Trisha Arts 2017

Page 1

ARCHITECTURA PORTFOLIO 2017

TRISHA ARTS a collection of architecture + design work



trisha ARTS

EDUCATION UNIVERSITY OF TORONTO

Fall 2015-Present

Daniel’s Faculty of Architecture, Landscape and Urban Design Candidate for Masters of Architecture Degree Cumulative GPA 4.0 2010-2014

CARLETON UNIVERSITY trishanarts@gmail.com 519-831-8229 Toronto, Ontario

ABOUT Trisha completed her Bachelor of Architectural Studies at Carleton University in 2014. She is currently pursuing her Masters of Architecture at the University of Toronto where she has began to develop her professional career. Working at both small and large firms, Trisha has gained a breadth of experience in the professional practice of architecture. Throughout her studies, she developed a strong passion and knowledge in architecture and the urban form.

TECHNICAL SKILLS Adobe CS6 Revit AutoCad Rhino Grasshopper Sketchup Processing

Azrieli School of Architecture & Urbanism Bachelor of Architectural Studies, Major in Design Cumulative GPA 11.0 2013 Directed Study Abroad in London, England

WORK EXPERIENCE KPMB Architects | Toronto

Intern • • • • • • •

Facilitating marketing functions on all levels of new business development and publicity/public relations Assisting marketing department by providing graphic support in preparation of proposals, award submissions and presentations Updating internal and external websites and social media Organization and processing of architectural photography and related content Research for new pursuits, including the analysis of competition Assisting with production of competition content including graphics, drawings and models Coordination and development of new company website

Kearns Mancini Architects Inc | Toronto

April 2014 - September 2015 www.kmai.com Coordination with suppliers regarding interior finishes, creating sample boards to present to clients Liaising with clients + consultants through the use of Aconex (contract admin software) Supporting Project Lead on Contract Admin items including review of shop drawings, issuing submittal reviews, documenting and recording site visits Developing construction details + working drawings as per OBC standards Collaboration with a small team to produce DD documentation including addendums Assisting with preliminary research during the initial stage of projects Assisting with variety of projects in Corporate design, Educational Facilities, Hospitality • Toronto: Bay Adelaide Centre III, Waterpark Place III, BMO First Canadian Place

Junior Intern Architect • • • • • • •

April 2016-September 2016 www.kpmbarchitects.com


TABLE OF CONTENTS


CREATIVE CITY

06

BOOK

12

THE LOST MUSEUM

18

FIGURE/FABRIC

24

ONE PIECE AT A TIME

30

DELOITTE TORONTO

34

University of Toronto 2016

Carleton University 2014

University of Toronto 2015

Carleton University 2013

University of Toronto 2016

Professional Work 2014


cre ative city Toronto Urban Plan Strategy for a Rail Deck Park

6


BUILDINGS

ORIGINAL FRONT

LANDSCAPES

ST. LOCATION

RAIL DECK

The approach to the design of the rail deck park and the land immediately north of it came out of a shared interest in, as well as a skepticism about the efficacy of Richard Florida’s “Creative Class” theory and related notions of culturebased development. Looking back through a number of proposals put together by the Toronto Arts Council for a “Creative City Planning Framework,” as well as studies on the potential for Toronto to become a global leader in the knowledge industries from the University of Toronto’s Martin Prosperity Institute, an idea was developed about what the city needs right now, and how this park could present the opportunity to deliver it. This proposal is meant to foster and solidify the cultural identity of Toronto by designing a multi-disciplinary, professionally and demographically diverse district in the heart of the city. AutoCAD Rhino Model (Lasercut + 3D Print)

Photoshop Illustrator Grasshopper

INFRASTRUCTURE

The process began by accepting information from research in the first stage of this project, regarding the economic benefits of talent clustering– or bringing educated, highly talented workers in what Florida calls the creative class into close proximity to one another near city centers. This includes creatives in the sense of artists, designers, and musicians, but it also includes engineers, entrepreneurs, technology workers, and other people with ideas and generally progressive values. Our methodology for this project leaned heavily on four common values and goals. Those requirements are for an amenity rich environment, a strong support network, distinctive experiences, and a concentration of cultural institutions and facilities.

Work in Collaboration with Nicholas Reddon + Graham Schwitzer

Adapting a three-part formula for attracting culture-based development in the area, the project recognizes that an area needs to have a cultural hub or incubator, spaces to showcase various expressions of creative production, and “sites of memory” that create strong geographic identity. These overlapping lists of imperatives led to the decision about 4 primary constituencies that would direct the ideas about development on the site. The site is a unique situation where the park is located overtop of the raildeck, creating an issue in grade change with the existing infrastructure and a specific landscaping strategy

2016 Superstudio University of Toronto

7


SITE STRATEGY

SITE AXIS

TRANSPORTATION ANCHORS

CULTURAL CENTRAL NODE

SITE DENSITY

8


LANDSCAPE STRATEGYheight at center to allow for deep soil and planting RULE: RULE: zone zone 3 3 landscape landscape strategy strategy should should rise rise from from low low retaining retaining walls walls to to aa maximum maximum height at center to allow for deep soil and planting 5m 5m

1m 1m

1m 1m

PLANTING AREA SHOULD SLOPE TO SITE PERIPHERY

RULE: paths paths between between the the planter planter boxes boxes should should be be wide wide to to allow allow for for potential potential program program in in the the space, space, and and to to maximize maximize sunlight sunlight on on paths paths RULE:

8m 8m

8m 8m

8m 8m 8m 8m

PLANTING AREA SHOULD BE DIVIDED BY WIDE PATHS

section section drawing drawing of of possible possible configuration configuration

PLANT AND TREE TYPES SHOULD BE CHOSEN BY AVAILABLE DEPTH

possible arrangement of features

GUIDELINES FOR PROGRAMMING RELATIVE TO RETAINING WALL guidelines for programming the park relative to retaining wall height

<2m RETAINING HEIGHT possible features for < WALL 2 m retaining wall height

2-3m RETAINING WALL HEIGHT

possible features for 2 - 3 m retaining wall height

3-5mfeatures RETAINING possible for 3 - 5 m WALL retaining HEIGHT wall height

9


HIGH RISE CONDOS + HOTELS

TECH CAMPUS

MUSEUM

STUDENT RESIDENCE

MARKET

AFFORDABLE HOUSING

ARTIST RESIDENCE

LIVE/WORK

OFFICE BUILDINGS

RETAIL

10


NON - RESIDENTIAL: HOTEL RETAIL MARKET OFFICE MUSEUM TECH CAMPUS

RESIDENTIAL: MEWS ARTISTS RESIDENCE AFFORDABLE HOUSING LIVE / WORK HOUSING STUDENT RESIDENCE CONDOS

11


dubai public li brary Dubai`s Central Library and Cultural Node

12


CEILING SCREEN To provide shade, the glass canopy is covered with a screen. The design of the screen is based off of the 3 shapes used in original Dubai libraries: the minaret.

GLASS CANOPY the glass canopy covers the courtyard and continues into the library connecting to the structure of the entrance

FOLDED ROOF the varying wall heights create folds in the roof structure, with the glass canopy protruding through

VARYING WALLS the height of the walls vary, creating an elegant elevation with the highest point acting as a beacon at the NE entrance

GLASS ATRIUM the building incorporates 2 masses - 1 interior, 1 exterior - into a fluid glazing system that allows light into the building

PROTECTIVE SCREEN to provide protection from the sun, screens are introduced over the exterior glass facade

Amongst a city of skyscrapers, the proposed Dubai Central Library provides cultural character that is rare in the tourist-oriented city. Located in the business district of one of the World’s largest cities, the library acts as a beacon, drawing in members of the community and introducing them to an environment that contributes to the civic identity of a foreign culture and place.

of the World’s tallest building, this focal point is necessary to encourage traffic through the site. Screens also feature traditional Dubai architecture, utilizing the 3 essential shapes in the construction of a minaret: the circle, the square, and the hexagon. These screens provide a cultural aspect to the building, while working congruently as a passive cooling system.

The design of the library takes inspiration from various traditional components of Dubai architecture. The elevation was designed to mimic an open book and the decision to raise one end of the mass was derived from the original Arabic Library: introducing a spire to act as a visual focal point. Located at the base

The strategy of the project was to divide the building into two parts, separating the major programs: the auditorium and the library. To bridge the two programs a covered courtyard is introduced, providing a social platform for the public. Inside the main program, a central atrium allows natural light to flood the public

Revit Rhino AutoCAD

Photoshop Illustrator inDesign

Nominated for Terron Scholarship Award

library stacks, creating circulation around the delicate glass structure. The main literary collection is located on level 2 and as the user ascends, the program becomes more specific. Meeting rooms, study rooms, and work tables surround the perimeter allowing for desired views into the atrium. This project provides relief from the consumerism typically found in Dubai by creating a social environment that celebrates traditional architecture while fostering education and research.

2014 Studio Carleton University, B.A.S

13


14

ENTRANCE TO LIBRARY

SEA OF BOOKS

LIBRARY ATRIUM


PUBLIC PLAZA

SITE PLAN

LIBRARY ATRIUM LIBRARY STACKS PUBLIC COURTYARD AUDITORIUM

N

ELEVATION PROFILE The section of the building was inspired by the shape of an open book. The program is composted of 3 major components: the auditorium, the courtyard and the library. Together these 3 programs combine in section to create the illusion of an open book.

+

2

+

3 NORTH-WEST ELEVATION

1

15


PUBLIC AUDITORIUM

16

OFFICE + MEETING SPACE

PRAYER ROOMS

PUBLIC COURTYARD

LIBRARY STACKS


PERSPECTIVE SECTION

LIBRARY ATRIUM

KIDS ZONE

LIBRARY ADMINISTRATION

LIBRARY LOBBY

PUBLIC PLAZA

17


the lost mu seum

A museum for the Lost Village Society

18


AXO OF BUILDING STRUCTURE

The town of Long Sault, Ontario experienced a displacement when the St. Lawrence River was flooded to allow easier boat access. This resulted in several houses having to be buried, moved or destroyed. This site became known as the Lost Villages, containing a collection of houses from 8 towns that were displaced. The site, located along the St. Lawrence River currently consists of 10 heritage buildings that were moved and restored. However, these buildings are spread over the large site, with no obvious reasoning or arrangement.

Revit Rhino AutoCAD

Photoshop Illustrator inDesign

The proposed museum provides more organization and rhythm to the site, curating an experience under one roof. By rearranging the buildings into chronological order, it allows visitors to understand the timeline of the different architypes. Each building on the site has its own unique architectural typology. Each individual building is framed by the museum, mimicking the existing roofline. This creates a visual and literal connection between the historic buildings and the new proposed museum.

The back facades are removed on each building to allow for them to act as exhibition rooms within the museum. These removed facades are then re purposed throughout the museum. In addition to the museum program, 5 residences are proposed on site to house artists. The typology of these houses are live-work units, with their design parti being a mirror of the museum. Similarly to the museum program, the focus of the residences was on the roof shape. This shape was derived from mirroring and inverting the roofline of the museum.

2015 Studio University of Toronto

19


ORIGINAL BUILDING LOCATION

1901

1950 1910

20

REARRANGED BUILDING LOCATION

1860

1869 1893

1860

1810

1850 1840

ADMIN


21

NORTH-SOUTH SECTION

SITE PLAN


/ // / / / / / / / / / RESIDENCE / / / / // / / / / //

22


/ / / / / / / / / / / / / MUSEUM / / / / / / / / / / / / /

23


fig ure fab ric A tower in the park

24


ACCESS

ZONES

the design objective is to transition from figure to fabric as you enter into the site

STRATEGY

there are 4 separate buildings located on the site , each serving a different typology

the site is unique with 4 different zones, it was necessary to re zone part of the site to gain more height

TYPOLOGY

with amenities located on all sides of the site, access through the site was necessary

Working in pairs, the project scope was to design a multi-unit residential building in an urban context of Old Ottawa East. After a 2-week site and neighbourhood analysis, an overall site strategy was developed accommodating the diverse range of typologies, lifestyles, and income found in the area. Both mixed-use dwellings targeting families and a high-rise condo targeting young professionals were developed. Our focus quickly became the revival of existing green spaces into socially active spaces. A master plan that transitions from fabric to figure as you enter the site allows for the integration of the buildings into the existing urban form. Revit Rhino AutoCAD

Photoshop Illustrator inDesign

This project, designed individually after the completion of the master plan, focuses on the high-rise condo and concept of integration between the built form and the site. The project explores the idea of bringing green space to residential areas by incorporating green terraces in the high-rise condo. The organic terraces create a seamless transition from built form to nature. The form, reflecting the concept of the site, begins with orthogonal lines and transitions from figure to fabric integrating the natural form into the building.

To encourage use of the green spaces provided, pedestrian pathways are introduced. These pathways allow for access through the site from both the x and y-axis. A large social platform is introduced at the base of the condo in the form of a public plaza. The project emphasizes the integration of nature and residential living while encouraging social activity amongst green areas.

Work in Collaboration with Darby Ace

2013 Studio Carleton University, B.A.S

25


SITE PLAN

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

N

SENIOR APARTMENTS GROCERY + RETAIL TOWNHOUSES MIDRISE APARTMENTS PUBLIC SPACE HIGH-RISE CONDO PUBLIC PLAZA ATHLETIC COMPLEX

EAST-WEST SECTION

A

B C

A RESIDENTIAL UNITS 4 units/floor

26

LOBBY + EVENT

B SPACE

UNDERGROUND

C PARKING


27


ROOF DETAIL

08

CEILING DETAIL

07

STRUCTURAL SYSTEM

06

WALL DETAIL

05

FLOOR DETAIL

04

STRUCTURAL AXO

FLOOR + WINDOW 03 DETAIL

GLAZING 02 DETAIL

TERRACE 01 DETAIL

28


DETAIL ELEMENTS FIRST FLOOR TERRACE CONNECTION BTW MULLION + GLAZING FLOOR SLAB CONNECTION FLOOR DETAIL WALL DETAIL STRUCTURAL SYSTEM DROP CEILING DETAIL ROOF DETAIL

1

3

3

1

4

4

2

7

5

8

01

03 04 05 06 07 08

2

5 6

1. pavers 2. stone dust 3. crushed stone 4. backfill

5. 6. 7. 8.

head + sill flashing parging foundation wall footing

02

01 02

1. base sill 2. sealant 3. mullion

4. gasket 5. glazing

1 2 3 4 5 6 7 8 1

2 3 3 2

4

1. aluminum cap 2. planter boxes (drainage system) 3. drainage pipe 4. window wall detail

1. two way concrete slab 2. plywood underlayment 3. hardwood flooring (glued + screwed)

05

03

04

1

1. gypsum 2. metal studs 3. batt insulation 4. sheathing

5. 6. 7. 8.

vapour barrier semi-rigid insulation moisture barrier window wall

5

1

2 3

1

8

2 3

6

4

9

m

4

00

5

12

5

7

reinforced concrete two way slab located on a 6 x 6 grid system.

08

07

06

600m

1. concrete slab 2. wire strap 3. wire cable

4. aluminum frame 5. ceiling tile

1. cap flashing 2. cant strip 3. parapet 4. ballast 5. filter cloth

6. 7. 8. 9.

rigid roof roof drop

insulation membrane deck ceiling panels

29


one piece at a time An algorithmic set design

30


ALGORITHMIC RULES 1 1ST 2ND UNIT NEIGHBOURHOOD NEIGHBOURHOOD 1 UNIT

1ST NEIGHBOURHOOD

2ND NEIGHBOURHOOD

10 pxl

RULE 5 5 RULE

RULE 4 4 RULE

RULE RULE3 3

RULE RULE2 2

RULE RULE1 1

10 pixels

10 pxl

10 pixels

Based on Richard Wagner’s 1856 opera, Die Walkure, we composed a set design responding to Act 1 Scene 1 focusing on the symbolism of the ash tree. The scene begins with Siegmund, wounded and weaponless, taking shelter from a storm in a stranger’s home. The home has a large ash tree located precisely in the middle of the house, with a sword stuck in it. The sword was placed there on Hunding and Sieflinde’s wedding day and no one has been able to remove

Processing Rhino 3Ds Max

AutoCAD Photoshop Illustrator inDesign

it. Tension arises in the house between Siegmund and Hunding, resulting in a fight over Hundings wife. Siegmund, overcome with love, vows to protect Sieflinde and removes the sword from the tree, naming it Notung (Need). Siegmund and Sieflinde run off into the forest together.

Seeing the tree as an important symbol of the opera’s narrative of adventure, family love, death and revenge, we decided to highlight the element. By creating a forest of trees, it introduces voids and gaps in the structure, allowing for every angle to have a different perspective of the set.

Work in Collaboration with Bradley Dunn + Jeremy Keyzer

2016 Intermediate Computer Applications University of Toronto

31


SECTIONS

THEATRE SECTION

overall section 1:500

CONTOUR PLANES

sectionA_A a _ a SECTION 1:100 1:100

SECTION sectionB_B b _ b 1:100 1:100

section a _ a 1:100

front el

section cC_C _ c SECTION 1:100 1:100

section b _ b 1:100

32

front elevation 1:100


FRONT ELEVATION

front elevation 1:100

33


delot tie toron to of fice interior fit out for Bay Adelaide III

34
























 

 













 



   















 





























 

 





 











 













 





   

 













 

























 











 











 

   

  



 





























 

 

 













 

 









 













 







 











 

 

  











 

  











 





  





  





 

   



 











  













 







 





 





























 

























 



  









 



 















 









 Working with a small team, we coordinated with Deloitte’s in-house interiors team for the production of an interior fit-out at the new downtown Toronto headquarters. The project consisted of 19 floors of flexible communal work spaces, designed to encourage collaboration and social interaction. The 7-storey atrium is a focal point of design, with a large, LED-illuminated, feature stair. The stairwell connects office space to Deloitte University, a space dedicated to for employees and clients to learn from 

AutoCAD Revit

Photoshop Illustrator inDesign



 each other through seminars and workshops. The intention was to design the space as a welcoming lounge that does not have the feeling of a corporate office. This was achieved by continuing a “Canadian theme” throughout the lounge, introducing warm, wooden floors and fireplaces. The building has 18 types variations of flexible workspace, from treadmill spaces, to a rooftop patio. 

KMAI Project Team: Peter Ng, Alice Gibson, Carmen Rotundo, Negaar Fathi

Images courtesy of: Toronto Life (left, right top and middle) The Globe and Mail (right, bottom) Detail Section (left) drawing property of KMAI

Kearns Mancini Architects Inc + FKA Architects. 2014

35



THANK YOU x

trishanarts@gmail.com 519-831-8229 ww.trisha-arts.com


Turn static files into dynamic content formats.

Create a flipbook
Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.