Michael Good - Interior Design Sessional Faculty Role Application - Work Portfolio by Michael Good

Application for: Sessional Faculty Roles at Ryerson University School of Interior Design

Michael Good Professional Works

Michael Good

MArch., BArchSci., OAA (Intern) Project Architect | Axia Design Associates Inc. c: +1 647 - 408 - 3633 e: mike.james.good@gmail.com

50 Bruyeres Mews, Suite 1005 Toronto, ON. M5V 0H8

Featured Projects Institutional Diwan Pavilion at the Aga Khan Botanical Gardens Event Pavilion | est.2022 | p 4-9 Seoul Photographic Arts Museum Museum | 2019 | p 10-15 Artifact Alley at the Canadian Science and Technology Museum Exhibit Design | c.2017 | p 16-17 Exhibits at the Philip J. Currie Dinosaur Museum Exhibit Design | c.2016 | p 18-19 ‘Ala’ Blue Clay Country Spa Ecological Spa | 2017 | p 20-23 ‘Vivarium’ Urban Insect Farm Urban Farm & Residence | 2015 | p 24-25 Ryerson Chrysalis: Centre for the Performing Arts Theatre Renovation | 2019 | p 26-29

Commercial, Hospitality & Residential Convergence / Divergence Urban Revitalization & Masterplan | 2016 | p 30-33 Make Lemonade Co-Working Flexible Office & Event Space | c.2017 | p 34-37 Coffee Island Roastery Cafe | 2017 | p 38-41 Kimberly Road Commercial Tower Commercial, Food, and Beverage Tower | 2020 | p 42-45 Sylvan Lake House Single Family Residence | c.2018 | p46-49

Diwan Pavilion at the Aga Khan Botanical Gardens

Institutional

Edmonton, Alberta

Scale and material define an experience of retreat, delight, social interaction, and inclusion, all nestled in a setting that transforms throughout the seasons. The Diwan Pavilion in Edmonton is part of a larger existing botanical garden run by the University of Edmonton and funded through the Aga Khan cultural trust. It is a multi-purpose event space designed to serve the needs of the local Ismaili Muslim community. The architecture and interiors are derived from the rich history of the Mogul pleasure garden in India, as well as the broader understanding of the history, art and design of Islamic architectural heritage. These principles, when applied to the

modern Albertan identity, create a uniquely contextualized experience. Axiality, geometry and hierarchy feature prominently in the gardens and are echoed throughout the pavilion, which is seen as an aggregate of interior and exterior spaces contained within a harmonious whole. The intense northern climate of Edmonton presented a particular challenge in providing a comfortable environment throughout the cold winter months. My role in this project encompassed all phases of design.

Axial Relations within the Existing Garden

Site Plan Relative to Existing Garden Features

Initial Interior Spatial Relations

Axis & Symmetry | Concept Design | Light & Texture

Section Legend 1. 2. 3. 4. 5. 6. 7.

Interior Concepts

Main Entrance Lobby Main Hall Multi-purpose Room Conference Room Garden Terrace Axis Garden

Early interior studies of the principle volumes demonstrate material and lighting qualities which would later inform the interior design of the project. Screens are used extensively to suggest spatial boundaries and create a wash of diffuse daylight while the raised podium and extensively glazed ground floor allows the upper volumes to seemingly float, establishing visual continuity to the gardens beyond. Muted colour tones allow the natural texture of the gardenâ&#x20AC;&#x2122;s ecology to animate the interior spaces.

Diwan Pavilion at The Aga Khan Botanical Gardens

5 4 2

Event Hall

Geometry | Scale | Tradition

FEATURE WALL TEXTILE PATTERNS

3D Printed Muqarnas Study Models

01_ Sacred Geometry & The Muqarnas The Muqarnas ceiling is a traditionally vaulted focal element used in many styles of Islamic architecture. It denotes the main elements of the building and establishes hierarchy within the space. In the Diwan pavilion it is a tangible visual connection to the ‘golden box’ as seen from the garden. height= 7’

02_ Stage Backdrop

width= 6.125’

width=5.625’

Geometric patterns used throughout the building and gardens are applied to a printed tensile fabric to form the backdrop of a central stage. Embedded cove lighting details around the perimeter bathe it a soft glow. The stage is symmetrically framed by the expansive glazing and feature walls to its left and right. It is unique in being one of the few interior elements to break the 8’ datum line.

Event Hall height= 8’

Geometric Printed Fabric Studies of the Stage Wall

The scale, materiality and texture of the event hall were carefully considered to address the functional needs of a variety of gathering types including social events, seminars and exhibitions, while geometric proliferation was applied throughout the building to generate detail and texture at the human scale.

Diwan Pavilion at The Aga Khan Botanical Gardens

Second Floor Roof Terrace Overlooking Gardens

The Great Mosque of Cordoba

The Great Mosque of Herat

The Great Mosque of Kairouan

The Abdâ&#x20AC;&#x2122; al-samad Mosque

Esrefoglu Mosque

The Great Mosque of Damascas

The Haund Hatun Complex

Mosque of al-Salih Talaâ&#x20AC;&#x2122;i

Final Pattern

Screen Studies

03_ Screens Featured prominently on all facades of the building, these perforated bronze powder coated screens strike a fine balance between porosity and structural integrity. Their patterning and scale are derived through careful study of historically significant mosques and the practical necessity of vertical supports. Their importance to

the reading of the building cannot be understated as they define the volumetric boundary of the exterior, but also act as a tactile element on the second floor terrace and building entrance. Recessed LED light tracks create a ghostly silhouette and add an enchanting depth to the building at night.

Screening | Texture | Patterning

Donor Wall Material Studies

6.2

A301

6.1

A301

5.1

A301

SCREEN 20535

A302

20570 6390

6205

1065

935

PANEL REPETITION - 3010 100mm LIMESTONE CAP (TYP)

905

1205

2030

305 605

905

1205

LS1

305 605

905

1205

305 605

905

305 605

905

4165

1205

305 605

905

1205

EXTENT ON PAINTED PERFORATED ALUMINIUM SCREEN

760

PANEL REPETITION - 3010

1240

PANEL REPETITION - 3010

WD2

2135

7670 OPEN TREAD METAL PAN EXTERIOR STAIR ON H.S.S. RUNNERS COVERED WITH 1 1/2" x 5/8" STAGGERED WOODEN STRIP PRIVACY FENCE ON STEEL SUPPORT FRAME ATTACHED TO STAIR STRUCTURE

SCREEN 21870

CT7

PANEL REP. 1200

CT7

600 400

440

6660

5000

1250

7500

200

CT7

6250

5295

STAINLESS STEEL GUARDRAIL (REFER TO LANDSCAPE)

2440

1220

2440

1220

11895

STAINLESS STEEL GUARDRAIL (REFER TO LANDSCAPE)

1400

6245

175 Floor Tile Pattern & Scale Studies

240

12590

305

100mm LIMESTONE CAP (TYP)

605

ACM

TYP.

1725

EXTENT ON PAINTED PERFORATED ALUMINIUM SCREEN

2 13195

7955

AL4

135

2030

7.1

NORTH ELEVATION 1 : 100

A301

6.2

6.1

A301

5.1

A302

3475

6570

2030

1065

7.1

STAINLESS STEEL GUARDAIL (REFER TO LANDSCAPE)

1240

REFER TO GARDEN DRAWINGS FOR WALL ELEVATIONS

1240

STEP NOSING TO MATCH PAVING (REFER TO LANDSCAPE)

9975

NORTH ELEVATION - GARDEN 04_ Donor Wall (top) WALL

05_ Mosaic Tile In-lay (middle) 1

A301

PAINTED ALUMINIUM SCREEN HIDES HVAC RTUs

2790

100mm LIMESTONE CAP (TYP)

1220

CT8

905

1205

1725

1590

PANEL REPETITION - 3010 305 605

PERFORATED ALUMINIUM SCREEN

A301

AL4

1070

135 1065

A302

An inlaid mosaic floor 5tile spans the northern foyer to 6.2welcome the visitor. The pattern 5.1 6 6.1 7 7.1 2 3 8030 derived from the ‘Ice Chabutra’ 6205 feature outside adjacent to 6390 the foyer. Above 1060 are 190 itself is initial studies establishing an appropriate scale.

305 605

905

1205

CT8

1350

The donor wall in the north 1 foyer 2also uses patterning and ornamentation to create 3 4 1 6835 5720 over white 530 a textured backdrop as a welcoming element. 3D printed ceramic tiles oak panels are scaled to allow for varying sizes of donor plaques depending on their financial contribution.

1 : 100

470

7500

3R @ 140 = 420

EXISTING LIMESTONE CLAD GARDEN WALL

1100

EXISTING LIMESTONE CLAD GARDEN WALL

Institutional Seoul, Korea

Study Models

The camera is, at its heart, a space. Within, a filtered reality is projected upon the spherical world of the eye. It lies between the laws of physics which govern the form of the camera and the enigma of human artistry. This proposal for the Seoul Photographic Art Museum â&#x20AC;&#x201C; Camera Obscura -, is a building that is both sculpted and calibrated; it is formed at the intersection of tool and hand. The building is derived from a series of elemental moves, beginning with the straight extrusion from the property line up to maximum height. The elliptical mass of the Robot Science Museum strongly impacts the building form with a dramatic sweeping curve that responds to this condition, also echoed in the organic undulations of the window fenestrations. The mass is carved further with enormous cantilevered vaulted street-level entrances. This

language extends to the interior in the form of a fluid spine of public movement, where the visitor experience is a principal influence on the arrangement of the circulation within. The material richness of the public atrium is contrasted by the spartan simplicity of the inner galleries which promote flexibility to allow for a variety of exhibitions, with a carefully considered lighting scheme to maximize functionality. Equally integrated is the exhibition servicing, in an efficient, direct flow from loading to display. In this proposal, circulation, functionality, and sculpted form are choreographed to produce an inspired new cultural facility.

Urbanism | Integration | Form

Urban Context The Seoul Photographic Art Museum is a place of arts, culture, and discovery for Chang-dongÂˇSanggye City and beyond. As such, it considers the wider scale of connectivity to the Seoul Metropolitan Region by virtue of nearby Chang-dong station. The building promotes fluid pedestrian movement at the ground plane, and a smooth transition between the Seoul Photographic Art Museum and its immediate neighbours, creating significant public green space between all three.

Ground Floor Plan 1. 3. 4. 5. 8. 11. 13.

Public Atrium Reception & Ticketing Feature Stair & Circulation Exhibition Room One Video Hall Cafe & Bookshop Display Wall

Second Floor Plan 15. 16. 17. 20. 22. 23.

Public Elevators Men’s Washroom Women’s Washroom Staff Entrance Loading Dock Freight Elevator

24. 25. 26. 27. 28. 32. 33.

Public Atrium - Level 2 Exhibition Room Two ‘Camera Obscura’ View Deck Reference Archives Special References Education Room One Education Room Two

34. 35. 36. 37.

Computer Lab Second Level Lobby Men’s Washroom Women’s Washroom

Atrium Section 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16.

Public Atrium Feature Stairs Exhibition Room Four Video Hall Education Room One Operation’s Office Meeting Room Roof Terrace & Viewing Roof Terrace Vestibule Washrooms Egress Stair Parking Research Lab Night Duty Elevator Vestibule Corridor

Third Floor Plan

Mezzanine Floor Plan 39. 40. 41. 44. 45. 48. 49.

Public Atrium - Mez. Level Operations Offices Meeting Room Docent’s Lounge Keeper’s Lounge Mezzanine Level Lobby Men’s Washroom

50. 51. 52.

Women’s Washroom Freight Access ‘Camera Obscura’ View Access Point

53. 54. 57. 58. 61. 62. 63.

Public Atrium - Level 3 Exhibition Room Three Exhibition Room Four Lower Roof Terrace Media Projection Wall Third Level Lobby Men’s Washroom

64. 67. 68.

Women’s Washroom Stair Access to Upper Roof Terrace Reflecting Pool and Seating Steps

Exhibition Section 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12.

Main Public Entrance Public Atrium Exhibition Room Two Exhibition Room Three Roof Terrace & Viewing Meeting Room Courtyard Vehicle Circulation Exhibition Storage Parking Ramp to Parking L2 Street Access Ramp

Seoul Museum of Photographic Arts

Typical Exhibition Room

Exhibition Lighting Concept (left) 1. 2. 3. 4.

Multi - Directional LED Spotlight Silver Aluminum Recessed Track System Wide Flood Angle LED Floor Lighting Convex White Powder - Coated Aluminum Reflectors

Exhibitio 5. 6. 7.

Frosted Acrylic Lay Light Diffusion Panel Flexible LED Light strip Embedded in Handrail Cone Projection Recessed Down lighting

Exhibition servicing is both hidden and efficient w bank accessible from two loading docks on th underground parking garage. Each gallery include rooms with integrated oversized panel doors

Lighting | Exhibit Design | Circulation

Public Atrium

The Camera Obscura An ocular viewing window - using the principles of the camera obscura - dominates the southern facade and offers a unique view of the Seoul skyline from the second floor gallery.

Mezz.

on Servicing (right)

with a secondary elevator he rear lane and in the es directly adjacent prep s to minimize their impact

Artifact Alley at the Canadian Science and Tech. Museum Exhibit Design | c. 2017 | $3,400,000 | 14,100 Sq.f | Reich+Petch Design International | Project Designer

Artifact Alley: Overview Rendering ‘Tools’ Exhibit

Institutional Ottawa, Ontario

Artifact Alley: Travel Casework – View of Front Elevation

Early Concept Renders

“[Artifact Alley] is a striking aesthetic experience that highlights the Museum’s diverse collections and allows visitors to engage with Artifact Canadian Alley Exhibition Design objects representing science and technology.” Design Presentations May 12/13, 2016 - Reich+Petch Design International ‘Artifact Alley’ is an exhibition and event space comprising the central spine of the newly renovated Canadian Museum of Science and Technology. It features a dense, object rich array of Canadian science and technology ephemera with a focus on hands on interactions and multi – scenery experiences. Comprised of eight themed exhibits, it is part of a broader expansion of temporary galleries at the heart of which is Artifact Alley, where it establishes the organizational principle of the museum and spatially defines the subsidiary galleries. Located like a vertebrae in its centre, the main stage becomes a space of socialization

Artifact Alley Exhibition and educational demonstration. The Design exhibit takes advantage of the Design Presentations May 12/13, 2016 extensive ceiling height to encourage the placement of large artifacts, and the discreet millwork detailing and materiality allows the content to be the focus of the experience. While the visual effect is intended to remain homogeneous, the content is grouped to correspond with the adjacent galleries, and includes interactive elements with an emphasis on tactility. Overlaid throughout is a secondary design of branding and wayfinding to direct the visitor on their journey. My role in this project spanned from schematic design to early construction documentation.

Multi - Sensory | Exhibit Design | Experiential

Central Alleyway & ‘Winter’ Exhibit (left)

Demonstration Stage

Exhibits at the Philip J. Currie Dinosaur Museum Exhibit Design | c. 2016 | $5,000,000 | 15,000 Sq.f | Reich+Petch Design International | Designer

Institutional Wembly, Alberta

Interactive Rotating Display

“Philip J. Currie Dinosaur Museum is a world-class dinosaur museum facility, custom built to house bones extracted from the Pipestone Creek Dinosaur Bone Bed, one of the most significant deposit of horned dinosaur fossils ever discovered.” - Reich+Petch Design International The Philip J. Currie Museum is an integrated exhibition space tailored for a uniquely designed Teeple Architects building. As such, it was not only an exercise in exhibit design, but also museum planning. Entering onto the mezzanine level, the main gallery is below grade and features heavy concrete supports and a soaring wood frame ceiling which were thoughtfully integrated and informed the gallery design. Characterized by vast open spaces, site lines were integral to the visual cues and circulation of the museum, while the meandering nature of the exhibits encourage exploration through nonlinear progression. The emphasis on natural materiality echoes the surrounding landscape and allows for easier immersion to ‘follow in the footsteps of the paleontologists’ which was a fundamental principle to the design. My role in this project spanned from late design development to partial construction documentation.

Museum Planning | Architectural Integration | Exhibit Design

‘Ala’ Blue Clay Country Spa

Institutional / Hospitality

Competition | Ecological Spa | c. 2017 | MMNT Design | Lead Design

Kurzeme District, Latvia

View from the Indoor Bath

Ala. “Cave” Latvian The cave is humble. The cave does not demand attention, but rather invites your curiosity – and once discovered begins to reveal its splendor through an enigmatic network of passages, chambers, and openings. As you move through it, the cave’s walkways contract and its halls expand. Spaces are small and large, light and dark, reticent and all encompassing. The cave is a synthesis of nature’s most primitive elements: earth, water and light. There is no time here. The cave pulses, the cave breathes … Of Latvia’s diverse ecosystems, the most precious of her ecological jewels are her natural monuments, some of the oldest of which are caves. The formative process of caves are a result of the primal forces of water and the movement of earth. The ceaseless motion of water erodes even the heartiest of stone, creating spaces where no two environments are

alike yet all share a common spatial coherence. Still, this simple harmony of earth and water is only revealed when touched by light. Caves have been captivating to humanity for millennia. Early man sought shelter, but now caves have become a place of spirituality, providing a reconnection with our primitive selves through their unconquerable endurance. This is healing. True to Latvia’s wild landscapes, the Blue Clay Spa is un-intrusive to its context and veiled in mystique. But from the outside only a series of gentle mounds rest in the Kurzeme forest. It is a quite architecture. This eco-resort is a sprawling network of interconnected chambers conceived of the very earth used in the spa process. Its atmosphere is derived from the tactility of the clay and the striation of eroded rock, and spatial boundaries are blurred to create a seamless integration with the landscape.

View in the Courtyard

Abstraction | Landscape Integration | Form

â&#x20AC;&#x2DC;Alaâ&#x20AC;&#x2122; Blue Clay Country Spa

Unrolled Section Movement through the spa is ordered in a sculpted choreography and guided by light. The visitor is led from one space to the next through a series of contractions and expansions like deep breaths before the next plunge. Each successive space takes on its own unique character through varied approaches of the same harmonizing elements.

Environmental Strategy

Baltic Geology

1. By eliminating chemical products, waste water filters 5. naturally to the local aquifer 6. 2. Spa pools are filled using cleaned pond water 7. 3. Gravity and natural pressure force water conveyance 4. Minimized electrical light through targeted daylighting 8.

Earth from pool regrading is reused as covering Indigenous vegetation reclaims the building facade Locally sources and manufactured clay blocks are used extensively to achieve striation Trombe walls and solar gains minimizing heating

Materiality | Ecology | Tectonics

Therapy Room (top) Sauna Shower (bottom)

A Quiet Architecture From the exterior, the full body of the cave is obscured. Instead, the spa takes the form of gentle sloping hills embedded within the landscape. As the mounds meet the pond, the earth opens to reveal the spa bath. Further within, smaller dedicated spa rooms radiate around the baths and courtyard, each achieving a unique character within the homogeneity of the greater whole.

‘Vivarium’ Urban Insect Farm

Institutional / Residential

Competition - Honourable Mention | Urban Farm & Residence | c. 2015 | Lead Design

Form

Ecology

New York, U.S.A.

Residences

For the majority of the modern history of their city, New Yorkers have been at war with insects. Not anymore! The Vivarium project, which includes insect cultivation environments, residences, and public spaces connected to the High Line’s ecosystem and Manhattan´s grid, demonstrates how humans and bugs can coexist and how the latter can be a source of protein, income, ecological regeneration and even beauty. ‘Vivarium’ (Latin for ‘place of life’, defined as an enclosed space for observing animals or plants) seems deceptively homogeneous from the outside. But as one enters, either from the street or through a High Line-connected staircase, one

is faced with a radical contrast: while apartment units are located on its perimeter, the heart of the building is hollow, exposing a series of enclosed, visible insect and invertebrate vivariums that intrigue and disconnect. A city as innovative and diverse yet as ‘food insecure’ (16.6% - National Geographic, 2014), and ‘protein-hungry’ as New York can become a leader in incorporating healthy and sustainable insect farming and related culinary practices. By cultivating, harvesting, transforming, consuming insects (according to FAO 2013, 2 billion

Insect Farming | Ecology | Food Scarcity

people worldwide already do), and selling their by-products (e.g., silk and natural dye carmine), the Vivarium project aspires to spearhead such an initiative in North America. It also aims to act as a regenerator of urban ecosystems (through organic waste composting by meal worms, High Line flora pollination, farming of endangered butterfly species), and to educate its residents and High Line visitors though doubling as an insectarium and a contemplation space punctuated by the annual seasonal release of butterflies.

Building Legend

Vivarium Legend

1. 2. 3. 4. 5. 6. 7.

A. B. C. D. E. F. G. H.

Market Hall & Entrance The Atrium Void Insect Production Specialty Insect Retail Leasable Commercial Space Residential Units Residential Amenity

Caterpillar & Butterfly (Indigenous) Caterpillar & Butterfly (Endangered) Mulberry Courtyard Cochineal Dye Insects Silkworm Habitat Honeybee Habitat Mealworm Production Compost Production

Ryerson Chrysalis: Centre For The Performing Arts Theatre Renovation | Concept & Feasibility | c. 2019 | $54,000,000 | 65,600 Sq.f | Axia Design | Project Architect

View from the ‘Walk of Fame”

1 4

4 3

AXIA was engaged to reimagine an earlier unsuccessful proposal to determine improvements to the Ryerson Theatre Faculty in Kerr Hall. Working under the framework of the original outline and the Ryerson master plan, we endeavored to create an engaging space that would place the theatre at the epicenter of performance, research, and production not only in the school, but in Toronto and beyond. It encompassed three ‘program types’: a new academic hub for the school of performance, a catalyst ‘production commons’ to engage with the broader creative industry, and a modernized world-class Ryerson theatre. Versatile teaching spaces, seminar rooms,

production facilities, faculty offices, and a multi Permeating the entire design is a large atrium t united whole, and provides a much needed profe allow for large spatial gatherings and act as an a Finally in an effort to establish street presence, physical and visual porosity to bring the faculty this project included all phases.

Institutional

Performance | Revitalization | Catalyst

Toronto, Ontario

Above - Theatre ‘Open Mode’ Below - Theatre ‘Performance Mode’

7 7 1

8 9

i-purpose black box theatre were all integrated. that seamlessly connects the three parts into a essional front of house. Enhanced public spaces aggregating element for the students and faculty. the façade was dramatically altered to promote y of performance into the public eye. My role in

10 14

4. 5.

Theatre Back of House Atrium & Theatre Lobby Feature Stairs Presentation Gallery

Diagram Legend 1. 2. 3.

Program Types: 6 7. 8.

Atrium Labs / Classrooms Black Box Theatre (open to below) 9. Faculty Offices 10. Student Atrium

11. 12. 13. 14.

Performance Studio Acting Homerooms Administration Offices Mechanical & Electrical

Theatre and Venue Stage & BoH Public Lobby Administration Classroom / Labs Studio Spaces

Ryerson Chrysalis: Centre for the Performing Arts

Forming an Identity Through strategic interventionism, a uniform material and formal language that is echoed inside and out, and referencing traditional theatrical precedents, a new identity for the school of performance is crafted around the framework of Kerr Hall

View from Gerrard Street Looking onto the Quad

UP - 28R

160 over 4500mm

DN - 28R

160 over 4500mm

ELEV.

OPEN TO ABOVE

FREIGHT ELEV.

OPEN TO ABOVE

OPEN TO ABOVE DN - 28R

160 over 4500mm

OPEN TO BELOW

8 7 8

Early Elevation Study of the Gerrard Street Facade

Aggregation | Branding & Identity | Engagement

Ground Floor Plan (left) 1. 2. 3. 4.

View from Reception

Second Floor Plan (right)

Public Atrium Theatre Front of House Theatre Stage

5. 6. 7. 8.

UP - 28R

160 over 4500mm

Shared Back of House Black Box Theatre Production Commons Services

1. 2. 3. 4.

Public Atrium Display Gallery ‘Walk of Fame’ Theatre (otb)

5. 6. 7. 8.

OPEN TO BELOW

DN - 28R

160 over 4500mm

Classroom / Lab Black Box Theatre (otb) ‘Walk of Fame’ Administrative Office

OPEN TO ABOVE

OPEN TO BELOW

OPEN TO ABOVE

4 6

OPEN TO BELOW

OPEN TO BELOW OPEN TO BELOW OPEN TO ABOVE

OPEN TO BELOW

3 2

Convergence / Divergence Urban Revitalization & Master-plan | c. 2016 | Academic

Convergence / Divergence is a mixed use proposal for the revitalization of the underutilized junction triangle in the Dundas West Bloor Area. The project is a 2.5 hectare investigation and design response at 158 Sterling Road, that focuses on reinforcing physical and economic linkages to act as a catalyst for employment opportunities to the site from Toronto and the broader GTA. This in turn forms a stable foundation for the long-term social benefit of the neighborhood. The site itself, though meticulously connected to public transit, Go Train, UPX, Rail corridor trail, and major street networks, remains isolated due to the geography of the area and growth patterns of the city â&#x20AC;&#x201C; full of fringe conditions and hard impermeable edges. The title comes from the convergence of these many vital arteries into one divergent place. Physically, the project seeks to create a new development language by embracing the ambiguities and conflicts in the urban landscape to uncover the latent potential of incongruous spatial forms. The project as a thought exercise seeks to take advantage of residual urban spaces in a site specific manor by letting go of codified design responses, specifically those imposed by standardized lot divisions and rigid proprietorship, and that much public good can come from blurring these lines at the urban scale. Throughout the complex there is an emphasis on varied and engaging work spaces that are intimately laced with residential programming to create a vibrant urban area. All while drawing the public domain in, to interact with the private with the balance shifting towards community stewardship. At the same time the many disparate arterial connections are drawn in to the heart of the site to help facilitate this much needed economic change.

Commercial / Residential

Residual | Revitalization | Workspaces

Toronto, Ontario

View from Office Atrium

Overlaid Connections (above) Physical connections permeate the site, establishing secondary and tertiary movement patterns intricately woven in to one another. At their crossing, they create nodes of activity and aggregation.

Node Section (left) The culmination of several intersecting pathways reveals a hybrid commercial atrium below a residential development.

Convergence / Divergence

Site and Architecture Long, winding buildings make up the majority of the scheme, ensuring all workspaces have ample connection to a variety of both structured and unstructured public plazas which bleed into the hearts of the buildings. The architecture of the site serves to direct and channel pedestrian activity to its core while a highly porous ground floor promotes uninterrupted movement and visual continuity.

Full Site Section

Porosity | Urban Integration | Connection

Full Site Aerial

Make Lemonade Co-Working Space

Commercial

Flexible Office & Event Space | c. 2017 | $160,000 | 3,000 Sq.f | MMNT Design | Lead Design

Toronto, Ontario

Kitchen & Bar

Bar Seating

Make Lemonade is a locally owned and operated co-working space dedicated to inclusivity and empowering women in the workplace. The project featured an aggressive timeline and minimal budget to completely retrofit a dated 1960â&#x20AC;&#x2122;s office suite into an engaging open concept workspace that was both functional and multi-use. Work areas vary from dedicated hot desks and meeting rooms, to informal breakout spaces and a multi-purpose â&#x20AC;&#x2DC;green roomâ&#x20AC;&#x2122; that is easily converted for hosting events. At its heart is the public kitchen which

Phone Rooms

Informal Work Spaces

animates the floor plate and acts as focal point of user engagement while unobtrusively separating spatial zones. Vibrant splashes of colour and locally designed and produced murals contrast the simplicity of the main finishes and natural hues of the furniture while serving as a branding and identity element for the client. The unconventional materiality and airy design foster the creative spirit of the community, while extensive use of custom furniture and millwork bring a richness and tactility to the office. My role in this project included all phases.

SEATING:

9 4

3 11

Dedicated Workspace: 14 Permanent Seats Informal Workspace: 14 Permanent Seats Private Offices: 1 Permanent Seat Phone Room: 2 Seats Reception: 1 Permanent Seat Meeting Rooms: 6 & 4 (2 rooms) Seats

ISSUED

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11.

Plan Legend

Reception Lounge ‘Green Room’ Meeting Room Informal Work Spaces Bar Kitchen Hot Desks Phone Room Office Storage / copy 1703

2017-06-18 As indicated

SCALE : PROJECT NO. :

DATE :

Dwg. Title :

Dwg. No. :

A1.2

Furniture Plan

326 Adelaide Street West

Make Lemonade Co-Work Office

ISSUED

ISSUED FOR PERMIT

ISSUED FOR COORDINATION

ISSUED FOR PRICING

2017/06/20 2017/06/22

2017/06/15

DATE

REVISED

Light & Colour | Multi - Use | Open Concept

Informal Work Spaces

Custom wall Graphic c. Akin Collective

D/W

DESK TYPE C

Make Lemonade Co-Working Space

PLYWOOD TOP

MDF FRAMING BELOW 40mm GAP FOR ELECTRICAL

WHITE MDF BASE

STEEL LEGS PURCHASED FROM SYMMETRY HARDWARE - “BIG CHASSIS”: • HEIGHT 26” • WIDTH 21” • LENGTH 84” DESK TYPE A • 2”X2” STEEL TUBES

PLYWOOD TOP

MDF FRAMING BELOW

SCOPE OF WORK FOR FURNITURE CONSTRUCTION | 326 ASW

40mm GAP FOR ELECTRICAL WHITE MDF BASE

STEEL LEGS PURCHASED FROM SYMMETRY HARDWARE - “BIG CHASSIS”: • HEIGHT 26” • WIDTH 30” • LENGTH 84” • 2”X2” STEEL TUBES

Custom Desk Design

DESK TYPE D

OSB TOP

SCOPE OF WORK FOR FURNITURE CONSTRUCTION | 326 ASW

STEEL ‘HAIRPIN’ LEGS PURCHASED FROM HAIRPIN LEGS CANADA “RAW STEEL 3-ROD”: • LENGTH 28”

Millwork & Furniture Design MMNT custom designed bespoke millwork, desks and tables for the client which are pivotal in the identity of the space.

Custom Table Design

SCOPE OF WORK FOR FURNITURE CONSTRUCTION | 326 ASW

9' -

3 0'-1 _" 4 1'-0"

9 A5.3

BENCH TOP ENDS NOT TO BE OPERABLE

1 : 10

KNEE WALLS TO BE ANCHORED TO CONCRETE FLOOR

3' - 6"

9 A5.3

Section Detail @ Knee Wall 1 : 10

5 A5.3

2" FIXED OSB STRIP BETWEEN OPERABLE BENCH TOPS 2" FIXED OSB STRIP BETWEEN OPERABLE BENCH TOPS MOUNTED TO T/O WOOD STUD MOUNTED TO T/O WOOD STUD FRAMING TYP. FRAMING TYP. 0'-2"

0 1 0'-3 _" 2

3'-6"

BENCH TOP ENDS NOT TO BE OPERABLE

3' - 6"

1'-0"

1067

3'-6"

1067

3 0'-1 _" 4

Millwork | Custom Furniture | Detail

Section Detail @ Knee Wall

BACK REST

3'-6"

5 A5.3

0'-6"

EDGE OF BENCH TOP. LEAVE GAP BETWEEN ADJACENT FIXED OSB COMPONENT (+/- 18")

EXPOSED OSB SEAT AND BACKREST EDGES TO BE FINISHED WITH YELLOW TAP TO 112" BEYOND EDGE IN EITHER EDGE OF TERRAZZO WINDOW SILL DIRECTION

3'-6"

1 3'-2 _" 2 0'-2"

3'-6"

2'-4"

EXPOSED HINGE @ END OF TOP. LEAVE GAP EXPOSED OSB BENCH SEAT AND BETWEEN ADJACENT FIXED OSB BACKREST EDGES TO BE COMPONENT (+/- 18") FINISHED WITH YELLOW TAP TO 112" BEYOND EDGE IN EITHER DIRECTION

2"x4" STUD FRAME

0'-6" OPERABLE BENCH TOP = 3'-4" TYP.

1 TOTAL BENCH LENGTH = 23'-4 _" 4

OSB BACK REST LINE INDICATES INNER EDGE OF SETA BELOW BACKREST

OSB BACK REST

1 0'-3_" 2

2"x4" STUD FRAME

1 3'-2 _" 2

0'-6"

2'-4"

3'-6"

LINE INDICATES INNER EDGE OF SETA BELOW BACKREST EDGE OF BENCH TOP. LEAVE GAP BETWEEN ADJACENT FIXED OSB COMPONENT (+/- 18")

OPERABLE BENCH TOP = 3'-4" TYP.

BACK REST

1 0'-3 _" 2

0'-2"

2" FIXED OSB STRIP BETWEEN OPERABLE BENCH TOPS 2" FIXED OSB STRIP BETWEEN OPERABLE BENCH TOPS EDGE OF TERRAZZO WINDOW MOUNTED TO T/O WOOD STUD MOUNTED TO T/O WOOD STUD SILL FRAMING TYP. FRAMING TYP.

0'-6"

1 0'-3_" 2

0'-2"

3'-6"

8 A5.3

1 TOTAL BENCH LENGTH = 23'-4 _" 4

2"x4" STUD FRAMING

EXPOSED HINGE @ END OF BENCH TOP. LEAVE GAP BETWEEN ADJACENT FIXED OSB COMPONENT (+/- 18")

3'-6"

2"x4" STUD FRAMING

8 A5.3

Plan Detail @ Bench 1 : 10

3'-6"

A5.3

EDGE OF OPERABLE BENCH TOPS

8 A5.3

Plan Detail @ Bench

CONTRACTOR TO FULLY AND ADEQUATELY PROTECT EXISTING TERRAZZO WINDOW SILL

0'-6"

0'-3"

1'-8"

0'-3"

3'-6"

1 : 10

12" PLYWOOD

CONTRACTOR TO FULLY AND ADEQUATELY PROTECT EXISTING TERRAZZO WINDOW SILL

6 A5.3

1'-3"

3'-6"

34" OSB EDGE OF OPERABLE BENCH TOPS

34" OSB

1'-8" CONTRACTOR TO ENSURE EDGE OF BENCH TOP ALIGNS WITH INTERNAL WOOD FRAMING (REFER TO PLAN)

1'-0" 0'-3"

1'-8" 2'-5"

7 A5.3

HOLE TO BE CUT OUT OF 12" PLYWOOD AT SOCKET LOCATION CONTRACTOR TO FULLY AND ADEQUATELY PROTECT EXISTING ELECTRICAL SUPPLY BOX - LOCATION APPROXIMATE CONTRACTOR TO VERIFY ON SITE

Plan @ Bench 1 : 20

Millwork Bench & Storage APPROXIMATE LOCATION OF EXISTING GLASS PARTITION

6 A5.3

WOOD BLOCKING FOR STRUCTURAL SEAT SUPPORT LATERAL SUPPORT TO BE INCLUDED AS NECCESSARY

0'-3" 1'-3"

0'-3"

1 1'-2 _" 2

3 0'-1 _" 4

WOOD BLOCKING FOR STRUCTURAL SEAT SUPPORT EXPOSED HINGE @ END OF SUPPORT TO BE BENCH TOP. LATERAL LEAVE GAP INCLUDED AS NECCESSARY BETWEEN ADJACENT FIXED OSB COMPONENT (+/- 18")

SEAT REST TO APPROXIMATE RETURN TO EDGE LOCATION OF OF WALL EXISTING GLASS PARTITION

3 _" +/- 0'-7 _" 0'-21 4 2

0'-6"

BLOCKING FORCONTRACTOR BACKREST ASTO FULLY AND ADEQUATELY PROTECT NECCESSARY EXISTING ELECTRICAL SUPPLY BOX - LOCATION APPROXIMATE CONTRACTOR TO TYPICAL 2"x4" STUD WALL VERIFY ON SITE CONSTRUCTION

34" OSB

3 1'-9 _" 4

0'-3"

1'-8" 2'-5"

LEAVE GAP BETWEEN ADJACENT FIXED OSB COMPONENT (+/- 18")

CONTRACTOR TO ENSURE EDGE OF BENCH TOP ALIGNS WITH INTERNAL WOOD FRAMING (REFER TO PLAN)

14" PLYWOOD KICK PLATE

0'-7" 1 0'-1 _" 4

3 1'-7 _" 8

1 0'-2 _" 2

LEAVE GAP BETWEEN ADJACENT FIXED OSB TERMINATE ASTROTURF COMPONENT (+/18") OF BENCH KICK AT END PLATE 1 0'-3 _" 2

0'-3"

3 1'-7 _" 8

1 0'-1 _" MIN. 2

2"x4" WOOD BLOCKING

1 0'-1 _" MIN. 2

1 1'-2 _" 2

0'-6"

3 1'-9 _" 4

34" OSB

Section Detail @ Bench

14" PLYWOOD KICK PLATE

0'-7"

1 0'-1 _" 4

1 : 10

1 0'-3 _" 2

A5.3

3 0'-1 _" 4

1 0'-2 _" 2

HOLE TO BE CUT OUT OF 12" PLYWOOD 34" OSB AT SOCKET LOCATION

3 _" +/- 0'-7 _" 0'-21 4 2

2017-06-22 2:14:43 AM

0'-3"

EXPOSED HINGE @ END OF 34" OSB BENCH TOP. LEAVE GAP BETWEEN ADJACENT FIXED OSB COMPONENT (+/- 18")

SEAT REST TO RETURN TO EDGE OF WALL

1'-0"

3'-6"

2"x4" STUD WALL 12"TYPICAL PLYWOOD CONSTRUCTION

2017-06-22 2:14:43 AM

0'-6"

BLOCKING FOR BACKREST AS NECCESSARY

TERMINATE ASTROTURF AT END OF BENCH KICK PLATE

2"x4" WOOD BLOCKING

7 A5.3

Plan @ Bench

6 A5.3

1 : 20

Section Detail @ Bench ADDITIONAL FRAME AS NECESSARY

1 : 10

44" THREE HEAD PREFAB TRACK LIGHTING x 4(ABOVE BAR SIDE ONLY) EDGE OF BULKED OUT CEILING TO ALIGN WITH LOCATION OF T-BAR GRID (REFER TO RCP)

0'-4"

0'-6"

SITE VERIFY

+/- 6'-5"

0'-6" REMOVE AND REPLACE EXISTING ACT PANES (AND T-BAR GRID AS NECESSARY) WITH BULKED OUT DROP CEILING:

+-/ 1'-0"

FRAMED STEEL STUD BULKHEAD FINISHED WITH 58" GYPSUM WALLBOARD AROUND ALL VISIBLE AREAS AND: SUSPENDED OR CONNECTED TO STRUCTURAL MEMBER ABOVE (METHOD OF CONNECTION TO BE AT CONTRACTORS DISCRETION )

EXISTING WALL FINISH TO BE REMOVED AND REPLACED WITH FINISH GRADE PLYWOOD. NOTE: FINISH SURFACES OF EXISTING AND ADJACENT WALLS TO ALIGN

EXISTING WALL FINISH TO BE REMOVED DOWN TO STRUCTURAL STUD AND REPLACED WITH FINISH GRADE PLYWOOD.

LINE OF EXISTING STRUCTURAL FRAMING MEMBER

1 0'-4 _" 2

EXISTING COUNTER TOP TO BE REMOVED AND DISPOSED OF. 3 +/- 2'-0 _" SITE VERIFY 4

REPLACE COUNTER TOP WITH 12" SOLID SURFACE ON 1" PLYWOOD

12" SOLID SURFACE DESK TOP (FINISH TBD) ON DOUBLE LAYER OF 34" PLYWOOD

1'-6" 0'-2"

1 7'-8 _" 2

1 8'-0 _" 2

EXISTING REAR WALL SURFACE TO BE TILED UP TO BULKED OUT CEILING

1 0'-11 _" 8 1 3'-11 _" 4

PRESSED SHEET METAL FINISH SCREWED INTO 1"x6" WOODEN BLOCK SLEEPERS EXISTING REMOVABLE UNITIZE CABINETRY TO BE FULLY AND ADEQUATELY PROTECTED WHILE BEING STORED ELSEWHERE FOR DURATION OF FLOOR TILING

2"x6" STUD KNEE WALL WITH 12" PLYWOOD FINISH TO RUN EXTENT OF BAR (REFER TO ELEVATION)

3'-6"

ADDITIONAL SUPPORT TO BE ADDED AS NECESSARY OPEN SPACE FOR DISHWASHER

2"x4" STUD KNEE WALL TO ABUT ADJACENT KNEE WALL AND RUN EXTENT OF KITCHEN (REFER TO PLAN) TILE FINISH (SAME AS FLOOR) ON 12" PLYWOOD SUBSTRATE FLOOR TILE TREATMENT TO WRAP ONTO INTERIOR SURFACE OF KNEE WALL KNEE WALLS TO BE ANCHORED TO CONCRETE FLOOR

Millwork Bar & Backsplash

37 2"x4" STUD WALL WITH 58" GYPSUM WALL BOARD FINISH

12" SOLID SURFACE DESK TOP

Plan

1 : 20

Outdoor Sign Coffee Island Roastery

Hospitality

London, United Kingdom

Design Precedents

Coffee Island is a mid-sized cafe chain operating out of Greece and the UK with goals for corporate expansion in Toronto. The proposal shown here is part of a larger integrated design package encompassing a full marketing overhaul that would update the coffee island identity as it is presented to a new North American audience. Themes centre on the origins of the coffee bean as they are traced from farm to cup. Beginning as direct trade, celebrated as a scientific endeavor, and finally manifested as high quality coffee. Victorian motifs of detailed wrought iron and delicate metal inlays, as well as biological stimulus in terrariums and horticulture are harmonized with a material palette derived from the re-branding strategy to create a modernized physical and digital identity for the chain.

Ground Floor Plan (middle)

Design Impetus (top left) Much of the atmospheric presence of the cafĂŠ is governed by a modern application of Victorian motifs guiding the design language, conjuring images of inviting and intricately detailed parlors and lounges. We viewed the Baristaâ&#x20AC;&#x2122;s role as a science and an art, so direct engagement became a focus through the iconography of the Victorian botanist, and a visual display of the laboratory.

1. 2. 3. 4. 5. 6. 7. 8. 9. 10.

Suspended Bean Dispenser Baked Goods Display Barista Demonstrations Point of Sale Barista Work Area Terrariums Product Display Long-term Group Seating Short-term Bar Seating Isolated Tables

Mezzanine Floor Plan (right) 11. Storage 12. Dedicated Work Zone 13. Long-term Mezzanine Group Seating

Design Motifs | Atmospherics | Global Impact

9 1

2 13

12 11

Coffee Island Roastery

Packaging Display and Product Wall

Alternative Product Branding

Identity | Detail Development | Display

West Section

East Section

Digital

Colour Palette Materials Colour Palette Materials

Terrariums & Product Display (top left) As a welcoming feature, tall vertical display cases invoke the Victorian terrarium and exhibit various live coffee species in the Coffee Island trade network to bring awareness to their diverse climate, cultural, and topographical origins. Flexible wall storage and information systems accommodate additional dispensaries and product display, all housed in an intricate metal structure derived from the curvature of the coffee leaf.

Branding Identity (left)

Alternative Digital Branding

Synthesizing a new identity was integral to the success of the project. Working with local graphic designers, AXIA created a sample rebranding package including logos, print material, products, and digital presence to modernize the chain. In a reciprocal relationship, this helped shape and was shaped by the interiors.

Kimberly Road Commercial Tower

Commercial / Hospitality

Hong Kong

In Hong Kong, commercial properties are often organized vertically due to the extreme density and high real estate prices.

EXPERIENCE CENTER

The morphology of the project is a response to angling views away from the cramped adjacent streetscape towards key natural and man-made features. This results in a language of angularity which is extrapolated at several scales from formal massing to interior treatments MASSING MASSING MORPHOLOGY MORPHOLOGY creating a uniform architectural approach throughout the tower.

EXPERIENCE CENTER_FASHION

EXPERIENCE CENTER VIEW ANGLE VIEW ANGLE

EXPERIENCE CENTER_COSMETCI

ENTRANCE ENTRANCE

A significant pedestrian corridor drives through the building from Kimberly road to a raised public plaza at the rear taking the form of an open air mall, and further articulating the massing to establish a striking street presence. Above, spaces are designed for maximum flexibility and are categorized by floor according to their program with terraces and setbacks given to the hospitality sector. At its heart is the climatically controlled experience centre which is a multi-sensory event space designed to accommodate a vast array of technologically focused experiences.

SERVICES

EXPERIENCE CENTER

RESTAURANT / BAR

ROOF TERRACE

COMMERCIAL

RESTAURANT / BAR EXPERIENCE CENTER RESTAURANT / BAR

RETAIL

ROOF TERRACE

ENTRANCE EXPERIENCE CENTER_COMPUTER GAME

Various Fitouts of the Experience Centre

16/F

15/F

12/F

11/F

10/F

9/F

8/F

7/F

3975 3975 3975 3975 3975

17/F

3975

18/F

RESTAURANT / BAR

3975

19/F

3975

20/F

SERVICES

COMMERCIAL

3975

21/F

3975 3975 79560

ROOF

3975

GENERATOR RM.

3975

MACHINE RM.

2670 2670 2670

Programming | Multi - Sensory | Morphology

RESTAURANT / BAR EXPERIENCE CENTER

5000

6/F

3975

RESTAURANT / BAR

5000

3/F

RETAIL

3885

5/F

5000

2/F

5000

1/F

U-G/F

3000

G/F

BLDG SECTION

TYP PLAN LAYOUT_RETAIL

Kimberly Road CommercialTYPTower PLAN LAYOUT_F&B TYP PLAN LAYOUT_F&B

RETAIL UNIT A_ 353.2 sqm / 3801 sqft

OGISTIC

DIAGRAM_ LOGISTIC

RETAIL UNIT A_ 119.5 / 1286 /sqft1146sqft RETAIL UNIT A_ sqm 106.5sqm TERRACE _50.5 sqm / 554 sqft

RETAIL UNIT A_ 120.6sqm / 1298sqft

RETAIL UNIT A_ 136.5sqm / 1470 sqft

RETAILUNIT UNIT 199.2sqm / 2144sqft RETAIL A_ A_ 353.2 sqm / 3801 sqft RETAIL UNIT B_ 196.1 sqm / 2110 sqft

RETAIL UNITB_A_136.5sqm 184.3sqm / 1984sqft RETAIL UNIT / 1470 sqft

RETAIL UNIT B_ 193.3 sqm / 2080 sqft TERRACE_51.3 sqm/ 552 sqft

Typical Layouts (above)

DIAGRAM_ LOGISTIC

As illustrated above, by stacking circulation against the structural sheer wall floor plates are designed for maximum flexibility. By angling the facade inwards, a broader field of vision is allowed.

Facade at night

Circulation DEDICATED ELEVATOR

ELEVATOR & ESCALATOR

ALLELEVATOR FLOOR ACCESS & ESCALATOR

EVENT SPACE & DEDICATED PODIUM ACCESS ELEVATOR

ALLELEVATOR FLOOR ACCESS & ESCALATOR

5 Kimberly Road Elevation 1. 2. 3. 4. 5. 6.

Feature Retail Space Open Air Public Atrium Alternate Tower Access Advertising Board Restaurant Terrace Consistent Treatment in Curtain Wall Application

RETAIL UNIT A_ 136.5sqm / 1470 sqft

RETAIL UNIT 141.9 sqm / 1527 sqft sqft RETAIL UNITA_A_ 136.5sqm / 1470

EVENT SPACE &DEDICATED PODIUM ACCESS ELEVATOR

RET

sqm

Flexibility | Interiority | Iconicism

GCA =495.6sqm

3RD FLOOR PLAN

GCA =495.7sqm

GCA =430.8sqm

5TH FLOOR PLAN

6TH FLOOR PLAN

GCA =441.8sqm

GCA =439.0sqm

7TH FLOOR PLAN

GCA =436

8TH FLOOR PLAN

9TH FLOOR PL

Third Floor Public Concourse VIEW FROM ELEVATOR LOBBY

Movement & Consistency User experience outside of the commercial spaces was an important consideration in the realization of the interiors. A dramatic faceted ceiling overlaid with consistent datum lines and dark reflective material palette create a feeling of familiarity and consistency in the interior architecture regardless of where one is in the overall tower. These principles are proliferated in the public corridors in the floor plates above and even into the elevator cabs. It is a visual indication of the iconic language of the tower.

Section Perspective 1. 2. 3.

4. 5. 6. 7. 8.

Kimberly Road Feature Retail Space Second Floor Public Concourse Service Space Knuttsford Terrace Third Floor Public Concourse Feature Retail Space Commercial Space

6 5

3 4

Sylvan Lake Residence

Residential

Single Family Residence | 2017 | $1,200,000 est. | 6,000 Sq.f | Axia Design | Project Architect

This residence is a custom designed home on Alberta’s Sylvan Lake for a young couple and their two teenage children. Maximizing the exposure to the lake front dominates the architectural character of the house with 38 feet of uninterrupted view. The relative narrowness and depth of the lot presented a challenge for light induction which resulted

Sylvan Lake, Alberta

in a series of inset courtyards along the building’s sides, while the angled facades on its faces are oriented to the edge of the shoreline below. A double height atrium creates a sense of lightness and spatial freedom connecting the expansive areas of the house. Though the EAST ELEVATION - EXTERIOR MATERIALS client acted as builder, myNotrole in this project included all phases. to Scale

2 EAST ELEVATION - EXTERIOR MATERIALS

WEST ELEVATION - EXTERIOR MATERIALS

Not to Scale

Not to Scale 3

Lakeside Elevation HARDIE

LUX (OPTIONS)

3 1

EAST ELEVATION - EXTERIOR MATERIALS

WEST ELEVATION - EXTERIOR MATERIALS

Not to Scale

1 1 3

3 1

Grand Av. Elevation 4

2 HARDIE

LUX (OPTIONS)

3 HARDIE

LUX (OPTIONS)

SUNSHINE DOOR (OPTIONS)

Facade Material Studies

Site Response | Light & View | Clear Span

Sylvan Lake Residence

Selected Details

Open Concept | Detail | Interior Composition

Lake Focus (top left) Even in the deepest areas of the floor plate, an effort is always made to reestablish a connection to the lake, and as a byproduct, harmonious hierarchical relations between program spaces were established.

Open Concept Atrium (top & bottom right) Despite the residenceâ&#x20AC;&#x2122;s significant scale and relative opacity, the deliberate use of double height spaces and careful composition of fenestrations evoke a feeling of lightness and porosity throughout the interior. Spatial separation was established through transitions in flooring, and staged feature elements rather than wall enclosures and hard edges.