PORTFOLIO NAOMI COLLINS JULIEN
2 | PORTFOLIO TABLE OF CONTENTS
RESUME _4 SCHEMATIC _6 FROM LOOM TO ROOM _8 SPATIALIZING MOVEMENT _14 BRIDGING PARK _18 ENVELOPING PATH _20 COMPREHENSIVE _22 LIGHTING MASTERPLAN _24 UNBUILDING _26 MEETING HOUSE _30 ON EDGE: THE MIDWEST CITY _34 MEDITATION LIBRARY _38 CREATIVE _42 COLOUR _44 DESIGN BUILD _48 SKETCHING STUDIES _50
4 | PORTFOLIO RESUME
2019
EDUCATION CS Design | Lighting design intern Schematic design and fieldwork under the supervision of architect Conor Sampson KFS Architects Inc. | Conceptual design internship in Shanghai, China Selected student from the Architecture Undergraduate program McGill University | Research Assistant ARCH303: Design and Construction 1, tricks.in.trade tutor with Prof. Theodora Vardouli Lemay | Design intern Lemaylab conception team under the supervision of architect Andrew King ARCHITECTURE WORK EXPERIENCE
McGill University | Teaching Assistant ARCH490: Selected Topics in Design - Lighting with Prof. Conor Sampson McGill University | Teaching Assistant ARCH512: Architectural Modeling with Prof. Theodora Vardouli and Cailen Pybus LEED Grean Associate | USGBC Green Business Certification Inc. ASP Certificate | Health and Safety on Construction Sites20222022
Ouss
Writing
McGill University - Peter Guo-hua Fu School of Architecture | M. Arch. (Prof.) GPA: 4.00/4.00 McGill University - Peter Guo-hua Fu School of Architecture | B. Sc. Arch. GPA: 3.70/4.00 [Distinction] L'École Supérieure De Ballet du Québec | Sport-Études program Professional formation in classical ballet and contemporary dance Académie du Ballet Métropolitain | Sport-Études program Professional formation in classical ballet and contemporary dance Dawson College | Natural sciences Pure and applied profile [Dean’s Honors List] Ballet Divertimento | Sport-Études program Pre-professional formation in classical ballet and contemporary dance Collège De Montréal | Science and technology Pure sciences profile 2020 - 2021 2015 - 2020 2016 - 2018 2015 - 2017 2012 - 2015 2006 - 2015 2006 - 2012 2020[2020]2022 2019 - 20202019 2020 - 20212021
TEACHING
• • • Critical thinking • • • Photography • • • Hand modeling • • • Hand drawing • • • QGis • • • InDesign • • • Illustrator • • • Photoshop • • • Rhinoceros 3D • • • SketchUp • • • V-Ray • • • Revit • • • AutoCAD • • • Excel • • • 202120212021202220222022 ACKNOWLEDGMENTSPUBLICATIONS Lecture
CERTIFICATIONSEXPERIENCE Esquisses, Automne 2022 | Ordre des Architectes du Québec Magazine Light & Wellbeing: The Physical and Psychological Impacts of Light | CS Design ACSE/EAAE Teachers Conference | Architectural conference on education[2022]20202019 A. F. Dunlop Fellowship | McGill University RAIC Student Honour Roll | Royal Architecture Institute of Canada Ray Affleck Prize in Design | McGill University OAQ Bourse Universitaire | Ordre des Architectes du Québec Global Studio Traveling Fellowship | McGill University Bruce Anderson Travel Award in Architecture | McGill University [en/fr] series student coordinator | Peter Guo-hua Fu School of Architecture Opportunities for Women in Engineering | McGill conference on sustainability Supernatural Design Collective | Student committee GASA / ASA Mental health advocate [yoga instrutor] | SSMU and PGSS Qu’on S’en Va colloquium sponsorship team - 202120202020 -
Promoting
20202019 ACADEMIC SERVICE
| Student
2019
6 | PORTFOLIO SCHEMATIC
8 | PORTFOLIO FROM LOOM TO ROOM TRIDIMENSIONAL WEAVING IN ARCHITECTURAL DESIGN | SELF-DIRECTED RESEARCH
OAQ BOURSE UNIVERSITAIRE ORDRE DES ARCHITECTES DU QUÉBEC; PUBLISHING IN ESQUISSES RECOGNIZED EXCELLENCE AS A RESEARCH PROPOSAL RAY AFFLECK PRIZE IN DESIGN MCGILL UNIVERSITY - PETER GUO-HUA FU SCHOOL OF ARCHITECTURE DISTINCTION IN DESIGN IN THE M.ARCH. (PROF.) FINAL DESIGN PROJECT RAIC STUDENT HONOUR ROLL ROYAL ARCHITECTURE INSTITUTE OF CANADA HIGH ACADEMIC STANDING A. F. DUNLOP FELLOWSHIP MCGILL UNIVERSITY - PETER GUO-HUA FU SCHOOL OF ARCHITECTURE ACADEMIC STANDING, PORTFOLIO OF DESIGN & TRAVEL-STUDY PROPOSAL BRUCE ANDERSON TRAVEL AWARD IN ARCHITECTURE MCGILL UNIVERSITY - PETER GUO-HUA FU SCHOOL OF ARCHITECTURE RECOGNIZED EXCELLENCE AS A RESEARCH PROPOSAL
MAP | DIGITALLY UNFOLDING A PHYSICALLY WOVEN CUBE
“FromSCHEMATICLoom to Room” investigates the spatial, conceptual, and performative possibilities of weaving in three-dimensions. It is a study of how to translate material into space; movement into form; and design into collaboration. As in the past, weaving provides an occasion to gather generations together. It is a collaborative shared activity, traditionally done by women. Today, feminist scholarship recognizes the important contribution of women’s role as weavers to the history of our culture. The systematic, repetitive interlacing of thread to form fabric is a collective form-generating process. In short, weaving materializes time. This inspires me to ask: how can the action of making inform and respond to design intentions? This experimental approach to crafting spatial instances with our bodies documents the exchange between people and materials. While this research does not propose an alternative to rigid building structures, weaving of this type could subdivide interior spaces by creating semi-transparent partitions, or connect building facades with filamentary canopies. Weaving can promote the implication of people with the built environment where a form comes into existence as the embodiment of a rhythmic collective movement. The project highlights a single set of possible interwoven moments, using design and decision-making to drive an additive, iterative process of making.
McGILL UNIVERSITY ARCH 677 - ARCHITECTURAL DESIGN 3 SUPERVISOR: PROF. THEODORA VARDOULI 3-MONTH DESIGN STUDIO FALL 2021 https://62cc9535049ad.site123.me/https://vimeo.com/723483149 RECOGNIZED WORK
FROM LOOM TO ROOM FALL 2021 INTERACTION | A BODY’S MOTION INSIDE THE ROOM MOVEMENT | THE BODY’S MOTION SEQUENCE AS IT WEAVES A SINGLE SURFACE OF THE ROOM
10 | PORTFOLIO I VI II-III-IV-V DOCUMENTING | THINKING BY MAKING ANALOG MODELS OF STUDY FROM LOOM TO TRIDIMENSIONALROOMWEAVING IN ARCHITECTURAL DESIGN | SELF-DIRECTED RESEARCH SCHEMATIC
VIII VIII FROM LOOM TO ROOM To understand the relevance of this gendered labour in architecture, I set off to weave a room. To do so, I moved back and forth between digital and analog processes of design. I began by using a rigid two-meter maple cube as the frame. I then scored all twelve edges equally on each side and chose a highly elastic synthetic blend as the thread. I connected edges together by transforming lines into surfaces, networks into patterns, and layers into obstacles. FALL 2021 VII
12 | TRIDIMENSIONALFROMPORTFOLIOLOOMTOROOMWEAVING IN ARCHITECTURAL DESIGN | SELF-DIRECTED RESEARCH TIME FRAMES | WEAVING PROCESS OF THE LOOM/ROOM SCHEMATIC
In parallel, I used parametric design to write possible thread intersections, and computational tools to script the logical sequence of the weave. This sequence generated a set of instructions that simulated bodily movement and translated it into a language that transcends the loom itself. As iterations ensued, the warp and weft began to articulate a vocabulary of forms where openings, thresholds, and passages emerged. Together, they challenged our preconceptions about spatial boundaries, agency in design, and materiality. Each thread was a negotiation between outside and inside, beauty and use, private and public, art and design.
FALL FROM2021LOOM
VOCABULARY | SCRIPTING THE OVER-UNDER MOTION OF THE WEAVE TO ROOM
WOVEN SURFACE | A TAUT WOVEN HYPERBOLIC SURFACE CREATES A SEMI-RIGID BOUNCY WALL INSIDE THE ROOM
Large-scale inflatables expand to the size of a room, which can be occupied, and depress to create open space areas. Medium-scale inflatables define spatial boundaries and, together, create rooms within the room between each other.
This project challenges the definition of a spatial composition, which is usually present in the precise moment between construction and occupation. By experimenting with different tools, this project evolved from materializing space by illustrating small particles of air with grains of rice, to compartmentalizing space with inflatables modeled by hand. This unconventional spatial intervention investigates how architecture can be a process that unfolds over time and thus responds to its immediate and dynamic environment. This project investigates how the movement of the body interacts with the particles of air and thus how it can displace and dynamically distort air, or even broader, space. This design is meant to highlight the simplicity of qualitative spatial needs and the impact of bodily movements on architecture.
14 | PORTFOLIO SPATIALIZING MOVEMENT LEARNING CENTER FOR THE UNIVERSITY OF MONTREAL COMPARTMENTALIZING SPACE | ELEVATIONS AND AXONOMETRIC
Small-scaleFLOOR inflatables act as interactive furniture and create obstructions between walls and other inflatables.
SCHEMATIC
MCGILL UNIVERSITY ARCH 304 - DESIGN AND CONSTRUCTION 2 ARCH. FRANÇOIS SABOURIN 3-MONTH DESIGN STUDIO WINTER 2019
2ND FLOOR 3RD FLOOR 4TH
URBAN LIVINGCOLLABORATIONINDIVIDUALITY
SPATIALIZING MOVEMENT WINTER 2019 PLAN | 3RD FLOOR ELEVATION | SOUTH FACADE SITE MODEL | CONTEXT ANALYSIS AT 1:200
16 | PORTFOLIO INTERIOR SECTION | NORTH-SOUTH TRANSVERSE LEARNING CENTER FOR THE UNIVERSITY OF MONTREAL SPATIALIZING MOVEMENT SCHEMATIC
SPATIALIZING MOVEMENT HAND MODELS | PLASTER MOLDED IN BALLOONS
WINTER 2019
The overall system challenges the composition of interior space as we know it. The medium being similar to PTFE, the natural behavior of inflatables responds to the dynamic movements of people and the built environment. The curved details in the ceiling allows control over their range of motion. The inflatables extend beyond the limits of the building and expose to additional parameters in the exterior environment.
18 | PORTFOLIO 1 4 2 6 BRIDGING PARK ALLEY REFURBISHMENT UNDER THE ROSEMONT VIADUCT SITE | PLAN + SECTION BIKESWINGSCAFEBENCHAND PEDESTRIAN LANE CAR BIKEPLANTEDTABLESLANEWHEATRACKSSCHEMATIC46287351
McGILL UNIVERSITY ARCH 375 - LANDSCAPE ARCH. MARC HALLÉ 2-MONTH DESIGN STUDIO FALL COLLABORATIVE2016 WORK TEAM OF 4
The site, located just east of St. Denis at the terminus of Rosemont, is at a junction of industrial and residential neighborhoods. The usage of this space is to go from a place to be bypassed to a social and cultural hub and meeting point for the Rosemont, Mile-End and Mile-Ex neighborhoods. The uses of this site must deter questionable activity from occurring here, and a way of doing that is making it a space that is easily populated. A major use of the site is a bike path connecting St. Denis to the current bike path that is parallel to the train tracks, providing cyclists with a pleasant mode of connection, and ignites motion throughout the site. To link the cycling and pedestrian paths to this urban recreational area, the place under the viaduct is transformed into an amusing area with street art, which is further connected to the nearby park. The project is designed to offer an open-air rest area in the middle of the city. The addition of vegetation below the viaduct and its surroundings also emphasizes the connection between the site and park. By adding tall trees along the site, the cars on the viaduct get a hint of the urban public park that sits below the road and, from the street level, their height competes with the mass of the viaduct, creating a softer environment for the pedestrian.
7 3 5BRIDGING8 PARK
BIKE LANE + REST AREADETAIL NEIGHBORHOOD DYNAMICS FALL 2018
An elongated bench spans the site, creating a guiding path that lead people from the street into the park, emphasizing its importance in the neighborhood. A few swing sets are suspended from the viaduct, taking advantage of the existing infrastructure and connecting the user to the overpass. The coffee shop at the east end of the site provides a service to the visitors of the area, and allows site usage. The coffee shop is of minimal size, and acts as a potential storage space for activities that could take place on the site, such as projector screens and additional chairs.
RECOGNIZED WORK 2019 ACSE/EAAE TEACHERS CONFERENCE
The project was developed with the intention of encompassing functional, behavioral and atmospheric aspects of architectural space. The design evolved from iterations of formal systems that attempted to bring together rhythm, cohesion and fluidity. The final work proclaims a unique ethereality through a dynamic series of dancing forms that aggregate from density to lightness. Through transformation rules, such as repetition, elimination, and realignment, the resultant geometric configuration illustrates the continuity and expansion of a single system through a series of evolving shapes. As such, a set of singular shapes and relationships can evolve from the simplification of a matrix. The pattern contracts and applies a set of new rules of transformation, such as rotation, inflation, deflation, and repetition. Through this renewal, a formal system emerged and exposes a rhythm of fluidity of unsubstantial dimensional space. The articulation of the ribbon-like canopied installation reflects the connectivity of the immediate buildings between each other. The proposed material for this project is structural carbon fiber, which characterizes the grid found within the evolving fabric. This one evokes the continuity of the space, defined by the nuance of shadow and light, all while caressing from above the sloped topography of the site.
ANTWERP ARCHITECTURAL CONFERENCE ON EDUCATION IN ARCHITECTURE PAPER CO-WRITTEN BY PROF. THEODORA VARDOULI & FRANÇOIS SABOURIN
20 | PORTFOLIO
SCRIPTING | VOCABULARY DEVELOPMENT ENVELOPING PATH AN EXPLORATION OF THE DESIGN OF SPACE EXPANDING | SYSTEMATIC RELATIONS SCHEMATIC
McGILL UNIVERSITY ARCH 303 - DESIGN AND CONSTRUCTION 1 PROF. THEODORA VARDOULI 3-MONTH DESIGN STUDIO FALL 2018
AGGREGATEDUPLICATEMIRRORSHAPEROTATEADDMULTIPLY TRANSFORMINGARTICULATING
ENVELOPING PATH FALL 2018 SECTION PERSPECTIVE STRUCTURAL SYSTEM | SIMPLIFIED REPRESENTATION OF CARBON FIBERS STRUCTURAL NODS SECONDARY STRUCTURAL VERTEBRAE SECONDARY STRUCTURAL VERTEBRAE PRIMARY STRUCTURAL NODS PRIMARY ISOMETRIC
22 | PORTFOLIO COMPREHENSIVE
24 | PORTFOLIO TARGET LIGHTING LEVELS Average illumination levels Average illuminance InstallationGlareUniformitySpacing height 7 40.00.5luxm4:10.48.0m SITE SECTION | MOTOR VEHICLES BUG RATING SYSTEM LIGHTING JEAN-DRAPEAUMASTERPLANPARK COMPREHENSIVE CS LEADDESIGNDESIGNER: CONOR SAMPSON ARCHITECTURAL LIGHTING DESIGN SUMMER COLLABORATIVE2020-2022WORK TEAM OF 3
The objective of this document is to develop a set of design criteria for the lighting of the park’s outdoor spaces to guide future development. The Masterplan for the Conservation, Planning and Development of Parc Jean-Drapeau 2020-2030 anchors and articulates its proposal on four major components: buildings, works of art and structures; circulation network and mineralized surfaces; plant habitats; and water environments. The four major findings served as a basis for reflection that led to the development of seven planning principles and five lighting principles. Accompanied by actions, they serve as guidelines for the Masterplan proposals, which divides the circulation network into walkways, public plazas, multi-use and pedestrian paths, and roadways. Depending on the category identified, the Masterplan calls for sections of pathways or lanes to be illuminated with spotlights, bollards or streetlights.
Average illumination levels Average illuminance InstallationGlareUniformitySpacing height Average illumination levels Average illuminance InstallationGlareUniformitySpacing height 4 8.0luxm10:11.0m 4 20.0luxm4:14.0m BASE DETAIL | PLANTED AREA ON FLAT GROUNDLUMINAIRE DETAIL | BOLLARD PEDESTRIAN BICYCLE AND PEDESTRIAN LIGHTING MASTERPLAN SUMMER 2022
Meadow wild rose Rosa Silky willow Salix sericea Red osier dogwood Cornus Stolonifera American beach grass Ammophila breviligulata Common juniper
Juniperus communis Eastern cottonwood Populus Deltoide PLANT SPECIES | SUGGESTIONS THAT THRIVE IN UNSTABLE CONDITIONS An Alternative to Demolition and Relocation for Buildings at Risk of Coastal Erosion in Bas-Saint Laurent Fall 2020 Pr. Salmaan Craig, Rosetta Sarah Elkin, Kiel Moe McGill School of Architecture Unbuilding DU L I T T ORAL LES G A R D IENS CA R E T A K ERS C O A S T A L McGILL UNIVERSITY ARCH 672 - ARCHITECTURAL DESIGN 1 PROF. KIEL MOE, PROF. SALMAAN CRAIG & PROF. ROSETTA S. ELKIN 3-MONTH DESIGN STUDIO FALL COLLABORATIVE2020 WORK TEAM OF 5 HAND DRAWINGS COMPLETED BY ME, DIGITAL DRAWINGS COMPLETED IN COLLABORATION WITH THE TEAM
26 | PORTFOLIO The inevitability of retreat from the coast of the Fleuve SaintLaurent does not imply that it is lost to occupation forever. Change in occupation is already occurring. Riverfront property owners make the hard decision to move further inland while the land they one habited is rezoned for public use. However, the vacant lots along the shore do not readily possess the makings of a publicly usable land. Careful study of the soil and vegetation can help guide the policy and use of this land over the coming decades. The land left behind deserves to be left to evolve. This sequence study of coastal erosion and retreat suggests how vegetation can set the stage for the future occupation of the land. As such, the Coastal Caretakers is a proposed cooperative group that can become the core workforce of the unbuilding process. Professionals, students, and community members come together to take a part in the effort. With members from various backgrounds, a training plan would be implemented to ensure safe and efficient work. This program can serve as basis for a diversification of skilled workers in the region. By partnering with local and provincial stakeholders such as academic institutions, construction industry professionals and resource providers, the training can define a set of skills honed in practical application. REHABILITATINGUNBUILDINGTHE LAND LEFT BEHIND COMPREHENSIVE
As land recedes under water, the changing landscape forces coastal communities to redefine its relation with the waterfront.
FALL 2020
PROJECTED COASTLINE | A STORY OF HOW LAND MEETS WATER IN THE ST-LAURENT ESTUARY UNBUILDING
Planting seeds of species that thrive in unstable conditions allows regrowth and the mitigation of effects of erosion.
As sea level rises, high tides wash over the shore and land gradually cede to the estuary. Homes are on shifting grounds. The walls, floors and roof are disassembled. The wood studs are harvested and reclaimed for future use. Waste concrete is left for calcium carbonate to calcify over time, creating a carbon sink along the coast and avoid soil intoxication.
FLOODINGREGROWTHDECAYUNBUILDINGEXISTING
REHABILITATING THE LAND LEFT BEHIND UNBUILDINGCOMPREHENSIVE 103102 UNBUILDING CHAPTER 2: BUILDING, DESIGN Foundation: Raft and slab Materials added: Concrete, steel rebar Long-span structure: Columns and bracing Materials added: Glue-laminated timber, steel connectors Material source tons302 Non-biogenicNewbiogenic Black Spruce 532 trees 105104 CHAPTER 2: BUILDING, DESIGN Distance travelled 2 610 km carbonEmbodiedcarbonEmbodied Long-span structure: Beams and rafters Materials added: Glue-laminated timber, steel cable, steel connectors Long-span structure: Overhead crane Materials added: Glue-laminated timber, steel beams, overhead crane 107106 CHAPTER 2: BUILDING, DESIGN Material source tons554 Non-biogenicNewbiogeniccarbonEmbodied Black Spruce 9 125 trees Long-span structure: Roofing Materials added: High-performance membrane, wood-fiber insulation, standing seam steel roofing Long-span structure: Roof deck Materials added: Cross-laminated timber decking 109108 CHAPTER 2: BUILDING, DESIGN Short-spancarbonEmbodied structure: First workshopShort-span structure: construction sequence Required machinery and tools: Forklift Nailgun Torque wrench 111110 UNBUILDING CHAPTER 2: BUILDING, DESIGN carbonEmbodied New biogenic tons-172net: Reused Non-biogenicbiogenic massBuilding Material source New biogenic tons6721 Reused Non-biogenicbiogeniccarbonEmbodied New Non-biogenicReusedbiogenicbiogenic massBuilding Material source tons6421 ReusedNewNon-biogenicbiogenicbiogenic
Short-span structure: Community extensionShort-span structure: Polycarbonate extension 111110 UNBUILDING CHAPTER 2: BUILDING, DESIGN carbonEmbodied Material source New Non-biogenicReusedbiogenicbiogenic massBuilding New biogenic tons672 Reused Non-biogenicbiogeniccarbonEmbodied Material source New biogenic tons-125net: Reused Non-biogenicbiogenic massBuilding tons642 ReusedNewNon-biogenicbiogenicbiogenic
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Distance travelled 810 km Distance travelled 2 210 km Flatbed semi (53’) 0 trucks Flatbed semi (53’) 0 trucks Concrete mixer 43 trucks Concrete mixer 43 trucks Flatbed truck (24’) 3 trucks Flatbed truck (24’) 5 trucks carbonEmbodied Material source New biogenic tons144net: Non-biogenic massBuilding tons302 Non-biogenicNewbiogeniccarbonEmbodied Material source tons153net: Non-biogenic massBuilding tons292 Non-biogenic Black Spruce 0 trees Black Spruce 532 trees 107106 UNBUILDING CHAPTER 2: BUILDING, DESIGN Distance travelled 4 710 km Distance5915travelledkmFlatbed semi (53’) 10 trucks Flatbed semi (53’) 10 trucks Concrete mixer 43 trucks Concrete mixer 43 trucks Flatbed truck (24’) 8 trucks Flatbed truck (24’) 19 trucks carbonEmbodied New biogenic tons-1net: Non-biogenic massBuilding Material source tons554 Non-biogenicNewbiogeniccarbonEmbodied New biogenic tons-6net: Non-biogenic massBuilding Material source tons503 Non-biogenicNewbiogenic Black Spruce 9 125 trees Black Spruce 9 125 trees
Long-span structure: Roofing Materials added: High-performance membrane, wood-fiber insulation, standing seam steel roofing Long-span structure: Roof deck Materials added: Cross-laminated timber decking 105104 UNBUILDING CHAPTER 2: BUILDING, DESIGN
Short-span structure: Community extensionShort-span structure: Polycarbonate extension 111110 UNBUILDING CHAPTER 2: BUILDING, DESIGN carbonEmbodied New biogenic tons-172net: Reused Non-biogenicbiogenic massBuilding Material source New biogenic tons6721 Reused Non-biogenicbiogeniccarbonEmbodied New biogenic tons-125net: Reused Non-biogenicbiogenic massBuilding Material source tons6421 ReusedNewNon-biogenicbiogenicbiogenic Short-span structure: Community extensionShort-span structure: Polycarbonate extension 111110
Distance travelled 2 610 km Distance010travelledkmFlatbed semi (53’) 1 truck Flatbed semi (53’) 5 trucks Concrete mixer 43 trucks Concrete mixer 43 trucks Flatbed truck (24’) 6 trucks Flatbed truck (24’) 8 trucks carbonEmbodied Material source New biogenic tons104net: Non-biogenic massBuilding Material source tons371 Non-biogenicNewbiogeniccarbonEmbodied Material source New biogenic tons154net: Non-biogenic massBuilding Material source tons307 Non-biogenicNewbiogenic Black Spruce 598 trees Black Spruce 3 443 trees
FOUNDATION RAFT AND SLAB LONG-SPAN STRUCTURE BEAMS AND RAFTERS SHORT-SPAN STRUCTURE POLYCARBONATE EXTENSION COCO22COCOCO222 CO2 LONG-SPAN STRUCTURE ROOF DECK SHORT-SPAN STRUCTURE FIRST WORKSHOP SHORT-SPAN STRUCTURE COMMUNITY EXTENSION
Short-span structure: Community extensionShort-span structure: Polycarbonate extension 109108 UNBUILDING CHAPTER 2: BUILDING, DESIGN carbonEmbodied New biogenic tons-113net: Reused Non-biogenicbiogenic massBuilding Material source tons625 ReusedNewNon-biogenicbiogenicbiogenic Short-span structure: First workshopShort-span structure: construction sequence Required machinery and tools: Forklift ElectricNailgundrill Torque wrench 103102 UNBUILDING CHAPTER 2: BUILDING, DESIGN Foundation: Raft and slab Materials added: Concrete, steel rebar Long-span structure: Columns and bracing Materials added: Glue-laminated timber, steel connectors
28 | PORTFOLIO
RE-BUILDING | MATERIAL REUSE OF UNBUILT HOMES
Long-span structure: Beams and rafters Materials added: Glue-laminated timber, steel cable, steel connectors Long-span structure: Overhead crane Materials added: Glue-laminated timber, steel beams, overhead
UNBUILDING CHAPTER 2: BUILDING, DESIGN carbonEmbodied Material source New biogenic tons-172net: Reused Non-biogenicbiogenic massBuilding New biogenic tons672 Reused Non-biogenicbiogeniccarbonEmbodied Material source New biogenic tons-125net: Reused Non-biogenicbiogenic massBuilding tons642 ReusedNewNon-biogenicbiogenicbiogenic
REGIONAL STAKEHOLDERS POTENTIAL CONTRIBUTORS TO THE “UNBUILDING” NETWORK The opportunity awarded by choosing unbuilding over demolition or relocation is the access to a new source of construction materials: an alternative forest. Whereas traditional forestry requires the logging and milling of trees to produce dimensional lumber, the one from this coastal forest can be reused with minimal processing and fewer carbon emissions. Being harvested, processed, and dispatched locally, transport of materials is reduced. The plurality of building ages in the region also ensures a variety in the materials collected. As it is done in traditional forestry, management of the alternative forest would ensure safe and efficient harvesting of materials, starting with surveying.
The Caretakers are intended to be a self-sufficient group within their field: they unbuild, they process, they rebuild. The large-span structure that houses the center of their operations holds spaces that can become their laboratory. Designed with natural ventilation strategies, the configuration evolves over time and responds to new realities. Beyond a training ground, the new construction can serve as an experimental facility in which the reuse of various materials from coastal homes is put to the test and can instruct further construction.
UNBUILDING CHAPTER 2: BUILDING, DESIGN Seasonal Synchronization of Mass and Air - Fall/Spring
THE SHED | CATALYST OF UNBUILDING
The shoulder seasons of spring and fall are not suitable for displacement ventilation, as the exterior air is at all times cooler than is desirable. Direct ventilation of the small shed to the exterior is replaced the nesting effect of air flowing through the workshop first, resulting in a thermal gradient from low exterior temperature to high small shed temperature. The use of the same high-level opening, appropriately sized according to the occupant demand, for simultaneous intake and exhaust ventilation, provides sufficient natural mixing ventilation and a natural heat recovery. The space is also conditioned by radiant heating.
Building section 1:100FALLUNBUILDING2020
McGILL UNIVERSITY ARCH 514 - FOGO ISLAND DESIGN WORKSHOP PROF. ROBERT MELLIN 1-MONTH DESIGN STUDIO SUMMER COLLABORATIVE2021 WORK TEAM OF 2
The visitor’s lodge (i) is a large space that is open to the community year-round, whether the sleeping cabin is occupied or not. The sleeping cabin (ii) sleeps two guests with a limited floor space and mezzanine. Since this cabin is unheated, in the cold season guests can place heated bricks from the stove-top under their covers, or stay in the visitor’s lodge on a fold-out day-bed besides the stove. The outhouse (iii) is separate from the two other cabins for privacy and utilizes an atomized shower water efficiency system.
30 | PORTFOLIO MEETING COMMUNITY-BASEDHOUSEDESIGN-BUILD STUDIO MAP | TILTING, FOGO ISLAND SITE ANALYSIS | WIND + WATER + LAND TheCOMPREHENSIVElandmorphology
on Fogo Island calls for an architecture that embraces the prevailing southwestern winds and rock formations. Meeting House operates on the notions of size and assemblage seen in the vernacular homes on the island. The design is the result of optimizing outdoor deck areas and separating public gathering spaces from private sleeping ones. As the shape of the dwelling appears to change from one elevation to the other, its geometry protects the deck areas from strong winds. Its structure recalls local materials, such as wood shingles and lap joint wood panels.
PLAN | 1ST FLOOR ELEVATION | NORTH EAST DETAILS | TYPICAL ASSEMBLIESMEETING1:50 HOUSE SUMMER 2021
32 | PORTFOLIO SECTIONAL PERSPECTIVE | NORTH VIEWCONSTRUCTION SEQUENCE SHINGLE RAINSCREEN AND FENESTRATION INTERIOR AND EXTERIOR PANELS ROOF FRAMING STUD WALLS AND MEZZANINES COLUMNSDECKING AND FRAMING COMMUNITY-BASED DESIGN-BUILD STUDIO MEETING COMPREHENSIVEHOUSE
Meeting House is a building meant to play with tradition and expression, understanding needs while balancing form and practicality. By counting three small pavilions, the distinction between different living spaces such as an outhouse, a sleeping cabin, and a visitor’s lodge, or community kitchen, not only recognizes the vernacular lifestyle in Tilting, Fogo Island, but also acknowledges its harsh northeastern climate of Newfoundland and Labrador.
MEETING HOUSE SUMMER 2021
34 | PORTFOLIO ON EDGE: THE MIDWEST CITY AN ARCHITECTURAL APPROACH TO INTERGENERATIONAL LIVING IN THE SUBURBS HAND MODELS | ANALYSIS OF A THRESHOLD | NO SCALE COMPREHENSIVE
4 DANIELA
MCGILL UNIVERSITY ARCH 406 - DESIGN AND CONSTRUCTION LEON 3-MONTH DESIGN STUDIO WINTER 2020
The purpose of this project relies on mitigating suburban sprawl in North-American midwestern cities with the introduction of multi-generational living within a suburban context. Bringing together the social disparities of the society tackles the issue of asking “Who are we designing for?” By omitting the elderly, the disabled and the youth, the built environment becomes a very limiting physical spaces. This project is an attempt to break the traditional living conditions of single family dwellings into an environment that proves privacy as much as togetherness. Thus far, the narrative has been pushed to develop an architectural strategy to new suburban living. The design of a sloped landscape integrates playfulness and encourages different activities by enriching the outdoor experience and enhancing the comfort indoors. This decision pushes the project’s narrative in order to achieve a barrier-free design strategy that is inclusive to all.
ON EDGE: THE MIDWEST CITY WINTER 2020 DIGRAM OF DIFFERENT LIVING ARRANGEMENTS | FOR WHICH THIS PROJECT ATTEMPTS TO DESIGN FOR PARTIAL MAP OF REGINA, SK | NORTH-WEST QUADRANT OF THE CITY, ITS SUBURBS AND NEIGHBORING FARM LAND
36 | PORTFOLIO AN ARCHITECTURAL APPROACH TO INTERGENERATIONAL LIVING IN THE SUBURBS NEIGHBORHOOD LAYOUT | HOW THE CURRENT AND THE NEW MEET SECTION ACROSS | PROPOSED CURRENTCURRENTPLAN | PROPOSED 1ST FLOOR 1ST FLOOR 2ND FLOOR 2ND FLOOR COMPREHENSIVE THRESHOLD | A CUT THROUGH THE SHARED COURTYARDS SECTION ALONG ON EDGE: THE MIDWEST CITY
ON EDGE: THE MIDWEST CITY WINTER 2020 INTERIOR PERSPECTIVE | IN THE COMMON COMPARTMENT, LOOKING TOWARDS THE ADDITION
In these drawings, a shared dining room between two units redefines the single family home. This communal glass space expands and grows as it opens towards a shared courtyard. Each unit can host its own activities while their apertures are oriented to respect the privacy of the other. This layout looks at the space in-between homes in order to create semi-public exterior places. The main focus being on the courtyard, these spaces become each others front and back yards, with a common back alley emerging between two rows of homes.
This project emerged from the concept of duality and dialogue. The idea of having two buildings utilizes the entire buildable site and separates it in the middle, allowing for an open public space outside to emerge. The two volumes are in interjection, generating a binding space that enriches the overall experience of the intervention. The topographic explorations of this project involved a series of slopes and ramps to create a connection between each building’s respective entrance. The relation expands below ground, where the lower levels of the buildings come together to have a common spatial and programmatic point of contact.
McGILL UNIVERSITY ARCH 405 - DESIGN AND CONSTRUCTION 3 PROF. ANDREW KING & ARCH. MARIE EL-NAWAR 3-MONTH DESIGN STUDIO FALL COLLABORATIVE2019 WORK TEAM OF 2
38 | PORTFOLIO MEDITATION LIBRARY COMPREHENSIVE DESIGN OF A COMMUNITY CENTER IN MONTREAL SITE SECTION | COMPREHENSIVESOUTH VOLUME I | CROSS SECTION VOLUME II | ELEVATION
DIALOGUE URBAN FABRICBINDING SPACE EXPANSION MEDITATION LIBRARY FALL 2019
40 | PORTFOLIO EXTERIOR VIEW | WEST PERSPECTIVE SHOWING THE RELATION BETWEEN THE TWO VOLUMES WALL SECTION | DOUBLE-SKIN FACADE AND FLOOR SLAB DETAILFLOOR PLAN | FIRST FLOOR OF THE MEDITATION CENTER AND LIBRARY COMPREHENSIVE DESIGN OF A COMMUNITY CENTER IN MONTREAL MEDITATION COMPREHENSIVELIBRARY
MEDITATION LIBRARY HAND MODEL | WOOD, PLEXI AND NYLON AT 1:200 FALL 2019
42 | PORTFOLIO CREATIVE
STUDIO
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AS A RESEARCH PROPOSAL
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44 | PORTFOLIO DESIGNINGCOLOURFOR BIODIVERSITY COTTON SHIPPINGPOPULATEDCROPLANDSLANDROUTES WORLD MAP | HINTERLANDS OF THE GLOBAL COTTON TEXTILE INDUSTRY ThisCREATIVEstudy of cotton and candlenut begins to understand the relationship between the global network of cotton trade and how it manifests as textile production on the island of Bali. Our interest begins with cotton being a globally farmed commodity that undergoes multiple conversions before it is delivered to the consumer as a finished product. We have begun exploring the hinterlands of cotton in the trade networks of Southeast Asia - how raw cotton is exported from India and China and processed in Indonesia. As with many industrial practices in the Tropics, Balinese craftspeople were promised volume and consistency when switching from natural to synthetic dyes for their textiles. However, the erosion health and the local environment as well as a desire to revive traditions has led to a resurgence of natural dye use and related plant cultivation. Cotton has become the leading natural fiber in the world with abundant, toxic, labour intensive practices. The tensions of global and local cultural textile production appear across Indonesia. Examining the production of Geringsing Cloth in Tenganan Pegringsingan, Bali begins to unpack the complex relationship between traditional textile production and the global network of textile production in which it is deeply integrated.
McGILL UNIVERSITY ARCH 673 ARCHITECTURAL DESIGN 2 BALI MARIEL COLLARD PROF. ROSETTA S. ELKIN 3-MONTH WORK RECOGNIZED WORK 2021 GLOBAL STUDIO TRAVELING FELLOWSHIP MCGILL UNIVERSITY - PETER GUO-HUA FU SCHOOL OF ARCHITECTURE RECOGNIZED EXCELLENCE
ARIAS &
DESIGN STUDIO WINTER COLLABORATIVE2021
TEAM OF 2
WINTERCOLOUR2021 GERINGSING | STRUCTURAL GRAPHIC OF THE WEAVING AND DYEING PROCESSES OF THE SACRED CLOTH
TENGANAN PEGRINGSINGAN, BALI CREATIVE
46 | COLOURDESIGNINGPORTFOLIOFORBIODIVERSITY TENGANAN RAINFOREST BUGBUG FABRIC INSTALLATION | MATERIAL CONFIGURATIONS ALONG THE PATH BETWEEN THE TWO VILLAGES
The crafting of Geringsing is split in two processes: yellow dye from Candlenut is produced in Tenganan, blue from Indigo is made in Bugbug. A path in the rainforest is a physical conduit for this exchange. Along it, hung fabrics leverages this relationship and honors the presence of colour and biodiversity in the ecosystem. Their material flexibility allows for a variety of configurations to emerge while the colour promotes the temporality of pigmentation in our environments.
WINTERCOLOUR2021 PHOTOGRAPHIC SURVEY | FROM PLANT EXTRACT TO COLOURED GARMENT TO PASSING COLOURS IN A FOREST MORDENT YELLOW Turmeric domesticaCurcuma BEIGE mangosteenSweet mangostanaGarcinia PINK Beet root Beta vulgaris GREEN Spinach Spinacia oleracea ORANGE Achiote seed Bixa olerana BLUE True indigo tinctoriaIndigofera
This ribbon-shaped wall was designed for the Ryerson University’s Department of Architectural Science in the context of the TransArchitecture exhibit in fall 2014. Under the supervision of Prof. Andrew King and his team, this project recreates the modular wood panel design for a future conference room between architects and clients. The process took place over a time span of 5 weeks and was conducted through a in-house design build team with the interns of the LemayLab in the Montreal Lemay workshop. The construction for prefabricated bent-plywood wall partitions involved: pressing, gluing, clamping, sawing, color matching, transporting plywood sheets. A few of my tasks as an intern entailed the primary organization and management of the construction team, planning of time investments, and coordination of the building process. The project also required a specific budgeting, purchasing and acquisition of tools and materials. The quality control of the design elements was ensured by selecting Baltic Birch panels graded B/BB to respect the integrity of the design element.
BUILDING PROCESS | LAMINATED CURVED PANELS BUILDING THE MOLDS PIECES ASSEMBLING THE MOLDS LAYERING THE PANELS SHIPPING FINAL PIECES PREPARING THE WORKSHOP FIXING IMPERFECTIONS GLUING THE PANELS SELECTING THE WOOD GRADE CLAMPING THE PANEL
LEAD DESIGNER: ANDREW KING 5-WEEK DESIGN STUDIO SUMMER COLLABORATIVE2019 WORK TEAM OF 6
48 | PORTFOLIO DESIGN CONSTRUCTIONBUILDAND PROJECT MANAGEMENT CREATIVE ALEMAYLEMAYLAB PRODUCTION
PRODUCT OUTCOME | FINALIZED PANELS DESIGN SUMMERBUILD2019 FINAL DESIGN | LEMAY TORONTO CONFERENCE ROOM
50 | PORTFOLIO SKETCHING STUDIES LEAD PENCIL AND WATERCOLOR ON PAPER NORTH MARKET WARK, SAINT JOHN, NEW BRUNSWICKWARD24.08.19 STREET, SAINT JOHN, NEW BRUNSWICKCREATIVE27.08.19 ARCH 325 - ARCHITECTURAL SKETCHING PROF. DAVID COVO & PROF. RICARDO L. CASTRO 1-WEEK DESIGN STUDIO SUMMER 2019 ARCH 685 - FIELD SKETCHING PROF. DAVID COVO & PROF. RICARDO L. CASTRO 1-WEEK DESIGN STUDIO SUMMER 2021 In this course, the act of sketching is approached as a process of study and inquiry. The sketch reveals evidence of curiosity and the result of attempting to understand the built environment by observing and drawing.
SAINT-JOSEPH ORATORY, MONTREAL 23.08.21 JEAN-BRILLANT STREET, MONTREAL LACHINE23.08.21 CANAL, MONTREAL SKETCHING19.08.21 STUDIES SUMMER 2019 | SUMMER 2021
NAOMI JULIEN SEPTEMBER 2022