[OUTDATED] Gabriel Osmond | University of Waterloo Architecture Portfolio W24

Hi, my name is Gabriel Osmond. I’m a third year Architectural Engineering student at the University of Waterloo, and I also studied at the school of architecture for one year. Over the past few years through my educational and work experiences, I have grown a love for parametric and scandinavian design, physical model building, and visually inspired architecture.

In my upcoming 4-month co-op, I hope to improve my understanding of structural compromise in the architectural design process, as well as exploring more abstract and innovative designs.

In my spare time, I love to play guitar, race in triathlons, and watch movies (exclusively A24 though...)

Contact Information: g2osmond@uwaterloo.ca +1-(416)-858-1349 Gabriel Osmond (Linkedin)

Wednesday, February 7, 2024 Tyler Hall, Associate Suite 1200, 351 King St. E. Toronto, Ontario. M5A 0L6 Re: Recommendation of Gabriel Osmond Wednesday, February 2024 My name is Tyler Hall, 7, and it’s my pleasure to write this letter in support of Gabriel Osmond.

Tyler Hall, Associate Gabriel and 351 I worked last fall at KPMB for a period of four months. Over that time, Gabriel Suite 1200, King together St. E. Toronto,himself Ontario.

0L6 proved toM5A be valuable member of our design team. He is honest, talented, dependable, and

incredibly hard-working. Beyond that, he’s polite, he communicates clearly, is an independent learner, and Re: of Gabriel was Recommendation a great addition to the office. Osmond My name is Tyler and it’s my pleasure write this in support of Gabriel Osmond.

His knowledge of Hall, model fabrication, digital to modeling, 3dletter printing, rigor and attention to detail is excellent.

At the end his term,together he delivered beautiful 1:50a sectional for our Over Arts Commons Gabriel andofI worked last fall at KPMBa for period of model four months. that time, Expansion Gabriel project that has proved invaluable as a study and as a communication tool. proved himself to be valuable member of our design team. He is honest, talented, dependable, and

incredibly hard-working. communicates an independent learner, Talent aside, Gabriel was Beyond a joy to that, workhe’s with.polite, He is he a true team player,clearly, alwaysismanaging to ask the right and was a greatquickly addition to and the office. questions, take understand directions, and deliver on the tasks laid out for him. Without a

doubt, I confidently recommend Gabriel to modeling, join your team as an intern.

As aattention dedicatedtoand knowledgeable His knowledge of model fabrication, digital 3d printing, rigor and detail is excellent. student, I know that he will be a beneficial addition to your organization.

At the end of his term, he delivered beautiful a 1:50 sectional model for our Arts Commons Expansion project thatfree has to proved invaluable as a study and as a communication tool.

Please feel contact me at thall@kpmbarchitects.com should you like to discuss Gabriel’s

experiences KPMBwas further. happy toHe expand my team recommendation.

Talent aside,at Gabriel a joyI’d tobe work with. is a true player, always managing to ask the right questions, Sincerely, quickly take and understand directions, and deliver on the tasks laid out for him. Without a doubt, I confidently recommend Gabriel to join your team as an intern. As a dedicated and knowledgeable Tyler Hall student, I know that he will be a beneficial addition to your organization.

Please feel free to contact me at thall@kpmbarchitects.com should you like to discuss Gabriel’s experiences at KPMB further. I’d be happy to expand my recommendation.

Sincerely, Tyler Hall

KPMB Architects

351 King Street East, Suite 1200, Toronto, ON, Canada M5A 0L6

T+1 416 977 5104

kpmb.com

DUN

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UPSIDE

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HALYCON

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THE KILLING OF A

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PROFESSIO

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E DOWN

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A SACRED WHALE

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ONAL WORK

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DUN

An Exploratio

Course: ARCH19

Date: Ap

Instructors: Isabel Oc

Skills: Rhino, Enscape, AI, LR, Physic

Dunes, inspired by the f ilm of the same name formations: rhythm. The def inition of rhythm With a site based in the heart of Toronto, one pounding of the footsteps from countless ped eroding away dirt, or the sounds of vehi encapsulate this rhythm, and use it to both c anyone experience this rhythm in a physic building and the

NES

on in Rhythm

93 Design Studio

pril 2022

choa, Rick Andrighetti

Twinmotion Excel, PS, cal Modelling

e, strides to achieve beauty through natural m simply is a strong, regular, repeated action. e can f ind rhythm everywhere - through the destrians, the movement of the groundwater icles whizzing by. This library’s goal is to connect and grow with the site, but also to let cal aspect through the architecture of the ceramics studio.

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Erosion Analysis As the site is situated on the Don Valley Parkway, natural erosion would be the most present sense of rhythm, thus the one analyzed f irst. This mapping both explores the landscaping rhythm creates, and also provides a sense of the safety and stability of the site.

Site

Lower Don Floor Plain Land Form

TRCA Regulated Area

Shoreline Hazard

Wetlands Area of Interference

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Site

Vibrations Analysis This mapping represents the vibrations contributed by pedestrians, cyclists, and cars in the major intersections near the site. The edges of the curves represent the streets, while the ellipses represent the rhythmic sound and vibrational waves.

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VIBRATIONAL MOVEMENT STUDY In order to fully embrace rhythm into the design, I decided to create it from scratch. By gluing a paper drumskin to a basswood cube and using a sander held to the bottom of the drumkskin, vibrational patterns were able to be created with sand. With one cup of sand to start, the sander was held on for 35 seconds total with shots taken 5 second intervals. There are six rounds for six dif ferent vibrational patterns created using unique frequencies.

Selecting the f irst roun then projected and trac building and f illed in to then swept to join toge box edge, creating the

nd of vibrational frequencies, the sand patterns were ced onto a 2D surface, cut into a section size of the form positive and negative space. The edges were ether into a 3D object, and were finally capped by the shape of my building.

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MORPHOLOGY

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By converting each tracing into an equidistant section cut, the flowing and rhythmic beauty of the patterns can be directly transferred to the library and are experienced physically as one walks through the library.

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Section Morphology

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Site Plan

Second-Floor Plan

The plan is dictated by the formations of the sand. The negative space (from the morphology) is converted into the open air rooms, with shelves and seating directly formed by the curved walls. The positive space is then used to carve out private rooms, all wheelchair accessible. The f low of the sand is continued outside through mounding dunes that interact with the outward juts of the building, blending indoor and outdoor living.

A ceramics studio housed above the library provides an art form available to the public that complements and reinforces the experience of rhythm. With extra tall ceilings for ventilation and a separate kiln room, housed by the gaping curved ceilings, the studio provides a therapeutic escape from the rigidity of Toronto.

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2 3 1

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Program Diagram 1

Stacks

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Seating

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Entrance

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Exterior Axonometric Render In the axonometric view, the interaction with the site, landscaping, and materiality can be observed.

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Interior Render Interior shot of the ceramics studio on the second level viewing out onto the Don Valley and King East.

UPSIDE

An Exploratio

Course: ARCH11 Date: Nove Instructor: Fio Skills: Rhino, Enscap

Upside Down is a workshop and housing f the Marxist themes of Fritz Lang’s Metropo people experiencing homelessness call wearing on the housing and job mar reintegration. This project aims to comba youth experiencing homelessness as well as as cooking, finance, and high school educa pedagogy of the nine-square grid and the s space can transform people both thro

E DOWN

on in Division

10 Design Studio ember 2021 ona Lim Tung pe, Excel, PS, AI, LR

for youth in transition and was inspired by olis. Situated in Cambridge, ON, a city many l home. Due to repercussions of COVID rket, there are not many options for at this issue by providing housing for two s serving as a space to teach life skills such ation to the public. By exploring the design socioeconomical struggle in the region, the ough it’s offerings and its architecture.

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Housing Price Mapping By plotting the price per square foot of housing in relation to homeless shelters, one can observe the natural geographic divide created through discrimination by developers.

Shelter Sites

$800 per sq.ft.

$250 per sq.ft.

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Transit Mapping In a 2017 study, transporation was revealed to be one of the biggest issues for those utilizing community centers.

Therefore, the site chosen is on a major bus line and a 5 minute walk from downtown Cambridge.

Proposed Site

Transit Lines

Major Streets

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Morphology The imagery of two economically inverse, yet geographically integrated communities in Cambridge sculpted this design. By splitting a cube into thirds then ninths (similar to a Rubik’s Cube) with two alternating meshes inserted, due to the 9-square grid pedagogy, a completely proportionally symmetrical form was created.

Inserting the cube into the site and using the topography and it’s inverse as the opening, a symmetrical opening is created in the mesh. 15 blocks out of 27 are chosen to be used to carve out living spaces from the remaining non-cut mesh, thus deciding the formation of the spaces due to the integration in the mesh. The cut lines of the original 9-square are used to divide the 15 living spaces from each other.

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Exploded Axonometric

Exterior 9x9 Aligned Grid

Interior 3D 9x9 Mesh Upper Grid Aligned to Exterior

Interior 9x9 Lower Grid Mesh Aligned to Inverse of Upper

Interior Dividing Walls Aligned to 3x3 Interior Seating Resting on Lower 3D 9x9 Mesh

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First-Floor Plan

Second-Floor Plan

9 of these carved out spaces can be seen on the f irst f loor plan, 6 on the second f loor plan. Each of these spaces is divided by a partial sliding wall aligned with the exterior grid that can be pulled out and in at will. While the spaces are originally intended so that two spaces are dedicated to work and knowledge, two to teaching, and two to community, 8 of the 9 spaces, excluding the washroom, can be rearranged to adhere to any needs the space desires.

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Mesh-Grid Alignment Every interior furnishing and moment was built specif ically for this space to align with the 9x9 grid. The alignment can be observed in the mesh-grid alignment diagram, which depicts the alignment of the seating and doorways to both the 9-square and offset grids.

Section Perspective

Interior Rendering

HALYCON

Combatting Malnu

Kaira Looro C

Date: Ma

In Collaboration With Samira El Badau

Skills: Rhino, Enscap

In a world tarnished by both environmenta the existing building stock that will exist in adjust our ideologies and architecture to fi what we set out to do. When addressing a came to light: missed WHO target goals, obesity, wasting, stunting, and lack of ed contribute to the fight against these, we goals for our project: To increase the q opportunities for children, create a free, re women and children, and to establish an

N HAVEN

utrition in Senegal

Competition

ay 2022

h: Alex Li, Dua Junaid, ui, Arkin Kathuria

pe, Excel, PS, AI, LR

al and social tragedy, and with only 50% of 2050 already built, it is important that we fit our ever-changing world. This is exactly and scanning this location, many problems , anemia and lack of breastfeeding, child ducational opportunities. Wanting to help were able to narrow down to three main quality and availability of educational ecreational, and safe space for developing n inviting space for activity and exercise.

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Site Plan

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Floor Plan

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Section Detail

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East Elevation

South Elevation

System Section

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Interior Render Our materials were chosen to satisfy three agendas: A total building cost of under 35,000 Euros, a completely sustainable framework, and create an organic and natural atmosphere. In order to achieve all three of these goals, we decided to use as many local materials as we could. After a study on the clay deposits in the area, it was determined that given the pseudo-hexagonal structure composed of quartz and kaolinite, the clay would be strong enough to be used as bricks. An 8-15% cement additive is also mixed into the clay to achieve better weathering against the elements and to withstand higher compression forces for the higher load-bearing sections. Our roof consists of a bamboo framework, as it is a common building material in Senegal, which then has Typha weed lain across it. Typha, a disastrous invasive species in Senegal, has been growing rapidly in the Senegal River, causing public health, water supply security, and biodiversity issues. Given its excess of availability and its excellent thermal insulative properties, this was the perfect roofing element. Local beechwood slats are used for the structural framing and siding, and a concrete slab is poured for both the clean, interior space as well as the at-grade-level foundation.

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Exterior Render In terms of educational opportunities, we wanted this to naturally tie in with learning styles that Senegalese children were familiar with. This is demonstrated in our organic and circular floor plan, which reflects the genius loci, or the spirit of a place in Senegal’s primarily clay and cylindrical vernacular architecture. We were able to harness these classic theories and utilize their circular shape to naturally encourage interaction and communication in both their child and adult classes. While offering a range of courses from providing information on malnutrition and pregnancy to general education for children, the main goal is to reach self-sufficiency. This extends our outreach, as skills do not have to be exclusively learned here, but rather can be applied, shared, and built upon in the future.

THE KILLING OF A SACRED WHALE An Exploration into Thule Culture and Community Dependency CISC Steel Bridge Competition Date: May 2022 Instructors: Terri Boake Skills: Rhino, Enscape, PS, LR, AI

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Plan

Longitudinal Elevation In 2003, the planned construction of a bridge over the Sylvia Grinnell River was cancelled due to lack of funding and poor design. Due to the last bridge’s pedestrian exclusivity, the community was not inclined to support this as it did not allow hunting access across the river, the primary desire for crossing. This new bridge is placed in order to make the other side of the river accessible for both pedestrians and hunters due to its cladding and width.

In the rib structure of whale skeletons and huts of Thule Cultures, they both structurally rely on a spine to hold up the leaning ribs. This inspired the structural system, and subsequently the design of the bridge. It also creates an analogy for the hunter’s relaince on the whale bones and the bridge.

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Cross Section

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WELDED ARCH SECTIONS (Small enough to be done in shop)

Structural Exploded Axonometric As the bridge is being built near Iqaluit, the resources to weld a structure of this scale are not available, thus leading to bolting methods. Each part is cut to keep the size managable for transportation and construction while balancing the aesthetic compromise of bolted attachments, such as hiding the fin connection in a steel facade to give the illusion of leaning. The bridge will be f inished to AESS 3.

22 mm BOLTED RING-FLANGES AROUND HSS

732 mm (DIAMETER) LARGE CIRCULAR HOLLOW CORE SECTION (LCHS)

S275 PLT 22 mm

250 x 200 mm HIDDEN BOLTED HSS SPLICES

SHEAR CONNECTION USING WELDED FIN PLATE

732 mm (DIAMETER) LARGE CIRCULAR HOLLOW CORE SECTION (LCHS)’

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100 mm DIAMETER BOLTED OVERLAPPING SPLICE

300 mm DIAMETER LARGE CIRCULAR HOLLOW CORE SECTION (LCHS) SEAMED AT 9 m INTERVALS 22 mm BOLTED RING-FLANGES AROUND HSS

250 x 200 mm HIDDEN BOLTED HSS SPLICES (FLOOR BEAMS) WELDED TO TOE TUBE (AT 3 m INTERVALS)

CONCRETE FOUNDATION REINFORCED WITH 30 mm REBAR

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PROFESSIONAL WORK Model Building

During my work term at KPMB Architects in the Fall of 2023, I was grateful to be tasked with building a 1:50 physical study and presentation model to help accelerate design development for one of our projects. As I was responsible for the design, construction, and fabrication of the model, I learned a lot of skills through this.

Learning how to SLA 3D print with resin, spray paint parts, and model in softwares such as Sketchup and Rhino to make pieces clean enough to 3D print were all parts of the process. I also improved my physical model-making skills to the professional level using museum board, foam core, and wood to complement the 3D printed parts.

In the process, I also paved a pathway and created a more productive system to produce in-house physical models, as post-Covid model building had mostly been sent out to external builders. As I encountered a lot of problem solving in terms of printing tolerance and failures, by documenting my issues, solutions, and leaving a precedent, my work will help others create physical models faster and to a higher level of detail than before going forward.

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THANK YOU Feel free to reach out: g2osmond@uwaterloo.ca +1-(416)-858-1349 Gabriel Osmond (Linkedin)