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MAC DONINRI L. DIMANLIG Architecture Portfolio / 2014 / mac.dimanlig@carleton.ca / dondimanlig.daportfolio.com

M.Arch (8.0 cr) - 100789023 1


MAC DONINRI L. DIMANLIG mac.dimanlig@carleton.ca 613 883 0427 24 Meadowlands Drive, West. Ottawa, ON K2G 2R4 EDUCATION

WORK EXPERIENCE (Ottawa, ON. Canada)

CANADA:

Architecture Firm COOP-Student Intern Edward J. Cuhaci and Associates, Architects Inc. 2011, 2012 - 2013 (20 months total)

Bachelor of Architectural Studies - Design Stream, COOP Carleton University, Azrieli School of Architecture & Urbanism 2009 - 2014 Candidate

Fall Protection Course Occupational Safety Group 2012 PHILIPPINES: AutoCAD Training Summer Course Meralco Foundation Institution 2008

Bachelor of Science in Architecture University of Santo Tomas, College of Architecture (attended 1st year) 2007 - 2008

Techno-Classical Structured School, Spec: Industrial Drafting Don Bosco Technical College 2003 (Primary grad.) 2007 (Secondary grad.)

- Drawn and edited working drawings in AutoCAD

- Modelled in SketchUP and Revit, visualizing designs & checking for errors - Assisted in site inspections, change-orders, bids, tender packaging - Created presentation images, material boards and interactive animations - Successfully prepared 3D models dedicated to acquiring project bids

Editorial Cartoonist Centretown News (Print & Online) 2012 - Present

- Draws Bi-Weekly Editorial Cartoon for the Insight section - Collaborates with students & professors with University based publication

Graphics Editor The Charlatan, Carleton University Independent Weekly Newspaper 2010 - 2012

- Draws Weekly Editorial cartoon for the Op-Ed section - Creates multiple graphics for other sections: (caricatures, photo-illustrations, information graphics and newspaper cover art) - Recruits and assigns graphics to many available volunteers

Project Artist, Designer, Laser Machine Operator PrototypeD Urban Workshops 2012-Present

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- Graphic Artist on various projects including: (Book & web publications, concept art, avatar design) - Team member of current major architectural design project - Operated Laser Engraving Machine


dondimanlig.daportfolio.com SELECTED ACHIEVEMENTS

INTERESTS

REFERENCES

Murray & Murray Prize in Architecture / The Director’s Project Annual drawing competition open to all Carleton Architecture students 2013 - 1st place 2012 - 1st place (tied) 2011 - 2nd place (tied) 2009 - 1st place

Architecture extended - hand drafting, clean to grit - digital matte painting - virtual-reality environments

Prof. Manuel Baez Carleton University manuel_baez@carleton.ca (613) 520-2600 x 2879

Graphic Novels & Comics - collecting, reading - script & story writing - drawing and layout

Arch. Jerzy Jurewicz Edward J. Cuhaci & Associates Architects Inc. jerzyj@cuhaci.com (613) 236-7135

Stantec Architecture Prize for Excellence Studio 7 Project Selected, Entered, awaiting judging (2014) Tokyo Replay Center by Archimedium With Team CDP, Entered. (2013)

Freelance Art - book series cover artist - tattoo and logo designs - avatars and portraits

Building 22 (Edition 10, 12, 13) Various work published 2010, 2012, 2013

Videogames - playing, collecting - 3D modelling for levels - modding, customization

Kritk: Winter Edition Artwork published on Kritik; a Turkey-based publication by Student Commission of Ankara Department of Chamber of Architects (2011) Youth Achievement Awards: Excellence in Arts and Culture Filipino-Canadian Leaders for Leaders Foundation 2011 Edward J. Cuhaci and Associates, Architects Inc. Award Awarded at St. Matthew’s Catholic Highschool Graduation ceremony 2009 Queen Elizabeth Aiming for the Top Scholarship 2009 Awarded at Don Bosco Technical College Best in Industrial Drafting: graduating Class of 2007 Best Comic Illustrators (2005) On-the-Spot Perspective painting (1st), Group Scale Modelling (2nd) (2005) DBTC Artist of the Year, Philippine National Editorial Cartooning (4th) (2003)

Janak Alford PrototypeD Urban Workshops janak@prototypeD.org (613) 266 3882

Photomania - not those artistic photos - photo record of daily events - meaning within the menial Music - metal to punk to floyd - collaborating with others - digital & experimental

Resume Printer Friendly Single Page Version dondimanlig.daportfolio.com/about (click Download Resume) 3


Part A: Statement of Intent THE VIRTUAL HANDS OF THE ARCHITECT I. What is the Virtual Architect? The concept of the Virtual deals with entities, objects and environments that have the characteristics of their real-world counterparts - except without taking on a physical form. From symbols, drawings, photographs, 3D models, the representation of things have come a long way. The same is true for buildings and the architects who show them. An Architect’s work requires one to design a building and oversee its construction - though in the middle of all these, the architect would be required to present the project in a way everyone else understands. The Virtual Hands of the Architect: The tools, technologies, and techniques that the virtual architect uses to simulate what one is creating, to the extent one’s equipment and imagination, all before its even built.

II. Research Intent - New Digitized Realm In my undergraduate studies at Carleton University’s Azrieli School of Architecture and Urbanism, most of my presentation methods were traditional - by hand, by physical model. This traditional habit resulted from the speed and convenience of a pen, my confidence in my ability to draw, and lack of a powerful computer that I own, and avoiding what methods already used at an architecture firm during coop. Digital means weren’t used until late in my undergrad - where the requirements were faster, bigger and more complex. I want to expand and break free and go beyond the imagined barrier that I have - to stop limiting what I can do because I cannot or would not buy the equipment for it. No more. I want to focus on virtual architecture methods and representations for my graduate school studies. Currently, universities and other institutions are experimenting with human interaction technologies and virtual-reality technology (VR). VR is being used during presentations. My graduate school research will further these researches by using VR to show designs as well as expanding to what happens before and after presentations. Before design presentation, the creation of the space - how can an architect design a place - not on paper, not on a screen, but within a simulated world around him? This change in working scale and immediacy can improve the architect’s understanding of what it is like to be in his creation - not just from above or outside of it. During design presentation, is where VR is more commonly used - where clients and other observers try the space that was created. Not much need to be added to this aspect that hasn’t been done before, save for more interaction, like in a videogame or advanced simulation.

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After design presentation comes the evaluation and construction of the space - how can architects and the team of engineers, interior designers, construction workers, clients and users collaborate and see the changes visualize around them as it is edited? This shift in methods and delivery can improve the speed in which the architect’s design are understood - as well as avoid misinterpretation of drawings - a construction site of projected instructions, physically tracing a 3D blueprint with real material placement.

III. Proposed Research Project - Creator Mode Project: Creator Mode would be a proposal, a prototype of a futuristic method of (1) designing, (2) presenting, and (3) constructing a building. Merging my interests in architecture, industrial design, graphic narrative, videogame design, photography, science fiction, human-interaction & interface technologies, and transhumanism, I have devised this plan to make the blueprint of what this future process could be. Creator Mode allows the architect (or the student and the professor) to design in Virtual and Augmented Reality (AR). Creator Mode, for now, would be focused on proving the existence, probability and accessibility of this virtual method to a wider audience. It will start as a presentation - where the process is just shown by traditional print panel. Later on, when the technology behind it is figured out, it will be set-up in a way that few people can participate simultaneously, with a sample project and wearable gear and a controlled space. I plan to use as many resources I can acquire and borrow; firstly, Azrieli Architecture Undergraduate and Graduate School’s computer labs as a basic starting point for the programs and human resource and test subjects, then Carleton Immersive Media Studio (CIMS) lab would have the laser scanning technology for site making, Prototype D Urban Workshops - a creative collective I am affiliated with - would have motion tracking equipment and VR goggles (Oculus Rift) that I have access to, finally my own computer, photo/video/game peripherals and a prospective drawing tablet screen (Wacom Cintiq). It will be very experimental and possibly expensive but I believe it is worth investing time and money into. Academically, I plan to research as much as I can while I still have the experimental freedom that comes with being a student. Professionally, I shall work my way up to becoming an architect whilst seeking ways to incorporate my research into the design find support, and eventually test it in the field.


Part B: Projects GATEWAYS IV. Future Application - Arch/Eng/Const. Industry Ultimately, I want my research to contribute to the worldwide development of similar virtual techniques. The purpose of this research is not to replace pen, paper, and print but to add another dimension to design, the same way 3D models did so in the past. Here is an example scenario: In the future, an architect is designing a building remotely from the office. Back at the site, the building is digitized into location via global positioning system (GPS). The workers and engineers can all see the augmented reality of the un-built building through their goggles - precisely and relative to their current location as they are GPS tracked as well. Any change done by the architect is reflected to what the site crew sees and vice versa. Later on, the architects visit the site. They walk along an empty land to the eyes of those outside, but to them and the crew, they see architecture - possibly in holographic style. A worker reports an error and they follow him. It turns out that a detail needs revision. The architect redraws it using his computer, or goggle and gloves, and maybe a pen and recreates the virtual projection in real time and resolves it. The workers, seeing the new version of the model, continues to place the material along the revised layout. These changes are logged into a central computer server - accessible to those who need it, and updates actively. Suggestions of material, furniture, finishing, and lighting can be tested and be seen by all who observe through a viewing screen, or wear the goggles without obscuring their view of the actual site and endangering them from site hazards, for the technology allows them to switch from VR to AR. Mechanical and electrical systems can be edited by engineers while architects focus on walls because the technology will have layers and workers can see what they choose and need to see. It will be BIM (building information modelling) in life size scale and location.

V. What is Real? Change is frightening to some people. But like with any technology, it should be given a fair chance to be tested and developed. Creator Mode can bridge the gap between the technically versed and the common people outside the industry. It can save paper and ink. It can save time and money. It can open new doors to designs and approaches. Architects only must never lose their grip on reality - that in the end, their building will be inhabited and will sustain the effects of nature. Architects must be more immersed in their projects and experience what the user would need - as such factors cannot be expressed through statistics and graphs. It sounds absurd but the plan is to use the virtual world to remind the architect of the real world again. Architects should use technology to their advantage - and have command over their tools and not be limited with its strict parameters. Designs evolve but core principles won’t. The Real, the Mechanical and finally, the Virtual Hands of the Architect.

The following projects are chosen to show Don’s skills and designs; from hand drawing to digital modelling, from fictional ruins to an urban infrastructure. Enter the Gateways. 5


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Murray & Murray

Wall of Sorrows

La Maison de Verre

E.V.A.(C.)

Infinity Fade

The Director’s Project Annual Competition

Invisible Cities Program Addition

House Analysis

Tech Detail Group Design & Assembly

Light Tricks Toilet Pavillion

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10

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Comic Portal

Crossroads - Bluesphemy

Accessible Art - The CCA

The Gates

Gothic - Industrial

Graphic Novel Arts Center

Blues Institute

Canada Council for the Arts

Immigrant Residence and Cultural Integration Center

Undergrad Entry Portfolio Piece

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20

22

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Carleton Beacon (2009 - 1st Place) “A Place to Dream”

Arkitron 22 (2011 - 2nd Place Tied) “Non-Finito Library”

The Murray & Murray Prize(s)

Archifiction (2012 - 1st Place Tied) “A Studio for the Pen, Paper, and Laptop”

Also known as The Director’s Project, It is an annual juried drawing competition at Carleton’s Architecture School open to all undergraduate and graduate students. It challenges the students to show an architectural idea and design that varies every year using hand-drawn techniques, and/or other methods the student chooses, as seen in recent years. The Prize was created in 2003 to honor Tim & Pat Murray. 8


The Mind (2013 - 1st Place) “A House for a Pencil” 9


Pulleys

Paths

The Wall of Sorrows

(Studio 1 - 1st Year - 2010 Winter) The Wall of Sorrows is the second phase of The Invisible Cities project. It is a randomly given program that were to be added to the cardboard city. In the fabricated lore, The Wall is the ruin of two competing sides, each building their wall higher than the other. Once one side lost, the defeated rushed towards the better barrier where they mashed into bloody mortar. It now stands as a memorial. 10

Sorrow Elevation

Section Axo


Light Box Experiment

La Maison de Verre - House Analysis

Section Axo

(Studio 2 - 2nd Year - 2010 Fall) La Maison de Verre of Paris, France. The house analysis included the obscure construction on a complicated site, the mixed use of residential and medical programs, the industrial aesthetic of the house and it’s customized components, and finally, the house’s use of glass for privacy and light diffusion. The study translated into phase 2’s light randomizer machine and phase 3’s Infinity - Fade, The Light Tricks Toilet Pavilion. 11


handle parts

gear core parts

key parts

piston parts

column slices

footing parts

tube section

central gear

key slice

piston slices

rack & lock discs

foot slice stack

springed button

gear locked

key grooves

piston lock hole

column portion

base parts

lever in tube

gear tube slice

key colored plug

rack gear pair

column keyhole

base stack

+ A. Handle Hook & Prong Lock

E.V.A.(C)

+ B. Gear Core Slice & Gear Key Tube

+ C. Key Plug with Handle Hole

+ D. Piston Locks and Racks

+ E. Column Top & Bottom Ends

= F. Footing & Base Assembly

(Building Technology 1 - 2nd Year - 2010 Fall) Designed and Built by AGN Group (with Nick Choi & Aaron Chow), The Extruded Valve Attachable Column is the team’s response to Tech 1’s final project - opting not to copy an existing architectural detail like the rest. The original design option gave AGN Team a chance to explore futuristic designs inspired by science fiction, robots and space technology. EVAC is a column system that could be used in low gravity. A temporary or permanent column that can be installed in place using a handle & key system and removed using the same tools. EVAC was also drawn completely in 2D, using sketching, traditional drafting and manual calculation to design a complicated, eventually physically 3D object made of flat, CNC’d parts. 12


Operation Diagram

Assembled Column

1 Press Handle (A) buttons 2 Insert Handle to Core (B) 3 Turn Handle 4 Pistons move out (D) 5 Press Handle buttons 6 Insert Handle to Plug (C) 7 Turn & Push Plug Locks C-D-E-F together

Video: Assembly & Demonstration ----> https://www.youtube.com/watch?v=YEBo1tnxJ8U

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Model Fade Elevation

Infinity - Fade Infinity Horizon View 14

(Studio 2 - 2nd Year - 2010 Fall) Phase 3 of Studio 2 evolved from the idea of light utilized as a tool of deception. The program was a toilet pavilion - and it was given an open air twist in design. A grand view of Mooney’s Bay is seen via an elevated, open roof hall of mirros, infinitely reflecting the skies, waters and extending the horizon edge. The rear is equipped with miniature versions of Phase 2’s light randomizer boxes. The end of the elevation fades from opaque to transparent, blending with the building with the sky eventually. It hides the bayside extents of the building.


Light & Lightness

Section & Structure

Exploded Axo

Mooney’s Bay

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Underground Gallery

Comic Portal Gallery Entry 16

(Studio 3 - 2nd Year - 2011 Winter) Following the book art project, The Centre for the Graphic Novel Arts is designed in the similar use extreme visualization, as a way of letting it’s patrons feel as though they inside one of their beloved comic books. The facade features electrochromatic glass that can display art work, promotions, or simply varying textures. The facility includes a cafe, a bookstore, a drawing workshop, and galleries. From glass elevators shafts to underground lairs, the center borrows from literature’s fictive styles. Books are also arranged to be found intuitively by genre


Basement Gallery Pit

Light Well Elevator

Comic Screen Facade

Floorplans

Section

Cafe / Courtyard / Entrance

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Lyric Bridge

Bridge Axo-Section

Glass Half Pitch Roof

Crossroads...

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(Studio 4 - 3rd Year - 2011 Fall) A bridge starts a path to sharing. On the walls, written by those who pass, are emotions and memories. The Blues Institute collects people’s stories, forms them into song, and performs them back - to be shared with the people. The bridge, song workshop, concert pit and soup kitchen creates this loop - How feelings turn to art, how words defined the rhythm, the blues.


Burnt Stage

No Door / EADGBe

Concert Pit

Soup Kitchen

...Bluesphemy

To build beside a church is difficult and it was insitnctively mimicked. As contrast, the detail of a gothic church versus the bare, flat, black, burnt -down building : a shadow. It is architectural blasphemy, building something so simple - so predictable. Yet, too predicatable that it was assumed no one else would dare try such design. To create and noise the devil’s music beside a church; but for a good social cause

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Accessible Art - The CCA

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(Studio 5 - 3rd Year - 2012 Winter) The Canada Council for the Arts project required a relocation of their office as well as an architecture that better serves Canada’s artists and enthusiasts. Accessible Art - Where art is placed for everyone to experience. Visual Accesibility - Art seen from the outside, free for appreciation, invites people in.


Physical Accessibility - experienced via car, bike, wheelchair or foot. Economic Accessibility opens its doors to starting artists in need of a promotional space. CCA is designed for downtown Ottawa to experience art with ease and at their own leisure.

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The Gates

(Studio 6 - 4th Year - 2013 Fall) (Selected Entry to Stantec Competition 2014) Ottawa’s Immigrant Residence and Cultural Integration Center capitalizes on one of Canada’s strengths - its multiculturalism. The Gates is designed to welcome new immigrants - integrating them with the culture, the landscape, and the society. The Ottawa Riverbank under Major’s Hill Park is a controversial site, - it’s behind the Parliament Hill, on a hill full of trees - and such statement is needed to say that Immigration will make some uncomfortable, change is coming, and Canadians shall adapt. The building hides on the cliff in a low profile that cannot be seen when standing above the road, save for the entrance roof as it’s lone top beacon. The program includes hill-side and riverbank residence units, community halls & forums for social functions, a sweat lodge for people to experience architecture as the mediator of earth and water, libraries & workshops were immigrants can transition into the workforce, cafes and bars, and finally bikepaths & walkways connecting all these programs to each other and to the city’s existing paths - so that locals, tourists, pedestrians and immigrants can interact while going about their daily business. - an urban & social infrastructure. 23


6C

2G

Atrium, Upper Main Ramp, , Membrane Roof

SA

3B 2B

Residence units, Elevated Bike Paths, Shore Walkways 24

2F 1O

SB

2F 1O

1D

1I


Level 6 6A - Street Level Entry Ramp 6B - Main Entrance 6C - Center Core Entrance 6D - View Deck Level 5 5A - Car/Bike Ramp 5B - Bus Drop-off 5C - Parking Entrance 5D - Bridge to Upper Deck 5E - Welcome Hall / Upper Deck 5F - Security / Reception / Coat 5G - Cafe / Restaurant 5H - Center Core 5I - Bar / Club Level 4 4A - Parking 4B - Ramp to Roundabout 4C - Workshop Deck 4D - Upper Auditorium 4E - Workshops 4F - Atriums 4G - Administration Office 4H - Employment Office Level 3 3A - Parking 3B - Residential Cluster L3 3C - Roundabout, Parking Entry 3D - Lower Auditorium, Backstage 3E - Upper Library 3F - Bridge over Sweat Lodge 3G - Center Core 3H - Bridge over Forum 3I - Future Conference Rooms

Level 2 2A - Parking 2B - Residential Cluster L2 2C - Open to Round Atrium 2D - Multipurpose Deck 2E - Lower Library 2F - Elevated Bike Path 2G - Center Bridge 2H - Core / Service Tunnels 2I - Bike Pitstop workshop 2J - Forum Stage controls 2K - Future Technical Studio 2L - Experimental Garden 2M - Bike Path extension Level 1 1A - Parking 1B - Residential Out Deck Entry 1C - Residential Cluster L1 Hill 1D - Residential Cluster L1 Shore 1E - Residential Cluster L1 Docks 1F - Welcome Atrium - River Level 1G - Friendship Hall 1H - Ice Pit 1I - Restaurant Docks 1J - Observation Docks 1K - Sweat Lodge 1L - Showers & Lockers 1M - Center Core 1N - Forum 10 - Pedestrian Path 1P - Future Boat Workshops 1Q - Storage 1R - Power Generators 1S - Waste Management 1U - Loading Docks 1T - Walk & Bike Path extension

6A

L6

6C 6D

6B

SA

5F 5A

L5

5G

5I 5H

SA

L4

4H

L3

3I

L2

3G

3C

3B

SB

2H 2D 2G

2A

2F 2E

2I

1T 1U 1S

2C 2B

SB SA

1R

L1 1Q

1L

1M 1P

Section B 3B - Residential Cluster L3 2B - Residential Cluster L2 2F - Elevated Bike Path 1D - Residential Cluster L1 Shore 1O - Pedestrian Path

3A

3E

1K

Section A 6C- Center Core Entrance 2F - Elevated Bike Path 2G - Center Bridge 1I - Restaurant Docks 1O - Pedestrian Path

SB

3F

SA 2J

2F

4C 3D

2M

2K

4B 4A

4E

SA

2L

5C

4D

4G 4F

3H

5B

5E 5D

1O

1N 1J

1H 1I

SA

1A

1G 1F 1O 1E

1B

1O

SB

1D

1C 1T

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P-B1: Gothic Industrial

Undergraduate Application Portfolio Piece (2008) Ink on 8 ½ x 11” paper The 2008 Carleton Architecture portfolio guideline required applicants to draw 5 pieces in the theme of: “How (I) see the world around (me)”. With Three sheets, Two days and One shot; This was my answer. 26


dondimanlig.daportfolio.com RESUME: dondimanlig.daportfolio.com/about (click Download Resume) PORTFOLIO : dondimanlig.daportfolio.com/gallery/658213 (GradSchoolPortfolio)

issuu.com/dondimanlig PORTFOLIO: http://issuu.com/dondimanlig/docs/architectureportfolio2014

MAC DONINRI L. DIMANLIG mac.dimanlig@carleton.ca 613 883 0427 24 Meadowlands Drive, West. Ottawa, ON K2G 2R4 Undergrad Studio & Coop Desks

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Don Dimanlig Architecture Portfolio 2014