[1] B ARCH SCI, MA solop.irina@gmail.com_email +1.647.668.1408_tel
I am an OAA Intern persuing licensing. I have over 5 years of experience working in small to mid size offices in Toronto, with a focus on either institutional work or high end residential. My current position at Williamson Willimson has seen me grow from a recent grad with minimal in field experience into a project lead who can confidently design, draw and manage a project start ot finish. I have worked on projects ranging in scale from residential renovations, and commercial interior fitouts, to larger scale new build custom homes, and public and private institutional work. I was part of the team working on the design and contract administation for the Osler Bluffs Ski Club. My education is routed in Toronto, as I am from here and went to Ryerson for my Bachlour of Architectural Science. After graduating I worked for 1 year before persuing my graduate studies abroad at the Aarhus School of Architecture in Denmark. This change of scenery was critical in broadening my design palette and critical thinking towards design in the public realm.
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IRINA SOLOP B ARCH SCI, M A email_solop.irina@gmail.com tel_+1.647.668.1408
[01]
about me
[02]
table of contents
[03-04]
curriculum vitae
[05-20]
thesis: vagabond monuments
[21-22]
bronze casting workshop: flowing algorithm
[23-30]
århus amtssygehus
[31-32]
scenography workshop: the wall
[33-34]
device: rotating panoramic pin-hole camera
[35-42]
heterotopic horizons
[43-44]
device: imprinting machina
[45-48]
ambiguous boundaries
[49-50]
haunting aarhus workshop
[51-52]
museum anatomy research
[53-56]
canadian pavilion re-design
[57-58]
light_scape installation
[59]
malivoire winery competition
[60]
flatlot pavilion competition
[61]
changing the face: pushkinsky theatre
[62]
busan opera house competition
[63-64]
WW employment
[65]
DSA employment
[67]
TSA employment
[68]
KLF internship
TABLE OF CONTENTS [02]
[03]
VAGABOND MONUMENTS TORONTO, 2016 Vagabond Monuments is a theoretical and process driven thesis into the function of monuments, both intentionally to commemorate memories of people or events and unintentionally as place makers and guideposts within the larger context of a city. The site is located in Toronto, along the esplanade of University Avenue, between College St. and King St; a largely underused yet monument saturated public path. This is the ideal setting to explore the relationship between monument and place; developing our understanding of how some artifacts define space while others merely adorn it.
AAA MA_FALL THESIS 2016
[04] ARCHITECTURAL CONSTRUCT The goal of the study is to question the efficacy of the existing monuments at the intersection of University Ave. and Queen St. and to investigate how symbolic content can be reinterpreted to better reflect contemporary sentiment, and engage visitors not only intellectually but also emotionally and bodily. The proposal aims to be an “insistent provocateur of the urban unconscious” (Vidler, 1992) and to challenge conventions about public memory and representation by proposing an architectural intervention that provokes a new and polemic experience of the existing monuments. The intersection chosen for this investigation is rife with not only pragmatic urban problems but potentials which will be fulfilled through a careful redesign of the street conditions and transportation infrastructure. AAA MA_FALL THESIS 2016
C
I
A
CIVIC
buildings pertaining to the function of the city: city hall, courthouse, train station etc.
INSTITUTIONAL
buildings dedicated to knowledge and health: libraries, schools, hospitals etc.
ARTS&CULTURE
buildings for the appreciation of culture; galleries, museums, theaters etc.
MONUMENTS
structures to commemorate and celebrate important people or events.
PAR K S & S Q UAR E S
publicly accessible spaces
S U B WAY
station locations
1:7500
[05] University Avenue, formerly College Avenue, has always been intended to be a ceremonial passageway, as indicated by its continuing presence as a tree lined boulevard in historic maps. In comparison to its current iteration as a mini highway at eight lanes of traffic, in the late 19th century it was more of a peaceful rural road; lined with trees and removed from the hectic city life that would have dominated Young St, just two blocks over. The former College Avenue was maintained as a toll road, with gates at the Queen St intersection and a gatekeeper’s house on the north-west corner. To the east, separated by a fence, was a smaller access road called University St. The two streets were merged together into University Avenue at the turn of the century and the current outlines of the landscaped medians were established. AAA MA_FALL THESIS 2016
The merge opened up the street as a public through fare and the South African War Memorial was erected in 1910 at the avenues Queen Street terminus. Post WWI, in thanks to the economic boom and global precedents, a Beaux Art plan was drawn up to better accommodate the growing use of cars and the influx of industry and big business. However depression in 1929 prevented the radical redevelopment of the downtown traffic system. Only smaller scale interventions such as the widening of University Ave. and rezoning the adjacent land to invite larger corporate buildings in place of the historic villas were realized. Later the expansion of University down to Front St. connected the avenue to major East-West thoroughfares, establishing University Ave. as a primary traffic route. AAA MA_FALL THESIS 2016
1:7500
[06]
Canada Li Building
A
Cambell H [Historic S
KEY PLAN 0m
1:5000
-250
Bank of Can Building
-500
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1:1500
INTERSECTION The intersection of University Ave. and Queen St. is one of the busiest along the esplanade yet suffers acutely from a sense of placeless-ness. The monument just to the north of the intersection is the South African War Memorial, commemorating the fallen Canadian soldiers in the Second Anglo-Boer War, unveiled in 1910. To the south is the Sir Adam Beck Memorial, unveiled in 193. He was a prominent public figure and founder of Ontario Hydro, the public hydroelectric generation and transmission infrastructure. These monuments were designed by teacher and pupil, Walter Seymour Allward and Emanuel Hahn respectively, to commemorate very different moments in history; one Britain’s final colonial war, the other the life’s work of a public servant, yet their positioning facing each other across one of the most public and ceremonial intersections in the city implies a relationship. AAA MA_FALL THESIS 2016
10m
inte
rv
ife
10m
C
inter
vals
Osgood Hall Law School [Historic Site]
100
South American War Memorial
House Museum Site]
Osgoode Hall Gardens
150
43°39'03.5"N 79°23'12.0"W
200
Adam Beck Memorial
A
nada
Four Seasons Centre of the Performing Arts
250
300 Hilton Hotel
The two monuments do not share a similar scale or street presence. While the South African War Memorial is about creating a grand ceremonial focal point, the Adam Beck Memorial is a more subtle representation which welcomes rest and contemplation. The refusal to relate to one another in any way apart from location and style, the two monuments at either side create an even further south-north divide then already present thanks to the street. This strengthens the overall fragmented nature of the esplanade and discourages exploration further north along it towards Queen’s Park. Shangri-La Hotel
AAA MA_FALL THESIS 2016
400
[08]
1:1500
350
[1] VISTA
[09] SITE EXPERIENCE The documentation and research into the site involved a mixture of historical data gathering; primarily from real estate and fire insurance maps, and photographs and drawings of the site and surrounding area throughout the years, as well as personal photographic documentation. This material became the source material for collage-style explorations into the sites conditions. [1] A highway has replaced the gated community road without any significant mention. The trees and villas ousted out to fill the street with empty night-time windows. The echoes of the past caught in fleeting interrupted view as one imagines the cars blooming into trees. AAA MA_FALL THESIS 2016
[10] DRAWING FROM EXTRACTION
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1:250
501 QUEEN ST, STREETCAR
QUEEN STREET WEST
UNIVERSITY AVENUE
[11]
AAA MA_FALL THESIS 2016
South Side of Proposal: New unmanned subway entrance/ exit. Brings direct light down to the subway platform, to reinforce a connection with the city. Offers a new perspective to the city’s vistas and adds significance to existing monuments.
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1:250
SECTION OF PROPOSAL
AAA MA_FALL THESIS 2016
[1]
[13] EXPERIENTIAL APPROACH 1_view southwards, across bridge, towards augmented South African War Memorial 2_new subway entrance at Adam Beck memorial on the South side of Queen St. & University Ave. 3_overview of re-imagined South African War Memorial, and new subway entrance beyond
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[3]
[14] OVERVIEW OF PROPOSAL
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[15] TRANSLATING TO FORM I used a 1:100 model to translate the ideas generated in the drawing phase of the thesis into tangible representations of form. This model became an important device for working through design ideas. And as a consequence of that, it went though many iterations in order to take the complexity of the drawings and edit those ideas down to a handful of more powerful architectural moves.
AAA MA_FALL THESIS 2016
[1]
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[16] 1:100 WORKING MODEL 1_close up of some of the subtle landscaping changes 2_close-up on the South African War Memorial intervention 3_overview of the 1:100 model, looking north along University Ave.
AAA MA_FALL THESIS 2016
[1]
[2]
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[17] 1:50 SCALE X-RAY MODEL 1_overview of north side of proposal - new entrance to subway and re-imagining of the South African War Memorial 2_re-imagined SAWM - inverted base to create “outdoor room”, and delicate steel structure to reinforce a sense of “unbalance” 3_overview of entire proposal, looking south along University Ave.
AAA MA_FALL THESIS 2016
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[18] 1:50 SCALE X-RAY MODEL 4_view along bridge of the south side of proposal 5_view of steps and bridge in relation to the Adam Beck Memorial 6_looking down new subway entrance stairwell
AAA MA_FALL THESIS 2016
[19]
FLOWING ALGORITHM AARHUS, 2016 The bronze casting workshop lasted two weeks and introduced a variety of soft and hard skills. We were encouraged to work with Grasshopper to create the initial shape, which is derived from the mathematical base unit for a gyroid surface. This shape had to be transformed into a closed 3d object for printing purposes. The 3d print took into consideration thicknesses, scale, material flow etc. It was then cast into reinforced clay and burned out in the kiln to create the negative mold. The finished bronze piece had to be cleaned, treated and polished. Our result ran into some fruitful issues, as the bronze did not flow smoothly, resulting in holes in the shape and general irregularities. However we embrace their beauty as part of the process. AAA MA_SPRING 2016
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[20] PROCESS 1_3D Printing 1/6th of the sculpture in the Ultimaker 2 Printer. 2_assembeled 3D printed sculpture 3_pouring bronze into clay mold 4_applying copper chemical finish with a torch to seal the bronze and give depth of colour
AAA MA_SPRING 2016
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1-4_fragement overlays in space 5_overall elevation of anti-walk model
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ÅRHUS AMTSSYGEHUS AARHUS, 2016 To pursue an anti-walk is to consciously not plan the journey, but instead curate it. The difference between planning and curation lies in their temporal relationship to an act. Planning comes before and as such sets up preconceptions and expectations, while curation comes after and observes the act from a critical point of reflection. A reflective approach to site exploration allowed me to rely on my instinctual understanding of the build world and architecture as a way of isolating interesting and engaging moments, leading me to focus on a particular courtyard and building; the hospital canteen.
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[22] ANTI-WALK MAPPING
AAA MA_SPRING 2016
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1_fragment of Patio Rail (Left to right: Photo, Reflection, Crop, Sketches) 2_collection of site photos 3_fragment of Outdoor Stair (Left to right: Photo, Reflection, Crop, Sketches)
1_site photos of Canteen Courtyard 2_scaleless Plan Drawing of Canteen Courtyard 3_augmentations of Canteen Courtyard
[23] DISSECTING WORKSHOP WITH ANDREW CLANCY The Dissecting Workshop, held in partnership with Andrew Clancy of Clancy Moore Architects, sought to engage the site on both a tangible and theoretical level. It started with an in depth analysis of the site and its characteristics using carefully selected photographs and drawings. We then engaged the presented material in groups in order to uncover why the selected work was meaningful and affective and how those qualities can be transformed into a theoretical framework for the project. The act of framing, editing, curating, drawing and redrawing helped to establish both my own interests as well as revealing innate architectural concerns that are already present in the site. AAA MA_SPRING 2016
[24] COMBINED FRAGMENT DRAWING
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[1]
[1]
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AXONOMETRIC OF EXISTING
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am e ga nity [m ller ail y en r oo try m] co rri d or art is sh t re s ow ide ca nc se e re s s ide nc e
[1]
[26] EXPLODED AXONOMETRIC OF PROPOSED UNIT
AAA MA_SPRING 2016
[27] NEGOTIATING THE EXISTING Progress model of existing structure in grey card, and new proposed artist residency units in white PLA plastic (3d printed). The model clearly shows how the fragmentary drawing method from the Dissecting Workshop went on to influence the aesthetic choices within the residential unit. This is especially evident in the use of many stepped platforms, a reference to the layering design methodology, and the fragmented look of the facade.
AAA MA_SPRING 2016
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[28] AXONOMETRIC OF PROPOSED 1_staircase from basement to ground floor, looking towards courtyard 2_overview of second floor, looking towards courtyard 3_overview from above looking down a two storey space to the basement 4_overview of arrangement of floor levels on ground level and the relationship between them and staircase
AAA MA_SPRING 2016
SITE ‘Great Coffee’ Courtyard
[29]
SCENOGRAPHY WORKSHOP AARHUS, 2015 The proposal aims to dematerialize a wall dividing two courtyards to emphasize the breaking down of the forth wall between actor and audience. The proposal limits the audience to one side of the wall, the Great Coffee courtyard, while encouraging two plays to occur, one in each courtyard. The first play takes on a very traditional relationship between actor and audience, while the second play occurring out of sight, expect for the glimpses caught in the movable mirrors, will emphasize the inherent distance in acting. We use the metaphor of the three traditional parts of a theatre with its theatron or raked seating area for the audience; the stage where the first troupe would perform, and the backstage where the second troupe would be. AAA MA_SPRING 2015
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[30] ASSEMBLY KNULLING PHOTO 1_entry 2_seating 3_stage
AAA MA_SPRING 2015
4_backstage 5_adjustable iridescent mirrors
rotation axis
rotating pin-hole drum
tripod
1:250
fixed drum
[31]
ROTATING PANORAMIC PIN-HOLE CAMERA PORTABLE DEVICE, 2015 Investigating the flat landscape of Læsø Island of the Eastern coast of Denmark with a panoramic camera allowed me to explore the constant presence of the horizon and the limitless shifting boundaries between water and land. The analog method augmented this initial investigation and brought out haptic qualities from the exposure process of rotating the camera at 10-2030 second intervals. The combination of the expansive landscape and the local human error will further explore the potential for architectural intervention on this site.
AAA MA_SPRING 2015
[1] [1]
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[32] ASSEMBLY KNULLING PHOTO 1_SAMPLE 18 min [30 sec / 10°] 2_DAWN 18 min [30 sec / 10°]
AAA MA_SPRING 2015
3_HAZY / OVERCAST 12 min [20 sec / 10°] 4_ BRIGHT 12 min [20 sec / 10°]
5_BRIGHT 18 min [30 sec / 10°]
[1] FORMAL EXPLORATIONS
[2] LIGHT EXPLORATION MODEL
[33]
HETEROTOPIC HORIZONS LÆSØ, DENMARK 2015 My spring semester project was derived from my investigations on site with the rotating panoramic pin-hole camera. The resultant shape is an accidental yet fluid form which captures the irregularities in the speed of the rotation of the camera and is directly derived from one of the photographs captured there. I have used this form to begin exploring light in an attempt to recreate the ephemeral qualities of the photograph, which are a product of the registration process, through the use of various architectural methods.
AAA MA_SPRING 2015
[3] MAPPING THE LIGHT FLUCTUATION IN THE PHOTOGRAPH
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[34] FORM FINDING
[35]
1:7500
SITE SELECTION The selected site is located just within the entrance to a natural preserve. This location combined with the proposal program will encourage a change in perspective towards nature conservation as a method that must inevitably involve humanity as a participant instead of a menace. The island already has a strong history of human intervention in its natural history. The island has gone through an almost complete deforestation in its recent centuries and all the current grown landscape is a product of human intervention in partnership with nature. This encourages a more hands on approach to nature.
AAA MA_SPRING 2015
[36] SITE PLAN The program SITE PLAN 1:500 is a small scale educational center and seed archive. The goal of the facilities is to educate on the use of a diverse range of both edible crops as well as a variety of local fauna, and to encourage interaction with the natural landscape. The primary target group is families and children, many of them seasonal residents here, who could begin to foster a relationship with INTERVENTION ECOLOGY PAVILION the natural surroundings - something many young children are lacking in this digital age.
AAA MA_SPRING 2015
1:400
[ i 1.0]
172° 166°
G
PUBLIC TOILET
160°
HIVE
154°
RC ED A
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144° ED
IL ETA
SE
138
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HT
VIL PA
LIG
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ING
2°
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WAR M
6°
12
0°
4°
11 D
E 1:150
FLOOR PLAN
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84°
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90°
96°
2°
10
8°
10
F
0°
ACTIVITY SPACE
UP
12
°
18
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24
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30
°
36 °
42 B
A
48°
54°
60°
66°
72°
78°
C
G HU
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GE RA O S ST ICE V R SE
6°
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[1]
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handle [3]
acrylic stopper access
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[39] SEED ARCHIVE WALL 1_feature wall axonometric 2_seed cabinet axonometric
1:100 NTS
3_feature wall plan 4_individual seed cabinet plan
1:100 1:10
AAA MA_SPRING 2015
A A A A A A
[A]
A
B B B B B B[B] B
C C C C[C] C C C D D D D[D] D D D
E E E[E] E E E E
F [F]
F
G[G] G G G MA_SPRING 2015 AAA G G G
[40] EXPERIENTIAL SECTIONS
1:200
F F F F F
[41]
IMPRINTING MACHINA PORTABLE DEVICE, 2014 The initial step towards investigating Venice started from the building of a portable imprinting machine which allowed me to create imprints of various elements and textures in Venice onto paper for further investigation later. The machine relied on a simple transfer method from the pins which would ‘read’ the surface to a activator layer of wet sponge, to a cartridge of ink (aka. dry ink soaked paper) and onto paper. The process distorts the texture and creates unexpected elaborate morphologies.
AAA MA_FALL 2014
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[42] ASSEMBLY KNULLING PHOTO 1_pins 2_sponge tray 3_felt to collect overflow
AAA MA_FALL 2014
4_ink cartridge (dry ink soaked paper) 5_paper 6_cover
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AMBIGUOUS BOUNDARIES VENICE, 2014 This intervention on a Venetian courtyard is a manifestation of a body of research into the invisible connections and hidden dimensions within the urban context; systematic and personal relationships, and how they interweave with the human subconscious well of shared experiences and knowledge. The resultant eventspace/staircase is a means of engaging within the invisible context by strengthening local social relationships. The stair explores formal aesthetics, natural lighting, visual connections and helps establish boundaries while vertically connecting areas of use.
AAA MA_FALL 2014
dialog response a direct correlation between comments
commentary an indirect yet highly relevant correlation between comments
tangent
1:200
an indirect minor correlation between comments
character
archaeologist · objective · formal One who investigates the artifacts found in reality and uses tangible data in order to construct an objective understanding of reality.
[44]
philosopher · critic · conceptual One who is engaged in the critical search for fundamental concepts of the human condition, often in a reductive way.
author · subjective · abstract One who uses a medium as a means of constructing a parallel system that drawn on reality yet is separate from its’ constrains.
skeptic · comic · satire One who refuses to believe anything at face value and actively questions what others take as fundamental truths.
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UNFOLDED DIAGRAM_CONVERSATION WEB
legend
mapping the interaction upon the intervention n activity example sight lines
[45] LAYERED PERSPECTIVE SECTION
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dw
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dwn
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up
fifth up
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d le thir dwn
dwn
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privacy gate
barrier
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rt fou h le
le ond
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legend
areas of potential activity
1:250
mapping the relationship between residents and activit y
up
circulation
und gro l leve AAA MA_FALL 2014
point of access
[46] PLANS | ACTIVITY AND ACCESS MAP
[47]
HAUNTING AARHUS WORKSHOP AARHUS DENMARK, 2014 The Haunting Aarhus Workshop brought together the entire collection of Master’s candidates for two weeks of intensive design and fabrication work. Each group of 6 had to choose a site along a major pedestrian route in the city and activate it in a subtle way. The goal of our intervention was to reveal an overlooked space of the city; a large thick hedge. We prototyped and build a perascope as well as staged a small tableaux within the hedge which would encourage people to look for the unexpected. We used three sets of lights to illuminate different elements of the scene in order to build drama. The device and performance acted together to create the overall affect and draw out the qualities of the site. AAA MA_FALL 2014
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[48] ASSEMBLY DIAGRAMS 1_fish eye lens 2_adjustable magnifying glass
AAA MA_FALL 2014
3_mirror at 45° angle 4_view finder
21ST CENTURY MUSEUM OF CONTEMPORARY ART SANNA
MAXXI Zaha Hadid Architects
VITRAHAUS Herzog & de Meuron
gallery relationships
massing
GUGGENHEIM MUSEUM Frank Lloyd Wright
[49]
MUSEUM ANATOMY RESEARCH PROJECT, 2013 The exhibition was showcasing the research into the anatomy of museums. My research was focused on circulation and organization. Through the use of case studies and the diagramming of eight museum, I was able to critically analyze and identify limitations and potentials for each strategy explored.
RYERSON BArch Sci_FALL 2013
[1]
3RD FLOOR LOOK OUT GALLERY
3rd Floor Look-Out Gallery
3RD FLOOR LOOK OUT GALLERY
3rd Floor Look-Out Gallery
2.5TH INTERMEADIATE FLOOR STEPPED GALLERY
ia
VVIA
2.5th Intermediate Floor Stepped Gallery
ia
VVIA
in
n
i IDO
Re
GU
IN RE
2ND FLOOR
2nd Floor
ido Gu
O RIeD GU
ido Gu
2.5TH INTERMEADIATE FLOOR STEPPED GALLERY
2.5th Intermediate Floor Stepped Gallery
2ND FLOOR
2nd Floor
IN
RE
GROUND FLOOR
Ground Floor
GROUND FLOOR
Ground Floor
5th Floor 5TH FLOOR
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5th Floor 5TH FLOOR
4th Floor 4th Floor 4TH FLOOR 4TH FLOOR
3th Floor 3TH FLOOR 3th Floor 3TH FLOOR
2th Floor 2TH FLOOR
2th Floor 2TH FLOOR
ROTATE 90°
ROTATE 90°ROTATE 90
Ground Floor GROUND
Ground Floor GROUND
ROTATE 90
[50] CIRCULATION DIAGRAMS 1_MAXXI circulation diagram 2_VitraHaus circulation diagram
RYERSON BArch Sci_FALL 2013
[51]
CANADIAN PAVILION VENICE ITALY, 2012 The re-design for the Canadian Pavilion at the Venice Biennale is an exploration into the phenomenological in architecture. Subtle detailing and an in-depth investigation into the various architectural effects are used create atmospherically charged spaces. The pavilion aims establish contemplative spaces to reconnect the Biennale visitor with the environment and offering a retreat from the sensory overload experienced when traveling from exhibition to exhibition. Lighting, circulation and public spaces are merged to create a new type of courtyard, one that is elevated to the roof and benefits from the natural canopies created by the many trees on the site. This pavilion bridges the gap between nature and building, interior and exterior and the gallery to public space. RYERSON BArch Sci_FALL 2012
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[2] VISUALIZATIONS
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RYERSON BArch Sci_FALL 2012
1:400
1_exterior render looking over roof 2_interior render 3_interir render
VIEWS CENTRALIZED ATOMIZED
PATHWAYS
SUBSTRUCTURE
CONNECTED
ROOD SCAPE FREESTANDING
HIERARCHY
SCREENED
FINAL
0
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[53] ITERATIVE DESIGN PROCESS The iterative design process of this pavilion stemmed from an initial need for interstitial space. It explored a variety of methods and drew z from a wide range of diverse sources in order to achieve the desired quality of space.
RYERSON BArch Sci_FALL 2012
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11% walkable or stepped slope 17% walkable slope partially accessible slope inaccessible
views primary circulation
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secondary circulation
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RYERSON BArch Sci_FALL 2012
B
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1_section A 2_section B 3_gallery plan 4_roof plan
1:1000
SECTION SHOWING RELATION BETWEEN INTERIOR AND ROOF
[55]
LIGHT_SCAPE NUIT BLANCHE INSTALLATIONS TORONTO, 2013 This tactile installation relies on user interaction to grow organically. Each user contributes to the evolution of the Light_ Scape, by altering the appearance of the surface. The Light_Scape consists of individual, easy to handle cubes, each containing a tri-colour LED that cycle through a spectrum of colour. The modular shape of the light cubes allows the user to freely explore limitless configurations. The cubes and subsurface are covered with Velcro, giving them the strength to defy gravity. The Velcro’s fuzzy texture diffuses light and produces a soft pulsing glow, which when accumulated, creates the illusion of a living organism. Light_Scape reflects the social nature of Nuit Blanche as it evolves through the night. FREELANCE_2012-2013
[1]
exit [2]
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entry PROPOSAL ARRANGEMENT 1_at gallery entry 2_inside gallery 3_gallery plan
[3] FREELANCE _2012-2013
[57]
MALIVOIRE WINERY NIAGARA PENINSULA, 2012 The Malivoire Winery is located in the Beamsville Bench, a part of the Niagara Peninsula Viticulture area, in Southern Ontario, Canada. Initially, the winery was a practical, low budget facility that took advantage of natural conditions provided by the site. Although efficient, it was purely utilitarian and lacked an aesthetic image suitable for showcasing the brand. Malivoire Winery provides all the necessary circumstances for wine; however, none for the marketing of it. The goals for the re-interpretation of the winery was to emphasize the present practicality of the brand, while defining a rich corporate image with superior tourism facilities and event spaces. This design project was later reworked to what is displayed here and entered into a Student Competition. COMPETITION_SUMMER 2012
FLAT LOT PAVILION COMPETITION [58] FLINT MI, 2013 This installation is made up of a collection of inflatable modules that can be deployed to create any desired environment. The form of the inflatable module can be dispersed individually or amalgamated to facilitate various uses such as a shelter, shading device, seating, back stand etc. By changing the arrangement of these inflatable units, the site could transform from a series of shelters housing markets, or to a large performance space showcasing local culture. The vibrant and dramatic nature of this installation would become a focal point in the area, and signify the underdeveloped lots’ transformation into a socially conducive environment. The proposal will evolve locals’ appreciation for the site and support creative infrastructure to produce an engaging eventscape. COMPETITION_SPRING 2013
[59]
CHANGING THE FACE: PUSHKINSKY THEATRE MOSCOW RUSSIA, 2011 Home to the Moscow International Film Festival, the Pushkinsky Theatre strives to embody the spirit of innovation and projection contained during its inception 50 years ago. The redesigned facade protrudes into the park with the insertion of a large glass scrim, appearing transparent by day and as a silver-screen by night (smart glass). This new cinematic device connects the park with the ceremonial entry terrace via a set of stairs and reconstructed pedestrian bridge. A projecting restaurant grants dramatic views of the historic Pushkinsky Square Park. The new MIFF building will include additional theaters stacked in an iconic light tower on the west side of the building, with more theaters tucked under the main ceremonial entrance terrace. COMPETITION_SUMMER 2011
BUSAN OPERA HOUSE [60] BUSAN SOUTH KOREA, 2011 The Busan Opera House is an opera house located on a man-made island development in Busan, South Korea, an area with a rich marine culture. Emerging from the sand the highly expressive steel structure reflects this maritime tradition and symbolizes a majestic ship docked at the port of Busan. Procession became a primary generator of form as the skeletal steel structure housed the programmatic elements connected by a traversing wooden pedestrian bridge. The hull shaped theaters are optimized for performances and encompass the public event space below. The grand ramp grounds the facility and leads to an observation deck. Continuous site lines give visitors a sense of continuity linking the opera house with the beach life and marine culture. COMPETITION_SUMMER 2011
[1]
{2]
[3] Pilor Coffee Roasters, Manulife Center_1 Interior Renovation, Scarth Residence_2 Unbuilt New Residential, Frizzell Residence_3
[61]
WILLIAMSON WILLIAMSON INC. EMPLOYED AS ARCHITECTURAL DESIGNER, 2017-CURRENT After graduating from AAA, I returned to Toronto and was hired by Williamson Williamson Inc. At WW I worked on a variety of projects, starting out on interior renovations, and commercial fit outs, and seeing those projects from design phase to fully built, under supervision of another architect. Gaining in experience, I was given small projects to lead while also helping with the interior and millwork design and drawing for the Osler Bluffs Ski Club, which I also helped oversee during CA.
EMPLOYMENT_2017-CURRENT
[1]
[3]
[2]
[4] 1_Private Institutional, Oslaer Bluffs Ski Club 2_Private Institutional, Oslaer Bluffs Ski Club 3_New Residential, Caledon Residence 4_New Residential, Caledon Residence
[62] Currently,I am mid way on a 4-5 year built of a new 8,000sq.ft custom home in Caledon. I worked closely with the princapals during the design development phase, and then continued with minimal supversign to develop the Construction Documents and now I am the project lead overseeing CA.
EMPLOYMENT_2017-CURRENT
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{2]
[3] general waiting room_1 chamber foyer_2 senate chamber_3
[63]
DIAMOND SCHMITT ARCHITECTS EMPLOYED AS ARCHITECTURAL DESIGNER, 2015 Midway though my MA studies I took a work term at Diamond Schmitt Architects, working on the Government Conference Centre for the duration of the term. I was primarily focusing on interior design development and presentation material. However since the project was already in construction I also had to follow up on coordination with various trades and contributed to various construction sets.
EMPLOYMENT_2015
[1]
[3]
[2]
[4] 1_front facade 2_main hallway outside auditorium/gym 3_upper lobby looking towards main hallway 4_lower lobby looking towards stair
TAYLOR_SMYTH ARCHITECTS EMPLOYED AS ARCHITECTURAL DESIGNER, 2013-2014 Upon the completion of my undergraduate degree at Ryerson I found a design position at Taylor_Smyth Architects, a recognized Toronto firm. Taylor_Smyth Architects has a design aesthetic which appeals to my sensibility to produce intimate yet practical spaces. I stayed with them for over a year, working on the expansion to the University of Toronto Institute of Child Study. It is a fascinating project which tested my understanding of context and my ability to problem solve creatively. The institute simultaneously houses a research facility, a university and an elementary school; servicing people of all ages with various requirements. I worked within a small team spearheaded by the principal and I was regularly challenged to conceive spaces at a level of rigor previously unattained during my educational career. EMPLOYMENT_2013-2014
[64]
[1]
[3]
[2]
[4] 1_Busan Opera House competition visualizations 2-4_New Taipei City Museum of Art competition visualizations
[65]
KOURY LEVIT FONG EMPLOYED AS ARCHITECTURAL INTERN, 2011 My internship at KLF provided me with valuable knowledge regarding the blurred professional boundaries of architecture and planning. The work investigated planning and architectural strategies as seen through competition entries and employed systems which attempted to hybridize the professional thresholds. My time was divided primarily between two competitions, the Future Cities – Siddesborg, Finland and the New Taipei City Museum of Art. Both entries were research heavy and explored interventions at various scales to produce a variety of effects.
EMPLOYMENT_2011
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