i am 001
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I AM
VULNERABILITY
After works by artist Damien Hirst This appropriation of Hirst’s work embodies the sexualization and vulnerability of women in society. The placement of a female figure in a tank for masses to view imposes contrasting feelings of intrusion and intrigue. This is reminiscent of the way women are often viewed in society. Hirst’s work was intended to cause discomfort in viewers. By using the same tank, I attributed a similar goal to my own visual piece. This work embraces and celebrates the beauty of femininity and critiques the societal norm to sexualize female bodies. 10 Days | 1st Year Undergraduate: Visual Arts
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I AM
LABELS I created this campaign to draw awareness to the harmful effects of stereotyping based on skin colour. Stamping the visual minorities in the images with Nutrition Labels was a design decision made to highlight the dehumanization ingrained in racism. The campaign was created in response to the series of tragic events that occurred in the United States in the early 2010s revolving discrimination and prejudice, especially around police brutality. Unfortunately, it is relevant to date.
14 Days | 1st Year Undergraduate: Visual Arts
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I AM
HAVEN This house was designed for a friend of mine (J.M.) who was a child of war in Uganda. I held an interview with her where I discovered that her severe childhood has resulted in a strong value in security and care for others. I explored a design in which the walls of the house had differing opacities on order to create a feeling of safety and security for J.M. and her family. She is now a biological and step-mother, and takes care of her grandpa in law with severe Alzheimer’s. The house is home to many individuals belonging to different generations. I worked to create spaces to suit the needs of each inhabitant while prioritizing a sense of safety.
“When I escaped I experienced years and years of depression and post-traumatic stress, but I was able to work through it by helping others. I only started healing when I started opening up. What I have been through is a big part of who I am now. I think I like to help people so much because so many have helped me ...And that resilience is so necessary because there is a lot less security in this world than one would hope. I crave safety for myself and for those I care for. I was robbed of my sense of safety when I was captured and I have fought the rest of my life to gain back that comfort.” -J.M.
6 Weeks | 3rd Year Undergraduate: BENDS
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ELEVATIONS AND SECTIONS
FLOOR PLANS B
South Elevation
East Elevation
Section A
Section B
009
A
Ground Floor
Second Floor
Third Floor
I AM
SITE PLAN
STUDY MODELS
RENDERING
The form of the structure is driven by a juxtaposition between geometric and organic shapes. The opaque geometric acts as a mask, protecting the inhabitants from the street and the lot that borders the house. Curves have been studied as comforting to the human eye, therefore they are used extensively interior to add another level of security sensation. The curves were shaped by the needs of each room. Furniture was placed in accordance to the programming, and the room walls were drawn around this. The house has been designed in such a way that when the inhabitants that are older no longer reside there, their units can be easily rented out adding a layer of financial security.
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DOWNTOWN BROOKLYN SITE MODEL | 1:250 IN PERSON Black rectangles represent vacant storefronts in the area. Massing lifts to reveal building section of designed intervention. 011
I AM
BROOKLYN IS SHRINKING I focused on studying Brooklyn, New York’s shrinking population, gentrification in the borough, and how it relates to and can be ameliorated by spatial design. A series of projects were completed, resulting in the urban design project “Home is Where the Mart Is” that reactivates vacant storefronts with affordable housing units and commercial space existing in tandem.
10 Weeks | 4th Year Undergraduate: BENDS Majority solo unless specified in photo captions
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1600s Immersion Nature Sounds
$6100
$3240
$7000
$8130
1920s Immersion Vintage Film Track
Abstract collages of relevant images from the era, juxtaposed with analytical drawings and maps
$4340
$5900
$6000 $4000 $4000 $5950
$2000
$6100
1980s Immersion Concious Rap
$2990
$10 100 $4300 $3850 $5000
1:500
1:500
1:500
Vacant store monthly rent (USD) Storefront Intervention Locations
Highway 278
HISTORY OF BROOKLYN PRESENTATION: AN IMMERSIVE EXPERIENCE I completed the drawings and graphics for this project. In collaboration with Geyer (Conceptualization), Lindheimer (Research), Bush (Analytical Maps), Singh (Sound Cone Fabrication), and Salonga (Research)
Myrtle Avenue
DeKalb Avenue
Flatbush Avenue
THE GRAPH: GENTRIFICATION OVER TIME AND THE BROOKLYN SKYLINE The sculpture photographed is a 4-directional graph plotting the highest buildings at 1:1000 scale (Y) over time (X). The increase in building heights is reflected by an increase in the population of wealthy (-Y) and a decrease in the population of people of colour (Z) in Brooklyn. Casted into each “building” is a symbol of a driver of why each building was built so high. 013
Atlantic Avenue
Vacant Storefronts Grey Fabric 0
250 M
INDEX OF FOOTPRINTS Slot Corner
500 M
1000 M
Case Study: Boutique at 3pm
Case Study: Bakery at 8pm
I AM
Diagrams:
STREET ACTIVATION OPPORTUNITY
(PLAN VIEW)
12236.61
7539.92
TARGET DEMOGRAPHIC: THE BAKER TARGET DEMOGRAPHIC: THE NOMADIC YOUNG ADULT
Pedestrian Experience Intensity
15 SECOND DRIVE
TARGET DEMOGRAPHIC: BAKERKitchen and Open THE Concept
The Divide
100 METERS 2 MINUTE WALK
7539.92
Short-Term Living Units
Average: 5 Empty Storefronts per 200 M Block
5 VACANT STORES 0
Living Room
Open Concept Kitchen and Living Room
100 M
The Divide
Stairs to Bakery Stairs to Bakery
Semi-Private Washrooms
23769.50
Communal Washrooms
23769.50
Communal Washrooms
7539.92
25369.54
DEMOGRAPHIC: Communal TARGET Laundry THE BAKER
Living Units with Skylights Open Concept Kitchen and Living Room
The Divide
Communal Laundry
Communal Laundry
Living Units with Skylights Stairs to Bakery 23769.50
Communal Washrooms
Second Level
Retail Space & Living Room
Communal Laundry De
De
De
Living Units with Skylights
Baed
Baed
Baed
Second Level EARLY MORNING
EARLY MORNING
Second Level
DAY SECTION
DAY
LATE NIGHT EARLY MORNING
DAY
LATE NIGHT
BAKERY | 8:48 PM
EARLY MORNING Residential Activated Commercial Activated
BOUTIQUE | 3:23 PM 1:100
BAKERY | 8:48 PM
HOME IS WHERE THE MART IS
Brooklyn’s streetscape has been visually and economically transformed by the staggering numbers of vacant storefronts now dotting its most popular retail corridors. The problem is tied to the larger issue of gentrification in Brooklyn. A solve is to reactivate these vacant stores with a hybrid of commercial and residential space. The front end of these spaces would be inhabited by a small business, while the back would be home to low-to-mid income residents. The two spaces are seperated with a shift in elevation and a sculptural stair to indicate a divide without segregating the spaces. In this the commercial areas become an extension of the living space during closed hours. Small businesses would receive an affordable place to dwell, as would residents of Brooklyn. 014
20 MINUTES AFTER INSTALL
120 MINUTES AFTER INSTALL
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I AM
SILENT VOICES This activist art focuses on the gentrification that is dominantly present in Vancouver, British Columbia. It is designed for the silent demographic: highly impoverished members of the Downtown Eastside of the city. Silent Voices was an impermanent installation made of materials that were obtained and carried away by whoever needed them. A welcoming moment was created, before users of the space carried on with nomadic lifestyles. Inside the structure was cozy, with soft music playing, conversation, laughter, and food. This project was made possible through the support of non profits in Vancouver that I have relationships with from my time in volunteering, and was funded through personal fundraising. PVC Structural Frame Drawings
10 Weeks | Passion Project In collaboration with Kaia Neilsen-Roine in final stages (Fabrication Assistance)
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WILD 017
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WILD
VELOCITY This is an intervention on an eroding cliff in Vancouver, BC. In this project, we analyzed ways in which we could set up retaining walls that would alter and control the velocity of soil and water on the cliff to make interesting spaces for humans to occupy. In demonstration, a viscous liquid was poured down the model in order to illustrate a time lapse of cliff erosion over decades, and show a possible long term outcome of the design. Heat formed acrylic was used to embody fluidity and movement. In our process we created a model to represent our research findings. This model is a series of gears that were all triggered to move at different speeds when a handle was turned, symbolic of how erosion triggers movement of land, air, and water on different scales of time. 6 Weeks | 3rd Year Undergraduate: BENDS In collaboration with Megan Berry (Sections) and Narita Ico (Model Fabrication Assistance)
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DYNAMIC MODEL REPRESENTING FORCES Gear types representative of wind, water, and soil velocity. Each gear spun at a speed relative to its corresponding element. Model acted as a conceptual representation of research.
WILD
BEFORE INTERVENTION
AFTER INTERVENTION & EROSION
Longitudinal Sections
Isometrics
Planting Plans
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WILD
FLORAL STUDIES The creation of biological objects with a manufactured material develops a visual contrast between built form and the natural environment. I studied this relationship through charcoal drawing and sculpting botanic forms with corrugated cardboard. The study of botany through fine arts was an early exploration of the wild. The concepts discovered find their way into my later works through biomimicry.
3 Weeks | 2nd Year Undergraduate: Visual Arts
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Surface created from point
Surface twisted to fit animation
Inner and outer points of surface separated
- Outer point stiff - Inner points slack
Warp/weft animation applied to make it spin
DIMENSIONED IN MM CREATED WITH RHINO 6 & GRASSHOPPER PLUG INS USED: KANGAROO, LUNCH BOX, COCOON
FOR DESIGN MEDIA 2 WITH THOMAS GAUDIN
BA S E
Enepeur surface from Math
Construct domain (between 0 and 1)
Construct domain (Pi) to mirror geometry
Iso Curve + MD Slider
Graph Mapper (U)
Graph Mapper (V)
Create Pipes from U + V Iso Curves
Cocoon blobs over pipe
Pi
-Pi
ROO F
Reference Height Map As Surface
Divide Surface to Generate Points
Move + Multiply
Create Surface From Points
L A ND S C APE
P L A N (Bottom View) 1:50
025
B
Bloom
WILD
A TRANSFORMING PAVILION BY OLUWATOSIN ODUGBEMI & MEGAN BERRY
6502.43
6002.14
3979.68 291.51
BLOOM
437.49 6522.68
72.97
My personal artistic study of botany developed into 6457.47 a biomimetic pavilion design. In this project a fully parametric flower becomes a space to relax. The pavilion is dynamic and has been programmed through 501.54 Grasshopper to move as seasons change. 2362.44 1312.50
2 Weeks | 3rd Year291.67 Undergraduate: BENDS Parametric pavilion process diagrams in collaboration with Megan Berry
P L A N (Top View) 1:50
ELEVAT ION (Front View) 1:50
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WILD
FLORA PETAL
An exploration of biomimicry & botany In this exercise I chose to alter the set of lines that create the letters A, B, and F through deconstruction of the shapeS, corner filleting, and mirroring. Being rigorous with the ways in which I would create shape led to a biomimetic and bootanical secquence of 3D objects with soft edges and strict symmetry. I leaned into this direction creating a set of three geometric, floral expressions.
1 Day | 1st Semester MArch
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mathematic
cs + Space
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MATHEMATICS + SPACE
ENFILADE HOUSE The concept of interlacing in Eisenstein’s theory is architecturalized in my project through the treatment of partition. This diagram can be read in both plan and section. As walls slip from one space to another, different scales of program are accommodated. Adjacent rooms are bound to impact one another, the movement of walls contributing to a new understanding of the space as whole. The architecture becomes a transforming framing device, engaging in perspectival trickery through a rigorous use of enfilade.
In cinema, each scene gains its true meaning when placed in conjunction and comparison with others. The individual shot is abstract except in its role as part of a greater whole. The collision of independent shots creates montage. A shot is not simply next to the shot that follows it– instead, the two overlap and the sensation of movement comes from multiple shots' superimposition. This idea is the Montage Theory by Sergei Eisenstein.
5 Weeks | 2nd Semester MArch
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MATHEMATICS + SPACE
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MATHEMATICS + SPACE
EXPERIENTIAL ANALYSIS In this work I track my movement over the course of one week and mapped this data on various scales. I added a personal layer to the map by associating my location with the level of stress I usually experience in that area due to various factors such as struggles with transit and the hardships of being a student.
8 Days | 3rd Year Undergraduate: BENDS
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EXPLODED AXONOMETRIC & CIRCULATION
AXONOMETRIC 037
MATHEMATICS + SPACE
EQUIPOISE In this project, I was challenged to build a home in the shape of a cube. Based on a rigourous set of rules I made for myself that indicated line weights and types, I created a space with abstract shapes. The repetition and strict geomerty brings method to the madness.
5 Days | 1st Semester MArch
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MATHEMATICS MATHEMATICS + SPACE
FORM Digitally modelled using Rhino 6, laser cut on acrylic, assembled, and sandblasted. In this fabrication project, I started by digitally 3D modelling a human stomach. I then changed the orientation of the stomach and separated it into a “waffle model” in order to create a biomimetic design that stands on its own but is still reminiscent of a stomach.
12 Days | 3rd Year Undergraduate: BENDS
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RULES LINES IN PLAN
Surfaces meeting at an angle >90° Surfaces meeting at an angle ≤90°
Given Floor Plans STUDY MODELS
041
Result
MATHEMATICS + SPACE
TILT In this project, I was challenged to create a space with two given floor plans. Based on a set of rules I made for myself involving certain line weights depicting the angle that planes meet at, I created a space in which each plane is on a tilt. I designed this space so that traversing it would be an uncomfortable, yet interesting experience. The space purposefully lacks program.
14 Days | 3rd Year Undergraduate: BENDS
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043
MATHEMATICS + SPACE
CROSS This project explores two cruxes of architecture: corners and thresholds. Thresholds provide a contingency for a transaction between two distinct spatial environments. This transaction can be ephemeral and physical. “The Corner Problem” became an opportunity to exacerbate the threshold and vice versa. The project embraces these often called “problems” by using them as an instrument to define spaces, volumes, and implied volumes as an inhabitant moves through the building. My intention was to create many instances of “The Corner Problem” in my building, then refute it by cutting thresholds out of the junctions. To achieve this with rigour, I chose a the most elementary shape that creates the most corners: a plus sign or cross form. This cross became the core of the design and the device that enabled an evocative sectional shift. 2 Weeks | 1st Semester MArch
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MATHEMATICS + SPACE
CIRCLE I began my study by noting where roundness appears in the filmmaking process. A practice that I have been interested in is the filming of bullet-time scenes. Many of the most iconic film scenes were filmed with this method-- as it is one that allows for a 360 degree view of the stunts, a tinkering of the perception of time, and perspectival trickery for an impactful spatial effect.
6 Weeks | 2nd Semester MArch
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B
A
A
Underground Floor Plan
047
25’
50’
Groun
100’
25’
50’
MATHEMATICS + SPACE
B
B
A
Roof Plan
nd Floor Plan
100’
25’
50’
100’
048
Sound Stage & Stitch
Site Alignments
049
MATHEMATICS + SPACE
Section A 10’
25’
Section B 50’
50’
100’
200’
The configuration of the sound stages in my project combines the ideas of stacked diverse plans connected with a stair, and site adjacencies. The underground floor is cropped by the implied curve of the path above, which is the inner ring on our site. One of the smaller sound stages rests tangent to this curve. The actor’s spaces radiate around this sound stage leaving it easily accessible. Stitched together by a bending stair the second small sound stage lives on the ground floor. Adjacent to it is the larger sound stage. Both of these spaces connect directly to the outdoors through large pocket doors. When opened, these doors peel back much of the building facade, creating a moment of slippage between the conditions of interiority and exteriority in the architecture. The remaining programmatic requirements click into the non-circular areas of the ground floor, in an instance of diagonal symmetry. 050
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MATHEMATICS + SPACE
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MATHEMATICS + SPACE
GLITCH! The brief asked for an office design for a new National Science Foundation (NSF) headquarters in Boston, MA. Through this project, I am asking how much of the interactions contained in built form should be revealed. When considering the specific program of the NSF building, questions of elitism and accessibility intertwine with these concepts of privacy (or lack thereof). The academy is an institution that has been critiqued as elitist. The government is as a body has been understood as opaque. Because education and governance are necessities in our society, the organizations that perpetuate this must be trusted. Architecture can partner with this mission by intentionally drawing lines of privacy and publicity through spatial design. 14 Weeks | 3rd Semester MArch
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a
a
20’ grid
20’ grid
20’ grid
b
01
3
6
10
20’
utility 0 % g l i tc h e d !
055
a
b
01
3
6
10
20’
archives & reception 1 0 % g l i tc h e d !
b
01
3
6
10
20’
office 6 0 % g l i tc h e d !
MATHEMATICS + SPACE
a
a
20’ grid
20’ grid
b
01
3
6
10
20’
auditorium 8 0 % g l i tc h e d !
b
01
3
6
10
20’
library & exhibition 9 0 % g l i tc h e d !
0
5
10
25
50’
site plan
056
reorganization
order
operation 1
operation 2
operation 3
operation n
axonometric, plan, section
axonometric, plan, section
axonometric, plan, section
axonometric, plan, section
axonometric, plan, section
axonometric, plan, section
axonometric, plan, section
axonometric, plan, section
axonometric, plan, section
axonometric, plan, section
axonometric, plan, section
axonometric, plan, section
axonometric, plan, section
axonometric, plan, section
axonometric, plan, section
axonometric, plan, section
axonometric, plan, section
axonometric, plan, section
axonometric, plan, section
axonometric, plan, section
axonometric, plan, section
axonometric, plan, section
axonometric, plan, section
axonometric, plan, section
axonometric, plan, section
matter cannot be created or destroyed, only moved
deletion matter can not be relocated, only removed
misalignment matter cannot be created, destroyed or moved freely, it may only slide longitudinally along the ground plane
rhythmic delay matter can be destroyed or slide laterally along the ground plane
shuffle matter can be moved vertically, horizontally, and diagonally
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MATHEMATICS + SPACE
The process of experimenting is inherently scientific. This exercise requires bravery to make mistakes. This project aims to celebrate the process and create architectural opportunities by illustrating forces diagram the ephemeral concept of mishaps. The building finds the dichotomy between privacy and performance and lean into the transition (or jump!) between these conditions. The formal tool I will use to architecturalize this dichotomy is a visual and organizational glitch. The glitch breaks organizational and programmatic rules in the space. It is a moment of deliberate hesitation. It alludes to the intrusion of chance, temporality and playfulness caused by experimentation. The glitch — the image of an error creating a moment of slippage in the built form — reveals something beautiful. But where a glitch is typically a short-lived and veiled phenomenon, this work translates it into a celebrated and imbued fixture.
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CONCEPT MODELS
059
MATHEMATICS + SPACE
A spatial script is written, determining the normative condition of the building, then refuted where the glitch occurs. The internal misalignments are then reflected on the building envelope, disturbing an otherwise unspectacular façade. Through my representation (renderings and models), I used purposefully improper techniques to cause moments of slippage, reveals, disproportions, failures, fuzziness and hesitation and then studied how the mishaps could manifest in interior space and structurally and which of these conditions remained graphic. The project imbues artistic, expressive, and theoretical notions into built form. 060
LOBBY, AUDITORIUM, EXHIBITION & LIBRARY! GLITCHING MORE, MORE, MORE & MORE! 061
MATHEMATICS + SPACE
FRAGMENT MODEL
GLITCHING 3D PRINTS 062
THANK YOU