Portfolio by Watchorn Architecture & Urbanism

i think PORTFOLIO IAN ALAN WATCHORN Ian Watchorn project architect

CONTENT CV

IAN WATCHORN

PROJECTS 1

ALBRIGHT KNOX 360

NEW MUSEUM EXPANSION

THE EDIBLE ACADEMY at NYBG

JOURNAL SQUARED

673 5th AVENUE

NFSL SCHOOL

WIEN MUSEUM NEU

AVERY TOWER

Plinth and tower unification

A campus redefined

Dual dialogue

Building as educational tool

Composing the square

Bamboo curtain

School as urban garden

Defining the void

CONTENT CV

IAN WATCHORN

PROJECTS PROJECTS

JOURNAL SQUARED PARK GROVE

210

673 5th AVENUE SOUTH BEACH ACE

WIEN MUSEUM NEU

BAUHAUS MUSEUM DESSAU

A new town center at Kingston University

11 12

Defining the void as public space Maximizing views and porosity Bamboo Curtain Contributing public space

THE PLAZA AT SANTA MONICA Defining the void as public space Unlocking a programmable roof landscape Exhibiting a school as a continuum of time STUDENT CENTER & LIBRARY

TRANSBAY

Plinth and tower unification EX - CASA 400 Mixed residential beacon

2701 SOUTH BAYSHORE DRIVE Maximizing views and porosity H & M GUEST HOUSE BIG BROTHER_little brother

SOUTH BEACH ACE

STATION OLDENZAAL

K. U.

Contributing public space Infrastructural wayfinding

THE PLAZA AT SANTA MONICA

STOCKHOLM CEMETERY

Unfolding a programmable roof landscape

Nature[al] reflection EX - CASA 400

Mixed residential beacon

OVERVIEW Ian Watchorn is a Licensed Architect both theKushner US & Europe with (HWKN) over 10 in BIOGRAPHY Project Architect atinHollwich Architects yearsYork. of experience working at internationally renowned offices. Educated in New He is currently working on projects of multiple scales ranging from a 70 Ireland he has worked with two separate Pritzker Prize winning architects in story residential tower in New Jersey currently under construction to a retail flagOMA and Grafton Architects and has experience spanning Ireland, The Nethship store based in New York. Having previously worked in The Netherlands and erlands, Norway, and for the past 7 years; the United States. Ian’s experience Norway as well as his native Ireland, Ian moved to the US +4 years ago to practice is one that recognizes the distinct skills required to both design and execute at OMA. Here Ian thoughtfully formed his design sensibility and was over time a architectural projects. With this in mind, Ian spent his formative years working core member of design teams that won numerous competitions including a luxury on high profile competitions, most notably with OMA where he developed a residential tower development in Coconut Grove, Miami; a mixed use developcritical approach to design. Post OMA, Ian then refined this design thinking ment in Santa Monica, California; OMA’s tallest tower to be built in San Francisco leading a number of design commissions in the years that followed. With a desire to see projects through to completion Ian then completed his educational as well as first prize in the Miami Beach Convention Center masterplan. Ian has arc by joining Cooper Robertson, working extensively on the later phases of since spent the past number of years leading various successful competitions and project development, documentation and delivery. He thus has experience in commissions including that for a three level Retail Flagship Store on 5th Avenue leading all stages of architectural projects at the highest level. as well as museum competitions in both Germany and Austria. PERSONAL INFO Ian Alan Watchorn Nationality: Irish (Green Card Holder) Date of Birth: 16/03/1987 1222 Carroll Street, Apt. 2, CONTACT 145 South 4th Street, Apt. 32, Brooklyn, NY 11225, US Brooklyn, NY 11211, US watchorn.ian@gmail.com +1 917 754 4581 +1 917 754 4581 watchorn.ian@gmail.com LICENSURE AIA Zurich | New York, US CH ACADEMIC ETH | Zurich, RIBA | UK International Summer Academy | 2012 RIAI | IE, EU From Suburb to City | Rotterdam, NL ACADEMIC The ETHBerlage ZurichInstitute | Zurich,Rotterdam CH Masterclass Program | 2012 International Summer Academy | 2012 “MEGALOPOLI[TIC]S” led by Reineir de Graaf “From Suburb to City” The Berlage Institute Rotterdam | Rotterdam, NL The Berlage Institute Rotterdam | Rotterdam, NL Masterclass Program | 2012 Masterclass Program | 2012 “Localizing Networks” led by Alejandro Zaera-Polo “MEGALOPOLI[TIC]S” led by Reineir de Graaf “Localizing Networks” by Alejandro Zaera-Polo Waterford Institute ofled Technology | Waterford, IE Master of Architecture | 2011 Waterford Institute of Technology | Waterford, IE Dissertation: ‘Wanderings into Architecture...the Nomad’ Master of Architecture | 2011 Waterford Institute of Technology | Waterford, IE Dissertation: ‘Wanderings into Architecture...the Nomad’ Bachelor of Science in Architecture | 2008 Bachelor of Science in Architecture | 2008

Ian Watchorn CV EXPERIENCE

Cooper Robertson | New York, USYork, US Hollwich Kushner HWKN | New

Dec 2016 2019 Project Architect | April 2016-- Dec Present Albright Knox Museum | 70,000sqf | CD | New York, US || Architect Architect || 2016 2019 Retail Flagship Store | 4500sqf | SD/DD | New York, US New Museum Expansion | 60,000sqf | CD | New |York, US | Architect Micro Housing | n/a | DD/CD/CA | New York, US Architect | 2016 | 2019 MoMA Upgrades| |2,300,000sqf 80,000sqf | CD, CA | New York, US | Project 2018| 2016 Journal Squared | CD/CA | New Jersey, US | BIMArch.| Architect The Edible Academy at NYBG | 5300sqf | CA | New York, US | Proj. Arch. | 2017 Studio Link-Arc | New York, US Project Architect | SeptHWKN 2014 - Apr 2016 Hollwich Kushner | New York, US 5th Ave Retail Flagship | 7,200sqf | SD/DD | New York, US | Pr. Architect | 2016 Project Architect | April 2016 - Dec 2016 DaChong School | 41,000m2 | SD/DD | Shenzhen, CN Retail Flagship Store | 4500sqf | SD/DD | New York, US| Architect | Architect| 2015 | 2016 One Mima Rooftop | 3,500sqf SD | New York, US | Project Architect | 2015 Micro Housing | n/a | DD/CD | |New York, US | Architect | 2016 Wien Museum Neu | 11,500m2 | SD/DD | Vienna, AT | Project Architect Journal Squared | 2,300,000sqf | CD/CA | New Jersey, US | BIM Arch. || 2015 2016 Bauhaus Museum | 3,500m2 | SD/DD | Dessau, DE | Project Architect | 2015 Studio Link-Arc | New York, US | DD/CD | Shenzhen, CN | Architect | 2014 CRLand Archive Library | 9,000m2 Project Architect | Sept 2014 - Apr 2016 OMA New York, US | 7,200sqf | SD/DD | New York, US | Pr. Architect | 2016 5th Ave| Retail Flagship Junior Architect 2013 - Dec 2013,| May 2014 - CN Sept| Architect 2014 DaChong School| |Jan 41,000m2 | SD/DD Shenzhen, | 2015 Transbay Tower | 56 Floors | DD | San Francisco, US Jr. Architect | 2014 One Mima Rooftop | 3,500sqf | SD | New York, US | |Project Architect | 2015 George Lucas Museum | 360,000sqf | SD/DD | Chicago, US | Jr. Architect | 2014 Wien Museum Neu | 11,500m2 | SD/DD | Vienna, AT | Project Architect | 2015 2701 South Bayshore Drive | 600,000sqf | SD/DD | Miami, US | Jr. Architect Bauhaus Museum | 3,500m2 | SD/DD | Dessau, DE | Project Architect | 2015 | 2013 South Beach AceLibrary (MBCC) | 52 acre||DD/CD SD/DD | Miami, US Jr. Architect CRLand Archive | 9,000m2 | Shenzhen, |CN | Architect| 2013 | 2014 The Plaza at Santa Monica | 420,000sqf | SD/DD | CA, US | Jr. Architect | 2013 OMA | New York, US Grafton Architects | Dublin, Junior Architect | Dec 2012 - DecIE 2013, May 2014 - Sept 2014 Junior Architect | Jan 2014 Apr| 2014 Transbay Tower | 56 Floors | DD San Francisco, US | Jr. Architect | 2014 Student Center and Library KU | 11,500m2 | DD | London, UK | Jr Architect | 2014 George Lucas Museum | 360,000sqf | SD/DD | Chicago, US | Jr. Arch.| 2014 2701 South Bayshore Drive | 600,000sqf | SD/DD | Miami, US | Jr. Arch. | 2013 OG | Bergen,| NO SouthArkitekter Beach Ace (MBCC) 52 acre | SD/DD | Miami, US | Jr. Architect | 2013 Civil Architect | Mar 2012 - |Oct 2012 The Plaza at Santa Monica 420,000sqf | SD/DD | CA, US | Jr. Architect | 2013 Solheimsviken Hotel | 300 Room | SD | Bergen, NO | BIM Coordinator| 2012 Kameleon Kronstad | 3,000m2 | SD/DD | Bergen, NO | Project Architect | 2012 Grafton Architects | Dublin, IE Junior Architect | Dec 2013 - Apr 2014 VMX Amsterdam, NL StudentArchitects Center and |Library KU | 11,500m2 | DD | London, UK | Jr. Arch. | 2014 Intern Architect | Sept 2011 - Mar 2012 Station Oldenzaal | 1000m2 | SD/DD | Oldenzaal, NL | Intern Architect | 2012 OG Arkitekter | Bergen, NO Ex-Casa 400 | 30,870m2 | SD/DD | Amsterdam, NL | Intern Architect | 2011 Civil Architect | Mar 2012 - Oct 2012 H & M Guest House | 60m2 | SD/DD | Amsterdam, NL | Intern Architect | 2011 Solheimsviken Hotel | 300 Room | SD | Bergen, NO | BIM Coordinator| 2012 Kameleon Kronstad | 3,000m2 | SD/DD | Bergen, NO | Project Architect | 2012 SELECTED AWARDS Competition VMX Architects NL 1st Prize| Amsterdam, | DaChong School | Shenzhen, CN | 2015 Intern Architect Sept|2011 - Mar 2012 Competition 1st |Prize 2701 South Bayshore Drive | Miami, US | 2013 Ex-Casa 400 1st | 30,870m2 | SD/DD | Amsterdam, NL| |Miami, US Intern Architect Competition Prize | South Beach Ace (MBCC) | 2013 | 2011 H & M Guest 1st House | SD/DD | Amsterdam,| NL | Intern Architect Competition Prize| 60m2 | The Plaza at Santa Monica California, US | 2013 | 2011

PROJECTS PORTFOLIO 2008 - 2016 2020

ALBRIGHT KNOX 360 Cooper Robertson Buffalo, NY, US.

Construction Documents phase for a new gallery building and preservation and improvements of the existing campus as part of the AK360 project. Cooper Robertson operated as executive architect on the project in collaboration with OMA as the design architect. The project was delivered through Revit. Summer 2016 Role: Worked on delivery of CD documents with responsibility for serpentine bridge. The AK360 project – an ambitious campus development project for the Albright Knox Gallery – will double the number of masterworks the museum can display and will also provide state-of-the-art space for presenting special exhibitions. The project will enhance the visitor experience at the museum, creating more space for education, dining, and social activities, while better integrating the campus to the landscape of Frederick Law Olmsted’s Delaware Park. Under the plan developed by OMA in partership with Cooper Robertson as the executive architect, the new building will add 29,000 sf of space for displaying special exhibitions and the museum’s world-renowned art collection. The new building will also incorporate several visitor amenities and is envisioned to have a wraparound promenade that visually and aesthetically connects the interior of the building with the existing campus and landscape. In addition to the new North Building, OMA will work on preservation and improvements to the existing campus. Changes include creating a new education wing in the lower level of the 1962 building, transforming a surface parking lot into a green landscape and gathering place, adding a new point of entry and exist on the east façade of the museum’s 1962 building and creating new education wing in the lower level of the 1962 building. A scenic bridge weaving through Olmsted Park will connect the North Building with the 1905 building along with a new roof enclosure for the 1962 building’s open-air sculpture garden will activate the museum with year-round activities. Text by OMA.

New and old. The north building alongside the existing 1905 museum building

Enclosing the second level gallery is a double-height promenade countained by a glass veil

North building from museum entry

Serpentine bridge reflective exterior

View within serpentine bridge

NEW MUSEUM EXPANSION Cooper Robertson Bowery, NY, US.

Construction documents submission for the New Museum expansion project. Cooper Robertson operated as executive architect on the project in collaboration with OMA as the design architect. The project was delivered through AutoCAD. Throughout 2019 Role: Delivery of 100% DD and 100% CD documents.

The new structure will complement and respect the integrity of the adjoining SANAA-designed flagship building, while asserting its own distinct identity. The seven story, 60,000 square foot building will include three floors of galleries, doubling the Museum’s exhibition space, along with additional space for the Museum’s many community and education programs, a permanent home for NEW INC, as well as increased public amenities and improved vertical circulation. The new building will improve vertical circulation with the addition of an atrium stair, which will offer views over the surrounding neighborhood. The stair and new entry align to the terminus of Prince Street, opening up the museum to the city. The building will also provide additional public spaces and services, including an expanded lobby and bookstore, an upper level forum connecting to the existing Sky-room, and a new 80-seat restaurant. Adding a total of 10,096 sq. feet of exhibition space, the new galleries will connect with the existing galleries on three levels (second, third, and fourth floors), with the ceiling heights aligning on each floor, creating expanded space for exhibitions and horizontal flow between the buildings. The expanded spaces can be used singularly across the floorplate to host larger exhibitions or separately for diversity and curatorial freedom. The organization of new galleries and program spaces will support a stronger integration between exhibition programs, education, research, residencies and community outreach programs will help expand the Museum’s audiences.

Circulation and program diagram

2 -

1 -

EWS-1 - SECTION DETAIL - WINDOW / SPANDREL HEADEWS-1 - INCLINED - SECTION DETAIL - WINDOW / SPANDREL HEAD - INCLINED SCALE: 6" = 1'-0"

SCALE: 6" = 1'-0"

PROJECT NEW MUSEUM EXPANSION 235 BOWERY

CLIENT NEW MUSEUM OF CONTEMPORARY ART 235 BOWERY NEW YORK, NY 10002 T.212.219.1222

DESIGN ARCHITECT OMA*AMO ARCHITECTURE 180 VARICK ST, SUITE 1328 NEW YORK, NY 10014 www.oma.com T.212.337.0771

ARCHITECT OF RECORD COOPER ROBERTSON 123 WILLIAM STREET NEW YORK, NY 10038 www.cooperrobertson.com T.212.247.1717

STRUCTURAL ENGINEER OVE ARUP & PARTNERS, P.C. 77 WATER STREET NEW YORK, NY 10005 www.arup.com T.212.896.3000

MEP ENGINEERS OVE ARUP & PARTNERS, P.C. 77 WATER STREET NEW YORK, NY 10005 www.arup.com T.212.896.3000

CODE & LIFE SAFETY JAM CONSULTANTS 104 WEST 29TH STREET, 9TH FLOOR NEW YORK, NY 10001 T.212.244.4427

EXTERIOR ENVELOPE FRONT 20 JAY STREET, #920 BROOKLYN, NY 11201 www.frontinc.com T.212.242.2220

VERTICAL TRANSPORTATION VAN DEUSEN & ASSOCIATES, INC. 120 EAGLE ROCK AVENUE, SUITE 120 EAST HANOVER, NJ 07936 www.vdassoc.com T.973.994.9220

CIVIL ENGINEER PHILIP HABIB & ASSOCIATES 102 MADISON AVENUE, 11TH FLOOR NEW YORK, NY 10016 www.phaeng.com T.212.929.5656

LIGHTING DOT DASH 120 WALKER STREET, SUITE 6E NEW YORK, NY 10013 www.dotdash.me T.212.951.0660

ACOUSTICS LONGMAN LINDSEY 200 WEST 41ST STREET, SUITE 1100 NEW YORK, NY 10036 www.longmanlindsey.com T.212.315.6400

AV/IT/SECURITY LILKER ASSOCIATES/TSG 1001 AVENUE OF THE AMERICAS NEW YORK, NY 10018 WWW.LILKER.COM T.212.695.1299

NO. ISSUE DATE

05 04 03 02 01

10 / 11 / 2019 06 / 14 / 2019 10 / 01 / 2018 07 / 20 / 2018 04 / 06 / 2018

COMMENTS

100% CONSTRUCTION DOCS 50% CONSTRUCTION DOCS 100% DESIGN DEVELOPMENT 50% DD PROGRESS PRINT 100% SCHEMATIC DESIGN

NO. ISSUE DATE

05 04 03 02 01

10 / 11 / 2019 06 / 14 / 2019 10 / 01 / 2018 07 / 20 / 2018 04 / 06 / 2018

IE F BOWERY

KEY PLAN

36"X48" FORMAT

SCALE

DATE 10/01/2018

AS NOTED

CR / OMA DRAWN BY

SCALE: 6" = 1'-0"

EWS-1 - SECTION - INCLINED FACADE SCALE: 6" = 1'-0"

EWS-1 - SECTION DETAIL - WINDOW / SPANDREL SILL -EWS-1 INCLINED - SECTION DETAIL - WINDOW / SPANDREL SILL - INCLINED SCALE: 6" = 1'-0"

SCALE: 6" = 1'-0"

36"X48" FORMAT

SCALE

DATE 10/01/2018

AS NOTED

CR / OMA DRAWN BY

DRAWING TITLE

A5-912.00 DRAWING NUMBER

STAMP 17016.00 PROJ. NO.

EWS-1 - FACADE DETAILS

DRAWING TITLE

EWS-1 - SECTION - INCLINED FACADE

KEY PLAN

NOT FOR CONSTRUCTION

EWS-1 - FACADE DETAILS

A IE F BOWERY

NOT FOR CONSTRUCTION STAMP 17016.00 PROJ. NO.

STANTON

H D GC

H D

COMMENTS

100% CONSTRUCTION DOCS 50% CONSTRUCTION DOCS 100% DESIGN DEVELOPMENT 50% DD PROGRESS PRINT 100% SCHEMATIC DESIGN

A5-912.00 PAGE

OF ___

DRAWING NUMBER

PAGE

OF ___

Laminated glass with metal mesh facade detail example

THE EDIBLE ACADEMY at NYBG Cooper Robertson Bronx, NY, US.

Sole responsible party at Cooper Robertson throughout the CA phase through to completion. 2016 - 2018 Role: Project Architect throughout CA Phase through to completion.

To meet a growing interest in urban edible gardening, particularly for New York Cityâ&#x20AC;&#x2122;s young learners, Cooper Robertson was commissioned to design an expansion to The New York Botanical Gardenâ&#x20AC;&#x2122;s Ruth Rea Howell Family Garden. The new facility, called The Edible Academy, will expand programs for children as well as teachers, families, and adults into a year-round teaching center focusing on the fundamental relationships between plants, gardening, sustainability, nutrition, and health. The Edible Academy will include a new 5,300 square foot classroom building and propagation greenhouse as well as expanded garden areas to serve up to 100,000 program participants annually. It is sited to highlight its magnificent setting with views down a steep wooded slope to the Bronx River. A terraced lawn amphitheater and two outdoor pavilions will provide flexible spaces for activities, cooking demonstrations, and outdoor events. The heart of this project will be the classroom building. A LEED Gold-certified environmentally sustainable structure with cutting-edge technology, a green roof, porous pavements, and geothermal heating, the building will include two high-tech classrooms. Each classroom will be able to accommodate 25-30 adults or 32 children with adult chaperones and will offer year-round edible gardening programs and STEM education activities related to growing and cooking. Text by Cooper Robertson.

Overlook pavilion with direct access to demonstration kitchen

Propogration greenhouse

Aerial view of the Edible Academy Campus

Overlook pavilion featuring exposed glulam scissor truss

LEED initiatives include ground source heat pumps and photovoltaic panels

Mayor Bill de Blasio speaks at the opening of the project

Mayor Bill de Blasio and project team at the ribbon cutting

JOURNAL SQUARED HWKN NEW JERSEY, NJ, US.

100% Construction Document Submission of phase 2 of Journal Squared consisting of the tallest of the three towers. Collaboration with all major and minor consultants. Documentation produced using BIM software Revit. Summer 2016 Role: Delivery of 100% CD for Phase 2 using Revit as BIM tool. Phase 1 Partial CA

Journal Squared, a collaboration between Handel Architects and HWKN (Hollwich Kushner), is a 2.3 million SF residential highrise development that will be the linchpin of the redevelopment of Journal Square with views to downtown New York. Designed for Kushner Real Estate Development (KRE), above a base of retail and podium parking, three residential towers will rise â&#x20AC;&#x201C; the tallest at 70 stories â&#x20AC;&#x201C; and include 1,840 residential units. Phase 2 involves the second of three towers. Phase 2 is 697,000SF and includes 701 apartments.

Design team on the roof of Journal Squared Tower 1 fully topped out.

Tower 2 under construction. Construction photos by Field Condition

Skyline view back to New York City

673 FIFTH AVENUE

Studio Link-Arc New York, NY, US. NEW YORK, NY, US.

Design commission for 3 floors of prime retail space on the most high profile retail street in the world, 5th Avenue. Winter 2016 Role: Project Architect

The design of this retail flagship scheme for a major chinese retailer is inspired by the concept of a bamboo forest. This allows a unified architecture that connects all three floors and allows flexible retail space. The project site (673 5th Avenue) exists in a very unique location at the intersection of commerce and culture as 5th Avenue meets 53rd Street. Adjacent to both major cultural institutions such as MOMA (53rd Street) and High-End 5th Avenue Retail Flagship Store brought us to view the design as a hybrid of retail and chinese cultural institution that could capitalise on its striking location. The scheme features a program of art, housewares and ceramics as retail components and galleries and a chinese tea house as cultural component.

Contextual Analysis

Commercial Axis

Cultural Axis

52nd St.

57th St.

51st St.

56th St.

50th St.

49th St.

55th St.

5th Ave.

58th St.

5th Ave.

53rd St.

54th St.

Photographic Analysis of Corner Retail Fcades on 5th Avenue

Unifying the Floors

EXISTING CONDITIONS

SCREEN

EXISTING FACADE

Bamboo Screen Insertion

Typical 5th Avenue Retail

Unify the Floors to Create Value

Axonometric Corner View

53rd Street Elevation

Floorplans

display counter entrance

elevator

lobby

storage

office

cash register

display table existing staircase

corridor

service entrance

display wall display window

53rd street

1st Floor

display table

elevator cash register

fifth avenue corridor existing staircase

movable display table storage/office movable display table

53rd street

2nd Floor

exit stair (existing)

elevator fifth avenue

corridor

tea house/event space existing staircase serving area

53rd street

3rd Floor

pantry

1st Floor

2nd Floor

3rd Floor

Long Section, Display, and Programatic Studies

Existing Building

Teahouse/Flexible Event Space

Building Section

retail display wall (interior)

retail display (exterior) demountable display wall (interior)

Street and Interior Product Display

housewares

accessories

jewelry

accessories

ceramics

paintings

accessories

ceramics

paintings

facade demountable display wall (facing street)

art gallery 1

art gallery 2

wood screen

Retail Program Layout Options on Level 2

NFSL SCHOOL Studio Link-Arc DaChong, Shenzhen, CN.

Member of the competition winning team for a 54,000 sqm elementary and middle school campus, comprising regular and specialized classrooms, library, gymnasium, indoor swimming pool, auditorium, dormitory, along with dining halls, and dedicated playgrounds. Summer 2016 Role: Member of 5 person competition winning team.

CRLand NSFL is a 54,000 m² elementary and middle school campus, comprising regular and specialized classrooms, library, gymnasium, indoor swimming pool, auditorium, dormitory, along with dining halls, and dedicated playgrounds. Located in Shenzhen’s DaChong neighborhood, the NSFL elementary and middle school campus represents the last piece of a decade-long development, which saw the area change from a compact industrial outskirt into a vertical city. The NSFL campus is conceived as a sweeping, horizontal garden that stands in sharp contrast with the ever denser, ever more vertical urban environment it serves. The design intentionally breaks the distinction between building and open space – which defines its surroundings – in favor of a low-rise linear hybrid of closed, semi-enclosed, and green, open spaces. To achieve the low-rise condition, Studio Link-Arc’s design uses the natural slope of the site to top the large program volumes of the gym, pool, dining halls and auditorium with a series of terraced platforms, which become a new ground for dedicated teaching spaces and playgrounds. The design uses a three-story bar arrangement of staggered classrooms that sweep the site from east to west, chasing every available square inch of sunlight penetrating the surrounding concrete forest. The sinuous motion of classroom ribbons generates a fluid sequence of outdoor spaces tailored to the specific needs of each teaching area. The dynamic, elongated courtyards turn into enclosed, protective courtyards for the primary school and library, or conversely, open into vast grounds used for physical activities. Text by Studio Link-Arc.

Flexible interior space fosters student interaction

Flexible Entry Space

Integrated planting and seating in outdoor spaces

The project is punctuated by a series of courtyards

Metal screen acts as a solar shading device mediating sunlight into classrooms

WIEN MUSEUM NEU Studio Link-Arc Vienna,AT.

Competition submission for the extension and redesign of the Wien Museum, Vienna, Austria. Key to the task was the integration of the building within the previously unresolved Karlplatz and Karlskirche adjacency. Spring 2015 Role: Project Architect/Competition Lead

In 1909 Otto Wagner necessitated that planners must deal with three questions which he listed in order of importance: - The Karlplatz question - The Karlskirche question - The question of the Museum Building Today more than 100 years later the decision to maintain the museum in its current location on Karlplatz presents an opportunity to revisit the as yet unresolved questions raised by Wagner. It is our view that the ultimate success of the museum will rely on establishing an appropriate context on an urban level which thus far has evaded Karlplatz. Our approach embodies two modes of thinking; a classical appropriation of hierarchy, axial symmetry, and proportion on the one hand and a contemporary articulation of space, boundary and structural capabilities on the other. In effect we position ourselves between the desire for a formal urban gesture between park, church, and museum, and the design of a contemporary piece of museum architecture which invites excitement, wonder, and intrigue from the visitor.

+23.4

+22.0

LEGEND Museum Approach Bike Logistics Axis

The Karlplatz Question: A Park for the People

The Glacis - A series of interconnected green spaces As a result of the historical evolution of Vienna the Glacis emerged as a continuous green belt occupied by a dense network of cultural buildings. Karlplatz therefore is one of the cityâ&#x20AC;&#x2122;s most important public spaces surrounded by more museums and cultural institutions than any other. The ideal of the Glacis however as a continuous green belt is instead realized in Karlplatz as a vast gray surface with sporadic pockets of greenery that have little or no relationship to the cultural context.

Hard surfaces are replaced by a green lawn

Furthermore the present condition of Karlplatz is one that is disorientating and presents a visual barrier from within. Instead we envisage a place that brings the people of Vienna together with its cultural institutions; a highly programmable green space for art, education, and culture; a common ground for all. We imagine a unique space that is at once a church forecourt, a museum plaza, a university lawn, a transport connector, and a peopleâ&#x20AC;&#x2122;s park.

Project existing cultural buildings onto the park

Subtract a network of paths that connecting buildings

The Karlskirche Question: A Central Presence

Emphasize Karlskirche as the central axis in the design

Mirror the geometry to create desired zoning envelope

As one of the most celebrated buildings in Vienna, Karlskirche has endured an unsatisfactory relationship within its immediate context for over a century. From the outset our goal is to make Karlskirche the central presence of the design providing an as yet unrealised forecourt upon its central axis. Rather than merely a ground surface treatment however this is achieved spatially.

Continue to emphasise this axis on masterplan

Our approach is to mirror the massing, including heights and geometry, of both the Technical University and neighboring block upon the central axis of Karlskirche to create a theoretical zoning envelope within which to design the Wien Museum NEU and Winterthur building. This has the ultimate effect of establishing a proportional symmetry centered upon Karlskirche to at last allow the church a desired presence onto Karlplatz.

Site Plan

The Question of the Museum Building: Defining the Void

1 . Self defined zoning envelope

2. Required exhibition massing

We systematically sought to address the questions of both Karlplatz and Karlskirche before addressing the question of the museum. By this process of deduction we arrived with a theoretical zoning envelope within which to design. Within this framework our design seeks to free the ground plane as an extension to the park by lifting the main exhibition gallery 15 meters above the ground to define the upper extents of the envelope and create a generous and exciting entrance into the new museum. We place a continuous row of columns around the perimeter of the volume serving the dual purpose of both structurally supporting the elevated mass but more importantly architecturally defining the void as a contained volume and completing the desired relationship between the park, church, and museum. The front faĂ§ade of the original Wien museum has an uninterrupted view to the park through a field of columns. The integrity of the original protected Haerdtl-

3. Lift to define zoning extents

Bau building is maintained and indeed reasserted by removing the recent addition of the atrium roof to expose the building in its original manner. The partial permitting of light into the permanent gallery along with its overall significance result in its elevated positioning whilst the darkened temporary exhibition spaces occupy a flexible area beneath the plaza; each efficiently served through vertical connections to the lobby, office, and logistics areas. The positioning of the permanent exhibition galleries above the original Wien museum and entry plaza creates a truly special moment on Karlplatz inviting the visitor through a perimeter of columns and into a central void with views to the sky above. Here also rests the Vienna room suspended below the galleries and offering views to Karlplatz, Karlskirche, and the Wein Museum NEU; a unique perspective on both Viennaâ&#x20AC;&#x2122;s past and future.

4. Preserve entry plaza

5. Define void as contained space

6. Vienna Room below galleries

6.2.3

2.2.4

6.2.1

8.7 8.6

5.7

2.2.1

2.2.3

5.6.3 5.6.1

1.6 6.5 5.6.2

5.6.4

8.4

9.1 5.5

6.7

6.6 6.2.4

5.4

Bâ&#x20AC;&#x2122;

Ground L

Basement Level Plan (-7.00 m)

3.4

3.3

8.1

8.3 3.2 4.1 8.5

4.2

9.3

6.2.2

Level 1 Plan (+4.46 m)

6.2.5

Level 2 Plan (+9.66 m)

Arrival

1.1 1.3 1.4 1.5

2.1 2.2 2.3

Foyer Café Shop Ticketing

Exhibition

Permanent Exhibition Temporary Exhibition Childrens Museum

Education and Visitors Forum

1.3.1

1.3.2

Studio Event Space Lecture and Project Space A Lecture and Project Space B

3.1 3.2 3.3 3.4

8.2

Vienna Room

Reading and Info Room Coffee Bar

4.1 4.2 1.1

8.5 1.2

5.1 5.2

Handling and Logistics

Delivery Packing and Control Room

Workshops, Storage and Collection

1.5

7.4 7.2 1.4.1

5.2

5.3

Workshops Material Storage Staff Room

6.1 6.2 6.4

7.1

Administration

Offices Project Offices Meeting Rooms Library Staff Rooms

8.1 8.2 8.3 8.4 8.5

7.3 5.1

Level Plan (+0.00 m)

Legend

A’

8.1 2.1

2.3

3.1

8.1

2.1

2.2.2

2.1 6.1

6.4 6.3

Level 3 Plan (+15.80 m)

East Elevation

North Elevation

West Elevation

2.1

A’

2.2.4

2.2.1

Section A-A

3.1

8.1 8.5 8.4

4.1

3.2

8.3 B

2.1

2.2.2

1.1 5.6.4

1.6

B’

1.6

6.5

2.2.1

Section B-B

TRANSBAY BLOCK 8 AVERY TOWER OMA San Francisco, California, US Residential Tower for Related Companies currently under construction in San Francisco. September 2014 Role: Core member of design development team including highrise documentation production in Revit.

Block 8 begins with an urban gesture to the neighborhood and a desire to open the site to the public. Introducing a mid-block passage between Folsom and Clementina activates the interior open space and creates a paseo for both Block 8 residents and neighbors alike. The paseo lends a sense of discovery, respite and community just steps away from the vehicular traffic of First, Fremont and Folsom. The Folsom Street side of Block 8 is filled with retail shops and residential lobbies creating active edges as well as porosity around and through the site. The porosity is further enhanced with the paseo. At the podium level, the buildings flanking either side of the paseo gently slope back to enable more light and air and invite Block 8 residents and any neighbors to wander into the open space. The open space, or urban living room, is surrounded by retail shops, a resident community room serving the affordable housing population and residential lobbies. These diverse program elements will create a blend of users to activate the space day and night. Pedestrians can pick up a bite to eat, read a book, meet friends, or take a shortcut to pick up their twowheelers at the bike kitchen. The urban living room may transform into an outdoor cinema under the twinkling Tivoli lights. The paseo might be filled with pop up market stalls to host a farmerâ&#x20AC;&#x2122;s market or the Clementina pocket park might host a block party.

Context

Y BA N

Carving The mid-block passage carves through the site and simultaneously tapering the tower and reorienting the residences within toward the more prominent views of both the city and the San Francisco Bay.

Zoning to Design Form

550’

350’

316’

139’

81’

85’

81’ 50’

50’

65’

64’ 85’

Development Controls

64’ 82’

Symetrical Tapers

50’

South Facing Terraces

82’

Program

The tower is shaped to orient views within the units toward the Bay and the City. The south side steps back from Folsom in three steps, creating south-facing terraces that are shared by the residents.

Tower Amenities

Pool at Shared Amenity Level

Amenity Terrace and Lounge at Level 33

HEALTH

SERVICE

Amenity Terraces and Program DINING

DINING

RESIDENT

FITNESS

YOGA

LOUNGE

POOL

Fitness & Lounge

North & South

SUN DECK

Terraces

NT O

LOUNGE DECK

POOL DECK

EM B

YOGA

POOL SUN DECK

Sun Exposure

POOL DECK

HEALTH

WATER

YOGA / MASSAGE

YOGA

DINING

GYM

LOUNGE

LOCKERS

LOUNGE DECK

SUN DECK

BA YB

LOUNGE LOUNGE DECK

POOL

SUN DECK

Views

At Level 15 fitness and lounge amenities are strategically located adjacent to open and covered exterior spaces, mixing indoor and outdoor living.

DINING

POOL DECK

KITCHEN

Access

KITCHEN YOGA

YOGA / MASSAGE

BOH

OUTDOOR DINING

GYM DINING

LOUNGE LOCKER LOCKER

HOT TUB

POOL POOL DECK

LOUNGE DECK SUN DECK

MECHANICAL

AMENITY

RETAIL

LOBBY

RETAIL

Section - Fremont Street

Building Elevation - Clementina Street

Completion

2701 PARKSOUTH GROVEBAYSHORE DRIVE OMA Coconut Grove, Miami, Florida, US. First place competition winning submission to design over 600,000sf of luxury residential apartments on a waterfront site in Coconut Grove, Miami, Florida. Summer 2013 - Present Role: Core member of design team from competition stage through to subsequent commission. Model leader throughout.

Coconut Grove —

Context

A distinct community within The site acts Miami’s as a connection point, connecting the community of Coconut Grove to the north with new patchwork of neighborhoods, civic park to the south. We intend to allow the site to facilitate this connection and provide an opportunity Coconut Grove offers an alternative to by urban to provide a lifestyle complimented The site posseses great potential and difficulties; the last developable site in a string of large scale condos, convenience and natural beauty. offices and hotel buildings along the main waterfront metropolitan downtown. A new typology Coconut Grove has a history of homes surrounded thoroughfare Bayshore Drive. and connected with the natural landscape around and of living has emerged in the Grove Two realms of culture and community exist in Coconut so rather than create an impenetrable parking plinth Grove; one attached to Biscayne Bay and the other to like the neighboring developments we intend to allow one deeply connected with the local the village of the Grove. Currently, the undeveloped the buildings rise from the tropical vegitation beneath. site is the only break in an otherwise impenetrable This allows us to invite the newly established sculpture community yet offering the intimacy of a wall of towers that separate the cultural community park onto the site bridging South Bayshore Drive and of Coconut Grove with a series of key assets to the connecting the community to the park and the water. private retreat. South. A distinct community within Miami’s patchwork of neighborhoods, Coconut Grove offers an alternative to metropolitan downtown.

SHORECREST BELLE MEADE LEMON CITY

BAYSIDE

MORNINGSIDE LIBERTY CITY

BUENA VISTA

BAY POINT

DESIGN DISTRICT

ALLAPATTAH

GRAPELAND HEIGHTS

FLAGAMI

WEST FLAGLER

CORAL GATE

WYNWOOD

CIVIC CENTER

LITTLE HAVANA

RIVERSIDE

EDGEWATER

MIAMI

MIAMI BEACH

OMNI

DOWNTOWN PORT MIAMI

THE ROADS BRICKELL THE ROADS

SILVER BLUFF

VIRGINIA KEY

COCONUT GROVE

KEY BISCAYNE

Coconut Grove to the south of Downtown Miami offers a retreat from the city.

Context —

The site sits in close proximity to many of Coconut Grove’s main attractions.

SW 27 Ave

Mayfair

SITE

Sculpture Park Miami City Hall

Grand Ave

Cocowalk e

h ys

Playhouse

Commodore Plaza

Peacock Park

Coconut Grove Sailing Club

Barnacle State Park

The site sits in close proximity to many of Coconut Grove’s main attractions.

COMMUNITY

PARK A wall is created between the waterfront park and the Coconut Grove community.

Concept

De-Coupling

Strategy Instead of creating 2 large towers, which have been the typical response on the waterfront and compromise unit layouts and views through the site, we propose a series of 6 identical towers; based on the ideal unit layout. Slender enough that they afford maximum porosity at ground, whilst placed to achieve maximum

views for each apartment.

1. Porosity enhanced

2. Views Maximized

3. Lot Coverage minimized

4. 100% 3-sided units

The key driver for apartment sales in the area is ocean views and so the towers are placed with each apartment having an uninterupted orthagonal view to the water as seen in diagram 2.

Model 1â&#x20AC;&#x2122;=1/50â&#x20AC;? highlighting the relationship of the towers to the park.

Vertical Living

... a vertical village.

Collective Individuality A new typology of living has emerged in the Grove; one deeply connected with the local community yet offering the intimacy of a private retreat. A lifestyle equal parts collective community and individual retreats define the way of living in Coconut Grove. Sized to accommodate 1-2 residences per floor the slender towers form a collective stack of individual homes.

180˚ VIEWS

UNIT B

UNIT A

180˚ VIEWS

> The skyscraper as producer of infinate virgin sites.

UNIT A

360˚ VIEWS

2 Unit Tower Floor Plan

1 Unit Tower Floor Plan

Unit Layouts CITY VIEWS

BEDROOMS

The units are planned to take maximum advantage of views towards the ocean from the public space.

LIVING TERRACE

OCEAN VIEWS

MASTER SUITE

BEDROOM

KITCHEN

DINING

KITCHEN

LIVING

2/2 BEDROOM - 2112 sq ft/ 2112 sq ft

DINING

5’

10’

20’

MASTER SUITE

BEDROOM

KITCHEN

BEDROOM

DINING/LIVING

KITCHEN

LIVING

DINING

2/3 BEDROOM - 1,955 sq ft/ 2,278 sq ft

BEDROOM MASTER SUITE

BEDROOM

LIVING BREAKFAST ROOM

KITCHEN

4 BEDROOM - 4405 sq ft

DINING

5’

10’

20’

Plinth Axonometric

Plinth Roof level - unnocupiable reflecting pools and gardens compliment the lower apartment units and provide privacy from activity below.

Mezzanine Level - A continuous path is created connecting all the towers and public program. The Bank stands as an autonomous building, differentiated from the surrounding residential plinth.

Ground Level - The individual plinths are lifted to allow visual and physical access throughout the extents of the site.

Basement 1 & 2 - Accessible from the two ends of the site a full level and one half level of parking is located below grade.

Pool

Level 2 (EL +37’-0” - 43’-6”)

Roof Garden Reflecting Pool Cultural Center

Reflecting Pool Bank Office

Mezzanine Level (EL + 24’-0” - 30’-6”)

e Av il

rta ge Ti Cultural Center

Residential Amenities

Cafe

Mechanical

Bank Office & Parking

Ground Level (EL +12’-0”-18’-6” )

Residential Dropoff and Lobby

r ho

Terra Office

Basement Level 1 (EL +12’-0”) Valet Parking Bank Parking

Basement Level 2 (EL +3’-0”)

Residential Parking

Terra Parking

Sculpture Garden adjacent to the water acts as a ‘front garden’ to the towers. Sculpture Garden adjacent to the water acts as a ‘front garden’ to the towers. Night view of towers from Biscane Bay. Sculpture Garden adjacent to the water acts as a ‘front garden’ to the towers.

View of main living space in 4 bedroom unit. The unit allows for occupation of an entire floor View of main living space in 4 bedroom unit. The unit allows for occupation of an entire floor Long Section highlighting plinth and tower relationship.

**View of main living space in 4 bedroom unit. The unit allows for occupation of an entire floor * *

Gardens and landscaping bleed into the site to create a continuity from site to water. Gardens and landscaping bleed into the site to create a continuity from site to water. Interior view of front balcony and ocean views.

View from within bedroom.

** *

Coconut Grove 2.0

Unit views over the Biscane Bay

Interior spaces merge seamlessly with exterior terraces The towers sit on a plinth of amenities nested within green space

The revised scheme combined 6 towers into 3 for efficency

Completion

Unit interior overlooking Coconut Grove

Pool deck with views over the Biscane Bay

SOUTH BEACH ACE

OMA Miami Beach Convention Center, Miami, Florida, US. Competition wiining masterplan of Miami Beach Convention Center worth $1,200,000,000 Spring/Summer 2013 Role: Member of Model and Presentation Team

Sitting on 52 acres within the vibrant and unique community that is Miami Beach, an outdated convention center acts as an urban blockade – inactive when conventions are not in town, disruptive to adjoining neighborhoods and inhibiting connections to Lincoln Road and surrounding communities. Our master plan resolves each of these issues through a series of intelligent yet simple moves: — We conceptually rotate the convention center, reorienting the site to allow for east-west neighborhood connectivity and a southerly orientation for both convention center and hotel guests. — We concentrate the density at the center of the site and make the revamped convention center and its meeting and ballroom space contiguous with the hotel – a feature that meeting planners love. — We reimagine the area’s existing assets: the Jackie Gleason Theater, the Carl Fisher Clubhouse, City Hall, the 17th Street Garage and 17th Street itself are all maintained and transformed to better engage their surroundings while keeping the character of Miami Beach. — We fill the rest of the site with public amenities and programmed uses appropriate to activate the space 7 days a week, 365 days a year. In short, our plan upgrades the convention center into a best-in-class facility and weaves the entire convention center site into the fabric of Miami Beach.

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Massing

Hotel Convention Center Fisher Fields

Jackie Gleason Theater Residential City Hall Commercial

Culture Residential Parking

Aerial View of Convention Center context

Diagramatic massing of intervention areas

Civic and Cultural Belt including City Hall, Eately Food Hall, a new Museum and the renovated J

View of hotel resting on top of existing Convention Center

Jackie Gleason Theatre.

Modelling technique using hatch patterns to define landscape

Synergy within the Convention Center

Typically, convention centers sprawl outward, not only imposing on the city around them, but also dispersing the functions within. The elongated travel distances that result impede operations and complicate the experience of the convention center visitor. The layered program of the new MBCC not only allows the

building to be compact, it also creates a new juxtaposition and proximity between its different components. Meeting rooms, ballrooms and the Hotel are close to one another. Their arrangement around the central concourse and the hotel atrium creates visual links between them as well as the plaza to the south.

View of approach moving from city through teh proposed cultural band.

Main convention center hall entrance

Aerial from above showing curved hotel bar resting on top of convention center.

Large hall doors opening to the lanscape beyond connecting inside and out

Model Lift off Sequence

Completed Model

Surface Roof Removal

Upper Concourse Removal

Convention Center Halls Roof

Structure Removal

Hotel Removal

Lower Concourse Removal

THE PLAZA AT SANTA MONICA OMA Santa Monica, Los Angeles, California, US.

Competition winning Mixed Use development worth $330,000,00 Spring/Summer 20113 Role: Member of design team and leader of model making

8 11

Context

Context of Santa Monica

Roof as programmable landscape

Existing open spaces in Santa Monica. The project aims to provide a new typology of space

Concept

Building program stacked vertically.

Unfolded building program creating adjacent roof space and programmatic hinges between

Plans

Ground Floor Plan - Market, Retail and Cultural Program

Second Floor Plan - Office Space

Fifth Floor Plan - Flexible Office Space. Also adaptable to Residential

Eight Floor Plan - Hotel Lobby with Rooms

Programmable open spaces highlighted with open market on ground floor.

View of cascading terraces from above.

First floor terrace with green lawn, bandstand, and cafe spillout.

The rotating hinges unfold to create cantilevered bars resting on one another.

North West View

North Facade

West Facade

South East View

Student Center & Library K.U. Grafton Architects Kingston, Surrey, London, UK

First Place competition winning project for New Town House Building for Kingston University January 2014 Role: Design Development Phase and use of Revit as BIM software

Penryhn means promontory and so we thought about this building as a man made promontory, assuming a key presence on Penryhn Road. Promontory also suggests visibility, pushing beyond boundaries, a ‘headland’ reaching into unknown waters or territory. This reflects the progressive educational vision of this university. In the brief, the term ‘Learning Landscape’ is used. We

found this term very interesting since we believe that our role as architects is to make new places, new pieces of landscape, new pieces of geography. The form of the building is therefore a new piece of urban landscape, rising and falling in it’s contour. Rising to make vantage points overlooking Kingston, Penryhn Road and the main campus. Falling to respect neighbors, to respect rights of light.

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The model highlights the use of a very directional building with solids articlated with the grain of the ribbed slabs which allow for voids to move freely throught teh building in teh alternate direction. The section shows the use of voids shifting vertically throughout the building and provide a ver social building with open plan work and study spaces. The goal is the welcome the community into the building in the manner of its siting and permeability at ground and uper levels.

< Concept model of Structure Below: Section through main entrance and circulation space

The form in plan sidesteps mature trees, recedes to form permeable edges, shade from sun and rain, to form permeable thresholds setting the stage for public life. The roof profile is ‘sculpted’ to form voids, courtyards, clerestory windows, lanterns of light. The line of the new building projects beyond the existing building line and forms a public undercroft space on three edges. Three new public spaces are formed at ground floor level. The ‘prow’ space to the north, the long finger space to the south, and the east- west connection between Penryhn Road and Grove Crescent. Bicycle parking is located adjacent to the ‘prow space’ within a secure area with lightweight canopy integrated with the trees and the landscaping.

Typical Floor Plan

Concept sketch section

View from existing adjacent building > View looking down onto foyer

View of Auditorium highlighting wide spans

Completion

Aerial view overlooking the student center

Large terraces are supported by an external colonade

EX - CASA 400 VMX Architects Amstel, Amsterdam, NL

The use of an existing linear building shell dated from 1962 to provide accommodation for 330 studnts accompanied by a new tower incorporating 130 starter homes Winter 2011 Role: Member of design team and sole creator of all models shown

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Ex - Casa 400 represents the project which I was most involved with at VMX Architects being solely responsible for the model that is photographed. The brief to be exectuted demanded a program of 330 student residences accompanied by over 100 starter homes for first time buyers on a site that was formerly occupied by the Casa hotel; a large linear block built in 1962. The project is located in an area undergoing urban regeneration where the new urban plan gave another dimension to the scheme.

The decision was made in a sustainable manner to maintain the shell of the existing Casa block and contain the embodied energy within the project. The existing Casa block was then incorporated into the new scheme providing the accomodation needed for the student residences. Alongside this a new tower and plinth is proposed alongside the Gooiseweg which operates as a major gateway into Amsterdam. A green axis outlined by the urban plan intersects the Casa block to form a new gate into the project.

Plan showing immediate context with proposed organization of urban blocks and green axis

Eye level view from the opposite side of Gooiseweg

Birds eye view from above showing intersection of green axis and existing Casa block

Cross section and plan of proposal highlighting the scale of old and new

Typical layout of student accomodation in Casa block

Typical layout of starter homes in tower

A green belt of dense trees will provide a sound barrier from the main road.

View of green axis intersecting the Ex-Casa linear block

View upon leaving the city along the Gooiseweg

Detail model of tower module showing facade appartment layout

Completion

View upon leaving the city along the Gooiseweg

Completed facade composition

Renovated Ex - Casa alongside new tower

270 degree corner view realised

Guest House H & M GUEST HOUSE VMX Architects Amstelveen, Amsterdam, NL A house in the garden architecturally functioning as a little brother to a previously realised VMX home Winter 2011 Role: Leading designer working closely with director and sole creator of all material presented This small scale project asked for the design of a guest house in the garden to compliment a previously desinged VMX home. My role was to manage the process from start to finish and take full responsibility of each aspect from design to working drawings to a model that would best engage the clients in the process. The project is located in Amstelelveen on the edge of Amsterdam Bos. As such the main dwelling seeks to demonstrate how the desire to live amongst nature can be expressed through architecture. The main dwelling thus incorporates a large open plan living space on the ground floor which is contrasted by a dense grouping of rooms and spaces upstairs. This concept was originally born from the space perception we experience in a forest; a flow of space allowing movement on the forest floor in contrast to the thick foliage that creates a dense roof above. Architecturally the guest house can be read as a sibling to the main dwelling a sort fo â&#x20AC;&#x2DC;little brotherâ&#x20AC;&#x2122; relationship.

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The footprint of the guest house seeks to both initiate best use of the space that the building is allowed to occupy in the regulations plan and crate a clear understanding of public and private zones relative to the main dwelling. In this way the building is concieved as an ‘L’ shape which allows the bedroom to aquire all the benefits of living within the garden whilst also orientated away from the main house for privacy. In contrast to this the main space in the guest house has a direct relationship with the main living space of its older brother. Diagramitically the guest house aquires a similar conThe footprint of the guest house seeks to both initiate tained space in the garden as the main dwelling contains intern ally. An inverted typology of the main dwellbest use of the space that the building is allowed to ing. occupy in the regulations plan and crate a clear understanding of public and private zones relative to the The clients asked for a response that would allow guests to aquire a sense of private space when they main dwelling. In this way the building is concieved stayed but also that the space would function as an extension to the living space of the main house when as an ‘L’ shape which allows the bedroom to aquire not in use by guests; a retreat for the families three all the benefits of living within the teenage ch gardenildren. whilst also orientated away from the main house for privacy. In The main s pace in the guest house contains a library and media space whilst maintaining a direct visual with contrast to this the main space in the guest house has the garden and in turn the living space of the main a direct relationship with the main dwelling. Th living is space is space also served of its by a small kitchenette and bathroom which is worked around a previolder brother. ously existing car port/garage. Furthermore the guest house has the ability to physically open to the garden like its older brother by sliding back the large glazed doors. This allows the intermediate garden to take on an entirely different association with both.

Diagramitically the guest house aquires a similar contained space in the garden as the main dwelling contains internally. An inverted typology of the main dwelling.

The clients asked for a response that would allow guests to aquire a sense of private * space when they stayed but also that the space would function as an extension to the living space of the main house when not in use by guests; a retreat for the families three teenage children. The main space in the guest house contains a library and media space whilst maintaining a direct visual with the garden and in turn the living space of the main dwelling. This space is also served by a small kitchenette and bathroom which is worked around a previously existing car port/garage. Furthermore the guest house has the ability to physically open to the garden like its older brother by sliding back the large glazed doors. This allows the intermediate garden to take on an entirely different association with both.

Plan view of model

Plan view of Guest House highlighting the public/private relationship with the main dwelling

House highlighting the public/private relationhip with the main dwelling.

Scale: 1_200

Station Oldenzaal STATION OLDENZAAL VMX Architects Oldenzaal, NL Day and Night renderings of an intervention at Oldenzaal train station Spring 2012 Role: Sole creator of the following visualizations

The following are a series of visualisations created for an intervention to a train station in Oldenzaal in the south of The Netherlands designed by VMX architects. I was responsible for producing the shown images for use in presenting the final design proposal. The images sought to highlight the orange steel tube and its subsequent lighting at night as a means to orientate the user and to bring the various workings of a train station into a single element such as; bus terminals, bicycle storage and the main station.

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Night time view highlighting the LED lighting system and the transformation of the the steel tubing

g into signage

LED lighting mounted to tubular steel

Completed integreated wayfinding signage

Completed Project

Cemetery at Jarvafaltet, Stockholm STOCKHOLM CEMETERY DHB Architects Stockholm, SE An international competition entry for a woodland cemetery Winter 2009 Role: Member of two person competition design team and creator of model and hand drawings presented

This project was undertaken as part of a three man team at DHB Architects for an international competition regarding the design of a new cemetry at Jarvafaltet, Stockholm. The project setting is an area called Jarvafaltet to the north of Stockholm which rests between several multiethnic communities on a large forested green space which incorporates a large hill. The brief for the project was thus to create a non demoninational cemetery that would provide a focused place for mourning and add a layer of permanence to an ever changing community. The space was to provide a recreational as well as a spiritual function; one where people could come and play outdoor sports whilst also being in contact with those who are grieving. The design of a cemetery must naturally develop over an elongated time frame and so this proposal seeks to begin by setting four nuclei amongst the groves of trees which radial grave patterns emerge. These nuclei, at the center of which is locted a columbarium, are then interconnected by forest trails around a central church. The church sits on the highest point of the hill above each of the nuclei which will develop over time to become ocupied. In particular the scheme seeks to touch the lanscape very gently setting the graveyards in the naturally formed groves of wooded areas.

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Aerial of site with design collage

Model showing network of paths accross the site

Progression of plots over phase 1

Progression of plots over phase 2

Sketches of ceremonial route

Progression of plots over phase 3

Plan of ceremonial space showing reflection pool and path leading to burial grounds and collumbarium

Long section through major elements of the scheme

ADDITIONAL PROJECTS PORTFOLIO 2010 -- 2011 2008 2016

LABYRINTH

Waterford Institute of Technology Undefined location Pillars of Society: A Journey to our own center Autumn 2010 Role: Sole designer and creator of all material presented

What defines a culture is a set of ideas and values that a particular group of people have in common. These ideas then produce behaviour; people do things as a result of the way they think. Everyone is a product of their own particular environment. We do not genetically inherit our traits and lifestyles from our parents or anyone else rather we learn them from our surroundings and what we are both aware and unaware of. Culture cannot give birth to itself, it only exists through people. It is easy (and daily common) for people to believe that their culture is superior to the next. Everyone is taught and led to believe, through their environments, that the culture they associate with represents the correct way they should think and act throughout their daily lives. It is thus from this predisposition that we differentiate ourselves from others and become aware of the layers fo prejudism and discrimination that exist within and between differing cultures today. This was the motivation behind this project; a self generated brief to design a space to understand the fragile relationships that exist between differing cultures today with particular awareness of minority cultures. The project sought to use the concept of a labyrinth as a metaphor for the design. A labyrinth at its most basic level; is a metaphor for the journey to the center of your most deepest self and back out into the world with a broadened understanding of who you are. A labyrinth is a right brain task, it involves intuition, creativity and imagery. There are no dead ends, it is not a logical or rational left brain task. The same path takes you into the labyrinth and back out again. Thus with a labyrinth you trust that the path will lead you to where yo need to be. The only decision is to enter or not.

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A Journey to our own center Visually one is met by tall slender columns that are each an abstract representation of an undefined culture. This is the only thing that needs to be explained of the space to the viewer, the rest is to be experienced. The external number of columns stand strong and regimented and create the misconception of order and harmony within the space. To many people, this is their perception; that all cultures exist in harmony. All the columns are the same height which represents that every culture is equal and none can be considered lesser than the next. The columns are also made of the same material which is rusted core ten steel and are each filled with differing amounts of concrete so that when one uses an instrument to strike them they would each reverberate a different frequency of sound; symbolizing diversity.

Moving into the space the columns gradually begin to lean. The viewer becomes aware of this obscurity and delineation. This has the underlying sense that many cultures are being suppressed and broken down. That beneath the surface if one begins to explore there is vulnerability. They represent that it is not always easy to understand another culture, when we are immersed into a different culture we sometimes feel lost and disorientated. Unlike the rows of columns on the outside of the space which everyone can understand; here there is a feeling of obscurity. This is the sense of unknown. The user is drawn to the center no matter where they enter from. This is a journey to a deeper understanding of oneself. The skewed columns are evidence of suppression, discrimination and racism that people of many cultures face.

Externally the space gives the appearance of order and harmony

Within the visitor becomes aware of the delineation, here lies a space for contemplation

Appearance of order and harmony from outside the space

Study highlighting the importance of shaddow over light

Realisation of obscurity and delineation from within

It is through shaddow that the columns can interact and communicate with one another

In the center the space opens up for reflection. People can gather their thoughts on their own understanding of the space; what it means to them personally. The space asks them look inside their deepest self and question their own awareness of cultures and discrimination. Do they associate with one of the columns around the perimeter or one closer to the center? Only an individual can answer this, their emotions are subjective; the space is subjective. In this way no column represents any particular culture; to a person from a culture of limited numbers they may feel that that the strong tall column is a metaphor for them, just as somebody of a seemingly stable culture can associate with a skewed column or space. The images reflect that shadow is more important than light and it is through this that the columns or cultures interact with one another. When light enters as a dimension the cultures communicate with one another. This is a labyrinth that can be entered from all sides; one moves through the space from whichever direction they enter and just as in a labyrinth there are no wrong turns, you are on the same journey no matter where you come from. The journey back out into the world is one with a heightened understanding of oneself.

> The scale conveys the dominance of the culture over the individual

< Plans, sections and elevations of the space

AVANZADA

EASA International Student Workshop Cadiz, ES _a constructive workshop concerned with the reinterpretation of the Spanish for typology and the traditional boatmaking craft Summer 2011 Role: Member of 15 person design-build team

Design and build workshop Photos and documentation courtesy of Avanzada Workshop Team This temporary exhibition pavilion was built as part of the student event EASA (European Assembly of Students of Architecture) in Cadiz, Spain, during a two week period in late July 2011 by a team of 29 students of which I was an active participant. The EASA is a non-profit body organized by students/graduates for students/graduates. Each year, the assembly is hosted in a different European country. Thus, in summer 2011, EASA was hosted in Cadiz, Spain. The concept for the 35 sqm pavilion was inspired by the maritime history of Cadiz, and in particular, the Galleon sailing vessel. Most people enjoying a stroll trough Cadiz harbor would not be aware of the historical significance of the area: first that it was used as a launching pad for the Spanish colonization of the Americaâ&#x20AC;&#x2122;s; and second that the type of ship needed for the task was built on the very ground that they are walking on.

181

Our team saw the opportunity to highlight the history of the site, and created a temporary exhibition pavilion whose design was partly inspired by the material palette of the Galleon. Rope, always a material relegated to servant duties, is allowed to relax and becomes a skin, expanding and contracting to reveal the artwork inside. The impressive carpentry of a Galleon hull is realized in the Pavilion through the use of exaggerated timber structural member sizes, along with fully revealed joinery. The inversion of apparent mass between rope and wood, from the typology to the Pavilion offers a welcome change to normative realizations of boat-inspired architectural concepts.

> Relationship between Galleon Ship and materiology of pavillion

Exploded axonometric of structural system

Investigating the craft of rope weaving

The pavillion during construction

The pavilion was to host exhibitions by young artists who would display their work in turn during the course of the Pavilionâ&#x20AC;&#x2122;s lifetime. The artwork would respond to the maritime theme and in so doing would create a strong conceptual relationship between container and contained. The morphology of the project is based on a folded and stretched container, a reference to the activities of the modern shipyard. Key axis and lines of sight determine the angles of the arms of the Pavilion, along with the use of shade as a device to make the public places around it more enjoyable.

Entrance to the pavillion

Steel bars are attatched to ceiling and floor plates to weave the rope

Plan of the inhabited pavillion including immediate context

Exploded axonometric of structural system

The finished structure allows for varying degrees of transparency and enclosure

The changing density of the rope weave allows for varied spaces within

Exaggeradted timber structure member sizes reminisce ith the galleon sailing vessel