Trimira Garach Portfolio 2011 by Trimira Garach

G E N E R AT I O N

TRIMIRA GARACH | PORTFOLIO 2011

TABLE OF CONTENTS GENERATION

ITERATION

ADAPTATION

INVESTIGATION

APPLICATION

EXPERIMENTATION

Introduction and Resume

Stereotomic and Tectonic Structures

Biomimicry and Bridges

Site Analysis and Mapping

Public Archives and Private Spaces

Technique and Media

TRIMIRA GARACH Waterloo School of Architecture | Class of 2015 | ID# 20379218

OBJECTIVE To obtain a position of active contribution and support within an architectural practise. SKILLS Digital

Analog

Personal

> Rhinocerous 4.0 (NURBS Modeling Software) > VRay for Rhinocerous > Adobe Creative Suite 5 (Photoshop, Illustrator, and InDesign) > AutoCAD > Revit Architecture 2012 (Basic Training) > Microsoft Office > Experience using CNC machines in conjunction with AutoCAD and CorelDRAW > Proficient in hand-drafting > Proficient in the production of architectural models using various materials including basswood, museum board, millboard, cardboard, and plaster. > Good communication skills, Example - Was co-president of the Multcultural Awareness Committee of my high school. > Strong critical thinking, Example - Strong performance in both high school Law and university Iconography where arguments of sound analysis are required. > Good time management, Example - Was a part of three clubs, concert band, and took piano lessons in high school. > Amiable personality and diligent worker

EDUCATION 2010 - Present

Bachelor of Architectural Studies Honours, Co-op program at the University of Waterloo. > Academic Distinction(s): 2011 Winter Term - Dean’s Honour List 2010 - Herb Tait Award for excellence in English (OSSD) 2010 - Ken Manuel Award for excellence in Law (OSSD) 2010 - Visual Arts Honour Award (OSSD)

VOLUNTEER EXPERIENCE August 2011

Fulfi lled basic clerical duties at the offi ce of Dr. Anjana A. Naik in Sarnia, Ontario. >Tasks included: Sorting and fi ling patient information, answering phone calls, restocking standard medical equipment, and directing patients to examination rooms.

2007 - 2010

Member of the Teen Advisory Group of the Sarnia Public Library. > Responsibilities: Organising events to bring teens into the library, setting up displays throughout the library, and discussing the purchase of new material for the library.

January 2010

Spent a short time as a general assistant at a physiotherapy clinic in Sarnia, Ontario. > Tasks included: Shadowing the physiotherapist in order to learn more about the practice, talking to patients, and assisting them with their exercises.

INTERESTS > The pursuit of architecture as a medium through which one may improve the average individual’s quality of life and work. > Architecture that is a vehicle for the storage and maintenance of cultural and academic artifacts. CONTACT E > tagarach@uwaterloo.ca

T > 226 929 8192

GENERATION “... and the fantasy came alive as I stared at the stone.” This recollection from my childhood is an example of the kind and quality of memory that I wish to create with my work in the future. As a student of architecture, I have come to understand that it is the generation of the idea behind the work that is often responsible for the project’s ability to evoke similar thoughts and emotions. Each individual designs differently and generates ideas through a combination of methods. In an attempt to discover a process of design that is unique to myself and will allow me to realise my aspirations, I have tried to approach projects in different ways and to measure the success of each method. The following collection of work is representative of this endeavour and the progress I have made thus far.

TERM 1B COURSE Design Studio MEDIA Plaster COMPLETED January 2011

ITERATION

ITERATION Summary > This project was an involved process of making and making again. > Each iteration became a source of minor changes. > These minor changes were recorded and constantly visually communicated. > Prevalent ideas became apparent. > These ideas were then carefully altered and reconciled. > Variables were then isolated and manipulated in order to gauge their effect on the whole. > The ultimate form was a product of careful consideration and construction. PROJECT Stereotomic and Tectonic Structures > How does one transform a stereotomic structure to a tectonic structure? > Stereotomic forms were arbitrarily generated. > The most successful form was thoroughly documented. > The documentation was treated as a source of raw information. > This information was then refined through iteration. > The final, tectonic form was produced as a culmination of the process.

02 01

The first stage of the project was to arbitrarily generate a stereotomic form using balloons and plaster. Three iterations were completed, of which the second was selected for further development. 01 > Detail - Iteration #3 02 > Top Elevation - Iteration #1 03 > Detail - Iteration #1 04 > Front Elevation - Iteration #2 05 > Perspective - Iteration #1 06 > Side Elevation - Iteration #2 Iteration #2 was selected for further development due to the success of the secondary voids within the form and the fine quality and smooth finish of the plaster cast.

ITERATION

MEDIA Graphite on Velum

01 > Initial documentation of the cast. > Total: 4 elevations and 3 sections > Axonometric drawing constructed in order to document the stereotomic voids and their distribution.

02 > Two of the initial sections were selected and then transformed using a series of linear and radial operations > Parts of drawing copied and reintegrated using rays and rotation > Rays of light became a uniting theme as a laser was used to document the cast initially

03 > Three drawings were taken from the second composition and were presented as an intersection of three planes. > Information was interpolated in order to conceptualise a three dimensional form. > Rays used once again to visualise the form before it was simplified and broken down into four individual template pieces (top). 07

ITERATION MEDIA Cardstock, Wire, Basswood 01 > Model Iteration #1

> Template pieces were cut and lightly scored so that they would be able to curve into the drawn forms. > Pieces were connected using paper staples instead of glue. > Intended to lock together and become one unit. > Form was ultimately deemed too flimsy and not true to the intention of the form as a single, fluid entity.

02 > Model Iteration #2

> > > >

A tesselation was chosen as the new ‘fabric’ of the model. Small, repeating units allowed for a uniformly divided model. Natural curvature of tesselation resulted in evenly rounded surfaces. Completed model flexible due to “glue” hinges holding each of the individual tesselated units together. > Constructed of 47 individual basswood units. 03 > Model Iteration #2 (Preliminary Model)

> Curvature of tesselation tested using lightweight paper. > Wire used to create frame to hold paper tesselation. > Model used throughout construction of the final basswood as a map of how many units were necessary to complete the form. > Stand edited out of final model.

ADAPTATION

TERM 1B COURSE Building Construction II and Visual Communication II MEDIA Rhinocerous 4.0, VRay, and Adobe Creative Suite 5 COMPLETED April 2011 COMPLETED WITH Elizabeth Laing

ADAPTATION Summary > Made use of knowledged gained from a previous project. > Aspects of the earlier tectonic structure were noted. > These elements then informed the execution of the existing concept of biomimicry. > The kinetic nature of the earlier basswood model allowed for a focused design with a clear ambition of mimicking a kinetic biological phenomenon. PROJECT Biomimicry and Bridges > Designed for the Steel Structures Education Foundationâ&#x20AC;&#x2122;s 2011 Biomimicry competition. > The curvature of the tesselation used in the previous project was explored as a canopy. > Expansion and contraction in the basswood model was made possible as a result of flexible bonds between the pieces. > The collapsability of the tesselation made it an ideal candidate for the imitation of defensive biological mechanisms. > This canopy allowed for the behavioural imitation of a host of organisms and reflexive actions. > The final footbridge references the human fetal position and the recoiling of sea anemone. > The canopy is designed to act in concert with a pulley system in order for it expand and contract as an individual walks along its length.

01 > Render

> Located in Ottawa, Canada over the Rideau Canal. > Canopy encased in glass to avoid deterioration of pulley system due to weathering. > Railings extend beyond canopy as a safety consideration.

02 > Site Plan

> Footbridge distanced from the combined automobile and pedestrian bridge along Wellington Street in order to protect pedestrians from the noise, pollution, and traffic of the busy road. 11

Round HSS (AESS) Mullion System

6.35 mm Tempered Glass Panels

Steel Canopy Control System (Spring Driven)

Inner Canopy (Ceramic Frit Glass)

Inner Canopy System 9.525 mm dia. Stainless Steel Cable

Handrail (AESS)

6.35 Tempered Glass Panels with metal clip anchors

Spandrel Panel Plate Steel (AESS)

HSS Tieback Connection

125mm Pulley

Steel Plate (Suspended on HSS Tieback Connection)

40mm Steel Grate Floor 10 mm Subfloor

Open Web Steel Joists

I-Beam (Coped Bolted Connection)

Steel Angle

Round HSS Truss System

(AESS) Slotted Bolted Connection

Cross Bracing (K/N Overlap Connection)

01 02

12 09

17 15

13 14

18 16 11

ADAPTATION 02

01 > Structural Axonometric:

> Steel truss substructure > Deck structure > Round HSS superstructure

02 > Detail: Bolted HSS to steel angle connection 03 > Detail: Open web steel joists below deck 04 > Detail: I-Beam - coped and bolted connection

INVESTIGATION

TERM 1B COURSE Design Studio MEDIA Graphite on Cardstock, Adobe Illustrator and Photoshop COMPLETED February 2011 RESEARCH PARTNER Carly Kandrack

INVESTIGATION Summary > A site visit was made to 48-50 McCaul Street, Toronto. > The surrounding buildings were documented > Points of interest regarding access were noted and compared. > A series of icons were drawn for four signficant buildings. > The icons were edited, finalised, and then contextualised. > The final ‘map’ served as a catalogue of nearby entrances and pedestrian conditions. PROJECT Points of Access > Study was conducted as an aid for myself and my peers. > Four entrances of signficance were analysed. > Included areas: the AGO, OCADU, Grange Park, and Gallery Towers. > My goal was to encourage my peers to think critically about points of access. > For example, one might consider why OCAD University has a sunken entrance and how this affects noise levels and pedestrian traffic within the immediate area. > The general conclusion was that these elements of buildings serve to ‘funnel’ the general public in a variety of ways.

01 > Iterations of icons drawn in perspective. 02 > Pictures of the site and surrounding buildings.

01 02

APPLICATION > TERM_1B

> COURSE_Design Studio > MEDIA_Graphite on Velum, Basswood, Plexiglass > COMPLETED_April 2011

APPLICATION Summary > The collection of artifacts were assessed in order to determine general lighting and storage requirements. > An investigation of the site was completed and site parameters were determined. > Concepts of the investigation were applied through a â&#x20AC;&#x2DC;funnelingâ&#x20AC;&#x2122; of the public and official personnel throughout the building. > Programmatic elements were resolved through five iterations. > The key element, a method of storage, was established and used to unite the public and private spaces. PROJECT CCA Archive > Designed as a Toronto outpost for the Montreal-based CCA. > The archive features a central light well that cuts through all three storeys of the building. > This corridor, used by the occupants exclusively as a stairwell, also serves to strictly divide the private and public spaces of the building. > Public spaces are enclosed by glazing, whereas privates spaces are enclosed by opaque walls. > The severity of this division is lessened by the ribbon of storage that wraps around both public and private spaces. 17

APPLICATION

PUBLIC SPACES 01 Exhibition Spaces

PRIVATE SPACES 07 Archivist Offices

02 Washrooms

08 Receiving/Sorting

03 Front Desk

09 Cafe (Kitchen)

04 Cafe (Dining)

10 Rare Artifact Storage

05 Study Area

11 Board Meeting Room

06 Gardens

12 Research Space

STORAGE Where there is apparent circulation space adjacent to or around the various programmatic elements, storage panels have been installed along the exterior walls of the archive. This allows the public, the archivists, and the researchers a circulation space in which they may come in contact with each other as they peruse the material. 19

APPLICATION

EXPERIMENTATION TERM 1B COURSE Visual Communication II MEDIA Adobe Photoshop COMPLETED February 2011 01 > 10 years after being completely abandoned, water

slowly starts to flood the Herzog & de Mueronâ&#x20AC;&#x2122;s famous Birdâ&#x20AC;&#x2122;s Nest, the Beijing National Stadium.

02 > The flooding begins to rapidly increase, and after 25

years the stadium has been completely submerged under water.

03 > Before being submerged,

salt from the ocean water begins to corrode the steel and render it vulnerable to rusting and deterioration.

04 > 03

The cause: global warming.

TERM 1B COURSE Sustainable Design MEDIA Rhinocerous, VRay COMPLETED April 2011 01 >

This desert oasis is located in the Acacus mountains of the Sahara desert in Libya. A weary traveler may rest in the oasis for a night or two as they find refuge from the gusts of sand and scorching desert temperatures. 02 > The walls of the oasis are made of mud and lime brick that has been reinforced with palm tree wood that is native to the area. Rock formations serve as thermal mass towers, and a small well provides a source of water for the traveler. 03 > A thin tensile canopy draws air into the oasis and allows it to cool and stratify before it warms once more, rises, and is drawn out of the oasis. 03

TERM 1B COURSE Sustainable Design MEDIA Foamcore, Basswood COMPLETED March 2011

EXPERIMENTATION

01 > Solar noon, winter solstice. Uninhibited by the exterior 01

shading devices, the sunlight streams in through the windows and naturally heats the thermal mass of the floor. 02 > Exterior of model. Features of the solar study include an overhang, movable shading louvres, and glass balcony doors with ceramic frit. 03 > Solar noon, summer solstice. Very little direct sunlight comes into the room due to exterior shading devices. Balcony doors may be opened to allow for natural ventilation.

EXPERIMENTATION

01 02 03

01 > Kawasaki Ninja 250R

Acrylic on Canvas 02 > Masquerade Print (Ink on Paper) 03 > A Glimmer of Green Acrylic on Cardstock

01 > August 22, 2011

Sarnia, Ontario CA 02 > July 16, 2011 Sarnia, Ontario CA 03 > August 19, 2011 Palma, Majorca SP 04 > July 31, 2011 Sarnia, Ontario CA

EXPERIMENTATION

TERM Grade 11 (OSS) COURSE Technological Design MEDIA Plywood (CNC Machine) COMPLETED June 2009 COMPLETED WITH Sarah Robertson

> This dinosaur puzzle was recreated from an original childrenâ&#x20AC;&#x2122;s toy. > The pieces of the toy were traced, numbered, imported into AutoCAD, and then traced. > The scale of the puzzle was doubled (to a final length of 70 cm). > All AutoCAD files were saved in CorelDRAW. > A CNC machine was personally used to cut all pieces. > Each piece was individually sanded to fit. > Model was then assembled.

THANK YOU.

I appreciate your time and look forward to hearing from you soon.

TRIMIRA GARACH