Kelly Neill's Architecture Portfolio

kelly neill

University of Waterloo School of Architecture kneill@architecture.uwaterloo.ca +1 519 998 4500

CONTENTS Resume - References UWSA Pavilion - Explore Design ‘08 Instinct - Hummingbird Chora - Dadaelus’ Dream Field - Performance Residential - Urban Living Brian O’Tuama - Mediacine Form Z - Renderings Arquitectonica - Culver City Artwork - Portraits

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kelly neill kneill@architecture.uwaterloo.ca +1 519 998 4500

university of waterloo school of architecture

PROFESSIONAL EXPERIENCE JUNIOR DESIGNER September 2009 - Present Whiting Design, Waterloo, ON - Responsible for creating custom designs and layouts for small scale private residential projects with a sustainable design focus.

- Currently developing schematic design for 2,600 sq. ft. private home,seeking LEED Platinum accreditation JUNIOR ASSISTANT May - June 2009 Brian O’Tuama Architects, London, UK - Primarily oversaw production and fabricated of large scale sectional model for design project and assisted on preparing final presentation drawings - Partook on site visits for private residential project ARCHITECTURAL DESIGNER September - December 2008 The Walter Fedy Partnership, Kitchener, Ontario - Personally designed and produced mosaic tile layout for the feature wall of the Region of Waterloo History Museum, enhancing practical design and AutoCAD skills - Improved designer/client relationship through the responsibility for arranging and individually attending meetings with sales representatives ARCHITECTURAL ASSISTANT January - May 2008 Arquitectonica International, Los Angeles, California - Individually responsible for producing renderings for final design packages enhancing my skills in Form Z. - Actively contributed to design documentation presented in client meeting as well as an avid participant - Produced and edited accompanying construction and design drawings for projects at all stages of development

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VOLUNTEER EXPERIENCE

TECHNICAL SKILLS

TWOFOLD FABRICATION ASSISTANT GALTstudio, Cambridge, Ontario

August - October 2009

UWSA PAVILION CODIRECTOR & DESIGNER Explore Design, Toronto, Ontario

July - October 2008

MARKETING DEPARTMENT ASSISTANT Adamson Associates Architects, Mississauga, Ontario

January- May 2006

ART SHOW CURATOR Mentor College, Mississauga, Ontario

September 2005 - April 2006

HEAD LOGISTICS REPRESENTATIVE Mentor College, Mississauga, Ontario

September 2005 to April 2006

ACHIEVEMENTS

resume

UNIVERSITY OF WATERLOO SCHOOL OF ARCHITECTURE September 2006 - Present - Candidate for Honours Bachelor of Architectural Studies, Honours Architecture Cambridge, Ontario, Canada

REFERENCES

- 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

Please click HERE to view my excellent letters of recommendation from past & present employers

resume

EDUCATION

- Well versed in 2D & 3D AutoCAD 2008, Vectorworks 2008, Form Z 6.0, Rhino 4.0, CreativeSuite4, Adobe Premiere Pro, Adobe Acrobat Professional, SketchUp, Google Earth, Microsoft Office 2007 - Working knowledge of Revit 2008, Vray, and 3ds Max 9 - Model building experience of all mediums - Over five years of extensive hand and computer drafting instruction and experience - Windows Vista & Mac OS X

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uw

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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.

wsa pavilion

pavilion

Graphics & Industrial Design | 2B | October 2008 Sketch-Up | 3ds Max | Full Scale Construct

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PRELIMINARY DESIGN PROPOSAL 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 10. Possible Addition 11. Seating

UWSA Pavilion Presentation Kelly Neill & Han Dong

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Timber Framing

Hard Board

UWSA Pavilion Presentation

Black Bristle Board

Framed Mylar Projection Screen

Corrugated Cardboard

pavilion

Experience

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BUDGETING TIME & MONEY Granted a budget of $5000 required resourceful thinking in the choices of materials and degree of outsourced labour.

Many materials such as the corrugated plastic, card board, and 2�x4� studs were salvaged from previous projects to encourage sustainable means of design.

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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.

pavilion

CONSTRUCTION PROCESS

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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.

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MEDIA COVERAGE

pavilion

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.

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This installation is designed to integrate an augmented system that allows the user to experience both virtual reality and reality within a real world installation. This is achieved through a series of user activated motion sensors that trigger both light and sound, representing the hummingbird as an onomatopoeic word. By triggering the sensors, the user is given virtual control over the composition and activation of the entire installation. This augmented 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 dynamic and personalized environment unique to each visitor, but amplifes the importance of individual in the larger urban space, something that has been far too often overlooked.

instinct

Studio Project | 3B | October 2009 Full Scale Construct

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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.

instinct

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Spacial + Acoustical Plan

ARCHITECTURE + IMAGINATION | LEVITT

ENTER

MID

TREBLE

BASS

TREBLE DRUM

insinct

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.

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daeda

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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.

’ dalus dream

chora

Studio Project | 2B | August 2008 Full Scale Construct

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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.

Version 3.1

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.

Version 4.1

DEVELOPING VARIATIONS OF M

19 further variations of the modules designed a strengths and weaknesses | variations investig alterations in its shape and type of material points were added in several modules to expan as aggregate and potentially the incorporat membrane and other unforeseen, unpredictab

Version 4.2

chora

Version 3.2

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THE FINAL FORM

chora

Adhering to the original plan of a linear sequence the adjacent images outline the forms spatiality from the moment of commencement to conclusion (left to right, top to bottom). In its entirety, the artifact appeared quite delicate but the structural integrity of the mesh yielded a palette that was easily sculpted. Without the application of the projections and sounds ‘Daedalus’ brain’ lacked life and emotion. The specific spatial moments demanded audio/visual effects to achieve a sense of turmoil within his own mind as induced by the addition of more forces in context. The examination of multiple characters and their direct influence on Daedalus’ actions, shed light on the place he found himself in the opening scenes.

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FRAGILITY - ENTRANCE INTO MIND

DESCENT - CONFLICT PRESENTED

BRIGHTNESS - RISING ACTION

REALIZATION - CLIMAX

A: feathery, light, airy and, smooth depictions B: intense, heavier, deep moments of greater C: highly intensifying fluctuation of elements D: simplified, clear, cris creating an increased sense of frustration and and fluctuations of elem - lengthy, blurry, and consistent transitions amplitude transitions into pulses to s - disturbance and tension build within the entanglement in Daedalus’ mind between images transitions 1&2: soft quite whispers & heavy breathing

3: intensifying gusts of wind blowing

4&5: threatening sounds of a giant stomping

6: clinging of metal to sign

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BLINK - CONCLUSION

MULTI-MEDIA PLACEMENT FLOOR PLAN

nify Daedalus’ rebirth

7&8: sparks, popping, sounds of clarity

chora

sp images emerge E: lightness represents itself in short repetitive ments lengthen then rhythmic elements, proposing clarification and suggest clarity rationality

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FINAL PRODUCTION - KEY MOMENTS Final > The Performance

Photo 1: Main Floor Stair Entrance

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SCENE 4 - PROJECT TEAM

chora

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

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PACE

CONCEPTUAL VIGNETTE

PAUSE . PLAY . POLLUTE

KELLY aNEILL 20223538 As point of departure PACE interpreted the concepts discovered in the preliminary project and delve deeply into their readings as an architecture through the lens of the performative. The transition from urban scape to that which is natural and how this engages the landscape and architecture structurally, materially, and tectonically, became the focus of the project.

Commenting satirically on the world’s current reliance of oil and automotive transportation, the perceived place of performance was modeled much like car garage with several levels and ramps in and amongst themselves creating places of performance within the natural landscape.

Studio Project | 2B | July 2008 Photoshop | Illustrator | AutoCAD

pe

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erformance

field

HISTORICAL MAPPING

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distillation | fabricat The early phase of this project presented opportunities to work on a macro level to extract the material essence of a natural phenomena from the field as a means for material, phenomenological, and structural investigation.

These investigations influenced the larger agenda of a performance space in terms of its architectonic resolutions. Upon investigating a campfire in the conservation area, a moment of juxtaposition presented itself in a beautifully ironic way. The sprout thriving from the burnt wood became the means of developing an architectural relationship to today’s burdens that civilization and industrialization impose on nature. Further focus on the charcoal brought out parallels between duration of burning and density of damage and thus effecting the porosity and ability to sustain life.

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tion | construct Kelly Neill | 20223538

field

cation | construct

Site Plan

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Threshoold of Existing Path Pedestrian Walkway Performative Space Storage Women’s Public Washroom Men’s Public Washroom Janitor’s Closet Garabage Room Loading Staff Eoom & Washrooms Open Serve Kitchen Patio Bar Event Space Pause Automotive Arrival Parking Pedestrian Arrival Green Room Men’s Change Room Women’s Change Room Equipment Storage

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SITE PLAN

SITE MAPPING

1. Threshold Existing Path Through the mapping of the Rare conservation area,ofplaces of interest lentServe themselves to producing points of experience and performance.

11. Open Kitchen Basement Plan | 1:250 Pedestrian Walkway 12. Patio Bar Means of passage and viewing can occur2.3. both withinSpace ones automobile or outside allowing for multiple experiences depending on ones Performative 13. Event Space 4. Storage 14. Pause preference of pace.

PAUSE . PLAY . POLLUTE

PACE

5. Women’s Public Washroom 6. Men’s Public Washroom 7. Janitor’s Closet 8. Garabage Room 9. Loading 10. Staff Eoom & Washrooms 11.KELLY Open Kitchen NEILLServe 20223538

GALLERY SPACE

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Automotive Arrival 21.

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Parking Pedestrian Arrival Green Room Men’s Change Room Women’s Change Room Equipment Storage

VIEWING PARKING LOT

DRIVE-IN MOVIE THEATRE

SKATING RINK

Tectonics Detail TECTONIC SECTION Glass Railing Drivable Grass Mat (60 cm x 60 cm x 4 cm)

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At Surface Backfill of Organic Material

Drainage Holes

75 mm of Well Graded Sand 100 mm of Compacted Base Gravel 50 mm of Subgrade Soil Membrane Protection & Root Barrier Roofing Membrane 250 mm of Precast Concrete Fill

field

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PRELIMINARY SKETCH

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New urbanism promotes the necessary changes for our typical cookie cutter communities. The primary goal is to create and restore diverse, walkable, compact, vibrant, mixed use communities composed of the same components as a conventional development, but assembled in a more integrated means in the form of complete communities. The focus of this project was to bring back the sense of community and all its necessities into one city block, due to the need for change.

URBAN CONTEXT PLAN

residential

Studio Project | 2A | December 2007 AutoCAD | Photoshop | Illustrator | Form Z

collective space: materials & techniques SITE PLAN

ď Ž

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TYPICAL FLOO

d floor plan|1.200

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1-2

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OR PLAN

MORPHOLOGICAL MODEL

6-9

residential

3-5

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2 bedroom + loft

2 bedroom

2 bedroom

9 am

2 bedroom

winter solstice

circulation axonometric 12 pm

west SECTIONelevation|1.200 A

2 bedroom + loft

2 Bedroom

studio

1 bedroom

UNIT VARIATIONS Unit Variations|1.100

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residential

COURTYARD RENDERING

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“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 | 3A Work Term Rhino 4.0 | Physical Model

mediacine

o’tuama

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o’tuama

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METROPOLIS CITYSCAPE

CULVER CITY RESIDENTIAL TOWER

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The ability to produce quality renderings is an important skill in order to successfully convey an architect’s design intentions in a form that any audience can easily understand and identify with.

renderings

Arquitectonica | 2A Work Term Form Z | Photoshop | Virtual Earth

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RENDERED DESIGN VARIATIONS

PANORAMIC SITE VIEW

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Located minutes from Venice Beach and just a short commute from downtown Los Angeles, Culver City is an ideal local for residents of California. Still in its early design phase, the project strived to achieve the appearance of an upscale residential tower, while providing affordable studio apartments.

arq

Arquitectonica | 2A Work Term Form Z | AutoCAD | Photoshop | Revit

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GROUND FLOOR PLAN

Rendering

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arq

TYPICAL FLOOR PLAN

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SITE MODEL

RENDERED ELEVATION

UNIT PLAN VARIATION

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arq

SECTION B

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The portrait speaks of ones most inner thoughts without having to say a single word and thus the reason for my interest in such art form.

Left Side: Graphite on Paper 2004 | Present Right Side: Oils on Canvas 2003 | 2006

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portraits

portraits ortraits

kelly neill

University of Waterloo School of Architecture kneill@architecture.uwaterloo.ca +1 519 998 4500