Architecture Model Portfolio - Kodi Ume-Onyido - University of Toronto

KODI UME-ONYIDO Architecture Model Portfolio 2023

SKILLS AND EXPERIENCE MATERIALS

MACHINES AND HAND SKILLS

EDUCATION

B.A ARCHITECTURAL STUDIES

Plywood Balsawood Basswood MDF Wood Birchwood

Laser Cutting 3-D Printing CNC Machine Woodshop Machines Welding Sculpting Hand Cutting Spray Painting Hand Painting Caulking Tiling

2021-Present

University of Toronto, St. George John H. Daniels Faculty of Architecture, Landscape, and Design

WORK EXPERIENCE

CONSTRUCTION SPECIALIST

Seismic Design Team July 2023 - Present Toronto, ON

Worked with a highly skilled group of senior construction specialists.

Aided in workflow development and assembly techniques.

Fabrication of a 3 foot tall structural model of a high-rise office building. Tested for seismic stresses and strength.

Plexiglass Foam Core Cardboards Paper Clay Rockite Cement Copper Aluminum Steel

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ASSISTANT LEAD INSTALLER University of Toronto June 2023 - July 2023 Toronto, ON

Assisted artist/mathematical researcher, Ross J. Cocks with the permanent installation of his “Wieringa’s Wall” project: an architectural piece that combines both art and math to produce an undulating surface with acoustic properties. Situated in the main lecture hall at the Fields Institute for Research in Mathematical Sciences.

CONTENT

01

PROJECTION

02

DIAFRAME

03

MITOSPLIT

04

PROCESS WORK

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WIERINGA WALL

LIGHT EXPLORATION • 13 x 6.5 x 13 in.

PARAMETRIC TOWER • 17 x 17 x 29 in.

STUDENT STUDY CENTER • 13 x 13 x 14 in.

SKETCH MODELS • CONCEPT DIAGRAMS

PERMANENT ART INSTALLATION • 27 x 1/2 x 9 ft.

04

08

12

16

22

3

01 PROJECTION

DESIGN STUDIO II • DAVID VERBEEK • WINTER ‘23

Plywood Balsawood Plexiglass

For this project, the main area of focus was light separation through a material and spatial manipulation of the floor pattern and facade components. By conducting a series of light studies through experimental sketch models, I produced a 1: 50 scale model that successfully split light from all angles, but particularly the light that was projected from the top floor to the basement floor. The model was comprised of 6 levels that were enveloped by a 4 sided detachable facade.

13 x 6.5 x 13 in.

4

Closer perspective view of wooden facade (1/8” plywood).

Axonemtric and elevation view of detachable facade.

5

Light projected onto F1 from F2.

6

Light projected onto F0 from facade.

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02 DIAFRAME

TECH STUDIO II • REILLY WALKER • WINTER ‘23

Plywood Basswood MDF Wood Plexiglass Matteboard Dried-Plants

In DIAFRAME, a 1:200 scale model of a commercial building, the primary focus was the facade. The tower was comprised of over 200 pieces which included over 50 parts that were spray painted individually. In order to ensure an efficient construction time, there was a delicate consideration of assembly and fabrication during the design process, particularly the concept development phase.

A basswood dowel acted as the main column, it ran through the center of each one of the 30 floors and was inserted approximately one and a half inches into an MDF base, reinforcing structural stability.

The 20 rows of plexiglass panels consisted of 5-6 individual pieces per level and were connected by one side of removable plastic.

These panels sat upon anchors that were joined to their corresponding floor-plate.

17 x 17 x 29 in.

8

The tower from plan view.

Exterior shot of scaled figures approaching the tower’s entrance.

9

Exterior distant view of tower showcasing the topographical elevations and vegetation.

10

Closer view on facade assembly and joinery.

Enhanced view of relationship between figures and site context.

Interior view of cast shadows from facade components.

11

12

03 MITOSPLIT

DESIGN STUDIO II • DAVID VERBEEK • WINTER ‘23

Plywood Basswood Plexiglass

In my 1:50 scale model for MITOSPLIT, I layered several materials to accurately depict the thickness of building materials, for instance, multiple layers of 1/8” plywood for floors and ceilings, along with sheets of 1/16” and 1/32” plexiglass for windows and railings. Unlike PROJECTION, which focused on splitting light, MITOSPLIT emphasized the separation of programmed spaces. The structure consisted of large, medium, and small study spaces, interior and exterior lounge areas, and an individual studio in the basement level.

The facade was comprised of two parts: a continuous wood jigsaw pattern which was separated by a wave-like split, and a plexiglass sheet that provided a constant view to the surrounding area, creating a consistent relationship between the interior interactions and exterior environment.

13 x 13 x 14 in.

Interior views of upper levels.

13

Interior view of scaled figures interacting on the ground floor level.

14

Exterior perspective views of most elevated study areas.

Interior perspective views of medium sized study area (top) and basement level (bottom).

15

04 Ink Pens Wood Cardboard

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PROCESS WORK SKETCHES • ASSEMBLY• EXPERIMENTAL MODELS In every step of the design process, from technical drawings to model making, I incorporated sketching as an essential method of form finding, circulation planning, concept development, and much more. I utilized sketch models in a similar fashion.

Through rough concept models that tested materiality, structure, functionality, and form, I was able to produce durable final models that successfully conveyed the thesis of each project in a practical and aesthetically pleasing manner. When designing and assembling, I valued efficiency, sustainability, resourcefulness, experimentation, longevity and elegant aesthetics.

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05 Foam Formica Wood Silicone

WIERINGA’S WALL BY ROSS J. COCKS PROFESSIONAL WORK • ASSISTANT LEAD INSTALLER• SUMMER ‘23 I assisted artist/mathematical researcher, Ross J. Cocks with the permanent installation of his “Wieringa’s Wall” project: an architectural piece that combines both math and art to produce an undulating surface with acoustic properties. Situated in the main lecture hall at the Fields Institute for Research in Mathematical Sciences.

The wall is composed of 9 panels that were fabricated, prepped, and installed individually. After milling foam blocks into his desired shape, Ross J. Cocks had the panels painted twice to protect them from the eroding chemicals in contact cement.

Over 3000 Formica tiles were hand placed onto the milled surfaces, each one in a specific pattern. Ross and his team then siliconed every crevice in between the tiles to ensure a seamless finish. As one of two assistant lead installers, I performed every installation task, helped train a team of 20 workers, and dedicated over140 hours to the project.

27 x 1/2 x 9 ft.

Experimentations and prototypes from Ross J. Cocks’ thesis work.

Ross J. Cocks and a closeup of Wieringa’s Wall.

Presentation and official unveiling day at The Fields Institute.

19

Multiple showcases of the aperiodic patterning system.

20

INSTALLATION PROCESS

Ross milling foam with CNC machine.

First layer of paint being applied.

Instillation team caulking tiles.

Adhesives for permanent installation.

3/9 panels installed.

Final panel installation.

21

GENERAL TILING PROCESS

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Contact cement application.

First tile placement..

Second tile placement.

Alternative caulking method.

Removal of protective sticker.

Removal of protective sticker.

Sticker residue

Cleaning and shining.

End result..

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kd.umeonyido@gmail.com