Andrew Dadds Portfolio Undergraduate

ANDREW DADDS 2007-2012 UNIVERSITY OF WATERLOO SCHOOL OF ARCHITECTURE

UNIVERSITY OF WATERLOO ARCHITECTURE 2007-2012

ACADEMIC WORK 4-67 2

Niagara Winery - 3 B Studio Winery 4-13

Mass Housing - 3 A Studio Residential, Mix Use 14-25

Library of Proteus - 3 B Studio Institutional, Library 26-35

Chair For David Cronenberg - 3 B Structures Furniture *Built* 36-43

Building In The Negative - 4 A Studio “Casa Della Citta”, Cultural 44-53

Machined Body - 4 B Studio Institutional, Wheelchair 54-67

6a Architects - Summer 2010 Exhibition Wim Crouwel Design Museum Exhibition *Built* 70-71

2007-2016

INTERNSHIPS 68-123

6a Architects - Summer 2010 Offley Works Residential, Mix Use 72-75

Lyn Rice Architects - Jan - Sept 2011 Jorinal Headquarters *Built* Offices 76-83

Lyn Rice Architects - Jan - Sept 2011 Dissona Concept Store *Built* Retail 84-89

Gren Weis Architects - 2012-Present Breadner Chalet *Construction* Residential 92-99

Gren Weis Architects - 2012-Present Sandhill Estate Winery *Built* Commercial, Winery 100-105

Gren Weis Architects - 2012-Present The Wayne Gretzky Estates Winery *Construction* Winery 106-123

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2 B STUDIO

WINERY - NIAGARA

The winery is an experiment in building as augmented landscape. A new landscape is introduced to the site through the manipulation of the planer ground condition, as well as bringing the nearby escarpment typology of river and rock strata into focus.

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3 A STUDIO

MASS HOUSING - TORONTO 14

A project exploring new urban visions for Toronto. The site is an infrastructural knot; a diverse intervention of “bar cities� connects the city to the waterfront. The flux of the site is translated into collage programs creating a diverse explorative experience using an extension of the urban orientation and regulated within a complex permeable container.

Landscapes within the bars leak outside to fill the residual spaces.

A shift in scale to a 1:20 physical model of a living unit study. The project explores the idea of containment

presented in the urban super-structure plan. In this case containment is combated by conceiving of the facade as an entity that expands its elements into the space forming walls, screens, and foldable partitions. Each of the elements in the facade and unit are of materials that have varying degrees of light filtration, transparency and translucency creating an effect of spaces that are private, yet a layered depth is perceived beyond the apparent borders. Space within the containment becomes expanded, and the unit becomes a “domesticated cloud.�

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3 B STUDIO

LIBRARY OF PROTEUS - TORONTO 26

The project harnesses the metamorphic properties of underwater lava flows; its movement and imagined atmosphere. The proposition embraces contradiction and confusion, a metamorphosis of contrasting states and velocities. Matter is explored through the lens of a shape-shifting entity. Light acts as the igniter, revealing new properties of materials. Serene violence is used to create an atmosphere that fully encompasses its inhabitants, allowing for revelations of knowledge, desire, and reverie. The result is an alchemical transformation of matter, space, and time.

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3 B STRUCTURES - WITH MATHEW WINTER

A CHAIR FOR DAVID CRONENBERG 36

A project done in collaboration with peer Mathew Winter in which a chair was to be constructed primarily in wood for a client. Cronenberg constantly rethinks the relationship between humans and inanimate things. The distinction between object and human, human and animal, human and digital, human and technology, reality and dream, often co-mutate into entirely new categories.

The chair negotiates two states: an archetypal image of a chair, and an anamorphic transformation to an

ergonomic chaise lounge. A metamorphic change of state occurs where the head of the chair becomes the legs, and the legs fold out to become the new headrest, a full reversal of being with function. The distilled concepts worked through functional requirements to allow the chair to expand, enhance, and liberate its identity.

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4A STUDIO

BUILDING IN THE NEGATIVE - ROME 44

Project started with mapping view corridors into the site from each of the 8 streets that filter into the site. The footprint massing becomes the result of the established blind spots, where the site maintains its existence as a void. The first of two buildings proposes a slice through a derelict church, and a new “tail�, all formed by the new view corridors into the site. Materiality is monolithic travertine as extended from the proposed new urban park. The second of two buildings takes the shape of an inverted pyramid, whose footprint grows to preserve the ground level views across the

site. The overflow of program moves underground, occupying a negative space between void and recently unearthed Roman stables. Research offices, retail, lecture halls, and exhibition spaces take advantage of vistas provided by the juxtaposition of ancient ruins and contemporary intervention. The design is a temporal experience through pedestrian movement and layered architectures.

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view corridors

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negative massing

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0 level

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-1 level

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*WATERLOO SCHOOL OF ARCHITECTURE THROWBACK*

MACHINED BODY - CAMBRIDGE 54

The project brief called for complex hybrid programming of a wheelchair fabrication shop, gallery & retail spaces, a cafĂŠ, fitness & wellness center, and small residential units. The building was therefore conceived of as an entire workshop; a traveling armature of mechanized work stands liberate the workspace to extend throughout the building.

Research into surrounding turn-of-the-century industrial buildings also revealed a rich history of warehouse and factory typologies; photographic research into the Cambridge area uncovered evidence of boilerplate and stamping machines

whereby each individual worker possessed a prosthetic hydraulic armature that allowed the work to be done. The hydraulic arms of the workshop cross site specificity with pragmatic accessibility. Material explorations were informed by the local history of stamped materials, intertwining reflection with opacity. The workshop distills and distributes program in a mechanical way, taking the inner mechanisms of a watch as inspiration. The corner site is absorbed into a large mat building with four courtyards, which change their character based on adjacent programs.

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Robert Irwin

www.ricelipka.com

sketch models & conceptual development

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Above Model with mechanical arm base & light-box.

Below Historic photographs of mechanized industrial facilities in surrounding area.

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Section A

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Facade Detail

Model of solids and voids; courtyards & distribution of enclosed spaces.

Section B

Above Concept diagrams showing overlay of watch mechanism.

Below Sections depicting stamped & perforated facade; section at glazing with hydraulic arms on tracks.

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A Axonometric without perimeter enclosure.

B Glazed courtyards.

C Workshop track containing hydraulic arms D Semi-enclosed rooms E Infrastructure: cafe, storage, bathrooms, etc.

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6a Architects - Summer 2010 Exhibition Wim Crouwel Design Museum Exhibition *Built* 70-71

2007-2016

INTERNSHIPS 68-123

6a Architects - Summer 2010 Offley Works Residential, Mix Use 72-75

Lyn Rice Architects - Jan - Sept 2011 Jorinal Headquarters *Built* Offices 76-83

Lyn Rice Architects - Jan - Sept 2011 Dissona Concept Store *Built* Retail 84-89

Gren Weis Architects - 2012-Present Breadner Chalet *Construction* Residential 92-99

Gren Weis Architects - 2012-Present Sandhill Estate Winery *Built* Commercial, Winery 100-105

Gren Weis Architects - 2012-Present The Wayne Gretzky Estates Winery *Construction* Winery 106-123

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SUMMER 2010

6A ARCHITECTS - LONDON 70

Above and Opposite: Wim Crouwel A Graphic Odyssey

www.6a.co.uk

www.6a.co.uk

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Above and Opposite: Offley Works residential mixed-use conversion.

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Offley Works interior rendering.

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Above and Opposite: Jorinal HQ, Shenzhen.

JAN - AUGUST 2011

LYN RICE ARCHITECTS - NEW YORK

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program + seating request

clustered array distribution

department archipelagos

rendered floor plan

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Above and Opposite: Jorinal HQ, The design scheme is based around opening up the program to a unified open office design where various program volumes are scattered amongst the space to introduce spatial organization and atmospheric diversity.

www.ricelipka.com

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www.ricelipka.com

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www.ricelipka.com

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www.ricelipka.com

www.ricelipka.com

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Above and Opposite: Jorinal HQ, The existing space is stripped of its acoustic tile ceiling and linoleum floor to reveal the structural framework.

Colored storage walls, wood terraces, and scattered volumes contrast the raw atmosphere. Other material interventions include a perforated mirror polished stainless steel clad elevator hall and bark meeting rooms.

www.ricelipka.com

An executive office block appears as a carved wood insert where a unidirectional surface is conceptually folded to produce a dynamically unified space.

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Above: Dissona Concept Store, Shenzhen.

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www.ricelipka.com

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Above and Opposite: Dissona Concept Store, Shenzhen.

www.ricelipka.com

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Above: Dissona Concept Store, Shenzhen.

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ONGOING

GREN WEIS ARCHITECTS - OAKVILLE 90

Above: 140 Thomas Street Development, Oakville.

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Above: Breadner Chalet, Ontario.

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Above: Breadner Chalet, Ontario.

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Above and Opposite: Breadner Chalet, Ontario.

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Above: Breadner Chalet, Ontario.

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Above: The Sandhill Winery, British Columbia.

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Above and Opposite: The Sandhill Winery, British Columbia.

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Above and Opposite: The Sandhill Winery, British Columbia.

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WITH GREN WEIS ARCHITECTS 2012-PRESENT

THE WAYNE GRETZKY WINERY - NIAGARA 106

Currently under construction, the design of the Wayne Gretzky Estates Winery integrates itself into a vernacular rural Ontario context. The site plan of the winery is buffered with vegetation on all sides, including vineyards at the north and west facades, as well as a tree grove to the south. The winery is a bold low-rise building with a gabled roof at a scale appropriate to its inhabitants and the surrounding landscape. The glazing strategy in the winery not only maximizes day lighting, but also allows for seamless views between interior spaces and the landscape beyond. Large views are an

important feature to set up a point of appreciation and engagement with the vineyards. The inset glazing follows the form of the gable, meant to exaggerate its image as a contemporary yet vernacular building of rural Ontario.

The building’s materiality also pays homage to the surrounding context, using a light metal roof, stained wood siding, and a mixture of concrete/stone interventions. The building’s materials strengthen the image of a historically sensitive design, while remaining minimal, allowing for an appreciation of its surroundings.

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M.Arch I 2016 Yale School of Architecture B.A.S 2012 Waterloo School of Architecture andrewdadds@gmail.com

ANDREW DADDS

Andrew Dadds

2007-2012 UWSA