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alana kerr

por tfolio of selected work s a b ri e f i ntro d u c to r y b i o M.Arch . BFA | Art enthusiast, born in Glasgow, Scotland, raised in the Turks and Caicos Islands, Calgary resident since 2009. Committed to strong community involvement, teamwork, and finding the bright side in every situation. c o nte nt s 02

sh i fti n g p e r s p e c ti ve s c u l t u ra l i n s t i t u t e f o r a l t e r n a t e h i s t o r i e s i n o l y m p i c p l a z a

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urban edge urban farms feeding off underutilized resources + space in the city

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coalesce bridging communities by connecting the public to ar t + ar tists

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u l tra j o u rna l b ra n d i n g + g ra p h i c d e s i g n f o r s a p l ’ s a n n u a l p u b l i c a t i o n o f student work

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b ri c k e x a m i n i n g s t r u c t u ra l i n t e g r i t y a n d m a t e r i a l c r e a t i v e l a n g u a g e s

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te tto n i c a research based ar t pro ject exploring materialit y

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c u b e t wo m a t e r i a l e x p l o ra t i o n a n d c r e a t i v e e x p r e s s i o n

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a r t wo r k s e l e c t i o n o f a r t w o r k s i n p h o t o g ra p hy a n d d raw i n g


02 A7 ave V E se S E

S st T seS E 1st

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T Eo Aristo T Rrante teatr O

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O L Y M P I C olympic P L A Zplaza A

site plan [alana + danielle]

10m

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N

shif t ing p e r s p e cti ve s c u l t u ra l i n s t i t u t e f o r a l t e r n a t e h i s t o r i e s i n o l y m p i c p l a z a S T E P H E N

A V E

Shifting Perspectives is from our Comprehensive Studio. During this studio, we worked in partners to develop our design. The projects start with conceptualization, and evolve to eventually integrate considerations of realworld aspects of architectural design, such as building code, construction details, structural design, etc. Conceptualization for our project came from deeply involved cooperation, with both Danielle and I working together on our design. Working in partners was a valuable lesson of teamwork and collaboration, and how working with someone else can greatly improve design. Our project focuses on shifting the way people think about history, as there is an inherent bias in curated exhibits; there are often stories that are overlooked and excluded from official history. Therefore, there is no way to completely and objectively understand the past. Our project aims to shift perspectives of history by offering an interactive and adjustable way to learn about history. * Creator of graphic is noted in each caption. All graphics were designed through collaboration, even if made by one person.

stu d i o I V | Eri n Fa u l kn e r partner: Danielle Kim Jan-Apr . 2020 s o ft wa re us e d : rhino 6 graphisoft archicad adobe creative suite [photoshop, illustrator]


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render [alana]

01. depress space around building entrances to form plazas

03. add stairs between ramps for more direct path of travel

02 . add switch back ramp following same logic as interior ramp

04. fill gaps with landscaping to soften geometr y of site

site design [alana]


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1

5

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2m

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2

(1 ) (2) (3) (4) ( 5) (6) (7)

exhibit office k i tc h e n e v e nt lobby s e m i na r c a fe + re t a i l

ground floor plan [alana]


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3

2m

N


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1

2

(1 ) e x h i b i t ( 2 ) re s ea rc h (3) b a c k o f h o us e + l o a d i n g d o c k intermediate floor plan [alana]


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2m

N


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1

2

(1 ) e x h i b i t ( 2 ) re s ea rc h upper floor plan [alana]


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perspective section [alana]


11 conceptual gestures [alana] layered shift: structure + exhibit walls

tectonic shift: ramp + roof plane

wrap-around facade


12 structural exploded axo [alana]

roof

primar y timber structure

upper floor plates

upper floor plate timber structure

curtain wall system


ROOF



  

E

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E x p o s e d memb ran e asse m bl y

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C LT s t r u ctu re

        

6 0 0 m m s q . g l u l am col u m ns 1 5 0 0 m m d eep x 600mm w i de gl ul a m be a m s ( spa n: 2 5 m)

         

  

T

P R IM ARY T I M B E R S T R UC T URE

U

 

8 0 0 m m d eep x 300mm w i de gl ul a m gi r de r s ( spa n: 1 6 m ) 6 0 0 d e e p x 200mm w i de gl ul a m j o i st s ( spa n: 1 2 m )

            

C

  

skylight connection system [alana] section / 1:10

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U P P E R F L O O R P LAT E P o l i s h e d con crete

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C o r r u g a ted steel d ecki n g

floor UPPER FLOO R +Pcurtain LATwall E + louver section / 1:20 TIM BE R ST R UCTURE

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louver + curtain wall plan / 1:5

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CU RTAI N WAL L FACADE SYSTEM

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Tr i p l e g l az ed cu rtai n w a l l sy st e m

            

       

   

P

   

U

  

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facade system details [alana + danielle]


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masterplan visualization [model by vijul + brennan, image by alana]

urban e d g e urban farms feeding off underutilized resources + space in the cit y Urban Edge is the resulting architectural test fit within our collaborative studio masterplan exercise. Our site and client was the High Level Line in a historic, underutilized rail corridor in Edmonton, Alberta. The collaborative High Level City Masterplan explored ideas of hyper-density, analyzing vertical zoning and maximizing diversity. The name of the project, urban edge, comes from the notion of edge in permaculture theory, which can be defined as the dynamic place where two different ecosystems meet and intersect. For my architectural intervention within this plan, I saw an opportunity to re-frame the relatively uninviting and unpleasant chosen context, by using waste resources existing in the surrounding area. The proposed intervention aims to become a vertical extension of the High Level Line, extending the public realm upwards. The design includes a streetcar station nestled within a multi-use trail, a programmable, multi-use atrium, a farmers market with integrated hydroponic infrastructure and a rooftop restaurant. * graphics and designs by me unless otherwise stated

Stu d i o V | Dusti n C o u ze ns + Mi c ha e l R i ve st studio team: Brennan Black, Dustin Dodd, Faezeh Yousefi, John Baziuk, Jonathan Monfries, Vijul Shah Sept - Dec . 2020 s o ft wa re us e d : rhino 6 grasshopper adobe creative suite [photoshop, illustrator]


15 form diagrams

residual space

solar exposure

surrounding context

water recycling

ventilation integration

masterplan conceptual diagram depicting hyper-density opportunism

maximize surface area for crop yield


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massing

concept vignettes


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section


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c o al es ce bridging communities by connecting the public to ar t + ar tists Industrial spaces often create uninviting boundaries between residential areas. However, they are a necessary aspect of urban development and thus are inherently unavoidable. Opportunities to end this separation should be created, to reclaim lost space and bridge gaps created by industrial spaces. If industrial spaces exist to provide services necessary for urban development, the space itself should also be usable by the public; there is an opportunity for them to coalesce. Coalesce is a mixed use artists’ residency including integrated living units, with a public path throughout that connects Inglewood + Ramsay across the Alyth / Bonnybrook / Manchester CP Rail Yard. It harnesses the power of art and art processes to connect people and create inviting spaces. Materials were carefully chosen to create a public work and exhibit space, joining the emerging art scene in Ramsay with the established art scene in Inglewood. Transparency and translucency were used to carefully curate the artists’ work (being both the artwork and the process) in the industrial setting, bringing an inviting and enjoyable presence to the rail yard that currently acts as a barrier between the two communities.

stu d i o I I I | Yve s Po i tras Sept - Dec . 2019 s o ft wa re us e d : sketchup pro rhino 6 adobe creative suite [photoshop, illustrator]


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st 13

12 st se

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nighttime path across tracks translucent concrete allows for path to be illuminated at night underground, while maintaining material and conceptual consistency during both night and day

translucent facade polycarbonate over glass translucent facade allows for suggestion of solid residential unit geometry suspended in workshop, a visual representation of semipublic / totally private space in the project

17 ave se

17 ave se

site plan

11 st se

18 ave se


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2.4

2.1

2.2 2.3

3.3

3.1 1.1

1


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1.1

1

3.3

2.1

2.2

2.3

3.1

3.2

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individual studios + shared workshop spaces for specific art practices. public path intersects all three buildings, meeting in the middle of the central building in a central galler y space. (1) artists’ studios (1.1) shared kitchen + living space (2) workshops (2 .1) ceramics studio (2 .2) painting studio (2 .3) wood shop (2 .4) welding shop (3) public (3.1) tracks crossing (3.2) galler y space (3.3) street front plaza section ground floor plan

8m

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integrated residence suspended from framework in artists’ studios section residential + framework plan

8m

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section through central building 2m

N


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massing concept model burlap, twine, corrugated plastic, acrylic, plywood, yarn

steel girder framework spanning beam framework steel rods

connect suspended residential units to spanning beams and below support spanning steel beams support spanning beams

attached to steel rods on either side of residential unit

workshop framework


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early explorations [alana]

selected colour scheme [alana, danielle + madisen]

ultr a jo u r n a l

selected font + wording identity [alana, danielle + madisen]

(facing) designs for posters, social media [alana]

b ra n d i n g + g ra p h i c d e s i g n f o r s a p l ’ s a n n u a l p u b l i c a t i o n o f s t u d e n t w o r k The ULTRA journal is an annual publication of student work out of the School of Architecture Planning and Landscape. A team of three student editors are chosen each year to carry out the design and curation of the publication, as well as administrative tasks such as securing funding and creating marketing strategies. Our team had the added challenge of designing a marketing plan amidst the ongoing pandemic. A great deal of time and research was put into building a plan that appropriately addressed the challenges of the time and, where possible, found opportunities in the circumstances. The resulting optimized online organization improved many aspects of the management of the journal, which will also benefit future editorial teams. Our roles as editors include not only marketing, branding and graphic design of the publication, but also budgetary considerations and other administrative work. This results in an exercise in project management, coordinating with the faculty as well as printers and distributors. * Creator of graphic is noted in each caption. All graphics were designed and finalized through collaboration, even if made by one person.

d i re c te d stu d y | Dr. Bria n S i n c la i r partners: Danielle Kim, Madisen Killingsworth Sept-Apr . 2020-2021 (ongoing) s o ft wa re us e d : illustrator indesign photoshop


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black iron pipe column [alana + danielle]

bri c k e x a m i n i n g s t r u c t u ra l i n t e g r i t y a n d m a t e r i a l c r e a t i v e l a n g u a g e s Our M1 Structures I course asked us to design a column, cantilever and truss using any material other than food, that could support the weight of a standard brick. Each project was done in partners or a group of three. For each project, my group members and I focused on using materials at hand or that could be found, rather than purchasing materials for a preconceived idea. This forced us to be creative with material use in order to meet the requirements of the assignment, and create a cohesive aesthetic for each project. The column was our first project, using prefabricated components allowing for system of macro + micro adjustments. The asymmetric resulting form pushes the limits of the design’s centre of gravity. For our second project, the cantilever, using precariousness to embody the fragility of a cantilever. The materials used were entirely found materials, requiring creativity in sourcing and finding the balance for structural integrity. Lastly, we used the inherent structural qualities of non-structural materials to create strength in our truss project. The final product also showcases the aesthetic property of the corrugated plastic through demonstrated translucence

str u c tu re s I | Ma u ri c i o S o to Ru b i o Jan-Apr . 2020 materials used: column (partner: Danielle Kim) gas pipe + fixtures screws wing nuts cantilever (partner: Danielle Kim) glass salvaged concrete truss (partners: Danielle Kim + Shelby Christenson) corrugated plastic wooden dowel


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glass + concrete cantilever [alana + danielle]

plastic + wooden dowel truss bridge [alana, danielle + shelby]


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unsuccessful experiment: too weak

successful experiment: before + after dr ying

tetto nic a research based ar t pro ject exploring materialit y Tettonica, Italian for ‘tectonic’ was a semester long research project completed in my abstract painting course. We were asked to choose an abstract artist from history and research their painting methods, and create a piece in their style. I chose to study Italian artist and physician Alberto Burri, who combined atypical art materials to create texturally rich artwork. I combined two classic techniques of his: first from the Sacco (sack) series, which uses burlap sacks for texture, and from the Cretto (cracked) series, which uses a thick mixture of zinc oxide + polyvinyl alcohol (white glue) to create a matte white, cracked surface across the canvas. Burri’s work has been extensively documented, however no recipe exists for the zinc oxide pigment + polyvinyl alcohol (white school glue) mixture he used to create his work. Through rigorous experimentation and documentation of different techniques, I was able to find a similar concentration of the mixture and recreate the cracked texture featured in his work. While working through my trials of different concentrations of the mixture, I was sure to document my experiments methodically, as I was sure Burri would have done given his scientific background.

a b stra c t p a i nti n g | Ju d y Anderson Feb-Apr . 2019 mate ria ls us e d : polyvinyl alcohol zinc oxide pigment burlap acrylic paint canvas dimensions: 5.5’x4’


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final piece

details


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concept sketches (ink + trace)

c ub e t wo m a t e r i a l e x p l o ra t i o n a n d c r e a t i v e e x p r e s s i o n Cube Two is a physical exploration of construction logics and aesthetic language, by using specific materials and intentional connections. Wooden 2x4 offcuts, sheets of sanded plexiglass and screws were used to form a cube that shows the dynamic qualities of translucence versus transparency. The wood immediately against the translucent panels barely loses any detail, but the form further into the cube cannot be seen clearly except through the clear panel. When the cube is moved, the varying textures resulting from the sanding can also be observed, as each face of the cube contains one glossy panel and one matte panel. An unintended effect found with the cube was the warping of the plexiglass. The inherent flexibility of the plexiglass meant that it warped due to the pressure caused when the panels were screwed into the wooden pieces, and also warped during the sanding process. This resulted in the edges of the cube not perfectly lining up where two panels met. This warping helped to further emphasize the unique properties of each panel, as no two panels warped identically, and also gives small glimpses into the structure around the piece.

stu d i o I I | Ma u ri c i o S o to Ru b i o Jan-Feb . 2018 materials used: 2x4 wooden planks 1/8” plexiglass screws


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final piece


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artwo r k s e l e c t i o n o f a r t w o r k s i n p h o t o g ra p hy a n d d raw i n g I have used art to express myself visually for as long as I can remember. I strive to use materiality, movement, and texture to convey concept in the artwork I create. In my Fine Arts degree, I thoroughly enjoyed being able to explore many art media, and I now allow my experiences with experimentation and iteration to guide my architectural work. Learning to communicate visually, through colour, texture, tone, and composition has been an invaluable skill for my architectural pursuits, as well as the value of iteration throughout project development. The processes I have developed throughout my art practice have also taught me the importance of attention to detail and making intentional decisions.

va ri e d c o u r s e s + p e r s o na l wo r k 2017 - 2020 media: photography sony a7ii samsung nx11 drawing pencil crayon ink oil pastel


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s e l e c te d a c h i e ve m e nt s + e x p e ri e n c e s extracurricular Advocates for Equitable Design Education (2020-2021) | co-founder, director of marketing, field notes team | developed communications and marketing strategies (branding, networking, social media engagement) as well as co-coordinating and co-programming the reading club, which focuses on initiating important dialogues surrounding equity + diversity. SAPL Student Association (2020-2021) | M2 class rep | strengthened student-faculty relations , with particular attention to adapting and improving communications during the challenges of the pandemic. work experience SAPL Teaching Assistant (2020, 2021) | optimized the online learning experience for undergraduate students taking Architecture and the Built Environment (ARST 201) in summer 2020 + winter 2021. mentored students in applying to the minor program and the masters program. SAIT Summer Camp Leader (2017-2019) | established a new camp teaching revit in addition to 3 existing camps offered in the fields of architecture, engineering & planning, for kids aged 11-17. this new camp was offered first in 2019 and has helped to expand the range of camps related to architecture that SAIT Summer Camps can offer. optimized the 3 existing camps to maximize camper enjoyment and education. volunteer experience ARK Society (2020-2021) | graphic designer | creatively design documents for the marketing team that communicate ARK ’s values and brand to present and future nominees , donors and volunteers. awards EVDS Alumni Scholarship (2020) | for a demonstrated commitment to celebrating the relationship among and between fellow students , faculty and the community at large | $3100 West Canadian Scholarship in Architecture (2020) | faculty recommended, based on academic merit | $2500 additional experience + achievements provided on my resume. thank you for your consideration

Profile for alana kerr

Alana Kerr Architecture Portfolio 2021  

MArch Class of 2021 | School of Architecture Planning and Landscape | University of Calgary, Calgary AB Canada

Alana Kerr Architecture Portfolio 2021  

MArch Class of 2021 | School of Architecture Planning and Landscape | University of Calgary, Calgary AB Canada

Profile for alanakerr
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