Kelly Neill's Architecture Portfolio

KELLY NEILL Pre-professional Architect Honours BAS M.Arch Portfolio kelly.e.neill@gmail.com www.kelly-neill.com

CONTENTS

Flatiron District Mapping NY/P Design Studio

RESUME

4

DESIGN WORK Fashion Atelier - New York & Paris Gowanus Pod Hotel - Modular Hotel Memoralux - Interactive Screen House Of Daedalus - Chapel Museo Del Tevere - Museum

6 14 20 24 32

BUILT WORK UWSA Pavilion - Explore Design Hummingbird - Instinct Daedalus’ Dream - Chora Gallery House - Altius Architecture

40 46 50 56

SKETCHES

62

KELLY NEILL Pre-professional Architect Honours BAS +1 (647) 222-4551 kelly.e.neill@gmail.com www.kelly-neill.com

PROFESSIONAL EXPERIENCE INTERN ARCHITECT Kasian, Toronto, ON INTERN ARCHITECT Altius Architecture Inc, Toronto, ON ARCHITECTURAL INTERN Diamond & Schmitt Architects Inc, Toronto, ON 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

March - August 2013 www.kasian.com February 2011 - February 2013 www.altius.net January 2010 - August 2010 www.dsai.ca 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

Resume | 4

TECHNICAL SKILLS

VOLUNTEER EXPERIENCE BUILDING VOLUNTEER Habitat for Humanity, Toronto, Ontario

October - December 2012 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

- Well versed in Revit, ArchiCAD 16, AutoCAD 2013, Vectorworks, Rhino 5.0, VRay, Artlantis Studio, Aurdino, Grasshopper, CreativeSuite5, Adobe Premiere, Form Z, SketchUp, Google Earth, Microsoft Office - Completed comprehensive training course for Revit 2014 - Extensive first hand knowledge of the building 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

EDUCATION

ACHIEVEMENTS

COLUMBIA UNIVERSITY September 2013 – May 2014 GRADUATE SCHOOL OF ARCHITECTURE PRESERVATION & PLANNING Non Degree, The Shape of Two Cities: New York / Paris

- Entrance Scholarship, University of Toronto 2014 - Awarded First Place for UWSA Pavilion Design Competition 2008.

- $1000 Merit Scholarship, University of Waterloo 2006

UNIVERSITY OF WATERLOO SCHOOL OF ARCHITECTURE September 2006 - August 2011 Honours Bachelor of Architectural Studies, Co-operative Education Program

5 | Resume

|6

FASHION ATELIER - NY & PARIS Throughout the semester a real New York and a virtual Paris offered the framework of each project through varying scales and methodologies. Examination of sites associated with the local history of fashion design, manufacture, and retail prompted the first phase of this project - a New York Fashion Atelier at the Lincoln Centre’s Metropolitan Opera. In the second phase the original New York Atelier would adapt, adjust, extend, mutate and otherwise custom-tailor to its new location, as a result of re-siting and inserting it into the cross-section of the Garnier Opera House.

GSAPP - New York/ Paris Studio Professor: Jane Kim & Babak Bryan Individual Project

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Timelapse Diagram

Conceal

Screen

View

Walk

Tessellated Material Studies Fashion Atelier - NY | 8

Plan

The bench structure that straddles the Lincoln Centre site acts as a subtle threshold into the central square and by documenting how people occupy and move around it, it becomes apparent that it plays an integral role in creating moments of pause and movement. The main objective is to blur the thresholds of public & privilege spaces through the use of inversion while still maintaining the link to the park and ultimately reinvigorating the space.

3

5

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1 Studio 2 Fabrication & Prototype 3 Entrance 4 Catwalk & Circulation Spine 5 Archives 9 | Fashion Atelier - NY

Analysis of Expansion & Compression

Avenue de l'Opéra - Amplitheatre

Conceptual Section In its second phase, the atelier adapted its new siting of the Palais Garnier by further examining the use of thresholds to create heightened experiences of expansion and compression, in both plan and section. 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.

Fashion Atelier - Paris | 10

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11 | Fashion Atelier - Paris

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Sectional Study Matrix

Storage

Archive

Programmatic Plan

PRIVATE STORAGE

DRESSING ROOM

DESIGN STUDIO

ADMIN DISPLAY

DIS PUBLIC ARCHIVE

RETAIL

Admin

FABRICATION

Fabrication

Surface Material Studies

Fashion Atelier - Paris | 12

Admin

Fabrication

Admin/Fabrication

Studio Cafe

Retail

Dressing Room

Cafe/Studio/Fabrication

| 14

GOWANUS POD HOTEL The worlds urban population was estimated at 2.86 billion in 2000 and is expected to rise to 4.98 billion by 2030 and as a result, a transformative change in the way we design our buildings will be necessary. This project seeks to investigate a modular solution to this growing issue. The Gowanus Modular Hotel celebrates the efficiency of its parts and the cohesive form of the whole by developing global standard of the shipping container module but with opportunities for mass customization to create uniquely individual projects.

GSAPP - Modular Housing Professor: David Wallance Project Team: John Kim, Kelly Neill, Tianhui Shen & Ruth Wang

15 |

1

2

3

4

5

6

A

B

C

D

1

E

2

3

4

5

6

Level 2

A B

Level 2

9' - 0"

9' - 0"

6

5

"2/1 6 - '0 2 leveL "0 - '9

"1 - '0

C

Level 1

D E

Level 1

0' - 0"

0' - 0"

Level 0

Level 0

-1' - 0"

-1' - 0" 1 leveL "0 - '0

0 leveL "0 - '1-

Basic Module CIRTEMONOXA - TINU CISAB ”0-1 = ”8/3 ELACS

1B

2B

4B

3B

5B 6B

AB

BB

CB

1C 1B 1A 1

DB EB

AB BB

2C 2B 2A 2

3C 3B 3

3A

4C 4B 4A 4

5C 5B 5A 5 6C 6B 6A 6

Level 2

Level 2

9' - 0"

9' - 0"

A6

"6 2 leveL "0 - '9 "6 - '1 "6 - '6

CB

"2/1

"2/1 0"2- -'1'0

1 leveL "0 - '0

-1' - 0"

Premium Module

2A

"01 - '0

Level 0

-1' - 0"

1A

"0 - '1-

0' - 0"

0' - 0"

Level 0

AA BA

0 leveL

Level 1

Level 1

DB EB

CIRTEMONOXA - 2 fo 1 TINU DEDNETXE & MUIMERP ”0-1 = ”8/3 ELACS

3A

4A

5A 6A

AA

BA

CA

DA EA

1A

Level 2 9' - 0"

2A

3A

4A

5A 6A

C B66 C A B A

"6 - '0

Level 2

2 leveL "0 - '9

9' - 0"

"6 - '1 "6 - '6

CA

0 leveL "0 - '1-

Accessible Module

Level 1 0' - 0"

Level 1 0' - 0"

Level 0

Level 0

-1' - 0"

-1' - 0"

CIRTEMONOXA - 2 fo 1 TINU ELBISSECCA ”0-1 = ”8/3 ELACS

Gowanus Pod Hotel | 16

"2/1 0 - '1 "2 - '0 "01 - '0

1 leveL "0 - '0

DA EA

"2/1 9 -

1 Framing

6 Fixed Appliances

2 Concrete Base

5 Insulation Panel

7 Transportation

8 Assembly

Interior Renderings of Premium Module 3 Stud Frame

9 Rain Screen Panels

17 | Gowanus Pod Hotel

4 Drywall

Modular Components

Gowanus Pod Hotel | 18

North Elevation

1st Floor Plan

FACADE DESIGN woven interlock pattern panel catalogue and aggregation

drywall

rigid insulation

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.

num channels to hold mullions

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.

Facade Components exploded facade

window and door frames

window

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)

19 | Gowanus Modular Hotel

1.75’ tall kickboard painted to match adjacent panel.

colored anodized aluminum panels (horizontal bars welded to inside edge of each panel. )

| 20

MEMORALUX As society demands more responsibility on architects to design sustainable built environments, the implications of adaptive and interactive architectural systems have been brought into focus. The purpose of this project is to explore and react on these possible implications through the lens of architecture as an embedded and active participant. For this reason the proposed installation in Avery Hall will not only enhance the chosen environment but also perform as a tool to document data and begin to inform the space through the output of its recorded intelligence.

GSAPP - Intelligent Systems/Interactive Architecture Professor: Andrew Payne Project Team: Kelly Neill & Sareeta Patel

21 |

ing Intelligent System

Prototyping Copper Tape

Thred

SMA Wire .005

Dynamic SMA Lighting

Thread Holes

Sareeta Patel & Kelly Neill

Exploded Axonometric of Lens

Panal Material (Mylar)

Wooden base (Upper)

LED

Wooden Base Motion Sensor LED Housing LED Housing (Lower)

Memoralux | 22

Panal Material (Mylar)

Proposed Axonometric

Partial Elevation

Use of motion and light will act as the variables in which to manipulate the environment and record data. The design intention is to input multiple motion sensors that will be triggered as the participants walk up or down the staircase, sending a signal to turn on designated areas of the light wall. A layer of perforated nitinol foil will be fastened over the light grid to create a series of lens apertures to release the light into the stairwell at a controlled rate.

23 | Memoralux

| 24

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 Individual Project

25 |

Ground Floor Plan

Parti Diagram

A

CIRCULATION

1

2

3

4

5 6

7

11

8

9

10

12 SECULAR

13

SACRED

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18 19

SHARED

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21

A

1 Men’ s W/C

8 Peace Garden

15 Open Office

2 Women’s W/C

9 Private Chapel

16 Courtyard

3 Front Desk

10 Storage

17 Main Chapel

4 Foyer

11 Exit Stair

18 Copy Room

5 Cloak Room

12 Retention Pond

19 Recycling

6 Storage

13 Private Office

20 Pantry

7 Library

14 Project Room

21 Kitchen

House of Daedalus | 26

Elevations

27 | House of Daedalus

Interior Bridge

Section A

Main Chapel

Interior Courtyard

| 28

Wall Section

29 | House of Daedalus

Private Chapel

Structural Diagram

| 30

2

7

Roof Detail 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

Exterior 3

1

4 2 - Double Glazed Fixed Skylight Unit 5

3 - 12Mm Sheathing, Exterior Grade 4 - 215Mm X 494Mm Gulam Beam

6

Interior

5 - 250Mm Concrete 100Mm Rigid Insulation Fibre Composite Connector 150Mm Concrete 6 - W250mm X 400Mm Steel Section 7 - Flashing Parapet Cap

Sun Studies 31 | House of Daedalus

| 32

MUSEO DEL TEVERE 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

33 |

Walls of Rome Diagram Roma Quadrata 8C BC Servian 565 BC Aurelian 282 AD Leonine (Borgo) 843 - 852 Paul III / Urban VIII 1534 - 1644

Master Plan Vignette

Museo del Tevere | 34

Proposed Zoning

Proposed Circulation

Public Space

Pedestrian

Commercial

Vehicular

Green Space

Bicycle

Institutional

Bike Sharing

Mixed Use

Metro

Residential

Point Of Interest

Government Parking

Site Plan

35 | Museo del Tevere

Ground Floor Plan

Museo del Tevere | 36

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 retaining wall, guides the user through spaces as their path intersects between alternating atmospheric conditions of darker submersed moments, to expansive and open spaces that are flooded with light.

37 | Museo del Tevere

SECTION PROJECTION

Project

Display

Facilitate

Contain

Museo del Tevere | 38

In the final stage of the circulation, the user is thrust beyond the retaining 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.

39 | Museo del Tevere

| 40

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

41 |

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

| 42

Timber Framing

Hard Board

Experience

n g 43 |

UWSA Pavilion Presentation

Black Bristle Board

Framed Mylar Projection Screen

Corrugated Cardboard

Construction Process

UWSA Pavilion | 44

Final Construct at Explore Design 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.

45 | UWSA Pavilion

| 46

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 amplifies 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.

47 |

Hummingbird Flight Pattern

Inspiration

Construction

Hummingbird | 48

o .

er, er l ons

g pend

ed ing a rban

h

The layout of the lights was influenced 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, helices, 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

Installation Sequence

Audio & Sensor Plan ENTER

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.

MID

TREBLE

BASS

49 | Hummingbird

TREBLE DRUM

| 50

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.

UWSA - Design Studio - 2B Professor - Geoff Thun

’

Project Team - Scene 4

51 |

Version 3.1

Iterative Prototyping

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.

Here clarity of design intentions and architectural language were resolved through further exploration of prior design resolutions due to limitations imposed by actual construction.

Site Construction of Form Daedalus’ Dream | 52

Audio & Visual Plan

Construct >Final Final Construct > The Performance

Daedalus’ Dream | 54

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

55 | Daedalus’ Dream

ga | 56

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 Scope: Produced renderings and building permit package

57 |

17'-8"

17'-8 1/2"

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 FOOTING (SEE STRUCTURAL)

UNEXCAVATED CRAWL SPACE B02

12'-5 1/8"

B01

NEW FOOTING (SEE STRUCTURAL)

UNEXCAVATED B03

2 A401

19'-10 1/4"

12'-5 1/8"

19'-10 1/4"

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

9

Basement Plan - Proposed SCALE: 3/16" =

Ground Floor Plan

1'-0"

1

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 | 58

Design Development Renderings

59 | Gallery House

Construction

Gallery House | 60

Wall Section

WALL DETAIL EXISTINGEXTERIOR EXTERIORWALL WALL EXISTING

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

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 61 | Gallery House

SKETCHES Left Side: Graphite on Paper 2004 - Present Right Side: Ink on Paper Rome 2010

KELLY NEILL

info@kelly-neill.com www.kelly-neill.com | 64