University of Calgary - 2022 Master of Architecture Application Portfolio by Tanner U.

TA N N E R U L R I C H Portfolio

CONTENTS

01 02 03 04 05 06

TREEHOUSE OF LIFE

K E Y S O N T H E Q U AY

07 08

ARCHITECTURAL I M A G E PA R A G R A P H

CURRICULUM V I TA E

WAT E R F O R D WA L L S DESIGN COMPETITION

V O I L À ( BY S O B E Y S ) METHOD ARCHITECTS

G R E AT L A K E S A C O U S T I C PA N E L

SKETCH SERIES

CONCEPT DEVELOPMENT // MODEL STUDIES

Site Plan

Highlighting existing green space and extent of town square

Demo Existing

Rejuvenate

Revitalize

Restore

Demolish 1920’s addition and conserve original 19th century structures at East and West ends

01 T R EE H OU S E OF LIFE Location: Templemore, Ireland Year: Fall 2017 Course: ARCH 0018 // Architectural Studio 5 Role: Individual Studio Project 04

Maximize green space in town square

For Architectural Studio 5’s - ‘The Old and the New’, students are asked to make proposal for a Creche and Afterschool Centre at the site of the old town hall in the town of Templemore, Ireland. Due to its location in the main square, it stands as the most prominent building in Templemore and its most architecturally significant. On August 16th, 1920, the then market house was set on fire by British forces leaving the building substantially destroyed with only two remaining original parts of the building at the East and West. My proposal involves revitalizing the main square by bringing some much-needed green space to the area and moving the parking to the outer rim. Additionally, the new Creche and Afterschool Centre, ‘The Treehouse of Life’ will contribute to the revitalized core by introducing a specialized program where children have the opportunity to grow their own tree to be replanted upon graduation. Playroom “Boxes” act as branches as they stem from a central circulation core and can be push, pulled, and rotated by students to increase floor area and to allow for additional sunlight.

Introduce specialized horticulture program

Commence restoration of town square by transplanting trees grown in specialized program

Conceptual Cross Section

South-West View

1:100 Final Presentation Model

Classroom Concept

1:100 Study Model

After School Hangout

1:50 Design Development Model

Playroom “Boxes” and Rooftop Garden 1:100 Final Presentation Model

Tanner Ulrich Portfolio

Third Floor

Front (South) Elevation

Second Floor

Rear (North) Elevation Ground Floor

Treehouse of Life

Playroom “Boxes” Visualization 07

SITE ANALYSIS AND RESPONSE

Site Plan

Highlighting site views and traffic levels

K EYS ON THE QUAY Location: Cork, Ireland Year: Winter 2018 Course: ARCH 0019 // Architectural Studio 6 Role: Individual Studio Project

Walkability

Open Views

River Lee

Performance Space

Raise building to allow free flow of pedestrian traffic through site to reduce obstruction created by new development

Open facade to distant views from South Gate Bridge to the East and high views from Fort Elizabeth to the South

For Architectural Studio 6’s - “The Building in Context”, students are asked to make proposals for a facility for the assembly, display, and sale of pianos on a complex site in the centre of Cork City, Ireland. As you enter the site to the South, you must immediately change direction from the sudden turn in the street. This is the result of the clear obstruction created by the site’s current function as a parking lot. Alternatively, North of the site is home to a Cork City hidden gem, where a large portion of stone wall that extends down the street, is beautifully dressed in an ever-changing collage created by local street artists at battle. These major factors informed the basis of my scheme in response to the site’s unique challenges. The building’s overall form now suggests a much more inviting approach with the aim at bringing pedestrian traffic into the site, and guiding them past an outdoor performance space at the river. The idea behind the project draws inspiration from the beauty and organic nature of harmonic curves, and how that could be expressed in the material form of a building. Guests experience the journey through an unimaginable and uniquely curious space where floors, walls, and ceilings become one.

Cantilever over river to extend site and further emphasize site views

Strengthen community by lowering cantilever at river to form outdoor performance space

MODEL // SPACE STUDIES

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Fourth Floor

Third Floor

Second Floor

Ground Floor 10

Assembly Studies

Keys on the Quay

North // South Section

East // West Section

Stairs Visualization

Tanner Ulrich Portfolio

Workshop Visualization

Keys on the Quay

Showroom Visualization

Main Entrance Visualization

03 WATE RFOR D WALLS D E SIG N COMPE T ITION First Place Design Location: Waterford, Ireland Year: Winter 2018 Course: ARCH 0019 // Architectural Studio 6 Role: Individual Studio Project 14

“...Waterford Walls is an international street art festival that transforms Waterford City into an open-air gallery, founded in 2015 by a small team looking to bring some much-needed colour back to the city, the project is now in its fifth year and is continuing to make Waterford an essential cultural attraction and international go-to street art destination...”

Entry Example 1

Entrants were asked to design a facility to function as the headquarters for the staff, volunteers, and artists involved on a day-to-day basis with Waterford Walls and with the annual festival run by the organization every August. The clients stressed the need for a design that would attract pedestrians passing by as they believed the current design at the exterior felt closed off and unwelcoming. This inspired me to propose removing the existing ground floor and unused basement to truly create an entrance that pops out. My proposal was chosen as the winning design in the competition.

ANNUAL COMPETITION

Entry Example 2

Third Floor

Ground Floor

Second Floor

Artist Studio Visulization Meeting Room Visualization

Cross Section

Meeting Room Visualization

VOIL À ( BY S OBE YS ) METHOD ARCHITECTS Location: Showcasing Burlington & Scarborough Spokes Year: 2021 - Present Type: Professional Role: Overall design of each spoke facility, all drawing production from sketch design stage to working drawings, all contract administrative work, and coordination with in-house team and other Consultants. All work shown was done by myself under the guidance of the Principal Architect. Additionally, I am leading the team as we rebrand to METHOD Architects (logo design, standards, etc.) 16

Design Iterations

Meeting Room Visualization

℄

OF CROSS BEAM; GC TO SITE VERIFY

CROSS BEAM FEATURE

EQ-1

EQ-2 EQ-2

EQ-3

12'-0"

9'-0"

EQ-1

3'-0"

℄ SUBMIT SHOP DRAWINGS FOR ALL ITEMS

EACH SIDE TO HAVE UNIQUE CENTRE TO CENTRE SPACING TO ENSURE FRAMES ARE ABLE TO CORRESPOND WITH AND BE CENTRED BASED ON THE CROSS BEAM INTERSECTION WHILE AVOIDING A SMALL SECTION OF CURTAIN WALL AT THE CORNER COLUMN. SEE A701 FOR MORE INFORMATION

2 A200 A500

2 A500 A630

PAINTED CROSS BRACE THAT SPANS FROM GRIDLINE 4 TO 6 COORDINATE ALL ELECTRICAL AND MILLWORK REQUIREMENTS WITH STRUCTURAL TO ENSURE NO INTERFERENCE

U/S CEILING A 12' - 0"

L 2 1/2" x 2 1/2" x 1/4" @ +/-34.75" - 37.5" O.C. WELDED TO H.S.S. GIRT / CROSS BRACE (REFER TO STRUCTURAL) G.C TO SITE VERIFY CROSS BRACE LOCATION AND SPACE ANGLES AS REQUIRED TO LINE UP WITH CURTAIN WALL GLAZING.

4 3/4" x 10 13/16" DUAL RECEPTACLE FLIP-UP UNIT WITH USB BY 'LEGRAND'. CENTRE WITH ELECTRICAL CHASE BELOW; REFER TO ELECTRICAL

474mm x 80mm DIFFUSER GRILL BY 'RICHELIEU'

T/O MASONRY SILL 3' - 0" ELEC. CHASE

2'-2 1/8"

ELEC. CHASE

T/O F.F.E. (106.75) 0' - 0" 1'-4"

1'-4 3/4"

3'-0 3/4"

8'-10"

1'-4 3/4"

Cross Beam Coordination 2 A200 A500

Elevations

FLIP COVER; SEE 2/A630

BASEBOARD HEATER BELOW (REFER TO ELEC.)

FLIP COVER; SEE 2/A630

CHANGE IN CHASE DEPTH; SEE 2/A630

ELECTRICAL CHASE BUILT OVER CROSSBRACE; ENSURE ADEQUATE SPACE FOR CONDUIT

ELEC. CHASE

11"

Millwork at Cross Beam Visualization

ELEC. CHASE

FLIP COVER; SEE 2/A630

CHANGE IN CHASE DEPTH; SEE 2/A630

ELEC. CHASE

3'-1 1/8"

FLIP COVER; SEE 2/A630

ELECTRICAL CHASE BUILT OVER COLUMN & CROSSBRACE

1'-0"

1'-4 3/4"

ELECTRICAL CHASE BUILT-OUT WITH METAL STUDS @ 16" O.C. FINISH WITH FIBREBOARD AND PLASTIC HOMOGENOUS COMPOSITE PANELS TO MATCH COUNTERTOP (SEE 2/A630). EXTRUDE CHASE AS REQUIRED @ CROSS BEAMS & 8" ELSEWHERE; REFER TO ELECTRICAL

8'-9"

3'-0 3/4"

2'-5"

4 1/2"

INCOMING POWER THRU SLAB SEE ELECTRICAL

G R E AT L AKE S ACOU S T IC PA NE L Year: Fall 2017 Course: ARCH 0079 // Acoustics in the Built Environment Role: Two Person Collaboration - Design & Build The acoustic panel project involves the design and construction of an acoustic panel to be installed inside the Waterford Institute of Technology studios to reduce noise levels. The design draws inspiration from the largest supply of freshwater on the planet, the Great Lakes. Having grown up on Lake Huron, I was fortunate to learn from an early age that living in such an amazing location should not be taken for granted. The acoustic panel reduces sound transmission by introducing all three main types of absorbers: frictional, flexural, and resonant. The main method of absorption on this panel is through resonant absorption which is generated by allowing sound to travel between the openings in the foam strips, to a large void at the back of the panel. The void is created by lifting each foam strip from the soft fabric at the back by fastening all 48 foam strips with two dowels. 18

Design Development

Exploded Axometric

Side Views

Front View

PERSPECTIVE // REALISM DRAWING Samples from various works completed (2011-2017) Graphite & Coloured Pencil

S K E TCH S E R IE S 20

EUROPE FIELD SKETCHING From travels while living abroad in Ireland (2017-2019)

The Colosseum, Rome, Italy Ink // Marker

Neuschwanstein Castle, Germany Ink // Watercolour

The Parthenon, Athens, Greece Ink // Watercolour

St. Peter’s Basilica Interior - The Vatican, Italy Ink // Marker

St. Peter’s Basilica, The Vatican, Italy Ink // Marker

A R C HITECTU R AL IM AG E PAR AG R APH

02 22

Photograph by Kate O’Rourke

Okay - I know what you’re thinking. “Did this person really just pick a photograph of a skyline, and is now going to try and explain why it’s architecturally significant?” Well, yes. But! There is a reason! And it has to do with a funny story that involves a friend of mine. We’ll refer to this friend as Adrian, because well, that’s his name. Adrian is a freelance filmmaker that’s had the opportunity to work on many amazing projects throughout the world, and as I’m sure you can imagine, has some great insight and is very interesting to have a conversation with. For that reason, I welcome his point of view and always respect his judgement. Until, on one occasion when Adrian and I were in a deep discussion regarding architecture, and specifically the architecture of cities. We eventually got on to the topic of Toronto, which is the city where Adrian had lived his entire life, and since I was from the countryside of South-Western Ontario, the closest metropolis to where I grew up. Adrian always speaks in high regard of Toronto, and makes a compelling

argument for why it’s such an amazing place to live, which is something I tend to agree with. So, when he began to express his feelings that he very much disliked the CN Tower, and that he thought it was a hideous abomination, I was in complete shock and didn’t know how to respond. I have always loved the CN Tower, so how could a Torontonian think otherwise? I guess I just never really stopped to think about it. Why is this one building so important to me? And why do I feel like it has impacted my life? I began to list out my thoughts: I believe it to be aesthetically pleasing, it’s truly a great feat of engineering, it stood as the world’s tallest free-standing structure for 32 years... You can go on and on explaining how impressive this thing is. But none of these are the reasons why it is meaningful. The CN Tower for me represents the imperative depiction, portrayal, and interpretation of what I believe is the feeling of home. You know the feeling. It’s as if you are instantly reconnected to everything that is actually important in life when you first spot it way off in the distance as you’re driving into the city. This was us. We as people grow and develop, and are extremely influenced by the connections we have with our surrounding environment. You are who you are today because of these connections. The CN Tower represented that for me. It is our visage that gives us an identity. For the many times Adrian and I continued this debate,

I could never truly express myself well enough for him to understand. You may have figured out what this image is by now, but if not, this is a photograph that I created as a gift for Adrian, and it was my final attempt at communicating what the CN Tower represented. This is a photograph of the Toronto skyline, but the CN Tower has been removed. I knew that if he saw this image unknowingly, he would never be able to recognize what he was looking at, and I was right. He was a little confused at first and continued to poke fun at how generic the city looked. When I finally told him that he was staring at Toronto, the home of his life’s entire existence, he was in complete disbelief. You can even see the SkyDome in the bottom left! The CN Tower and other structures across the globe are more than just buildings. They are landmarks and significant factors in how we perceive and understand the identity of a culture or nation, and without them, we become unrecognizable. Architecture and all of the built environment have the powerful responsibility of playing an extremely important role in our community’s ableness to thrive, as they connect us in more ways than we know. It’s safe to say that Adrian understands now. 03 23

CU R R IC ULU M V ITAE

THANK YOU tannerulrich5@hot ma i l . c om