KELLY NEILL Pre-professional Architect Honours BAS +1 (647) 215-0855 info@kelly-neill.com www.kelly-neill.com
CONTENTS RESUME ACADEMIC WORK UWSA Pavilion - Explore Design House Of Daedalus - Chapel Museo Del Tevere - Museum Hummingbird - Instinct Daedalus’ Dream - Chora
1
2 10 18 26 30
PROFESSIONAL WORK Gallery House - Altius Architecture Mediacine - Brian O’Tuama Culver City - Arquitectonica
38 44 48
PERSONAL WORK Sketches - Portraits
52
KELLY NEILL
Pre-professional Architect Honours BAS +1 (647) 215-0855 info@kelly-neill.com www.kelly-neill.com
PROFESSIONAL EXPERIENCE CONTRACT STUDENT DESIGNER January 2011 Kasian, Toronto, ON www.kasian.com INTERN ARCHITECT Altius Architecture Inc, Toronto, ON
Febuary 2011 - Present www.altius.net
ARCHITECTURAL INTERN January 2010 - August 2010 Diamond & Schmitt Architects Inc, Toronto, ON www.dsai.ca JUNIOR DESIGNER Whiting Design, Waterloo, ON JUNIOR ASSISTANT Brian O’Tuama Architects, London, UK ARCHITECTURAL DESIGNER The Walter Fedy Partnership, Kitchener, Ontario ARCHITECTURAL ASSISTANT Arquitectonica International, Los Angeles, California
September 2009 - December 2010 www.whitingdesign.ca May - June 2009 www.brianotuama.com September - December 2008 www.walterfedy.com January - May 2008 www.arquitectonica.com
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VOLUNTEER EXPERIENCE
TECHNICAL SKILLS
BUILDING VOLUNTEER Habitat for Humanity, Toronto, Ontario
November 2012 - Present www.habitat.ca
TWOFOLD FABRICATION ASSISTANT GALTstudio, Cambridge, Ontario
August - October 2009 www.galtstudio.com
UWSA PAVILION CODIRECTOR & DESIGNER Explore Design, Toronto, Ontario
July - October 2008 www.exploredesign.ca
MARKETING DEPARTMENT ASSISTANT Adamson Associates Architects, Mississauga, Ontario
January- May 2006 www.adamson-associates.com
EDUCATION
ACHIEVEMENTS
COLUMBIA UNIVERSITY Sept 2013 – Present GRADUATE SCHOOL OF ARCHITECTURE PRESERVATION & PLANNING Non Degree, The Shape of Two Cities: New York / Paris
- Awarded First Place for UWSA Pavilion Design Competition 2008. - Admitted to The University of Waterloo Architecture school directly from high school - $1000 Merit Scholarship, University of Waterloo - Honours student throughout high school - Artist of the Year Award
UNIVERSITY OF WATERLOO SCHOOL OF ARCHITECTURE Sept 2006 - August 2011 Honours Bachelor of Architectural Studies, Co-operative Education Program
5|
- Well versed in Revit, ArchiCAD 16, AutoCAD 2013, Vectorworks, Rhino 5.0, VRay, Artlantis Studio, Grasshopper, CreativeSuite5, Adobe Premiere, Form Z , SketchUp, Google Earth, Microsoft Office - Extensive first hand knowledge of the permit application process - Model building experience of all mediums - Over 7 years of extensive hand and computer drafting instruction & 4 years of relevant work experience - Windows & Mac OS X platforms
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GOWANUS MODULAR HOTEL The Gowanus Modular Hotel celebrates the efficiency of its parts and the cohesive form of the whole. The room units are sized to coordinate with standard shipping container dimensions for simplified transport and lifting. Plumbing and electrical systems line the corridor facing wall allowing direct access for maintenance purposes. Entry to the units are relocated from their more standard position on the corridor facing wall to the side walls. This creates air module spaces- naturally lit pockets in the corridor providing common space and more private entry to each pair of units. On the exterior, the air modules are reflected as continuous vertical strip windows. The strip windows rhythmically punctuate the facade while also tying together the colorful interwoven and interlocking metal panel facades of the room units. The Gowanus Hotel therefore reads as both a pixelated collection of modular parts and a cohesive whole with a strong vertical rhythm.
GSAPP - Modular Housing Professor: David Wallance Project Team: John Kim, Kelly Neill, Tianhui Shen & Ruth Wang
7|
A
3
4
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20' - 0"
5
8' - 5"
5' - 6"
B
C
0' - 4"
1
E
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2' - 9 1/2"
3' - 8"
3' - 8"
-
3
4
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2' - 9 1/2"
5
8' - 5"
5' - 6"
6
0' - 6 1/2"
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Level 2
Level 2
9' - 0"
9' - 0" 1' - 2" 1' - 2"
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D
---
8' - 0"
6
0' - 6 1/2" 0' - 1"
2' - 9 1/2"
1' - 6"
3' - 0"
1' - 2 1/2"
2' - 0"
0' - 6 1/2"
2' - 10"
0' - 4 1/2"
8' - 0"
0' - 9 1/2"
1' - 6"
2 2' - 9 1/2"
0' - 4"
1
A B
5' - 5"
6
5
0' - 1"
8' - 1"
0' - 9"
1' - 5"
0' - 3 1/2"
1' - 8"
"2/1 6 - '0
2' - 11"
5' - 0"
0' - 6 1/2"
"6 - '1
"5 - '5
"2/
1' - 6"
3' - 8"
"6 - '5
2 leveL "0 - '9
"1 - '0
-
2' - 10 1/2"
4' - 11"
0' - 6"
6' - 6"
6' - 6"
0' - 6 1/2"
1' - 0 1/2"
Level 1
Level 1
0' - 0"
0' - 0" 1' - 0"
0' - 1"
0' - 4"
1' - 8 1/2"
5' - 2 1/2"
1' - 0 1/2"
0' - 4" 1' - 1"
3' - 2"
D E
0' - 10" 0' - 2"0' - 7"
3' - 8"
"6 - '6
1' - 11"
3' - 0"
7' - 10"
6' - 10 1/2"
8' - 0"
C
8' - 1"
2' - 6"
---
Level 0
-1' - 0"
-1' - 0"
"2/1 0 - '1
Level 0
1 leveL "0 - '0
"0 - '1
0 leveL "0 - '1-
BASIC UNIT - PLAN SCALE 3/8” = 1-0”
BASIC UNIT - CROSS SECTION SCALE 3/8” = 1-0”
BASIC UNIT - LONG SECTION SCALE 3/8” = 1-0”
BASIC UNIT - AXONOMETRIC SCALE 3/8” = 1-0” CIRTEMONOXA - TINU CISAB ”0-1 = ”8/3 ELACS
-
BA
CA
---
1A
DA EA
2A
-
3A
5A 6A
6' - 3"
5' - 6 1/2"
0' - 4"
0' - 6"
3' - 8"
3' - 8"
2' - 9 1/2"
0' - 4"
5' - 6 1/2"
0' - 6" Level 2 9' - 0"
0' - 4 1/2"
5' - 0"
0' - 2 1/2"
2' - 10 1/2" 1' - 8"
8' - 2 1/2"
0' - 9 1/2"
A6 A5
"6 - '0
1' - 8"
1' - 5"
2' - 10 1/2"
0' - 6 1/2"
1' - 10"
1' - 8 1/2"
0' - 4"
0' - 3"
5A 6A
6' - 3"
9' - 0" 2' - 0"
5' - 1"
4' - 11 1/2"
Level 2
1' - 6"
4A
---
20' - 0"
0' - 4"
3A 4' - 11 1/2"
4A
---
20' - 0"
8' - 0"
2A 2' - 9 1/2"
0' - 4 1/2"
AA
1A
AA BA
8' - 3"
2' - 9"
"6 - '1
3' - 8"
"2/1 6 - '5
2 leveL "0 - '9
0' - 3 1/2"
"2/1 9 - '0
"2/1 2 - '8
-
6' - 6" 6' - 11 1/2"
6' - 10"
6' - 11 1/2"
1' - 11"
2' - 2 1/2"
4' - 6"
2' - 6"
8' - 0"
5' - 3 1/2"
0'1'- -2"0 1/2"
0' - 10" 0' - 2"
Level 1 0' - 0"
Level 1 0' - 0"
0' - 10"
1' - 3 1/2"
1' - 8 1/2"
4' - 6"
0' - 4"
0' - 5 1/2"
1' - 11"
3' - 6"
1' - 1"
1' - 9 1/2"
DA EA
"6 - '6
3' - 8"
CA
ø 5' - 0"
---
-1' - 0"
Level 0 -1' - 0" 1 leveL
"2/1 0"2- -'1'0
Level 0
"0 - '0 "01 - '0
0 leveL "0 - '1-
ACCESSIBLE UNIT 1 of 2 - PLAN SCALE 3/8” = 1-0”
ACCESSIBLE UNIT 1 of 2 - CROSS SECTION SCALE 3/8” = 1-0”
ACCESSIBLE UNIT 1 of 2 - LONG SECTION SCALE 3/8” = 1-0”
PREMIUM & EXTENDED UNIT 1 of 2 - AXONOMETRIC SCALE 3/8” = 1-0” CIRTEMONOXA - 2 fo 1 TINU DEDNETXE & MUIMERP ”0-1 = ”8/3 ELACS
AB
BB
CB
-
1C 1B 1A 1
DB EB
---
2C 2B 2A 2
3C 3B 3
3A
---
4C 4B 4A 4
5C 5B 5A 5 6C 6B 6A 6
8' - 0"
2B
3B
-
20' - 0" 2' - 9 1/2"
2' - 9 1/2"
---
4B
5B 6B
0' - 4"
3' - 8"
3' - 8"
2' - 9 1/2"
0' - 4"
2' - 9 1/2"
2' - 2"
6' - 3"
5' - 6 1/2"
0' - 6"
Level 2
8' - 5"
5' - 6 1/2"
Level 2
9' - 0"
0' - 6" 2' - 3"
1' - 2 1/2"
0' - 4"
C B66 C A B55 A
9' - 0" 2' - 0"
1' - 2"
3' - 5"
0' - 6 1/2"
3' - 1"
0' - 4"
2' - 10 1/2"
10' - 4 1/2"
0' - 9 1/2"
1' - 6"
1B
AB BB
2' - 10 1/2"
10' - 5"
0' - 9"
"0 - '9 "2/1 9 - '0
9' - 0"
6' - 6"
8' - 8"
1' - 11"
Level 1 0' - 0"
Level 0 -1' - 0"
Level 1 0' - 0"
Level 0 -1' - 0" 1 leveL "0 - '0
0 leveL
"2/1 0 - '1 "2 - '0 "01 - '0
0' - 10" 0' - 2" 1' - 0 1/2"
1' - 0 1/2"
1' - 8 1/2"
1' - 11"
0' - 4"
1' - 1"
3' - 8"
"6 - '6
DB EB
6' - 6"
2' - 2 1/2"
---
4' - 6"
2' - 6"
3' - 8" 8' - 0"
CB
"0 - '1-
PREMIUM & EXTENDED UNIT 1 of 2 - PLAN SCALE 3/8” = 1-0”
"2/1 6 - '5
2 leveL
1' - 8"
0' - 3"
2' - 9"
0' - 3 1/2"
"6 - '1
1' - 5"
"6 - '0
2' - 11"
PREMIUM & EXTENDED UNIT 1 of 2 - CROSS SECTION SCALE 3/8” = 1-0”
PREMIUM & EXTENDED UNIT 1 of 2 - LONG SECTION SCALE 3/8” = 1-0”
ACCESSIBLE UNIT 1 of 2 - AXONOMETRIC SCALE 3/8” = 1-0”
Gowanus Modular Hotel | 8 CIRTEMONOXA - 2 fo 1 TINU ELBISSECCA ”0-1 = ”8/3 ELACS
"2
1 Framing
6 Fixed Appliances
2 Concrete Base
5 Insulation Panel
7 Transportation
8 Assembly
3 Stud Frame
9 Rain Screen Panels
9 | Gowanus Modular Hotel
4 Drywall
Gowanus Modular Hotel | 10
RUCTURE
Stair Core Module Elevator Core Module
1 Framing
6 Fixed Appliances
2 Concrete Base
5 Insulation Panel
7 Transportation
8 Assembly
3 Stud Frame
9 Rain Screen Panels
11 | Gowanus Modular Hotel
4 Drywall
exploded facade
exploded facade
window and door frames
window and door frames
window
window drywall 4’ tall glass railing. colored to match panel behind. rigid insulation drywall
4’ tall glass railing. colored to match panel behind. rigid insulation aluminum channels to hold mullions vertical extruded aluminum mullions (with slots to hold horizontal bars)
1.75’ tall kickboard painted to match adjacent panel.
1.75’ tall kickboard painted to match adjacent panel.
aluminum channels to hold mullions colored anodized aluminum panels (horizontal bars welded to inside edge vertical extruded aluminum mullions of each panel. ) (with slots to hold horizontal bars)
colored anodized aluminum panels (horizontal bars welded to inside edge of each panel. )
FACADE DESIGN woven interlock pattern panel catalogue and aggregation
for balcony units where side facade is exposed, the panels match adjacent coloring that is most represented at the edge. In this case, dark grey.
Glass tinted turquois to match the balcony railings.
lobby modules using same family of colored panels. Dark grey continuing vertically down the sides and turquois on the horizontals.
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13 | Gowanus Modular Hotel
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PARIS ATELIER The intent of the intervention is to combat the symmetry of the plan by providing a unique & varied experience through the inversion of compressed & expanded volumes, while still being respectful of the opera house in its original programmatic intent. Formally, the project is inspired by the simplicity of the Lincoln Centre’s bench as a monolithic structure but as the public moves under, within and above, only then do they appreciate it’s dynamic and highly tailored environments of movement and pause.
GSAPP - New York/ Paris Studio Professor: Babak Bryan
15 |
Paris Atelier | 16
17 | Paris Atelier
Paris Atelier | 18
19 | Paris Atelier
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UWSA PAVILION In an effort to expose students to opportunities and challenges outside of the classroom, the final project of the Graphics & Industrial Design course mandated that groupings of 2-3 students leverage their digital skills to develop an integrative recruiting pavilion for the University of Waterloo, School of Architecture (UWSA). Ultimately, the design proposals were presented to the administration and pedagogy for examination. As first place winners of the competition my partner Han Dong and myself were granted a budget of $5000, allocated to material and labour costs for the design’s inaugural use at the second annual Explore Design exhibition in Toronto’s Metro Convention Centre.
GSAPP - Intelligent Systems/Interactive Architecture Professor: Andrew Payne Project Team: Kelly Neill & Sareeta Patel
21 |
g
Copper Tape
Thred
SMA Wire .005
Thread Holes
Memora Lux | 22
Intelligent System
Dynamic SMA Lighting Sareeta Patel & Kelly Neill
23 | Memora Lux
| 24
CORNACOPIA In an effort to expose students to opportunities and challenges outside of the classroom, the final project of the Graphics & Industrial Design course mandated that groupings of 2-3 students leverage their digital skills to develop an integrative recruiting pavilion for the University of Waterloo, School of Architecture (UWSA). Ultimately, the design proposals were presented to the administration and pedagogy for examination. As first place winners of the competition my partner Han Dong and myself were granted a budget of $5000, allocated to material and labour costs for the design’s inaugural use at the second annual Explore Design exhibition in Toronto’s Metro Convention Centre.
GSAPP - Parametric Realizations Professor - Mark Bearak & Brigette Borders Project Team - Michael Bosbous, Ludi Dai, Brian Galyean & Kelly Neill
25 |
LEG CITEHTSORP :POT SECEIP 73 SMROF 5 NOITCENNOC LENAP :ROF
STENGAM HTRAE ERAR SECEIP 73 RETEMAID ”8/1 NOITCENNOC ETALP TUPTUO :ROF
SLENAP CILYRCA SECEIP 73 SMROF 2 TNEMNIATNOC DIGIR :ROF
YLBMESSA ETELPMOC
ETALP LATEM + LEG CITEHTSORP :MOTTOB SECEIP 73 SMROF 5 NOITCENNOC ETALP TUPTUO :ROF NOITCENNOC ETALP TUPNI :ROF
Cornacopia | 26
27 | Cornacopia
| 28
HOUSE OF DAEDALUS The parti of the project is quite clear in its division between the sacred, shared, and secular program. The program in a sense is mirrored along the shared axis and it is the armatures of the chapels and the community spaces that shape the exterior spaces. Upon entry individuals have to make a choice as to which path they will take but ultimately they will end up in the same shared space of either the courtyard or the contemplative garden. As a result the project is one that is inwardly focused and through the use of slot windows and screens the mystery of these outdoor shared spaces are not fully understood or appreciated until one arrives at them. Like the three stages of walking a labyrinth, an experience of releasing, receiving, and integrating drives the project.
UWSA - Comprehensive Building Design Studio - 4B Professor - Andrew Levitt
29 |
GROUND FLOOR PLAN
PARTI DIAGRAM
A
CIRCULATION
1
2
3
4
5 6
7
11
8
9
10
12 SECULAR
13
SHARED
14 1 Men’ s W/C
15
16
17
18 19
SACRED
8 Peace Garden
15 Open Office
2 Women’s W/C
9 Private Chapel 16 Courtyard
3 Front Desk
10 Storage 17 Main Chapel
20
21
4 Foyer
11 Exit Stair
18 Copy Room
5 Cloak Room 6 Storage A
12 Retention Pond 19 Recycling
13 Private Office
20 Pantry House of Daedalus | 30
ELEVATIONS
31 | House of Daedalus
SECTION A
RENDERINGS
| 32
WALL SECTION
33 | House of Daedalus
UCTURAL DIAGRAM | 34
2
7
ROOF DETAIL EXTERIOR 3
1
4
5
1 - Pv Panel Concrete Support Blocks Gravel Filter Cloth 50Mm Drainage Plane Vapor Barrier Sloped 100Mm Rigid Insulation Air Barrier 12Mm Sheathing, Exterior Grade 38Mm Wood Decking 80Mm X 250Mm Purlins 215Mm X 494Mm Glulam Beams 2 - Double Glazed Fixed Skylight Unit
6
INTERIOR
3 - 12Mm Sheathing, Exterior Grade 4 - 215Mm X 494Mm Gulam Beam 5 - 250Mm Concrete 100Mm Rigid Insulation Fibre Composite Connector 150Mm Concrete 6 - W250mm X 400Mm Steel Section
35 | House of Daedalus
7 - Flashing Parapet Cap
SUN STUDIES
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TIBER MUSEUM The city of Rome was built on its relationship to the Tiber river. Beginning from its ancient history, the Tiber was used as the main route for the import of the materials that have shaped the city. From massive granite columns, to the obelisks that adorned the city’s many important places, the Tiber served as the link between the rest of the empire and it’s center. In its shaping of the Rome’s development, The river was an element of boundary, but more importantly, an element of connection. Thus, in designing a museum for the Tiber river, it was the element of connecting the urban fabric through the retaining wall of the river that became the driving thesis for the design development. Just as a pier symbolically connects us past the threshold of the waters edge, so does the Museo del Tevere, with its series of spatial conditions layered within the reinterpreted river ‘walls’.
UWSA - Rome Design Studio - 4A Professor - Lorenzo Pignatti Project Team: Boian Dabov & Kelly Neill
37 |
WALLS OF ROME ROMA QUADRATA 8C BC SERVIAN 565 BC AURELIAN 282 AD LEONINE (BORGO) 843 - 852 PAUL III / URBAN VIII 1534 - 1644
MASTER PLAN VIGNETTE
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PROPOSED ZONING
PROPOSED CIRCULATION
PUBLIC SPACE
PEDESTRIAN
COMMERCIAL
VEHICULAR
GREEN SPACE
BICYCLE
INSTITUTIONAL
BIKE SHARING
MIXED USE
METRO
RESIDENTIAL
POINT OF INTEREST
GOVERNMENT PARKING
39 | SITE PLAN
GROUND FLOOR PLAN
House of Daedalus | 40
A central spine is created in the convergence of two of these walls, acting as an infrastructure/service corridor, as well as the main circulation connecting the exhibits. Along one’s movement through the museum, a constant datum created by a rusted steel retianment wall, guides the user through spaces as their path intersects between alternating atmospheric conditions of darker submursed moments, to expansive and open spaces that are flooded with light. In the final stage of the circulation, the user is thrust beyond the retianinment wall, into a space of reflection, and contemplation for the direction the city will be known for in its ever growing history. Cantilevered over the river edge, the museum aims to bring into mind, the history, function, ecological conditions, and political reality of how the city carved by the Tiber, will flourish to represent and support its people and their communities. Project Team: Boian Dabov, Kelly Neill 41 | House of Daedalus
SECTION PROJECTION
| 42
PROJECT
DISPLAY
FACILITATE
CONTAIN
43 |
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UWSA PAVILION In an effort to expose students to opportunities and challenges outside of the classroom, the final project of the Graphics & Industrial Design course mandated that groupings of 2-3 students leverage their digital skills to develop an integrative recruiting pavilion for the University of Waterloo, School of Architecture (UWSA). Ultimately, the design proposals were presented to the administration and pedagogy for examination. As first place winners of the competition my partner Han Dong and myself were granted a budget of $5000, allocated to material and labour costs for the design’s inaugural use at the second annual Explore Design exhibition in Toronto’s Metro Convention Centre.
UWSA - Graphics & Industrial Design - 2B Professor - Vincent Hui Project Team - Han Dong & Kelly Neill
45 |
1. Gallery 2. Inquire 3. Information/Facts 4. 1st Year Work 5. 2nd Year Work 6. 3rd Year Work 7. 4th Year Work 8. LCD TV 9. Laptop Display
UWSA Pavilion Presentation Kelly Neill & Han Dong
10. Storage 11. Seating
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Timber Framing
Hard Board
Experience
n g 47 |
UWSA Pavilion Presentation
Black Bristle Board
Framed Mylar Projection Screen
Corrugated Cardboard
UDGETING TIME & MONEY
ranted a budget of $5000 required resourceful thinking in the oices of materials and degree of outsourced labour. Many aterials such as the corrugated plastic, card board, and 2�x4� uds were salvaged from previous projects to encourage stainable means of design.
UWSA Pavilion | 48
CONSTRUCTION PROCESS The construction process proved to be the most trying phase of the entire project. Though the finished artifact stayed true to its original design on the surface, many adjustments had to be with-in the frame of the canopy to keep its structural integrity. Ultimately, the original design using wood frame design had to be replaced with 1� aluminium sections which offered the rigidity and lightness required for the large spans and 6 foot cantilevers. Custom fittings, provided by Kee Klamps, allowed for quick assembly and disassembly.
49 | UWSA Pavilion
EXPLORE DESIGN 2008 The purpose of the recruiting pavilion was to represent a testament to UWSA’s resources, facilities, specialized program, and other strengths and advantages. Knowing that architecture is a practice driven by creation of an experience, it was important to us as designers that the interaction and engagement of the pavilion sought to provide prospective students insights into UWSA’s features and the high caliber of students that currently studying at the school. It should also be noted that UWSA’s recruiting pavilion was the only student designed and student built booth at the exhibition.
UWSA Pavilion | 50
MEDIA COVERAGE Toronto With the tremendous success of the UWSA Pavilion at the 2008 Explore Design exhibition the local media sought to cover this personal victory on CTV News, Omni News and Breakfast Television on City TV.
51 | UWSA Pavilion
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HUMMINGBIRD Project Narrative
This installation is designed to integrate an augmented system that allows the user to Aztecs wore hummingbird talismans, the talismans being representations as well as actual fetishes formed from parts of real These little birds were emblematic for their vigor, energy and propensity to do work. The hummingbird’s experiencehummingbird. both reality withinpenetration a realand world installation. is achieved sharp beakvirtual symbolizedreality instrumentsand of weaponry, bloodletting, intimacy. These talismans wereThis prized as drawing sexual potency, energy, vigor and skill at arms and warfare to the wearer. through a series of user activated motion sensors that trigger both light and sound, The Aztec god Huitzilopochtli, the god of war and the sun god, is depicted as a hummingbird. Huitzilopochtli was said to be in the a constant struggle with darkness nourishment in the form of sacrifices ensure the sun would representing hummingbird asandanrequired onomatopoeic word. Bytotriggering thesurvive. sensors, the Aztecs believed that they could give strength to Huitzilopochtli with human blood and thereby postpone the end of the world. user is given virtual control over the composition and activation of the entire installation. Similar to English, the Nahuatl word for hummingbird – huitzil – is an onomatopoeic word derived from the sounds of the hummingbird’s wing-beats andturns zoomingthe flight.installation into a medium in which virtual reality can This augmented interaction We took particular interest in the hummingbird’s representation of warfare, vigor and energy and decided to create be experienced. By dancing, walking, or running through the sensors, the user becomes something confrontational and provoking. Considering that Huitzilopochtli was the sun god and in constant struggle with darkness, we entertained ideas where light the composer forintohis her own personal composition. Not only would come play, or placing the user in a struggle between light and dark. Given a virtual site we soughtdoes to create this a space create a removed from familiarity – to create a virtual reality. dynamic and personalized environment unique to each visitor, but amplifes the importance “Virtual Reality is not a computer. We are speaking about a technology that uses computerized clothing to synthesize a shared reality” O.E.D. 1989 of individual in the larger urban space, something that has been far too often overlooked. There are three types of systems that allow virtual reality to be accessed. The first is an immersive system, which totally engages the senses and completely removes the user from reality. The second is a non-immersive system, where the virtual world is viewed as if through a window, for example, through a computer screen. The third is an augmented system that overlays virtual reality with real world reality, allowing the user to interact with both.
Huitzilopoch
Our installation is designed to integrate an augmented system that allows the user to experience both virtual reality and UWSA - Design Studio - installation. 3B This is achieved through a series of user activated motion sensors that trigger both reality within a real world light, representing Huitzilopochtli, and sound, representing the hummingbird as an onomatopoeic word. By triggering sensors, the user is given virtual control over the composition and activation of the entire installation. This augmented Professor -the Andrew Levitt interaction turns the installation into a medium in which virtual reality can be experienced. By dancing, walking, or running through the sensors, the user becomes the composer for his or her own personal composition. Not only does this create a Project Team - Newsha Ghaeli, Michael Hasey & Kelly Neill dynamic and personalized environment unique to each visitor, but amplifies the importance of individual in the larger urban space, something that has been far too often overlooked.
The physical attributes of our installation were influenced by our symbol, covering. We looked at the concept of covering not as the creation of a shelter but rather as a skin, or an element, under which one is being covered. We decided to suspend the lights so that the user is being covered by the very thing they are controlling. The layout of the lights was influenced by the hummingbird’s very unique flight pattern. Due to the bird’s ability to hover, travel straight upwards, backwards, and perform other seemingly impossible feats, it’s flight pattern is unlike that of other bird. This renders the mapped flight pattern distinctive and almost whimsical as they produce areas of strange rotational movements, helixes, and reversed motion. In addition, these patterns overlap and increase in density at localized positions frequently visited by the bird. Our installation captured this motion through the whimsical route and crisscrossing of the rope lighting. Areas were also increased in light density not only in reference to the motion sensors, but also as an imitation of the bird’s flight pattern.
53 |
Hummingbird Flight Pattern
INSPIRATION
CONSTRUCTION
Hummingbird | 54
o .
er, er l ons
g pend
ed ing a rban
h
The layout of the lights was infuenced by the hummingbird’s very unique fight pattern. Due to the bird’s ability to hover, travel straight upwards, backwards, and perform other seemingly impossible feats, it’s fight pattern is unlike that of other any other bird. This renders the mapped fight pattern distinctive and almost whimsical as they produce areas of strange rotational movements, helixes, and reversed motion. In addition, these patterns overlap and increase in density at localized positions frequently visited by the bird.
Spacial + Acoustical Plan
ARCHITECTURE + IMAGINATION | LEVITT
SEQUENCE
AUDIO & SENSOR PLAN ENTER
The physical attributes of our installation were infuenced by our symbol, covering. We looked at the concept of covering not as the creation of a shelter but rather as a skin, or an element, under which one is being covered. We decided to suspend the lights so that the user is being covered by the very thing they are controlling.
MID
TREBLE
BASS
TREBLE DRUM
55 | Hummingbird
| 56
DAEDALUS’ DREAM
Version 2.1
Chora - a collaborative performance produced by the 2B students in an effort to harmonize the design rigor of Design Studio and the linguistic nature of our Iconography course. Scene 4 progressed into ‘the dream scene’ in which the audience found themselves completely immerged in Daedalus’ mind. They felt the rising action of events, the overwhelming pressure of his life just as Daedalus felt in previous scenes. This compassion took them into the final scene, searching for a sense of understanding or acceptance of things passed.
Design Studio - 2B - August 2008 Full Scale Construct
57 |
’
Version 3.1
ITERATIVE CONSTRUCTION Though several variations were explored, the final singular module was selected for mass production on basis of its strength and efficiency of its production. Corrugated plastic is most desirable for its lightness in weight, resilience, workability in fabrication, and memory of the material. The materials’ ability to hold an conceal light provided further explorations with light projections.
ASSEMBLY ON SITE Here clarity of design intentions and architectural language were resolved through further exploration of prior design resolutions due to limitations imposed by actual construction.
Daedalus’ Dream | 58
59 |
FINAL PRODUCTION - KEY MOMENTS
Construct > Final > The Performance
Daedalus’ Dream | 60
SCENE 4 - PROJECT TEAM
Photo 1: Main Floor Stair Entrance
62
Carlo Pasini, Catherine Westgate, Christopher Mosiadz, Daniel McTavish, Emma Ma, Erika Podlovics, Geordie Manchester, Jason Smith, Jeddiah Lau, Justin Breg, Kelly Neill, Mark Tam, Matthew Barbesin, Matthew Lemay, Oleg Kostour, Patrick Burke, Richard Lam, Sayjel Patel, Tiffany Chiag
61 | Daedalus’ Dream
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MEDIACINE “The public has become infatuated with the illness and death of others. Jade Goody is the best-known example of this phenomenon; however, there have been numerous programmes on television, the Internet and radio which have fed on this fascination. Where will this obsession take us in the near future and how will it interact with a medical system moving toward predictive genetic testing? The medical centre of 2020 will need to accommodate the public interest in medical drama, the media’s desire to make it accessible, and medicine’s move toward preventative medicine through genetic testing.” -- Kevin Cash, Brian O’Tuama Architects Brian O’Tuama Architects - 3A Work Term Rhino 4.0 - Physical Model
63 |
FINAL SCALE MODEL
Mediacine | 64
65 | Mediacine
ga | 66
GALLERY HOUSE Gallery House is a commercial gallery space that spans 1200 square feet and is devoted to the work of senior artists. Creating a “home base� for artists to present their bodies of work, the gallery is situated at Dundas Street West and Morrow Avenue in Toronto. The gallery enjoys an intimate relationship between the street front and passers by, as well as providing a functional platform to view artistic works. The intent was to provide our client with a full living space over top of the gallery as they sought to integrate themselves on a full time basis within their new neighbourhood.
allery house Altius Architects Inc - April 2011 ArchiCad - Artlantis Studio
67 |
17'-8 1/2"
17'-8"
NEW FOOTING (SEE STRUCTURAL)
UNEXCAVATED CRAWL SPACE B02
NEW FOOTING (SEE STRUCTURAL)
UNEXCAVATED B03
12'-5 1/8"
B01
2 A401
19'-10 1/4"
12'-5 1/8"
19'-10 1/4"
NEW INTERIOR PARTITION 2"X4" WD STUDS @ 16" O,C. ON SOUND INSULATION WHERE NOTED 1 LAYER OF 5/8' OF TYPE "X" GYPSUM BOARD, PAINTED (TYPICAL)
PRELIMINARY SKETCH
STORE
EXISTING FOOTING (TYPICAL)
1 A401
EXISTING FOOTING (TYPICAL)
B
29'-3"
A
Priority was placed on depicting the diagram of the spaces within on the exterior facade, as it was of key importance being the only fully exposed facade; thus we were mindful that the living accommodation which was to be more private should be situated up and away from street level with heavier massing, while more open and inviting public areas would be exposed at the lower level; a band of vertical circulation to the side expresses the link between the two. -- www.altius.net
NEW CEILING FINISH 2 LAYERS OF TYPE 'X' GYPSUM BOARD (TYPICAL) PAINTED
3'-1/2"
18'-8"
B A5 01
3'-9"
3'-9"
A5 01
A
EXISTING FOUNDATION STRIPFOOTING
9'-8"
12'-5 1/8"
1'-3 3/8"
18'
16'
8'-3 5/8"
16'-8"
104'-1/2"
1
2
3
4
5
6
7
3 A402
7a
8
Basement Plan - Proposed SCALE: 3/16" =
GROUND FLOOR PLAN
1'-0"
1
9
2
3
4
5
4 A402
6
7
7a
8
9
104'-1/2" 3'-1/2"
18'-8"
9'-8"
12'-5 1/8"
1'-3 3/8"
16'
VENT KITCHEN & WASHROOM EXHAUST TO EXTERIOR
EXISTING STAIRCASE TO REMAIN
NEW TOILET, VANITY & SINK
16'-8"
PROVIDE 2 LAYERS OF TYPE 'X' GYPSUM BOARD, ON EXISTING 2"X6' WD STUDS W/ MIN 4' CC SPF INSULATION (MIN R22) PAINTED (TYPICAL)
NEW INTERIOR PARTITION 2"X4" WD STUDS @ 16" O,C. ON SOUND INSULATION WHERE NOTED 1 LAYER OF 5/8' OF TYPE "X" GYPSUM BOARD, PAINTED (TYPICAL)
NEW CABINETRY & APPLIANCES
8'-3 5/8"
NEW 5/8" TILE FL. FINISH (SPEC TBD) ON EXISTING CONCRETE FL.
EXISTING GARAGE DOOR TO REMAIN
104'-1/2"
1 3/4"
RE-FRAME EXISTING CEILING JOISTS (SEE STRUCTURAL) PROVIDE NEW 1 LAYER ROXUL "SAFE AND SOUND" INSULATION 2 LAYERS 5/8" TYPE "X" GYPSUM BOARD, PAINTED (TYPICAL)
GARAGE G05
4"
7'-2 3/4"
5"
8'-7 7/8"
5"
6'-2"
B
4'-10 3/8"
1'-10 1/2" 4" 4"
21'-10"
4"
6'-1"
4"
24'-3/8"
9 1/8"
1'-11 7/8"
A 103'-10 7/8" NEW 5/8" TILE FLOOR FINISH (SPECTBO) ON 3/4" PLYWOOD SHEATHING EXISTING JOISTS (SEE STRUCTURAL) 1 LAYER TYPE "X" GYPSUM BOARD, PAINTED (TYPICAL)
3'-1/2"
18'-8"
NEW FURNITURE SUPPLIED BY CLIENT (DETAILS TBD)
PROVIDE 2 NEW LAYERS TYPE "X" GYPSUM, PAINTED (TYPICAL) ON EXISTING 2"x6" WD STUDS W/ MIN 4" CC SPF INSULATION (MIN R22)
12'-5 1/8"
1'-3 3/8"
NEW GAS FIREPLACE (MODEL TBD)
18'
16'
2
Ground Floor Plan - Proposed SCALE: 3/16" =
1'-0"
3
4
5
6
3 A402
8'-3 5/8"
INTERIOR PARTITION 2"X4" WD STUDS @ 16" O.C. 1 LAYER OF 5/8" TYPE "X' GYPSUM BOARD, PAINTED
104'-1/2"
1
A
NEW RAILING SYSTEM (SPEC TBD)
NEW STAIRCASE TO COMPLY WITH OBC 9.8.1 NEW HANDRAIL TO COMPLY WITH OBC 9.8.1
9'-8"
A5 01
3'-9"
3'-9"
22'-9 1/8"
6'-1 1/4"
9'-4 7/8"
2'-2"
9'-3/8"
B
2 A401
9'-4 7/8"
4'-11 7/8"
4"
15'-2 5/8"
DN
15'-11 7/8"
5"
G04
12'-5 1/8"
G01
C
19'-10 1/4"
12'-5 1/8"
19'-10 1/4"
OFFICE 13'-5 7/8"
GALLERY
1 A401
1'-10 5/8"
3'-9 5/8"
4"
2'-7 1/2"
5'-1 1/2"
3'
8'-11 1/8"
3'-1 1/2"
G03
8'-5/8"
5'-6 5/8"
5'-9 5/8" KITCHEN
G02
NEW POST (SEE STRUCTURAL)
3'-1"
2'-7 1/8"
4 3/4" 4" 2'-6"
7'-3 1/4" WASHROOM
NEW CABINETRY
5'-6"
4 7/8"
4"
NEW POST (SEE STRUCTURAL)
D F
2'-6"
DN
2'-10 3/8"
2'-8 5/8"
UP UP
3'-8 1/4"
3'-8 1/4"
C
3'-5 1/2"
D
A5 01
18'
7
7a
16'-8"
8
9
Gallery House | 68
DESIGN DEVELOPMENT RENDERINGS
69 | Gallery House
CONSTRUCTION Whilst being cognizant of the functionality of the spaces, the building has also benefited from great investment in areas that help the building function from an environmental standpoint. By introducing insulation to all external walls within the existing envelope, we were able to utilize the increased thermal mass to stablize both indoor temperatures as well as air humidity, and in turn reduce all heating and cooling loads.
WALL DETAIL Gallery House | 70
FINISHED PHOTOS
WOOD DECKING ON PT STRAPPING WATERPROOF ROOF MEMBRANE EXTERIOR SHEATHING ON STRAPPING TO CREATE 2% SLOPE TO SCUPPERS RIGID INSULATION (TOTAL R-28 REQUIRED) PLYWOOD SHEATHING - EXTERIOR NEW CEILING JOISTS (SEE STRUCTURAL) 6 MIL POLY VAPOUR BARRIER 5/8" TYPE 'X' GYPSUM BOARD, PAINTED
EXISTINGEXTERIOR EXTERIORWALL WALL EXISTING
2"X6" NAILER
NEW 2 LAYERS TYPE "X" GYPSUM BOARD, PAINTED ON EXISTING 11 7/8" LVL'S EXISTING 3/4" PLYWOOD SHEATHING
2"X6" NAILER
Photography Credit: Altius Architecture & Gallery House 71 | Gallery House
KELLY NEILL
info@kelly-neill.com www.kelly-neill.com | 72