YVES POITRAS SELECTED WORKS
YVES PATRICK POITRAS CURRICULUM VITAE PERSONAL INFO
CONTACT
Dual Citizenship: Canadian, Irish Date of Birth: 09/05/1988 Marital Status: Single
720 84th Ave S.W. Calgary, AB p. +1.780.264.4376 e. ypoitras1@gmail.com
ACADEMIC Sept 2012 - Apr 2015
Masters of Architecture University of Calgary, Calgary, Canada GPA: 3.9
Sept 2006 - Dec 2010
Bachelor of Science: Double Major in Biology and Earth and Atmospheric Sciences University of Alberta/ FacultĂŠ St-Jean, Edmonton, Canada
EXPERIENCE May 2015 - Present
The Marc Boutin Architectural Collaborative | Calgary, Canada: Intern Architect -Courtyard House | 2200 SF | SD/DD | Edmonton Alberta | Project Designer, Coordinator Led schematic design alongside Marc Boutin. Charged with developing several design schemes, study models and presentation packages. -Edmonton Valley Zoo | 35000 SF | SD/DD/CD | Edmonton, Alberta | Designer Core member of the team throughout SD, DD, and Delivery of 100% phase 1 CD’s. Completed technical drawings, systems coordination, presentation graphics and various client presentation models.
May 2014 - Aug 2014
DIALOG | Calgary, Canada: Intern -Calgary Brewery District Master Plan | >100000 SF | SD | Calgary, Canada | Designer Prepared various iterations of the master plan based on different density scenarios. Completed phase 1 schematic design. -Quarry Park Hotel Competition | >50000 SF | SD | Calgary, Alberta | Designer Tasked with site plan studies, massing design iterations, and floor plans. The submitted scheme was chosen as the winning design.
May 2013 - Aug 2013
DIALOG | Edmonton, Canada: Intern -Westmount residential tower studies | >50000 SF | SD | Edmonton, Canada | Designer Tasked with leading conceptual design studies for a 12-story residential project in Westmount Edmonton. Compiled and edited various project proposals. Completed presentation graphics.
Sept 2013 - Dec 2013
University of Calgary Faculty of Environmental Design | Graphics Teaching Assistant -Presented 3D modeling and visualization workshops to students throughout the semester -Assisted with weekly seminars and grading of projects -Presented laser cutting and 3D printing tutorials
SELECTED AWARDS Prix De Rome for Emerging Practitioners | Recipient, 2016 The Canada Council for the arts prize is awarded to a recent graduate demonstrating exceptional potential in contemporary architecture. Royal Architectural Institute of Canada Medal | Recipient, 2015 Received the award for having achieved the highest level of academic excellence and outstanding final design project. Alberta Association of Architects Medal | Recipient, 2015 Medal awarded for having achieved highest academic excellence. Calgary Lost Spaces Competition | Honorable Mention, 2015 Received one of four honorable mention prizes out of 293 submissions from around the world. Prize winners were exhibited at the Contemporary Calgary Lost Spaces exhibition. Canadian Architect Student Award of Excellence | Nomination, 2015 Nominated for Student Award of Excellence for senior studio project. OSPS Orchid Centre competition |1st Prize, 2015 Received 1st prize in senior studio competition for design of Orchid Preservation Society facility. Dialog Scholarship in Honor of Michael Evamy | Winner, 2014 Winner of national travel scholarship for proposal which focused on the study of hybrid building typologies and public spaces. Presented findings to the four Dialog studios across Canada in Vancouver, Calgary, Edmonton, and Toronto.
PROFICIENCIES Rhinoceros 5.0
LANGUAGES
Grasshopper
French: Native English: Native
AutoCAD V-ray Thea Render Photoshop Illustrator InDesign After Effects
REFERENCES Marc Boutin
- Principal, The MBAC
p: +1.403.251.9060 e: marc@the-mbac.ca
Physical Modeling
Robert Claiborne - Principal, Dialog
p: +1.403.245.5502 e: rclaiborne@dialogdesign.ca
Laser Cutter/3D Print
Graham Livesey - Professor, UofC EVDS
p: +1.403.220.6601 e: livesey@ucalgary.ca
COURTYARD HOUSE THE MARC BOUTIN ARCHITECTURAL COLLABORATIVE Budget: 1.5m
Client: McGarrity Familly
Status: Design Development
Team: Marc Boutin, Yves Poitras Role: Designer/Project Coordinator Designed for a couple in Calgary Alberta, the client asked for a home that would cater to their love of nature, privacy, and their two tortoises. As such, the house’s logic is two-fold: (1) burying of the social program as a means to provide privacy, and, (2) animation of the interior via the volumetric filtration of light. In the first instance, the woods on the north of the site as well as its suburban condition on the east and west provide a naturally occurring perimeter. This aspect is further enhanced by the provision of concrete walls, a programmatic frame that digs into the south-facing slope, thereby constructing an interior domain. In the second instance, this burrowed shelter is counter-balanced via the suspension of a wood-clad volume that brings light into the space below. Through the calibration and sculpting of a series of apertures, natural light is invited to make its way through the house, projecting down through a central tortoise court and illuminating the space within. These apertures, tuned to enhance views of the landscape, also serve to animate the movement of the sun in the sky. The resulting architecture is one which celebrates its inherent porosity, while simultaneously offering enclosure and privacy to those within.
SOCIAL PRIVATE SOCIAL SOCIAL PRIVATE PRIVATE
CONCEPT MODEL
PROGRAM
SOCIAL PRIVATE
SOCIAL PRIVATE PRIVATE
The existing home’sSOCIAL social spaces are located PRIVATE on grade to have access to daylight PRIVATE SOCIAL SOCIAL PRIVATE SOCIAL PRIVATE We invert the typical program arrangement to create privacy and considered views to the SOCIAL landscape
1: Original site footprint
2: A domain of privacy is carved into the site
3: Sloped landscapes in the front and rear courtyards catch light
4: A private volume is placed above the domain. Apertures within it allow light to filter through
By extending the lower walls and creating courtyards, the social spaces gain access to daylight while remaining private
The landscape is sloped down to the level of the courtyard to create expansive views
The second story envelope is conceived as a thickened volume within which openings are carved to allow for key views
SKYLIGHT ABOVE
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7
4
3
OPEN TO ABOVE
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2
1
8
9 12
11 10
The approach to the house starts with the entry into the front court or arrival into the garage. Once within the courtyard, the living spaces boast complete transparency while remaining private. Each space has conditioned views to the surrounding landscape and different means to access it. The kitchen divides the dining and living spaces and
MAIN FLOOR PLAN
1 entry court 2 foyer 3 dining room
4 kitchen 5 living room 6 tortoise courtyard
7 rear courtyard 8 exterior dining 9 powder room
is conditioned by a strong connection to the tortoise courtyard. At the rear of the plan, a second social space, with the flexibility of being either an exercise or TV room, has its own framed view of the rear courtyard.
10 storage/mechanical 11 social space/exercise 12 garage
1
5
10M
3 10 9
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10
11
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2
The more private functions of the home are located on the second level. To achieve privacy, the envelope is conceived as a thickened volume within which openings are carved to allow for key views and preferred lighting throughout the day. The floor is divided into two wings. The adult wing holds the office and master bedroom which has
SECOND LEVEL FLOOR PLAN
1 master bedroom 2 master closet 3 master bath
4 office/library 5 exterior deck 6 covered patio
7 8 9
social space tortoise courtyard kids bathroom
3
4
access to an exterior deck. The children’s wing holds two bedrooms and a flexible social space. Washrooms in both wings are further concealed from view by a layer of slats which filter in dappled light. A study nook and covered deck create a buffer between the two wings.
10 bedroom 11 laundry
1
5
10M
Wood surfaces lining the carved openings of the facade bounce dappled light into the master washroom.
PUBLIC VIEW
NATURAL LIGHT
The master bedroom’s louvers catch the west evening light and prevent neighboring sight-lines.
Louvers bring in evening light into the office and maintain a level of privacy.
PUBLIC VIEW PUBLIC VIEW
OCCUPANT VIEW
OCCUPANT VIEW
Looking towards the front courtyard, a dining area frames a landscape of natural grasses and a cherry tree. Concrete louvers along the east wall bring morning light into the space.
The living room frames a view of the back courtyard, connecting the interior domain to the natural domain beyond.
A third, interior courtyard, is home to the owners’ two tortoises. This constructed courtyard, located in the heart of the home, is framed by the two exterior natural landscapes beyond. In each instance, the concrete serves as a blank canvas against which natural elements are projected.
A private exercise room located in the rear portion of the plan borders the courtyard and allows for its own view of the courtyard.
Proposed Model
Conventional Model
EDMONTON VALLEY ZOO: CHILDREN`S PRECINCT THE MARC BOUTIN ARCHITECTURAL COLLABORATIVE Budget: 36m
Client: City of Edmonton
Status: Phase II Construction Documents
Team: Marc Boutin, Yves Poitras, Richard Cotter, Tony Leong, Fatima Rehman, Max Senini, Kailey O’Farrel Award: Canadian Architect Award of Merit Role: design, drawing coordination, detailing, model building The Edmonton Valley Zoo is in the midst of a massive capital improvement effort aimed at establishing it as a leader in the realms of conservation, environmental stewardship, and education. The renewal of the Zoo’s children’s precinct presented the opportunity to help realize these aspirations through the reconceptualization of the spatial and experiential elements that make up the precinct’s many habitat, exhibit, and visitor amenity spaces. Whereas zoo design has historically opted for a distinct division between human visitors and animal inhabitants, more recent approaches have foregrounded the importance of immersion as a means of enriching the educational value of exhibits, while simultaneously improving the living conditions of the resident animals. Immersive landscapes are those in which animals and humans alike are enveloped by a common habitat. This approach serves to erase the boundaries and hierarchical divisions between animals and visitors found at conventional zoos. By engaging animals on their own terms and in their own habitats, visitors are better able to understand the high degree of interconnectivity between themselves, the animals they are viewing, and the world they both inhabit. This approach emphasizes the connections between humans and animals as ‘bodies in space,’ rather than grouping species according to their geographic origins, thus fostering an interspecies connection that is rooted in empathy built through shared experience. Right: Concept model
CONCEPT The project pursues four primary gestures of spatial engagement as means of defining a new conceptual framework for the Zoo: UNDER, BETWEEN, ON, and ABOVE. These engagement archetypes are propagated architecturally through the creation of type-forms. Animals within the Zoo’s collection are categorized through affinities with the aforementioned formal types.
CHILDREN’S GEOGRAPHY
EXPERIENTIAL TOUCHSTONES
SPATIAL ARCHETYPES
CORE SPECIES
Red Fox Vulpes vulpes
SUPPORTING SPECIES
Prairie Dog Procyon lotor
Burrowing Owl Athene cunicularia
Meerkat Suricata suricatta
Naked Mole Rat Heterocephalus glaber
Swift Fox Vulpes velox
UNDER
Capybara Hydrochoerus hydrochaeris
Beaver Castor Canadensis
Agouti Dasyprocta
Eider Duck Somateria mollissima
BETWEEN
Cow Bos taurus
Pony Equus caballus
Turkey Melagris gallopavo
Rabbit Oryclolagus cuniculus
Wallaby Petrogale lateralis
Emu Dromaius novaehollam
Sheep Ovis aries
Pig Sus domestica
Chicken Gallus domesticus
Domestic Cat Felis catus
Fallow Deer Dama dama
Raccoon Procyon lotor
Goat Carpa aegagrus hircus
ON
ABOVE
Red Panda Ailurus fulgens
Ring Tailed Lemur Lemur catta
Gibbon Hylobatidae
Tamarin Leontopithecus rosalia
Red Lorikeet Eos bornea
Giant Anteater Myrmecophaga tridactyla
TECTONIC MODEL A tectonic model was used to develop key relationship details and govern the logic of material assemblies to ensure that the details shifted seamlessly between each of the experiential zones.
BETWEEN UNDER
ON
ABOVE
UNDER ON
BETWEEN ABOVE
LEFT: IMMERSIVE EXPERIENCE RENDERS
ON
ABOVE
UNDER
BETWEEN
DESIGN DEVELOPMENT MODEL
BETWEEN
ABOVE: GIBBON AND TAMARIN BUILDING
ABOVE: BOARDWALK
BETWEEN: RED PANDA BUILDING
WARMING SHELTER
The visitor`s experience in the children`s precinct culminates with the Above zone. Moving towards the east end of the boardwalk, the visitors are elevated into the underside of the tree canopy as the grade drops away beneath them before arriving at the day-room building. Inside, the long axis is seen as a ‘viewing tube,’ where both ends of the building are visually connected to the surrounding tree canopies through the day-rooms on opposite ends. Opposite the Above holding building, an observation tower connected to the elevated boardwalk lifts visitors into the zone’s tree canopy. The tower dematerializes as it reaches its zenith through the gradual unfolding of the wood-clad planes that describe the tower’s experiential volume. Finally, connecting the tower and exhibit building at the canopy level, a woven bridge completes the experiential arc from the terrestrial to the aerial, allowing visitors to suspend themselves between the two adjacent aviary spaces and occupy the same weightless territory as the gibbons and tamarins beyond.
LEFT: RENDERS OF THE DIFFERENT EXPERIENTIAL ZONES RIGHT: ABOVE TOWER AND ANIMAL HOLDING BUILDING MODEL
BOWNESS PERFORMANCE ARTS SCHOOL STUDIO III In response to the recent flooding in Calgary, studio III focused on designing a high school for performance arts that responded to a flooding environment. Reacting to a program type that is typically introverted, the concept was centered on creating an outward focused scheme that would showcase the school’s unique program to the surrounding community of Bowness. The resulting design creates an extension of the river valley pathway via the school’s ramped roof. The school’s interior ramped circulation closely follows this circulation path, varying slightly to create a circulation loop around the cafeteria. An informal outdoor amphitheater is located below the studios which have been elevated above the 100 year flood plain, highlighting the school’s activities to members of the public.
PUBLIC ROOF CIRCULATION
CURTAIN WALL SYSTEM
STRUCTURAL COLUMNS
CIRCULATION (MAIN FLOOR) LEFT: SITE PLAN TOP RIGHT: CIRCULATION DIAGRAM BOTTOM: SOUTH ELEVATION
CIRCULATION (GROUND FLOOR)
MAIN FLOOR PLAN 1
MAIN ENTRANCE
2
ADMIN
3
LIBRARY
4
GYMNASIUM
5
CLASSROOMS
6
THEATRE
7
STUDIOS
8
PUBLIC ENTRANCE/
2
ROOFTOP CAFE
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01: INITIAL CIRCULATION LOOP
02: BRANCH OUT
03: ROTATE + SINK
LEFT: 1:50 SCHOOL LIBRARY MODEL RIGHT: LIBRARY INTERIOR LOOKING TOWARDS CLASSROOMS AND PUBLIC ROOFTOP
04: ORIENT TOWARDS VIEWS
05: LIFT ABOVE FLOOD PLAIN + ROOF ACCESS
06: COMPLETE ROOF ACCESS
VIEW OF STUDENTS REHEARSING IN THE STUDIOS ABOVE THE WINTER SKATING RINK OUTSIDE
SITE CROSS SECTION
PEDESTRIAN BRIDGE TO BOWNESS
FLOOD MARKER
SOUTH
SOUTH-EAST VIEW DURING FLOOD CONDITIONS
SCHOOL ENTRANCE
ROOFTOP PATH ACCESS
START-UP CALGARY COMPREHENSIVE STUDIO Calgary is a growing city, young in its development and has a strong community of designers looking to guide its growth. While it is young and motivated, Calgary’s design community is in need of a home for its designers to promote and endorse its various design disciplines. Start-Up Calgary offers such a home, creating a collaborative office space where new designers, architects and industrial designers can rent or share space to work creatively under the same roof. Incorporated into this design space is a public venue and adjacent plaza which allow the public to host various events and festivals while creating advocacy for the various designers` works.
street
11th
TYPICAL BUILDING+ PODIUM
STREET EDGE ALONG 9th AVE SW
9th
FRACTURE AND INCREASE INTERACTION W/ PUBLIC
ave
SITE PLAN
WALKING TOWARDS THE STUDIOS
CREATE PUBLIC VENUE AND ELEVATE TO CREATE VIEWS
EXTEND AND CREATE PERFORMANCE SPACE
JOIN GROUND PLANES AND CREATE PLAZA/ PARKING
The concept revolved around creating multiple points of interaction between the public and building users. Louvers screen the building`s private functions while their absence highlights the building`s activities and programs to the public. Walking along 9th Ave, visitors approach the site and are met by a coffee shop and gallery space which allows designers to showcase and sell their works. Walking up the ramping ground plane towards the public entrance, the inner workings of the building are revealed by a layer of transparency that is carved out of the building’s facade. This procession reveals to the public a series of views into the shop, studio and gallery spaces. At the end of the path visitors arrive at the venue. Available for public or private use, the venue offers interior views across the atrium to the various work spaces used by Calgary’s design community. During the summer, operable walls allow the venue to expand out towards the small amphitheater and parking plaza. This rich public space serves as a catalyst through which members of the public will be able to interact and engage with the design community.
SHOP AND CAFE FROM 11th STREET
ARRIVAL AT THE PUBLIC VENUE
BUILDING SECTION A
BUILDING SECTION B
AN ELEVATED CEILING ABOVE THE FABRICATION AREA ACTS AS SEATING FOR SMALL PERFORMANCES
AN ATRIUM CREATES A COMFORTABLE BUFFER BETWEEN THE VENUE/LIBRARY SPACES AND THE WORK AREAS ACROSS FROM THEM
IN ITS OPEN CONDITION, THE PUBLIC VENUE BECOMES A STAGE FOR THE CLOSED OFF STREET DURING FESTIVALS
PUBLIC VENUE: OPEN CONDITION
PUBLIC VENUE: CLOSED CONDITION NORTH ELEVATION
ABOVE: WORK LOUNGE ABOVE LEFT: VIEW OF THE LIBRARY ACROSS THE ATRIUM FROM THE 4TH FLOOR KITCHEN AND LOUNGE LEFT: THE LOUVER SYSTEM IS CARVED AWAY FROM THE FACADE TO REVEAL THE INNER WORKINGS OF THE BUILDING TO THE PUBLIC
EDMONTON ORCHID CENTRE SENIOR STUDIO
COMMUNITY
ROAD
SITE RIVER
CURRENT: SITE BARRIERS AND ADJACENCIES STORMWATER FLOW
Studio Competition : First Prize
The Orchid Species Preservation Society, host to thousands of rare orchid species from around the world, is in need of a new home. Its new proposed location is situated near Edmonton’s downtown core in Louise Mckinney Park and uses this urban proximity to integrate a unique storm water mitigation strategy. The site is located just south of the downtown Quarters District, where extensive commercial and residential re-development is currently underway. The concept is centered on bridging both storm water and community residents across Grierson Hill Road to a constructed rooftop wetland. The Orchid Centre’s programmatic requirements are inserted below with its greenhouse components extending past the roof plane, alluding to an outward growth from the large column structures that support the rooftop wetland. Storm water is purified in stages on the roof before being released out to the river or ending in a reservoir for use throughout the greenhouses. The building is divided into four distinct platforms that are interconnected to create a continuous circulation loop. Each of the platforms is characterized by a distinct and unique column that supports the wetland platform above. The integrative approach to the Orchid Centre creates unique opportunities for its visitors and an amenity for the community at large.
CURRENT: STORM-WATER MANAGEMENT COMMUNITY SITE RIVER
PROPOSED: SITE POTENTIAL AS A CONNECTING ELEMENT FOR THE COMMUNITY STORMWATER FLOW
PROPOSED: SITE AS A SUSTAINABLE ALTERNATIVE TO STORMWATER MANAGEMENT
TYPICAL LOWER LATITUDE GREENHOUSE
HIGH LATITUDE GREENHOUSE STRATEGY
THE QUARTERS
96 ST
ALTERNATIVE WATER MANAGEMENT New road construction north of the site will collect water along roadways in shallow bioswales, allowing for the pre-filtering of large debris and sediment. The water then flows along theses bioswales, bypassing traditional catch basins and navigating intersections by flowing under grates, before flowing off of the urban waterfall and onto the Orchid Centre’s rooftop wetland. GRIERSON
HILL ROAD
LOUISE MCKINNEY PARK
Pools in each of the four wetland stages allows for adequate water level to be maintained during periods of drought.
MAIN FLOOR PLAN LEGEND 1 MAIN ENTRANCE
7 ORCHID MOTHER AREA 2
13 ORCHID MOTHER AREA 3
2 ADMIN
8 ORCHID EXHIBIT AREA 2
14 PROPAGATION AREA
3 GIFT SHOP
9 SEEDLING DEVELOPMENT
15 RESTAURANT
4 ORCHID MOTHER AREA 1
10 EDUCATION/LABORATORY
16 PUBLIC ORCHID SALES
5 ORCHID EXHIBIT AREAL1
11 GROUP LECTURE ROOMS
17 PLAZA
6 RESEARCH LABS
12 ORCHID EXHIBIT AREA 2
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13 12 3 1
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11 9 5
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URBAN HIGHLANDS AC-CA COMPETITION In collaboration with Cody Loeffen
The bridge was traditionally conceived solely as a functional object meant to span large obstacles and connect to a destination. Recent interpretations have presented the bridge as a sculptural object in addition to its function. Dublin’s Urban Highlands challenges both the traditional and modern interpretation of the bridge, creating a hybrid condition in which the bridge becomes the destination itself. A boat dock and café are introduced at the water level of the river Liffey to reanimate its banks and re-connect users to the river’s history of boating. Above, the path across the river ramps at a slow incline and culminates with the arrival to a unique landscape, one that is foreign to its urban setting. Here, a series of undulating grass planes and array of trees evoke the sensation of ascending to an oasis, reminiscent of the rolling hills of Ireland. Urban Highlands offers a much needed moment of repose and escape in its urban setting and acts as a social catalyst in the development of the Dublin Docklands community.
MERGE
ROTATING CORES Rotating stair cores create a buffer between the two user types.
SHIFTING FLOOR PLATES The floors are divided according to the optimal orientation for each user
RESIDENTIAL SKIN A gridded facade wraps the residential units
OFFICE SKIN Offices are clad with louvers, gaps reveal the location of shared amenity spaces.
MICHAEL EVAMY SCHOLARSHIP A SHARED TOWER APPROACH THAT DRIVES SPATIAL EFFICIENCY AND SOCIAL INTERACTION Our cities demand an approach to tower design that counteracts the current culture of segregation. Many towers lay empty in the night while in others, inhabitants live in isolation. Office towers contain conference rooms and kitchens on every floor despite their infrequent use, while balconies line condo towers but rarely host their inhabitants. By combining and integrating elements common to both building types and user groups, a merged building model is able to address many of the shortcomings of a segregated urban environment. Merge offers a comprehensive approach in which consolidating and sharing commonalities between typologies can promote efficiencies and create a dynamic social environment.
CONCEPT DEVELOPMENT
MERGED APPROACH By looking at commonalities between residential and office buildings, a shared tower approach creates spatial and circulation efficiencies A shared approach also allows floor plates to be divided according to how daylight and views best serve each user group
OFFICE
RESIDENTIAL
01. CONSOLIDATE COMMUNAL SPACES
SITE A
4.5m
SITE B
SITE C
3.5m
02. AVERAGE FLOOR HEIGHTS
03. COMBINE, SCALE TO SITE AND REGAIN LOST AREA
04. INSERT RETAIL
05. OPTIMISE UNIT ORIENTATION ACCORDING TO SITE CONSTRAINTS
CIRCULATION EFFICIENCY DIAGRAM
EVENING
LUNCH
PEAK USE TIMES RESIDENTIAL CAPACITY
MORNING
EVENING
PEAK USE TIMES OFFICE CAPACITY
LUNCH
MORNING
4 SHARED ELEVATORS
EVENING
3 ELEVATORS
LUNCH
MORNING
3 ELEVATORS
PEAK USE TIMES SHARED CAPACITY
Office Lobby
Commercial Space
Residential Lobby
Floors 3-6
Floor 7
Floor 8
Floors 9-10
Floor 11
Floor 12-13
FLOOR 5: EYES ON INTERIOR STREETS Merge’s adaptable scheme works on the basis of double-door elevators providing access to shifting program space at each floor. Transparency between user groups brings elements of street life to the otherwise sterile tower corridors.
BCN: EXTERNALISED PUBLIC SPACES CREATE A DYNAMIC PUBLIC PROCESSION THROUGH THE CITY
W/C
RESIDENTIAL
APPLIED TO A VERTICAL MODEL, NODES OF INTERACTION TIE TOGETHER THE SHARED CIRCULATION BETWEEN USER GROUPS
Floors 14-16
Floors 17-18
Floor 19
Floor 20
Floor 21
Floor 22
Floor 23
Floors 24-25
Roof Deck
LAYERED TOWER BASE AND PLAZA Residents access their homes via a quiet, lifted residential plinth, LAYERED TOWER BASE AND PLAZA Mondaymembers - Sunday while of the public are able to enjoy the food and shopping Residents access their homes vianext a quiet, lifted plinth. facilities located to residential the plaza. Members of the public are able to enjoy the food and shopping facilities located next to the plaza.
A WEEK AT MERGE Merge’s shared program spaces can be used by different user groups over the course of a day or week. This continued use animates the different spaces and justifies the creation of unique amenities tailored to the building’s users.
ROBSON REDUX COMPETITION In collaboration with Cody Loeffen, Matt Stewart and Trevor Steckly
The annual Robson Redux competition aims at temporarily transforming the iconic 800-block of Robson Street in the heart of downtown Vancouver, Canada by creating a temporary public space installation for the summer. For our submission, we approach the subject of pubic space in a way that is atypical to previous seating dominated schemes, creating instead a kinetic element that promotes interaction between its users. Push-Pin becomes a blank canvas that allows for public creativity on Robson Street. The installation is made up of pixels that can be pushed or pulled to create functional surfaces such as benches, tables, or canopies, and can also be used for play and self expression. The ability of the wall to constantly change, representing the individual or the collective effort of a group, reinforces the multidimensionality of the space as well as the city.
SITE PLAN
ROBSON REDUX SUBMISSION
01
INSTALLATION TIME
+2 HOURS
+4 HOURS
+6 HOURS
DISPLAYED TENSION In collaboration with Ryan Ince
In this tectonic exploration we were tasked with exploring how wood could perform as a wall element. The only materials allowed for this wood exploration project were 1 sheet of 1/4” plywood and an 8 foot 2”x4”. In achieving our solution we were not allowed to use fasteners or glue and instead relied on exploring the inherent qualities of the wood. The result was a design relying on a pattern of overlapping cuts that allowed for splaying of the material. Wedges were then used to separate the plywood and display this tension.
ABOVE: The system is comprised of only 4 assembly components RIGHT: Several studies were conducted to explored cut patterns and overlaps before achieving the final effect
YVES POITRAS SELECTED WORKS