico City, faced a critical housing shortage in which the one-party regime saw an opportunity to embed its institutional ambitions. Looking north, towards the informal and marginalized boroughs of Tlatelolco, Peralvillo and Teptio, the first phase in the city’s northern renewal plan was the Nonoalco-Tlatelolco Housing Complex completed in 1963. It epitomized the emerging modern Mexico, extending for 95 hectares, containing 102 residential buildings with 12,000 dwellings, all the while boasting monumental buildings, squares, historical sites, and government offices, proposing a radically new urban lifestyle. However, with the 1964 change in leadership, the later phases of the renewal plan never came to fruition. The new administration forsook social housing projects, causing serious financial issues for the upkeep and maintenance of Tlatelolco. This was further aggravated by tragic social and environmental events, leaving Tlatelolco an estranged monumental housing experiment in the informal northern city fabric, a reminder of failed public policies and promises. Despite this, the residents of Tlatelolco have found a way to appropriate modernism, and through a tightknit community, have saved the housing project 4

from falling into complete disrepair. As Mexico City once again faces an urban housing crisis, it is vital to re-examine and reconcile with the modernist aspirations embodied in this housing project. Positioning Tlatelolco within the discourse of its contemporary theorists, Josep Lluís Sert argues that “monuments are only possible in periods in which a unifying consciousness and unifying culture exist. […] Monuments of recent date (1943) have with rare exceptions become, empty shells. They in no way represent the spirit or the collective feeling of the modern times.”11 Given that the Mexican Miracle did not create a lasting unifying consciousness, Tlatelolco was left a virtual field of empty shells. The methodology proposed in this thesis targets interventions at six monuments—the empty shells—where the aspirations pursued by the modernist experiment are contextualized through site specific architectural interventions. Ultimately, rather than representing a ‘spirit or collective feeling of modern times,’ the shells become the containers of the collective memory of the site and the people who dwell in it.

1 Josep Lluis Sert, F. Léger, and S. Giedion, Architecture You and Me (Cambridge, MA: Harvard University Press, 1943).

THESIS MODELS PRESENTED AT THE 2019 MASTERWORKS EXHIBITION

STUDIO WORK

BANOBRAS HOLLOWING THE POWER APPARATUS WITHIN THE HOUSING COMPLEX With the introduction of the Condominium Law, which led to the creation of the INFONAVIT, the Banobras Tower lost its purpose as the administrative headquarters of the Tlatelolco Housing Complex. The tower became the place of friction between the resident’s discontent and the inability of AISA (Real-Estate Administration) to manage the complex. For the residents of Tlatelolco, the Banobras Tower is a symbol of bureaucratic ineptitude, and the catalyst for the self-administration movement, which in turn paved the way for the current tight-knit community. The resulting intervention on this empty shell tackles both the topology and ideology of the tower. A sphere is subtracted from the pyramid’s base and the resulting circular plan is infilled with facilities and program dedicated to the education, communication, and co-operation of the many residentadministrators who have had to pick up the responsibility in the absence of the public works bank. The circular plan uses the eastern tower’s concrete facade to organize its program, around which the lobby sinks down into an event space, a lecture hall, and out onto a sunken courtyard. The intervention only seeks to program the spherical hollowing of the tower, as it stands in opposition to the pyramidal—albeit, no longer existing—centre of administrative power. The office tower may remain in search of a tenant, as it currently is. CENTRE FOR ADMINISTRATIVE COOPERATION

NEGATIVE INTERVENTION ON THE BASE OF THE BANOBRAS TOWER

INTERIOR RETROFIT OF THE SECRETARIAT OF FOREIGN AFFAIRS

SECRETARIAT OF FOREIGN AFFAIRS HOSTING THE VOICES AND EXPRESSIONS OF THE NATIONS WITHIN The withdrawal of the Secretariat of Foreign Affairs from the Tlatelolco site marked the defection of the government towards its housing projects as a showcase of social progress. The intervention on the empty shell of the secretariat seeks to reverse the showcase, rather than the Secretariat showcasing the novelty of the Tlatelolco Housing Project to the nations abroad, the shell of the secretariat will become a showcase to the millenary tradition and culture of the nations within. The adjacency and current interpretation of the Archaeological Zone in the Tlatelolco complex depicts indigenous culture as a longgone, almost foreign vestige of a lost culture. However, the indigenous presence in Mexico is much closer and contemporary. In the present day, 25.7 million people identify as indigenous, accounting for 21.5% of Mexico’s population.1 With such an important and yet invisible presence, indigenous heritage and expression deserves a platform in the nation’s capital to convey, nurture and produce culture. The intervention proposes the former tower of the Secretariat of Foreign Affairs be retrofitted to host studios and artists from the numerous indigenous communities of Mexico. Rather than serving as an observation platform for the nations of the world, the ex-secretariat becomes the host of the voices and expressions for the many nations within. 1 Instituto Nacional de los Pueblos Indígenas, “Programa Nacional de los Pueblos Indigenas 2018-2024” (INPI, December 21, 2018) INDIGENOUS PRESENCE IN COURTYARD OF THE SECRETARIAT STUDIO WORK

REFORMA BOULEVARD RESTATING MODERN MONUMENTALITY THROUGH SOCIAL HABITS Standing in contrast to Mario Pani’s repetitive programming along the complex’s patios, the proposed Reforma street frontage boasts numerous programs, with different activities interacting with each tower’s base. This ensures that the ground plane does not sit idle by leveraging the mobility of the Reforma axis, opening the vibrancy present in Tlatelolco onto the marginalized adjacent boroughs and the rest of the city. The intervention to this empty shell infills the voids left by the collapsed buildings with residential towers cladded on the locally sourced and ubiquitous stone Tezontle which recover a rhythm establish by the remaining 1960 towers. Rather than existing in an unprogrammed “garden space” as they were originally built, the edge boulevard is hyper-programmed in areas correspondent to each tower making them all form unique interactions with the ground plane. The programming was chosen with careful consideration to the adjacencies, context and observations while on site.

REFORMA BOULEVARD - HYPER-PROGRAMMING EDGES

PLAZA OF THE THREE CULTURES ACKNOWLEDGING THE MEMORY EMBEDDED IN PUBLIC SPACE The Plaza of the Three Cultures was designed as the sister public space of the Capital Zรณcalo (a public square in the centre of power of the city). The apolitical nature of the Plaza of the Three Cultures was the reason the students sought it, and the reason why the massacre was a betrayal of the modernist principles that built it. The intervention seeks to immortalize the memory of a public space and the people who occupy it by installing various small luminaires in the Tezontle pavers. The embedded sensors are triggered when stepped upon, activating light pulses on an eleven hour delay, the average duration of a workday and commute. This delay multiplies the presence of people in the plaza, from a minimal trail showing the residents going to work as they come home, to the glow left behind after a rally or event. The mechanisms can be incorporated into the existing materials of the plaza with minimal change to the overall appearance or use.

PLAZA PRESENCE AUGMENTED BY LIGHT INTERVENTIONS

LIGHT INTERVENTION IN THE PLAZA STUDIO WORK

ARCHAEOLOGICAL ZONE WEAVING DISSOCIATED HISTORICAL IDENTITIES Archaeological Zones of prominent historical significance are generally protected from the elements by steel canopies. However, Tlatelolco has not been afforded one, as priority has been given to the symbolic image of the exposed pyramid adjacent to the church adjacent to the housing complex. The intervention borrows from this typology to create a overlapping gradient of canopies between the market program and the archaeological area, creating a space which can extract meaning from the past, integrating memory into the present use of the site. The empty shell here is created as the housing stock around the archaeological zone deteriorated, the juxtaposition of modernity loses its novelty, almost creating another ruin. In order to inject meaning into the shell of this juxtaposition, I extracted the common element which links all the histories of Tlatelolco. Commerce. Tlatelolco has always been in some form or another at the centre of commerce in the city. CHURCH OF SANTIAGO AND TLATELOLCO RUINS WITH CANOPY

NEW MARKET OF TLATELOLCO NEXT TO THE ARCHAEOLOGICAL ZONE

PROPOSED FACADE INTERVENTION ON THE TYPE C BUILDING

TYPE C BUILDING CELEBRATING THE IDIOSYNCRASIES IN COLLECTIVE HOUSING

TYPE C FACADE OCCUPIED LOGGIAS

The Type ‘C’ building is the largest building type in the Housing Complex. If fully occupied, it houses approximately 800 people in 288 units. The buildings were originally cladded in pristine white corrugated spandrels panels which gave the façades a unique cohesive aesthetic but it heavily limited the light and views out of the apartment. Following the earthquake of 1985, the buildings had to be emptied and buttressed with concrete pillars and cross beams to ensure their habitability. This new aesthetic inadvertently opened up substantial window space into the apartments, Giving the residents the chance to project their life outwards. The intervention further extends this organic process by using the massive concrete skeleton to build loggias wherever possible to give the residents full ownership over the aesthetic of their homes, creating collective housing where design does not impose and identity but rather amplifies the existing one.

STUDIO WORK

THESIS MODELS AND PRESENTATION PANELS PRESENTED AT THE 2019 MASTERWORKS EXHIBITION

STUDIO WORK

MUSEO PARCO DEL POMERIUM A STUDY ON THE BOUNDARY OF ANCIENT CITIES SITE: PORTA ASINARIA, MERCATO DI VIA SANNIO. ROMA, ITALY (2015) COURSE: 4A ROME STUDIO COLLABORATION: JONAS CHIN

The Pomerium of ancient Rome was an intangible boundary which enclosed the sacred city. The boundary signified a change in etiquette, behaviour, meanings and traditions through the use of civil law. This line formed a relationship of opposite regions; inside and outside: Urbs and Ager. The first Roman Pomerium was carved out of the earth by Romulus himself and since had been constantly expanded by decree of the emperors and the senate. The last estimated expansion was by Emperor Aurelian with the construction of his wall. Eventually and with the halt of the conquests of Imperial Rome, the Pomerium lost its meaning and the concept of a boundary to civilization was lost. This project narrates the meaning of the Pomerium though architecture and landscape. We open the Pomerium bounding line deriving to a plane, separating the millennial boundary between the Urbs and the Ager.

The violent event of separating this ancient boundary is seen throughout the site. The forces in play are carried by monumental rammed earth retaining walls which put a visible strain on the fabric of the piazza paving, the park landscaping and the market canopy. The museum and the large event space are carefully placed inside the Pomerium plane using delicate architectural language, opposite to the chaotic exterior language. These structures exist as pavilions sitting on a reflective pool. The open Pomerium serves to reflect on the meaning of the Ager and the Urbs. Apart from containing historical artifacts that reference the Pomerium, the main curatorial gesture will occur on the faces bound by the rammed earth wall and the Aurelian wall. The Urbs and Ager will present three contrasting artifacts. The Dux vs the Senex, the Forum vs the Viarum and the Triumphus vs the Monumentum.

I CONNECT THE DOTS Understanding that the site of the project lies in an important transit hub and the site under study must first be rooted in the surrounding urban fabric.

PARCOMUSEO MUSEO PARCO PARCO MUSEO DIPOMERIUM POMERIUM DI DI POMERIUM

LINEA LINEA LINEA AA A

LINEA LINEA LINEA CC C

EMMANUELE FILIBERTO VIALE CARLO FELICE

VIALE CASTRENSE

PORTA S. GIOVANNI

NEXUS DISAMBIGUATION

VIA LA SPEZIA

Defining and allocating proper vehicular, pedestrian and recreational paths across the Aurelian Wall VIA NUOVA APPIA

VIA SANNIO VIA MAGNA GRECIA

III AXIS AND MONUMENTS Minor interventions in the urban fabric to re-institute the importance of all surrounding monuments

STUDIO WORK

TRIMPHUS

FORUM

SENEX

URBS The Urbs exists in complete defiance of nature. It holds no memory for the dead. Governed by menâ&#x20AC;&#x2122;s laws and not their tempers or aggressions.

SITE PLAN

AGER The Ager holds no laws, it lies at the will of nature. Death is the ever-present threat that pushes deeds to greatness. The Urbs can only survive if it expands to the Ager. MAUSOLEUM

VIARUM

DUX

FLEA MARKET

BRIDGE ACROSS AGER WALL

LOOKOUT INTO POMERIUM

OUTDOOR CINEMA

FOOD MARKET

PASSAGE

METRO ENTRANCE

SECTION THROUGH POMERIUM MUSEUM

POMERIUM The Pomerium is the line of conflict between two states. It separates our pretensions of grandeur from our mortality. The fratricide that brought about the greatness of human civilization.

GILIGAMESH ENKIDU

ROMULUS REMUS

CAIN ABEL STUDIO WORK

Birdseye View: Basilica St Giovanni in Laterano Mura Aureliane Museo Parco del Pomerium Mercato di Via Sannio

PARCO - LANDSCAPE RIPPLES

ENTRANCE - MUSEO DEL POMERIUM STUDIO WORK

PUBLIC STORAGE TO PUBLIC PRODUCTION

A STUDY ON URBAN INDUSTRIAL ZONING

SITE: DUPONT & OSSINGTON. TORONTO, CANADA (2014) COURSE: 3B STUDIO. EMPLOYMENT LANDS INSTRUCTORS: DREW SINCLAIR, ANNABEL VAUGHAN

The city of Toronto is in a fast track residential development. The growth in waves of the city has left behind a series of industrial belts that have been wedged between suburban residential neighbourhoods. This site nowadays is part of the urban fabric of the city and all the manufacturing businesses have either been abandoned or converted to warehouses and showrooms. These uses misuse the potential of urban employment zoning. The Dupont corridor was once a powerful manufacturing belt. Nowadays, there is high pressure for the rezoning of the dead industrial areas. The residential neighbourhoods north and south of the corridor need the area to become a buzzing belt that will uplift a neighborhood stripped from its manufacturing identity.

A key lot exists at Ossington and Dupont where a storage facility sits indifferent to the residential areas neighboring the belt. The intervention consist of cuts, infills, and creative retrofits that transform the existing Public StorageTM building from a static material accumulation garage to a dynamic production hub. Instead of storing old belongings, the garages will be used to store a wide array of materials and machines to feed the production of manufacturing studios. The production hub will spark the rethinking of employment zoning in Toronto. Rather than rezoning the corridor to make way for more housing, we promote urban industries to make of the aging industrial urban neighborhoods unique creative corridors.

OSSINGTON AND DUPONT - THE DUPONT INDUSTRIAL CORRIDOR AND THE PUBLIC STORAGETM BUILDING.

STUDIO WORK

MODULAR CONSTRUCTION OF STORAGE BUILDING ALLOWS FOR STRATEGIC RETROFITS

DETAIL OF OPERABLE FACADE PANELS

RAIL NETWORK RETROFIT FOR HORIZONTAL TRANSPORTATION

SICCOR-LIFT RETROFIT FOR VERTICAL TRANSPORTATION.

ORIGINAL PLAN OF PUBLIC STORAGE. DIAGRAMMATIC PLANS OF POSSIBLE SHOP EQUIPMENT STORAGE,

STUDIO WORK

EL CHALTEN OUTPOST

ARCHITECTURE AS A REMOTE REFUGE

SITE: SANTACLARA PROVINCE, ARGENTINA (PATAGONA) (2016) COURSE: 4B ROME STUDIO INSTRUCTUOR: ANDREW LEVITT

It is generally against contemporary architectural sensibilities to build a structure which is a testament to human occupation in the environment. To create an object whose mere presence is a statement of human endevour and resilience, in even the most remote areas. The proposal for the outpost is a large self contained structure that stands well above the cover of the tree canopy. It is not meant to overpower or challenge nature, but to equal the presence and scalelessness of the Patagonian landscape. Through this project I reconcile a clear and unapologetic man made object that is itself a monument to the relationship we have with nature. Careful considerations must be made to ensure that the object itself is not damaging the land. With simple but strong morphology, I intend to create an experience that abstracts the way one might see 26

the Patagonian landscape. The sustainable strategies taken, be it with regards to materials, systems, structures, orientation and resources are only justified if they comply with this narrative. The shape emerges from a study of modernist Latin American architecture and Mesoamerican morphologies. Once my expression of the shape becomes clear, the occupation of this object is carefully considered. The programmatic solution is a narrative of 3 distinct experiences: the accommodation, the common spaces and the meditative spaces. The three programs and the architecture of each level provide a unique narrative on how the users connect with the Patagonian landscape. The Patagonian experience is presented in unique bites through the architecture of this outpost.

STUDIO WORK

2. 3. 4.

1. 2. 3. 4. 5.

TRAIL IN FROM EL CHALTEN HOSTEL ROOMS STAFF QUARTERS UTILITY TRAIL OUT TO FITZ-ROY

GROUND FLOOR - LIVING FLOORS, GOUNDFORM

4. 5.

1. 2. 3. 4. 5.

FIRST LEVEL - COMMON FLOOR, STEPPE CANOPY

STAFF EQUIPMENT STORAGE LIVING SPACES DINING SPACES PANTRY AND STORAGE

5. 3.

4. 6.

10. 9. 7. 8.

1. 2. 3. 4. 5. 6. 7. 8. 9. 10.

CHANGE ROOMS WET SAUNA / SHOWER OUTDOOR STEAM SAUNA HOT STONE BED MASSAGE BOOTHS GARDEN EXTERIOR HOT POOL DRY SAUNA / SHOWER SHOWER OUTDOOR COLD POOL

SECOND LEVEL - SPA, SKY

FIRST LEVEL - ROOF VIEW, MAQUETTE STUDIO WORK

SPA SECTION

ROOF PLAN STUDIO WORK

PLANETERRAEUM EVENT: TORONTO NUIT BLANCHE 2014 SITE: GORE PARK, CNE GATE COLLABORATION: JAKE READ, ALI SERMOL, TONY KOGAAN, KEEGAN STEEPER, AARON COTE, JONAS CHIN, WESLEY CHU, CONNOR Oâ&#x20AC;&#x2122;GRADY Planeterraeum is a Nuit Blanche exhibition put together by a group of students from the University of Waterloo School of Architecture. The project was entirely designed, built, fund-raised and run by a group of fourteen students. The installation consists of an 10 meter diameter LSL geodesic dome covered in triangular canvas panels. Upon entering the dome, one is presented with an mesmerizing view of the city, six projectors display synced 360 degree footage of the city of Toronto taken from a custom-built drone earlier in the day. We approached the production of the installation as a case study on the process and execution of a rather refined design project. After reflecting on our experiences we published a book which can be found at: issuu.com/bridgewaterlooarchitecture 32

OTHER WORK

ENCLAVE SITE: CAMBRIDGE ROWING CLUB COURSE: ARCH 292: 2B DESIGN STUDIO MATERIALITY AND TEMPORALITY INSTRUCTOR: ANNE BORDELAU, ROBERT J VAN PELT COLLABORATION: MICHELLE BULLOUGH, JONAS CHIN, WESLEY CHU, LEO LIU The site of Enclave exists between the pedestrian trail and a flower field in the Cambridge Butterfly Conservation Area. It creates a strong segmentation and emphasizes a fallen tree and the views it frames. Dry stocks from the abundant Queen Anneâ&#x20AC;&#x2122;s Lace were collected from the surrounding area, sorted, and erected on a steam bent circular oak plinth. The stocks follow a sinusoidal shape which peaks at the entrance of the enclave and descends at the from framing the view of the adjacent field. Enclave uses dead nature to delineate a man made territory which lies and acknowledges the architectural qualities of the specific site chosen 34

OTHER WORK

ISONOMIA IN TORONTO?, 2019

ADRIAN BLACKWELL COMMISSIONED BY THE 2019 TORONTO BIENNIAL OF ART The ancient Greek term isonomia implies political equality. Blackwellâ&#x20AC;&#x2122;s two site-responsive, non-hierarchical structures at the Biennial are spaces to gather for weekly programs and contemplate isonomia in the face of colonial governance structures that have overtaken those of Indigenous peoples. At 259 Lake Shore, Isonomia in Toronto? (harbour) is modelled after Torontoâ&#x20AC;&#x2122;s changing shoreline, illustrating the effects of encroaching privatization on the land. For Blackwell, the transformation of the property lines along the shore is a marker of colonial violence, the form of law and order that now dominates this land. 36

ISONOMIA IN TORONTO? (HARBOUR) - PHOTO BY TONI HAFKENSCHEID (2019)

ISONOMIA IN TORONTO? (CREEK) - PHOTO BY TONI HAFKENSCHEID (2019)

Production Assistance: Daniel Abad. Construction: Daniel Abad, Adrian Blackwell, Christopher Mendoza, Geoff Tanner, Jonas Chin. Lumber: Sawmill Sid. Structural: Christian Bellini (Blackwell Engineering). Accessibility: Luke Anderson (StopGap). Commissioned by the Toronto Biennial of Art. WORK EXPERIENCE

“ Urban Areas” from Robert E. Park and Ernest W. Burgess, The City: Suggestions for Investigation of Human Behavior in the Urban Environment, 1925, founding text of the Chicago School of Sociology.

László Moholy-Nagy, Organizational Diagram of for the curriculum of the New Bauhaus in Chicago, 1937.

ANARCHITECTURAL LIBRARY (AGAINST THE NEOLIBERAL ERASURE OF CHICAGO’S COMMON SPACES), 2019 ADRIAN BLACKWELL COMMISSIONED BY THE 2019 CHICAGO ARCHITECTURE BIENNIAL

William Cronon, diagram of Chicago and its hinterland drawn from economist Johann Heinrich von Thünen’s The Isolated State.

Anarchitectural Library addresses the Chicago Cultural Center’s history as the city’s first public library, an institution conceived in part as a space to “civilize” an unruly population of immigrants, workers, socialists, and anarchists. Whereas the original library responded to the specific struggles of the late nineteenth century by pacifying political demands, Anarchitectural Library gives voice to contemporary organizations fighting to keep alive spaces that produce and maintain urban life and collectivity. The library houses printed publications submitted by Chicagobased activists, organizers, and researchers whose work resists public housing destruction, school closures, loss of industry, environmental degradation, and mass incarceration. The public is invited to peruse and discuss its contents.

ANARCHITECTURAL LIBRARY - PHOTO BY KENDALL MCCAUGHERTY (2019)

WORK EXPERIENCE

ARCHITECTE DE

STUDIO VINCENT ESCHALIER

DURATION

18 months

LOCATION

Paris, France

COLLAB

EXPERIENCE

Vincent Eschalier Nicolas Bossard Antonio Blanco Lea Goffinet Competition Entry, Schematic Design, Construction Documents, Budget and Cost Breakdowns, Bidding and Negotiation, Site Management.

WORK EXPERIENCE

SENIOR STUDENT ARCHITECT

DIAMOND SCHMITT ARCHITECTS

DURATION

12 months

LOCATION

Toronto, Canada

COLLAB

PROJECTS

EXPERIENCE

Donald Schmitt Mike Szabo David Dow Micheal Tracey Greg Colucci Jim Graves St Catharine’s Performing Arts Centre University of Michigan Student Centre Medicine Hat Regional Hospital Vaughan Metropolitan Centre Office Tower St. Jerome’s University Student Residence Competition Entry, Schematic Design, Construction Documents, Tender an Addendum, Contract Administration,

ST. CATHARINES PERFORMING ARTS CENTRE ST. CATHARINEâ&#x20AC;&#x2122;S, ONTARIO PERFORMING SPACE - 8,825 M2 CONTRACT ADMIN TO PARTIAL OCCUPATION

This complex accommodates a recital hall, a theatre dance venue, a concert hall and a film theatre. The contributions included interior details to the venues, material selections and coordination with the sub-trades on site.

DENNISON BUILDING, U MICHIGAN ANN ARBOR, MICHIGAN, USA EDUCATION - 9,987 M2 FROM 50%CD TO TENDER ADDENDA

The Dennison building is an addition-renovation to a 1970 University building. The intervention includes a series of double story glazed atria with biofilter plenum. The work involved interior and exterior detailing and the completion of a drawing set for tender.

MEDICINE HAT REGIONAL HOSPITAL MEDICINE HAT, ALBERTA, CANADA HEALTHCARE - 30,800 M2 INTERIOR MATERIAL SPECS AND HOSPITAL PROGRAM.

This hospital addition houses the oncology and renal and ER departments. Its main feature being a 4 storey atrium. Most work done revolved around the material and pattern selection for the atrium space along with programmatic studies for the hospital equipment.

KPMG OFFICE TOWER VAUGHAN, ONTARIO OFFICE AND COMMERCIAL - 32,500 M2 FROM 50%DD TO 90%CD

The office is situated a new development north of the city of Toronto. DSAI was awarded the design for the masterplan of the Vaughn Metropolitan Centre and this building is its centrepiece. A 12 storey Office building with a commercial podium.

WORK EXPERIENCE 50% CD December 2013 Diamond Schmitt Architects

384 Adelaide Street West, Suite 300, Toronto, ON Canada

ARQUITECTO PASANTE

MAROTTA BASILE ARQUITECTURA

DURATION

4 months

LOCATION

Barcelona, Spain

COLLAB

PROJECTS

EXPERIENCE

Floriana Marotta Massimo Basile MBM Arquitectos Beretta Associati Milan Masterplan Competition Milan Housing Projects Rome Apartment Interior Design Patronage Laique Paris Social Housing Design Development, Competition Entry, Construction Documents.

LEONE XIII RESIDENTIAL BUILDING MILAN, ITALY RESIDENTIAL - 6,500 M2 COMPETITION DRAWINGS

Leone XIII has a dynamic facade design which consists of light weight wood shading devices that can be easily rearranged by the users. The main volume of the building is composed of travertine square blocks which contrast the soft texture of the panels but maintains a consistent colour palette.

AMPERE RESIDENTIAL COMPLEX MILAN, ITALY RESIDENTIAL - 30,800 M2 SCHEMATIC DESIGN - FACADE PATTERN

MAB was given the task to animate the facade of a large residential complex in Milan. We developed a series of volumes that will bring irregularity to a repetitive floor plan. The development is set on a fast development neighborhood of Milan.

PATRONAGE LAĂ?QUE PARIS, FRANCE INSITUTIONAL- 10,000 M2 POST COMPLETION - COMPETITION ENTRIES

This socio-cultural centre is located in a popular neighborhood of Paris. The shape and features of this building are a beacon to this neighborhood. The project also carries a variety of programs which seamlessly merge into the atrium of the centre, The program includes several community rooms, a theatre, an auditorium, classrooms.

WORK EXPERIENCE

THANK YOU ALL CREDIT TO MY PEERS AND PROFESSORS

DANIEL ABAD GONZÁLEZ DURÁN dabad.arch@gmail.com +1 416 655 1383 TORONTO, CANADA