LOCATION • TORONTO, CANADA
SECTOR • MIXED USED RESIDENTIAL
Rhino 8
Adobe AI
Adobe PS
Enscape
Watercolor
Interviews
Facade Design
Sustainability
THE W.A.M HOUSE
ARCHITECTURE STUDIO III • ADRIAN PHIFFER• FALL ‘24
The W.A.M House is an artist residency located in Toronto’s Kensington Market neighborhood, specifically at162 Augusta Avenue’s back-lot. Built on a compact laneway measuring 5.5m x 11m and standing 25m tall, this multi-unit structure introduces a new typology of housing that expands Toronto’s catalog of mid-rise residential buildings and laneway suites. The mass timber residency provides studio spaces for writers, artists, and musicians while also engaging with the community through workshops and a bookstore on the ground floor. To offer residents more flexible living conditions, the structure features a double-skin facade with operable polycarbonate awnings that enhance the building’s energy performance
Condition: design a laneway tower that engages with the surrounding context despite its intimidating massing.
Response: conducted interviews with a variety of creative professionals to design a mass timber artist residency.
Site isometric, highlighting the tower’s design within its laneway context.
THE CULTURE OF THE SITE
Kensington Market is a pedestrian friendly, walkable neighborhood in Toronto that is known for its rich culture. A variety of building types are compacted into a dense neighborhood consisting of Victorian houses, Edwardian shops, and vibrant storefronts.
These buildings are catalysts that induce playful artistry and businesses such as: street painting, wall murals, live music, boutiques, bars, cafes and clothing shops.
Context plan of Kensington Market, Toronto, Ontario.
1. Building Massing
The 8 storey tower sits on a small plot with 3m high ceilings
3. Accessible Circulation Central staircase for residents and public elevator that leads to studios.
2. Diverse Programme Floor heights are adjusted to accommodate a variety of spaces.
5. Dual Envelope Multi-wall polycarbonate glazing provides thermal buffer for building.
4. Sustainable Structure Hybrid structure consists of primarily mass timber and exposed steel.
6. Operable Facade
Operable awnings and accordion doors allow for flexible privacy and ventilation.
Ukamaka Madumelo
Ukamaka (UK) is an English teacher, editor, and writer. Since studying at the University of Toronto, she has gained a variety of students: ranging from preschool children to post-secondary adults.
00:17:31 / 00:53:56
How often do you go to libraries or bookstores?
“Come to think of it, I haven’t been to a library since graduating university, but I go to bookstores every week. I honestly enjoy being in the presence of books. Something about that environment activates my mind while simultaneously relaxing it.”
Katie Lyle
Katie is a practicing artist and assistant professor at the University of Toronto. Her work spans from painting, drawing, and performance and has been exhibited in both local and international galleries.
00:49:10 / 01:03:06
Do you feel parallels or tension between domestic spaces and studio spaces?
“Yes, for sure. You have to be able to be messy—that’s my ideal studio. But some tasks, like sanding, aren’t possible near certain areas, like a kitchen. That’s when separation is helpful. Leaving the studio, going home, and not being able to work on a painting is convenient and provides a beneficial mental break.”
Andrew Neagoe
Andrew is a young professional musician who studies music at the University of Toronto. As an emerging talent, he’s played in notable orchestras across Canada, such as the TSO at the Roy Thompson Hall.
00:11:16 / 00:33:07
What makes a successful practice room?
“If a room has windows, it’s pretty nice. My favourite classrooms are the ones with views to the city. A room that’s too “dry sounding” is ruled out, whereas a space with varying textures provides a more lively practice session. A lot of the practice rooms at school don’t have windows and it’s actually really depressing.”
LOCATION • ENUGU, NIGERIA
SECTOR • COMMERCIAL
Grasshopper
Rhino 7
Adobe AI
Adobe PS
Twinmotion
1:200
Plywood
Basswood
MDF Wood
Plexiglass
Matteboard
Dried-Plants
DIAFRAME
TECHNOLOGY STUDIO II • NICHOLAS HOBAN • WINTER ‘23
In Nigeria, Africa’s most populous nation, infrastructure upgrades contend with humid climates and urban sprawl, exacerbating discomfort, notably in everyday tasks like office work. Enugu’s Diaframe project addresses these challenges by incorporating Islamic and Igbo cultural elements, such as akwete textiles and mashrabiyas into its facades. This improves ventilation and cultural integration, offering a sustainable and holistic solution to Enugu’s environmental and urban development challenges.
Condition: designing a comfortable and sustainable tower in Enugu amidst humidity and urban growth.
Response: incorporating cultural elements into Diaframe’s proposal for passive ventilation and cultural preservation.
Site isometric, highlighting the tower’s design within urban fabric.
THE SITE AND ITS IMPACT
In Enugu, Nigeria, Diaframe’s design adapts to the city’s tropical savanna climate, with temperatures ranging from 24°C to 30°C Enugu, meaning “hilltop,” faces congestion and unreliable power sources, resulting in frequent outages. The design integrates akwete-inspired facade pieces and BIPV cladding, reducing reliance on mechanical systems and cutting average power usage by 20%.
Site isometric, highlighting the unique design of the structure within
1. Primary Floor Shape Elevated floorplates vary in area and shape.
4. Solar Energy Optimization South glazing facade uses BIPV panels for solar energy.
2. Floor Morphology Floorplates vary in form and irregularity between defining shapes.
3. Deconstruct Facade Facade divided into three skins to respond to site climate.
5. Passive Ventilation East and west facades use Igbo akwete patterns; central tower vents heat.
6. Double Skin Envelope North and south facades use dual skins to limit heat transfer.
MASHRABIYA STUDY
Tunisian mashrabiyas, tailored for arid climates, intricately regulate humidity and airflow. With artistic patterns, they ensure comfort and privacy, mirroring Islamic architectural traditions.
AKWETE STUDY
Akwete, an Igbo cloth with royal symbolism, now adorns modern textiles. Inspired by Tunisian mashrabiyas, I crafted a large-scale facade featuring akwete patterns, providing passive ventilation for comfort.
Structure and Steel Studs
Assembly drawing displaying tectonics of Akwete facade.
Perspective model photo with 1:200 scaled figures.
PROJECT TYPE • ACADEMIC
COLLABORATION •INDIVIDUAL
LOCATION • TORONTO, CANADA
SECTOR • INSTITUTIONAL
SUCCESSION OF SPLITTING
ARCHITECTURE STUDIO II• DAVID VERBEEK• WINTER ‘23
Rhino 7
Grasshopper
Adobe AI
Adobe PS
Lumion
1:50
Plywood
Clay
MDF Wood
Plexiglass
Form-finding is an invaluable skill in creating compelling and authentic architecture. Using dynamic verbs as generative design principles, I interpret the word split as a catalyst for spatial creation—examining division, projection, and separation across various architectural elements. Through iterative exploration, I manipulated both physical mass and projected light to shape immersive spatial experiences. This process culminated in a sculptural building that seamlessly integrates experimentation, playfulness, and programmatic intent.
Condition: produce 3 designs guided by the same verb, while experimenting with core architectural principles.
Response: perceived splitting as division, projection, and separation to create conceptually engaging spaces/forms .
DIVISION
The first exploration approaches the physicality of splitting. The primary execution of splitting is displayed through a gradient of concrete volumes, but these same masses are juxtaposed by pealed walls. The relationship between a strong material and elegant openings fosters curiosity and a one of one experience.
PROJECTION
The second iteration explores splitting the intangible. Each floor plate has a different pattern and ratio of opaque vs transparent material which continuously splits all projected light throughout the structure. Individuals on F1 enter through the darkest space and gradually relax as they explore higher levels.
SEPARATION
For the final iteration of my design, I interpreted splitting as programme driven separation rather than physical division. The design features a student center south of the Goldring Athletics Centre on UofT St. George campus. It incorporates indoor and outdoor study spaces, inviting light while aligning the splitting of volumes and facade, with each unit’s programming.
1.
The two volumes are main areas for study and gatherings.
2. Medium/Small Study Spaces are raised for students preferring quiet/private areas.
3. Usable Roofs
Main volumes have rooftop patios for outdoor experiences.
4.
5.
6. Basement
Basement space encourages student presentations and lectures.
Section Per
Various moments of students interacting design (basement lecture, large study addition, landscaping and
Perspective acting with several spaces in proposed study, usable roofs, and courtyards). In and parametric benches.
LOCATION • BORDEAUX, FRANCE
SECTOR • RESIDENTIAL
Rhino 8
Adobe AI
Adobe PS
Watercolor
1:25
1:150
Basswood
Balsa Wood
Trace Paper
Matteboard
LATAPIE TOWER
ARCHITECTURE STUDIO III • ADRIAN PHIFFER • FALL ‘24
Completed in 1993, Maison Latapie by Lacaton & Vassal transforms a tight 50,000 euro budget into a study of spatial generosity. Inspired by a barn shed, its modular design enables passive cooling, flexible spaces, and adaptable privacy. A fiber-cement facade contrasts with a translucent polycarbonate side, creating a cost-effective yet innovative home that redefines affordable housing. After analyzing the house, I investigated translating its tectonics to a laneway tower. Through physical modeling at a variety of scales, I experimented with materials and techniques in order to achieve a “skeleton” of the tower.
Condition: analyze Maison Latapie then translate its architectural gestures into a laneway tower design in Toronto.
Response: an exploration of the precedent’s tectonics and envelope were investigated through handcut rapid-prototyping and large scale model making.
16.
COLLABORATION •INDIVIDUAL
LOCATION • QUEENSLAND, AUSTRALIA
SECTOR • LANDSCAPE RESEARCH
Rhino 7
Adobe AI
Adobe PS
Archival Research
Historical Research
TEMPORAL TERRAINS
LANDSCAPE SEMINAR II • HADI EL-SHAYEB• FALL ‘23
This study traces Queensland’s 10,000-year landscape evolution through sediment layers and hydrological patterns, highlighting Indigenous stewardship, particularly the sustainable practices of the Wulgurukaba and Bindal peoples. It examines present-day environmental forces shaping the Great Barrier Reef, including sedimentation, coral smothering, and soil runoff. Looking ahead, it explores the escalating impacts of climate change, with rising sea temperatures posing a critical threat to coral ecosystems. Understanding the past is essential to shaping sustainable strategies, as these landscapes have long been guided by natural cycles and Indigenous knowledge.
Research Topic: Investigating the Great Barrier Reef’s health over time, focusing on coral smothering and Indigenous land stewardship.
Findings: Historical land management practices offer valuable insights for conservation, emphasizing the role of vernacular practices in protecting the reef.
Queensland’s past reveals sediment land use: offering insights on diverse weather conditions, Past Section (10,000
0,000 Years Ago-1700s)
sediment layers and Indigenous sustainable management for conditions, such as natural wildfires.
PROJECT TYPE • ACADEMIC
COLLABORATION •INDIVIDUAL
LOCATION• TORONTO, CANADA
DIMENSIONS• 9 x 10 x 7 in.
Exhibited as part of the End of the Year Show at the John H. Daniels Faculty of Architecture, Landscape, and Design for 2 months.
